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PHOTOGRAPHIC  NEWS: 

A WEEKLY  RECORD 


OF  THE 


PROGRESS  OF  PHOTOGRAPHY. 


VOLUME  XXVII. 


Nulla  recordanti  lux  est  ingrata. — Martial. 


LONDON : 

P R I N T E D A N D P U B L I S H E D B Y PIP  E K A N D C A R T E R , 
5,  CASTLE  STREET,  HOLBORN,  LONDON,  EX’. 

1883. 


LONDON: 

PIPER  AND  CARTER,  PRINTERS,  CASTLE  STREET,  HOLRORN,  E.C. 


THE  GETTY  CENTER 
LIBRARY  .. 


A 

Aberdeen  Photographic  Society, 767 
Abney,  Cap!.,  K.E.,  F.R.S.,  The  Rowland 
diffraction  grating,  21 

, Zinc  bromide  in  emulsion,  122 

, Misnomer--,  143 

, Glass  soaked  with  silver  for  the  gelatine 

process,  155 

, Sunshine  and  the  barometer,  317 

, Experiments  on  sensitive  compounds,  363 

, SherriDg  stress  on  sensitive  salts,  452 

, Les'ons  in  optics,  335,  433,  473,  503,  538, 

618,  682,  714,826 

Abney,  C.  K.,  An  easy  method  of  producing 
negatives  from  print,  836 
About  London  with  a camera,  by  IV.  Cobb,  727 
Academy,  the  Royal,  289 

Actinometer  for  field  work,  by  A.  M.  Mec- 
gregor,  831 

Addenbrooke,  G.  L.,  P"rogallio  acid  varied  in  a 
developer,  156 

Africi,  the  camera  in  South,  533 
Albumen'/.-d  paper,  by  M.  Schlier,573 

, Cutting  up,  by  W.  Coles,  778 

Alcohol,  drying  plates  with,  577 
Alfieri,  C.,  Lands  ape  photography  and  pictorial 
composition,  661 

, G latine  negatives  over-intensified  with 

mercury,  662 

Alkaline  development,  ammonia  in,  638 
developer,  785 

pyro  developet  in  one  solution,  by  G. 

Cramer,  391 

Allison,  W.  B.,  Development  ofgelatinep’.ates, 
375 

, Platinotype  process,  791 

Alum  fixiog  bath,  431 
,449 

Amateur  Photographic  Association,  175,  527 
photography,  438 

photography— its  present  and  future,  by 

J.  V.  Robinson,  661 

American  photography  as  it  was,  by  W.  M. 

Ashman,  332  i 

America— photographic  matters,  by  J.  T.  Tay- 
lor, 646 

Ammonia  in  emulsions,  465 

in  alkaline  development,  658 

Analysis,  photographic,  “ Iiy-the-bye,”  146 
AnnaD,  J.  C.,  Carbon  printing.  35 
Answers  to  Correspondents,  16,32,  48,  64,  80, 
96,  112,  128,  144,  160,  176,  192,  20S,  224,  240, 
256,  272,  288,  304,320,  336,  352,  368,  3S4,  400, 
416,  432,  418,  403,  480,  496,  512,  528,  544,  56  >, 
576,  592,  0)8,623,  640,  656,  672,  683,  704,  720.  ' 
736,  752,  768, 784,  800,816, 832 
Antipodes,  photography  at  the,  519 
Antiseptic  substances,  290 
Apparatus  at  Pall  Mall,  644,  660 
Argentic  paper  and  opals,  enlarging,  by  A. 
Goodall,  711 

Arthur,  C.  E.,  Bicyc'es  and  tricycles  a means 
of  locomotion,  141 

Artificial  light,  by  J.  I!.  Rogers,  195 
Artistic  printing,  by  K.  Offord,  251 
Ashman,  5V.  M , American  photography  as  it 
was,  332 


Ashman,  W.  M .,  Influence  of  moisture  on  silver 
prints,  411 

, Retouching,  690 

Asser’sphoto  lithographic  method,  433 
“ At  Home,”  100,  131,  162 
Automatic  printing  apparatus,  771 
Autotype  or  Carbon  process,  by  J.  Pike,  7-18 

B 

Babcock,  J.  II.,  Machinery  and  photography, 

139 

Back,  a multiplex  camera,  370 
Bickgrouod,  hosv  to  raise  a ghost,  by  T.  Gulli- 
ver, 203 
, 241 

, Pictorial,  413 

, 610 

Bacteria  and  their  employment  in  photometry, 

433 

Iladoux,  A.,  Carbon  j rinting,  812 
Balloon  photography,  by  W.  Cobb,  2 3 
Banks,  K.,  Iljdrokinone  as  a developer,  427 
Barker,  J , Haloids  in  gelatine,  300 
Barnes,  C.  B.,  Cash  at  lime  of  sitting,  501 
- — — , Selling  and  buying  businesses,  559 

, Profits,  and  how  to  Increase  them,  762 

Barometer  and  the  sunshine,  by  Capt.  Abney, 
R.E.,  F.R.S.,  3.7 

Barraud,  Mr.  Herbert,  Oxford  Street,  ‘‘At 
Home,”  100 

Bath,  no  filtering,  by  11.  It.  Chapman,  396 
Baths,  mi.’flng  alum  and  hypo,  545 
Beer,  \V„  Mid  Cheshire  with  the  Liverpool 
Amateur  Photographic  Association,  364 
Benevolent  Society,  Ph'  tographers’,31, 78,111, 
239,671 

Bentley,  C.  W.,  Print  washirg,  775 
Berkeley,  II.  B , Platinotype  improvements, 
151,  166 

, Rational  development,  827 

Bicycles  and  triejeles  a means  of  locomotion, 
by  C.  E.  Arthur.  141 

Blue  process,  printing  by  the,  by  C.  Whitaker. 
285,  333,349,358 

Bolton  Photographic  Society,  271,  750,  799 
Bollzmann,  Prof,  Photography  of  sound  vibra- 
tions, 92 

Brass  werk,  securing  a dead-black  surface,  by 
W.  Forgan,  217 

Bridge,  F.  A.,  Lenses,  cameras,  and  stands,  294 
Brightman,  E.,  Transparencies  by  carbon  pro- 
cess, 326 

, Developing  gelatine  plates,  794 

Bristol  and  West  of  Eogland  Photographic 
Society,  112,  159,  23s,  335,  367,670 

International  Photographic  Exhibition,  380, 

801.820 

British  Association,  the,  533,  605 

Association  at  Southport,  612 

Bromide,  Iodile or,  8 >3,  813 
Brooks,  W.,  Sou1  h London  Photographic  So  iety 
Lantern  Meeting,  85 
Brussels  Photographic  Exhibition,  28 

, The  Exhibition,  513,  530,  539 

Burton,  M.  It.,  Photography  as  a help  to  paint- 
ing, 132 

, M.,  Mountains  in  photography,  357 

Burton's,  Mr.,  lecture,  603 


i 


Bury  Photographic  Society,  111,  399,  479,  639 
Businesses,  sellingand  buying,  by  0.  B.  Barnes, 

550 

“ By-the-bye 4,  20,  51,  66,  82,  115.  146,  178, 
194,  211,  227,244,  261,  338,  4”6,  723,  741,  756, 
787, 821 

C 

Cadett,  J , Photography  of  the  vocal  organs,  299 

, E.  E.,  Dry  plates  lersus  wet,  475 

Camera-back,  a multiplex,  370 

d rector  and  view-meter,  by  T.  II.  W. 

Knolles,  252 

vignettes  or  carte s russes,  354 
Carbonates  and  ammonias  with  pyrogallol  deve- 
lopers, by  L.  Sawyer,  316 
Carbon  pictures  for  crystoleuin  painting,  by  W. 
T.  Wilkinson,  450 

printing,  by  J.  C.  Annan,  35 

, 65 

jiint’ng,  by  A.  Badoux,  812 

process  on  Autotype,  by  G.  Pike,  718 

Carbutt,  G.,  Pyro  development,  20  i 
Caroline  Island— day  of  the  eclipse,  by  t).  It. 
Woods,  417 

Carrier  for  lantern  slides,  icaprovad,  by  J. 
M Ivean,  810 

Carles  russes  or  camera  vignettes,  351 
Cash  at  timeof  sitting,  by  C.  B.  Barnes,  531 
Catalogue,  the  Exhibition,  by  One  Who  Has 
not  seen  the  Exhibition,  616 
Celestial  photography,  by  R.  C.  Johnson, 
F.R.A.S,  215 

Cellulose,  investigations  on,  18 
Ceramic  photography,  by  A.  L.  Henderson,  811 
(.  liapmar,  U,  II  , No  filtering  for  printing  bath, 

376 

Chemicals,  photographic,  753 
Children,  photographing,  by  J.  II.  Ha'.vey,  231 
Chiltyicce,  the,  by  A.  J.  West, 678 
Chloride  and  bromide  of  silver,  145 

coliodio  printing,  515 

, by  £r.  E.  Liesegang,  772 

City  and  Guilds  of  London  Institution,  348 
Cliff,  Lighting  and  posing,  437 

, Portraits  for  colouring,  344 

Chemical  knowledge,  by  T.  C.  Strickland,  510 
Christmas  cards,  816 
Clouds  in  landscapes,  529 
Cobb,  W.,  Balloon  photography,  293 
— , About  London  with  a camera,  727 
CockiDg,  E.,  Gradation  in  gelatine  negatives, 
77 

, Trie  soft  palette,  245 

Coles,  W.,  Culttng  up  albumenized  paper,  778 
Colloids,  freeing  emulsion  from  soluble,  by 
A.  Uaddon,  108,  164 
Collodion,  by  J.  Kay,  172 

, Defended,  by  J.  F.  Coonley,  190 

and  gelatine  emulsion,  418 

Collodio-chioride printing,  515 

chlor.de printing,  by  Dr.  E.  Liesegang,  772 

Collotype  process,  the,  82 
Colour,  a non-actinic,  by  A.  P.  Smith,  F.C.S., 
F.I.C.,  S71 

Colours,  past  present,  and  future,  of  photo- 
graphing iu  natural,  by  Campbell  A.  A 
Swinton,  805 


I 


IV 


INDEX. 


Colours  and  electric  light,  626 

, Photography  in  relation  to,  by  J.  K. 

Sawyer,  349 

Coloured  photographs  on  glass,  611,  740 
Colouring  photographs,  588 

Portraits  for,  by  Cliff,  311 

Commercial  photography,  United  States,  by 
J.  P.  Suverkrop,  102 

success  in  photography,  by  J.  Oeddes,  150 

Concaving  photographs,  Rocher’s  patent, 525 
Constants,  unification  of,  529 
Conveniences,  photographic,  by  W.  Crooke,  809 
Coonley,  J.  Collodion  defended,  190 
Copper,  Typographic  engravings  on,  338 
Cornwall  Royal  Polytechnic  Society,  583,  603 

, Royal  Polytechnic  Society,  judges’  report, 

604 

Corona,  the,  11 

Copying  process,  Pellet’s  patent  direct,  by 
E.  Goold,  119 

Copyright,  photographic,  497 
,613 

Correspondence,  11,30,  45,60,  78,  63,  109,  126, 
142,  156,  172,  191,  206,222,  235,  253,  269,  285, 
301,  318,  334,  351,  368,  380,  397,  4U,  429,  461, 
478,  491,  510,  526,  543,  558,  573,  589,  606,  621, 
637,  652,  667,  684, 7«0,  716,  730,  749,  764,  781, 
812,  S31 

Coventry  and  Midland  Photographic  Society, 
415,  527,  671 

Cowan’s,  Mr.  Alex.,  Laboratory,  Porchestcr 
Terrace,  "At  Home,”  131 

, Qelatino-chloride  emulsion  in  the  camera, 

221 

, Frame  for  printing  lantern  slides,  773 

Cramer,  G.,  Alkaline  pyro  developer  in  one 
solution,  391 

Crayontype,  the,  a new  photo-grain  process,  by 
Ad.  T.  Eggis,  783 

Crowe,  R.,  Instantaneous  photography,  486 
Crooke,  W.,  A few  photographic  conveniences, 
809 

Crystoleum,  painting  carbon  pictures  for,  by 
XV.  T.  Wilkinson,  450 
C.  T.  C.,  Russian  correspondence,  339 
Cutting  up  a’.bumenizcd  paper,  by  W.  Coles, 
778 

Cyanotype  or  "Blue”  printing,  770 

D 

Daguerre,  540 

, Statue  ta,545 

Hanger,  a new,  229 
Dark-slides  and  multiplying  boxes,  12 
Davanne,  M.  A.,  Fixing  negatives  in  same 
solution,  412 

Davey,  J.,  Tripod  and  rod,  230 
Debenham,  W.  E , , Iodide  or  bromide,  813 
Dene-hole,  Photographing  a,  by  A.  Spiller,  443 
Dent  du  Geant,  the,  by  Professor  IV.  F.  Donkin, 
M.A.,  F.C.S.,  693 

Deptford  to  West  Moulsey,  by  C.  V.  Shadbolt, 

340 

Developing,  by  II.  Manners,  11 

rooms,  by  3.  Fry,  170 

Development,  706 
Development,  by  H.  Manfleld,  831 

, Rational,  by  Herbert  B.  Berkeley,  827 

Developer,  alkaline  hiemataxylin  as  a,  by  J.  V . 
Klsdcn,  B.So. , F.C.S.,  117 

, The  potash,  385 

, Ilydrokinone  i sa,  by  E.  Banks,  427 

, A ferrous-oxalate,  by  N.  Macbeth,  F S. A 

727 

Diaphragm,  use  of  the,  by  C.  Ehrmann,  444 
Dictionary  of  photography,  444,  400,  470,  491, 
523,  656,  572,583,  606,  620,630,  091,  764 
Distortion  in  portraiture,  too 


Dixon,  H.,  How  No.  1 was  taken,  266 
Donkin,  Professor  W.  F.,  The  Deut  du  Geant, 

693 

, Among  the  mountains,  699,  709 

Douceurs,  “By-the-Bye,”  65 
Drapery,  “ By-the-Bye,”  244 
Drv  plates,  by  S.  Tomkin,  38 

and  exposures,  by  A.  Elliott,  172 

Packing  of,  305 

versus  wet,  by  E.  E.  Cadett,  475 

Drying  plates  with  alcohol,  577 
Dundee  and  East  of  Scotland  Photographic 
Society,  95,  159, 238,  399,  575,  656,  719,  799 
Dust  in  the  eyes,  &c.,  by  A.  L.  Henderson,  444 
Dynamo-maciine,  its  use  in  the  Vienna 
National  Bank,  737 

E 

Eastman’s  apparatus  for  coating  plates  with 
emulsion,  664 

Eclipse  of  the  sun,  by  C.  R.  Woods,  101 

of  May  15th,  1882,  257 

at  Caroline  Island,  by  C.  R.  Woods,  417 

expedition,  the  English,  by  C.  R.  Woods, 

212,  268,  277,292,  421,  412 

expedition,  the  return  journey,  by  C.  11. 

Woods,  570 

Tarty,  the,  373,  485 

Eder,  Dr.  J.  M , Highly  sensitive  emulsions,  65 

, Gelatino  chloride  prints,  98 

, Experimental  investigations  in  gelatino- 

bromide,  243 

, Work  ougelatino-bromide,  387 

Edinburgh  Photographic  Society,  45,  111,  174, 
254,319,  383,655,  733,815 
Eggis,  Ad.  T.,  The  crayontype,  a new  photo- 
grain  process,  789 

Egypt,  experiences  in,  by  W.  II.  Rau,  190,  204 
Ehrmann,  C.,  Gelatine  versus  collodion,  263 

, Sulphur,  438 

, Use  of  the  diaphragm,  444 

Electric  light,  Jarman’s  method  of  printing  by, 
579 

and  colours,  626 

in  photography,  179,  675 

Electrotype  method  of  producing  photo-reliefs, 
Scamoni’s,  705 

Electrotyping,  production  of  heliographic 
blocks  by,  753 

Ellerbeck,  J.H.  T.,  Hanover  to  Treves,  68 
Elliott,  A.,  Dry-plates  and  exposure,  172 
Elsden,  J.  V.,  B.Sc.,  F.C.S.,  Alkaline  ha-mo- 
toxylin  as  a developer,  117 

.Emulsion  experiments,  534,554,  564 

Emulsion,  collodion  and  gelatine,  418 

, Gelatine  and  collodion  compared,  by 

H.  W.  Vogel,  426 

, Gelatine,  coating  plates  with,  17,  49 

, Eastman’s  apparatus  for  coating  plates 

with,  564 

, Experiment,  by  J.  V.  Elsden,  B.Sc.,  F.U.S, 

534,  554,  564 

, Freeing  from  soluble  colloids,  by  A. 

Hidden,  108,  164 

, Ziac  bromide  in,  by  Capt.  Abney,  R E., 

F.R.S.,  122 

, Precipitation,  2 

, process,  by  M.  Lockett,  284 

Spreading  on  glass  plate,  129 

washing,  by  O.  Pfenninger,  342 

Emulsions,  81 

, ammonia  in,  465 

, gelatine  in,  401 

, Gelatine,  effects  produced  by  varying 

amount  of  water,  497 
, Highly  sensitive,  by  Dr.  J.  M,  Eder,  65 
Enamelling  without  collodion  on  gelatine,  by 
R.  Ofiord,  211 


Engraver,  Photographic  image  on  wood-blocks, 

402 

Engraving,  769 

Enlarging  on  argentic  paper  and  opals,  by  A. 
Ooodall,  711 

Enlargements  on  opal  and  paper,  by  W. 
MacQhie,  807 

Eoiine  and  other  stained  plates,  by  F.  E.  Ives, 
747 

Exhibition,  Bristol  Photographic,  380,  801,  820 

, Photographic,  Brussels,  28 

— — , The  Brussels,  513,  550,  539 

, Glasgow  and  West  of  Scotland,  684,  747 

, The  Newcastle,  755 

, Newcastle-on-Tyne,  484 

, The  Pall  Mall,  593 

, Photographic  Society  of  Great  Britain,  461 

, The  Photographic,  611,  650,  659,  675,  692, 

707 

, Manchester  Society,  804 

Exhibitions,  Judging  pictures  at,  “By-the- 
Bye,”  29 

Explosive  Substances  Act,  1883,  274 
Exposer,  cheap  and  efficient,  by  T.  G.  Whaite, 

747 

Exposure,  113 

, by  C.  R.  Woods,  67 

Expression  phitographs,  by  W.  Peek,  67 

F 

Ending  of  photographic  prints,  161,  193 
Faded  photograph,  how  to  copy,  “ By-the-Bye,” 
787 

Fancy  card  mounts,  “ By-the-Bye,”  261 
Farmer,  E.  H.,  Lectures,  27,  42,  52,  70,  84,  107, 
116,  134,  147,  164,  188,  219,  229,  252,  284,  298 
Ecrro-prussiate  process,  Marion’s,  by  E.  Goold, 
118 

l'errous-oxalatc  developer,  a,  by  N.  Macbeth, 
K.8.A.,  727 

Field  club,  amateur,  223 

Field,  L.  11.  S.,  Solid  and  liquid  illuminating 
agents,  477,  492,  524,  542,  556,  619,  634 
Field  work,  actinomitcr  for,  by  A.  M.  Mac- 
gregor,  831 
Films,  stained,  466 
Fire-proof  photographs,  785 
Fisheries  Exhibition,  science  at  the,  595,  353 
Fixing  bath,  alum,  481 

Fixing  negatives  in  same  solution,  by  M.  A. 
Davanne,  412 

Fog,  green,  by  A.  Haddon,  7 
, 722 

, another  cause  of  red,  by  Otto  Pfenninger, 

813 

Foreign  journals,  some,  596 
Forgan,  W.,  Micro-photography,  310 

, securing  a dead  black  surface  on  brass 

work,  247 

Formulary,  the  Every-day,  128,  192,  208,  240, 
352,  416,  448.  464,  624 

French  Correspondence,  26,  83U1I8,  149,  171, 
214,  229,  251,  308,  321,  358,  374,  389,  422,  -150, 
509,  519,  679,  COS,  726,  759,822 
Frilling  in  gelatine  plates,  241 
Fritts,  C E. , Selenium  cell,  634 
Fry,  S.,  Developing  rooms,  170 

, hot  weather  development,  311 

Furniture,  studio,  “ By-the-Bye,”  723 
Future  of  photo-mechanical  printiog  methods, 
818 

G 

Oeddes,  J .,  Commercial  success>in  photography, 
150 

Oelatino-chloridc  prints,  by  Dr.  J.  M.  Eder,  98 
Gelatine  r.  collodion,  by  C.  Ehrmann,  263 
— r.  collodion,  371 


INDEX,  i 


v 


Gelatine  emulsion,  coating  plates  with,  17,49 

, 178 

compared  with  collodion  emulsion,  by 

H.  W.  Vogel,  42i 

, effects  pioduccd  by  varying  amount  of 

water,  497 

negatives,  gradation  in,  by  E Cocking,  77 

, washing  and  fixing,  114,  161 

, drying  box  for,  by  T.  C.  Whaite,  604 

, over-intensified  with  mercury,  by  C. 

Alfieri,  662 

plates,  development  of,  by  W.  B.  Allison, 

375 

, 609 

, Developing,  by  E.  Brightman,  794 

Gclatmo-bromide  paper,  Messrs.  Morgan  and 
Kidd’s  improvements,  50 

chloride  emulsion  in  the  camera,  by  A. 

Cowan,  221 

, Dr.  Eder’s  experimental  investigations, 

243 

, Eder’s  work  on,  387 

and  hot  weather,  4CG 

paper,  Hutinet's,  5G3 

printing  on,  623 

for  positive  pictures,  721,  738,  786 

Glass,  3,98,  226,  419,  757 

, coloured  photographs  on,  Oil 

, photographs  on,  740 

plate,  spreading  emulsion  on,  129 

plate  for  coating  with  emulsion,  f 74 

roof,  the,  405 

soaked  with  silver  for  the  gelatine  process, 

by  Captain  Abney,  R.E.,  F.R.S.,  155 

steppers,  fixed,  removal  of,  135 

Glasgow  and  West  of  Scotland  Photographic 
Society,  31,  160,  670,  701,  733,  751,  766,  815 
Glaze  photographs,  how  to,  by  E.  Wideman, 
716 

Goodall,  A.,  Enlarging  on  argentic  paper  and 
opals,  711 

Goold,  E.,  Marion’s  ferro-prussiatc  process,  118 

— Pell  et’s  patent  copying  process,  119 
Great  Britain  I’hotographie  Society,  30,  62,  10!), 

143,  174,  207,  22G,  270,  301,  335,  381,  415,  478, 
559,  622,  654,  686,  731,  766,  796,  813 
Green  fog,  by  A.  Haddon,  7 

, by  C.  R.  Woods,  43 

, by  J.  M.  Turnbull,  167 

, 673 

,922 

Greedy  of  fame,  “ By-thc-Byc,”  756 
Greenwich,  Royal  Observatory,  extract  from 
the  report,  364 

Gulliver,  T.,  Backgrounds,  how  to  raise  a 
ghost,  206  ' 

Guillotine  shutter,  a,  273 
Gun-cotton  and  pyroxylinc,  permanence  of,  by 
J.  SpiUer,  F.C.S.,  453 

H 

Uaakman,  II.  L.  T.,  Sulphocyanidc  of  am- 
monium a solvent  of  gelatine,  135 
XIaddon,  A.,  Green  fog, -7 

— Freeing  emulsion  from  soluble  colloids, 
108,  164 

Hamatoxylin,  alkaline,  as  a developer,  by 
J.  V.  Elsden,  B.8c.,  F.C.8.,  117 
llalf-a-dozen  portraits,  I.,  275,  II.,  307,111. 

322,  IV.,  338,  V.,  355,  VI.,  372 
Halifax  Photographic  Society,  4G,  175,  239, 
303,  398,  527,  656,  814 
Haloids  in  gelatine,  by  G.  Barker,  300 
Halvey,  J.  H.,  Photographing  children,  234 
Hands,  bichromate  stains,  2 
Hanover  to  Treves,  by  J.  H.  T.  EUcrbcok,  68 
Hardwich  on  the  lime-light,  by  T.  F. 
Hardwick,  M.  A.,  215 


Harvard,  Stellar'photograpby  at,  470 
Heliographic  Department,  Vienna  National 
Bank,  use  of  dynamo  machine  in,  737 

blocks,  production  of,  at  Vienna,  753 

Hcnd  rson’s,  Mr.  A.  L.,  Laboratory,  King 
William  Street,  City,  “ At  Home,’’  162 

Leucine  in  emulsion,  171 

Rcstrainer,  324 

Dust  in  the  eyes,  Ac.,  444 

Amount  of  gelatine  affecting  negative, 

485 

, Ceramic  photography,  811 

Hill,  A.  H , masking  out  the  sky  with  a 
candle,  142 

Hot  weather  development,  by  S.  F'ry,  311 

and  gclatino-bromidc,  466 

Hughes,  J.,  thirty  years’  progress,  779 
Hutinet’s  gclatino-bromidc  paper,  563 
Hydrokinone  as  a developer,  by  E.  Banks,  427 
Hyposulphite,  mounts  and  pa  pc-,  177 
testing  for,  481 

I 

Illuminating  agents,  solid  and  liquid,  by  I,. 

Field,  F.C.S.,  477,  492,  524,  542.  556,  619,  634 
Improved  carrier  for  lantern  slides,  by  J. 
M’Kean,  810 

Improvements  in  photo-block  printing,  802 
Ink  photographs,  by  T.  W.  Wilkinson,  149 
Instantaneous  photography,  by  R.  Crowe,  486 
, 573 

, by  E.  A.  Robinson,  586 

Inventors  and  discoverers,  “ By-the-Bye,”  227 
Iodide  or  bromide,  803,  813 
Iodized  collodion,  discolouration  of  intensity- 
giving  properties,  261 

Ireland  Photographic  Society,  47,  192,  255,  671. 
734,  815 

Ireland,  jun.,  D,,  Lantern  transparencies,  806 

Isochromatic  plates,  by  G.  Pirn,  730 

Ives’  photo-block  method,  498 

Ives,  F.  E.,Eo-inc  and  other  stained  plates,  747 

J 

Jarman’s  method  of  printing  by  electric  light, 
579 

Johnson,  J.  J.,  Photo-micrography,  108, 125 
Johnson,  R.  C.,  F.R.A  S.,  Celestial  photo- 
graphy, 215 

Journals,  some  foreign,  596 

K 

Kay,  J.,  Collodion,  172 
Kent,  a tour  in,  by  Photo-Cyclist,  379 
Kilauea,  a trip  to,  by  C.  R.  Woods,  489,  522 
Knollcs,  T.  n.  W.,  View-metre  and  camera- 
director,  252 

L 

Landscapes,  clouds  in,  529 
Landscape  photography  and  pictorial  compo-i- 
tion,  by  C.  Alfieri,  664 

Lantern  meeting,  South  London  Photographic 
Society,  by  W.  Brooks,  85 

meeting  of  the  South  London  Society,  812 

slides,  129,  291,  432,818 

slid®,  improved  carrier  for,  by  J. 

M’Kean,  810 
at  Pall  Mall,  646 

, frame  for  printing,  by  A.  Cowan,  773 

transparencies,  by  D.  Ireland,  Jun.,  806 

Laryngeal  photography,  258 
Laws,  I’.  M.,  Photo-lithography,  188 
Lectures,  by  E.  II.  Farmer,  27,  42,  52,  70,  81, 
107,  116,  134,  147,  164,  188,  219,  229,  262,  281, 
298 


Lecture,  Mr.  Burton’s,  663 

, Mr.  C.  R.  Woods’,  abstract  of,  789 

Lenses,  single,  for  instantaneous  work,  1 15 
, foreign,  210 

, cameras,  and  stands,  by  F.  A.  Bridge,  294 

, wide-angle,  306 

. inequality  of,  37  0 

for  in-tantaneous  work,  433 

, testing  photographic,  817 

, 578 

Lessons  in  optics, by  Capt.  Abney,  R.E..F  R S. 

395,  458,  473,  506,  538,  618,  682,  714,  826 
Letter  copying,  improvements,  29 
Letter-press  printer,  photographic  blocks  for, 
598 

Leucine  in  emulsion,  by  A.  L.  Henderson,  171 
Liescging,  Dr.  E.,  Collodio- chloride,  printing, 
772 

Light,  organic  substances  sensitive  to,  49 

, a new,  by  L.  Wameike,  70 

, reflected,  photo-spectroscopic  researches* 

98 

Lightning  prints  on  the  human  body,  423 
Lighting  and  posing,  by  Cliff',  437 
Lime  light,  Hardwich  on  the,  by  T.  F.  Hard- 
wicb,  M.A.,  215 

Liverpool  Photographic  Society,  79,  222,  287 
367,  430,  494,  639,  703,  782 
Liverpool  Amateur  Photographic  Association, 
Mid  Cheshire,  with  the,  by  W.  Beer,  364 
Lockyer’s  dissociation  theory,  by  Dr.  H.  W. 
Vogel,  41 

Lockett,  M.,  Emulsion  processes,  284 
London  and  Provincial  Photographic  Society, 
31,  46,  63,  78,  110,  127,  143,  158,  174,  207,  222, 
237,  255,  271,  287,  303,  318,  335,  351,  367,  384, 
593,  415,  429,  163,  479,  494,  511,  544,  500,  575, 
591,  607,  622,  638,  655,  069,  687,  701,  719,  733, 
750,  760,  781,  799,  813,  831 
Luxotype,  580 

M 

Macbeth,  N.,  ll.S.A.,  Parker’s  sky-shade,  710 

, A ferrous  oxalate  developer,  727 

Macgregor,  A.  M.,  Actinometer  for  field  work, 
831 

Machinery  and  photography,  by  G.  H.  Babcock 

139 

Maine  to  California,  by  J.  G.  Tunny,  663 
Manchester  Photographic  Society,  62,  127, 
175,  271,462,  702,  751 

Society,  Soiree,  Exhibition,  804 

— — , Past,  present,  and  future,  by  J.  Pollitt, 
747 

Manfield,  n.,  Bevelopment,  831 
Manners,  II.,  Developing,  11 
Map-makiDg  and  photography,  “ By-the-bye,” 
115 

Marey,  M.,  Practical  photographs  for  studying 
movement,  469 

Marey’s  photo-physiological  studio,  626 
Marion’s  ferro-prussiate  prccess,  by  E.  Goold, 
118 

Masking  out  the  sky  with  a candle,  by  A.  II. 
Hill,  142 

McGhie,  W.,  Enlargments  on  paper  and  opal, 
807 

Measurements  of  sun,  moon,  cloudy  sky,  Ac., 
182 

Medico-photography,  561 
Melhuisli’s  roller  slide,  455 
M'Kean,  J.,  Aq  improved  carrier  for  lantern 
slides,  810 

Micro  photography,  by  W.  Forgau,  310 
M d-Cbeshire  with  the  Liverpool  Amateur 
Photographic  Association,  by  A.  W.  Beer, 

364 

Milwaukee  Convention,  Dr.  Vogel’s  address, 
571 


VI 


IXDEX. 


Minerals,  photographic  action  in,  33 
Misnomers,  by  Capt.  Abney,  K.E.,  F.R.S.,  118 
Models,  “ By-the-bye,”  178 
Monochrome,  translation  of  colour  into,  by 
J.  R.  Sawyer,  431 

Morgan  and  Kidd,  Messrs.,  Improved  gelatino- 
bromide  paper,  50 

Morse,  E.  S.,  Sun’s  rays  for  warming  and  venti- 
lating, 630 

Mountains  in  photography,  by  M.  Burton,  357 

, Among  the,  by  Prof.  W.  F.  Donkin,  M.A., 

F.C.S.,  098.  709 
Mounting  photographs,  124 
— prints,  646 
, 738 

Movement,  partial  photographs  for  studying,  by 
M.  Marey,  46!) 

Multiplex  boxes  and  slides,  12 
Muybridge’s  new  investigation,  242 

N 

Negatives  affected  by  amount  of  gelatine,  by  A. 

L.  Henderson,  485 

, Transferring  printed  titles  to,  517 

Negatives  from  prints,  easy  method  of  pro- 
ducing, by  C.  E.  Abney,  806 
Newton,  II,  J.,  How  to  sensitize  peper,  220 
Newcast)c-on-Tyne  Photographic  Society,  47, 
62, 126,  191,  254,  318,  479,  622,  671,  733,  811 

exhibition,  the,  755 

No.  1,  How  it  was  taken,  by  II.  Dixon,  266 
Notes,  8,  24,  40,  56,  72,  87,  103,  119,  136,  152, 
1(78,  184,  199,  216,  231,  248,  2 3,  280,  295,  31 2, 
32$  343,  360,  375,  392,  408,  423,  410,  455,  471, 
487,  503,520,  536,  552,  567,  584,  600,  616,  632, 
647,  664,  680,  696,  712,  728,  743,  759,  776,  791, 
807,  824 

o 

Oflord,  R.,  Enamelling  without  collodion  or 
gelatine,  211 

, Artistic  printing,  231 

Oldham  Photographic  Society,  62 
Old  Hand,  The,  pencil  and  brush,  206 
Opal  and  paper,  enlargements  on,  by  17, 
McGhie,  807 

Optics,  lessons  in,  by  Capt.  Abney,  lt.E. , 
F.R.S.,  395,  458,  473,  506,53s,  618,682,  714, 
826 

Orient,  echoes  from  the,  byE.  L.  Wilson,  413, 
551 

Organic  compounds  in  the  sun,  698 
Over-exposed  silver  prints,  by  A.  Spiller,  133 
Over-intensifltd  gelatine  negatives,  by  C. 
Alfleri,  662 

Oxygen,  production  of,  707 

P 

Packing  dry  plater,  305 

. Tainting,  photography  as  a help,  by  M,  IC.  Bur- 
ton, 132 

Pall  Mall  Exhibition,  the,  593 

, Apparatus  at,  644, 660 

Palmer,  H.  J.,  M.  A , Peripatetic  photographer, 
628 

, A ramble  in  Shropshire,  699 

Taper,  how  to  sensitize,  by  H.  J.  Newton,  220 

, Ready  sensitized,  337 

exposed  to  light,  354 

and  porcelain,  colouring  photographs  on, 

588 

— , enlargements  on  opal  and,  by  W McGhie, 
807 

Paris  chit-chat,  “ lij-the-bye,”  211 
l’arker’s  sky-shade,  by  N.  Macbeth,  R S.A., 
710 

Parlour  portraiture,  by  Dr.  Tullocli,  80 


rarlial  photographs  for  studying  movement,  by 
M.  Marey,  469 
Patents  and  patenting,  33 
Patent  Intelligence,  10,  25,  41,  68,74,90,  106, 
121,  138,  154,  170,  186,  201,  218,  234,  250,  265, 
282,  297,  314,  330,  345,  362,  378, 394,  410,  426, 
442,  458,  473,  489,  505,  521,  538,  554,  569,  586, 
602,  618,  633,049,  665,  081,698,715,  730,  745, 
761,  777,  793,  809,  826 
1'atents,  photographic,  754 
Peek,  W.,  Expression  photographs,  67 
Pencil  and  brush,  by  The  Old  Hand,  206 
People  who  do  not  like  their  portraits,  “ By-thc- 
bye,”  194 

Peripatetic  photographer,  by  II.  J.  Palmer, 
M.A.,  628 

Permanent  silver  printing,  515 
Pfenninger,  O.,  Emulsion  washing,  342 

, Another  cause  of  red  fog,  813 

Phosphorescent  tablet,  a standard  light,  by  A. 
Spiller,  59 

I'hotography,  progress  of,  by  J.  T.  Taylor,  566 
Photo-block  prin’ing,  385,  802 

method,  Ives’,  498 

printing  from  nature,  739 

printing,  improvements  in,  S02 

cyclist,  A tour  in  Kent,  379 

lithography  and  photo-zincography,  by 

Major  Waterhouse,  B.Sc.,  53,  90,  122,  133, 
180,  196,  267, 278,  325,  365,  397,  407,  428, 445, 
502,  541,  518,587,  015,630,  725,  742,  773,  796, 
830 

, by  P.  M.  Laws,  188 

\ lithographic  method,  AsSCi’s,  433 

mechanical  printing.  193,  402 

micrography,  by  X-  C.  White,  55 

, by  C.  G,  Johnson,  108, 125 

physiological  studio,  Marey’s,  626 

reliefs,  Scamoni’s  electrotype  method,  706 

zincography  at  the  French  department  of 

Works,  551 

Photographic  conveniences,  by  W.  Crooke,  809 
rhoto-mechanical  printing  methods,  future  of, 
818 

Pictorial  background,  443 

composition  and  landscape  photography, 

by  C.  Alfleri,  661 

Pike,  J.,  Recovering  silver  from  waste,  317 

, Autotype  or  carbon  process,  748 

Tim,  G.,  Isochromatic  plates,  730 
Plate-carrier,  a new,  215 
Plates,  sensitiveness  of,  260 

, Effects  of  temperature  on,  273 

, glass,  coating,  with  emulsion,  674 

, Developing  gelatine,  by  E.  Brightman, 

794 

Platinotype  process,  improvements,  by  II.  B. 
Berkeley,  151, 166 

, by  W.  B.  Allison,  791 

Poisonous  chemicals,  ■■By-the-bye,”  4 
Pollitt,  J.,  Manchester  plrtographic  society— 
past,  present  and  future,  747 
Positive  pictures,  gelatino-broraidc  paper  for, 
721,  738 

Tostal  Photographic  Society,  336,  356,  398,  575, 
767 

Printing,  carbon,  by  J.  C.  Annan,  35 

, by  A.  Badoux,  812 

, 65 

by  (he blue  process,  by  C.  IVhitaker,  285 

, photo-block,  twenty-three  years  ago,  385 

apparatus,  automatic,  771 

, Improvements  in  photo-block,  802 

methods,  future  of  photo-mechanical,  818 

Prints,  gelatino-chloridc,  by  Dr.  J.  M.  Eder, 
93 

, Trimming  of,  210 

, Mounting,  516,  738 


Prints,  washing,  by  C.  W.  Bentley,  775 

, easy  method  of  producing  negatives 

from,  by  C.  E.  Abney,  606 
Profits,  and  how  to  increase  them,  by  O.  B. 
Bnroes,  762 

, how  to  increate  them,  812 

Prospects,  photographers, ’ **  By-the-bye,”  38s 
l’yrogallic  acid  varied  in  a developer,  by  G.  L. 
Addenbrooke,  156 

Pyrogallol  developers,  carbonates,  and  arnme- 
rias  with,  by  L.  Sawyer,  316 
development,  by  J.  Carbult,  205 

R 

Range  finder,  on  Ike  camera,  627 

Rational  development,  by  Herbert  B.  Berkeley, 

827 

Ran,  IV.  IP,  experiences  in  Egypt,  190,  201 
“ Ready-sensitized  paper,”  337 
Red  fog,.  Another  cause  of,  by  Otto  rfenninger, 
813 

Reflected  light,  photo-spectroscopic  researches, 
98  , 

Reflectors  and  screens,  404 
Registered  Photographs,  IS,  61,  17G,  221,  256, 
288,  320,  384,  41«,  448,  464,  528,  569.  576 
Registry,  the  Photogiajihio  News,  576,592,608, 
G24,  640,  656,  G72,  688,704,  720,  736,  752,  768, 
784,  800,  810,  832 

Rembrandt  effect,  gelatino-bromide  plates  for, 
321 

Re-sittings,  “ By-the-bye,”  406 
470 

Ri  strainer,  by  A.  L.  Henderson,  321 
Retouching,  by  W.  M.  Ashman,  690 
Reviews,  26,  59,  92,  140, 199,  374,  389,  470,  742, 
763,  772,827 

Revon,  Pierre,  slow  development,  762 
Rhine,  photography  on  the,  555 
Robinson,  J.  H.,  and  Dr.  Williamson , trans- 
parencies, 5 

Robinson,  J.  V.,  amateur  photography,  its 
present  and  future,  C61 

Robinson  E.  A.,  instantaneous  photography, 

588 

R ocher’s  patent  for  concaving  photographs, 

525 

Roger’s,  J.  B.,  artificial  light,  155 
Rowland  diffraction  grating,  by  Capt.  Ahnev, 
R.E.,  E R.S.,  21 

Russian  correspondence,  byC.  T.  C.,  330 

s 

failed  paper,  419 

Sawyer,  L.,  Sociability  io  photographic  societies, 
309 

, Carbonates  and  ammonias  of  pyrogallol 

developers,  316 

, J.  R.,  I'hotography  in  relation  to  colour, 

349 

, Translation  of  colour  into  monochrome, 

451 

Scamoni’s  Electrotype  method,  705 
Schlier,  M.,  Albumenized  paper,  573 
Screens  and  reflectors,  404 
Selenium  cell,  by  0 E.  Fritts,  634 
Senior,  Major,  A.,  B.Sc.,  Simple  and  effective 
washing,  758 

Sensitize  paper,  how  to,  liy  II.  T Newton,  220 
bacteria  and  tlieir  employment  in  photo- 
metry, 433 

■^ensitometric  Invcf tiga'ions,  phosphorescent 
plate,  49 

Sensitometry,  new  unit  of  light,  by  J B.  Spurge, 

453 

Sensitomctcrs,  Dr  Vogel  on.  567 

Shadbolt,  C.  V,,  Deptford  to  West  Moulscy,  34o 


7NDEX. 


vii 


Shadbolt’s,  Mr.,  Escape,  518 
Shearing  stress  on  sensitive  salts,  by  Captain 
Abney,  R.E.,  F.R.S.,452 
Sheffield  Photographic  Society,  111,  255,  319, 
447,  COT,  687,  751 
Ship’s  course,  photographing,  33 
Shropshire,  a ramble  in,  by  H.  J.  Palmer,  M A., 
699 

Shutter,  simple  drop,  209 

, a guillotine,  273 

by  Mr.  Cowan,  305 

Silver  prints,  over-exposed,  by  A.  Spiller,  133 
, influence  of  moisture  cn,  by  W.  M.  Ash- 
man, 411 

on  glass,  Ac.,  562 

printing,  “ Lessons,”  58,  76,  106,  138,  186, 

203,  218,  282,  311,  330,  346,  362 
, 403 

wastes,  how  to  save,  by  IV.  C.  Williams, 

222 

from  waste,  recovering,  by  J.  Pike,  317 

Sitting  for  a photograph,  547 
Sky,  masking  out  with  acandle,  by  A.  11.  Hill, 
142 

Sky-shade,  Parker’s,  by  N.  Macbeth,  R.8.A.,  710 
Slides  and  multiplying  boxes,  12 

, carrier  for,  by  J.  M'Kean,  810 

Slow  development,  by  Pierre  Revon,  762 
; mith,  A.  P.,  F.C.S.,  F.I.C.,  A non-actinic 
colour,  371 

Sociability  in  photographic  societies,  by 
L.  Sawyer,  309 

Societies,  Proceedings  of,  15,  30,  45,  62,  78,  94, 
109,126, 143,  157,  174,  191,  207,222,236,  254, 
270,  287,  301, 318,  335, 351,  367,  381, 398,  415, 
429,  417,462,  478,  494,511,  527,  544,559,  574, 
591,  607,  622,  638,  054,  669.  686,  701,  718,  731, 
750,  716,  781,  796,  813,831 
Soft  palatte,  the,  by  E.  Cocking,  215 
Sound  vibrations,  direct  photography  of,  by 
Professor  Boltzmaun,  92 
South  London  Photographic  Society,  31 , 94, 157, 
236/302,  382,  718,  797,  832 
Southport,  British  Association  at,  612 
Spectographic  view,  photography  from  a,  321 
Speech,  recorded  by  photography,  564 
Spiller,  A.,  phosphorescent  tablet  as  a standaul 
light,  59 

, Over-exposed  silver  prints,  133 

, Photographing  a dene-hole,  443 

Spiller,  J.,  F.C.S..  Gun-cotton  and  pyroxyline, 
permanency  of,  453 

Sparge,  J.  B.,  Sen3itometry,  new  unit  of  light, 
453 

Staffordshire,  North,  1’hotographic  Society,  159 
223,  287,  336,  383,  430, 479,  575,  670,  735,  799 
Stains  on  the  hands,  bichromate,  2 
Stained  sensitive  films,  466 

platis,  cosine  and  other,  by  F.  E.Xves,  717 

Stellar  photography  at  Harvard,  470 
Stereoscopic  transparencies  applied  to  por- 
traiture, 635 

portraits  by  a single  camera,  780 

Stewart,  A.  B.,  Transparencies,  165 
S iffeningor  animalising  vege  able  tissues  by 
J.  Wolff,  29 


Strickland,  S.  C.,  Chemical  knowledge,  510 
Studios,  about  some,  “ By-the-Bye,”  51 

, About  other,  ” By-theByc,”  82 

Talk  in  the  Studio,  15,31,47,63,  95,  112,  127, 
143,160,  175,  192,207,  223,  239,  256,  272,288, 
304,  319, 336,  351,  367,  384,  398,  415,  431,  447, 
463,  4.80,  495,  511,  527,  544,  560,  575,  591, 
607,  623,  639,  656,671,  688,  703,  719,  735,  751, 
707,  783,  799,816,  832 
Sulphur,  by  C.  Ehrmann,  438 
, 722 

Sulpho-cyanide  of  ammonia  a solvent  of  gela- 
tine, by  II.  L.  T.  Uaakman,  135 
Sun,  moon,  cloudy  sky,  &c„ measurement,  182 

, Organic  compound  in  the,  598 

Sunshine  and  the  barometer,  by  Capt.  Abney, 
R.E.,  F.R.S.,  317 

Suverkrop,  J.  P.,  Commercial  photography. 
United  States,  102 

Swinton,  Campbell  A.  A.  The  past,  present, 
and  future  of  photography  in  natural  colours, 

805,  823 

T 

T imkin,  S.,  Dry  plates,  38 

Taylor,  J.  T.,  Progress  of  photography,  566 

, Photographic  matters  in  America,  646 

Temperature,  effect  on  plates,  273 
Testing  photographic  lenses,  81 7 
Thirty  years’  progress,  by  J.  Hughes.  779 
Toning  gelatine  transparencies,  by  H.  T. 

Wood,  220 
Too  scientific,  821 

Tourist  photographer,  the,  435,  467,  483,  199, 
517,  432,  546 
Tracing  methods,  689 

Transparencies,  by  J.  II.  Robinson  and  Dr. 
■Williamson,  5 

. gelatine  plates  for,  by  A.  B.  Stewart,  165 

, toning  gelatine,  by  II.  T.  Wood,  220 

by  carbon  process,  by  E.  Brightinan,  326 

, lantern,  by  D.  Ireland,  jun.,  806 

, stereoscopic,  635 

Ttevcs  to  Ilanover,  by  J.  II.  T.  Eilerbock,  68 
Tricycling  and  photography,  657 
Tripod  and  rod,  by  J.  Davey,  230 
Typographic  blocks  from  ordinary  negatives, 
258 

blocks,  676 

engravings  on  copper,  338 

Tulloch,  Dr.,  Parlour  portraiture,  86 
Tunny,  J.  G.,  Maine  to  California,  666 
Turnbull,  J.  M.,  Green  fog,  167 
Turn-table,  studio,  275 

U 

Unification  of  constants,  529 
United  States,  commercial  photography,  by 
J.  P.  Suverkrop,  103 

V 

Velvet  roller,  how  to  make  and  use  a,  “ By-the- 
llye,”  741 

Vidal,  Leon,  26,  S3,  11.8,  149,  171,  214,  229,  251, 
308,  324,  338,  374,  3S9,  422,  450,  509,  519,  G7<»’ 
695,  726,  7c 9 


Vienna  National  Banl!,ueo  of  dynamo  machine 
in, 737 

View  metre  and  camera  director,  by  T.  II.  W. 

Knolles,  252 
View,  point  of,  594 
Vignetting  plates,  225 
Visible  image,  physical  condition,  97 
Vocal  organs,  photographing,  225 

, photography  of  the,  by  J.  Cadett,  299 

Vogel,  Dr.  If.  W.,  Lockyer’s  dissociation 
theory,  44 

, gclatino  and  collodion  emulsion  compared, 

426 

— , Scnsitometcrs,  567 
Vogel’s,  Dr.,  Address  at  the  Milwaukee  Con- 
vention,  571 

W 

Whaite,  T.  G.,  Cheap  and  efficient  exposer,  747 

, Drying  box  for  gelatine  negatives  004 

Warming  and  ventilating,  sun's  rays  for,  by 
E.  S.  Morse,  636 
Warnerke,  L.,  A new  light,  70 
Waterhouse,  Major,  II. Sc.,  Photo-lithography 
and  photo-zincography,  53,90,  122,  133,  180, 
196,  267,  278,  325,  365,  397,  407,  42S,  415,  502, 
541,  548,  587,015,  630,  725,  742,  773,  795,  830 
Washing,  simple  and  effective,  by  Major  A. 
Senior,  B.Sc.,  758 

Washing  prints,  by  C.  W.  Bentley,  775 
West,  A.  J.,  The  Chittywec,  678 
Whitaker,  C.,  Printing  of  the  blue  process,  285, 
333,  340,  358 

White,  T.  C.,  l'hoto-:i.icrography,  55 
Wideman,  E.,  How  to  glaze  pholographs,  716 
Wilkinson,  T.  W.,  Ink  photographs,  149 

.Carbon  pictures  for  crystoleum  painting, 

450 

Williamson,  Dr.,  andJ.  It.  RobinsoD,  Trans- 
parencies, 5 

Williams,  W,  C.,  How  to  save  silver  wastes,  222 
Wilson,  E.  L.,  Echoes  from  the  Orient,  413,  551 
Wolff,  J.,  Stiffening  or  animalizing  vegetable 
substances,  20 

Wood  block,  photographic  images  on,  402 
Wood,  II.  T.,  Toning  gelatine  transparencies, 
220 

Woods,  C.  R.,  Green  fog,  43 

, Exposer,  67 

, Eclipse  of  the  sun,  101 

, The  English  eclipse  expedition,  212,  2CS, 

277,  292,  421,  442 

, Eclipseat  Caroline  Island,  417 

, A trip  to  Kilauea,  489,  522 

, Return  journey  of  the  eclipse  expedition, 

570 

, lecture,  789 

Woodburytype  process,  the,  582,  723 

Y 

Year, the  new,  1 

Z 

Zinc  bromide  in  emulsion,  Ac.,  by  Capt.  Abney, 
R.E.,  F.R.S.,  122 


> 


ID 


THE 


HEWS 


CONTENTS. 


PiOR 


The  New  Year  1 

Bichromate  Stains  on  the  Hands  2 

Precipitation  Emulsion  Methods 2 

Glass 3 

By-the-Bye. — Poisonous  Chemicals 4 

Transparencies.  By  J.  Hedley  Robinson  and  Dr.  Williamson  6 

Green  Fog  a Silver  Compound.  By  A.  Haddon 7 

Notes 8 


PAOR 


Patent  Intelligence  10 

A Mechanical  Aid  in  Developing.  By  H.  Manners 11 

Photographing  the  Corona 11 

Dark  Slides  and  Multiplying  Boses  12 

Correspondence  14 

Proceedings  of  Sooieties 15 

Talk  in  the  Studio 15 

To  Correspondents Id 


THE  NEW  YEAR. 

Increased  activity  in  most  departments  of  photographic 
work  has  characterised  the  past  year ; the  number  of 
those  now  engaged  in  photographic  work  being  consider- 
ably larger  than  this  time  last  year,  and  we  may  fairly  ex- 
pect that  the  interest  manifested  in  photographic  matters 
will  show  no  signs  of  diminution  during  the  present  year. 

Not  only  nas  a large  amount  of  practical  experience  been 
gained  and  the  results  recorded,  but  several  notable  and 
definite  steps  in  advance  have  been  made,  one  of  the  most 
important  of  these  being  Mr.  Plener’s  method  of  isolating 
the  sensitive  constituent  of  emulsion  by  the  agency  of 
centrifugal  force.  This  method,  which  consists  of  enclosing 
emulsion  in  a kind  of  metal  top  so  as  to  drive  the  suspended 
particles  of  silver  compound  to  the  sides,  and  cause  them  to 
agglomerate  into  a hard  cheese-like  mass,  is  of  especial  value, 
as  affording  a means  of  getting  rid  of  all  traces  of  deterio- 
rated gelatine  ; there  being  but  little  doubt  that  green  fog 
and  many  other  evils  which  trouble  emulsion  workers  are 
solely  due  to  the  presence  of  partially  decomposed  colloid 
bodies.  Burton’s  method  of  isolating  the  sensitive  com- 
pound by  repeated  subsidence  and  washing  will  prove 
more  convenient  to  the  general  worker,  as  no  special  ap- 
pliances are  required  ; but  as  a manufacturing  operation, 
Plener’s  method  will  undoubtedly  be  much  preferable 
to  Burton’s,  and  we  may  picture  the  advantages  which 
would  result  from  the  introduction  into  commerce  of  the 
sensitive  compound  ; admixture  with  a warm  gelatinous 
solution  being  alone  necessary  to  make  the  emulsion. 

Quite  towards  the  close  of  the  year  a decided  step  in 
advance  was  made  as  regards  the  application  of  photography 
to  physiological  research,  some  admirable  photographs  of 
the  vocal  organs  having  resulted  from  the  joint  labours  of 
Mr.  Behnke,  Mr.  Lennox  Browne,  Mr.  Cadet,  and  Mr.  II. 
T.  Wood. 

The  exposures  were  made  by  the  light  of  two  powerful 
arc-electric  lights,  at  the  laboratory  of  the  Society  of  Arts  ; 
two  globes  filled  with  a ten  per  cent,  solution  of  alum 
serving  the  double  purpose  of  condensers  and  cooling 
cells.  Contrary  to  the  expectation  of  some  of  the  gentle- 
men who  were  present,  a very  even  illumination  was 
realised  by  the  use  of  thi3  simple  contrivance. 

Mr.  II.  T.  Wood  used  a rapid  symmetrical  with  full 
aperture,  and  found  that  an  exposure  of  one  second  served 
to  give  a picture  with  full  details  in  the  shaded  parts  ; 
while  Mr.  Cadett,  who  made  use  of  a portrait  lens,  proved 
a small  fraction  of  a second  to  be  sufficient  to  impress  the 
sensitive  plate  sufficiently  ; but  after  some  further  trials  he 
concluded  that  it  would  be  better  to  make  use  of  a slower 
lens,  in  order  to  secure  a more  considerable  depth  of  focus. 

The  experiments  on  the  occasion  referred  to  only  went 
so  far  as  to  produce  images  of  the  soft  palate  in  the  pro- 


duction of  different  tones,  a point  that  had  never  yet  been 
taken  up  by  any  vocal  physiologist.  Some  attempts  made 
a few  weeks  previously  by  the  aid  of  the  lime  light  had  not 
been  successful,  owing  to  the  fact  of  the  illumination  being 
insufficient  to  overcome  the  non-actinic  character  of  the 
mucous  membrane ; but  this  difficulty  was  quite  obviated 
when  the  electric  light  was  used. 

Some  of  the  pictures  obtained  show  the  soft  palate  as 
seen  in  the  production  of  the  F on  the  fourth  line  of  the 
bass  clef,  and  the  configuration  of  the  parts  was  illustrated 
with  complete  sharpness  and  detail,  every  point  of  light 
from  moisture  or  follicular  prominence  clearly  coming  out. 

The  work  of  last  Friday  is  exceedingly  interesting, 
because  it  proves  that  there  will  not  be  the  least  loss  of 
sharpness  as  a consequence  of  movement  resulting  from 
the  act  of  singing  ; we  refer,  of  course,  to  muscular  move- 
ment of  the  soft  palate,  and  not  to  vibratory  movement  of 
the  vocal  organs. 

When  these  series  are  completed  it  is  the  intention  of 
the  above-mentioned  gentlemen  to  extend  their  experi- 
ments to  the  delineation  of  the  vocal  ligaments  as  reflected 
in  the  laryngeal  mirror  during  tone-production. 

Berkeley’s  proposal  to  add  sulphite  of  soda  to  the  deve- 
loper has  been  much  discussed  during  the  past  year,  and 
although  the  main  advantages  of  the  system  are  generally 
recognized,  there  are  many  who  fail  to  obtain  uniformly 
satisfactory  results  with  the  sulphite  developer  ; but  it  is 
extremely  probable  that  nothing  more  than  a little  further 
knowledge  as  to  the  conditions  under  which  disturbing  in- 
fluences step  in  is  required  in  order  to  make  the  advantages 
of  the  sulphite  method  fully  recognised. 

The  increased  interest  manifested  as  regards  photo- 
graphic work  generally  has  been  indicated  by  the  establish- 
ment of  several  new  photographic  societies,  and  by  the 
organisation  of  an  exhibition  of  photographic  appliances  in 
connection  with  the  Society  of  Arts  ; while  increased  in- 
terest has  been  taken  in  the  doings  of  the  old  photographic 
societies. 

Some  notable  advance  has  been  made  in  photo-mecha- 
nical printing  processes,  the  stannotype  process  having 
been  considerably  improved,  while  Ives’  photo-block 
method  and  Sprague’s  photo-ink  process  have  been  placed 
on  a commercial  basis,  and  have  served  to  illustrate  the 
Photographic  News  and  other  publications. 

Details  as  to  the  numerous  improvements  in  the  practical 
carrying  out  of  existing  methods  will  be  found  fully 
treated  of  in  the  Year-Book. 

During  the  present  year  we  may  look  for  numerous  new 
applications  of  photography,  resulting  from  the  extreme 
sensitiveness  of  gelatino-bromide  emulsion  ; and  should 
mechanical  or  other  printing  methods  be  notably  improved 
during  the  year,  we  may  even  see  daily  newspapers  illus- 
trated by  photographic  means. 


i 


2 


THE  PHOTOGRAPHIC  NEWS. 


|Januaby  5,  1883. 


We  have  frequently  referred  to  the  circumstance  that 
gelatino-bromide  or  gelatino-chloride  paper  is  likely  to 
attain  a position  of  some  commercial  importance,  more 
especially  when  it  may  be  necessary  to  produce  a con- 
siderable number  of  prints  in  a short  time ; but  very  few 
photographers  have  yet  learned  to  appreciate  the  power 
placed  in  their  hands  by  the  introduction  of  paper  coated 
with  gelatine  emulsion. 

Some  of  our  readers  will  remember  that  iu  1860  (vol.  iv. 
p.  270)  we  described  a rapid  photographic  printing  machine, 
which  was  invented  by  Mr.  Chas.  Fontayne,  of  Cincinnati. 
A strip  of  paper  is  drawn  under  the  negative,  pressed  into 
close  contact  with  it,  and  a measured  exposure  is  given  ; 
solar  light  concentrated  by  a condenser  being  used.  The 
series  of  operations  is  repeated,  so  that  a number  of  im- 
pressions may  be  taken  on  the  same  strip  of  paper,  it  being 
merely  necessary  to  turn  a handle  until  the  strip  or  roll  of 
paper  is  exhausted.  Although  Fontayne  used  the  most 
sensitive  calotype  paper  obtainable  when  his  machine  was 
constructed,  he  did  not  find  it  possible  to  obtain  more  than 
200  impressions  per  minute  from  one  negative.  This 
corresponds  with  a rate  of  12,000  per  hour,  and  by  passing 
the  exposed  band  directly  into  the  developing,  fixing,  and 
washing  troughs,  the  subsequent  operations  might  be  made 
to  keep  pace  with  the  exposures. 

By  reproducing  the  negative  a sufficient  number  of 
times  the  turn-out  of  a machine  constructed  on  the  liues 
laid  down  by  Fontayne  might  be  increased  indefinitely  ; 
and  as  a simple  gas  flame  would  serve  in  the  case  of 
bromide  paper,  we  may  before  long  hear  of  the  steam 
photographic  machines  working  all  night,  side  by  side  with 
the  steam  typographic  machines,  for  newspaper  work. 

Fontayne  proposed  to  work  his  machine  by  steam,  and 
the  description  given  in  the  News  twenty- three  years  ago 
is  so  detailed  and  circumstantial  that  there  seem  to  be 
very  few  novel  points  which  the  modern  patent-hunter 
can  add  and  lay  claim  to.  We  hope  to  hear  of  the  actual 
use  of  Fontayne’s  machine  during  the  present  year. 

Ordinary  photographic  papers — such  as  Saxe  or  Rives — 
are,  we  believe,  manufactured  in  widths  of  fifty -four 
inches,  so  that  many  negatives  of  ordinary  dimensions 
might  be  printed  from  simultaneously. 


BICHROMATE  STAINS  ON  THE  HANDS. 

The  action  of  chromic  acid  on  albuminous  and  gelatinous 
substances  has  its  inconveniences.  Workers  with  solutions 
of  bichromate  of  potash  find  that  the  skin  of  their  hands, 
after  immersion  in  thesolution  for  a moderate  time,  followed 
by  drying  and  some  exposure  to  light,  has  received  the 
familiar  reddish-brown  stain,  which  is  not  thoroughly  re- 
moved by  soaping.  With  care,  no  doubt,  these  stains 
may  be  kept  within  moderate  bounds  ; but  those  who  have 
continually  to  employ  bichromate  solutions  cannot  always 
be  so  circumspect  as  they  desire. 

We  would  recommend  those  who  get  stained  fingers,  and 
may  wish  to  join  the  social  circle  without  such  an  afficlie  of 
their  occupation,  to  pour  a little  solution  of  sulphurous 
acid  on  to  their  hands.  On  rubbing  the  fingers  they  will 
find  the  stains  rapidly  bleach.  Subsequent  washing  with 
rain  or  distilled  water  would  be  preferable  ; but  ordinary 
water  could  hardly  make  a perceptible  difference. 

Solution  of  sulphurousacid  is  purchaseable  at  a low  price, 
and  could,  for  this  purpose,  be  made  at  a cheaper  rate  than 
usually  quoted  ; but  asthe  photographer  has  always  a solu- 
tion of  hyposulphite  at  hand,  he  need  not  even  go  to  the 
expense  of  doing  this.  If  he  will  only  take  a warm,  strong 
solution  of  hyposulphite,  and  add  thereto  a small  quantity 
of  ordinary  sulphuric  acid,  the  same  bleaching  action,  as 
with  sulphurous  acid,  will  take  place. 

Now  that  bichromate  solution  is  so  much  used  in  the 
photographic  operations  connected  with  photo-etching  and 
photo-lithography,  to  say  nothing  of  carbon  printing,  the 
removal  of  stains  has  become  a matter  of  some  importance, 


and  the  means  we  recommend  is  not  only  one  of  the 
simplest  and  most  efficient  that  can  be  named,  but  per- 
fectly free  from  any  injurious  influence. 


PRECIPITATION  EMULSION  METHODS. 
There  has  been  an  undoubted  tendency  lately  to  bring 
forward  methods  of  manufacturing  emulsion  which  have 
for  their  aims  the  production  in  a form  ready  for  mixture 
with  gelatine  — or  possibly  other  vehicles— of  the  sensitive 
silver  compound.  It  is  as  yet  not  decided  whether  this 
same  compound  is  pure  bromide  of  silver  in  a certain 
molecular  condition,  containing  a small  quantity  of 
foreign  matter  merely  as  an  impurity,  or  whether  it  is  a 
definite  compound  of  bromide  of  silver  with  gelatine  or 
one  of  the  constituents  of  gelatine. 

We  have  recently  had  sent  us,  by  Mr.  A.  Donald,  of 
Dundee,  a letter  on  the  subject  of  a precipitation  method, 
which  is  worth  quoting. 

“ Coating  the  plates  and  washing  the  emulsion  are  the 
only  manipulations  in  connection  there  with  emulsion 
plate  washing,  which  1 cordially  hate.  The  latter  I have 
overcome  for  a considerable  time  now,  and  I beg  to  send 
you  a phial  containing  as  much  S.B.  as  will  make  one 
ounce  of  emulsion,  to  which  you  will,  perhaps,  give  a trial." 

The  phial  we  found  to  contain  a milky-looking  fluid, 
evidently  water,  and  apparently  a little  alcohol,  and 
silver  bromide,  the  latter  in  suspension  on  account  of  the 
shaking  which  the  whole  had  undergone  in  transmission. 
We  mixed  this  with  twenty-grains  of  gelatine  as  directed, 
made  up  to  an  ounce  with  water,  and  coated  plates  with 
the  resulting  emulsion,  which  was  of  a good  colour,  showed 
the  bromide  to  be  in  a fine  state  of  division,  and  gave  a 
dense  film.  The  plates  were  dried  and  tested  under  the 
8ensitometer.  They  showed  on  development  the  figure  20, 
with  a fine  gradation  of  density  ; that  is  to  say,  the  emul- 
sion is  exceedingly  rapid,  and  is  free  from  the  defects 
usually  manifest  in  very  rapid  emulsions  prepared  by  any 
of  the  ordinary  methods. 

From  what  we  hear  of  various  precipitation  methods, 
and  from  our  own  experience,  we  cannot  help  believing 
that  there  lies  in  them  higher  capabilities  than  iu  other 
methods.  Looking  at  the  matter  from  a purely  theoretical 
point  of  view,  it  appears  natural  that  it  should  be  so. 
A gelatine  emulsion  consists  essentially  of  a mixture  of 
gelatine  and  bromide  of  silver,  with  sometimes  a small 
addition  of  iodide  or  chloride  of  silver,  or  both,  the  haloids 
being  kept  in  suspension  in  a fine  state  of  division  in  the 
moist  gelatine.  Now  to  almost  anyone  it  would  at  first 
sight  appear  the  most  natural  course  to  prepare  the  silver 
haloids  in  such  a form  that  they  might  be  immediately 
mixed  with  the  gelatine.  Of  course  such  a purely 
theoretical  point  as  this  would  be  unworthy  of  consider- 
ation if  it  were  not  accompanied  by  some  solid  practical 
advantage. 

It  would  appear,  however,  that  there  is  some  practical 
advantage  in  the  precipitation  methods,  and  if  there  is,  it 
is  worth  investigating.  Our  readers  must  have  read  with 
great  interest  Dr.  Eder’s  communications  in  a recent  issue 
on  the  subject  of  Flener’s  method.  In  this  paper  there  is 
stated  with  admirable  clearness  what  we  believe  to  be  the 
cause  of  any  advantage  which  may  be  found  in  precipita- 
tion methods.  We  quote  the  paragraphs  which  bear 
directly  on  the  subject. 

“ The  bromide  of  silver  is  separated  from  gelatine 
which  has  been  modified  by  heating  or  digestion  with 
ammonia,  and  which  isofteu  a source  of  fog,  flatness,  and 
frilling;  this  silver  salt  may  then  be  added  to  fresh  gela- 
tine and  emulsified,  thus  improving  the  quality  of  the 
emulsion. 

“The  ripening  of  an  emulsion  can  also  be  pushed  to  the 
utmost  without  fearing  any  decomposition  of  the  gelatine, 
which  frequently  brings  fog,  &c." 

It  is  well  known  by  emulsion  workers  that,  whatever 


January  5,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


3 


process  be  used,  if  the  very  highest  sensitiveness  be 
desired,  it  becomes  a nice  question  whether  the  desired  end 
be  gained,  or,  on  the  other  hand,  fog  be  produced.  Now 
let  us  examine  how  this  condition  of  fog  is  brought  about. 
We  know  that,  whatever  means  we  use  to  gain  sensitive- 
ness, the  increase  in  sensitiveness  is  accompanied  by  an 
increase  in  the  size  of  the  particles  of  bromide  of  silver  ; 
and  it  would  appear  that  when  these  particles  exceed  a 
certain  size,  then  flat  images  are  the  result  ; when  they  get 
somewhat  larger  still,  fog  is  the  result.  Here  we  have  one 
cause  of  fog,  which  results,  apparently,  entirely  from  a 
modification  of  the  silver  haloid. 

Another  fact,  equally  well  known,  is,  that  any  of  the 
ordinary  methods  used  to  increase  sensitiveness  tend  to  the 
decomposition  of  the  gelatine,  and  here,  a3  Dr.  Eder  points 
out,  is  a cause  of  fog  entirely  independent  of  the  silver  salt. 
To  eliminate  this  source  of  fog  must  of  necessity  be  a 
benefit,  as  it  leaves  us  only  one  cause  of  the  evil  to  fight 
against ; but,  when  we  consider  that  the  modification 
caused  by  the  decomposition  of  the  gelatine  is  most 
uncertain,  and  varies  with  small  circumstances  over  which 
we  have  no  control,  whereas  the  modification  of  the  bro- 
mide is  tolerably  uniform  if  the  major  conditions  be  kept 
uniform,  we  shall  see  that,  in  eliminating  the  former  cause 
of  fog,  we  gain  much  more  than  half  the  battle. 

If  the  same  method  be  used,  and  the  proportions  of  the 
different  materials  be  kept  the  same,  it  will  be  found  that 
the  increase  of  the  size  of  the  particles  of  the  silver  haloid 
reaches  the  same  point  in  a given  period  time  after  time, 
and  this  even  if  the  nature  of  the  gelatine  used  vary 
Blightly— say  not  more  than  is  usual  in  different  samples 
of  gelatine  of  the  same  make.  It  is  far  otherwise  with  the 
decomposition  of  the  gelatine.  This  varies  with  circum- 
stances so  small  that  we  cannot  control  them.  The 
slightest  variation  in  the  gelatine  is  enough  to  produce  a 
great  difference  in  the  times  taken  for  decomposition  to 
commence,  and  even  the  weather  exerts  a great  influence. 

We  may  put  the  whole  affair  in  a nutshell  as  follows. 

There  are  two  causes  of  fog  iu  ordinary  gelatine  emul- 
sion methods ; one  is  due  to  modification  of  the  silver 
haloid,  the  other  to  modification  of  the  gelatine.  The  first 
is  under  control,  the  latter  is  not.  if  we  eliminate  the 
latter  we  overcome  the  greatest  factor  of  uncertainty  in 
gelatine  work,  and  may  concentrate  our  energies  on  the 
bromide  of  silver  alone,  pushing  our  sensitizing  processes 
as  far  as  we  like,  totally  regardless  of  what  may  be  the  re- 
sult on  the  gelatine. 

That  this  is  not  merely  a theoretical  consideration,  but 
is  borne  out  by  practice,  there  is  considerable  evidence  to 
show.  We  hear  of  applications  of  heat  or  of  ammonia  for 
lengths  of  time  which  recently  would  have  been  con- 
sidered absurd,  and  yet  the  results  appear  t^be  satisfac- 
tory. In  the  experiments  on  a precipitation  process  which 
we  recently  detailed,  we  gained  a sensitiveness  which  was 
much  above  what  we  have  usually  been  able  to  gain.  We 
have,  as  we  said,  just  received  an  example  of  precipitated 
bromide  of  silver  which,  on  mixing  with  gelatine,  gave  a 
very  rapid  plate. 

We  gather  from  Dr.  Eder’s  paper  that  by  the  Plener 
process  a rapidity  is  gained,  apparently  with  certainty, 
which  even  considerably  exceeds  what  Mr.  Donald  or  our- 
selves have  reached,  and  in  all  these  cases  the  usual  ac- 
companiments of  excessive  sensitiveness — fogs  of  all 
colours  and  thin  images — are  conspicuous  by  their  absence. 

There  is  yet  another  feature  of  precipitation  processes 
which  is  worthy  of  consideration,  and  which  is  strongly 
brought  out  in  Dr.  Eder’s  paper.  We  refer  to  the  possi- 
bility of  separating  the  bromide  of  silver  in  emulsions 
with  various  degrees  of  fineness.  It  is  probable  that  iu 
every  emulsion  there  is  a certain  quantity  of  bromide  of 
silver  of  every  degree  of  fineness,  from  the  finest  possible, 
to  that  which  is  so  coarse  as  to  be  on  the  margin  of  fog. 
Indeed  this  is  proved  by  the  fact  cited  by  Mr.  Burton 
at  the  last  Parent  Society’s  meeting.  He  pointed  out  that, 


even  after  an  emulsion  is  boiled  for  hours,  and  treated  for 
days  with  ammonia,  and  after  the  silver  bromide  has  for 
the  most  part  subsided,  there  is  a certain  small  quantity 
kept  in  suspension  in  the  water,  and  that  this  is  red  by 
transmitted  light.  We  recently  expressed  an  opinion  that 
in  every  emulsion  there  is  probably  a certain  quantity  of 
the  silver  bromide  which  might  with  advantage  be  sepa- 
rated from  an  emulsion,  and  thrown  amongst  residues. 
Dr.  Eder’s  remarks  confirm  this  idea.  He  shows  that,  in 
an  emulsion  which  approached  the  maximum  of  sensi- 
tiveness, the  coarse-grained  bromide  separated  and  gave 
fog,  while  the  fine-grained  bromide  was  perfectly  free  from 
this  defect,  and  was  very  sensitive.  It  is  quite  evident 
that  the  coarse-grained  bromide  would  be  better  in  the 
residue  tub  than  in  the  emulsion.  Even  if,  when  mixed 
with  the  fine-graiued  bromide  in  an  emulsion,  the  effect 
is  not  actual  fog,  an  unnecessarily  weak  developer  must 
be  used,  and  this  is  equivalent  to  a reduction  of  sensi- 
tiveness. 

Plener’s  process  is  undoubtedly  the  one  by  which  the 
separation  may  most  expeditiously  be  performed  ; and, 
indeed,  the  fact  that  the  same  result  may  be  brought  about 
in  the  ordinary  precipitation  processes  did  not  at  first 
strike  us  ; but  we  now  perceive  that  there  need  be  no 
difficulty  in  allowing  a certain  time  to  elapse  for  the 
precipitation  of  the  coarser  bromide,  when  the  supernatant 
fluid  containing  the  finer  bromide  may  be  poured  into 
another  vessel,  there  to  precipitate  the  latter. 


GLASS. 

Third  Article. 

In  our  first  and  second  articles  we  have  shown  that  sand 
and  alkali  (which  are  the  chief  ingredients  in  glass)  should 
be  very  pure  in  order  to  produce  a colourless  glass,  termed 
metal.  As  a matter  of  fact,  sand  and  alkali,  if  thrown  into 
a crucible  and  submitted  to  sufficient  heat,  will  melt  or  fuse 
together,  such  action  being  termed  vitrification,  and  the 
result  is  said  to  be  a silicate.  The  temperature  at  which 
fusion  takes  place  varies  very  widely,  according  to  the 
composition  of  the  mixture  ; and  sand  and  an  alkali  alone 
require  a very  high  temperature  to  effect  their  vitrification. 
If,  however,  we  add  chalk,  limestone,  or  oxides  of 
certain  metals,  the  fusing  point  is  much  lowered  ; there- 
fore glass,  as  made  at  the  present  day,  contains  various 
silicates,  and  may  consist  of  silicates  of  soda,  potash, 
calcium,  aluminium,  lead,  &c.,  such  mixtures  having  been 
determined  by  repeated  trials  resulting  in  successful 
productions. 

Glass  made  from  sand  and  an  alkali  alone  is  extremely 
durable — very  hard  ; but  requires  such  a heat,  with  corres- 
ponding consumption  of  fuel,  that  the  discovery  that  the 
formation  of  a mixture  of  silicates  not  only  produces  a 
better  glass,  but  was  more  easily  worked,  and  with  the 
expenditure  of  less  fuel,  may  be  said  to  have  been  the  real 
starting-point  of  glass  manufacture  as  carried  on  now. 

As  already  pointed  out,  the  elimination  of  the  green 
colour  due  to  iron  and  other  impurities  in  the  sand  and 
alkali  is  of  the  utmost  importance,  but  commercially  is 
impossible,  so  that  recourse  haa  to  be  sought  in  means  to 
counteract  or  neutralize  the  evil  effects  of  the  presence  of 
iron  or  other  impurities  in  the  component  of  glass-making 
materials.  Such  counteracters  or  neutralizers  are  found 
in  manganese  and  arsenic.  When  dioxide  of  manganese 
becomes  an  ingredient  in  the  batch  the  action  of  the  heat 
is  to  convert  the  ferrous  oxide  into  ferric  oxide,  and  to 
change  the  colour  of  the  metal  from  a dirty  green  into  a 
very  pale  lemon— almost  invisible.  The  like  effect  occurs 
by  the  use  of  arsenic  (arsenic  trioxide),  only  that  it  is 
brought  about  iu  another  way — viz  , that  when  the  batch 
is  heated  the  metallic  arsenic  is  driven  off  and  goes  up  the 
chimney,  leaving  its  triple  dose  of  oxygen  to  combine 
with  the  iron  present  in  the  other  ingredients  to  form  ferris 
oxide,  which,  as  just  stated,  is  comparativley  eoletwless, 


4 


THE  PHOTOGRAPHIC  NEWS. 


(_ J anu.vr y 5,  1883. 


For  many  years  manganese  alone  was  the  doctoring 
substance  employed  in  decolourizing  glass  made  with  iron- 
contaminated  sands,  if  we  except  the  method  of  employing 
a large  excess  of  alkali.  Glass  made  with  a large  excess 
of  alkali,  although  fairly  pure  in  colour,  has  the  fatal 
demerit  of  being  very  soft  (approaching  soluble  glass, 
indeed),  but,  still  worse,  that  it  sweats  (to  use  a vulgar  but 
significant  term)  to  such  an  extent  that  it  is  by  no  means 
an  uncommon  occurrence  to  see  the  surface  of  such  glass 
bedewed  as  though  by  steam,  and  to  see  tears  running 
down  it ; and  if  the  finger  be  touched  on  one  of  those  tears 
and  then  applied  to  the  tongue,  the  unmistakable  alkaline 
flavour  will  soon  indicate  the  nature  of  the  glass  whence 
they  exude.  Manganese  as  a corrector  or  doctorer  of 
colour  possesses,  unfortunately,  the  property  of  turning 
the  glass  made  by  its  admixture  into  a pink  or  puce  colour 
when  the  glass  is  exposed  to  sunlight  or  broad  daylight ; 
indeed,  heat  alone  will  develop  the  pink  tinge  when  an 
excess  of  manganese  has  been  used  in  the  formation  of  the 
glass.  If  anyone  takes  a stroll  up  Portland  Place  they 
will  there  see  some  very  fine  houses,  the  windows  of 
which  appear  to  be  glazed  with  a puce  or  purple  tinted 
glass.  If  a lady  is  our  companion  she  will  probably  say, 
“ What  a beautiful  colour  those  windows  are ! ” She  little 
knows  that  when  the  houses  were  built  the  glass  in  those 
windows  was  as  bright  as  crystal,  and  that  years  of  sun- 
light have  actually  turned  the  glass  pink.  But  so  it  is ; 
doubtless  those  windows  were  glazed  with  plate  some 
fifty  or  more  years  ago,  when  the  precise  action  of 
manganese  was  not  quite  so  well  understood  as  now. 

Arsenic  has  no  such  action — at  least,  not  so  far  as  our  ex- 
perience warrants  us  in  saying  so — for  arsenic  is  a more 
recent  introduction  in  glass-making. 

Red-lead  has  a similar  decolourizing  action  on  glass  ; but 
it  is  inadmissible  in  what  is  known  as  crown  glass.  Crown 
glass  metal  i3  that  which  is  known  as  separate  and  distinct 
from  flint  glass.  The  term  crown  glass  is  retained  because 
crown  glass  was  the  only  usual  form  in  which  window  glass 
was  made  ; but  seeing  that  crown  glass  is  almost  an  obsolete 
article,  the  term  window  glass  metal  would  be  much  more 
appropriate.  It  might  be  difficult  to  upset  the  existing 
terms  of  crown  glass  and  flint  glass  ; but  that  they  are 
decidedly  inconsistent  will  at  once  be  seen  when  it  is 
pointed  out  that  the  term  crown  glass  arose  from  the  fact 
of  the  glass  being  blown  in  the  form  of  a crown,  or  table,  as 
it  is  sometimes  termed,  a name  entirely  derived  from  the 
shape  in  which  the  glass  was  formed  ; whilst  flint  glass 
takes  its  name  truly  and  correctly  from  its  composition,  as 
flints  were  actually  employed  in  its  production.  Yet  we 
maintain  that  the  terms  are  most  misleading,  and  we  should 
much  prefer  to  see  such  terms  as  window  glass,  lead  glass, 
bottle  glass,  which  would  carry  their  meaning  to  those 
outside  the  limit  of  the  technically  initiated. 

Manganese  in  excess  in  the  mixing  of  any  glass  produces 
a pink  colour  at  once  when  the  glass  is  blown,  although  a 
very  high  temperature  will  burn  it  out,  or  the  colour  will 
sink  and  the  molten  mass  will  be  paler  on  the  top  than  when 
the  bottom  of  the  pots  are  blown  from.  Seeing  that  many 
manganese  ores  contain  large  quantities  of  iron,  it  will 
easily  be  understood  that  a glass  manufacturer  may  keep 
on  increasing  the  dose  of  mangauese  until  he  produces 
metal  of  such  a diugy,  dirty  colour,  that  nothing  will  bring 
it  clear,  not  even  a big  dose  of  arsenic.  Arsenic  i3  likely 
to  be  much  more  free  from  iron,  indeed  may  be  quite  free 
from  it ; hence  it  is  much  superior  to  manganese,  but  re- 
quires judicious  care  not  to  overdo  it  in  the  mixture. 

Red-lead,  except  in  lead  glass  (erroneously  called  flint 
glass),  is  inadmissible,  because,  although  it  corrects  colour 
and  renders  the  metal  brilliant,  it  at  the  same  time  renders 
the  glass  so  soft  as  to  be  easily  scratched  sometimes  even 
with  the  finger-nail ; and,  moreover,  the  metal  will  not 
blow  with  the  same  amount  of  ductility,  and  it  cannot  be 
vitrified  in  open  pots,  for  the  simple  reason  that  the  flame 
of  the  furnace  reduces  the  lead  to  the  metallic  state,  and 
it  burns  away.  I ho  cost  of  red-lead  also  is  against 


its  employment,  except  in  lead  glass,  or  optical  glass,  or 
fine  heavy  glass,  or  in  the  manufacture  of  the  more  ex- 
pensive kinds  of  coloured  glass  (called  antique),  and  is 
quite  prohibitory  in  any  kind  of  ordinary  window  glass. 

There  are  other  substances  used  in  the  manufacture  of 
common  window  glass,  such  as  chalk,  limestone,  pearl  ash, 
cryolite,  and  common  salt,  as  well  as  charcoal,  cullet,  or 
broken  glass,  kaolin,  and  even  common  clay,  all  of  which 
in  special  cases  find  employment  in  the  mixture  where 
particular  results  are  desired.  For  the  preseat  we  leave 
out  of  the  question  the  ingredients  used  to  colour  glass ; 
we  are  treating  now  of  window  glass  metal,  such  as  is 
made  into  crown,  sheet,  plate,  or  rolled  plate ; what  we 
may  term  the  elementary  glas3  as  distinguished  from  the 
more  complex  silicates,  and  where  the  object  in  view  is 
either  extreme  ductility  or  great  fluidity,  together  with 
good  colour,  moderate  working  temperature,  fineness  of 
texture  (freedom  from  seeds,  knots,  bubbles),  and,  above 
all,  facility  of  being  cut  by  the  diamond ; for,  however 
much  a given  glass  may  possess  all  the  other  qualities,  if 
it  cannot  be  cut  its  value  is  depreciated  enormously,  as  the 
manufacturer  knows  to  his  cost. 

Probably  few  industries  call  forth  more  real  skill  and 
high  chemical  knowledge  than  that  of  glass-making. 
According  to  the  mixture  so  should  the  result  come  out 
to  the  satisfaction  of  the  mixer  ; but  it  is  not  always  so,  for 
the  chemicals  play  strange  pranks — yea,  the  sand  itself,  and 
the  coals  used  in  the  furnace,  the  alkali,  and  the  doctor- 
ings — may  all  or  any  of  them  upset  the  calculations  of  the 
glass-maker.  Instances  are  on  record  of  where  the  men 
have  actually  stolen  salt-cake  from  the  mixing-room  during 
the  night,  and  added  it  to  the  metal  in  the  pots,  in  order 
to  reduce  the  time  required  for  their  attendance  on  the 
furnace  until  the  metal  should  be  founded,  and  fined,  and 
ready  for  the  blowers. 

Immense  fortunes  have  been  sunk  by  English  glass 
manufacturers  in  experimenting  with  furnaces  and  pro- 
cesses, which  of  course  has  had  the  result  of  placing  the 
industry  upon  a remarkably  firm  basis,  so  far  as  the  com- 
prehension of  all  the  conditions  necessary  to  success  can 
do;  but  perhaps  the  most  deplorable  fact  is,  that  for 
several  years  past,  and  until  a very  recent  date,  the  busi- 
ness has  had  to  be  carried  on  without  profit,  if  not,  indeed, 
in  several  cases,  at  an  actual  loss.  The  art  of  glass-making 
is  deserving  of  better  things. 


POISONOUS  CHEMICALS. 

The  subject  of  poisons  is  attracting  the  attention  of  the 
legislature  once  more,  and  we  shall  scarcely  be  surprised 
if  photographers  are  not  in  the  future  a little  more 
hampered  in  respect  to  their  supplies  of  such  chemicals  as 
are  notoriously  of  a poisonous  character  There  are  three 
classes  who  suffer  from  poisoning : those  who  swallow 
poison  inadvertently,  those  who  swallow  it  designedly,  and 
those  who  swallow  it  because  it  is  administered  to  them. 
The  second  class  can  hardly  be  protected  by  the  law,  and 
in  the  case  of  the  third,  legislation  also  is  of  slight  avail 
if  the  would-be  poisoner  is  a person  of  intelligence  ; all 
that  can  be  done  is  to  make  the  acquisition  of  poison  a 
difficult  and  circuitous  proceeding,  which  may  reduce 
casualties,  but  cannot  prevent  them. 

In  the  photographic  world,  and  indeed  if  wo  take  the 
gross  number  of  poisonings,  it  will  be  found  that  by  far 
the  majority  of  deaths  are  those  of  suicides.  A man  or 
woman  does  not  commit  self-destruction  because  it  is  easy 
to  obtain  cyanide  of  potassium  or  other  noxious  drug,  but 
because  he  or  she  is  tired  of  life,  and  desires  to  quit  it. 
The  instrument  by  which  the  deed  is  committed  is  of  no 
importance  when  once  the  deed  has  been  resolved  upon. 
And  yet,  to  hear  some  people  talk,  it  is  due  simply  to  the 
ready  way  in  which  poisons  are  to  be  purchased  that  wo 


January  5,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


have  so  many  lamentable  suicides.  Granted  that  poisons 
are  easily  acquired,  the  taking  of  life  by  their  means  is 
still  more  difficult  than  most  others  available;  a water- 
butt  or  reservoir  is  never  far  off,  and  knives  aud  razors  are 
everywhere.  Again,  even  if  the  sale  of  such  virulent 
poisons  as  cyanide  of  potassium,  strychinae,  aconitine,  to 
name  a few  of  the  popular  bodies,  was  interdicted  at  this 
moment,  poisoning  by  an  intelligent  person  would  be  no 
more  difficult.  For  instance,  there  cannot  be  a simpler 
means  of  procuring  poison  than  the  distillation  of  a few 
laurel  leaves,  and  this,  as  well  as  a dozen  other  ready  modes, 
suggest  themselves  to  a poisoner  of  intelligence. 

It  is  only,  in  truth,  the  person  who  gets  poisoned  by 
misadventure  who  can  be  protected  with  any  success  by 
the  law,  and  certainly  no  effort  should  be  spared  to  render 
that  protection  as  efficacious  as  possible.  It  has  been  our 
sad  experience  to  witness  an  accidental  death  from 
swallowing  cyanide  of  potassium  ; and  only  those  who  have 
seen  the  rapid  way  in  which  the  victim  succumbs  to  the 
fell  poison  can  believe  how  slender  is  the  chance  of  sur- 
vival. Photographers  would  be  careful,  indeed,  of  their 
store  of  cyanide  had  they  seen  what  we  have  seen.  Within 
three  minutes  after  the  solution  had  passed  the  lips,  the 
jaws  were  locked,  the  teeth  rigid,  and  the  patient  in  a state 
of  syncope.  It  was  the  case  of  a young  man  who  assisted 
in  the  laboratory,  and  who  had  by  him  a small  bottle  of 
cyanide  solution  kept  for  the  purpose  of  cleaning  silver. 
He  had  also  on  the  same  shelf,  in  the  same  cupboard,  a 
bottle  of  orange  bitters,  and  of  this  he  was  in  the  habit  of 
drinking  a glass  just  before  dinner — on  an  empty  stomach, 
therefore.  One  day  he  chose  the  wrong  bottle,  poured 
out  a dose,  and  swallowed  it.  He  had  barely  time  to 
remark  upon  its  nasty  nature,  and  to  look  at  the  bottle 
from  which  the  dose  had  been  poured  ; before  he  could 
reach  the  yard,  whither  he  desired  to  go  for  the  pur- 
pose of  vomiting,  he  fell  down  paralysed.  What  he  had 
swallowed  everybody  knew,  and  quick  as  thought  some 
sulphate  of  iron  was  fetched  from  the  laboratory  by  way  of 
antidote,  while  a messenger  was  despatched  to  a medical 
man  close  by  for  the  stomach-pump.  But  neither  the  one 
nor  the  other  could  be  employed  ; the  jaws  were  so  firmly 
closed  that  ordinary  means  failed  to  sever  them  ; and  when 
subsequently,  after  much  delay,  the  mouth  was  opened, 
the  patient  was  beyond  all  hope. 

Most  photographers  are  aware  that  little  can  be  done  to 
restore  a patient  poisoned  with  cyanide  of  potassium. 
Iron  salts  quickly  administrated  exert  a good  beneficial 
effect  by  combining  with  the  poison  and  forming  the  more 
harmless  and  well-known  Prussian  blue.  Chlorine  water 
with  a few  drops  of  hydrochloric  acid  added  is  also  recom- 
mended, but  really  no  antidote  will  avail  until  the  stomach 
is  cleared  of  the  greater  part  of  the  poison  either  by  an 
emetic  or  by  the  stomach-pump.  Many  people  can  bring 
on  vomiting  at  once  by  placing  the  finger  as  far  down  the 
throat  as  possible,  and  this  is  a most  invaluable  specific, 
whatever  the  noxious  drug  that  has  been  swollowed.  In 
some  laboratories  it  is  customary  now-a-days  to  have 
emetics  in  bottles  at  all  four  corners  of  the  apartment,  so 
that  they  are  ready  to  hand  at  a moment's  notice.  Those 
who  would  adopt  this  expedient  will  find  a solution  of 
sulphate  of  zinc  most  handy  for  the  purpose.  Sixty  grains 
of  the  sulphate  dissolved  in  two  ounces  of  water  makes  an 
effective  emetic. 

Fortunately  the  neutral  potassium  oxalate,  with  which 
photographers  have  recently  grown  familiar  in  the  deve- 
lopment of  dry  plates,  has  not  the  poisoning  properties  of 
oxalic  acid.  It  does  not  possess  the  irritant  character  of 
“ salts  of  sorrel,”  and  may  indeed  be  excluded  from  the 
category  of  poisonous  chemicals  with  which  the  photo- 
grapher has  to  deal.  Next  to  cyanide,  indeed,  among  the 
photographer’s  paraphernalia,  comes  pyrogallic  acid,  which 
is  a most  terrible  irritant,  and  for  which  also  no  proper 
ant.dote  can  be  prescribed ; a speedy  emetic  is  here  also 
the'wisest  of  measures.  Bichloride  of  mercury,  or  corro- 


* 


sive  sublimate,  as  it  is  commercially  termed,  is  more  easily 
prescribed  for,  since  it  forms  with  albumen  au  insoluble 
compound  ; for  this  reason  a patient  who  has  swallowed  a 
solution  of  this  mercury  salt  should  at  once  be  dosed  with 
raw  eggs,  or  failing  these,  with  milk  or  other  liquids  con- 
taining albumen.  The  mineral  acids,  such  as  nitric, 
sulphuric,  and  hydrochloric  acids,  are  all  of  them  reckoned 
poisons,  and  we  may  mention  that  it  is  not  so  long  ago  that 
a janitor  engaged  in  removing  the  debris  of  a broken  bottle 
of  nitric  acid  was  so  poisoned  with  the  red  nitrous  fumes 
that  he  died  from  their  effects.  The  antidotes  for  these 
acids  are  the  carbonates  of  soda  aud  magnesia,  the  former 
of  which  is  usually  to  be  found  in  every  photographic 
laboratory.  The  same  antidote  may  be  administered  to 
counteract  poisoning  with  bichromate  of  potash  solution, 
a most  painful  irritant,  which  affects,  as  most  carbon 
printers  know  to  their  cost,  the  skin  very  acutely,  if  the 
fingers  come  frequently  into  contact  with  the  solution. 

Nitrate  of  silver  is  employed  by  the  surgeon  as  a caustic, 
for  burning  bad  flesh  and  sloughing  wounds,  and  its 
characteristics  as  an  irritant  may  therefore  be  guessed.  Its 
burning  properties  are,  however,  at  once  allayed  on  the 
addition  of  common  salt,  which  converts,  as  every  photo- 
grapher knows,  the  nitrate  into  chloride  ; hence  a solution 
of  common  salt  is  the  best  antidote  one  can  administer  in 
the  event  of  poisoning  by  nitrate  of  silver. 

Strong  ammonia  is  dangerous  enough  when  there  is  much 
of  it.  We  have  seen  an  assistant  rendered  insensible  by  the 
simple  turning  over  of  a bottle  into  the  sink,  while  at  another 
time  we  remember  a bottle  of  the  same  volatile  liquid 
breaking  in  a passage  and  thus  cutting  off  all  communica- 
tion between  the  ground  floor  and  the  first  floor.  The 
dashing  of  cold  water  over  the  patient  and  the  administra- 
tion of  acidulated  water  is  the  most  efficacious  treatment  in 
these  circumstances,  while  no  time  should  be  lost  in  bring- 
ing him  into  the  open  air,  where  his  lungs  can  breathe  a 
fresh  atmosphere.  The  inhalation  of  ether  and  alcohol 
fumes  to  an  injurious  extent  may  be  counteracted  by 
similar  treatment,  but,  fortunately,  there  is  not  so  much  to 
fear  from  these,  now  the  wet  process  is  not  so  generelly 
practised. 

Chlorine,  iodine,  bromine,  and  their  compounds,  may 
also  be  regarded  as  poisonous  ; but  the  photographer  and 
his  friends  are  less  likely  to  suffer  from  them  than  other 
bodies  we  have  named.  The  caustic  alkalies  are  also 
poisonous  in  a degree,  but  hardly  likely  to  prove  dangerous. 
In  our  last  Year-Book  Mr.  Vincent  Elsden  has  tabulated 
the  noxious  drugs  in  the  photographic  laboratory,  and  has 
set  down  not  only  the  antidotes  for  them,  but  also  the 
characteristic  symptoms,  which  all  our  readers  will  do  well 
to  study.  The  subject  is  indeed  a most  apt  one  for  the 
pages  of  the  Year-Book,  for  this  little  manual  is  usually 
kept  iu  the  laboratory  convenient  to  hand  for  reference. 
Mr.  Elsden  also  points  out  the  quantities  of  the  various 
bodies  that  have  been  known  to  produce  fatal  results,  and 
show  plainly  that  in  some  cases  a very  minute  dose 
suffices  to  bring  about  death.  Thus,  three  grains  either 
of  cyanide  of  potassium  or  bichloride  of  mercury  have 
been  known  to  produce  fatal  results,  and  it  is  of  these  two 
compounds  the  photographer,  therefore,  should  best  beware. 
So  highly  dangerous,  indeed,  are  these  compounds,  that 
we  think  in  large  photographic  laboratories  the  charge  of 
them  should  be  entrusted  to  one  individual  only,  who 
should  be  held  responsible  for  their  safe  custody.  It  is 
hardly  right  that  when  youug  lads  and  girls  are  constantly 
employed,  these  deadly  compounds  should  be  in  the  way. 


TRANSPARENCIES. 

BY  J.  HEDLEY  ROBINSON  AND  DR.  WILLIAMSON.* 
Recognising  the  value  of  the  lantern  as  a source  of  instruction 
and  amusement,  and  having  made  during  the  past  year  many 
experiments  in  the  production  of  photographic  transparencies  for 

* Read  before  the  Newcastle-on-Tyne  Photographic  Society. 


6 


THE  PHOTOGRAPHIC  NEWS. 


[January  5,  1883. 


the  same,  we  have  embodied  the  results  of  those  experiments  in 
a paper  which,  we  think,  will  be  a fitting,  if  not  an  interesting, 
one  to  read  befoie  you  to-night,  as  bearing  directly  upon  the 
object  which  our  Society  has  in  view ; and  if  we  can  induce 
other  amateur-members  to  be  content  with  their  modest — 
albeit  portable  and  compact — quarter-plate  apparatus,  we  think 
the  fascinating  art  of  photography  might  receive  a great  impetus 
amongst  us.  For  what  can  be  more  gratifying  than  to  exhibit 
to  a surprised  and  delighted  audience  of  friends  the  places  of 
interest  which  one  has  visited  and  “ taken  ” during  the  summer 
holiday  trip,  and  these  not  small,  insignificant  paper  prints,  but 
enlargements  on  the  screen — say  of  six  feet — as  we  have  them 
to-night ! The  negatives  for  lantern  transparencies  need  not  be 
larger  than  4J  by  3J  ; and  no  one  can  gainsay  that  this  size  is 
much  more  pleasantly  and  efficiently  worked  by  amateurs  than 
its  larger  brethren.  One  advantage  that  the  making  of  trans- 
parencies has  over  printing  on  ordinary  albumenized  paper  is,  the 
greater  latitude  of  result  obtainable  from  a given  negative.  It 
is  next  to  impossible  to  get  satisfactory  prints  from  many  gela- 
tine negatives,  owing  to  thinness  or  want  of  vigour,  arising  from 
over-exposure  of  the  plate.  Yet  it  is  almost  as  easy  to  make  a 
good  transparency  from  such  negatives  as  from  more  perfect 
ones  by  variation  in  the  exposure  and  mode  of  development. 
This  we  will  illustrate  as  we  go  on.  The  first  method  we  will 
bring  before  your  notice  is  contact  printing  on  gelatine  plates, 
these  being  commercial  commodities,  and  consequently  in  most 
general  use  by  amateurs  who  are  now  quite  in  the  fashion  of 
neither  affording  the  time  nor  taking  the  trouble  of  preparing 
their  own  plates. 

Unfortunately,  there  is  rather  a difficulty  in  preventing  the 
discolouration  of  the  gelatine  film,  which,  however,  can  be  over- 
come to  seme  extent,  as  you  will  presently  see.  We  could  not 
produce  a decent  paper  print  from  the  negative  now  upon  the 
screen,  it  being  lacking  in  contrast,  although  dense.  We  put  a 
so-called  ten  times  plate  under  the  negative  in  a printing  frame, 
and  expose  it  for  thirty  seconds,  at  two  feet  distance,  to  the  light 
of  a duplex  paraffin  lamp  with  opal  globe,  and  develop  it  with 
the  ordinary  ferrous  oxalate  made  by  mixing  one  part  of  a 
saturated  solution  of  sulphate  iron  with  three  parts  of  a 
saturated  solution  of  oxalate  of  potash,  and  then  adding  one- 
third  of  a grain  of  bromide  to  the  ounce.  The  picture  was  very 
tardy  (so  we  thought)  in  making  its  appearance,  it  being  about 
forty-five  seconds  before  any  vestige  was  visible,  and  even  after 
five  minutes  was  not  dense  enough.  It  was  also  very  flat,  and 
intensification  was  necessary.  The  picture  on  the  screen  is,  after 
treatment  with  mercury,  followed  by  cyanide  of  silver.  You  see 
it  is  not  quite  clear,  although  it  was  put  through  the  alum  and 
acid  bath.  This  we  thought  might  be  due  to  over-exposure  and 
the  necessary  intensification  which  greatly  tends  to  increase  the 
opacity  of  the  film  ; so  with  the  next  pjate  we  diluted  the 
developer  to  1-4 — i.  e.,  one  part  of  iron  to  four  of  oxalale  potash 
solutions,  giving  the  same  length  of  exposure  and  development. 
The  result  was  that  the  picture  took  about  seventy  seconds 
before  appearing,  and  at  the  end  of  the  five  minutes  was  still 
lacking  in  vigour,  and  had  to  be  intensified,  but  not  to  such  an 
extent  as  the  last.  It  is,  perhaps,  a trifle  better. 

The  next  plate  received  only  two-thirds  of  the  exposure — viz., 
twenty  seconds — and  although  it  was  nearly  two  minutes  before 
coming  out,  at  the  end  of  six  minutes  we  secured  ample  density 
with  the  ferrous  developer  alone.  We  were  almost  convinced 
that  this  resulted  from  the  shorter  exposure,  and  to  test  it  we 
again  tried  another  plate,  giving  half  as  long  again  exposure  with 
the  same  time  of  development.  Result,  as  you  perceive,  poor 
and  flat,  which  confirmed  our  opinion  that  the  best  results  are 
obtainable  by  giving  as  short  an  exposure  as  possible  to  bring 
out  the  necessary  detail — say  an  average  of  fifteen  seconds — 
and  then  gaining  density  with  the  dilute  and  restrained  ferrous- 
oxalate  developer  alone.  A great  deal  of  patience  is  sometimes 
requisite,  but  there  is  this  consolation,  that  the  dish  can  be 
covered  up  and  the  plate  left  to  its  own  devices.  There  should 
be  no  trace  of  the  image  before  at  least  ninety  seconds,  or  over- 
exposure is  indicated,  which  is  best  remedied  by  washing  the 
plate  thoroughly  under  the  tap,  adding  more  bromide  to  the 
developer,  and  then  finishing  with  the  restrained  solution. 

The  next  three  slides  were  all  done  with  the  ferrous  alone 
without  any  need  of  intensification.  The  same  developer  can  be 
used  for  three  or  four  plates.  This  slide  had  the  same  exposure 
as  the  last,  but  it  was  not  developed  quite  so  long,  and  after- 
wards slightly  intensified  with  mercury  and  ammonia,  to  show 
you  the  difference  in  result.  It  is  not  so  good.  The  plates 
should  always  be  put  in  the  alum  bath  for  two  minutes  before 


fixing  with  hyposulphite,  and  for  five  minutes  in  the  alum  and 
hydrochloric  acid  one  after  fixing  and  washing,  which  will 
remove  any  scum  of  oxalate  lime  formed  in  and  upon  the  film  by 
the  reaction  of  the  oxalate  developer  and  the  tap  water. 

Gelatine  transparencies  can  also  be  developed  with  the  ordin- 
ary  pyrogallic  and  ammonia,  restrained  with  a large  amount  of 
bromide,  as  in  Swan’s  formula.  It  is  best  to  dilute  it  with  an 
equal  quantity  of  water,  adding  more  pyrogallic  if  the  make  and 
character  of  the  plate  require  it  to  give  density.  We  have 
found  the  exposure  rather  shorter  than  with  ferrous,  and  the 
time  of  development  materially  curtailed,  three  minutes  being 
ample  for  all  the  plates  we  tried,  although  half  that  time 
elapsed  before  indications  of  the  picture  were  discernible.  A 
good  plan  is  to  keep  the  image  rather  thin,  and  then  intensify 
with  ferric  oxalate  as  follows  : — After  the  plate  is  thoroughly 
dry,  wet  it  under  the  tap,  and  cover  it  with  ferric  oxalate  solu- 
tion (we  obtained  ours  from  the  Platinotype  Company),  which 
changes  the  image  to  an  olive  green  colour  ; now  rinse  a little 
under  the  tap,  and  treat  it  with  the  ordinary  ferrous  oxalate 
solution,  which  in  its  turn  converts  the  green  image  first  into  a 
pleasing  brown  ; and  if  allowed  to  act  for  a longer  period,  into  a 
colder  but  agreeab'e  tone.  This  ferric  treatment  renders  the 
film  more  transparent,  and  makes  any  ammonia  stains  on  green 
fog  disappear  as  if  by  magic.  Gelatine  slides  should  always  be 
varnished,  as  that  gives  them  the  highest  degree  of  transpar- 
ency. From  the  different  makes  of  gelatine  plates  upon  which 
we  have  experimented,  we  are  of  opinion  that  one  rather  thinly 
coated  with  an  emulsion  containing  chloride  and  iodide  in 
addition  to  the  ordinary  bromide  of  silver,  gives  the  best  results, 
especially  when  developed  with  pyrogallic  as  above,  and  after- 
wards re-developed  with  ferric  oxalate.  We  may  be  wrong 
but  such  is  our  experience.  , 

There  is  one  very  important  item  in  the  production  of  trans- 
parencies by  artificial  light  worthy  of  notice,  and  that  is,  with  a 
thin  negative  use  a weak  light  by  interposing  two  or  three  sheets 
of  tissue  paper  between  the  frame  and  tbe  lamp.  This  gives 
greater  contrast,  especially  when  joined  to  tbe  shortest  possible 
exposure.  The  reverse  holds  equally  good  with  dense  negatives. 

We  will  now  show  you  some  anatomical  slides  on  gelatine 
plates  copied  from  engravings  (also  on  gelatine  plates),  and  all 
intensified  with  mercury  and  cyanide  silver,  as  for  these  line 
subjects,  to  obtain  clean  black  and  white  results,  intensification 
must  nearly  always  be  resorted  to. 

Seeing  that  gelatine  plates  are  not  always  satisfactory,  being 
sometimes  most  erratic  in  their  behaviour,  we  next  experi- 
mented with  dry  collodion  plates,  made  by  Canon  Bsechey’s  pro- 
cess, a process  simple  in  the  extreme.  Glass  plates  are  coated 
with  a sensitive  collodion,  aud,  when  set,  immersed  in  a preser- 
vative of  beer,  and  a small  proportion  of  pyrogallic,  and  then 
taken  out  and  dried,  when  they  are  ready  for  use. 

The  exposure  required  is  about  twenty  times  that  of  gelatine 
plates,  and  development  is  effected  by  flowing  over  the  plate  a 
mixture  consisting  of  fifteen  drops  of  a ninety-six  grain  alcoholic 
solution  of  pyrogallic,  thirty  drops  of  a twelve-grain  aqueous 
solution  of  bromide  potassium,  and  one  drachm  of  a sixty -grain 
solution  of  carbonate  ammonia.  This  we  used  for  all  the  pic  • 
tures  we  will  put  upon  the  screen.  The  image  begins  to  appear 
in  about  a minute  or  a minute-and-a-half,  but  then  come  up 
very  rapidly,  and  care  must  be  taken  not  to  get  too  much  density. 
No  silver  intensification  is  ever  needed,  as  delicate  or  dense 
pictures  can  be  secured  at  will,  simply  by  varying  the  duration 
of  the  development. 

This  view  now  upon  the  screen  was  exposed  to  the  paraffin 
light  for  seven  and  a-half  minutes,  but  as  the  developer  was  kept 
on  too  long,  it  is  rather  dense.  The  next  slide  also  was  made 
too  dense  purposely  to  show  the  capabilities  of  the  plates  which, 
with  the  same  exposure,  but  shorter  development,  gave  this 
result ; while  with  shorter  exposure  and  a little  longer  develop- 
ment a different  result  again  was  obtained,  as  you  see.  Hypo- 
sulphite is  always  used  for  fixing.  We  found  the  advantages  of 
these  dry  collodion  plates  over  gelatine  ones  to  be  greater 
latitude  of  exposure  allowable,  better  colour  of  image,  perfect 
control  of  density,  and  greater  comfort  in  developing  ; for  while 
with  gelatine  plates  the  greatest  care  is  requisite  in  the  matter  of 
light,  these  can  be  developed  by  the  aid  of  a bright  orange  light 
without  the  slightest  danger  of  fog.  In  fact,  it  is  next  to  an 
impossibility  to  fog  them  by  any  legitimate  means,  and  they  will 
bear  forcing  in  cases  of  under-exposure  with  quite  double  the 
amount  of  ammonia  given  without  veiling  the  film  in  the  least. 

The  next  and  last  method  of  producing  lantern  transparencies 
we  will  bring  before  you  is  the  ordinary  wet  collodion  bath 


January  5,  1883.J 


THE  PHOTOGRAPHIC  HEWS. 


7 


process.  Here  to  get  sharp  pictures  one  must  use  a copying 
camera,  the  one  we  used,  utilising  our  ordinary  tourist  camera, 
being  now  on  the  table,  the  simplicity  and  inexpensiveness  of 
which  you  may  see  for  yourselves.  While  contact  printing 
limits  the  size  of  the  transparency  to  the  original  size  of  the 
image  on  the  negative,  by  using  such  a transposed  piece  of 
apparatus  the  resulting  picture  may  be  either  an  enlargement  or 
reduction,  a great  advantage  when  a lantern  picture  is  required 
from  a balf-plate  (or  larger)  negative  ; or  again,  if  a small  portion 
of  the  negative  than  three  inches  be  desired  to  fill  the  slide. 
The  silver  bath  ought  to  be  in  its  primest  condition,  and 
decidedly  acicj  with,  say,  five  drops  of  strong  nitric  acid  to  the 
pint.  The  collodion  is  best  rather  old  and  of  a darkish  colour,  so 
as  to  work  quite  clean.  The  developer  we  have  found  most 
suitable  is  the  following : — 

Ammonia  sulphate  iron  15  grains 

Glacial  acetic  acid  ...  A drachm 

Lump  sugar  ...  ...  ...  ...  15  grains 

Water  ...  ...  ...  1 ounce 


and  the  older  it  is  the  better  it  works.  This  will  give  amp  le 
density  in  most  cases  without  silver  intensification  if  the  plates 
are  scrupulously  clean,  and  the  silver  bath  pure,  so  as  to  allow 
the  developer  to  be  kept  on  long  enough  without  forming  a 
sandy  metallic  deposit  between  the  film  and  the  glass.  The 
plates  are  better  edged  with  india-rubber  by  running  a camel’s 
hair  brush  dipped  in  a solution  of  the  latter  in  benzole,  right 
round  the  margin  and  edges ; and  as  this  dries  instantly,  no 
time  is  lost.  This  enables  the  film  to  bear  any  amount  of 
washing  without  lifting.  The  exposure  required  for  wet  plates 
through  the  copying  camera  in  good  summer  or  spring  weather, 
using  a diaphragm  with  a rapid  rectilinear  lens,  is  half  a 


is  attained.  Gold  seems  to  be  particularly  useful  for  giving 
buildings  and  such  like  subjects  a pleasing  and  almost  natural 
effect,  as  this  of  the  ruins  of  St.  John’s  at  Chester,  for  example 
We  have  now  shown  you  the  three  methods  of  transparency- 
making which  we  have  tried.  I will  now  put  a few  more 
specimens  of  our  production  upon  the  screen,  making  a few 
remarks  thereon  as  they  pass  through.  This  one,  from  the  same 
negative  as  the  last,  was  treated  with  a solution  of — 

Ferridcyanide  potassium  2 grains 

Nitrate  uranium ...  ...  2 „ 

Chloride  of  gold T\,  of  a grain 

Water  ...  ...  ...  ...  ...  1 ounce 


which  gives  a colour  more  or  less  approaching  to  a Woodbury 
slide.  This  negative  now  on  the  screen  before  you  is  a very 
bad  one — there  is  hardly  any  need  to  tell  you  that — it  is  nearly 
all  halation  and  smudge  ; yet,  to  make  good  what  we  said  about 
decent  pictures  from  faulty  negatives,  we  show  you  this  trans- 
parency from  it.  Of  course  it  was  doctored,  but  only  by  wash- 
ing off  the  iron  developer  while  yet  it  was  very  thin,  and  then 
intensifying  with  pyrogallic  and  silver,  as  far  as  we  dare  go 
without  making  it  too  opaque,  &c. 

In  conclusion,  we  would  remark  that  although  excellent  results 
can  be  obtained  from  ordinary  bath  plates  (requiring,  however, 
good  daylight,  which  is  not  always  at  command),  yet  a dry  pro- 
cess which  can  be  worked  by  artificial  light,  on  dark  winter 
evenings,  when  the  labours  of  the  day  are  over,  seems  to  be  the 
readiest,  easiest,  and  most  cleanly  method  for  amateurs,  and 
that  in  our  opinion  dry  collodion  plates  are  superior  to  gelatine, 
although  for  certain  subjects  these  latter  possess  a grain  or 
texture  which  is  rather  pleasing. 


minute  on  an  average.  But  of  course,  the  density  of  the 
negative  regulates  the  time  of  exposure  to  a great  extent,  ten 
seconds  being  sometimes  enough,  and  at  other  times  a minute  or 
more  is  required. 

The  picture  you  now  see  on  the  screen  had  thirty  seconds  (the 
negative  being  placed  against  ground  glass  facing  the  north,  and 
a piece  of  white  cardboard  fixed  underneath  at  an  angle  of  45°, 
to  equally  illuminate  it),  and  development  and  intensification 
completed  with  the  iron  alone  in  about  one  miuute.  The 
bright  light  allowable  with  bath  plates  makes  it  very  easy  to 
judge  of  the  density,  especially  if  a piece  of  white  tissue  paper 
be  placed  in  front  of  the  orange  glass  of  the  lantern.  Always 
use  artificial  light,  a3,  being  constant,  errors  in  judging  the 
density  are  not  so  usually  made  as  when  using  filtered  daylight. 
Hyposulphite  must  always  be  used  for  fixing,  as  even  weak 
cyanide  eats  away  the  delicate  half  tones,  and  sometimes  the 
whole  image  itself,  if  left  to  act  upon  it  long  enough.  As  with 
the  Beechey  plates,  density  can  be  regulated  by  prolongation  of 
development,  as  the  next  two  slides  will  show.  If  the  picture 
cannot  be  got  the  right  density  with  the  iron  developer,  from 
over-exposure,  thinness  of  negative,  or  any  other  cause,  there  are 
several  modes  of  intensification  available  with  wet  collodion 
films.  This  of  Waterloo  Bridge,  North  Wales,  from  a very  thin 
negative,  was  intensified  before  fixing.  But  care  must  be  taken 
not  to  overdo  it  like  this  one  of  the  Swallow  Falls,  for  it  must  be 
borne  in  mind  that  lantern  slides  are  not  to  be  as  strong  as 
those  transparencies  intended  to  be  viewed  out  of  the  lantern  as 
complete  pictures  (say)  for  window  decoration,  otherwise  the 
light  will  not  be  able  to  penetrate  through  the  mass  of  density, 
as  this  slide  illustrates. 

The  next  slide  from  the  same  negative,  merely  intensified  a 
little,  and  that  with  a solution  only  half  the  ordinary  strength, 
is  more  like  what  it  should  be.  Intensifying  after  fixing  is 
sometimes  advisable  and  beneficial  when  the  transparency, 
although  full  of  detail,  is  wanting  in  contrast.  Before  fixing 
gives  softness  with  density,  while  after  fixing  gives  contrast 
without  adding  much,  if  any,  to  tbe  density  of  the  high  lights 
of  the  picture.  To  illustrate  this  to  you,  we  show  this  thin 
negative  of  the  Miner's  Bridge.  The  best  gelatine  transparency 
we  could  produce  from  it  by  any  means  was  what  you  now  see 
on  the  screen  ; but  by  intensifying  a wet  plate  after  fixing  and 
washing,  we  got  this  result,  which  has  much  more  sparkle,  you 
must  admit.  This  old  house  in  Chester  is  intensified  with 
pyrogallic  and  silver  before  fixing,  and  this  one  from  the  same 
negative  with  mercury  and  ammonia  after  fixing,  showing  the 
difference  in  colour  obtained  by  each  mode.  A half-grain  to 
the  drachm  acidulated  solution  of  chloride  of  gold  can  be  used 
for  giving  density  and  tone  at  the  same  time.  It  is  poured  on 
and  off  the  fixed  and  well-washed  plate  until  the  desired  effect 


GREEN  FOG  A SILVER  COMPOUND 

BT  A.  HADDON.* 

Mr.  Orsman,  at  a recent  meeting,  deduced  from  the  following 
experiment  that  green  fog  is  due  to  a staining  of  the  film  of  a 
gelatino-bromide  plate  by  a kind  of  dye  produced  during  the 
development  by  pyrogallic ; one  half  of  a double  carte  plate 
with  green  fog  was  given  to  Mr.  Orsman  by  Mr.  Debenham,  and 
the  other  half  to  myself.  Mr.  Orsman  treated  his  plate  first 
with  a solution  of  chlorine  gas  in  water,  and  then  submitted  it 
to  the  solvent  action  of  hyposulphite  of  soda.  The  effect  of  the 
hyposulphite  was  to  dissolve  away  the  image,  but  the  green  fog 
was  quite  unaffected. 

The  experiments  I have  recently  been  trying  lead  me  to  quite 
an  opposite  conclusion  ; that  is,  that  green  fog  is  due  to  a com- 
pound of  silver,  and  that  the  veil  or  fog  is  removed,  if  properly 
treated,  by  the  above-mentioned  reagents,  provided  the  chlorine 
be  allowed  to  act  during  a sufficiently  long  time. 

The  portion  of  the  plate  given  me  by  Mr.  Debenham  was  im- 
mersed for  about  one-quarter  of  its  length  in  bromine  water,  and 
when  the  silver  had  been  completely  converted  into  bromide  of 
silver,  that  portion  of  the  plate  was  plunged  into  hyposulphite. 
By  this  treatment  the  green  fog  disappeared  entirely,  leaving 
only  a faint  yellow  colouration.  The  opposite  end  of  the  same 
plate  was  then  placed  for  a short  time  in  a solution  of  iodine  in 
iodide  of  potassium.  The  action  was  judged  to  be  complete 
when  the  silver  was  changed  from  black  to  white  and  the 
shadows  stained  red  by  the  iodine.  On  treating  this  portion  of 
the  plate  with  hyposulphite  of  soda,  the  green  fog  disappeared  as 
before,  but  the  film  was  stained  much  deeper  than  when 
bromine  water  was  used. 

A second  green-fogged  plate  was  taken  and  immersed  for 
about  one-sixth  of  its  length  in  chlorine  water.  After  this  had 
acted  for  about  two  or  three  minutes,  it  was  immersed  to  about 
a sixth  more,  and  the  action  eontinued  for  a couple  of  minutes 
longer.  It  was  then  washed,  and  finally  fixed  with  hyposulphite. 
The  green  fog  disappeared  completely  from  that  part  which  had 
been  acted  on  for  the  longer  time,  but  only  partially  from  the 
portion  which  had  been  left  in  the  chlorine  water  for  a couple  of 
minutes.  Bromine  water  and  hyposulphite  produced  exactly 
the  same  effect  on  this  plate  as  on  the  other — that  is,  completely 
removed  the  green  fog. 

From  these  experiments — which  can  be  repeated  by  anyone 
with,  1 am  sure,  the  same  results — I conclude  that  green  fog  is 
due  to  silver  in  a finely-divided  state,  and  not  to  a change  in  the 
gelatine  or  a staining  of  the  film. 

* Read  before  the  London  and  Provincial  Photographic  Association 


8 


THE  PHOTOGRAPHIC  NEWS. 


[January  5,  1883. 


Mr.  Orsman  farther  found  that  chlorine  water  followed  by 
hyposulphite  removed  the  image,  but  left  the  green  fog  untouched. 
In  my  own  experiments,  in  no  single  case  have  I been  able  to 
completely  remove  the  image  ; a faint,  but  perfect,  negative 
image  is  left,  however  energetic  the  solvents  may  be. 

A plate  was  treated  first  with  iodine  in  iodide  of  potassium, 
washed,  and  then  flooded  with  a twenty  per  cent,  solution  of 
cyanide  of  posassium.  The  first  effect  of  the  cyanide  was  to 
destroy  the  red  colouration  due  to  the  iodine,  and  then  to  dis- 
solve the  iodide  of  silver.  Where  the  high  lights  of  the  picture 
had  been,  there  the  film  was  stained  yellow,  the  shadows  being 
colourless  gelatine.  The  whole  picture  was  perfectly  distinct 
when  placed  on  a sheet  of  white  paper.  The  plate,  after  wash- 
ing, was  treated  with  chlorine  water,  which  discharged  most  of 
the  colour  left ; and  a further  application  of  iodine  and  cyanide, 
of  the  same  strength  as  above,  failed  to  remove  or  change  in  any 
way  the  colour  of  the  image  as  left  by  the  chlorine  water.  When 
bromine  water  was  used,  the  colour  of  the  image  was  intermedi- 
ate in  intensity  between  what  it  was  wheu  iodine  and  chlorine 
were  employed. 

From  these  experiments  I am  inclined  to  think  that  the  image 
does  not  consist  of  a silver  compound  at  all.  When  examined 
under  the  microscope  no  granularity  is  visible.  It  cannot  be  due 
to  staining  of  the  film,  for  when  chlorine  water  is  used  a faint 
image  is  still  visible  ; and  the  staining  power  of  chlorine,  if  any, 
must  be  very  feeble  indeed.  What  the  image  is  composed  of  1 
am  not  at  present  prepared  to  say  ; at  some  future  time,  how- 
ever, I hope  to  be  able  to  tell  you  a little  moie  concerning  some 
experiments  I am  making  on  the  same  subject. 


We  regret  to  learn  that  Mr.  J.  B.  Payne,  F.R.M.S., 
has  resigned  the  honorary  secretaryship  of  the  Newcastle 
Photographic  Society. 


Many  of  our  readers  enquire  from  time  to  time  about 
colledio-chloride  paper  ; they  will  be  glad  to  hear,  there- 
fore, that  it  is  once  more  manufactured  on  the  Continent, 
and  that  it  can  be  obtained  from  the  Photographische 
Lehrinstitut,  50,  Flora  Strasse,  Zurich."  We  frankly  state 
that  we  know  nothing  about  its  quality,  but  no  doubt 
small  samples  could  be  purchased  without  difficulty. 

In  his  interesting  work  of  photographing  the  corona  of 
the  sun,  we  see  that  Dr.  Huggins  has  taken  our  advice 
to  back  his  plates  with  bitumen  dissolved  in  benzole,  in 
order  to  prevent  halation.  The  plan,  we  believe,  is  now 
universally  adopted  by  photo-astronomers. 


We  are  told  to  beware  of  adulterated  india-rubber, 
which  is  now  sold  mixed  with  finely-powdered  cork.  The 
latter  is  so  thoroughly  incorporated  as  to  be  exceed- 
ingly difficult  of  detection,  but,  as  a matter  of  course,  the 
fraud  is  at  once  apparent  on  dissolving  the  rubber  in 
benzole.  Cork  is  one-twentieth  the  cost  of  india-rubber, 
so  that  that  there  is  a great  incentive  for  the  admixture  in 
question;  and  as  its  presence  would  be  decidedly  injurious 
in  thin  protective  coatings  and  other  purposes  for  which 
photographers  usually  employ  rubber,  it  is  worth  while 
making  a note  of  this  last  innovation  in  adulteration. 


Fontayne’s  steam  photographic  printing  machine,  which 
is  referred  to  in  one  of  our  leaders  this  week,  is  not  un- 
likely to  become  of  real  commercial  importance  now  that 
good  pictures  can  be  obtained  on  emulsion  paper. 


“ It  is  surprising  what  a lot  of  carelessness  in  respect  to 
light  some  plates  .will  stand  ! ” said  an  experienced  por- 
traitist recently.  “The  other  day  1 quitted  my  dark- 
room, leaving  the  plate-box  open,  and  was  horrified  to  find 
it  so  when  I returned  shortly  afterwards.  I naturally  put 
the  plates  away  as  irretrievably  spoilt ; but  a week  or  so 
after,  running  short,  I had  the  curiosity  to  try  them. 
But  one  or  two  of  them  had  suffered  slightly  at  the  very 
margin ; the  rest  were  as  good  as  ever.  As  they  stood 
upright  in  the  box,  only  top-light  could  affect  them,  and 
there  was  no  top-light  in  my  dark-room.” 

As  our  readers  are  aware,  the  collodion  process  is  still 
preferred  for  reproducing  black-and-white  designs,  draw- 
ings, engravings,  &c.,  where  very  dense  negatives  are 
desirable.  Major  Waterhouse  sends  from  Calcutta  a new 
intensifier  for  this  k' id  of  work.  “ The  fixed  and  washed 
plate  is  put  in  a bath  of  bromide  of  copper  (ten  per  cent, 
solution) ; the  film  whitens  immediately,  and  when  the 
colour  is  even  all  over,  the  plate  is  taken  out  and  pluDged 
into  a bath  of  the  ordinary  ferrous  oxalate  developer.  It 
takes  a dark  olive  tint,  which  is  very  non -actinic,  the 
shadows  meanwhile  remaining  very  clear.” 


Registering  a ship’s  course  by  means  of  a ray  of  light 
which  traverses  an  opening  in  the  compass,  and  falls  upon 
a sheet  of  sensitive  paper  below,  is  a thing  that  has  been 
suggested  more  than  once.  But  for  some  reason  the  plans 
hitherto  proposed  of  employing  photography  in  this 
manner  have  not  been  adopted.  Mr.  Robert  Pickwell, 
civil  engineer,  of  Hull,  has  now  devised  a most  systematic 
method  of  self-registry,  which  has  not  only  proved 
efficacious  on  several  voyages  between  Hull  and  London, 
but  has  also  been  recognized  by  the  award  of  a silver 
medal  at  the  recent  Northeast  Coast  Exhibition.  As  in 
registering  thermometric  and  barometric  readings,  the 
sensitive  paper,  or  rather  sensitive  tabulated  sheet,  is  made 
for  a twenty-four  hour  record,  so  that  the  captain  of  the 
vessel  may  file  them  and  produce  them  afterwards  to  prove 
the  course  his  vessel  has  taken  ; or  the  sensitive  sheet  may 
be  made  continuous  for  three  months,  and  locked  up  under 
the  compass,  to  be  opened  by  the  owner  when  the  vessel 
returns  to  port. 


Briefly  described,  Mr.  Pickwell’s  invention  consists  in 
fixing  a small  barrel  underneath  the  compass,  the  barrel 
containing  a roll  of  sensitive  paper ; clockwork  moves  the 
sensitive  paper  and  brings  it  pasta  slit  running  along  the 
top  of  the  barrel.  As  the  sensitive  paper  passes  this  slit, 
it  is  exposed  to  a pencil  of  light  coming  through  the  com- 
pass above.  The  length  of  the  barrel  is,  say,  six  inches, 
and  the  slit  running  along  the  top  of  it  the  same  length, 
so  that  the  pencil  of  light  may  sometimes  fall  towards  one 
side  of  the  slit,  and  sometimes  towards  the  other,  or  again 
in  the  middle  of  it.  The  compass  above  is  so  perforated 
that  as  it  points  North  or  South  or  East  or  West,  so  the 
pencil  of  light  admitted  is  made  to  fall  either  on  one  part 
or  other  of  the  slit.  Therefore,  when  the  sensitive  sheet 
or  table  comes  to  be  developed,  it  is  found  marked  by  a 
photographic  line  corresponding  to  the  ship’s  course, 


Januaet  5,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


9 


and  as  the  barrel  revolves  once  in  twenty-four  hours,  the 
minutes  or  hours  during  which  the  ship  has  been  steered 
North,  South,  East,  or  West  is  apparent.  A lamp  above 
the  compass  supplies  sufficient  light  to  impress  the  paper. 


A new  orange  or  yellow  dye  that  is  likely  to  interest 
photographers  is  mentioned  in  a German  contemporary. 
The  twigs  and  branches  of  a young  poplar  are  bruised 
and  boiled  for  twenty  minutes,  ten  pounds  of  wood  requir- 
ing one  pound  of  alum  and  three  gallons  of  water.  The 
solution  is  lirst  filtered  hot,  and,  after  cooling  and  standing 
some  time,  again  filtered  cold.  On  exposure  to  air  and 
light,  the  dye  develops  a rich  gold  colour  which  bids  fair 
to  be  useful  for  producing  non-actinic  mediums. 


We  have  been  favoured  by  Herr  Moll,  of  Vienna,  with 
an  interesting  application  of  photography.  It  is  a pam- 
phlet detailing  the  action  of  a new  ballet  called  Melusine — 
ballets,  it  may  be  mentioned,  being  a form  of  stage-play 
more  in  favour  on  the  Continent  thau  in  this  country. 
The  action  of  the  ballet  is  detailed  in  letter-press,  but  to 
describe  properly  the  groupings  and  situations — the 
essence  of  a ballet — the  little  book  contains  photographs, 
or,  rather,  Lichtdruck  prints,  of  the  sketches  of  the  artist 
or  author.  In  this  way  a very  good  idea  of  the  value  of 
the  ballet  is  conveyed  to  the  reader. 


M.  Dumas  has  called  attention  to  the  fact  that  a 
saturated  solution  of  alum  is  one  of  the  best  mediums  for 
extinguishing  fire.  As  photographers  have  usually  plenty 
of  alum  solution  at  hand,  they  are  consequently  in  posses- 
sion of  a ready  means  for  quenching  any  incipient 
conflagration. 

Photographers  should  be  Liberals  to  a man,  if  they  have 
a spark  of  gratitude  in  their  breasts.  Look  at  the  patronage 
bestowed  by  Mr.  Gladstone  as  compared  to  that  of  the  late 
Earl  Beaconsfield.  The  present  premier,  wherever  he 
goes,  accepts  invitations  to  sit.  In  the  north,  in  the  south, 
whatever  town  or  city  he  visits,  he  rarely  refuses  a photo- 
grapher’s solicitation.  The  other  day  he  visited  the  New 
Forest,  and  fairly  delighted  a photographer  at  Lyndhurst 
by  a call,  the  result  being  a capital  little  portrait.  Our 
old  friend  Dizzy,  on  the  contrary,  could  rarely  be  pre- 
vailed upon  to  give  a sitting,  and  our  readers  may 
remember  an  anecdote  in  our  “ Studios  of  Europe,”  where 
we  recount  how  Her  Majesty’s  request,  backed  by  that  of 
all  the  Court  ladies,  was  necessary  on  one  occasion  to  in- 
duce the  Conservative  premier  to  be  portrayed  at  Balmoral. 


A photographer  in  Langenwang,  in  Styria,  sends  to 
Vienna  a picture  that  may  be  taken  as  a Natural  History 
record  of  the  country.  It  represents,  namely,  a hunter 
with  the  dead  body  of  a wolf  beside  him,  shot  on  the 
12th  October  last.  As  the  existence  of  wolves  hereabouts 
has  been  considered  chimerical,  the  photographic  record 
is  naturally  of  importance.  It  is  not  very  far  off — to  wit, 
in  the  Finstermiinz  Pass — that  in  1873  we  ourselves 
encountered  a man  conveying  a dead  bear  he  had  shot  the 


day  before.  We  had  a camera  with  us  at  the  time,  but 
unfortunately  the  dry  plates  in  our  slides  were  already 
impressed,  otherwise  we  should  have  done  well  to  have 
secured  a photographic  record,  for  bears  are  now  so  rare 
in  the  Tyrol,  that  many  inhabitants  disbelieve  in  their 
existence.  Strange  to  say,  we  remember  making  mention 
of  the  circumstance  in  these  columns  at  the  time. 


Mr.  H.  T.  Wood,  who  sends  us  one  of  his  photographs 
of  the  vocal  organs  taken  during  the  act  of  singing,  tells 
us  that  it  will  be  quite  easy  to  secure  satisfactory  pictures 
in  a small  fraction  of  a second.  Details  will  be  found  i 
another  column. 


The  addition  of  various  substances  to  glue  or  gelatine 
with  a view  to  rendering  the  same  less  brittle  is  not  new, 
and  the  suggestion  of  the  German  chemist  Purscher  to  add 
glycerine  is  scarcely  a novel  one.  At  the  same  time, 
photographers  would  do  well  to  bear  in  mind  that  glyce- 
rine is  a most  suitable  material  for  addition  when  a tough 
and  leather-like  body  is  desired.  Glycerine,  it  is  said,  has 
some  properties  in  common  with  india-rubber,  for  it  will 
blot  out  pencil  marks  from  paper,  so  as  to  leave  no  trace 
behind. 


In  respect  to  modifications  of  this  kind,  it  may  be  re- 
membered that  Mr.  Piercy  recommends  the  addition  of  a 
little  brown  sugar  to  size  for  the  painting  of  photographic 
backgrounds.  Another  point  may  also  be  noted.  Accord- 
ing to  the  Boston  Journal  of  Chemistry,  a paste  made  of 
starch,  glycerine,  and  gypsum  maintains  its  plasticity  and 
adhesiveness  longer  than  any  other  cement,  and  may  be 
recommended,  therefore,  for  various  laboratory  purposes. 


Professor  Tyndall’s  lectures  are  always  interesting,  but 
sometimes  his  illustrations  are  a trifle  far  fetched.  Yester- 
day afternoon  it  took  him  no  less  than  ten  minutes  to  intro- 
duce the  subject  of  “ fatigue  spots  on  the  retina,”  the  Pro- 
fessor telling  the  audience  how  he  was  in  the  train  returning 
from  the  Alps,  when  a bright  streak  across  the  sky  met 
his  view.  He  had  not  heard  of  the  comet  at  this  time,  and 
marvelled  at  the  brightness  of  the  vision  which  dazzled 
him : on  directing  his  gaze  towards  the  darker  sky,  he 
saw  a sombre  outline  corresponding  to  the  radiant  object. 


Little  was  said  to  lead  the  children  present  to  connect 
these  post-alpine  observations  of  the  Professor  with  one’s 
every-day  experiences  after  glancing  at  the  sun,  a brightly 
illuminated  window,  or  a gas  flame;  but  it  was  shown  how 
something  of  the  same  kind  could  be  observed  when  a 
highly  complex  electric  lantern  arrangement  was  used. 


Two  simple  experiments  were  effective,  and  thoroughly 
appreciated.  A glow  of  purple  light  was  projected  from 
the  lantern  on  a white  screen,  and  shadows  on  this  screen 
were  seen  to  recall  the  idea  of  the  complementary  colour, 
green  ; and  when  a green  light  was  projected,  the  shadows 
appeared  purple. 


io 


THE  THOTOOH1PHIC  NEWS. 


[January  5,  1883 


f atmt  Jntclligme.', 

Grant  of  Provisional  Protection. 

5962.  Albert  Aron,  of  Rose  Street,  Newgate  Street,  in  the 
city  of  London,  Importer,  for  an  invention  of  “ Improvements 
in  photographic  albums.”— A communication  to  him  from 
abroad  by  Adolphe  Aron,  of  Rue  Turenne,  Paris,  France.— 
Dated  13th  December,  1882. 

Notice  to  Proceed. 

4071.  William  Chancellor  Haigh,  of  the  city  of  Manchester, 
Artist,  for  an  invention  of  “ Improvements  in  apparatus  for 
printing.” — Dated  25th  August,  1882. 

Patent  Sealed. 

3356.  William  Righter  Comings,  of  Upper  Thames  Street,  in 
the  city  of  London,  for  an  invention  of  “ Improvements  in  appa- 
ratus for  varnishing  or  otherwise  similarly  treating  sheets  of 
paper,  cloth,  or  analogous  materials.” — Dated  14th  July,  1882. 

Patent  Void  through  Non-payment  of  Duties. 
5223.  Alexander  Melville  Clark,  of  53,  Chancery  Lane,  in 
the  county  of  Middlesex,  Patent  Agent,  for  an  invention  of 
“ Improvements  in  the  production  of  coloured  photographs 
upon  porcelain  and  earthenware.” — A communicotion  to  him 
from  abroad  by  Jean  Etienne  Paul  Lt-mary,  of  Paris,  France. — 
Dated  20th  December,  1879. 

This  invention  relates  to  the  production  of  coloured  photo- 
graphs upon  porcelain  and  earthenware.  Many  attempts  have 
been  made  to  produce  photographs  upon  porcelain  and  earthen- 
ware, but  generally  with  unsatisfactory  results,  it  being  merely 
by  chance  that  a few  nearly  perfect  specimens  have  been 
occasionally  produced.  It  has  never  hitherto  been  possible  to 
ensure  a perfect  result,  mainly  because  the  photographic  process 
destroys  the  balances  of  the  colour  fluxes,  which  can  never  be 
restored  with  certainty.  Hence  the  colours  adhere  but  slightly 
or  not  at  all  to  the  porcelain  or  earthenware  ; and  there  is  a 
partial  or  entire  absence  of  glaze  and  development  of  colour, 
which  are  essential  to  the  good  appearance  of  the  photograph. 
It  will  be  readily  conceived  that  if  these  operations  rarely  suc- 
ceed in  monochrome,  they  are  very  much  more  difficult  in 
colours.  In  fact,  if  the  balance  of  the  fluxes  be  destroyed  by 
the  operation,  and  if  at  certain  parts  tints  due  to  more  or  less 
fusible  oxides  be  added,  a portion  of  the  photograph  will  be 
destroyed  at  some  parts  and  changed  at  others,  and  that  the 
colour  will  not  be  developed  at  all  at  certain  places.  These 
defects  it  has  not  been  heretofore  possible  to  remedy.  More- 
over, unless  the  colours  are  applied  to  the  photograph  by  a 
skilful  artist,  they  greatly  alter  its  appearance,  and  sometimes 
even  entirely  hide  it.  The  object  of  this  invention  is,  first,  to 
restore  to  the  colour  the  balance  of  the  fluxes,  and  secondly,  to 
modulate  the  colours  by  the  photograph  instead  of  covering  the 
latter  with  the  colour.  This  improved  process  of  photography 
in  colour  is  carried  out  in  the  following  manner: — Upon  a 
glass  plate  which  has  been  carefully  cleaned  I pour  the  sensi- 
tised composition  made  of  the  two  following  solutions,  viz.  : — 

Manna 10  grammes  (154  grains) 

Dextrine  5 „ (77  „ 

dissolved  in — 

Distilled  water 40  cub.  cents.  (617  grains) 

Bichromate  of  potash  dissolved  to  saturation  in — 

Distilled  water GO  cub.  cents.  (926  grains) 

These  two  solutions  are  mixed  together  and  filtered.  The 
relative  proportions  of  the  solutions  may  be  varied  according  to 
the  season.  The  plate  so  coated  is  dried  by  heat  and  then 
exposed  in  the  printing  frame  under  a positive,  and  after  it  has 
been  sufficiently  acted  on,  which  may  be  ascertained  by  the 
colour  or  by  means  of  a photometer,  it  is  developed  in  the  dark 
room  with  pure  oxides,  that  is  to  say,  without  fluxes,  of  cobalt 
and  iron  mixed  with  a little  yellow  for  porcelain.  For  earthen- 
ware grey  colour  different  from  that  used  for  porcelain  is 
employed.  I then  pour  upon  the  plate  collodion  prepared  as 
follows : — The  flux  for  the  colour  to  be  employed  is  finely 
ground  by  means  of  a muller  with  pure  glycerine,  and  then 
diluted  until  sufficiently  liquid,  and  this  mixture  is  then  added 
to  100  grammes  of  Dormal  collodion  at  one  per  cent,  shaken  up 
in  a bottle  and  filtered  through  a fine  cloth.  After  having 
poured  the  above  composition  on  the  plate  and  allowed  the 
collodion  the  necessary  time  to  dry,  the  plate  is  first  dipped  in 
water  and  then  in  a bath  of  carbonate  of  soda  at  from  25  to 
to  30  per  cent.,  and  then  again  washed  in  plain  water,  after 
which  the  film,  which  separates  readily  from  the  glass,  is  trans- 


ferred (with  the  collodion  side  uppermost)  on  to  a sheet  of  paper 
coated  in  the  following  manner  : — I dissolve  over  a slow  fire  a 
quantity  of  virgin  wax,  spermaceti,  stearine,  or  other  analogous 
substance  in  about  three  times  its  weight  of  spirits  of  turpentine 
or  other  spirits,  oils,  or  other  like  matters.  After  the  composi- 
tion has  sufficiently  cooled  I rub  it  with  a pad  as  evenly  as 
possible  upon  the  white  paper  until  sufficiently  coated.  Upon 
this  coated  surface  the  film  before  mentioned  is,  on  leaving  the 
water,  to  be  floated  or  deposited  with  the  collodion  side  upper- 
most, and  after  draining  it  is  to  be  pressed  between  two  sheets 
of  blotting-paper,  and,  when  nearly  dry,  a thin  coat  of  fat  or  lean 
spirit  of  turpentine  is  applied  with  a flat  brush  ; it  is  then  dried 
in  the  air  or  by  a gentle  heat.  The  photograph  now  presents  the 
appearance  of  an  ordinary  paper  print,  except  that  it  has  not 
the  same  tint.  When  dry  it  is  coloured  by  any  known  or  suitable 
process,  and  with  the  ordinary  ceramic  colours,  for  example, 
and  allowed  to  evaporate  afresh  either  in  the  open  air  or  at  a 
gentle  heat.  It  now  only  remains  to  transfer  the  photo- 
graph to  the  surface  to  be  ornamented,  for  which  purpose 
the  surface  is  first  heated  and  then  receives  a coat  of 
the  fat  spirit  of  turpentine  at  the  part  where  the  photograph 
is  to  be  applied.  After  the  turpentine  has  set  the  photo- 
graph is  applied  thereon  with  heat  and  made  to  well  adhere 
at  all  parts,  after  which  the  paper  can  be  readily  peeled  off. 
The  article  is  then  dried  well  and  fired  in  an  ordinary  muffle. 
The  operation  may  also  be  effected  in  the  following  manner  : — 
A photograph  is  produced  like  those  for  enamels  by  known 
means,  and  is  developed  with  oxides,  as  before  mentioned. 
The  plate  is  then  coated  with  ordinary  normal  collodion  at  one 
per  cent,  without  the  addition  of  any  flux.  After  careful  wash- 
ing the  photograph  is  transferred  to  paper  in  the  manner  before 
described,  and  then  coloured,  after  which  it  is  applied  upon 
the  surface  to  be  decorated.  After  thoroughly  drying  the  latter 
at  a q uick  fire  so  as  to  completely  evaporate  the  spirit  the 
following  composition  is  poured  on  it : — The  flux  adapted  to  the 
colour  is  first  ground  fine  with  fat  spirits  of  turpentine  as  before, 
and  then  mixed  with  normal  collodion  at  one  per  cent,  to  which 
is  added  a little  glycerine,  according  to  the  season,  the  whole 
being  next  filtered.  The  above  composition  is  poured  on  to 
the  print,  so  as  to  cover  the  whole  uniformly.  The  spirit  is 
then  evaporated  by  heat,  and  the  article  fired  in  an  ordinary 
muffle.  Grisailles  and  cameos  may  be  produced  by  either  of 
the  above  processes,  but  instead  of  transferring  them  upon  paper 
they  are  deposited  directly  upon  the  surface  to  be  decorated 
with  the  collodion  underneath,  after  lightly  coating  said  sur- 
face with  gelatine.  When  the  whole  is  well  dried,  I pour 
on  the  flux  combination  above  described,  allowing  the 
excess  to  drain  off.  The  same  process  may  be  applied  to 
gold,  platinum,  and  silver,  by  applying  their  fluxes  in  the  manner 
above  indicated,  and  proceeding  under  the  same  conditions. 
It  will  be  readily  understood  that  the  fluxes  distributed  in  this 
manner  are  both  in  quantity  and  quality  adapted  to  the 
quantity  of  colour  or  metal  employed  to  produce  the  photo- 
graphic picture,  and  that  the  development  of  the  colour  and  the 
glazing  should  in  all  cases  be  effected  with  the  most  perfect 
delicacy  and  regularity.  The  above  processes  enable  the 
verifiable  colours  of  commerce  to  be  employed  without  causing 
any  loss  of  flux  as  in  ordinary  photographic  operations  of  the 
kind  hitherto.  Having  described  the  nature  of  the  invention 
and  the  manner  of  performing  the  same,  I declare  that  what  I 
claim  as  the  invention  to  be  protected  by  the  hereinbefore  in 
part  recited  Letters  Patent  is, — 1st.  The  process  of  producing 
coloured  photographs  upon  porcelain  and  earthenware  by  the 
application  of  the  photograph  developed  as  herein  described  over 
the  colours,  so  as  to  cover  and  modulate  the  same,  substantially 
as  described.  2nd.  In  the  herein  described  process  of  producing 
coloured  photographs  upon  porcelain  and  earthenware,  the 
employment  of  fluxes  adapted  to  the  colours  as  specified. 
3rd.  The  means  herein  described,  whereby  a regular  develop- 
ment of  the  colour  and  a homogeneous  glaze  are  obtained  4th. 
The  application  and  employment  of  the  sensitized  compound 
herein  described. 

Patents  Granted  in  France. 

149,533.  PiNEL-PEScnARDiERE,  of  Paris,  for  “ Improvements  in 
relief  photography.” — Dated  13th  June,  1582.  Class  17. 
149,549.  Chabriez,  of  Laon,  for  “Unalterable  graphic  repro- 
ductions.”— Dated  15th  June,  1882.  Class  18. 

Patent  Granted  in  Germany. 

20,821.  W.  Kurtz,  of  New  York,  for  “Improvements  in  photo- 
graphy.”— Dated  30th  July,  1882.  Class  57. 


January  5,  1883. 


THE  PHOTOGRAPHIC  NEWS. 


11 


A MECHANICAL  AID  IN  DEVELOPING. 

BY  H.  MANNERS. 

All  workers  of  dry  plates  know  how  plates  stick  to 
the  bottom  of  the  developing  and  washing  trays 
and  hooks  and  other  things  of  the  same  kind  for  lifting 
are  of  little  use.  The  following  will  enable  the  plates 
to  be  lifted  with  easo  and  certainty.  In  your  trays  (say 
10  by  10)  have  two  small  holes  drilled  about  one-eighth 
of  an  inch  from  top,  one  on  each  side,  about  one  inch  from 
the  end.  Pass  a piece  of  strong  linen  thread  or  fine  twine 
through  hole  on  the  side  and  tie  it.  Measure  down  side 
and  along  bottom  of  tray,  and  pass  out  of  th  e hole  on  the 
opposite  side,  and  to  this  end  of  thread  fasten  a small 
boot-button.  When  plate  is  in  tray  the  thread  passes 
underneath  one  end  of  it,  and  by  giving  the  button  a 
pull  the  thread  tightens,  and  lifts  the  plate  up  so  that  it 
may  be  easily  laid  hold  of  with  the  other  hand.  This 
will  be  found  very  handy  to  many. 


PHOTOGRAPHING  THE  CORONA.* 

Problems  of  the  highest  interest  in  the  physics  of  our  sun  are 
connected,  doubtless,  with  the  varying  forms  which  the  coronal 
light  is  known  to  assume  ; but  these  would  seem  to  admit  of 
solution  only  on  the  condition  of  its  beiDg  possible  to  study  the 
corona  continuously,  and  so  to  be  able  to  confront  its  changes 
with  the  other  variable  phenomena  which  the  sun  presents. 
“ Unless  some  means  be  found,”  says  Professor  C-  A.  Young, 
“ for  bringing  out  the  structures  round  the  sun  which  are  hidden 
by  the  glare  of  our  atmosphere,  the  progress  of  our  knowledge 
must  be  very  slow,  for  the  corona  is  visible  only  about  eight 
days  in  a century,  in  the  aggregate,  and  then  only  over  narrow 
stripes  on  the  earth’s  surface,  and  but  from  one  to  five  minutes 
at  a time  by  any  one  observer  ” ( The  Sun,  p.  239). 

The  spectroscopic  method  of  viewing  the  solar  prominences 
fails,  because  a large  part  of  the  coronal  light  gives  a continuous 
spectrum.  The  successful  photograph  of  the  spectrum  of  corona 
taken  in  Egypt,  with  an  instrument  provided  with  a slit,  under 
the  superintendence  of  Professor  Schuster  during  the  solar 
eclipse  of  May  17,  1882,  shows  that  the  coronal  light,  as  a 
whole — that  is,  the  part  which  gives  a continuous  spectrum,  as 
well  as  the  other  part  of  the  light  which  may  be  resolved  into 
bright  lines — is  very  strong  in  the  region  of  the  spectrum  extend- 
ing from  about  G to  H.  It  appeared  to  me,  therefore,  very 
probable  that,  by  making  exclusive  use  of  this  portion  of  the 
spectrum,  it  might  be  possible,  under  certain  conditions,  about 
to  be  described,  to  photograph  the  corona  without  an  eclipse. 

In  the  years  1866-68  I tried  screens  of  coloured  glasses  and 
other  absorptive  media,  by  which  I was  able  to  isolate  certain 
portions  of  the  spectrum  with  the  hope  of  seeing  directly,  with- 
out the  use  of  the  prism,  the  solar  prominences  ( Monthly  Notices, 
vol.  xxviii.  p.  88,  and  vol.  xxix.  p.  4).  I was  unsuccessful,  for 
the  reason  that  I was  not  able  by  any  glasses  or  other  media  to 
isolate  so  very  restricted  a portion  of  the  spectrum  as  is  repre- 
sented by  a bright  line.  This  cause  of  unsuitableDess  of  this 
method  for  the  prominences  which  give  bright  lines  only,  re- 
commends it  as  very  promising  for  the  corona.  If  by  screens  of 
coloured  glass  or  other  absorptive  media  the  region  of  the  spec- 
trum between  G and  H could  be  isolated,  then  the  coronal  light, 
which  is  here  very  strong,  would  have  to  contend  only  with  a 
similar  range  of  refrangibility  of  the  light  scattered  from  the 
terrestrial  atmosphere.  It  appeared  to  me  by  no  means  im- 
probable that  under  these  conditions  the  corona  would  be  able 
so  far  to  hold  its  own  against  the  atmospheric  glare,  that  the 
parts  of  the  sky  immediately  about  the  sun  where  the  corona 
was  present  would  be  in  a sensible  degree  brighter  than  the 
adjoining  parts  where  the  atmospheric  light  alone  was  present. 
It  was  obvious,  however,  that  in  our  climate  and  low  down  on 
the  earth’s  surface,  even  with  the  aid  of  suitable  screens,  the 
addition  of  the  coronal  light  behind  would  be  able  to  increase 
but  in  a very  small  degree  the  illumination  of  the  sky  at  those 
places  where  it  was  present.  There  was  also  a serious  drawback 
from  the  circumstance  that,  although  this  region  of  the  spec- 
trum falls  just  within  the  range  of  vision,  the  sensitiveness  of 

'“On  a Method  of  Photographing  the  Solar  Corona  without  an  Eclipse.” 
Paper  read  at  the  Royal  Society  by  William  Huggins,  D.C.L.,  LL.D., 
F.R.S.,  December  21. 


the  eye  for  very  small  differences  of  illumination  in  this  region 
near  its  limit  of  power  is  much  less  than  in  more  favourable 
parts  of  the  spectrum— at  least  such  is  the  case  with  my  own 
eyes.  There  was  also  another  consideration  of  importance.  The 
corona  is  an  object  of  very  complex  form,  and  full  of  details  de- 
pending on  small  differences  of  illumination,  so  that  even  if  it 
could  be  glimpsed  by  the  eye,  it  could  scarcely  be  expected  that 
observations  of  a sufficiently  precise  character  could  be  made  to 
permit  of  the  detection  of  the  more  ordinary  changes  which  are 
doubtlessly  taking  place  in  it. 

These  considerations  induced  me  not  to  attempt  eye-observa- 
tions, but  from  the  first  to  use  photography,  which  possesses 
extreme  sensitiveness  in  the  discrimination  of  minute  differences 
of  illumination,  and  also  the  enormous  advantage  of  furnishing 
a permanent  record  from  an  instantaneous  exposure  of  the  most 
complex  forms.  I have  satisfied  myself  by  some  laboratory  ex- 
periments that,  under  suitable  conditions  of  exposure  and  deve- 
lopment, a photographic  plate  can  be  made  to  record  minute 
differences  of  illumination  existing  in  different  parts  of  a bright 
object,  such  as  a sheet  of  drawing  paper,  which  are  so  subtle  as 
to  be  at  the  very  limit  of  the  power  of  recognition  of  a trained 
eye,  and  even,  as  it  appeared  to  me,  those  which  surpass  that 
limit. 

My  first  attempts  at  photographing  the  corona  were  made 
with  photographic  lenses  ; but  uncertainty  as  to  the  state  of 
correction  of  their  chromatic  aberration  for  this  part  of  the 
spectrum,  as  well  as  some  other  probable  sources  of  error  which 
I wished  to  avoid,  led  me  to  make  use  of  a reflecting  telescope  of 
the  Newtonian  form.  The  telescope  is  by  Short,  with  speculum 
of  6 inches  diameter,  and  about  31  feet  focal  length.  A small 
photographic  camera  was  fastened  on  the  side  of  the  telescope 
tube,  and  the  image  of  the  sun  after  reflection  by  the  small 
plane  speculum  was  brought  to  focus  on  the  ground  glass.  The 
absorptive  media  were  placed  immediately  in  front  of  the  sensi- 
tive film,  as  in  that  position  they  would  produce  the  least  optical 
disturbance.  Before  the  end  of  the  telescope  was  fixed  a 
shutter  of  adjustable  rapidity,  which  reduced  the  aperture  to 
two  inches.  This  was  connected  with  the  telescope  tube  by  a 
short  tube  of  black  velvet,  for  the  purpose  of  preventing  vibra- 
tions from  the  moving  shutter  reaching  the  telescope.  On 
account  of  the  shortness  of  exposures  it  was  not  necessary  to 
give  motion  to  the  telescope. 

It  was  now  necessary  to  find  an  absorptive  medium  which 
would  limit  the  light  received  by  the  plate  to  the  portion  of  the 
spectrum  from  about  G to  H.  There  is  a violet  (pot)  glass 
made,  which  practically  does  this.  I had  a number  of  pieces  of 
this  glass  ground  and  polished  on  the  surfaces.  Three  or  four  of 
these  could  be  used  together,  castor-oil  being  placed  between  the 
pieces  to  diminish  the  reflection  of  light  at  their  surfaces.  Some 
inconvenience  was  found  from  small  imperfections  within  the 
glass,  and  it  would  be  desirable  in  any  future  experiments  to 
have  a larger  supply  of  this  glass,  from  which  more  perfect  pieces 
might  be  selected. 

In  my  later  experiments  I used  a strong  and  newly-made 
solution  of  potassic  permanganate,  in  a glass  cell  with  carefully 
polished  sides.  This  may  be  considered  as  restricting  the  light 
to  the  desired  range  of  wave-length,  since  light  transmitted  by 
this  substance  in  the  less  refrangible  parts  of  the  spectrum  does 
not  affect  the  photographic  plates. 

Different  times  of  exposure  were  given,  from  so  short  an  ex- 
posure that  the  sun  itself  was  rightly  exposed,  to  much  more 
prolonged  exposures,  in  which  not  only  the  sun  itself  was  photo- 
graphically reversed,  but  also  the  part  of  the  plates  extending  for 
a little  distance  from  the  sun’s  limb. 

Gelatine  plates  were  used,  which  were  backed  with  a solution 
of  asphaltum  in  benzole. 

After  several  trials  I satisfied  myself  that  an  appearance 
peculiarly  coronal  in  its  outline  and  character  was  to  be  seen  in 
all  the  plates.  I was,  however,  very  desirous  of  trying  some 
modifications  of  the  methods  described,  with  the  hope  of  ob- 
taining a photographic  image  of  the  corona  of  greater  distinct- 
ness, in  consequence  of  being  in  more  marked  contrast  with  the 
atmospheric  illumination . 

Our  climate  is  very  unpropitious  for  such  observations,  as  very 
few  intervals,  even  of  short  duration,  occur  in  which  the  atmo- 
spheric glare  immediately  about  the  sun  is  not  very  great. 
Under  these  circumstances  I think  it  is  advisable  to  describe 
the  results  I have  obtained  without  further  delay. 

The  investigation  was  commenced  at  the  end  of  May  of  last 
year,  and  the  photographs  were  obtained  between  June  and 
September  28. 


12 


THE  PHOTOGRAPHIC  HEWS, 


f January  5,  1883, 


The  plates  which  were  successful  are  twenty  in  number.  In 
all  these  the  coronal  form  appears  to  be  present.  This  appear- 
ance dees  not  consist  simply  of  increased  photographic  action 
immediately  about  the  sun,  but  of  distinct  coronal  forms  and 
rays  admitting  in  the  best  plates  of  measurement  and  drawing 
from  them.  This  agreement  in  plates  taken  on  different  days 
with  different  absorptive  media  interposed,  and  with  the  sun  in 
different  parts  of  the  field,  together  with  other  necessary  pre- 
cautions observed,  makes  it  evident  that  we  have  not  to  do  with 
any  instrumental  effect. 

The  plates  taken  with  very  short  exposures  show  the  inner 
corona  only,  but  its  outline  can  be  distinctly  traced  when  the 
plates  are  examined  under  suitable  illumination.  When  the  ex- 
posure was  increased,  the  inner  corona  is  lost  in  the  outer  corona, 
which  shows  the  distinctly  curved  rays  and  rifts  peculiar  to  it. 

In  the  plates  which  were  exposed  for  a longer  time,  not  only 
the  sun  but  the  corona  also  is  photographically  reversed,  and  in 
these  plates,  having  the  appearance  of  a positive,  the  white 
reversed  portion  of  the  corona  is  more  readily  distinguished  and 
followed  in  its  irregularly  sinuous  outline  than  is  the  case  in 
those  plates  where  the  sun  only  is  reversed,  and  the  corona 
appears,  as  in  a negative,  dark. 

Professor  Stokes  was  kind  enough  to  allow  me  to  send  the 
originals  to  Cambridge  for  his  examination,  and  I have  his  per- 
mission to  give  the  following  words  from  a letter  I received 
from  him  : “ The  appearance  is  certainly  very  corona-like,  and  I 
am  disposed  to  think  it  probable  that  it  is  really  due  to  the 
corona.” 

Professor  Stokes’  opinion  was  formed  from  the  appearance  on 
the  plates  alone,  without  any  knowledge  of  their  orientation, 
and  without  the  means  of  comparing  them  with  the  eclipse 
plates  taken  on  May  17. 

I have  since  been  allowed,  through  the  kindness  of  Captain 
Abney,  to  compare  my  plates  with  those  taken  of  the  corona  in 
Egypt  during  the  eclipse  of  May  last.  Though  the  corona  is 
undergoing  doubtless  continual  changes,  there  is  reason  to 
believe  that  the  main  features  would  not  have  suffered  much 
alteration  between  May  17  and  September  28,  when  the  last  of 
my  plates  was  taken.  This  comparison  seems  to  leave  no  doubt 
that  the  object  photographed  on  my  plate  is  the  corona.  The 
more  prominent  features  of  the  outer  corona  correspond  in 
form  and  general  orientation,  and  the  inner  corona,  which  is 
more  uniform  in  height  and  definite  in  outline,  is  also  very 
similar  in  my  plates  to  its  appearance  in  those  taken  during  the 
eclipse. 

Measures  of  the  average  height  of  the  outer  and  of  the  inner 
corona  in  relation  to  the  diameter  of  the  sun’s  image  are  the 
same  in  the  eclipse  plates  as  they  are  in  my  plates  taken  here. 

There  remains  little  doubt  that  by  the  method  described  in 
this  paper,  under  better  conditions  of  climate,  and  especially  at 
considerable  elevations,  the  corona  may  be  successfully  photo- 
graphed from  day  to  day  with  a definiteness  which  would  allow 
of  the  study  of  the  changes  which  are  doubtlessly  always  going 
on  in  it.  By  an  adjustment  of  the  times  of  exposure,  the  inner 
or  the  outer  corona  could  be  obtained  as  might  be  desired.  It 
may  be  that  by  a somewhat  greater  restriction  of  the  range  of 
refrangibility  of  the  light  which  is  allowed  to  reach  the  plate,  a 
still  better  result  may  be  obtained. 

Plates  might  be  prepared  sensitive  to  a limited  range  of  light ; 
but  the  rapid  falling  off  of  the  coronal  light  about  H would 
make  it  undesirable  to  endeavour  to  do  without  an  absorptive 
screen.  Lenses  properly  corrected  might  be  employed,  but  my 
experience  shows  that  excessive  caution  would  have  to  be  taken 
in  respect  of  absolute  cleanness  of  the  surfaces  and  of  some 
other  points.  There  might  be  some  advantage  in  intercepting 
the  direct  light  of  the  sun  itself  by  placing  an  opaque  disc  of  the 
size  of  the  sun’s  image  upon  the  front  surface  of  the  absorptive 
screen.  Though  for  the  reasons  I have  already  stated  I did  not 
attempt  eye-observations,  there  seems  no  reason  why,  with 
suitable  screens,  and  under  suitable  atmospheric  conditions, 
the  corona  should  not  be  studied  directly  by  the  eye.  There 
might  be  some  advantages  in  supplementing  the  photographic 
records  by  direct  eye-observations.  I regret  that  the  very  few 
occasions  on  which  it  has  been  possible  to  observe  the  sun,  has 
put  it  out  of  my  power  to  make  further  experiments  in  these 
and  some  other  obvious  directions. 

P-S. — [I  have  Capt.  Abney’s  permission  to  add  the  following 
letter  this  day  received  from  him  “ A careful  examination  of 
your  series  of  sun-photographs,  taken  with  absorbing  media 
convinces  me  that  your  claim  to  having  secured  photographs  of 
the  corona  with  an  uneclipsed  sun  is  fully  established.  A 


comparison  of  your  photographs  with  those  obtained  during  the 
eclipse  which  took  place  in  May  last  shows  not  only  that  the 
general  features  are  the  same,  but  also  that  details,  such  as  rifts 
and  streamers,  have  the  same  position  and  form.  If  in  your 
case  the  coronal  appearances  be  due  to  instrumental  causes,  I 
take  it  that  the  eclipse  photographs  are  equally  untrustworthy, 
and  that  my  lens  and  your  reflector  have  the  same  optical 
defects.  I think  that  evidence  by  means  of  photography  of  the 
existence  of  a corona  at  all  is  as  clearly  shown  in  the  one  case  as 
in  the  other.” — December  15,  1882.] 


DARK  SLIDES  AND  MULTIPLYING  BOXES. 

We  have  beeu  favoured  by  the  Editor  of  Anthony's  Bulletin 
with  the  following  account  of  the  legal  proceedings  in 
America  relating  to  dark  slides  and  multiplying  boxes. 
The  subject  is  of  interest  apart  from  its  law  aspect,  since 
it  gives  us  a very  good  history  of  the  apparatus  for  years 
past,  and  no  doubt  many  of  our  readers  will  be  both  sur- 
prised and  amused  at  some  of  the  claims  that  are  put 
forward. 

In  old  Daguerreotype  times,  asearly  as  March,  1846,  the  desira- 
bility and  necessity  of  taking  two  or  more  pictures  upon  one 
plate  by  successive  exposures  was  recognized  and  practised.  The 
first  person  known  to  have  adopted  this  practice  was  Mr.  William 
A.  Pratt,  in  1840,  Alexandria,  Ga.  According  to  the  evidence 
adduced  on  the  trial  of  the  suit  of  Southworth  and  Wing  against 
E.  and  H.  T.  Anthony  and  Co.,  it  was  proved  that  a large 
number  of  persons  followed  this  practice,  using  different  devices. 

Mr.  Pratt’s  device  or  apparatus  consisted  of  a mechanism  by 
which  a sensitive  plate  was  movable  inside  of  a frame  into  four 
positions  opposite  an  aperture  through  which  the  pictures  were 
taken.  The  apparatus  patented  by  Southworth  and  Haines  was 
a duplicate  (April  10,  1855)  of  that  of  Pratt,  excepting  that  he 
added  a little  block  working  on  a hinge  and  attached  to  the  out- 
side frame,  by  means  of  which  he  partially  guided  and  held  in 
proper  position  (opposite  the  aperture)  the  movable  plate.  This 
was  the  position  of  things  until  the  practice  of  making  small 
pictures  to  be  attached  to  visiting  cards  was  initiated  in  Paris 
and  called  carte-de-visite  pictures.  We  do  not  know  what  exact 
device  for  multiplying  these  pictures  was  used  in  France,  but  the 
first  person  to  get  up  an  apparatus  for  the  purpose  different  from 
that  of  Southworth  was  Mr.  A.  Semmendinger,  February  21st, 
1860,  who  obtained  a patent  for  making  successive  pictures  upon 
a single  plate  by  pushing  a plate  held  in  an  ordinary  plate  shield 
horizontally  into  different  positions  opposite  the  aperture  through 
which  the  lens  acted.  In  this  way  a series  of  negatives  was 
taken  upon  one  side  of  the  plate  ; to  get  auother  series  the  shield 
was  closed,  withdrawn  from  the  box,  turned  over  vertically,  and, 
the  same  operation  being  repeated,  a similar  series  of  negatives 
was  obtained  on  the  other  portion  of  the  plate.  The  number  of 
negatives  which  could  thus  be  taken  was  practically  only  limited 
by  the  length  of  the  plate.  The  introduction  of  this  apparatus 
gave  a great  impetus  to  taking  small  portraits,  and  very  soon 
apparatus  was  contrived  for  making  prints  suitable  to  be  put  on 
a mount  of  the  size  of  an  ordinary  visiting-card.  As  the  appa- 
ratus used  for  this  purpose  was  more  effective  than  that  patented 
by  Southworth,  he  surrended  his  original  patent  and  obtained  a 
re-issue  September  25th,  I860.  The  claim  on  this  re-issuc  was  as 
follows  : “ What  I claim  as  my  invention  and  desire  to  secure  by 
letter-patent,  is  bringing  the  different  portions  of  the  same  plate 
or  several  smaller  plates  successively  into  the  field  of  the  lens  of 
the  camera  substantially  in  the  manner  and  for  the  purpose 
specified.” 

This  claim  evidently  covered  any  and  all  modes  of  moving  the 
plate. 

Having  secured  this  re-issue  Messrs.  Southworth  and  Wing 
began  to  construct  new  apparatus  and  to  license  photographers 
to  use  it,  and  it  was  not  long  before  suit  was  brought  for 
infringements.  A suit  brought  against  Richardson  having  been 
decided  in  favour  of  the  patent  gave  the  patentees  full  swing, 
and  the  profession  generally  were  laid  uuder  contribution. 
Under  that  decision  we  purchased  a licence  for  using  the  slidieg 
plate-shield,  and  advised  the  profession  that  the  patent  had  been 
sustained,  and  that  although  we  did  not  admit  the  validity  of  the 
re-issue,  it  was  necessary  to  obey  the  decree  of  the  Court.  As  a 
great  many  persons  did  not  wish  to  pay  the  charges  and  use  the 
machine  sold  by  Wing,  apparatus  was  made  to  be  used  with 
groups  of  lenses,  so  that  a number  of  pictures  might  be  made 


January  5,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


13 


on  the  same  plate  without  sliding  the  shield.  This  state 
things  continued  until  the  decision  of  J udge  Nelson  in  the  case 
of  Wing  against  Schoonmaker.  This  case  was  decided  against 
Wing.  Appeal  was  made  to  the  Supreme  Court  of  the  United 
States,  which  being  equally  divided  left  the  decision  of  the 
lower  Court  still  binding. 

The  wav  was  now  left  open  for  manufacturers  of  photographic 
apparatus  to  make  multiplying  cameras,  and  we  as  well  as  others 
made  and  sold  them. 

Southworth  and  Wing,  however,  declined  to  accept  Judge 
Nelson’s  decision  as  final,  and  after  time  some  opened  their 
batteries  against  us.  Their  first  movement  was  to  call  upon  us 
and  demand  of  us  the  name  of  every  person  to  whom  we  had  sold  a 
multiplying  camera  ; this  we  declined  to  furnish  them,  and  we 
were  shortly  after  served  with  notice  of  suit  for  infringement  of 
patent. 

Their  counsel  was  Mr.  John  S.  Abbott,  of  Boston  ; while 
Messrs.  Keller  and  Blake,  of  New  York,  acted  for  us.  Messrs. 
Southwood  and  Wing  acted  as  experts  for  themselves  ; while  we, 
probably  quite  as  expert  as  either  of  these  gentlemen,  preferred 
to  avail  ourselves  of  the  services  of  a perfectly  unprejudiced  and 
disinterested  person.  Professor  Henry  Morton,  of  the  Hoboken 
Technological  Institute,  was  the  gentleman  selected.  His 
knowledge  of  the  whole  subject  involved,  both  theoretical  and 
practical,  at  once  paralyzed  all  the  efforts  of  the  complainants 
to  disparage  and  refute  the  evidence  of  the  defendant*,  and  also 
acted  as  a perfect  charm  in  meeting  and  rendering  useless  the 
many  insidious  sophistries  by  which  the  complainants  sought  to 
upset  the  evidence  against  them.  After  we  had  established 
incontrovertibly  that  Mr.  Pratt  had  as  early  as  May,  1846,  used 
a device  of  the  same  general  construction  as  that  patented  by 
Southworth,  for  taking  four  pictures  on  the  same  plate,  their 
counsel  saw  that  their  case  was  lost  unless  their  could  success- 
fully attack  and  nullify  Pratt’s  evidence.  The  course  taken  by 
them  for  this  purpose  was  characterized  by  the  insidious 
sophistries  alluded  to  above.  It  involved  the  preparation  on 
their  part  of  a large  number  of  drawings  as  exhibits,  and  a deal 
of  evidence  on  their  part  as  experts,  all  of  which  was  completely 
shattered  by  Professor  Morton  by  their  own  exhibits.  The 
result  of  all  this  attempt  to  break  down  the.  evidence  of  Mr. 
Pratt  was,  that  it  fell  entirely  unheeded  by  the  Judge,  who  saw 
through  the  attempt  to  befog  the  case,  and  rendered  his  decision 
without  allusion  to  it. 

The  decision  of  the  Judge,  Mr.  Hoyt  H.  Wheeler,  was  given 
purely  upon  the  original  patent,  and  was  that  the  only  iuvention 
of  Southworth  and  Wing  was  the  little  hinged  block  attached  to 
his  frame  ; and  as  the  defendants  did  not  use  such  block,  judg- 
ment must  be  entered  in  their  favour. 

The  complainants  appealed  from  this  decision  to  the  Supreme 
Court  of  the  United  States.  Judge  Wheeler’s  decision  was  given 
in  October,  1877,  and  in  October,  1882,  we  received  notice  that 
the  appeal  would  be  argued  in  about  one  week.  Not  having 
suspected  that  the  case  would  be  brought  up  again,  and  our 
former  counsel,  Mr.  Blake,  having  iu  the  meantime  died,  we 
were  at  a moment’s  notice  obliged  to  engage  new  counsel.  Mr. 
E.  R.  Wetmore,  of  New  York,  although  altogether  unfamiliar 
with  the  case,  very  kindly  consented  to  appear  for  us.  Not  a 
moment  was  to  be  lost,  and  Mr.  Wetmore,  aware  of  this,  threw 
everything  else  aside,  applied  himself  day  and  night  to  the 
study  of  the  case,  and  when  the  time  to  appear  arrived  he  was 
on  hand  with  his  brief,  perfect  master  of  all  the  points.  His 
argument,  fortified  as  it  was  by  pmple  evidence  and  working 
models,  was  perfectly  conclusive  of  the  case.  The  court,  how- 
ever, confined  itself  merely  to  the  question  of  the  validity  of  the 
re-issue,  as  will  be  seen  by  the  following  very  clear  and  con- 
vincing opinion : 

SUPREME  COURT  OF  THE  UNITED  STATES. 

No  G7. — October  Ter  n,  1882. 

Simon  Wing,  Albert  S.  Southworth,  1 Appeal  from  the  Circuit 

and  Marcus  Ormsbee,  Appellants,  | Court  of  the  United 
vs.  J.  States  for  the  Southern 

Edward  Anthony,  Henry  T.  | District  of  New  York. 

Anthony,  and  Vincent  M.  Wilcox.  J 

Statement  of  the  Case. 

This  was  a bill  in  equity  to  restrain  the  infringement  by  the 
defendants  of  re-issued  letters-patent  dated  September  25,  1860, 
granted  to  Albert  S.  Southworth,  for  certain  improvements  in 
taking  photographic  impressions.  The  original  letters  patent 
were  dated  April  10,  1855,  the  re-issue  September  25,  1860. 

The  answer  of  the  defendants  denied  the  novelty  and  the 


utility  of  the  invention,  denied  infringement,  and  alleged  that 
the  invention  described  in  the  re-issue  patent  was  not  the  same 
invention  described  in  the  original  patent. 

The  circuit  court  upon  final  hearing  dismissed  the  bill.  To 
obtain  a review  of  this  decree  the  complainants  have  appealed  to 
this  court. 

It  appears  from  the  evidence  in  this  case  and  is  a matter  of 
general  knowledge,  that  a camera  is  the  principal  instrument 
used  in  taking  photographic  pictures.  This  is  a rectangular, 
oblong  box,  in  one  end  of  which  is  inserted  a tube  containing  a 
double  convex  lens,  while  at  the  other  end  is  a plate-holder, 
immediately  in  front  of  which  is  a sliding  shield.  A plate  of 
glass  receives  in  a dark  room  a chemical  preparation  which 
renders  it  sensitive  to  the  action  of  light.  The  plate  is  then 
put  into  the  plate-holder  at  the  end  of  the  camera  opposite  the 
lens,  the  (slide  of  the)  shield  in  front  of  the  plate  is  withdrawn, 
and  the  rays  of  light  passing  through  the  lens  from  an  object 
suitably  placed  in  front  of  it  fall  upon  the  plate  and  produce 
there  an  image  of  the  object.  This  is  then  perfected  by  certain 
other  chemical  processes,  and  is  called  a negative,  and  from  it 
many  copies  may  be  printed.  Thus  photographic  pictures  are 
produced. 

The  camera  should  be  so  arranged  with  relation  to  the  object 
to  be  pictured  that  a right  line  drawn  from  the  centre  of  the 
object  will  pass  directly  through  the  axis  of  the  lens  and  fall 
upon  the  plate  at  right  angles.  In  this  manner  the  best  pic- 
tures are  obtained.  If  this  method  is  not  followed  the  picture 
will  be  distorted  and  otherwise  imperfect. 

It  is  conceded  that  prior  to  the  date  of  South  worth’s  invention 
this  object  was  accomplished  by  tilting  the  camera  itself  into 
different  positions  with  respect  to  the  object  to  be  pictured,  and 
in  this  manner  bringing  the  centre  of  the  field  of  the  lens  upon 
different  parts  of  the  plate. 

Complainants  contend  that  prior  to  Southworth 's  invention 
only  one  correct  picture  could  be  taken  on  the  same  plate,  except 
in  the  manner  just  stated.  The  object  of  the  invention  covered 
by  his  original  patent  was  to  provide  efficient  means  by  which 
several  correct  pictures  could  be  taken  on  different  parts  of  the 
same  plate. 

In  the  specification  of  his  original  patent  he  declares  his 
invention  to  be  “ a new  and  useful  plate- holder  for  cameras  for 
my  taking  photographic  impressions,’’  and  says  : “ The  object  of 
invention  is  to  bring  in  rapid  succession  different  portions  of  the 
same  plate,  or  different  plates  of  whatsoever  material  prepared 
for  photographic  purposes,  into  the  centre  of  the  field  of  the  lens, 
for  the  purpose  of  either  timing  them  differently,  that  the  most 
perfect  may  be  selected,  or  of  taking  different  views  of  the  same 
object  with  the  least  delay  possible,  or  of  taking  stereoscopic 
pictures  upon  the  same  or  different  plates  with  one  camera.” 
He  then  declares:  “ My  invention  consists  of  a peculiarly- 
arranged  frame  in  which  the  plate-holder  is  permitted  to  slide, 
by  which  means  I am  enabled  to  take  four  Daguerreotypes  on 
one  plate  and  at  one  sitting,  different  portions  of  the  plate  being 
brought  successively  opposite  an  opening  in  the  frame,  the 
opening  remaining  stationary  in  the  axis  of  the  camera  while  the 
plate-holder  and  plate  are  moved.” 

The  specification  here  proceeds  to  describe  minutely  the 
frame-holder  by  which  the  object  of  the  invention  is  accom- 
plished. 

The  claim  of  the  original  patent  is  as  follows  : 

“ What  I claim  as  my  invention  and  desire  to  secure  by  letters- 
patent  is  the  within  described  plate-holder  in  combination  with 
the  frame  in  which  it  moves,  constructed  and  operated  in  the 
manner  and  for  the  purpose  substantially  as  herein  set  forth.” 

The  specification  of  the  re-issued  patent  contains  the  follow- 
ing passages,  which  do  not  appear  in  the  original  specification  ; 
“ I have  invented  certain  improvements  in  taking  photographic 
impressions.” 

“ In  taking  Daguerreotypes,  photographs,  &c.,  it  has  been 
customary  to  use  a separate  plate  for  each  impression,  the  plate 
being  removed  from  the  camera  and  replaced  by  another,  when 
several  impressions  of  the  same  object  were  to  be  taken,  as  in 
multiplying  copies,  or  for  the  purpose  of  selecting  the  best-timed 
pictures.  This  caused  considerable  delay  and  trouble,  to  obviate 
which  is  the  object  of  my  present  invention,  which  consists  iu 
bringing  successively  different  portions  of  the  same  plate  or 
several  smaller  plates  secured  in  one  plate-holder  into  the  field 
of  the  lens  of  the  camera. 

“ In  carrying  out  my  invention  I have  made  use  of  a peculiarly 
arranged  frame,  in  which  the  plate-holder  is  permitted  to  slide, 
and  in  which  the  position  of  the  plate-holder  is  definitely  indi- 


14 


THE  PHOTOGRAPHIC  NEWS. 


cated  to  the  operator,  so  that  he  can  quickly  and  accurately  ad- 
just the  plate  or  plates,  the  accompanying  drawings  and  descrip- 
tion so  explaining  the  same  that  others  skilled  in  the  art  may 
understand  and  use  my  invention.” 

Then  follows  a description  of  the  plate-holder,  which  is 
identical  with  the  description  contained  in  the  original  specifica- 
tion, and  is  illustrated  by  the  same  drawings. 

The  re-issue  specification  further  declares  : “ In  this  case,  how- 
ever,” that  is,  when  it  is  desired  to  take  more  thau  four  impres- 
sions on  the  same  plate,  “ I use  suitable  grooves,  Stops,  or  indices, 
by  which  the  operator  adjusts  the  positions  of  the  plates  sub- 
stantially on  the  same  principle  that  he  uses  the  corners  of  the 
opening  K in  the  above-described  apparatus.  It  is  evident  that 
my  improvement  may  be  embodied  by  causing  the  lens  of  the 
camera  to  be  made  adjustable  in  different  positions  with  respect 
to  the  plate,  while  the  plate  remains  stationary,  so  that  different 
portions  of  the  plate  may  be  brought  into  the  field  of  the  lens. 
This  I have  tried,  but  do  not  consider  it  practically  to  be  so  good 
a plan  as  the  foregoing,  as  it  necessitates  a change  of  position  of 
the  camera  itself  or  of  the  objects.” 

The  claim  of  the  re-issued  patent  was  then  stated  as  follows  : — 
“What  I claim  as  my  invention  and  desire  to  secure  by  letters- 
patent,  is  bringing  the  different  portions  of  a single  plate,  or 
several  smaller  plates,  successively  into  the  field  of  the  lens  of 
the  camera,  substantially  in  the  manner  and  for  the  purpose 
specified.” 

Mr.  Justice  Woods  delivered  the  opinion  of  the  Court. 

It  is  manifest  that  the  reissued  patent  was  taken  out  for  the 
purpose  of  embracing  under  its  monopoly  what  was  not  included 
by  the  original  patent.  The  original  patent  was  not,  in  the 
language  of  the  statute,  “ inoperative  or  invalid  by  reason  of  a 
defective  or  insufficient  specification,  or  by  reason  of  the  patentee 
claiming  as  his  own  invention  or  discovery  more  than  he  had  a 
right  to  claim  as  new.” 

The  original  claim  was  for  a mechanism,  namely,  “ a plate - 
holder  in  combination  with  the  frame  in  which  it  moves,  con- 
structed and  operating  in  the  manner  and  for  the  purpose  ” set 
forth  in  the  specification.  The  claim  of  the  re-issued  patent  is 
plainly  for  a process,  namely,  “ the  bringing  of  the  different  por- 
tions of  a single  plate,  or  several  smaller  plates,  successively 
into  the  field  of  the  lens  of  the  camera,  substantially  in  the 
manner  and  for  the  purpose  specified.” 

This  claim  would  cover  any  mechanism  by  which  the  different 
parts  of  the  plate  could  be  brought  into  the  field  of  the  lens.  In 
fact,  the  specification  of  the  reissued  patent  suggests  a different 
contrivance,  namely,  the  causing  of  the  lens  of  the  camera  to  be 
made  adjustable  in  different  positions  with  respect  to  the  plate, 
while  the  plate  remains  stationary,  so  that  different  portions  of 
the  plate  may  be  brought  into  the  field  of  the  leas. 

It  is  quite  clear  that  the  original  patent  covers  a mechanism  to 
accomplish  a specific  result,  and  that  the  re-issued  patent  covers 
the  process  by  which  that  result  is  attained,  without  regard  to 
the  mechanism  used  to  accomplish  it.  The  re-issue  is,  therefore, 
much  broader  thau  the  original  patent,  and  covers  every  mecha- 
nism which  can  be  contrived  to  carry  on  the  process. 

In  the  case  of  Powder  Co.  v.  Powder  Works,  98  U.  S.,  126,  it 
was  held  by  this  court  that  when  original  letters  patent  were 
taken  out  for  a process,  the  re-issued  patent  would  not  cover  a 
composition  unless  it  were  the  result  of  the  process,  and  that  the 
invention  of  one  involved  the  invention  of  the  other. 

The  converse  of  this  proposition  was  decided  by  this  court  in 
the  case  of  James  v.  Campbell,  104  U S,  356.  In  that  case  the 
court  said  that  a patent  for  a process,  and  a patent  for  an 
implement  or  a machine  are  very  different  things,  and  decided  in 
substance  that  letters-patent  for  a machine  or  implement  can- 
not be  re-issued  for  the  purpose  of  claiming  the  process  of 
operating  that  class  of  machines,  because  if  the  claim  for  the 
process  is  anything  more  than  for  the  use  of  the  particular 
machine  patented,  it  is  for  a different  invention. 

To  the  same  effect  precisely  is  the  case  of  Heald  v.  Rice,  104 
U S,  737.  The  present  case  falls  within  the  rule  laid  down  in 
the  authorities  cited. 

Southworth’s  invention  as  described  in  his  original  patent 
must  be  limited  to  what  is  there  set  forth,  namely,  a mechauism 
for  bringing  successively  different  portions  of  the  plate  within 
the  field  of  the  len3.  He  did  not  discover  the  law  that  to  get 
the  best  effect  in  taking  pictures  the  plate,  or  part  of  the  plate 
on  which  the  picture  was  to  be  taken,  should  be  brought  into 
the  field  of  the  lens,  nor  did  he  invent  the  method  of  doing  this 
by  tdting  the  camera  itself  into  different  positions  with  respect 
to  the  object  to  be  pictured. 


[Januaby  5,  1883. 


This  law  was  known,  and  the  practice  mentioned  was  followed, 
long  before  Southworth’s  invention.  His  device  was  simply  a 
new  and  specific  means  to  take  advantage  of  a well-known  law 
of  nature.  In  his  re-issue,  by  claiming  as  his  invention  the 
process  of  bringing  different  parts  of  the  plate  successively  into 
the  field  of  the  lens,  he  seeks  to  put  himself  in  as  good  a position 
as  if  he  had  been  the  first  to  discover  tho  law  referred  to,  and 
the  first  to  invent  the  method  of  taking  advantage  of  the  law  by 
tilting  his  camera  into  different  positions.  In  claiming  the 
process  he  excludes  all  other  mechanisms  contrived  to  accomplish 
the  same  object.  This  he  could  not  rightfully  do. 

We  are  of  opinion  that  the  claim  of  the  re-issued  patent  is  for 
a different  invention  from  that  described  in  the  original  patent, 
and  that  the  re-issue  is  therefore  void. 

(Gill  v.  Wells,  22  Wall.,  1 ; The  Wood  Paper  Patent,  23 
Wall.,  566  ; Powder  Co.  v.  Powder  Works,  98  U.  S.,  126  ; Ball 
v.  Langley,  128;  Miller  v.  Brass  Co.,  100  U.  S.,  350;  Janes 
v.  Canbell,  Id.,  356  ; Heald  v.  Rice,  Id.,  737  ; Johnson  v.  The 
Flushing  and  North  Side  Railroad  Co.,  105  U.  S ; Bantz  v. 
Frantz,  105  Id.) 

The  decree  of  the  circuit  court  must  be  affirmed. 

True  copy. 

Test:  James  H.  McKesnt, 

Clerk  tup.  Court  U.  S. 

It  will  thus  be  seen  that  this  re-issued  patent  has  been  three 
times  condemned,  and  each  time  on  different  points.  1st.  Judge 
Wilson  decided  on  a want  of  novelty  ; 2nd,  Judge  Wheeler 
decided  that  there  was  no  infringement,  and  the  Supreme  Court 
goes  to  the  root  of  the  matter  and  decides  the  re-issue  invalid. 


MR.  McKEAN’S  DEVELOPER. 

Deak  Sib, — 1 have  tried  Mr.  McKean’s  developer,  in 
which  he  employs  bicarbonate  of  soda  in  place  of  a solu- 
ble bromide,  read  before  the  Edinburgh  Society,  and 
printed  in  your  issue  of  the  15th  ult.,  and  I am  very  happy 
to  bear  testimony  to  its  efficiency  ; the  formula  he  men- 
tions gives  a bright  and  clear  negative,  and  very  rapidly, 
too.  My  experiment  was  made  with  plates  exposed  in 
dull  weather,  and  so  well  did  I succeed,  that  I think  it 
only  right  to  say  a word  in  its  praise. — Faithfully  yours, 

F.  D. 


THE  COUNCIL  ELECTION. 

Sir, — In  connection  with  the  approaching  candidature 
of  the  several  gentlemen  who  are  to  be  put  forward  as 
candidates  for  seats  at  the  Council  of  the  Photographic 
Society,  I would  suggest  that,  besides  the  mere  names, 
their  addresses  and  date  of  entry  should  be  given ; and 
also  whether  they  are  professional  photographers  or  not. 
The  omission  of  this  last  fact  prevents  many  amateurs,  of 
whom  the  Society  i3  so  largely  composed,  from  taking 
sufficient  interest  in  the  matter  as  to  vote. 

In  connection  with  this,  also,  I would  remark  that 
eleven  out  of  seventeen  members  of  council  seems  a large 
proportion  for  professional  photographers,  or  those  con- 
nected in  a business  way  with  photography — larger,  I 
believe,  than  is  to  be  found  in  any  other  photographic 
society,  and  much  larger  than  it  was  a few  years  ago  in 
the  Society  itself. — Yours,  &c.,  . A.  Z. 

THE  PHOTOGRAPHIC  CLUB. 

Dear  Sir, — In  the  list  of  officers  of  the  Photographic 
Club,  published  in  the  \rEAR-BooK  ok  Photography,  Mr. 
C.  G.  Cutchey,  G2,  Gracechurch  Street,  is  represented  as 
Hon.  Sec.  This  gentleman  has  had  nothing  to  do  with 
the  management  of  the  Club  for  a long  time,  the  duties  of 
Hon.  Sec.  having  devolved  upon  myself.  I shall  therefore 
feel  obliged  if  you  will  give  this  correction  a corner  in 
your  next  issue,  and  oblige, — Yours  faithfully, 

Edward  Dexmore, 

Hon.  Sec.  and  Treasurer  Photographic  Club. 


January  5,  1883.J 


THE  PHOTOGRAPHIC  NEWS 


15 


PHOTOGRAPHING  THE  TRANSIT. 

Dear  Sir,— I promised  to  send  you  an  account  of  the 
manner  in  which  I photographed  the  “ Transit  of  Venus.” 
I do  not  claim  to  have  discovered  any  new  principle  or 
arrangement,  but  merely  a novel  application  of  the  old 
arrangement  of  the  solar  microscope,  or  common  tele- 
scope ; but  instead  of  the  single  lenses  usually  employed, 
I substituted  two  portrait  lenses  iu  the  following  simple 
manner.  I covered  a small  window  with  a dark  cloth, 
making  a hole  just  large  enough  to  admit  the  tube  of  my 
“rapid  symmetrical;”  and  then  focussing  with  a small 
portrait  lens  upon  the  image  of  the  sun  so  produced,  I 
obtained  at  a distance  of  about  six  feet  an  image  of  the 
sun’s  disc  enlarged  to  nearly  two  inches  in  diameter,  on 
my  gelatine  plate,  which  was  supported  on  an  easel. 

I am  not  acquainted  with  the  means  practised  at  the 
Observatory  for  photographing  the  heavenly  bodies,  but  I 
imagine  they  use  reflecting  telescopes  in  conjunction 
with  a camera,  which,  doubtless,  would  give  a more  per- 
fect picture. 

The  above  simple  arrangement  occurred  to  me  some 
fifteen  years  ago,  as  a means  by  which  life-size  portraits 
might  be  taken  direct  from  life ; and,  although  I gave  up 
the  project  at  the  time,  on  account  of  the  length  of  exposure 
required  with  the  old  silver  bath,  I think  that  with  our 
present  rapid  plates,  and  two  or  more  suitable  lenses,  the 
thing  would  be  thoroughly  practicable.  Of  course,  for  a 
bright  object  like  the  sun,  the  exposure  was  only  the 
fraction  of  a second,  the  central  rays  only  being  made 
use  of,  so  that  the  two  ordinary  lenses  I employed  were 
all-sufficient ; but  in  the  case  of  taking  portraits,  it  would 
require  a very  large  lens,  with  a short  focus,  in  the  front, 
and  a small  short  focus  lens  to  magnify  the  object  with. 

I throw  out  these  few  hints  with jthe  hope  that  some 
photographer  possessing  such  lenses  will  try  and  construct 
a compound  camera,  which  would  be  of  some  use  to  the 
profession,  as  I suppose  most  persons  will  agree  with  me, 
that  a life-size  head  and  bust,  possessing  all  the  sharpness 
and  definiteness  of  a small  portrait,  without  the  coarse- 
ness and  defects  attending  enlargements,  would  be  a boon 
indeed,— Yours,  &c.,  J.  Joyner. 


iMrwbingg  oi  Somtita. 

London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  Thursday,  the  28th  ult.,  Mr.  W.  Coles 
in  the  chair, 

Mr.  A.  Haddon  read  a paper  entitled  “ Green  Fog  a Silver 
Compound  ” (see  page  7). 

At  the  commencement  of  the  reading  of  Jhe  paper,  a bad 
sample  of  green  fog  had  been  placed  in  chlorine  water  by 
Mr.  Hart,  and,  at  the  end  of  Mr.  Haddon’s  remarks  (about 
fifteen  minutes)  it  was  found  to  be  converted  into  chloride  of 
silver,  the  whole  of  the  red  stain  being  gone. 

The  Chairman  had  noticed  that  plates  giving  green  fog  would, 
if  forced,  give  red  fog,  which  he  regarded  as  an  aggravation  of 
the  former  complaint. 

Mr.  Henderson  had  made  some  experimental  exposures  (on  a 
statue  lighted  by  the  electric  light,  with  a pin-hole),  the  distance 
of  the  lamp  from  the  statue  being  5 feet  9 inches ; camera,  5 feet 
3 inches ; distance  of  focussing  glass  fromlpin-holo,  about 
3?  inches.  He  made  six  expos  ires,  giving  20,  30,  45,  GO,  7 5, 
aud  120  seconds  respectively.  He  developed  those  which  ’received 
45  and  GO  seconds  with  ordinary  pyrogallic  and  bromide  solutions, 
and  obtained  no  green  fog ; those  which  received  20  aud  30 
seconis  he  developed  with  ferrous  oxalate,  allowing  them  to 
remain  in  tho  solution  about  one  hour,  and  obtained  green  fog  • 
the  plate  exposed  for  20  seconds  was  fairly  exposed,  but  showed 
little  definition.  Having  a very  dcn«e  negative,  he  had  treated  it 
with  the  following  solution  ^ ounce  of  ozone  bleach,  20  ounces 
of  water  saturated  with  chrome  alum  ; this  thoroughly  bleached 
the  negative-  He  then  pouredjin  a solution  of  bichloride  of  mcr- 
cary,  audjollowed  up  with  lime  water,  the  result  being  a splendid 
printing  negative. 


Mr.  Hart  mentioned  some  Eastern  negatives  which,  after  ten 
days’  printing,  gave  no  details  in  the  high-lights,  but,  by  the 
careful  use  of  cyanide  and  iodine  solution,  they  had  been  reduced, 
so  that  capital  prints  had  been  obtained  from  them. 


SUiIk  in  ^tubin. 

Photographic  Society  of  Great  Btitain. — The  next  ordin- 
ary meeting  of  this  Society  will  take  place  on  Tuesday  next, 
January  9th,  at  8 p.m.,  at  the  Gallery,  5a,  Pall  Mall  East, 
when  papers  will  be  read  by  Mr.  C.  Ray  Woods,  on  “ Latitude 
in  Exposure,”  and  by  Mr.  William  Peek,  on  “ Expression  Photo- 
graphs.” 

Imitation  of  Glycerine. — A fraudulent  substitute  for 
glycerine  has  been  introduced  into  the  French  market.  The 
ordinary  physical  character  of  the  liquid  closely  resembles  a fine 
specimen  of  glycerine  ; it,  however,  has  a bitter  taste,  due  to  an 
impure  sulphate  of  magnesium,  and  contains  glucose.  Quan- 
titative analysis  showed  that  the  preparation  was  simply  a 
saturated  solution  of  sulphate  of  magnesium,  or  Epsom  salts, 
with  1G0  grammes  of  glucose  to  the  litre  disguise  the  taste  of  the 
salt. — Professor  Lujoux  in  the  Union  Medicate  et  Scientijique. 
What  the  Photographer  Said. — 

“ Sit  right  there.  ” 

“ Move  over  a little.” 

“ A little  more  to  the  left.” 

“ Ah  ! that's  too  much.” 

“ Hold  your  chin  up.” 

“ Look  about  there.” 

“JDrop  your  left  hand.” 

“ Put  your  feet  a little  closer  together.” 

“ Let  me  brush  the  hairs  off  your  shoulder.’’ 

“ I must  fix  your  head  again.” 

“ Now  let  me  see.” 

“ Drop  your  right  shoulder  a trifle.” 

“ That’s  good.  Now  lower  your  chin.” 

“ Now  look  as  pleasant  as  yon  can.” 

“ That  right  foot  is  out  too  much.” 

“Look  out  for  your  chin.  There— just  so.” 

“ Now  you  are  all  right.  Let  me  see.” 

“ Now  think  of  something  funny.” 

“ Guess  you’d  better  look  at  this  photograph . Keep  your 
eyes  wide  open,  and  wink  as  often  as  you  like.” 

“There!  that’ll  do.  No — your  chin  is  too  high.  Down — 
down — that’s  it.” 

“Now  smile.” 

“ That’s  it.” 

“ Chest  out.” 

“ Shoulders  up.” 

“ Drop  your  hand.” 

“Once  more  now— smile.” 

“ There  !” 

“ Well,  this  is  a pretty  fair  picture,  hut  I guess  you’d  better  sit 
again.  It  looks  blurry  around  the  eyes.” — American  Paper. 

Photographing  the  First  Baby.— The  “ first  ” is  a wonder- 
ful institution.  It  is  a marvel.  It  is  the  most  beautiful  object 
in  creation  ! Its  temper  is  angelic.  It  never  gives  the  slightest 
trouble.  Of  course  it  has  its  “ little  ways  ’’—ways  that  keep  the 
household  in  a perpetual  fever  ; but,  then,  it  never  gives  the 
slightest  trouble.  What  eyes  ! What  a mouth  ! What  dim- 
ples ! What  exquisitely  formed  hands ! What  a statesman’s 
head  ! The  future  president  must  be  handed  down  to  posterity 
iu  this  his  earliest  infancy.  A full-length  oil  portrait  is  longed 
for,  but  this  class  of  art  is  expensive  ; besides,  in  the  by-and-by, 
a grateful  nation  will  present  the  full-length  with  the  usual 
honours.  The  faithful  photograph  must  suffice— a cabinet 
photograph  of  the  dear  little  dumpling  duck  of  a darling. 
Manifold  are  the  preparations  for  this  important  event.  The 
weather  is  watched  with  the  eye  of  Old  Probabilities,  and  one  fine 
sunshiny  morning  the  expectant  and  excited  party  set  forth  for 
the  photographer’s  gallery,  baby  in  the  highest  possible  spirits. 
Ai  rived  in  the  glare  of  the  glass-case,  the  first  baby  immediately 
begins  to  quarrel  and  fret  and  look  less  beautiful  than  usual, 
although  he  is  all  dressed  up  in  his  best  clothes.  He  wants 
things  that  he  sees  in  the  photographer’s  show-case,  and  not 
obtaining  them,  begins  loudly  to  protest.  He  lefuses  to  yield  to 
pacificatory  blandishments,  and  “ keecher-keecher-keecher  ” 
fails  to  soothe.  At  last  his  turn  comes.  The  mother  wants  him 


16 


THE  PHOTOGRAPHIC  NEWS. 


(_ January  5,  1883, 


in  a certain  position.  The  photographer  doesn’t  approve  of  that 
position,  and  the  baby  won’t  have  it.  Finally,  a compromise  is 
effected.  The  photographer  jingles  a bell,  clucks  likes  a hen, 
and  raps  with  a stick  all  at  once,  hoping  thereby  to  attract  the 
attention  of  the  first  baby ; but  when  the  picture  comes  out 
there  are  found  three  or  four  impressions  overlying  each  other  like 
the  scales  of  a fish.  A second  sitting  is  taken,  and  the  photo- 
grapher steeps  his  soul  in  pur  jury  by  telling  the  infant  that  if  he 
will  hold  still,  a white  mouse  will  run  out  of  the  camera.  The 
result  of  this  is  a picture,  slightly  shaky,  with  the  mouth  open. 
A third  picture  is  attempted,  when,  at  the  critical  moment,  the 
baby  Bets  up  a prolonged  howl.  Thus  are  the  rosy  hours  be- 
guiled. After  a weary  and  despairing  time  the  first  baby  is 
photographed  ; the  happy  and  anxious  parents  being  crazy  for  a 
peep  at  the  negative,  which  the  bland  professor  exhibits  under 
mild  protest.  When  the  copies  reach  home  there  is  rapture. 
Of  course  they  are  not  within  miles  of  baby’s  beau  ty,  but  then 
there  is  an  undeniable  likeness.  The  grand-parents  receive 
copies,  also  the  nearest  kinsfolk,  and  the  first  baby  becomes 
installed  in  albums  all  over  the  country,  cheek  by  jowl  with 
other  first  babies,  the  resemblance  between  the  darlings  to  the 
unitiated  eye  being  passing  strange. — Frank  Leslie's  Illustrated 
Newspaper. 


Geo.  B . — No  respectable  firm  would  lend  itself  to  such  a 

practice,  and  the  best  thing  you  can  do  is  to  retuin  everything, 
and  to  enclose  a note  declining  any  further  correspondence. 

Engraver. — The  addition  of  benzole  serves  to  expedite  the  solu- 
tion of  the  unaltered  bitumen,  but  if  too  freely  used  may 
endanger  the  entirety  of  the  fine  lines.  2.  A strong  solution  of 
bichloride  of  platinum  in  alcohol. 

C.  T. — It  is  at  best  but  a clumsy  contrivance,  and  is  calculated  to 
waste  far  more  time  and  material  than  corresponds  to  the  value 
of  the  usual  thing.  Still,  if  you  feel  a personal  pride  in  working 
under  difficulties,  continue  to  use  it,  by  all  means. 

George  Blades. — Not  unless  some  means  are  taken  to  neutralize 
the  acid  as  it  forms.  Perhaps  Captain  Abney’s  method  of 
leaving  a rhomb  of  Iceland  spar  in  the  vessel  might  answer 
well. 

Printer. — The  thin  film  of  india-rubber  slowly  oxidizes,  and 
loses  its  tenacity.  Use  thin  and  fresh  glue. 


NOW  READY,  price  1/-,  per  post  1/3, 


THE 

of  |V[jotcrgntj)irir 


$0 


AND 

PHOTOGRAPHIC  NEWS  ALMANAC, 


*#*  We  cannot  undertake  to  return  rejected  communications. 

%*  Contributors’  Copies  of  Year-Book. — There  aro  several 
contributors  to  our  Year-Book  who  have  not  yet  received  copies, 
owing  to  the  circumstance  that  we  have  not  their  addresses.  The 
publishers  will  be  glad  to  hear  of  any  omission  of  this  nature,  in 
order  that  it  maybe  rectified  as  soon  as  possible. 

J.  T.  Sleemav. — The  presence  of  some  substance  capable  of  taking 
up  the  free  haloid  body  is  absolutely  essential. 

H.  Pointer. — The  case  is  very  simple,  as  you  have  only  to  send 
the  goods  back,  and  sue  in  the  County  Court  for  the  amount  paid. 
Of  course  it  is  assumed  that  you  are  in  a position  to  satisfactorily 
prove  your  view  of  the  case. 

W.  W.  B. — The  proper  chalks  can  be  obtained  from  any  artists’ 
colourman,  and  you  can  mix  the  shades  by  means  of  a roll  of  soft 
rag  bound  round  with  string. 

J.  S.  M. — 1.  Only  for  the  double  transfer  process.  2.  We  have 
used  it  after  more  than  a month,  but,  as  a general  rule,  the  sooner 
it  is  exposed  and  developed  the  better.  3.  Yes ; but  if  you  sensi- 
tise it  yourself,  hang  it  up  in  a warm  room  to  dry.  4.  It  may 
vary  between  five  minutes  and  as  many  hours. 

F.  Stanley. — Thanks. 

Subscriber. — 1.  The  Autotype  Manual,  published  by  the  Autotype 
Company,  will  give  you  all  the  information  you  require. 

William  Birrell. — Nothing  is  made  which  will  fulfil  all  the 
conditions  you  require ; but  a regulator  suitable  for  all  ordinary 
work  can  be  obtained  from  Boiker,  of  Maiden  Lane,  or  other 
dealer  in  scientific  apparatus. 

A.  Cary  Eleves.—  The  fact  of  a blue  colour  being  produced  shows 
that  either  the  ferri-cyanide  contained  ferro-cyanide,  or  a ferrous 
salt  was  present.  The  coating  and  drying  must  be  carried  out  in 
the  dark  room. 

Amicus. — Yes. 

S.  II. — 1.  There  is  a drawing  of  it  in  the  Year-Book.  2.  It  will 
copy  well  up  to  about  5 by  4,  and  serve  to  enlarge  from  this  size 
to  any  dimensions.  3.  They  are  rather  expensive,  but  may 
occasionally  be  had  second-hand. 

Thomas  Billings. — Photographic  cabinet  work  should  always  be 
thoroughly  covered  with  a protective  layer  of  French  polish 
(shellac),  or  it  will  be  extremely  liable  to  be  thrown  out  of  working 
gear  by  the  absorption  of  moisture  from  the  atmosphere.  Mr. 
Foxlee’s  suggestion  to  soak  wooden  articles  in  melted  paraffine 
waxis  a very  valuable  one,  as  a much  more  complete  protection  is 
afforded  than  by  the  use  of  French  polish.  A paraffined  deal  bath, 
such  as  that  which  the  above  mentioned  gentleman  exhibited  at 
one  of  the  technical  meetings,  is  much  to  be  preferred  to  ebonite. 

S.  R.  R. — The  fault  certainly  rests  witli  yourself,  as  it  is  im- 
possible to  imagine  that  all  six  manufacturers  of  plates  have 
entered  into  an  offensive  alliance  against  you.  Give  us  a 
detailed  description  of  your  mode  of  working,  and  we  will  try  to 
suggest  the  source  of  failure. 

Daviu  Wigan. — All  the  information  you  require  will  be  given 
in  the  next  number  of  the  News. 

Gloucester. — Oil  colours  should  be  used,  but  avoid  the  use  of  an 
undue  proportion  of  turpentine. 

Lambert  Aldridge. — The  information  you  send  is  too  vague  to 
enable  us  to  give  you  the  romotest  estimate  of  its  value,  as  it 
may  range  from  nothing  to  several  hundred  pounds, 


FOE,  1883. 

Edited  by  H.  BADEN  PRITCHARD,  F.C.S., 

Late  Hon.  Secretary  of  the  Photographic  Society  of  Great  Britain. 


WITH  PORTRAITS  OF  SIR  CHARLES  WHEATSTONE 
AND  MR.  W.  B.  WOODBURY. 


The  Year-Book  for  1883  is  essentially  practical 

and  contains  Working  details  of  all  the  most  impor- 
tant photographic  processes.  It  also  contains  : 

STANDARD  FORMULAE,  corrected  and  enlarged. 

JOTTINGS,  useful  and  interesting. 

EVERYDAY  EXPERIENCES. 

The  PHOTOGRAPHIC  LENS,  its  Birth  and  History. 

The  COLLOTYPE  PROCESS  IN  PRACTICE. 

DARK  ROOMS  and  their  Construction. 

GELATINE  EMULSION  for  Professional  and 
Amateur  Photographers. 

Practical  Details  of  Daguerreotype,  Collodion,  Platino- 
type,  Iron  Printing,  Silver  Printing,  Carbon 
Printing,  Photo-Lithography,  &c. 

A List  of  all  PHOTOGRAPHIC  SOCIETIES  and 
JOURNALS  in  the  world,  corrected  to  date. 

Original  Articles  by  the  most  eminent  Photographers 
of  the  day. 

Photographic  Poisons  and  their  Antidotes. 

Illustrated  with  Numerous  Wood-cuts. 


PIPER  & CARTER,  5,  Castle  Street,  Holborn,  E.C. 


THE 


PH 


PHIO 


Vol.  XXYI1.  antiary  12,  1883. 


HEWS, 


CONTENTS. 


page 


Coating  Plates  wita  Gelatine  Emulsion 17 

Investigations  of  Cellulose,  and  on  an  Oxidation  Product 

Derived  from  it  18 

A New  Organic  Substance  Sensitive  to  Light  19 

lijr-the-Bye.—  Judging  Pictures  at  Exhibitions  20 

On  the  Rowland  Diffraction  Grating,  llv  Captain  TV.  de  W. 

Abney,  R.E.,  F.R.S 21 

Notes 24 

Patent  Intclligenoo  25 

French  Correspondence.  By  Leon  Vtdai 26  1 


PAGE 


Review  26 

Notes  on  Photography.  By  E.  Howard  Farmer  27 

Photographic  Exhibition  in  Brussels  28 

Stiffening  or  Animalising  Vegetable  Tissues  by  Chromatised 

Gelatine.  By  J.  Wolff 29 

Improvements  in’  Letter-Copying 29 

Correspondence  30 

Proceedings  of  Societies 3Q 

Talk  in  the  Studio 31 

To  Correspondents 32 


COATING  PLATES  WITH  GELATINE  EMULSION. 

First  Article. 

Whilst  the  number  of  amateur  photographers  is  rapidly 
on  the  increase,  it  is  probable  that  the  number  of  those 
who  manufacture  their  own  plates  becomes  steadily  less. 
It  is  certain  that  even  if  the  aggregate  number  does  not 
decrease,  the  percentage  does.  The  same  probably  holds 
good  of  professional  photographers.  What  is  the  reason 
of  this?  Are  photographers  less  of  enthusiasts  than  they 
were  of  yore?  Not  so,  we  believe.  Is  it  that  any  enor- 
mous difficulty  is  to  be  found  iu  the  manufacture  of  emul- 
sions ? No,  surely  not ; for  even  if  some  do  find  difficulty 
in  producing  emulsions  of  the  most  extreme  sensitiveness 
with  uniformity,  there  is  not  the  veriest  dabbler  but  can 
with  a reasonable  amount  of  care,  and  without  excessive 
expenditure  of  time,  produce  emulsions  of  excellent  quality 
and  of  a sensitiveness  sufficient  for  nine  out  of  ten  of  the 
purposes  to  which  dry  plates  are  applied.  He  can  make  the 
emulsion,  w e say  ; but  how  about  the  plates  ? It  is  here  the 
difficulty  comes  in.  But  half  the  battle  is  over  when  the 
emulsion  has  gone  through  the  final  process  of  filtering. 
Plates  have  to  be  coated  and  dried.  For  this,  special  appa- 
ratus is  necessary,  not  to  mention  much  room  to  place  it 
in,  and  no  inconsiderable  dexterity.  It  is  in  this  latter 
that  there  is  the  falling  off. 

During  the  days  of  collodion  a certain  amount  of  manual 
dexterity  was  necessary  before  even  the  poorest  results 
could  be  got.  Now  there  is  no  such  necessity.  To  place  a 
plate  in  a dish,  and  pour  the  developer  over  it,  requires 
little  manual  skill.  Judgment  may  be  necessary  now,  as 
before,  even  possibly  to  a greater  degree,  but  this  is  a quite 
different  affair,  consequently  the  manipulative  power  of 
the  average  photographer  has  fallen  off  greatly.  Add  to 
this  that  the  coating  and  drying  of  emulsion  plates,  at  all 
times  troublesome,  is  proportionately  more  difficult  the 
smaller  the  scale  on  which  operations  are  carried  on,  and 
we  will  no  longer  wouder  that  the  rising  generation  of 
photographers,  seeing  plates  of  excellent  quality  offered  at 
exceedingly  low  prices,  should  not  care  to  wrestle  with  the 
difficulties  which  they  would  encounter  did  they  determine 
to  manufacture  their  own  plates. 

Yet  there  is  a body  of  workers— by  no  means  inconsider- 
able— who,  from  love  of  experimental  investigation,  and 
for  the  sake  of  the  pleasure  they  gain  from  total  self- 
dependence,  do  continue  themselves  to  make  all  the  plates 
they  use.  Long  may  they  continue  to  do  so,  for  it  is  to 
these  that  we  have  to  look  for  advancement  now,  and  at 
all  times.  To  such  it  may  be  useful,  to  all  it  may  be 
interesting,  to  know  in  what  manner  plate-coating  is  con- 
ducted on  a large  scale  in  commercial  plate  factories. 

There  are  two  methods  iu  use— namely,  hand  coating, 
and  machine-coating.  The  former  is  that  generally 


adopted.  In  fact,  we  know  of  only  two  manufacturers 
who  coat  largely  by  machinery,  although,  of  course,  there 
may  be  more. 

The  first  object  iu  all  coating  is,  to  get  the  plate 
properly  cleaned,  and  to  have  an  emulsion  which  will  flow 
well. 

Glass  may  be  cleaned  in  any  of  the  usual  methods  to  get 
off  adhesive  dirt,  and  may  be  polished  afterwards  with 
moist  whitening,  or  auy  of  the  similar  pastes  used  for 
cleaning  glass.  Of  course  it  is  desirable  to  use  nothing 
which  will  have  an  action  on  emulsions,  although  the  paste 
ought  to  be  so  thoroughly  cleaned  off  that  there  would 
be  small  danger,  even  were  such  introduced. 

A3  all  who  have  experimented  even  to  a small  extent  iu 
emulsion  work  must  know,  there  is  a vast  difference  be- 
tween various  emulsions,  as  to  the  ease  with  which  they 
flow  when  poured  on  glass.  We  do  not  know  what  are 
all  the  factors  which  influence  this  quality,  nor  do  we 
suppose  that  they  have  been  investigated  by  anyone.  A 
good  emulsion  in  this  respect  may,  however,  always  be 
relied  upon  if  the  following  conditions  be  fulfilled.  A 
suitable  gelatine  must  be  used.  There  are  many  such  in 
the  market  now  specially  prepared  for  emulsion  work. 
Those  which  combine  to  the  greatest  extent  the  two 
properties  of  stiff  setting  and  absorbing  power  are  the 
best.  The  proportion  which  the  silver  haliod  bears  to  the 
gelatine  must  not  be  too  small.  An  emulsion  made  with 
a suitable  gelatine,  and  in  which  360  grains  of  gelatine 
have  beeu  used  to  400  grains  of  silver  nitrate,  will  generally 
produce  a well  flowing  emulsion.  The  emulsion  must  not 
be  too  much  diluted  with  water.  With  a hard  gelatine,  an 
ultimate  proportion  of  18  grains  of  gelatine  to  each  ounce 
of  emulsion  is  good.  Five  to  ten  per  cent,  of  alcohol 
must  be  added  to  the  emulsion.  Not  more  than  the  latter 
quautity  should  ou  any  account  be  used,  as  it  is  liable  to 
produce  a peculiarly  nou-absorbent  state  of  the  film, 
which  retards  development.  With  an  emulsion  containing 
30  per  cent,  of  alcohol  the  average  time  of  development 
may  be  increased  to  thirty  minutes.  This  is  a curious  and 
somewhat  inexplicable  fact,  seeing  that  plates  dried  with 
the  assistance  of  alcohol  do  not  exhibit  the  same 
peculiarity. 

With  an  emulsion  containing  the  proportions  of  gelatine, 
silver  salts,  water,  and  alcohol  which  we  have  described, 
it  is  necessary  to  coat  at  a pretty  high  temperature; 
120°  Fahr.  is  by  no  means  too  high.  Nor  should  the  plates 
themselves  be  too  cold  ; 60°  to  65°  is  a good  temperature 
for  the  coating  room,  levelling  slab,  and  plates. 

Iland-coating,  it  is  common  to  say,  is  performed  exactly 
in  the  same  manner  as  is  the  coating  of  plates  with  col- 
lodion. It  is  the  same,  inasmuch  as  emulsion  is  poured 
on  the  plate,  flowed  to  the  corners,  and  that  afterwards  a 
certain  amount  of  the  excess  is  poured  off  ; but  iu  reality 


18 


THE  PHOTOGRAPHIC  NEWS. 


[Jantjaey  12,  1883. 


the  operations  are  very  different.  The  coating  with  emul- 
sion is  by  far  the  more  difficult  operation  of  the  two,  but, 
on  the  other  hand,  the  knack  once  acquired,  it  may  be 
performed  with  far  greater  expedition.  In  the  case  of 
collodion,  the  plate  is  held  level ; a comparatively  small 
pool  of  the  fluid  is  poured  on  to  it.  The  plate  is  now 
slowly  tipped  slightly  to  one  corner,  and  afterwards 
gradually  to  each  of  the  other  three,  the  collodion  flowing 
steadily  in  the  desired  direction.  Then  the  plate  is  tipped 
slowly  up,  almost  to  the  vertical  position,  and  rocked, 
whilst  the  greater  portion  of  the  excess  of  collodion  is 
allowed  to  leave  it,  taking  its  own  time.  With  gelatine 
emulsion  the  operation  is  very  different.  The  plate  is 
held  level,  as  for  collodion.  A larger  pool,  however,  is 
poured  on  to  it ; in  fact,  more  than  half  the  area  ought  to 
be  covered. 

Quickly  the  plate  is  now  coated  over  to  one  corner  to  a 
much  less  extent  than  with  collodion.  In  fact,  the 
appearance  to  the  uninitiated  when  he  sees  a clever  coater 
working,  is  that  the  emulsion  is  jerked  to  each  of  the  four 
corners  of  the  plate,  so  quickly  is  it  done.  The  plate,  when 
it  is  flowed,  is  stopped  up  for  one  instant,  and  again  it 
seems  as  if  the  excess  were  almost  jerked  off.  A little 
rocking  of  the  plate  in  a nearly  horizontal  position,  to  re- 
move any  inequality  caused  by  the  tipping  up,  completes 
the  operation. 

The  fact  is,  that  the  object  to  be  attained  is  quite  diffe- 
rent in  the  two  cases.  What  is  desired  with  collodion  is 
to  make  such  a quantity  as  will  adhere  evenly  to  the  glass 
in  a vertical  position  ; in  fact,  to  evenly  wet  the  plate  with 
collodion.  What  is  needed  with  emulsion  is  to  cause  a 
certain  quantity,  much  more  than  that  required  to  wet  the 
plate,  to  spread  itself  evenly  over  the  plate. 

In  hand-coating  with  emulsion  it  is  necessary  to  pour 
the  excess  either  into  the  same  vessel  as  that  from  which 
itispoured  on  to  the  plate,  or  with  a different  one.  In  the 
former  case,  something  of  the  form  of  a teapot  is  always 
used,  so  that  air-bubbles  may  be  avoided.  Some  manipu- 
lators perform  the  whole  operation  over  a large  flat  dish, 
such  as  is  used  for  sensitizing  albumenized  paper  in.  This 
receives  both  excess  of  emulsion  and  accidental  spillings. 

To  one  not  accustomed  to  the  sight  of  practised  plate - 
coaters  at  work,  the  expedition  with  which  the  operation  is 
performed  appears  marvellous. 

The  plates  lie  in  a pile  generally  on  the  right  hand  side. 
One  is  picked  up  with  a pneumatic  holder  from  the  top  of 
the  pile.  The  emulsion  is  almost  dashed  into  it,  and,  with 
what  appears  but  a single  turn  of  the  wrist,  the  whole 
operation  is  finished,  and  the  plate  is  placed  on  the  level- 
ling slab. 

We  shall  in  a future  article  tell  what  we  know  of  mecha- 
nical coating,  and  shall  describe  the  operations  as  we  have 
seen  them  at  one  of  the  principal  dry  plate  manuf  actories 


INVESTIGATIONS  ON  CELLULOSE,  AND  ON  AN 
OXIDATION  PRODUCT  DERIVED  FROM  IT. 

In  the  current  number  of  the  Journal  of  the  Chemical  Society 
we  find  an  account  of  highly  important  investigations  on 
cellulose  by  Messrs.  Cross  and  Bevan  ; and  these  investiga- 
tions have  especial  interest  for  the  photographer,  a3  cellu- 
lose in  one  form  or  another  is  still  the  sample  material 
upon  which  the  photographic  image  is  formed. 

It  is  well  known  that  the  prolonged  action  of  nitric  acid 
on  cellulose  or  any  of  its  strict  analogues  leads  to  the  pro- 
duction of  oxalic  acid,  and  this  product  is  also  to  be  found 
among  the  products  resulting  from  the  spontaneous  oxida- 
tion of  the  various  kinds  of  pyroxyline. 

Messrs.  Cross  and  Bevan  find  that  when  the  action  of 
nitric  acid  is  arrested  at  a certain  point,  and  the  undissolved 
residue  is  washed  with  hot  water,  a gelatiuous  mass  is  ob- 
tained. and  this  is  the  crude  form  of  a new  oxidation  pro- 
duct, which  they  have  named  oxycellulose. 

Messrs,  Crossand  Bevan  say : “ lu  this  state  it  is  entirely 


soluble  in  dilute  alkalis,  and  is  precipitated  from  such  solu- 
tions unchanged  and  in  a form  resembling  pectic  acid,  on 
the  addition  of  acids,  as  also  of  alcohol,  saline  solutions,  or 
even  strong  solutions  of  the  caustic  alkalis.  Observations 
of  the  composition  of  these  precipitates  showed  that 
oxycellulose  does  not  form  compounds  with  bases,  or  at 
least  only  of  a very  weak  order,  the  substance  thrown 
down  by  alcohol  or  saline  solutions  retaining  only  traces  of 
inorganic  matter.  Specimens  of  oxycellulose  obtained 
from  various  sources  and  purified  in  d fferent  ways  were 
analysed,  after  drying  at  110°,  with  the  following  results  : — 

“ (a.)  Prepared  from  cotton,  dissolved  in  NaOH,  precipi- 
tated with  BaCl2,  and  washed. 

“ (5.)  Prepared  from  jute,  dissolved  in  NaOH,  precipi- 
tated by  IICl,  and  washed. 

“ (c.)  Prepared  from  jute,  dissolved  in  NaOH,  precipi- 
tated by  HC1,  and  washed. 

“ ((/■)  Prepared  from  pith  of  Aralia  papyrifera,  analysed 
directly  after  tvashing. 


C ... 
*11  ... 
O ... 


a.  b.  c. 

...  43  16  43  52  43-32 
...  5-20  5-36  5 50 

...  51-64  51  12  51-18 


Calc,  for 
d.  C18Hs6016, 
43-23  43-40 
551  5-22 

51-26  51-38 


“ Oxycellulose  dissolves  in  concentrated  sulphuric  acid 
with  a pink  colour  ; the  dissolved  body,  when  isolated,  is 
found  to  be  dextrorotatory,  and  otherwise  similar  in  proper- 
ties to  ordinary  dextrin.  The  freshly-prepared  oxycellu- 
lose is  not  coloured  by  iodine  or  by  Schulze’s  solution,  but 
the  horny  mass  to  which  it  dries  is  coloured  deep  blue  by 
the  latter.  These  facts  establish  the  cellulosic  character  of 
oxycellulose.” 

A tri-nitro-derivative  of  oxycellulose  was  obtained,  a 
circumstance  of  extreme  interest,  as  indicating  that  the 
main  nucleus  of  the  original  body  is  not  altered  by  partial 
oxidation,  and  although  the  description  of  the  new  body  is 
brief  in  the  extreme,  we  hope  that  full  particulars  as  to 
its  properties  may  shortly  be  published.  The  following 
are  all  the  details  given  : — 

“ The  ‘ nitro  ’-body  was  prepared  in  the  following  way  : — 
The  gelatinous  oxycellulose  wa3  washed  with  strong  nitric 
acid  until  free  from  water,  and  was  then  diffused  through 
a mixture  of  equal  volumes  of  strong  sulphuric  and  nitric 
acids,  in  which  it  quickly  dissolved.  The  solution,  after 
standing  for  about  an  hour,  was  poured  in  a fine  stream 
into  a large  volume  of  water,  by  which  the  ‘ nitro  ’-body 
was  precipitated  as  a white  flocculent  mass.  The  product, 
after  drying  at  110°,  was  analysed  according  to  Eder’s 
method  (Her.,  13,  169),  with  the  following  result  — 
0-2342  gram  gave  25  20  c.c.  NO  at  770  mm.  and  19-4°  C. 

Percentage  of  N.  Calc,  for  ClalLiO,s3(NO.) 

6-48  6-63 


Either  Messrs.  Cross  and  Bevan  do  not  thoroughly 
appreciate  the  industrial  value  and  technological  import- 
ance of  their  work,  or  they  prefer  not  to  discuss  its  bearing 
on  manufacturing  process  ; but  they  refer  in  the  following 
terms  to  their  iuteution  of  carrying  out  further  investiga- 
tions. 

“ We  have  commenced  the  study  of  the  oxidation  of 
cellulose,  in  presence  of  alkali,  by  means  of  perman- 
ganate ; and  in  addition  to  products  of  low  molecular 
weight,  we  have  obtained  a ho  ly  exhibiting  the  character- 
ist  c properties  of  metapectic  acid,  a result  which  is  in 
confirmation  of  the  above  hypothesis.”! 

1 he  various  forms  of  pyroxyline  have  a very  consider- 
able importance,  and  passing  over  the  use  of  gun-cotton 
for  war-like  purposes,  we  find  that  most  industries  in 
which  pyroxyline  is  largely  used  are  subject  to  uncertain- 
ties and  difficulties  which  crop  up  at  extremely  inconve- 


• Allowing  for  ash. 

t We  think  it  worthy  of  record  that  in  a second  determination  by  this 
method,  with  a larger  quantity  of  substance  (0  801  gram),  when  about  80  per 
cent,  ol  the  total  NO  had  been  expelled,  the  flask  containing  the  boiliug 
ferrous  sulphate  solution  was  shattered,  with  a violent  explosion. 

t Comp.  11.  Muller,  “ Ptlanzenfaser,”  p.  13, 


THE  PHOTOGRAPHIC  NEWS 


19 


Jaotaby  12,  1883.] 


nient  times ; and  to  illustrate  this  we  need  only  refer  to 
the  manufacture  of  celluloid,  parkesine,  and  similar  sub- 
stances, and  then  discuss  in  detail  the  photographic 
aspects  of  the  question.  There  can  be  no  doubt  that  col- 
lodion emulsion  has  been  made  with  nearly,  or  perhaps 
^uite,  all  the  good  qualities  of  the  best  samples  of  gelatine 
emulsion  a3  now  made ; but  up  to  the  present  time  the 
production  of  such  collodion  emulsions  has  rather  been  a 
matter  of  chance  than  of  certainty.  The  variable  element 
in  the  making  of  emulsion  has  been  fully  recognised  to  be 
the  pyroxyline,  and  only  the  other  day  an  old  collodio- 
emulsionist,  who  has  gone  over  to  the  newer  gelatine, 
opened  a cupboard  crammed  full  of  packages  of  pyroxy- 
line, and  observed  to  us,  “ Yes,  certainly ; gelatine  is 
variable  to  a certain  extent;  but  if  you  want  trouble, 
uncertainty,  sleepless  nights,  and  failures,  intermixed  with 
just  enough  successes  to  lead  you  on,  take  these  in  hand.” 

Observations  which  we  have  made  when  working  with 
pyroxyline  convince  us  that  most,  if  not  all,  samples  of 
photographic  soluble  cotton  contain  at  least  one  of  Cross 
and  Bevan’s  new  bodies ; and  an  experiment  which  we 
have  just  made  with  several  samples  in  our  possession 
showed  the  presence  of  a body  soluble  in  alkalis  and 
thrown  down  by  acids.  It  is  to  be  hoped  that  Messrs. 
Cross  and  Bevan  will  collect  samples  of  pyroxyline  manu- 
factured for  photographic  use,  and  for  the  manufacture  of 
celluloid-like  bodies ; and  institute  researches  in  order  to 
find  how  far  their  special  characters  may  depend  on  the 
presence  of  their  newly  discovered  compounds.  No  doubt 
our  readers  could  furnish  a collection  of  samples  which 
would  materially  assist  in  an  investigation  of  this  character. 

A nother  matter  which  naturally  suggests  itself  in  rela- 
tion with  this  subject,  is  a study  of  the  decomposition 
products  of  the  various  kinds  of  nitro-cellulose. 

At  the  instigation  of  Messrs.  Cross  and  Bevan,  experi- 
ments have  been  undertaken  by  Mr.  C.  S.  Webster  on  the 
diagnosis  of  plant  fibres,  and  we  abstract  the  following  par- 
ticulars from  the  same  number  of  the  Journal  of  the  Chemical 
Society. 

The  following  fibres,  taken  from  the  Museum  at  Kew 
Gardens,  were  experimented  with  : — 

“ Fibro-vascular  Bundles  of  Monocotyledonous  Plants. — 
Agave  Americana,  Yucca  gloriosa,  Ananassa  sativa  (pine 
apple),  Musa  Paradisiaca  (Manilla),  Phormium  tenax 
(New  Zealand  flax). 

“ Bast  Fibres  of  Dicotyledonous  Plants. — Boehmeria  puya, 
Urtica  heterophylla  (Nilgherry  nettle),  Crotalaria  juncea 
(Sunn),  Hibiscus  strictus,  Linum  usitatissimum  (flax), 
Corchorus  capsularis  (jute).” 

And  reagents  were  found  to  act  as  follows  : — 

“ A mmonio- copper  Reagent. — These  fibres,  without  excep- 
tion, dissolve  more  or  less  rapidly  in  contact  with  metallic 
copper  and  strong  ammonia.  The  conflicting  impressions 
which  prevail  on  this  point  are  doubtless  referable  to  the 
employment  of  this  reagent  in  its  several  forms,  and  to  the 
widely  different  activities  of  these. 

“ Nitric  Acid  (in  presence  of  sulphuric  acid). 

“The  substance  of  all  the  above  fibres  is  converted  by 
the  action  of  the  usual  nitrating  mixture  into  so-called 
nitro-derivatives,  allied  to  the  pyroxylins. 

“In  the  case  of  thelignified  fibres,  the  reaction  is  accom- 
panied by  the  development  of  a mahogany-red  colour, 
which  on  washing  gives  place  to  the  bright  orange  of  the 
nitro-derivative  in  question. 

“ Sulphuric  Acid  (cone.) — The  fibres  of  Boehmeria  and 
Urtica  dissolve  to  colourless  solutions  ; the  solutions  of  the 
Others  are  more  or  less  dark  coloured. 

Chlorine  Gas. — Chlorine  substitution-derivatives  are 
obtained  from  the  fibre  substance  of  the  above  fibres,  with 
the  exception  of  the  Boehmeria,  Urtica,  and  Linum,  the 
derivatives  giving  in  all  cases  the  characteristic  colour- 
reaction  with  sodium  sulphite. 

“ Aniline  Sulphate. — The  solution  of  this  substance,  as 
also  of  the  soluble  aniline  colours,  is  a valuable  aid  iu 


diagnosing  the  fibres  in  regard  to  the  distribution  of  the 
lignification,  and  also  of  encrusting  substances.  Neither 
the  Boehmeria,  Urtica,  nor  Linum  gives  any  reaction  ; the 
Ananassa  is  coloured  a uniform  faint  greenish-yellow ; the 
Yucca  and  Agave  a pale  gold  ; Hibiscus  bright  yellow  and 
streaky ; Crotalaria  a pale  yellow  and  streaky  ; aud  Musa 
a bright  gold,  also  streaky. 

“ Aniline  Colours.—  As  is  well-known,  the  dyeing  proper- 
ties of  the  fibres  vary  with  the  lignification,  and  this 
appearing  to  be  correlated  with  the  development  of  phenols, 
we  may  hope  to  be  able  to  arrive  at  a more  correct  under- 
standing of  this  phenomenon. 

“In  dyeing  these  fibres  with  a neutral  solution  of  the 
so-called  alkaline  blue,  the  effects  appear  to  follow  an  in- 
verse course,  the  Boehmeria  showing  the  deepest  colour,  the 
lignified  fibres  being  much  paler.  This  fact  is  probably 
referable  to  the  presence  of  ‘ pectous  ’ substances  iu  the 
former,  and  the  reaction  may  prove  to  be  of  general  use 
in  indicating  the  presence  of  acids  or  acid-forming  sub- 
stances in  the  plant  tissues.” 


A NEW  ORGANIC  SUBSTANCE  SENSITIVE  TO 
LIGHT. 

It  is  seldom  that  a substance  is  discovered  now-a-days 
highly  sensitive  to  light,  although,  no  doubt,  many  exist  in 
organic  chemistry  whose  photographic  properties  are  over- 
looked by  the  chemist. 

A recent  example  is  anthracene,  which  behaves  in  a 
most  remarkable  manner  in  the  presence  of  light.  This 
hydrocarbon,  whose  formula  is  CuHI0,  presents  the 
strange  phenomenon  that,  after  exposure  to  light,  its 
chemical  and  physical  properties  change,  while  its  com- 
position remaius  unaltered.  For  instance,  if  a cold 
saturated  and  clear  solution  of  anthracene  in  benzole  is 
exposed  to  direct  suulight,  the  solution  becomes  turbid, 
and  crystals  are  separated ; these  latter  are  much  more 
difficult  of  solution  than  anthracene,  while  they  melt  at  a 
much  higher  temperature.  Thus,  anthracene  becomes  fluid 
at  214°  C.,  while  the  crystals  in  question  are  not  liquefied 
until  a temperature  of  244°  is  reached.  Moreover,  after 
acted  upon  by  light,  the  resulting  body  is  not  so  easily 
affected  by  reagents — such  as  nitric  acid  or  bromine — which 
act  quickly  upon  anthracene. 

The  composition  of  the  photogenic  substance  is  also 
CuHi0,  and  for  this  reason  it  is  isomeric,  or,  rather,  poly- 
meric, with  anthracene,  and  termed  Faraanthacene.  The 
most  singular  property  of  Faraanthacene  is  exhibited  on 
melting  ; the  substauce  then  changes  back  again  into  ordi- 
nary anthracene,  with  a melting  point  of  214°  C.,  and 
exhibits  all  the  other  qualities  of  the  hydrocarbon. 

It  is  most  likely  that  the  action  of  the  light  consists  in 
bringing  about  a loose  combination  of  several  anthracene 
molecules  into  a bigger  group,  the  crystals  of  the  Faraan- 
thacene consisting  of  such  molecular  groups. 

A phenomenon  still  more  surprising  than  that  just  de- 
scribed was  observed  a short  time  ago  by  Fittig.  When 
experimenting  with  Isatropa  acid,*  he  discovered  an  acid 
containing  sulphur  of  the  formula  CI6Hi2S03,  or  Ci6Hu 
SOaH,  which  he  describes  as  a very  stable  powder  insoluble 
in  water.  The  sodium  salt,  as  also  the  other  salts, 
exhibited  a most  singular  behaviour.  The  clear  aqueous 
solution  becomes  turbid  after  a very  little  while,  and  a 
thick  white  precipitate  is  separated.  The  sensitiveness  to 
light  of  this  sulphur  salt  is  so  great  that  it  is  almost  im- 
possible to  keep  solutions  of  the  same  iu  an  ordinary  labor- 
atory for  even  a short  time.  In  direct  sunlight,  its  decom- 
position is  so  rapid  that  freshly -prepared  clear  solutions 
made  with  sodium  or  barium  salts  become  milky  almost 
immediately,  and  after  a few  minutes  are  filled  with  a thick 
flocculent  precipitate. 

The  chemical  change  which  here  takes  place  is  a very 


* Jjiebig'l i Annalen,  vol,  206,  p,  34. 


20 


THE  PHOTOGRAPHIC  NEWS. 


[January  12,  1883. 


simple  one.  In  the  sodium  salt,  under  the  action  of  light, 
there  is  a splitting  up  of  soda  : — 

Cu  Hu  S03  Na  = C,.  H10  S02  -f-  Na  OH 
The  product  therefore  contains  one  molecule  of  water  less 
than  before. 

Unfortunately,  this  interesting  body  is  a very  costly 
substance,  but  it  would  be  of  great  interest  to  study  more 
closely  its  photo-chemical  character  ; for  instance,  it  would 
be  well  to  discover  what  portion  of  the  spectrum  more 
especially  brings  about  the  change. 

The  well-known  work  of  Bunsen  and  Roscoe  upon  the 
behaviour  of  chlorine  and  hydrogen  might  easily  be 
repeated  mutatis  mutandis  upon  this  photogenic  substance, 
as  the  resulting  product  of  decomposition  is  a stable  body  ; 
it  would  be  well  worth  while  to  discover  if,  in  the  preseut 
case,  the  same  or  similar  rules  obtain,  which  the  above 
chemists  have  shown  to  exist  with  mixtures  of  chlorine 
and  hydrogen. 


JUDGING  PICTURES  AT  EXHIBITIONS. 
Probably  more  complaints  have  been  made  on  the  score  of 
judging  pictures,  than  on  any  other  point  connected  with 
photographic  matters.  The  importance  of  such  complaints 
may  not  have  been  very  great  years  ago,  when  competi- 
tions were  few  and  far  between,  and  when  the  Photo- 
graphic Society  of  London  was  the  only  body  that 
distributed  medals  with  any  regularity.  But  things  have 
greatly  changed  since  then.  The  chief  cities  of  the 
United  Kingdom  are  organising  exhibitions  and  competi- 
tions in  all  directions,  and  every  year  sees  several  series  of 
medals  distributed.  Bristol,  still  jubilant  over  the  success 
of  the  meeting  held  in  that  city  two  years  ago,  has  but 
lately  published  the  terms  of  a fresh  tournament,  to  which 
photographers  from  the  length  and  breadth  of  the  land 
are  invited.  In  the  far  north,  Dundee  has  during  the 
past  twelvemonth  made  a lavish  distribution  of  gold, 
silver,  and  bronze  pieces  ; while  Edinburgh,  but  the  other 
day,  made  similar  awards  to  the  chosen  among  their 
recent  exhibition.  In  London  the  annual  exhibition  has 
been,  as  usual,  the  signal  for  the  bestowal  of  a handful  of 
medals,  and  those,  who  are  frequent  exhibitors,  have  as 
much  as  they  can  do  to  despatch  their  frames  to  the 
various  gatherings  one  after  the  other. 

In  these  circumstances  it  is  obvious  that  judging  pic- 
tures has  become  a matter  of  very  serious  import.  It  is 
not  enough  that  medals  are  distributed  impartially,  and 
to  the  best  judgment  of  those  who  have  the  awards  in 
their  hands  ; it  is  necessary  that  the  judges,  whoever  they 
may  be,  shall  have  the  full  confidence  of  the  exhibitors,  or 
at  any  rate  of  the  members  of  the  society  which  holds  the 
exhibition.  To  say  that  the  judgment  given  is  to  the  best 
of  the  judges  ability,  is  not  much,  if  those  interested  have 
not  full  faith  in  the  intelligence  aud  experience  of  the 
judges.  So  far  as  our  own  observation  goes,  we  have  never 
met  with  gentlemen  on  a jury  or  award  committee  who 
have  not  striveu,  not  only  most  earnestly  to  do  their  duty, 
but  who  have  not  entertained  a most  exalted  estimate  of 
the  duty  tney  had  to  do.  That  they  have  often  failed  to 
l’ustice  *s  equally  true,  for  the  simple  reason  that 
full  justice  was  impossible  under  the  circumstances.  Com- 
plaints have  followed  the  decision  ol  the  judges  as  surely 
as  the  awards  have  done,  aud  except  in  the  rare  instance 
of  the  last  Edinburgh  competition,  signs  of  dissatisfaction 
have  been  evident,  so  far  as  our  memory  serves,  ou  every 
occasion  of  a phutographic  competition  for  medals. 

I he  case  of  the  Edinburgh  Society  leads  us  to  our  text, 
and  we  ask  at  once,  would  it  not  be  well  to  give  the  plan 
recently  adopted  in  the  Scottish  capital  a trial  at  other 
societies  ? Briefly,  the  method  consists  in  lettiug  the  mem- 
bers of  the  society  award  their  own  medals,  and  if  the 


voting  is  conducted  by  ballot  on  approved  rules,  every 
individual  member  is  responsible  for  the  aggregate 
award.  The  plan,  apart  from  other  obvious  advantages, 
has  one  which  has  been  little  studied,  but  which  would  not 
be  lightly  esteemed  by  the  minority  whom  it  affects.  We 
mean  those  gentlemen  who  arecalled  upon  to  act  as  judges. 

It  must  frequently  be  a source  of  pain  to  them,  after  they 
have  fiuished  their  thaukless  task,  to  find  themselves  ac- 
cused of  favoriiism,  partiality,  and  other  offences  still  more 
venial.  Iu  nine  cases  out  of  ten  they  have  not  desired  the 
unenviable  office  thrust  upon  them,  and  very  frequently, 
when  they  relinquish  it,  it  is  with  a determination  uever  to 
serve  again.  Whether  they  were  fitted  or  unfitted  to  dis- 
charge the  duty  wa3  a matter  not  for  them,  but  for  those 
who  nominated  them,  and  we  say  most  advisedly  that  now 
photographic  competitions  are  so  frequent,  it  would  be  a 
boon  indeed  if  gentlemen  who  act  as  judges  could  be  re- 
lieved of  the  hard  things  said  of  them  at  the  close  of  their 
office. 

No  doubt  the  plan  of  voting  needs  to  be  a good  one.  It 
is  not  enough  to  place  a single  name  on  a ballot  paper  in 
order  to  get  at  the  popular  vote.  When  the  Athenians 
were  asked  to  choose  a successor  to  Aristides,  they  were 
directed — if  we  remember  aright— to  set  down  two  names 
— that  of  the  pergon  they  thought  best  suited  to  the  post 
first  of  all,  and  afterwards,  he  whom  they  believed  to  be 
second-best.  The  result  of  the  voting  was  not  unexpected  ; 
in  the  first  category  the  voters  had  placed  their  own  names, 
but  as  second  man  they  set  down  the  name  of  their  favorite 
general,  Themistocles.  The  Edinburgh  Society  wisely 
acted  after  the  same  manner.  They  did  not  ask  which 
picture  should  have  the  gold  medal,  but  requested  instead, 
the  numbers  of  the  pictures  to  be  placed  iu  order,  accord- 
ing to  the  esteem  in  which  the  voter  held  them. 

At  Edinburgh,  every  member  of  the  society  had  a ballot 
paper,  and  had  as  many  votes  as  there  were  awards  to  be 
given.  There  were  five  printed  spaces  marked  respectively 
1,  2,  3,  4,  and  5,  and  the  voter  filled  into  these  the  num- 
bers of  those  pictures  he  held  to  be  best,  second  best, 
third,  fourth,  and  fifth.  If  a man  feels  sufficient  interest 
in  photography  to  join  a society  aud  to  pay  a yearly  sub- 
scription, the  chances  are  that  he  will  take  some  pains  to 
look  at  the  pictures  on  the  walls  of  an  exhibition,  and  use 
his  vote  both  with  discretion  aud  judgment.  It  may,  of 
course,  be  that  there  are  unscrupulous  members,  and  it 
may  be,  too,  that  there  are  members  who  are  biassed  in 
favour  or  to  the  prejudice  of  certain  exhibitors.  Of  the 
favoritism  or  prejudice,  such  members  are,  very  possibly, 
quite  unaware,  but  it  may  exist  nevertheless,  for  benefits 
and  grievances,  long  forgotten,  frequently  leave  a shadow 
behind.  But,  take  it  that  several  of  the  voters  do  have  a 
predileclion  for  a certain  photographer’s  works,  and  recog- 
nize it  on  the  walls,  this  has  little  influence  on  the  aggre 
gate  vote,  even  if  we  suppose  that  half-a-dozen  or  even  a 
dozeu  individuals— an  almost  impossible  contingency  with 
the  ballot  — act  together.  For  one  of  the  first  rules 
adopted  would,  no  doubt,  be  to  the  effect  that  unless  a 
certain  proportion  of  votes  were  given,  no  medal  could  be 
taken.  That  is  to  say — to  come  back  to  our  old  friends  the 
Athenians — the  personal  voting  in  the  first  space,  which 
might  confer  a few  votes  on  some  individual,  would  be  dis- 
regarded if  in  the  second  space  the  number  of  voices  raised 
for  a competitor  were  overwhelming. 

It  is  scarcely  likely,  perhaps,  that  the  same  unanimity 
that  prevailed  iu  the  ballot  at  Edinburgh  will  soon  be 
repeated,  but  this  unanimity,  it  must  be  remembered,  was 
as  much  due  to  the  impartial  mode  of  voting,  as  to  the 
high  excellence  of  the  chosen  pictures.  This  is  proved  by 
the  fact  that  all  the  chosen  woiks  weie  represented  by 
seventy-five  percent,  of  the  votes  given.  In  other  words, 
the  awards  were  made  with  the  full  concurrence  of  three- 
quarters  of  the  members.  In  the  case  of  the  first  award  — 
the  gold  medal— it  turned  out  that  whether  you  took  the 
picture  mentioned  most  frequently  in  No.  1 space,  or  in 


January  12,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


21 


the  two  first  spaces,  or  in  the  three  first,  -'r  four  first,  or 
all  five,  the  result  was  the  same,  and  henoi  there  could  be 
no  question  as  to  the  justness  of  the  award.  If  only  the 
first  space  is  taken  into  consideration,  we  may  of  course 
sometimes  encounter  the  result  the  Athenians  got ; but 
whether  or  not  personality  is  traceable  therein,  it  is 
very  certaiu  that  the  sum  cf  the  other  spaces  would  give 
a most  satisfactory  reading. 

At  the  same  time  the  voting  in  space  No.  1 must  of 
course  have  a true  value  set  upon  it.  This  could  be  done 
in  a variety  of  ways.  We  do  not  know  how  the  matter 
was  managed  iu  Edinburgh,  but  the  spaces  might  each  of 
them  have  a specific  value,  which  gradually  decreases. 
If  ten  medals  were  given,  the  first  space  might  count  ten, 
the  second  nine,  the  third  eight,  and  so  on,  when  it  would 
be  an  easy  matter,  by  adding  up  the  different  votes  given 
to  a certaiu  picture,  to  estimate  the  value  in  which  it  is 
held  by  the  members  of  the  society.  The  total  would 
express  this  at  ouce  ; and  if  necessary,  there  might  be  a 
provision  that  no  picture  obt  lining  less  support  than  that 
of  half  the  members  voting  should  have  any  medal  at  all. 

The  advantage  of  the  system  is  that  the  judging  of 
pictures  becomes  impersonal  instead  of  personal  ; the 
character  of  the  judges  could  no  more  be  assailed  than  the 
verdict  of  the  ballot  papers.  Further,  all  members  of  a 
society — the  quiet  unobtrusive  individuals,- as  well  a3  those 
who  are  generally  to  the  fore — would  have  a voice  in  the 
judging,  and  hence  it  is  likely  to  be  as  far  as  possible  free 
from  human  error. 


If 


sin  s(i — r) 
sin  s(t+r) 


2 n 
+ 


i' 


tan  s(t — r) 
tan  s(*-fr) 


where  i is  the  angle  of  incidence  on  the  prism,  and  ;•  of  refraction, 
and  n the  number  of  prisms. 

The  third  column  was  obtained  by  dividing  the  intensities  by 
the  relative  dispersions. 

So  you  see  that  with  10  prisms  the  intensity  of  spectrum  is 
very  small.  With  compound  prisms  this  intensity  may  be 
increased  for  the  same  dispersion  ; but,  in  my  own  experience, 
the  definition  is  never  so  good  as  with  simple  prisms.  Now  the 
intensity  of  the  resulting  spectrum  is  evidently  proportional  to 
the  face  of  the  prism,  that  is,  without  taking  into  consideration 
the  slit.  Now  a prism  of  two  inches  projected  face  is  a large 
prism,  and  thus  four  square  inches  may  be  taken  as  the  section 
of  the  beam  of  light  forming  the  spectrum  ; and  this  beam  of 
light,  when  arriving  at  the  last  of  the  ten  prisms,  may  be 
measured  by  4 X ’1  = ’4,  calling  the  original  beam  4. 

Let  us  take  this  intensity  of  light,  and  compare  it  with  a 
1 £ inch  square  face  diffraction  grating  of  17,200  lines  to  the 
inch.  A grating  gives  a number  of  spectra  on  each  side  of  a 
central  image.  For  practical  purposes,  we  may  take  it  that 
the  central  image  reflects  one-third  the  light,  while  the  other 
two-thirds  is  distributed  amongst  the  different  spectra.  The 
first  pair  of  spectra  on  each  side  of  the  central  image  takes  up 
about  half  of  that  which  remains  ; so  that  one  spectrum  of  the 
first  order  has  in  it  about  £ of  the  original  light,  the  next 
spectrum  to  it  about  -fa,  and  the  third  about  the  remainder 
being  distributed  amongst  the  spectra  of  higher  orders  (fourth, 
fifth,  &c.),  being  the  same  intensity  of  light.  We  find,  then,  that 
the  intensity  of  light  for  the  third  order  may  be  represented  by 


ON  THE  ROWLAND  DIFFRACTION  GRATING. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.K.,  F R S.* 

It  may  be  interesting  to  the  Photographic  Society  that  I 
should  show  them,  not  a new  instrument,  but  an  instrument 
that  has  been  so  improved  as  to  be  increased  in  value  at  least 
100  per  cent.  The  members  may  be  aware  that,  when  studying 
the  spectrum,  whether  for  the  analysis  of  vapours  or  for 
researches  in  photography,  the  spectrum  is  ordinarily  produced 
either  by  passing  a beam  of  white  or  other  light  through  a slit 
of  the  width  of  perhaps  TuTnjkh  an  inch  and  then  through  one 
or  more  prisms,  or  else  by  allowing  it  to  fall  through  what  are 
called  “ gratings  ” ( t . #.,  flat  surfaces  ruled  with  very  close  lines), 
which  gives  rise  to  the  phenomenon  of  diffraction.  Each  method 
has  its  advantages ; the  prism  compresses  the  red  end  of  the 
spectrum,  and  extends  the  violet ; whilst  the  grating  widens  out 
the  red  end,  and  compared  with  the  prismatic  spectrum,  con- 
denses the  violet  end.  For  measurement  the  grating  is  to  be 
preferred  ; but,  till  recently,  the  brilliancy  of  spectrum  as 
furnished  by  prisms  was  considered  so  important,  that  prisms 
were  generally  used.  Under  some  circumstances  this  is,  no 
doubt,  still  the  case.  But  I should  like  to  point  out  what  these 
circumstances  are. 

If  you  make  a beam  of  light  impinge  on  a prism,  besides  the 
spectrum,  you  will  find  that  there  is  a reflection  of  white  light 
from  one  surface,  and  also  a reflected  spectrum.  Rougl  ly 
speaking,  only  85  per  cent,  of  the  light  falling  on  a prism  of  GO® 
at  the  angle  of  minimum  deviation  finds  its  way  to  the  secjnd 
surface,  and  the  same  percentage  of  that  percentage  only 
finds  it  way  out.  If  you  increase  the  number  of  prisms 
to  two,  this  last  percentage  must  be  multiplied  by  itself, 
to  find  the  light  coming  through  the  second  prism,  and  so  on. 
I give  a table  which  shows  with  greater  accuracy  how  much  of 
the  light  of  the  refrangibility  for  which  the  prism  is  set,  to  give 
the  minimum  deviation,  penetrates. 


No.  of  prisms. 

Intensity  of  light 
passing  through  prisms 

Intensity  of  spectrum  at 
angle  of  minimum 
deviation. 

1 ... 

-825  ... 

...  1 

2 ... 

-677  ... 

...  -401 

3 ... 

-561  ... 

T69 

4 ... 

-467  ... 

...  070 

5 ... 

-391  ... 

...  -029 

10  ... 

-105  ... 

...  -00025 

The  second  column  was  calculated  by  Fresnel’s  formula — 


• Read  before  the  Edinburgh  Photographic  Society, 


H+HX-^r— £Xf  X-bV — 

or  about  ’045. 

Now  the  third  order  corresponds  as  nearly  as  possible,  for  the 
blue,  to  ten  prisms  of  60°  ; so  you  see  that  by  using  the  grating 
there  is  a very  apparent  loss  in  light.  Mr.  Christie  has  found, 
however,  that  the  loss  of  light  in  passing  through  prisms  is  more 
than  half  that  penetrating  ; so  that,  in  reality,  the  lights  are 
more  nearly  equal.  I heve  said  that  the  dispersion  for  the  blue 
is  equal  to  about  ten  prisms,  but  for  the  red  part  it  is  equal  to 
about  forty  prisms,  so  that  here  we  have  an  enormous  gain  in 
light  in  using  the  grating. 

The  diagram,  page  22,  is  a wave-length  map  of  the  B line, 
which  is  about  half  way  down  the  red  of  the  spectrum.  The 
small  figure  on  the  bottom  right-hand  side  shows  it  as  obtained 
by  prisms.  The  map  was  made  from  photogiaphs  taken  with  the 
Rutherfurd  grating,  with  the  second-order  spectrum.  The  pris- 
matic photograph  was  taken  with  three  prisms.  It  will  thus  be 
seen  what  a gain  in  resolving  power  there  is  in  using  a grating 
for  rays  of  low  refraDgibility. 

I would  call  to  your  recollection  the  plan  adopted  in  using  a 
spectroscope  : 1st,  we  have  a slit,  and  a collimating  lens  to  give 
parallel  rays  ; 2nd,  the  dispersion  apparatus  ; and,  3rd,  a camera 
or  telescope  with  one  lens  or  two  respectively  : in  other  words, 
glass  intervenes.  Now  glass  will  cut  off  rays  at  each  end  of  the 
spectrum — in  the  ultra-violet  and  infra-red  ; therefore,  in  deli- 
cate research  in  these  regions  the  aim  of  physicists  has  been  to 
do  away  with  glass  as  much  as  possible,  or  to  substitute  some- 
thing for  glass  which  would  allow  all  rays  to  pass  through.  Un- 
fortunately no  medium  allows  all  rays  to  pass.  Iceland  spa  and 
quartz,  for  instance,  allow  the  visible  spectrum  and  the  extreme 
ultra-violet  to  pass,  but  not  the  infra-red  ; whilst  rock  salt 
allows,  besides  the  visible  spectrum,  the  latter,  but  not  the 
former,  to  be  transmitted.  Can  glass,  rock  salt,  &c.,  be  done 
away  with  ? I have  shown  in  my  Bakerian  Lecture  how  by  a 
system  of  three  reflections  from  silvered  surfaces  it  may  be 
avoided,  but  the  practical  difficulties  of  the  plan  are  such  that  a 
man  must  be  trained  in  patience  to  meet  with  success.  Three 
months  ago  I received  a paper  from  Prefessor  Rowland,  de- 
scribing a grating  ruled  on  a concave  surface,  and  entering  into 
details  of  what  such  gratings  would  do.  I must  confess  I was 
sceptical,  and  imagined  that  perhaps  the  sketch  was  too  rosily 
coloured  by  the  inventor  of  these  gratings.  One  day  in  October 
Professor  Rowland  walked  into  my  laboratory,  and  told  me  he 
had  come  from  America,  and  had  brought  me  a grating  exhibit- 
ing a certain  peculiarity,  which  was  that  it  had  only  one  bright 
spectrum  and  all  the  others  dull,  and  said  that  this  one  spectrum 
should  be  useful  in  my  particular  work.  He  came  again,  and 
brought  other  gratings,  with  the  result  that  he  left  me  three — 


22 


THE  PHOTOGRAPHIC  NEWS. 


[Jaxuaht  12,  1883, 


two  concave  gratings  and  one  flat.  When  I tried  them  I was 
perfectly  amazed.  With  the  concave  gratings,  nothing  is  re- 
quired but  a slit  and  a sensitive  plate,  or  an  eyepiece  if  visual 
observations  are  required  ; the  concave  surface  gives  a focus 
without  the  aid  of  any  lens.  The  patience  required  by  my  plan 
now  is  reduced  to  "rdinarv  patience,  and  is  less  than  that  re- 


quired for  working  with  a lens.  But  this  is  not  everything. 
An  easy  means  of  focussing  does  not  mein  of  necessity  good 
definition  ; far  from  it.  Well,  I can  on’y  siy  that  the  definition 
is  equal  to  the  ease  of  focussing.  I will  show  you  a few  photo- 
graphs, some  by  Professor  Rowland  and  others  by  myself,  in 
which  are  lines  that  when  seen  with  an  ordinary  prating  ar 


single,  but  when  seen  with  this  grating  are  each  resolved  into 
two  lines,  i.e.,  are  split  up  into  two.  Now  the  ordinary  length 
of  camera  and  collimator  I use  for  my  old  grating  is  20  inches  for 
each.  With  this  large  grating,  which  is  very  nearly  6 inches  long 
and  2 inches  high,  the  plate  has  to  be  placed  about  12  feet  from 
it  to  get  a direct  image  of  the  slit  in  the  line  of  the  axis.  Using 
the  same  width  of  slit  as  in  the  previous  calculations,  the  beam 
of  light  forming  the  first  spectrum  may  be  measured  by 


6X2X~-.x4- 

144  6 


_6 

18 


where  represents  the  ratio  of  the  distances  of  the  slit  from 
the  gratings  in  the  two  cases,  and  ~ the  brightness  of  the  beam 


of  light,  which  is  greater  in  this  grating  than  in  the  other,  form 
mg  the  first  spectrum,  the  6X2  being  the  dimensions  of  th 
ruled  surface.  Now  the  length  of  the  third  spectrum  with  th 
old  gratiDg  corresponds  with  the  length  of  the  first  spectrum  o 
the  new  grating,  making  allowance  for  the  different  focal  lengths 


In  the  one  case  the  brightness  of  the  white  light  forming  it  is 
certainly  not  more  than  Tgjy,  and  in  the  other  ; so,  to  get 
the  same  length  of  spectrum,  the  concave  grating  has  at  least 
seven  times  as  much  light,  and  in  fact  practically  gives  a spec- 
trum twice  as  bright  as  the  second  spectrum  of  the  old  grating, 
with  which  I have  taken  a great  many  photographs.  It  is,  how- 
ever, only  half  as  bright  as  the  first  spectrum  of  the  old  grating. 
Nevertheless,  we  have  a decided  gain  by  its  use  when  good  dis- 
persion is  required.  I have  purposely  put  the  concave  grating  at 
it  lowest  value,  and  the  old  grating  at  its  highest.  For  definition 
as  I have  said,  the  new  grating  is  far  superior  to  the  old.  I have 
no  doubt  that,  when  we  have  any  sun,  I shall  be  able  to  get 
much  more  in  spectrum  photography  than  I have  hitherto. 

I next  propose  to  show,  in  two  simple  ways,  how  the  focus 
may  be  found  mathematically. 

P Q is  the  curved  diffraction  grating,  A being  the  middle 
point.  Take  any  point,  B,  near  A,  and  join  A B.  Let  C be  the 
centre  of  the  circle,  of  which  P Q is  an  arc.  Let  it  be  required 
to  find  the  focus  for  a ray  coming  in  the  direction  A K.  Join 
B C,  and  make  C B D — C A K.  Let  H and  E be  the  points  of 
intersection,  as  shown.  Draw  C C at  right  angles  to  A C. 


Let  A C B — <p 
C AK  = e* 

A C — a 

Join  C E.  Then  sine 3 

B C = A C, 

CAB=CBA=r  (90°  — J'j 


E A B=  (99°  —Jt t()=  90?  — (f-  ± 0), 
2 2 


according  as  B is  opposite  or  on  the  same  side  as  E. 
Now  A E 


sin  90°  — (Q  + e) 
A B • 2 ~ \ 


sin  <p 


A B 


COS  (|  + 0) 


sm  <p 


C B D =z  6 by  hypothesis. 


• In  diffraction  spectra,  when  any  particular  wave -length  has  to  becalcu- 
la  ted,  the  formula  used  is — 

23  = sin  8 — sin  f 

where  n is  the  order  of  the  spectrum  used,  A the  wave-length,  f the  interval 
between  the  lines,  > the  angle  of  incidence,  and  0 the  angle  of  reflection. 
In  the  present  case  either  sin  e or  sin  ic  o. 


January  12,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


23 


AB  = AC 


sin  (909  — ?\  cos  T 
v 2'  2 


...  A E = aS'n  • 


cos  (1  + 0 
sin  <f> 


cos(l-  -t  0) 


cos 


<#> 


= a cos  0 ± sin  0 . tan-1 
2 

Where  <f>  is  very  small,  i.  e ..  whcD  B is  indefinitely  close  to  A, 
A E = u cos  0,  which  shows  that  C E A is  a right  angle. 

To  calculate  the  disc  of  confusion  of  focus,  we  will  take  the 
absolute  size  of  the  grating,  taking  P and  Q as  the  external 
edges  of  the  grating. 

In  this  case,  tan  <p  = 1 since  A C = a = 12  feet  and  A B 

*0 

= 3 inches  = £ width  of  grating. 

Suppose  0=  30°.  Then  a cos  0=  144  X cos  30°  — 124-7  inches. 

A sin  0 cos  1=  144  sin  30  cos  3G ' = "754  inch. 

2 

A further  calculation  will  show  that  the  disc  of  confusion  or 
breadth  of  a point  would  be 

= -754  tan  1 = -015. 

2 

The  confusion  of  this  disc  would  be  almost  inappreciable  at 
the  edges  ; in  fact,  we  may  take  it  to  begin  to  be  appreciable  at 
•i  that  diameter.  The  breadth  of  a point  may  therefore  be  taken 
at  about  T5Viy  of  an  mch,  which  is  well  within  the  limits  admitted 
to  give  a sharp  focus,  and  is  better  than  that  which  can  be  got 
from  a lens  under  similar  circumstances.  _ , 

The  same  problem  may  be  solved  geometrically.  Using  the 
same  notation  as  before,  and  assuming  B to  be  very  close  to  A.  it 
follows  that  A B is  very  small  compared  with  C 1)  or  C K ; and 
it  will  be  seen  that  D K :rr  A B,  taking  A B as  parallel  to  G D . 
therefore,  for  all  intents,  C D may  be  taken  = C K. 

Now  the  triangle  A H C and  B H E are  similar,  as  are  the 
triangles  BHA  and  H C K. 

B H_  A B BH  +HC_AB  +CD 

"HC"C  D r HC  CD 

AB  +CD_CK_CD_1 
CD  C D C D 


must  be  a right  angle.  That  is,  the  focus  for  the  rays  is  found 
by  letting  fall  a perpendicular  from  the  centre  of  curvature  on 
to  the  reflected  ray  ; or  if  the  focus  of  the  reflected  rays  be  at  the 
centre  of  curvature,  the  focus  for  the  incident  ray  must  be  found 
in  the  same  way. 

~This  last  is  what  Professor  Rowland  carries  out  in  practice 
the  reflected  ray  is  also  reflected  towards  the  centre  of  the  sphere 
of  which  G is  a segment, ; the  distance  between  the  grating  and 
the  plate  or  focussing  screeu  remains  unchanged,  and  the  dis- 
tance between  the  slit  and  the  grating  is  altered.  To  effect  this 
he  has  two  bars  at  right  angles  to  one  another  with  a third  bar 


But 


BH  + HC_BC_AC  on(1 
HC  HC  HC 

(i.)  .-.  ^ = i or  AC  = HC; 


that  is,  II  is  very  close  to  A and  B. 

Again, 

HE  = BH 
HC  AH' 

But 

HE^AE 
H C AC’ 

since  H if  very  close  to  A,  A B being  small. 

. A E_B  H 
M "AC  AH’ 

now  B H and  A H are  both  small ; and 
B H 

•'ah 

might  be  very  large,  and  therefore  cannot  be  reflecte1. 

Now, 

a h^bji  . A n = H K x BH 

HK  H C ■ ' _ H G 

Substituting  this  value  of  A H in  (ii-V- — 

AE  BH  XHC.H  C 

UU-;  aTC-  H K X B H H K 
Now  both  H C and  H K are  large  quantises. 

H C_ A C 
” Hi  A K 

since  H is  indefinitely  near  A. 

Substituting  in  iii.  we  get — 

A E X AK  = AC5, 

If  a circle  be  described  about  C E K,  it  follows,  since  this  rela 
tion  holds  good,  that  A C must  be  a tangent,  to  the  circle  ; and 
as,  by  hypothesis,  CK  is  at  right  angles  to  A C,  therefore  the 
arc  CEKisa  semicircle ; since  arc  C E K is  a semicircle  C EK 


sliding  aii  ng  itieiu.  This  bar  carries  tlie  graimg  u a 1 one  end, 
and  the  plat  |P  at  the  other,  the  centre  of  the  plato  P occupying 
the  centre  of  the  circle  of  which  the  gratiDg  G is  an  arc.  The 
slit  S is  fixed.  It  will  be  seen  that  this  fulfils  the  requirements 
of  the  theorem  just  given.  By  keeping  the  centre  of  the  grating 
at  P a true  normal  spectrum  is  always  thrown,  and,  however  the 
angle  S G P is  altered  so  as  to  get  different  parts  of  the  spectrum, 
the  scale  of  the  photographs  remains  unchanged,  since  the  dis- 
tance from  G to  P is  fixed. 

I would  also  ask  you  to  remark,  that  as  the  angle  is  increased 
so  is  the  slit  placed  nearer  to  the  gratiDg,  which  means  that  a 
larger  cone  of  light,  and  consequently  greater  brilliancy  of  spec- 
trum, is  given  than  would  otherwise  be  obtained  ; this  is,  how- 
ever, at  the  expense  of  the  fineness  of  the  lines,  since  the  breadth 
of  a line  is  the  disc  of  confusion  of  a point  + breadth  of 

. . distance  of  plate  from  grating  • u _ 

slit  X - S.  This  is,  however,  more 

distance  of  slit  from  grating 

than  compensated  for  by  the  fact  that  if  you  largely  increase 
the  angle  S G P,  Fig.  2,  you  work  in  higher  orders  of  the  spec- 
trum, which  give  increased  dispersion,  and  do  not  get  a pro- 
portionate shortening  of  the  distance  of  the  slit  from  the  grating. 
Thus  we  have  already  taken  an  angle  of  30°  as  an  example, 
and  found  that  the  total  shortening  of  the  slit  is  1247  inches. 

If  we  take  60°,  which  will  give  us  the  same  rays  of  the  2nd 
order  we  find  that  the  focal  distance  is  reduced  144.  cos.  60  = 
72  inches.  In  this  last  case  the  image  of  the  line  will  te 

broader,  for  which  the  dispersion  is  doubled  ; there  will 


1247 


72 

also  be  a slight  increase  in  the  disc  of  confusion. 

/124*7\  ^ 

The  brightness  is  increased  by  ( ^17-  J > or  nearly  2'8 

times  that  which  would  be  the  case  supposing  the  focal  distance 
of  the  slit  remained  at  72  inches.  A certain  diminution  in  thi3 
amount  must  be  made,  owing  to  the  height  of  the  slit  being 
magnified  as  well  as  the  breadth;  but,  owing  to  the  grating 
being  spherical,  the  edges  of  the  spectrum  are  less  intense  than 
the  central  portion,  which  is  the  part  of  importance,  most  of  the 
light  being  collected  there. 

Another  property  1 would  call  your  attention  to.  C and  E are 
conjugate  foci,  as  are  C and  E1. 

.-.  E and  E'  are  also  conjugate  foci. 

If,  therefore,  the  slit  and  the  photographic  plate  are  pivoted 
about  O,  with  arms  of  length  O B,  they  may  occupy  any  posi- 
tion and  still  will  remain  in  focus.  The  photographic  plate 


24 


THE  PHOTOGRAPHIC  REWS. 


| Jantjaey  12,  1883. 


would  always  be  tangential  to  the  circle,  and  would  thus  be  in 
proper  position.  But  the  slit  would  have  to  be  pivoted,  as  well, 


at  the  other  end  of  the  arm,  in  order  to  be  directed  towards  A. 
I may  state  that  all  these  properties  of  the  grating  are  known 
to  Professor  Rowland,  and  I have  merely  shown  how  they  can 
be  arrived  at  by  simple  mathematics. 

There  is  something  remarkable  in  connection  with  the  manu- 
facture of  these  gratings.  First  of  all  Professor  Eowland 
invented  a method  of  grinding  a perfect  screw,  which  any 
mechanician  knows  is  almost  as  difficult  as  it  is  to  arrive  at 
perpetual  motion.  2nd.  He  had  to  make  a perfect  machine  for 
the  ruling.  3rd.  He  invented  a method  of  casting  speculum 
metal  (the  method  is  also  applicable  to  other  metals)  to  give 
the  blocks  on  which  his  lines  are  ruled.  The  screw,  perhaps,  is 
the  greatest  invention.  It  may  be  asked  how  it  can  be  said  that 
it  is  a perfect  screw.  The  spectrum  itself  is  the  best  test.  If 
each  line  is  sharply  defined,  the  ruling  must  be  regular ; and 
if  there  are  no  “ ghosts  ” to  the  lines,  it  shows  there  is  no 
periodicity  in  the  ruling,  which  is  not  the  case  in  Rutherfurd’s 
gratings  which  I possess.  The  grating  I show  you  gives  defined 
lines,  and  gives  no  ghosts  ; hence  it  must  be  concluded  the 
screw  is  near  perfection,  at  any  rate. 

Perhaps  making  a grating  involves  more  nicety  than  almost 
any  other  mechanical  work.  For  instance,  the  diamond  point 
has  to  be  carefully  selected  to  cut  the  proper  shaped  groove  and 
the  proper  ratio  of  line  to  space.  2nd.  The  temperature  of  the 
ruling-room  has  to  be  kept  within  a couple  of  degrees  or  less 
at  the  same  temperature,  to  avoid  expansion  or  contraction  of 
the  metal.  3rd.  The  rate  of  ruling  has  to  be  kept  uniform, 
which  means  that  an  engine  has  to  be  carefully  watched  for 
days  in  some  cases. 

Pi ofessor  Rowland  is  to  be  congratulated  on  his  achievement. 
So  far,  our  best  gratings  have  come  from  America  ; and  as  long 
as  we  have  such  men  as  Professor  Rowland  to  help  forward 
science,  we  need  not  be  anxious  as  to  spectroscopy  in  its 
highest  branches.  At  the  same  time,  I think  wo  ought  to 
try  in  England  to  approach  towards  this  instrument,  though  we 
cau  scarcely  dare  to  hope  to  improve  on  it. 


IfrtfJS. 

the  first  of  our  ‘‘Twelve  Elementary  Lessons  on  Print- 
iug,  Touiog,  Fixing,  Mounting,  &c.,”  will  appear  next 
week. 

The  Provisional  Committee  on  Photographic  Copyright 
met  again  on  Monday  last  to  continue  their  preliminary 
work. 

A photographic  exhibition  is  to  be  held  in  Brussels  in 
August  next,  under  the  auspices  of  the  Association  Beige 
de  la  Photographic.  The  particulars  of  it  appear  in  another 
column. 


Mr.  Walter  B.  Woodbury  has  been  decreed  the  silver 
progress  medal  for  1883,  by  the  council  of  the  Photo- 
graphic Society. 

Dr.  Gil',  who  is  in  charge  of  the  Government  Observa- 
tory at  the  Cape  of  Good  Hope,  believes  that  it  will  be 
possible  to  produccstel'.ar  maps  by  directphotography  of  the 
heavens.  The  great  sensitiveness  of  gelatino-bromide  has 
placed  in  the  hands  of  our  astronomers  a most  valuable 
power,  which,  if  it  can  be  practically  employed  in  the  way 
mentioned  by  Dr.  Gill,  will  be  yet  more  important  than  it 
has  proved  to  be,  for  the  star  maps  we  now  possess  leave 
much  to  be  desired.  As  Professor  Henry  Draper  has 
pointed  out,  there  is  no  difficulty  now  about  photographing 
the  spectrum  of  a star  of  the  tenth  magnitude,  so  that  a 
body  infinitely  smaller  would  leave  its  record  on  the  film 
if  photographed  direct. 

We  learn  that  Dr.  Gill  was  able  to  secure  some  very 
good  pictures  of  the  recent  comet  at  the  Cape.  One  nega- 
tive taken  shows  no  less  than  fifty  stars  through  the  tail 
of  the  comet.  Very  long  exposures  were  given — longer 
even  than  Dr.  Huggins  is  accustomed  to — for  one  of  the 
plates  wa3  impressed  for  no  less  than  140  minutes.  So 
well  was  the  apparatus  adjusted,  and  so  evenly  did  the 
clockwork  act — for  the  image  obviously  had  to  be  kept 
moving  with  the  earth  during  the  whole  time — that  the 
star  pictures  were  quite  sharp  and  distinct. 


The  eminent  engineers,  Messrs.  Siemens  and  Halske,  of 
Berlin,  have  not  only  found  it  convenient  to  establish  a 
photographic  atelier  in  connection  with  their  works,  but 
to  employ  also  the  electric  light  for  producing  such  photo- 
graphic prints  as  the  firm  stands  in  need  of.  Messrs. 
Siemens  and  Halske  employ  the  platinotype  process  at 
present,  and  as  the  printing  by  this  method  proceeds 
rapidly,  electricity  can  be  employed  without  difficulty. 
The  well-known  gun  manufactory  of  Messrs,  lvrupp  in 
Westphalia  is  another  instance  of  a firm  possessing  its  own 
photographic  studio  in  Germany  ; but  in  this  country, 
unless  it  is  Sir  IV.  Armstrong,  of  Elswick,  we  believe 
engineers  do  not  do  photographic  work  themselves.  But, 
as  everybody  knows,  our  engineers  give  plenty  of  photo- 
graphic work  to  do. 


The  ease  and  certainty  with  which  a retoucher  can  work 
depends  to  a great  extent  on  the  nature  of  his  light,  and 
continual  changes  from  the  white  light  of  day  to  the 
yellow  light  of  a lamp  aie  highly  disadvantageous.  For 
this  reason  Levitsky,  the  Court  photographer  at  St.  Peters- 
burgh,  as  Mr.  Warnerke  stated  on  Tuesday  evening,  pre- 
fers to  use  the  lime  light  only. 


It  appears  that  Captain  Abney  has  been  very  successful 
in  his  endeavours  to  photograph  the  retina  of  the  living 
eye.  He  seems  to  prefer  the  employment  of  an  oxalate 
developer  in  making  studies  of  this  nature. 


Mr.  Wight,  an  English  chemist  living  in  Berlin,  says 


January  12,  1883.~) 


THE  PHOTOGRAPHIC  NEWS. 


25 


that  it  is  quite  possible  to  secure  positive  impressions  of 
drawings  and  designs  by  the  blue  process  without  making 
use  of  the  patented  Pellet  paper,  namely,  by  producing  in 
the  first  instance  a negative.  This  negative  is  made 
with  the  same  iron  sensitized  paper  (Herschel  process),  only 
it  is  necessary  that  it  should  be  rendered  transparent,  as 
the  second  printing  process  is  otherwise  too  slow.  In 
this  way  blue  prints  upon  a white  grouud  can  be  produced 
without  trouble. 


While  of  late  the  number  of  electric  portrait  studios  in 
London  has  increased  by  three  or  four,  it  is  said  that  there 
is  but  a single  one  in  Germany  and  Austria  at  this  rnomeut, 
viz  , that  of  Herr  Van  Konzelen.  But  several  establish- 
ments in  Berlin  and  Vienna  use  electricity  in  their  en- 
larging and  Lichtdruck  work  ; while  one  firm — Messrs. 
Winter  Brothers,  of  Vienna,  whose  atelier  we  have  de- 
scribed in  these  columns — employ  the  electric  light  daily 
in  the  production  of  their  canvas  portraits.  Kurtz,  of 
New  York,  has  started  an  electric  studio  in  the  Broadway 
with  seven  Brush  lamps. 

The  first  examination  of  photographic  assistants  by  the 
Paris  Chambre  Syndicate  is  announced.  It  will  be  held  in 
the  second  fortnight  of  March  next,  but  all  desirous  of 
presenting  themselves  for  examination  must  address  the 
President  for  that  purpose  (112,  Boulevard  de  Sebastopol) 
on  or  before  the  15th  of  next  month.  The  “ brevet  de 
capacite  ” will  be  granted  either  for  general  knowledge, 
or  for  knowledge  in  specific  subjects,  such  as  phototype, 
enamel  photography,  photo-engraving,  carbon  printing, 
platinotype,  &c. 

hi.  Crova  has  been  measuring  the  intensity  of  sunlight 
on  a clear  day  at  Montpellier.  The  light  staudard  in  F ranee 
is  the  Carcel  lamp — burning  colza  oil — and  according  to 
M.  Crova,  tho  intensity  of  the  best  sunlight  we  get  is 
equal  to  about  60,000  Carcels.  Now  a Carcel  light  is 
usually  considered  equivalent  to  ten  standard  candles  in 
this  country,  so  that,  if  M.  Crova’s  estimate  is  correct, 
bright  sunshine  gives  a light  equal  to  600,000  candles. 
With  the  powerful  electric  arc  lights  now-a-days  at  our 
disposal,  this  calculation  might  bo  checked  without  much 
difficulty  ; our  own  electric  printing  experiments,  of 
which  we  gave  an  account  in  these  columns  a little  while 
ago,  were  conducted  with  a so-called  6,000  candle  light. 


Ur.  Moser’s  theory  about  the  action  of  light  upon 
selenium  has  been  listened  to,  for  one  reason,  because  it 
seemed  to  be  on  all  fours  with  the  action  of  Crookes’ 
radiometer,  or  light-mill,  as  thi3  was  first  called.  Here,  the 
repellent  action  which  swung  round  the  little  wheel  in  a 
vacuum  was  at  first  supposed  to  be  the  action  of  light  rays 
alone,  and  it  was  not  until  Dr.  Stokes  suggested  that  it 
moved  by  reason  of  an  air  current  due  to  heat,  and  not  to 
light,  that  the  original  theory  was  overthrown.  Dr.  Moser 
has  suggested  that  it  is  the  heat  rays  that  alter  the  con- 
ductivity of  selenium,  and  that  therefore  this  body  cannot 
be  regarded  as  an  indicator  of  light  or  photometer,  but'  is 
simply  a heat  measurer. 


Mr.  Shelford  Bidwell  has  replied  to  Dr.  Moser,  and 
effectually  combated  his  theory.  Selenium,  as  our  readers 
know,  is  a bad  conductor  of  electricity,  but  as  soon  as  a 
beam  strikes  it,  the  resistance  it  affords  to  a current  is 
lessened  ; and  as  the  decrease  of  resistance  is  in  proportion 
to  the  intensity  of  the  rays  striking  the  selenium,  it 
affords,  as  in  the  case  of  Leon  Vidal’s  photometer,  a ready 
means  of  measuring  the  rays.  To  test  Dr.  Moser’s  theory, 
Mr.  Bidwell  submitted  selenium  to  dark  heat  rays,  with 
the  result  that  its  resistance  increased  ; subjected,  however, 
to  light  rays,  the  resistance  of  the  selenium  decreased. 
Mr.  Bidwell  therefore  attributed  the  fall  in  resistance 
brought  about  by  light  rays  to  the  differential  result  of  the 
rise  due  to  heat,  and  the  fall  due  to  light.  The  “ fatigue  ” 
to  which  a selenium  photometer  is  subject  after  use,  Mr, 
Bidwell  also  ascribes  to  heat ; if  maintained  cool,  no 
“ fatigue”  is  manifest. 

We  are  glad  tojsee  that  the  Foitevin  subscription  amounts 
to  within  a little  of  seven  thousand  francs,  or  <£280.  All 
the  nations  of  West  Europe  seem  to  have  subscribed,  with 
the  exception  of  Great  Britain,  whose  contribution  is  of 
of  the  scantiest.  The  photographic  societies  of  Germany, 
to  their  honour  be  it  said,  have  been  very  liberal  in  sup- 
porting the  fund  raised  in  memory  of  the  dead  French 
chemist  to  whom  photographers  owe  so  much. 

Here  is  a recipe  for  a black  lacquer  taken  from  the 
Journal  of  Chemical  Industry  : — Best  shellac  40  grammes, 
sandarac  10  grammes,  mastic  5 grammes,  dissolved  in  half 
a litre  of  methylated  spirit,  to  which  20  to  30  grammes  of 
pure  Venetian  turpentine  are  added. 

At  a recent  meeting  of  the  Photographic  Society,  Mr. 
England  mentioned  a cause  of  unsharpness  in  Alpine  pic- 
tures, which  tourist  photographers  who  journey  among 
glaciers  and  snow  peaks  should  note.  The  legs  of  the 
tripod,  if  standing  upon  snow  or  ice,  are  apt  to  yield  by 
the  thawing  of  the  latter,  especially  in  the  case  of  long  ex- 
posures. By  placing  stones  or  similar  objects  under  the 
legs,  this  difficulty  is,  however,  overcome. 


iatfnt  Jutcllignur. 

Application  for  Letters  Patent. 

101.  Charles  Denton  Abel,  of  28,  Southampton  Buildings, 
Chancery  Lane,  in  the  county  of  Middlesex,  for  an  invention 
of  “ Improvements  in  the  application  of  eosine  in  photographic 
processes.” — A communication  to  him  from  abroad  by  Pierre 
Alphonse  Attout,  called  Tailfer,  and  John  Clayton,  both  of 
Paris,  France. — Dated  8th  January,  1883. 

Patent  Granted  in  Austria-Hungary. 

S.  Oldal,  of  Gross- Becskerek,  for  “A  process  for  obtaining 
photographs  of  railway  views  from  the  atelier.” — Dated  27th 
February,  1882. 

Patent  Granted  in  Germany. 

20,966.  J.  Baumgartner,  of  Lorrach,  Baden,  for  “ Photographic 
carbon  prints.” — Dated  14th  June,  1882.  Class  57. 

Patents  Granted  in  Italy. 

J.  Plener,  of  London,  for  “ Obtaining  photographic  emulsions.” 
— Dated  12th  May,  1882. 

G.  Meisenbach.  of  Munich,  Bavaria,  for  “ A photographic  pro- 
cess for  preparing  matrices  for  relief,  intaglio,  or  other  impres- 
sions,”—Dated  13th  May,  1882. 


26 


THE  PHOTOGRAPHIC  NEWS. 


[January  12,  1883. 


FRENCH  CORRESPONDENCE. 
Photographic  Society  of  France— Noe’s  Process  for 
Obtaining  an  Equally  Imprinted  Negative  from  an 
Unequally  Lighted  Surface— Loiseau’s  Magnesium 
Lamp — Hase's  Shutter— Construction  of  an  Instan- 
taneous Shutter — Photography  at  the  Funeral 
Obsequies  of  Gambetta— Lithography  and  Photo- 
graphy-Sulphide of  Calcium,  and  Waunerke's 
Standard  Sensitometer. 

Proceedings  of  the  Photographic  Societg  of  France. — The 
last  meeting  of  the  Society  took  place  on  the  5th  inst. 
Although  various  presentations  were  made,  nothing  of 
special  interest  was  communicated,  except  by  Commandant 
de  la  Noe,  who  proposed  a method  of  lighting  equa'ly  the 
subject  to  be  reproduced,  although  it  receives  more  light 
from  one  side  than  the  other.  By  lighting  equally  1 
scarcely  explain  myself  properly  ; it  is  meant  that  an  un- 
equally illuminated  surface  may  be  made  to  furnish  in  the 
camera  an  image  equally  lighted.  When,  for  instance,  an 
engraving  or  picture  has  to  be  represented,  it  happens 
that  these  surfaces,  especially  when  large,  receive  more 
light  on  one  part  than  another.  The  print  in  such  cases 
presents  a shaded  aspect,  having  a rather  disagreeable 
effect.  Commandant  de  la  Noe  has  succeeded  in  over- 
coming this  difficulty  by  placing  before  the  diaphragm 
O (fig.  1),  situated  between  the  two  lenses  of  an  aplinatic 


A 


Fig.  1. 

objective,  a semi-circular  metallic  disc,  ABC,  the  dia- 
meter of  which,  A C,  is  capable  of  occupying  any  requisite 
position  by  rotation.  Half  of  the  diaphragm  is  therefore 
hidden,  but  a space  of  about  three  or  four  centimetres 
intervenes  between  it  and  the  semi-circular  disc,  so  that 
the  rays  of  light  proceeding  from  one  of  the  sides  of  the 
subject  may  pass  and  reach  the  sensitive  plate,  notwith- 
standing the  shield.  By  turning  the  disc  more  or  less 
round,  the  lighting  of  the  plate  may  be  regulated,  and  after 
a prolonged  trial  the  disc  may  be  placed  so  that  the  most 
luminous  side  of  the  subject  reflects  less  light  on  to  the 
plate,  the  image  obtained  showing  an  equally  lighted 
surface.  This  idea  is  ingenious,  and  in  many  cases  where 
it  is  impossible  to  obtain  regular  lightiug  it  may  be  of  good 
service. 

M.  Loiseau’s  Magnesium  Lamp. — A magnesium  lamp 
regulated  by  clockwork  was  presented  to  the  Society  by 
M.  Loiseau,  of  Rue  Richelieu,  Paris.  This  pattern, 
smaller  than  the  ordinary  lamp,  and  at  the  most  moderate 
price  of  eighteen  francs,  may  be  of  great  use  for  photo- 
graphic work  requiring  artificial  light.  It  is  very  port- 
able, and  I think  a lamp  of  this  kind  is  indispensable  to 
the  kit  of  a tourist  photographer.  The  earlier  lamp  was 
certainly  very  heavy  and  large.  Very  often  while  travel- 
ling one  longs  to  reproduce  the  interiors  of  grottoes, 
caverns,  &c.;  an  article  of  this  kind,  so  simple,  compact, 
and  portable,  would  answer  the  purpose  satisfactorily. 
Although  the  reflector  measures  only  from  six  to  seven 
centimetres  in  diameter,  its  great  curve  diffuses  the  light 
across  a wide  field,  about  four  metres  in  diameter,  at  the 
distance  of  about  three  metres.  This  is  sufficient  for 
rapid  plates  working  with  a lens  having  a wide  angle. 
The  subjoined  diagram  (fig.  2)  shows  the  simple  arrange- 
ment of  this  useful  apparatus,  the  height  of  which  is 
only  eleven  or  twelve  centimetres,  the  length  about  the 
name.  A B is  the  reflector,  through  the  centre  of  which 
passes  the  magnesium  ribbon,  L ; M N is  a cylindrical  box 
containing  the  clockwork  motive  power  ; R is  the  wheel 


upon  which  the  magnesium  ribbon  is  rolled,  from  which  it 
passes  across  the  box  through  the  reflector;  E is  the  key 


Fig.  2. 


for  putting  the  clockwork  in  motion  ; and  the  buttou  F is 
used  for  regulating  and  stopping  the  mechanism. 

New  Shutter. — M.  Ilase  has  shown  a new  shutter.  The 
apparatus  cousists  of  a circular  shutter,  put  in  action  by 
drawing  a string.  There  is  nothing  very  remarkable  about 
it,  except  its  simplicity  and  low  price.  In  these  times  of 
instantaneous  pictures  it  is  not  surprising  to  see  the 
multiplicity  of  apparatus  of  all  kinds  constructed  for  the 
purpose.  To  my  mind,  the  perfect  shutter  is  not  yet  in 
existence ; the  following  problem  has  to  be  solved  with 
regard  to  its  construction.  A shutter  must  be  of  con- 
venient size  and  weight,  and  equally  adapted  for  rapid 
exposures  up  to  of  a second,  and  those  lengthened  to 
several  seconds,  it  should  be  capable  of  fitting  any  lens, 
■ct  without  causing  the  camera  to  vibrate,  and  lastly,  must 
not  cost  much. 

Photograph g at  Gambetta' s Funeral. — Without  diverting 
from  the  subject  of  instantaneous  pictures,  we  ought  to 
state  that  the  solemn  funeral  obsequies  of  Gambetta  took 
place  in  fine  weather.  Several  lenses  were  directed 
towards  the  cortege  along  the  route,  and  we  hope  to  see  a 
remarkable  series  of  views  taken  from  all  points  while 
favoured  with  such  bright,  clear  light. 

Lithography  under  the  Guise  of  Photography. — Apropos  of 
Gambetta,  his  photographic  portrait,  enamelled,  likeness 
guaranteed,  is  sold  about  everywhere  at  the  price  of  ten 
centimes.  On  close  inspection,  of  course,  this  so-called 
photograph  is  discovered  to  be  lithographed  of  a photo- 
graphic tone.  While  photography  contests  its  right  to 
produce  works  of  art,  this  method  of  printing  steps  in, 
and,  as  far  as  the  masses  are  concerned,  takes  its  place. 
This  process  of  imitation  has  long  been  employed  for 
reproductions  of  monuments ; now  it  is  used  for  portrait. 
Let  U3  not  forget  that  this  fact  carries  its  moral. 

Experiments  toith  Sulphide  of  Calcium. — We  have  made 
several  experiments  on  surfaces  spread  with  this  luminous 
substance.  Up  till  now  the  maximum  degree  of  luminosity 
from  the  same  light  appears  to  be  the  same.  I shall  con- 
tinue the  research,  which  actually  shows  that  for  practical 
purposes  Mr.  Waruerke’s  sensitometer  answers  all  need. 
It  is  only  to  be  desired  that  the  graduated  scale  may  be 
equal  in  every  apparatus,  and,  on  this  account,  the 
printing  process  employed  by  Mr.  Warnerke  seems  to 
fulfil  the  exigencies  of  the  case.  Leon  Vidal. 

o 

lUbicfo. 

A Manual  of  Photographic  Chemistry.  By  Rev.  T. 

Frederick  llardwich,  M.A.  Ninth  edition.  Edited  by 

J.  Traill  Taylor.  ( London  : J.  and  A.  Churchill .) 

A new  edition  of  llardwich  is  an  event  that  must  not  be 
passed  over  in  the  photographic  world,  and  the  present 
edition,  bearing  upon  its  title-page  the  name  of  Mr.  Traill 
Taylor,  is  heartily  welcome.  At  the  very  beginning  of  the 
book  we  meet  with  good  news ; previous  editions  have, 
unfortunately,  been  bereft  of  much  that  was  essential  to 
the  photographic  student,  and  we  are  glad  to  find,  restored 
to  the  book  in  its  present  form,  the  invaluable  researches 
of  Mr.  H&rdwich  in  the  collodion  process,  which  had 


Januaby  12,  1863. 


THE  PHOTOGRAPHIC  HE'WS, 


27 


indeed  much  to  do  in  making  the  high  reputation  of  the 
text-book. 

We  are  glad  to  see,  too,  that  the  present  editor,  in  deal- 
ing with  the  chemical  aspect  of  photography,  has  confined 
himsell  to  plain  and,  one  might  almost  say,  homely 
language.  Photographic  studeuts  may  be  chemists,  or 
they  may  not ; but,  in  any  case,  they  are  only  students, 
and  should  be  regarded  as  such  in  a hand-book  that  pro- 
fesses to  deal  as  much  with  the  practical  as  the  theoretical. 

The  maiu  features  of  Hardwich’s  photographic  chemistry 
are  unchanged.  Regarded  by  the  light  of  the  present 
state  of  photographic  practice,  there  is  doubtless  much 
it  might  have  included,  but  the  rapid  and  sudden  pro- 
gress of  our  art  is  responsible  for  this,  rather  than  editor 
or  publisher,  who  must,  perforce,  set  down  a fixed  date  for 
a new  edition.  Thus,  the  paragraph  dealing  with  gelatine, 
now  that  this  substance  is  the  body,  if  not  the  soul,  of  our 
sensitive  emulsions,  might  well  have  been  enlarged,  for  we 
cannot  know  too  much  about  the  history  and  properties  of 
a substance  we  have  now  to  deal  with  every  day.  The 
same  may  be  said  of  such  salts  as  the  oxalates  of  iron  and 
potash,  whose  role  in  photography  has  been  of  late  so 
widely  extended. 

In  fact,  as  we  have  said,  the  gelatino-bromide  process 
deserved  more  space  than  has  been  accorded  to  it.  T he 
dark  room  described  is  that  adapted  to  wet  collodion 
rather  than  gelatine  plates.  The  optics  of  photography 
are,  however,  adequately  treated,  and  there  is  much  valu- 
able information  about  the  chemicals  employed  in  every- 
day photography.  Collotype  or  Lichtdruck  printing 
might,  with  advantage,  have  been  treated  at  greater  length  ; 
and  while  Willis’  aniline  method  for  printing  plans  is 
given,  no  mention  is  made  of  Pellet's  iron  process,  that  is 
most  extensively  employed  in  such  work  now-a-days. 

On  page  368  we  note  a hint  of  some  practical  import- 
ance, viz.,  how  to  make  a stirrer  or  beater  for  mixing 
gelatine  solutions  ; here  it  is. 

“ There  are  various  appliances  by  which  the  admixture 
may  be  thoroughly  made,  and  much  ingenuity  has  been 
expended  in  devising  such  appliances  ; but  one  of  the  best 
consists  in  having  a piece  of  a tolerably  coarse  and  long- 
toothed vulcanite  comb,  of  a length  somewhat  less  than 
the  diameter  of  the  beaker,  attacked  to  a round  wooden 
handle  ten  or  twelve  inches  in  length,  much  in  the 
fashion  of  a miniature  garden  rake,  with  this  difference, 
that  the  teeth  will  be  standing  in  the  same  direction  as 
the  handle.  This  is  placed  in  the  gelatine  solution,  and 
by  rolling  the  handle  betwecu  both  hands  a twirling 
motion  is  imparted  by  which  the  silver  solution  is  rapidly 
incorporated  with  the  gelatine.  After  this  addition  allow 
the  beaker  to  remain  undisturbed  for  about  a minute,  then 
add  the  remainder  of  the  silver  in  four  or  five  doses,  with- 
out diluting  it  as  in  the  case  of  the  first  silver  added,  and 
with  a vigorous  application  of  the  agitator  after  each 
addition.” 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  \ II. — The  Gelatine  Process — History. 
Gelatine  has  been  employed  as  a vehicle  in  which  to  sus- 
pend sensitive  salts  since  the  earliest  days  of  photo- 
graphy. 

1853.  In  a paper  of  this  date,  by  Gaudio,  we  have,  how- 
ever, the  first  account  of  its  employment  for  emulsion 
purposes. 

1871.  Dr.  Maddox  introduced  the  first  workable  emul- 
Bion  process  with  gelatine,  and  showed  some  negatives 
produced  by  his  process  to  Mr.  Traill  Taylor.  He  added 
an  excess  of  silver  nitrate  to  a solution  containing  gelatine 
and  cadmium  bromide,  and  coated  plates  with  the  result- 
ing mixture.  When  dry  they  were  exposed  and  developed 
with  plain  pyrogallic  acid. 

1873.  Mr.  Burgess  advertised  gelatine  emulsion  for  sale 


in  the  photographic  journals.  The  method  of  preparation 
was  not  published. 

Mr.  King  pointed  out  the  necessity  for  removing  the 
useless  products  in  emulsions,  and  described  the  use  of 
dialysis  for  that  purpose.  He  also  pointed  out  the  bene- 
ficial property  pcssessed  bv  alcohol  of  assisting  the  pro- 
duction of  the  silver  bromide  in  a fine  state  of  division. 

Mr.  Johnston,  also  in  this  year,  recommended  that  the 
soluble  bromide  should  be  in  excess  of  the  silver  salt,  a 
recommendation  which  is  now  universally  adopted. 

1871.  Mr.  Kennett  gave  a great  impetus  to  the  new  pro- 
cess by  the  introduction  of  his  gelatino-bromide  pellicle  ; 
and  in  June  of  the  same  year  published  his  method  of  pre- 
paring the  pellicle.  His  process  differed  from  Dr.  Mad- 
dox’s, in  that  he  kept  the  soluble  bromide  in  excess,  and. 
after  allowing  the  emulsion  to  set,  scraped  it  into  small 
pieces,  which  were  allowed  to  soak  in  water,  to  dissolve 
out  the  soluble  products;  it  was  then  dried  and  preserved 
for  use. 

1878.  Mr.  Bennett  (an  amateur)  generously  published 
bis  discovery  that,  by  prolonged  digestion  at  a moderate 
temperature — about  90tf  F. — gelatine  emulsions  containing 
excess  of  soluble  bromide  increased  in  sensitiveness  to  a 
most  remarkable  extent,  lie  also  exhibited  some  wonder- 
ful results  he  had  obtained  with  very  short  exposures  ou 
plates  coated  with  emulsions  which  had  been  digested,  in 
some  instances,  as  long  as  seven  days. 

1879.  Captain  Abney  published  his  simplified  process 
by  precipitation  from  aqueous  solutions,  and  washing  by 
decantation.  This  is  the  most  simple  process  known, 
and,  with  a little  care,  yields  satisfactory  results. 

Dr.  Monckhoven  published  his  process  with  silver 
carbonate  and  hydrobromic  acid,  and  his  discovery  of  the 
accelerating  action  of  ammonia. 

Mr.  Mansfield  discovered  that  by  boiling  an  emulsion 
for  a short  time,  the  same  effect  is  obtained  as  by  prolonged 
digestion  at  a lower  temperature ; finally,  Mr.  Bolton 
described  a practical  process  utilizing  Mansfield’s  dis- 
covery, and  which  process  forms  the  basis  of  most  of  the 
methods  now  employed. 

1880.  Captain  Abney  pointed  out  the  advantages  derived 
by  employing  a small  quantity  of  silver  iodide  in  conjunc- 
tion with  the  bromide.  Mr.  W.  J.  Wilson  (winner  of  the 
Paget  prize)  showed  the  important  part  which  the  excess 
of  soluble  bromide  plays  during  digestion,  and  the  necessity 
for  keeping  the  emulsion  slightly  acid  during  the  same 
period. 

GELATINE. 

Gelatine  being  the  all  important  substance  in  this  pro- 
cess, its  properties  and  peculiarities  should  be  very  care- 
fully studied.  Gelatine  is  a complex  organic  substance 
composed  of  four  elements : carbon,  hydrogen,  oxygen, 
and  nitrogen,  uuited,  according  to  Scherer,  in  the  following 
proportions : — 


Carbon  

50-4 

Hydrogen  

6-9 

Oxygen  

23  8 

Nitrogen  

18.9 

100-0 


It  is  obtained  as  a product  when  bones,  hoofs,  skins,  and 
various  other  kinds  of  animal  matter  are  heated  for  some 
time  with  water,  more  especially  if  the  water  contain  free 
acid  or  alkali.  There  are  many  different  methods  employed 
in  the  arts  for  the  extraction  of  gelatine ; thus  in  England 
Nelson  employs  caustic  soda,  and  Swinburne  water  only ; 
while  in  France,  hydrochloric  acid  is  generally  employed ; 
they  are  all,  however,  in  practice  somewhat  complicated. 
Dr.  Ure  thus  described  the  method  employed  by  Nelson. 
After  washing  the  parings,  &c.,  of  skins,  he  scores  their 
surfaces,  and  then  digests  them  in  dilute  caustic  soda  lye 
during  ten  days.  They  are  next  placed  in  an  air-tight  vat 
lined  with  cement,  kept  at  a temperature  of  70?  F.,  then 


28 


THE  PHOTOGRAPHIC  NEWS. 


[January  12,  1883. 


washed  in  a revolving  cylinder  apparatus  with  plenty  of 
cold  water,  and  afterwards  exposed  to  the  fumes  of  burning 
sulphur  in  a wooden  chamber.  They  are  now  squeegeed  to 
expel  the  moisture,  and  finally  converted  into  soluble 
gelatine  by  water  in  earthen  vessels,  enclosed  in  steam 
cases.  The  fluid  gelatine  is  purified  by  straining  it  at  a 
temperature  of  100°  or  120°  F.,  allowed  to  set  in  thin 
sheets,  and  dried  on  nets. 

Properties. — Pure  gelatine  is  a neutral  transparent  solid, 
without  taste  or  smell.  At  the  ordinary  temperature  it  is 
somewhat  soft  and  flexible,  and  contains  from  15  to  20 
per  cent,  of  water.  Dried  over  the  water  bath,  it  becomes 
hard  and  brittle,  and  may  be  powdered  in  a mortar. 

Immersed  in  cold  water  it  swells  up,  absorbing  a large 
quantity — from  five  to  ten  times  it  weight  (Abney)— of 
water,  and  becoming  very  soft  and  flexible;  it  does  not, 
however,  dissolve. 

The  swelled  gelatine  heated  to  about  blood  heat,  90°  F., 
melts  into  a transparent  liquid.  On  cooling  this  liquid  again 
to  about  70°  F.,  it  solidifies  or  sets  into  a tremulous  jelly. 

The  quantity  of  gelatine  compared  with  water  required 
to  solidify  in  this  way  varies  considerably  with  different 
samples,  but  is  usually  very  small.  A quarter  of  an  ounce 
of  a good  sample  will  set  with  no  less  than  a pint  (20  ozs.) 
of  water.  Asa  rule,  5 per  cent,  or  one  ounce  of  gelatine 
to  the  pint  of  water  is  a fair  quantity  to  employ  to  form  a 
firm  jelly. 

The  addition  of  a smallquantity  of  alum,  or  a still  smaller 
quantity  of  chrome  alum,  hardens  gelatine,  and  raises  its 
setting  and  melting  points. 

A solution  of  gelatine,  by  continued  boiling  or  frequent 
setting  and  re-heating,  undergoes  a change  in  properties  so 
that  it  refuses  to  set  when  cold,  and  dissolves  readily  in 
cold  water.  Free  acids  and  alkalies,  ammonia  and 
ammonium  salts,  such  as  ammonium  bromide  and  nitrate,, 
greatly  accelerate  this  change. 

In  contact  with  water,  gelatine  putrefies  in  a few  days, 
first  becoming  acid,  and  then  strongly  alkaline,  with  evolu- 
tion of  ammonia.  The  time  taken  for  this  putrefaction 
varies  considerably  according  to  the  weather,  the  occur- 
rence of  a thunder  storm  frequently  setting  up  very  rapid 
putrefaction. 

Thymol,  salycilic  acid,  carbolic  acid,  acetic  acid,  alcohol, 
alum,  and  some  other  substances,  if  added  to  gelatine, 
retard  or  prevent  this  decomposition.  Dissolved  in  dilute 
hydrochloric  acid,  and  dialysed,  a solution  of  gelatine  is 
obtained  which  does  not  putrefy  (Graham). 

Chlorine,  bromine,  and  iodine  combiue  with  gelatine. 
If  chlorine  or  bromine  be  added  to  a solution  of  gelatine  in 
excess,  a precipitate  is  thrown  down,  insoluble  in  water  ; if, 
however,  the  gelatine  remain  in  excess,  the  free  halogens 
disappear,  but  no  precipitate  occurs.  Iodine  combines 
with,  but  does  not  readily  precipitate,  gelatine.  Many 
other  powerful  oxidizing  agents,  such  as  chromic  acid,  car- 
bolic acid,  &c.,  also  precipitate  gelatine  if  added  in  excess. 
Alcohol  also  precipitates  gelatine  by  extraction  of  the 
water. 

Silver  nitrate,  if  kept  for  any  time  in  contact  with  a 
solution  of  gelatine,  especially  if  the  temperature  be  high, 
combines  with  it,  the  gelatine  gradually  assuming  a reddish 
tinge,  and  the  resulting  compound  is  not  decomposed  by 
soluble  bromides  unless  the  solution  be  boiled. 

Gelatine  is  readily  soluble  in  dilute  acid  or  alkaline 
solutions,  also  readily  soluble  by  the  aid  of  the  heat  in 
glycerine  and  anhydrous  acetic  acid.  Insoluble  in  alcohol, 
ether,  and  other  spirituous  liquids ; soluble,  however,  in 
weak  alcohol  with  the  aid  of  acetic  or  other  acid. 

Commercial  Gelatines. — The  best  of  commercial  gelatines 
are  anything  but  pure  products,  and  vary  very  much  in 
quality.  They  all  contain  more  or  less  dirt  or  insoluble 
matter ; some  contain  free  acid,  others  free  alkali ; some 
are  practically  colourless,  others  strongly  coloured;  some 
are  very  soft,  others  very  hard ; some  contain  grease,  and 
others  a quantity  of  sulphur.  They  also  vary  in  other 


respects  which  are  not  so  readily  detected  unless  a trial 
emulsion  be  made. 

METHODS  OF  PURIFYING  AND  REMOVING  SOLUBLE  MATTER, 

GREASE,  ETC.,  FROM  GELATINE  FOR  EMULSION  PROCESSES. 

A.  Dirt  anil  Insoluble  Matter. — If  the  gelatine  be  not 
already  acid,  the  addition  of  a small  quantity  usually  dis- 
solves up  a large  portion  of  the  insoluble  matter.  The 
larger  particles  can  be  removed  by  straining  through  fine 
flannel  several  times.  It  is  entirely  removed  by  the  follow- 
ing method  Soak  the  gelatine  in  water  and  liquefy  it. 
For  every  ounce  weight  of  gelatine  take  the  white  of  one 
egg,  well  beaten  up,  and  thoroughly  incorporate  with  the 
former  at  a moderate  temperature  ; this  is  best  doue  in  a 
deep  beaker.  Now  place  in  a bath  consisting  of  a satu- 
rated solution  of  calcium  chloride  or  sodium  sulphate,  and 
heat  until  the  gelatine  solution  boils  ; simmer  for  a minute 
or  two,  and,  while  still  hot,  strain  through  fine  flannel. 
The  albumen  of  the  egg,  in  coagulating,  imprisons  the 
insoluble  matter,  and  when  the  gelatine  boils,  rises  in  a 
scum  to  the  surface,  leaving  a perfectly  transparent  solu- 
tion. 

13.  Removal  of  Soluble  Matter,  Grease,  §-c, — Add  methy- 
lated alcohol  to  the  liquid  gelatine,  stirring  during  the 
operation  until  the  whole  of  the  gelatine  i3  precipitated  ; 
pour  off  the  liquid  containing  the  impurities,  and  add  a 
little  more  alcohol  to  remove  the  last  traces.  Break  up 
the  precipitated  clot  into  small  pieces,  and  allow  to  swell 
in  clean  water.  The  albumen  method  also  removes  every 
trace  of  grease. 


PHOTOGRAPHIC  EXHIBITION  IN  BRUSSELS. 
Rules  of  the  International  Photographic  Exhibition, 
to  take  Place  in  Brussels  in  1883. 

The  Belgian  Association  of  Photography  will  organise,  in 
the  galleries  of  the  Palais  des  Beaux  Arts,  Brussels,  the 
second  public  exhibition  of  works  appertaining  to  all 
brauches  of  the  art. 

All  photographers,  amateur  or  professional,  and  instru- 
ment manufacturers — Belgian  and  foreigners — are  invited 
to  contribute,  and  are  requested  to  note  the  following  rules 
and  conditions  adopted  by  the  committee  of  administra- 
tion at  the  meeting  on  October  10th,  1882, 

1.  The  exhibition  will  take  place  in  the  Palais  des 
Beaux  Arts  on  the  loth  August  next,  and  will  close  on  the 
1st  of  October. 

2.  All  intending  exhibitors  are  requested  to  notify  their 
intention  to  the  Secretary  of  the  Association  as  soon  as 
possible,  and  before  June  1st.  They  are  at  the  same  time 
to  state  what  amount  of  space  will  be  required,  following 
the  conditions  indicated  below. 

3.  All  exhibits  should  be  addressed,  carriage  paid,  to 
Mons.  A.  Geruzet,  Secretary  to  the  Association,  Palais  des 
Beaux  Arts,  Rue  de  la  Rcgence,  and  sent  in  between 
July  15th  and  August  1st. 

4.  The  exhibits  must  be  accompanied  by  a letter  giving 
the  number  of  objects  sent,  and  signed  by  the  exhibitor. 

5.  Exhibitors  are  recommended  to  protect  their  works 
by  frames  or  passepartouts. 

In  order  to  avoid  breakage  and  the  difficulty  of  transport 
which  frames  occasion  to  foreign  exhibitors,  the  committee 
recommend  them  to  send  their  prints  to  any  correspon- 
dent in  Brussels,  to  have  them  put  under  glass,  and  taken 
to  the  Palais  des  Beaux  Arts  before  August  1st.  In  such 
cases  exhibitors  should  give  particulars  of  what  has  been 
sent  to  Mons.  A.  Geruzet,  at  the  Secretary’s  office  of  the 
Association,  Rue  de  l’Ecuyer,  27  bis,  according  to  rules  4 
and  8. 

Exhibitors  having  no  correspondent  in  Brussels  may 
send  their  prints  to  the  Secretary,  Palais  des  Beaux  Arts, 
who  will  undertake  to  put  them  under  glass  with  as  much 
care  and  as  little  outlay  as  possible.  In  this  case  it  is 


J AKUABY  12,  1883.J 


THE  PHOTOGRAPHIC  NEWS 


29 


necessary  that  the  pictures  should  arrive  by  July  15th  at 
latest. 

6.  Exhibitors  are  requested  to  put  their  name  on  each 
separate  picture,  or  on  frames  containing  several  prints. 

7.  It  is  compulsory  to  meution  by  what  process  the  pic- 
ture is  taken,  as  collodion,  wet  or  dry,  gelatino-bromide, 
emulsion,  &c.,  and  also  the  particulars  of  the  print.  Any 
other  information  on  the  process  will  be  gladly  received. 

8.  Exhibitors  wishing  to  dispose  of  their  pictures  are 
requested  to  state  the  price  to  the  Secretary,  who  will 

(make  it  known  in  public. 

9.  No  print  may  be  withdrawn  from  the  exhibition 
I before  its  close,  even  should  the  time  be  lengthened. 

(10.  Works  offered  for  exhibition  will  be  submitted  to  a 
preliminary  examination  by  a jury,  to  decide  whether  they 
shall  be  accepted  or  rejected. 

11.  The  Association  will  place  at  the  disposal  of  a special 
jury  gold,  silver-gilt,  silver,  and  bronze  medals  and  honour- 
able mention  for  the  purpose  of  rewarding  exhibitors  of 
the  most  meritorious  work  iu  each  and  all  of  the  follow- 
ing categories : — 

A.  Prints  from  gelatine  with  fatty  ink. 

B.  Photo-engraving. 

C.  Woodburytype  and  similar  processes. 

D.  Photo-lithography,  photo-ziucograpliy,  and  similar 
processes. 

E.  Carbon  photography  (on  glass  or  paper). 

F.  Photography  ou  albumeuized  paper,  platinotype,  &c. 

G.  Cyanotype  and  similar  processes  applied  to  seience, 
art,  industries,  and  teaching. 

H.  Vitrified  photographs. 

I.  Photographic  instruments  and  apparatus  applied  to 
scientific  works  and  expeditions,  to  teaching,  industrial 
and  fine  arts,  &c. 

J.  Photographic  literature,  works,  and  publications. 

L.  Publications  illustrated  by  photo-mechanical  pro- 
cesses. 


17.  All  exhibits  must^be  removed  within  a week  after 
the  definite  close  of  the  exhibition,  when  they  will  be 
sent,  at  the  request  of  each  exhibitor,  at  his  own  cost. 

18.  All  cases  not  provided  for  uuder  these  conditions 
will  be  regulated  by  the  committee  of  administration, 
whose  decision  will  be  taken  without  appeal. 

For  the  committee  of  administration, 

Cn.  de  PiTTEuns,  President. 

A.  Geruzet,  Secretary. 


STIFFENING  OR  ANIMALISING  VEGETABLE 
TISSUES  BY  CHROMATISED  GELATINE. 

BY  J.  WOLFF. 

The  web  is  coated  on  one  side  with  a layer  of  chromatised 
gelatine,  and  partly  exposed  to  the  action  of  actinic  rays 
of  light. 

By  this  process,  says  the  Chemical  Industry  Journal,  it  is 
possible  to  dye  the  material,  such  as  wool,  with  colouring 
matters,  and  to  produce  coloured  prints  by  completely  or 
partially  auimalising  the  fibre,  and  exposing  it  to  light. 
By  washing  the  mass  subsequently  the  portion  of  the 
chromatised  gelatine  not  acted  upon  by  the  light  is  removed. 
The  apparatus  used  for  exposing  the  tissues  impregnated 
with  chromatised  gelatine  to  the  action  of  light  consists  of 
a glass  cylinder ; on  the  outside  of  the  wall  the  transparent 
negatives  or  open  patterns  are  placed  (with  their  picture 
side  up).  The  cylinder  travels  on  eight  rollers.  In  the 
axis  of  the  cylinder  the  source  of  the  actinic  rays  originates, 
which  acts  uniformly  on  the  walls  of  the  cylinder,  and 
reproduces  the  negatives  or  patterns  on  the  material  satu- 
rated or  impregnated  with  the  sensitive  mas3. 


IMPROVEMENTS  IN  LETTER-COPYING.* 


The  special  jury  is  authorised  to  award  medals  or 
honourable  mention  to  works  of  merit  which  canuot  be 
ranged  in  one  of  the  preceding  categories,  or  which  may 
be  distinguished  in  some  special  way,  whether  by  inven- 
tion or  application  (process,  publication,  or  apparatus). 

12.  A medal  of  excellence  will  be  given  to  the  exhibi- 
tor whose  works  offer  the  greatest  merit,  without  regard 
to  which  class  they  belong. 

13.  The  special  jury  will  be  composed  of  eleven  members, 
of  whom  five  are  to  be  foreigners,  two  Belgian  outside  the 
Association,  and  four  from  the  members  of  the  Associ- 
ation. 

The  president  and  secretary  of  the  Association  have  the 
right  of  being  on  the  jury. 

The  works  of  members  of  the  jury  chosen  from  among 
the  exhibitors  will  not  be  eligible  for  competition. 

14.  Under  the  charge  of  the  committee  a charity  lottery 
will  be  organised,  the  different  lots  of  which  will  be  bought 
at  the  expense  of  the  Association,  and  chosen  from  among 
the  objects  exhibited.  The  lottery  will  be  drawn  at  the 
end  of  the  exhibition. 

15.  The  Association  undertakes  all  the  general  expenses 
of  organisation  and  administration,  with  the  following 
exceptions: — A fixed  charge  of  five  fraucs  per  square 
metre  is  made  for  wall  space.  Exhibitors  requiring  a 
special  show-case  oi  table  for  enamels,  screens,  stereo- 
scopes, apparatus,  or  other  objects,  must  pay  the  cost  of 
this  installation,  and  with  respect  to  it  are  requested  to 
communicate  with  the  committee  of  administration  before 
July  1st. 

Exhibitors  are  to  pay  down  on  July  1st  one-half  of  the 
amount  calculated  for  the  space,  aud  the  remainder  to  be 
paid  before  August  1st,  after  the  space  has  been  accorded. 

Should  the  first  payment  exceed  the  whole  amount  due 
for  the  allotted  space,  the  difference  will  be  returned. 

16.  A commission  of  ten  per  cent,  will  be  charged  on 
all  works  sold  at  the  exhibition. 


The  process  utilises  the  well-known  glue  plate,  consisting  of  glue, 
water,  and  glycerine,  but  with  rather  more  glue  than  iu  the 
hektograph.  For  writing,  a strong  alum  solution  is  used, 
coloured  slightly  with  an  aniline  colour  to  render  it  visible. 
The  glue  plate  is  moistened  with  a sponge,  and  after  a few 
minutes  the  written  paper  to  be  copied  is  laid  down  upon  it ; in 
taking  it  off  after  a minute  or  two  the  characters  are  seen  to  be 
etched  or  engraved  in  the  glue.  By  means  of  a caoutchouc  roller 
a little  printer’s  ink  is  spread  over  the  plate.  Impressions  may 
then  be  taken  off’ on  slightly  damp  paper.  The  ink  roller  re- 
quires to  be  passed  over  previous  to  each  impression  being  taken. 
An  improvement  has  also  been  made  by  J.  Lewitus,  in  Vienna, 
in  the  ordinary  hektograph,  so  that  the  writing  can  be  rubbed 
off  the  glue  plate  as  easily  as  chalk  from  a black-board. 

Herrn  0.  Lehn,  of  Charlottenburg,  has  also  recently  patented 
an  improved  copying  apparatus,  in  which  a specially  prepared 
moistened  paper  is  stretched  iu  a frame,  the  original  writing  is 
placed  upon  it  and  left  for  one  or  two  minutes  ; after  removing 
it  again,  the  negative  or  prepared  paper  is  spread  over  with  ink, 
aud  the  copies  are  taken.  The  following  process  is  patented  by 
IComaromy  in  Buda-Pesth.  The  following  mixture  is  painted 
over  paper  impervious  to  water  : — 


Gelatine 
Glyceriue  ... 
Chinese  gelatine 
Water 


1 part 
5 parts 
0-2  „ 

1 part 


The  manuscript  is  written  with  the  following  solution  : — 


Water 

Chrome  alum 
Sulphuric  acid 
Gum-arabic 


...  100  parts 


f) 


and  then  laid  on  the  first  paper 


An  aniline  colour  solution  is 


now  poured  over  it,  and  the  excess  removed  with  silk  paper. 
Those  parts  which  have  been  touched  by  the  prepared  ink  be- 
come hard  and  incapable  of  taking  up  the  aniline  colour  solution, 
and  the  remainder  becomes  deeply  coloured.  By  placing  clean 
paper  over  it,  negative  impressions  are  obtaiued. 


• Journal  of  Chemical  Industry. 


30 


THE  PHOTOGRAPHIC  NEWS. 


| January  12,  1883, 


©OmSgOtt&ftttt. 

GREEN  FOG. 

Dear  Sir, — Were  one  to  take  a retrospect,  and  scan  the 
photographic  journals  for  the  past  year  or  two,  the  attention 
cannot  but  be  arrested  by  the  great  diversity  of  opinion 
regarding  green  fog.  High  temperature,  borax,  sulphite 
of  soda,  the  bromides,  the  iodidep,  ammonia,  &c  , &c., 
ad  infinitum,  are  all  in  turn  said  to  create  the  evil. 

It  is  not  without  some  diffidence  I venture  to  point  out 
what  I consider  the  immediate  cause  or  causes  of  its  forma- 
tion in  a gelatino-bromide  emulsion.  From  experiment, 
and  taking  the  case  occasially  to  avizandum,  as  the  lawyers 
say,  I have  come  to  the  conclusion,  some  time  ago,  that 
when  solvents  of  silver  bromide  are  employed  in  strong 
solution  or  in  a concentrated  state — note  the  words — in 
the  manufacture  of  gelatine  dry  plates,  more  or  less  of  a 
compound  is  formed  according  to  the  strength  of  the 
solvent,  which  on  reduction  appears  as  green  fog. 

The  principal  solvents  of  bromide  of  silver  used  are  am- 
monia, certain  acids,  and  the  bromides  of  ammonium  and 
potassium.  The  bromides,  one  or  the  other,  are  indispens- 
able ; the  acid  is  employed  to  ward  off  chemical  fog,  or  is 
contained  in  the  gelatine  added  in  bulk  ; and  the  ammonia 
to  confer  sensitiveness.  To  elucidate  the  subject.  When 
I make  an  emulsion,  I use  neither  acid  nor  ammonia  in  any 
part  of  the  process,  but  an  excess  of  bromide  to  act  the 
part  of  restrainer,  neutral  if  possible,  the  silver  in  the  same 
condition.  I may  here  say  1 am  seldom  troubled  with 
chemical  fog.  Now  if  the  bromide  solution  with  the  added 
gelatine  be  of  considerable  strength,  as  it  is  in  many 
formulas,  and  I add  the  silver  drop  by  drop  to  secure  fine- 
ness of  division,  more  or  less  of  green  fog  is  the  inevitable 
result.  On  the  other  hand,  if  I employ  a dilute  or  weak 
solution  of  bromide,  and  pour  all  at  once  the  silver  nitrate 
into  it,  green  fog  is  absent.  From  this  I infer  that  the 
bromide  in  the  first  case, when  concentrated,  has,  accelerated 
by  heat,  dissolved  a portion  or  modicum  of  the  newly- 
formed  bromide  of  silver,  which  combines  with  the  gelatine, 
producing  the  injurious  compouud  which,  on  reduction, 
shows  itself  afterwards  as  green  fog. 

It  need  scarcely  be  pointed  out  that  ammonia  and  certain 
acids  play,  if  in  strong  solution,  a similar  part. 

The  bromide  and  silver  solutions  should  either  be  divided 
and  added  alternately,  or  mixed  simultaneously  or  as  above. 
Of  course  if  the  usual  method  of  compounding  an  emul- 
sion be  reversed,  and  if  the  bromide  solution  contaius  an 
iodide,  and  is  then  added  drop  by  drop  or  in  a thiu  stream 
to  the  silver,  the  same  law  holds  good  if  the  latter  be  con- 
centrated. Anyone  who  has  worked  the  negative  bath 
knows  that  much. 

In  my  opinion  a great  deal  of  injury  is  often  done  to  a 
properly  made  and  good  emulsion  by  afterwards  addiug  in 
bulk  a strongly  acid  gelatine  ; and  if  ammonia  be  employed 
in  its  manufacture,  a considerable  portion  of  the  work  is 
probably  undone. 

Again,  if  one  use  cheap  French  gelatine  in  warm,  and 
Nelson’s  No.  1 in  cold,  weather,  the  calculations  are  sure 
to  be  upset,  as  the  latter  is  always  neutral  or  slightly 
alkaline,  while  the  former  I have  found  almost  invariably 
strongly  acid. 

Given  a negative  thoroughly  washed  and  free  from 
hyposulphite,  successful  intensification  depends  consider- 
ably on  the  employment  of  weak  solutions  of  silver  and 
iron  properly  restrained. 

Mr.  Editor,  thus  far  I have  endeavoured  to  kill  the 
beast  ; in  my  own  particular  case  it  has  perhaps  been 
stunned  only  ; however,  it  would  be  some  satisfaction  to 
know  in  the  course  of  time  I had  decapitated  one  at  least 
of  its  many  heads,  and  if  I have  not  made  certain,  I have  no 
doubt  the  monster  will  be  eventually  overcome,  or  at  all 
events  cornered.— I am,  yours  faithfully,  A.  Donald. 


DroiM&mgs  of  j^ocutiM. 

Photographic  Society  of  Great  Britain. 

The  ordinary  meeting  was  held  on  January  9th,  in  the  Gallery 
of  the  Royal  Society  of  Painters  in  Water  Colours,  James 
Glaisher,  Esq.,  F.R.S.,  in  the  chair. 

After  the  minutes  of  the  last  meeting  were  read  and  approved, 

Mr.  C.  Ray  Woods  read  a paper  on  “ Latitude  of  Exposure.” 
He  said  it  was  a very  common  complaint  that  it  was  a difficult 
matter  to  correctly  time  the  exposure  for  gelatine  plates,  and 
that  some  even  talked  of  a plate  which  ought  to  have  had  but 
five  seconds’  exposure  being  spoiled  by  six.  He  thought  that  no 
such  difficulty  ought  to  exist,  and,  indeed,  he  preferred  to  give 
an  exposure  of  about  50  per  cent,  above  what  he  considered 
normal  to  secure  certainty.  Recently,  with  a plate  which  had 
been  intended  to  receive  but  two  seconds’  exposure,  movement 
of  the  subject  had  taken  place  at  the  commencement  of  expo- 
sure, and  he  had  given  ten  seconds,  but  had  easily  restrained 
the  iron  developer  with  bromide  to  get  a good  negative.  He 
described  numerous  interesting  experiments,  and  showed  the 
results  of  several.  Thus  he  had  transparencies  exposed  one  to  a 
lucifer  match,  the  other  for  a similar  length  of  time  at  the  same 
distance  from  a magnesium  light.  Similar  transparencies  were 
got  in  each  case.  He  had  given  exposures  varying  as  much  as 
1,  3,  9,  and  even  as  1,  3,  9,  27,  and  81,  and  had  by  the  use  of 
bromide  got  similar  results.  His  experiments  had  all  been  per- 
formed with  the  ferrous  oxalate  developer . Possibly,  in  cases  of 
under-exposure,  it  might  be  possible  to  compensate  best  with 
the  alkaline  developer,  but  certainly  he  considered  that  in  cases 
of  under-exposure  there  was  a great  power  of  restraining  in  the 
iron  as  the  pyrogallic  developer. 

Colonel  Stcart  Wortley  considered  that  the  alkaline  deve- 
loper was  a3  capable  of  giving  latitude  of  exposure  as  the  iron. 
He  was  not  afraid  to  give  an  ample  exposure.  He  referred  to 
the  question  of  green  fog,  remarking  that  he  would  be  sorry  to 
produce  plates  on  which  it  was  possible  to  produce  it. 

Mr.  C.  Ray  Woods  wished  to  corroborate  Colonel  Wortley’s 
remarks  on  the  alkaline  developer.  There  was  great  latitude, 
nevertheless  he  believed  the  best  results  could  be  obtained  only 
from  correct  exposure. 

Captain  Abney  remarked  on  the  colour  of  the  transparencies, 
the  long  exposed  and  much  restrained  one  being  browner  than 
the  other.  This  corroborated  experiments  made  by  him  some 
years  ago.  He  undertook  to  produce  green  fog  on  any  plate 
given  him.  He  advised  all  commencing  work  with  ferrous 
oxalate  to  use  a little  bromide  as  restrainer. 

Mr.  Sebastian  Davis  referred  to  his  use  of  phosphate  of  soda 
in  the  developer.  He  used  a solution  in  water  of  about  15 
per  cent.,  treated  the  plate  with  this  first,  then  worked  up 
density  with  a strong  developer.  The  resulting  negative 
resembled  one  on  an  old  preservative  plate. 

Mr.  Herbert  Berkeley  referred  to  the  great  latitude  allow- 
able with  a bromo-iodide  plate  if  backed.  He  had  given 
exposures  varying  from  twenty  to  one,  and  got  good  results  with 
all,  without  altering  the  developer. 

Mr.  W.  K.  Burton  expressed  his  opinion  that  a well-restrained 
developer  allowed  latitude  simply  by  the  length  of  time  the 
plate  was  allowed  to  lie  in  it. 

Mr.  Bedford  said  that  there  was  a vast  difference  in  the 
latitude  allowable  with  different  plates.  A plate  giving  a good 
gradation  of  density  allowed  latitude  of  exposure.  A plate 
subject  to  reversal  of  the  image,  but  little  latitude. 

Colonel  Stewart  Wortley  took  exception  to  Mr.  Burton’s 
remarks  ; he  always  got  hardness  if  he  commenced  with  a much 
restrained  developer. 

Mr.  Blanchard  referred  to  the  advantage  in  cases  of  under- 
exposure of  placing  the  plate  first  in  ammonia  solution. 

Mr.  Woods,  in  reply,  said  that  he  did  not  mean  to  say  that 
there  was  less  latitude  with  the  alkaline  than  with  the  iron 
developer.  He  agreed  with  Captain  Abney,  that  green  fog  could 
be  produced  on  any  plate. 

A vote  of  thanks  was  proposed  to  the  reader  of  the  paper,  and 
carried  with  acclamation. 

Mr.  William  Peek  then  read  a paper  on  “ Expression  Photo- 
graphs.” He  touched  on  the  subjects  of  lighting,  posing,  &c., 
and  especially  on  the  study  of  the  characteristic  expression  of 
the  model.  He  passed  round  examples. 

Mr.  Sebastian  Davis  mentioned  experiments  in  which 
currents  of  electricity  were  used  to  stimulate  certain  facial 
muscles,  and  thus  obtain  different  expressions. 


Jaotaby  12,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


31 


Captain  Abney  referred  to  Darwin’s  book  on  the  expression  of 
the  emotions,  and  mentioned  a set  of  heads,  all  photographs  of 
the  same  young  lady,  yet  so  unlike  that  it  was  difficult  to  believe 
that  they  were  not  from  different  models. 

Mr.  Warnerke  described  a set  of  pictures  of  individuals 
pronouncing  certain  sounds  which  so  forcibly  suggested  these 
sounds  that  the  spectator  involuutarily  repeated  them. 

Mr.  Francis  Eliot  said  it  was  doubtless  advisable  to  get  a 
characteristic  expression  ; the  difficulty  was  to  know  which  was 
the  characteristic  expression. 

In  reply,  Mr.  Peek  mentioned  that  a certain  eminent  photo- 
grapher was  in  the  habit  of  asking  his  intended  sitters  to  break- 
fast with  him,  so  that  he  might  study  their  expressions. 

Mr.  Warnerke  showed  a new  form  of  lime  light,  the  invention 
of  M.  Kchotinsky.  The  peculiarity  consists  in  the  burner,  which 
is  vertical  instead  of  horizontal,  the  flames  shooting  upwards  ; and 
in  the  use  of  a special  hard  magnesium  pencil,  the  flame  im- 
pinging on  the  end  of  it.  Common  coal-gas  and  oxygen  are  used. 
The  light  will  burn  for  three  hundred  hours  without  adjust- 
ment. In  Russia,  where  oxygen  is  specially  prepared  cheap,  it 
costs  less  than  coal-gas  for  the  same  amount  of  light. 

An  interesting  discussion  followed  Mr.  Warnerke ’s  demontra- 
tion. 

The  President  announced  in  the  course  of  the  meeting  that 
the  Progress  Medal  had  been  awarded  to  Mr.  Woodbury  for  his 
Stannotype  process. 


The  Annual  Lantern  Meeting  of  the  South  London 
Photographic  Society. 

On  Thursday,  the  4th  inst.,  an  unusually  large  number  of 
members  and  their  friends  assembled  at  the  Hall  of  the  Society  of 
Arts,  and  after  the  formal  business  of  the  evening  had  been  trans- 
acted, the  Rev.  F.  F.  Statham  (Chairman)  invited  Messrs. 
Bridge  and  Brooks  to  proceed  with  the  exhibition  of  the  numerous 
slides  which  had  been  sent  in. 

The  lantern  used  is  the  very  fine  triple  instrument  which  is 
already  familiar  to  the  photographic  public,  each  objective  being 
actually  mounted  on  a small  bellows  camera,  these  cameras  taking 
the  place  of  the  rough  tin  cones  which  are  ordinarily  used  for 
lantern  purposes.  We  understand,  however,  that  Mr.  Brooks 
has  notably  improved  the  objectives  by  some  novel  combination 
of  lenses.  The  optical  lantern  was  placed  back  close  to  the 
clock,  and  a clear  disc  of  no  less  than  25  feet  in  diamet-r  was 
projected  on  the  screen,  this  diameter  being,  however,  reduced  to 
18  when  a normal  slide  was  in  position.  The  quality  of  the  pic- 
tures shown  was  excellent,  as  were  also  the  optical  arrangements 
and  the  facilitv  with  which  the  manipulations  were  conducted. 

The  contributors  of  slides  were  Messrs.  F.  Beasley,  Jun., 
F.  G.  Short,  J.  C.  Cohen,  Jno.  Nesbit,  W.  Brooks,  F.  A.  Bridge, 
J.  C.  Andrew,  M.  Whiting,  A.  L.  Henderson,  F.  Howard,  J.  Gale, 
C.  G.  Cutchey,  Sciopticon  Co.,  W.  J.  Wilson,  Dr.  C.  White, 
P.  H.  Fincham,  W.  M.  Ayres,  E.  Dunmore,  Dr.  Huggins,  F.R.S., 
and  F.  York. 

Mr.  F.  A.  Bridge  undertook  to  describe  the  slides  exhibited, 
while  Mr.  W.  Brooks  presided  at  the  lantern,  and  several  friends 
added  to  the  evening’s  enjoyment  by  vocal  music.  Mr.  Bridge  also 
performed  on  the  piano.  Mr.  Valentine  Blanchard  was  among 
the  vocalists. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  in  the  4 th.  inst., 

Mr.  A.  Cowan  (who  presided)  exhibited  a box  for  keeping  dry 
plates  in  the  dark  room,  constructed  similar  to  one  described  in 
the  Photographic  News  of  8th  ult.,  by  Schwartz.  The  box 
was  of  wood,  the  joint  being  double  rabetted,  and  it  was  made 
to  take  two  batches  of  plates  being  divided  in  the  centre  ; the 
plates  are  laid  one  on  the  other  flat  in  the  box,  narrow  strips  of 
card  being  placed  between  each,  four  uprights  of  wood  in  each 
half  of  the  box  serving  to  keep  the  plates  from  shifting,  and 
enabling  the  operator  to  easily  lift  them  out  by  placing  the  hand 
across  the  plate. 

Mr.  Brown  showed  a plate  developed  with  ferrous  oxalate,  and 
showing  green  fog  ; it  was  an  under-exposed  plate,  the  emulsion 
being  prepared  by  placing  the  silver  in  the  gelatine  first,  aud  then 
adding  the  bromide  ; it  was  allowed  to  remain  in  the  developer 
about  six  hours. 

Mr.  Coles  passed  round  a negative  covered  with  small  round 
spots  which  he  said  only  appeared  on  the  plate  when  left  all  night 
in  a flat  dish  containing  a saturated  solution  of  chrome  alum 


with  about  one  ounce  hydrochloric  acid  to  the  pint  of  solution. 
When  placed  in  the  dish,  the  negative  was  perfectly  clean,  and 
there  was  no  chance  of  its  being  splashed  by  any  other  solution  ; 
he  attributed  it  to  dust  or  other  impurities  in  the  alum. 

The  Chairman  thought  they  looked  like  spots  caused  by 
bubbles  in  the  developer. 

Mr.  Coles  thought  this  could  not  be  the  cause,  as  the  plate 
was  perfectly  clear  till  placed  in  the  alum  solution. 

Mr.  Debenham  said  a question  had  been  asked  at  a previous 
meeting,  why  any  emulsion  spilt  on  the  back  of  a plate  deve- 
loped up  black  ? He  thought  the  solution  was,  that  when  the 
plate  was  placed  on  the  slab  to  level,  any  dirt  on  the  slab  was 
taken  up  by  the  emulsion  on  the  back,  which,  when  developed, 
would  give  green,  red,  grey,  and  ultimately  black  fog,  as  it  was 
well  known  if  there  was  any  dirt  on  the  plate  it  always  devc* 
loped  fog. 

Mr.  W.  K.  Burton  said  that  if  a plate  was  thoroughly 
cleaned  back  aud  front,  hand-coated,  and  placed  on  points  to 
level,  the  emulsion  at  the  back  would  develop  as  clean  as  the 
front. 

Mr.  Henderson  said  if  an  emulsion  wa3  prepared  with  an 
ammonia  nitrate  solution,  the  results  would  be  entirely  differ- 
ent to  a batch  in  which  the  same  quantity  of  free  ammonium 
was  added  to  the  gelatine  and  bromide  first ; in  the  latter  case, 
if  only  a small  quantity  (say  about  one  ounce)  of  the  ammonium 
was  added,  and  the  ammonia  gelatino-bromide  added  to  the 
silver,  the  emulsion  was  of  a darker  colour,  presumably  contain- 
ing oxide  of  silver  of  great  density  and  rapidity,  but  was  other- 
wise somewhat  difficult  to  work,  especially  during  development, 
owing  to  the  dark  colour  of  the  film,  which,  when  fixed,  how- 
ever, was  perfectly  clear  ; he  thought  that  plates  prepared  from 
an  emulsion  so  prepared  would,  owing  to  their  dark  colour,  be 
less  likely  to  give  halation. 

It  was  announced  that  Mr.  W.  K.  Burton  would  demonstrate 
his  precipitation  process  at  the  next  meeting,  when  he  would  be 
pleased  to  answer  any  questions  asked  him,  and  endeavour  to 
explain  any  difficulties  encountered  in  working  same. 

Photographers’  Benevolent  Association. 

On  December  27th,  a special  meeting  of  the  Board  of  Manage- 
ment was  held  for  the  purpose  of  considering  an  application  for 
assistance.  The  sum  of  £5  was  granted. 

On  the  3rd  inst.,  the  B>ard  held  its  usual  monthly  meeting  at 
181,  Aldersgate  Street.  The  minutes  were  read  and  confirmed, 
after  which  Mr.  S.  O’Reily  was  elected  a member  of  the  Asso- 
ciation. 

It  was  decided  to  hold  the  Annual  General  Meeting  on  Wed- 
nesday, 24th  inst.  The  chair  will  be  taken  by  W.  S.  Bird,  Esq., 
at  8 p.in.  Members  are  requested  to  make  an  effort  to  be  pre- 
sent, and  all  friends  are  cordially  invited. 


Glasgow  Photographic  Association. 

This  Association  met  in  the  Religious  Institution  Roc  ms, 
Buchanan  Street,  on  the  21st  ult.,  Mr.  Parker  in  the  chair. 

After  the  transaction  of  general  business,  and  replying  to  the 
questions  in  the  Question-Box,  a paper  on  “Carbon  Printing” 
was  read  by  Mr.  J.  C.  Annan  (in  our  next),  to  whom  a cordial 
vote  of  thanks  was  passed. 


in  tfre  SiuMn. 

Professor  Tyndall  on  Light  and  Mining  Accidents. — At 
the  Royal  Institution,  Albemarle  Street,  on  Saturday  afternoon, 
Professor  Tyndall  delivered  a lecture,  intended  for  juveniles,  but 
at  the  same  time  largely  attended  by  ladies  and  gentlemen,  on 
the  subject  of  “ Light.”  First  of  all  he  showed  a beautiful 
spectrum  display  of  colour  upon  a screen,  and  then  illustrated 
that  a piece  of  red  flannel  put  in  front  of  the  colours  on  the 
screen — that  is,  between  the  screen  and  the  apparatus — destroyed 
all  other  colours  except  the  red,  which  was  visible  upon  the 
flannel  in  the  darkened  chamber.  Pointing  out,  however,  that 
nothing  was  annihilated  in  nature,  the  lecturer  indicated  that  the 
intercepted  light  was  converted  into  heat  upon  the  flannel.  He 
further  pointed  out  that  heat  extended  beyond  the  visible  spec- 
trum, although  not  such  as  to  excite  vision.  It  was  possible  at 
the  same  time,  as  he  made  clear  by  experiments,  to  obliterate  the 
luminous  rays  by  interposing  dissolved  iodine.  Next  he  found 


32 


THE  PHOTOGR APHIC  NEWS. 


[Januaet  12,  1883. 


means  of  intensifying  the  invisible  rays,  stating  that  they  might 
set  London  on  fire  by  these  rays,  that  produced  no  light,  but 
enormous  heat  when  intensified.  Accidentally,  indeed,  when 
experimentalising,  he  once  got  into  a position  where  these  rays 
impinged  on  his  coat,  and  his  attention  was  called  to  the  fact 
that  his  coat  was  actually  smoking.  In  illustration  of  this  he 
showed  how  various  articles  ignited  at  an  invisible  focus.  The 
human  eye,  indeed,  was  a photographic  plate  prepared  for  the 
reception  of  certain  rays,  and  unaffected  by  other  rays.  These 
invisible  rays,  however,  were  rendered  visible  by  specially- 
prepared  paper  at  the  end  of  the  screen.  There  were  substances 
which  had  the  power  of  drinking-in  light  and  giving  it  out  again, 
and  these  were  phosphorescent  subjects.  From  these  luminous 
paint  was  produced,  and  he  showed  that  the  face  of  a clock 
covered  with  this  substance  shone  in  darkness.  It  would  be  a 
great  boon  if  light  of  this  kind  could  be  used  in  coal  mines,  but 
thus  far  it  had  not  been'found  of  sufficient  intensity  to  illuminate 
the  workings  of  the  miners,  because  a coal-mine;was  a very  dark 
place.  In  conclusion,  Professor  Tyndall  illustrated  by  experi- 
ments the  subject  of  spectrum-analysis. — Daily  Chronicle. 

A Misprint. — Mr.  G.  W.  Austen,  who  is  so  well  known  as  an 
enlarger  and  transfer  painter  to  the  profession,  calls  our  attention 
to  the  circumstance  that  his  address  is  given  in  the  advertising 
columns  of  the  Year-Book  as  Cl,  Riversdale  Road,  Highbury 
Vale  ; but  the  correct  number  is  31. 

Mr.  Farmer’s  Lectures. — An  additional  short  lecture  on 
Elementary  Photographic  Chemistry  will  be  given  at  the  Poly- 
technic on  Saturday  next  and  succeeding  weeks  at  8' 15  p.m.,  for 
the  benefit  of  students  attending  the  course. 

Messrs.  Elliott  and  Fry. — On  Friday  evening  last  the 
employees  at  the  silver  and  carbon  printing  works  at  Barnet 
held  a soiree  at  Talbot  House,  Barnet,  kindly  placed  at  their 
disposal  for  the  occasion  by  the  firm.  The  various  rooms  were 
artistically  decorated  with  evergreens,  &c.,  and  appropriate 
mottos.  A varied  entertainment,  including  vocal  and  instru- 
mental music,  was  provided.  At  the  supper  which  followed  the 
chair  was  taken  by  the  respected  manager,  Mr.  II.  Ottoway, 
the  duties  of  vice-chairman  being  fulfilled  by  Mr.  Skelton.  The 
toasts  of  “ Prosperity  to  the  Firm,'1  “The  Manager,”  “ Visitors,” 
&c.,  were  proposed  and  responded  to  ; and  on  the  removal  of 
the  cloth,  the  room  was  cleared  for  dancing,  which  was  kept  up 
in  spirit  until  the  approach  of  the  “ small  hours,”  when  the 
company  dispersed,  after  singing  the  National  Anthem. 

Manufacturing  Emulsions. — A new  proeess  of  manufacturing 
photographic  emulsions  has  been  patented  by  Thomas  H. 
McCalten,  of  Philadelphia,  Pa.  On  an  upright  shaft  fitted  for 
revolution  at  a high  speed,  is  a cross-arm,  from  which  are  sus- 
pended vessels  by  jointed  links.  Within  these  vessels  are  fitted 
glass  vessels  provided  with  funnels  near  their  lower  ends.  The 
emulsion  is  placed  in  the  vessel  and  the  shaft  rotated,  the  centri- 
fugal force  and  gravity  causing  the  excess  of  silver  salts  to  pass 
through  and  beneath  the  funnels  to  be  used  again. — Picture  and 
Art  Trade. 


^0  €0m300a0£s!s. 

*#*  We  cannot  undertake  to  return  rejected  communications. 

%*  Contrihutors’  Copies  of  Year-Book. — There  are  several 
contributors  to  our  Year-Book  who  have  not  yet  received  copies, 
owing  to  the  circumstance  that  we  have  not  their  addresses.  The 
publishers  will  be  glad  to  hear  of  any  omission  of  this  nature,  in 
order  that  it  maybe  rectified  as  soon  as  possible. 

William  V.  Morris. — 1.  In  order  to  adapt  the  apparatus  for 
portraiture  at  close  quarters,  it  would  be  well  to  so  arrange  it 
that  the  camera  will  expand  to  about  sixteen  inches.  2.  Make 
a conical  extending  piece,  which  can  be  attached  to  the  front. 

Samuel. — Take  a walk  along  Thames  Street,  and  you  will  see 
them  exposed  to  view  at  several  warehouses. 

II.  Willett. — 1.  It  doe3  not  make  any  difference  as  regards  the 
drying,  more  especially  as  everything  soluble  is  washed  out. 
2.  Use  the  pure  salt,  by  all  means. 

Restal  Riggs. — I.  A new  edition  has  just  been  issued,  and  can 

“ be  had  from  Messrs.  Churchill,  of  New  Burlington  Street. 
2.  Unfortunately,  we  do  not  know  his  address. 

V.  G.  (Soho  Square). — The  best  process  is  that  of  Capt.  Abney, 
and  details-will  be  found  on  page  77  of  the  last  volume  of  the 
Photographic  News. 

A Constant  Reader.— We  believe  it  is  a practically  useful 

arrangement. 


S.  P.  G. — No  chemical  will  serve,  and  you  will  only  obtain  sensi- 
tiveness by  carefully  studying  and  fulfilling  a great  number  of 
conditions. 

Subscriber. — There  is  reason  to  believe  that  they  are  consider- 
ably more  permanent  than  ordinary  prints  on  albumeniscd  paper. 

R.  P.— They  will  be  republished  in  the  course  of  a few  weeks. 

A Poor  Optician.— Considering  everything,  you  had  better 
obtain  the  u rapid,”  as  it  is  often  absolutely  necessary  to  obtain 
pictures  when  the  light  is  very  poor  indeed. 

J.  Davidson. -Obtain  Mr.  Burton’s  “A  B C,”  which  is  pub- 
lished at  our  Offi  'e. 

E.  Gilbert. — 1.  There  is  no  method,  as  far  as  we  know,  of 
obtaining  the  tone  you  desire,  for  if  the  prints  are  toned  in  the 
ordinary  way  before  immersion  in  the  bichloride  solution,  the 
ordinary  result  is  not  obtained.  2.  It  is  a common  complaint, 
but  the  difficulty  is  obviated  to  some  extent  by  fuming.  " Some 
valuable  bints  may  be  gathered  from  a paper  which  Mr.  Valentino 
Blanchard  contributes  to  the  Year-Book. 

E.  A.  T.  Liudeii. — Under  the  circumstances,  you  had  belter  use 
sulphide  of  potassium.  Make  a strong  solution,  and  add  as 
much  as  is  required  to  each  batch  of  liquor. 

W.  T.  Maitland. — 1.  The  change  is  of  very  doubtful  advisability, 
but  it  is  impossible  to  judge  properly  unless  detailed  infermation 
is  sent.  2.  They  were  published  in  the  year  1864  ; but  it  will  not 
be  by  any  means  easy  to  obtain  them  at  the  present  time.  3.  A 
portrait  lens  stopped  down  will  answer  quite  well,  provided  that 
you  do  not  attempt  to  stain  the  lens  by  using  an  over  large  plate. 
4.  Whon  kept  for  some  years  it  invariably  becomes  hard  and 
useless. 

H.  Tomlins. — 1.  Because  you  have  excluded  the  air.  2.  Merely 
as  a means  of  making  the  film  adhere. 

C.  Benwell. — Not  at  present. 

***  Several  answers  are  unavoidably  postponed. 


Nature  says  : — “All  interested  in  photography  will  find  much 
that  is  useful  and  curious  iu  Mr.  Baden  Pritchard’s  Year-Book 
of  Photography  for  1883.” 

The  Year-Book  of  Photography,  Edited  by  H.  Baden 
Pritchard,  F.C.S.  “ Amateur  as  well  as  professional  artists 
will  find  abundant  interest  in  this  capital  annual,  which  ‘ is 
crowded  with  useful  information.’” — Daily  Chronicle. 


NOW  READY,  price  1/-,  per  post  1/3, 

THE 

iff  ax  - itool’.  fit'  |l(jotcgntjL)Im 

AND 

PHOTOGRAPHIC  NEWS  ALMANAC, 

FOR  1883. 

Edited  by  H.  BADEN  PRITCHARD,  F.C.S., 

Late  Don.  Secretary  of  the  Photographic  Society  of  Great  Britain. 


WITH  PORTRAITS  OF  SIR  CHARLES  WHEATSTONE 
AND  MR.  W.  B.  WOODBURY. 

STANDARD  FORMULAE,  corrected  and  enlarged. 

JOTTINGS,  useful  and  interesting. 

EVERYDAY  EXPERIENCES. 

Tho  PHOTOGRAPHIC  LENS,  its  Birth  and  History. 

The  COLLOTYPE  PROCESS  IN  PRACTICE. 

DARK  ROOMS  and  their  Construction. 

GELATINE  EMULSION  for  Professional  and 
Amateur  Photographers. 

Practical  Details  of  Daguerreotype,  Collodion,  Platino- 
type,  Irou  Printing,  Silver  Printing,  Carbon 
Printing,  Photo-Lithography,  &c. 

A List  of  all  PHOTOGRAPHIC  SOCIETIES  and 
JOURNALS  in  the  world,  corrected  to  date. 

Original  Articles  by  the  most  eminent  Photographers 
of  the  day. 

Photographic  Poisons  and  their  Antidotes. 

Illustrated  with  Numerous  Wood-cuts. 


PIPER  & CARTER,  5,  Castle  Street,  Holborn,  E.C. 


THE  PHOTOG-RAPHIC  HEWS, 


— 


V- 


* 


Vol.  XXVII.  No.  1272.— January  19,  1883 


*7/ 


CONTENTS. 


Photographic  Action  in  Minerals  33 

Photographing  a Ship’s  Course 33 

Patents  and  Patenting 35 

Carbon  Printing.  By  J.  C.  Annan  35 

Dry  Plates  and  their  Development.  Bv  S.  Tamkin 33 

Notes 40 

Patent  intelligence  41 


Notes  on  Photography.  By  E.  Howard  Fanner  43 

Green  Fog.  By  C.  Ray  Woods  43 

Lockycr’s  Dissociation-Theory.  By  Dr.  H.  W.  Vogel 44 

Correspondence  45 

Proceedings  of  Societies 45 

Talk  in  the  Studio 47 

To  Correspondents 48 


PHOTOGRAPHIC  ACTION  IN  MINERALS. 

In  a recent  number  of  the  Nf.ws  we  commented  on  the 
change  that  certain  organic  bodies  undergo  under  the 
influence  of  light,  and  we  then  communicated  some 
recent  discoveries  in  this  connection.  But  changes,  due 
to  light,  quite  as  surprising,  are  to  be  found  among 
minerals,  which  are  usually  regarded  as  the  most  stable  of 
bodies. 

According  to  a new  observation  of  Erdmann’s,  it 
seems  that  certain  kinds  of  felspar  are  sensitive  to  light. 
Green  felspar,  which  is  sometimes  called  Amazon-stone, 
and  is  found  in  certain  localities  in  Sweden,  is  one  of 
these.  This  green  felspar  is  generally  discovered  in  zinc- 
mines,  and  the  miners,  when  they  first  come  upon  it,  notice 
that  the  mineral  is  of  a light  emerald  green.  But  on  ex- 
posure to  light  the  colour  changes,  and  becomes  a very 
dark  green  indeed.  The  interesting  experiment  was  made 
to  seal  up  in  glass  tubes  of  different  colours  pieces  of  this 
felspar,  so  as  to  prevent  any  influence  from  air  or  damp  ; 
but  after  eleven  months’  exposure  to  light  the  same  change 
in  colour  was  remarked,  so  that  light  rays,  and  these 
alone,  are  shown  to  bring  about  the  change.  Heated, 
however,  to  a moderate  temperature,  the  dark  green  felspar 
becomes  once  more  light  green. 

While  on  this  interesting  subject,  we  may  refer  to  a 
former  observation  of  G.  F.  Richter’s,  in  which  an 
analagous  change  in  the  mineral  Jacinth  through  the 
action  of  light  was  remarked.  There  are  hyacinth-red 
varieties  of  this  mineral,  as  also  those  coloured  yellow 
and  greenish-grey.  Richter  showed  that  sunlight  changed 
the  red  variety  into  brown.  Four-aud-twenty  hours  were 
sufficient  to  work  a perceptible  change,  and  after  this 
period  the  colour  of  the  mineral  became  quite  brown.  At 
the  same  time  its  former  diamond  brilliancy  was  lost,  and 
it  appeared  more  like  glass.  In  order  to  find  out  whether 
its  original  brilliant  appearance  could  be  restored  to  it, 
Richter  placed  some  of  the  mineral  in  the  dark  under 
black  paper  for  a period  of  fourteen  days,  and  was  sur- 
prised to  see  that  there  certainly  was  a restoration  in  this 
respect,  albeit  the  mineral  did  not  attain  the  full  force  of 
its  pristine  beauty. 

Finally,  it  may  be  remarked  that  warmth  behaves  in  a 
most  singular  manner  in  respect  to  these  changes  by  light. 
In  ordinary  photographic  processes,  warmth  frequently 
assists  the  photographic  action  of  light ; indeed,  as  our 
readers  are  aware,  it  is  possible  to  produce  and  develop  heat 
ictures  (Thermographs)  in  the  same  way  as  light-pictures, 
n the  case  of  felspar  and  glass,  it  is,  however,  different. 
Felspar  darkened  by  light,  or  window-glass  rendered 
violet  or  green  under  the  action  of  the  sun’s  rays,  are 
bleached  when  submitted  to  heat.  So,  again,  bitumen  or 
asphalte  rendered  insoluble  by  the  action  of  light,  and 


anthracene  acted  upon  by  light,  are  both  brought  back  to 
their  original  condition  by  heat.  So  that  we  have  here 
some  remarkable  examples  of  the  fact  that  heat  can  at 
times  act  in  opposition  to  light. 


PHOTOGRAPHING  A SHIP’S  COURSE. 

A fortnight  ago  we  referred  to  an  invention  by  Mr.  Pick- 
well,  Civil  Engineer,  of  Hull,  for  registering  a ship’s 
course  by  the  unerring  pencil  of  photography.  That 
gentleman  has  been  good  enough,  not  only  to  furnish  us 
with  further  details  touching  his  invention,  but  also  to 
forward  some  sketches  which  will  make  more  clear  to  our 
readers  the  nature  of  the  apparatus  involved. 

As  we  before  mentioned,  sensitized  sheets  of  paper — or, 
rather,  tables  printed  on  sensitive  paper  (see  fig.  5)— are 
used  to  receive  the  impression  of  the  ray  of  light,  which 
comes  from  the  daylight  or  a lamp  above  the  compass. 
The  paper  is  prepared  after  the  manner  of  that  employed 
at  the  Greenwich  and  Kew  Observatories ; in  fact,  Mr. 
Pickwell  exposes  his  paper  wrapped  round  a barrel,  in  the 
same  way  precisely  as  do  the  Astronomer-Royal  and  Mr. 
Whipple.  The  paper  keeps  very  well  for  weeks  with  a little 
care,  and  its  development  is,  as  our  readers  are  aware,  a 
very  simple  matter. 

Our  sketches  will  be  readily  understood.  Fig.  1 repre- 
sents an  elevation  of  a compass  binnacle  and  stand,  of  the 
pattern  used  by  the  inventor,  and  fig.  2 a cross  section, 
showing  the  inside  compass  and  lamp,  and  the  adaptation 
of  the  patent  self-registering  apparatus  under  the  compass 
card.  A is  the  wooden  stand  lashed  and  screwed  to  the 
deck,  which  carries  the  ordinary  bowl,  B,  covered  by  the 
binnacle  top,  C,  with  glass  windows,  the  stand  being  of 
any  convenient  height.  Inside  the  outer  bowl  the  compass 
bowl  is  hung  on  gimball  rings  in  the  usual  way,  and  the 
compass  card  is  seen  below  the  glass  cover  or  lid  of  the 
inner  bowl,  light  being  supplied  at  night  by  a top  lamp,  as 
shown  in  fig.  2.  The  registering  apparatus  is  fitted  in  the 
bowl  below  the  card,  and  is  indicated  by  the  letter  E on 
the  engraving.  It  consists  of  a barrel  (figs.  2,  3,  and  4) 
containing  clockwork,  which  causes  a second  barrel  within 
the  first  to  continuously  revolve  at  a given  speed,  the 
outer  barrel  being  fixed  and  having  two  slots,  e e,  cut 
through  on  its  upper  surface  parallel  to  the  axis.  The 
compass  card  has  also  a slot,  shown  by  the  line  G G G, 
curved  in  such  a manner  that  some  one  part  of  it  is 
always  across  one  or  other  of  the  straight  slots  in  the 
drum ; and  as  the  inner  barrel  is,  when  in  use,  covered 
with  sensitized  paper,  it  will  be  at  once  understood  that, 
in  whatever  course  the  ship  is  being  steered,  a ray  of 
light,  either  from  the  sun  or  from  the  lamp,  will  pass 
through  the  small  opening  made  at  the  intersection  of 
the  curved  slot  in  the  card  with  one  or  other  of  the  straight 


34 


THE  PHOTOGRAPHIC  NEWS. 


[January  19,  1883. 


slots  in  the  drum  envelope,  and  will  produce  a black 
mark  upon  the  prepared  paper,  more  or  less  distant  from 
the  centre  of  the  card,  and  which  from  its  position  will 
give  an  exact  indication  of  the  course  of  the  vessel  at  the 
time.  The  revolving  motion  of  the  drum  gives  the  dura- 
tion of  time  the  ship’s  head  is  on  each  course,  as  well  as 
the  time  such  courses  are  changed. 


An  actual  diagram  unwrapped  from  the  barrel  is  shown 
in  fig.  5,  vertical  spaces  representing  directions,  as  indi- 
cated by  the  letters  of  the  compass,  and  horizontal  dis- 
tances denoting  time.  To  remove  the  paper,  the  revolving 
barrel  is  drawn  off  like  the  drum  of  an  ordinary  Richard’s 
indicator,  through  an  opening  in  the  side  of  the  bowl,  and 
all  that  is  necessary  to  permanently  fix  the  lines  is  to  im- 


fic  .1 


Fin  . a 


FIG  9 


merse  the  diagrams  in  a developing  liquid  for  a short  time. 
The  papers  are  made  for  a day  of  twenty-four  hours,  or 
may  be  continuous  so  as  to  give  the  course  for  a period  of 
three  months,  in  which  case  it  is  proposed  to  enclose  the 
apparatus  in  a locked  case,  which  can  only  be  opened  by 
the  owner  of  the  vessel.  The  arrangement  most  in  favour, 
however,  is  that  for  daily  diagrams  under  the  control  of 
he  captain,  who  can  file  them  when  fixed,  and  produce 
hem  at  the  end  of  the  voyage  if  required. 


The  apparatus  has  already  been  employed  during 
several  voyages,  and  so  truth-telling  is  the  tell-tale,  that 
the  temporary  stoppage  of  a vessel  to  take  a pilot  on 
board  is  recorded  on  the  diagram.  One  other  interesting 
result  is,  that  it  shows  the  difference  between  a steady 
steersman  and  an  unsteady  one.  A good  man  at  the 
wheel  keeps  the  ship’s  head  straight  on  her  course,  while 
another  will  allow  the  head  to  oscillate,  or  “yaw,”  as  it  i 
termed  ; and  the  amount  of  such  “ yawing  ” is  distinctl 


January  19,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


35 


shown  on  the  diagram.  We  must  heartily  congratulate 
Mr.  l’ickwell  on  the  satisfactory  solution  of  a difficult 
problem,  that  has  previously  troubled  several  engineers  in 
vain  ; and  we  are  glad  to  find  that  it  secured  the  first 
prize — a silver  medal — at  the  North-East  Coast  Exhibition. 


PATENTS  AND  PATENTING. 

Although  the  number  of  photographic  patents  applied  for 
and  granted  is  rather  numerous,  it  is  remarkable  how  few 
are  allowed  to  run  their  full  course  of  fourteen  years.  This 
may  be  due  to  the  rapid  advance  of  photographic  research, 
new  processes  replacing  the  older  ones  ; so  that  these  be- 

nc.3 


FIC.  4 


with  regard  to  the  granting  of  patents,  and  we  propose 
now  to  lay  before  our  readers  some  extracts,  together  with 
information  which  will  enable  them  to  judge  as  to  the 
advisability  of  patenting  their  inventions  or  not.  Unless 
a specification  contains  the  best  directions  which  an  appli- 
cant is  able  to  give  for  carrying  out  the  process,  the  patent 
is  altogether  invalid,  the  often  attempted  position  of 
attempting  to  patent  a process,  and  to  keep  it  secret  at  the 
same  time,  being  quite  untenable.  The  first  fee  of  £5 
affords  protection  for  a period  of  six  months  only! 
but  a patentee  who  goes  no  farther  than  this  is  often  in  a 
much  worse  position  than  if  he  had  simply  worked  his 
process  as  a secret  method.  lie  has  explained  all  details 
as  to  his  method  of  working,  and  this  explanation  is 
published  to  the  world ; and  at  the  end  of  the  period 
of  six  months  he  cannot  sell  his  results  as  “ Patent  ” 
or  “ Patented,”  without  becoming  subject  to  severe 
penalties.  As  regards  formalities  at  the  Patent 
Office,  but  little  need  be  said,  as  the  directions  issued 
by  the  office  make  all  tolerably  clear ; and  if  the 
intending  patentee  obtains  a set  of  forms  from  a law 
stationer,  his  work  will  be  considerably  facilitated. 

A fee  of  £5  covers  the  cost  of  the  provisional  pro- 
tection for  six  months ; but  if  the  patentee  wishes  to 
proceed,  he  must  lodge  a notice  at  the  Patent  Office 
within  four  months  of  the  first  application,  and  pay 
a fee  of  £5.  The  application  for  the  warrant  of  the 
Law  Officer  must  be  made  at  least  twenty-one  days 
before  the  expiration  of  the  provisional  six  months, 
and  a fee  of  £10  must  be  paid.  A further  fee  of  £5 
for  the  stamp  on  the  final  specification  completes  the 
expense  of  a patent  for  three  years,  the  total  amount 
being  thus  £25.  A payment  of  £50  before  the  ex- 
piration of  the  third  year  serves  to  extend  the  patent 
to  seven  years  ; and  if  an  additional  £100  is  paid 
before  the  end  of  the  seventh  year,  the  patent  re- 
mains valid  for  an  additional  seven  years,  making 
fourteen  in  all. 

Every  diagrrm  must  be  accompanied  by  a dupli- 
cate so  drawn  as  to  be  suited  for  reproduction  by 
photography,  and  the  following  are  the  official  regu- 
lations regarding  this  matter. 

“The  copy  of  the  drawing-or  drawings,  to  be  left 
with  the  copy  of  the  specification,  must  be  made  on 
good  white  smooth-surfaced  drawing  paper  of  the 
same  dimensions  as  the  parchment  drawing.  All  the 
lines  must  be  absolutely  black,  Indian  ink  of  the 
best  quality  to  be  used,  and  the  same  strength  or 
colour  of  the  ink  maintained  throughout  the  draw- 
ing. Any  shading  must  be  in  lines,  clearly  and 
distinctly  drawn,  and  as  open  as  is  consistent  with 
the  required  effect  Section  lines  should  not  be  too 
closely  drawn.  No  colour  must  be  used  for  any  pur- 
pose upon  this  drawing.  All  letters  and  figures  of 
reference  must  be  bold  and  distinct.  The  border 
line  should  be  one  fine  line  only.  The  drawing  must 
not  be  folded,  but  must  be  delivered  at  the  Office  of 
the  Commissioners,  either  in  a perfectly  flat  state, 
or  rolled  upon  a roller,  so  as  to  be  free  from  creases 
or  breaks." 


come  no  longer  of  sufficient  commercial  value  to  make  it 
worth  while  to  keep  up  the  payments.  Fully  half  indeed, 
rather  more  than  half— of  the  photographic  patents  are 
allowed  to  lapse  at  the  end  of  the  first  period  of  six  months  ; 
and  when  looking  over  the  records  the  other  day,  we  could 
only  find  two  photographic  patents  which  expire  of  old  age 
(fourteen  years)  during  the  present  year. 

New  rules  and  {regulations  have  recently  been  issued 


CARBON  PRINTING. 

BY  J.  C.  ANNAN* 

In  reading  this  paper  I am  quite  conscious  that  I am  not 
bringing  anything  new  before  you.  It  was  only  at  the 
very  urgent  solicitation  of  our  much-tried  secretary  that  I pro- 
mised to  do  my  best  to  fill  up  an  evening.  And  in  the  hope  that 
the  subject  might  be  interesting  to  some  of  you,  I have  hurriedly 
prepared  this  paper  on  carbon  or  autotype  printing. 

This  first  observation  of  the  photographic  properties  of  bichro- 
mate of  potassium,  which  plays  the  most  important  part  in  our 
process,  dates  from  the  year  1838,  when  the  English  chemist, 

* Read  before  the  Glasgow  Photog»aphic  Society. 


36 


THE  PHOTOGRAPHIC  NEWS. 


[J  ANT  ARY  19,  1883. 


Mungo  Ponton,  noticed  that  a sheet  of  writing  paper  soaked  in  a 
solution  of  this  salt  turned  brown  when  exposed  to  light,  and 
that  a paper  so  prepared  placed  under  a copperplate  engraving, 
and  exposed  to  the  sun’s  rays  for  some  time,  yields  a negative 
copy.  This  copy  can  be  freed  from  the  soluble  chromate  by 
washing  in  water,  and  thus  fixed — i.e.,  protected  from  further 
alteration. 

Then  E.  Becquered  discovered  that  the  turning  dark,  under 
the  action  of  light,  of  the  paper  soaked  in  the  bichromate  was 
connected  with  the  presence  of  size  in  the  paper.  This,  then,  is 
the  principle  on  which  the  process  is  based,  that  organic  sub- 
stances such  as  albumen  or  gelatine,  mixed  with  bichromate  of 
potassium  or  ammonia,  become  insoluble  in  warm  water  after 
exposure  to  light. 

Carbon  prints,  as  most  of  you  know,  are  printed  direct  from 
the  negative  in  frames  the  same  as  silver  prints.  The  sensitive 
paper  used  is  called  carbon  tissue.  Why  it  is  so  called  I do  not 
know  ; perhaps  Mr.  Swan  gave  it  this  name  because  of  its  gela- 
tinous composition.  In  Germany  it  is  called  Kohle-Papier 
(carbon  paper).  It  is  prepared  by  coating  a piece  of  paper  with  a 
mixture  of  pigmented  gelatine  and  bichromate  of  potassium.  To 
make  it  in  large  quantities,  a machine  is  required,  but  as  some 
of  you  might  wish  to  make  it  yourselves,  I will  describe  a method 
by  which  small  quantities  may  be  prepared  by  anyone.  To 
begin  with,  a solution  composed  of  the  following  should  be  pre- 
pared : — 

Nelson’s  No.  2 flake  gelatine 4 ounces 

Sugar ...  4 ounce 

Glycerine  1 to  2 ounces 

Water 1 pint 

In  damp  weather  1 ounce  of  glycerine  will  be  quite  sufficient, 
but  in  dry  weather  nearly  2 ounces  will  be  required  to  keep  the 
tissue  soft,  as  it  is  apt  to  get  very  dry,  and  crack.  This  must  be 
allowed  to  stand  till  the  gelatine  has  absorbed  the  water  and 
become  quite  soft.  The  vessel  containing  these  ingredients 
must  then  be  placed  in  water  about  120°  Fahr.  till 
the  gelatine  is  dissolved.  Great  care  must  be  taken  that  the 
temperature  is  not  allowed  to  rise  above  120°  at  the  very 
most,  as  the  setting  quality  of  the  gelatine  becomes  very  much 
deteriorated,  as  dry-plate  makers  know  to  their  cost.  When  the 
gelatine  is  quite  dissolved,  the  solution  must  be  well  switched 
up  with  a fork  or  a small  egg-beater.  It  is  then  allowed  to  stand 
till  all  the  air-bubbles  come  to  the  surface,  when  they  are 
removed  with  small  strips  of  paper.  The  colouring  matter  must 
next  be  prepared.  There  are  two  rules  which  must  always  be 
borne  in  mind  in  choosing  the  colouring  matter.  The  first  is, 
that  the  colour  must  be  a pigment,  and  not  a dye — that  is,  a 
colour  which  is  capable  of  being  ground  to  an  impalpable  powder, 
but  which  will  not  dye  or  stain  either  the  gelatine  or  the  paper. 
And  the  second  is,  that  the  colour  must  be  permanent.  Every- 
one knows  how  some  colours  fade  away  when  exposed  to  strong 
lights.  Lamp-black  or  Indian  ink,  which  is  pure  carbon,  the 
most  permanent  thing  in  nature  at  ordinary  temperatures,  usually 
forms  the  basis  of  the  colour ; hence  the  name  carbon  process. 

When  lamp-black  or  Indian  ink  is  used  alone,  the  finished 
print  has  a dirty  greenish  appearance,  owing  to  the  action  of  the 
chromic  acid.  To  counteract  this,  other  colours  must  be  used.  I 
give  a few  formulae  for  producing  different  colours  which 
For  the  ordinary  photographic  tone  use 

4 grains 

3 „ 

...  ...  ...  ...  5 ,, 


may  be  useful  to  you. 
Indian  ink 
Carmine  lake 
Indian  red 
or  this  may  be  used— 
Bone  black 
Carmine  lake 
Burnt  umber 
Indigo 


grains 


grain 


Dark  brown  tones  are  obtained  by  using  a mixture  of — 
Vandyke  brown  ...  ...  ...  ...  2 grains 

Venetian  red  3 „ 

Indigo  1 grain 

Carmine  lake  1 „ 

Bone  black  16  grains 

A very  pleasant  red  brown'is  obtained  by  a mixture  of — 


China  ink  ...  ~ 3 

Carmine  lake  4 

Vandyke  brown 4 

Red  chalk  tissue  is  prepared  by  mixing — 

Indian  ink  4 

Brunt  sienna  3 

Venetian  red  2 


grains 


grams 


Tissue  for  making  transparencies,  either  for  the  lantern  or  for 
enlarging  from,  can  be  prepared  by  using  a warm-toned  sample  of 
Indian  ink,  either  alone,  or  mixed  with  a little  Indian  red  or 
carmine  lake. 

You  will  have  seen  by  this  time  that  any  colour  may  be  pro- 
duced that  is  desired,  and  variations  in  the  colour  shades  in  the 
formulae  I have  quoted  may  be  obtained  at  will  by  giving  pro- 
minence to  the  colour  required  in  the  mixture  containing  it. 

Very  beautiful  effects  can  be  obtained  by  using  two  colours, 
one  on  the  top  of  the  other.  This  is  done  by  coating  the  tissue 
(say)  with  a very  dark,  almost  black,  colour  ; and  after  this  is 
dry,  or  nearly  so,  giving  it  a second  coat,  very  thin,  of  warm 
brown  colour.  The  warm  colour  being  on  the  surface  gives 
very  delicate  tone  in  the  half-tones  and  high  lights,  and  the 
thicker  black  coating  gives  beautiful  deep  black  shadows. 

To  return  to  our  stock  gelatine,  which  we  have  almost  forgotten. 
About  60  grains  of  dry  colour  will  be  required  for  the  quantity 
which  we  have  prepared.  When  the  colours  to  be  used  have 
been  decided  upoD,  they  must  be  powdered  as  fine  as  possible  in 
a mortar,  and  then  mixed  with  enough  water  to  form  a thick 
paste,  and  a very  little  of  the  stock  gelatine.  This  paste  is  then 
thoroughly  ground  on  a smooth  paint  slab  with  a muller,  in  the 
same  way  that  a painter  grinds  his  colours.  The  colour  is  then 
added  in  small  proportions  at  a time  to  the  warm  gelatine  solu- 
tion, which  must  be  kept  thoroughly  stirred  while  the  pigment 
is  added,  in  order  that  the  latter  may  be  evenly  distributed 
through  every  part  of  the  gelatine.  The  bichromate  of  potas- 
sium may  be  added  now,  but  it  is  much  better  to  prepare  the 
tissue  insensitive,  and  sensitize  it  as  it  is  wanted,  as  it  will  only 
keep  good  about  a week,  or  at  most  a fortnight ; f oz.  of  very 
finely-powdered  bichromate  would  be  required  to  render  the 
gelatine  sensitive.  It  must  be  added  like  the  colour,  with  con- 
tinued stirring.  The  mixture  is  filtered  or  strained  through 
fine  muslin,  and  is  then  ready  for  coating.  There  are  two 
methods  by  which  the  amateur  can  do  this  : it  can  be  floated 
on  the  mixture — or  rather,  drawn  over  its  surface — or  it  can  be 
placed  on  a glass  plate  which  has  been  covered  with  the  gelatine. 
The  first  is  preferable  for  the  manufacture  of  tissue  in  large 
quantities,  and  the  second  is  best  when  only  small  quantities 
are  required,  as  it  needs  no  special  utensils,  and  only  so  much 
of  the  gelatine  mixture  is  used  as  is  necessary  for  coating  the 
tissue  to  be  made.  I will  describe  the  latter  first.  The  gela- 
tine mixture  must  be  put  on  warm  ; the  bottle  containing  it 
is  therefore  placed  in  warm  water,  or  the  gelatine  is  kept  fluid 
in  some  other  way.  A sheet  of  plate  glass  is  carefully 
cleaned,  allowed  to  stand  in  rain  water,  and  then  rubbed 
with  ox-gall.  It  is  next  placed  in  a perfectly  horizontal 
position.  The  gelatine  is  poured  on  to  the  middle  of  it,  and  by 
a gentle  lifting  and  lowering  action  it  is  made  to  flow  over  the 
surface  as  quickly  and  evenly  as  possible.  Air-bubbles  are  got 
rid  of  with  a fine  brush  or  a bit  of  paper.  The  gelatine  soon 
sets.  Bufore  it  dries,  a piece  of  paper  is  so  far  damped  that, 
without  being  exactly  wet,  it  is  still  thoroughly  saturated  with 
moisture.  The  moistened  paper  is  now  carefully  and  gradually 
laid  down  on  the  glass  plate,  commencing  with  one  corner,  so  as 
to  avoid  air-bubbles.  After  a short  time  a knife  is  passed  along 
the  edges  of  the  plate,  and  with  the  required  care,  the  paper  is 
then  lifted  off  evenly  and  not  too  slowly.  The  gelatine  adheres 
to  damp  paper  much  better  than  to  dry  ; the  damped  paper  is 
also  smoother.  To  prepare  a whole  sheet  of  paper  17  by  23 
inches  in  the  manner  just  described,  requires  from  seven  to  nine 
ounces  of  the  gelatine  mixture.  The  paper,  by  the  way,  must 
be  rather  porous  and  under-sized.  To  prepare  the  paper  on  a 
flat  dish  is  not  so  easily  done  as  with  albumenized  paper,  by 
merely  floating  it  ; it  requires  to  be  drawn  over  the  warm  mix- 
ture. The  dish  which  holds  the  gelatine  is  therefore  narrow, 
and  only  corresponds  in  width  with  the  paper  to  be  drawn  over 
it.  The  gelatine  is  kept  in  solution  by  placing  the  vessel 
containing  it  in  a second  vessel  which  is  filled  with  warm 
water.  The  quicker  the  paper  is  drawn  over  the  gelatine,  the 
thicker  the  coating  is ; and  the  slower,  the  thinner  it 
is.  If  the  tissue  is  then  huug  up  at  night  in  a 
room  where  a fire  has  been  burning  all  day,  it  ought 
to  be  dry  next  morning.  When  dry,  the  tissue  is  sensi- 
tized by  soaking  in  a solution  of  bichromate  of  potassium. 
As  the  paper  is  but  little  sensitive  in  the  wet  state,  it  can  be 
prepared  in  subdued  daylight ; but  before  it  begins  to  dry, 
the  room  must  be  quite  darkened,  as  the  dry  carbon  tissue 
is  much  more  sensitive  to  white  light  than  the  sensitized  paper 
for  silver  prints.  Another  reason  for  drying  the  tissue  in  abso- 
lute darkness  is,  that  no  change  manifests  itself  to  the  eye  when 


THE  PHOTOGRAPHIC  NEWS. 


37 


Januakt  19,  1883.] 


decomposition  sets  in,  and  it  is  not  until  later,  during  the  deve- 
lopment, that  auy  imperfection  is  discovered.  To  obtain  uniform 
work,  the  strength  of  the  bichromate  bath  must  be  regulated 
according  to  the  temperature.  The  warmer  the  weather,  the 
weaker  the  bath  must  be.  In  winter,  to  one  part  of  bichromate 
of  potassium  thirty  parts  of  water  are  added  ; in  summer,  fifty  ; 
and  in  very  hot  weather,  a hundred  parts  of  water  will  be  re- 
quired. After  repeated  use,  the  bath  becomes  dark  coloured, 
and  must  then  be  thrown  out.  In  summer,  the  bath  must  be 
kept  as  cool  as  possible ; if  necessary,  the  vessel  containing  it 
should  be  placed  in  ice.  The  stronger  the  bath  is,  the  softer  the 
prints  will  be  ; the  weaker  the  bath,  the  harder  will  be  the  prints. 
Therefore,  to  print  from  a hard  negative,  a stronger  bath  should 
be  used  ; to  print  from  a very  weak  negative,  a very  weak  bath 
is  necessary.  It  must  be  remembered  that  tissue  sensitized  in  a 
weak  bath  is  less  sensitive,  and,  therefore,  requires  longer  ex- 
posure. Too  weak  a bath  yields  no  half-tones  ; too  strong  a one 
produces  reticulation  (a  network  structure  in  the  print). 

When  the  tissue  has  been  cut  to  the  required  size,  it  is  carefully 
wiped  with  a soft,  smooth  duster  to  remove  any  dust  that  may  be 
sticking  to  it.  It  is  then  immersed  in  the  bath.  Air-bubbles 
which  attach  themselves  to  both  sides  of  the  tissue  are  removed 
by  means  of  a soft,  fine  sponge,  and  then  it  is  allowed  to  remain, 
face  downwards,  in  the  bath  until  tho  gelatine  film  feels  soft,  or 
until  the  edges  of  the  tissue  begin  to  curl  upwards.  If  it  is  taken 
out  sooner,  the  film  will  not  have  been  equally  impregnated,  and 
spots  will  be  produced.  For  the  same  reasou  a liberal  quantity 
of  the  solution  should  be  used.  The  time  the  tissue  should  be 
allowed  to  soak  depends  both  on  the  solubility  of  the  gelatine  and 
the  temperature  of  the  bath.  It  ranges  from  one  to  four  minutes. 
When  the  tissue  has  been  removed  from  the  bath,  it  is  either  hung 
up  at  once  by  wood  clips,  or  over  a roller  on  which  are  several 
thicknesses  of  blotting-paper ; or,  what  is  much  better,  it  is 
placed,  face  downwards,  on  a clean  sheet  of  zinc  or  glass,  and  the 
superfluous  moisture  removed  by  passing  a squeegee  gently  over 
it  length-ways  and  cross-ways.  A squeegee  is  merely  a strip  of 
india-rubber  fixed  to  a wooden  handle.  The  tissue  is  then  hung  up 
to  dry,  which  will  take  several  hours.  If  it  dries  too  slowly,  exces- 
sive sensitiveness  is  developed,  and  it  becomes  tough  and  insoluble, 
causing  uncertainty  in  exposing,  and  great  difficulty  in  develop- 
ment. On  the  contrary,  if  it  is  dried  too  quickly,  it  requires  a 
very  lengthened  exposure,  and  even  then  there  is  a deficiency  in 
the  half-tones.  The  dried  sensitized  tissue,  if  well  kept  from 
light  and  dampness,  should  keep  good  from  ten  to  fourteen  days. 

As  there  is  no  apparent  change  in  the  tissue  after  it  has  been 
printed,  it  is  necessary  to  have  some  means  of  regulating  the 
exposure.  For  this  purpose,  we  have  a small  instrument  called 
an  actinometer  or  photometer.  There  are  a great  many  different 
forms  of  this  instrument ; but,  as  usual,  the  simplest  is  by  far  the 
best ; in  fact,  the  only  practicable  one  I have  tried.  Suffice  it  to 
say  that  almost  every  actinometer  that  has  been  proposed  for 
testing  (he  rapidity  of,  gelatine  plates  has  been  tried  for  regulat- 
ing the  exposure  of  gelatine  tissue,  with  this  difference,  that  a 
piece  of  silver  paper  prepared  in  a very  acid  bath  to  make  it  slow 
is  put  in  the  actinometer  instead  of  a gelatine  plate.  This 
actinometer,  introduced  by  Mr.  Johnson,  and  called  the  cube 
photometer,  consists,  as  you  see,  of  a little  disc-shaped  tin  bex, 
with  a double  lid  ; in  the  upper  lid  there  is  a round  opening  of 
J of  an  inch  in  diameter,  covered  with  glass,  on  which,  with 
oil  paint,  the  chocolate-brown  colour-tone  is  painted,  which 
silvered  albumen  paper  takes  in  about  one  and  a-half  minute’s 
exposure  to  sunlight.  In  the  middle  of  the  glass  there  is  a 
narrow  slit  half-an-inch  long  and  an  eighth  of  an  inch  in  width, 
which  is  left  uncoloured,  as  you  see  ; inside  the  box  is  a roll  of 
durable  sensitized  silver  paper  half-an-inch  in  width,  and  which 
can  be  drawn  past  and  in  contact  with  the  inner  side  of  the 
transparent  space  in  the  glass,  without  its  being  necessary  to  open 
the  box.  The  silver  paper  used  is  albumenized  paper  sensitized 
with  nitrate  of  silver  solution  to  which  a little  citric  acid  has  been 
added ; paper  prepared  in  this  way  will  keep  good  for  a year. 
The  number  of  tints  (that  is,  the  number  of  times  the  paper 
will  have  to  be  shifted  after  assuming  the  tone  that  has  been 
painted  on  the  glass)  which  any  negative  will  require  will,  of 
course,  depend  entirely  on  its  density.  A negative  of  medium 
density  will  require  about  four  tints  ; but  a little  practice  is  all 
that  is  required  to  be  able  to  tell  at  once  how  many  will  be 
needed.  If  the  printing  is  done  in  direct  sunlight,  the  expo- 
sure must  be  comparatively  shorter  than  in  diffused  light,  silver 
paper  and  carbon  tissue  not  possessing  an  equal  ratio  of  sensi- 
tiveness in  weaker  light.  If  a negative  requires  five  tints  in 
diffused  light,  only  four  will  be  required  in  the  sun.  Any 


ordinary  negative  will  do  to  print  from,  the  only  difference  being 
that  it  must  have  a safe  edge — that  is,  an  edging  of  some  perfectly 
opaque  material.  Any  ordinary  printing-frame  may  be  used, 
provided  the  packing  be  kept  dry.  It  is  a good  plan  to  put  a 
piece  of  oil  paper  or  American  cloth,  a little  larger  than  the 
tissue,  between  it  and  the  packing.  Before  being  put  in  the 
frame,  the  tissue  should  be  examined,  and  any  dust  (which  sticks 
to  it  very  readily)  mnst  be  brushed  off  with  a soft  cloth.  When 
the  tissue  has  been  printed,  a great  time  should  not  elapse  before 
development,  as  the  change  produced  by  the  light’s  action  is 
continued  in  tho  dark.  When  prints  have  to  be  left  overnight, 
about  one  tint  is  allowed  for  the  extra  printing  that  goes  on.  The 
tissue  is  now  ready  for  development.  Originally  this  was  done 
by  merely  washing  away  the  unacted-upon  gelatine  by  soaking 
in  warm  water ; but,  do  what  they  would,  nothing  could  be  got 
but  a black  and  white  picture  ; half-tone,  the  chief  beauty  of  the 
silver  print,  could  not  be  obtained.  The  explanation  of  that  is 
as  follows : — 

The  photogenic  film,  consisting  of  gelatine  and  pigment,  pos- 
sesses a certain  thickness,  and  lies  wholly  on  the  surface  of  the 
tissue.  Where  the  light  finds  free  entrance  through  the  negative, 
it  acts  quite  through  the  film,  and  fixes  it  in  these  places  to  the 
paper,  so  that  when  the  film  is  washed,  tho  black  gelatine  remains 
and  forms  the  shadow  of  the  picture.  In  the  lights,  the  sensi- 
tive film  is  protected  by  the  negative  from  the  action  of  light, 
and  these,  being  still  soluble,  are  dissolved  out  in  the  washing,  and 
form  the  lights  or  whites  of  the  picture.  In  the  half-tones,  the 
light  cannot  act  quickly,  and  reaches,  as  the  action  commences 
from  above,  perhaps  to  but  half  the  entire  thickness  of  the  film. 
In  washing,  therefore,  only  half  of  the  film  would  dissolve  away, 
and  through  the  remaining  half  the  white  paper  would  be  partly 
visible,  and  thus  form  a kind  of  grey,  representing  the  half-tones. 
Thus,  in  theory,  the  carbon  process  must  yield  half-tones.  But 
one  little  matter  has  been  overlooked.  As  the  half-tone  forms 
the  outer  part  of  the  film,  it  does  not  come  into  direct  contact 
with  the  paper ; and  as  m the  washing  the  soluble  part  under  it 
is  dissolved  away,  the  half-tone  is  also  carried  away  with  it. 

The  next  experiment  tried  was  printing  the  picture  on  the  back 
of  the  gelatine,  through  the  paper,  which  was  waxed,  to  render 
it  transparent ; but  that  did  not  succeed,  owing  to  grain  of  the 
paper,  which  could  not  be  entirely  got  rid  of ; and  they  were  also 
wanting  in  sharpness,  owing  to  the  thickness  of  the  paper  being 
between  the  negative  and  the  gelatine. 

Mr.  Swan  at  last  entirely  removed  that  difficulty  by  transferring 
the  picture  to  a second  paper,  and  then  washing  away  the  super- 
fluous gelatine  from  the  back.  There  are  two  modifications  of 
this  process,  called  the  single  and  double  transfer  processes. 
When  these  processes  were  first  brought  out,  the  double  transfer, 
in  the  form  of  chromotypes  or  Lambertypes,  was  the  great 
favourite  ; but  now,  comparatively  little  is  done  that  way,  and  it 
is  almost  solely  the  single  transfer  process  that  is  worked  com- 
mercially. I will  therefore  describe  that  first. 

The  transfer  paper  is  prepared  by  coating  a hard-sized  paper 
with  a solution  prepared  by  dissolving  one  ounce  of  gelatine  in 
1 lb.  water.  When  the  gelatine  is  thoroughly  dissolved,  5^  drams 
of  an  aqueous  solution  of  chrome  alum,  prepared  by  dissolving  one 
ounce  of  chrome  alum  in  twenty  ounces  water,  is  added, 
drop  by  drop,  whilst  it  is  being  continuously  stirred  round.  It  is 
then  filtered  through  finp  muslin,  and  must  be  used  while  warm, 
as  it  will  not  re-dissolve  if  it  is  once  allowed  to  set.  It  is  then 
brushed  over  the  paper  with  a broad  camel-hair  brush.  Another 
very  good  method  of  preparing  single  transfer  paper  is,  by  coat- 
ing the  paper  with  an  aqueous  solution  of  shellac,  obtained  by 
boiling  three  parts  of  white  shellac  and  one  part  of  borax  in 
thirty  parts  of  water  ; or,  if  an  unbleached  shellac  of  red  brown 
colour  is  used,  it  imparts  a very  pleasant  rose  tint  to  tho  paper. 
This  shellac  transfer  paper  possesses  one  great  advantage  over 
gelatine  transfer,  inasmuch  as  it  keeps  good  for  any  length  of 
time  ; while  the  gelatine  transfer  paper,  contrary  to  what  is  gene- 
rally supposed,  only  keeps  at  its  best  about  a fortnight.  The 
double  transfer  paper  is  prepared  in  exactly  the  same  manner  as 
the  first  single  transfer  paper  described,  only  there  is  less 
chrome  alum  added.  The  proportions  are — 

Gelatine  ...  ...  ...  ...  •••  1 ounce 

Water  6 ounces 

Alum  solution  ...  ...  2i  drams 

A piece  of  single  transfer  paper  is  now  cut  a little  larger  than 
the  tissue  to  be  developed,  and  both  it  and  the  tissue  are  placed 
in  cold  water  till  the  tissue  has  become  soft — generally  about  half 
a minute  ; they  are  then  taken  out,  and  placed  face  to  face  on  a 
flat  piece  of  glass,  or  zinc,  or  slate,  and  a squeegee  is  passed 


38 


THE  PHOTOGRAPHIC  NEWS. 


over  them  gently  at  first,  and  then  more  strongly,  to  bring  the 
two  surfaces  into  intimate  contact  in  every  part.  This,  and  all 
subsequent  operations,  may  be  carried  on  in  an  ordinary  lighted 
room,  as  the  tissue  loses  its  sensitiveness  whenever  it  is  wet.  F rom 
the  same  cause  the  printing  action  (which,  as  I said,  continues  after 
the  tissue  has  been  removed  from  the  frame)  is  stopped,  so  that, 
if  any  prints  which  have  been  fully  printed  cannot  be  developed 
at  once,  it  is  better  to  squeegee  them,  when  they  will  keep  for  a 
couple  of  days  or  so.  The  development  is  effected  by  soaking  the 
tissue  and  transfer,  which  are  now  in  close  contact,  in  water  from 
100°  to  120°  Fahr.  In  a short  time  the  coloured  gelatine  will  be 
seen  oozing  out  from  the  edges  of  the  tissue  ; it  must  then  be  taken 
hold  of  and  drawn  carefully  off  under  water,  leaving  on  the  trans- 
fer paper  a dark  soluble  slimy  mass,  under  which  lies  the  insoluble 
picture.  This  is  allowed  to  soak  in  the  water  for  a few  minutes, 
and  then  the  superfluous  mass  of  gelatine  and  colour  is  removed  by 
splashing  the  water  over  it.  If  the  print,  when  partly  developed, 
shows  signs  of  being  light,  the  water  must  be  cooled  down  ; or  if 
it  is  still  too  dark  when  all  the  superfluous  matter  has  been  washed 
away,  it  can  be  lightened  by  prolonged  soaking  in  water  about 
150°  or  160u  Fah.  If  it  is  very  obstinate,  a little  carbonate  of 
soda  or  ammonia  will  reduce  it  to  a proper  depth,  unless  it  has  had 
about  double  the  exposure  which  was  necessary.  When  the  print 
has  been  fully  developed,  allowing  fora  slight  increase  of  depth 
after  drying,  it  is  removed  into  clean  cold  water,  and  allowed  to 
stand  for  five  minutes  at  least,  to  remove  as  much  of  the  bichromate 
as  possible.  It  is  then  placed  in  a bath  of  alum  composed  of  one 
pint  of  alum  in  fifty  pints  of  water,  and  allowed  to  remain  about 
ten  minutes  ; then  well  washed  in  clear  water,  and  hung  up 
to  dry.  Photographs  which  are  intended  as  illustrations  for  books, 
or,  indeed,  any  photographs  which  have  to  be  mounted  on  paper, 
can  be  developed  on  the  paper  direct,  and  thus  get  rid  of  the  other- 
wise inevitable  cockling.  The  only  precaution  required  to  be 
taken  is,  to  have  a square  safe-edge  on  the  negative.  This  is  most 
easily  done  by  pasting  strips  of  black  or  yellow  paper  round  the 
negative. 

Carbon  prints  on  opal  glass  are  done  by  the  single  transfer  pro- 
cess, no  preparation  of  the  glass  being  required ; it  is  merely  washed, 
and  the  tissue  squeegeed  on  it  as  on  paper.  The  greatest  objec- 
tion to  the  single  transfer  process  is,  that  a reversed  negative  is 
required  ; whereas  double  transfer  prints  can  be  done  from  an 
ordinary  negative.  To  my  mind,  this  is  the  only  advantage 
which  it  has  over  the  single  transfer  process.  The  double 
transfer  process  is  as  follows  : Having  got  our  print  as  for 
single  transfer,  it  is  developed  on  either  white  smooth  glass,  or,  if 
a matt  surface  is  required,  on  finely-ground  zinc.  The  glass  is 
prepared,  after  being  thoroughly  cleaned,  by  first  rubbing  the  plate 
well  with  powdered  French  chalk,  after  which  all  the  loose 
powder  is  dusted  off  ; it  is  then  coated  with  plain  enamel  collodion. 
As  soon  as  this  has  sei  (say  in  two  minutes)  it  is  placed  in  a dish 
containing  pure  water,  not  too  cold,  till  all  the  greasiness  has  dis- 
appeared. The  plate  can  now  either  be  used  at  once  in  its  wet 
state,  or  can  be  dried,  and  damped  again  when  required  for  use. 
To  prepare  a zinc  plate — or  ground  glass,  which  answers  the  same 
purpose,  but  which  has  not  such  a fine  grain — they  must  be  rubbed 
with  a solution  of  one  part  each  of  wax  and  colophony  or  pure  resin 
in  50  parts  of  turpentine  or  benzine.  The  mixture  is  rubbed  on 
with  an  old  linen  or  flannel  cloth,  which  acts  best  after  it  has  been 
repeatedly  used,  as  too  new-  a cloth  takes  too  much  wax  off  the 
plate  again,  in  which  case  the  print  sticks  or  gets  a grey  tone  from 
the  zinc.  Having  the  plate  prepared,  the  printed  tissue  is  squeegeed 
on  it,  and  it  is  developed  the  same  as  a single  transfer  print. 
Mote  care  must,  however,  be  taken  in  the  development,  as  the 
collodion  film  is  easily  broken,  and  the  print  easily  scratched.  It 
is  then  washed,  fixed  in  alum,  and  allowed  to  dry.  Any  re- 
touching which  the  print  requires  must  be  done  at  this  stage,  either 
with  oil-colours  and  brush,  or  dry  powder  colour  and  a leather 
stump. 

The  picture  is  now  ready  to  be  transferred  from  the  glass  or 
zinc  plate  to  paper.  For  this  purpose  the  double  transfer  paper 
I have  already  described  is  used.  A piece  is  cut  rather  smaller  in 
size  than  the  plate  on  which  the  print  is  lying,  and  is  softened  in 
water  from  100°  to  110°  F.  As  soon  as  the  gelatine  feels 
softened,  the  paper  is  placed  in  cold  water,  and  kept  there  until 
wantid  for  use.  The  plate  containing  the  print  is  now  dipped  for 
an  instant  into  cold  water ; the  softened  transfer  paper  is  then 
laid  (gelatine  side  downwards)  over  the  print.  A sheet  of  india- 
rubber  cloth  is  then  laid  over  the  transfer  paper,  and  the  surface  of 
the  latter  is  brought  into  close  coutact  with  the  print  by  means  of 
a firm  pressure  in  all  directions  from  the  squeegee.  This  is  then 
allowed  to  dry  perfectly,  when  the  print  ct.n  easily  be  stripped 


^January  19,  1883. 


from  the  plate.  The  only  other  subject  which  I intend  to  speak 
a word  about  is  the  production  of  transparencies  either  for  enlarg- 
ing or  making  reversed  negatives  from,  or  for  the  magic  lantern. 

In  the  preparation  of  the  tissue  more  care  must  be  taken,  espe- 
cially in  the  grinding  of  the  colour,  which  must  also  be  filtered 
through  cotton-wool.  The  proportion  of  colour  to  the  gelatine 
is  also  different,  about  7 instead  of  3^  per  cent.  It  is  sensitized 
and  printed  in  the  same  way  as  an  ordinary  print.  A trans- 
parency for  the  lantern  is  printed  about  the  same  depth  as  an 
ordinary  print,  but  a transparency  for  making  negatives  from 
requires  almost  double  as  much  printing.  After  the  tissue  is 
printed,  it  must  be  coated  with  thin  enamel  collodion,  about  half 
the  ordinary  thickness,  and  allowed  not  only  to  set,  but  to  dry. 

The  glass  plate  is  prepared  by  coating  it  wet  with  a solution 
of  gelatine,  the  same  as  is  used  for  single  transfer  paper,  or  by 
coating  it  dry  with  a very  thin  solution  of  gelatine  in  acetic  acid 
and  alcohol,  about  half-ounce  of  gelatine  to  ten  ounces  of  solu- 
tion. The  last  is  much  better,  as  tbe  coating  of  gelatine  is 
extremely  fine  and  thin.  The  tissue  is  then  squeegeed  and  deve- 
loped in  the  ordinary  manner.  The  negative  from  which  a lantern 
transparency  is  printed  should  be  rather  dense  or  hard,  in  order  to 
give  a brilliant  effect  on  the  screen  ; but  if  the  transparency,  after 
development,  proves  too  thin  or  weak,  it  can  be  intensified  in 
quite  a number  of  ways.  I think  the  best  way  to  intensify 
lantern  transparencies  is  by  flowing  ordinary  writing  ink  over 
them.  The  ink  stains  all  the  gelatine,  and  of  course  the  deep 
parts  which  have  most  gelatine  get  stained  in  a proportionate 
degree  to  the  thin  parts.  Transparencies  for  making  negatives 
from  are  intensified  by  a solution  of  permanganate,  which  acts  in 
the  same  way  as  the  ink,  but  which  has  not  such  a pleasant 
colour  for  the  lantern.  In  making  transparencies  for  multiplying 
or  making  reversed  negatives  from,  any  saving,  double  printing, 
or  other  dodging  can  be  done,  so  that  when  it  comes  to  printing 
off  copies  there  is  nothing  to  do  but  fire  away.  The  printing-in 
of  clouds,  for  instance,  when  a large  number  of  prints  are  wanted 
could  not  be  done  any  other  way. 

It  is  rather  difficult  to  print  in  clouds  or  backgrounds,  as 
you  cannot  see  the  picture.  It  is  done  in  this  way  : when  the 
landscape  is  printed,  the  frame  is  opened,  taking  care  not  to 
move  the  tissue  on  the  negative ; it  is  then  turned  up,  and 
powdered  French  chalk  painted  on  the  negative.  The  tissue  is 
then  pressed  on  the  negative,  and  a copy  of  the  outline  is 
obtained.  The  cloud  is  then  allow  ed  to  print  in  slightly  over 
the  edge  of  the  landscape. 


DRY  PLATES  AND  THEIR  DEVELOPMENT. 

BY  8.  TAMKIN.* 

Those  of  us  who  had  the  pleasure  of  hearing  Mr.  M‘Kean’s 
paper  read  at  the  last  meeting  of  this  Society,  and  of  witnessing 
his  practical  demonstrations,  could  not  fail  to  be  very  much 
interested,  and  the  subject  of  dry-plate  development  being  one 
of  much  importance,  it  was  decided  to  devote  a portion  of  this 
evening  to  its  consideration. 

I was  asked  by  our  worthy  Secretary  to  lead  the  discussion, 
and  consented  to  do  so ; but  as  Mr.  M’Kean  in  his  opening 
remarks  alluded  to  one  or  two  things  about  which  various 
opinions  have  been  expressed  in  the  journals  and  elsewhere,  I 
would  like  just  to  notice  them  before  proceeding  with  the 
subject  specially  recommended  for  our  consideration. 

In  the  first  place,  Mr.  M‘Kean  speaks  of  uncertainty  in  work- 
ing with  commercial  gelatine  plates.  As  I have  proved  to  my 
own  satisfaction,  I would  like  to  prove  to  yours,  that  un- 
certainty need  not  exist,  and  if  we  had  ever  before  possessed  as 
reliable  a process  as  the  gelatine-bromide,  I would  not  take 
exception  to  his  remaiks. 

If  we  compare  the  gelatine  process  with  the  wet  collodion,  I 
think  that  most  will  allow  that  the  silver  bath  is  a constant 
source  of  anxiety  to  whose  who  use  it ; if  working  well  to-day, 
you  cannot  be  sure  thatit  will  work  as  well  to-morrow  ; whereas, 
get  a batch  of  gelatine  plates  from  a good  maker,  and  give  them 
proper  treatment,  and  such  uncertainty  need  never  trouble  you. 
We  get  through  gross  after  gross  of  plates,  and  I seldom  trouble 
to  ascertain  when  we  are  finishing  the  one  batch  or  beginning 
the  new,  as  they  are  all  60  much  alike. 

Only  this  afternoon  I exposed  a dozen  plates  (of  a kind  I have 
not  been  accustomed  to)  on  as  many  different  copies,  deferring 
the  development  until  all  were  exposed.  All  proved  satisfactory 

* Head  before  the  Edinburgh  Photographic  Society. 


Jakttakt  19,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


39 


but  the  last,  which  was  wanting  in  exposure,  owing  to  the  sudden 
vanishing  of  the  light. 

This  was  a more  severe  test  for  the  plates  than  ordinary 
portrait  work,  as  the  exposures  had  to  be  so  much  varied  to  suit 
the  different  subjects  copied. 

So  much  for  the  reliability  of  the  commercial  gelatine  plate. 

As  I have  just  been  speaking  of  copying,  I would  like  here  to 
say  that  I have  heard  some  object  that  dry  plates  are  not  suitable 
for  that  purpose  ; but  I hold  the  opposite  opinion,  and  even  in 
reproducing  black  and  white,  such  as  sketches,  engravings,  &c., 
can  obtain  any  amount  of  density  by  careful  development, 
without  after  treatment.  I use  a slower  plate  for  copying,  but 
the  quicker  ones  will  do  as  well  if  more  bromide  is  added  to  the 
developer. 

This  photograph,  No.  1,  is  a copy  from  a small  figure  in  a 
group.  I am  sorry  I have  not  the  original  to  show  you,  as  the 
copy  is  by  far  the  better  of  the  two. 

Some  photographers  still  hold  up  the  wet  plate  as  their  stan- 
dard of  excellence,  while  it  is  generally  used  as  a standard  by 
which  to  guage  the  rapidity  or  sensitiveness  of  dry  plates  ; but  I 
think  a wet  plate  at  its  best  cannot  sustain  a high  position  in 
either  case. 

It  is  undoubtedly  capable  of  producing  very  fine  results,  and 
good  results  have  been  obtained  under  very  disadvantageous 
circumstances  ; but  what  uphill  work  ! Here  ire  two  cabinet 
photographs  taken  four  or  five  winters  ago  on  a dull  afternoon. 
No.  2 got  five  minutes’  and  No.  3 seven  minutes’  exposure.  Now 
how  many  of  our  clients  or  friends  could  we  ask  to  sit  foi  that 
length  of  time  without  moving  a muscle  ? I was  favoured  in  this 
instance  with  an  exceptionally  good  sitter,  or  I need  not  have  made 
the  attempt ; but  with  the  gelatine  plates  we  are  now  using,  I 
might  have  obtained  as  good  results  in  twenty  or  thirty  seconds, 
or,  if  necessary,  with  a special  developer  in  one-third  of  that  time 
— say  seven  or  ten  seconds.  ' 

This  photograph,  No.  4,  was  taken  on  a dry  plate,  on  an  after- 
noon in  November  last.  It  was  late,  and  so  dark  that  with  a 
strong  magnifying  I could  not  feel  sure  that  the  picture  was 
properly  focussed. 

Now  I believe  that  no  amount  of  exposure  in  that  kind  of 
light  would  have  impressed  such  an  image  upon  a wet  collodion 
plate,  and  it  would  be  equally  impossible  with  the  wet  process  to 
produce  by  ordinary  gas-light,  &c.,  such  photographs  as  I Bhall 
presently  show  you. 

Now  I trust  Mr.  M’Kean  will  excuse  me  if  I differ  with  him  on 
one  other  point. 

After  speaking  of  “ that  uncertainty  which  naturally  takes 
hold  of  one  before  applying  the  developer,”  he  goes  on  to  say  : 
“ Doubts  arise  as  to  the  length  of  exposure,  which  in  the  bustle  of 
a thorough -going  studio,  is  practically  impossible  to  remember.” 
Bustle  or  hurry  is  a thing  that  a photographer  should  not 
allow,  in  the  studio  or  out  of  it  ; whether  exposing  your  plate  or 
developing  it,  you  must  exercise  your  memory,  and  have  the 
power  of  concentrating  your  thinking  faculties  upon  the  work  in 
hand,  and  I find  little  difficulty,  as  a rule,  in  judging  of  exposures, 
particularly  if  very  busy. 

I will  now  say  a word  regarding  the  relation  of  the  exposure 
to  the  development,  for  I hold  that  the  latter  should  be  begun 
with  confidence,  and  to  that  end  you  should  know  if  your  plate 
has  had  just  sufficient  exposure,  or  more  or  less  than  the  subject 
required.  We  will  admit  that  gelatine  plates  will  allow  of  great 
latitude  in  exposure  ; but  unless  that  statement  is  qualified,  it 
will  prove  misleading  to  those  who  have  not  had  much  experi- 
ence, for  unless  we  are  prepared  to  be  constantly  varying 
our  developer,  the  exposure  must  be  very  correctly  timed  ; and 
I think  the  only  way  to  acquire  proficiency  is  to  ascertain  the 
method  of  development  best  suited  to  the  plates  we  are  using, 
and  then  endeavour  to  time  every  exposure  to  suit  that  particular 
treatment. 

The  want  of  a proper  regard  to  this,  and  perhaps  a too  frequent 
change  in  the  kind  of  plate  used,  may  in  a measure  account  for 
the  variety  of  developers  recommended,  if  not  for  the  extra- 
ordinary nature  of  some  of  them.  One  I notice  as  being  com- 
posed of  twelve  constituent  parts,  involving  an  amount  of 
trouble  in  the  preparation  which  would  suit  but  few,  unless 
some  decided  advantage  was  gained  by  its  use. 

To  speak  of  developers  more  particularly,  I do  not  approve  of 
any  formula  that  necessitates  the  keeping  of  pyrogallic  in  solu- 
tion. I cannot  see  that  anything  is  gained  by  it,  though  some- 
thing may  be  lost ; and  I find  it  so  very  easy,  with  the  dry  pyro- 
gallic in  a small  wide-mouthed  vessel,  and  a common  bone  egg 
spoon,  to  measure  out  in  a moment,  as  required,  one,  two,  three’ 


or  more  grains,  and  that  so  accurately,  that  lately,  when  trying 
some  experiments,  I,  for  greater  certainty,  measured  and  weighed 
also,  but  found  the  weighing  quite  unnecessary,  and  the  pyro- 
gallic, if  in  good  condition,  dissolves  as  soon  as  the  water  covers 
it. 


Of  the  developers  I have  tried  I will  only  notice  two  specially, 
viz.,  that  introduced  by  Mr.  M’Kean  (the  bi-carbonate),  and  the 
one  I have  found  most  reliable  in  my  own  practice,  which  is  an 
ammonia-bromide. 

The  latter  is  similar  to  that  recommended  for  Wratten’s  plates, 
only  I find  that  a two-grain  solution  in  place  of  a three-grain 
solution  of  pyrogallic  is  sufficient  in  portraiture  to  give  all  the 
density  required,  and  our  mode  of  working  may  not  be  exactly 
what  is  prescribed  with  their  formula,  but  it  is  simplicity  itself. 
It  is  as  follows : — In  an  easy  stoppered  dropping-bottle  we 
have  a solution  prepared  thus — 

Ammonia  ...  ...  ...  ...  5 ounces 

Brom. -potass 5 drams 

Water 10  ounces 


and  that  is  the  only  solution  we  need  for  ordinary  work.  Of 
course  we  have  separate  solutions  at  hand  of  bromide  and  am- 
monia in  case  they  are  required. 

To  develop  a plate,  we  put  it  into  a dish  with  sufficient  water 
to  cover  it,  and  then  measure  the  pyrogallic  into  the  cup,  and 
pour  the  water  from  the  dish  upon  the  pyrogallic  and  back  again  ; 
the  ammonia-bromide  is  then  dropped  into  the  cup,  and  the  solu- 
tion from  the  dish  poured  upon  it  and  returned  to  the  plate, 
when  the  image  soon  makes  its  appearance,  and,  if  rightly  ex- 
posed, is  fully  developed  in  about  two  minutes,  sometimes  less. 

This  formula  appears  to  suit  other  plates  than  those  it  was 
specially  intended  for,  but  with  Wratten’s  (which  are  the  plates 
I have  done  most  of  my  dry-plate  work  with)  I find  it  not  only 
suitable  for  all  kinds  of  work,  but  equal  to  almost  any  emergency. 
But  we  are  occasionally  (now  that  instantaneous  photography  is 
thought  to  be  so  simple)  asked  to  take  a sitter  when  the  light  is 
so  far  gone  that  focussing  is  pure  guess-work,  or  we  have  to  take 
an  instantaneous  picture  of  a child  on  a very  dull  day,  and  even 
though  ordinary  methods  fail,  our  resources  are  not  at  an  end, 
for,  by  dispensing  with  the  restrainer  in  the  developer,  and  using 
pyrogallic  and  ammonia  alone,  you  may  give  one-third  the  expo- 
sure you  would  give  for  ordinary  treatment,  and  get  very  good 
results.  I have  developed  plates  with  three  drops  of  pure  ammo- 
nia to  the  ounce  of  pyrogallic  solution  without  fog,  and  with  the 
ordinary  developer  fogging  is  of  rare  occurrence  with  us. 

I find  that  most  good  plates  will  stand  a considerable  quantity 
of  ammonia-bromide  if  applied  at  first  with  the  fresh  pyro- 
gallic. You  may  take  a half  plate,  knowing  it  to  be  under- 
exposed, and  develop  it  with  thirty  or  forty  drops  right  off,  and 
get  a good  clear  negative ; but  begin  a similar  one  with  ten 
drops,  and  then  add  other  twenty  or  thirty  when  the  developing 
has  proceeded  some  length,  and  the  probability  is  you  will  get 
a thin,  foggy  negative. 

I will  now  say  a word  or  two  concerning  Mr.  M’Kean’s 
bicarbonate  developer. 

In  trying  it  side  by  side  with  Wratten’s  I was  compelled  to 
give  the  latter  the  preference,  the  bicarbonate  requiring  a much 
larger  mount  of  pyrogallic,  and  giving  a less  brilliant  image. 

I have  here  some  negatives  which  I made  in  the  course  of  my 
experiments  to  test  their  relative  value ; they  are  arranged  in 
such  a way  that  I think  you  may  understand  them  without 
further  explanation  here. 

I will  only  mention  in  regard  to  this  set  of  three  nega- 
tives, No.  1 developed  with  ammonia,  No.  2 with  ammonia- 
bromide,  and  No.  3 with  bicarbonate,  that  if  you  take  them  in 
the  order  iu  which  I have  placed  them,  I think  you  take  them 
in  their  order  of  merit. 

In  reference  to  these  photographs  taken  by  gas-light,  I may 
explain  that  they  were  taken  with  a single  lens.  No.  6,  girl 
blowing  the  fire,  was  taken  by  the  light  of  one  ordinary  gas- 
burner,  exposure  about  7 2 minutes.  In  this  case  the  stop  was 
removed  to  try  how  the  lens  would  act  without  it.  In  one  of  the 
other  interiors,  No.  7,  you  will  see  that  the  negative  has  been  as 
well  exposed  as  if  done  in  daylight.  These  were  all  developed 
with  the  ordinary  formula,  as  also  No.  8,  part  of  a street  by  gas- 
light. There  being  no  light  but  what  came  from  the  shop- 
windows,  this  is  under-exposed  ; but  I obtained  a better  exposed 
negative,  which  is  unfortunately  still  in  the  printing-frame. 
This  one,  No.  9,  was  taken  by  moonlight,  by  Mr.  Frank  Moffat, 
and  developed  without  a restrainer. 

As  I fear  I have  occupied  too  much  of  your  time  already,  I 
will  bring  my  remarks  to  a close  by  suggesting  that  a developer 


40 


THE  PHOTOGRAPHIC  NEWS. 


[Januabt  19,  1883. 


should  be  simple  In  its  formula  and  mode  of  application  ; should 
do  its  work  well  in  a reasonable  space  of  time  ; and  last,  though 
not  the  least  important,  it  should  do  its  work  in  such  a manner 
that  the  operator  shall  without  difficulty  estimate  the  density. 

o- 

To-morrow  witnesses  the  beginning  of  the  fourth 
decade  of  the  Parent  Society.  On  the  20th  January, 
1853,  a meeting  was  held  at  the  Society  of  Arts, 
John  Street,  Adelphi,  to  inaugurate  the  Society,  when 
Sir  Charles  Eastlake,  the  President  of  the  Royal  Academy, 
was  chosen  its  first  president. 


Mr.  Fox  Talbot  was  in  the  first  place  invited  to  fill  the 
chair — for  obvious  reasons,  as  Sir  C.  Eastlake  observed — 
but  the  English  pioneer  in  photography  could  not  be 
induced  to  come  forward.  Indeed,  it  was  not  until  the 
year  1871  that  Fox  Talbot  joined  the  Society,  when  he 
accepted  honorary  membership.  There  are  few  living  at 
the  present  day  who  were  nominated  on  the  Council  of  the 
Society,  on  that  day  in  January  thirty  years  ago,  but 
among  the  number  were  Dr.  Diamond,  Robert  Hunt, 
H.  Owen,  and  Dr.  Percy,  all  of  whom  are  still  enjoying 
good  health. 

It  may  also  be  mentioned  that  the  first  exhibition  of 
photographs  in  this  country  was  held  likewise  during 
January  thirty  years  ago.  The  gathering  took  place  under 
the  auspices  of  the  Society  of  Arts,  where  the  photographs 
were  shown. 


Mr.  Tamkin’s  paper  on  development  will  be  read  with 
some  interest.  The  chief  point  is  the  recommendation, 
under  certain  conditions,  of  the  use  of  ammonia  and  pyro- 
gallol  without  any  restraining  bromide.  Mr.  Tamkin  tells 
us  that  most  plates  will  stand  a large  amount  of  ammonia, 
if  applied  in  the  first  instance. 


The  Photographers’  Benevolent  Association  is  growing 
rich,  so  that  we  may  expect  a rapid  increase  in  the 
number  of  members.  By  a notice  in  another  column,  it 
will  be  seen  that  the  Annual  Meeting  takes  place  on  the 
24th  inst.,  when,  among  other  good  news,  the  Secretary 
will  announce  that  a balance  of  between  one  and  two 
hundred  pounds  is  in  the  hands  of  the  Committee. 

The  new  system  of  teaching  the  deaf  and  dumb  by 
directing  them  to  look  at  a person  speaking,  and  to  note 
the  position  of  his  lips  in  giving  utterance  to  different 
sounds,  has  now  been  in  practice  for  several  years  on  the 
Continent ; and  as  our  readers  are  probably  aware,  has  also 
been  adopted  in  this  country  with  some  success.  A 
Continental  teacher  has  now  hit  upon  a plan  of  furthering 
the  instruction  by  having  recourse  to  photography.  A 
model  has  been  chosen  whose  lips  are  particularly  expres- 
sive in  their  action,  and  a series  of  photographs  taken  of 
him  while  pronouncing  the  different  sounds  that  go  to 
make  up  a language,  Such  a “ speaking  likeness  ” has 


been  obtained,  that,  in  many  cases,  even  an  untrained 
observer  has  little  difficulty  in  guessing  the  letter  on  the 
lips  of  the  model,  as  the  photographs  are  displayed  one  after 
another.  Mr.  Waruerke  exhibited  several  of  the  pictures 
at  the  last  meeting  of  the  Photographic  Society. 


General  Pitt  Rivers,  who  has  been  appointed  Inspector 
of  Ancient  Monuments,  is  engaged  in  studying  the  races 
and  crosses  of  Great  Britain,  and  with  this  view  is  collecting 
series  of  portraits  from  various  parts  of  the  kingdom. 
The  British  Association  has  awarded  a small  money  grant 
to  the  general  to  meet  the  expense  of  his  photographic 
labours. 


We  spoke  a good  word  the  other  day  for  the  “ Cherry  ” 
fabric  recently  brought  into  the  English  market.  We  are 
glad  to  see  that  both  Dr.  Eder  and  Dr.  Vogel,  who  have 
tested  the  material,  are  equally  pleased  with  it.  Dr.  Vogel 
says  the  “Cherry”  fabric  absorbs  blue  rays  most  com- 
pletely, and  hence  its  adaptability  to  dark  rooms  ; whereas 
the  crimson  generally  contained  in  the  ruby  material  per- 
mits blue  light  to  pass.  Fortunately,  a practical  trial  of 
dark-room  material  can  be  undertaken  by  any  photographer, 
and,  after  all,  an  experiment  of  one’s  own  is  most  satis- 
factory in  matters  of  this  sort. 


Caroline  Island,  a tiny  islet  in  the  South  Pacific,  not 
very  far  from  Pitcairn  Island,  is  shortly  to  have  greatness 
thrust  upon  it.  It  is  apparently  the  only  bit  of  land  on 
the  face  of  the  earth  where  the  total  eclipse  of  the  sun 
in  May  next  can  be  observed  in  its  entirety.  There  will 
be  a duration  of  total  eclipse  at  this  little  spot  amounting 
to  no  less  than  six  minutes,  and  such  a phenomenon,  we 
are  told,  will  not  occur  again  for  a century  to  come.  Six 
minutes,  as  exposures  now  go,  will  suffice  to  take  some 
hundreds  of  pictures  of  the  corona,  while  it  will  be  possible 
to  watch  the  changing  behaviour  of  those  wonderful  flames 
and  jets  of  burning  vapour  which,  for  want  of  a better 
name,  we  call  protuberances,  for  an  altogether  unparalleled 
period. 

Caroline  Island,  a green  little  spot  not  two  miles 
broad,  lies  lonesome  in  the  broad  waste  of  the  Pacific, 
out  of  the  path  of  all  commerce  and  travel ; still, 
four  months  hence,  will  see  a great  change  in  the  tiny 
island.  Photographers  and  astronomers  from  Europe  and 
America  will  overrun  the  verdure-clad  shores,  and  for  a few 
weeks  at  least  there  will  be  a busy  and  learned  population. 
Many  nationalities  will  be  present,  for  most  civilized 
countries  are  to  send  representatives.  Fortunately,  men 
of  science  are  men  of  peace ; otherwise,  as  the  island 
belongs  to  nobody  in  particular,  what  with  the  flags  of  all 
nations  cheek  by  jowl,  we  might  well  fear  some  disturbance 
at  such  au  international  gathering. 


Honours  to  Austrian  photographers.  Major  Volkmer, 
the  chief  of  the  photographic  atelier  at  the  Austrian 
Geographical  Institute,  has  just  been  decorated  by  the 
Russian  and  Servian  Governments ; while  Herr  Fink, 


Jancabf  19,  1883.") 


THE  PHOTOGRAPHIC  NEWS. 


41 


another  member  of  the  Vienna  Society,  has  had  crosses 
conferred  upon  him  by  Roumania  and  Servia.  The  British 
photographer  seems  to  be  somewhat  in  the  position  of 
dissolute  Uncle  Ben  in  Byron’s  “ Dearer  than  Life,’’  when 
the  old  reprobate,  in  his  cups,  complaius  that  “ Nobody 
never  gives  me  no  ornaments.” 

The  Russian  Photographic  Society  is  in  difficulties.  It 
appears  that  in  Russia,  as  in  this  country,  a sudden  desire 
has  been  manifest  to  promote  research  by  means  of  money 
grants.  However  the  idea  first  got  abroad  that,  in 
order  to  make  people  discover  something,  you  must  pay 
them  first  of  all,  is  a matter  that  would  puzzle  most  of 
us  to  explain,  for  if  money  is  really  necessary  to  pro- 
mote research,  we  can  only  infer  that  our  ancestors  were 
inordinately  fortunate  to  have  among  them  such  men  as 
Watt,  Stephenson,  Wedgwood,  and  many  more,  without 
paying  these  a farthing  to  become  inventors.  The  idea 
has,  at  any  rate,  become  established  among  us,  and  has 
now,  as  we  say,  involved  the  Russian  Photographic  Society 
in  some  difficulty. 

The  dilemma,  so  far  as  we  can  understand  it,  is  this.  A 
wealthy  amateur  of  St.  Petersburg,  if  we  hear  aright,  wishes 
to  help  forward  photography  as  much  as  he  can,  and  to  do 
this,  promises  to  place  in  the  hands  of  a commission  the  sum 
of  five  hundred  pounds,  to  be  paid  to  the  most  deserving 
and  successful  experimentalist.  But  this  is  not  all  ; un- 
fortunately, he  has  laid  down  a condition,  and  this  condi- 
tion is,  that  the  money  must  be  earned  and  paid  within  a 
twelvemonth.  And  for  this  reason  ; that  then,  be  desires  to 
dedicate  a further  and  still  larger  sum  to  the  same  purpose. 
No  wonder  our  Russian  friends  are  exercised  in  mind  over 
this  embarras  de  richesse. 


We  have  received — in  proof,  no  doubt,  of  the  mildness 
of  the  weather — a photograph  of  a tuft  of  flowering  prim- 
roses. We  beg  to  thank  our  kindly  correspondent ; and 
now  that  we  have  mentioned  the  fact,  shall  be  surprised  if 
other  tokens  of  “ mildness  ” do  not  follow  rapidly.  A 
representation  of  some  ripening  strawberries,  for  instance, 
with  a nightingale  in  full  song,  and  a swallow  or  two  on  the 
wing,  all  taken  on  one  plate,  we  should  really  regard  as 
common-place,  under  the  circumstances. 


Large  lenses,  whether  for  photographic  or  astronomical 
purposes,  are  only  apparatus  of  recent  introduction  ; and 
from  an  account  given  by  M.  Feil,  of  Paris,  it  seems  that 
we  owe  their  employment  in  the  fir  it  instance  to  a Swiss 
shepherd.  In  fact,  the  story  told  by  the  Paris  optician  is 
so  romantic,  and  science  and  romauce  are  so  rarely  coupled, 
that  we  do  not  hesitate  to  repeat  it.  During  the  latter 
part  of  last  century,  Ilerschel,  with  his  friend  Alschneider, 
visited  Switzerland  with  a telescope  to  make  some  observa- 
tions on  theTete  Dovan,  and,  during  his  stay  on  the  moun- 
tain, permitted  a young  Swiss,  Guinaud  by  name,  to  assist 
him.  Herschel  went  back  a second  year,  and  to  his  sur- 
prise found  the  shepherd  already  installed  with  a telescope 
of  his  own,  which  had  been  constructed  by  himself  after 
the  manner  of  Herschel’s  instrument . 


Guinaud’s  reflector  was  made  of  bell-metal — in  the 
winter  time  he  worked  at  a bell-foundry — and  one  of  the 
first  questions  he  put  to  Herschel  and  his  friend  Alschneider 
on  their  return  was — why  did  they  not  use  larger  object 
glasses  ? They  laughingly  replied  that  they  would  gladly 
do  so,  if  anyone  would  make  them.  “ i will  make  them,” 
said  the  shepherd.  And  he  did,  too.  Ho  established  in  a 
chalet  on  the  mountain  side  a little  factory  for  glass  making 
employing  a torrent  beside  it  to  grind  his  materials  and 
saw  up  his  blocks  of  glass.  It  took  time  to  fulfil  his  pro- 
mise ; but  he  did  it  at  last.  In  1806,  he  sold  a six-inch 
disc  to  Lerebours,  and  one  of  eight  inches  to  Holland. 
Faraday  subsequently  purchased  a glass  disc  of  his  make 
for  2,500  francs.  Guinaud’s  son  afterwards  worked  with 
M.  Feil  senior,  and  was  instrumental  in  establishing  the 
present  well-known  firm. 


latent  Intelligence. 

Grant  of  Provisional  Protection. 

6034.  Silvanus  Phillips  Thompson,  of  University  College, 
Bristol,  Professor  of  Experimental  Physics,  and  Colman 
Charles  Starling,  Demonstrator  in  the  said  University  Col- 
lege, for  an  invention  of  “ Improvements  in  photometric  appa- 
ratus.”—Dated  18th  December,  1882. 

Specification  Published  during  the  week. 

2780.  W.  T.  Morgan  and  R.  L.  Kidd,  for  “Manufacture  of 
sensitive  paper  and  blocks  for  photographic  purposes,  &c.” 
Our  invention  relates  to  the  manufacture  of  sensitive  paper, 
and  to  blocks,  pads,  or  tablets  of  the  same  for  photographic 
purposes  ; also  to  an  improved  method  of  reproducing  pictures 
taken  upon  such  paper.  In  carrying  the  said  invention  into 
practice,  we  take  superfine  paper  (preferably  hand-made)  as  free 
as  possible  from  grain  or  texture  marks,  and,  in  order  to  elimi- 
nate all  traces  of  lime  or  impurities  of  any  kind,  we  pass  it 
through  a bath  or  solution  of  strong  acid  (preferably  sulphuric 
acid)  and  water,  and  thoroughly  rinse ; we  then  coat  the  paper 
with  an  emulsion  of  ground  asbestos,  talc,  Chinese  clay,  or  other 
substauce  of  a similar  nature  in  a solution  of  gelatine,  starch, 
gum,  and  alum ; when  this  is  dry  the  paper  is  placed  between 
highly  polished  steel  or  silvered  plates,  and  subjected  to  very 
heavy  pressure  by  being  passed  between  rollers.  This  paper  is 
then  again  coated  as  before,  but  with  a stronger  emulsion  of  the 
same  materials,  and  when  dry,  is  ready  for  glazing  or  enamelling  ; 
that  is  to  say,  for  receiving  a textureless  glass-like  surface,  essen- 
tial to  the  success  of  our  invention.  This  glazed  or  enamelled 
surface  we  obtain  much  in  the  same  manner  as  lithographers 
obtain  their  transfer  impressions  from  steel  or  copper  engraved 
plates,  that  is  to  say,  we  damp  the  prepared  paper  on  the  back ; 
and  carefully  lay  it  with  the  prepared  surface  side  downward  on 
the  polished  metal  or  silvered  plates,  previously  made  warm, 
and  this  paper  is  again  submitted  to  very  heavy  pressure.  The 
damp  paper  will  adhere  to  the  metal  plate,  but  on  again  warm- 
ing the  latter  the  paper  may  be  easily  stripped  off.  The  paper 
is  then  stretched  over  a block  by  means  of  a frame  similar  to  a 
linen-stretcher,  or  by  means  of  any  other  suitable  appa- 
ratus ; it  is  then  carefully  polished  by  being  rubbed 
over  the  surface  with  paraffin-wax,  beeswax,  or  any 
material  of  a similar  nature  dissolved  in  highly  rectified 
spirits ; it  is  then  coated  by  any  of  the  well-known  methods, 
with  a gelatine-bromide  of  silver  emulsion,  and  when  dry  is 
ready  for  use.  This  paper  may  be  used  for  a variety  of  photo- 
graphic purposes  ; pictures  can  be  produced  upon  it  by  means  of 
photography,  which  pictures  may  be  afterwards  transferred  to 
glass,  canvas,  opal,  wood-blocks  for  engraving,  or  to  any  other 
substance  to  which  it  is  possible  to  attach  paper.  It  will  be 
found  most  useful  for  decorative  papers  for  windows,  walls, 
panels,  and  the  like,  as  any  sized  or  shaped  picture  can  be  made. 
According  to  an  important  part  of  our  invention,  we  arrange  the 
paper  in  the  following  manner — that  is  to  say,  when  the  said 
paper  has  been  prepared  in  the  manner  above  described,  it  is 


42 


THE  PHOTOGRAPHIC  NEWS.  [January  19,  1883. 


cut  into  suitable  sizes,  and  any  number  of  these  pieces  are 
superpcsei  one  upon  another,  the  prepared  side  beiug  upward, 
and  between  each  piece  is  placed  a sheet  of  tin  foil  or  similar 
material.  The  papers  so  interleaved  with  metallic  sheets  are 
then  pressed  into  a shell  or  matrix  of  any  suitable  curvature  by 
a die  or  pressing  device  of  corresponding  curvature,  which  is 
subjected  to  heavy  pressure,  and  forces  the  paper  and  tin  foil  or 
other  metal  into  a curve.  The  whole  is  then  bound  around  the 
edges,  as  is  done  with  sketching  or  drawing-blocks  or  pads ; the 
tin  foil  assists  the  paper  to  retain  its  curve,  and  also  protects  the 
rear  sheet  from  light  while  the  front  one  is  being  exposed  in  the 
camera.  The  paper  and  metal  may  also  be  made  into  flat  blocks 
exactly  similar  to  the  ordinary  drawing  blocks.  Our  object  in 
bending  or  curving  these  tablets  is  that,  when  they  are  placed 
in  the  camera  in  position  for  exposure,  they  have  the  same 
centre  as  the  curved  surface  of  the  lens,  and  by  this  means  per- 
fect equality  of  illumination  is  obtained  over  the  whole  surface. 
The  lines  are  absolutely  straight,  and  the  definition  is  more 
clearly  defined,  and  many  more  technical  advantages  are  secured 
well  known  to  the  profession.  The  use  of  stops  or  diaphragms 
(if  these  are  not  entirely  dispensed  with)  is  considerably  modified. 
The  tablets  are  placed  in  the  dark  slide  and  exposed  in  the  same 
manner  as  an  ordinary  sensitive  plate.  After  exposure,  the 
exposed  sheet  is  detached  from  the  block,  and  developed  in  the 
usual  manner.  The  surface  to  which  the  picture  is  to  be  trans- 
ferred should  be  previously  prepared  by  brushing  over  the  same 
a solution  of  gelatine  and  alum,  and  allowed  to  dry.  The 
picture,  while  still  wet,  is  pressed  in  contact  with  the  surface,  to 
which  it  firmly  adheres,  and,  when  dry,  the  paper  may  be  stripped 
off,  leaving  the  picture.  The  principle  of  curvature  will  also  be 
found  of  great  service  in  the  process  of  enlarging,  where  it  is 
desirable  to  obtain  absolutely  straight  lines.  The  picture 
having  been  produced  on  the  paper,  can  be  transferred  to  a 
curved  glass  by  the  process  above  described,  and  the  picture  can 
be  made  to  face  either  side  by  attaching  it  to  the  concave  or 
convex  surface.  For  magic  lantern  slides  or  discs  our  inven- 
tion is  very  advantageous,  as  pictures  taken  on  the  curved 
paper  are  transferred  to  curved  glass,  and,  when  thrown  on  the 
screen,  will  be  found  to  cover  the  whole  disc  of  light  with  per- 
fect definition  up  to  the  edges.  In  transferring  or  reproducing 
the  pictures  taken  upon  such  paper,  although  we  do  not  use 
glass  in  the  production  of  the  negative  on  the  transfer  paper,  we 
have  transferred  it  to  glass  in  order  to  print  therefrom  in  the 
usual  manner.  The  negative  has  then  been  reversed,  and  has 
again  to  be  transferred  for  most  ordinary  purposes  of  printing. 
We  find,  however,  that  the  weight  of  the  glass  would  be  a serious 
burden  to  travellers  or  those  working  away  from  home  ; and  its 
liability  to  breakage  is  also  much  against  its  use.  The  double 
transfer  necessary  when  glass  is  used  is  also  found  to  be  tedious 
and  delicate.  We,  therefore,  according  to  another  part  of  our 
invention,  provide  means  whereby  we  entirely  dispense  with  the 
use  of  glass  in  any  part  of  the  production  of  the  negative,  by 
substituting  for  glass  a gelatino-bichromatised  transparent, 
insoluble  film,  which,  in  addition  to  its  advantage  over  glass  in 
respect  to  lightness,  cost,  and  non-liability  to  breakage, 
obviates  the  nesessity  for  a double  transfer  as  above 
explained.  The  thinness  of  the  gelatine  film  allows 
the  negative  to  be  printed  from  either  side,  which  is  a very 
great  advantage,  when  required  for  the  purposes  of  mechani- 
cal printing,  photo-lithography,  maps,  charts,  and  the  like.  We 
prefer  to  make  the  gelatino,  bichromatised,  transparent  films 
above  mentioned  in  the  following  manner — that  is  to  say,  we 
make  a solution  consisting  of  thirty  grains  of  best  transparent 
gelatine,  five  grains  of  bichromate  of  potash,  thirty  minims  of 
fresh  ox-gall,  and  one  ounce  of  water.  We  warm  the  whole  of 
these  ingredients  to  a temperature  of  about  150°  Fahr.,  and  stir 
until  the  gelatine  is  dissolved.  We  then  take  a piece  of  highly- 
polished  glass  or  other  substance,  and  having  previously  con- 
verted it  into  a dish  by  pasting  slips  of  paper  around  the  edges, 
we  place  it  upon  a levelling  stand  or  perfectly  level  bench,  and 
pour  in  the  gelatine  solution  to  any  desired  thickness.  As  soon 
as  the  solution  is  set,  the  whole  is  set  up  to  dry  either  naturally 
or  by  artificial  heat  in  a well-lighted  room.  We  then  wash  out 
the  bichromate  salt,  and  again  allow  the  gelatinous  composition 
to  dry  ; after  which  it  is  stripped  from  the  support,  and  is  ready 
for  use  in  lieu  of  glass  plates. — Provisional  Protection  only. 

Patents  Granted  in  France. 

149,685.  Nieubtadt,  for  “A  method  of  etching  by  direct  im- 
pressions, and  of  obtaining  indelible  metallic  deposits  on 
polished  metal  surfaces.”— Dated  20th  June,  1882.  Class  17. 
149,778.  De  Cuaugny  Chains  and  Durand,  of  Lyons,  for 


“ Improvements  in  the  photo-nature  process.” — Dated  24th 
June,  1882.  Class  17. 

149,836.  Hermagis,  for  “Diaphragm  slides  and  shutters  for 
photographic  object-glasses.” — Dated  29th  June,  1882.  Class 
17. 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  VIII. — The  Gelatine  Process— Continued. 

THE  PHOTOGRAPHIC  PROPERTIES  OF  SILVER  CHLORIDE,  BRO- 
MIDE, AND  IODIDE  IN  GELATINE. 

Silver  Bromide. — The  photographic  properties  of  this 
substance  vary  very  much  according  to  what  physical 
condition  or  state  of  aggregation  it  is  in,  its  modifications 
in  this  respect  being  very  numerous. 

If  solutions  of  silver  nitrate  and  a soluble  bromide  con- 
taining gelatine  be  mixed  with  proper  precautions,  the. 
silver  bromide  formed  first  appears  as  an  opalescence,  the 
particles  being  in  the  finest  possible  state  of  division,  and 
if  examined  by  transmitted  light  appear  of  an  orange 
colour.  Plates  prepared  with  the  silver  bromide  in  this 
condition  are  of  excellent  quality,  but  very  slow.  If,  how- 
ever, this  orange  modification  be  digested  or  heated  with 
an  excess  of  soluble  bromide  or  other  solvent,  the  molecules 
of  silver  bromide  gradually  agglomerate,  forming  larger 
and  larger  particles  as  the  heating  is  prolonged  ; at  the 
same  time,  and  dependent  on  this  increase  in  size  of  the 
particles,  the  silver  bromide  increases  rapidly  in  sensitive- 
ness. This  double  change  continues  until  the  particles 
attain  a diameter  of  about  ^ of  an  inch  (Eder),  and 
become  some  twenty  times  as  sensitive  as  the  orange 
bromide.  This  experiment  illustrates  how  greatly  the 
physical  conditiou  of  the  silver  bromide  influences  its 
sensitiveness. 

Dr.  Stas,  who  first  studied  and  minutely  described  these 
modifications  of  silver  bromide,  divides  them  into  three 
principal  kinds  (specimens  shown)  viz.  : — 

A.  Flaky  bromide  of  silver. 

B.  Powdery  bromide  of  silver. 

C.  Granular  bromide  of  silver. 

Granular  bromide  of  silver  is  far  more  sensitive  than 
the  other  modifications,  and  forms,  in  conjunction  with 
gelatine,  the  most  sensitive  substance  for  receiving  a latent 
image  yet  known.  It  is  described  by  Stas  as  an  extremely 
fine  dust,  having  sometimes  a matt  and  sometimes  a 
glossy  yellowish  white  appearance.  Boiled  with  water  it 
remains  wholly  in  suspension,  colouring  the  water  white. 

It  is  this  granular  silver  bromide  which  is  formed  when 
the  orange  modification  is  heated  as  described,  and  also 
by  the  other  methods  which  are  employed  for  preparing 
very  sensitive  emulsions. 

These  different  modifications  also  vary  in  their  sensitive- 
ness to  different  coloured  lights  and  behaviour  in  develop- 
ment; the  extremely  fine  orange  bromide  is  practically 
insensitive  to  red,  orange,  and  yellow  light,  while  the 
granular  bromide  is  sensitive  to  all  these  colours,  although 
much  less  so  than  to  blue  light  (Abney) ; hence  the 
necessity  for  such  care  (as  regards  the  light  employed)  in 
coating  and  developing  rapid  bromide  plates.  The  action 
of  developers  seems  to  be  proportional  to  the  size  of  the 
particles  of  silver  bromide,  for  while  the  fiuest  possible 
orange  bromide  will  stand  a very  powerful  developer  with- 
out fogging,  as  the  particles  become  larger,  so  the 
tendency  to  reduction  and  necessity  to  restrain  the 
developer  increases  till  finally,  when  they  get  larger  than 
the  granular  modification,  they  are  reduced  without  pre- 
vious exposure  to  light,  and  hopeless  fog  occurs.  It  is  very 
important  to  remember  that  all  these  modifications  have 
the  same  composition— i.  e.,  they  all  contain  silver  and 
bromine  only,  and  united  in  the  same  proportion  by  weight. 

CAUSES  WHICH  INFLUENCE  THE  SENSITIVENESS  OF  SILVER 
BROMIDE  IN  GELATINE. 

a.  State  of  Aggregation. — This  is  the  most  important 


January  19,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


43 


determining  cause,  and,  as  before  stated,  the  granular  con- 
dition is  the  most  sensitive.  The  finer  modifications,  if 
present  in  any  quantity,  reduce  the  sensitiveness.  The 
sensitiveness  also  apparently  varies  somewhat  according 
to  the  method  of  prep iring  the  granular  bromide;  thus 
the  grauular  bromide  prepared  by  the  action  of  ammonia 
is  never  so  sensitive  as  that  prepared  by  boiling  (Abney). 

b.  Gelatiue,  by  its  affinity  for  oxygen  a id  the  halogens, 
acts  as  a sensitizer  to  tho  bromide ; to  exert  its  most 
favourable  action  in  this  respect  it  should  be  as  pure  us 
possible. 

c.  The  gelatine  should  be  a3  soft  as  is  consistent  with 

safety. 

d.  Finished  gelatine  emulsions,  when  kept  for  a few  days, 
frequently  increase  considerably  in  sensitiveness.  This, 
Captain  Abney  believes  to  be  due  to  the  fact  that  the 
particles  of  silver  bromide,  to  be  in  the  most  sensitive  state, 
must  be  placed  entirely  beyond  any  state  of  strain. 
During  preparation,  a strain  is  probably  given  to  the 
particles  of  silver  bromide,  and  by  subsequent  keeping  the 
emulsion  in  the  state  of  jelly,  this  strain  wears  off. 

e.  The  excess  of  soluble  bromide  employed  should  be 
very  thoroughly  washed  out.  The  presence  of  one  per 
cent,  excess  of  ammonium  bromide  reduces  the  sensitive- 
ness to  one-half  (Eder). 

Tho  cause  of  this  energetic  retarding  action  of  the  solu- 
ble bromides  has  been  fully  explained  by  Captain  Abney 
(Cantor  lectures) ; he  showed  that  at  the  same  time  that 
light  reduces  the  silver  bromide  to  sub-bromide,  it  also 
decomposes  any  ammonium  (or  other)  bromide  preseut, 
with  the  result  of  re-converting  the  silver  sub-bromide  to 
bromide  ; thus  the  sensitiveuess  obtained  is  only  the  diffe- 
rence between  these  opposite  actions. 

f.  Alkaline  carbonates  and  alkalies,  especially  ammonia, 
added  in  small  quantities  to  emulsions  increase  their  sensi- 
tiveness (Eder).  Fuming  a dry  plate  with  ammonia  in- 
creases its  sensitiveness  (Col.  Wortley).  Treating  a plate 
with  very  dilute  silver  nitrate  and  thorough  washing  before 
development,  increases  its  sensitiveness  (Eder). 

g.  Free  halogeus,  oxidizing  agents,  acids,  soluble  bro- 
mides, iodides,  oxidized  organic  matter,  &c.,  reduce  the 
sensitiveuess  to  a greater  or  le33  extent,  and  in  some  coses 
destroy  it  altogether. 

Silver  Chloride. — This  substance  is  not  so  sensitive  as 
silver  bromide,  and  is  therefore  not  employed  alone  for 
producing  negatives.  A small  quantity  in  conjunction 
with  the  silver  bromide  in  an  emulsion  gives  density  on 
development,  and  increases  the  sensitiveness  somewhat 
(Bolton). 

Silver  Iodide. — This  body  is  very  insensitive,  and  very 
difficult  to  develop  alone  with  gelatine.  Captain  Abney, 
however,  iu  1880,  pointed  out  that  a small  quantity  in  con- 
junction with  the  silver  bromide  in  an  emulsiou  confers 
very  valuable  properties  upon  it  without  reduciug  the  sensi- 
tiveness. In  the  first  place,  it  takes  away  the  sensitiveness 
which  pure  granular  bromide  has  to  red  light,  and  so 
enables  a comfortable  light  to  be  employed  in  develop- 
ment; in  the  second  place,  it  acts  as  a restrainer  of  fog, 
giving  brighter  images  with  clearness  in  the  shadows ; 
thirdly,  it  allows  greater  latitude  iu  exposure  ; and  finally, 
by  producing  a more  opaque  film,  prevents  halation. 

In  Dr.  Eder’s  experience  it  reduces  the  sensitiveuess 
slightly,  has  a tendency  to  give  thin  images,  and  prolongs 
the  time  of  development. 

METHODS  OF  PREPARING  EMULSIONS. 

Extremely  sensitive  silver  bromide  iu  conjunction  with 
gelatine  cau  be  prepared  in  many  ways  ; thus,  it  may  be 
prepared  by  careful  precipitation  from  aqueous  solutions, 
washing  by  decautation,  and  subsequent  emulsification  iu 
gelatine  (Abney)  ; or  by  producing  the  fine  orange  bromide 
by  double  decomposition  iu  a solution  of  gelatiue,  digestion 
with  an  excess  of  the  soluble  bromide,  and  subsequently 
washing  the  set  emulsiou  (Bennett)  ; or  by  precipitating  a 


solution  of  bromide  of  ammonium  in  gelatine  with  ammonia 
nitrate  of  silver,  and  subsequent  washing  (Obernetter),  &c. 
They  nearly  all,  however,  arrange  themselves  under  o ne 
or  other  of  three  principal  types,  viz. : — 

1.  Precipitation  processes. 

2.  Boiling  or  acid  processes. 

3.  Ammonia  processes. 

And  of  which  the  above  three  methods  are  examples.  In 
some  cases  these  methods  are  combined  together,  as  in  Mr. 
Burton's  recent  process. 

They  may  agaiu  be  divided  into  those  which  contain 
silver  bromide  only,  silver  bromide  and  iodide,  and  silver 
bromide,  iodide,  and  chloride,  respectively. 

In  England  the  second  of  these  types,  or  the  boiling 
methods  containing  silver  bromide  and  iodide,  seem  in  most 
general  favour,  and  will,  therefore,  be  employed  by  us. 

o 

GREEN  FOG. 

BY  C.  KAY  WOODS.* 

The  experiments  I wish  to  briug  before  your  notice  this  evening 
are  somewhat  imperfect  in  their  scope,  but  may,  in  connection 
with  the  experience  of  others  and  the  discussion  I wish  to  open 
this  evening,  be  possibly  of  a little  value.  I should  like  first  to 
give  a few  of  my  experiences  in  the  preparation  of  gelatine  plates. 

In  the  first  emulsion  giving  green  fog,  that  I prepared,  I 
omitted  to  put  in  the  two  drops  of  hydrochloric  acid  that  the 
formula  required.  I stopped  the  boiling  considerably  before  the 
proper  time,  and  have  no  doubt  I checked  the  evil  to  some 
extent.  Since  then  I was  not  troubled  with  green  fog  for  some 
time,  until  I began  to  use  a fresh  sample  of  bromide,  when  I had 
some  difficulty  to  prepare  plates  in  which  this  pest  did  not 
appear.  Proceeding  to  examine  the  two  samples  of  potassium 
bromide,  I noticed  this  : — 

Old  Sample. 

Neutral,  containing  a trace 
of  bromate.  Od  addition  of  a 
drop  of  hydrochloric  acid  a 
trace  of  bromine  was  set  free, 
which  was  rendered  more 
apparent  by  the  addition  of 
potassic  iodide,  due  to  the 
consequent  liberation  of 
iodine. 

The  emulsions  in  which  I used  the  above  samples  of  bromide 
contained  chloride,  bromide,  and  iodide.  Emulsions  of  exactly 
similar  character,  but  prepared  entirely  with  salts  of  ammonium, 
gave  no  green  togunder  ordinary  circumstances.  The  chloride  and 
bromide  were  both  perfectly  neutral,  but  became  acid  on  boiling, 
and  therefore  no  free  acid  was  added  in  the  mixing.  The  iodide 
was  old,  of  a dark  yellow  tint,  containing  a certain  amount  of  free 
iodine.  In  addition  to  these  facts,  I have  noticed,  so  far  as  my 
own  experience  goes,  that  green  fog  seems  to  occur  more 
frequently  when  the  gelatine  and  silver  are  mixed  first,  than 
when  the  gelatine  and  haloid  salts  are  mixed  and  then  the  silver 
added.  I very  much  prefer  the  first  method  of  mixing,  and 
have  tried  to  persuade  myself  that  it  is  not  more  liable  to  bring 
about  green  fog.  In  spite  of  my  wishes,  however,  I have  not 
been  able  to  bring  myself  to  believe  this  is  the  case  ; while  very 
far  from  asserting  that  the  bromide  into  silver  plus  gelatine 
has  more  tendency  to  bring  about  green  fog,  my  own  experience 
tends  towards  this  view.  It  may  be  asked,  if  uitrate  of  silver 
added  to  gelatine  tends  to  green  fog,  how  can  green  fog  occur 
when  the  silver  is  added  to  gelatine  plus  bromide  where  the 
haloid  salt  is  ready  to  receive  it  ? It  must  be  recollected  that  the 
bromide  is  surrounded  by  the  gelatine,  and  combination  between 
gelatiue  and  silver  may  in  this  case  also  take  place,  the 
boiling  with  excess  of  bromide  being  unable  to  undo  the 
mischief. 

I have  also  noticed,  in  connection  with  some  experiments  of 
another  character,  that  if  a plate  coated  with  emulsion  be  treated 
with  a solution  of  nitrate  of  silver,  washed  well  after  a short 
time,  placed  in  a dilute  solution  of  bromide  to  destroy  all  trace 
of  free  silver  nitrate,  and  then  developed,  a fog  is  found  on  the 
plate,  somewhat  resembling  what  is  known  as  green  fog.  This 
fog  is  the  more  intense  the  longer  the  plate  has  been  in  contact 
with  the  nitrate  of  silver  ; and  is  this  a sort  of  slow  cooking  ? 

* Read  before  the  Photographic  Society  of  Great  Britain. 


New  Sample. 

Very  faintly  alkaline^ 
No  bromate  present. 


44 


THE  PHOTOGRAPHIC  NEWS. 


[January  19,  1883, 


To  sum  up,  I have  found  that  emulsions  prepared  with  a 
distinct  trace  of  acid  during  the  boiling  seem  less  subject  to 
green  fog  than  emulsions  perfectly  neutral,  and  the  latter  less 
subject  to  green  fog  than  emulsions  at  all,  if  only  slightly, 
alkaline.  Moreover,  emulsions  prepared  with  a slight  trace  of 
free  bromine  or  iodine  seem  less  prone  to  green  fog  than 
emulsions  containing  no  free  halogen.  It  would  appear  probable, 
therefore,  that  at  least  one  of  the  causes  of  green  fog  is  the 
formation  of  a small  quantity  of  some  compound  of  silver  and 
gelatine,  and  aggravation  of  its  fogging  properties  by  boiling, 
this  compound  not  being  decomposable  by  the  salts  of  the 
halogens,  but  decomposable  by  the  halogens  themselves.  I am 
speaking  now  of  green  fog  occurring  under  ordinary  circumstances. 

And  now  for  a few  experiments  relative  to  the  circumstances 
under  which  green  fog  appears  on  development.  I need  scarcely 
refer  to  its  well-known  tendency  to  appear  with  pyro-develop- 
ment,  nor  to  the  fact  that  it  is  especially  liable  to  come  up  on 
forcing  with  ammonia  ; but  it  may  be  new  to  some,  that  it  may 
be  obtained  with  ferrous  oxalate  development,  but  only  under 
certain  circumstances.  Some  time  since,  I found,  and  pointed 
out  to  Captain  Abney,  that  plates  liable  to  green  fog  showed 
green  fog  with  iron  developer  prepared  with  amnionic  oxalate. 
The  developer  was  slightly  alkaline  (with  ammonia),  and,  when 
rendered  acid  with  oxalic  acid,  no  green  fog  appeared.  Now, 
to  ordinary  iron  developer  prepared  with  potassium  oxalate  and 
ferrous  oxalate  you  may  add  just  a slight  trace  of  ammonia 
without  precipitating  oxide  of  iron.  A developer  so  treated  will 
bring  up  green  fog.  If  ammonic  carbonate  be  added  to  the 
iron  developer,  green  fog  is  not  produced ; but  a yet  further 
amount  of  ammonia  may  then  be  added,  and  developer  so 
treated  is  the  most  powerful  producer  of  green  fog  that  I know 
of.  Here  is  a plate  placed  for  a short  time  in  such  developer 
without  having  been  exposed  ; part  of  it  is  not  fixed,  but  the 
fixed  part  is  so  dense  that  I have  but  little  doubt  that,  if  it  had 
been  left  in  the  developer  sufficiently  long,  there  would  have 
been  nothing  left  to  fix  out.  The  appearance  of  green  fog  on  a 
plate,  therefore,  is  plainly  due  to  the  action  of  free  ammonia 
together  with  an  agent  capable  of  reducing  a sub-haloid  of 
silver.  If  the  iron  developer  be  made  slightly  alkaline  with 
potash  or  soda,  grey  fog  is  produced  on  plates  liable  to  green 
fog.  If  fog  is  produced  when  the  developer  is  acid,  it  is 
doubtless  due  to  some  other  cause. 

It  has  frequently  been  stated  that  sulphite  of  soda  is  a 
producer  of  green  fog.  The  capability  of  getting  green  fog  with 
iron  developer  gave  me  a good  opportunity  of  testing  this  state- 
ment. Sulphite  of  soda  was  mixed  in  considerable  quantity 
with  iron  developer,  but  no  green  fog  resulted  when  a plate  was 
immersed  in  it.  Another  plate  was  immersed  in  ammonia  and 
sulphite  for  forty-five  minutes  with  no  result.  I am  inclined, 
therefore,  to  think  that  sulphite  of  soda  does  not  tend  to  produce 
green  fog,  excepting  by  the  slightly  longer  time  required  to 
develop  a plate  when  it  is  present. 

I may  mention,  also,  that  I immersed  a plate  prone  to  green 
fog  in  a very  weak  solution  of  iodine  in  alcohol : the  only  result 
was,  that  the  part  immersed  was  slower  considerably,  green  fog 
being  equally  prominent  over  the  plate  ; showing  that  though 
iodine  might  check  the  evil  in  course  of  preparation,  it  was  in- 
capable of  curing  it  afterwards.  I have  also  tried  immersing  a 
plate  in  bichromate  of  potash,  as  has  been  suggested  ; but  green 
fog  was  only  slightly,  if  at  all,  reduced.  By  the  way,  every  one 
who  has  had  any  experience  of  green  fog  must  have  noticed 
that  it  appears  strongest  on  parts  not  acted  upon  by  light.  I 
have  seen  no  specimens  in  which  such  has  not  been  the  case.  If 
a plate  subject  to  green  fog  have  only  one  half  of  it  slightly 
exposed  to  white  light,  and  then  be  exposed  and  developed  in  the 
ordinary  way,  the  part  acted  on  by  Light  shows  little  or  no  signs 
of  green  fog,  if  the  first  exposure  be  suitably  timed,  but  a slight 
veil  is  apparent.  Probably,  if  plates  subject  to  green  fog  under 
ordinary  circumstances  were  first  exposed  to  light,  and  then 
treated  with  bichromate  of  potash  or  chloride  of  copper,  their 
tendency  to  fog  might  be  stopped. 

In  connection  with  this  subject  I have  made  use  of  the  phrase, 
“ under  ordinary  circumstances.”  What  I mean  by  this  will 
appear  from  the  following.  Captain  Abney  told  me,  a short 
time  since,  that  he  could  produce  green.fog  on  any  plate  if  he 
left  it  in  the  developer  long  enough.  I thought  that,  if  that  is 
the  case  with  alkaline  developer,  I could  do  the  same,  only 
much  more  so,  with  iron  developer  and  ammonia.  Here  is  a 
plate  not  liable  to  green  fog  under  ordinary  circumstances,  that 
has  been  so  treated,  and  you  will  see  that  it  pos- esses  a dense 
ruby  tint,  and  might  be  used  for  a dark-room  window. 


LOCKYER’S  DISSOCIATION-THEORY. 

BY  DU  H.  W.  VOGF.L.* 

In  February,  1880,  I took  occasion,  on  the  ground  of  my 
observations  to  the  spectrum  of  chemically  pure  hydrogen,  to 
take  objection  to  Lockyer’s  view  that  calcium,  at  a very  high 
temperature,  is  dissociated.  From  the  fact,  inter  alia,  that  of 
the  two  calcium  lines,  H'  and  H",  only  the  first  is  present  in  the 
spectra  of  so-called  white  stars  photographed  by  Huggins, 
Lockyer  proceeded  to  lay  down  the  theory  that  calcium  at  a 
high  temperature  is  decomposed  into  two  substances,  X and  Y, 
of  which  the  first  gives  the  line  H",  the  other  the  line  H",  and 
that  in  the  stars  referred  to,  only  the  first  is  met  with.  Against 
this  I urged  that  hydrogen,  besides  the  four  known  and  easily 
visible  lines,  has  a remarkable  line  of  very  intense  photographic 
power,  which  nearly  coincides  with  Fraunhofer’s  H' , and  that 
one  is  the  more  warranted  in  regarding  the  supposed  calcium- 
line observed  by  Huggins  as  a fifth  hydrogen  line,  that  the 
hydrogen  lines  in  the  spectra  of  those  stars  are  developed  in  a 
striking  manner,  and  also  the  ultra-violet  star  lines  observed  by 
Huggins  agree  with  the  ultra-violet  hydrogen  lines  photo- 
graphically fixed  by  me. 

Lockyer,  however,  has  not  given  up  his  idea  of  dissociation, 
but  sought  new  proofs  of  it  by  the  spectroscopic  method. 

He  calls  attention  to  the  fact,  inter  alia,  that  in  the  spectrum 
of  sun-spots,  certain  iron  lines  appear  broadened,  and  others  not ; 
that,  moreover,  many  of  them,  as  L 4918  A 4919-7  do  not  occur 
in  the  spectrum  of  protuberances,  show  other  iron  lines,  but  do 
in  the  spectrum  of  spots  ; that  in  the  latter,  again,  the  iron-lines 
are  occasionally  absent,  which  the  former  contain,  and  he 
proceeds  to  say  : “ there  is,  accordingly,  no  iron  in  the  sun,  but 
only  its  constituents.” 

This  argumentation  Liveing  and  Dewar  have  already  opposed, 
having  proved  that  certain  spectral  lines  of  a substance,  e.g. 
A5210  magnesium,  and  various  calcium-lines,  are  only  visible 
when  certain  foreign  matters  are  present — in  this  case  hydrogen 
on  the  one  hand,  and  iron  on  the  other  ; that  accordingly  the 
absence  of  certain  iron  lines  in  the  spectra  of  the  spots  or  pro- 
tuberances may  not  be  attributed  to  a dissociation,  but  to  the 
absence  of  foreign  matters  which  occasion  the  appearance  of 
these  lines  in  force. 

Lockyer  now  takes  his  stand,  however,  on  another  fact,  which 
is  not  explained  by  Liveing  and  Dewar’s  experiments,  and  which 
certainly  seems  to  afford  a firmer  basis  for  his  theory  of  dissocia- 
tion than  the  facts  referred  to  above.  He  says  : 

“ The  last  series  of  observations  relates  to  the  degree  of  motion 
of  vapours  in  the  sun-spots,  which  it  is  known,  is  indicated  by 
changes  in  the  refrangibility  of  lines.  If  all  lines  of  iron  in 
a spot  were  produced  by  iron  vapour,  which  moves  with  a 
velocity  of  40  km.  in  a second,  this  velocity  would  be  indicated 
by  a change  of  the  refrangibility  of  all  lines.  But  we  find  that 
that  is  not  the  case.  We  find  not  only  different  motions,  which 
are  indicated  by  different  lines,  but  observe  in  the  degree  of 
motion  the  same  inversions  as  in  the  breadth  of  the  lines.  This 
fact  is  easily  explained  if  we  suppose  dissociation,  and  I know 
no  more  simple  way  of  explaining  it.” 

Lockyer  cites  as  an  example  that  in  the  spots  of  December  24, 
1880,  and  January  1 and  6,  1881,  a certain  number  of  iron  lines 
appeared  bent,  while  others  remained  straight. 

Now  I believe  it  is  possible  to  explain  these  facts  on  the  basis 
of  numerous  observations  in  spectral  analysis  of  absorption  with- 
out needing  to  have  recourse  to  the  hypothesis  of  dissociation. 

It  is  known  that  the  position  of  the  absorption-band  of  a 
substance  depends  very  essentially  on  the  dispersion  of  the 
medium  in  which  it  is  dissolved  or  incorporated.  One  often 
observes  that  in  strongly  dispersive  media  the  absorption-bands 
of  a substance  are  displaced  towards  the  red.  Now,  the  remark- 
able case  often  here  occurs  that  certain  absorption -bands  are 
displaced  with  the  increase  of  dispersion  of  the  solvent,  while 
others  are  not.  Thus  Hagenbach  observed  that,  e.g.,  the 
chlorophyll  bauds  I.  III.  and  IV.  lie  more  towards  red  in 
alcoholic  than  in  etheric  solution,  while  the  band  II.  in  both 
solutions  shows  exactly  the  same  position.  I observed  similar 
cases  with  urauian  protoxide  salts  and  with  cobalt  compounds. 

Now  Kundt  has  already  called  attention  to  the  fact  that  for 
absorption-spectra  of  gases  the  same  rule  holds  good  as  for  the 
absorption  spectra  of  liquid  substances.  He  adds,  indeed  : “ It 
is  only  questionable  whether,  if,  e.g.,  bypouitrate  gas  be  mixed 
with  various  other  transparent  gases,  the  displacements  of  the 

* A paper  by  Herr  Hermann  W.  Vogel,  read  to  the  Berlin  Academy  on 
November  2, 1SS2.  Communicated  by  the  author. 


Januaby  19,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


45 


absorption-bands  are  so  considerable  that  they  can  be  per- 
ceived.” This  doubt,  however,  does  not  affect  the  rule  supposed 
but  merely  its  experimental  verification.  The  supposition,’ 
then,  is  permissible  that,  in  the  same  way  as  with  liquids,  added 
media  also  affect  the  position  of  absorption-bands  in  the  case  of 
gases,  and  that  in  this  case,  as  in  the  other,  displacements  of 
certain  bands  occur,  while  the  position  of  others  remaius 
unaltered. 

When,  therefore,  in  sun-spots,  certain  iron  lines  suffer  a dis- 
placement, and  others  in  the  same  place  do  not,  the  cause  is  not 
motion,  but  the  admixture  of  a foreign,  strongly  dispersive  gas, 
which  acts  on  the  displaced  lines,  and  not  on  the  others.  It 
follows  from  this,  further,  that  curvatures  of  absorption  lines  of 
the  sun-spots  need  not  by  any  means  be  always  explained  as 
due  to  motion  of  the  absorbing  gases  in  the  direction  of  the 
line  of  observation,  but  only  where  all  lines  of  a matter  partici- 
pate in  the  curvature. 

That  bright  lines  of  aluminous  gas,  also,  in  like  circumstances, 
‘‘by  admixture  of  another  non-luminous  vapour,  or  one  giving  a 
continuous  spectrum,”  may  suffer  a displacement,  Kundt  has 
already  shown. 


(fcomsgontoncf. 

PHOTOGRAPHERS’  BENEVOLENT  ASSOCIATION. 

Dear  Sir, — May  I ask  the  favour  of  insertion  of  this 
letter  in  jour  next  issue.  Our  anunal  meeting  will  be  held 
at  181,  Aldersgate  Street,  on  the  24th  inst.,  chair  to  be 
taken  at  8 p.in.  by  \V.  S.  Bird,  Esq.  The  past  year  has 
seen  some  progress  ;n  the  Association,  and  to  ensure  per- 
fect success  I earnestly  ask  the  assistance  of  all  in  carrying 
out  the  objects  of  the  Association,  which  are  “ to  assist 
members,  their  wives  and  children,  when  iu  distress  through 
sickness,  death,  or  want  of  employment,  by  means  of  im- 
mediate grants  of  money,  to  grant  annual  pensions  to  aged 
members,  and  to  aid  the  unemployed  in  obtaining  situa- 
tions.” All  members  that  can  do  so  are  earnestly  requested 
to  attend,  and  non-members  are  most  cordially  invited  to 
the  meeting. — Yours  truly,  H.  Harland,  Sec. 


DrocM&'mgs  of  Sorulies. 

Edinburgh  Photographic  Society. 

The  third  ordinary  meeting  of  the  current  session  was  held  in 
5,  St.  Andrew  Square,  on  the  evening  of  Wednesday,  10th 
January,  Mr.  Norman  Macbeth,  R.S.A.,  in  the  chair. 

The  minutes  of  the  December  meeting  having  been  signed, 
Mr.  R.  Smith  Brown  was  elected  an  ordinary  member. 

The  Secretary  intimated  the  receipt  of  a letter  from  Mrs. 
Dobbie,  acknowledging  receipt  of  extract-minute  of  sympathy 
and  condolence,  also  the  following  presentations  to  the 
Society  : — 

1.  ‘‘Madeira  Spectroscopic” — a very  handsome  volume — 
illustrating  most  laborious  and  painstaking  investigations,  by 
Professor  Piazzi  Smyth. 

2.  The  ‘‘Year-Book  of  Photography,”  and  the  “British 
Journal  Photographic  Almanac,”  by  their  respective  Editors. 

3.  A fine  carbon  print,  tastefully  mounted,  being  a photo- 
graphic group  of  the  members  of  the  Society  attending  the 
annual  excursion  at  Dirleton,  by  Mr.  M’Ghie,  of  Glasgow. 

4.  A number  of  Messrs.  Cussons’  Pocket  Almanacs,  for 
distribution. 

Mr.  S.  Tamkin  read  a paper  on  “Dry  Plates  and  their  Develop- 
ment ’’  (see  page  38).  It  was  illustrated  by  a number  of  nega- 
tives and  prints,  and  advocated,  under  certain  conditions,  the 
use  of  alkaline  pyrogallic  development  without  restraining 
bromide,  thus  supporting  Mr.  M’Kean’s  contention  that  the 
latter  is  not  necessary,  but  tending  to  show  that  the  addition  of 
bicarbonate  to  the  ammonia  was  needless. 

Mr.  McKean,  on  being  called  on  to  reply  to  Mr.  Tamkin,  and 
thus  continue  the  discussion  deferred  from  last  month,  said  : — 
“ I regret  that  Mr.  Tamkin  has  not  given  us  a practical 
demonstration  of  his  method  of  using  my  developer  alongside 
his  own,  as  there  would  thus  have  been  a better  opportunity  of 
judging  of  the  merits  or  demerits  of  either.  I am  somewhat 


surprised  that  so  simple  a formula  should  have  failed  in  the 
hands  of  such  an  expert  as  Mr.  Tamkin,  though,  on  close  in- 
spection, I think  he  has  succeeded  better  than  he  imagines ; for 
on  examining  the  negatives  furnished  to  illustrate  the  paper 
just  read,  those  restrained  by  bromide  are  more  brilliant  than 
those  developed  by  bicarbonate  of  soda  as  a restrainer  ; in  other 
words,  the  lights  are  more  dense,  and  the  shadows  consequently 
more  clear.  Now  this  is  the  very  point  at  which  I claim  to  have 
made  an  improvement.  No  one  will  deny  the  danger  of  over- 
doing the  high  lights  when  using  bromide  as  a restrainer,  unless 
the  quantity  of  pyro  be  very  nicely  adjusted.  Watch  the 
progress  of  the  two  developers  while  instituting  a comparison  ; 
the  high  lights  of  the  negative  developed  with  the  use  of  bromide 
seem  to  penetrate  the  whole  thickness  of  the  film  before  justice 
is  done  to  the  detail  in  the  shadows — this,  at  least,  has  been  my 
experience— but  with  the  bicarbonate  developer  density  and 
detail  come  together,  consequently  a softer  and  more  harmonious 
picture  is  the  result.  Unless  for  copying  line  engravings,  or 
anything  requiring  great  density  and  clear  shadows,  I do  not 
think  it  probable  I shall  ever  again  have  recourse  to  bromide  in 
the  developer.  Speaking  of  the  ‘ feeling  of  uncertainty  which 
naturally  takes  hold  of  one  before  applying  the  developer,’  Mr. 
Tamkin  says  no  uncertainty  need  exist ; and  iu  this  I agree  with 
him  when,  as  in  his  case,  commerccia'.  plates  are  purchased  by  the 
gross  direct  from  the  maker,  though  amateurs  and  others  who 
procure  them  by  the  dozen  will  agree  with  me,  that  there  is  too 
often  cause  for  reflection  both  before  and  after  development. 
Mr.  Tamkin  finds  two  grains  of  pyro  instead  ol  three  sufficient 
to  develop  his  plates.  I use  a three-grain  setution,  but  in 
practice  I develop’two  plates  with  the  same  : had  he  aged  a three- 
grain  solution  as  advised,  I believe  his  opinion  of  the  ^carbonate 
would  have  been  more  favourable,  and  he  would  at  the  same 
time  have  saved  the  price  of  the  pyro,  by  discarding  the  Diomide. 
As  to  keeping  notes  of  the  various  exposures  and  other  devils 
to  guide  in  the  development,  I find  one  or  two  drops  of  the  bi- 
carbonate and  ammonia  in  the  pyro  solution  will  tell  more  in  a 
second  than  could  be  written  down  in  a minute,  and  this  just  at 
the  moment  when  the  information  is  most  needed,  and 
servicable.  ” 

Mr.  Tdrnbull  said  he  had  not  had  a sufficient  experience  to 
express  a weighty  opinion  on  the  bicarbonate  developer,  but 
with  the  plates  he  had  used,  he  had  found  that  though  they 
were  not  subjected  to  a prolonged  action  of  the  developer,  yet 
green  fog  was  prominently  manifested;  but  with  the  ordinary 
developer  restrained  with  bromide,  these  plates  were  quite  free 
from  that  defect. 

Mr.  Ayton  remarked  that  since  Mr.  M’Kean  published  his 
formula  he  had  been  using  it  constantly,  and  found  that  it 
reduced  his  exposures  about  one-third,  which  is  a very  decided 
advantage,  the  negatives  containing  more  half-tone  than  by  the 
use  of  bromide,  particularly  if  the  exposure  is  slightly  under 
It  however  requires  stronger  pyrogallic  to  obtain  sufficient 
vigour. 

In  answer  to  Mr.  M’Kean’s  query  as  to  how  Mr.  Tamkin  would 
remember  the  exposures  given  on  a busy  day  if  the  development 
was  deferred,  the  latter  replied  that  it  was  his  practice  to  time 
all  exposures  to  suit  one  mode  of  developing  ; but  when  (as 
occasionally  will  happen)  this  rule  has  to  be  departed  from,  and 
the  plates  put  aside  for  a time,  he  had  a very  simple  way  of 
refreshing  his  memory  if  necessary.  The  plates,  when  taken  out 
of  the  slides,  are  placed  one  above  another,  with  a piece  of  paper 
between,  in  one  of  the  ordinary  pasteboard  boxes,  a size  larger 
than  they  are  sent  out  in ; if  all  the  exposures  have  been 
according  to  rule,  no  notes  are  required,  but  if  an  exception  has 
been  made,  a small  reference  to  it  is  made  in  pencil  upon  the 
paper  lying  upon  the  plate,  even  one  sign  sometimes  being  quite 
sufficient  to  remind  one  of  all  the  circumstances  necessary  to 
remember. 

Mr.  Tamkin  was  asked  a number  of  questions  iu  reference  to 
the  pictures  taken  by  gas-light,  which  elicited,  among  other,  the 
following  information.  The  interior  where  he  is  seen  sitting 
was  exposed  in  all  about  forty  minutes ; he  sat  thirty-one 
minutes,  and  then  left  his  seat,  removing  the  white  objects,  and 
allowing  the  exposure  to  proceed  for  a short  time.  In  the  fully- 
exposed  interiors  the  same  'plan  was  adopted  ; about  three- 
quarters  of  an  hour’s  exposure  was  given,  the  supper  table  was 
then  cleared,  and  other  prominent  white  articles  removed  or  ob- 
scured, and  the  exposure  continued  for  other  three-quarters  of 
an  hour.  There  were  here  three  gas-burners  lighted,  and  a total 
exposure  of  thirty  minutes,  according  to  Mr.  Tamkin’s  calcula- 
tion, would  have  been  sufficient  had  an  unrestrained  developer 


46 


THE  PHOTOGRAPHIC  NEWS. 


[January  19,  1886. 


been  used.  The  moonlight  -view  taken  by  Mr.  Moffat  was  done 
with  Dallmeyer’s  rectilinear. 

The  Secretary  stated  he  had  received  a note  from  Mr.  M’Laren, 
of  Larbert,  who  could  not  be  present,  intimating  that  in  his 
experience  the  bicarbonate  developer  was  not  suitable  for  Wrat- 
ten’s  plates.  He  says  : “ I followed  the  instructions  with  as  much 
care  as  if  the  fate  of  Ireland  depended  on  it  ; then  knowing  that 
the  correct  exposure  was  about  twelve  seconds,  I exposed  three 
pairs  of  plates. 

1 and  la  for  5 seconds 

2 „ 2a  „ 8 ,, 

3 ,,  3a  ,,  12  „ 

1,  2,  and  3,  I developed  with  the  bicarbonate,  and  the  result 
was  in  each  case  more  or  less  a failure.  No.  3 was  best,  but  was 
poor,  wanting  in  crispness.  Each  gave  signs  of  under-exposure, 
and  I forced  them  until  they  began  to  veil.  No.  1 was  badly 
fogged.  I then  developed  la,  2a,  and  3a,  with  my  ordinary 
ammonia  and  bromide  solution — the  result  was  in  each  case 
greatly  superior  to  its  neighbour.  This  developer  will  most 
probably  succeed  with  plates  whL’h  will  stand  a large  dose  of 
ammonia.  I cannot  complain  of  ‘ weak  half-tones  and  exagge- 
rated high  lights.”  If  I get  a - sgative  of  that  description  it  is 
my  own  fault,  and  I remedy  it  by  giving  a longer  exposure,  and 
usiDg  the  pyrogallicin  moderation. 

In  reply  to  remarks  male  and  questions  asked  by  members 
present,  Mr.  Tamkin  f that  the  negatives  taken  to  test  the 
relative  properties  of  r-  M‘ Kean’s  and  Wratten’s  developers 
were  exposed  in  ■»  had  light. 

The  experiments  were  made  with  every  desire  to  give  the 
former  all  fatness ; and  with  this  end  in  view  Mr.  Frank  Moffat 
was  asked  to  develop  the  one  plate,  while  Mr.  Tamkin  did  the 
other,  so  ihat  their  peculiar  characteristics  might  be  observed 
side  by  oide.  He  called  attention  to  the  curious  fact  that,  while 
the  Siller  exposed  plate  developed  much  more  rapidly  with 
M'Vcan’s  than  with  Wratten’s,  the  reverse  was  the  case  when 
the  exposure  was  reduced.  In  regard  to  using  an  unrestrained 
developer,  he  only  recommended  its  use  where  ordinary  means 
were  likely  to  fail,  but  thought  at  such  times  to  use  ammonia 
alone  (with  pyrogallic)  was  preferable  to  using  a substitute  for 
bromide,  as,  when  extreme  rapidity  was  desired,  the  absence  of 
the  restrainer  allowed  you  to  give  the  shortest  exposuie. 

Mr.  Bashford  said  that  he  supposed  the  diversity  of  opinion 
probably  arose  from  the  dissimilar  qualities  of  plates  by  different 
makers ; he  had  found  with  the  plates  he  was  using,  that  the 
simple  bicarbonate  developer  recommended  by  Mr.  M'Kean 
failed  to  produce  a sufficiently  plucky  negative  ; there  was  a 
slight  veiling  of  the  shadows  without  a corresponding  increase 
in  the  high  lights  to  ensure  brilliant  prints  ; but  by  adding  a 
small  quantity  of  ordinary  bromide  and  ammonia,  stock  solution 
(Swan’s  formula),  this  defect  was  remedied,  and  the  exposure 
shortened.  The  image  with  bicarbonate  was  on  the  surface  of 
the  film,  and  was  much  more  transparent  prior  to  fixing — more 
resembling  in  translucency  a plate  developed  with  sulpho-pyro- 
gallol.  He  was  much  struck  with  the  gas  and  moon-light 
photographs  exhibited  by  Mr.  Tamkin,  the  former  fully  proving 
that  with  some  most  sensitive  plates  the  presence)  of  bromide  in 
the  developer  is  not  necessary,  thus  placing  a wonderful  power 
in  the  hands  of  the  skilful  photographer,  enabling  him  to  secure 
negatives  under  conditions  by  many  deemed  impossible. 

Mr.  Norman  Macbeth,  R.S.A.,  in  proposing  a vote  of  thanks 
to  Mr.  Tamkin,  said  that  he  felt  indebted  to  him,  to  Mr. 
M'Kean,  and  others  who  had  taken  part  in  the  discussion,  and 
he  was  glad  to  see  in  the  photographic  press  that  the  subject  of 
developers  was  still  brought  into  prominence,  as  he  felt  that 
any  progress  yet  to  be  made  was  most  desirable,  and  conse- 
quently most  likely  to  be  in  that  direction,  and  any  contributions 
by  thoughtful,  painstaking  experimenters  are  valuable  as  aids  to 
progress.  A vote  of  thanks  was  passed  to  Mr.  Tamkin. 

A hearty  vote  of  thanks  to  the  donors  of  the  various  presenta- 
tions was  accorded,  also  to  Mr.  Dougal  for  having  so  kindly  and 
fully  undertaken  the  duties  of  Interim-Secretary  recently.  The 
proceedings  then  terminated  with  thanks  to  Mr.  Macbeth  for 
presiding. 


ready  for  coating  with  collodion ; instead  of  the  plates  being 
separated  by  narrow  strips  of  cardboard  at  each  end,  small  pieces 
were  placed  under  each  corner. 

Mr.  W.  Barker  objected  to  the  use  of  cardboard  as  being 
likely  to  injure  the  plates,  on  account  of  the  various  substances 
used  in  its  preparation  ; he  gave  the  preference  to  chrome  yellow 
paper,  and  had  found  no  deterioration  in  plates  so  kept  for  two 
years. 

Mr.  Collins  said  one  maker  packed  his  plates  with  thin  sheets 
of  paper  coming  not  quite  to  the  edges  between  them,  and  no 
deterioration  had  been  found  in  plates  thus  packed  after  two 
years’  keeping. 

Mr.  A.  Cowan  suggested  that,  if  cardboard  was  found  objection- 
able, thin  strips  of  celluloid,  ebonite,  or  bone  might  be  used 
equally  well  for  the  purpose. 

Mr.  A.  J.  Brown  was  at  a loss  to  understand  why  plates, 
when  the  air  was  allowed  to  circulate  freely,  did  not  spoil  by 
keeping  ; while  if  they  were  well  wrapped  in  paper,  they  deteri- 
orated at  the  edges. 

Mr.  Debenham  thought  it  might  be  caused  by  air  impregnated 
with  gas.  He  preferred  to  use  boxes. 

Mr.  Collins  had  recently  opened  some  plates  which  had  been 
placed  some  considerable  time  in  saw-dust  and  lead ; the  plates 
were  generally  perfect  in  the  centre,  but  the  edges  were  black,  the 
discolouration  gradually  spreading  inwards. 

Mr.  Golding  had  found  yellow  mill-board  render  plates 
insensitive. 

Mr.  W.  H.  Prestwick  showed  some  pieces  of  paper  illustrating 
the  Jilagrain  process  of  Messrs  Brown,  Barnes,  and  Bell. 

A discussion  then  ensued. 

Mr.  Barker  said  the  effect  could  be  produced  by  having  a 
paper  or  thin  cardboard  prepared  of  waterproof  paper  with  a softer 
sample  on  one  side ; when  this  was  wetted,  and  subjected  to 
pressure,  the  softer  portion  yielded  more  than  the  other,  letting 
the  light  of  the  picture  correspond  to  the  depression,  as  in  the 
specimen  under  discussion.  He  showed  some  paper  marked  by 
pressure  with  various  designs,  and  said  that  some  specimen 
designs  on  paper,  by  a process  called  filagramme,  were  on  view 
at  the  Printers’  Exhibition  of  1881,  and  he  suggested  thatyWtf- 
grain  might  be  the  same  process  with  a slightly  altered  name. 

Mr.  Henderson  showed  a negative  of  a statue  taken  with  a 
pinhole  stop  without  a lens  by  electric  light,  referred  to  by  him 
at  a previous  meeting.  The  light  used  was  an  arc,  and  was  dis- 
tant from  the  statue  5 feet  9 inches,  the  distance  between  the 
camera  and  the  statne  being  5 feet  3 inches  ; the  exposure  was 
forty-five  seconds,  and  the  negative  was  under-exposed.  lie  also 
showed  a print  from  a negative  taken  by  a Mr.  Taylor  (an 
amateur)  out-of-doors  without  a lens,  the  exposure  for  which  was 
five  minutes.  He  (Mr.  Henderson)  had  obtained  his  best  results 
with  a small  hole  carefully  drilled  at  right  angles  to  the  plate  by 
a Southampton  optician. 

Mr.  Haddon  thought  the  hole  was  best  made  through  a piece 
of  charred  paper. 

Mr.  Smith  said  a clear,  circular  hole  could  be  got  by  passing  an 
electric  spark  through  a piece  of  cardboard  or  paper. 

Mr.  Coles  had  traced  the  cause  of  the  spots  in  the  negative 
shown  by  him  at  the  last  meeting  to  small  specks  of  iron  rust, 
which  had  settled  on  the  plate,  which,  being  dissolved  by  the  acid 
in  the  solution,  had  produced  perchloride  of  iron,  which  had 
bleached  the  spots. 


London  and  Provincial  Photographic  Association. 

At  a meeting  of  the  above,  held  at  the  Mason’s  Hall  Tavern,  on 
Thursday,  the  11th  inst.,  Mr.  W.  E.  Debenham  in  the  chair, 
Mr.  C.  G.  Collins,  referring  to  the  plate-box  shown  by  Mr.  A. 
Cowan  at  the  last  meeting,  said  he  had  constructed  one  somewhat 
similar  for  Mr.  Bedford  for  holding  large  plates  albumenized 


Halifax  Photographic  Club. 

The  usual  monthly  meeting  was  held  on  January  9th,  the  Pre- 
sident, Mr.  J.  B.  Holroyde,  in  the  chair.  After  the  minutes  of 
last  meeting  had  been  read — 

Mr.  W.  C.  Williams  wascalled  upon  to  give  the  second  part 
of  his  paper  on  “ Photographic  Enlargements,  including  Views, 
Portraiture,  &c.”  The  first  part  of  the  paper  was  devoted  to  the 
qualifications  all  should  possess  who  hoped  to  succeed  with  en- 
largements, the  qualities  necessary  to  a proper  negative,  and 
the  size  and  class  of  negatives  best  fitted  for  the  purpose  in 
views,  the  ligUting  and  study  of  composition,  and  the  aesthetic 
side  of  the  question.  In  the  second  part  he  fully  described  the 
best  form  and  arrangement  of  enlarging  camera  to  obtain  an  even 
and  subdued  light.  Ho  placed  a ground  glass  one  yard  from  the 
gas  or  other  light  used  for  illumination  ; he  took  a transfer  on 
carbon  tissue,  which  always  has  a fine  even  texture,  which,  with 
careful  manipulation,  prevents  stains  and  other  defects ; 
fine  cloud  and  other  effects  can  be  introduced  and  printed  in, 
and  such  modifications  made  in  the  picture  as  sunlight  and 
moonlight.  He  showed  a beautiful  negative,  5 by  4 (enlarged  to 


January  19,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


47 


15  by  12  with  a Grubb’s  aplanatic  lens),  a carbon  negative,  and 
a print  from  it  (Clovelly  Bay,  Devonshire),  also  a sea  view, 
8V  by  6 1,  with  magnificent  clouds,  which  was  produced  to  show 
a“  grand  moonlight  effect.  He  exhibited  a diagram  which  was 
graduated  in  shades  from  0 to  7,  and  reversed  to  0,  to  show  the 
density  a negative  ought  to  possess  to  be  a good  one.  Ho  con- 
sidered No.  6 to  be  the  proper  and  most  appropriate  depth  to 
produce  a good  print  from,  and  the  development  might  be  pushed 
to  No.  6 on  the  descending  side  without  having  bad  effect.  He 
also  described  the  method  of  enlarging  with  the  magic-lantern 
and  solar  lantern  as  being  best  adapted  for  carbon  pictures  life- 
size,  the  cost  of  such  large  lenses,  &c.,  greatly  reducing  their 
popularity.  He  gave  several  hints  as  to  various  exposures  with 
different  lenses  and  stops,  &c.,  to  be  used  to  obtain  the  best 
results.  He  recommended  plates  intended  for  negatives  to  be 
coated  with  burnt  sienna  in  distemper  as  a great  preventive 
against  reflections  while  taking  or  exposing  the  plates,  and  never 
to  use  a shorter  focus  lens  for  the  enlarging  of  pictures  than  the 
one  used  for  taking  the  original  negative.  He  showed  another 
diagram  which  exhibited  the  optical  arrangement  which  took 
place  in  producing  an  enlarged  picture  trout  a small  negative, 
showing  the  curvature  and  angle  of  aperture  made  by  the  lens 
between  the  negative  and  enlargement  produced. 

A cordial  vote  of  thanks  was  passed  to  Mr.  Williams  for  his 
paper,  the  President  desiring  him  to  allow  the  two  papers  to  be 
printed  and  presented  to  the  members,  to  which  consent  was 
given. 

Several  instantaneous  negatives  and  prints  were  then  passed 
round,  with  dashing,  crested,  and  breaking  waves,  and  wonderful 
cloud  scenery. 

A vote  of  thanks  was  passed  to  Messrs.  D.  H.  Cussons  and  Co., 
for  presenting  the  members  with  a copy  each  of  their  Pocket 
Almanac  and  Reminder  for  1883. 


Photographic  Society  op  Ireland. 

The  usual  monthly  meeting  of  the  above  was  held  in  the  Royal 
College  of  Science,  Stephen’s  Green,  Mr.  Tnos.  A.  Bewley 
in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and  con- 
firmed, Messrs.  F.  C.  Allen  and  G.N.  Jacob  wereelected  members 
of  the  Society. 

Mr.  Cowan  read  a very  interesting  and  exhaustive  communica- 
tion on  “ Halation,”  illustrated  by  experiments. 

There  was  a well- sustained  debate  on  this  paper. 

Mr.  J.  V.  Robinson  exhibited  and  explained  the  modus 
operandi  of  the  crystoleum  process,  and  exhibited  a number  of 
pictures,  which  were  much  admired.  He  also  showed  a new 
optical  lantern,  using  the  4-wick  lamp  instead  of  the  3-wick  ; 
and  a new  tripod  stand  made  of  American  walnut. 

Dr.  Scott  exhibited  a new  camera,  with  the  plate-carrier  so 
constructed  as  to  open  inside  the  camera. 


Newcastle-on-Tyne  and  Northern  Counties’  Photographic 
Association. 

The  annual  meeting  of  this  Society  was  held  on  Tuesday,  the 
9th  inst.,  in  the  College  of  Physical  Science,  Mr.  J.  P.  Gibson 
in  the  chair. 

The  minutes  of  the  last  ordinary  meeting  and  the  special 
meeting  were  read  and  confirmed.  Messrs.  H.  Piper  and  W.  D. 
Welford  were  unanimously  elected  members. 

This  being  the  meeting  for  the  election  of  officers  of  the 
Association,  Messrs.  Thos.  M.  Laws,  Lyddell  Sawyer,  and  W. 
Ridley,  were  appointed  scrutineers  to  examine  the  voting  papers, 
and  reported  the  following  as  the  result : — 

President — Colonel  Sheppee. 

Vice-Presidents — Professor  Herschel  and  Mr.  A.  L.  Steavenson. 
Secretary — Mr.  J.  Pike. 

Auditor — Mr.  Redhead. 

Treasurer — Mr.  P.  M.  Laws. 

Council — Professor  Bedson,  Dr.  Berwick,  Messrs.  E.  Dodds, 
J.  Downey,  J.  P.  Gibson,  H.  Mendelssohn,  J.  B.  Payne,  J. 
Hedley  Robinson,  J.  W.  Robinson,  and  E.  Sawyer. 

Much  regret  was  expressed  on  all  sides  that  Mr.  Payne’s 
services  could  not  be  retained  in  the  capacity  of  Secretary. 

The  Secretary  read  the 

Second  Annual  Report. 

Your  Council  have  pleasure  in  offering  to  you  the  second 
annual  report.  During  the  past  year  the  Association  has  suffered 
a severe  loss  through  the  death  of  one  of  the  vice-presidents — 
the  late  Professor  Freire  Marreco — who  was  most  highly  esteemed 


by  the  council  and  members  of  the  Association,  alike  for  the 
value  of  his  assistance  and  advice,  the  sterling  interest  which  he 
took  in  the  Association,  and  the  kindness  he  extended  to  all 
those  with  whom  he  came  in  contact.  The  ordinary  monthly 
meetings  have  been  very  well  attended  ; but  your  Council  much 
regret  that  the  out-door  meetings  were  again  unsuccessful  in 
point  of  numbers.  Two  practical  demonstrations  have  been 
given,  and  two  lantern  exhibitions  held,  each  of  which  proved 
successful.  Although  the  Council  regret  that  so  many  of  the 
members  failed  to  contribute  to  the  competitive  exhibition  held 
recently,  yet  it  far  exceeded  the  expectation  of  the  promoters. 
The  local  press,  as  well  as  the  photographic  journals,  spoke  in 
terms  of  great  praise  of  the  quality  of  the  work  shown,  and 
much  disappointment  was  expressed  by  the  public  that  the  exhi- 
bition was  not  made  more  widely  known,  and  of  a somewhat 
more  permanent  character.  Since  the  formation  of  the  Associa- 
tion in  January,  1881,  eleven  members  have  resigned.  There 
are  now  seventy-nine  members  in  the  books.  The  best  thanks 
of  the  Association  are  due  to  the  council  of  the  College  of 
Physical  Science,  for  placing  then  rooms  at  our  service ; also 
to  Messrs.  W.  Green,  W.  Armstrong,  lun.,  E.  Dodds,  J.  Hedley 
Robinson,  Dr.  Williamson,  and  the  Rev.  T.  F.  Hardwich  for  the 
contribution  of  papers,  as  well  as  to  Prcfessor  Herschel,  Mr. 
Way,  and  Mr.  P M.  Laws,  for  their  valuable  assistance  in 
selecting  the  pictures  at  the  exhibition.  You-  council  again 
express  the  hope  that  a liberal  supply  of  papers  will  be  forth- 
coming at  the  ensuing  meetings,  and  rely  upon  yoir  generous 
support. 

An  interesting  discussion  took  place  on  the  report,  in  the 
course  of  which— 

Mr.  J.  B.  Payne  gave  some  details  of  the  rise  of  the  Associa- 
tion, and  the  success  which  had  attended  its  promotion,  far  o 
ceeding,  as  it  did,  the  expectations  of  those  who  had  undertake,, 
the  formation  of  the  Society. 

The  out-door  meetings  had  been  a failure,  probably  owing  to 
the  weather  ; but  it  seemed  to  be  the  opinion  of  members  pre- 
sent that,  in  future,  other  days  than  Bank  Holidays  be  selected. 
With  regard  to  the  exhibition,  it  was  suggested  that  medals  or 
certificates  should  be  awarded  the  successful  exhibitors  ; that, 
to  ensure  a larger  number  of  competing  members,  those  who 
sent  pictures  receive  two  presentation  prints  instead  of  one ; 
also,  that  the  exhibition  be  kept  open  for  a few  days,  and  that 
the  opening  ceremony  should  take  the  form  of  a soiree  or  con- 
versazione, for  which  invitations  might  be  sent  out. 

On  the  proposition  of  the  Chairman,  the  report  was  adopted. 

Mr.  P.  M.  Laws  (the  Treasurer)  then  read  the  financial  state- 
ment, which  was  characterised  as  satisfactory  by  Mr.  J.  Downey, 
who  moved  its  adoption,  which  was  carried. 

The  meeting  was  then  adjourned. 


Dundee  and  East  of  Scotland  Photographic  Association. 
The  fourth  regular  meeting  took  place  in  Lamb’s  Hotel  on 
Jan.  11th,  Mr.  W.  D.  Valentine  in  the  chair,  members  and 
visitors  assembling  in  strength. 

The  minutes  of  the  previous  meeting  having  been  read  by  the 
Secretary  (Mr.  C.  Johnson)  and  confirmed,  Messrs.  W.  M.  Marten 
and  Mr.  Charles  Kerr  were  admitted  members  of  the  Association. 
Several  gentlemen  were  then  proposed  for  election  at  next 
meeting. 

The  question-box  was  found  to  contain  three  problems,  which 
afforded  a wide  field  for  scientific  inquiry  and  research  in  photo- 
graphy. Mr.  Valentine,  Bailie  Ogilvie,  Dr.  Tulloch,  and  Messrs. 
John  Robertson,  Geddes,  Roger,  Ferrier,  Ireland,  &c.,  contributed 
to  the  solution  of  some  rather  abstract  questions. 

Mr.  J.  Y.  M’Lellan,  of  Glasgow,  afterwards  exhibited  and 
explained  his  patent  eclipse  lamp.  Several  plates  were  exposed, 
and  the  thanks  of  the  Association,  on  the  motion  of  the  Chairman, 
were  awarded  to  the  exhibitor. 

Mr.  W.  D.  Valentine  exhibited  some  artistic  gems  taken 
during  the  recent  snow  storms.  The  effects  were  pronounced  to 
be  excellent. 

A vote  of  thanks  to  the  Chairman  closed  the  proceedings . 


3Lalk  in  tfre  Stubio. 

A Novelty. — The  custom  of  adorning  the  menu  at  a dinner 
with  a photographic  portrait  of  the  hero  or  founder  of  the  feast 
is  one  that  should  become  popular.  Recently  in  Paris,  on  the 
occasion  of  a banquet  to  Mr.  Stanley,  the  African  explorer,  this 


48 


THE  PHOTOGRAPHIC  NEWS. 


[January  19,  1883. 


was  done,  and  the  Standard  speaks  in  high  terms  of  the  elegant 
card  placed  upon  the  plate  of  every  guest.  “ The  menu  was 
adorned  with  Stanley’s  photograph,”  we  are  told,  ‘ and  was  m 
itself  an  artistic  bijou"  So  says  the  Picture  and  Art  Trade  ; 
but  the  paper  does  not  say  that  it  is  one  of  our  “ Notes  ” it  is 

^Siemens’s  Selenium  Photometer.— The  following  is  a descrip- 
tion of  this  apparatus  as  constructed  by  Messrs.  Siemens  and 
Halske  of  Berlin  : — A horizontal  copper  tube,  three  centimetres 
in  diameter  and  fifteen  centimetres  long,  is  mounted  on  a stand 
fixed  at  one  end  of  a horizontal  graduated  bar.  The  stand,  with 
the  copper  tube  attached,  is  movable  above  a vertical  axis,  and 
is  provided  with  a levelling  screw.  One  end  of  the  tube. is 
fitted  with  a metal  diaphragm  having  a circular  aperture  in  its 
centre,  and  the  other  with  a mounting  carrying  cross  wires. 
This  latter  can  be  removed  aid  replaced  by  a short  horn  box 
containing  a plate  of  selenium  specially  prepared.  The  plate  is 
protected  from  the  light  by  a valve,  which  can  be  opened  by  a 
button  outside  the  tube.  At  >o  opposite  points  of  the  plate 
wires  are  attached,  which  connect  it  through  a galvanometer  to 
the  battery.  A Thomson  portable  mirror  galvanometer  is  the 
best.  To  take  observations,  the  tube  is  turned  towards  the  light 
to  be  measured,  whici  is  then  centred  by  means  of  the  cross 
wires.  The  diaphragm  and  the  mounting  carrying  the  cross 
wires  are  remold,  and  the  latter  replaced  by  the  selenium 
plate.  The  ct'cuit  is  completed,  and  the  plate  exposed  to  the 
light.  Aft<>-  reading  the  deflection  of  the  galvanometer  the 
tube  is  twned  about  its  vertical  axis  until  it  is  in  line  with  the 
graduat'd  rod.  A standard  candle  slides  on  the  rod,  and  its 
distance  from  the  plate  is  adjusted  until  the  galvanometer  deflec- 
tionthe  same  as  before.  The  intensity  of  the  lights  is  then 
prrportional  to  the  squares  of  their  respective  distances  from 
tAe  plate. — Electrio  Light. 

Instantaneous  Photograph  of  an  Elephant. — The  Scientific 
American  of  Jan.  6 contains  a copy  from  La  Nature  of  an 
instantaneou  s photograph  taken  in  the  great  rotunda  of  the 
Museum  of  Natural  History,  of  Paris,  which  gives  shelter  to 
the  large  mammiferse.  The  animal  (an  elephant)  was  taken 
just  as  he  was  in  the  act  of  opening  his  mouth  to  receive  a piece 
of  bread  that  his  keeper  was  about  to  throw  to  him.  The 
picture  also  represents  the  reservoir  for  water  that  runs  round 
the  rotunda,  and  the  external  wall  of  the  latter. 

Photographs  of  the  Carbon  Spectrum. — Liveing  and 
Dewar  find  that  when  the  spectrum  of  an  induction  spark, 
passing  between  graphite  poles,  is  photographed,  that  the  wave- 
lengths of  the  principal  lines  were  as  follow  : — 2296'5  ; 2478'3  ; 
2509  ; 251P9  ; 2836’3  ; and  2837'2.  A Rutherford  grating  was 
used,  and  it  is  interesting  to  note  that  the  characteristic  flutings 
of  cyanogen  were  visible  in  the  photogragh  if  the  spark  was 
allowed  to  pass  through  air  ; but  when  carbonic  anhydride 
replaced  the  air,  these  flutings  did  not  appear.  A Swan  lamp 
gave  a continuous  spectrum  until  the  thread  gave  way,  when 
indications  of  the  presence  of  carbonic  became  noticeable. 

Grease-proof  and  Water-proof  Paper. — By  treating 
“ parchment  ” or  “ Gaine’s  ” paper — as  it  is  sometimes  called 
from  the  name  of  its  inventor — with  a little  hot,  strong  solution 
of  gelatine,  to  which  about  21  or  3 per  cent,  of  glycerine  has 
been  added,  and  allowing  it  to  dry,  it  may  be  rendered  tolerably 
impervious  to  fatty  matters,  so  that  it  then  forms  a convenient 
medium  in  which  to  pack  small  quantities  of  such  substances 
as  ordinarily  are  apt  to  “grease  the  paper”  they  are  wrapped  in. 
The  same  altered  variety  of  cellulose,  if  soaked  with  benzole,  or 
bisulphide  of  carbon  holding  one  per  cent,  of  01.  Lini  and  four 
of  India-rubber  in  solution,  makes,  when  dry,  an  admirable  and 
inexpensive  waterproof  envelope  for  the  preservation  and 
transport  of  drugs  and  deliquescent  salts.  By  using  an  envelope 
of  this  description,  and  when  filled  closing  it  carefully  with  a 
little  stronger  solution  of  caoutchouc,  and  afterwards  placing  the 
same  inside  a similar  one  of  larger  size  containing  fine,  oven- 
dried  oatmeal,  even  chloride  of  calcium  and  crystals  of 
nitrate  of  ammonium  have  been  forwarded  in  damp  weather, 
without  their  having  attracted  moisture  or  suffered  any  appreci- 
able change  during  transit. — Burgoyne's  Monthly  Magazine  of 
Pharmacy. 


PHOTOGRAPHS  REGISTERED. 

Mr.  Berry  (Aberdare)— 2 Photos  of  Nellie  Berry  and  Mary  Rees  in  a 
Basket;  4 Photos,  of  Sydney  Joseph  Berry. 

Mr.  J.  Thompson  (Landport)— Photo,  of  Review  of  Troops  from  Egypt. 
Mr.  L.  VraNKY  (Buckingham)— Photo,  of  Hunt  Meet  at  Stove  House. 


3[o  &0ms80tt&fnt8. 


We  cannot  undertake  to  return  rejected  communications. 
Contributors’  Copies  of  Year-Book. — There  are  several 
contributors  to  our  Year-Book  who  have  not  yet  received  copies, 
owing  to  the  circumstance  that  we  have  not  their  addresses . The 
publishers  will  be  glad  to  hear  of  any  omission  of  this  nature,  in 
order  that  it  may  be  rectified  as  soon  as  possible. 

The  demand  upon  our  space  is  so  great  that  we  are  reluctantly 
compelled  to  defer  Lesson  1.  of  “ Twelve  Elementary 
Lessons  on  Sensitizing,  Printing,  etc.,”  till  next  week. 
We  are  also,  for  the  same  reason,  obliged  to  hold  over  “By- 
the-Bye.” 

Captain  Abney’s  paper  published  last  week  was  in  error 
attributed  to  the  Edinburgh  Society,  instead  of  that  of  Great 
Britain. 

Otto  Pfenniger. — See  “Notes”  in  Photographic  News  of 
September  1st,  1882. 

“A  Member  of  the  Photographic  Society.” — We  shall  be 
glad  to  print  your  letter  on  the  “ Council  Election,”  if  you  will 
give  us  authority  to  append  your  name  to  it. 

M.  K. — If  you  follow  the  instructions  in  the  work  sent,  you 
should  experience  no  difficulty  ; but  write  again  in  case  of 
any  failure. 

J.  S.  Milner. — Thanks.  As  you  will  see,  we  hare  acted  upon 
your  suggestion. 

Pawson  and  Buailsford. — Major  Waterhouse’s  papers,  now 
appearing  in  the  Photographic  News,  will,  when  complete, 
contain  a full  account  of  all  the  latest  and  practical  details, 
forming  a comprehensive  treatise  on  modern  photo-lithography. 
Max  Gregor. — 1.  We  think  not.  2.  Probably  not  such  good 
pay  as  in  this  country,  when  the  increased  cost  of  living  is 
taken  into  account. 

F.  E.  P. — 1.  Send  us  specimens,  and  we  will  try  to  suggest  the 
cause.  2.  No ; under  the  circumstances  you  are  likely  to  do 
better  in  this  country. 

Subscriber  (Falmouth). — The  picture  is  first  rubbed  over  with  a 
very  small  quantity  of  the  Bo-called  encaustic  paste  (see 
Formulary),  and  is  then  passed  thiough  a burnisher;  this 
apparatus  consisting  of  an  arrangement  by  which  a burnished 
steel  rule  is  made  to  work  to  and  fro  on  the  face  of  the  print. 
Inquirer. — 1.  If  we  were  going  to  do  the  work  ourselves,  we 
should  prefer  to  use  wet  plates  ; still,  if  you  really  wish  to  use 
emulsion,  it  is  desirable  to  prepare  it  with  a good  excess  of 
bromide,  and  to  use  it  without  emulsification.  2.  The  practical 
details  will  come  after  the  theory. 

W.  Byrne  and  Co. — We  imagine  the  mischief  to  arise  from  the 
mounts,  as  we  have  had  numerous  complaints  regarding  pictures 
attached  to  cards  which  appear  to  be  of  similar  make  and  quality. 
If  our  conjecture  can  be  proved  to  be  true,  you  have,  of  course,  a 
legal  remedy. 

Auld  Reekie. — 1.  There  isno  difficulty  as  regards  the  manipula- 
tion ; the  most  transparent  pigments  being  mixed  with  crystal 
paper  varnish,  and  applied  to  the  back  of  the  pioture.  2.  Pro- 
bably not,  but  many  aniline  colours  will  bear  incorporation  with 
the  crystal  varnish.  These  colours  generally  fade  if  exposed  to 
the  prolonged  action  of  daylight,  but  are  sufficiently  permanent 
for  your  purpose. 

Constant  Reader. — You  would  do  well  to  replace  it  by  one  in 
which  the  prevailing  tint  is  blue,  and  before  putting  on  the  fresh 
paper  take  care  to  remove  the  old. 

J.  Mack. — The  ordinary  methods  of  photo-engraving  are  applic- 
able, and  you  will  find  numerous  notices  in  our  back  volumes. 

J.  Hampton. — Soak  the  negative  in  a weak  solution  of  potassium 
cyanide,  say,  about  five  grains  to  the  ounce. 

Lyons.-  Hot  sulphuric  acid  instantly  destroys  it,  carbon  being 
liberated. 

H.  Spink. — Wo  fear  that  although  many  can  be  found  who  will 
readily  undertake  to  supply  what  you  require,  the  results  will  fall 
short  of  the  promises. 

Samubl  Lampeter. — When  pure,  it  is  quite  neutral  to  test- 
paper,  but  it  possesses,  like  many  neutral  salts,  the  property  of 
dissolving  the  oxide  of  its  metal,  and  becoming  slightly  alka- 
line. 2.  Provided  that  air  be  excluded. 

Craven  Strbet. — The  red  colour  indicates  that  oxygen  has  been 
absorbed,  and  that  some  of  the  iron  has  been  converted  into  a 
ferric  salt.  When  the  oxidation  is  complete,  the  developer  is 
useless  ; but  when  partial,  the  developer  is  simply  weakened. 

0.  J.  T. — 1.  It  is  quite  impossiole  to  judge  without  seeing  speci- 
mens. 2.  Send  them  back.  If  a material  is  supplied  for  a 
definite  purpose,  and  it  proves  unfit  for  that  purpose,  the  vendor 
is  responsible  for  all  losses  which  may  result. 

L.  Porter. — 1.  The  tannin  serves  ta  render  it  partially  insoluble ; 
but  care  is  required  not  to  add  too  much.  2.  At  a temperature  of 
about  70°  Centigrade.  3.  No.  4.  No.  1 gives  an  extremely 
curved  field  ; but  the  case  is  altogether  different  with  No.  2. 


THE 


PHOTOGRAPHIC  HEWS 


Vol.  XXYII.  No.  1‘m.^Januctry  26,  1883. 

A > ’ * * c/A 


/«?  ...  _ * \ • ■->  *A\ 

-v.' 


CONTENTS. 


A Phosphorescent  Plate  for  Sensitometric  Investigations 49 

On  the  Coating  of  Plates  with  Gelatine  Emulsion 49 

Messrs.  Morgan  and  Kidd’s  Improvements  in  the  Manufacture 

of  Gelatino-Bromidc  Paper,  4c 60 

By-the-Bye.— About  some  Studios  51 

Notes  on  Photography.  By  E.  Howard  Farmer  52 

Photo-Lithography  and  l’hoto-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 53 

Photo-Micrography.  By  T.  C.  White  55 


Notes f 

Patent  Intelligence  58 

Twelve  Elementary  Lessons  on  Silver  Printing 58 

A Phosphorescent  Tablet  as  a Standard  Light.  ByA.Spiller  59 

Review  6® 

Correspondence  6° 

Proceedings  of  Societies 62 

Talk  in  the  Studio 63 

To  Correspondents 64 


A PHOSPHORESCENT  PLATE  FOR  SENSITO- 
METRIC INVESTIGATIONS. 

The  communication  by  Mr.  Arnold  Spiller,  which  we 
insert  this  week,  will  be  received  with  great  interest  by 
those  of  our  readers  who  are  in  the  habit  of  using  a phos- 
phorescent tablet  for  sensitometric  investigations. 

It  will  be  in  the  memory  of  our  readers,  that  about  two 
years  ago  the  members  of  the  Photographic  Club  appointed 
a committee  to  consider  the  sensitometric  question.  After 
making  several  experiments,  Mr.  Warnerke  devised  an 
instrument,  which  was  accepted  as  a reliable  sensitometer. 
The  construction  of  the  apparatus  may  briefly  be  described 
as  follows : — To  a level  glass  plate  are  cemented,  with  a solu- 
tion of  albumen,  layers  of  thin  paper,  varying  from  one  to 
twenty-five.  A Spence’s  metal  cast  of  the  paper  tablet 
thus  prepared  is  used  for  making  Woodburytypic  impres- 
sions, by  pouring  a standard  mixture  of  gelatine  solution 
and  lamp-black  on  the  cast,  and  then  pressing  the  excess 
out  with  a plate.  The  gelatine  film,  thus  prepared, 
varying  in  opacity  from  one  to  twenty-five,  is  attached 
to  a glass  plate.  For  a standard  light  a phosphorescent 
tablet  is  used,  prepared  by  coating  a glass  plate  with 
a mixture  of  luminous  powder  and  melted  paraffin  ; the 
latter  acts  as  a varnish  by  holding  the  former  substance 
in  situ,  and  by  preserving  it  from  the  deleterious  effects  of 
moisture,  acid  vapours,  &c.  To  use  the  apparatus,  the 
sensitive  film  to  be  tested  is  placed  behind  the  prepared 
gelatine,  the  phosphorescent  surface  is  first  made  luminous 
by  burning  one  inch  of  magnesium  ribbon  close  to  it,  and 
after  a minute’s  duration  the  plate  is  exposed  to  the 
standard  light  for  the  same  period.  The  film  under  exami- 
nation is  finally  treated  with  a standard  developer,  the 
highest  grade  appearing  being  compared  with  other  films. 
A gelatine  bromide  film  of  thirty  times  the  sensitiveness  of 
wet  plate  would  register  about  No.  20  with  the  sensitometer  ; 
that  is  to  say,  the  light  which  passes  through  the  Woodbuiy- 
typic  gelatine  film  where  it  is  twenty  times  thicker  than 
at  the  thinnest  part  would  be  just  sufficient  to  make  an 
impression. 

Messrs.  Mucklow  and  Spurge  also  use  with  their  sensito- 
meter a phosphorescent  surface,  but,  as  our  readers  may 
know,  in  place  of  Warnerke’s  gelatine  film  an  apparatus  is 
used  not  unlike  a gem  camera,  in  which  the  lenses  are 
replaced  by  diaphragms  of  different  diameters.  Their 
apparatus  is  used  after  the  manner  of  the  former,  the  film 
under  examination  being  placed  opposite  the  diaphragms 
as  in  a camera,  the  luminous  surface  is  of  course  located  next 
the  apertures. 

We  have  briefly  described  these  apparatus  to  show  the 
important  role  played  by  a phosphorescent  tablet  insensito- 
meters,  and  thus  our  readers  can  well  understand  the 
importance  attached  to  Mr.  Spiller’s  communication.  No 


doubt,  when  Mr.  Brightman  proclaimed  at  the  Bristol 
Photographic  Society  that  “ sulphide  of  calcium  is  not 
reliable  as  a standard  light  for  comparative  experiments 
with  the  sensitometer,  from  the  fact  that  an  increase  in 
temperature  causes  an  increased  luminosity  in  the  previously 
excited  surface,”  several  photographers  and  gelatine  plate 
makers  who  were  in  the  habit  of  using  either  of  the  above 
described  sensitometers  for  testing  the  sensitiveness  of  their 
plates  felt  somewhat  inclined  to  discard  the  instrument, 
on  the  ground  that  it  was  unreliable. 

Our  correspondent  of  this  week  is  of  opinion  that  the 
instrument  is  reliable  as  regards  varying  temperature. 


ON  THE  COATING  OF  PLATES  WITH  GELATINE 
EMULSION. 

Second  Article. 

In  our  last  article  on  the  above  subject,  we  expressed  our 
intention  of  describing  what  we  know  of  machine  plate 
coating.  As  stated  before,  machine-coating  is  by  no  means 
so  commonly  resorted  to  as  band-coating,  the  reason  being, 
we  believe,  that  most  have  found  it  difficult  to  give  a 
sufficiently  thick  film  when  using  machinery.  We  know, 
however,  of  several  extensive  manufacturers  who  do  at 
least  a great  part  of  their  coating  by  machinery,  and  at 
least  one  who  does  no  band-coating  at  all. 

Some  time  ago  we  described  Mr.  Swan’s  coating  machine 
in  these  columns.  It  is  peculiar  in  this,  that  the  plates  are 
coated  face  upwards.  So  far  as  we  know,  it  is  the  only 
machine  in  which  this  is  the  case.  Briefly,  Mr.  Swan’s 
arrangement  i9  as  follows.  A continuous  band  of  cloth  is 
kept  passing  through  a trough  of  warm  emulsion.  The 
band  is  guided  by  rollers,  so  that  it  passes  under  the  level  of 
this  trough,  and  is  caused  to  bear  upon  the  upper  surface  of 
plates  which  are  kept  moving  on  another  continuous  band 
under  the  trough.  The  machine  which  is  probably  most  in 
use  is  Eastman’s.  We  are  able,  by  the  kindness  of  Mr. 
Samuel  Fry,  to  describe  the  manner  in  which  this  machine 
is  applied  to  the  coating  of  plates  in  his  factory,  where  work 
is  carried  on  on  a very  large  scale. 

The  greater  part  of  the  floor  space  of  a large  room  is  taken 
up  by  an  oblong  table  with  a level  slate  top.  Along  one 
side  of  this  levelling  table  sit  a row  of  girls,  each  of  whom 
has  opposite  her  one  of  Eastman’s  machines. 

These  are  exceedingly  simple,  both  in  construction  and 
action.  The  machine  consists  in  an  india-rubber  roller, 
about  two  feet  long  aud  a couple  of  inches  in  diameter. 
This  is  so  fitted  that  it  may  revolve  on  a horizontal  axis, 
its  lower  surface  dipping  in  a trough  of  emulsion,  which 
is  surrounded  by  a water  jacket  to  keep  up  the  tempera- 
ture. The  rotary  motion  is  rapid,  apparently  about  as 
quick  as  that  given  to  a turning  lathe  for  working  hard 


50 


THE  PHOTOG11APHIG  NEWS. 


[January  26,  1883. 


wood,  and  is  given  in  the  same  manner  as  in  the  case  of 
a foot  lathe  ; that  is,  by  a treadle,  flywheel  with  cranked 
axle,  and  a small  pulley  on  the  spindle  of  the  roller.  The 
direction  of  the  motion  is  the  same  as  in  a lathe  ; that  is  to 
say,  the  top  part  of  the  roller  is  continually  moving 
towards  the  operator.  Of  course  the  revolving  roller 
carries  with  it  a film  of  emulsion. 

Each  operator  sit3  in  front  of  a machine.  She  has  at  her 
left-hand  side  a pile  of  the  plates  to  be  coated,  and  on  her 
knees  keeps  a cloth.  A plate  is  lifted  from  the  pile  by  the 
right  hand  by  means  of  a pneumatic  holder,  and  is  passed 
rapidly  over  the  roller,  the  motion  of  the  plate  being  towards 
the  advancing  film  of  emulsion.  A single  drop  of  emulsion 
generally  runs  on  to  the  back  of  the  plate  when  it  is  being 
turned  from  face  downwards  to  face  upwards.  This  is 
wiped  off  on  the  cloth  which  the  operator  keeps  on  her  lap. 
The  plate  is  rapidly  rocked  for  about  a second,  when  it  is 
deposited  on  the  level  table,  and  slid  over  to  the  other  side, 
when,  after  it  has  laid  for  a few  seconds  to  set,  it  is 
examined,  and  if  found  satisfactory  is  racked  for  drying. 
If  any  inequality  of  coating  or  other  defect  is  noticed,  the 
plate  is  put  on  one  side,  and  the  film  is  at  once  scraped  off, 
to  be  mixed  with  the  other  emulsion. 

The  process  is  performed  with  extreme  rapidity ; and 
although  the  skill  required  is  not  so  great  as  for  rapid 
hand-coating,  yet  there  is  evidently  considerable  knack  in 
working  quickly.  The  film  given  is — except  in  the  case 
of  an  occasional  plate,  which,  as  mentioned,  is  at  once 
rejected — absolutely  even,  and  is  as  thick  as  there  is  any 
necessity  for. 

In  machine-coating,  as  in  coating  by  hand,  much 
depends  on  the  method  of  cleaning  the  glass,  and 
on  the  emulsion  used.  The  glass  must  be  thoroughly 
polished,  and  the  emulsion  must  be  of  the  nature 
which  will  flow  well,  and  must,  moreover,  not  be  so 
transparent  as  to  require  a very  thick  coating  of  the 
plates,  because,  iu  the  case  of  machine-coating,  especially 
where  the  plates  are  held  face  downwards,  the  limit  of 
quantity  which  can  be  made  to  adhere  to  the  glass  is 
sooner  reached  than  in  hand-coating.  In  fact,  we  believe 
that  many  who  have  tried  machine-coating  have  given  it 
up  because  they  found  it  impossible  to  get  films  thick 
enough ; the  fault  in  reality,  probably,  being  more  in  the 
emulsion  than  in  the  machine. 

It  is  impossible  to  coat  with  a machine  at  quite  so  low  a 
temperature  as  can  be  done  by  hand.  Some  imagine  that 
advantage  is  to  be  gained  by  coating  at  a temperature  only 
just  over  the  melting  point  of  the  emulsion  ; and  certainly 
with  some  emulsions  this  holds  true,  as  a matt  surface  is 
gained  when  low  temperature  coating  is  resorted  to,  whilst 
the  so  objectionable  glazed  surface  results  from  a high  tem- 
perature. This  is  to  a certain  extent  true  of  all  emulsions, 
but  the  limits  of  temperature  vary  much.  Thus,  apart  from 
treatment,  if  an  emulsion  contains  the  proportions  of  con- 
stituents mentioned  in  our  last  article  on  plate-coating,  a 
glazed  surface  or  film  will  not  result  till  a comparatively 
high  temperature  is  reached,  probably  about  150°  Fahr. 

The  objections  to  too  high  a temperature  are  always  great. 
Besides  the  glossy  surface  mentioned,  there  is  difficulty  in 
getting  enough  emulsion  to  remain  on  the  plate,  whether 
hand  or  machine-coating  be  in  use.  In  the  case  of  hand- 
coating,  a very  hot  emulsion  darts  over  the  edge  of  the  plate 
the  moment  it  is  poured  on  ; in  machine-coating  the  result 
is  a thin  and  uneven  coating. 

Whilst  on  the  subject  of  machinery  for  facilitating  coating 
of  plates,  we  must  not  omit  mention  of  racking  machines. 
These  are  constructed  to  do  away  with  the  labour  of  placing 
the  plates  in  racks,  and  also  of  the  possible  danger  to  the 
films  which  there  must  always  be  when  they  pass  through 
the  hands  of  an  additional  operator. 

Mr.  W.  Cobb,  we  believe,  constructed  the  first  racking 
machine.  His  racks  were  constructed  of  metal  pegs  let  into 
a base-board,  so  that  when  the  latter  was  vertical,  the  pegs 
were  horizontal,  and  a plate  laid  on  them  would  remain  in  a 


horizontal  position  till  the  film  was  set.  By  a motion  of  a 
treadle  each  plate  as  it  is  coated  is  pushed  on  to  a couple  of 
pegs  of  this  rack  ; the  rack  is  then  raised  an  inch  or  two, 
when  another  couple  of  pegs  are  brought  into  position  for 
another  plate. 

Mr.  A.  Cowan  improved  on  this  machine  by  the  simple 
device  of  causing  the  plates  to  travel  along  a distance  of  ten 
or  twelve  feet  on  parallel  horizontal  rails.  By  this  means 
the  films,  by  the  time  they  reach  the  racks,  are  set,  and 
consequently  it  is  not  necessary  to  have  the  racks  with 
absolutely  horizontal  pegs.  We  illustrated  and  described 
Mr.  Cobb’s  machine  as  modified  by  Mr.  Cowan  in  the  News 
some  time  ago.  It  is  applicable  either  to  hand  or  machine- 
coating. 


MESSRS.  MORGAN  AND  KIDD’S  IMPROVEMENTS 
IN  THE  MANUFACTURE  OF  GELATINO- 
BROMIDE  PAPER,  ETC. 

Last  week  we  published  a specification  in  which  the  above- 
named  gentlemen  detail  certain  improvements  in  relation 
to  gelatino-bromide  paper  for  positive  printing,  and  the 
practical  photographer  will  be  able  to  gather  many  hints 
from  a careful  perusal  of  the  specification  in  question.  As 
provisional  protection  only  was  obtained,  the  improvements 
are  now  open  to  the  public. 

The  first  suggestion — that  of  removing  traces  of  lime 
or  other  impurities  from  the  paper  by  means  of  a bath  of 
sulphuric  acid — we  regard  as  trivial  and  wholly  unnecessary, 
as  papers  of  almost  chemical  purity  can  now  be  readily  ob- 
tained in  the  way  of  ordinary  trade.  The  next  point  at 
issue — the  coating  of  the  paper  with  a preliminary  coating 
of  enamel — we  regard  as  a matter  of  very  considerable  im- 
portance, and  we  have  already  recommended  this  course  to 
our  readers.  Messrs.  Morgan  and  Kidd,  who  use  the  ordin- 
ary vague  language  of  patentees,  speak  of  an  emulsion  of 
ground  asbestos,  china  clay,  or  other  substance  of  a eimilar 
nature,  being  incorporated  with  a solution  of  gelatine,  starch, 
gum,  or  alum  ; but  we  prefer  to  use  an  emulsion  of  barium 
sulphate  in  gelatine,  a trace  of  chrome  alum  being  present 
in  order  to  render  the  film  less  subject  to  be  softened  or 
dissolved  when  subjected  to  the  action  of  aqueous  liquids. 
Such  an  emulsion  is  easily  prepared  by  dissolving  equivalent 
proportions  of  barium  chloride  and  of  sodium  sulphate  iu 
separate  quantities  of  a 15  percent,  solution  of  gelatine,  and 
mixing  them.  When  set,  the  emulsion  should  be  thoroughly 
washed  in  order  to  remove  all  traces  of  the  sodium  chloride 
formed  by  double  decomposition.  When  this  emulsion  is 
re-melted  and  ready  for  use,  a thirty-grain  solution  of 
chrome  alum  should  be  added,  a tew  drops  at  a time,  until 
indications  of  coagulation  become  noticable  ; the  addition  ofa 
moderate  proportion — say  a quarter  of  an  ounce  to  each  pint 
— of  glacial  acetic  acid  now  serves  to  restore  the  gelatinous 
mixture  to  its  original  fluidity,  and  the  paper  may  be  coated. 
We  need  say  nothing  about  the  mechanical  details  of  the 
methods  ot  coating,  as  our  readers  are  already  well  posted 
up  as  legards  this  point.  As  soon  as  the  preliminary  coat- 
ing is  dry,  and  all  acetic  acid  is  consequently  dissipated,  the 
chrome  alum  again  exerts  its  power  of  tanning  the  gelatine, 
the  coating  becomingsufficiently  insoluble  for  the  reception  of 
the  second  or  sensitive  preparation;  but  the  suggestion  of 
Messrs.  Morgan  and  Kidd  to  heavily  roll  the  paper  at  this 
stage  may  be  carried  into  practice.  A second  coating  of 
the  preliminary  enamel  is  seldom  or  never  required,  if  care 
be  taken  to  make  use  of  a moderately  dense  preparation  in 
the  first  instance. 

If  the  enamel  is  polished  over  its  surface  with  beeswax 
or  paraffin  wax,  a3  described  in  the  specification,  it 
becomes  practicable  to  transfer  the  resulting  picture  from 
the  paper  to  glass,  porcelain,  wood,  or  other  rigid  material ; 
but  the  presence  of  the  wax  interferes  seriously  with  the 
process  of  coating  with  the  sensitive  emulsion. 

The  making  up  of  sheets  into  compact  blocks,  like  the 
ordinary  blotting  pad,  is  referred  to  by  Messrs.  Morgan 


Janttaet  26,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


51 


and  Kidd,  as  an  important  part  of  their  invention,  but  up 
to  the  present  time  devices  of  this  kind  have  not  come 
into  general  use.  Much  stress  is  laid  on  the  advantages 
of  curving  these  blocks,  but  considering  that  most  photo- 
graphic lenses  and  dark  slides  are  reconstructed  for  use 
with  flat  plates,  we  imagine  that  the  curved  gelatino- 
bromide  blocks  are  not  likely  to  be  adopted  just  yet; 
unless,  indeed,  anyone  who  happens  to  possess  a Sutton’s 
panoramic  camera  and  lens  should  care  to  try  a few 
exposures. 

The  most  important  point  as  regards  the  preparation  of 
gelatino-bromide  paper  is  to  prevent  the  sensitive  emul- 
sion from  soaking  into  the  substance  of  the  support,  and 
this  end  is  most  effectually  attained  by  the  use  of  the 
preliminary  emulsion  or  enamel. 

♦ 

ABOUT  SOME  STUDIOS. 

One  of  these  days  we  propose  to  begin  a series  of  papers 
upon  studios  looked  at  from  the  point  of  view  of  the 
public.  Our  “At  Home”  series,  which  we  have  by  no 
means  exhausted,  has,  we  think,  informed  our  readers  on 
divers  matters,  and  on  the  whole,  we  hope,  has  been  invested 
with  some  interest;  but,  from  the  nature  of  things,  the 
information  they  gave  was  occasionally  very  one-sided.  It 
is  always  well  to  know  what  is  passing  behind  the  scenes  ; 
and  the  actor  in  a drama  is  a3  interested  as  any  of  his 
audience  can  well  be,  to  know  how  the  play  looks  from  the 
front.  Indeed,  to  carry  the  simile  further,  we  find  that 
tragedians  and  comedians,  when  a holiday  is  vouchsafed 
them,  usually  spend  it  at  the  play-house  to  see  how  the 
public  take  this  scene  or  that;  how  they  appreciate  this 
style  of  melodrama,  or  that  strain  of  humour. 

In  like  manner  we  think  photographers  are  interested  in 
“ the  front  of  the  house,”  as  well  as  in  studio,  laboratory, 
and  dark-room.  If  they  learn  how  the  drama  is  enacted 
by  other  managers,  they  can  tell  how  far  they  are  right 
and  how  far  wrong  in  their  own  method  of  working.  For, 
as  we  have  pointed  out  more  than  once  iu  our  vagaries  in 
these  columns,  a photographer  may  be  the  best  artist  in  the 
world,  and  yet  fail  to  make  a living,  if  he  lacks  tact  and 
business  ability.  Let  a theatrical  manager  produce  nothing 
but  the  purest  and  most  classic  plays  lie  can  find,  aud  get 
them  performed  by  the  ablest  actors,  and  he  will  find 
his  benches  forsaken,  aud  his  treasury  empty,  unless  he  is 
cognisant  with  the  ways  of  the  world,  and  exhibits  tact  and 
discretion  as  well  as  the  legitimate  drama.  Opinions  are 
divided  upon  the  subject  of  Mr.  Belt’s  talent  as  an  artist ; 
but  whether  he  is  a good  sculptor  or  a bad  one,  there  is  no 
doubt  about  his  business  ability,  about  his  good  fortune  in 
securing  commissions,  and  getting  lucrative  work.  We 
have  no  desire  to  see  the  business  side  of  photography 
elbow  from  the  front  artistic  training  aud  cultivated  genius ; 
but  still  we  must  repeat  that,  if  a man  wishes  to  gain  more 
than  his  bread  and  cheese  in  this  world,  it  behoves  him  to 
learn  something  of  the  world  by  which  he  is  to  live 

How,  one  point  that  generally  strikes  us  upon  entering  a 
studio  is  the  unnecessary  grandeur  aud  size  of  many  of  the 
pictures  and  paintings  on  the  walls.  When  a customer 
enters  a studio  in  which  something  more  is  demanded 
than  the  popular  price  of  five  shillings  for  a dozen  cartes, 
he  naturally  expects  to  find  a reception  room  and  entourage  — 
if  we  may  be  permitted  the  word — something  above  the 
ordinary  stamp.  It  is  the  way  of  the  world.  You  do  not 
pay  a guinea  or  two  guineas  to  consult  a medical  man  who 
lives  in  the  New  Cut  or  Whitechapel  Hoad  ; if  you  pay 
this  sum,  you  somehow  expect  it  will  be  at  a well-to-do 
house  in  the  West — in  Saville  Row,  for  instance,  or  George 
Street,  Hanover  Square.  And  the  medical  man,  be  he 
surgeon  or  physician,  knows  this  just  as  well  as  you  do  ; 
for  the  guinea  or  two-guinea  fee  you  pay,  you  not  only 


require  first-rate  advice,  but  given  in  a first-rate  locality. 
The  advice  would  be  just  as  valuable  if  you  had  picked 
it  up  in  Lambeth  or  Whitechapel ; but  as  it  is  not  the  way 
of  the  world  to  purvey  high  medical  opinions  in  those 
localities,  we  have  come  to  look  upon  the  two  things  as 
inseparable.  So  it  is  with  photographic  studios,  and  every- 
thing else  of  a like  nature.  When  a customer  makes  up 
his  mind  to  spend  half-a-guinea,  a guinea,  or  may -be  two 
or  three,  upon  a portrait,  he  anticipates  a studio  in  a 
nice  locality,  comfortably  fitted,  and  with  a reception 
room  in  which  he  may  pass  a quarter  of  an  hour  looking 
at  pictures  and  specimens.  Now,  so  far  as  concerns  the 
fitting  up  and  furnishing  of  well-to-do  studios  of  this  nature, 
we  have  nothing  to  say.  We  have,  in  our  time,  visited  a 
large  number  of  them,  and  the  taste  and  style  of  the  re- 
ception rooms  generally  deserve  high  praise.  .Photo- 
graphers, in  a word,  are  quite  alive  as  to  the  necessity  of 
treating  the  public  as  it  should  be  treated,  when  it  is  asked 
to  spend  money,  and  the  only  word  we  have  to  say  on  the 
subject,  is  relative  to  the  question  of  overdoing  a certain 
feature  of  the  studio.  One  wants  to  impress  a visitor,  and 
to  show  that  he  need  not  fear  an  inadaquate  return  for  his 
money  ; but  it  is  also  necessary  that  one’s  endeavours  to 
please  should  not  be  misunderstood.  Aud  this,  we  fear,  is 
sometimes  the  case,  when  he  perceives  ou  the  walls  so 
many  grand  and  highly-burnished  portraits,  so  many 
big,  heavily-framed  pictures  that  overwhelm,  rather 
than  impress  him  favourably.  The  bigger  portraits,  too,  are 
generally  coloured,  and  the  consequence  is,  the  visitor 
begins  to  fancy  he  has  entered  the  room  of  a picture-dealer 
rather  than  that  of  a photographer.  That  the  pictures  in 
question  are  often  painted  by  artists  of  high  ability  and 
finished  in  exquisite  taste — indeed,  as  we  know,  the  painter’s 
fee  is  frequently  fifty  and  a hundred  guineas — is  not  to  the 
point;  in  fact,  the  better  they  are,  in  a sense,  the  more 
prejudicial  may  be  their  primary  influence.  The  customer 
has  walked  upstairs  with  a view  to  payiug  a guinea  fee, 
and  securing  a dozen  catte  portraits,  or  perhaps  half-a- 
dozen  cabinets  ; he  does  not  like  to  think  his  order  is  a petty 
one,  and  that  his  payment  looks  mean.  He  is  ready  to 
spend  his  money  like  a man,  but  has  no  idea  of  parting 
with  it  in  misery  fashion.  He  would  far  rather  go  to  some 
more  modest  establishment  where  he  would  be  appreciated, 
if  he  is  in  the  way,  for  there  is  scarcely  a specimen  of  a 
small  portrait  to  be  seen,  and  but  one  or  two  cabinet  pic- 
tures ; the  collection  he  views  is  made  up  of  magnificent 
portraits  with  grand  titles,  and  fine,  life-sized  paintings. 
The  lady-attendant,  may  be,  is  politeness  itself,  and  will 
insist,  when  the  customer  hesitatingly  puts  forward  his 
modest  demand,  that  the  firm  will  be  most  happy  to  execute 
it;  but  even  if  she  wisely  desists  from  exhibiting  the 
qualities  of  the  bigger  and  more  expensive  pictures,  the 
customer  is  not  set  at  rest  by  her  assurances.  The  im- 
pressive grandeur  of  the  collection  has  been  too  much  for 
him. 

To  put  the  matter  briefly,  there  has  been  of  late  too 
much  disposition  to  suppress  the  carte  and  smaller  por- 
traits in  the  reception  room.  The  newer,  grander/ormate 
are  permitted  to  take  up  all  the  room.  In  Faris,  this  plan 
is  even  more  marked  than  in  London  ; and  in  one  studio 
we  recently  visited  there  was  not  a single  specimen  of  the 
carte-de-visite  to  be  seen.  Far  be  it  from  us  to  inveigh 
against  novelty  or  against  attractive  modifications  in  any 
form.  But  do  not  run  upon  Scylla  while  avoiding 
Chary bdis.  The  demand  for  small  portraits  is  still  very 
great ; and  there  is  a large  class — among  middle-aged  men 
—who  think  very  decidedly  that  the  smaller  they  are 
photographed  the'better.  These  are  quite  willing,  too,  to 
part  with  their  money,  though  they  are  exceedingly  shy— 
more,  perhaps,  because  they  are  afraid  of  being  laughed  at 
by  their  relatives  than  from  any  other  reason— about  any- 
thing that  might  be  charged  to  their  vanity  or  to  moral 
weakness. 

We  are  quite  aware  that,  in  nine  cases  out  of  ten,  the 


52 


THE  PHOTOGRAPHIC  NEWS, 


[January  26,  1883. 


grand  pictures  to  which  we  have  referred  are  put  into  the 
studio  reception  room  more  for  the  purpose  of  furnishing 
it,  or  providing  the  visitor  with  something  to  look  at,  and 
that  if  he  wishes,  he  can  ask  their  price,  and  if  not,  he 
can  walk  downstairs  without  another  word.  All  this  we  are 
cognisant  of,  just  as  much  as  we  know  that  it  is  absolutely 
necessary  to  put  your  wares  before  a 8tranger,  if  he  is  to 
see  them  at  all.  But  our  point  is,  that  the  small  portraits 
are  ignored  in  the  anxiety  of  the  photographer  to  put 
forth  his  most  costly  work  ; and  this  step  acts  not  unseldom 
prejudicially  upon  the  customer.  It  is  the  lesser,  not  the 
greater,  that  should  be  employed  to  attract  the 
customer  when  he  first  enters  the  apartment ; this 
is  by  far  the  surest  way  to  win  hi3  confidence,  and, 
when  the  end  is  obtained,  you  can  easily  keep 
it.  An  apt  instance  of  this,  within  our  own  intimate 
knowledge,  we  will  recite  before  concluding.  In  Geneva, 
two  years  ago,  that  town  of  the  golden  fleece  (so  far  as  the 
British  tourist  is  concerned),  we  accompanied  two  ladies 
down  the  Rue  de  Rhone.  They  desired  to  spend  a few 
francs  in  Swiss  carvings  prior  to  their  departure,  and  with 
this  purpose  we  entered  a very  grand  and  attractive  shop 
in  that  busy  thoroughfare.  There  were  some  of  those 
well-known  toy  chalets  in  the  window,  with  quaintly-carved 
balconies  and  overhanging  roofs,  and  we  asked  at  the 
counter  for  a few  specimens  to  look  at.  The  attendant 
went  her  way,  and  returned  presently  with  a handful  of 
little  houses,  but  rather  smaller  than  those  which  had 
attracted  our  attention.  They  were,  indeed,  too  small 
for  us ; but  whai  was  the  price  ? “ Ten  centimes  a-piece,” 

was  the  reply  ; “ but  these  larger  ones  are  thirty,  and  these 
others  fifty.”  To  say  that  our  party  was  astounded,  was 
but  faintly  to  express  our  ideas.  One  penny  ! three-pence  ! 
and  five-pence ! Why,  we  could  have  purchased  the  whole 
shopful  of  articles  with  the  sum  we  intended  to  spend! 
Instead  of  being  on  our  guard  in  the  matter  of  expenditure, 
it  became  a question  how  we  could  possibly  spend  all  our 
money.  However,  in  the  end,  we  fouud  no  difficulty  in  the 
matter;  and  six  months  afterwards  an  English  bank- 
note was  sent  over  to  that  same  shopkeeper  with  the 
request  that  he  would  forward  a curiously-carved  poodle  dog 
umbrella-stand,  which  had  taken  the  fancy  of  one  of  the 
ladies  while  she  was  looking  at  one  of  the  ten-centime 
chalets. 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  IX. — The  Gelatine  Process— Continued. 


Preparation  of  Bromo-lodide  Emulsion  and  Plates.* 
W eigh  out  on  clean  piecesof  paper  the  following  materials : — 


1.  Potassium  iodide 

2.  Potassium  bromide 

3.  Nelson’s  No.  1 photo,  gelatine... 

4.  Silver  nitrate  ... 

5.  Autotype  gelatine 

Or, 

Nelson’s  No.  1 photo,  gelatine 
Heinrich’s  do.  do. 


5 grains 
135 

30  „ 

175  „ 

180  „ 

120  grains 
60 


The  potassium  iodide  and  bromide  should  be  pure  samples, 
and  the  silver  nitrate  re-crystallized. 

Dissolve  No.  1 in  1 drachm  of  water  in  a small  test-tube, 
and  No.  2 in  1$  ounces  of  water  in  a beaker  capable  of  hold- 
ing about  20  ounces.  No.  3 is  first  rinsed  with  water,  and 
then  placed  in  the  bromide  No.  2 solution  to  swell. 

Place  No.  4 in  Captain  Abney.’s  spray  apparatus,  and 
dissolve  in  1£  ounces  of  distilled  water.  No.  5,  after  being 
rinsed,  is  allowed  to  swell  in  2 ounces  of  water.  No.  3, 
having  soaked  in  the  bromide  solution  for  about  ten  minutes, 
plunge  the  beaker  into  hot  water  so  as  to  dissolve  the  gela- 
tine, and  add  1 drop  of  strong  hydrochloric  acid  ; then  take 
it  and  the  silver  solution  in  the  spray  apparatus  into  the 

* “ Photography  with  Emulsions”  (Captain  Abney). 


dark-room,  and  heat  both  in  the  water-bath  to  a temperature 
that  can  just  be  borne  by  the  hand  without  inconvenience 
(about  150°  F)  ; now,  holding  the  beaker  in  the  right  hand, 
and  swirling  its  contents  round,  or  stirring  well  with  a glass 
rod,  blow  in  the  contents  of  the  spray  apparatus  until  about 
half  is  added,  then  add  drop  by  drop  the  iodide  (No.  1) 
solution,  and  proceed  again  with  the  silver  solution  ; when 
all  is  added,  rinse  out  the  apparatus  with  a little  distilled 
water,  and  also  add  ; finally,  tranfer  to  a 20-ounce  flask  or 
bottle,  and  give  a thorough  shaking  for  two  minutes.  The 
emulsion  should  now  be  carefully  examined  to  see  if  the 
mixing  operation  has  been  successful  ; for  this  purpose,  a 
little  of  it  is  poured  on  a glass  plate  and  examined  by  a 
candle  or  gas  flame. 

By  transmitted  light  in  thin  films,  it  should  appear  an 
orange,  and  in  thicker  films,  a beautiful  ruby  red  colour;  if 
it  is  so,  the  beaker  in  which  the  mixing  took  place  should 
next  be  taken  out  into  the  light  and  examined,  when  it  will 
at  once  be  seen  whether  the  whole  of  the  silver  bromide  is  in 
the  orange  condition.  If  the  diainings  round  the  sides  are 
uniformly  of  this  colour,  the  mixing  has  been  perfectly  suc- 
cessful ; if,  on  the  other  hand,  some  parts  are  perceptibly 
coarser,  or  grit  is  visible,  it  has  only  been  partially  success- 
ful, and  the  emulsion  will  suffer  in  quality  ; finally,  should 
the  colour  transmitted  be  grey  or  blue,  the  boiling  should  be 
omitted,  as  it  will  not  increase  the  sensitiveness,  and  may 
produce  fog;  an  emulsion  which  is  blue  after  mixing  is 
many  times  more  sensitive  than  one  which  is  red,  but  not  so 
sensitive  or  of  such  good  quality  as  that  obtained  by  boiling 
the  red  emulsion. 

Supposing  the  mixing  to  be  successful,  the  next  operation 
is  to  place  the  flask  or  bottle  containing  tbo  emulsion  in  a 
saucepan  containing  water,  and  heating  until  the  water  boils. 
After  the  water  has  been  brought  to  the  boiling  point,  the. 
emulsion  is  kept  at  this  temperature  for  forty- five  minutes, 
being  shaken  occasionally  at  intervals  for  half  a minute  or 
so.  The  boiling  should  take  place  without  the  cork  being 
left  in  the  vessel,  to  allow  of  egress  of  steam,  or  a cork  with 
a slot  in  it  should  be  used.  After  boiling,  a little  of  the 
emulsion  should  again  be  put  on  a glass  plate  and  examined 
.by  transmitted  light,  and  should  appear  of  a grey  or  violet 
tint;  if  not,  the  boiling  should  continue  until  this  is  the 
case.  The  flask  is  now  withdrawn  from  the  saucepan,  and 
cooled  by  immersion  in  water  to  between  70°  and  80°  F. ; 
the  gelatine  No.  5,  which  has  meanwhile  been  melted  in  the 
two  ounces  of  water,  and  also  cooled  to  between  70°  and  80°F-, 
is  now  added,  and  thoroughly  incorporated  by  shaking  with 
the  emulsified  bromide,  and  the  emulsion  is  poured  out  into 
a flat  porcelain  dish  and  allowed  to  set.  When  thoroughly 
set — the  test  being  that  it  should  not  tear  with  a moderate 
pressure  of  the  finger — the  emulsion  is  scraped  off  the  dish 
with  a strip  of  clean  glass,  and  placed  in  a piece  of  coarse 
canvas  (having  a mesh,  if  possible,  not  less  than  one-eighth 
of  an  inch)  which  has  been  previously  boiled  in  hot  water  to 
get  rid  of  any  grease  or  dirt.  The  emulsion  is  twisted  up 
into  a ball  in  this,  immersed  in  water  in  a basin,  and  by  a 
gentle  pressure  squeezed  through  the  meshes  into  the  exter- 
nal water,  when  most  of  the  soluble  salts  are  at  once  extracted ; 
the  threads  of  emulsion  are  then  again  placed  in  the  canvas, 
and  after  being  well  doused  with  water  from  a tap  or  jug, 
again  squeezed  through  the  meshes  into  fresh  water.  After 
another  sluicing  it  is  left  at  the  bottom  of  the  basin,  and 
the  water  changed  two  or  three  times,  when  the  emulsion 
may  be  considered  as  washed.  When  this  is  the  case,  the 
threads  of  emulsion  are  placed  on  the  canvas  stretched 
across  a basin,  and  allowed  to  drain  for  about  two  hours  ; it 
is  then  transferred  to  a clean  jar  or  jam  pot,  and  placed  in 
hot  water  to  re-dissolve  ; a temperature  of  120°  F.  or  more 
may  be  given  it  with  advantage.  It  should  be  noted, 
before  re-dissolving,  that  the  emulsion  is  firm  and  free  from 
sloppiness  ; if  it  is  not  so,  two  ounces  of  alcohol  should  be 
poured  through,  which  will  take  up  the  excess  of  water. 
Half  a grain  of  chrome  alum  dissolved  in  a drachm  of  water 
is  then  stirred  in,  and  if  alcohol  has_  not  been  employed  in 


January  26,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


53 


the  washing,  four  drachms  are  now  added  iu  the  same  way. 
The  emulsion  should  now  measure  about  6J  ounces,  and  is 
ready  for  filtering  ; this  is  done  through  a piece  of  wet 
chamois  leather  or  swansdown  calico  which  has  previously 
been  well  boiled  and  n ashed,  the  leather  or  calico  is  placed 
loosely  in  a fuunsl,  and  the  liquid  emulsion  poured  on  it, 
and  as  it  filters  through  is  collected  in  a glass  flask. 

To  prepare  the  glass  plates,  immerse  them  in  nitric  acid 
and  water  (1  to  10),  then  wash  and  rub  them  over  with  a 
10  per  cent,  solution  of  soda  containing  a little  methylated 
spirit — this  is  conveniently  done  with  a piece  of  chamois 
leather  tied  over  a bung — wash  again  under  the  tap,  rinse 
in  distilled  water,  and  stack  up  on  clean  blotting-paper  to 
dry.  In  the  operation  of  coating,  a large  slab  of  plate- 
glass  or  flat  slate  is  required,  which  should  be  levelled  by 
means  of  three  small  wood  wedges  and  a spirit-level  on  a 
bench  or  table  close  to  where  the  plates  are  going  to  be 
coated. 

The  plates  being  ready,  immerse  the  flask  containing  the 
filtered  emulsion  in  water  heated  to  120°  F.,  and  taking  a 
plate  on  a pneumatic  holder,  pour  on  a pool  of  the  emul- 
sion (considerably  more  than  is  required  to  coat  the  plate), 
tilt  the  plate  quickly  all  round  so  that  the  emulsion  covers 
the  whole  of  it,  and  return  the  excess  emulsi  ,u  to  the 
jar ; finally,  give  the  plate  a final  tilt  in  the  opposite 
direction  to  that  in  which  the  emulsion  was  poured  off, 
and  place  on  the  levelled  slab  to  set.  Another  way,  equally 
efficient,  is  to  place  the  plate  on  a small  levelled  block  of 
wood,  pour  on  sufficient  emulsion,  and  spread  with  a glass 
rod  ; finally,  tilt  the  plate  to  render  the  emulsion  uniform, 
and  transfer  to  slab.  As  soon  as  the  plates  are  set  (which 
they  should  do  in  a few  minutes),  place  them  iu  a dryiug 
cupboard,  and  dry  in  a minimum  time  of  about  six  hours  ; 
or  place  them  in  methylated  alcohol  free  from  resin  for 
ten  minutes,  and  stack  up  on  blotting-paper,  when  they 
should  dry  in  about  an  hour. 

Precautions  in  Hot  Weather. — After  mixing  the  gelatine 
(No.  5)  with  the  boiled  emulsion,  the  whole  is  poured  into 
a jam  pot,  which  is  immediately  placed  in  iced  water  for 
the  emulsion  to  set.  When  set,  it  is  washed  in  the  same 
way,  but  the  water  employed  should  have  some  lumps  of 
ice  floating  iu  it.  The  draining  should  only  take  about 
half-an-hour,  and  the  emulsion  should  then  be  melted,  a 
few  drops  of  carbolic  acid  (or  other  antiseptic)  added,  and 
again  placed  in  iced  water ; when  set  it  is  covered  with 
alcohol,  and  allowed  to  ripen  for  a day.  When  coating 
plates,  the  slab  should  be  previously  cooled  by  being 
covered  with  small  lumps  of  ice  for  half-an-hour.  If 
the  emulsion  appears  too  thin  before  coating,  20  grains  of 
hard  gelatine  should  be  melted  in  1£  drachms  of  water  and 
added  to  it  immediately  before  filtering. 

An  Alternative  Method  of  Washing. — Cool  the  mixed 
gelatine  and  boiled  emulsion  to  as  low  a temperature  as  con- 
venient without  its  setting,  and  pour  into  a large  beaker  or 
jar  ; take  a glass  rod,  and,  stirring  the  emulsion  round  with 
it,  pour  in  methylated  alcohol  until  the  liquid  is  seen  to 
become  clear,  when  most  of  the  emulsion  will  be  found 
adhering  as  a clot  to  the  rod  ; pour  off  the  clear  liquid  con- 
taining the  soluble  salts,  and  add  a little  fresh  alcohol  ; this 
removes  the  last  traces  of  water,  and  hardens  the  clot,  which 
is  broken  up  into  small  pieces  and  allowed  to  swell  in  clean 
water;  this  is  changed  a few  times,  and  the  emulsion  finally 
melted  as  in  the  other  method. 

Rationale  of  the  Process. — The  object  of  emulsifying  in  a 
small  qnantity  of  the  gelatine  is  to  save  as  much  as  possible 
from  the  decomposing  effects  of  boiling ; it  also  shortens  the 
time  necessary  to  produce  the  granular  bromide.  The  ad- 
dition of  the  drop  of  hydrochloric  acid  serves  two  purposes  : 
it  aids  materially  in  the  production  of  a fine  precipitate,  and, 
by  rendering  the  emulsion  acid,  prevents  or  destroys  fog. 
Heating  the  solutions,  the  use  of  the  spray  apparatus,  and  the 
agitation  of  the  liquid,  aie  all  for  the  purpose  of  securing  a 
free  precipitate.  On  the  silver  nitrate  coming  in  contact 


with  the  potassium  bromide,  the  following  chemical  change 
takes  place  : — 

AgNOa  + KBr  = AgBr  + KN03 
The  reason  for  adding  the  potassium  iodide  after  some  of 
the  silver  nitrate  is  added,  i>,  that  if  silver  nitrate  be  added 
to  potassium  iodide,  the  silver  iodide  produced  has  a great 
tendency  to  form  in  a coarse  condition.  When,  however, 
the  emulsion  contains  some  silver  bromide,  and  the 
potassium  iodide  is  then  added  (no  free  silver  nitrate  being 
present),  the  more  powerful  base  potassium  combines  with 
the  more  powerful  halogen  bromine,  and  leaves  the  weaker 
base  silver  to  combine  with  the  weaker  halogen  thus — 
KI+AgBr  = KBr-fAgI 

and  in  this  case,  the  particles  of  silver  iodide  formed  are  of 
the  same  size  as  the  previous  particles  of  silver  bromide ; 
for  the  same  reason,  whatever  excess  there  remains  of  the 
soluble  haloid  salts  will  contain  no  iodide,  but  will  be  all 
bromide.  On  calculating  it  out  in  this  case,  we  find  that 
there  is  an  excess  of  16  grains  of  potassium  bromide  when 
the  silver  has  all  been  added,  and  it  is  this  excess  of  potas- 
ium  bromide  which  performs  the  important  operation  of 
converting  the  orange  bromide  to  the  granular  bromide  ; 
boiling  the  emulsion  has  the  effect  of  very  much  hastening 
this  operation,  but  the  same  change  takes  place  in  a much 
longer  time  in  the  cold.  The  washing  is  for  the  obvious 
purpose  of  removing  the  soluble  nitrate,  and  now  worse  than 
useless  excess  of  bromide  ; the  addition  of  the  chrome  alum 
hardens  the  gelatine  and  prevents  frilling  ; the  alcohol 
facilitates  coating  the  plates  uniformly. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  YL— The  Preparation  of  the  Photo-Transfer 
Paper. 

As  noticed  in  the  last  chapter,  the  photo-lithographic 
transfer  paper  consists  of  paper  coated  with  gelatine,  gum, 
albumen,  or  starch,  mixed  with  bichromate  of  potash  or 
ammonia. 

Various  methods  of  preparing  the  paper  have  been  pro- 
posed, depending  on  the  use  of  one  or  other  of  the  above 
colloids,  either  singly  or  mixed,  and  it  may  be  made  sensi- 
tive either  by  mixing  the  bichromate  with  the  colloid,  or  by 
treating  coated  paper  with  a bath  of  bichromate.  Good 
results  may  be  obtained  in  many  different  ways,  and  the 
choice  must  be  guided  by  the  nature  of  the  work  to  be 
done,  the  circumstances  in  which  the  operator  finds  him- 
self placed,  and  the  conveniences  at  his  disposal. 

As  a rule,  gelatine,  either  alone  or  in  combination  with 
albumen,  is  preferred.  Paper  so  prepared  can  be  used  in 
either  the  inkiDg-up  or  washing-off  methods,  whereas  papers 
prepared  with  gum  or  soluble  albumen  are  only  suitable 
for  the  washing-off  methods,  the  coating  being  readily 
soluble  in  cold  water.  On  the  other  hand,  papers  prepared 
with  starch  or  flour-paste  are  more  suitable  for  the  inking- 
up  methods. 

One  of  the  simplest  and  at  the  same  time  most  efficient 
ways  of  preparing  the  transfer  paper  is  that  originally 
adopted  at  the  Ordnance  Survey  Office,  Southampton, 
and  published  in  Sir  Henry  James’s  work  on  “ Photozinco- 
graphy.” 

Choice  of  Paper.— The  most  suitable  paper  for  this  and 
other  methods  is  the  fine  tough  wove  paper,  made  from 
linen,  known  as  bank  post.  The  writer  has  always  used 
white  or  cream  wove,  but  some  operators  prefer  the  blue. 
Laid  paper  should  not  be  used,  being  uneven  in  texture. 
For  small  sizes  the  ordinary  thin  quality  may  be  used  ; but 
for  large  transfers  a thicker  description  is  better,  being 
stronger  and  less  liable  to  tear.  The  paper  should  not  be 
too  highly  sized,  but  this  may  be  remedied  by  a short 
soaking  in  boiling  water  before  use.  Rive  paper  also 


54 


THE  PHOTOGRAPHIC  NEWS. 


[Janttabt  26,  1883. 


answers  very  well,  and  is  by  many  operators  preferred  to 
bank  posts;  it  gives  a smoother  and  brighter  surface  than 
the  latter,  but,  being  softer,  it  does  not  stand  washing  so 
well. 

Sensitizing. — The  standard  formula  for  the  preparation  of 
the  sensitizing  coating  is — 

Gelatine  3 parts 

Bichromate  of  potash 2 „ 

Water  50  „ 

The  gelatine  is  soaked  in  the  water  till  soft,  and  then 
dissolved  with  heat,  the  bichromate  in  powder  is  added 
and  stirred  till  dissolved  ; or  the  gelatine  may  be  dissolved 
in  half  the  quantity  of  hot  water,  and  the  bichromate  in  the 
other,  and  the  two  solutions  mixed. 

The  proportions  will  depend  upon  the  quality  of  the 
gelatine  and  the  prevailing  conditions  of  temperature  aDd 
humidity  of  the  atmosphere.  More  of  a soft  gelatine  than 
of  a hard  will  be  required,  and  in  hot  weather  it  will  be 
advisable  to  mix  in  a proportion  of  strong  gelatine  and 
increase  the  quantity  to  five  parts,  while  the  bichromate 
may  be  reduced  to  one  part.  The  addition  of  a small 
quantity  of  liquor  ammmonia  will  also  probably  be  an 
advantage  in  enabling  the  paper  to  be  kept  longer  in  good 
order,  but  we  have  not  found  it  necessary. 

The  above  solution  is  strained  through  one  or  two  folds 
of  cotton  or  woollen  cloth  into  a dish  or  trough,  which 
should  be  placed  in  another  containing  hot  water. 

For  sensitizing  large  sheets  we  use  a copper  trough 
about  eight  inches  wide,  two  inches  deep,  and  long  enough 
to  take  the  width  of  the  largest  sheet  to  be  sensitized. 
This  trough  stands  in  an  outer  one  of  the  same  metal, 
rather  larger  every  way,  and  supported  on  legs  about  ten 
inches  high  ; so  that,  if  necessary,  a lamp  or  small  stove 
may  be  placed  below  to  heat  the  water  contained  in  the 
trough  and  keep  the  gelatine  solution  liquid. 

The  surface  of  the  solution  having  been  skimmed  to  clear 
it  of  froth  and  bubbles,  the  paper  is  passed  over  the 
surface  of  the  liquid  gelatine,  so  as  to  obtain  an  even  coat- 
ing free  from  air-bubbles,  and  is  then  drained  and  hungup 
to  dry  in  a dark  place  free  from  dust. 

When  large  quantities  of  paper  have  to  be  constantly 
prepared,  it  is  convenient  to  have  a drying-box  which  may 
be  made  of  galvanised  sheet  iron  fastened  on  a wooden 
framew'ork  and  heated  from  below  with  gas,  oil,  or  charcoal, 
a vent  being  made  above  to  cause  a current  of  air,  and  give 
exit  to  the  damp  vapour. 

Fixed  at  each  side  of  the  box  are  one  or  two  wooden 
cross-pieces,  with  notches  at  about  six  inches  apart,  to 
receive  the  thin  wooden  slips,  on  which  the  sensitized  paper 
.is  fastened  with  clips  or  pins.  The  lower  series  of  notches 
must  come  between  the  upper  ones,  so  that  the  drippings 
from  the  upper  sheets  may  fall  clear  of  the  lower  ones. 
The  wooden  slips  may  be  varnished  and  greased  with  cocoa 
butter,  or  other  suitable  material,  as  recommended  in 
the  Autotype  Manual  for  sensitising  carbon  tissue,  but 
we  have  not  found  it  necessary. 

As  soon  as  the  first  coating  in  dry,  a second  is  given  in 
the  same  way  ; but  in  hanging  up  the  paper  the  second 
time,  that  end  should  be  uppermost  which  was  lowest  be- 
fore, so  as  to  as  far  as  possible  equalise  the  coating. 

Before  use,  the  paper  should  be  glazed  by  passing  it 
through  a lithographic  or  copper-plate  press  in  contact 
with  a plate  of  polished  metal.  The  press  and  zinc  plate 
or  stone  which  serve  for  inking  the  transfer  prints  will 
answer  perfectly  for  this  also.  The  glazing  is  of  impor- 
tance, and  adds  very  much  to  the  sharpness  and  delicacy 
of  the  lines. 

The  prepared  paper  should  be  of  a fine,  bright,  even 
yellow  colour,  and  free  from  streaks  of  uneven  coating, 
bubbles,  or  spots  of  dust  and  dirt.  The  coating  of  gelatine 
should  not  be  too  thick,  or  the  finer  lines  will  be  apt  to 
wash  away,  while  the  strong  lines  will  have  a tendency  to 
absorb  too  much  moisture  in  damping  and  spread  out  in 
transfer.  In  the  inking-up  methods,  too  thick  a coating 


of  gelatine  will  swell  too  much,  and  be  difficult  to  ink.  If, 
on  the  other  hand,  the  gelatine  coating  be  too  thin,  when 
inking  in  the  press  the  ink  may  be  forced  into  the  substance 
of  the  paper,  staining  the  ground  and  making  it  difficult  to 
get  clean  transfers.  A moderate  thickness  gives  the  best 
results  by  either  method. 

The  sensitized  paper  will,  under  favourable  circum- 
stances of  dry  cool  weather,  keep  good  for  a week  or 
longer — we  have  known  it  keep  good  for  a month  ; but  in 
hot  damp  weather,  such  as  is  experienced  in  the  hot  and 
rainy  seasons  in  some  parts  of  India,  it  will  not  keep  for 
more  than  a day,  and  must  be  used  as  soon  as  made.  When 
circumstances  permit,  it  is  preferable  not  to  use  it  quite 
fresh,  but  a day  or  two  old. 

In  using  this  paper  in  the  usual  washing-off  method,  the 
whole  of  the  unaltered  gelatine  should  dissolve  away  and 
leave  the  paper  perfectly  clear  of  gelatine  except  in  the 
lines  under  the  ink.  This  entire  removal  of  the  gelatine 
has,  however,  been  objected  to  by  many  operators  as  not 
giving  the  necessary  “grip  ” in  the  process  of  transfer  on 
stone,  though  1 have  not  observed  that  this  defect  causes 
any  difficulty  on  either  grained  or  polished  zinc. 

It  has  therefore  become  the  more  general  practice  to 
use  a paper  prepared  so  that  a coating  of  insoluble  colloid 
may  remain  on  the  surface  after  development  of  the 
transfer  print. 

The  first  method  of  this  kind  was  that  published  by 
Mr.  J.  W.  Osborne,  of  Melbourne,  in  1859,  a little  earlier 
than  the  Southampton  method,  and  it  is,  I believe,  still 
used  with  admirable  results  in  the  Australian  Colonies. 

I am  indebted  to  Mr.  Fraser  S.  Crawford,  of  the 
Surveyor-General’s  Office,  Adelaide,  for  the  following  par- 
ticulars of  the  preparation  of  the  photo-transfer  paper 
according  to  Osborne’s  method. 

1,600  grains  of  Nelson’s  opaque  gelatine  are  dissolved  in 
10  ounces  of  water,  and  880  grains  of  bichromate  of  potash 
also  in  10  ounces  of  water.  The  two  solutions  are  mixed, 
and  when  cooled  to  90’  F.,  4 ounces  of  albumen  are  added, 
and  the  mixture  strained  through  fine  muslin  into  a tin 
trough  18  inches  long,  3 inches  wide,  and  1$  deep,  one  side 
being  bent  round  as  shown  in  the  figure. 

\ r 

Section  of  Trough. 


Wooden  Seraper. 

The  paper  used  is  Hive’s  thin  photographic  paper,  and 
the  manner  of  coating  is  as  follows  : — The  operator  takes  a 
sheet  of  paper  by  two  adjacent  corners,  and  holds  it  over 
the  trough  while  an  assistant  presses  it  down  into  contact 
with  the  surface  of  the  liquid  with  a wooden  scraper  ; the 
operator  then  draws  the  paper  slowly  towards  him  (see 
figure),  the  surplus  solution  is  drained  off  for  a few  seconds, 


and  the  sheet  hung  up  to  dry,  and,  when  dry,  is  passed 
under  the  press  on  a clean  stone  to  smooth  the  surface. 

Mr.  Osborne  particularly  recommends  this  mode  of  coat- 
ing paper  as  economical,  ensuring  regularity  of  coating, 
and  enabling  the  liquid  to  be  retaiued  at  the  desired  tem- 
perature without  difficulty.  He  also  lays  great  stress  on 
the  freshness  of  the  albumen,  the  object  of  which  is  to  be- 
come coagulated  by  the  treatment  of  the  transfers  after 
inking  with  boiling  water.  This  layer  of  coagulated 
albumen  is  the  distinguishing  feature  of  his  method,  in- 


55 


January  26,  1883.]  THE  PHOTOGRAPHIC  NEWS. 


suriDg  by  its  sticky  nature,  when  damp,  the  immovable 
adhesion  of  the  paper  to  the  lithographic  stone  during  the 
process  of  transferring  in  the  press. 

(To  be  continued.) 


PHOTO-MICROGRAPHY. 

BY  T.  C.  WHITE.* 

This  being  one  of  a series  of  demonstrations  and  not  a lecture, 
it  is  not  my  desire  to  occupy  your  valuable  time  and  attention 
by  making  more  than  a few  preliminary  remarks  necessary  to 
your  fully  understanding  those  essential  details  in  the  art  of 
photo-micrography  which  may  serve  to  start  you  fairly  in  this 
very  interesting  occupation  for  winter  evenings.  I would  iu  the 
first  place  remind  you  that  I do  not  stand  here  as  an  oracle  on 
the  subject,  but  simply  come  before  you  at  the  wish  of  the 
higher  powers  of  the  Club,  to  do  what  I have  so  often  done 
before,  and  that  is,  to  stop  a gap  which  might  have  been  filled 
by  others  more  efficient,  but  at  the  same  time  more  modest.  It 
is  a very  true  saying  “ that  if  the  blind  lead  the  blind,  shall 
they  not  both  fall  into  the  ditch  ?”  Now  it  is  far  from  my  in- 
tention to  land  you  with  myself  in  this  ignominious  dilemma  ; I 
shall  only  show  you  the  method  I have  employed  for  my  own 
recreation,  and  if  any  of  you  like  to  follow  my  steps,  you  may 
be  able  to  introduce  many  improvements,  and  serve  to  advance 
the  art,  which  has  many  fascinating  charms  about  it  for  the  en- 
lightened worker. 

It  has  been  often  asked  by  numbers  of  those  fossilised  indi- 
viduals who  may  be  found  in  great  abundance,  “ What  is  the 
good  of  making  photographs  of  microscopical  objects  ? It  has 
been  tried  over  and  over  again,  and  found  no  good ; it  can’t  be 
done.”  To  such  1 would  reply : If  you  found  yourself  knee- 
deep  in  one  of  those  floating  bogs  which  the  sportsman  and 
traveller  may  often  unwittingly  step  upon  in  Ireland  and  else- 
where, would  you  attempt  to  run  and  get  out  of  it  as  quickly  as 
you  could,  or  would  you  stand  still  to  sink  for  ever  in  it,  because 
hundreds  of  others  had  tried  to  run,  but  had  generally  sunk  to 
be  seen  no  more?  I reckon  that  you  would  “ make  tracks  ” to 
get  out  as  well  as  you  could  ; and  this  illustration  may  be  used 
as  an  argument  in  advocating  the  further  study  of  this  art.  It 
is  not  because  our  predecessors  have  been,  as  it  were,  floundering 
about  iu  the  practice  of  photo-micrography,  that  we  are  to  rest 
content.  But  I deny  entirely  the  assumption  that  they  did 
nothing  worthy  of  our  admiration,  or  sufficient  to  encourage  us 
in  our  endeavours  after  perfection.  I grant  that  the  art  is  sur- 
rounded by  many  and  great  difficulties,  and  only  the  application 
of  close  study,  and  the  concourse  of  many  minds,  can  tend  to  its 
advancement ; but  while  it  is  neglected  or  limited  to  a few 
practitioners,  its  advance  must  be  slow. 

I am  glad  to  see  by  the  photographic  journals  that  many  in  the 
provinces  and  abroad  are  awakeniug  to  the  interest  attached  to 
this  process,  and  much  good  will  result.  1 must,  however,  pro- 
ceed to  the  subject  of  this  eveuing’s  demonstration.  The  method 
most  generally  practised,  and  recommended,  is  that  the  micro- 
scope being  placed  in  a horizontal  position,  its  tube  should  be 
attached  by  a blackened  tube  or  a cone  to  the  front  of  a photo- 
graphic camera,  the  lens  of  which  has  been  removed.  Now,  I 
find  these  difficulties  arise.  It.  is  not  everyone  who  has  got  a 
camera,  and  they  may  not  feel  disposed  to  go  to  the  expense  of 
procuring  one,  while  all  the  members  of  this  Club  possess  micro- 
scopical objectives  ; but,  further,  if  they  have  a camera,  it  is  not 
an  easy  matter  to  see  the  fine  details  of  a subject  through  the 
ordinary  ground  focussing  glass  Again,  unless  the  camera  and 
microscope  are  securely  fastened  down  to  a base-board,  there  is 
a tendency  to  unsteadiness  which  is  irritating  in  the  extreme  ; 
and  furthermore,  this  usual  plan  does  not  offer  any  advantages 
over  that  I wish  to  introduce  to  your  notice  this  evening.  In 
the  apparatus  before  you,  and  which  I have  found  so  convenient, 
it  is  not  necessary  to  have  either  a camera  or  a microscope,  and 
is  so  simple  that  it  can  be  adopted  by  the  youngest  member  of 
the  Club ; but  even  with  this,  difficulties  will  arise  which  are 
altogether  apart  from  the  apparatus  ; for  instance,  objects  differ 
in  their  capability  of  transmitting  the  actinic  rays  ; they  may 
be  too  opaque,  or  brown  ; or  they  may  be  stained  blue  or  red.  All 
these  conditions  vary  the  time  of  exposure,  only  experience 
teaching  the  requisite  time  to  imprint  the  image  in  the  sensitive 
film  just  sufficiently  without  under  or  over-exposure;  this  must 
be  left  to  the  cultivated  judgment  of  the  operator.  Great 
assistance  will  be  derived  by  the  beginner  sticking  to  one  objec- 

• Read  at  the  Quekett  Microscopical  Club. 


tive  till  he  can  produce  a good  result  on  every  occasion,  when  a 
fresh  one  may  be  tried  ; the  time  of  exposure  being  greatly 
varied  by  the  magnifying  power  employed,  the  lower  powers 
admitting  of  a shorter  exposure  as  more  light  passes  through 
them.  The  principles  upou  which  this  beautiful  art  is  founded 
may  be  read  in  any  of  the  many  manuals  on  photography,  and 
which  are  published  at  a cheap  rate  ; therefore,  leaving  these,  I 
will  pass  on  to  the  practice.  If  anyone  needs  to  learn  about  the 
various  apparatus  employed  for  photo-micrography,  full  particu- 
lars will  be  found  in  Beales’  “ How  to  Work  with  the  Micro- 
scope,” and  in  Cutter’s  “ Microscopical  Technology,”  both  of 
which  works  are  in  our  library. 

In  the  first  place,  I claim  for  my  plan,  its  great  simplicity, 
being,  as  you  see,  nothing  more  than  a lidless  box  placed  on  its 
side  ; at  the  left  end  it  has  a square  hole,  but  any  aperture  will 
do  ; a brass  plate,  having  an  adaptor  in  it,  slides  in  and  out  on 
runners  for  more  easily  changing  the  powers  when  it  is 
desired  to  do  so.  Another  long  aperture  is  made  at  the  top  side, 
covered  by  a blackened  chimney  to  carry  off  the  heat  from  the 
duplex  paraffin  lamp  inside  ; another  aperture  at  the  bottom  of 
the  right  side  serves  to  admit  the  air  to  the  lamp  when  the  front 
of  the  box  is  covered  up  by  the  black  focussing  cloth  ; within  the 
box,  and  attached  to  the  left  side,  is  a carrier  working  on  a long 
and  fine  screw,  which  serves  to  adjust  the  object  to  the  correct 
focus.  Two  condensing  lenses,  one  to  render  the  rays  of  the 
lamp  parallel,  and  the  other  to  condense  them  on  the  object, 
complete  the  arrangement  as  far  as  the  box  is  concerned.  The 
light  passing  from  these  through  the  objective  emerges  as  a cone, 
and  on  the  principle  of  a magic  lantern  projects  the  image  on  a 
screen  to  the  left  of  the  operator. 

The  screen  consists  of  a heavy  piece  of  wood  having  a groove 
formed  in  it,  and  carrying  another  block  upon  which  the  screen 
is  held.  The  screen  which  receives  the  image  may  be  made  of 
an  oblong  piece  of  glass  either  4}  inches  by  3j  inches,  called  by 
photographers  a quarter-plate,  or  by  a plate  5 by  4,  according 
to  the  amplification  you  intend  to  employ  or  the  nature  of  the 


object  may  indicate,  or,  it  lantern  slides  are  desired,  on  a square 
3^  inches  ; these  ought  to  have  a piece  of  smooth  writing  paper 
gummed  on  that  surface  presented  to  the  image.  The  image  is 
then  thrown  on  to  one  of  these,  and,  the  hand  placed  under  the 
focussing -cloth,  the  carrier  is  to  be  moved  by  means  of  the 
screw  adjustment  till  the  image  of  the  object  is  sharply  defined 
on  the  screen. 

In  many  writings  on  this  subject  it  is  stated  that  the  actinic 
and  visual  foci  of  microscopical  objectives  are  not  coincident.  All 
I can  say  is,  that  with  a j of  an  inch,  which  I shall  employ  this 
evening,  and  with  Zeiss’s  D,  no  alteration  is  needed  from  the 
visual  focus.  The  screen  may  now  be  removed,  and  its  place 
occupied  by  a dry  gelatine  plate,  and  the  exposure  accurately 
timed  according  to  the  nature  of  the  object ; but  only  experi- 
ments can  determine  this.  Care  must  be  taken  before  making  the 
exposure  that  the  light  through  the  objective  be  cut  off  till  the 
plate  is  in  position,  when  it  may  be  allowed  to  fall  on  the  plate 
for  the  requisite  time,  and  then  cut  off  again  before  removing 
the  plate  to  the  developing  dish  ; this  is  done,  as  must  be 
evident  to  you  all,  to  avoid  blurring  the  image.  I need  not  say 
that  the  only  outside  light  must  be  a non-actinic  red  light,  and 
no  ray  of  white  light  must  be  allowed  to  reach  the  plate,  or  it 
will  be  “ fogged  ; ” that  is,  when  it  is  developed,  it  will  be  veiled 
by  a misty  deposit  in  the  film  ; therefore  no  actinic  light  is 
admissible  till  the  plate  is  fixed. 


56 


THE  PHOTOGRAPHIC  HEWS. 


[January  26,  1883, 


The  developer  I use  is  the  ferrous  oxalate  made  by  a saturated 
solution  of  protosulphate  of  iron  being  added  to  a saturated 
solution  of  neutral  oxalate  of  potash  in  the  proportion  of  one 
part  of  the  iron  to  the  three  parts  of  the  oxalate  ; these  are  best 
when  freshly  mixed.  If  the  plate  has  been  rightly  exposed,  the 
image  begins  to  make  its  appearance  in  about  forty  seconds,  and 
grows  under  the  action  of  the  developer  till  it  is  full  of  detail. 
When  the  image  shows  faintly  through  the  film  on  looking  at  the 
back  of  the  plate,  I stop  the  development,  and  wash  the  plate  by 
a good  rinsing  in  rain  or  distilled  water,  and  then  place  it  iu  the 
fixing  bath,  which  consists  of  a solution  of  four  ounces  of  hypo- 
sulphite of  soda  dissolved  in  a pint  of  water ; this  extracts  all  the 
silver  which  has  not  been  acted  upon  by  the  light.  The  plate 
must  now  have  a great  deal  of  washing  to  rid  it  of  the  hypo- 
sulphite of  soda  ; this  is  thoroughly  done  by  placing  it  in  running 
water  under  a tap  for  half  an  hour  ; if  the  film  contains  a trace 
of  hyposulphite,  it  causes  the  image  to  fade  out  after  a time. 

Some  plates  have  a tendency  to  frill  ; that  is,  the  edges  of  the 
gelatine  film,  while  wet,  have  a tendency  to  separate  from  the 
glass  and  to  curl  up.  To  prevent  this,  the  plate  may  be  soaked 
for  about  five  minutes  in  a saturated  solution  of  alum,  and  then 
again  well  washed  and  stood  up  on  a sheet  of  blotting-paper  to 
dry  spontaneously. 

Now  I have  thought  it  well,  before  giving  you  the  demon- 
stration, to  tell  you  these  details,  that  you  may,  bearing  them 
in  mind,  follow  the  practical  part  with  a clearer  under- 
standing of  what  I am  doing,  and  why  I do  it,  and  at  the 
same  time  the  box  and  its  brass  contents  have  been  getting 
warm,  a not  unimportant  item  in  the  proceedings,  for  if  you 
begin  your  operations  before  this  takes  place,  your  glasses  will 
become  dewed  with  the  moisture  condensed  on  them,  and  your 
brass  will  be  in  a process  of  expansion  from  the  heat,  your 
image  will  accordingly  be  wanting  in  definition,  and  your  plate 
assuredly  spoiled.  I will  now  proceed  to  photograph  the  blow- 
fly’s tongue. 


Bates. 

Gustave  Dore,  whose  death  was  announced  on  Tuesday, 
interested  himself  a good  deal  with  photography.  When 
in  London,  he  was  a constant  visitor  at  Rej  lander’s 
studio  in  Victoria  Street,  Pimlico,  and  they  repeatedly 
worked  together  with  the  camera.  Dore  was  attracted 
by  Rejlander’s  graphic  studies,  which,  as  our  readers  well 
know,  never  knew  the  influence  of  baneful  retouching. 
Probably  the  finest  portrait  taken  of  the  great  French 
artist  is  that  by  Rejlander,  which  should  be  valuable 
indeed  at  this  moment. 

An  Italian  authoress  of  rank,  Madame  Carla  Serena,  who 
recently  took  up  photography  in  order  to  illustrate  a work  of 
travel  she  had  in  contemplation,  has  afforded  abundant  proof 
of  the  value  of  the  art  in  this  connection.  Her  book,  Le  Tour 
du  Monde,  is  spoken  of  as  one  of  the  finest  works  of  recent 
travel.  We  may  have  something  more  to  say  of  Madame 
Serena  shortly. 

M.  Crova  seems  to  have  made  a little  mistake  in  calcu- 
lating the  intensity  of  sunlight.  At  the  last  meeting  of 
the  Academy  of  Sciences,  he  tells  us  that  he  put  down  a 
cipher  too  much  in  his  result,  and  this  naturally  makes  all 
the  difference.  That  is  to  say,  instead  of  clear  sunlight  in 
the  South  of  France  being  equal  to  60,000  carcels  (600,000 
candles)  it  is  only  equal  to  8,500  carcels  (85,000  candles). 
This  result  is  more  in  accordance  with  that  previously 
given  by  Wollaston,  but  at  the  same  time  differs  very 
greatly  from  Arago’s  calculation,  who,  comparing  the 
lnminous  intensity  of  the  sun  to  the  flame  of  a candle, 
estimated  sunlight  as  equal  to  15,000  candles. 


We  cannot  help  thinking  that,  after  all,  the  best  com- 
parison between  sunlight  and  artificial  light  could  be  made 
by  photography.  Everybody  knows,  of  course,  that  in 
photography  it  is  simply  the  actinic  rays  that  are  recorded, 
while  these  are  only  a part  of  the  luminous  ones.  But,  as 
a matter  of  fact,  the  two  are  generally  so  inseparable  that 
the  measure  of  the  one  does  for  the  measure  of  the  other. 
An  example  of  this  is  afforded  by  Crookes’  light-mill  or 
radiometer.  In  this  the  repulsive  action  is  due  to  radia- 
tion only,  but,  for  all  that,  it  can  be  employed  in  testing 
the  sensitiveness  of  gelatine  plates  with  tolerable  accuracy. 
So,  in  the  same  way,  we  think,  photography  might  well  be 
employed  in  comparing  artificial  light  with  sunlight ; the 
result,  at  any  rate,  would  be  quite  as  trustworthy  as  any 
we  have  yet  obtained  of  the  sun,  for  no  two  experimen- 
talists seem  to  get  within  a few  thousand  candles  of  each 
other. 


A party  of  officers  and  men  of  the  Royal  Engineers  have 
been  selected  at  Chatham  for  the  purpose  of  carrying  out 
a series  of  experiments  in  ballooning,  with  special  refer- 
ence to  the  employment  of  balloons  in  field  operations  and 
during  a campaign.  The  experiments  are  to  begin  in  early 
summer,  and  photography  is  to  take  a part  in  them, 
cameras  being  manipulated  both  by  hand  and  automati- 
cally. 

The  opening  of  the  International  Electrical  Exhibition 
at  Vienna  is  now  definitely  fixed  for  the  1st  August.  It 
will  close  on  October  31st. 


We  are  glad  to  see  that  Mr.  York’s  work  iu  connection 
with  the  systematic  production  of  lantern  slides  illustra- 
tive of  physics  and  science  generally,  has  been  recognized— 
as,  indeed,  was  sure  to  be  the  case  sooner  or  later — by 
lecturers  who  have  to  address  large  audiences.  When  we 
we  described  Mr.  York’s  establishment  at  Bridgwater  we 
showed  that  his  success  was  due  as  much  to  the  care  and 
trouble  he  took  in  choosing  his  illustrations  as  in  pro- 
ducing them  well  and  skilfully.  We  learn  now  that  seve- 
ral scientific  gentlemen — among  others  Dr.  Andrew  Wil- 
son and  Mr.  W.  Lant  Carpenter — have  joined  hands  with 
Mr.  York  with  a view  to  producing  a complete  series  of 
slides  for  the  teaching  of  biology. 


One  story  holds  good  until  another  is  told.  Nature, 
quoting  from  the  Journal  of  the  Russian  Physico-Chemical 
Society,  tells  ur  that  “ the  priority  in  photographing  with  the 
electric  light  ” belongs  toM.  Levitsky,  the  St.  Petersburgh 
court  photographer.  This  was  in  the  winter  of  1856,  when 
a Bunsen  battery  of  800  elements,  constructed  on  the  occasion 
of  the  coronation  of  the  Czar  Alexander  II.  at  Moscow,  was 
employed  at  a lecture  given  by  Professor  Lenz,  to  demon- 
strate the  new  light.  At  this  lecture,  it  seems,  M.  Levitsky 
obtained  a negative  by  means  of  electric  illumination.  The 
year  1850  at  once  strikes  anyone  acquainted  with  the  history 
of  photography  as  a very  late  date  on  which  to  have  secured 
an  electro-photograph  ; and,  indeed,  but  six  months  ago  Mr. 
Henderson  mentioned  in  these  columns  the  circumstance  of 
a Mr.  Dow  having  secured  a Daguerreotype  portrait  by  the 


Januaby  26,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


57 


electric  light  in  1847 ; apart  from  this,  however,  here  is 
what  Mr.  Robert  Hunt  says  in  1854,  in  Researches  on  Light. 

“The  high  sensibility  of  this  process  (iodide  of  iron)  will 
be  understood  from  an  account  of  an  experiment  tried  at  the 
Royal  Institution.  A glass  plate  prepared  as  I have  de- 
scribed was  placed  in  a camera-obscura  properly  adjusted  in 
a dark-room,  so  that  it  was  in  focus  to  receive  the  image  of 
a revolving  wheel.  Upon  the  wheel  was  placed  a printed 
bill,  and  when  the  wheel  was  making  200  revolutions  in  a 
second,  it  was  illuminated  by  a spark  from  the  discharge  of 
a Leyden  battery.  Notwithstanding  this  rapid  motion  and 
transient  illumination,  the  bill  was  faithfully  printed  on 
the  photographic  tablet." 

M.  Levitsky  is  nevertheless  one  of  the  most  accomplished 
photographers  of  the  present  day.  For  some  years  prior  to 
the  death  of  the  late  Czar,  M.  Levitsky  inhabited  Paris, 
and  took  up  a position  in  the  very  foremost  rank  among 
photographers  of  that  capital.  Difficulties  with  the  Imperial 
House,  we  believe,  compelled  his  temporary  absence  from  St. 
Petersburgh,  but  at  the  present  moment  he  holds  a position 
in  regard  to  the  Russian  Court  and  Russian  society  to 
which  no  photographer  in  any  other  capital  could  ever  dream 
of  attaining.  His  electricity-lit  establishment  in  St.  Peters- 
burgh is  probably  the  finest  in  the  world  ; there  is  no  studio 
proper  on  the  premises,  but  elegant  apartments  fitted  with 
the  electric  light,  into  which  sitters  are  invited. 


The  death  is  announced  of  Mr.  Thomas  Rodger,  of  St. 
Andrews’.  As  a youth,  he  devoted  himself  to  the 
Daguerreotype  and  Calotype  processes  with  such  success  that 
he  was  engaged  by  the  late  Sir  David  Brewster  to  under- 
take several  investigations  connected  with  light,  in  con- 
junction with  that  renowed  physicist.  Mr.  Rodger  was  one 
of  the  first  professional  Calotypists,  having  abandoned  the 
study  of  medicine  to  betake  himself  to  this  newest  of  new 
callings.  Mr.  Rodger  won  for  himself  a high  position  in 
St.  Andrews’,  and  secured  one  of  the  first  medals  awarded 
for  photographic  work,  that  of  the  Edinburgh  Photographic 
Exhibition  of  1854.  Among  other  honours  that  fell  to  his 
lot  was  a medal  awarded  him,  also  in  1854,  by  the  Scottish 
Society  of  Arts  for  a paper  on  “ Collodion  Calotype.” 


The  proprietorship  of  the  negative  has  again  come 
under  discussion,  this  time  among  the  members  of  the 
Vienna  Photographic  Society.  The  question  put  by  a 
member  was,  whether  a photographer  is  compelled  to  give 
up  to  a customer  his  negative  on  payment,  when  no 
compact  of  the  kind  has  been  spoken  of  previously  to  the 
taking  of  the  portrait  ? There  seem3  to  have  been  only 
one  view  of  the  matter  taken  by  our  Austrian  friends,  and 
this  was  expressed  by  Dr.  A.  Leon.  His  opinion  was  that, 
between  photographer  and  customer,  there  was  a silent 
bargain  for  the  delivery  of  certain  paper  prints,  and  only 
these  could  be  claimed  according  to  Austrian  law. 


In  this  country,  we  need  scarcely  say,  the  same  opinion 
prevails  ; although,  in  the  matter  of  law,  nothing  very 


definite  has  been  laid  down.  Still,  long-continued  custom 
points  to  no  other  conclusion.  If  the  customer  can  claim 
anything,  it  is  simply  the  image  of  himself  limned  upon 
the  surface  of  the  glass — but  not  the  glass  itself.  In  our 
opinion,  the  utmost  he  could  demand,  therefore,  would  be 
that  his  features  be  effaced  on  the  negative. 


The  inventor  of  “ signals  by  sunshine  ” — or,  to  speak 
more  correctly,  the  inventor  of  the  heliograph — which 
played  so  important  a role  in  the  Afghan  and  Zulu  wars, 
has  been  honoured  with  the  Companionship  of  the  Order 
of  the  Empire  of  India.  It  is  said  that  mirrors  were 
employed  by  the  Greeks  to  guide  the  movements  of  their 
fleet,  and  it  is  certain  that  Indians  long  ago  employed 
sunshine  signals  ; but  still  to  Mr.  H.  C.  Mance  is  due  the 
credit  of  furnishing  our  army  with  a most  valuable  means 
of  communication,  which,  in  combination  with  photo- 
graphy, is  now  to  be  employed  in  the  Tropics  as  a cheap 
substitute  for  the  electric  telegraph. 


The  actual  amount  of  bromine  unloosed  from  its  com- 
bination with  silver  during  and  after  an  ordinary  camera 
exposure  has  not,  as  far  as  we  know,  been  accurately  deter- 
mined ; but  the  recent  experiments  of  Mr.  A.  L.  Henderson 
go  far  to  prove  that  it  is  so  considerable  as  to  notably  affect 
the  qualities  of  the  developer,  insomuch  as  he  finds  that 
the  treatment  of  a plate  with  a series  of  successive  doses  of 
fresh  oxalate  developer  gives  a clearer  and  bolder  picture 
than  when  the  developer  is  used  in  one  batch  ; and  in  the 
former  case  reversal  does  not  set  in.  There  are  many 
points  of  interest  in  relation  to  the  subject,  and  Mr.  Hender- 
son promises  us  an  early  paper. 


It  also  appears  that  the  relief  visible  on  a gelatine  nega- 
tive is  likely  to  be  due  to  the  corrosive  action  of  the 
liberated  bromine  ; and  we  understand  that  Mr.  Haddon  is 
working  out  this  point. 


We  mentioned  last  week  that  a president  of  the  Royal 
Academy  was  the  first  president  of  the  Photographic 
Society.  At  first  sight,  it  seems  something  of  an  anomaly 
for  fact  and  fancy,  romance  and  reality,  to  be  fostered  by 
one  and  the  same  person  ; but  a parallel  instance  is  afforded 
in  Russian  circles  at  this  moment.  The  Grand  Duke 
Vladimer,  who  is  the  official  president  of  the  Society  of 
Fine  Arts  in  St.  Petersburg,  has  for  a long  time  past 
looked  coldly  on  photography  and  photographers,  but 
recently  pourtrayed  in  a St.  Petersburg  studio  by  the 
rapid  assistance  of  a gelatine  plate,  he  expressed  his  sur- 
prise at  the  celerity  of  the  operation.  “ How  long,  then, 
does  it  take  to  secure  a photograph  ? ’’  asked  the  Grand 
Duke.  In  reply,  he  was  told  that  an  image  could  be 
caught  in  one-tenth  of  a second,  nay  in  one-twentieth, 
one  hundredth  even.  His  Imperial  Highness  wa3  fairly 
delighted.  “ In  future,  then,  1 am  on  the  side  of  photo- 
graphers,” he  cried,  as  he  quitted  the  studio. 


Important  scientific  work  is  generally  done  now-a-days 
by  the  joint  labour  of  specialists,  and  we  are  pleased  to 


58 


THE  PHOTOGRAPHIC  HEWS. 


[January  26,  1883. 


note  that  the  photographic  researches  on  the  eye  in  general, 
or  the  retina  in  particular,  to  which  we  recently  referred, 
are  progressing  satisfactorily.  Dr.  Barton  takes  the  lead  as 
regards  the  histological  and  physiological  aspects  of  the  case, 
while  Captain  Abney  superintends  the  chemical  and  photo- 
graphic work.  It  was  at  first  sight  a little  surprising  to 
find  that  the  inside  red  tints  photograph  so  readily  ; but 
one  need  only  examine  blood  spectroscopically  to  under- 
stand the  reason  of  this. 

We  gladly  insert  Mr.  Penny’s  letter  on  the  subject  of 
introducing  iodide  of  silver  in  gelatine  emulsion.  His  view 
expressed  in  December,  1877,  that  iodide  ensures  “ greater 
freedom  from  veil,  giving  an  image  less  buried,”  seems  to 
have  been  pretty  generally  endorsed,  as  well  as  the  fact 
that  if  the  salt  does  not  actually  increase  the  sensitive- 
ness of  gelatino-bromide,  it  at  any  rate  obviates  “ a mere 
ghostly  image  which  refused  to  be  intensified.”  In  a word, 
Mr.  Penny  contended  that  iodide  imparted  vigour  and  pluck 
to  the  image,  and  this  contention  has  found  favour  on  many 
sides. 

— — — o 

Hatfttt  Intelligent. 

Patent  Granted  in  United  States. 

269,830.  Frank  B.  Clench,  of  Lockport,  N.Y.,  for  “A  device 
for  embossing  photographs.” — Application  filed  30th  October, 
1882.  No  model. 

Patent  Granted  in  Belgium. 

69,630.  E.  Sacquet,  of  Bordeaux,  for  “ Obtaining  relief  photo- 
graphic portraits.” — Dated  21st  November,  1882.  French 
Patent,  20th  May,  1882. 

Patent  Granted  in  Prance. 

150,096.  Feret,  of  Paris,  for  “Oval  convex  glas  for  mounts  of 
photographs.” — Dated  13th  July,  1882.  Class  17. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  I. 

Agreeably  to  promise,  we  now  commence  the  series  of 
“Twelve  Elementary  Lessons  on  Silver  Printing,  ToniDg, 
Fixing,  Washing,  Mounting,  Finishing,  & c.,  &c.”  The 
intention  is  to  describe  each  process  separately,  and  in 
such  a manner  that  youug  amateurs  and  beginners 
generally  may  be  enabled  to  produce  good  results. 
Doubtless,  the  experienced  photographer  will  not  find 
anything  herein  written  that  he  is  not  already  acquainted 
with.  Still  it  may  be  worth  his  while  to  peruse  the  papers 
at  his  leisure.  With  these  few  remarks  by  way  of  preface, 
we  will  proceed  with  the  “printing  room.” 

The  locale  of  the  printing  room  will  in  the  majority  of 
cases  be  subject  to  the  general  convenience  of  the  building 
and  the  amount  of  work  required.  In  large  establishments 
separate  apartments  are  used  for  each  operation,  but  if 
only  a limited  amount  of  printing  is  required,  one  room 
may  be  conveniently  made  to  do  the  duty.  It  should  be 
situated  on  or  near  the  ground  floor,  with  easy  access  to  the 
garden.  Having  decided  upon  the  room,  the  next  thing  is 
to  fit  it  up  in  a convenient  manner  for  working ; this  need 
not  involve  a great  outlay,  and  amateurs,  at  least,  will  pre- 
fer doing  it  themselves  rather  than  wait  the  convenience 
of  the  local  carpeuter.  To  show  the  requirement  of  a 
printing  bench  as  clearly  as  posssible,  the  accompanying 
sketch  is  appended,  the  scale  of  measurement  being  one- 
balf  inch  to  the  foot. 

A.  Top  drawer  on  the  left  side  for  keeping  albumenized 
paper  only. 


B.  Drawer  for  keeping  brown  paper,  tissue,  and  coloured 
papers,  also  papier  mineral , cardboard,  &c. 

C.  Shelf  for  sensitizing  dish  when  not  in  use. 

D.  Shelf  for  gold  toning  dish  when  notin  use. 


E.  Shelf  for  hyposulphite  of  soda  fixing  bath.  Note  that 
all  dishes  should  be  turned  upside  down  when  put  away, 
previously  receiving  a good  wash  in  clean  water.  By 
adopting  that  plan  always,  one  can  be  sure  of  clean  dishes. 

F.  Box  or  cupboard  for  the  reception  of  silver  paper 
cuttings,  waste  prints,  and  defective  pieces  of  sensitized 
paper  ; also  the  filtering  papers  used  for  filtering  the 
sensitizing  bath,  and  the  blotting-paper  used  ia  blotting 
spots  of  silver  solution  on  the  sheets  of  sensitized  paper. 

G.  Boxes  with  hinged  lids  for  storing  the  prints  after 
they  are  removed  from  the  negative ; also  the  sensitized 
paper  before  printing,  to  prevent  any  darkening  action 
from  the  light  in  the  room. 

II.  Boxes  or  pigeon-holes  to  hold  the  negatives  that  have 
been  printed  until  a convenient  opportunity  for  storing 
them. 

I.  Window  glazed  with  pale  orange  glass  fitted  with 
extra  yellow  blind  on  spriDg  roller  for  use  on  very  bright 
days. 

•T.  Shelf  for  storing  empty  printing  frames. 

K.  Shelf  for  bottles. 

L.  Figeon-holes  for  assorted  vignetting  masks. 

M.  Space  left  for  packing  up  printiug  frames  at  night, 
or  until  a convenient  opportunity  to  finish  the  printing  of 
the  negatives  in  hand. 

N.  Space  for  oval,  dome,  or  cushion  shaped  masks ; 
these  should,  for  convenience,  be  numbered,  and  after- 
wards kept  in  their  places. 

O.  Drawer  for  storing  dusters,  cutting  shapes,  diamond, 


&c.,  &c. 

P.  Spaces  for  packing  the  printing  frames  when  not  in 


use. 

Q.  Shelf  for  graduated  measures. 

R.  Shelf  with  holes  cut  out  to  allow  the  neck  of  the 
funnel  to  pass  through,  thereby  supporting  it,  and  pre- 
venting the  chances  of  the  bottle  or  funnel  and  its  contents 
being  upset. 

The  space  from  J K L M to  the  end  of  the  apartment 
will  be  found  convenient  as  a drying  room  for  sensitized 
paper  and  prints.  A couple  of  stout  staples  should  be 
driven  into  the  wall  opposite  K,  and  two  screw  eyes  or 
staples  driven  into  tbe  shelf  K.  A piece  of  Venetian  blind 
cord  and  some  American  clips  complete  the  arrangement. 
Use  one  side  for  prints,  and  the] other  for  sensitized  paper ; 


January  26,  1883.] 


THE  PHOTOGRAPHIC  HEWS. 


59 


on  no  account  mix  the  clips  ; a small  gas  or  paraffine  oil 
stove  burning  below  will  distribute  sufficient  heat  to  dry 
the  paper  in  a short  time. 

If  the  photographer  is  limited  to  one  room  for  his  print- 
ing and  finishing  operations,  he  must  himself  determine 
the  position  for  his  toning  and  fixing  bench,  having  due 
regard  to  the  water  supply,  and  light  also  ; bearing  in  mind 
that  the  more  convenient  the  place,  tho  more  work  accom- 
plished in  a given  time. 

Enamelled  iron  troughs  and  dishes  are  to  be  obtained 
very  cheaply,  which  are  eminently  suitable  for  washing  and 
fixing  prints ; moreover,  they  are  easily  cleaned  with  a 
little  common  salt,  and  not  liable  to  fracture. 

Having  put  up  a bench  for  toning,  fixing,  and  washing, 
the  remaining  space  may  be  utilized  for  mounting,  finish- 
ing, and  storage. 


A PHOSPHORESCENT  TABLET  AS  A STANDARD 
LIGHT. 

BY  ARNOLD  SPILLER. 

Mr.  Brightman’s  communication  to  the  Bristol  Photo- 
graphic Society,  on  “The  Effects  of  Temperature  on  Sul- 
phide of  Calcium,”  suggested  to  me  that  it  would  be  inte- 
resting to  determine  the  varying  amount  of  light  radiated  at 
different  temperatures  by  a phosphorescing  surface.  For 
the  purpose  of  making  the  determination,  one  side  of  a flat 
tin  vessel  was  coated  with  luminous  paint,  so  that  by  pour- 
ing water  of  the  requisite  temperature  into  the  tin,  and  in- 
serting a thermometer,  the  temperature  of  the  luminous 
surface  might  easily  be  ascertained.  To  measure  the  light, 
a gelatino-bromide  film  was  placed  behind  a sensitometer, 
consisting  of  differeut  thicknesses  of  gelatine  varying 
from  one  to  twenty-five.  The  following  was  the  mode  of 
working  : — The  tin  was  first  filled  with  a freezing  mixture 
consisting  of  ammonium  chloride,  potassium  nitrate,  and 
water,  and  when  the  thermometer  registered  0°  C.,  the 
painted  surface,  after  being  wiped  dry  from  the  condensed 
moisture,  was  insolated  by  burning  one  inch  of  magnesium 
ribbon  near  to  it.  After  one  minute  had  elapsed  from  the 
time  of  insolation,  the  sensitometer  containing  the 
gelatino-bromide  film  was  exposed  for  half-a-minute 
against  the  phosphorescent  surface.  The  experiment 
was  thus  repeated  nine  times,  the  freezing  mixture  being 
replaced  by  water  varying  from  10p  to  8(TC.,  and  after 
the  exposures  had  been  made,  all  the  gelatino-bromide 
films  were  placed  in  the  same  developer.  On  examination 
after  development,  the  gelatine  films  all  showed  the  same 
shade  on  the  sensitometer,  proving  that  the  same  amount 
of  light  was  radiated  whether  the  luminous  surface  be  at 
0°  C.  or  80°  C.  At  the  time  1 was  much  puzzled  to 
account  for  this  result,  for  it  is  a well-known  fact  that 
when  a phosphorescing  tablet  is  heated,  the  light  increases 
in  brilliancy  pro.  tern.  However,  on  reconsidering  the 
matter,  I discovered  that  there  was  one  difference  between 
my  experiment  and  that  of  Mr.  Brightman’s;  for  while 
the  latter  experimenter  heated  the  luminous  surface  after 
insolation,  I heated  the  phosphorescent  tablet  to  the  re- 
quired temperature  previous  to  insolation. 

To  confirm  my  previous  result,  I coated  four  glass  test- 
tubes  externally  with  the  phosphorescent  paint  ; into  one 
tube  was  placed  hot  water,  and  into  another  a freezing 
mixture  ; all  four  tubes  were  then  exposed  simultaneously 
to  the  light  of  burning  magnesium.  On  examination, 
alter  the  lapse  of  a few  seconds,  it  was  found  that  the  tube 
containing  the  freezing  mixture  gave  out  as  much  light  as 
that  which  was  treated  with  hot  water ; then,  into  the  two 
empty  but  luminous  tubes  were  placed  hot  water  and 
freezing  mixtures  respectively,  with  the  result  that,  while 
the  heated  surface  increased  in  brilliancy,  the  cool  surface 
slightly  decreased.  This  conclusively  proved  that  the  one 
(apparently  trivial)  variation  in  the  mode  of  conducting 
the  experiments  made  all  the  difference  in  the  result. 

Having  discovered  this  fact,  I set  about  to  account  for 
it ; but  at  first  was  unable  to  do  so,  until,  after  repeating 


the  last-described  experiment,  I observed  the  tubes  half- 
an-hour  or  so  after  the  insolation,  and  found  that  while 
the  two  tubes  containing  the  cooling  mixture  were  still 
phosphorescing,  those  which  contained  the  hot  water  were 
almost  non-luminous.  This  result  at  once  accounted  for 
the  phenomenon,  and  proved  that  a phosphorescent  surface 
is  capable  of  absorbing  varying  amounts  of  light  at  different 
temperatures ; the  lower  the  temperature , the  greater  the  amount 
of  absorption* 

The  above  experiments  also  prove,  in  opposition  to 
Mr.  Brightman’s  statement,  that  a phosphorescent  plate 
may  be  used  as  a standard  light,  provided  that  the  exposure 
be  made  within  a few  minutes  of  insolation,  and  the  tem- 
perature of  the  tablet  remains  constant  between  insolation 
and  exposure.f 

After  making  the  above  experiments,  I find  that  Mr. 
Warnerke  has  already  noticed  the  same  phenomenon  ; but 
on  describing  my  results  to  several  photographers,  they 
have  all  expressed  their  opinion  that  the  phenomenon  is 
not  generally  known,  and  therefore  I venture  to  think  no 
apology  is  needed  for  re-publishing  experiments  which, 
although  not  new,  appear  to  have  been  overlooked  by  some 
photographers  who  are  in  the  habit  of  using  the  Warnerke 
sensitometer;  and  this  communication  may  help  to 
reinstate  it  iu  public  estimation  against  the  rumour  that  it 
is  “ utterly  unreliable.” 


fHbicfo. 


The  New  Edition  of  Hardwicii's  Photographic 
Chemistry—  Continued. 

When  reviewing  the  work  a fortnight  ago,  we  promised  to 
give  further  extracts.  The  following  particulars  respecting 
the  collodion  transfer  process  will  be  read  with  interest. 

The  collodion  for  transfers  may  consist  of  any  good  negative 
collodion  which  has  been  prepared  for  several  months — for  the 
older  it  is,  up  to  a certain  stage,  the  cleaner  will  the  enlargement 
be.  But  a good  negative  collodion  is  unsuited  for  transfer  work 
until  it  has  been  diluted  by  the  addition  of  from  one-third  to  an 
equal  part  of  plain  uniodized  collodion.  The  object  of  this  is 
to  ensure  a fiue  soft  gradation  of  tints,  from  the  highest  light 
to  the  deepest  shadow.  The  following  is  a formula  by  which 
several  thousands  of  gallons  of  transfer  collodion  have  been  made, 
and  which,  in  the  hands  of  intelligent  manipulators,  yields  pic- 
tures of  the  highest  excellence. 

To  twenty-five  ounces  of  plain  collodion,  containing  about 
seven  or  eight  grains  of  pyroxyline  per  ounce,  add  a bromo- 
iodiser,  composed  of  the  following  : — 

Iodide  of  cadmium 
„ of  ammonium  ... 


Bromide  of  cadmium  ... 

„ of  ammonium 
Alcohol 


65  grains 
25  „ 

19  „ 

11  „ 

5 ounces 


Provided  a good  sample  of  soluble  cotton  has  been  obtained, 
this  forms  a transfer  collodion  which  fulfils  every  requirement. 
It  is  desirable  to  add  to  it  so  much  of  an  alcoholic  solution  of 
iodine  as  to  impart  a deep  sherry  colour,  although  this  is  not 
required  if  the  collodion  be  allowed  to  stand  for  a few  months 
after  mixing  before  being  used.  It  is  always  desirable  that 
transfer  collodion  be  made  in  large  quantities,  because  by  keep- 
ing for  a few  months,  or  even  over  a year,  it  acquires  a charming 
ripeness  that  cannot  be  imparted  by  the  admixture  of  iodine  or 
bromine.  Absolutely  bare  glass  in  the  highest  lights  is  an  indis- 
pensable condition  in  collodion  transfers. 

The  silver  bath  should  not  exceed  twenty  grains  to  the  ounce. 

The  exposure  must  be  determined  by  experience.  If  the 
negative  be  placed  so  as  to  be  backed  by  blue  sky,  the  exposure 
will  be  longer  than  if  white  clouds  formed  its  backing  ; and  if 
pyrogallic  acid  be  employed  as  a developer,  the  exposure  will 
have  to  be  much  longer  than  iu  the  case  of  protosulphate  of 
iron.  With  the  former,  from  five  minutes  upwards  may  have  to 

• This  phenomenon  is  analogous  to  the  solution  of  gases  in  water,  for 
the  onlder  the  watar,  the  greater  the  amount  of  gas  dissolved. 

+ In  the  instructions  issued  with  the  Warnerke  sensitometer,  it  is 
especially  pointed  out  that  tho  phosphorescent  tablet  must  not  be  touched 
with  warm  fingers  after  insolation. 


60 


THE  PHOTOGRAPHIC  NEWS. 


be  given ; with  the  latter,  from  thirty  to  sixty  seconds  will 
suffice,  unless  the  proportion  of  the  restraining  acid  be  increased 
to  an  unnecessary  extent. 

A good  tone  is  obtained  by  the  following  developer  : — 

Pyrogallic  acid  ...  100  grains 

Citric  acid  60  ,, 

Acetic  acid  ...  ...  ...  ...  ...  2 ounces 

Water  ...  20  „ 

After  this  is  applied,  a short  time  will  elapse  ere  the  image 
appear,  after  which  it  will  rapidly  gain  strength. 

The  mistake  into  which  the  inexperienced  most  usually  fall,  is 
to  carry  the  development  too  far,  by  which  a deep,  heavy -looking 
imudgy  picture  results  in  the  transfer,  although  when  viewed  as 
a transparency  on  the  glass  it  may  seem  all  right.  Experience 
only  can  guide  one  in  this  matter,  and  fortunately  it  is  an  experi- 
ence that  may  be  gained  in  course  of  an  hour’s  active  work. 

A twelve-grain  solution  of  protosulphate  of  iron  would  develop 
the  picture  with  a far  greater  degree  of  rapidity  than  the 
developer  already  given,  and  with  an  exposure  very  much  shorter, 
but  the  tone  would  be  unpleasant.  Citric  acid  ensures  dark 
tones,  but  to  enable  it  to  exercise  this  influence  upon  the  image 
that  is  being  formed,  it  is  necessary  that,  to  counteract  its  retard- 
ing power,  the  strength  of  the  iron  be  increased  to  a considerable 
extent,  and  also  that  the  exposure  be  somewhat  prolonged. 

Cyanide  of  potassium  must  not  be  had  recourse  to  for  fixing, 
on  account  of  its  tendency  to  give  a light  colour  to  the  deposited 
silver.  The  proper  fixing  agent  is  a saturated  solution  of  hypo- 
sulphite of  soda.  But  to  recover  an  overdone  picture,  when  it 
is  inexpedient  to  make  a second  trial,  cyanide  is  very  serviceable. 
It  should  be  allowed  to  act  upon  the  image  until  the  high-lights 
are  seen  to  be  denuded  of  the  silver  by  wThich  they  were  obscured. 
Should  the  tone  have  been  lightened  to  too  great  an  extent  by 
this  treatment,  it  may  be  darkened  by  the  application  of  a weak 
solution  of  the  chlorides  of  either  platinum,  gold,  or  mercury. 
It  is  worthy  of  remark  that  a wash  of  the  mercury  salt,  when 
allowed  to  act  no  farther  than  to  blacken  the  image,  yields  a 
picture  which  may  be  considered  as  tolerably  permanent. 

The  image  having  been  fixed  and  washed,  a sheet  of  transfer 
paper,  previously  soaked  in  cold  water  for  a few  minutes,  until 
it  has  a slightly  slimy  feeling,  is  laid  face  down  upon  the  collo- 
dion picture,  pressed  into  contact  with  it,  and  placed  away  to 
dry.  After  a few  hours  it  may  be  raised  at  one  corner  and 
stripped  away  from  the  glass,  carrying  with  it  the  collodion  pic- 
ture. The  “ transfer  ” has  now  an  exceedingly  glossy  surface, 
and  when  mounted  on  a card  by  means  of  thin  glue,  is  ready 
for  receiving  oil  colours  without  any  preparation,  should  it  be 
desired  to  finish  it  in  that  manner.  If  a matt  surface  be  desired, 
the  transfer  should  be  stripped  from  the  glass  before  it  is  quite 
dry. 

The  transfer  paper  for  this  process  is  made  by  placing  four 
ounces  of  gelatine  in  a quart  of  water,  allowing  it  to  soak  for 
half  an  hour,  and  then  placing  the  vessel  containing  it  into  warm 
water  to  liquefy  the  swollen  gelatine.  Four  grains  of  chrome 
alum,  previously  dissolved  in  a little  warm  water,  are  now  added 
and  incorporated  with  the  gelatine.  Good  stiff  paper,  similar  to 
a fair  sample  of  heavy  writing-paper,  having  been  previously  cut 
into  sheets  the  required  size,  is  floated  sheet  by  sheet  on  the 
surface  of  the  gelatine,  which  is  kept  warm  by  a water  bath. 
Sponging  over  the  paper  with  the  gelatine  answers  equally  as 
well  as  floating  it. 

If  the  transfer  does  not  strip  away  properly  from  the  plate,  it 
is  caused  by  one  or  the  other  of  the  following  The  glass  was 
dirty,  and  not  sufficiently  prepared  with  French  chalk,  or  the 
coating  of  the  transfer  paper  with  gelatine  has  been  too  thin. 
In  either  case  the  remedy  is  obvious. 

The  two  principal  forms  of  solar  camera  are  described  in 
the  following  words  : — 

The  form  of  solar  camera  most  commonly  preferred  is  that 
introduced  by  Woodward,  which  is  shown  in  the  adjoining 
diagram,  in  which  solar  rays,  r r,  fall  upon  a mirror,  A B,  and 
are  reflected  upon  the  condenser,  by  which  they  are  made  to 
converge  to  a point  /,  passing  through  in  their  course,  first, 
negative  J,  and  then  the  objective  L.  They  are  projected  for- 
ward to  a focus  on  a screen  in  front,  on  which  is  fastened  by  pins 
the  sensitive  paper.  The  wood-work  of  the  camera  is  repre- 
sented by  E F G H,  and  certain  fittings  by  K D.  The  size  of 
the  condenser  varies  from  nine  to  twenty  inches  ; the  larger  the 
lens  is  the  more  light  it  collects,  and  consequently  the  more 
quickly  is  the  positive  printed.  For  instance,  if  a condenser  of 
nine  inches  is  employed,  and  with  it  an  exposure  of  half  an  hour 


[January  26,  1883. 


is  required  to  obtain  an  enlargement  by  direct  printing  on  silver- 
chlorized  paper,  a condenser  of  double  the  area  will  print  the 


picture  in  half  the  time.  The  focal  length  of  the  condenser 
should  not  be  less  than  twice  its  diameter,  nor  more  than  three 
times.  If  a small  condenser  is  used,  sufficient  light  may  not 
be  collected  to  impress  the  image  within  a reasonable  time.  On 
the  other  hand,  if  a large  condenser  is  used,  the  errors  arising 
from  spherical  aberration  become  considerable. 

The  objective,  or  lens  L,  may  be  an  ordinary  portrait  com- 
bination ; but  care  must  be  taken,  in  this  case,  that  the  lens 
which  faces  the  ground  glass,  as  in  ordinary  work,  now  faces  the 
negative  to  be  reproduced,  J. 

The  management  of  the  apparatus  is  very  simple.  It  is  suffi- 
cient to  place  the  part  E H B A of  the  solar  camera  in  an  open- 
ing in  a darkened  window,  to  communicate  by  means  of  the 
adjusting  screws,  B and  D,  the  movements  necessary  for  keeping 
the  solar  rays  always  reflected  in  the  6ame  direction,  I / ; to 
properly  adjust  the  negative,  J,  so  that  its  enlarged  image  is 
sharply  formed  on  a screen,  placed  at  a distance  and  perpendicu- 
lar to  the  optical  axis  of  the  apparatus  ; ana,  lastly,  to  substitute 
for  the  screen  a sheet  of  sensitive  paper  or  other  photographic 
surface. 

Considerable  improvements  have  been  made  in  the  solar 
camera  of  Woodward,  notably  those  by  Dr.  Monckhoven,  who, 
to  cure  the  evils  arising  from  the  aberrations  of  sphericity, 
whereby  the  various  transmitted  rays  do  not  arrive  at  the  same 
focal  point,  constructed  his  condenser  on  what  is  called  the 
dialytic  principle.  This  principle  consists  in  intercepting  the 
cone  of  rays  from  a single  crown-glass  condensing  lens  by  a con- 
cave lens,  by  which  the  aberrations,  both  of  sphericity  and  colour, 
may  be  the  former  considerably,  and  the  latter  altogether, 
remedied.  The  accompanying  sectional  diagram  of  this  camera 
will  serve  to  show  its  construction. 

The  large  condenser,  A B,  is  what  is  called  a crossed  lens,  one 
side  being  more  convex  than  the  other.  The  more  convex  side 
is  placed  towards  the  source  of  light.  The  refracted  rays  are 
intercepted  in  their  passage  through  the  camera  by  the  corrrect- 
ing  lens,  C D,  which  is  concavo-convex,  the  concave  side  facing 
the  condenser.  This  lens  simply  corrects  for  spherical  and  chro- 
matic aberrations.  The  wooden  frame,  E F,  which  holds  the 
negative  to  be  enlarged,  is  movable  by  means  of  a milled-head 
screw,  G,  nearer  or  farther  away  from  the  lens,  M,  when  required. 


The  front  of  the  camera  to  which  the  objective  or  enlarging 
lens  is  fixed  is  also  movable  towards  or  from  the  frame,  E F,  by 
means  of  the  screw,  L. 

<£0msg0n&fnrt. 

PAPER  NEGATIVES. 

Sir, — Hearing  of  so  many  who  would  use  bromide  paper 
instead  of  plates,  both  for  portability  and  cheapness,  but 


Januaby  26,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


61 


for  its  slowsess,  and  the  trouble  in  putting  it  in  the  slide 
without  cockling,  I give  yon  my  little  experience. 

1st.  Slowness. — If  the  emulsion  were  put  on  the  paper 
as  thickly  as  on  the  plates,  I think  it  would  be  as  rapid  as 
the  plates.  I cannot  for  a moment  credit  the  glass  plate 
with  aiding  the  rapidity  by  strengthening  the  actinic  power 
of  light. 

2nd.  Cockling. — Many  of  my  friends  damp  the  paper  and 
place  it  on  a plate  ; others  put  it  iu  between  two  plates 
without  damping,  of  course  allowing  the  difference  on  the 
focussing-screen.  The  best  way  would  be  if  some  firm 
would  issue  blocks  of  gelatine  bromide  paper  with  opaque 
paper  between  each  sheet,  which  could  be  removed  as  ex- 
posed, like  drawing  blocks.  Wanting  this  at  present,  I 
have  tried  cutting  cards  to  size,  and  just  gumming  each 
corner  and  sticking  a sheet  on  each  side  ; thus  the  first  one 
can  be  exposed,  then  the  other,  and  both  be  developed 
together.  The  subsequent  washing  will  float  each  off,  and 
the  card  may  be  dried  and  used  again.  A very  fair  idea 
is  a wire  frame,  to  which  the  paper  is  pasted.  Or  a dark 
slide  could  be  made  with  two  rollers,  round  which  a strip 
of  paper  from  20  inches  to  2 feet  could  be  used,  being 
rolled  on  to  the  upper  roller  as  exposed  ; all  the  day’s  work 
could  be  developed  together.  I have  often  used  £-ferro 
tin  as  backing  for  paper  negatives.  I have  carried  four 
dozen  £-size  in  my  coat  pocket,  the  changing  bag  acting 
as  camera,  bag,  and  focussing  cloth. 

Hoping  to  see  in  the  News  an  argument  on  the  advan- 
tages of  plates  and  paper  for  negatives,  i am,  yours  faith- 
fully, J.  Ingham. 


DRY  PLATES  AND  THEIR  DEVELOPMENT. 

Sir, — In  the  report  of  the  proceedings  of  the  Edinburgh 
Photographic  Society  in  the  last  issue  of  the  News,  I find  a 
remark  of  Mr.  McKean’s,  which  must  have  escaped  me  at 
the  meeting,  or  I would  have  replied  to  it,  and,  injustice  to 
myself,  prevented  such  an  erroneous  idea  of  my  method  of 
making  comparative  experiments  getting  into  print.  The 
remark  to  which  I allude  is  this  : — “ Had  he  (Mr.  Tamkin) 
used  a three-grain  solution  of  pyrogallic  as  advised,  I 
believe  his  opinion  of  the  bicarbonate  developer  would  have 
been  more  favourable.” 

The  negatives  I showed  as  the  result  of  my  experiments 
were  placed  in  cardboard  mounts,  and  I called  attention  to 
notes  on  the  margin,  where  it  was  distinctly  stated  that  a 
three-grain  solution  of  pyrogallic  was  used  with  the  bi- 
carbonate and  the  ammonia  developer,  and  a two-grain 
solution  with  Wratten’s. 

Knowing  so  well  upon  how  little  the  success  or  failure  of 
a process  sometimes  depends,  it  is  vexing  to  find  myself 
represented  as  having  attempted  to  give  Mr.  McKean’s  deve- 
loper a fair  trial,  without  following  his  instructions. — I am, 
sir,  yours  truly,  S.  Tamkin. 


BROMO-IODIDE  IN  EMULSION. 

Sir, — Permit  me  to  call  attention  to  an  erroneous  state- 
ment that  appears  in  your  report  of  Mr.  Farmer’s  lecture. 

Under  the  heading  of  “ History  of  Photography,” 
appears: — “ 1880.  Abney  pointed  out  the  advantages 
derived  from  employing  a small  quantity  of  silver-iodide 
with  bromide.” 

Now  an  authoritative  statement  of  this  kind,  professing  to 
be  a record  of  improvements  in  chronological  order,  should 
be  an  accurate  one.  That  this  is  not  so,  either  as  to  the 
name  of  the  originator,  or  to  the  date  of  its  first  recom- 
mendation, will  be  clear  if  I call  attention  to  certain  com- 
munications of  mine  on  this  matter  written  as  early  as  1877. 

In  the  Year-Book  for  1878  an  article  of  mine  appeared 
headed,  “Bromide  versus  Bromo- Iodide,”  in  which,  alter 
protesting  in  a humorous  vein  against  discarding  our  useful 
friend  iodide,  I said  : “ Let  me  then,  in  all  sober  seriousness, 
express  my  conviction,  founded  upon  experiment,  so  far  as 
regards  gelatine  emulsions,  that  bromide  alone  is  not  bo 


sensitive  as  it  is  with  a proportion  of  iodide  with  it  ; more- 
over, that  bromo-iodide  possesses  the  additional  advantages 
of  greater  freedom  from  veil,  giving  an  image  less  buried,  and 
therefore  more  readily  controlled  in  development,  more  ready 
intensification,  and  a less  tendency  to  halation,  with  no 
counter- balancing  disadvantages,  so  far  as  my  experience 
goes.  I do  not  go  so  far  as  to  assert — though  this  may  indeed 
be  the  case— that  the  addition  of  iodide  makes  all  bromide 
films  more  sensitive  (such  as  give  a mere  ghostly  image, 
which  refuses  to  be  intensified,  are  practically  aseless),  but 
that  added  to  films  containing  free  bromide  sufficient  to 
make  them  workable,  it  renders  them  more  sensitive, 
together  with  other  beneficial  qualities.” 

The  original  experiments  upon  which  this  recommenda- 
tion was  based  were  made  during  the  year  1877.  Having 
been  at  the  time  recorded  as  above,  and  also  in  the  British 
Almanac  of  the  same  year,  though,  like  many  another  dis- 
covery, not  perhaps  at  the  time  duly  appreciated,  now  that 
its  value  is  being  recognised,  it  is  the  more  important  that 
an  error  of  this  kind  should  not  be  allowed  to  pass  un- 
noticed. G.  S.  Penny. 


GELATINE  EMULSION  MAKING. 

Sir, — Permit  me  to  raise  a discussion,  if  possible,  on  a 
few  points  connected  with  emulsion  making.  I have 
elaborated  from  time  to  time  the  most  wonderful  arrange- 
ments for  mixing,  but  remembering  the  old  method  of 
mixing  by  grinding  the  silver  in  a mortar,  I tried  the  same 
with  gelatine,  and  was  surprised  at  the  very  fine  grain  pro- 
duced. I then  used  Bennett’s  formula  with  all  the  gelatine. 
Recently  Mr.  Burton  has  shown  that  a small  quantity  of 
gelatine  can  be  used  with  a large  quantity  of  water,  and 
adding  the  silver  dry,  a fine  precipitate  is  procurable. 

To  an  amateur,  the  following  presents  many  advantages 
in  mixing,  and  five  minutes  is  quite  enough  to  mix  a batch 
of  emulsion  for  any  quantity  required. 

Mix  in  a glass  flask  to  stand  boiling — 

No.  1 Gelatine  ...  ...  30  grains 

Water  ...  ...  ...  10  ounces 

HBr  acid  1-450  (Hopkin  and 

Williams)  ...  ...  1 drop 

Heat  to  12013  to  150^ 


Weigh  out  the  following  : — 

Hopkin  and  Williams’  special  neu- 
tral bromide  of  potassium 330  grains 

Bromide  of  zinc  ...  ...  ...  10  „ 

Nitrate  of  silver  ...  ...  ...  400  ,, 

Iodide  of  potassium  ...  ...  ...  4 ,, 

To  emulsify,  divide  the  bromide  and  silver  into  four  equa 
parts  each,  as  nearly  as  possible  without  weighing,  keeping 
the  bromide  zinc  separate.  Add  one  part  of  the  dry 
bromide  to  the  gelatine  solution,  and  shake  till  melted  ; 
then  one  part  dry  silver,  and  so  on  alternately  till  the  four 
parts  are  added,  being  careful  to  shake  well  till  each  is  dis- 
solved. Finally,  add  the  bromide  of  zinc,  and  then  the 
iodide. 

The  colour  will  be  a rich  ruby  by  transmitted  gas-light, 
and  a dark  brown  by  transmitted  day-light.  Boil  with 
occasional  shaking  until  the  ruby  gives  place  to  a neutral 
yellow  ; if  such  a colour  exists,  it  is  not  yellow,  it  is  not 
brown,  but  a colour  easily  recognized  when  once  seen, 
although  difficult  to  describe. 

There  will  be  no  sediment,  and,  owing  to  the  very  fine 
grain,  an  hour’s  boiling  may  fail  to  bring  about  the  aggrega- 
tion of  particles  ; the  acid  reaction  of  the  bromide  of  zinc 
also  retards. 

After  boiling,  cool  to  about  100°,  and  pour  the  emulsion 
into  ajar  containing  360  graius  hard  gelatine  dissolved  in 

ounces  of  water  at  about  100°.  Mix  well,  and  cool  as  soon 
as  possible. 

Allow  to  stand  for  twelve  hours  or  longer,  as  found  con- 
venient, and  then  wash  as  usual ; re-melt,  fill  up  to  20 
ounces  with  water,  and  leave  for  forty-eight  hours. 


62 


THE  PHOTOGRAPHIC  NEWS. 


[January  26,  1883, 


Before  coating,  re-melt  as  much  as  you  wish  to  use,  and 
add  J dram  absolute  alcohol  to  each  ounce  of  emulsion.  In 
the  foregoing  there  is  LOthiug  new  or  original,  but  a curious 
result  will  be  noticed. 

If  the  bromide  of  zinc  be  added  at  first,  the  nitrate  of  zinc 
appears  to  have  such  powerful  restraining  power  that  two 
hours’  boiling  fails  to  get  rid  of  even  the  ruby  colour,  and 
yellow  is  not  arrived  at  :n  some  of  my  trials  wiih  three  hours’ 
boiling.  If  the  bromide  of  zinc  bo  added  last,  it  remains 
bromide  with  strong  acid  reaction,  which  to  me  appears  to 
increase  as  boiling  progresses ; but  the  emulsion  rapidly 
gains  sensitiveness.  If  1 am  correct  in  my  observations, 
what  is  the  cause  of  this  peculiarity  ? 

Again,  the  addition  of  the  bromide  of  zinc  at  any  time 
appears  to  have  a marked  effect  on  the  resulting  negative 
image.  The  appearance  during  development  is  peculiar. 
The  image  comes  out  well,  is  perfectly  visible  on  the 
surface,  and  then  gradually  fades  away,  and  appears  on 
the  back  of  the  plate  as  a positive  ; the  image  is  dense, 
clean,  and  clear,  and  of  the  colour  seen  in  the  collodion 
process  with  iron  development. 

I would  ask  you  to  explain  the  chemical  reaction  that 
takes  place  on  adding  silver  to  a solution  of  bromide  of 
zinc  combined  with  bromide  of  potassium,  the  one  con- 
taining two  equivalents  of  bromine  with  an  acid  base,  the 
other  containing  one  bromine  and  alkaline  base,  which 
decomposes  first,  and  what  is  liberated  by  the  double 
decomposition. 

Oa  adding  ammonia  in  solution  to  bromide  of  zinc,  am 
I right  in  saying  metallic  zinc  is  precipitated,  for  I found 
that  the  solution,  if  concentrated,  turned  to  a white  jelly  ? 

I would  remark  that  the  bromide  of  zinc  at  the  time  of 
addition  to  the  emulsion  should  be  dissolved  in  a couple 
of  drams  of  water,  for  I found  that  if  a solution  of  gelatine 
in  water  has  dry  bromide  of  zinc  added  to  it,  the  solution 
ceases  to  remain  clear,  but  gets  milky  and  clotty.  Bro- 
mide of  cadmium  has  the  same  effect.  Will  you  kindly 
explain  this,  if  1 am  correct? — Yours,  faithfully, 

T.  Daws.n,  C.B.,  Colonel. 

[We  hope  to  repeat  Colonel  Dawson’s  experiments,  and 
shall  have  something  to  say  about  them  shortly. — Ed. 
P.N.] 


§roc£ib'mga  0f  Socwtus. 

Photographic  Society  op  Great  Britain. 

A meeting  was  held  on  Monday  last,  the  22nd  (instead  of 
Tuesday,  the  day  announced  on  the  time-card  issued  by  the 
Society),  Mr.  John  Spiller  in  the  chair. 

Mr.  G.  L.  Addenbrooke  opened  a discussion  as  to  the  extent  to 
which  the  proportion  of  pyrogallic  acid  might  be  varied  in  deve- 
loping, and  showed  a series  in  which  this  proportion  had  been 
ranged  from  one  to  sixteen,  the  difference  in  the  resulting  nega- 
tives being  less  than  might  have  been  expected,  exposures  being 
made  under  a Warnerke  sensitometer.  In  every  case,  however, 
there  was  a failure  as  regards  the  representation  of  minute  differ- 
ences of  shading  in  the  high-lights,  and  Captain  Abney  attributed 
this  to  reversed  action,  it  being  quite  possible  for  reversal  to  take 
place  on  the  surface  of  the  film  simultaneously  with  direct  action 
farther  in.  The  Captain  evidently  considers  that  much  of  the 
flatness  complained  of  is  in  reality  due  to  this  kind  af  partially 
balanced  reversed  action.  The  need  of  a thick  and  photo- 
graphically dense  film  was  insisted  on  bv  Mr.  Warnerke  and 
Mr.  Henderson,  the  latter  gentleman  pointing  out  that  the  best 
way  to  avoid  flatness  from  over-development  is  to  watch  for  the 
first  appearance  of  the  high-lights  at  the  back  of  the  film,  and 
then  to  fix  the  negative. 

Mr.  Henderson  finds  that  when  a plate  is  developed  by  a 
series  of  fresh  catches  of  oxalate  developer,  reversed  action  is 
altogether  prevented,  or  reduced  to  a minimum  ; his  theory  being 
that  the  reversal  is  in  reality  due  to  the  action  of  the  partially 
exhausted  developer. 

An  interesting  discussion  arose  regarding  this  point,  and 
several  of  those  present  promised  to  try  Mr.  Henderson’s  method 
of  developing. 


Newcastle- on-Tyxe  and  Northern  Counties’  PHOTOGRArHio 
Association. 

The  annual  dinner  took  place  at  the  County  Hotel,  Newcastle, 
on  Friday  evening,  the  19th  inst.  About  thirty  gentlemen  were 
present,  Mr.  J.  P.  Gibson  occupying  the  chair,  and  Mr. 
Mendeussohn  the  vice-chair. 

After  an  excellent  dinner,  the  toast  list  was  proceeded  with. 
Mr.  Garland  proposed  “ The  Newcastle  and  Northern  Counties 
Photographic  Association,”  in  a capital  speech,  Messrs.  Mendels- 
sohn and  J.  W.  Robinson  responding.  That  of  “ The  Officers 
and  Council  of  the  Association,”  was  proposed  by  Mr.  A.  G. 
Ross,  and  acknowledged  by  Messrs.  Ed.  Sawyer,  P.  M.  Laws, 
and  J.  Pike. 

The  name  of  Mr.  J.  W.  Swan  was  received  with  enthusiasm, 
and  his  health  drank  with  musical  honours ; a like  reception 
being  accorded  that  of  Mr.  J.  B.  Payne,  whose  absence  through 
severe  indisposition  was  much  regretted. 

The  chair  during  the  latter  portion  of  the  evening  was  taken 
by  Mr.  Garland.  Recitations,  songs,  and  instrumental  music,  by 
Messrs.  Carver,  Readhead,  Ross,  Bacon,  Nicholson,  and  Calcott, 
occupied  the  evening,  and  owing  in  great  part  to  these  gentle- 
men, and  the  evident  determination  of  all  present  to  enjoy 
themselves,  the  dinner  was  a perfect  success. 


Oldham  Photographic  Society. 

This  Society  held  its  annual  soiree  and  exhibition  on  the 
18th  inst.,  at  the  Reform  Club,  Union  Street.  The  room  was 
crowded  all  the  evening  by  a very  select  audience,  who  evinced 
the  greatest  interest  in  the  proceedings.  The  room  was  taste- 
fully decorated,  and  great  credit  is  due  to  the  Chairman  and 
Secretary  (Messrs.  Risley  and  Kershaw)  for  the  successful 
manner  in  which  they  carried  out  the  arrangements  of  the 
meeting. 

Mr.  Knott  displayed  several  large  Autotype  enlargements  of 
well-known  local  men  ; also  a number  of  instantaneous  views  of 
Oldham  streets,  and  about  a dozen  views  of  the  late  snow  storm, 
which  were  very  much  admired. 

Mr.  Jas.  Gartside’s  collection  consisted  of  large  Autotype 
enlargements,  aud  a large  number  of  views  taken  in  Oldham, 
Cheshire,  Derbyshire,  and  North  Wales  ; he  had  also  a large 
variety  of  platinotypes,  which  were  considered  by  those  capable 
of  judging  exceedingly  creditable. 

Mr.  John  Risley  exhibited  several  oil  paintings  ; and  he  had 
also  a capital  display  of  photographic  views  in  various  parts  of 
the  country,  embracing  North  Wales,  Derbyshire,  &c.  ; and  he 
had  a good  collection  of  platinotypes,  several  of  the  late  snow- 
storm coming  in  for  their  share  of  admiration. 

Mr.  De  Buckley  was  also  well  to  the  front  in  the  platinotype 
department,  his  exhibits  consisting  of  not  only  numerous  local 
views,  but  also  picturesque  scenes  in  Wales,  Cheshire,  &c. 

Mr.  Coote,  of  Manchester,  exhibited  some  thirty  views  of 
great  excellence  and  beauty,  his  view  of  a charming  scene  near 
Lymm,  Cheshire,  being  praised  by  all  who  saw  it. 

Mr.  J.  T.  Ellerbeck  (Liverpool)  sent  three  splendid  enlarge- 
ments ; and  Mr.  Schofield  (Heaton  Norris)  was  also  well 
represented. 

Mr.  E.  Openshaw  (Manchester)  had  some  very  meritorious 
platinotypes  ; as  had  also  Mr.  Wade,  of  the  same  city. 

Mr.  S.  R.  Platt  sent  an  album  containing  about  forty  photo- 
graphs of  his  tour  in  Norway — some  of  them  taken  by  the  mid- 
night sun.  This  book  was  the  centre  of  attraction  the  whole  of 
the  evening. 

Mr.  James  Hall  exhibited  a revolving  stereoscope,  the  slides 
his  own  production.  This  instrument  came  in  for  a good  amount 
of  patronage. 

Messrs.  Bunnel  and  Greaves  had  several  views  of  the  late 
storm,  and  other  local  scenes,  which  were  creditable  to  those 
exhibitors. 

Mr.  Chapman  (of  Manchester)  had  a fine  collection  of  views  in 
a revolving  stereoscope  sent  by  him  ; and  he  also  exhibited  a 
new  changing-box,  which  met  with  considerable  attention 
amongst  the  profession. 

Mr.  Atkinson  (of  Liverpool)  forwarded  a large  collection  of 
bis  goods,  which  consisted  of  trays,  printing-room  appliances, 
books,  &c.,  and  a zoetrope,  which  caused  considerable  amuse- 
ment both  to  young  and  old. 

Messrs.  Risley  and  Gartside  demonstrated  the  platinotype 
process.  Mr.  Risley  made  a few  preliminary  remarks,  and  said 
that  a demonstration  of  the  process  was  not  very  interesting,  on 
account  of  its  simplicity ; it  was  considered  one  of  the  most 


January  26,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


63 


permanent  processes  yet  invented,  and  could  be  easily  learned 
and  managed  by  anyone.  He  then  explained  the  preparation  of 
the  paper,  and  developed  several  prints,  which  were  handed 
round  the  room,  exciting  the  surprise  and  delight  of  the 
audience. 

Messrs.  Buckley  and  Fullalovr  gave  a lantern  exhibition, 
the  views  consisting  of  local  and  other  scenes  taken  by  the 
members  during  the  late  summer. 

Mr.  Ooote  exhibited  a few  of  his  own  slides,  which  were  of  a 
very  superior  kind. 

Besides  the  photographic  department,  several  local  artists  had 
Bent  pictures  both  in  oil  and  water  colour,  which  gave  a varied 
character  to  the  exhibition,  very  pleasing  to  the  eye. 

The  success  of  the  soirie  was  so  pronounced  that  many 
suggested  the  keeping  open  of  the  exhibition  for  another 
evening  ; but,  owing  to  matters  over  which  the  committee  had 
no  control,  the  idea  was  abandoned. 

The  large  company  dispersed  about  eleven  p.m.,  all  well 
pleased  with  the  evening’s  entertainment. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  at  Mason’s  Hall  Tavern,  on  Thursday,  the 
18th  inst.,  Mr.  E.  J.  Holding  iu  the  chair, 

Mr.  Cowan  said  it  had  been  stated  by  Captain  Abney  that 
chloride  plates  could  be  made  as  sensitive  as  bromide.  He 
(Mr.  Cowan)  had  prepared  a batch  giving  the  emulsion  half-an- 
hour’s  boiling,  by  which  he  obtained  a transparency  with  about 
twenty  seconds’  exposure  to  a gas-flame  ; a bromide  plate  under 
the  same  conditions  would  have  required  about  three  seconds’ 
exposure  ; he  developed  with  the  ferro-citro-oxalate  solution,  and 
obtained  a fine  black  image. 

The  Chairman  found  that  chloride  plates  were  much  more 
sensitive  to  day-light  than  gas. 

Mr.  Barker  said  he  had  obtained  very  different  results  with 
different  chlorides. 

It  was  asked  what  would  be  the  result  of  putting  a second 
quantity  of  bromide  of  potassium  in  the  developer. 

Mr.  Barker  thought  it  would  destroy  the  image. 

Mr.  Debenham  said  Dr.  Maddox's  original  plates  were  pre- 
pared with  an  unwashed  emulsion  containing  bromide  of  potas- 
sium. 

Mr.  Henderson  inquired  how  long  a plate  containing  a quarter 
of  a grain  of  bromide  of  potassium  would  retain  the  image  ? 

Mr.  Barker  said  that,  when  the  film  contained  a free  haloid, 
the  larger  the  proportion  of  gelatine  the  longer  the  image  would 
be  retained. 

In  answer  to  an  inquiry  as  to  whether  plates  that  had  been 
exposed  could,  after  soaking  in  a solution  of  bromide  of  potas- 
sium, and  keeping  some  time,  be  re-exposed, 

Mr.  Brown  said  he  had  successfully  done  so. 

Mr.  Henderson  said  leucine  washed  out  most  readily,  and  gum 
left  the  emulsion  in  a much  more  spongy  condition. 

Mr.  Ashman  found,  that  when  gum  was  used  to  emulsify  in 
the  film,  it  contained  a number  of  transparent  spots,  which  he 
attributed  to  the  gum  not  thoroughly  washing  out. 

Mr.  Henderson  said  that  most  samples  of  gum  contained  a 
substance  which  it  was  very  difficult  to  dissolve. 

Mr.  Barker  said  gum  consisted  of  two  bodies,  one  (the 
smaller  portion)  being  only  soluble  in  alcohol,  the  other  in 
water. 

Mr.  Smith  had  found  crystalline  deposits  in  glycerine,  which 
washed  quite  clean  and  transparent,  and  consisted,  in  his  opinion, 
of  sulphate  of  soda  or  magnesium,  which  had  been  used  to 
adulterate  the  glycerine. 

Mr.  Brown  said  castor  oil  was  sometimes  used  to  adulterate 
glycerine. 

A discussion  took  place  as  to  what  constituted  an  emulsion. 

Mr.  Henderson  had  seen  one  prepared  from  malt  extract  and 

castor  oil. 

Mr.  Mackie  understood  it  to  be  a mixture  of  two  substances, 
which  could  only  be  combined  by  the  aid  of  a third. 

Mr.  Debenham  said  it  was  a substance  held  in  suspension, 
and  not  in  solution. 

Mr.  Beach  (New  York,  U.S.A.),  was  elected  an  honorary 
and  corresponding  member  of  the  Association. 

Manchester  Photographic  Society. 

The  ordinary  meeting  was  held  in  the  Lecture  Hall  of  the 
Mechanics’  Institute,  on  the  evening  of  the  11th  inst.,  Mr.  J.  W. 
Leigh  occupying  the  chair. 


The  minutes  of  the  previous  meeting  were  confirmed,  and 
Mr.  D.  Shoosmith  was  elected  a member  of  the  Society. 

Mr.  Kershaw  showed  a very  good  arrangement  for  changing 
plates  in  the  field,  which  consisted  of  a single  dark  slide  with 
some  light-tight  material  fastened  on  securely  at  the  back, 
forming  a kind  of  bag,  with  sleeve  holes  on  each  side,  through 
which  the  box  of  plates  is  put  ; the  slide  is  opened,  downwards, 
the  exposed  plate  removed,  and  a new  one  put  in  its  place. 

The  remainder  of  the  evening  was  devoted  to  a sale  by  auction 
of  the  property  of  the  members  ; and,  in  response  to  the  circular 
sent  out  by  the  Secretary,  a great  many  availed  themselves  of 
the  opportunity  of  disposing  of  what,  to  themselves,  was  only  use- 
less apparatus.  Altogether,  1 20  lots  were  put  up,  including 
lenses,  cameras,  tripods,  lanterns,  and  numerous  other  articles. 
Upwards  of  £50  in  value  were  sold.  Mr.  Thomas  Acton  kindly 
gave  his  services  as  auctioneer.  The  experiment  was  pronounced 
a decided  success. 

A vote  of  thanks  was  given  to  Mr.  Acton  for  so  ably  assisting 
at  the  sale,  and  to  Mr.  Kershaw  for  his  contribution. 

The  meeting  was  adjourned  to  February  8th,  when  Mr, 
Johnson  will  read  a paper  on  “ Photo-micrography.’’ 


in  tfc*  j$iubi0. 

Sodth  London  Photographic  Society.  —At  the  next  meeting 
of  the  above  Society,  to  be  held  at  the  Society  of  Arts  on 
Thursday  next,  February  1st,  Mr  W.  Brooks  will  read  a paper 
entitled  “ The  South  London  Photographic  Society’s  Popular 
Lantern  Meeting,  and  its  Lessons.” 

The  Uncovering  op  the  Statue  of  the  Prince  Imperial. — 
Although  it  was  a dull  day  when,  a week  ago  last  Saturday,  the 
Prince  of  Wales  unveiled  the  statue  erected  to  the  memory  of  the 
late  Prince  of  France,  Mr.  Cobb  succeeded  in  obtaining  a capital 
picture  of  the  ceremony.  The  enclosure  of  the  Royal  Military 
Academy  at  Woolwich  was  crowded  with  visitors,  and  Mr.  Cobb 
took  his  picture  from  a waggon  placed  about  twenty  yards 
from  the  statue.  The  Prince  of  Wales  is  shown  just  in  the  act 
of  unveiling,  the  cover  having  commenced  to  move  before  the 
exposure  was  made.  Some  verses  from  the  pen  of  Mr.  Cobb 
accompany  the  print;  and  we  understand  that  both  the  Prince 
of  Wales  and  the  Empress,  in  accepting  copies  of  the  pictures, 
expressed  their  appreciation  of  Mr.  Cobb’s  poetical  efforts. 

Obituary. — It  is  with  much  regret  that  we  have  to  announce 
the  death  ot  Mr.  G.  S.  Crawford  Barnes,  one  of  the  pioneers  of 
photography.  The  deceased  gentleman  was  one  of  the  earliest 
Daguerreotypists,  and  for  many  years  chief  operator  to  Messrs. 
Lock  and  Whitfield.  His  death  occurred  on  Monday  last, 
suddenly,  a*  Inverness,  where  he  had  recently  commenced 
business.  He  leaves  a widow  and  seven  children. 

Findlay’s  Comet. — Mr.  Ferneyhough,  of  Pietermaritzburg, 
Natal,  whose  comet  pictures  we  recently  commended  in  these 
columns,  tells  us  how  they  were  secured.  He  says  : — “ They 
were  taken  with  a Dalliueyer’s  portrait  cabinet  lens  on  Wratten 
and  Wainwright’s  instantaneous  plates,  exposure  seven  and  five 
minutes.  My  success  lay  in  that  I discovered  that  at  a certain 
stage  of  the  dawn  the  rising  sun  was  in  a position  to  light  it  up 
to  double  its  actinic  power.  This  lasted  about  ten  minutes,  and 
then  it  began  to  fade.  I spent  nearly  a week  examining  it,  from 
the  rise  until  the  sun  rose,  before  I tried  an  exposure,  and  to  this 
apparent  waste  of  time  and  sleep  1 owe  my  success.” 

Peck’s  Milwaukee  Sun  says : — “A  Pittsburg  glass  factoyr  is 
turning  out  glass  cloth,  made  of  fine  spun  glass,  which  is  used 
for  dresses.  We  should  insist  on  a sheet  iron  or  zinc  lining  for 
a dress,  if  it  was  to  be  worn  by  any  friend  of  ours.  A glass 
dress  might  be  all  right  if  a person  wanted  to  see  the  innermost 
recesses  of  the  soul,  and  the  workings  thereof,  but  it  is  not  neces- 
sary to  witness  such  variety-shows  these  days.  Alapaca  is  better 
for  dresses  than  glass.”  If  this  glass  cloth  can  be  manufactured 
at  a low  rate,  it  should  be  a valuable  filtering  material  for  photo- 
graphic preparations,  and  far  more  convenient  in  use  than  the 
ordinary  glass  wool. 

Photographing  the  Vocal  Organs. — Mr.  H.  T.  Wood 
informs  us  that,  by  the  aid  of  a very  ingenious  apparatus,  devised 
by  Mr.  Cadett,  with  the  double  object  of  illuminating  the  subject 
and  enabling  the  exposure  to  be  properly  timed,  some  highly 
successful  photographs  of  the  human  vocal  organs  have  been 
obtained,  these  results  being  a decided  advance  on  those  referred 


64 


THE  PHOTOGRAPHIC  NEWS. 


January  26,  1883. 


to  in  the  News  a few  weeks  ago.  Some  fairly  sharp  negatives  of 
the  epiglottis  and  the  vocal  chords,  as  reflected  in  the  laryngi- 
scopic  mirror,  have  been  secured ; and  the  soft  palate  in  the 
various  positions  assumed  in  producing  different  notes  has  been 
photographed  with  absolute  distinctness.  We  hope  before  long 
this  subject  will  be  brought  before  one  of  the  photographic 
societies,  as,  apart  from  its  physiological  interest,  the  manner  in 
which  the  photographic  difficulties  have  been  overcome  is  well 
worthy  of  being  exhibited  and  being  made  the  subject  of  a dis- 
cussion. The  increased  success  of  these  more  recent  efforts  is 
principally  due  to  Mr.  Cadett’s  ingenious  arrangements  and  the 
persevering  labour  of  Mr.  H.  T.  Wood. 

The  Photographer's  Cheer. — One  of  our  citizens  went  into 
a photograph  gallery  last  week  to  have  a picture  taken  This  is 
the  way  the  photographer  managed  to  get  a pleasing  likeness. 
Photographer  : “ Look  a little  pleasanter,  Mr.  D.  Your  face  in 
repose  is  naturally  sad.  Assume  a cheerful  look.  There — that 
is  better.  By  the  way,  the  death  of  your  friend,  Mr.  L.,  is  very 
sad.” — Detroit  Free  Press. 

Stealing  Silver  Residues. — At  the  city  Police  Court, 
Liverpool,  on  Saturday,  an  elderly  man  named  Robert  Simmonds 
was  charged  before  the  stipendiary  (Mr.  Raffles)  with  stealing 
8oz.  3dwt.  of  silver,  the  property  of  Samuel  Moss  and  Sons,  glass 
silverers,  Paradise  Street.  Mr.  Marks,  the  prosecuting  solicitor, 
stated  that  prisoner  had  been  in  the  employ  of  Moss  and  Son  as 
a glass  silverer.  In  the  process  of  silvering  glass  it  was  necessary 
to  filter  nitrate  of  silver  through  paper  funnels.  The  paper 
absorbed  a considerable  quantity  of  the  nitrate  of  silver,  and  was 
collected  and  dispatched  to  London  to  be  reduced  in  a crucible. 
It  having  come  to  the  knowledge  of  the  firm  that  some  person 
had  disposed  of  a quantity  of  this  residue  of  nitrate  of  silver,  the 
matter  was  placed  in  the  hands  of  the  police,  and  it  was  as- 
certained that  prisoner  had  taken  a quantity  of  the  filter  paper, 
without  having  received  authority  to  do  so,  to  the  manager  of 
the  glass  silvering  company  commencing  business  ia  Duke  Street, 
and  had  offered  it  to  him  to  test  a new  furnace  with.  The  offer 
was  accepted,  and  the  residue  having  been  reduced,  prisoner  asked 
if  the  manager  would  dispose  of  the  silver,  of  which  8oz.  3dwts. 
was  realised,  and  the  latter,  having  consented,  sold  it  to  a jeweller 
in  Renshaw  Street  for  £1  11s.  4d.  Prisoner  was  consequently 
apprehended,  and  when  charged  with  the  offence  admitted  it,  and 
stated  that  he  was  very  sorry.  He  was  sentenced  to  three 
months’  imprisonment  with  hard  labour. 

Solar  Cannon  of  the  Palais  Royal. — Strangers  in  Paris 
who  have  happened  to  be  in  the  garden  of  the  Palais  Royal  at 
noon  on  a fair  day,  will  have  noticed  groups  of  persons  watching 
intently  at  a not  very  conspicuous  object  in  the  garden,  but  all 
eyes  seem  turned  toward  it.  The  object  which  attracts  their 
attention  is  a small  cannon  of  antique  pattern,  which  is  auto- 
matically fired  at  mid-day  by  the  arrangement  of  a sun-glass  so 
adjusted  as  to  concentrate  the  sun’s  rays  upon  the  priming 
powder,  and  produce  an  explosion  at  exact  noon.  Referring  to 
this  little  cannon,  L' Astronomie  says  it  dates  from  a greater 
antiquity  than  is  generally  known.  It  thundered  during  the 
Commune,  under  the  Empire,  during  the  days  of  ’48,  under 
Louis  Philippe,  under  the  Restoration,  during  the  wars  of  the 
Grande  Arme'e,  during  the  guillotines  of  the  Reign  of  Terror,  on 
the  day  when  Camille  Desmoulins  harangued  the  people,  under 
Louis  XVI.,  under  Louis  XV.  In  his  charming  “ Journey  from 
Paris  to  St.  Cloud,  by  Land  and  by  Sea,”  published  in  1751, 
Ndel  makes  his  young  tourist  regulate  hi3  watch  by  it.  The 
pillar  on  which  it  is  fixed  stands  at  the  point  where,  in  1641,  a 
year  before  his  death,  Cardinal  Richelieu  established  a bound 
between  the  manors  of  St.  Honore  and  of  the  Archbishopric. 
Scientific  American. 

Photographers’  Benevolent  Association. — At  the  annual 
meeting  held  on  Wednesday  evening,  the  gratifying  announce- 
ment was  made  by  the  Chairman,  that  a donation  to  the  funds 
of  £10  had  been  sent  from  Crayford.  A notice  of  the  meeting 
will  appear  next  week. 

The  Photographic  Club  (Ashley’s  Hotel,  Covent  Garden, 
W.C.). — Next  Wednesday  evening,  being  the  last  Wednesday  in 
the  month,  will  be  a “ Lantern  ” night,  and  members  are  requested 
to  bring  slides.  Visitors  are  invited  to  attend,  and  the  committee 
will  have  pleasure  in  exhibiting  any  slides  they  may  bring.  It 
has  been  decided  to  have  a “ Lantern  ” night  on  the  last  Wed- 
nesday in  each  month,  to  which  visitors  are  invited  to  contribute. 
— E.  Dunmore,  Hon.  Sec. 


PHOTOGRAPHS  REGISTERED. 

Mr,  Harby  Hill  (Great  MalvernJ— Photo,  of  Malvern  under  the  Snow. 


$0  &0ms8Ju&£ttt8. 

*#*  We  cannot  undertake  to  return  rejected  communications.  1 

F.  Marsh. — 1.  We  imagine  you  would  have  some  difficulty,  as 
they  would  in  ordinary  cases  be  selected  from  the  existing  staff. 
2.  It  would  fill  several  numbers  of  the  News. 

Lens. — The  statement  in  the  Year-Book  in  the  article  “About 
the  Photographic  Lens,”  to  the  effect  that  the  group  or  universal 
lens  of  12  inches  equivalent  focal  length  will  cover  a circle  of 
18  inches  diameter  full  aperture,  is  manifestly  a printer’s  error, 
and  we  thank  you  for  pointing  it  out.  The  lens  in  question  will 
in  reality  cover  full  aperture,  a circle  only  8,  or,  at  the  outside, 
9 inches  diameter.  It  is,  however,  suitable  for  instantaneous 
views  as  used  with  the  same  ratio  of  stop  to  focal  length ; it  covers 
very  nearly  the  same  size  plate  in  the  “ rapid  ” lenses,  rectilinear 
or  symmetrical.  The  latter  is,  however,  a little  superior.  The 
depth  of  focus  depends  solely  on  the  ratio  between  focal  length  and 
diameter  of  aperture,  and  so  long  as  that  is  the  same,  the  depth  of 
focus  will  remain  the  same. 

Enquirer. — 1.  It  would  be  a very  remarkable  glass  indeed,  if  the 
account  were  only  correct.  2.  We  assure  you  that  you  will  be 
quite  secure  from  inteference;  we  cannot  lead  you  to  hope  that 
the  experiment  will  be  successful. 

Nitrate. — A poor  attempt  at  wit.  The  word  forms  an  integral 
portion  of  the  block,  and  was  not,  therefore,  set  up  in  type. 

R.  W.  F.  G.  P. — There  are  many  such  methods,  and  descriptions 
will  be  found  in  back  volumes  of  the  News.  If  you  will  state 
exactly  what  you  require,  we  may  be  able  to  tell  you  where 
detailed  information  can  be  found. 

J.  Barker. — Thank  you  for  writing.  Year-Book  sent. 

Herbert  W.  Bihlis. — Thanks  for  your  interesting  letter.  We 
shall  make  use  of  the  information  before  long. 

G.  F.  Webber. — 1.  It  is  desirable  to  have  two  sets;  but  you 
must  judge  for  yourself  whether  the  advantages  compensate  for 
the  increased  complication.  2.  If  each  bar  is  eyleited  at  the 
ends,  and  then  allowed  to  play  on  two  main  bars,  the  difficulty 
will  disappear.  3.  The  last-mentioned  difficulty  may  be  over- 
come by  attaching  ordinary  dressmakers’  hooks  and  eyes  to  the 
blinds,  so  that  the  lower  extremities  may  be  doubled  back. 

A Twenty-Years’  Subscriber. — Much  depends  on  the  hardness 
of  the  film.  We  have  met  with  plates  which  were  effectually 
washed  by  remaining  five  minutes  in  a stream  of  running  water, 
and  with  others  which  required  several  hours. 

A.  Fred.  D. — 1.  They  depend  so  much  on  the  temperature  that 
a and  c will  actually  dissolve  in  their  water  of  crystallization  if 
gently  warmed.  A table  for  each  will  be  found  in  the  larger 
works  on  chemistry,  but  either  table  would  occupy  more  rpace 
than  we  can  spare.  2.  They  are  unlike  in  their  action,  and  there 
is  no  point  at  which  equality  may  be  assumed  ; but  we  should 
much  prefer  a 20-grain  solution  of  chrome  alum  to  a saturated 
solution  of  ordinary  alum.  3.  Take  one,  by  all  means,  nut  to 
cover  a plate  a size  smaller,  if  possible,  as  in  this  case 
you  ensure  the  using  of  the  lens  to  the  extreme  of  its 
capability.  4.  No,  certainly  not,  as  rough  travel  is  almost 
certain  to  put  it  out  of  working  order.  5.  As  regards  this 
point,  we  cannot  advise;  try  several  makes,  and  take  those 
which  give  the  best  result  in  your  hands.  6.  You  must  take 
several  lenses,  and  one  at  least  should  bo  capable  of  covering  a 
larger  plate  than  that  used.  No  respectable  optician  sells  a lens 
for  a plate  which  it  will  not  fairly  cover;  but  this  is  not  the  real 
point  at  issue.  7.  Twenty-six  inches.  8.  About  four  times  the 
exposure.  9.  We  have  bought  the  best  at  the  lower  of  the  two 
prices  you  name ; but  you  must  not,  therefore,  concludo  that 
every  cheap  sample  is  good.  Go  to  a respectable  dealer,  and  you 
will  not  be  overcharged.  10.  Yes.  No. 

A Gleaner. — See  the  Year-Book.  Several  articles  appeared  in 
our  last  volume. 

W.  SANDERS. — The  latter  is  about  one-third  more  rapid. 

Hypo. — We  think  it  is  the  mount. 

F.  H.  Evans. — It  has  been  forwarded. 

P.  H.  Davies.— Your  3J-inch  condenser  and  quarter-plate  por- 
trait lens  will,  if  of  good  quality,  serve  your  purpose  very  well. 
You  had  better  get  a tin-plate  worker  to  make  you  a lantern. 

A.  G.  Brontry.— 1.  Yes,  the  distance  at  which  an  image  of  tin 
sun  is  formed.  2.  They  would  do  well  for  stereoscopic  views, 
convex  side  next  the  sensitive  plate,  and  a diaphragm  or  stop 
1J  inch  from  the  concave  side.  3.  Nothing  more,  except  such 
trifles  as  dishes,  Ac.  Probably  about  five  or  six  pounds. 

J.  Woollans.— The  metal  is  evidently  contaminated  with  copper ; 
but  the  presence  of  a trace  of  this  substance  is  not  likely  to 
make  it  less  useful  for  your  purpose. 

G.  Edmonds. — 1.  Full  details  in  the  Year-Book.  2,  It  will 
probably  be  published  next  week. 


THE  PHOTOGRAPHIC  NEWS, 


Vol.  XXYII.  No.  1274 .—February  2,  1883. 

/A'  4^  ■*  . ; V 


V; 

\ 

PAOX 


-sT- 


CONT 

AAttvTA 


PAOR 


Carbon  Printing 6.5 

About  Highly  Sensitive  Emulsions.  By  l)r.  J.  M.  Edcr 65 

By-thc-Bye. — Douceurs  66 

On  Expression-Photographs.  By  William  Peek  67 

On  Latitude  in  Exposure.  By  C.  Ray  Woods  67 

From  Treves  to  Hanover.  Bv  J.  H.  T.  Ellerbeck  68 

On  a New  Light.  By  Leon  Warnerke  70 

Notes  on  Photography.  By  E.  Howard  Farmer  70 


Notes 72 

Patent  Intelligence  71 

Twelve  Elementary  Lessons  on  Silver  Printing  76 

On  Gradation  in  Gelatine  Negatives.  By  Edwin  Cocking 77 

Correspondence  78 

Proceedings  of  Societies. — London  and  Provincial  Photogra- 
phic Association— Photographers’  Benevolent  Association  78 

To  Correspondents 80 


CARBON  PRINTING. 

Although  the  gelatino-pigment  method,  as  practised  on  a 
large  scale  by  the  Autotype  Company,  is  almost  invariably 
referred  to  as  carbon  printing,  it  does  not  always  merit  the 
title ; as  occasionally  earthy  or  other  pigments,  entirely 
free  from  carbon,  are  employed  in  the  manufacture  of  the 
tissue.  The  misnomer  is,  however,  likely  to  remain  in 
general  use,  as  photographers  are  ordinarily  extremely  con- 
servative as  regards  names. 

To-morrow,  the  3rd  instant,  will  mark  an  era  in  the 
history  of  carbon  printing,  as  from  this  time  forward,  all 
which  is  of  real  importance  in  connection  with  the  process 
will  be  open  to  the  public,  and  no  longer  hampered  with 
patent  rights,  the  double  transfer  patent  of  Johnson  lapsing 
on  this  day. 

The  fundamental  patent  of  Swan,  which  expired  in 
February,  1878,  covered  the  single  transfer  process  in  its 
entirety,  and  a germ  of  the  double  transfer  method  ; but 
he  employed  an  india-rubber  cement  in  order  to  make  the 
gelatinous  film  adhere  to  its  temporary  support,  the  subse- 
quent application  of  benzole  or  some  similar  solvent  being 
then  necessary  before  the  finished  picture  coaid  be  separated. 
Johnson  found  that  the  exposed  tissue,  after  being  softened 
by  immersion  in  cold  water,  would  adhere  sufficiently  to 
any  impervious  surface,  if  a squeegee  is  used  to  establish 
contact  in  the  first  instance  ; and  it  is  this  discovery  which 
has  given  to  carbon  printing  much  of  its  present  commercial 
importance.  It  is  quite  true  that  large  carbon  printing 
establishments  mainly  adopt  the  single  transfer  process, 
reversed  negatives  being  then  made  use  of ; but  the  single 
transfer  method  is  of  little  value  to  the  general  photographer, 
as,  when  he  takes  his  negative,  he  generally  does  not  know 
whether  silver  prints  or  carbon  pictures  will  be  required. 

Many  important  improvements,  besides  the  double 
transfer  process,  are  embodied  in  Johnson’s  specification. 
The  grinding  of  the  pigments  with  a small  proportion  of 
gelatine,  so  as  to  facilitate  their  perfect  admixture  with 
the  bulk  of  the  gelatinous  preparation,  is  a matter  of  con- 
siderable importance  in  the  practice  of  tissue  making,  as 
it  obviates  the  necessity  of  specially  grinding  the  colour 
for  each  batch  of  tissue  which  is  made.  The  coating  of 
long  lengths  of  paper  with  the  composition  by  a continuous 
process  is  another  improvement  due  to  Johnson,  this 
method  being  invariably  adopted  at  the  present  time, 
rather  than  Swan’s  or  Spencer’s  process  with  separate 
bands  or  strips. 

The  use  of  flexible  supports  for  development  is  referred 
to,  and  in  connection  with  this  matter  we  may  mention  that 
we  have  found  that  the  thin  and  fine-surfaced  macintosh 
linen,  or  so-called  “ syphona-cloth,”  is  one  of  the  best 
flexible  materials  on  which  a carbon  print  can  be  deve- 
loped. It  is  advisable  to  slightly  wax  the  india-rubber 


surface  by  gently  rubbing  it  with  a solution  of  wax  in 
benzole,  say  about  five  grains  to  the  ounce. 

Mr.  J.  K.  Johnson  was,  during  his  life,  a constant  con- 
tributor to  the  Photographic  News,  and  he  possessed  a mind 
of  remarkable  originality  ; many  important  inventions  being 
due  to  him.  His  reputation  as  an  inventor  rests  mainly  on 
his  type-founding  machine,  this  being  the  first  machine  of 
the  kind  which  turned  the  letters  out  quite  ready  for 
use,  and  not  requiring  any  subsequent  trimming.  Doubt- 
less many  of  our  readers  have  seen  these  machines  in  action 
at  the  National  Printing  Office,  in  Paris. 

Although  the  carbon  process  is  now  open  to  the  world,  or 
rather  it  will  be  so  to-morrow,  we  imagine  that  very  few  will 
care  to  manufacture  tissue  for  their  own  use,  excepting  fo 
experimental  purposes ; this  manufacture  being  one  especi- 
ally unsuited  for  profitable  working  on  a very  small  scale. 


ABOUT  HIGHLY  SENSITIVE  EMULSIONS. 

BT  DR.  J.  M.  EDEB. 

How  to  produce  emulsion  that  will  give  No.  25  on  War- 
nerke’s  sensitometer  is  a question  we  are  interested  in  just 
now.  Scolik  does  it  in  the  manner  following.  He  makes  an 
emulsion  with  ammonio-nitrate  of  silver,  as  I have  indicated 
in  my  “ Modern  Dry  Plates,”  and  adds  to  it  some  iodide  of 
potassium,  warming  up  to  a temperature  of  50°  to  55°  C., 
instead  of  35°.  His  formula  is  as  follows  : — 


I. 

Bromide  of  ammonium 
Bromide  of  potassium 
Iodide  of  potassium 
Water 

Simeons’  hard  gelatine 
To  this  is  added,  II. 

Nitrate  of  silver  ...  ... 

Water  ...  


...  24  parts 


...  80  grammes 


...  60  parts 

...  500  „ 


Ammonia  as  much  as  necessary  to  form  ammonio- 
nitrate  of  silver. 

Scolik  digests,  then,  for  a period  of  from  half  to  three 
quarters  of  an  hour,  at  a temperature  of  about  50°  C.,  taking 
care  to  agitate  repeatedly  during  the  time,  for  otherwise  the 
silver  bromide  will  be  precipitated  in  the  form  of  sediment. 
The  emulsion  is  then  finished. 

The  advantage  of  this  modus  operand!  lies  in  the  circum- 
stance that  iodide,  which  is  added,  permits  the  raising  of  the 
temperature  in  the  cookiug  operation  ; tbo  iodide  acts, 
indeed,  the  role  of  a restrainer.  The  plates  from  such  emul- 
sion are  best  tieated  with  the  Edwards’  glycerine  developer. 
The  fixing  is  rather  slow,  and  the  negatives  somewhat  thin, 
so  that  they  usually  require  to  be  intensified. 

Plener,  as  the  readers  of  the  Photographic  News  know 


66 


THE  PHOTOGRAPHIC  NEWS. 


[February  2,  1883. 


very  well,  goes  to  work  in  another  and  very  rational  way 
to  produce  the  most  sensitive  emulsion,  and  this  he  can  do 
with  certainty.  He  makes  use  of  the  very  important 
observation  that  every  emulsion  consists  of  good  bromide 
of  silver,  and  of  bad  bromide  of  silver — that  is,  somewhat 
insensitive  and  frequently  fogged  silver  bromide.  Thus,  it 
is  possible  to  separate  from  a cooked  emulsion,  or  from 
Scolik’s,  for  instance,  an  inferior  portion  which  only  gives 
Nos.  18  to  20  on  the  Warnerke  sensitometer.and  yields  thin 
images  ; and  a better  portion,  that  shows  No.  25,  and  gives 
dense  and  brilliant  pictures. 

It  is  interesting  to  watch  the  conduct  of  an  emnlsion  in 
Mr.  Plener’s  centrifugal  separator.  If  it  is  permitted  to 
remain  in  the  bronze  apparatus  only  a very  short  time, 
subjected  to  centrifugal  force,  the  emulsion,  when  poured  out 
again,  seems  to  have  undergone  no  alteration  at  all— that 
is  to  say,  in  appearance  it  is  the  same  as  before.  Neverthe- 
less, a portion — the  coarser  particles — have  been  removed, 
and  the  bad  in  this  way  separated  from  the  good. 

Every  well  made  and  highly  sensitive  emulsion,  capable 
of  giving  No.  25  in  the  Warnerke  sensitometer,  always  con- 
tains an  inferior  bromide  of  silver  as  well,  and  I know  of  no 
more  efficient  and  simple  way  of  separating  the  latter  from 
the  former  than  by  Plener’s  application  of  centrifugal  force. 

« 

DOUCEURS. 

Madame  Bernhardt-Damala  is  reputed  to  have  made  a 
good  sum  out  of  the  copyright  of  her  face.  When  she 
went  to  America,  despite  the  many  portraits  that  had  pre- 
ceded her,  she  managed  to  strike  a capital  bargain,  and 
received  several  hundred  pounds  for  the  exclusive  right  of 
photographing  her.  If  Mrs.  Langtry  has  not  benefitted  by 
her  portraits — in  a pecuniary  sense — she  has  unquestion- 
ably in  other  ways ; for  it  is  not  too  much  to  say  that, 
largely  as  photographers  have  profited  by  Mrs.  Langtry, 
her  pictures,  sold  everywhere,  have  been  an  advertisement 
of  incalculable  worth. 

It  has  been  said  that  you  may  guage  the  popularity  of 
an  individual  in  these  modern  times  by  the  number  of 
photographic  portraits  of  them  that  are  sold.  This  is 
doubtless  true.  But  it  is  none  the  less  correct  that  the 
popularity  in  question  is  due  as  much  as  to  the  supply  of 
the  pictures  as  to  the  demand  for  them.  Let  us  put  an 
instance.  If  half-a-dozen  well-known  photographers  were 
to  put  their  heads  together  and  make  up  their  minds  to 
execute  a portrait  of  some  second  or  even  third-rate 
actress,  and  these  portraits — of  course  taken  with  taste 
and  art-feeling — were  suddenly  put  before  the  public,  the 
pictures  would  sell  at  once.  The  fact  of  the  lady — or  it 
might  even  be  a gentleman — not  being  universally  known, 
would  be  no  bar  to  the  sale  ; it  might  in  a measure  add  to 
the  demand  by  reason  of  the  mystery.  Knowing  ones  who 
had  heard  of  the  new  bidder  for  fame  would  soon  impart 
their  knowledge ; and  with  society  papers  to  the  rescue,  he 
would  be  badly-informed,  indeed,  who  did  not  within  three 
months  possess  a copy  of  the  portrait,  and  know  all  about 
the  original. 

We  need  not  particularise.  Our  readers  can  cite 
examples,  without  our  help,  of  many  a celebrity  who  has 
been  made  popular  by  the  photographer,  and  whose  fame 
does  not  travel  beyond  photographic  mounts.  In  the  class 
of  “beauties”  alone,  we  have  countless  specimens  ; these 
ladies,  good-looking  as  the  majority  of  them  are,  are 
endowed  with  charms  no  greater  than  other  fair  sisters. 
They  may  be  singers,  or  actresses,  or  dancers ; but  it  is  not 
the  rank  they  take  in  their  particular  profession,  any  more 
than  their  comely  features,  which  causes  them  to  be  held 
up  to  public  admiration.  It  is,  we  repeat,  rather  because 
photographers  have  taken  some  trouble  to  produce  artistic 
portraits  of  them,  and  to  publish  the  pictures. 


We  make  these  remarks  for  the  sake  of  introducing  a 
subject  that  decidedly  merits  mention  among  the  “ By- 
the-Bye’s,”  of  interest  to  the  photographer.  We  mean 
the  question  of  how  far  the  photographer,  and  how  far  the 
photographee,  is  benefitted  in  cases  of  publication.  It  has 
been  so  often  asserted,  without  challenge,  that  the  photo- 
grapher is  alone  the  gainer,  when  he  publishes  a portrait — 
that  he  has  everything  to  win  and  nothing  to  lose — that 
we  think  it  is  high  time  a word  should  be  said  on  the 
other  side,  so  that  the  subject  may  be  set  in  a proper 
light.  But  that  is  not  our  only  object ; it  is  to  warn 
photographers  against  the  custom  of  giving  douceurs  in 
return  for  shadowy  privileges,  a custom  we  fear  that  will 
gain  ground  in  this  country,  if  not  speedily  checked. 

We  do  not  know  how  far  our  own  readers  have  suffered 
by  such  custom  : but  when  we  mentioned  in  these  columns, 
a short  time  back,  the  circumstance  that  it  was  not  un- 
known in  Baris,  Berlin,  and  other  Continental  capitals,  a 
note  came  to  us  from  a photographer,  who  recently  opened 
a studio  in  the  West  End,  and  who  had  received  two 
such  overtures  within  a week  of  tikmg  down  his  shutters. 
The  first  application  had  reference  to  introducing,  for 
purposes  of  portraiture,  a lady  who  stands  in  the  highest 
rank  in  the  dramatic  profession,  and  who  plays  not  a 
hundred  miles  from  the  Strand  ; and  the  other,  curiously 
enough,  was  touching  a lady  who  was  on  the  point  of 
“ coming  out  ” as  a star  actress.  “ Nearly  a twelvemonth,” 
writes  our  correspondent,  “ has  elapsed  since  the  applica- 
tions reached  me  ; but,  strange  to  say,  the  ‘ star  actress  ’ 
in  question  has  not  come  out  yet — at  any  rate,  not  in 
London,  and  under  the  name  that  was  mentioned.  In 
neither  case  was  any  specific  douceur  mentioned,  but  no 
doubt  these  would  have  been  quoted,  if  the  preliminaries 
could  have  been  arranged. 

In  Berlin  and  in  Paris,  where  douceurs  have  been 
asked,  the  way  of  demanding  them,  so  far  as  the  matter  has 
come  under  our  notice,  differed  in  some  respects.  In  one 
case  at  Berlin,  where  three  hundred  marks  were  asked, 
(or  £15),  the  demand  came  after  the  “celebrity”  had 
sat  for  the  portrait,  and  the  copies  were  in  course  of 
publication.  In  Paris,  the  sum  demanded  is  usually 
higher,  for  such  fine  studios  as  those  of  Benque  and  Van 
Bosch  are  supposed  to  have  coffers  overflowing  with 
wealth.  A thousand  francs  (or  £40)  are  not  un- 
frequently  asked  by  an  agent  in  the  French  capital,  who 
does  not  appear  until  after  the  great  lady  has  come  and 
gone.  The  photographer  knows  not  whether  the  sum  is 
to  go  into  the  hands  of  principal  or  agent,  and, 
for  fear  of  giving  offence,  can  scarcely  interrogate 
the  former.  To  the  question  we  put  to  our  Paris  friends, 
whether  it  did  not  pay  commercially  to  give  such  com- 
missions, we  were  answered  in  a decided  negative.  It  is 
one  thing  to  present  the  visitor  with  copies  of  his  or  her 
portrait  in  any  reasonable  number ; but  to  pay  a com- 
mission is  only  wise  under  very  exceptional  circumstances, 
we  were  told.  It  is  the  sitter’s  aim  to  make  herself  known 
to  the  world,  not  to  make  the  photographer’s  fortune  ; and 
therefore,  unless  the  exclusive  right  to  photograph  were 
bargained  for,  in  nine  cases  out  of  ten  the  photographer 
would  never  see  his  money  back  again. 

It  is  this  side  of  the  subject  that  does  not  strike  the 
public.  They  think  only  of  the  number  of  portraits  that 
are  sold,  and  what  a lucky  man  the  producer  of  the  same 
must  be.  And,  no  doubt,  he  is  a fortuuate  photographer, 
too,  if  ho  has  not  paid  too  dearly  for  the  privilege.  If, 
however,  he  has  spent  much  previous  time  and  considerable 
pains  in  securing  the  negative  and  retouching  it— the 
negatives  of  some  of  the  published  portraits  represent  a 
large  sura,  as  our  readers  well  know — and  has  paid  a 
commission  into  the  bargain,  he  will  be  a clever  man,  indeed, 
if  he  makes  any  profit  at  all  in  these  days,  when  cabinet 
pictures  frequently  sell  at  a shilling  a-piece.  Indeed,  if 
the  “ celebrity  ” sits  for  his  or  her  portrait  about  once  a 
week— and  some  of  them  apparently  do  so— the  best  part 


February  2,  1883.] 


THE  PHOTOGRAPHIC  HEWS. 


67 


of  the  bargain  is  not  with  the  photographer  at  all,  but  with 
the  individual  who  seeks  publicity,  and  thus  secures  a 
capital  advertisement  with  no  outlay  whatever. 

It  is  very  seldom,  theu,  that  the  payment  of  a douceur 
is  good  business  tact  on  the  part  of  a photographer. 
When  the  person  to  be  photographed  is  of  high  social 
standing,  or  has  achieved  greatness  by  some  public  act,  the 
payment  of  a douceur  is  obviously  out  of  the  question  ; 
while,  if  it  is  asked  for  by  those  who  directly  benefit  by 
the  publicity  the  photographer  gives  them,  then,  unless  a 
definite  bargain  for  exclusive  rights,  either  for  a certain 
time  or  in  a certain  country,  is  made,  the  photographer  is 
very  unlikely  to  reap  sufficient  to  warrant  the  payment 
of  any  substantial  sum.  The  case  of  Madame  Beruhardt- 
Damala,  which  we  quoted  at  the  outset,  may  indeed  be 
taken  as  the  exception  that  proves  the  rule  ; other  great 
actresses,  and  actors,  and  singers  in  this  country  could  make 
similar  bargains  if  they  choose,  for  it  would  pay  any 
photographer  to  purchase  the  copyright  in  their  faces  ; 
only  the  question  is,  whether  this  would  suit  the  purposes 
of  such  celebrities.  Publicity  is  what  they  want,  and  it  is 
far  dearer  to  them  than  any  douceur  could  be.  Their 
object  is  to  ba  pourtrayed  as  frequently  as  possible,  and 
this  fact  the  photographer  would  do  well  to  bear  in  mind 
in  dealing  with  them. 


ON  EXPRESSION-PHOTOGRAPHS. 

Bi  WILLIAM  PEEK.* 

Allow  me,  for  a short  space,  to  occupy  the  time  of  the  Society 
with  a little  subject  which,  although  unconnected  with  emulsion 
making,  may  yet  prove  of  interest  to  such  photographers  as  have 
not  been  engaged  upon  it  in  the  past,  and  may  be  called  upon 
in  the  future  to  produce  portraits  by  photography  for  the  in- 
struction of  portrait-painters.  Now  this  at  first  appears  a very 
easy  matter  ; but  when  we  come  to  consider  that  these  photo- 
graphs are  produced  to  save  the  sitter  many  a long  hour  at  the 
artist's  studio,  we  at  once  see  that,  with  merely  a vulgar,  hard 
reproduction  of  the  features,  the  high  light  thrown  in  one  mass, 
the  face  expressionless  and  inane,  the  artist  will  derive  no  benefit 
from  the  work,  and  the  photographer  will  bring  disgrace  to  his 
profession.  But  a little  forethought  and  judgment  will  remove 
all  these  difficulties,  and,  instead  of  the  stereotype  likenesses  we 
so  often  see,  each  portrait  will  bear  on  it  the  individuality  of  the 
sitter  and  the  stamp  of  the  master  who  produced  it.  Let  us 
look  at  any  face  : is  it  expressionless  ? I think  not : it  has  some 
one  pervading  character.  There  may  be  anger,  fear,  surprise, 
determination,  or  pathos  ; there  may  be  high  intellectuality,  or 
its  exact  opposite  ; each  one  of  these  (or  others  not  mentioned) 
may  give  the  pervading  likeness  which  we  want  to  stamp  upon 
the  sensitive  plate  in  our  camera. 

Let  the  face  be  carefully  studied  to  find  out  its  true  peculiarity, 
and  the  most  important  quarter  of  our  work  is  accomplished.  We 
now  come  to  the  lighting  : this  must  in  all  cases  be  appropriate 
to  our  pervading  peculiarity.  Let  the  mathematician  at  his  work 
have  the  light  falling  from  above  as  fiom  a shaded  lamp  ; let  the 
angered  face  be  lighted  equally  on  both  sides  ; and  the  face  of 
the  brunette  be  in  the  Rembrandt  style,  and  the  silver  rays  of 
light  fringing  her  massive  hair,  each  light  bearing  out  the 
subject,  harmonizing,  blending,  and  beautifying  the  whole.  Of 
course  every  one  must  use  their  own  discretion  as  to  detail,  and 
only  a few  hints  can  be  given.  Half  the  difficulty  is  now 
accomplished. 

The  “pose”  now  claims  our  attention  ; nor  need  this  be  the 
game  pose  as  that  required  for  the  oil-painting,  as  the  imagination 
of  the  artist  can  supply  the  required  alteration,  and  yet  retain 
the  same  characteristics  ; and  a couple  of  visits  of  tlie  sitter  will 
give  him  the  due  proportion  of  the  features.  Many  faces  differ 
immensely  one  side  from  the  other,  principally  on  account  of  the 
nose  growing  to  some  extent  across  the  face,  and  not,  as  usually 
supposed,  straight.  The  photographer  must  choose  the  side  most 
suitable  for  his  purpose,  not  necessarily  the  best  looking,  but  the 
most  suitable.  If  the  hands  can  be  worked  into  the  picture 
with  any  appropriateness,  it  should  be  done;  and  the  in- 
troduction of  a sensible  accessory  enhances  the  entirety  of  the 
subject.  The  fourth  and  last  quarter  of  the  difficulty  is  one  on 
which  I need  not  enlarge,  for  every  one  present  is  well  versed  in 


it,  as  it  is  merely  the  mechanical  and  chemical  process  of  exposure, 
development,  and  printing.  I shall  not  here  attempt  to  argue 
the  advisability  of  producing  these  photos,  for  artists’  use,  as  I 
am  afraid  they  are  too  often  inclined  to  take  advantage  of  ail  the 
facilities  we  can  offer  them,  and  retort  on  our  art  with  abuse  ; 
and  really  I think  they  have  some  reason  for  doing  so  at  present ; 
but  still  I believe  were  photographers  to  turn  their  attention 
more  to  the  study  of  art  rules,  while  yet  availing  themselves  of 
all  the  researches  of  the  chemist,  they  might  one  day  hope  to 
see  photographs  hung  and  adorning  the  walls  of  many  a gallery 
from  which  they  are  at  present  excluded.  In  the  Photographic 
Exhibition  of  1881  there  was  a frame  containing  prints  taken  from 
negatives  both  before  and  after  retouching.  I think  that  those 
who  took  the  trouble  to  closely  study  these  will  agree  with  me 
that,  although  the  retouching  was  admirably  executed,  it  had  in 
most  cases  the  somewhat  unpleasant  effect  of  quite  obliterating  the 
individuality  of  the  portrait ; in  fact,  “ expression-photographs  ” 
should  never  be  retouched.  All  this  species  of  photography  are 
best  served  up  in  the  form  of  transparencies.  In  conclusion,  it 
must  be  borne  in  mind  that  my  remarks  this  evening  only  apply 
to  the  special  photographs  under  consideration.  In  speaking  of 
the  grades  of  facial  expression  which  have  no  definite  names  in  our 
language,  I have  met  with  a difficulty,  and  I trust  the  meeting 
will  bear  with  me  if  the  poverty  of  phrases  has  caused  un  • 
necessary  repetition. 


ON  LATITUDE  IN  EXPOSURE. 

BT  C.  BAT  WOODS.* 

The  subject  I wish  to  introduce  is  an  old  and  well-discussed  one, 
certainly  ; but  as  the  experiences  put  forward  have  been  some- 
what varied,  and  new  experiences  cannot  have  failed  in  throwing 
new  light  upon  the  question,  I think  there  is  little  need  for 
apology  in  once  more  introducing  it,  and  initiating  a discussion. 

It  is  not  an  unfrequent  complaint,  in  reference  to  gelatine, 
that  we  have  not  sufficient  latitude  in  exposure.  We  some- 
times hear  that  we  are  not  prepared  to  undertake  the  develop- 
ment of  an  over-exposed  plate  ; sometimes  the  statement  is 
made  in  reference  to  a plate  that  has  had,  say,  six 
seconds’  exposure,  that  it  has  been  spoilt,  because  it  should 
only  have  had  five.  And  again,  apparatus,  more  or  less  compli- 
cated, is  introduced,  to  enable  us  to  expose  our  plates  with 
certainty  within  a period  of  time  forming  but  a small  fraction 
of  the  total  exposure.  Not  only  have  we  these  questions  to 
consider  in  reference  to  the  subject  of  “ latitude  in  exposure,  ’ 
but  the  still  more  important  one  of,  what  is  the  best  kind  of 
plate  ? In  some  kinds  of  scientific  work,  such  as  photographing 
the  spectrum,  the  question  is  a comparatively  easy  one ; for 
you  have,  after  getting  a plate  sensitive  to  that  part  of  the 
spectrum  you  require,  only  to  find  the  right  time  of  exposure 
by  trial,  and  then  keep  on  exposing  your  plates  accordingly. 
In  studio  work,  while  the  question  becomes  a little  more  compli- 
cated, there  is  still  a certain  amount  of  uniformity  ; but  in 
landscape  photography  the  question  becomes  more  complex. 
Quantity  and  quality  of  light,  nature  of  subject  and  colour, 
atmospheric  effect,  &c. — all  these  and  more  have  to  be  considered. 
Arm  yourselves  with  photometers  as  you  will,  it  is  simply  a 
matter  of  impossibility  to  correctly  time  the  exposure,  to  give 
it,  say,  the  theoretically  exact  quantity  of  light  to  produce 
the  desired  effect  with  a certain  strength  of  developer.  A 
certain  amount  of  chance  must  enter  into  the  question,  and  a 
plate  capable  of  giving  a]  very  considerable  latitude  becomes  a 
sine  qua  non,  more  especially  since  it  has  usually  to  be  deve- 
loped away  from  the  scene  depicted.  That  there  is  much  more 
latitude  in  exposure  than  is  generally  admitted  I am  convinced, 
and  it  is  my  invariable  practice,  with  the  few  views  I take,  to 
be  on  the  safe  side,  and  give  the  subject  quite  half  as  much 
exposure  again  as  it  really  seems  to  require,  and  develop  slowly, 
with  plenty  of  bromide  in  the  developer.  Here  is  a small  nega- 
tive I took  in  Egypt,  of  the  French  Astronomical  party.  I had 
only  intended  to  give  it  two  seconds,  which  I am  convinced,  from 
results  produced  on  other  plates,  would  have  been  ample  , but 
one  of  the  gentlemen  having  made  a slight  movement  just  as  I 
was  takiug  off  the  cap,  I gave  it  ten  seconds  instead.  The  move- 
ment thus  occupied  but  a very  minute  portion  of  the  total 
exposure,  and  restraining  with  bromide  (l  used  the  iron  deve- 
loper) gave  me  a satisfactory  result.  . 

I have  recently  carried  out  a few  experiments  to  ascertain  to 
what  extent  a plate  may  be  over-exposed,  and  yet  developed 
clearly.  As  a ready  method  of  testing  the  latitude  in  exposure 
allowable  in  a gelatine  plate,  I exposed  a bromo-iodide  plate 


* Read  before  the  Photographic  Society  of  Great  Britain, 


68 


THE  PHOTOGRAPHIC  NEWS. 


beneath  the  negative  I have  just  passed  round,  by  the  light 
afforded  by  an  ordinary  match,  and  developed  with  iron  deve- 
loper prepared  by  dissolving  ferrous  oxalate  in  potassic  oxalate. 
I then  exposed  another  plate  under  the  same  negative  to  the 
light  emitted  by  two  inches  of  magnesium  ribbon,  held  at  a dis- 
tance of  six  inches.  The  developer  not  being  restrained  suffici- 
ently, the  result  was  fogged  ; but  on  a second  trial,  the  developer 
being  further  restrained,  a successful  result  was  obtained.  The 
developer  consisted  of  one  ounce  of  developer,  plus  nearly  one 
ounce  of  a twenty-grain  solution  of  potassic  bromide.  Similar 
experiments  were  tried  with  plates  containing  only  bromide  of 
silver,  the  same  developers  respectively  being  used.  The  bromide 
plate  exposed  to  magnesium  light  developed  more  quickly  than 
the  bromo-iodide  plate  under  the  same  circumstances,  and  there 
was  a tendency  to  veil. 

On  comparison,  the  bromo-iodide  plate  had  much  the  best  of 
it,  so  far  as  latitude  was  concerned,  but  not  to  the  extent  I ex- 
pected. What  I wish  chiefly  to  draw  attention  to,  however,  is, 
firstly,  the  great  latitude  available  in  both  cases  ; and,  secondly, 
the  great  restraining  powers  of  alkaline  bromides.  You  will 
also  notice  the  difference  in  colour.  The  plates  exposed  by  mag- 
nesium light,  and  very  strongly  restrained  in  development,  look 
as  if  they  had  been  developed  with  pyrogallic.  It  occurs  to  me 
as  not  at  all  improbable  that  the  presence  of  bromide  in  the 
alkaline  developer  may  partially,  and  in  a small  measure,  account 
for  the  difference  in  colour  between  a pyrogallic  developed  plate, 
and  one  developed  with  ferrous  oxalate. 

The  transparency  method,  however,  may  be  objected  to  ; for 
it  does  not  necessarily  follow  that  similar  results  can  be  obtained 
in  the  camera  when  the  subject  consists  of  a landscape  with  its 
varied  tints  and  shades.  In  the  field  one  would  not  expect  the 
same  degree  of  latitude  that  is  available  in  transparency-making, 
yet  I do  not  think  it  will  be  difficult  to  show  that  even  in  the 
field  there  is  far  more  latitude  than  is  usually  supposed,  and  that 
photographers  do  not  fully  recognise  the  great  power  at  their 
disposal  in  the  manipulation  of  the  developer.  To  carry  out  a 
perfect  series  of  tests  in  this  matter  requires,  in  the  first  place, 
the  indispensable  kind  of  day  best  suited  for  landscape-photo- 
graphy ; and,  secondly,  a day  on  which  there  is  little  variation  in 
the  quantity  and  quality  of  the  light  in  order  to  render  the 
exposures  properly  comparable.  These  conditions  are  not  easily 
attainable  in  our  climate,  and  especially  at  this  time  of  the 
year  ; and  though  I have  for  some  time  past  been  desirous  of 
carrying  out  such  a series  of  experiments,  the  time  and  the 
opportunity  have  not  occurred  together.  Owing  to  the  precipi- 
tancy with  which  I have  had  to  introduce  this  subject,  1 have 
carried  out  a few  experiments  on  the  only  opportunity  I had  ; 
but  though  very  imperfect  in  their  nature,  they  may  not  be 
without  some  little  value.  A camera  provided  with  a Dall- 
meyer’s  by  5 rapid  rectilinear  was  placed  at  the  door  of  my 
operating-rooms,  and  brought  to  bear  on  a most  unprepossessing 
subject — a row  of  houses.  The  light  was  certainly  unvariable, 
or  at  least,  but  little  variable ; but  the  atmosphere  was  hazy 
The  plates  used  were  rapid  ; but  not  wishing  to  have  my  expo- 
sures too  long,  and  rather  under-estimating  the  power  of  the 
light,  I worked  with  the  full  aperture  of  the  lens.  Three  bro- 
mide plates  were  exposed  in  succession  for  one,  three,  and  nine 
seconds  respectively,  and  then  developed.  The  first  was 
developed  in  ferrous  oxalate  (my  favourite  developer),  un- 
restrained by  bromide,  and  came  up  quickly  and  thin  through 
over-exposure.  The  second  was  restrained  with  a few  drops  of 
bromide,  and  gave  a similar  result.  The  third  was  developed 
with  a very  considerable  quantity  of  bromide  in  the  developer, 
in  order  to  obtain,  if  possible,  a nearer  approximation  to  the 
exposure,  and  gave  a negative  almost  as  good  as  might  be  ex- 
pected, considering  the  day  and  the  subject.  I do  not  think  I 
should  be  far  out  in  saying  that  it  had  about  twenty  times  the 
exposure  necessary  with  a normal  developer. 

A little  later  on,  five  plates  containing  iodide  as  well  as  bro- 
mide were  exposed  for  1,  3,  9,  27,  and  81  seconds  respectively. 
The  first,  developed  with  the  unrestrained  iron  developer,  was 
over-exposed,  but  came  up  better  than  the  corresponding  bro- 
mide plate,  though  it  possessed  the  same  sensitiveness.  I 
endeavoured  to  develop  the  four  others  to  exactly  match,  if 
possible,  the  first  one,  and  almost  succeeded  ; but  the  amount 
of  bromide  required  advanced  in  a greater  ratio  than  the  length 
of  exposure.  It  only  took,  however,  the  same  amount  of  bromide 
to  restrain  a bromo-iodide  plate  that  had  had  27  seconds’  expo- 
sure that  was  required  for  a pure  bromide  plate  with  9 seconds’ 
exposure.  A chloro-bromo-iodide  plate  was  exposed  for  two 
seocads,  and  another  for  two  minutes,  and  the  results  on  develop- 


[Febbuary 2,  1883. 


ment  showed  that  it  is  quite  within  the  bounds  of  possibility  to 
develop  successfully  two  plates  having  such  very  different 
exposures.  All  these  results,  however,  were  very  poor,  but  they 
showed  what  might  be  done  on  a suitable  day  ; and  at  the 
earliest  opportunity  I purpose  carrying  out  a more  complete 
series  of  tests,  and  bringing  them  up  at  some  future  Technical 
Meeting.  Of  course  a similar  series  of  tests  should  be  made  with 
the  alkaline  developer.  The  alkaline  developer  is  said  by  its 
advocates  to  be  superior  to  the  iron  developer  so  far  as  latitude 
is  concerned.  This  may  be  true  so  far  as  under-exposure  is  con- 
cerned, but,  judging  from  the  foregoing  experiments,  1 feel 
inclined  to  doubt  it  in  reference  to  over-exposure. 


FROM  TREVES  TO  HANOVER. 

BY  J.  H.  T.  ELLEKBECK.* 

The  direct  route  to  Brussels  is  too  common  to  merit  remark. 
Belgium  itself  is  worthy  of  a special  note.  I will,  therefore, 
commence  at  Treves,  specially  and  solely  interesting  on  account 
of  the  grand  remains  of  Roman  architecture. 

First  in  rank  is  the  Porta  Nigra,  supposed  to  have  been  built 
by  Claudius  as  early  as  the  year  700  for  military  defence.  After 
many  vicissitudes  it  was  restored  early  in  this  century  by  govern- 
ment to  the  state  in  which  it  now  stands.  Next  in  interest  is  the 
Amphitheatre,  in  a very  fair  state  of  preservation,  formerly  capa- 
ble of  seating  60,000  spectators.  The  gateways  leading  to  the 
dens  can  be  plainly  seen  in  the  photograph.  Near  the  Amphi- 
theatre is  the  Roman  Baths,  so  called  ; but  it  is  doubtful  if  they 
were  ever  used  as  such,  but  more  probably  as  a palace.  The 
Cathedral,  formerly  a palace,  has  a disappointing  exterior.  The 
Liebfrauenkirche  is  pretty,  but  too  cramped  to  photograph,  and 
requires  a north  light.  A few  miles  from  here  is  the  Igelsaiile,  or 
column  of  Igel — the  most  remarkable  of  the  old  relics  in  Ger- 
many, or  even  Europe,  and  partly  so  because  shrouded  in  mys- 
tery as  to  its  purpose.  The  legend  is  that  it  was  raised  to  the 
memory  of  a merchant’s  son,  who,  with  his  bride,  was  drowned 
on  their  wedding  day. 

From  Treves  to  Berncastel  by  boat.  The  town  is  in  itself  not 
particularly  interesting,  being  mostly  new,  or  nearly  so  ; but  the 
valley  behind  Tiefenthal  is  one  of  the  prettiest  and  most  remintic 
in  this  district,  and  affords  a fine  view  of  the  old  ruins  of  Lands- 
hut.  It  is  well  worth  a half-day’s  camera  work.  I commenced 
my  walk  here,  first  putting  wheels  to  my  box.  I may  here  ex- 
plain that  I carried  the  bulk  of  the  impedimenta  (in  all  about 
140  lbs.)  in  a large  and  strongly-made  box,  to  which  I could  in 
five  minutes'  time  fix  an  axle  and  pair  of  wheels,  and  also  a 
perambulator  handle.  Thus  I was  independent  of  help,  and 
trudged  along  at  the  rate  of  fifteen  miles  a day  comfortably,  with 
a weight  of  perhaps  eighty  to  one  hundred  pounds.  Three  or 
four  wheels  would,  however,  be  preferable,  as  having  to  balance 
the  whole  takes  too  much  attention.  Two-wheelers  or  four- 
wheelers  count  only  by  weight  on  the  Continent,  so  that  it  is  no 
more  expensive  by  rail. 

From  Berncastel  the  route  along  the  river  increases  in  interest, 
though  occasionally  tame.  Many  pretty  villages — often  buried 
in  orchards,  though  more  frequently  backed  by  vineyards — are 
passed.  I put  up  at  Kinheim,  a large  village  with  a good  view. 
Some  old  streets  and  farmhouses  here  are  worth  doing,  but  the 
weather  was  unfortunate.  Later,  we  reach  Narbacb,  commanded 
by  the  ruins  of  Grafinburg,  and  presenting  many  good  views. 
Grafinburg  derives  its  name  from  the  Countess  or  Griifin  von  Star- 
kenburg,  who,  it  is  supposed,  built  this  castle.  The  lady,  not 
satisfied  with  defending  herself  when  necessary,  attacked  the 
archbishop  of  Treves  for  some  insult,  real  or  fancied,  and,  defeat- 
ing him,  confined  him  in  her  castle  dungeon  for  some  eighteen 
months,  releasing  him  only  on  payment  of  a large  ransom,  with 
which  this  castle  of  Narbach  was  erected  for  her  own  use,  when 
her  son,  coming  of  age,  took  possession  of  Starkenburg  on  the 
hills  close  by. 

The  road  from  Narbach  to  Alf  is  very  interesting,  but  not  so 
strikingly  pictures  as  to  be  worth  walking,  so  I saved  a day  by 
riding.  This  would  be  well  worth  two  or  three  plates.  A trial 
from  the  carriage  was  a failure,  as  the  jolting  interfered  some- 
what with  the  steadiness  of  the  camera.  Several  good  views 
are  also  obtainable  of  the  Marienberg,  round  which  the  river 
winds  very  considerably — so  much  so  that  any  one  leaving  the 
boat  at  Alf  can  walk  up  to  the  ruins,  drink  a " Schoppen  of 
Wein  ”at  the  inn,  and  meet  the  steamer  at  the  other  side  without 
hurry.  A beautiful  winding  valley  leads  from  Alf  to  Bertrich, 

* Read  before  the  Liverpool  Amateur  Photographic  Association. 


Februabv  2,  1883."] 


THE  PHOTOGRAPHIC  NEWS. 


69 


passing  the  ruins  of  Burg  Arras.  Bertrich  itself  is  not  a bad 
one  and  not  much  frequented,  but  its  situation  is  attractive. 
There  is  here  an  elfin  grotto,  or  Kase  Keller,  so  called  from  the 
peculiar  cheese-shaped  basaltic  rocks  and  a very  pretty  little 
fall,  only  there  was  no  water  in  it. 

To  Beilstein  is  sixteen  miles  by  road.  Passing  through  Eller 
I met  with  a most  singular  and  unprecedented  occurrence. 
Having  been  three  hours  on  the  way,  and  perfectly  free  from 
shelter  from  the  sun’s  rays,  the  sight  of  a hotel  made  one’s 
mouth  water.  Judge,  now,  of  my  surprise  when  refused  a bottle 
of  wine  because  it  was  church  time.  I did  not  even  know  it 
was  Sunday,  and  am  doubtful  of  it  to  this  day.  It  must  have 
been  a saint’s  day.  I cannot  account  for  it,  but  so  it  was. 
Beilstein  is  most  artistically  placed.  The  old  castle  stands  on 
the  brow  of  a hill  overlooking  the  village,  which  flows  out  of  the 
valley  like  a glacier.  The  views  of  both  village  and  river  are 
eminently  picturesque  from  whichever  point  seen.  I regretted 
it  was  not  more  visited,  as,  being  the  only  one,  in  the  hotel, 
where  they  get  one  visitor  a week  (perhaps),  I could  get  nothing 
for  dinner,  and  had  to  content  myself  with  bread  and  wine  till 
bedtime.  Beilstein  to  Cochen  is^not  more  than  five  or  six  miles, 
but  is  by  far  the  most  beautifui  portion  of  the  river.  The  rocks 
are  higher  and  approach  near  the  river.  Cochen  itself  is  well 
situated,  almost  at  the  foot  of  a fine  and  still-inhabited  pile, 
formerly  a monastery. 

I went  by  rail  from  here  to  Hatzenpost,  where  I advise  no 
one  to  put  up,  for  the  village  is  a mile  from  the  station,  and  the 
accommodation  poor ; though,  as  hotel  bills  only  come  to  about 
two  shillings  and  sixpence  a day,  there  is  some  compensation. 
Mosel  Kern,  between  the  two,  is  better,  and  is  at  the  entrance 
of  the  charming  valley  of  Eltz,  through  which,  after  a walk  or 
scramble  of  four  mileb  over  brooks  and  through  woods,  one 
comes  suddenly  to  Schloss  Eltz,  one  of  the  best  preserved  of  the 
inhabited  castles  of  the  middle  ages.  It  stands  upon  the  summit 
of  a conical  hill  in  the  middle  of  a valley,  only  a narrow  neck  of 
land  joining  it  to  the  table  land  around,  where  is  the  ruin  of  a 
castle  built  by  the  Archbishop  Baldwin,  of  Treves,  to  combat 
and  overcome  the  Count  of  Eltz  ; but  he  did  not,  for  the  bishop 
got  the  worst  of  it.  This  was  the  same  bishop  who  waged  war 
against  the  Grafin  von  Starkenburg,  of  whom  I spoke  just  now. 

From  Hatzenpost  to  the  Rhine  at  Coblentz  the  river,  although 
always  pretty,  deserves  no  special  notice. 

Having  in  view  a figure  study  for  our  competition,  I kept  a 
sharp  look  out  for  the  “ peasant  girls  with  bright  blue  eyes," 
but  am  afraid  they  have  died  out  since  Byron’s  time,  and  the 
“ hands  that  offer  early  flowers,”  are  generally  coarse  with  manual 
labour.  At  best  they  are  but  a pleasant,  homely  folk,  dressed 
very  like  our  own  English  girls. 

I crossed  the  Rhine  by  rail  to  Oberlahnstein.  I had  intended 
to  spend  a day  on  the  river,  doing  some  instantaneous  views 
from  the  boat ; “ but  one  thing  lacked  these  banks  of  Rhine,” 
and  old  memories  made  the  place  distasteful  to  me.  The  rail- 
way runs  mostly  along  the  banks  of  the  Lahn,  from  Nieder- 
lahnstein,  through  Ems,  to  Nassau,  and  is  pretty  all  the  way. 
The  old  castle  of  Nassau  stands  a prominent  object  in  the  view. 
I walked  from  here  to  Burghangenau,  in  the  basin  of  a beautiful 
valley.  Further  on  the  monastery  of  Arnstein.  Both  are  in 
the  same  view,  and  most  picturesque.  A nearer  view  of  the 
latter  from  the  hill  and  from  the  river  is  well  worth  securing. 
Hence  to  Baldwinstein,  with  the  fine  Castle  of  Schaumberg  on 
the  heights  ; and  the  old  ruins  in  the  narrow  valley  ; Dietz  with 
its  old  castle  and  bridge  ; and  then  Limburg,  whose  sole  attrac- 
tion is  its  cathedral,  erected  in  the  tenth  century,  and  well 
worth  delay,  and  a beautiful  view  from  the  bridge  at  the  back 
of  the  town  by  evening  light.  Dietkirchen  is  only  three  miles 
further,  with  an  old  church  on  the  top  of  the  hill ; then  Lohn- 
berg,  with  its  castle.  Runkel  is  well  worthy  of  a photographic 
visit.  The  ruins  are  superbly  placed  above  the  town  and  river, 
and  a good  picture  is  also  had  from  above.  Weilberg  is  the  last 
place  worthy  of  note,  except  Witzlar,  at  the  junction  of  the 
Cologne  line. 

The  whole  journey  along  the  river  from  the  Rhine  to  Weilberg 
is  exceedingly  beautiful  and  replete  with  interest,  surpassing  the 
Moselle,  but  has  no  boat  navigation  for  passengers.  Giessen,  the 
junction  on  the  Frankfort  and  Cassel  line,  is  an  old  town,  but 
too  prosperous  now  to  offer  any  attraction  to  an  artist.  The 
journey  north  affords  little  to  interest,  and  is  tedious  on  account 
of  the  slow  rate  of  the  trains ; they  seldom  go  quicker  than 
twenty-five  miles  an  hour,  and  the  stopping  trains  are  awful. 
I ended  the  day  at  Herzberg,  which  is  at  the  entrance 
of  the  Sieberthal,  which  is  pretty  clean  and  prosperous — a com- 


bination very  unfrequently  seen  ; also  Osterode,  ten  miles  hence 
by  rail.  Here  the  olden  streets  are  full  of  quaint  black  and 
white  houses,  but  do  not  fulfil  the  impression  formed  by 
Baedeker’s  description  of  the  spot.  Railways  and  prosperity 
soon  destroy  the  beauty  of  a place  as  far  as  the  ordinary  sight- 
seer is  concerned,  and  the  occasional  peeps  into  the  past  through 
t.he  old  relics  only  make  the  modern  streets  and  houses  more 
hideous,  proving  plainly  that  in  architecture  at  least  we  have 
not  progressed. 

To  St.  Andreasburg,  through  the  Sieberthal,  is  twelve  miles — 
a small  town  in  a wild  and  romantic  situation.  So  Baedeker 
says,  but  this  is  misleading,  the  steepness  of  the  roads  being  the 
only  novelty.  I started  early  next  day,  intending  to  finish  at 
Elend  ; but  finding  nothing  to  do  on  the  road  except  Oderhaus, 
a village  of  three  houses,  I pushed  on  to  Shierke,  and  was  still 
disappointed.  I made  for  Ilsenberg,  another  ten  miles  distant. 
This,  however,  I found  too  much,  so  turned  aside  and  put  up  at 
the  Brocken.  This  noted  spot  is  “ a delusion  and  a snare." 
The  witches  no  longer  visit  it,  and  a more  uncomfortable  hotel  I 
do  not  remember.  The  feeling  of  being  suspected  at  every  turn 
is  very  annoying,  for  everything  has  to  be  paid  for  as  you  get  it. 
Beer,  dinner,  bed,  and  breakfast  mean  so  many  distinct  payments. 
No  doubt  they  have  learned  by  experience  the  forgetfulness  of 
mankind,  and  students  are  here  the  most  frequent  visitors. 

Through  the  Ilsethal  to  Ilsenberg — a pretty  valley,  they  say  ; 
but  all  the  roads  through  the  Harz  mountains  are  so  lined  with 
trees  that  for  miles  nothing  else  can  be  seen.  If  owners  of 
mountains  in  Ireland  or  elsewhere  would  take  a “ wrinkle  ” from 
Germany  it  would  be  a great  blessing  for  themselves  and  the 
people  ; there  is  no  poverty  here. 

I pushed  on  again  to  Harzburg,  six  miles  further — an  un- 
interesting walk.  Harzburg  is  a true  watering  place,  very 
artificial,  but  still  pretty,  for  the  hills  remain . From  Harzburg 
through  a valley  similar  to  others,  except  that  it  contains  the 
Radau  fall,  about  a hundred  feet  high,  which  I almost  suspect  of 
being  artificial  also.  Only  when  the  Okerthal  is  reached  is  the 
walk  worth  the  labour  and  worthy  the  description  given  of  it, 
and  that  is  almost  spoilt  by  want  of  water,  the  river  being  nearly 
drained  to  supply  the  mills  along  its  banks.  Oker  itself  is  worth 
a picture  or  two.  Goslar  is  reached  by  rail,  and  here  my  catalogue 
of  disappointments  reached  its  climax  ; for  the  Kaiserwirth  Inn, 
undoubtedly  the  finest  building  in  the  town,  was  covered  with 
scaffolding.  The  town  is  full  of  pictures,  too  numerous  to  men- 
tion. 

I went  back  considerably  by  rail  to  Thale  for  the  Bode  Thai, 
the  only  valley  which  approaches  grandeur.  It  is  in  the  Bode 
Thai  that  all  the  pictures  representing  the  Harz  mountains  are 
found,  and  it  is  certainly  worthy  of  its  reputation.  The  extent 
is  not  great — five  miles,  perhaps — but  replete  with  all  the  glories 
of  a narrow  winding  rocky  valley,  changing  almost  every  hundred 
yards,  rocks  of  the  most  fantastic  shapes  well  wooded  ; the  path 
sometimes  ascends  the  hill  side,  sometimes  descends  almost  to  the 
river,  and  once  is  crossed  by  the  inevitable  Devil’s  Bridge,  which, 
like  all  his  majesty’s  productions,  is  in  a most  romantic  situation. 
I walked  back  in  early  morning  over  the  same  ground,  and  under- 
stood how  it  is  that  the  early  bird  catches  the  worm  ; for  it  was 
impossible  to  get  along  quickly  without  sending  some  to  their 
last  home. 

Hence  to  Halberstadt,  another  old  town  full  of  interest ; but 
by  an  accident  I lo3t  all  my  pictures  of  this  place.  Beware  of 
postal  vans.  If  you  want  a sample  of  spiteful  rudeness,  the 
drivers  of  these  red  waggons  stand  prominent.  Twice — once  in 
Paris,  once  here — they  have  gone  out  of  their  way  to  stand  im- 
mediately between  the  camera  and  the  object — no  doubt  taking 
their  tone  from  those  above  them.  I don’t  think  I moved  a yard 
in  this  place  without  a guard  of  honour  (?)  throughout  the  whole 
day.  A thirst  for  knowledge  is  praiseworthy,  but  when  it  shows 
itself  by  peering  into  the  lens  when  you  are  focussing,  and 
examining,  and  making  remarks  on  your  traps  with  a crowd  of  a 
dozen  or  eighteen  round  you,  it  ceases  to  be  amusing  to  the 
operator  after  a little  time. 

Hildesheim — the  finest,  perhaps,  of  these  old  towns,  rich  in 
relics  of  ancient  architectural  skill — brings  nearly  to  a close  my 
wanderings.  Of  the  public  buildings  I failed  to  get  good  photo- 
graphs, but  outside  these  more  renowned  objects.  Here  are  two 
— Little  Venice,  as  it  is  here  called,  and  the  Roman  emperor’s 
house — a small  place  in  a cramped  street,  covered  over  with 
carvings  of  figures,  many  life-size,  out  of  black  oak. 

Brunswick  also  contains  many  old  and  fine  buildings,  and  fur- 
nishes some  half-dozen  pictures. 

Hanover  is  hardly  worth  a call ; the  place  is  thronged  with 


70 


THE  PHOTOGRAPHIC  NEWS. 


[February  2,  1883. 


military.  Hanover  is  evidently  head-quarters  for  the  aristocracy, 
for  whose  energies  the  only  outlet  is  the  army.  It  is  a pity  they 
and  their  brethren  in  other  countries  could  not  find  some  better 
occupation  for  their  time.  We  talk  much  of  finding  occupation 
for  women,  whoso  work  should  be  at  home  ; could  not  employ- 
ment he  found  for  these  people  without  draining  the  resources  of 
the  country  to  keep  them  in  insolence  and  idleness  ? 


ON  A NEW  LIGHT. 

BY  LEON  WARNERKE.* 

I do  not  know  whether  I ought  to  apologise  for  introducing  a 
subject  which,  although  of  great  general  interest  at  the  present 
moment,  has  not  a very  direct  relation  to  photography.  Con- 
sidering, however,  that  indirectly  it  is  in  many  ways  already 
applied  to  the  practice  of  photography,  and  that,  if  properly 
developed  with  a view  to  this  application,  it  may  be  still  more 
useful,  I unhesitatingly  bring  it  now  before  this  meeting. 

This  new  light  is  the  invention  of  a friend  of  mine,  Coptain  A. 
de  Khotinsky,  of  St.  Petersburg.  About  eighteen  months  ago, 
through  the  agency  of  a company,  of  which  the  inventor  was  the 
chief,  a great  many  shops,  private  and  public  residences,  halls, 
hotels,  streets,  and  places  in  St.  Petersburg  were  lighted  by  this 
new,  elegant,  brilliant  white  light,  which  attracted  the  attention 
of  everybody.  While  nnder  the  favourable  impression  produced 
by  this  new  system  of  illumination,  I felt  desirous  of  introducing 
it  into  my  London  house ; and  I became  the  owner  of  a lamp  for 
my  library  table. 

Some  of  my  friends,  who  have  seen  the  lamp  in  question, 
indnced  me  to  show  it  to  this  Society,  which  I do  the  more 


and,  moreover,  this  light  radiates  all  round.  How  very  steady 
and  brilliant  is  the  light  now  before  you  can  be  judged  by  com- 
paring it  with  the  full  gas  sun-lights,  gorgeously  illuminating 
this  room.  A variety  of  lamps  are  used,  according  to  their 
destination,  such  as  brackets,  girandoles,  table,  and  other  forms. 
When  coal  gas  is  not  to  be  obtained,  it  can  he  superseded  by 
paraffin,  spirit,  or  other  form  of  lamp.  In  St.  Petersburg,  it  is 
in  use  at  the  State  Paper  Manufactory,  where  colour-printing  is 
executed  on  a very  large  scale.  In  the  shops  where  coloured 
silks  and  other  fabrics  are  sold  the  advantage  of  the  new  white 
light  is  especially  appreciated.  Mr.  Lewitsky  has  an  idea  of 
using  this  light  in  his  retouching-rooms,  where  white  and  steady 
light  is  of  paramount  importance.  It  can  also  be  used  for  the 
optical  lantern,  which  is  largely  used  for  educational  purposes. 
The  lamps  for  this  purpose  are  specially  constructed.  The  size 
and  shape  of  the  burners  and  prisms  are  made  in  great  variety,  so 
as  to  give  light  from  25  to  300  candles. 

There  are  also  some  special  lamps  constructed  for  use  under 
water,  by  divers,  also  for  mines,  and  for  places  where  no  com- 
bustible gas  can  be  used,  and  for  powder  magazines. 

These  lamps  are  hermetically  closed  glass  vessels,  having  a 
spirit  or  paraffin  lamp  and  a small  tube  connected  with  the 
reservoir  of  oxygen.  The  products  of  combustion  partly  accumu- 
late in  the  shape  of  water  in  a specially-reserved  space,  and  gases 
escape  through  capillary  openings  which  permit  the  passage  of 
the  gases  but  not  of  the  water. 

A manufactory  of  oxygen  is,  however,  the  foundation  stone  of 
this  new  system  of  illumination.  Captain  A.  de  Khotinsky  has 
succeeded  in  perfecting  the  system  of  production  of  oxygen  to 
such  an  extent,  that  it  will  be  possible,  if  only  one  small  manu- 
factory is  established  in  London,  to  produce  oxygen  at  the  rate  of 
20,000  cubic  feet  daily,  at  a cost  of  7s.  per  1,000 
cubic  feet  (this  inclndes  the  cost  of  materials,  10 
per  cent,  on  capital,  wages,  taxes,  repair  of  ovens 
and  machines). 

The  cost  of  refractory  prisms  is  4s.  per  100. 

This  is  the  comparative  cost  of  the  new  light 
per  hour,  based  on  the  previous  data  : — 


25-candle  burner  will 
consume  oxygen 
25-candle  burner  will 
consume  ordin.  gas 


1,755  cubic  inches, 
cost  

1 cubic  foot 


0070 

0038 


0108 


Burner  used  for  ordinary  Lamp. 


Lamp  to  be  used  in  Mines  or 
Powder  Magazines. 


readily,  owing  to  the  accidental  presence  of  the  inventor  in 
London,  and  to  his  kind  offer  to  help  me  in  the  (to  me)  new 
manipulations,  and  to  his  supplying  me  with  some  data  having 
relation  to  his  manufactory  in  St.  Petersburg. 

This  new  light  is  an  improved  system  of  the  Drummond  light ; 
viz.,  it  is  produced  by  heating  to  incandescence  a refractory  prism 
of  a peculiar  construction. 

As  in  the  Drummond  light,  combustion  is  produced  by  oxygen 
and  ordinary  coal  gas ; however,  in  the  Drummond  light,  when 
streams  of  oxygen  and  hydrogen  gases  are  directed  under  pressure 
on  to  the  lime-cylinder,  it  will  be  soon  observed  that  a cavity  is 
formed  in  the  lime,  necessitating  either  a clockwork  arrangement 
to  rotate  the  lime,  or  else  constant  attention  to  move  it  by  hand. 
The  shape  of  lime,  and  further  the  cavity  formed,  cause  the  light 
to  be  directed  to  a certain  limited  space  before  the  apparatus. 
The  lime  itself  is  used  up  in  a very  short  time,  and  is  very  soon 
rendered  useless  by  the  action  of  air  and  moisture.  In  the  new 
light  the  novelty  consists  in  the  following : — The  refractory 
material  has  the  shape  of  a prism  or  pencil  made  of  a specially- 
prepared  magnesia  compound,  which  is  unaffected  by  air,  and  is 
even  not  spoiled  by  water ; it  stands  the  temperature  so  well  that, 
although  it  looks  so  delicate  and  thin,  it  will  remain  burning  for 
300  hours.  A stream  of  oxygen  and  coal  gas  under  very  low 
pressure*  (8  inches  of  water)  is  directed  on  to  the  axis  of  the 
prism,  which  becomes  incandescent,  and,  unlike  the  Drummond 
fight,  it  is  not  a point,  but  a line  of  light  of  about  2 inches  long, 

* Rfad  before  the  Photog-riphio  Society  of  Great  Britain. 
f“e  ordinary  preuure  of  gag.  as  supplied  by  a gas  company,  can  be 
considerably  reduced  by  opening  the  taps  yery  slightly. 


Total  ... 

The  same  amount  of  light  obtained  with 

12J  cubic  feet  of  ordinary  gas  will  cost  0-475 

By  comparing  these  data,  the  new  light  will  be 
cheaper  than  ordinary  gas  for  the  same  amount  of 
light. 

I conclude  my  paper  by  expressing  a wish  that 
we  may  soon  have  the  benefit  of  this  new  light 
as  being  much  superior  to  gas  or  to  the  incandes- 


in  London 

cent  electric  light,  whilst  it  is  also  more  simple  and  cheaper. 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  IX.-— The  Gelatine  Process— Continued. 

Formation  of  the  Developable  Image. — The  exposure  to 
light  has  the  same  effect  in  producing  a developable  image 
as  when  visible  darkening  occurs  ; it  reduces  the  silver  bro- 
mide or  iodide  to  sub-bromide  or  iodide  thus — 
2AgBr=AgjBr-|-Br 

Although  no  change  is  visible  on  the  plate,  as  might  be 
expected  since  the  sub-salts  are  dark  bodies,  the  evidence 
that  this  is  what  really  occurs  is  practically  conclusive  ; for 
instance,  Captain  Abney  has  found  that  the  spectra  produced, 
both  as  regards  their  limits  of  sensitiveness  and  relative  sensi- 
tiveness to  different  colours,  are  identical  either  when  a brief 
exposure  is  given,  and  the  image  developed,  or  when  a 
printed  image  is  produced  by  prolonged  exposure.  Dr. 
Eder  has  also  treated  the  developable  and  printed  images  on 
silver  chloride  with  various  reagents,  and  found  their 
behaviour  nnder  these  circumstances  to  be  the  same.  Thus 
he  finds  that  pretty  strong  nitric  acid  has  no  effect  on  either  ; 
that  hydrochloric  acid  destroys  both  ; that  Bulphuric  acid 
slightly  weakens  both,  and  many  similar  results  with  other 


Febhuahy  2,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


71 


substances.  The  reason  why  the  image  is  not  seen  is,  doubt- 
less, that  the  quantity  of  sub-salt  formed  is  so  exceedingly 
small  compared  with  the  quantity  of  unreduced  salt  present. 
If  you  were  to  mix  a few  grains  of  black  paint  with  a pint  of 
white  paint  you  would  not  expect  to  be  able  to  distinguish 
it ; and  the  two  cases  are  precisely  similar.  When  the  plate 
contains  only  silver  bromide,  the  bromine  set  free  combines 
with  the  gelatine  ; but  if  silver  iodide  be  also  present,  the 
free  bromine  displaces  iodine  from  it,  forming  a new  com- 
pound, silver  brom-iodide,  thus — 

Br-|-2AgI=:AgjBrI-|-I 

The  iodine  in  this  case  combines  with  the  gelatine. 

Alkaline  Pyrogallic  Development. — The  conditions  usually 
required  in  development  are,  that  it  should  give  a good 
quality  image  with  the  shortest  possible  exposure.  Alkaline 
pyrogallic  development  consists  essentially  in  immersing 
the  exposed  plate  in  a solution  of  pyrogallic  acid  rendered 
alkaline,  usually  with  ammonia,  until  an  image  is  produced 
of  the  required  character.  A small  quantity  of  potassium 
or  ammonium  bromide  is  also  generally  added.  The  func- 
tions performed  by  these  ingredients  should  be  very  carefully 
studied  and  mastered. 

Pyrogallic  Acid  (C6H603),  as  its  name  implies,  is  ob- 
tained by  beating  gallic  acid  ; the  latter  substance,  at  a 
temperature  of  about  415°  F.,  splits  up  into  carbonic  acid 
gas  and  a white  sublimate,  which  is  pyrogallic  acid.  It  is  a 
pure  white  snow-like  substance,  very  soluble  in  water,  alco- 
hol, and  ether.  In  the  dry  state  it  keeps  indefinitely,  but  in 
solution,  more  especially  in  water,  it  gradually  undergoes 
oxidation  by  absorption  of  oxygen ; it  has  a powerful 
affinity  for  oxygen  when  in  solution,  and  the  air  containing 
one-fifth  its  bulk  of  this  substance,  the  pyrogallic  acid 
slowly  absorbs  it,  forming  a dark  brown  substance.  It  is 
noticed,  also,  when  dissolving  pyrogallic  acid  in  ordinary 
hard  water,  that  the  solution  becomes  at  once  more  or  less 
brown:  this  is  due  to  the  pyrogallic  combining  with  the 
oxygen,  which  is  dissolved  in  ordinary  water  ; with  distilled 
water,  which  does  not  dissolve  oxygen,  this  immediate 
browning  does  not  occur.  In  virtue  of  this  same  affinity,  it 
abstracts  oxygen  from  many  of  its  compounds  ; a solution 
added  to  silver  oxide  immediately  abstracts  the  oxygen,  re- 
ducing the  silver  to  the  metallic  Btate. 

It  also  reduces  substances  containing  no  oxygen,  if,  by  doing 
so,  it  can  indirectly  obtain  it. 

This  equation  brings  us  to  the  explanation  of  its  developing 
power,  which  depends  mainly  upon  two  things  : 1st,  that 
it  reduces  silver  sub-bromide  (Ag;Br)  more  readily  than  it 
does  silver  bromide  (AgBr) ; 2nd , that  freshly-reduced  silver 
in  presence  of  silver  bromide  forms  silver  sub-bromide. 

I will  first  show  that  pyrogallic  acid  alone  will  develop 
an  image  if  sufficient  exposure  is  given,  and  then  explain 
what  occurs  [experiment], 

1st.  The  pyrogallic  reduces  the  silver  sub-bromide  formed 
by  the  action  of  light,  the  bromine  set  free  combining  with 
hydrogen  of  the  water  present,  forming  hydrobromic  acid, 
and  liberating  oxygen  to  combine  with  the  pyrogallic. 

2nd.  The  metallic  silver  thus  reduced  combines  with  the 
silver  bromide  to  form  twice  as  mush  sub-bromide  as  there 
was  previously. 

This  becomes  again  reduced  by  the  pyrogallic  as  before,  and 
so  the  action  goes  on  until  the  reduced  silver  extends  right 
through  the  film.  Obviously,  the  amount  of  silver  formed 
at  any  part  of  the  plate  depends  upon  the  amount  of  silver 
sub-bromide  present  at  that  part  when  the  pyrogallic  was 
added,  and  this  again  on  the  quantity  of  light  which  fell 
on  that  part  during  exposure,  so  that  the  image  produced 
represents  the  relative  quantities  of  effective  light  which 
fell  on  the  different  parts  of  the  plate.  It  might  be  expected 
from  this  explanation  that  the  image  would  have  a tendency 
to  spread  laterally,  as  well  as  through  the  film  ; and  io 
photographing  fine  lines,  it  has  been  found  that  thisactually 
does  occur.  Dr.  Vogel  has  found  that  an  ounce  of  pure 
pyrogallic  acid  is  sufficient  to  reduce  rather  more  than  an 
ounce  of  silver  bromide  to  the  metallic  Btate. 


Ammonia. — The  effect  of  adding  ammonia  or  other  alkali 
to  a solution  of  pyrogallic  is  to  greatly  increase  the  avidity 
with  which  it  absorbs  oxygen.  This  is  readily  shown  by 
shaking  up  a solution  of  pyrogallic  with  air,  which  does 
does  not  have  much  effect ; on  adding,  however,  a little 
ammonia,  it  absorbs  the  oxygen  very  rapidly,  becoming 
almost  black  in  colour,  and  an  insoluble  substance  soon 
separates  out.  When  ammonia  is  present  with  pyrogallic 
in  the  developer,  the  reaction  which  takes  place  is  not 
exactly  the  same  as  that  previously  given.  The  only  differ- 
ence is  that  ammonium  bromide,  instead  of  hydrobromic 
acid,  is  formed.  It  is  also  probable  that  the  ammonia  dis- 
solves a small  quantity  of  the  silver  bromide,  which  would 
be  immediately  reduced,  and  the  silver  precipitated  on  the 
image  in  a similar  manner  to  wet  plate  development.  It 
is  found  in  practice  that  the  use  of  ammonia  gives  density, 
which  confirms  this  opinion.  As  might  be  anticipated, 
the  use  of  ammonia  enables  the  exposure  to  be  very  much 
shortened ; the  quantity  cannot,  however,  be  indefinitely 
increased,  since  it  is  found  that  fog  occurs  if  the  quantity 
be  too  large. 

Potassium  or  Ammonium  Bromide. — The  addition  of  these 
substances  is  for  the  purpose  of  preventing  fog,  which  they 
appear  to  do  by  forming  a double  salt  with  the  silver 
bromide,  and  thus  rendering  its  reduction  more  difficult. 
They  are  also  used  in  cases  of  over-exposure. 

Now  let  us  see  what  effects  these  three  ingredients  have 
in  practice,  and  for  this  purpose  I have  here  an  arrange* 
ment  by  which  we  can  compare  any  two  plates  together  on 
the  screen. 

Normal  developer. — This  is  practically  of  the  same 
strength  as  Mr.  Edwards’,  with  the  exception  that  there 
is  only  half  as  much  pyrogallic.  It  is  a3  follows  : — 

Pyrogallic  1 grain  ] To  each 

Ammonia  ’881 2 minims  > ounce  of 

Potassium  bromide  ...  \ grain  J developer. 

With  the  normal  exposure,  which  we  will  call  one,  this 
was  found  to  give  a proper  image  [portrait]  with  one 
minute’s  development. 

Pyrogallic  Acid. — Here  are  nine  plates,  all  of  which  had 
the  normal  exposure  (one),  and  were  developed  with  the 
normal  quantity  of  ammonia  and  bromide,  but  with  differ- 
ent quantities  of  pyrogallic  acid  : what  do  they  teach  us  V 
First,  as  you  observe,  as  the  quantity  of  pyrogallic  in- 
creases, so  the  deusity  increases ; or,  more  particularly, 
that  a quarter  grain  to  the  ounce  gives  very  little  density 
in  four  minutes’  development,  while  one  grain  to  the  ounce 
gives  too  much  density  in  four  minutes ; further,  that  half- 
a-minute’s  development  with  one  grain  gives  nearly  the 
same  result  as  one  minute  with  half-a-grain ; and  one 
minute  with  one  grain  the  same  as  four  minutes  with  half- 
a-grain  ; so  that  a weaker  pyrogallic  developer,  if  given 
time,  produces  the  same  effect  as  a stronger  one  in  a 
shorter  time.  This  is  a similar  result  to  that  obtained  by 
Mr.  Swan  some  time  ago.  This  series  also  shows  us  that 
by  employing  weak  pyrogallic  solutions  we  get  beautiful 
soft  negatives,  full  of  detail,  which  answer  so  well  in  por- 
trait work  ; finally,  that  beside  the  difference  in  density, 
weak  pyrogallic  solution  gives  light-coloured  semi-trans- 
parent images,  while  the  strong  solution  gives  dense  black 
organic  films. 

Potassium  Bromide. — Here  are  nine  plates  all  exposed 
for  the  normal  time  (one),  and  developed  with  the  normal 
strength  of  pyrogallic  and  ammonia,  but  with  different 
quantities  of  potassium  bromide.  We  notice,  first,  that  as 
the  quantity  of  bromide  increases,  so  the  time  taken  for 
development  increases ; for  instance,  a plate  developed  with 
no  bromide  at  all  for  half  a minute  is  about  as  dense  as  one 
developed  with  the  normal  quantity  (a  quarter  grain)  for 
one  minute  ; while  the  latter,  again,  is  about  the  same  as  one 
developed  for  16  minutes  with  eight  grains  to  the  ounce. 
We  further  notice  that  as  the  bromide  increases  the  images 
become  harder,  show  more  contrast,  and  have  a general 


72 


THE  PHOTOGRAPHIC  NEWS. 


[Febbcakt  2,  1883. 


appearance  as  if  less  exposure  had  been  given  ; also  that 
those  developed  with  the  quarter-grain  solution  are  clearer 
than  those  developed  with  none  at  all.  From  these  facts  we 
learn  that  potassium  bromide  acts  as  a powerful  retarder  of 
development,  that  it  tends  to  destroy  detail,  and  acts  as  a 
preventive  of  fog. 

Ammonia. — Here  are  nine  plates  exposed  for  the  normal 
time  (one),  and  developed  with  the  normal  quantity  of 
pyrogallic  and  bromide,  but  with  different  quantities  of 
ammonia.  The  first  thing  we  observe  is,  that  increasing 
the  ammonia  increases  density,  but  only  to  a certain  extent, 
for  as  we  go  on  increasing  it,  the  density  again  falls  off. 
Why  is  this?  Unfortunately,  you  cannot  see  on  the  screen, 
but  on  examining  tbe  plates  it  is  found  that  solarization  or 
reversal  has  set  in,  although,  remember,  the  plates  have 
only  had  the  normal  exposure.  On  some  of  them,  there  is  a 
distinct  positive  picture  on  one  side  of  the  film,  and  a nega- 
tive picture  on  the  other;  also  on  some  of  these  plates, 
developed  with  a large  percentage  of  ammonia,  fog  has  set 
in,  so  that  we  have  exceeded  the  practical  limit.  We 
further  notice  that  as  the  ammonia  increases,  the  plates 
appear  as  if  they  had  bad  more  exposure. 

Variations  of  Exposure. — Since  we  find  that  a large 
percentage  of  bromide  gives  the  appearance  of  less  exposure, 
it  might  be  expected  that  it  would  prove  a cure  for  over- 
exposure. I have  several  examples  showing  this  ; for  in- 
stance, here  are  two  plates  exposed  four  times  as  much  as  they 
should  be  : one  is  developed  with  the  normal  developer,  and 
the  other  with  eight  grains  per  ounce  of  bromide  added.  The 
first  one,a8  you  observe,  is  hopelessly  over-exposed,  the  image 
being  hardly  visible;  while  the  second  one  is  all  right,  and 
on  comparing  it  with  one  which  has  had  the  normal  exposure 
you  can  hardly  distinguish  which  is  which  ; there  is  thus 
no  doubt  about  bromide  curing  over-exposure.  Finally,  we 
have  found  that  ammonia  gives  the  appearance  of  more  ex- 
posure, so  it  would  appear  to  be  a remedy  for  under-exposure. 
Here  are  two  plates  exposed  for  one-fourth  the  correct  time  ; 
one  developed  with  the  normal  developer,  and  the  other  with 
four  times  as  much  ammonia  added  (8  minims  to  ounce). 
On  looking  at  these,  a feeling  of  disappointment  is  experi- 
enced, for  although  the  second  is  better  than  the  first,  it  is 
nothing  like  what  it  should  be,  and  we  are  forced  to  con- 
clude that  there  is  no  cure  for  under-exposure.  Since  we 
know  that  with  sufficient  exposure,  increase  of  ammonia 
gives  apparent  increase  of  exposure,  the  reverse  of  this  ought 
to  hold — i.e.,  diminishing  the  ammonia  ought  also  to  cure 
over-exposure.  You  see  on  the  screen  a plate  which  has  had 
four  times  the  correct  exposure,  and  developed  with  the 
normal  developer ; and  another  one  exposed  the  same  time, 
but  developed  with  half  as  much  ammonia.  While  the  first, 
as  we  have  before  seen,  is  hopelessly  spoilt,  the  second  is  all 
one  could  wish,  and  on  comparing  it  with  one  correctly  ex- 
posed, it  is  hard  to  say  which  is  the  best.  Iu  conclusion,  we 
will  compare  the  over-exposed  plate  developed  with  more 
bromide  which  took  sixteen  minutes  to  develop,  with  that 
developed  with  less  ammonia  which  took  four  minutes  to 
develop,  with  the  result  that  the  latter  is  much  the  best. 


llfitfS. 

The  St.  Louis  Photographer,  we  are  glad  to  see,  is  about 
to  make  its  re-appearance  under  the  guidance  of  the  late 
Mr.  Fitzgibbon’s  family. 


There  is  to  be  an  International  Exhibition  at  Calcutta 
this  year,  to  open  on  the  1st  December.  Certificates  of 
honour,  gold,  silver,  and  bronze  medals,  will  be  awarded 
by  special  juries  of  experts,  and  as  photography  is  ad- 
missible, we  presume  the  art  is  to  share  in  these  honours. 
We  shall  publish  particulars  next  week. 


Professor  Donkin  has  been  well  advised  to  publish  his 
magnificent  Alpine  pictures.  It  is  rare  to  find  anyone  who 
is  once  an  intrepid  mountaineer  and  a good  photographer  ; 
but  when  we  get  such  a member  of  the  Alpine  Club,  his  re- 
sults are  worth  looking  at.  Piofessor  Donkin's  grand  pan- 
oramas of  the  higher  Alps,  his  sun-lit  snow  slopes,  his 
crystal  glaciers  sweeping  down  beside  the  huge  black  rockp, 
convey  all  the  charms  of  that  ice  bound  region. 

All  sorts  and  conditions  of  men  have  been  burlesqued  in 
their  time,  and  made  to  do  duty  on  the  stage  as  chorus — 
sailors,  soldiers,  policemen,  pages,  huntsmen ; even  the 
House  of  Peers  has  not  been  exempt,  as  witness  the  per- 
formance of  “ Iolanthe.”  A chorus  of  photographers  is 
the  latest  novelty,  it  seems,  for  in  Mr.  E.  Solomon’s  new 
piece  just  produced  at  New  York,  there  are  personated  all 
the  principal  representatives  of  the  art  in  New  York — 
Sarony,  Mora,  Kurtz,  Flack,  &c.— who  are  entrusted,  we 
are  told,  with  some  exceedingly  funny  music. 


The  sea-serpent  has  again  made  its  appearance,  this  time 
in  the  columns  of  Nature,  and  the  observers  give  some  very 
precise  observations  respecting  it.  Its  speed  through  the 
water  was  some  thirty  miles  an  hour,  its  length  200  feet, 
its  colour  black,  and  its  motion  corkscrew-like.  Added  to 
all  this,  they  supply  a sketch  of  the  wonderful  animal. 
What  a pity  it  wasn’t  a photograph  1 

M.  Butlerow  has  made  a communication  to  the  Russian 
Chemical  Society  which  is  likely  to  interest  photo- 
graphers. In  conjunction  with  M.  Rizza,  he  has  studied 
the  atomic  weight  of  chlorine  in  the  dark,  and  after  ex- 
posure to  the  sun’s  rays.  The  change  noted  has,  obvi- 
ously, a direct  bearing  upon  the  formation  of  the  photo- 
graphic image. 

A case  of  some  importance  has  been  decided  at  Notting- 
ham. A firm  of  photographers — or,  rather,  several  firms — 
announced  a lottery  or  “grand  distribution  of  prizes.” 
The  tickets  were  one  shilling  each,  and  eligible  to  win 
certain  prizes,  but,  apart  from  this,  entitled  every  holder  to 
receive  a cabinet  portrait  of  himself.  The  Treasury  took 
proceedings,  maintaining  that  an  illegal  lottery  was  in- 
volved, while  the  photographers,  in  defence,  declared  that 
a fair  shilling’s  worth  was  given  for  the  shilling,  in  the 
shape  of  a portrait,  and  that  the  prizes  were  really  free 
gifts  over  and  above  the  portrait.  The  Court,  in  the  end, 
found  for  the  Treasury,  but  inflicted  only  a nominal  fine. 


Lecturing  at  the  Society  of  Arts  on  Tuesday  evening 
last,  Mr.  O’Donovan  remarked  that  the  only  European 
(except  himself)  who  had  set  foot  in  the  city  of  Merv  since 
its  occupation  by  the  Turcomans,  was  a French  photo- 
grapher ; he  was  not  there  by  his  own  free  choice,  however, 
but  had  been  taken  prisoner. 

It  would  be  interesting  to  know  whether  the  officials 
who  photograph  criminals  are  bound  down  by  red  tape  rules 
and  regulations  to  use  only  the  now  antiquated  collodion 
process.  The  other  day  the  Recorder  of  Liverpool  had 


Febbuaby  2,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


73 


before  him  a hawker  who  was  charged  with  some  offence, 
and  it  was  stated  that  when  the  prisoner  was  placed  before 
the  camera  to  have  his  portrait  taken,  he  indulged  in  such 
grimaces  and  contortions  of  the  features  that  it  was  found 
impossible  to  photograph  him.  The  Recorder  enquired 
how  it  was  that  an  instantaneous  process  was  not  used  ; 
whereupon  the  warder  explained  that  the  necessary 
appliances  had  not  yet  been  supplied.  Cue  would  imagine 
from  this  that  the  “ necessary  appliances  ” included  the 
purchase  of  an  entirely  new  set  of  apparatus.  What  a 
pity  it  is  the  Recorder  did  not  know  enough  of  practical 
photography  to  point  out  that  a dozen  dry  plates 
could  be  purchased  for  half-a-crown,  and  developing 
materials  sufficient  for  a good  many  more  for  a shilling. 


Photographers  will  be  delighted  to  hear  that  the  Photo- 
graphic Exhibition  is  still  open  at  5.\,  Pall  Mall  East— at 
least,  this  is  what  the  Evening  News  daily  tells  those 
readers  who  happen  to  glance  over  its  “ List  of  Amuse- 
ments.” 


Dark  rooms  are  not  usually  associated  with  dark  deeds  ; 
but  in  the  case  of  the  Kersley  murder,  tried  at  Manchester 
last  week,  it  seems  that  the  assassin  availed  himself  of  the 
darkness  of  a photographic  laboratory  used  by  his  master, 
a Mr.  Ansdell,  in  order  to  shoot  the  housekeeper.  Armed 
with  a gun,  the  murderer  secreted  himself  behind  the 
curtain  of  the  dark  room  attached  to  Mr.  Ansdell’s  studio, 
close  to  which  the  housekeeper  had  to  pass  on  her  way  to 
the  dining-room,  and  was  thus  enabled  to  carry  out  his 
design  unobserved.  He  seems  to  have  been  discovered, 
however,  afterwards  in  the  dark  room,  and  hence  his  arrest 
and  trial. 

The  legal  authorities  in  Germany  seem  to  act  both  with 
intelligence  and  decision.  When  the  steam  ship  Sultan 
arrived  in  Hamburg,  after  her  unfortunate  collision  with 
the  Cimbria,  not  only  were  the  captain  and  chief  officer  at 
once  arrested,  but  photographs  were  immediately  ordered 
of  the  vessel,  so  that  its  actual  condition,  in  respect  to  any 
damages  it  might  have  suffered,  should  be  impartially  re- 
corded. Thus  the  statement  of  the  Sultan's  captain  that 
his  own  craft  was  so  heavily  damaged  near  the  water  line 
as  to  be  in  imminent  danger  of  sinking,  will  be  confirmed 
or  otherwise  by  the  photographs  laid  before  the  Court  of 
Enquiry. 


Depicting  a craft  after  collision,  to  record  injuries,  is  an 
application  of  photography  by  no  means  new,  and  in 
Liverpool  and  other  sea-ports  photographers  are  often 
called  upon  to  do  such  work.  As  collisions  involve  law 
proceedings,  and  claims  for  compensation  usually  follow, 
the  value  of  trustworthy  evidence  that  no  one  can  gainsay 
is  of  the  utmost  importance,  and  this  the  camera  furnishes. 
Moreover,  the  services  of  a photographer  dispense  with  the 
more  expensive,  tedious,  and  less  satisfactory  evidence  of 
technical  experts,  while  the  repairing  of  the  damaged  ship 
need  not  be  delayed. 


Groups  from  the  back.  “ Why  should  groups  be  taken 
from  the  front  always,  and  never  from  the  back  ? Look 
at  the  enclosed  picture  ; you  see  I have  placed  my  models 
with  due  care,  the  centre  figure  in  an  arm  chair,  and  the 
others  posed  around,  forming  a picturesque  party.  In  a 
word,  I have  done  everything  exactly  in  the  old-fashioned 
manner  as  regards  posing  and  grouping  ; only,  when  all  is 
ready,  instead  of  setting  up  my  camera  in  front  of  my 
models,  I place  it  behind  them.  The  result,  I am  sure,  is 
quite  as  attractive  ; and  if  you  only  knew  the  models 
intimately,  you  would  say  the  likenesses  were  quite  as 
striking  as  from  the  frout.  In  fact,  I maintain  there  is 
more  character  in  a person’s  back.  Look  at  the  sitting 
figure’s  bald  head  ; look  at  the  creases  in  the  back  of  the 
man  on  his  right;  or,  better  still,  look  at  the  gentleman 
with  his  hand  to  his  whiskers,  who  is  leaning  gracefully 
against  the  arm-chair.  Believe  me,  this  new  style  of 
group-picture  will  be  a very  taking  one.  I make  you  a 
present  of  it.” 

Chacun  a son  gout.  In  a little  book  on  “Norway  in 
June,”  by  Mrs.  Stone,  the  lady  mentions  “John’s” 
ingenious  non-actinic  method  of  changing  his  photographic 
plates  under  the  bed-clothes.  We  used  to  get  under  the 
bed,  we  remember,  to  do  the  same  thing,  when  we  visited 
Norway  some  time  ago;  but  that  was  before  the  days  of 
gelatino-bromide,  and,  on  the  whole,  we  think  “ John’s  ” 
plan  is  decidedly  a better  one  of  circumventing  the  in- 
convenience of  the  midnight  sunshine. 

A paragraph,  intended,  no  doubt,  to  astonish  still  further 
those  who  wonder  over  the  military  genius  of  our  German 
cousins,  appeared  last  week  in  most  of  the  daily  papers, 
to  the  effect  that,  “ by  means  of  an  electric  apparatus,  a 
plate  had  been  secured  in  less  than  a second  ” during  some 
photo-balloon  experiments  undertaken  by  German  officers 
in  Berlin.  This  was  done,  too,  “ in  spite  of  a rapid  rise,” 
and  from  a height  sufficient  to  be  out  of  range  of  fire. 
The  explanation  doubtless  is,  that  a couple  of  ciphers  have 
been  omitted  by  the  sapient  correspondent,  and  that  the 
exposure  was  less  than  a hundredth  of  a second.  We  dare 
say  our  friend  Dr.  Vogel  could  tell  us  the  rights  of  the 
case. 


By  the  way,  this  is  the  first  time  we  have  heard  of  the 
German  Engineers  taking  up  photography.  Germany  has 
hitherto  relied  upon  professional  photographers  to  help  her 
in  time  of  war,  when  there  was  any  need  for  camera  work. 
During  the  last  Franco-German  war,  a good  deal  of  photo- 
graphy was  done  in  connection  with  surveying  and  recon- 
noitering  both  before  Strasburg  and  Paris,  and  in  this  case 
the  officers  and  soldiers  told  off  for  the  duty  were  assisted 
by  Herr  Schwier,  the  present  editor  of  the  Ztitung.  Dr. 
Vogel  was  called  out  for  service  also,  but  his  duties,  if 
we  remember  rightly,  were  in  connection  with  the  medical 
department. 

“ Atlas,”  in  the  World,  remarks: — “ The  craze  for  ama- 
teurs taking  instantaneous  photographs  of  places  aDd  people 
is  rapidly  developing,  and  is  likely  to  lead  to  some  curious 


74 


THE  PHOTOGRAPHIC  HEWS. 


[February  2,  1883. 


revelations  and  results.  It  would  be  satisfactory  to  know 
whether  an  instantaneous  photograph  could  be  used  as  evi- 
dence in  a court  of  law.  If  so,  this  latest  invention  will  be 
one  of  the  most  important  facts  of  the  age.”  It  is  difficult 
to  see  what  the  World  means  by  this.  Have  not  photo- 
graphs been  accepted  over  and  over  again  as  evidence? 
What  is  there  to  prevent  an  instantaneous  photograph  being 
quite  as  capable  of  proving  the  truth  of  a statement  as  one 
which  requires  a minute’s  exposure?  “Atlas”  probably  knows 
little  of  photography  ; but  then  he  should  not  write  non- 
sense. From  the  hint  let  fall,  as  to  “curious  revelations,”  it 
may  be  inferred  that  “Atlas”  imagines  instantaneous  photo- 
graphs can  be  secured  in  drawing  rooms,  and  that  shortly 
amateurs  will  take  to  carrying  about  miniature  cameras  in 
their  waistcoat  pockets. 

An  enterprising  individual  tried  recently  to  make  a good 
use  of  a photograph.  While  the  Hounslow  sensation  was 
on,  he  went  to  the  office  of  a London  illustrated  paper,  and 
offered  to  sell  for  a guinea  what  he  stated  was  the  portrait 
of  the  medical  notoriety  in  the  case.  The  editor  was  very 
nearly  parting  with  the  money,  when  he  suddenly  recog- 
nised in  the  photograph  the  features  of  Dr.  Tanner!  It  is 
unnecessary  to  say  that  the  would-be  vendor,  iustead  of 
seeing  any  money,  was  quickly  shown  the  door. 


latent  Intelligence. 

Patent  Granted  in  Prance. 

150,143.  Chamussy,  for  “ Working  photographs.” — Dated  17th 
July,  1882.  Class  17. 

Patent  Granted  in  Italy. 

F.  Heyland,  of  Milan,  for  “ Photo-chromo-lithographic  silhou- 
ettes.”— Dated  12th  July,  1882. 

Patent  Void  by  Lapse  of  Time. 

336.  John  Robert  Johnson,  of  5,  Hay  market,  in  the  county  of 
Middlesex,  Director  of  the  Autotype  Printing  and  Publishing 
Company,  Limited,  for  “ Improvements  in  the  manufacture  or 
production  of  photographic  pictures.” — Dated  3rd  August,  1869. 
My  invention  consists  of  certain  improvements  in  the  operations 
by  which  photographic  pictures  in  carbon  or  other  pigments  are 
obtained.  These  operations  are  usually  as  follow  : — 

1.  The  mixing  of  the  pigment  with  gelatine  or  its  analogue, 
and  with  sugar  or  its  analogue,  and  with  bi-chromate  to  render 
the  compound  sensitive  to  light,  by  the  action  of  which  it  becomes 
insoluble  in  warm  water. 

2.  The  spreading  of  the  gelatine  upon  paper  or  other  “ support  ” 
to  form  a “tissue.” 

3.  The  mounting  of  the  tissue  after  it  has  been  exposed  to  light 
upon  the  paper  or  other  “support”  for  the  purpose  of  develop- 
ment, that  is,  for  the  removal,  by  washing , of  the  gelatine  which 
remains  unacted  upon  by  light,  leaving  that  which  has  been  acted 
upon  and  rendered  insoluble  to  constitute  the  picture.  If  the 

icture  be  retained  upon  the  paper  or  other  support  upon  which  it 
as  been  developed,  it  is  called  a permanent  “ support,’’  and  the 
images  of  the  picture  are  then  reversed.  In  this  case  it  has  been 
usual  to  employ  albumen,  coagulated  by  alcohol,  or  by  heat,  and 
gelatine  rendered  partially  insoluble  by  the  alums  as  the  cement- 
ing material. 

4.  To  avoid  the  objection  of  obtaining  reversed  pictures  it  has 
been  usual  to  mount  the  picture  upon  a “ temporary  support,”  in 
which  case  paper  is  prepared  with  an  adhesive  coating  of  india- 
rubber  or  other  substance  soluble  in  benzole,  and  the  face  of  the 
gelatinous  tissue  after  exposure  to  light  is  also  coated  with  a solu- 
tion of  the  same  substances,  and,  when  dry,  they  are  brought 
together  under  heavy  pressure  to  effect  adhesion.  The  mounted 
tissue  is  then  developed,  the  resulting  reversed  picture  being 
supported  upon  the  india-rubber  paper.  The  picture  thus 
obtained  is  then  “mounted”  upon  or  cemented  to  paper  by 


means  of  gelatine,  or  gelatine  rendered  partially  insoluble  by  the 
alums.  When  dry,  the  india-rubber  paper  is  moistened  at  the 
back  with  benzole,  and  may  be  then  torn  from  the  face  of  the 
print,  which  is  left  upon  the  permanent  gelatine  support,  the 
images  of  the  picture  being  thus  brought  into  their  correct  ornon- 
reversed  position. 

1.  Now,  my  first  improvement  consists  of  a new  mode  of  treat- 
ing the  pigment  to  be  used  in  the  production  of  these  pictures, 
and  which  is  required  for  this  purpose  to  be  in  the  finest  possi- 
ble state  of  division,  and  has  hitherto  only  been  successfully  used 
in  a moist  condition,  fresh  from  the  mill  or  grinder.  If  kept  for 
some  time  after  grinding,  aggregation  takes  place  among  the 
particles  of  the  pigment,  and  the  results  are  then  no  longer  of 
the  same  degree  of  perfection.  A moist  pigment,  unless  speci- 
ally treated,  is  also  of  unequal  density,  and  cannot  he  used  con- 
veniently to  obtain  definite  shades  of  colour,  equal  portions  of  such 
pigment  giving  unequal  depth  of  colour.  I obviate  this  incon- 
venience by  mixing  thoroughly,  by  mechanical  means,  the  finely- 
ground  pigments— black,  red,  or  other  colours — with  gelatine  and 
sugar,  these  being  in  much  smaller  proportion  than  that  which  is 
required  for  the  production  of  the  sensitive  compound,  say,  four 
parts  of  the  gelatine  and  two  of  sugar,  to  one  part  of  the  dry 
colour ; but  these  proportions  may  be  greatly  varied,  and  I pour 
the  mixture  upon  a slab  or  surface,  where  it  is  allowed  to  set 
and  dry.  The  sheet  of  prepared  pigments  is  then  cut  up  into 
leaves  or  cakes.  I prepare  in  the  same  manner  transparent  or 
colourless  sheets  or  cakes  of  the  gelatine  or  similar  substance 
mixed  with  its  proper  quantity  of  sugar  or  light  material ; and  I 
form  the  tissue  of  variable  tint  by  dissolving  variable  quantities 
of  these,  that  is,  of  the  prepared  gelatinized  pigment,  and  of  the 
transparent  or  colourless  compound,  and  spreading  the  tissue  com- 
pound so  prepared  upon  paper,  as  is  well  understood,  the  result 
being  definite,  and  the  pigment  being  in  its  most  perfect  state  of 
division  ; and  by  pigment  I mean  not  only  those  pigments  used 
in  oil  or  water-colour  painting,  but  those  used  for  painting  upon 
glass,  enamel,  and  ceramic  surfaces.  In  addition  to  the  pigments 
just  referred  to,  I also  use  dyes  and  other  colouring  matters,  solu- 
ble and  insoluble.  I mix  these  also  with  gelatine  and  sugar,  or 
their  analogues,  and  dry  them  for  the  purpose  of  giving  colour  to 
the  tissue  compound. 

2.  My  second  improvement  consists  in  a new  method  of  making 
tissue  in  continuous  lengths,  and  of  modes  of  using  the  gelatine 
compound  without  the  necessity  of  forming  the  ordinary  tissue. 

I manufacture  tissue  in  long  or  short  lengths  by  rolling  the 
paper  as  it  leaves  the  mill  upon  a roller  in  a continuous  sheet, 
and  bringing  it  from  such  roller  in  contact  with  the  surface  of 
the  pigmented  gelatine  solution  by  means  of  an  endless  band  of 
canvas  or  other  fabric,  stretched  upon  rollers,  which  band  may 
conveniently  rest  upon  the  roller  carrying  the  paper.  When  the 
endless  band  is  set  in  motion,  it  draws  off  the  paper  from  the 
rollers, _ without  any  tension  upon  the  paper  itself,  and  thus 
admits  of  indefinite  lengths  being  made  continuously  instead 
of  operating  intermittently  with  single  sheets  or  sheets  of 
definite  length  made  into  endless  bands,  as  has  heretofore  been 
done  ; the  length  of  which  sheets  is  greatly  limited  by  the  small 
amount  of  tension  which  the  paper  when  wet  will  bear.  Instead 
of  the  endless  band  of  canvas  stretched  upon  rollers,  a simple 
roller  of  wood  or  other  material  may  be  used.  This  is  driven  by 
hand  or  power  while  the  long  roll  of  paper  rests  upon  it,  the 
paper  being  thus  unwound  by  the  friction  of  the  driven  roller, 
instead  of  by  the  endless  cloth,  as  in  the  former  case,  the  principle 
being  the  same,  that  is,  the  paper  is  delivered  to  or  brought 
in  contact  with  the  surface  of  the  tissue  compound  in  solution 
without  any  tension  or  strain  upon  the  paper  itself. 
Or  I avoid  the  necessity  of  forming  the  ordinary 
gelatinous  tissue  with  its  support  of  porous  paper  by  proceeding 
as  follows : — 1 spread  the  gelatine  compound  upon  a layer 
or  film  of  wax,  paraffin,  or  similar  substance  supported  upon  a 
plate  of  metal,  japanned  panel,  oiled  cloth,  varnished  paper,  or 
other  impermeable  substance,  and  I expose  this  under  a negative 
and  attach  the  exposed  face  to  another  surface.  I then  warm  the 
metal  panel  or  other  impermeable  substance  to  soften  the  wax  or 
its  analogue.  The  metal  panel  or  other  impermeable  substance 
may  then  be  removed,  leaving  the  gelatine  layer  attached  to  the 
support  to  which  it  has  been  cemented,  and  it  is  then  subjected  to 
the  ordinary  treatment.  If  the  fatty  matter  employed  to  form 
the  film  be  fusible  at  the  temperature  required  for  developing  the 
picture,  the  support  upon  which  the  gelatine  layer  has  been 
formed  separates  without  any  further  application  of  heat,  leaving 
that  layer  fully  exposed  to  the  action  of  the  water  ; or  I spread  the 
gelatine  compound  upon  a layer  or  film  of  wax  or  similar  material 


THE  PHOTOGRAPHIC  NEWS. 


75 


Eebbuaby  2,  1883.J 


(which  in  this  case  most  be  infusible  at  the  temperature  at  which 
the  picture  is  developed)  spread  upon  a transparent  support  of 
glass,  and,  when  dry,  I print  through  the  glass  by  means  of  the 
camera,  or  by  parallel  rays,  or  by  rays  proceeding  from  a luminous 
point,  and  I develop  the  picture  upon  the  glass  as  a temporary 
support.  Or  I place  the  layer  or  film  of  wax  or  similar  substance 
upon  the  negative  itself,  and  after  exposure  I develop  it  upon  the 
negative,  and  transfer  to  a permaneat  support  in  the  usual  way. 
And  here  I would  have  it  understood  that  I do  not  claim  this 
mode  of  operating  with  the  sensitive  compound  upon  the  negative 
or  glass  support,  except  so  far  as  regaids  the  intervening  film  of 
wax,  which  enables  me  to  transfer  the  developed  picture  from  the 
negative  or  other  temporary  glass  support  to  its  final  support  of 
paper  or  other  material. 

3.  My  third  improvement  consists  of  the  substitution  of 
resinous  and  other  substances  which  may  be  rendered  soluble  in 
water  but  which  become  insoluble  when  dry  for  cementing  the 
pigment  picture  to  its  permanent  support  in  place  of  the  sub- 
stances hitherto  used  for  this  purpose,  such  as  albumen  or  gela- 
tine rendered  only  partially  insoluble.  The  substances  I prefer 
are  colophony  or  pine  resin,  shellac,  or  their  analogues  dissolved 
in  water,  to  which  caustic  amn.onia,  or  other  substance  having 
the  like  solvent  property  has  been  added.  The  new  cements 
may  be  used  either  spread  upon  paper  and  brought  in  contact 
with  the  wetted  tissue,  or  the  paper  and  tissue  may  be  moistened 
with  water,  and  then  brought  together  in  a solution  of  the  cement, 
so  as  to  expel  air-bubbles,  and  bring  the  two  surfaces  into  contact 
with  a thin  layer  of  the  cement  between  them,  as  described  by 
Swan  in  the  Year-Book,  1868,  in  respect  to  acompound  of  gela- 
tine and  chrome  alum.  When  dry,  the  adhesion  is  complete,  and 
the  mounted  tissue  may  be  developed  as  usual.  I have  assumed 
paper  to  be  the  permanent  support,  but  other  surfaces  may  be  so 
employed,  as  glass,  porcelain,  or  prepared  canvas ; and  when 
glass  is  used  as  the  permanent  support,  it  is  obvious  that  the  pic- 
tures are  not  reversed  when  seen  through  the  glass  either  as  trans- 
parencies, or  with  a white  backing  behind  them. 

4.  My  fourth  improvement  consists  of  a new  mode  of  obtaining 
photographic  images  in  pigmented  gelatine  or  its  anologue 
upon  plates  of  metal,  glass,  or  other  substance  impermeable  to 
water,  which  plates  may  be  used  either  as  permanent  or  tempo- 
rary supports,  dispensing  in  the  latter  case  with  the  india- 
rubber  paper  heretofore  used  for  this  purpose.  This  improve- 
ment is  based  upon  the  observation  that  if  the  support  be  imperme- 
able to  water,  and  the  tissue  be  well  exposed,  no  cementing  material 
is  necessary  to  effect  the  adhesion  necessary  for  mounting  the 
tissue  upon  its  support,  all  that  is  necessary  being  the  perfect 
exclusion  of  air  between  the  moistened  surface  of  the  tissue  im- 
pressed by  light  and  the  impermeable  surface  to  receive  the  pic- 
ture as  its  support.  I effect  this  by  wetting  the  tissue  and  laying 
it  upon  the  metal  or  other  surface,  and  sponging  or  rubbing  the 
back  of  the  printed  tissue,  so  as  to  drive  out  air  with  the  super- 
fluous moisture,  as  in  mounting  a print  upon  card.  To  effect 
perfect  and  permanent  adhesion  the  surface  of  the  glass  or  metal 
forming  the  supports  must  be  chemically  clean,  particularly  when 
such  surface  is  polished.  To  avoid  the  necessity  of  thus  cleaning 
the  surface,  I occasionally  cover  the  surface  with  a very  thin  layer 
of  plain  collodion,  using  for  this  purpose  a collodion  containing 
about  one  or  two  grains  of  cotton  to  the  ounce  of  ether  and 
alcohol  forming  the  solvent.  When  the  collodion  is  set,  but  not 
dry,  I plunge  it  into  water  to  wash  off  the  solvents  until  the 
greasy  appearance  has  ceased.  I then  lay  upon  the  plate  thus 
prepared  the  wetted  tissue.  When  the  picture  is  completed,  it 
adheres  to  the  glass  with  great  tenacity,  by  surface  adhesion  only, 
even  if  such  glass  had  had  a slightly  greasy  or  otherwise  impure 
surface.  Pictures  thus  mounted  on  glass  or  metal  as  the  perma- 
nent support  may  not  only  be  used  as  pleasing  pictures,  but  can 
be  employed  in  various  processes  as  a model  or  pattern  to  obtain 
casts  or  impressions  either  by  means  of  pressure  by  the  electro- 
type process  or  by  casting.  The  hardened  gelatine  picture,  either 
negative  or  positive,  on  a plate  of  zinc,  copper,  or  steel  may  be 
also  used  as  a resist,  which  enables  us  to  etch  the  plate,  or  to  gild 
it  for  the  purpose  of  etching  it  subsequently,  with  the  object  of 
producing  a plate  in  intaglio  or  relief  for  the  purpose  of  printing 
therefrom.  When  the  plates  of  metal,  glass,  or  other  imperme- 
able substance  are  used  as  temporary  supports,  such  plates  must 
have  received  some  slight  smear  or  coating  of  wax  or  other  fatty 
body  to  prevent  the  absolute  adhesion  of  the  picture  film. 
Instead  of  wax  alone  I find  equal  parts  of  wax  and  yellow  resin 
dissolved  in  turpentine  to  give  the  best  smearing  compound. 
This  is  rubbed  over  the  plate,  and  immediately  rubbed  off  again 
with  a piece  of  clean  flannel,  leaving  only  a very  thin  coating. 


When  polished  glass  plates  are  used  as  the  support  instead  of 
the  wax  and  resin,  I prefer  to  use  a coating  of  the  thin  collodion 
already  described  to  prevent  the  adhesion  ; but,  in  this  case,  the 
collodion  coating  must  be  allowed  to  dry  before  immersion  in 
water.  The  film  so  formed  then  readily  leaves  the  glass  attached 
to  the  print,  which  retains  the  polish  of  the  temporary  support. 
Plates  thus  prepared  allow  of  pigment  gelatine  images  being 
formed  on  their  surface  not  only  by  development  in  the  way 
described,  but  indirectly,  by  employing  the  image  formed  by 
development  as  a model  or  pattern  for  obtaining  a mould  from 
which  other  and  similar  gelatine  images  are  obtained  by  casting ; 
and  images  thus  formed  may  equally  be  transferred  to  paper  in 
the  way  described.  The  nature  of  the  surface  of  the  support 
will  determine  the  resulting  surfaces  of  the  gelatine  images.  A 
polished  surface  will  give  a polished  surface  to  the  print.  If  a 
matt  or  grain  surface  be  required,  the  support  must  be  grained 
or  tooled  to  give  that  surface.  The  gelatine  image  may  be 
transferred  to  paper  while  in  the  wet  state  by  bringing  into 
contact  with  it  a piece  of  paper  coated  with  gelatine  or  other 
analogous  substance  ; or,  which  is  preferable,  the  image  may  be 
allowed  to  dry  upon  its  support,  and  the  prepared  paper  soaked 
in  water  may  be  laid  upon  it,  air  being  carefully  excluded.  Or 
the  resinous  cements  already  referred  to  in  my  third  improve- 
ment may  be  used,  giving  to  the  dried  image  coating  of  the 
shellac  solution,  and  to  the  paper  a similar  coating,  and  then 
bringing  the  two  wet  surfaces  together.  I also  transfer 
the  print  from  its  temporary  support  to  a sheet  of  imitation 
ivory,  as  in  the  so-called  eburneum  process,  or  to  a sheet  of 
imitation  porcelain  or  marble  formed  of  plaster  or  other  plastic 
substance.  When  the  print  is  required  to  be  mounted  upon  a 
fabric,  1 take  fine  muslin  or  other  porous  fabric,  and,  after  wetting 
it,  I lay  it  over  the  print  upon  its  temporary  support,  and  I spread 
over  the  muslin  or  fabric  any  of  the  before-mentioned  cements 
mixed  with  whiting  or  other  pigment.  This  compound  penetrates 
to  the  surface  of  the  print,  thoroughly  expelling  air,  and,  when 
dry,  perfect  contact  is  effected.  The  muslin  or  fabric  can  then  be 
lined  with  canvas,  as  is  well  understood.  If  the  picture  be  very 
large,  and  be  formed  of  several  negatives,  I mount  the  several 
parts  upon  paper  or  other  flexible  support,  either  coated  with 
india-rubber  as  already  practiced,  or,  as  above  described,  I cut 
out  the  several  parts,  wet  them,  and  lay  them  down  well  matched 
upon  a drawing  board,  and  I then  proceed  to  mount  them  upon— 
or, rather,  under — the  muslin  or  fabric  as  already  said. 

1 claim  as  my  invention  under  this  fourth  head  of  my  improve- 
ments.— 

First.  The  formation  of  the  mounting  of  the  gelatine  image 
formed  as  described  upon  a sheet  of  glass,  metal,  or  other  im- 
permeable surface,  serving  as  the  permanent  support,  without  the 
intervention  of  any  cementing  material  to  be  used  as  pictures  or 
as  models,  moulds  for  producing  engraved  plates,  or  otherwise. 

Second.  The  mode  of  transferring  images  of  gelatine  mounted 
upon  the  surface  of  plates  of  glass  or  metal  from  such  surface 
(serving  as  a temporary  support),  to  the  surface  of  paper  or  the 
like  material,  by  means  of  an  intervening  film  of  wax  or  other 
substance  having  the  like  properties. 

5.  My  fifth  improvement  consists  in  another  mode  of  trans- 
feiring  the  picture  in  one  or  many  parts,  from  its  temporary  to 
its  permanent  support,  for  the  purpose  of  being  painted  upon  in 
oil  or  being  varnished.  I mount  the  picture  in  this  case  upon 
paper  rendered  transparent  by  wax,  paraffin,  or  any  fatty  matters 
not  fusible  at  the  temperature  used  for  developing  the  gelatine 
pigment  prints.  When  the  developed  print  is  quite  dry,  I var- 
nish the  surface  of  the  permanent  support  which  is  to  receive  it, 
such  as  wood,  panel,  or  oil  canvas.  I varnish  also  the  face  of 
the  picture,  and  if  of  several  parts,  I carefully  match  these.  The 
two  varnished  surfaces,  when  nearly  dry,  are  then  rubbed  down 
together,  and  when  in  perfect  contact,  the  back  of  the  waxed 
paper  is  warmed,  and  then  leaves  the  pigment  film  perfectly 
attached  to  the  panel  or  canvas.  Before  the  picture  is  trans- 
ferred, it  may  be  tinted  or  painted  ; and  if  painted  with  opaque 
colour,  it  may  be  laid  over  another  picture,  without  the  latter 
being  seen.  Thus  I form  composition  pictures  by  laying  down  a 
landscape  background,  for  example,  upon  the  canvas,  and  upon 
it  I place  figures  trimnfed  to  their  contours,  and  which  have  re- 
ceived a coating  of  white  or  coloured  opaque  varnish  at  the  back. 
These,  then,  show  as  perfect  forms  without  the  landscape  or  other 
background  interfering  ; and  as  the  gelatine  film  is  extremely 
thin,  the  superposition  is  not  visible. 

Patent  Void  through  Non-payment  of  Duties. 
185.  Leon  Warnerke,  of  Champion  Hill,  in  the  county  of 

Surrey,  for  an  invention  of  “ New  or  improved  means  of  and 


76 


THE  PHOTOGRAPHIC  NEWS. 


[Pedhuaht  2,  1883. 


apparatus  for  ascertaining  the  actinic  power  of  light.” — Dated 
15th  January,  1880. 

This  invention  consists  in  the  use  of  the  mineral  phosphorescent 
substances  for  photometrical  and  actinometrical  purposes.  The 
phosphorescent  minerals,  such  as  sulphide  of  calcium,  barium, 
strontium,  or  zinc,  are  enclosed  between  glass  slips  or  glass  discs 
to  protect  same  from  atmospheric  influences,  or  prepared  on  a 
flexible  support  that  can  be  wound  round  a reel.  Other  discs 
(formed  of  translucent  and  suitably  coloured  substance)  of  various 
transparency  are  situate  in  close  contact  with  luminous  surface, 
and  arranged  in  such  manner  that  by  revolving  or  sliding  the 
part  of  consecutive  opacity  transparent  numbers  can  be  interposed 
between  the  luminous  surface  and  small  telescope  or  other 
magnifier  through  which  observation  is  made.  Owing  to  the 
persistence  of  excited  luminosity  the  apparatus  is  arranged  so 
that  only  part  of  the  surface  is  exposed  at  once,  and  the  whole 
surface  can  be  divided  so  as  to  enable  ten  to  twenty  exposures  or 
more  to  be  made,  utilizing  the  property  of  phosphorescent  sub- 
stance to  have  the  excited  luminosity  extinguished  by  the  rays  of 
low  refrangibility.  There  is  also  a disc  of  coloured  transparent 
media  made  of  gelatine  or  collodion  or  glass  suitably  coloured, 
which,  when  interposed  between  the  luminous  surface  and  source 
of  light,  the  luminosity  is  extinguished,  and  consequently  the 
apparatus  ready  for  the  next  observation.  Having  now  par- 
ticularly described  and  ascertained  the  nature  and  object  of  the 
said  invention,  and  in  what  manner  the  same  is  to  be  performed 
or  carried  out  in  practice,  I hereby  declare  that  I claim  the 
invention  of  “ New  or  Improved  Means  of,  and  Apparatus  for 
Ascertaining  the  Actinic  Power  of  Light,”  substantially  as 
hereinbefore  set  forth  and  described,  wherein  the  important  point 
or  feature  is  the  use  of  phosphorescent  substances  for  actino- 
metrical purposes,  substantially  as  hereinbefore  described. 

232.  George  Charles  Bell,  of  Brooklyn,  New  York,  United 
States  of  America,  for  an  invention  of  “ A new  mode  or  pro- 
cess of  producing  photo-. elief  engravings.” — Dated  19th  Janu- 
ary, 1880. 

The  negatives  heretofore  employed  in  the  production  of  photo- 
relief engravings  have  been  made  from  drawings  or  lined  repre- 
sentations of  the  objects  to  be  engraved.  In  representing  by  the 

fihoto-relief  process  of  engraving  objects  from  nature,  drawings  in 
ines  or  in  crayon  by  hand  have  been  necessary,  from  which 
drawings  negatives  have  been  produced.  The  necessity  for  these 
drawings  or  sketches  has  arisen  from  the  fact  that  negatives  made 
direct  from  the  objects  themselves  contain  no  lines,  and  therefore 
no  relief  suitable  for  printing  purposes  in  the  type  press  could  be 
obtained,  because  engravings  made  therefrom  would  have  no  half 
tints,  but  would  appear  in  solid  black  and  white  masses  or  blots. 
The  principal  item  of  expense  in  the  production  of  these 
engravings  from  nature  has  been  the  cost  of  hand  drawings,  and 
much  time  is  necessarily  consumed  in  preparing  these  drawings, 
and  loss  of  time  is  in  many  cases  a matter  of  the  greatest  import- 
ance. The  chief  object  of  my  said  invention  is  to  obviate  the 
necessity  of  any  drawing  or  sketches  in  the  production  of  en- 
gravings from  nature  by  the  aid  of  photography,  while  the  pro- 
duced engravings  are  of  superior  aad  uniform  excellence.  The 
said  invention  consists  essentially  in  the  employment  of  surfaces 
provided  with  raised  points,  dots,  or  projections  eclated  with  a 
sensitizing  substance,  upon  which  facsimiles  of  the  objects  by 
photography  are  formed.  I thereby  obtain  photographic  negatives 
of  said  objects,  from  which  negatives  photographic  positives  are 
made  in  the  usual  manner,  and  from  these  positives  or  prints  these 
second  negatives  are  obtained  ready  for  use  in  the  ordinary  pro- 
cess of  photo-relief  engraving.  The  positive  prints  resemble  in 
appearance  fine  mezzo-tint  engraving,  which  effect  is  secured  by 
the  sensitized  points  or  projections.  These  second  negatives  are 
also  adapted  for  the  production  of  engravings  for  the  photo-litho- 
graphic or  other  processes  in  which  the  ordinary  photographic 
negatives  or  positives  may  be  employed.  The  said  points  or  pro- 
jections are  formed  on  the  surface  by  the  use  of  engraved  plates, 
or  otho*  suitable  means.  The  points,  which  are  preferably 
numerous,  are  formed  in  straight  lines,  or  in  designs  and  figures 
of  any  desired  description.  This  surface  may  be  hard  paper,  or 
other  suitable  material,  and  may  be  coated  with  any  suitable  wash 
before  the  application  of  sensitizing  substance,  such  as  Chinese  or 
flak*  white  mixed  with  a solution  of  albumen,  but  said  coating  is 
not  an  essential  feature  of  my  invention  ; nor  is  the  formation 
of  said  points  or  projections,  when  the  same  are  not  sensitized, 
as  paper  with  such  uneven  surface,  and  coated  with  a wash  or 
pigment,  is  an  article  of  commerce.  The  sensitizing  of  said 
points  or  projections  may  be  done  in  any  convenient  and  suitable 
manner,  care  being  taken  always  that  the  sensitizing  substance 


does  not  reach  the  intaglio  or  depressed  portion  of  the  surface. 
The  said  points  may  be  sensitized  with  advantage  by  rubbing  over 
the  surface  crystals  of  nitrate  of  silver  until  a sufficient  quantity 
of  the  substance  is  transferred  to  the  cameo  or  relief  portion  of 
said  surface.  The  ordinary  methods  of  making  photographs  and 
of  producing  engravings  from  negatives  are  employed  ; a descrip- 
tion of  these  methods  is  unnecessary.  The  said  invention,  it  is 
obvious,  is  especially  adapted  to  the  production  of  illustrations 
from  nature,  of  objects  of  which  there  are  no  drawings  adapted 
to  the  various  known  processes  now  in  use,  and  it  may  be  em- 
ployed with  advantage  in  making  copies  of  sketches,  drawings, 
engravings,  and  other  illustrations  of  natural  objects.  Having 
thus  fully  described  my  invention,  and  the  most  advantageous 
manner  known  to  me  of  carrying  the  same  into  effect,  I claim  the 
said  invention  substantially  as  hereinbefore  set  forth. — Proviiional 
Protection  only. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  U. 

Photographs  are  usually  printed  upon  one  of  two  kinds  of 
paper,  viz , Saxe  and  Rive.  The  Saxe  paper  is  obtained 
from  a mill  at  Malmedy  in  Saxony,  and  is  distinguished  by 
bearing  the  brand  of  the  manufacturers.  It  was  formerly 
a coarser  grained  and  tougher  paper  than  the  Rive,  and 
has  been  recommended  for  landscapes  and  large  prints,  as 
it  is  supposed  by  some  to  be  better  able  to  withstand  the 
washing. 

The  Rive  takes  its  name  from  a small  town  so  named 
situated  in  the  south-east  of  France,  and  may  be  dis- 
tinguished by  the  water-mark,  Rive,  &c.  The  sheets  are 
just  a trifle  smaller  than  the  Saxe.  It  is  said  to  be  more 
suitable  for  small  work,  giving  better  tones  and  having  a 
finer  texture,  but  these  assertions  can  hardly  be  regarded 
as  facts  at  the  present  day,  since  the  proprietors  of  both 
mills  are  continually  improving  their  plant,  with  the 
result  that  paper  may  be  obtained  of  both  coarse  and  fine 
texture  from  either  mill. 

Nearly  the  whole  of  the  photographic  paper  used  all 
over  the  universe  is  produced  by  these  two  mills.  It  is 
sized  in  the  manufacture  to  suit  the  requirements  of  the 
art.  To  render  these  papers  sensitive  to  light  is  the  next 
thing  which  requires  explanation.  The  paper  is  first  of 
all  coated  with  a diluted  solution  of  albumen  con- 
taining the  chemical  salt  necessary  to  form  silver  chloride 
when  the  sensitizing  takes  place.  Although  it  is  not 
expected  the  beginner  will  prepare  his  own  paper,  yet  it  is 
quite  as  well  he  should  be  familiar  with  its  preparation. 
The  usual  method  of  alburaeniziug,  a3  it  is  termed,  is  to  take 
the  white  portion  of  fresh  eggs,  free  from  traces  of  yolk 
or  germ  (this  is  the  purest  form  in  which  we  find  albumen) 
and  to  every  gallon  add  the  following — 

Dissolve  in  8 ounces  of  water — 

2 „ ammonium  chloride 

1 ounce  of  barium  chloride. 

To  which  add  2 ounces  of  glacial  acetic  acid. 

Add  the  mixture  gradually  to  the  albumen,  whisk  the 
whole  to  a froth  with  a bundle  of  twigs.  Allow  it  to 
remain  in  a cool  place  for  twenty-four  hours,  for  the 
froth  to  subside,  at  the  end  of  which  period  it  may  be 
strained  through  two  thicknesses  of  muslin  or  cambric. 

The  room  intended  for  coating  and  drying  should  not  be 
used  for  any  other  purpose.  The  fittings  required  are  as 
follows  : — A level  bench  for  the  dishes  containing  albumen ; 
a trough  to  catch  the  excess ; a stove  that  will  give  very 
little  dust,  at  the  same  time  creating  a great  heat  (an 
ordinary  ironing  stove  fixed  in  the  middle  of  the  room 
seems  to  answer  well) ; some  cords  stretched  across  the 
room,  wheraon  to  complete  the  drying ; a couple  of  one-inch 
planks  with  three-quarter  inch  holes  bored  inclining  a 
little  downwards,  and  some  bored  quite  level ; a few  wooden 
rods  about  26  inches  long  and  of  the  diameter  to  fit  the 
holes ; a packing  bench ; and  a few  glazed  earthenware 
pans  complete  the  apparatus. 

Four  the  albumen  into  a fiat  dish,  being  careful  to  avoid 


Febbuakt  2,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


77 


air-bells,  and  upon  this  lay  the  smooth  side  of  the  paper, 
being  at  the  same  time  careful  not  to  create  any  bubbles. 
There  are  three  ways  of  putting  the  paper  on  the  bath : 
the  first  is  by  holding  the  opposite  corners  in  each  hand, 
allowing  the  sheet  to  fall  in  a convex  form  gradually  on 
to  the  solution,  viz.,  the  centre  first,  and  corners  last;  the 
second  is  to  lower  one  corner  first,  and  slowly  drop  the 
other  portion ; the  third,  and  much  to  be  preferred 
method,  is  to  place  the  extreme  edge  on  the  solution, 
holding  it  lengthwise,  that  is  to  say,  the  side  that 
measures  about  22  inches  between  the  two  hands  ; then 
with  a quick  and  even  motion  carry  the  edge  across  the 
dish ; the  whole  of  the  sheet  will  now  be  on  the  bath. 
Any  small  particles  of  dust  which  may  have  fallen  on  the 
surface  of  the  solution  will  thus  be  carried  to  the  opposite 
side.  If  the  operation  has  been  carefully  performed,  the 
sheet  may  be  drawn  slowly  off  at  the  expiration  of  forty 
seconds,  and  thrown  across  one  of  the  wooden  rods, 
albumenized  side  outwards.  One  end  of  the  rod  being 
inserted  in  the  plank  or  framework,  the  slight  angle  pro- 
duced by  the  holes  not  being  bored  straight,  will  be  found 
sufficient  for  the  excess  of  albumen  to  run  off  at  the  two 
lower  corners,  without  any  danger  of  the  sheet  drying 
unevenly  or  slipping  off.  A number  of  these  rods  should  be 
always  at  hand,  so  that  sheets  need  not  be  taken  off  them 
until  nearly  dry.  During  the  time  of  floating  and  drying, 
the  temperature  must  be  kept  up  to  at  least  80®  F.,  or  a 
good  surface  is  not  obtained.  Great  care  must  be  taken  to 
keep  down  dust,  as  any  particles  settling  on  the  paper 
during  drying  will  be  sure  to  remain  there.  Doubly 
albumenized  paper  is  treated  similarly  to  the  foregoing, 
but  the  first  coating  is  coagulated  by  means  of  steam.  It 
is  afterwards  re-floated  and  dried. 

Very  few  professional  photographers  attempt  albu- 
menizing  their  paper,  most  probably  on  account  of  the 
difficulties  arising  from  dust  and  indifferent  samples  of 
plain  paper,  which  only  the  most  experienced  eye  can 
detect,  and  the  lack  of  special  apartments  to  carry  on  the 
work;  also,  as  an  excellent  article  can  always  be  obtained 
from  the  manufacturers,  there  is  no  reason  why  the  photo- 
grapher should  be  at  the  trouble. 

The  sensitizing  bath  is  essentially  composed  of  a solution 
of  nitrate  of  silver  in  water.  Many  additions  have  been 
recommended,  such  as  the  nitrates  of  soda  and  petash, 
methylated  spirits  of  wine,  camphor,  ordinary  potash  alum, 
sugar,  &c.,  also  converting  it  into  ammonia  nitrate  of  silver, 
but  no  very  distinct  advantage  appears  to  have  been  gained 
thereby.  The  proportion  of  nitrate  of  silver  per  ounce  of 
solution  may  vary  from  30  to  60  grains  ; beyond  these 
limits  it  will  not  be  at  all  necessary  to  go. 

The  character  of  the  negatives  to  be  printed  must  be 
taken  into  consideration.  Whereas  a properly  exposed 
wet  plate  negative  would  produce  a bright  print  on  a 
bath  only  30  grains  strong,  an  indifferent  gelatine  dry 
plate  may  require  the  strength  to  be  60  grains ; then, 
again,  with  albumenized  paper  containing  10  to  12  grains 
of  a chloride  salt  per  ounce  of  albumen,  from  50  to  60 
grains  per  ounce  would  invariably  produce  the  best 
results.  Negatives  which  have  very  dense  or  opaque 
portions  and  large  masses  of  clear  shadows  do  not  produce 
good  prints,  even  with  the  silver  bath  as  low  in  strength 
as  30  grains  tothe  ounce  in  all  cases;  but  they  will  give 
excellent  prints  on  washed  paper — that  means,  after  the 
paper  has  been  floated  a sufficient  time  on  a weak  bath,  the 
paper  is  dried,  washed  for  two  or  three  minutes  in  water, 
and  again  dried. 

In  our  next  lesson  we  shall  consider  sensitizing  more  in 
detail. 


ON  GRADATION  IN  GELATINE  NEGATIVES. 

BY  EDWIN  COCKING. 

I MUST  still  continue  to  write  something  about  the  work  done 
by  photographic  tools  (rather  than  of  the  tools  themselves), 
however  clear  those  tools  may  be,  and  having  studied 


photographic  results  very  much  lately,  a few  thoughts 
anout  them  may  not  be  out  of  place  at  this  time  of  year. 

There  is  no  occasion  to  define  the  advantages  of  the  gela- 
tine cliche,  so  that  any  remarks  I have  to  make  must  be 
upon  some  of  the  deficiencies  which  are  evident  in  the 
pictorial  results. 

The  great  matter  which  made  itself  conspicuous,  was  the 
prevailing  monotony  of  light  and  shade  throughout  many 
pictures.  I might,  perhaps,  better  define  it  as  an  absence 
of  variety  of  tone  and  colouring.  I can  best  illustrate 
what  I mean  by  supposing  a piece  of  music  written  for  an 
orchestra,  where  it  was  so  arranged  that,  from  the  begin- 
ning to  the  end,  all  the  instruments  were  always  used,  the 
result  being  only  a division  into  two  parts — loud  and  soft; 
no  play  of  fancy  in  bringing  in  here  and  there  so  me  of  the 
essential  colouring  effects  produced  when  the  strings,  the 
light  wind,  and  the  heavy  (brass)  wind  instruments  are 
used  with  design  and  skill. 

Now  many  photographers  that  I have  seen  suggested 
this  idea ; they  began  on  one  side  the  picture  and  went 
right  on  to  the  other  side  without  any  change  in  local 
colouring,  the  actual  result  being  an  amount  of  flat  mono- 
tony in  the  tout  ensemble ; and  the  question  arises,  does  this 
come  from  the  nature  of  the  gelatine  plate,  permitting  so 
very,  very  little  difference  in  treatment  of  parts — in  other 
words,  so  little  local  intensification  ? So  that,  to  resume  my 
simile,  the  whole  orchestra  of  monotone  has  been  set  going, 
and  the  same  effect  goes  on  from  beginning  to  end. 

Those  who  can  go  back  some  twenty  years  can  recal  the 
different  effects  produced  in  the  days  of  collodion,  when  it 
was  possible  to  localize  intensification,  and  so  produce  a 
greater  variety  in  the  quality  of  the  light  and  dark  por- 
tions of  a picture ; and,  if  I mistake  not,  we  had  then 
examples  of  a beautiful  gradation  of  tone  from  the  fore- 
ground to  some  distance  far  away,  which  now  appears  to 
he  absent  in  so  many  of  our  present  results. 

This  want  of  variety  in  gradation  of  tone  in  gelatine 
negatives  (taking  the  average)  is  the  one  deficiency  against 
the  thousand  advantages  which  our  scientific  confreres 
should  turn  their  earnest  attention  to.  VVe  want  the  power 
of  getting  a greater  number  of  clear  and  self-existing  tones 
to  compose  the  picture  with ; and,  until  we  have  that 
power  at  our  command,  we  seem  almost  to  be  the  slave  of 
the  mechanism  of  this  really  marvellous  gelatine  revolu- 
tion. I am  inclined  to  thiuk  that  many  a print  is  sent  out 
into  the  world  which  its  producer  was  not  satisfied  with  ; 
but  it  was  utterly  out  of  the  power  to  make  any  better 
result,  and  so  this  has  led  to  a choice  of  subject  matter 
where  the  two  broad  effects  of  loud  and  soft  would  be  at 
all  rendered.  This  want  is  most  apparent  in  many  large 
photographs  produced  from  small  ones,  where  the  scale  of 
tone  is  very  limited  : we  have  more  detail,  more  softness, 
and  in  parts  more  similitude  to  nature — whether  portrait  or 
landscape  ; but  at  the  same  time,  when  viewed  from  a little 
distance,  there  is  so  little  effect  of  standing  out,  so  little  of 
the  extreme  points  of  dark  and  light,  united  with  a large 
quantity  of  intermediate  variations,  that  some  pictures 
look  as  if  they  had  been  worked  all  over  first  of  all  with 
some  dark  colouring  matter,  and  then  but  a few  feeble 
attempts  at  definition  with  some  darker  matter.  To  those 
who  have  handled  a brush  in  painting,  the  wish  has  fre- 
quently arisen,  how  satisfactory  it  would  be  to  be  able  to 
heighten  that  part,  depress  another,  harmonise  many 
crudities,  and  to  prevent  the  monotone  orchestra  from 
pursuing  its  Folyphemus  tread.  When  a photograph 
possesses  a fair  amount  of  gradation  of  tone,  the  remark 
is  at  once  made,  “ Oh  ! how  like  an  engraving.”  Now,  as 
the  engraving  is  a translation  of  some  well-composed 
painting,  so  should  a good  photograph  be  also  a good 
and  artistic  translation  of  some  well-chosen  figure  or 
landscape. 

Depend  upon  it,  this  is  the  direction  in  which  gelatine 
workers  who  profess  artistic  feeling  will  be  looking  in. 
For,  as  I have  said  before,  there  are  one  thousand  advan- 


78 


THE  PHOTOGRAPHIC  HEWS. 


[February  2,  1883. 


tages  in  gelatine  plates  over  collodion  plates,  and  it  is 
just  this  one  thousand  and  one  matter  which  must  be  the 
coming  event. 

©omspon&m*. 

THE  PHOSPHORESCENT  TABLET  AS  A 
STANDARD  LIGHT. 

gtE) — As  one  who  has  worked  with  most  forms  of 
photometer  and  sensitometer  hitherto  proposed,  allow  me  to 
say  a few  words  regirding  the  communication  of  Mr. 
Arnold  Spiller,  which  appeared  in  the  last  number  of  the 
News. 

Mr.  Spiller’8  reasoning  appears  to  be  this  : — “ One  parti- 
cular specimen  of  phosphorescent  sulphide  of  calcium  gave 
me  certain  results  ; therefore  any  phosphorescent  plate  may 
be  used  asa  standard  light,  and  Warnerke’s  sensitometer  is 
a ielia'ole  instrument.” 

More  than  a year  ago,  you  pointed  out  in  the  Photo- 
graphic News  that  the  difficulties  of  making  a reliable 
sensitometer  are,  apart  from  the  questiou  of  standard  light, 
very  great ; but  you  then  indicated  a means  of  obtaining  a 
standard  light  screen  by  means  of  a stepped  plate  of  sulphur. 

Few  commercial  products  vary  so  much  as  the  so-called 
phosphorescent  sulphide  of  calcium.  It  is  rather  an  oxy- 
sulphide  than  a true  sulphide,  and  it  very  often  contains 
free  or  uncombined  sulphur  mechanically  intermingled  with 
the  oxy-sulphide.  1 have  never  met  with  two  samples 
which  either  gave  light  of  the  same  colour  or  the  same 
intensity,  and  it  is  my  impression  that  the  voilet  product 
generally  U6ed  for  making  paint  is  obtained  by  mixing 
various  samples,  so  that  the  whole  is  luminous  up  to  a cer- 
tain point;  but,  notwithstanding  this,  it  varies  enormously. 
The  most  careful  analysis  indicates  no  difference  between 
samples  in  which  the  phosphorescence  is  so  feeble  as  to  be 
of  no  practical  importance,  aud  samples  which  phosphor- 
esce with  violet,  blue,  green,  or  yellow  light  ; but  a 
microscopical  examination  will  indicate  a distinct  difference. 

Most  samples  of  the  violet  sulphide  which  have  beon 
examined  by  myself  were  found  to  absorb  very  much  more 
light  at  a temperature  of  about  80*  C than  at  0°  ; but  when 
the  temperature  is  considerably  increased,  say  to  the  melting 
point  of  zinc,  the  reverse  holds  good,  and  the  colour  of  the 
emitted  light  undergoes  a notable  change  ; but  samples  vary 
much  in  this  as  in  other  respects. 

Many  of  those  who  so  freely  discuss  the  properties  of  sul- 
phide of  calcium  would  do  well  not  only  to  study  the  fable 
of  the  cameleon,  but  to  give  full  details  as  to  the  nature 
and  origin  of  the  sulphide  used  in  their  experiments. 

Calx. 


of  Sofulu*. 

London  and  Provincial  Photographic  Association. 

A meeting  was  held  Thursday,  January  25,  Mr.  A.  Haddon  in 
the  chair. 

Mr.  C.  H.  Cooke  was  elected  a member  of  the  Association. 

Mr.  Henderson  exhibited,  on  behalf  of  Mr.  Crosby,  a nega- 
tive on  which,  in  addition  to  the  subject  on  which  the  exposure 
had  been  made,  a faint  but  sharply-defined  image  was  found  in 
the  centre  of  the  plate  after  fixing.  Mr.  Crosby  remembered 
having  photographed  a similar  subject  some  time  ago,  and 
thought  that  the  glass  was  not  properly  cleaned.  It  had  been 
soaked  in  chromic  acid  before  being  used  again. 

Messrs.  L.  Warnerke  and  II.  N.  King  had  never  had  this 
experience  when  using  dirty  glass  for  gelatine  plates,  although 
Mr.  King  had  met  with  it  when  using  collodion. 

Mr.  W.  E.  Debenham  attributed  the  second  image  to  an 
accidental  exposure,  or  a pinhole  photograph  caused  by  a hole 
in  the  camera. 

Mr.  Brown  showed  two  plates  coated  with  a fogged  emulsion 
cleared  by  the  use  of  bromide  of  potassium  ; j of  a grain  of 
bromide  potassium  to  each  ounce  had  been  added  after  washing. 


Mr.  W.  K.  Borton  then  proceeded  to  demonstrate  his  method 
of  preparing  gelatine  etnul-ion.  He  stated  that  the  method 
was  applicable  to  any  formula  not  containing  gelatine  in  a 
larger  proportion  to  the  silver  than  1 to  5.  He  prepared 
some  emulsion  in  the  presence  of  the  members  after  the  follow- 
ing formula : — 

A.  — Nelson’s  gelatine  30  grains 

Potassium  bromide  160  ,, 

Water 10  ounces 

to  be  made  slightly  acid. 

B.  — Nitrate  of  silver  (dry) 200  grains 

C.  — Hard  gelatine 180  grains 

To  measure,  when  finished,  10  ounces. 

He  generally  used  6 grains  of  potassium  iodide  to  the  above 
quantity.  Solution  A is  heated  to  120°  F.,  when  B is  added,  and 
the  whole  well  shaken  till  the  silver  is  dissolved ; the  colour  at 
this  stage  is  orange  or  ruby.  It  is  boiled  for  two  hours,  and  then 
cooled  to  100Q  F.,  and  three  per  cent,  of  ammonia  -880  is  added. 
After  digesting  for  two  or  three  hours,  it  is  allowed  to  settle  from 
twenty-four  to  forty-eight  hours,  the  supernatant  liquid  being 
then  poured  off  and  fresh  water  added,  and  after  standing  a second 
time,  the  liquid  is  again  poured  off.  The  hard  gelatine  C,  having 
previously  been  soaked  in  water,  is  now  added  to  the  bromide  at 
the  bottom  of  the  vessel,  and  well  stirred  with  a glass  rod,  warm 
water  being  gradually  added  to  dissolve  the  gelatine,  till  the 
whole  measures  10  ounces.  The  ammonia  might  be  omitted  if 
preferred,  and  boiling  for  four  or  five  hours  substituted.  In  this 
case  the  time  of  precipitation  was  extended  to  a total  of  five  or 
six  days.  Some  bromide  which  had  been  precipitating  two  or 
three  "days  was  passed  round : the  supernatant  liquid  was  still 
slightly  orange  or  ruby  in  colour,  but  the  emulsion  obtained  by 
pouring  this  off  and  adding  the  gelatine  and  water  to  the  bromide 
at  the  bottom  of  the  beaker  was  found  to  be  of  a blue  colour,  and 
some  plates  coated  dried  mat  in  about  half-an-hour.  He  hoped 
to  be  able  to  so  modify  the  process  as  to  get  through  all  the  opera- 
tions in  two  or  three  hours.  The  rapidity  of  the  plates  varied 
from  17  to  23  on  a Warnerke  sensitometer.  It  was  found  that  if 
the  emulsion  was  not  rapid  to  start  with,  it  sometimes  gained 
sensitiveness  by  keeping,  but  not  so  if  it  was  already  rapid  when 
first  prepared  ; he  always  made  the  gelatine  alkaline  before  using 
it.  He  had  omitted  alcohol,  as  he  had  been  told,  on  good  autho- 
rity, it  might  slow  the  emulsion  ; precipitation  would  take  place 
in  the  presence  of  alcohol,  but  was  retarded  by  excess  of  soluble 
bromide.  If  the  emulsion,  after  boiling,  was  divided,  half  being 
washed  by  decantation,  and  half  mixed  with  more  gelatine  and 
washed  in  the  usual  way,  that  washed  by  decantation  would  give 
the  best  results. 

Mr.  Henderson  said  in  his  experience  an  emulsion  washed  by 
decantation  was  inferior. 

Mr.  Burton  thought  there  was  an  advantage  in  using  an  excess 
of  soluble  bromide  in  emulsifying,  and  that  by  neutralising  the 
excess  after  boiling  with  more  nitrate  of  silver,  precipitation 
would  take  place  sooner. 

Mr.  Warnerke  said  Captain  Abney  had  stated  that  an  excess 
of  bromide  gave  greater  rapidity.  In  his  own  experiments  he  had 
balanced  the  quantities  of  silver  and  bromide,  and  then  t dded 
varying  proportions  of  bromide  in  excess  to  separate  portion  of 
emulsion,  and  the  results  comfirmed  Captain  Abney’s  state- 
ment. 

Mr.  Barker  never  used  a greater  excess  than  two  grains  to 
each  ten  ounces  of  product,  and  he  never  obtained  green  fog. 

Mr.  Burton  thought  that  when  the  excess  was  beyond  a 
certain  limit,  it  made  no  difference. 

Mr.  Warnerke  thought  that  the  slower  plates  were  dried,  the 
greater  their  sensitiveness. 

Mr.  Henderson  said  he  had  added  as  much  as  25  minims  of 
ammonia  -880  without  causing  fog  of  any  sort ; the  emulsion 
flowed  easily  when  coating,  and  there  was  no  frilling. 

Mr.  Warnerke  did  not  think  that  the  state  of  the  weather  at 
the  time  of  preparation  had  any  effect  on  the  emulsion.  A good 
wet  plate  would  register  about  10  on  the  sensitomer. 

Mr.  Warnerke  promised  at  a future  meeting  to  exhibit  a new 
Russian  limelight. 


Photographers’  Benevolent  Association. 

The  annual  general  meeting  of  this  Association  was  held  at 
181,  Aldersgate  Street,  on  Wednesday,  Jan  24th,  Mr.  W.  S.  Bird 
in  the  chair.  The  Rev.  F.  F.  Statham  was  also  present. 

The  minutes  of  the  previous  meeting  were  read  and  confirmed, 


Fbbbuaky  2,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


79 


and  Messrs.  W.  Dallmeyer,  W.  Hayes,  H.  Maulden,  and 
J.  Mathews,  were  elected  members  of  the  Association. 

The  reports  and  balance-sheet  were  then  submitted. 

Secretary’s  Report. 

Gentlemen,— It  has  been  a pleasure  to  me  to  congratulate 
you  upon  the  progress  made  by  the  Association  when  submitting 
my  report  in  previous  years,  but  never  have  1 been  able  to 
submit  one  so  favourable  as  the  present. 

The  receipts  for  the  year  are  £57  16s.,  against  £50  16s.  for 
1881.  The  honorary  members  having  contributed  £18  7s.  Gd.,  as 
against  £10  19s.  6d.,  fully  confirms  the  statement  in  last  year’s 
report  that  the  vitality  then  shown  by  the  ordinary  members 
would  be  readily  and  generously  responded  to  by  the  more 
wealthy  members  of  the  profession.  The  ordinary  members 
have  exceeded  previous  records  by  subscribing  £19  6s.  to  the 
funds,  which,  with  the  proceeds  from  the  soiree  and  ball,  and 
the  Photographic  Society’s  Exhibition,  make  up  the  income  to 
amount  quoted  above. 

The  expense  of  management  has  been  slightly  under  the 
average,  the  disbursements  for  all  purposes,  including  assistance, 
being  £32  9s.  9d.,  thus  leaving  a clear  gain  of  £25  6s.  3d.  to  be 
added  to  the  funds,  raising  them  from  £114  11s.  lOd.  to 
£139  18s.  Id. 

Report  of  the  Hoard  of  Management. 

In  submitting  the  annual  statement  to  the  subscribers  and 
members  of  the  Association,  the  Board  has  pleasure  in  noting 
some  small  but  sure  and  steady  signs  of  progress. 

There  has  been,  as  shown  by  the  Secretary’s  report,  an 
augmentation  of  the  funds  of  the  Association.  There  has  been 
increased  income  from  subscriptions  of  members  and  the  liberal 
assistance  from  the  honorary  members.  Early  in  the  year 
several  gentlemen  combined  to  organize  a photographers’  soiree 
and  ball  for  the  express  benefit  of  our  funds.  The  gratifying 
result  was  a donation  of  £9  16s.  Gd.,  and  as  the  entertainment 
was  in  itself  an  agreeable  success,  one  may  hope  the  soiree  and 
ball  will  become  an  annual  entertainment. 

The  President  and  Council  of  the  Photographic  Society  of 
Great  Britain  very  generously  recognize  the  benevolent  aims  of 
this  Association,  and  willingly  granted  again  an  evening  at  their 
exhibition  in  Pall  Mall.  The  proceeds  this  year  amounted  to 
£10  68..  being  in  excess  of  the  benefit  in  previous  years. 

The  Photographic  press  are  ever  willing  to  give  reasonable 
publicity  to  our  proceedings,  and  the  editors  are  entitled  to  our 
warmest  thanks. 

There  have  been  a few  applications  for  temporary  assistance 
from  members,  and  about  one-seventh  part  of  the  year’s  income 
has  been  beneficially  expended.  Applications  from  non-members 
have  heen  somewhat  numerous,  but,  under  existing  rules  and 
with  the  present  funds,  could  not  be  entertained.  The  Associa- 
tion is  benevolent,  but  mutual,  the  subscriptions  being  paid  to 
help  members  in  difficulty.  Photographers’  assistants  who  con- 
tribute annually,  know  that  substantial  help  is  forthcoming  if  the 
necessity  arises,  and  it  is  anticipated  that  this  large  class  will 
gradually  see  the  advantages  that  would  accrue  to  the  whole 
body  if  the  Association  was  more  widely  supported. 

This  Association  has  been  some  years  in  existence,  the  expenses 
of  its  management  are  trifling,  its  progress  has  been  and  still  is 
slow,  but  there  is  progress  in  the  right  direction : the  funds  in- 
crease, friends  increase,  members  increase,  and  its  object  is 
essentially  philanthropic  and  calculated  to  benefit  members  of 
the  photographic  profession. 

The  Balance  Sheet  and  Reports  were  put  to  the  meeting  and 
carried. 

The  Secretary  then  stated  that  he  had  the  pleasure  of  an  - 
nouncing  the  receipt  of  £10  from  Edward  Horner,  Esq.,  of  Cray- 
ford,  in  aid  of  the  funds  of  the  Association.  The  meeting  passed 
a vote  of  thanks  for  the  liberal  donation,  and  expressed  a wish 
that  the  example  would  be  followed  by  other  sympathisers  with 
the  Association  and  its  objects. 

The  retiring  Board  of  Management  suggested  sundry  altera- 
tions in  the  rules  which  were  agreed  to. 

The  following  are  the  officers  for  the  current  year  : — 
Viee-Rresidents — Rev.  F.  F.  Statham,  M.A.,  F.G.S.  ; and  Mr. 
J.  H.  Dallmeyer,  F.R.A.S. 

Trustees — Uol.  Stuart  Wortley  and  Captain  Abney,  R.E., 
F.R.S. 

Treasurer — Mr.  H.  Baden  Pritchard,  F.C.S. 

Auditors — Messrs.  G.  Taylor  and  J.  F.  Rolph. 

Board  of  Management— Messrs.  W.  S.  Bird  (Chairman),  H.  J. 
Thorne  (Deputy -Chairman),  W.  M.  Ashman,  H.  J.  BurtoD, 


T.  Bolas,  F.C.S  , F.  H.  Berry,  A.  J.  Brown,  C.  G.  Collins,  J.  A. 
B.  Hall,  J.  O’Connor,  J.  S.  Rolph,  A.  Strivens,  S.  Saunders,  and 
R.  E.  Wilkinson. 

Secretary — Mr.  H.  Harland. 

A general  discussion  then  took  place,  and  several  methods  were 
suggested  whereby  to  improve  the  Association,  the  Rev.  F.  F, 
Statham  promising  to  use  his  best  efforts  to  promote  the  interest 
of  the  Society. 

The  meetiug  closed  with  a hearty  vote  of  thanks  to  the  Chair- 
man (Mr.  W.  S.  Bird),  and  Vice-President  (Rev.  F.  F.  Statham), 
which  was  carried  unanimously. 

The  next  Board  of  Management  meeting  will  be  held  at  eight 
o’clock  on  February  7th,  at  181,  Aldersgate  Street. 


Liverpool  Amateur  Photographic  Association. 

The  monthly  meeting  was  held  at  the  Free  Library,  on  the  25th 
ult.,  Mr.  E.  Roberts  (President)  in  the  chair. 

The  minutes  of  the  last  meeting  having  been  passed,  the  follow- 
ing gentlemen  were  elected  members  of  the  Association  : — Messrs. 
Hardman,  James,  Rowlandson,  and  Ward.  Through  inadvertence, 
in  the  unavoidable  absence  of  the  Hon.  Secretary,  the  election  of 
Mr.  Wynne  was  postponed  till  next  meeting. 

The  Chairman,  after  a few  farewell  remarks,  vacated  the  chair 
to  the  President  for  the  year  1883,  Mr.  B Boothroyd,  who  there- 
upon distributed  the  certificates  of  honour  to  the  gentlemen  to 
whom  they  had  been  awarded  at  the  annual  meeting  (namely, 
Messrs.  Kirkby,  Palmer,  Day,  Bean,  and  Ellerbeck),  and  then 
delivered  the  Inaugural  Address,  as  follows  : — 

“ When  it  is  considered  that  I only  became  a member  of  our 
Society  ill  1874,  and  that  there  are  among  us  many  who  have 
been  much  longer  connected  with  it,  and  also  many  new 
members  who  would  have  filled  the  position  of  President  with 
greater  ability,  it  will  probably  be  a puzzle  to  you,  as  it  is  to 
myself,  to  discover  the  wherefore  of  my  election  to  the  office. 
However,  it  is  through  your  kindness,  and  I must  make  the  best 
of  the  situation,  trusting  to  your  sympathy  and  help.  On 
looking  over  the  list  of  members  with  which  the  Hon.  Secretary 
has  furnished  us  in  the  report  for  1882,  I find  the  existing 
members  joined  the  Society  as  follows: — In  1863,  17  ; 1864,  4 ; 
1865,  1;  1866,  0;  1867,  1;  1868,  0;  1869,  3;  1870,  1; 

1871,  1;  1872.  3;  1873,  2;  1874,  4;  1875,  2;  1876,  2; 

1877,  7 ; 1878,  7 ; 1879,  6 ; 1880,  6 ; 1881,  8 ; and  1882, 18- 

total,  93.  This  would  show  that  of  late  years — or,  say  from 

1877 — there  has  been  a growing  interest  in  the  science  of  photo- 
graphy: but  it  will  be  noted  that  in  1882  we  received  no  fewer 
than  eighteen  new  members,  or  more  than  double  those  in  any 
previous  year,  excepting  that  of  the  formation  of  the  Society. 
This  will  point,  in  the  minds  of  all,  to  the  conclusion  that  the 
discovery  of  the  gelatine  process  has  given  a wonderful  stimulus 
to  our  art-science.  I imagine  there  are  many  ardent  workers 
among  us  to-day  who  have  had  no  practical  acquaintance  with 
the  collodion  or  wet-plate  process,  for  which,  however,  I have  a 
considerable  regard. 

“ My  acquaintance  with  practical  photography  began  some 
twenty  years  ago,  with  a small  affair  for  wet  plates,  known  as 
Dubroni’s  camera.  The  illustrated  instructions  were  so  explicit, 
that  on  first  attempts  I succeeded  in  the  manipulation,  and  this 
soon  led  to  the  obtaining  of  larger  cameras,  and  the  working  of 
the  collodion  process,  with  the  use  of  a tent  when  away  from 
home. 

“ Now,  though  dry  plates  are  very  well  in  their  way,  I must 
confess  to  a love  for  the  wet  process  ; and  if  I were  other  than 
an  amateur  with  a minimum  of  leisure  should  work  it  still. 
Not  long  ago  I came  across  a gentleman  at  Warrington  station, 
with  tent,  &c.,  and  on  speaking  to  him  found  he  was  employed 
by  a firm  in  the  Midland  counties  for  taking  views  in  various 
parts  of  the  country  for  trade  purposes,  and  he  was  then  on  his 
way  to  “do”  Edinburgh.  Of  course,  he  had  tried  gelatine 
plates,  but  had  not  found  them  so  well  suited  to  the  purpose  as 
wet  ones.  It  cannot  but  be  an  advantage  to  know  for  certain 
that  a good  picture  is  obtained,  and  then,  if  on  development 
anything  is  wrong,  it  is  easy  to  expose  another  plate.  By  the 
way,  this  gentleman  told  me  how  much  he  was  amused  with 
amateurs,  who  would  often  arrive  on  the  scene  of  his  labours  in 
an  afternoon,  aud  in  the  course  of  an  hour  or  two  would  “ fire 
off”  a lot  of  plates  and  go  away  happy  in  the  delusion  they  had 
taken  pictures.  Let  none  of  us  be  guilty  of  such  folly.  It  is 
easy  enough  to  expose  by  the  gross,  but  not  as  easy  to  secure 
artistic  pictures.  These  require  consideration  as  to  lighting,  and 
often  involve  a lengthened  stay  in  a locality. 


so 


THE  PHOTOGRAPHIC  NEWS, 


[February  2,  1883, 


“ Besides  wet  plates  I have  had  considerable  acquaintance  with 
collodio-albumeD,  using  Pollitt’s  plates,  than  which  none  better 
or  more  reliable  could  be  had.  Then  there  were  in  the  days 
gone  by  Hill  Norris’s  plates,  which  for  rapidity  were  probably 
equal  to  the  bulk  of  the  gelatine  plates  of  to-day.  My  friend, 
Mr.  Sampson,  of  Southport,  having  been  very  successful  with 
these  plates,  Mr.  Norris  came  from  Birmingham  wishing  to  know 
how  they  were  developed  ; but  Mr.  Sampson,  believing  in  the 
principle  of  ‘ tit  for  tat,’  wished  in  return  to  be  informed  how 
they  were  prepared.  Mr.  Norris,  not  willing  to  impart  his 
secret,  went  home  no  wiser  than  he  came.  I believe  these  plates 
were  collodion  and  gelatine.  On  these  plates,  exposed  many 
year3  since,  the  films  have  become  very  tender,  though,  of 
course,  they  were  varnished.  Query : How  will  gelatine  stand 
the  effects  of  time  ? I think  it  will  do  so,  but  experienta  docet. 
Then,  also,  there  were  the  collodio-bromide  plates  of  the  pa3t, 
which  had  their  origin  in  this  Society,  and  with  these  I was  not 
very  successful.  I am  referring  to  commercial  plates,  the  best 
known  of  which  were  often  covered  over  with  spots,  and  were 
otherwise  faulty  from  inherent  defects  in  the  film  or  preserva- 
tive. Amateurs  and  other  photographers  of  to-day  may  pride 
themselves  on  the  fact  that  gelatine  is  in  the  ascendant  ; for 
there  is  no  doubt  that  any  plates  which  may  now  be  purchased 
are  infinitely  more  reliable  than  were  other  makes  in  the  period 
to  which  I refer,  with  the  further  great  advantage  that  they  are 
not  more  than  half  the  price.  What  a wonderful  industry  has 
sprung  up  in  connection  with  the  gelatine  process ! If  it  be 
true  that  the  man  is  a benefactor  to  his  race,  who  gets  a blade 
of  grass  to  grow  where  one  has  never  grown  before,  it  cannot  be 
denied  that  Mr.  Bennett  has  proved  himself  a benefactor  of  no 
mean  order. 

“ A few  years  ago  I was  shown  the  album  of  an  amateur  at 
Warrington  who  worked  exclusively  the  so-called  “ coffee 
process,”  and  more  beautiful  views  I have  never  seen.  There 
was  a tichness,  delicacy,  and  detail  about  them  that  was  simply 
charming.  I believe  the  coffee  process  was  at  one  time  used 
largely  by  the  members  of  this  Association,  and  I mention  these 
views  for  the  purpose  of  saying  that  good  pictures  can  be 
produced  by  almost  any  process  if  one  only  determine  to  stick  to 
it,  and  not  to  be  led  away  by  the  voice  of  other  charmers, 

‘ charm  they  ever  so  wisely.’  If,  when  we  get  into  the  working 
of  a process  and  succeed  well  with  it,  we  are  not  satisfied  to  let 
well  alone,  but  are  always  after  the  latest  novelty,  which  is 
probably  no  improvement,  the  quality  of  our  work  will  not  be 
of  a high  standard— at  any  rate  it  will  not  be  as  good  as  it  ought 
to  be  with  those  of  us  who  have  precious  little  time  at  our 
disposal.  For  others  with  ample  leisure  I would  say — by  all 
means  experiment  as  much  as  you  please,  and  possibly  you  may 
some  day  discover  the  Eldorado  of  photography  which,  I 
suppose,  is  the  securing  of  natural  colours.  No  doubt  many  of 
us  have  been  novelty-seekers.  For  myself,  at  any  rate,  I may 
say  I have  tried  numbers  of  new  developers,  each  said  of  their 
originator  to  be  of  superior  excellence.  Some  were  strange 
compounds,  and  would  not  fix  properly  or  filter  clear,  and  were 
the  opposite  of  improvement  on  old  and  well-established  formuke. 

“ Then  there  is  the  matter  of  sulphite  of  soda  in  the 
developer.  What  difference  of  opinion  about  that ! Indeed,  in 
matters  photographic  opinions  are  diverse  and  often  opposite. 
Some  work  in  almost  total  darkness,  while  others  use  a fair 
amount  of  light  in  the  dark  room.  Some  recommend  a good 
quantity  of  bromide  in  development,  while  others  say  none  is 
needed.  In  these  things  each  must  decide  for  himself,  and  work 
accordingly. 

“ Next  to  these  differences  of  ideas  rapidity  seems  to  be  the 
order  of  the  day  ; for  are  we  not  offered  plates  up  to  sixty  times 
the  rapidity  of  wet  ones  ? For  myself  I should  like  to  see 
gelatino-bromo-iodide  plates  in  the  market  certainly  not  more 
rapid  than  wet  ones,  as  I do  not  believe  there  is  any  advantage 
in  this  excessive  rapidity  for  landscape  work.  For  instantaneous 
pictures,  of  course,  plates  cannot  be  too  rapid.  For  amateurs 
commencing  the  practice  of  the  art  a slow  plate  is  most  desirable, 
as  there  would  be  greater  latitude  in  exposure  and  more  certainty 
of  obtaining  a dense  and  vigorous  negative. 

“ If  at  the  next  soiree  of  the  associated  societies  we  could  get 
together  specimens  of  the  photographic  art  from  its  commence- 
ment until  now  they  would  be  very  interesting  and  instructive. 

“ The  matter  of  the  question-box  has  several  times  been  men- 
tioned, and,  as  we  are  having  so  large  an  increase  of  new 
members,  it  would  be  well  if  those  seeking  instruction  on  any 
point  would  make  known  their  needs  through  the  box,  when,  no 
doubt,  they  would  get  the  information  desired. 


“ In  concluding  these  rambling  remarks,  I would  express  the 
hope  that  this  year  may  be  the  most  successful  the  Society  has 
known.  May  there  be  a healthy  stimulus  and  emulation  among 
us  ; and  may  the  weather  so  favour  us  that,  when  on  photo- 
graphic pleasure  bent,  we  may  come  back  laden  with  numbers  of 
good  negatives,  which  we  shall  have  pleasure  in  submitting  to 
our  fellow-members,  or  reserving  for  the  competition  subjeots, 
or  the  presentation  prints.” 

The  proof  of  the  presentation  print — an  enlargement  from  a 
negative  by  Mr.  J.  H.  T.  Ellerbeck — was  exhibited  and  approved 
by  the  Society.  Mr.  Ellerbeck  also  produced  proofs  of  the  pic- 
tures printed  in  platinotype,  and  these  were  preferred  by  many 
to  the  carbon  prints. 

Mr.  Ellerbeck  read  a paper  on  a recent  photographic  tour 
across  country  in  Prussia,  and  illustrated  the  same  by  about  100 
views  taken  during  his  tour  (see  page  68).  In  answer  to  in- 
quiries he  stated  that  the  stop  used  with  a lens  of  thirteen  inches’ 
focus  was  one-eighth  of  an  inch,  which  accounted  for  the  extreme 
—almost  microscopical — sharpness  which  characterised  the  prints. 
The  usefulness  of  the  actinometers  was  proved  by  the  evidently 
correct  exposure  in  all  cases,  even  in  the  most  difficult  subjects. 

Mr.  Potter  passed  round  a large  number  of  very  excellent 
photographs  taken  by  him  during  his  recent  stay  in  South 
America. 

Dr.  Kenton  exhibited  an  improved  mode  of  using  the  mag- 
nesium light,  by  burning  the  wire  in  an  ordinary  bottle  containing 
puro  oxygen. 

Mr.  H.  Cossons  sent,  through  the  Hon.  Secretary,  his  usual 
kindly  gift  of  almanacs  for  1883. 

Mr.  K.  Crowe  exhibited  a camera,  with  a finder  of  his  own 
construction  attached. 

After  a hearty  vote  of  thanks  to  the  above-named  gentlemen, 
the  meeting  was  adjourned  to  the  last  Thursday  in  February. 


$ o &omsj)0n&£ttts. 

*»*  We  cannot  undertake  to  return  rejected  communications. 

R.  L.  K. — 1.  It  is  so  purely  a question  of  observation  that  we 
cannot  give  you  any  very  definite  directions.  A good  plan 
would  be  to  grind  a few  ounces  of  the  Indian  ink  with  four  or 
five  times  its  weight  of  water,  and  to  add  some  of  this  to  the 
gelatinous  solution  until  sufficient  density  is  attained.  2.  A 
small  proportion  of  olive  oil  should  be  added  to  the  warm  mix- 
ture, and  thoroughly  incorporated,  as,  if  this  is  not,  there  is  a 
considerable  probability  of  adhesion  taking  place.  3.  About 
one-fifth  of  its  weight.  4.  No.  5.  A sufficiently  well-made 
calendering  machine  cannot  be  obtained  commercially,  as  far  as 
we  know. 

One  o e the  Old  Sort. — It  will  dissolve  readily  in  alcohol  or 
ether. 

E.  A.  Ttler. — Thanks  for  your  communication,  which  we  have 
noted. 

C.  \V.  Scriven. — No,  nothing  absolutely  certain  and  reliable  has 
been  introduced  up  to  the  present  time  ; but  it  would  be  quite 
possible  to  construct  such  an  apparatus.  The  experienced 
would,  however,  prefer  to  do  without  it,  while  the  beginner  would 
find  that  its  management  would  far  more  than  exhaust  all  his 
energies,  leaving  him  nothing  over  for  the  essential  features  of 
the  work. 

L.  W.  R. — 1.  The  lens  you  mention  will  suit  very  well  for  all- 
round work,  but  it  would  be  decidedly  advantageous  for  you  to 
take  two  others  ; one  of  longer  focus,  and  the  other  of  shorter 
focus.  2.  Double  dark  elides  are  much  to  be  preferred.  3.  Hardly 
so  good,  the  longer  focus  lens  being  preferable.  4.  Apply  to  the 
Assistant  Secretary,  Mr.  Cocking,  at  the  Gallery,  5,  Pall  Mall 
East,  and  he  will  supply  you  with  a form  of  application. 

C.  U.  S. — It  will  be  published  in  course  of  a few  weeks. 

Si*ecki.E8. — The  operation  is  somewhat  risky,  but  the  best  thing  is 
to  immerse  them  in  a weak  solution  of  potassium  cyanide,  say  ten 
grains  to  the  ounce.  Of  course  they  must  be  well  washed  after- 
wards. 

Pyro. — 1.  A mixture  of  starch  paste  and  lampblack.  2.  Yes;  but 
a lens  of  shorter  focus  wvula  bo  more  suitable.  3.  Possibly  a 
weak  bath  of  cyanide  might  be  useful ; see  answer  to  Speckles. 

A.  N.  L. — 1.  If  not  quite  ns  good  as  any,  it  is  certainly  not  far 
behind.  2.  Much  more  convenient  in  front.  3.  They  are  sold  by 
most  stock  dealers.  4.  It  is  a question  of  skill,  practice,  and 
manual  dexterity.  5.  Probably  not. 

Several  answers  and  some  matter  are  crowded  out  this  week. 

***  Authors  may  have  Reprints  of  their  Articles  at  3s.  per  page 
per  hundred  copies  ; but  the  order  must  be  given  when  the  proof 
is  returned. 


I 


THE  PHOTOGRAPHIC 

Vot.  XXVII.  No.  1373. — February  9,  1883. 

lU  .T  ,1  Jl 


CONTENTS. 


HEWS, 


PAOR 


Fine  and  Coarse  Silver  Bromide  in  Emulsions  81 

The  Collotype  Process  82 

By-thc-Bye.— About  other  Studios 82 

French  Correspondence.  By  Leon  Vidal 83 

Notes  on  Photography.  By  E.  Howard  Farmer  81 

The  South  London  Photographic  Society’s  Popular  Lantern 

Meeting,  and  its  Lessons.  By  William  Brooks  8.5 

Remarks  on  Parlour  Portraiture.  By  Dr.  Tulloch  80 

Notes 87 


PAGE 

Patent  Intelligence  90 

Photo-I.ithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 90 

Experiments  on  the  Direct  Photography  of  Sound  Vibrations  92 

Review  92 

Correspondence  93 

Proceedings  of  Societies 94 

Talk  in  the  Studio 95 

To  Correspondents 90 


FINE  AND  COARSE  SILVER  BROMIDE  IN 
EMULSIONS. 

W ben  Plener’s  process  of  preparing  emulsion  by  separating 
the  silver  haloids  from  a boiled  or  ammonia  treated  emulsion, 
and  re-emulsifyiog  them  with  fresh  gelatine,  was  first  de- 
scribed in  our  columns,  it  was  pointed  out  that  one  of  the 
, great  advantages  of  this  process  was,  that  in  the  case  of  a 
chemically  fogged  emulsion  it  was  possible  to  remove  the 
I coarser  and  fog-causing  particles  of  silver  bromide,  and  thus 
get  rid  of  the  fog. 

Some  time  ago,  when  describing  experiments  on  another 
process  which  brings  about  a similar  separation  of  the  silver 
haloids  and  the  modified  gelatine,  we  gave  it  as  our  opinion 
that  there  probably  is  in  every  emulsion  a certain  percentage 
of  bromide  of  silver  which,  if  not  actually  in  this  fogged 
condition,  isso  nearly  so,  that  the  emulsion  would  be  improved 
by  its  elimination,  and  that,  in  fact,  the  residue  tub,  and  not 
the  films  on  the  plates,  was  the  best  place  for  it.  We  men- 
tioned our  intention  of  experimenting  in  the  direction 
indicated.  We  are  glad  to  see  that  Dr.  Eder  is  either  acting 
on  our  hint,  or,  having  been  struck  with  the  same  idea,  has 
been  working  in  the  same  direction,  making  use  of  Plener’s 
machine.  We  have  finished  the  experiments  which  we  men- 
tioned, and  find  they  entirely  confirm  Dr.  Eder’s.  We 
shall  describe  them  briefly,  and  give  their  results. 

We  used  the  precipitation  process,  not  having  access  to  a 
centrifugal  machine  of  the  Plcner  type. 

We  prepared  an  emulsion  by  the  boiling  process,  using 
400  grains  of  silver  nitrate,  boiling  for  three  hours,  and 
stirring  at  brief  intervals.  We  allowed  the  emulsion  to  cool 
to  a temperature  at  which  it  could  be  easily  handled,  when 
we  once  more  stirred  it  vigorously.  We  now  drew  off  a 
portion,  and  set  it  on  one  side  to  precipitate.  The  bulk  of 
the  emulsion  we  allowed  to  stand  for  one  hour,  when  we  de- 
canted it,  and  set  on  one  side  to  precipitate.  Wo  found  that 
in  the  hour  a considerable  amount  of  settlement  had  taken 
lace,  and  that  there  was  a layer  of  silver  bromide  at  the 
ottom  of  the  jar.  We  mixed  this  with  water,  and  divided 
it  into  two  equal  portions.  Each  of  these  we  allowed  to 
precipitate,  but  retained  one  for  the  purpose  of  weighing 
the  silver  bromide,  whilst  the  other  we  kept  to  mix  with 
gelatine  ‘to  make  an  emulsion.  After  precipitation  and 
washing,  it  will  be  seen  that  we  had  : first,  a portion  of 
the  silver  bromide  of  the  emulsion  exactly  as  it  wa9  after 
boiling  ; second,  a portion  minus  the  coarser  bromide  ; and 
third,  the  coarser  bromide  in  two  portions,  one  for  weigh- 
ing, the  other  for  mixiug  with  gelatine. 

We  mixed  each  of  these  samples  of  silver  bromide  with 
gelatine  to  make  an  emulsion  ; the  result,  as  regards  appear- 
ance, was  as  follows  : — 

The  first  and  second  were  not  to  be  distinguished.  Each 
was  an  opaque  emulsion,  of  a good  colour,  and  with  no 
perceptible  difference  in  size  of  grain. 


The  third  was  a greyish,  granular,  and  very  transparent 
emulsion. 

Elates  were  tested  of  all  three,  and  the  results  were  as 
follows  : — 

The  first  and  secoud  bromide  gave  excellent  results. 
When  developed  with  a normal  developer,  there  was  not 
much  diflerence  between  them  ; but  the  second  showed  one 
figure  of  the  sensitometer  higher  than  the  other,  namely,  21  ; 
it  was  somewhat  clearer  in  the  shadows,  considerably  denser, 
and  gave  apparently  a better  gradation  of  density. 

It  was  when  forcing  was  applied,  however,  that  the  differ- 
ence was  most  apparent.  With  a developer  containing  to 
each  ounce  a grain  and  a-half  of  pyrogallic  and  one  grain 
of  bromide  of  ammonium,  the  first  showed  symptoms  of  fog 
when  ammonia  reached  five  minims.  The  second,  on  the 
other  hand,  remained  quite  bright  till  twelve  minims  of 
ammonia  were  applied.  By  that  time  the  figure  23  was 
visible. 

And  now  about  the  third.  The  appearance  of  the  film 
was  almost  enough  to  condemn  it.  On  applying  a normal 
developer  to  a plate  of  this  batch  exposed  under  the  sensito- 
meter, a uselessly  thin  and  fogged  image  was  the  result, 
and  the  figure  14,  or  thereby. 

The  bromide  of  silver  from  the  half  of  the  third  portion, 
which  had  been  put  on  one  side  for  weighing,  was  dried, 
and  found  to  equal  a shade  under  40  grains ; that  is  to  say, 
altogether  80  grains  of  bromide  of  silver  had  been  removed 
from  the  emulsion,  and  this,  be  it  noted,  to  its  absolute 
benefit.  Not  even  its  covering  power  was  reduced,  its 
sensitiveness  was  increased  somewhat,  and  its  quality, 
including  resistance  of  a strong  developer,  had  been  increased 
much.  Here  we  have  a result  which  appears  to  us  to  be  of 
some  importance.  Eighty  grains  of  bromide  of  silver 
represents  roughly  18  per  cent,  of  the  bromide,  resulting 
from  decomposition  of  400  grains  of  silver  nitrate,  and  this 
amount  is  recovered,  and  may  be  placed  amongst  the  residues 
to  the  advantage  of  the  emulsion.  The  saving  in  actual 
cash  would  be  considerable  in  the  case  of  a manufacturer 
working  on  a large  scale. 

Another  result  which  we  obtained  is  a confirmation  of  the 
observation  first  made,  we  believe,  by  Dr.  Eder,  that  the  re- 
straining influence  of  finely-divided  bromide  of  silver  is 
such,  that  in  its  presence,  coarse-grained  bromide  of  silver, 
which,  if  alone,  would  give  nothing  but  fog,  may  be  deve- 
loped clearly.  In  our  first  emulsion  we  had  present  suffi- 
cient biomide  of  silver  in  a coarse  state  of  division  to  produce 
fog  had  it  not  been  in  the  presence  ol  the  finer  biomide; 
yet  with  a normal  or  even  somewhat  strong  developer  we 
got  quit;  clear  plates.  At  the  same  time,  we  see  that 
although  the  restraining  power  of  the  fine  silver  bromide 
goes,  to  a certain  extent,  and  prevents  the  coarse  bromide 
from  being  reduced  without  the  action  of  light  and  with  a 
normal  developor,  yet  it  is  not  sufficient  to  prevent  the 


■ 


82 


THE  PHOTOGRAPHIC  NEWS. 


[Febettary  9,  1883. 


presence  of  this  coarse  bromide  from  diminishing  the  quality 
of  the  plate  to  a certain  extent,  and  especially  in  making  it 
impossible  to  resort  to  much  forcing. 


THE  COLLOTYPE  PROCESS. 

The  circumstance  that  only  a few  (indeed,  very  few) 
English  photographers  practise  the  collotypic  process,  has 
frequently  been  remarked.  In  Germany,  for  example, 
almost  every  considerable  town  has  at  least  one  collotyper, 
and,  as  a rule,  these  practitioners  do  very  well  from  a business 
point  of  view,  the  demand  for  collotypic  pictures  for  trade 
purposes  being  generally  pretty  brisk.  One  would  imagine 
that  in  a city  like  London,  where  competition  iu  business 
is  brisk,  and  so  many  sales  are  negotiated  by  correspondence, 
a practical  collotypist  ought  to  have  his  hands  full.  Let 
us  suppose,  for  example,  that  a manufacturer  wishes  to 
introduce  a new  tricycle  to  the  notice  of  his  customers  : and 
what  method  could  suit  his  purpose  better  than  collotype 
for  obtaining  representations  of  it?  The  negative  having 
been  taken,  the  exposure  of  the  collotype  plate  could  be 
effected  on  the  6ame  day,  and  a few  hours  afterwards  some 
one  or  two  hundred  copies  might  be  in  the  hands  of  the 
customer.  As  long  as  the  electric  light  maintains  its  pre- 
sent position  in  the  metropolis,  the  photographer  would 
have  no  difficulty  in  exposing  a plate  of  moderate  dimen- 
sions in  the  streets,  or  atone  of  the  railway  stations,  should 
it  be  important  to  obtain  a printing  plate  after  dark.  As 
an  illustration  of  this,  we  may  mention  that  one  evening  we 
walked  down  Fleet  Street  and  the  Strand,  exposing  a 
small  collotypic  plate  to  the  light  of  the  various  lamps 
which  seemed  available.  The  total  exposure  amounted 
to  six  minutes,  and  we  found  the  plate  fully  exposed. 
A small  photo-lithographic  transfer,  which  was  included 
in  the  same  frame,  was  decidedly  overdone.  Other  expo- 
sures, made  altogether  at  the  Charing  Cross  Railway 
Station,  involved  less  loss  of  time  ; but  we  found  between 
eight  and  ten  minutes  were  required  for  the  same  negative 
and  a similar  plate. 

Several  readers  who  have  tried  the  collotype  method  as 
described  in  our  Year-Book  have  written  to  us  with  respect 
to  difficulties  they  had  met  with  ; but,  as  far  as  we  are  in- 
formed, all  difficulties  have  been  quite  of  the  ordinary 
character. 

The  principal  source  of  failure  is  the  untimely  separation 
of  the  film  from  the  plate,  and  this  is  especially  annoying, 
as  it  ordinarily  happens  just  as  the  plate  is  got  fairly  into 
work,  and  after  a few  copies  have  been  satisfactorily  printed. 
Several  circumstances  tend  to  render  the  hold  of  the  gela- 
tinous film  on  the  glass  plate  uncertain.  Among  these  we 
will  place  foremost  the  imperfect  removal  of  old  films ; and 
it  may  be  positively  stated  that  unless  every  trace  of  old 
gelatine  is  lemoved  in  clearing  off,  the  film  subsequently 
laid  is  insecure.  After  the  removal  of  the  old  films  by 
caustic  soda,  or  other  detergent,  the  plates  should  be  tho- 
roughly re-ground  with  fine  emery,  60  as  to  lay  bare  a com- 
pletely new  surface  of  glass.  Auother  matter  of  importance 
is  to  make  up  the  water-glass  preparation  (Year-Book  for 
1883,  p.  124)  with  a soluble  glass  which  is  free  from  any 
great  excess  of  alkali.  Either  potash  or  soda  water-glass  may 
be  used,  and  we  have  succeeded  very  well  with  samples 
obtained  from  Messrs.  Hopkin  and  Williams.  The  cleaned 
surface  of  the  plate  should  not  be  touched  with  the  finger,  or 
other  body  capable  of  communicating  traces  of  greasy 
matter. 

The  next  difficulty  of  importance  is  that  of  obtaining  a 
perfectly  uniform  film  ; any  irregularities,  wavy  lines,  or 
other  markings  usually  showing  in  the  priuts.  Each  kind 
of  gelatine  requires  a special  temperature  for  drying,  and 
this  is  only  to  be  found  by  experience.  At  the  same 
time,  it  should  be  noted  that  mauy  wave-like  and  map- 
like markings  arise  from  the  action  of  sudden  draughts  of 
air  on  the  film  during  the  process  of  drying.  The  thorough 
churning  of  the  bichromated  gelatine  mixture  about  half- 


an-hour  before  it  is  used,  often  prevents  the  formation  of 
circular  or  pit-like  markings.  Many  persons  over-expose 
their  plates,  a course  which  leads  to  much  inconvenienec, 
and  necessitates  the  use  of  a printing  ink  so  stiff  as  to 
be  inconvenient  to  work  ; while  prints  defective  as  to  half- 
tone generally  result.  Some  special  difficulties  iucident  to 
the  operations  of  inking  the  p'ate  and  taking  tbe  impres- 
sion in  the  press  will  be  referred  to  iu  a future  article. 


8 

ABOUT  OTHER  STUDIOS. 

We  have  commented  upon  certaiu  mistakes  made  in  some 
studios ; we  are  now  about  to  point  out  farther  short- 
comings in  other  studios ; and  as  it  is  our  intention  to  be 
critical  rather  than  complimentary,  we  make  no  apology 
for  any  outspoken  remarks  we  may  be  tempted  to  make. 
Our  standpoint  is  that  of  the  public,  and  our  readers  will 
please  to  remember  that  it  is  as  a visitor,  or  outsider,  and 
not  as  a photographer,  that  we  are  going  to  have  our  say. 

We  shall  address  ourselves  to  two  shortcomings  in 
particular.  The  first  has  reference  to  the  outside  of  the 
studio,  before  the  sitter  enters  ; the  second  to  his  treatment 
as  a customer.  Everybody  likes  to  put  the  best  face  he  can 
upon  his  affairs,  and  the  photographer  is  no  exception  to 
the  rule,  lie  wishes  his  establishment  to  have  a present- 
able appearance,  and  takes  some  pride  in  selecting  a fine 
studio— if  he  does  not  actually  build  one — spending  much 
thought  and  care  in  putting  it  in  apple-pie  order.  Un- 
fortunately, there  is  no  check  on  his  ambition,  or  rather  he 
is  controlled  by  no  other  idea  in  his  preparations  than 
that  of  making  his  studio  grand  and  momentous  in  the  eyes 
of  the  public.  In  vulgar  parlance,  he  wishes  to  “ kill  ’ the 
unsuspecting  passer-by.  His  sole  aim  is  to  impress  every- 
one with  the  magnificence  of  his  new  venture,  and  to 
attract  the  town. 

Now  this  may  be  very  well,  if  the  locality  in  which  the 
establishment  stands  is  the  centre  of  wealth  and  fashiou  ; 
but  otherwise  it  is  a very  foolish  proceeding.  Great  cities 
like  Paris  and  London  are  able,  no  doubt,  to  support  a few 
such  establishments— not  more  than  half-a-dozen — but, 
with  an  exception  here  and  there,  the  photographer  only 
courts  failure,  and  sooner  or  later  must  needs  come  down 
to  the  level  of  the  people.  “Your  windows  look  very 
nice,'’  we  said  to  a first-class  photographer  at  a first-class 
spa,  not  long  ago.  He  shook  his  head  : “ Yes, but  I have 
rather  overdone  it ; I have  had  to  introduce  a little  notice 
in  the  window,  as  you  see,  about  cartes  being  half-a-guinea 
a-dozen.  I attracted  everybody,  it  is  true,  but  they  went 
elsewhere  to  be  photographed.  They  were  frightened  at 
the  grandeur.” 

If  there  are  wealth  and  fashion  to  be  found  anywhere 
in  this  couutry,  it  is  at  the  spot  where  this  gentleman 
resided  ; but  these,  alone,  did  not  furnish  sufficient  support. 
Moreover,  he  never  had  tbe  idea  of  catering  only  for 
them.  It  was  the  middle  class  as  well  as  the  upper 
class  he  desired— people  who  can  appreciate  good  work 
when  they  see  it.  These  admired  his  pictures  in  the 
window,  but  were  frightened  at  the  grandeur.”  It 
requires  a brave  man  to  enter  a fine  shop  iu  Bond  Street 
to  purchase  a twopenny  penholder,  and  most  people  are 
not  brave.  Fortuuately  for  Bond  Street,  there  is  a fashion- 
able world  to  support  it ; but  when  a bit  of  Bond  Street 
gets  located  elsewhere,  it  is  not  so  fortunate.  The  stately 
elegant  threshhold  is  rarely  crossed,  and  the  spacious 
interior  always  looks  empty  to  those  crowding  the  windows. 
“ Come  away,  girls  ; it  will  never  do  to  go  in  there!”  exclaims 
paterfamilias  to  his  daughters,  who  have  been  waiting  for 
their  new  velveteens,  in  order  to  be  photographed  ; and 
forthwith  they  are  taken  to  a humbler  establishment. 
Rapa  comes  from  Nottiug  Hill,  not  from  Belgravia, 
aud  though  he  does  not  fear  the  disbursement  of  a few 
sovereigns,  he  objects  to  drawing  of  a heavy  check. 


February  9,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


83 


Grand  exteriors,  then,  with  naught  but  grandeur  in  the 
windows,  is  a mistake  in  nine  cases  out  of  ten.  They  con- 
stitute repulsion  rather  than  attraction  ; and  although  a 
| modest  little  card  about  modest  prices  may  do  something 
to  lessen  the  evil,  it  is  better  still  to  steer  clear  of  mis- 
apprehension altogether.  A studio  bright  and  pleasant, 
elegant  in  structure  and  full  of  nice  pictures,  will  attract  the 
upper  ten  just  as  well,  while  it  does  not  frighten  away  the 
more  populous  middle  class.  Paterfamilias  is  geuerallys 
shrewd,  and  he  knows  thatgrandeur  must  be  paid  for.  Look 
at  him  on  the  Continent.  Now  and  again  he  is  d.wen  to 
some  palatial  hotel,  to  one  of  thc3e  magnificent  piles  of  wftite 
store  recently  built  in  Switzerland,  standing  at  the  margin 
of  some  blue  lake,  and  bordered  with  blooming  rhododen- 
drons and  orange  trees.  He  is  never  comfortable  during 
his  whole  sojourn,  and  is  only  content  when  he  leaves  it. 
He  kuows  all  the  time  he  is  but  a dry-salter  in  the  city, 
and  though  he  has  a comfortable  income  enough,  a well- 
built  house  in  Ladbrooke  Park,  West,  with  a son  at  Cam- 
bridge and  a daughter  in  Paris,  he  has  no  wish  to  dwell  in 
marble  halls  even  *or  a night.  The  Buckingham- Palace- 
sort  of  structure,  instead  of  delighting  him  with  the  pros- 
pect that  he  is  tasting  the  sweets  of  twenty  thousand  a year 
for  half-an-hour,  and  that  if  he  is  “going  it,”  it  is  well 
worth  the  money,  only  reminds  him  that  he  is  spending 
j money  with  ro  adaquate  return.  He  did  not  of  his  own 
free-will  enter  the  palace,  but  was  driven  there  without 
choice  ; and  although  he  wishes  to  travel  comfortably,  he 
has  no  desire  to  pay  for  what  he  neither  asks  for  nor 
desires.  And  here  it  may  be  remarked  that  paterfamilias’s 
dislike  to  pretentious  hotels,  and  to  pay  for  pa'ace  accom- 
modation quite  unsuited  to  him,  has  brought  to  grief  many 
| a Swiss  hotel-keeper  and  Zurich  banker  who  supplied  him 
with  money ; while  year  after  year  we  hear  of  British 
tourists  returning  from  their  summer  outing  expressing 
ardent  delight  at  their  journey,  but  somehow  very  shy 
about  returning  again  to  repeat  the  campaign.  The 
modern  Swiss  hotel-keeper  furnishes,  indeed,  a very  useful 
lesson.  He  is  an  example  of  doing  everything  for  appear- 
ance ; he  has  taken  to  cateriug  for  the  highest  in  the  laud, 
and  gone  on  rising  in  the  scale  until,  at  the  moment  he 
reaches  perfection,  he  finds  there  is  no  one  left  to  cater 
for. 

Another  point  scarcely  less  deserving  of  attention  by  a 
photographer  is  that  of  turning  your  customer  into  a 

It  client.  In  a family  there  is  as  much  photographing  very 

often  required  as  there  is  'aw  and  physic,  and  the  position 
of  family  photographer  is  scarcely  less  lucrative  thau  that 
of  lawyer  and  family  physician.  The  photographer  enjoys 
“retaining  ” advantages  like  these  two,  for  he  has  charge 
of  the  family  negatives.  We  know  of  so  ue  photographers 
whose  “ family  footing  ” is  quite  equal  in  value  to  the 
income  derived  from  other  sitters.  A lady  or  gentleman 
has  called  in  at  the  studio,  has  been  pleased  with  the  recep- 
tion accorded,  treated  with  consideration,  and  henceforth 
will  be  pourtrayed  nowhere  else.  If  married,  the  children 
—as  babies,  as  boys  and  girls,  as  students,  and  fair  girl- 
graduates— appear  from  time  to  time  to  sit,  and  then  in 
their  turn  become  clients. 

It  is  a mistake,  then,  to  treat  a sitter  in  the  same  way  as  r 
would-be  purchaser  entering  a shop.  The  latter  may  never 
come  again,  and  the  shopkeeper  does  well,  no  doubt,  to 
practise  his  best  art  as  a salesman.  But  well-nigh  ihe 
reverse  holds  good  iu  the  matter  of  sitter  and  photo- 
grapher ; that  is  to  say,  in  the  interest  of  further  business 
relations,  it  would  be  well  if  the  first  transaction  were  not 
a large  one,  for  if  the  new-comer  gets  the  notion  that  you 
are  a smart  man  of  business,  the  chances  are  he  has  no  wish 
for  your  further  acquaintance.  What  is  desired  is,  not 
hook  or  by  crook  to  secure  at  the  outset  a large  order, 
but  rather  to  establish  friendly  relations  and  secure  con- 
fidence with  a view  to  further  favours. 

If  photographers  would  bear  this  in  mind,  it  would  be 
greatly  to  their  advantage.  A studio  is,  in  some  respects, 


a lounge  ; at  any  rate,  it  should  always  contain  pictures 
and  portraits  of  sufficient  novelty  and  attraction  to  induce 
a visit  from  time  to  time.  It  is  a pleasant  place  for  a chat 
or  to  take  a friend,  and  a sitter  pleased  with  his  reception 
will  not  hesitate  hereafter  to  enter,  whether  he  desires  to 
spend  money  or  no.  And  if  friendly  relations  of  this  kind 
are  once  established  between  photographer  and  sitter,  the 
former  may  rest  assured  that  his  affairs  will  prosper. 

Next  week  wilt  appear  “At  Home  with  Mr.  Herbert 
Barraud,  in  Oxford  Street  ” ; the  folllowing“  By-the-Bye  ” 
will  be  “ Fhotograpby  and  Map-Making.” 

o 

FRENCH  CORRESPONDENCE. 
Photographic  Society  of  France — Application  of 
Colour  to  Photography— New  Mode  of  Photographic 
Printing — Gustave  Dore. 

Proceedings  of  the  Photographic  Society  of  France. — I have 
been  prevented  by  illness  from  forwarding  the  proceedings 
of  the  last  meeting  of  the  Society,  but  it  was  not  character- 
ized by  any  special  feature,  or,  at  any  rate,  we  have  not 
heard  of  it.  We  know  that  Colonel  Sebert  was  to  give  his 
experience  of  the  rapidity  at  which  the  shuiter  of  MM. 
Thury  and  Amey  worked.  This  intrument  has  just  been 
improved,  notably  by  the  fitting  of  a brake  action,  which 
would  also  be  of  great  service  in  M.  Boca’s  chronometric 
shutter.  A dial  is  attached  bearing  divisions  and  sub- 
divisions so  as  to  regulate  its  action  without  causing  vibra- 
tion. We  perceive  with  pleasure  that  photographers  are 
beginning  to  understand  that  it  does  not  do  to  work  with 
rapid  shutters  indiscrin  ' aate’y,  but  with  such  as  are  capable 
of  measuring  the  length  of  exposure.  The  Society  has 
been  taking  the  necessary  steps  in  order  to  be  declared  an 
institution  of  public  ut  'uy.  It  is  certain  that  a body 
devoted  to  the  study  and  encouragement  of  photography, 
as  well  as  to  render  popular  the  various  methods  of  repro- 
duction, renders  considerable  service  to  science,  which 
makes  use  every  day  of  the  means  of  copying  afforded  by 
photography.  Our  Society,  therefore,  after  existing  for 
twenty-eight  or  twenty-nine  years,  can  legitimately  claim 
the  declaration  of  public  utility.  It  will  be  the  most 
fitting  acknowledgment  of  its  persevering  efforts ; and  let 
us  hope  that  the  day  is  not  far  off. 

M.  Lemary's  Process. — M.  Lemary  has  just  patented  a 
process  which  offers  nothing  new  beyond  that  of  MM.  Cros 
and  Carpeutier ; it  goes  by  the  name  of  photo-tinting 
process.  According  to  M.  Lemary,  there  does  not  exist 
a process  which  shall  be  to  photography  what  litho- 
graphy is  to  chromo-lithography — that  is  to  say,  capable  of 
furnishing  coloured  prints  with  the  necessary  toues,  so  as 
to  obtain  the  desired  monochrome  tints.  The  process  is 
worked  in  the  following  manner.  Ordinary  photographic 
paper  is  taken  (Rive’s,  or  of  other  make)  and  sized  with  the 
following  mixture.  A 10  per  cent,  solution  of  dry  albumen, 
or  80  parts  of  white  of  egg,  and  20  parts  of  water,  are 
mixed  and  strained  through  fine  calico.  In  the  next  place, 
8 grammes  of  gelatine  are  dissolved  in  the  water  bath  in 
10  grammes  of  water,  and  10  per  cent,  of  alum,  or  5 per 
cent,  of  sulphate  of  alumina,  and  5 per  cent,  of  sulphate  of 
soda  are  added.  When  the  solution  becomes  thick  and 
homogeneous,  the  albumen  is  poured  into  it,  and  again 
passed  through  calico.  With  this  lukewarm  solution  the 
paper  is  sized,  dried,  and  afterwards  plunged  in  a saturated 
bath  of  alum  and  bichromate  of  potash  ; when  thoroughly 
impregnated,  it  is  again  allowed  to  dry.  It  is  exposed  to 
light  under  a positive.  When  sufficiently  printed,  it  is 
washed,  dried  on  blotting-paper,  and  put  iu  a dye  bath, 
which  should  be  alkaline  or  neutral.  When  taken  out, 
the  print  will  present  the  required  tint  in  all  its  grada- 
tions. If  it  is  desired  to  obtain  effects  of  different  colours, 
and  to  give  more  vigour  to  the  proof,  it  is  only  requisite 
to  chauge  the  dye  bath  in  such  a manner  that  the  deepest 
tones,  and,  consequently,  darkest  shadows,  are  taken  first. 


84 


THE  PHOTOGRAPHIC  NEWS. 


[February  9,  1883. 


For  polychromatic  prints  the  operation  must  be  carried  on 
as  above,  using  a neutral  grey  dye,  and  the  colour  may  he 
applied  in  the  required  places.  The  colouring  matters 
employed  by  M.  Lemary  are  either  aniline  or  vegetable. 
The  process  consists  in  the  dye  soaking  into  the  organic 
substance  with  which  the  paper  is  sized,  and  penetrating 
more  or  less  according  as  it  is  influenced  by  light. 

\1.  Louis  Chamussy's  Printing  Process. — M.  Louis  Cha- 
mussy  has  indicated  anew  method  of  printing  silver  photo- 
graphs. Glasses  are  prepared,  such  as  are  used  by  photo- 
graphic enamellers,  with  great  care,  and  afterwards 
plunged  in  an  albumen  bath,  chlorinated  according  to  its 
richness  and  density  and  the  depth  of  tone  desired.  The 
different  chlorides  used  produce  varied  results.  For 
brown  blacks,  chloride  of  ammonium  should  be  employed. 
Red  tones  and  purple  blacks  are  obtained  with  chloride  of 
strontium.  Chloride  of  sodium  gives  blue  blacks.  Bi- 
chloride of  mercury,  notwithstanding  its  tendency  to  pre- 
cipitate a portion  of  the  albumen,  gives  vigorous  metallic 
black  tones.  The  chlorides  of  zinc  and  sodium  also  pre- 
cipitate the  albumen,  but  in  certain  cases  they  may  augment 
the  rapidity.  The  proportion  of  these  chlorides  may  vary 
from  one  to  seven,  or  even  eight  per  cent.  The  albumen- 
ised  glasses  are  drained,  put  up  to  dry,  and  after  being 
well  aired,  they  may  be  preserved  in  boxes  or  packets  out 
of  the  damp.  To  sensitize  them,  they  are  placed  in  the 
silver  bath,  the  strength  of  which  may  vary  from  ten  to 
twenty-five  per  cent.,  according  to  desired  effect.  The 
plates  may  remain  in  the  bath  from  five  to  twenty  minutes, 
then  taken  out  and  allowed  to  drain,  wiped  carefully  on 
the  wrong  side,  and  left  to  dry.  The  printing  of  these 
glasses  is  similar  to  that  of  albumenised  paper ; as  soon  as 
it  is  judged  from  the  back  of  the  glass  that  it  is  sufficiently 
printed,  it  may  be  taken  out  and  replaced  by  another. 
The  fixing  is  accomplished  with  a five  per  cent,  solution  of 
sulphocyanide  of  ammonium  ; it  takes  scarcely  half  a- 
minute,  and  must  be  washed  carefully  for  some  minutes. 
Once  washed  and  dried,  the  print  may  be  retouched,  if 
necessary.  If  it  is  desired  to  mount  these  prints  on 
enamelled  cards  or  other  substances,  warm  gelatine  must 
be  used.  When  perfectly  dry,  these  pictures  are  almost 
absolutely  permanent.  To  finish  them,  the  polish  is  rubbed 
off  with  pumice  stone,  and  they  are  ready  for  use  as  stereo- 
scopic slides.  M.  Chamussy  does  not  say  how  these  prints 
may  be  transferred  from  glass  to  paper.  In  such  a case, 
the  glass  must  first  be  coated  with  some  isolating  substance, 
as  talc,  ox-gall,  &o. 

Gustave  Dore. — One  of  our  great  artists  has  been  taken 
from  us.  Gustave  Dore  has  left  behind  him  an  immense 
work ; above  all,  his  illustrations  to  numerous  books  by 
which  he  has  achieved  his  fame,  and  which  may  he  counted 
by  the  thousand.  It  is  a grievous  thing  to  state  that,  of 
this  gigantic  labour,  there  does  not  exist  a single  original 
design  ; all  these  drawings  executed  on  wood  have  been  cut 
and  interpreted  by  the  graver,  and  the  personality  of  the 
artist  has  been  lost  in  that  of  the  engraver,  so  that  only 
the  modelled  mask  of  the  reality  is  presented.  It  is  to 
be  regretted  that  the  following  simple  device  was  not  re- 
sorted to  : the  publishers  desiring  Gustave  Dore  to  execute 
his  designs  on  paper,  might  have  photographed  them  on 
to  the  wood,  so  that  the  originals  would  not  be  touched, 
and  their  value  to-day,  as  precious  mementoes  of  a great 
artist,  would  be  considerable  in  museum  collections,  &e. 
Publishers  engaging  talented  artists  should  note  this:  the 
original  design  itself  will  compensate  for  the  amount 
paid  to  the  artist  and  engraver.  Leon  Vidal. 


NOTES  ON  PHOTOGRAPI11. 

BY  E.  HOWARD  FARMER. 

Lecture  X.— The  Gelatine  Process— Continued. 
Alkaline  Development  ( continued ). — The  practical  lessons 
learnt  last  week  may,  for  the  purpose  of  remembrance,  be 
put  together  briefly,  thus— 


1st.  That  pyrogallic  acid  is  the  developer  proper,  since  it 
will  produce  an  image  alone  ; but  that  a certain  quantity 
of  ammonia  is  required  to  be  present,  in  order  to  obtain 
sufficient  density. 

2nd.  That  ammonia,  besides  giving  density,  acts  as  a 
powerful  accelerator  by  increasing  the  affinity  of  the  pyro- 
gallic  acid  for  oxygen. 

3rd.  That  potassium  bromide  acts  as  a retarder,  prevents 
fog,  and  produces  greater  contrast. 

4tb.  That  sufficient  (and  no  more)  ammonia  should  be 
present  to  bring  out  the  requisite  details,  and  that  the 
density  should  be  regulated  by  increasing  or  diminishing 
the  quantity  of  pyrogallic  acid. 

5th.  That  in  cases  of  under-exposure  the  ammonia  should 
be  increased,  and  the  potassium  bromide  diminished,  as  far 
as  possible,  without  producing  fog  ; and  in  cases  of  over- 
exposure, the  ammonia  should  be  diminished,  and,  if  neces- 
sary, the  bromide  increased. 

As  regards  a working  formula  ; to  those  who  are  not  satis- 
fied with  the  one  they  are  using,  I would  recommend  Mr. 
Edwards’  developer,  which  is  made  as  follows  : — 

No.  1. — Pyrogallic  acid 1 ounce 

Glycerine  ...  ...  ...  1 „ 

Methylated  alcohol  6 ounces 

Mix  the  glycerine  and  spirit,  and  add  the  pyrogallic. 

No.  2. — Potassium  bromide  ...  ...  60  grains 

Ammonia  '880  ...  ...  ...  1 ounce 

Glycerine  1 „ 

Water 6 ounces 


To  make  the  developer,  add  one  part  of  No.  1 to  fifteen 
parts  of  water,  and  label  this  bottle  D (developer).  In 
another  bottle  mix  one  ounce  of  No.  2 with  fifteen  ounces 
of  water,  and  label  it  A (accelerator). 

To  develop  a plate,  mix  equal  portions  of  D and  A,  and 
pour  them  (avoiding  hubbies)  steadily  over  the  plate,  placed 
in  a shallow  dish.  Rock  the  dish  gently,  taking  care  to 
keep  the  plate  well  covered  with  the  solution  ; when,  if  the 
exposure  has  been  correct,  all  the  detail  will  be  out,  and 
the  development  complete  in  about  one  minute. 

If  the  image  fltshes  out,  showing  over-exposure,  the  mixed 
developer  is  at  once  thrown  off,  and  the  plate  flooded  with 
D alone,  which  will  check  the  development,  while  the  image 
grows  in  density.  Under-exposure  can  be  corrected  to  a 
great  extent  by  increasing  the  proportion  of  A in  the  deve- 
loper. It  will  be  noticed  in  this  developer  that  the  quantify 
of  bromide  is  very  small  grain  to  ounce,  nearly),  that 
the  density  is  regulated  by  the  pyrogallic  acid,  and  errors 
in  exposure  by  ammonia,  which  methods  we  found  last  wseR 
to  be  the  best. 

It  must  not  be  supposed  that  this  developer  of  the  strength 
here  given  is  suitable  for  all  kinds  of  plates,  which  is  by  no 
means  the  case  ; for  instance,  in  many  cases  the  proportion 
of  pyrogallic  acid  will  be  found  too  large.  To  obviate  this 
difficulty,  either  the  same  kind  of  plates  should  always  be 
used,  or,  in  using  afresh  kind,  the  proportions  of  the  ingre- 
dients should  be  altered  to  suit. 

Sulphite  of  Soda. — Some  time  ago  Mr.  Berkeley  recom- 
mended the  addition  of  this  substance  to  a pyrogallic  develo- 
per for  the  purpose  of  preventing  the  objectionable  yellow 
stain  which  frequently  occurs  in  negatives.  For  this  pur- 
pose he  directs  that  in  making  the  pyrogallic  solution,  four 
times  its  weight  of  sulphite  of  soda  should  be  dissolved  in 
water  and  neutralized  with  citric  acid,  and  in  this  is  dis- 
solved the  pyrogallic;  the  solution  thus  formed  keeps 
indefinitely.  The  reason  of  its  efficiency  does  not  appear  to 
be  known  with  any  degree  of  certainty  ; possibly  in  oxidizing 
the  pyrogallic  acid  forms  a colourless  soluble  compound 
with  the  sulphite. 

Ferrous  Oxalate  Development. — This  consists  of  treating 
the  plate  with  a solution  of  ferrous  oxalate  in  potassium 
oxalate,  a small  quantity  of  potassium  or  ammonia  bromide 
being  usually  added  as  with  pyrogallic  development.  It 
was  first  introduced  by  Carey  Lea  in  1877. 

Potassium  Oxalate  K:(C204).— There  are  two  principal 


February  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


85 


potassium  oxalates— one  called  neutral  oxalate  K2(C:04),  the 
other,  salts  of  sorrel  or  acid  oxalate,  and  which  latter  may  be 
considered  as  a compound  of  one  molecule  of  the  neutral 
salt  in  combination  with  a molecule  of  oxalic  acid, 
K.>(C204)H:(C204).  The  former  of  these,  or  what  is  called 
neutral  oxalate,  is  the  one  employed  for  development.  It  is 
prepared  by  neutralizing  oxalic  acid  with  potassium  car- 
bonate 

K2(C03)  + H2(C204)  = K;(CA)+U-0+C0; 

The  acid  oxalate  can  also  be  readily  converted  into  the 
neutral  oxalate  by  neutralizing  its  oxalic  acid  with  potassium 
carbonate. 

Neutral  potassium  oxalate  is  a white  crystalline  substance 
soluble  in  about  three  parts  of  cold  water,  its  solution  being 
slightly  alkaline  to  test  paper.  It  should  be  slightly 
acidified,  preferably  with  oxalic  acid  before  use.  Its 
use  in  development  is  to  dissolve  the  ferrous  oxalate,  which 
it  does  very  readily,  forming  a double  salt ; beyond  this  it 
does  not  appear  to  have  any  effect,  neither  acting  as  a retarder 
or  accelerator. 

Ferrous  Oxalate,  Fe(C204). — Iron  forms  two  series  of 
compounds,  called  respectively  ferrous  and  ferric  ; thus  we 
have  ferrous  oxide,  FeO  ; ferrous  bromide,  FeBrc;  ferrous 
oxalate,  Fe(C2U4)  &c.  ; and  with  these  same  substances 
another  series-  of  compounds — ferric  oxide.  Fe203 ; ferric 
bromide,  FeBr,  ; ferric  oxalate,  Fe2(C204)3,  &c.  It  will  be 
noticed  that  all  the  ferric  compounds  contain  half  as  much 
again  of  the  other  substance  in  combination  with  the  same 
quantity  of  iron  as  the  ferrous.  All  the  ferrous  compounds, 
and  more  especially  ferrous  oxalate,  tend  to  combiue  with 
oxygen  or  other  substance  to  form  the  ferric  series  of  com- 
pounds, and  it  is  in  virtue  of  this  property  that  ferrous 
oxalate  acts  as  a developer.  It  is  prepared  as  a yellow 
powder,  nearly  insoluble  in  water,  by  adding  ferrous  sul- 
phate to  oxalic  acid,  and  washing  by  decantation  ; and  in 
solution  either  by  dissolving  the  yellow  powder  in  a solu- 
tion of  potassium  oxalate,  or  by  adding  1 part  of  ferrous 
sulphate  to  a solution  of  3 parts  of  potassium  oxalate  (Eder). 

Fe(S04)+K2(C204)=Fe(C204)+K2(S04) 

The  action  which  takes  place  in  development  is  very  similar 
to  that  when  pyrogallic  is  used. 

2AgfBr+2Fe(C,01)+K3(C,04=Fe2(C204)3-|-4Ag-|-2KBr 
The  silver  sub-bromide  is  reduced  by  the  ferrous  oxalate, 
the  bromine  set  free  combining  with  some  of  the  potassium 
oxalate,  forming  potassium  bromide,  and  the  iron  forming 
ferric  oxalate.  The  silver  thu8  reduced  combiues  with 
fresh  silver  bromide  to  form  sub-broruide,  which  again 
becomes  reduced  until  the  image  is  built  up.  The  ferrous 
oxalate  really  exists  in  solution,  in  combination  with  some 
of  the  potassium  oxalate  as  a double  salt,  K2(C204)Fe 
(C204),  but  this  does  not  affect  the  chauge  which  occurs. 

Potassium  or  Ammonium  Bromide. — These  have  precisely 
the  same  effect  as  in  pyrogallic  development. 

Hyposulphite  of  Soda. — A small  quantity  of  this  substance 
add'  d to  the  oxalate  developer  acts  as  a powerful  accelerator, 
and  promotes  density  ; although  not  essential  as  is  ammonia 
in  pyrogallic  development,  its  action  is  very  similar. 

Formula  for  Oxalate  Development. — Prepare  solution  of  the 
following  strength  : — 


Ferrous  sulphate 

No.  1. 

...  1 ounce 

W ater 

•••  ••• 

...  3 ounces 

Potassium  oxalate 

No.  2. 

...  1 ounce 

Water... 



...  3 ounces 

solutions  are  best  made  with  hot 

water,  and  both  should 

be  slightly  acidified — preferably  the  ferrous  sulphate  with 
sulphuric,  aud  the  oxalate  with  oxalic  acid. 

To  develop  a plate,  place  three  ounces  of  No.  2 in  a 
measure,  add  half-an-ounce  of  No.  1,  and  pour  over  the 
plate  as  before  described.  If  there  is  any  tendency  to  fog, 
a small  quantity  of  potassium  bromide  (say  a quarter  grain 
to  the  ounce)  should  be  dissolved  in  the  oxalate  solution. 


To  regulate  the  density,  increase  or  diminish  the  ferrous 
sulphate,  but  never  add  more  than  one  of  ferrous  sulphate 
to  three  of  oxalate,  or  ferrous  oxalate  will  be  precipitated. 
In  case  of  under-exposure,  add  one  or  two  drops  of  a dilute 
solution  of  hyposulphite,  and  in  cases  of  over-rxposure  add 
potassium  bromide  or  sodium  citrate  [examples  shown]. 

On  mixing  the  two  solutions  to  make  a developer,  it  is 
found  that  they  always  become  alkaline.  This  seems  rather 
strange,  getting  an  alkaline  solution  by  mixing  two  acid 
ones  together,  but  the  reason  is  not  far  to  seek : ferrous 
oxalate  has  a great  tendency,  we  know,  to  combine  with  any 
acid  it  can  get,  and  form  a ferric  salt,  while  potassium  oxalate 
is  naturally  an  alkaline  substance  ; hence  the  ferrous  oxalate 
takes  up  the  free  acid  which  was  added,  forming  a small 
quantity  of  ferric  salt,  and  leaves  the  potassium  oxalate  in  its 
normal  alkaline  condition.  It  may  be  asked,  why  acidify 
the  solutions  at  all,  since  on  mixing  they  become  alkaline? 
In  the  case  of  the  ferrous  sulphate,  it  is  to  keep  the  solution 
clear ; and  in  that  of  the  potassium  oxalate  it  is  found  that  if 
it  be  alkaline  before  mixing,  the  resulting  developer  has  a 
tendency  to  give  thin  images,  and  sometimes  fog.  After 
being  left  for  some  time,  even  if  well  stoppered,  the  oxalate 
developer  becomes  to  a great  extent  inactive  from  the  forma- 
tion of  a basic  salt. 

Hydrokinone  Developer. — Hydrokinoue  i3  an  organic 
substance  somewhat  similar  in  properties  to  pyrogallic 
acid  ; its  use  as  a developer  was  suggested  by  Captain 
Abney,  in  1880.  It  requires  the  addition  of  ammonia, 
but  not  bromide.  The  formula  is  as  follows  : — 


Hydrokinone 

No.  1. 

...  5 grains 

Water 

...  ••• 

. . 4 ounces 

Ammonia  ... 

No.  2. 

...  1 drachm 

W ater 

•••  ••• 

...  9 drachms 

To  every  four  ounces  of  No.  1,  thirty  minims  of  No.  2 
are  added  to  obtain  full  intensity. 

As  1 will  now  show  you,  this  is  a most  beautiful  deve- 
loper, giving  negatives  perfectly  free  from  stain  or  fog, 
and  of  a good  colour,  which  should  make  it  invaluable  for 
transparencies.  At  present  it  is  expensive,  but,  should  its 
price  diminish,  it  will  probably  be  preferred  to  either 
pyrogallic  or  ferrous  oxalate. 


THE  SOUTH  LONDON  PHOTOGRAPHIC  SOCIETY’S 
POPULAR  LANTERN  MEETING,  AND  ITS  LESSONS. 

BY  WILLIAM  BROOKS,  t 

I most  apologise  for  bringing  this  subject  up  again  ; but  I think 
a practical  explanation  of  certain  matters  may  be  of  service  as  a 
guide  for  contributors  in  the  future. 

I think  you  will  all  agree  with  me  when  I say  that  the  recent 
lantern  meeting  was  by  far  the  best  we  have  ever  had  as  regards 
the  quality  of  the  slides  ; for  you  must  be  aware  that  many  of 
our  members  who  contribute,  do  all  in  their  power  to  ensure  its 
beiug  a successful  gathering,  by  preparing  slides  specially  for  the 
occasion.  Some  of  those  members  know  very  iittle  about  making 
slides,  but  I am  sure  they  do  their  best.  This  year  we  had 
fewer  bad  slides  than  in  years  gone  by  ; but  I think  there  is  still 
room  for  a little  improvement.  Several,  I have  no  doubt,  have 
seen  their  weak  points,  and  have  made  an  improvement  in  this 
year’s  productions,  which  is  a good  lesson  for  them,  for  I believe 
there  is  nothing  to  equal  a good  untouched  photograph  when 
exhibited  on  a large  screen. 

I may  direct  attention  to  one  or  two  points  which  some  do  not 
seem  to  quite  understand.  One  is  as  regards  the  size.  The 
best  size  for  a slide  is  3J  by  3]-,  but  they  must  not  be  more  than 
3j  high.  They  may  be  a little  longer— say  4}  inches — but  the 
former  size  is  the  best.  I regretted  the  case  of  one  gentleman 
who  brought  me  some  slides  of  excellent  quality,  but  they  were 
mostly  about  seven  inches  in  length.  I was  quite  unprepared 
for  this  size,  so  had  to  pass  them  over,  which  I regretted  very 
much.  One  gentleman  asked  me  if  I had  one  of  those  push- 

* “ Instruction  in  Photography,”  5th  edition. 

4 A communication  to  the  South  London  Photographic  Society, 


86 


THE  PHOTOGRAPHIC  NEWS. 


[February  9,  1883. 


through  carriers.  1 had  not,  and  never  will  use  them,  for  with 
slides  of  unknown  lengths  it  would  be  impossible  to  get  them  to 
register,  which  would  not  be  a credit  to  the  Society. 

I am  aware  that  at  these  meetings  we  have  a very  critical 
audience,  some  present  being  lantern  experts  ; and  as  you  entrust 
me  with  the  exhibition  of  the  slides,  for  my  own  credit’s  sake  as 
well  as  that  of  the  Society,  I take  great  pains  to  have  the  manipu- 
lation as  perfect  as  possible  under  the  circumstances,  which  I 
need  not  tell  you  are  very  trying,  having  never  seen  the  slides 
before. 

Another  point  is  that  many  of  the  slides  are  sent  up  unmounted 
— just  simply  a quarter-plate.  Now  this  is  very  wrong,  and 
such  slides  cannot  be  expected  to  look  well  on  the  screen.  All 
slides  should  have  a mask  giving  a marginal  boundary  line.  The 
outside  of  the  mask  is  inches  square,  and  the  opening  about 
2jf  inches,  with  the  corners  slightly  rounded — “ cushion-shaped,” 
a3  it  is  called.  If  the  slides  are  not  masked,  there  is  the  overplus 
sprawling  over  and  beyond  the  limits  of  the  sheet.  The  disc  of 
light  I gave  was  about  25  feet,  the  screen  was  about  18  feet 
square,  and  the  pictures,  when  properly  masked,  just  about 
filled  the  screen. 

I think,  if  the  uninitiated  in  lantern  matters  will  carefully  read 
over  these  hints,  they  will  learn  a lesson  and  profit  by  it ; for  it 
is  very  annoying  t.o  find  a good  picture  spoiled  through  not  being 
properly  mounted. 

We  apparently  had  slides  made  by  all  the  processes  which  are 
practised  at  the  present  day.  I was  informed  that  sonae  of 
the  slides  were  made  on  gelatine  plates  and  toned  with  mercury. 
Now,  I think  these  slides,  if  used  many  times,  will  be  found  to 
fade.  When  first  made,  a slide  by  this  process  may  be  “ a thing 
of  beauty  ; ” but  I question  very  much  whether  it  will  “ a joy 
for  ever.”  I make  all  my  slides  by  the  collodio-emulsion  pro- 
cess, and  I think  there  is  no  process  to  equal  it,  both  as  regards 
tone  and  quality. 

Among  the  slides  exhibited  were  seme  by  Mr.  Short,  of  Lynd- 
hurst,  tinted,  I think,  and  I believe  some  of  those  of  the  New 
Forest  were  gems  of  their  kind.  It  is  a very  difficult  thing  to 
colour  a slide  well,  as  the  details  are  so  '’ne,  and  any  little  overlap 
of  the  colours  shows  very  badly  when  nlarged  on  the  screen. 
It  makes  me  think  of  Sam  Weller,  in  “ Pickwick,”  when, 
speaking  of  some  one  not  being  able  to  see,  he  says,  to  be 
able  to  see  they  ought  to  have  a pair  of  eyes  like  a double-horse 
power  oxyhydrogen  gas  microscope.  The  same  might,  perhaps, 
be  applied  to  the  painting  of  lantern  slides. 

The  two  microscopic  slides,  by  Dr.  C.  White,  of  the  teeth  of 
the  blow- fly  were  very  interesting.  If  I remember  lightly,  he 
said  that  his  enlargement  was  5,000  times.  I consider  that 
every  slide  I put  on  the  screen  was  enlarged  on  the  average 
about  6,300  times,  and  that  added  to  the  5,000  makes  the  total 
about  11,300  times  the  original  size.  I believe  a very  great  deal 
might  be  learned  by  using  the  lantern  in  conjunction  with  the 
microscope  ; but  of  course  the  subjects  would  require  to  be  fully 
explained. 

Mr.  Ayres  brought  two  anatomical  specimens,  but  they  were 
not  understood,  for  want  of  proper  explanation.  The  astronomi- 
cal slides  brought  by  Mr.  Ayres — and  which  were  from  negatives 
kindly  lent  for  the  occasion  by  Dr.  Huggins,  F.R.S. — and  those 
by  Mr.  Connan,  we  should  have  appreciated  if  we  had  had  a full 
explanation  of  them ; but  I need  not  say  that  that  was  out  of 
the  question,  considering  the  large  number  I had  to  pass  through 
the  lantern,  being  not  far  short  of  350. 

I think  the  weak  point  in  such  an  exhibition  is  that  we  have 
too  large  a number  of  slides,  and  by  that  means  justice  cannot 
be  done  to  them.  We  might,  with  considerable  advantage  to  all 
parties,  reduce  the  number  of  slides.  As  I have  said  in  the 
commencement  of  this  communication,  several  of  our  con- 
tiibutors  are  not  professed  slide  makers.  I could  name  several, 
but  I think  it  best  to  avoid  names  when  speaking  of  certain  little 
deficiencies.  For  example : I will  presume  that  a certain 

member  brings  (say)  twenty  slides,  and  when  they  are  put  on 
the  screen,  perhaps  one-half  do  not  come  up  to  the  expectation 
of  the  contributor.  Now,  would  it  not  be  better  that  a meeting 
should  be  convened  (say)  a month  beforehand,  or  as  might  be 
arranged,  and  for  myself,  or  any  other  person  considered  compe- 
tent, to  select  the  slides  which  are  considered  the  best,  and  reject 
the  faulty  ones?  I believe  that  by  this  means  contributors 
would  be  placed  in  a far  stronger  position — for  two  or  three  bad 
slides  would  mar  the  rest — and  it  would  save  time. 

I shall  be  happy,  if  the  Society  and  the  committee  see  fit  to 
allow  me,  to  act  as  referee  in  this  matter  next  year ; for  with 
my  experience  in  lantern  matters  I can  tell  at  a glance  what  will 


show  well  on  the  screen,  and  what  will  not,  better  than  those 
who  only  occasionally  make  a slide.  I think  this  worth  the 
consideration  of  the  Society  before  our  next  display  takes 
place. 

There  is  also  another  point  which  requires  consideration  ; 
and  that  is,  that  many  make  their  slides  perhaps  only  a few  days 
before  the  meeting  takes  place,  which,  I need  not  tell  you,  is  the 
worst  time  of  the  year  as  regards  light.  I seldom  make  a slide 
in  the  winter  months.  I generally  make  mine  about  October, 
and  I am  then  not  bothered  with  the  light,  and  have  no  diffi- 
culty. 

One  more  little  matter  I must  also  mention,  and  that  is  the 
way  the  slides  are  sent  in  for  exhibition.  It  is  best  to  put  them 
in  a grooved  box.  Boxes  are  made  expressly  for  lantern  slides, 
and  they  can  be  obtained  at  a cheap  rate  from  Messrs.  W.  H. 
Oakley  and  Co.,  of  Bermondsey.  The  slides  should  be  well  dusted 
before  being  placed  in  the  box,  which  should  be  done  in  their 
proper  order,  marking  the  end  of  the  box  where  No.  1 com- 
mences. Mr.  Beadey  fc  warded  his  slides  this  year  in  this 
way,  and  if  other  member  would  do  the  same  it  would  save 
the  manipulator  of  the  lantern  a great  deal  of  trouble. 

Members  on  the  recent  occasion  were  kind  enough  to  hand 
their  slides  in  before  the  gas  was  turned  down.  At  these  enter- 
tainments it  is  not  an  uncommon  thing  for  a packet  of  slides  to 
be  brought  to  the  lantern  while  the  exhibition  is  going  on,  with 
a request  something  like  this: — “ I wish  you  would  kindly  put 
these  through  the  lantern  for  me,  but  I must  ask  you  to  polish 
them  well  first. **  Now  I leave  you  to  guess  the  difficulty  this 
involves.  Generally  these  slides  from  non-professional  members 
are  in  a paper  parcel,  accompanied  with  a list  written  in  pencil. 
You  are  not  informed  which  end  is  No.  1,  no  distinctive  mark 
being  given  as  to  which  is  the  right  side  ; and  with  all  this,  if 
the  slides  were  put  on  the  screen  the  wrong  way  about,  the 
person  sending  them  in  such  a way  is  indignant  if  he  be  blamed  ; 
but  such  is  often  the  case. 

All  slides  should  have  a distinctive  mark  in  some  way  on  the 
side  that  has  to  go  the  light.  For  example  : supposing  we  have 
a map  to  show  with  lettering  ; either  hold  the  slide  up  to  the 
light,  or  place  it  down  flat  on  the  table  with  a j.iece  of  white 
paper  under,  and  attach  a white  label  (which  is  the  best)  on  the 
side  where  the  letters  read  in  the  right  order ; it  is  then  an 
understood  thing  tk  t that  is  the  proper  side  to  go  to  the  light. 
One  gentleman  handed  me  up  some  slides  in  blocks  with  labels 
on.  I took  for  granted  that  was  the  proper  side,  and  put  it  next 
the  light  accordingly.  He  directly  said  to  me — “ You  have  that 
slide  the  wrong  way  about.”  I just  mention  these  trifling  facts 
to  show  you  the  difficulties  which  occur  in  an  exhibition  like 
our  last.  I believe  it  is  the  wish  of  every  member  that  the 
Society  should  provide  as  good  an  entertainment  for  themselves 
and  friends  as  is  possible ; and  it  is  possible,  if  members  will  do 
all  in  their  power  to  remove  these  little  defects,  giving  the  exhi- 
bitor as  little  fumbling  in  the  dark  as  possible. 

The  success  that  attends  these  annual  meetings  may  be  esti- 
mated by  the  crowded  state  of  the  hall  on  the  last  occasion. 
Several  of  my  friends  who  came  a little  late  told  me  that  it  was 
impossible  to  get  in,  much  less  obtain  a seat.  It  is  a great  pity 
we  cannot  stretch  the  hall  and  accommodate  all  our  friends.  I 
will  not  trespass  longer  on  your  time,  but  I thought  it  my  duty 
to  notice  the  several  points  to  which  1 have  called  attention  for 
our  future  guidance ; and  I think  if  we  limited  our  exhibition  to 
two  hours  it  would  be  far  better  than  to  extend  it  to  three  and 
a-half  hours. 


REMARKS  ON  PARLOUR  PORTRAITURE. 

BY  DR.  TULLOCH.  * 

I THrNK  it  a pity  that  amateurs  confine  themselves  so  much  to 
landscape  photography  or  to  the  occasional  taking  of  a group  out 
of  doors.  Portraiture  has  received  very  little  attention  from 
them.  Amongst  those  having  outdoor  accommodation,  we 
occasionally  meet  workers  devoting  a considerable  share  of  their 
time  and  attention  to  this  branch  of  the  subject,  but  there  is  still 
a vast  number  who  attempt  nothiug  unless  in  the  field  or  by  the 
road  side.  To  those  who  can  command  time  enough,  landscape 
photography  (especially  with  a good  companion)  is  undoubtedly 
the  more  enjoyable  ; but  there  are  very  many  who,  taking  a 
deep  interest  in  photography,  nevertheless  find  opportunities  of 
escaping  to  the  country,  even  for  an  hour  or  two,  few  and  far 
between.  Being  myself  one  of  the  unfortunate  latter  class,  I 

. • Read  before  the  Photographic  Society  of  Dundee. 


THE  PHOTOGRAPHIC  NEWS. 


87 


Fkbktjary  9,  1883.] 


hive  derived  considerable  enjoyment  in  my  spare  m incuts  from 
the  practice  of  portraiture  in  a small  way,  and  having  no  out- 
door accommodation,  I have  be°n  forced  to  m^ke  the  best  of  it 
in  a common  room.  To  those  with  little  time  for  field  work,  I 
can  recommend  this  as  a most  enjoyable  pastime,  employing  them 
pleasantly,  equally  when  they  have  minutes  to  spare,  as  when 
they  have  hours.  I hope  to  show  in  the  following  short  paper 
thao  the  appliances  absolutely  required  are  both  few  and  simple, 
and  while  I have  nothing  particularly  novel  to  introduce,  the 
remarks  which  I make  may  have  the  effect  of  starting  those  who 
may  by-aud-by  be  able  to  enlighten  us  more  thoroughly  on  the 
subject. 

Iam  confident,  from  the  experience  1 have  had,  that  very  fine 
results  may  be  obtained  by  anyone  taking  a little  trouble  and 
making  it  a special  study.  Of  course,  anyone  may  fail  from 
attempting  too  much,  and  I think  it  right  to  state  at  the  outset 
that  in  my  opinion  full-length  portraits  should  not  be  attempted 
in  a common  room.  I have  ti'td  several  times  in  apartments 
with  the  window  reaching  to  within  a few  inches  from  the  floor, 
but  never  succeeded  in  getting  equal  illumination  all  over.  The 
light  strikes  in  with  great  power  upon  the  feet  and  lower  parts  of 
the  picture,  and  less  powerfully  upon  the  upper  parts ; again, 
just  when  your  direct  light  is  strongest  below,  your  reflector  is 
iu  strong  high  lights,  and  deep  shadows  give  this  part  of  the 
picture  a most  objectionable  appearance. 

It  is  possible,  however,  that  these  difficulties  could  be  over- 
come. By  a little  experimenting,  certain  remedies  would  suggest 
themselves  to  those  called  upon  to  work  constantly  under  such 
circumstances.  The  room  which  I photograph  in  is  not 
specially  suited  for  the  purpose.  It  has  a window  of  the 
ordinary  size,  three  feet  by  six,  or  thereabout.  The  light  is  not 
directly  from  the  open  sky,  buildings  rising  to  three  stories 
being  opposite,  and  within  forty  feet. 

Notwithstanding  this  very  moderate  amount  of  light,  quarter- 
plates  are  fully  exposed  in  five  to  ten  secouds ; and  half-plates 
in  about  double  that  time.  One  can  vvoik  quicker  than  this,  but 
I think  less  satisfactorily.  I see  no  difficulty  iu  getting  a suit- 
able apartment,  although,  of  course,  there  are  some  rooms  more 
suitable  than  others  ; as,  for  instance,  if  with  a northern  expo- 
sure, the  sun  does  not  then  require  to  be  taken  into  considera- 
tion. 

The  only  piece  of  apparatus  which  one  already  prepared 
for  landscapes  absolutely  requires  is  a background.  I would 
certainly  advise  getting  a proper  one  at  once.  Blankets  over 
screens,  and  other  makeshifts,  are  troublesome  to  set  up  at  the 
time,  and,  even  when  up,  arc  most  unsatisfactory,  invariably 
showing  folds,  creases,  or  markings  of  some  kind  or  other. 
Upon  the  suitability  of  the  background  depends  the  en.ire 
effect  of  the  picture,  iu  my  estimation  ; it  certainly  is  more  im- 
portant for  the  amateur  in  his  room,  than  for  the  professional  in 
his  studio,  for  whereas  the  latter  can  illuminate  his  sitter  inde- 
pendent of  the  background,  the  former  depends  entirely  upon 
the  background  to  relieve  aud  show  up  the  shadow  side  of  his 
picture,  which  is  never  (especially  in  the  drapery)  illuminated 
enough  to  assert  itself.  It  follows  from  this  that  the  tint  is  the 
most  important  point  to  be  attended  to  ; if  it  be  too  light,  the 
dark  side  of  the  figure  is  objectionably  hard  aud  black  upon  ic; 
and  if  it  be  too  dark,  the  rather  violent  lighting  of  the  face  is  in- 
tensified. The  object  is  to  select  a tint  which  will  balance  the 
light  aud  shade,  without  allowing  either  to  preponderate  to  the 
detriment  of  the  picture. 

A very  suitable  material,  as  far  as  colour  goes,  is  carpet  felt,  a 
rough  sort  of  paper  put  below  carpets  ; it  is  very  cheap,  bu.  has 
the  disadvantage  of  being  easily  torn.  I got  up  a background  of 
this  material,  thinking  it  might  last  a week  or  two ; this  was 
three  years  ago,  and  it  is  as  good  as  ever.  I had  a rough  frame 
made,  and,  after  damping  the  paper  very  slightly,  I put  it  on 
with  paste.  I find  five  feet  by  four  a convenient  size,  giving 
room  for  half-length,  with  a little  to  spare. 

The  reflector  which  I find  be3t  is  an  ordinary  swinging  mirror. 
In  the  instructions  which  you  find  on  this  subject  scattered  up 
and  down  through  photographic  literature,  a dead  white  reflector 
is  generally  recommended  in  preference  to  a mirror.  Some  have 
suggested  tinted  reflectors  of  paper ; I have  tried  these,  but  I 
consider  them  less  efficacious  and  more  troublesome  than  a mirror. 
In  order  to  get  power  enough  from  a flatted  reflector,  it  must 
be  placed  very  near  the  sitter  ; this  curtails  the  alterations  in  its 
position  which  the  circumstances  may  demand,  for  to  alter  it 
ever  so  slightly  will  bring  either  the  one  part  or  the  other  of  it 
into  the  field  of  the  camera.  A more  serious  objection,  however, 
is,  I think,  the  flat  appearance  which  it  gives  to  the  side  on  which 


you  require  light  and  shade,  or  you  can  have  no  roundness  ; but 
a flatted  reflector,  such  as  a white  sheet,  gives  such  a thoroughly 
diffused  light  as  to  destroy  the  delicate  shadows  which  are  re- 
quired to  produce  this  rounduess.  A mirror  is  a small  article  in 
comparison,  and  can  be  lifted  from  place  to  place  with  the  greatest 
ease  ; being  also  a powerful  reflector,  you  cau  keep  it  a consider- 
able distance  from  the  sitter,  the  general  position  of  it  being 
with  me  just  immediately  to  the  left  side  of  the  camera.  I 
have  tried  both  pure  white  and  tinted  reflectors,  but  always  come 
back  to  the  mirror.  A little  experience  soon  teaches  one  what 
is  the  most  suitable  position  for  it  in  the  great  majority  of  cases, 
so  that  it  takes  no  time  to  set  it,  and  requires  generally  very 
little  alteration. 

A portrait  lens  is  by  no  means  necessary,  nor  even  a double 
combination  landscape  leus.  The  cabinet  portraits  shown  were 
taken  with  a common  cheap  single  lens,  using  a large  aperture — 
the  exact  apeiture  u-ed  being,  in  fact,  one-tenth  the  focal  length 
of  the  lens.  A single  lens  opened  to  this  exteut  is  wonderfully 
rapid,  and  gives  fine  definition. 

I have  no  head-rest,  but  it  would  be  a decided  advantage  to 
have  one.  The  exposures  are  not,  as  a rule,  such  as  to  make  this 
an  absolute  necessity,  but  iu  a poor  light  or  with  a bad  sitter 
it  is  bette1',  of  course,  to  have  a rest.  A good  deal  can  be  done  in 
posing  to  make  up  for  the  want  of  this  appliance  by  giving  the 
head  a natural  support  of  some  kind,  although  the  inventing 
of  many  such  positions  is  a pretty  severe  tax  on  one’s  ingenuity. 

I may,  perhaps,  be  allowed  a word  or  two  on  the  operative  part. 
To  those  who  prepare  their  own  plates,  I can  recommend  the 
formula  of  Mr.  W.  K.  Burton,  giveu  in  the  Photographic  Journal 
of  March  the  17th,  1882.  I get  better  results  with  plates  so  pre- 
pared than  with  bought  plates.  They  give  fine  rich  negatives  ; 
they  are  equally  suitab'e  for  landscapes.  As  to  exposure,  I 
believe  greatly  in  a full  exposure  being  given.  Notwithstanding 
all  your  efforts  to  the  contrary,  you  will  get  a black  and  white 
picture,  unless  you  take  advantage  of  the  harmonising  effect  of 
a full  exposure.  After  all,  in  average  light,  this  will  only  amount 
to  fifteen  or  twenty  secouds  for  a half-plate,  which  is  by  no 
means  too  long  for  the  majority  of  sitters. 

In  developing,  I used  to  be  annoyed  a good  deal  by  the  high 
lights  coming  up  too  dense  before  the  darker  parts  had  time  to 
come  out,  but  got  over  that  difficulty  by  using  half  the  quantity 
of  pyrogallic  acid,  end  after  development  is  complete,  and  before 
fixing,  if  the  negative  turns  out  too  thin,  flood  the  plate  with  a 
solution  of  pyrogallic  acid  in  water  about  a grain  in  half  an  ounce. 
The  density  which  you  get  in  this  way  is  over  £.11  the  plate,  and 
not  especially  so  on  the  high  lights,  which  conduces  considerably 
to  the  harmony  of  the  picture. 

I will  conclude  with  what  I have  found  to  be  two  important 
points  ir.  lightiug.  First,  illutr  inate  your  shadows  a little  more 
strongly  than  you  wish  them  to  be  in  the  finished  picture.  The 
only  light  they  have  is  reflected  light,  which  is  specially  poor  in 
chemically  active  rays,  as  you  will  quickly  discover  when  you  see 
your  prints,  unless  you  remember  this.  Secondly,  take  care  that 
the  light  from  the  window  does  not  strike  directly  and  with  full 
intensity  upon  any  part  of  the  face  valuable  in  detail,  such  as  the 
eyes,  the  angles  of  the  mouth  or  nose.  The  intensity  of  the  light 
would  infallibly  destroy  the  fine  lines  and  delicate  shadows 
round  the  parts,  and  consequently  the  likeness  ; detail  should 
be  located  in  every  picture  only  cn  the  half-tones,  the  highest 
light  and  deepest  shadows  being  equally  free  of  them.  It 
certainly  is  so  in  nature. 

These  are  the  remarks  which  my  short  experience  of  parlour 
portraiture  suggests  to  me.  I do  not  for  a moment  imagine  that 
I have  succeeded  in  always  carrying  into  practice  the  principles 
that  I have  stated,  but  I have  noticed  that  I have  been  successful 
in  proportion  as  I have  observed  them. 


The  Vienna  Photographic  Society  announce  that  the 
following  awards  (open  to  all  the  world)  will  be  made  for 
photographic  research  during  the  year  1883,  all  competi- 
tors to  send  in  their  work  by  1st  October,  viz. A prize 
of  140  ducats  for  the  production  of  engraving  or  typo- 
graphical blocks  in  half-tone  from  photographs ; a gold 


88 


THE  PHOTOGRAPHIC  NEWS. 


[Febbttaby  9,  1883. 


medal  of  the  value  of  140  ducats  for  a memoir  ou  pyroxy- 
lin and  collodion  ; a gold  medal  of  the  value  of  140  ducats 
for  an  improvement  in  the  collotype  process,  in  which  no 
intervening  damping  of  the  plate  is  necessary ; a gold 
medal,  value  50  ducats,  for  a research  into  increasing  the 
sensitiveness  of  asphalte;  and,  finally,  a gold  medal  of 
40  ducats  for  a practical  negative  and  positive  process 
with  uranium  salts  having  advantages  over  the  iron 
methods.  A ducat  is  worth  about  nine  shillings  and 
fourpence. 

A good  deal  of  interest  has  been  felt  on  the  subject  of 
the  durability  of  the  carbon  thread  in  the  Swan  lamp, 
which,  as  our  readers  know,  by  becoming  incandescent, 
supplies  the  illumination.  In  the  Savoy  theatre,  the  lamps 
in  daily  use  have  now  lasted  upwards  of  3,000  hours,  and 
there  seems  no  reason  why  the  carbon  threads  should  not 
hold  out  for  another  3,000. 


The  international  memorial  to  Darwin  is  likely  to  sur- 
pass all  previous  attempts  ever  made  with  a like  aim. 
However  much  the  memory  of  Darwin  is  honoured  in  this 
country,  it  is  nothing  to  the  reverence  entertained  in 
America,  Germany,  Italy,  and  Sweden.  While  in  this 
country  the  list  of  subscribers  numbers  but  six  hundred, 
we  are  told  that  in  Sweden,  for  instance,  “ all  sorts  of 
people,  from  the  bishop  to  the  seamstress,”  are  contribut- 
ing their  mites.  We  may  mention  that  the  office  of  the 
Darwin  Memorial  Committee  is  at  the  Royal  Society,  Bur- 
lington House. 


Sir  William  Thomson,  who  has  been  recently  lecturing 
on  the  luminous  intensity  of  the  sun  and  moon,  and  of 
electric  and  other  artificial  lights,  tells  us  that  on  the  8th 
of  last  December  the  sunlight  at  Glasgow  was  of  such  in- 
tensity that  a ray  permitted  to  pass  through  a hole  ‘09  of 
a centimetre  diameter  had  an  illumination  equal  to 
126  candles,  or  rather  more  than  six  times  that  of  a Swan 
electric  lamp  of  20-candle  power. 


Those  who  occupy  themselves  with  moonlight  photo- 
graphy may  realise  to  some  extent  the  weak  power  of 
illumination  at  their  disposal,  for  the  Glasgow  Professor, 
comparing  the  full  moon  to  the  standard  candle,  tells  us 
that  the  illumination  furnished  by  it  is  equal  to  that  of 
a candle  at  a distance  of  230  centimetres,  or  seven  feet 
and  a half. 


Many  photographers  are  troubled  in  the  winter  time 
from  the  glass  of  their  studios  “sweating,”  the  result  of 
the  condensation  of  damp  air.  In  America,  a patent  has 
been  taken  out  for  a preparation  which  is  said  to  prevent 
this  annoyance.  The  preparation  consists  simply  of  a 
mixture  of  methylated  spirits  at  about  sixty-three  per 
cent,  over-proof,  glycerine,  and  any  of  the  essential  oils, 
and,  in  some  cases,  amber  dissolved  in  spirit,  according  to 
the  state  of  the  atmosphere.  The  following  proportions 
are  recommended : — About  eight  ounces  glycerine  to  about 
one  gallon  of  spirit,  the  quantity  of  essential  oil  depend- 


ing upon  its  character.  The  essential  oil  is  first  mixed 
with  the  spirit,  and  then  glycerine  is  added.  We  presume 
that  any  English  photographer  who  wishes  to  experiment 
with  this  composition  may  do  so  without  any  dread  of  the 
patentee  coming  upon  him  for  a royalty. 

Apropos  of  studio  glass,  a correspondent  says  that  the 
best  imitation  of  ground  glass  he  has  yet  met  with  is  pro- 
duced by  the  application  of  butter-milk.  It  is  applied  with 
a sponge,  adheres  readily,  lasts  for  a long  time,  and  is 
easily  removed.  If  these  be  the  virtues  of  butter-milk, 
no  photographer  should  be  without  it. 

In  an  article  entitled  “The  Photographic  Eyes  of 
Science,”  in  this  month’s  Longman's  Magazine,  Mr.  Richard 
Proctor  shows  that  M.  Janssen,  by  his  method  of  using  a 
shutter  containing  a narrow  slit  combined  with  an 
enormously-rapid  exposure,  was  able,  in  photographing 
the  solar  disc,  to  overcome  the  distortion  and  blurring  of 
the  image  arising  from  atmospheric  disturbances.  Mr. 
Proctor  contends  that  the  failure  of  photography  in  con- 
nection with  the  Transit  of  Venus,  in  1874,  arose  not  from 
the  shortcomings  of  the  photographic  process,  but  from 
the  employment  of  telescopes  of  inadequate  defining 
power  and  without  sufficiently  delicate  means  for  limiting, 
as  in  M.  Janssen’s  revolver  at  Meudon,  the  period  of 
exposure.  Too  much,  in  fact,  was  attempted,  and  the 
result  was,  that  the  disc  of  Venus,  as  shown  in  the  photo- 
graphs then  obtained,  was  of  every  shape  but  the  right 
one.  Mr.  Proctor  remarks:  “Had  these  points  been 
attended  to,  well-defined  pictures  of  Venus  in  transit 
might  then  have  been  obtaiued.  If  at  any  suitable 
observatories  these  points  should  be  attended  to  during 
the  transit  of  December  next,  such  pictures  may  well  be 
secured.  But  it  is  not  very  likely  that  anything  of  the 
kind  will  happen,  as  the  work  lies  outside  the  scope  of  un- 
official astronomers." 

It  is  the  last  sentence  to  which  we  would  particularly 
draw  attention.  Mr.  Proctor  (whose  article,  bv-the-way, 
though  appearing  this  month,  seems  to  have  been  written 
before  the  transit  took  place)  is  usually  so  exact  in  his 
utterances,  that  it  is  not  likely  he  would  have  written  the 
words  we  have  marked  in  italics  without  due  consideration. 
The  obvious  meaning  is,  that  the  official  astronomers  are 
quite  contented  with  the  old  methods  of  observation,  and 
would  not  attempt  to  introduce  M.  Janssen’s  plan.  That 
this  was  so,  was  evident  from  the  almost  slighting  way  in 
which,  at  the  Royal  Astronomical  Society,  photography  was 
referred  to  when  the  preparations  for  observing  the  transit 
of  December  last  was  discussed.  Photography  had  failed 
in  1874,  therefore  it  was  quite  out  of  the  question  to  em- 
ploy it  again.  This,  in  substance,  was  the  language  of  the 
official  astronomers.  No  one  attempted  to  explain  why  it 
was  that  photography  had  failed.  Of  course  it  may  have 
been  that  the  official  astronomers  did  not  know,  but,  if  so, 
it  was  scarcely  fair  that  photography  should  suffer  on 
account  of  their  ignorance. 

Dr.  Eder  writes : — “ The  cherry  fabric  that  comes  from 


Eebbuaky  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


89 


England  is  really  excellent.  Ilerr  Wilhelm  Burger,  the 
Court  photographer  of  Vienna,  has  decided  to  leave  his 
fragile  lantern  at  home,  and  take  some  cherry  linen  with 
him  instead,  on  his  next  expedition.  Burger  is  an  expe- 
rienced photographer  and  traveller,  who  has  made  several 
journies  into  Asia  Minor,  in  company  with  Count  Wilczek, 
and  also  on  behalf  of  the  Austrian  Archeological  Society.” 


Mr.  Ruskin  has  an  idea  that  photographs  can  only  be 
taken  with  success  out-of-doors— or,  rather,  that  was  his 
firm  opinion  until  recently.  According  to  the  great  art- 
critic,  anything  that  tends  to  shut  out  the  broad,  bright 
daylight,  must  inevitably  be  injurious  to  photography. 
This  is  certainly  a view  of  things  new  to  the  photographer, 
and  it  has  decidedly  more  of  the  poetical  than  the  practical 
about  it.  However,  we  see  Mr.  liuskin  has,  to  a certain 
extent,  modified  his  opinion,  for,  in  a note  to  Mr.  Barraud, 
expressing  a very  favourable  opinion  of  the  latter’s  work, 
the  author  of  Modern  Painters  says  : — “ I admit,  for  once,  as 
you  have  managed  to  use  it,  the  good  of  the  studio  light. 
But  some  day  you  must  please  do  one  of  me  in  open 
light,  for  the  sake  of  fair  play  to  the  day  and  to  your  own 
skill,  which,  1 am  sure,  can  conquer  more  difficulties  than 
you  have  tried.” 

A strike  has  taken  place  at  Limoges,  in  the  porcelain 
industry,  and  no  less  than  three  thousand  five  hundred 
men  are  said  to  have  left  their  work.  Limoges  porcelain 
and  Limoges  enamels  were  celebrated  in  the  middle  ages, 
and  at  this  moment  the  porcelain  industry  is  the  sole 
pursuit  of  the  population.  Of  late,  some  of  the  ateliers 
have  turned  their  attention  to  the  matter  of  decorating 
tiles  and  enamels  by  the  aid  of  photography,  and  M.  Leon 
Vidal  has  been  engaged  in  lecturing  on  the  subject  with 
a view  to  imparting  the  modus  operandi  to  the  artists  and 
others  engaged  in  the  establishments.  There  are  forty-two 
manufactories  at  the  present  time  in  Limoges,  and  the 
decorative  department  is  represented  by  fifty- five  ateliers, 
where  nearly  one  thousand  artists  are  employed. 

M.  Cros,  whose  name  is  familiar  to  our  readers  as  the 
author  of  one  of  the  best  attempts  to  produce  photographs 
in  colour,  has  communicated  to  the  Academy  of  Sciences, 
in  conjunction  with  M.  Vargeraud,  a new  printing  method, 
which  enables  you,  like  the  Pellet  process,  to  obtain  a 
positive  from  a positive.  This  is  M.  Cros’  plan  of  pro- 
ceeding ; he  coats  paper  with  a solution  of — 

Bichromate  of  ammonia  ...  2 grammes 

Glucose 15  „ 

Water 100  ,, 

Thus  sensitized,  the  paper  is  put  to  print  under  a drawing 
or  tracing,  and  when  the  yellow  ground  of  the  paper  has 
turned  to  a grey,  he  dips  the  print  in  a ten  per  cent,  solu- 
tion of  acetic  acid  in  water  to  which  one  per  cent,  of  nitrate 
of  silver  has  been  added.  The  image  is  first  red,  but  turns 
dark-brown  on  drying,  and  is  composed,  we  are  told,  of 
bichromate  of  silver. 


A new  and  original  idea  is  always  worth  having.  We 
are  reminded  of  this  by  our  gilded  contemporary,  the 


Phut*  graphic  Times,  which  has  just  struck  out  a new  line  for 
itself.  Our  American  friends,  however,  have  so  long  been 
noted  for  their  tremendously  “ go-a-head”  qualities,  that, 
after  all,  there  is  really  no  reason  for  surprise  at  this  last 
innovation.  The  idea — where  on  earth  the  Editor  could 
have  got  it  from  we  can’t  imagine — is  to  visit  the  various 
studios  of  the  country,  and  describe  them  one  after  another. 
The  notion,  boldly  conceived,  is  as  boldly  put  forward  on 
the  first  line  of  the  first  page  of  the  January  number: 
“ On  another  page  will  be  found  the  first  of  a series  of 
articles  on  the  photographic  studios,”  &c. 


The  “ first  ” of  the  “ studios  ” is  very  funny  reading.  It 
is  an  account  of  Mr.  Havens’  Gallery  in  Savannah  ; the  mode 
of  construction,  lighting,  and  fitting  is  so  highly  com- 
mended, that  the  first  idea  one  has  is  to  calculate  dates, 
with  a view  to  the  possibility  of  running  over  to  the  States 
to  see  the  admirable  studio  for  oneself,  and  get  back  to 
England  by  the  time  the  International  Fishery  Exhibition 
opens  in  South  Kensington.  You  are  beginning  to  see 
your  way  clear  to  a personal  visit  of  this  sort  to  the  Havens’ 
Gallery,  when  suddenly  the  eye  lights  on  this  humorous  note 
at  the  end  of  the  article  : “ Within  a few  hours  after  writing 
the  above,  a fire  occurred  in  the  store  immediately  under- 
neath the  Gallery,  by  which  it  was  almost  entirely 
destroyed.”  We  assure  our  readers  this  is  not  an  attempt 
to  be  facetious  on  our  part,  but  the  words  are  as  here 
printed. 

One  would  scarcely  have  thought  it  would  be  left  to  the 
Chinese  to  make  one  of  the  most  ingenious  applications  of 
photography  of  the  present  day.  But  so  it  is.  The  dis- 
semination of  Chinese  literature  has  been  always  a difficulty, 
even  in  the  Flowery  Land  itself  ; and  in  foreign  countries, 
notwithstanding  the  populous  nature  of  Chinese  colonies  in 
several  parts  of  the  world,  there  is  practically  none,  at  any 
rate,  of  a contemporary  nature.  The  reason  of  this,  of 
course,  lies  in  the  fact  that  printing  offices  are  without  type 
of  Chinese  characters,  these  latter,  moreover,  being  so 
numerous  as  to  be  almost  outside  the  capabilities  of  the  com- 
positor. So  photography  has  been  called  in  to  do  what 
modern  printing  fails  to  accomplish.  In  New  York  a paper 
has  been  started  called  the  Chinese  American;  it  is  written 
by  Chinese  clerks  in  bold  Indian  ink  characters,  and  the 
sheets  are  then  photo-lithographed.  It  made  its  appear- 
ance on  Saturday  last,  and  no  less  than  eight  thousand 
copies  of  the  first  edition  were  circulated  among  the  Chinese 
population. 

Those  of  our  readers  who  intend  to  obtain  a tricycle  for 
the  work  of  the  coming  summer  would  do  well  to  see  the 
extensive  collection  to  be  found  in  the  Sportsman’s  Exhi- 
bition at  the  Agricultural  Hall  ; but  among  several  hun- 
dreds exhibited,  we  did  not  see  one  specially  fitted  or 
adapted  for  photographic  use,  or  even  for  carrying  luggage. 


The  camera,  a few  dark  slides,  a store  of  plates,  and  a 
changing  tent  capable  of  being  folded  down  somewhat  after 
the  fashion  of  a portfolio,  might  serve  to  fairly  equip  the 
tricyclist  for  a week’s  outing. 


90 


THE  PHOTOGRAPHIC  HEWS. 


[February  9,  1883. 


Perhaps  the  time  will  come  when  plates  of  such  sensi- 
tiveness will  be  prepared  that  the  special  artist  who  is 
sent  to  sketch  sceues  of  public  iuterest  will  not  take  his 
pencil,  but  his  camera.  Some  such  contrivance  would  cer- 
tainly have  been  an  advantage  during  the  past  few  days. 
All  the  illustrated  papers  have  given  portraits  of  the  chief 
actors  iu  the  trials  now  going  on  at  Dublin,  and  all  the 
artists  have  contrived  to  differ  from  each  other  most 
wofully.  Had  the  witnesses  to  depend  upon  the  portraits, 
the  chances  of  identification  would  be  poor  indeed. 


Mr.  T.  C.  White,  the  President  of  the  Quekett 
Microscopical  Society,  whose  clever  paper  on  micro-photo- 
graphy we  published  a fortnight  ago,  has  been  very  suc- 
cessful in  delineating  the  structure  of  a tooth  by  the  aid 
of  the  camera.  An  enlarged  photograph  of  a section  of 
a tooth  shows  not  only  its  intimate  structure,  but  nerve, 
artery,  and  manner  of  growth,  in  a manner  so  striking 
that  ihe  student  at  once  appreciates  every  detail.  Placed 
beside  the  microscope,  so  that  the  obcerver  can  refer  to 
the  photograph  from  time  to  time,  the  picture  furnishes  a 
wonderful  aid  to  teaching. 


gatent  Jutelligntrf. 

Notice  to  Proceed. 

4651.  John  Young  McLellan,  of  Glasgow,  in  the  county  of 
Lanai  k,  North  Britain,  Analytical  Chemist,  for  an  invention  of 
‘‘  Improvements  iu  artificial -light  apparatus  for  photographing, 
and  applicable  otherwise.” — Dated  30th  September,  1882. 

Patent  Granted  in  America. 

270,785.  William  E.  Goodenough,  of  Newark,  N J.,  for  “An 
extension  photograph  frame.” — Application  filed  21st  Septem- 
ber, 1882.  Model. 

Specifications  Published  during  the  week. 

3013.  H.  H.  Lake,  for  “ Fixing  photographic  pictures  upon 
earthenware,  porcelain,  &c.” — A communication  to  him  from 
E.  J.  Irlande. 

It  ha3  heretofore  been  propo.  ed  to  produce  upon  eartlieu ware, 
chiua-ware  or  porcelain,  glass-ware,  and  the  like,  photographic 
pictures  or  representations ; for  this  purpose  the  carbon  pro- 
cesser  of  photography  have  specially  been  employed.  It  has  not, 
however,  been  heretofore  practicable  to  render  such  pictures  or 
representa’  ions  unchangeable  or  permanent ; they  disappear  when 
washed  or  subjected  to  friction.  The  object  of  this  invention  is 
to  provide  a process  of  fixing  which  prevents  such  change  or 
alteration  of  the  photographic  pictures  or  representations.  In 
carrying  the  said  invention  into  practice,  lapydy,  in  the  ordinary 
manner,  to  the  earthenware,  porcelain  or  china-ware,  opal-glass, 
glass-ware,  plate  ov  other  g’ase,  or  the  like,  the  photographic 
pictures  or  representations  in  carbon  by  the  ordinary  well-known 
means,  by  employing  paper  prepared  with  coloured  caibon  ; that 
is  to  say,  after  having  obtained  from  the  negative  an  impression 
upon  this  paper,  1 apply  it  in  the  dark  to  the  earthenware  porce- 
lain or  china,  glass,  or  other  material  which  has  been  previously 
gelatinized  in  a cold  bath  of  two  or  three  degrees.  The  paper, 
after  having  had  the  impression  produced  on  it.  and  been  app’ied 
to  the  glass  or  other  surface,  is  developed  in  the  dark  by  treat- 
ing it  with  hot  water,  which  dissolves  the  parts  not  affected  by 
the  actinic  action  of  the  light,  and  the  parts  whereon  the  im- 
pression is  produced  remain  adherent  to  the  glass,  porcelain,  or 
other  material.  The  representations  applied  may  be  drawings, 
images,  portraits,  landscapes,  letters,  scenery,  symbols,  figures, 
or  the  like.  The  photographic  image  in  carbon  is  enclosed  in  a 
thin  coating  of  sensitized  gelatine.  By  washing  with  water  or  by 
friction  this  gelatine  may  be  dissolved  or  detached.  I fix  it  by 
a kind  of  enamelliug  by  operating  in  the  following  manner  ; that 
is  to  say,  I spread  with  a brush  a layer  of  boiled  oil  or  oil-varnish 
or  alcohol,  with  or  without  the  addition  of  a small  quantity  of 


spirits  of  turpentine.  I carry  to  an  oven  or  ki’n  the  objectsthus 
decorated  and  varnished  ; the  heat  spreads  and  renders  regular 
the  coating  of  varnish,  obliterates  all  traces  of  the  strokes  of  the 
brush,  and  hardens  the  varnish,  which  the  l forms  a resisting  glaze 
which  protects  tlie  photographic  image  in  carbon.  The  pieces 
taken  from  „he  oren  or  furnace  are  treated  with  pumice  by  the 
ordinary  means  ; the  photographs  thus  obtain'd  are  absolutely 
transparent  and  very  e’ear.  Prior  to  the  application  of  the  var- 
nish for  fixing  the  subject  or  picture  upon  the  glass,  porcelain, 
o"  other  material,  the  photographs  may  be  coloured  in  order  to 
give  to  the  subject  a natural  colour. — Provisional  Protection  only. 
3035.  G.  Hare,  for  “ Photographic  cameras.” 

The  invention  relate;  to  improvements  in  photographic  cameras, 
and  has  for  its  object  the  production  of  a lighter,  simpler,  and 
more  compact  portable  camera  than  those  heretofore  in  use.  For 
this  purpose  J form  the  body  of  the  camera  of  a back  frame,  con- 
nected by  a bellows  body,  to  the  front  of  the  camera ; to  the  lower 
end  front  s‘de  of  the  back  frame  is  hinged  the  base-board,  which 
is  so  angled  at  its  rea':  edge  as  to  enable  the  sensitive  plate  to  be 
fixed  either  at  a righi  angle,  or  at  an  aDgle  more  or  less  than  a 
right  angle  thereto,  and  1 fix  tl  e base-boa’ d and  the  back  frame 
at  the  returned  angle  to  each  other  ou  one  side  by  means  of  a link 
pivotted  at  one  end  to  the  base-bo  .rd,  and  provided  at  the  other 
end  with  a pinching  screw  running  ia  a slot  in  the  back  frame, 
a notch  being  formed  in  one  side  of  such  slot  to  indicate  when 
the  parrs  are  at  right  angles  to  each  other.  The  other  side  is  held 
by  means  of  a bracket  hinged  to  the  back  frame,  and  extending 
forward  nearly  to  the  front  of  the  base -boa’d,  where  it  is  held  by 
a pinching  screw  carried  by  the  base-board  acting  upon  a plate 
fixed  by  the  bracket.  The  front  of  the  camera  is  provided  on  its 
bottom  edge,  at  each  side  thereof,  with  a pinchmg  guide  plate 
working  in  a groove  iu  the  base-board,  and  this  groove  and  the 
pinching  guide  plate  are  partially  covered  at  one  side  by  a plate 
o"  runner  fixed  ,o  a slide  working  in  the  base-board,  such  plate 
serving  ns  a guiu3  or  runner  for  the  front  to  run  upon  and 
clamp  ; the  pinching  guide  plates  are  capable  of  being  tightened 
or  loosened  by  means  of  a thumb-nut  acting  upon  a screw  con- 
nected to  each  of  such  pinching  guide  plates.  That  side  of  the  back 
frame  which  carries  the  bracket  is  made  broader  than  the  other 
parts  of  such  frame,  in  o.der  to  bring  the  bracket  outside  of  the 
base-board  when  the  'atler  is  tu  ned  up  against  the  back  frame, 
thus  enabling  the  bracket,  in  combination  with  a hook  or  catch 
on  the  base-board,  to  be  us-'d  as  a means  for  holding  the  camera 
in  its  collapsed  position.  The  slide  carrying  the  front  of  the 
camera  is  moved  to  and  f o,  as  desired,  by  racks  and  pinions,  as 
usua1,  and  the  camera  can  be  suppoiled  iu  use  either  on  the  base- 
board, or  on  the  bracket  side  thereof,  nuts  being  fixed  in  such 
parts  for  the  purpose.  In  some  cases  I dispense  with  the  bracket, 
and  employ  a pivotted  linkaad  pinching  screw  at  each  side  of  the 
back  l.atne,  which  latter  I make  of  similar  shapo  on  both  sides 
thereof.  None  of  the  parts  are  required  to  be  removed,  either 
for  adjusting  for  ure,  or  for  packing  up  the  camera. — Provisional 
Protection  only. 


PIIOTO-LITHOGRAPliY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor-General  of  India. 

Chapter  VI.— The  Preparation  of  the  Photo -Transfer 
Paper — ( con  tin  ued) . 

Mr.  Herbert  Deverit.l,  Government  ihotograplier  in  New 
Zealand,  finding  a good  many  inconveniences  iu  working 
Osborne’s  process,  obtains  the  advantage  of  the  insoluble 
coating  which  forms  its  essential  feature  by  adding  a small 
proportion  of  chrome  alum  to  the  gelatiue  solution  used 
for  coating  the  paper  (from  4 to  10  grains  to  the  ounce  of 
gelatine).  This  renders  the  gelatine  insoluble,  without 
making  it  unabsorbeut  of  water.  The  gelatinized  paper 
cau  be  kept  for  any  length  of  t‘  ue,  and  when  required  for 
use  is  sensitized  by  floating  for  a few  minutes  on  a saturated 
solution  of  bichromate  of  potash,  and,  when  sensitized,  G 
sail  to  keep  in  good  working  order  longer  than  other 
papers.  The  prints  are  inked  iu  the  press,  and  washed  off 
in  cold  water. 

Air.  Deveril  claims  for  this  method  the  adv.  itage  that 
the  white  portions  of  the  transfer,  being  still  covered  with 
the  original  coating  of  insoluble  gelat’ue,  ?re  yet  capable 


February  9,  1863.  | 


THE  PHOTOGRAPHIC  HEWS. 


91 


of  absorbing  a sufficient  quantity  of  water  to  render  them 
tacky  when  damped  in  the  usual  way  before  transfer,  and 
thus  they  adhere  firmly  to  the  stone  iu  transferring.  The 
stone  may  be  passed  through  the  press  as  often  as  may  be 
necessary,  without  fear  of  double  lines  from  the  transfer 
slipping,  and  at  the  .same  time  there  is  no  difficulty  in 
removing  the  paper  from  the  stone  when  the  transfer 
process  is  complete.  The  lines  of  the  transfer  are  less 
likely  to  be  ragged  and  broken  than  if  the  gelatine  were 
removed  from  the  paper,  and  further,  the  discarding  of 
boiling  or  even  warm  water  for  washing  the  transfers  is  a 
great  advantage.  Finally,  the  ink,  not  being  softened  by 
hot  or  boiling  water,  is  retained  on  the  lines  of  thetrans 
fer  only  according  to  the  amount  originally  put  on,  and 
does  not  gather,  and  afterwards  smash  and  thicken  out  on 
the  stone. 

Mr.  Dever’l  also  says  that  in  case  of  accident  to  the 
stone,  or  should  a fresh  transfer  of  a subj  ct  which  h- s 
once  been  put  down  be  needed,  the  once-used  transfer 
print  can  be  again  inked,  washed  off,  and  trar  sfeired  again. 
In  cases  where  copies  of  subjects  are  likely  to  be  wanf  d 
again,  two  or  more  prints  are  taken,  lire  bichromate  at 
once  washed  out ; they  are  then  dried  .*  id  laid  aside  till 
required,  when  they  can  be  inked,  wched  off,  and  trans- 
ferred (see  Photographic  News,  vol.  xix.,  p.  585). 

Apart  from  the  question  of  adherence  to  the  stone,  there 
is  no  doubt  that  photo- transfer  papers  prepared  with  an 
insoluble  coating  yield  on  the  whole  fiuer  results  than  are 
usually  obtained  when  the  coating  is  washed  away.  We 
have  therefore  found  it  an  advantage,  especially  f fir  > 
map  work,  to  prepare  pape?  in  the  usual  way  accor- . 
the  Southampton  method,  and  then  allow  the  seusilis 
coating  to  become  iusoluble,  either  by  keeping  it  for  some 
days,  or  by  exposing  the  back  of  it  to  the  suu. 

When  required  for  use,  it  is  again  coat:d  with  a mixture 
of  gelatine  and  bichromate  of  half  the  usual  strength,  or 
sometimes  even  thinner,  and  when  this  is  dry  it  may  be 
exposed  to  light,  inked,  and  washed  in  the  usual  way.  In 
the  hot  weather  it  is  found  that  the  sencil’z  1 pap  r 
requires  to  be  kept  about  three  days  before  ie'  iving  the 
final  sensitive  coating.  In  the  c 'd  weather  six  d s and 
upwards  are  required  before  the  e.  'ng  beconn  j s f i 
ciently  hard  This  time  nr  , howevc  ■,  be  shortened  o> 
emergency  by  laying  the  pa^  r face  downwards  on  a board, 
and  allowing  the  light  to  act  on  the  back  surface  for  a 
minute  or  two.  This  may  be  done  either  after  the  print 
has  been  obi  ined  from  the  negative,  or  jus  ter  the  pre- 
liminary coating  has  been  given  to  the  paper.  The  action  of 
light  set  up  by  the  suuuing  continues  iu  the  darkness,  aud 
thus  hardens  the  film  to  the  required  extent  in  a very  much 
shorter  time  than  would  be  necessary  in  the  dark  alone. 
The  addition  of  alum  or  chrome  alum  to  the  gelatiue  an  1 
bichromate  solution  used  for  the  preliminary  coatings  will 
also  harden  the  gelatine  sufficiently  to  allow  the  paper  o 
be  used  within  two  or  three  days  in  cold  weather.  It  may 
be  noticed  that  the  bichromated  paper  should  not  be  kept 
too  long  before  being  finally  sensitized,  otherwise  the  fi.  t 
coating  becomes  so  hard  and  insoluble  that  the  final  co  t- 
ing  does  not  adhere  we’l  to  it,  and  the  .1  . wash  away. 

The  advantage  of  this  method  is  that  abase  of  hardened 
gelatine  remains  on  the  paper,  and  retains  the  finest 
lines,  while  the  fresh  and  easily  soluble  finr1  coating 
preserves  the  clearness  of  the  ground.  It  is  necessary  that 
the  preliminary  coatiDg  of  gelatine  should  be  thoroughly 
hardened,  otherwise  the  trarsfers  stick  to  the  plate  in 
transferring,  and  are  difficult  to  remove  without  damaging 
the  work.  If  soft,  the  gelatine  is  also  liable  to  spread  over 
the  lines,  and  prevent  their  transfer  ; on  the  other  hand,  n 
we  have  said,  the  coating  must  not  be  too  hard.  The 
proper  point  must  be  learnt  by  experience. 

Another  advantage  of  this  method  is,  that  warm  water 
is  not  required  for  the  development  of  the  prints,  and  the 
ink  is  not  so  liable  to  become  pasty  as  in  the  usual  way  of 
working.  The  lines  are  found  to  keep  crisp,  and  the  spaces 


between  them  clear  and  free  from  greasy  scum,  thus  giving 
much  clearer  and  sharper  transfer. 

This  paper  is  also  very  suitable  for  the  rolling-in 
methods. 

Sometimes  it  is  more  convenient  to  have  a supply  of 
simply  gelatinized  paper,  which  can  be  sensitized  as 
required.  For  this  purpose,  bank  post  or  Rive  paper  is 
coated  with  two  coats  of  a six  per  cent,  solution  of  gela- 
tine. 


The  single  transfer  paper  prepared  by  the  Autotype 
Company  for  pigment  printing  also  answers  admirably  for 
photo-’ithographic  transfers.  It  is  sensitized  with  a thin 
&-du  a of  bichromate  and  gelatine,  the  same  as  used  for 
our  own  insoluble  paper,  and  the  after-treatment  is  the 
same,  except  that  the  washing-off  method  must  be  used, 
because  the  paper  splits  under  the  action  of  the  roller. 

Mr.  W.  Paul  sensitizes  the  same  paper  with  a mixture  of 
equal  parts  of  albumen  and  saturated  solution  of  bichro- 
mate of  potash.  After  exposure,  a coat  of  transfer  ink  is 
applied  in  the  press,  and  the  image  is  developed  by  wash- 
ing, after  soaking,  in  cold  water. 

We  have,  however,  obtained  the  best  results  with  the 
Autotype  Company’s  special  enamelled  double  transfer 
paper,  which  has  a bright,  glossy  surface.  For  the  wash- 
ing method  we  sensitize  the  paper  with  thin  gelatine  and 
bichromate;  but  for  rolling  up  it  is  sensitized  with  bichro- 
mate only.  It  lends  itself  wonderfully  well  to  the  rolling- 
up  method,  and  very  perfect  half-tone  transfers  may  be 
obtaiued,  though  there  are  still  the  difficulties  connected 
with  grain  and  printing  to  be  overcome. 

Captain  Abney  has  patented  a rolling-up  transfer  pro- 
cess under  the  title  of  “ Papyrotype.”  The  paper  for  this 
method  is  prepared  by  coating  any  tough  paper  with  a fine 
layer  of  gelatine,  which  is  subsequently  treated  with 
chrome  alum  or  alum.  It  then  receives  another  coating  of 
gelatine  and  bichromate  prepared  according  to  the  South- 
ampton formula,  using  the  cheaper  flake  gelatine  instead 
of  fine  cut. 

Professor  Ilusnik,  of  Prague,  prefers  the  use  of 
gelatinized  paper  to  which  an  additional  coating  of  albu- 
men has  been  given.  According  to  the  Professor,  the 
undercoating  of  gelatine  offers  a firm  resistance  to  the 
action  of  the  sponge  in  developing  the  print,  so  that 
rubbing  up  of  the  paper  and  a deposit  of  fatty  ink  between 
its  fibres  cannot  occur  ; furthermore,  the  image  is  not 
easily  damaged ; the  development  proceeds  of  itself, 
exceedi  igly  easily,  since  the  coating  of  albumen  softens, 
and  is  ashed  away  fro  n the  paper  along  with  the  fatty 
ink.  L this  manner  not  only  sharp  pictures  are  obtaiued, 
but  they  are  free  from  all  half-tint. 

In  his  valuable  work  Das  Gesammt  Gebiet  das  Lichldrucks, 
Professor  Ilusnik  gives  a method  in  which  fine  letter  paper 


:s  o t 1 with  a mixture  of  — 
G itine  ... 

V."  ter  

Spirit  of  wine 
Glycerine  ... 


4 parts 
150  „ 
20  „ 

4 „ 


The  paper  is  wetted,  laid  on  a level  glass  plate,  and  flowed 
over  evenly  with  the  above  mixture.  When  dry,  the  paper 
can  be  kept  till  required  for  use. 

It  is  sensitized  by  floating  for  about  two  minutes  on  a 
filtered  mixture  of — 

Albu  nen  (well-beaten  and  settled)  ...  5 parts 

Distill' i water  14  „ 

Bichromate  of  ammonia 1 part 


As  it  is  rather  inconvenient  and  expensive  to  prepare  the 
albumen  solution  whenever  required,  and,  perhaps,  only  for 
a small  job,  while  neither  the  sensitized  paper  nor  the 
solution  will  keep  in  good  order  for  more  than  a day  or 
two,  Professor  Husuik  has  prepared  a paper  ready  coated 
with  gelatine  and  albumen,  which  only  requires  sensitizing 
in  a bath  of  bichromate.  Such  paper  is  obtainable  in  the 
foreign  market,  aud  gives,  I find,  very  good  results. 

Professor  Husnik  has  not  given  the  formula  for  its 


92 


THE  PHOTOGRAPHIC  NEWS. 


[EEBhTJABY  9,  1883, 


preparation  in  his  book,  but  according  to  Schnauss  ( Der 
Lichtdruck  und  die  Photo- Lithographic)  it  is  as  follows:  — 
1 part  of  the  finest  gelatine  is  dissolved  in  24  parts  of 
water  ; of  a part  of  chrome  alum  dissolved  in  a little 
water  is  added.  The  mixture  is  filtered,  and  poured,  while 
warm,  into  a large  zinc  tray,  which  is  kept  heated  by 
spirit  or  petroleum  to  about  108°  F.  The  surface  is  freed 
from  froth,  and  the  paper  floated  on  it  sheet  by  sheet,  and 
hung  up  to  dry.  The  paper  is  then  coated  a second  time 
with  the  gelatine  solution,  and  hung  up  to  dry  the  reverse 
way  to  what  it  was  at  first.  Finally,  the  dry  gelatine 
paper  is  coated  with  a mixture  of  1 part  albumen  to  2 
parts  water,  and  when  dry  is  ready  for  use.  For  sensi- 
tizing this  paper  Rusnik  recommends  the  following  solu- 
tion, which  will  be  found  useful  with  other  papers  : — 

Bichromate  of  potash  1 part 

Water 15  parts 

Spirits  of  wine  4 „ 

Liquor  ammonia  is  added  to  turn  the  colour  of  the  solu- 
tion yellow,  and  the  bath  should  first  smell  of  ammonia  ; 
a little  extra  is  of  no  consequence. 

This  bath  stands  well  if  kept  in  a well-stoppered  bottle 
in  the  dark.  When  required  for  use,  the  clear  solution 
is  decanted  off  into  a fiat  dish.  The  paper  is  immersed  in 
the  solution,  or,  being  held  by  two  opposite  corners,  is 
just  drawn  through  it  face  uppermost,  and  hung  up  to 
dry  in  the  dark,  in  a place  where  there  is  a good  current 
of  air,  so  that  the  paper  may  dry  rapidly. 

As  soon  as  the  requisite  quantity  of  paper  is  sensitized, 
it  is  well  to  pour  back  the  solution  into  the  bottle  at  once, 
so  that  the  spirit  and  ammonia  may  not  evaporate.  If 
the  bath  is  in  constant  use,  a little  fresh  spirit  should  be 
added  to  it  as  required,  or  it  may  be  strengthened  with 
fresh  solution. 

According  to  Professor  Husnik,  the  spirit  is  a very  im- 
portant ingredient  of  the  sensitising  solution.  It  makes 
the  bath,  in  which  by  degrees  organic  matter  is  dissolved 
out  of  the  paper,  more  durable,*  and  brings  about  a change 
in  the  coating  of  the  paper  which  considerably  facilitates 
the  bringing  out  of  the  picture  with  the  sponge.  A bath 
without  spirit  gives  no  open  parts  in  the  heavy  shadows 
of  the  picture,  and  causes  a tint  over  the  lights.  The 
ammonia  completely  neutralises  the  bath,  so  that  it  cannot 
decompose  iu  this  condition,  and  consequently  remains  in 
good  order.  When  the  paper  is  dry,  the  ammonia  evapo- 
rates, and  is  replaced  by  a sensitive  double  salt. 

The  immersion  of  the  paper  in  the  bath  must  be  done 
with  care,  so  that  the  prepared  side  is  uppermost,  and 
while  wet  it  must  not  be  touched  with  the  finger  or  any 
solid  substance,  for  it  is  very  easily  damaged,  and  such 
spots  would  appear  as  defects  in  the  picture.  If  it  is  de- 
sired to  give  a very  smooth  highly-glazed  surface  to  the 
paper,  a glass  plate  that  has  been  rubbed  over  with  a 
very  thin  solution  of  wax  may  be  put  into  the  sensitising 
bath,  and  the  paper  laid  on  it  prepared  side  downwards. 
The  paper  and  plate  are  drawn  out  together,  and  the  paper 
lightly  squeegeed  down  to  the  glass  and  allowed  to  dry. 
When  stripped,  the  paper  will  have  a fine  bright  surface. 
If  this  is  not  done,  the  paper  should  be  glazed  in  a press 
before  use.  The  prepared  paper  is  very  sensitive,  so  that 
it  can  be  used  in  any  weather  and  in  any  light.  It  will 
not  keep  in  good  order  for  more  than  a day  or  two, 
especially  in  hot  weather. 

(To  be  continued.) 


EXPERIMENTS  ON  THE  DIRECT  PHOTOGRAPHY  OF 
SOUND  VIBRATIONS. 

BY  PROF.  BOLTZMANN,  f 

A small  thin  platinum  plate  was  attached  perpendicularly  to 
the  centre  of  a thin  iron  plate,  which,  as  in  the  telephone  or 

* This  is  contrary  to  what  one  would  expect,  but  experience  with  a 
similar  bath  for  pigment  printing  shows  that  it  keeps  in  good  order  longer 
than  the  simple  bichromate  solution. 

t Philosophical  Magazine. 


phonograph,  was  fixed  on  a wall-piece.  It  was  first  ascertained 
that  the  small  platinum  plate  really  repeated  approximately 
unchanged  the  vibrations  of  the  sound  that  arrived  in  the 
capsule.  For  this  purpose  a second  small  platinum  plate  was 
fixed  immovably  in  the  vicinity  of  the  first.  The  resulting  fine 
slit  bstween  the  two  was  brought  into  the  focus  of  a collecting- 
lens,  upon  which  sunlight  fell.  After  passing  through  the  slit, 
the  rays  reached  a Breguet  selenium  cell,  which,  together  with 
two  telephones,  was  inserted  in  the  closing  circuit  of  twelve 
Leclanche  cells.  Single  sounds  and  words  spoken  into  the 
mouthpiece  could  be  heard  most  distinctly  in  the  telephones. 
When  the  rays,  after  issuing  from  the  slit,  were  rendered  as 
nearly  as  possible  parallel,  and  intercepted  at  a greater  distance 
by  a large  collecting-lens  to  be  concentrated  upon  the  selenium 
cell,  the  apparatus  could  also  be  employed  as  a photophone. 

After  these  preliminary  experiments,  intense  sunlight  was 
again  concentrated  upon  the  vibrating  platinum  plate ; and  then, 
by  means  of  a solar  microscope,  an  image  of  the  shadow  of  the 
platinum  plate  was  thrown  upon  a screen.  The  bounding  line 
of  the  shadow,  as  nearly  as  possible  straight,  was  condensed  by 
a cylindrical  lens.  In  the  place  of  the  screen  a glass  plate, 
prepared  with  Vogel’s  emulsion,  was  now  moved  rapidly  across 
by  a strong  spring,  so  that  the  direction  of  its  motion  was 
perpendicular  to  the  line  of  light  produced  by  the  cylindrical 
lens,  while  the  mouthpiece  was  spoken  into.  Side  light  being 
duly  kept  off,  a bounding  line  between  light  and  shadow  was 
then  obtained  on  the  prepared  plate,  formiug  a curve  corres- 
ponding to  the  sonorous  vibrations.  To  the  vowels  pretty 
simple  curves  correspond,  often  approximately  curves  of  sines, 
often  interference-curves  of  two  or  three  curves  of  sines.  With 
the  vowel  a a period  contains  the  greatest,  with  the  vowel  u the 
least  number  of  indentations.  To  the  consonants  l,  tn,  n,  r,  and 
also  especially  p and  k , uncommonly  multifarious  curves 
correspond,  having  a resemblance  to  those  found  by  Kbnig  for  r 
by  means  of  his  tone-flame,  but  showing  in  addition  much  finer 
details. 

The  author  intends  to  repeat  the  experiments  by  photography 
upon  rotating  discs  in  order  to  be  able  to  take  up  a greater 
number  of  successive  vibrations. — Kaiserl.  Akad.  der  Wisscnsch. 
in  Wien,  math.-naturw.  Classe,  November  30,  1882. 


itcbicfo. 

Physical  Optics  ( Text-Books  of  Science).  By  R.  P. 

Glazebrook,  F.R.S.  ( Longman's , Green,  Sp  Co.) 

It  is  the  habit  of  photographers  rather  to  neglect  the 
optical  aspect  of  their  work,  and  to,  perhaps,  give  an  undue 
preponderance  to  the  chemical  side.  Hence  we  find  that 
almost  every  photographer  has  several  chemical  books  on 
his  shelves  ; but  very  few  works  on  optics  find  place  in  the 
library  of  the  general  photographer.  For  five  hundred 
photographers  who  make  emulsion  or  collodion  for  their 
own  use,  we  do  not  meet  with  one  who  has  ever  made  a 
lens,  or  even  projected  the  making  of  one  ; yet  the  diffi- 
culties of  the  two  positions  are  by  no  means  so  unequally 
balanced  as  one  might  imagine. 

The  work  before  us  presents  a systematic  course  of 
theoretical  optics,  clearly  and  coucisely  explained,  and  we 
cannot  help  thinking  that  many  of  our  readers  might  peruse 
Mr.  Glazebrook’s  book  with  pleasure  aud  profit  to  them- 
selves. 

The  kinetic  aspect  of  light,  and  its  relation  to  other 
forces,  is  first  brought  under  consideration,  after  which  the 
fundamental  ideas  of  wave  motion  are  clearly  explained, 
and  the  main  subject  is  entered  upon.  Every  page  is  rich 
with  matter  of  interest  to  the  photographer;  but,  as  a 
sample,  we  extract  a description  of  the  direct  vision 
spectroscope,  a convenient  apparatus  which  may  often 
serve  to  give  valuable  indications  to  the  photographic 
worker ; — 

“ For  mauy  purposes  the  direct-vision  spectroscope  is  a con- 
venient and  useful  form.  We  have  seen  how  it  is  possible  to 
combine  two  prisms  so  as  to  produce  deviation  without  disper- 
sion. It  is  equally  possible  to  combine  a number  of  prisms  bo_  as 
to  produce  dispersion  of  the  extreme  rays  without  deviation 
for  some  one  given  ray.  On  allowing,  then,  the  light  from  a 


FeBEUABY  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


93 


slit  to  fall  on  such  an  arrangement,  a spectrum  will  be  formed 
on  a screen  placed  behind  the  prisms  in  the  neighbourhood  of 
the  point  in  which  the  incident  light  would,  if  produced,  meet 
the  screen.  Light  of  one  definite  refrangibility  passes  through 


the  combination  without  deviation  ; the  other  rays  are  slightly 
deviated,  and  form  a spectrum.  The  figure  shows  the  path  of 
the  light  through  such  a spectroscope  with  five  prisms,  three  of 
crown  and  two  of  flint  glass. 

“ To  see  the  spectrum  formed  by  a given  source  of  light,  we 
have  only  to  hold  the  apparatus  between  our  eye  and  the  light  at 
such  a distance  that,  if  the  prism  were  removed,  we  could  see 
the  slit  distinctly.  The  spectrum  formed  may  be  magnified  by 
means  of  a convex  lens  placed  between  the  observer’s  eye  and 
the  slit,  and  focussed  on  the  slit.  Small  pocket  instruments  of 
this  kind,  which  show  distinctly  the  dark  lines  in  the  solar 
spectrum,  are  made  by  Hilger,  of  Tottenham  Court  Road, 
London,  aud  other  opticians. 

“ Larger  instruments  of  the  kind  are  fitted  with  a collimating 
lens  and  a telescope  to  view  the  spectrum  formed,  and  are 
frequently  used  for  observations  which  do  not  require  a very 
high  dispersive  power. 

“ Let  us  now  turn  the  slit  of  the  spectroscope  towards  the  non- 
luminous  flame  of  a Bunsen  gas-burner,  and  introduce  in  turn 
some  of  the  salts  of  the  various  metallic  elements  into  the 
hottest  portion  of  the  flame.  The  salt  becomes  volatilised  by 
the  heat,  and  the  vapour  rises  and  colours  the  flame.  Thus,  if 
we  place  on  a small  platinum  spoon  a little  common  salt  or 
chloride  of  sodium,  the  flame  glows  with  a brilliant  yellow  light, 
and  on  looking  through  the  spectroscope  we  see  the  spectrum 
consists  of  a narrow  line  of  yellow  light.  If  the  instrument 
be  sufficiently  powerful  we  should  find  that  this  narrow  line  is 
really  double — that  there  are,  in  fact,  two  narrow  lines  very 
close  together.  Some  other  faint  lines  which  occur  in  the 
sodium  spectrum  would  not  be  visible.  If  for  the  chloride  of 
sodium  we  substitute  that  of  some  other  metal  which  can  be 
volatilised  at  the  temperature  of  the  Bunsen  burner,  the  colour 
of  our  flame  alters,  and  the  spectrum  changes  too.  Thus, 
strontium  colours  the  flame  red,  and  its  spectrum  consists  of  a 
number  of  lines  in  the  red,  with  an  orange  line  somewhat  less 
refrangible  than  the  sodium  line,  and  a line  in  the  blue 
part  of  the  spectrum.  Lithium,  too,  colours  the  flame  red,  and 
with  the  naked  eye  it  would  be  difficult  to  say  whether  the  red 
colour  of  a given  flame  was  due  to  the  presence  of  strontium  or 
of  lithium  ; but  the  spectroscope  tells  us  at  once,  for  the  spec- 
trum of  lithium  consists  of  one  brilliant  red  line  with  three 
fainter  lines  respectively  in  the  orange,  green,  and  greenish  blue. 
A potassium  salt  will  give  us  two  lines  in  the  red  and  one  in  the 
violet,  while  the  flame  would  appear  to  be  of  a violet  tinge. 
Barium  will  colour  it  green,  and  calcium  a yellowish  red.  The 
spectrum  of  calcium,  seen  in  this  way,  consists  of  two  lines  in 
the  red,  four  in  the  yellow,  one  in  the  green,  and  one  in  the 
violet ; while  in  that  of  barium  we  have  a series  of  brilliant  lines 
in  the  green  and  greenish  blue,  with  others  in  the  red  and 
orange. 

“ Again,  it  is  immaterial  what  salt  of  these  metals  we  use — we 
always  get  the  same  spectrum.  We  may  put  into  our  flame 
either  chloride,  carbonate,  or  nitrate  of  sodium — we  shall  still 
have  the  two  yellow  lines  close  together — and  we  may  use  these 
two  yellow  lines  as  a mark  of  the  presence  of  iucaudescent 
sodium  vapour.  Whenever  we  see  them  we  know  that  sodium 
is  present  in  the  flame,  and  so  delicate  is  the  test  that  Bunsen 
and  Kirchhoff  have  calculated  that  the  eighteen-millionth  part 
of  a grain  can  be  detected  by  it.  In  fact,  it  is  difficult  to  obtain 
a flame  free  from  some  trace  of  sodium  vapour. 

“ The  presence  of  auy  other  of  these  metals  may  with  equal 
certainty  be  detected  by  its  spectrum.  We  wish  to  determine 
if  a certain  salt  contains  lithium.  Volatilise  it  in  the  Bunsen 
burner,  and  examine  the  spectrum.  A little  practice  enables  the 
observer  to  detect  the  distinctive  lines  of  each  metal  at  once,  and 
a glance  is  almost  sufficient  to  decide — if,  for  example,  the  bright 
red  line  lithium  i3  present.  If  there  be  a doubt  as  to  whether 
the  light  seen  is  really  the  lithium  line,  introduce  into  the  field 
the  spectrum  of  lithium  by  means  of  the  reflecting  prism  at  the 
slit  of  the  spectroscope,  and  notice  if  the  red  line  observed,  and 
that  of  lithium,  really  coincide." 


domspon&mf. 

COLONEL  DAWSON’S  QUERIES,  AND  A REPLY 
TO  “CALX." 

Sir, — May  I ask  the  favour  of  the  insertion  of  this  letter 
in  answer  to  the  questions  raised  by  Colonel  Dawson  in  a 
recent  number  of  the  News. 

With  regard  to  the  first  question,  I may  state  that  in  my 
experience  the  addition  of  zinc-bromide  previous  to  emulsifi- 
cation accelerates  the  formation  of  the  blue  condition,  for 
in  one  experiment  I found  that  by  beatiug  the  mixture  to 
200°  F.  for  ten  minutes,  the  violet  6tage  was  arrived  at ; 
but  one  objection  to  using  this  salt  is,  that  when  its  solution 
is  boiled,  the  substance  is  decomposed  into  hydrated  oxide 
of  zinc  and  hydrobromic  acid,  tbu3  accounting  for  the 
Colonel’s  observation  that  the  acidity  of  the  solution  in- 
creases as  the  boiling  progresses. 

The  curious  effect  observed  during  the  development  of 
plates  prepared  by  this  method  is  not  peculiar  to  the  bro- 
mide of  zinc  emulsion,  but  may  be  noticed  with  other 
sensitive  films. 

Presuming  that  the  phrase,  “on  adding  silver  to  a solu- 
tion of  bromide  of  zinc,”  should  be,  “ on  adding  silver 
nitrate  to  a solution  of  bromide  of  zinc,”  the  first  action 
that  takes  place  would  be  that  the  electro-positive  metal 
potassium  would  seize  upon  the  stronger  acid  (nitric),  form- 
ing potassium  nitrate  and  leaving  the  silver  and  bromine  to 
form  silver  bromide,  thus  : — 

KBr  ZnBr2-f  AgNO:i  = AgBr-j-ZnBr2+ KNO3 
If  sufficient  silver  nitrate  be  added  to  decompose  both  the 
bromine  compounds,  the  following  equation  represents  the 
reaction — 

KBr  ZnBr;!-|-3AgN03=3AgBr  + KN03=Zn(N03)2 
When  ammonia  is  added  to  an  aqueous  solution  of  zinc 
bromide,  hydrated  oxide  of  zinc  (not  metallic  zinc)  is 
formed,  thus — 

ZuBr2-f2NH1IIO=Zn(OH).+2NH1Br 

The  concluding  observation  may  be  explained,  I think,  by 
saying  that  several  saturated  saline  solutions  have  the 
property  of  precipitating  gelatine  from  an  aqueous  solution, 
and  one  can  well  understand  that  when  the  dry  salt  is  added 
to  the  solution  of  gelatine,  it  withdraws  the  water,  and 
precipitates  that  which  is  immediately  in  contact ; and  when 
a substance  is  thus  precipitated,  it  is  not  easily  re-dissolved. 

Passing  from  “ Colonel  Dawson’s  Queries,”  I must  add  a 
few  words  on  the  criticisms  offered  by  “ Calx  ” regarding 
my  communication  on  “The  Phosphorescent  Tablet  as  a 
Standard  Light,”  Your  correspondent  supposes  that  because 
I described  only  the  experiments  performed  with  one  sample 
of  a luminous  substance,  I have,  therefore,  never  experi- 
mented with  other  samples  of  this  and  other  phosporescent 
substances.  Now  it  so  happens  that  not  only  have  I ex- 
perimented with  different  samples  of  Balmain’s  paint  and 
with  phosphoiescent  substances  prepared  by  heating  sulphur 
with  calcined  oyster-shells,  and  again  with  calcined  calcite, 
and  by  reducing  calcium  sulphate  with  organic  matter,  but 
the  experiments  of  Seebeck  and  Becquerel  forty  years  ago, 
and  later,  the  Tesults  of  Heaton,  Cathcart,  and  others  with 
Balmain’s  luminons  powder,  6how  that  the  light  given  off 
from  a phosphorescent  body  at  the  ordinary  temperature 
(say  15°  C.)  increases  when  it  is  heated  with  hot  water,  and 
decreases  when  cooled  with  ice.  Taking  into  consideration 
the  above  results,  and  my  experiments  with  the  four  test- 
tubes  coated  with  luminous  paint  (see  PnoToottAPiiic  News, 
page  59),  1 think  I was  quite  justified  in  stating  that 
“a  phosporescent  surface  is  capable  of  absorbing  varying 
amounts  of  light  at  different  temperatures ; the  lower  the  tempera- 
ture, the  greater  the  amount  of  absorption,"  at  any  rate  between 
the  limits  of  0°  and  80°  C. 

If  “Calx”  has  found  a phosphorescent  substance  which 
does  not  follow  this  rule,  he  would  do  a good  service  to 
science  by  publishing  his  discovery  in  the  usual  way. 


94 


TFE  PHOTOGPAPHIC  NEWS. 


[February  9,  1883, 


In  conclusion,  I may  state  that  I am  quite  prepared  to 
a’mit  that  the  Warnerke  sensitometer  is  not  perfect  from  a 
theoretical  point  of  view,  but  feel  sure  few  will  deny  that 
the  instrument  has  proved  itself  most  useful,  and  sufficiently 
reliable  for  ordinary  use  among  gelatine  emulsion  workers.— 
I am,  sir,  yours  faithfully,  Arnold  Spillek. 


GELATINE  EMULSION  MAKING. 

Sir, — A professional  friend  of  mine  has  pointed  out  that 
I omitted  in  my  last  letter  to  state  why  I recommended 
boiling  to  cease  when  the  colour  showed  a yellowish 
tinge,  or,  as  he  calls  it,  yellow  steel  grey. 

The  fact  is,  being  an  amateur  landscapist,  I rv  r !iy 
for  higher  sensitiveness  than  No.  15  on  Warnerke  o To' 
The  colour  I describe  gives  15  and  nothing  more,  or  about 
four  times  the  sensitiveness  of  wet  plates.  Of  course,  by 
boiling  greater  change  is  brought  about,  but  to  the  detri- 
ment of  the  emulsion  for  landscape  work. 

The  peculiarity  noticed  by  me  on  development  h • been 
satisfactorily  explained  as  the  result  of  too  much  ammoni. 
and  prolonged  application  ; but  the  advantage  of  intro- 
ducing bromide  of  zinc  has  been  recognized,  and  1 have 


made  emulsion  with  the  following: — 
Bromide  zinc 

. 60  grains 

Bromide  pof~.ssium  

. 300  „ 

Iodide  potassium 

• 4 „ 

Gelatine  No  1 

. 30  „ 

Water  distilled 

. 10  ounces 

Add  is  omitted. 

The  bromide  of  zinc  is  dissolved  in  five  ounces  of  dis- 
tilled water,  and  gradually  added  to  the  gelatine  in  the 
remaining  five  ounces  o'  water.  The  bromide  potassium  is 
added  as  directed,  dry. 

Previous  to  melting  the  added  gelatine,  it  should  be 
soaked  in  water  containing  ba'f-a-dram  of  liq.  am.  fort, 
for  four  hours,  and  subsequently  be  well  washed  by 
changing  the  water  frequently.  This  procedure  gef  • rid 
of  the  acid  in  the  gelatine. 

Houghton’s  gelatine  remained  distinctly  acid  after  four 
hours’  soaking  in  running  water  without  ammonia. 

If  the  emulsion  be  not  coated,  but  added  hot  to  the 
simply  swelled  acid  gelatine,  grey  and  green  fog  rre  likely 
to  Jesuit. 

I am  still  anxious  to  know  what  re-actions  t .ke  place, 
and  what  is  the  cause  of  the  strong  smell  like  iodine 
generated  in  the  emulsion  during  boiling. — Yours  faith- 
fully, F.  Dawson,  C.B.,  Colonel. 


Dmcsbings  at  Stomtii*. 

South  London  Photographic  Society. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held 
in  the  House  of  the  Society  of  Arts,  John  Street,  Adelphi,  ou 
Thursday  evening,  Feb.  1st,  the  President,  the  Itev.  F.  F. 
State  am,  M.A.,  in  the  chair. 

The  minutes  of  the  ordinary  meeting  in  December,  and  of  the 
lantern  meeting  in  Janua.y,  ha\ ing  been  read  and  confirm'd, 
the  following  new  members  were  elected: — Messrs.  H.  Radcl'ffe, 
C.  G.  Cutchey,  A.  Harding,  Godfrey  Lawford,  H.  Compton, 
Mrs.  H.  Compton,  Messrs.  G.  S.  Pinching,  and  Charles  Stevens. 

The  Chairman  then  called  the  attention  of  the  tmelirg  to 
some  remarks  in  the  annual  report  which  had  just  been  read 
anent  the  prize  competitions,  in  which  regret  was  expressed  that 
the  competition  of  the  past  year  had  not  proved  a success.  He 
did  not  himself  think  it  had  not  been  a success  ; but  perhaps  it 
had  not  quite  fulfilled  their  expectations,  nor  been  such  a success 
as  similar  competitions  are  amongst  artists  generally.  Whether 
it  was  that  the  novelty  had  passed  off,  or  the  rewards  offered 
were  not  sufficiently  enticing,  he  could  not  say  ; however,  the 
committre  had  decided  that  it  was  desirable  to  continue  these 
competitions,  with  some  s’lght  alteration  by  way  of  change.  It 
had  been  proposed  that  each  month  the  members  themselves 


should  be  invited  to  suggest  titles  for  subjects  for  competition  ; 
these  titles  would  be  written  on  pieces  of  paper,  and  collected  in 
a hat : one  paper  would  then  be  drawn  from  the  hat  at  random, 
and,  if  considered  an  appropriate  subject  by  the  majority  of  those 
present,  it  would  be  fxed  upon  as  the  subject  for  competition. 
There  would  be  two  pieces  of  paper  given  to  each  member,  one 
for  a Lndscape  subject,  and  one  for  figures,  which  would  be 
collect  1 in  sep  .rate  hats.  This  arrangement  was  then  carried 
out  for  the  first  monthly  competition  of  the  present  season,  and 
the  subjects  cb<  en  were  for  landscape  pictures,  “ A Rural 
Spot ; ” and  for  figures,  “ The  Gardener.”  It  was  announced 
that  pictures  for  competition  must  be  .cnt  in  before  the  next 
mont! ’y  meeting,  addre.sed  to  the  Secretary  of  the  South 
London  Photographic  Society,  at  the  House  of  the  Society  of 
A.  '• 

A vote  of  thanks  was  then  passed  to  the  Editor  of  the  Photo- 
cr.*  'Hic  News  for  a \ ear-Book  which  he  had  kindly  presented 
to  the  library  of  the  Society. 

A paper  was  read  by  Mr.  W.  Ekooks,  entitled  the  “ South 
London  Photographic  Society’s  Popular  Lantern  Meeting  and 
its  Lessons  ’(sep  ge  85),  at  the  conclusion  of  which, 

The  Chairman  s i'  1 he  looked  upon  the  contribution  of  this 
paper  as  a particuhrly  ’ : id  and  valuable  act  on  Mr.  Brooks’  part. 
Mr.  Brooks,  he  said,  modestly  put  forward  his  paper  as  a “ little 
report  only  of  what  took  pi  ice  at  the  lantern  meeting,  and  of 
some  of  the  difficult'es  experience  a conducting  the  exhibition.” 
TLe  hnWn  meeting  v a •nest  v uable  one,  both  to  the  Society 
itself  r the  public  a . 1 ’,  and  afforded  a vast  amount  of 

am  is.  ji  to  alb  Mr.  Du. had  given  them  some  very  useful 
rules  w.  . 4 to  these  m elings,  as  to  what  would  be  advis- 
able in  tui  ■ c .r  ' ion  of  slides,  the  order  in  which  they  should 
be  exhibit  I,  id  Iso  a very  important  point — the  marking  of  the 
right  face  of  the  s.ide  for  exhibition.  Mr.  Brooks  had  referred 
to  another  most  important  matter,  and  that  was,  the  excessive 
number  of  slides  sent  in,  and  the  necessity  for  weeding  them  out. 
They  all  knew  there  were  elides  and  slides,  but  he  thought  this 
was  a matter  which  merited  a most  careful  discussion  indeed,  for 
slides  were  received  from  all  parts  of  the  country,  and  bethought 
it  wo  11  be  the  leaser  evil  of  the  two  to  have  some  slides 
o l not  corn  ) up  to  the  mark,  rather  than  offend  people. 

Mr.  .s  had  a'so  made  Lome  remarks  about  the  character 
of  the  i le  j sent  in  ; and  he  (the  Chairman)  thought  this  was  the 
mu . t im  ‘o;  i,ant  point  of  all.  He  referred  to  the  great  advantages 
afforded  by  the  oxy-hydrogen  lantern  in  connection  with  the 
microscope,  in  distinguishing  between  the  liver,  tissues,  &c.,  in 
health,  and  in  disci. e.  He  was  pleased  to  see  other  societies  were 
following  in  the  footsteps  of  the  South  London  Photographic 
Society  in  establishing  lantern  meetings  of  their  own,  as  he  felt 
sure  such  exhibitions  not  o'dy  afforded  a considerable  amount 
of  amusement,  but  could  bo  made  of  great  utility  also  in  the 
interests  of  science,  besides  furnishing  to  photographers  a fund 
of  amusement  in  the  preparation  of  s’ides.  He  was  quite  sure 
Mr.  Brooks’  paper  would  prove  both  interesting  and  instructive. 

Mr.  Brooks  said  he  had  had  the  honour  of  illustrating  two 
lectures  in  this  room,  by  Prof.  Mo  :ley,  of  Oxfor. ' the  subject 
being  the  cruise  of  the  Challenger,  and  he  would  have  liked  some 
of  the  members  to  have  been  present  to  witness  the  combined 
effect  of  the  lantern  and  microscope.  He  thought  the  Chairman 
had  taken  his  remarks  about  rejecting  some  of  the  many  slides 
sent  in  a wrong  light.  He  did  not  wish  to  give  the  cold 
shoulder  to  any  one  who  might  make  slides  ; but  it  had  occurred 
to  him,  about  a fortnight  before  the  meeting,  a committee  of 
selection  might  be  appointed  to  decide  what  pictures  were  not 
suitable  for  exhibition.  Mr.  Brooks  also  referred  to  a matter  of 
vei / frequent  occurrence  at  tke;e  lantern  meetings — viz.,  that 
some  of  the  slidei  were  only  handed  to  him  after  the  lights  had 
been  turned  down  and  said  that  in  such  cases  it  was  almost  a 
matter  of  impo  sibifiiy  for  him  to  do  them  justice.  He  would 
like  to  hear  the  opinion  of  the  meeting  respecting  the  matter  of 
selrclion  of  slides. 

Mr.  Howard  said  that  the  question  of  lantern  slides  had 
always  been  one  of  much  interest  to  him.  He  agreed  with  Mr. 
” rooks  that  it  was  an  important  matter,  as  they  must  remember 
that  each  s1:de  separately  had  to  pass  the  test  of  four  or  five 
hundr  l pairs  of  eyes.  With  regard  to  the  processes  used  in 
their  preparation,  he  thought  that  oue  hundred  slides  prepared 
by  collodio-bromide  would  be  much  more  likely  to  be  successful 
than  the  same  number  by  gelatine.  With  regard  to  the  selec- 
tion of  8’’des,  he  thought  that  twenty-four  hours  before  the 
exhibition  would  be  ample  time. 

Mr.  Leon  W;  unerke  asked,  with  regard  to  some  coloured 


THE  PHOTOGRAPHIC  NEWS. 


95 


February  9,  1883.J 


slides  exhibited  at  the  lantern  meeting,  if  Mr.  Brooks  could  tell 
him  by  what  process  they  were  coloured. 

Mr.  Brooks  did  not  know ; the  slides  were  by  Mr.  Short,  of 
Lyndhurst,  and  ho  thought  if  he  asked  Mr.  Short,  that  gentle- 
man would  be  happy  to  contribute  a } apcr  to  the  Society  oa  his 
process. 

Mr.  Williams  agreed  with  Mr.  Brooks  that  many  people  who 
sent  in  slides  knew  very  little  about  making  them.  He  was  of 
op:nion  that  if  Mr.  Brooks  would  contribute  a paper  on  the 
subject,  it  would  be  of  much  more  practical  use  than  all  the 
talking  they  could  do.  There  were  certainly  many  good  slides 
sent,  and  also  many  bad  ones,  and  he  thought  if  the  bad  ones 
were  eliminated,  the  meetiug  would  be  a great  success,  as  some 
of  the  slides  were  as  near  perfection  as  possible  ; if  the  com- 
mittee of  selection  met  on  the  afternoon  or  evening  of  the 
exhibition,  he  thought  it  would  give  time  enough  to  throw  out 
what  pictures  were  not  suitable. 

Mr.  C.  Hussey,  Jun.,  thought  a hint  from  Mr.  Brooks  with 
regard  to  the  thickness  of  tUe  slides  would  be  acceptable.  In 
his  experience  they  were  often  of  su-k  a thickness  that  they 
could  cot  go  into  the  lantern. 

Mr.  Brooks  said  he  thought  it  would  be  useless  to  devote  an 
evening  to  instruction  on  the  preparation  of  lantern  slides,  as  it 
would  take  at  least  half-a-dozen  evenings  to  do  it  justice.  Some 
of  his  friends  had  suggested  that  he  should  write  a pamphlet 
on  the  subject,  but  that  was  rather  a long  job  ; and  if  he  were 
to  publish  anything  in  the  journals,  he  would  probably  be 
crowded  out  or  cut  dowr. 

Mr.  John  Nesbit  thought  he  had  observed  one  point  with  re- 
gard to  the  slides,  in  which  great  carelessness  was  shown,  aud 
that  was,  that  some  people  had  omitted  to  put  on  their  masks. 
He  also  considered  it  \ ery  important  to  see  that  the  proper  shaped 
mask  was  adapted  to  each  slide,  as  it  made  a very  great  differ- 
ence in  the  effect.  He  himself  had  two  different  shaped  apertures 
cut  out  of  card,  which  he  made  use  of  in  order  to  see  which  would 
form  the  best  shape  :o  put  on  the  mask. 

Mr.  Poirson  was  of  opinion  that  some  one  might  render  Mr. 
Brooks  some  assistance  when  at  the  lantern,  and  also  afterwards 
in  packing  and  sending  away  the  slides  and  apparatus.  He 
thought  it  wa3  too  much  to  expect  Mr.  Brooks  to  do  everything 
unaided. 

Mr.  Brooks  said  it  would  certainly  be  a help  to  him  to  have 
some  one  to  hand  up  the  slides.  He  did  not  mind  how  much 
work  he  did  for  the  South  London  Photographic  Society,  if  he 
could  only  stand  it ; but  in  this  instance,  haviug  to  do  everything 
single-handed,  it  had  been  almost  too  much  for  him. 

The  Chairman  quite  agreed  with  Mr.  Poirson  that  some  efforts 
ought  to  be  made  to  relieve  Mr.  Brooks.  He  would  also  like  to 
say  that  he  did  not  consider  it  absolutely  necessary  that  they 
should  have  the  oxy-hydrogeu  lantern.  In  his  experience  in  his 
own  parish,  he  had  used  the  ordinary  lantern  with  much  success 
in  exhibiting  views  of  the  Holy  Land,  &c.  He  had  remarked  at 
the  lantern  meeting  that  there  was  one  use  to  which  these 
transparencies  had  not  been  applied — viz.,  the  pourtraying  of  old 
and  valuable  engravings  and  wood-cuts,  which  were  often  very 
interesting. 

A vote  of  thanks  was  passed  to  Mr.  Brooks  for  his  paper. 

The  meeting  then  adjourned. 


Dundee  and  East  of  Scotland  Photographic  Association. 

The  fifth  ordinary  meeting  of  this  Association  was  held  in 
Lamb’s  Hotel  on  Thursday  evening,  February  1st,  Mr.  W.  D. 
Valentine  ^Vice- President)  in  the  chair. 

The  Hon.  Secretary  having  read  the  minutes  of  the  previous 
meeting,  which  were  duly  confirmed,  Messrs  John  M'Call 
and  William  Millar  were  admitted  members  of  the  Association. 

The  report  of  the  last  lantern  exhibition  was  read  by  the 
Secretary  and  approved,  and  a vote  of  thanks  was  cordially 
awarded  to  Mr.  David  Ireland,  jun.,  for  his  lecture,  “ Notes  on 
Norway,”  the  illustrations  thrown  on  the  screen,  and  his  own 
photographs  taken  during  the  tour,  giving  ample  evidence  of  his 
power  of  observation  and  manipulative  skill. 

The  paper  by  Dr.  Tulloch,  entitled  “ Remarks  on  Parlour 
Portraiture”  (see  page  86)  proved  most  interesting,  and,  by  the 
specimens  shown,  gave  great  encouragement  to  amateurs  to  avail 
themselves  of  the  rapid  processes,  which,  together  with  a skilful 
adjustment  of  screens  for  reflecting  light  on  the  sitter,  gave  the 
amateur  photographer  the  power  of  competing  with  the  best 
studio  efforts.  The  results  shown  by  Dr.  Tulloch  were  much 


admired,  and  a hearty  vote  of  thanks  was  awarded  him,  on  the 
motion  of  the  Chairman. 

The  next  business  was  a display  of  plates  as  transparencies  for 
lantern  exhibition.  Those  of  Mr.  J.  Robertson,  and  a series  of 
bromide  potassium  plates,  developed  with  ferrous  oxalate 
(including  a plate  developed  by  washing  soda  and  pyrogallic)  by 
Bailie  Ogilvie,  together  with  prints  shown  by  Mr.  G.  F.  Roger, 
were  much  admired.  A vote  of  thanks  was  awarded  to  the 
exhibitors. 

The  Chairman  exhibited  a plate  taken  about  three  years  ago, 
which  had  been  intensified  by  bi-chloride  of  mercury,  the  plate 
being  discoloured,  the  image  disappearing,  and  the  film  frilled  ; 
this  being  one  of  a particular  batch  of  plates,  and  a warning  as 
to  bi-chloride  of  mercuiy. 

The  question-box  afforded  another  opportunity  for  discussion, 
and  several  young  members  and  amateurs  gave  evidence  of 
thought  and  research  in  their  answers. 

A vote  of  thanks  to  the  Chairman  closed  an  interesting 
meeting. 


Mk  in  tbf 

Photographic  Society  of  Great  Britain. — The  annual 
meeting  of  this  Society  will  take  place  on  Tuesday  next,  February 
13th,  at  eightp.m.,  at  the  Gallery,  5a,  Pall  Mall  East,  when  the 
report  of  the  council  will  be  read,  the  financial  statement  made, 
and  the  election  of  officers  and  other  business  transacted.  A 
paper  on  “ Silver  Flashed  Glass  for  Dark  R joms  ” will  be  read 
by  Captain  Abney,  R.E.,  F.R.S. 

Electricity  and  Gas  at  the  Crystal  Palace. — Although 
electric  lighting  is  practically  useful  in  some  few  exceptional 
cases,  as  we  have  frequently  pointed  out,  there  can  be  but  little 
doubt  as  to  the  general  advantages  of  gas,  not  only  on  the  score 
of  economy,  but  also  of  convenience.  Although  gas  companies 
have  not  yet  found  it  necessary  to  exercise  their  power  of  reducing 
gas  to  one-third  of  its  present  price,  they  have,  by  co-operating 
with  the  Palace  Company,  shown  that  they  are  prepared  to 
compete,  in  case  of  electricity,  ever  seriously  threatening  the 
position  of  gas  as  an  illumiuant.  Certainly,  the  arc  lights  do 
not  strike  one  as  yielding  a light  suitable  for  reading,  writing,  or 
general  work,  the  light  being  so  much  bluer  than  the  solar  radia- 
tions as  to  tend  to  tire  the  eyes ; while  the  modern  gas  burners, 
most  of  which  are  based  more  or  less  on  that  of  Siemens,  yield 
a much  whiter  light  than  the  older  devices  in  which  combustion 
was  not  so  perfect.  The  gas  of  high  illuminating  power, 
which  is  manufactured  by  the  Pintsch  Lighting  Company,  is 
usually  sent  out  in  a compressed  form,  strong  boiler-like  vessels 
being  made  use  of  for  containing  it.  The  naphthalising  arrange- 
ment, manufactured  and  sold  by  the  Albo-Carbon  Company,  is 
exhibited,  and  its  use  appears  to  be  advantageous  in  many  cases, 
as  increased  light  is  obtained  with  the  same  amount  of  air 
vitiation  and  heating.  Clamond’s  magnesia  light,  in  which  a kind 
of  basket  of  the  refractory  material  is  heated  by  the  combustioa 
of  a mixture  of  gas  and  air,  is  exhibited  ; but  it  is,  perhaps,  a 
little  difficult  to  suppose  that  a complex  arrangement  of  this 
character  can  compete  with  the  simple  and  easily-managed  gas 
jet,  even  though  slight  increase  of  light  may  be  shown.  As 
regards  the  electric  division,  nothing  need  be  said,  as  we  have 
already  referred  to  the  principal  exhibits.  One  clear  sign  of  the 
decline  of  the  electric  mania  is,  the  frequency  with  which 
dynamos  are  now  advertised,  at  prices  ranging  from  £5  to  £10, 
iu  the  “ Miscellaneous  Sale  Column  ’’  of  the  Daily  Chronicle. 

Out-Door  Photographic  Note-Book, — Mr.  Keene,  of  Derby, 
forwards  us  a little  book  he  has  designed  for  taking  notes  in 
out-door  photography.  It  would  no  doubt  prove  useful  to 
amateurs  who  desire  to  make  categorical  notes  of  their 
exposures. 

The  Chinese  American,  a weekly  newspaper  published  in 
Chinese  characters,  aud  conducted  by  Chinamen,  began  its  career 
at  New  York  on  Saturday,  being  photo-lithographed.  Eight 
thousand  copies  were  circulated  among  the  Chinese  population 
— Standard. 

A Use  for  the  Exhausted  Oxalate  Developer. — Herr 
Rogger,  in  the  Archiv,  describes  how  he  has  used  the  waste- 
oxalate  developer,  instead  of  nitric  acid,  in  the  Bunsen  battery  . 
The  new  arrangement  gives  a very  constant  current,  and  evolves 
no  fume3. 


96 


THE  PHOTOGRAPHIC  HEWS, 


[February  9,  1883, 


Calcutta  International  Exhibition,  1883. — An  Inter" 
national  Exhibition  will  be  opened  at  Calcutta,  on  the  4th 
December  next,  under  the  patronage  of  His  Excellency  the 
Viceroy  and  Governor- General  of  India  and  His  Honour  the 
Lieutenant-Governor  of  Bengal.  There  will  he  nine  principal 
sections: — l,  fine  arts;  2,  apparatus  and  application  of  the 
liberal  arts  ; 3,  furniture,  and  objects  for  the  use  of  dwellings  ; 
4,  clothing,  including  fabrics  and  objects  of  personal  wear  ; 5, 
products  of  mining  industry,  forestry,  &c.  ; 6,  apparatus  and 
processes  used  in  the  common  arts  ; 7,  food,  fresh,  preserved,  or 
in  various  states  of  preservation  ; 8,  artizan’s  workmanship  ; 9, 
children’s  work.  Certificates  of  gold,  silver,  and  bronze  medals 
will  be  awarded  by  special  juries  of  experts.  An  attempt  will 
also  be  made  to  hold  an  exhibition  of  live  stock,  agricultural  and 
horticultural  products,  and  of  a loan  collection  of  paintings, 
sculpture,  and  works  of  art  generally.  The  India  Government 
has  granted  the  use  of  the  India  Museum,  together  with  the 
grounds  and  buildings  adjoining  (it  is  a magnificent  pile  of 
buildings,  said  to  be  the  very  finest  in  India,  situated  on  the 
Maidan,  facing  1 Charinghee,’  close  to  the  Governor’s  Palace, 
and  in  the  very  centre  of  Calcutta),  and  also  voted  alac-and-a- 
half  of  rupees  (£15,000)  to  defray  expenses  of  the  Indian  Court. 
Annexes  will  be  erected  to  meet  further  requirements  of 
exhibitors.  All  goods  forwarded  for  exhibition  and  addressed  to 
the  secretary  for  that  purpose  are  admitted  free  of  duty. 
Calcutta  is  a free  port,  except  for  arms,  ammunition,  and  military 
stores,  liquors  (beer,  wine  and  spirits),  opium,  and  salt.  Ap- 
plication for  space,  with  full  particulars  of  the  intended  exhibit, 
must  be  made  at  the  office  of  the  official  Agent  for  Great  Britain, 
Mr.  W.  P.  Dilworth,  4,  Westminster  Chambers,  Victoria  Street, 
London. 

Kchne’s  Model  Eve  for  Demonstration  Purposes. — 
This  cousists  of  a long  rectangular  trough  which  can  be 
filled  with  water  or  other  medium.  The  front  end  is  provided 
with  lenses  and  diaphragms  of  appropriate  shape  to  represent  the 
cornea  and  the  crystalline  lens  ; hollow  glass  lenses  are  provided 
to  receive  the  fluids  serving  as  aqueous  and  vitreous  humours,  and 
a movable  ground  glass  screen  takes  the  place  of  the  retina. 
With  the  help  of  movable  lenses  of  various  shapes  which  stand 
in  the  trough,  all  the  different  peculiarities  and  defects  of  vision, 
and  the  principles  of  the  methods  by  which  they  are  remedied, 
can  be  demonstrated  to  a class,  perfect  or  defective  vision  being 
recognisable  by  clearness  or  blurring  of  the  real  images  of  external 
objects  formed  upon  the  ground  glass  plate.— Chemical  News. 

Hawthorne  Photographed  Unawares. — Hawthorne,  you  are 
aware,  delighted  to  sit  for  his  portrait,  and  would  watch  with  keen 
interest  the  growth  of  the  picture  upon  the  canvas.  You  will 
remember  his  own  account  of  sittings  at  Washington  in  1862,  the 
last  he  ever  gave.  “ I think,”  he  wrote,  “ it  will  be  the  the  best 
ever  painted  of  the  same  unworthy  subject.  One  charm  it  must 
needs  have — an  aspect  of  immortal  jollity  and  well-to  do-ness; 
for  Leutze,  when  the  sitting  begins,  gives  me  a first-rate  cigar, 
and  when  he  sees  me  getting  tired,  he  brings  out  a bottle  of 
splendid  champagne  ; and  we  quaffed  and  smoked  yesterday,  in  a 
blessed  state  of  mutual  good-will,  for  three  hours  and  a half, 
during  which  the  picture  made  a really  miraculous  progress. 
Leutze  is  the  best  of  fellows.”  To  sit  for  his  photograph,  however, 
was  extremely  irksome,  especially  in  later  years,  when,  as  he  said, 
“The  sun  seems  to  take  an  infernal  pleasure  in  making  me  vener- 
able, as  if  1 were  as  old  as  himself.”  J.  Lothrop  Motley,  who 
well  knew  Hawthorne’s  aversion  to  photographic  processes,  set  a 
trap  for  his  friend,  in  this  wise.  He  invited  him  to  walk  one  day 
in  London,  and  as  they  were  passing  the  studio  of  a well-known 
photographer,  Motley  asked  Hawthorne  to  step  in  and  make  a 
selection  from  some  pictures  of  himself  which  were  ready,  he 
supposed,  for  examination.  They  entered,  chatting  pleasantly 
together,  Hawthorne  at  the  time  being  in  the  best  of  spirits. 
Dropping  into  a chair  which  Motley  placed  for  him,  he  looked 
brightly  after  his  friend  disappearing  behind  a screen  in  quest  of 
the  proofs.  At  this  moment,  and  with  this  look  of  animation 
upon  his  face,  the  photograph  referred  to  was  taken,  the  artist 
having  made  all  necessary  preparations  to  capture  a likeness  from 
the  unsuspecting  sitter.  Motley’s  proofs  were  produced  and 
examined,  and  Hawthorne  was  never  told  that  he  had  heen  taken. 
This  was  shortly  before  the  family  returned  home.  One  of  the 
children,  it  seems — I think  it  was  ethereal  Una — had  seen  the  sur- 
reptitious picture  at  Motley’s  or  at  Bennoch’s,  and  on  the  home- 
ward voyage  she  referred  to  it,  and  said  it  was  a beautiful  like- 
ness, far  better  than  she  had  ever  before  seen.  Hawthorne,  of 
course,  was  incredulous,  and  assured  his  wife  that  the  child  must 
be  mistaken.  After  her  husband’s  death,  Mrs.  Hawthorne 


became  acquainted  with  the  facts  as  above  narrated,  and  at  her 
earnest  entreaty  the  photograph  was  sent  to  her.— Detroit  Free 
Press. 

Photographic  Club.— At  the  next  meeting  of  this  Club,  Feb- 
ruary 1-lth,  the  subject  for  discussion  will  he  “On  Extemporizing 
Apparatus  in  case  of  Loss  or  Breakdown  when  away  from 
Home.” 


Sfo  teresgonirents. 

*#*  We  cannot  undertake  to  return  rejected  communications. 

L.  W.  R. — 1.  As  you  only  wish  to  work  up  to  5 by  4,  the  lens 
you  mention  will  serve  very  well  as  your  longest  focus  combina- 
tion. As  your  shortest,  you  should  take  an  objective  of  the 
portable,  symmetrical,  or  rectilinear  type,  having  an  equivalent 
focus  of  three  inches.  This,  when  used  on  a 5 by  4 plate,  will 
give  the  widest  of  wide  angles,  and  the  defects  inseparable  from 
strained  work  of  this  character  will,  of  course,  step  in,  and  the 
3-inch  lens  should  only  be  used  when  such  a course  is  unavoid- 
able. Either  the  front  or  the  back  combination  of  the  3-inch 
lens  will  make  a useful  objective  for  landscape  work  ; the  pin- 
cushion distortion,  which  would  occur  in  the  first  case,  or  the 
barrel-shaped  distortion  incident  to  the  second  arrangement, 
being  generally  of  little  moment  when  ordinary  landscapes  are 
taken.  Similarly,  you  can  use  one  half  of  yonr  present  objective, 
but  su  h a course  would  necessitate  the  addition  of  a conical  ex- 
tension-piece to  your  camera.  2.  Theoretically,  the  last-named 
lens  is  belter;  but  we  should  prefer  a portrait  lens,  as  it  gives 
more  light  during  the  work  of  focussing.  As  you  say,  extreme 
length  of  focus  is  of  no  disadvantage  provided  the  lens  is  a good 
one,  but  should  a trace  of  smoke  or  other  turbidity  of  the  atmo  - 
sphere  exist,  an  undue  length  of  focus  is  undesirable.  At 
certain  times,  considerations  of  this  kind  may,  therefore,  force 
you  to  use  a lens  of  shorter  focus  than  is  desirable.  Write 
again  if  further  information  is  wanted. 

Rapidity. — 1.  The  formula  is  given  as  a certain  and  reliable  one, 
but  it  does  not  yield  an  emulsion  possessing  the  highest  sensitive- 
ness. The  formula  of  Mr.  Henderson,  which  is  to  be  found  on 
p.  65  of  the  Year-Book,  will  give  you  a much  more  rapid  pre- 
paration. 2.  Undue  heating.  3.  We  think  not,  as  hydrochromic 
acid  is  immediately  liberated.  4.  The  latter  is  at  least  as  suitable 
as  tho  former;  but  some  samples  we  have  met  with  have  proved 
rather  alkaline,  and  we  found  it  necessary  to  increase  the  dose  of 
acid.  5.  We  know  of  none. 

Derventlo. — Lay  the  print  face  upwards  on  a level  hard  surface, 
such  as  a sheet  of  plate  glass,  and  stretch  the  face  by  friction  with 
somo  hard  body — a paper-knife,  for  example. 

R.  Taylor. — The  process  in  question  will  not  give  an  emulsion  of 
the  most  extreme  rapidity,  and  you  will  probably  waste  time  if 
you  attempt  to  doctor  it  now.  Start  afresh  with  a new  batch. 
See  answer  to  Rapidity. 

A.  Y.  Z. — Prepare  it  by  the  formula  given  on  p.  193  of  the  Year- 
Book. 

Bromide. — According  to  the  last  accounts  we  had,  things  are  a 
little  dull  just  now,  and  we  would  not  advise  you  to  go  unless 
you  have  a definite  engagement. 

J.  Foster. — Received.  In  our  next.  Thanks. 

Dry  Plate. — 1.  Thanks  for  the  photograph.  One  can  quite 
understand  the  view  taken  by  your  lady  friends.  2.  We  imagine 
not,  as  it  came  into  our  bands  some  three  days  after  date. 
3.  Strange  to  say,  we  have  not  one. 

H.  and  R.  S. — We  can  only  conjecture,  unless  we  receive  samples 
of  the  paper  at  each  stage,  but  are  inclined  to  think  it  arises 
either  from  atmospheric  impurities  in  the  room  where  the  paper 
is  dried,  or  from  some  kind  of  scum  on  the  sensitizing  bath.  It 
seems  to  us  that  your  sensitising  bath  is  somewhat  over  strong 
for  the  paper  used  ; and,  if  this  is  the  case,  you  should  reduce 
the  bath,  or  use  a more  highly-salted  paper.  Curiously  enough, 
the  defect  is  scarcely  visible  by  gas-light.  Wiite  again,  and  let 
us  know  the  result  of  your  trials. 

Tourist. — We  imagine  you  will  alter  your  opinion  before  you 
have  had  a week’3  experience  with  it.  One  little  thing  wrong, 
and  all  possibility  of  work  is  over. 

Engraver. — I.  In  such  sunlight  as  we  may  get  at  this  time  of  the 
ear,  an  exposure  of  perhaps  fifteen  minutes  might  be  required  ; 
ut  we  have  found  four  minutes  ample  in  the  summer.  2.  It 
should  not  exceed  one  five-hundredth  of  an  inch.  3.  It  is 
impossible  to  judge  without  seeing  both  plates.  4.  Not  at 
present. 

***  Authors  may  have  Reprints  of  their  Articles  at  3s.  per  page 
per  hundred  copies  ; but  the  order  must  be  given  when  the  proof 
is  returned. 


THE  PHOT(0fe.PHIC  HEWS, 

i . _ 

Vol.  XXYI1.  ^7jr^^/^r«ary  16,  1883. 


CONTENTS. 


PAG* 

The  Physical  Condition  of  the  Visible  Image 97 

Photo-Spectrographic  Researches  on  Reflected  Light  9>S 

Note  on  Qelatino  Chloride  Prints.  By  Dr.  J.  M.  Edcr  9S 

Glass 98 

At  Home.— Mr.  Herbert  Barraud  in  Oxford  Street 100 

The  Forthcoming  Eclipse  of  the  Sun.  ByC.  Ray  Woods 101 

Notes  on  Commercial  Photography  in  the  United  States.  By 

J.  P.  Suverkrop 102 

Notes 103 


PAOK 


Patent  Intelligence  10C 

Twelve  Elementary  Lessons  on  Silver  Printing 100 

Notes  on  Photography.  By  E.  Howard  Farmer  107 

Freeing  Emulsion  from  Soluble  Colloids.  By  A.  Iladdon 108 

Photo-Micrography.  By  G.  J.  Johnson  108 

Correspondence  109 

Proceedings  of  Societies 109 

Talk  in  the  Studio 112 

To  Correspondents 112 


THE  PHYSICAL  CONDITION  OP  THE  VISIBLE 
IMAGE. 

That  a great  difference  exists  in  the  nature  of  the  deposit 
of  metallic  silver  produced  by  different  developers,  must  be 
evident  to  all.  It  is  sufficient  to  take  but  a glance  at  nega- 
tives, produced  from  a wet  plate  and  from  a gelatine  plate 
respectively,  to  notice  the  total  difference  in  the  appearance 
of  the  silver  image  in  the  two  cases.  But  while  a great 
deal  of  attention  has  been  bestowed  upon  the  subject  of 
dry-plate  development,  we  do  not  think  photographers 
generally  are  alive  to  the  great  importance  of  a careful  study 
of  the  influence  of  different  developers  upon  the  physical 
condition  of  the  deposit.  In  comparing  developers,  it  is 
not  enough  to  confine  the  attention  solely  to  the  brightness 
of  the  image,  the  perfection  of  gradation  or  freedom  from 
stain  and  similar  characters,  although  it  cannot  be  denied 
that  these  are  fundamental  points  which  should  certainly 
be  first  brought  to  notice.  But  we  hear  viry  little  of  the 
actual  constitution  of  the  image,  of  the  size  or  colour  of  the 
particles,  or  of  the  amount  of  lateral  electrolytic  action. 
In  fact,  of  the  many  who  record  valuable  observations  con- 
cerning the  efficiency  of  certain  developers,  but  few  com- 
paratively submit  their  developed  films  to  a searching 
microscopic  examination.  It  is  possible  that  this  omission 
arises  to  some  extent  from  a belief  that  the  grains  of  silver 
are  constituted  in  very  much  the  same  manner  by  whatever 
chemical  process  they  may  have  been  deposited.  The 
fallacy  of  this  idea  can,  however,  be  easily  proved  by  any- 
one who  will  undertake  the  following  simple  experiment. 

Lit  a dry  plate  be  exposed  in  the  usual  manner,  and 
then  cut  into  several  pieces.  Let  the  pieces  be  developed 
by  the  same  piocess,  but  with  gradually  increasing  quan- 
tities of  some  restraining  substance,  so  that  while  the  fiist 
piece  undergoes  rapid  development,  the  last  may  require  a 
very  prolonged  treatment.  It  will  now  be  found  that, 
although,  to  the  unassisted  eye,  there  may  not  be  very 
much  apparent  difference  between  the  results  in  each  case, 
yet  there  will  be  striking  variations  in  the  size  of  the 
grains  of  silver  when  submitted  to  microscopic  examination. 
In  fact,  the  size  of  the  grain  varies  with  the  length  of 
time  taken  in  the  deposition,  and  it  is  evident  that  a 
coarser  grain  will  give  proper  density  with  a smaller 
amount  of  reduced  silver  than  a very  fine  grain  would  do. 

Now  a great  deal  has  been  written  about  the  relative 
values  of  slow  and  rapid  development,  of  the  impossibility 
to  procure  sufficient  density  with  certain  developing  for- 
mulae, and  of  the  advantages  and  disadvantages  of  energetic 
developers.  Practically,  however,  all  these  questions 
depend,  to  a large  extent,  upon  the  physical  nature  of  the 
deposit,  upon  the  minute  structure  of  the  image,  which, 
although  only  to  be  revealed  by  microscopic  investigation, 
exerts  a far  larger  influence  than  is  usually  supposed  upon 
the  character  of  a negative.  We  repeat,  therefore,  that 


in  all  comparisons  of  different  developers,  the  degree  of 
coarseness  of  the  particles  of  silver  should  be  as  carefully 
noted  as  any  of  the  other  characters  of  the  deposit.  An 
elaborate  microscope  is  by  no  means  necessary  for  this 
purpose  ; any  small  pocket  lens,  magnifying  about  30 
diameters,  is  sufficient. 

Another  point  of  no  less  interest  at  the  present  time  is 
the  possibility  of  procuring  a reducing  agent  for  silver 
bromide  which  shall  deposit  silver  in  a condition  resem- 
bling that  which  is  obtained  by  the  wet  process.  If  this 
could  be  done,  every  objection  to  the  use  of  dry  plates 
would  be  finally  swept  away.  Unfortunately,  it  appears 
that  every  developing  agent  has  its  own  special  charac- 
teristics, and  there  is  an  a priori  improbability  that  dry 
plates  will  ever  be  made  to  resemble  wet  plates  in  this 
respect.  Thus  alkaliue  pyrogallol  gives  a brown  image, 
ferrous  oxalate  a black  deposit.  The  double  tartrate  of 
antimony  and  iron  gives  a beautiful  golden  brown  picture, 
and  the  ferrous  phosphate  imparts  a brick-red  colour. 
Negatives  produced  by  the  hydrosulphite  developer  seem 
to  approximate  more  to  the  wet  plate,  having  a greyish 
colour.  It  is  interesting  also  to  note  the  observations  of 
Carey  Lea  on  the  influence  of  certain  salts  on  the  physical 
character  of  the  developed  image.  Thus  the  addition  of 
potassic  iodide  to  ferrous  oxalate  gives  a reddish  tone  to 
the  finished  negative,  while  the  presence  of  borax  imparts 
a weak  brown  tone.  The  presence  of  potassic  bromide  in 
the  ferrous  tartrate  developer  changes  the  colour  of  the 
image  from  brownish-red  to  olive-black.  These  examples 
are  sufficient  to  show  what  apparently  trifling  causes  are 
enough  to  change  the  physical  character  of  the  silver 
deposit. 

There  can  be  no  doubt  also  that  there  exists  a suitable 
strength  of  developer  for  each  kind  of  dry-plate  and  for 
every  exposure,  and  that  a beneficial  result  would,  in  many 
cases,  be  obtained  if  over-exposed  plates  were  subjected  to  a 
less  energetic  reducing  agent,  rather  than  the  same  develo- 
per with  a large  quantity  of  restrainer.  It  is  stated  that 
plates  exposed  ten  times  longer  than  is  usually  required  for 
ferrous  oxalate  development  may  still  be  developed  by 
ferrous  tartrate. 

Finally,  we  come  to  the  question  of  electrolytic  action  in 
development.  It  is  evident  from  the  experiments  of  several 
investigators  that  strength  of  image  is  produced  by 
the  influence  of  each  reduced  particle  of  metallic  silver 
upon  adjacent  particles  of  unaltered  bromide,  which  are 
thereby  reduced  first  to  sub-bromide,  and  finally,  in  their 
turn,  to  metallic  silver.  But  this  electrolytic  action  goes 
on  more  extensively  in  a downward,  than  in  a lateral  direc 
tion.  Why  this  is,  it  is  not  easy  to  say,  unless  it  be  tha- 
light  is  able  to  penetrate  the  film  at  least  to  a degree  suffit 
cient  to  cause  n tottering  equilibrium  of  the  molecule- 
forming the  illuminated  parts.  Nevertheless,  lateras 
action  does  takes  place  to  some  extent ; the  m icroscope  show 


98  THE  PHOTOGRAPHIC  NEWS.  [February  16,  1883. 


that  no  hard  lines  exist  in  the  image ; the  highest  light8 
graduate  imperceptibly  into  the  daikest  shadows.  This 
encroachment  upon  the  shadows  of  the  reduced  particles  of 
silver  becomes  of  importance  when  images  of  fine  lines  are 
required.  Dr.  Eder  has  shown,  by  careful  microscopic 
measurements,  that  a line,  originally  measuring  '28  m.m., 
contracted  to  T98  m.m.  after  a prolonged  deve'opment. 
This  point  is  of  especial  importance  in  connection  with 
photo-zincography.  It  shows  that  in  developing  images  of 
6harply  defined  lines,  lateral  reduction  must  be  prevented 
as  far  as  possible  by  rapid  development.  Doubtless,  also, 
some  developers  will  be  found  more  prone  to  produce 
lateral  reduction  thau  others;  and  this  is  another  point 
which  it  is  of  importance  to  note  in  careful  comparisons  of 
various  developers. 

o 

PHOTO  - SPECTROGRAPHIC  RESEARCHES  ON 
REFLECTED  LIGHT. 

Some  recent  investigations  made  by  M.  de  Chardonnet  have 
an  especially  important  bearing  on  the  every-day  work  of 
the  photographer,  and  perhaps  more  especially  on  that  of 
the  portraitist.  In  the  case  of  all  ordinary  photographic 
operations,  the  light  which  enters  the  camera  and  affects  the 
sensitive  plate  does  not  consist  of  the  direct  rays  as  they 
leave  the  source  of  light,  but  of  radiations  which  have  been 
reflected  from  the  surfaces  of  the  various  solid  or  liquid 
bodies  which  euter  into  the  composition  of  the  scene  or 
subject  to  be  depicted  ; indeed,  it  occasionally  happens 
that  no  light  is  utilised  which  has  not  been  reflected  twice 
or  oftener. 

Strangely  enough,  the  composition  of  light  thus  reflected 
has  scarcely  been  studied  until  quite  recently  ; it  being 
vaguely  stated  in  books  that  substances  possess  certain 
selective  powers  as  regards  the  rays  which  they  reflect  ou  the 
one  band,  or  absorb  on  the  other  hand.  Chardonnet  finds, 
however,  that  this  assumption  is  altogether  incorrect, 
selective  absorption  being  a myth.  Indeed,  absolutely  the 
same  spectrum  was  obtained  with  sunlight  reflected  from 
solid  bodies  so  various  as  speculum-metal,  green  leaves, 
Arcet’s  fusible  alloy,  haematite,  diamond,  Prussian  blue, 
mercury,  various  enamels,  uranium-glass,  charcoal,  gold, 
lead,  nickel,  6teel,  and  copper.  Experiments  were  also 
made  with  light  reflected  from  liquids — potassium  bi-chro- 
mate solution,  milk,  ink,  ammonio-copper  sulphate  solution, 
water,  magenta  solution,  and  other  fluids  being  used  ; and 
it  was  found  that,  as  in  the  case  of  the  solids,  the  same 
spectrum  was  obtained  in  every  instance. 

Although  every  grade,  or  vibration-rate,  of  the  incident 
light  is  reflected,  it  must,  of  course,  be  understood  that  the 
relative  proportion  in  which  the  various  rays  are  reflected 
varies  extremely ; the  ratio  in  which  they  are  present 
determining  what  the  author  calls  the  actinic  colour  of  the 
reflecting  surface. 

Reflection  spectra,  then,  do  not  exist  in  the  same  sense  as 
absorption  spectra,  the  former  being  only  capable  of  expres- 
sion by  a scale  showing  the  relative  ratios  of  the  intensity 
of  the  various  portions;  while  the  latter  may  be  expressed 
by  the  usual  diagrammatic  method. 

Chardonnet’s  researches  teach  us  the  reason  why  the  folds 
and  structural  details  of  the  deepest  red  drapery  can  be  so 
perfectly  delineated  by  the  aid  of  photography,  and  will 
servo  to  indicate  to  the  photographer  the  importance  of 
bearing  in  mind  the  great  difference  which  may  exist  beween 
light  which  has  been  transmitted  through  a medium,  and 
that  which  may  be  reflected  from  its  surface. 


NOTE  ON  GELATINO-CnLORIDE  PRINTS. 

BY  DR.  J.  M.  EDER. 

GELATINO-CHLORIDE  paper,  when  developed  with  a citrate 
developer,  gives  prints  of  a light  or  dark  brown.  The 
tint  becomes  darker  when  a mixture  of  oxalate  and  citrate 
solutions  is  employed  for  development,  and  at  the  same 


time  there  is  the  advantage  that  the  time  of  exposure  is 
shortened. 

When  this  citro-oxalate  developer  is  employed  for  the 
treatment  of  paper  prints,  it  will  be  found  that  the  best 
form  of  emulsion  to  use  for  coating  the  paper  is  one  in 
which  silver  chloride  is  predominant.  The  emulsion  may 
be  produced  either  by  the  ammonia,  or  boiliDg  method,  so 
long  as  it  is  prepared  with  care.  By  using  a chloro- 
bromide  emulsion,  the  priuting  by  gaslight  is  considerably 
shortened,  and  the  tone  of  the  pictures  is  darker.  I cannot 
recommend  any  formula  for  preparing  the  emulsion  better 
than  that  published  by  Captain  Pizzighelli  and  myself  a 
year  or  so  back.  To  the  chlorine  salt  is  simply  added 
10  per  cent,  of  bromide  of  potassium,  and  the  preparation 
of  the  emulsion  proceeded  with  in  the  ordinary  maimer. 

As  to  preparing  the  citro-oxalate  developer,  I may 
mention  that  I prefer  to  do  so  according  to  the  following 
formula : — 

Acid  citrate  of  ammonia.' 1 part 

Oxalate  of  potash 1 ,, 

Water  C to  8 parts 

Before  use,  I mix  three  volumes  of  this  solution  with  one 
volume  of  a solution  of  sulphate  of  iron  (strength  1 to  4), 
and  add  a little  chloride  of  sodium,  as  restrainer,  to  pro- 
duce more  contrast  and  brilliancy  in  the  prints. 


GLASS. 

Fourth  Article. 

Our  third  article,  on  page  3,  explained  the  means  adopted 
to  obtain  nearly  colourless  glass— or,  at  least,  to  rectify 
the  inherent  tendency  in  all  ordinary  commercial  mate- 
rials to  produce  a bad  coloured  glass.  From  a purely 
technical  poiut  of  view,  dozens  of  pages  of  the  News  might 
be  occupied  with  details  of  the  processes  adopted  in  various 
glass  manufactories  to  prepare  the  materials  and  com- 
ponents, but  probably  this  would  be  somewhat  tedious  to 
the  general  reader,  and  we  must  now  press  on  with  our 
subject,  in  order  to  arrive  at  what  is,  perhaps,  more  inte- 
resting, even  to  those  who  may  have  witnessed  the  sight — 
i.  e.,  the  actual  making  of  the  glass.  But,  before  we  do 
so,  we  must  detain  the  reader  while  we  explain  that  glass 
cannot  be  made  without  crucibles  and  furnaces. 

In  glass  making,  as  in  every  other  complicated  and 
elaborate  process,  if  one  branch  or  department  is  defec- 
tive or  inefficient,  the  result  is  marred.  Take  photography 
as  an  example.  However  perfect  the  chemicals  and  the 
manipulation,  if  the  photographer  has  a bad  camera  or  a 
poor  lens,  he  cannot  turn  out  good  work.  Just  so  in  glass 
making  ; if  a manufacturer  has  bad  crucibles,  he  cannot 
makegood  glass;  and,  in  short,  his  commercial  existence 
will  come  to  an  end  unless  he  has  good  crucibles  and 
furnaces.  Glass  can  be  made  without  crucibles,  viz.,  in 
tanks,  or  what  are  known  as  tank-furnaces,  of  which  we 
shall  treat  further  ou,  but  at  the  present  day  the  tank  - 
furnaces  in  existence  do  not  exceed  five  per  cent,  or  ten 
per  cent,  of  the  whole  number  actually  in  operation. 

Crucibles,  commonly  termed  Puts. — IVe  can  melt  lead  in 
a common  iron  ladle,  and  we  can  boil  water  in  a glass 
flask  ; but  if  we  desire  to  employ  the  agency  of  heat  for  the 
fusion  or  liquefaction  of  substances  which  require  a higher 
degree  of  temperature,  such  as  iron  or  glass,  we  must  pro- 
cure some  vessel  to  retaiu  it  whose  properties  are  such  as 
to  resist  the  fiercest  heat  of  our  furnaces.  In  the  melting 
of  metals,  crucibles  or  pots  of  plumbago  (graphite)  are 
largely  used,  and,  ou  the  score  of  economy,  are  probably 
to  be  preferred  to  those  of  fire-clay  ; but  in  the  melting  of 
glass,  plumbago  pots  are  not  equally  advantageous,  inas- 
much as  the  alkalies  eat  into  the  sides  of  the  pots  ; there- 
fore, in  the  operation  of  glass-making,  the  manufacturer 
is  forced  to  use  clay.  Clay  in  the  form  of  a vessel  in 
which  to  submit  substances  to  heat  has  been  employed  for 
thousands  of  years.  In  the  Scriptures  frequent  allusion  is 
made  thereto,  and  no  doubt  man’s  first  waut — food— sug- 
gested the  employment  of  some  vessel  in  which  to  cook  it, 


February  16,  1883.] 


THE  rHOTOGRArHIC  NEWS. 


99 


and  nature  placed  at  his  hand  the  food,  the  fuel,  and  the 
clay  from  which  to  fashion  his  vessel.  A visit  to  any 
museum  of  antiquities  (say  the  British  Museum)  will 
generally  reveal  the  modes  of  cookiug  adopted  by  the 
ancients.  We  shall  fiud  there  vessels  of  undoubted 
antiquity,  which  have  evidently  been  submitted  to  tire 
for  the  purpose  either  of  cooking,  or  of  some  process  of 
manufacturing  ; and  from  this  it  is  quite  evident  that  the 
most  remote  of  ancieut  races  had  discovered  the  properties 
of  the  refractory  aluminous  earths  which  we  now  call  fire- 
clay. 

Fire-clay  is,  generally  speaking,  a combination  of 
alumina  and  silica,  with  traces  of  chalk,  iron,  magnesia, 
&e. ; the  nearer  it  approaches  to  pure  alumina  without  the 
silica,  chalk,  &c.,  the  more  refractory  it  is:  in  other 
words,  these  impurities  destroy  its  power  of  resisting  high 
temperatures.  It  is  a singular  matter  of  remark,  that  re- 
fractory clays  are  to  be  fouudall  over  the  world,  frequently 
in  close  proximity  to  fusible  clays,  aud  that  fortunes  have 
been  made  by  the  discovery  of  enormous  deposits  of  fire- 
clay, especially  when  they  happen  to  be  of  excellent 
quality,  or  situated  close  to  seats  of  manufacturing  industry. 
Seeing  that  in  the  manufacture  of  all  goods  requiring  in- 
tense heat  fire-clay  must  play  a most  important  part,  it  is 
no  wonder  that  great  attention  has  been  given  to  the  fabri- 
cation of  refractory  materials,  as  fire-bricks,  slabs,  tiles, 
crucibles,  melting  pots,  small  furnaces  for  laboratory  work, 
aud  even  gas-burners.  In  England,  we  have  vast  deposits 
of  fire-clay,  named,  in  the  order  of  their  merit,  Stafford- 
shire, South  Wales,  Devonshire,  Shropshire,  Cornwall,  and 
the  Isle  of  Wight.  Ou  the  continent  of  Europe,  fire-clay 
of  excellent  quality  is  found  iu  France,  Belgium,  Germany, 
&c. ; none,  however,  surpass  our  own  Stourbridge  clay  iu 
those  qualities  which  make  it  especially  valuable  for  the. 
formation  of  refractory  vessels  aud  bricks. 

At  almost  any  oil  shop  in  London  one  may  purchase  a 
single  pound  of  fire-clay  at  the  cost  of  (say)  one  penny.  It 
will  generally  be  found  to  be  a leaden-coloured,  coarse 
powder,  dry  and  crumbly,  scarcely  soiling  the  hands,  and 
with  a faint  earthy  odour  when  presented  to  the  nose.  If 
we  take  a basin  or  a mortar,  and  place  therein  the  couteuts 
of  a paper  packet  of  fire-clay,  just  as  it  comes  from  the 
oil  shop,  and  add  thereto  a small  quantity  of  water,  we 
shall  find  that,  with  the  assistance  of  the  pestle,  we  can 
knead  it  up  into  a stiff,  doughy  mass,  and  if  we  do  not 
“drown  the  miller,”  we  can  remove  the  ball  from  the 
mortar,  roll  it  about  in  the  hands,  and  fashion  it  just 
like  so  much  putty.  Here  we  see  the  difference  between 
fire-clay  and  common  brick  earth,  such  as  the  London  clay, 
so  plentiful  in  the  gardens  of  suburban  villas.  If  common 
brick  clay  be  once  dried,  it  parts  with  its  property  of  being 
worked  up  again  into  a plastic  state  ; whilst  fire-clay  may 
be  dried,  ground  up  to  powder,  wetted  and  moulded,  dried, 
ground  up,  and  wetted  again,  and  the  process  repeated 
several  times  until  it  shows  signs  of  losing  its  extraordinary 
property  of  plasticity.  Many  years  ago,  in  our  experi- 
ments in  making  little  furnaces  and  articles  employed  in 
the  melting  and  casting  of  metals,  we  recollect  our  delight 
at  the  discovery  of  this  remarkable  property  of  fire-clay;  but 
we  discovered  something  else,  for,  having  obtained  posses- 
sion of  a slightly-damagedoil-drum,  about  two  feet  in  height 
by  one  foot  in  diameter,  we  commenced  to  convert  it  into  a 
furnace  by  lining  it  inside  with  stiff  fire-clay,  and  made  a 
beautiful  job  of  the  inside,  a place  being  left  at  the  bottom 
for  the  grid,  and  an  outlet  at  the  back  for  the  draught. 
Picture  our  horror,  a week  afterwards,  to  find  that  our 
beautiful  lining,  in  the  process  of  drying,  had  shrunk  and 
cracked,  and  left  the  sides  of  the  furnace,  and  was,  in  fact, 
all  in  pieces.  This  is  the  effect  of  shrinkage,  which  all 
clays  are  liable  to — some  more  than  others.  If  we  had  had 
the  knowledge  that  the  shrinkage  could  be  almost  entirely 
prevented  by  mixing  with  the  new  clay  a quantity  of 
broken-up  bricks,  or  old  crucibles  smashed  into  a coarse 
powder,  and  intimately  kneaded  into  the  mass,  our  furnace 
would  have  retained  its  form  and  size  when  it  became  dry. 


Now  this  is  exactly  what  has  to  be  done  with  nearly  all 
fire-clays,  either  for  makiug  bricks  for  furnaces,  or  for 
pots  or  crucibles  for  melting,  because  the  shrinkage  that 
would  occur  by  the  use  of  raw  clay  would  cause  the  articles 
to  crack  and  be  unsound  and  irregular  iu  form,  and  lead  to 
endless  confusion,  loss,  and  disasters. 

We  cannot  afford  the  space  to  describe  in  detail  the 
fabrication  of  pots ; if  we  did  so  it  would  occupy  some 
fifty  pages  of  the  News,  and  might  lead  photographers  to 
imagine  that  we  had  forgotten  our  name  aud  aim ; but 
whilst  we  hold  ourselves  out  to  the  world  as  a technical 
organ  of  photographic  art,  we  deem  it  to  the  advantage 
of  our  readers  to  educate  them  a little  in  the  kindred 
science?,  and  this  is  our  only  apology,  if  apology  be  neces- 
sary. 

Let  us  tiy  to  describe  the  manufacture  of  a glass  pot  in 
stilted  language.  Given — A,  Stourbridge  clay,  ground  ; 
B,  the  same  which  has  been  burnt ; C,  ground  up  old  pots. 
Take  of  these — 

A.  Ground  fire  clay  ...  ...  7 parts  t 

B.  Burnt  fire  clay  ...  ...  ...  5 ,, 

C.  Ground  up  old  pots  5 „ 

Mix  with  water,  and  form  a stiff  dough.  A and  B are 
generally  mixed  first  with  water,  and  kneaded  by  foot. 
When  thoroughly  incorporated,  the  mass  is  divided  into 
handy  lumps.  The  crucible  maker  then  begins  operations. 
On  a stone  or  iron  plate  sand  is  sprinkled  ; then  commences 
the  formation  of  the  bottom  of  the  pot,  by  the  pressing 
together  of  the  lumps  of  clay,  just  like  uniting  so  many 
rolls  of  butter ; then  he  begins  to  form  the  walls,  the  sur- 
face of  each  layer  being  scratched  to  hold  the  next, 
and  so  on  the  process  is  repeated  layer  by  layer  until  the 
pot  is  complete.  Several  pots  are  built  during  the  same 
period,  the  pot  maker  working  first  on  one  and  then  on 
another ; if  he  leaves  one,  he  covers  it  up  with  a damp 
blanket.  It  is  no  uncommon  thing  to  see  in  the  pot-lofts 
from  fifty  to  one  hundred  pots  ready  for  use,  or  nearly  so, 
as  many  months  have  to  elapse  from  the  time  a pot  is 
started  until  it  is  ready  for  the  fire.  A capital  of  £1,000 
can  easily  be  stink  in  pots.  A good  pot  maker  is  a valu- 
able servant ; good  pots  are  a manufacturer’s  sheet- 
anchor  ; bad  pots  may  be  his  ruin. 

The  legitimate  life  of  a pot  ends  by  its  gradual  wearing 
away  in  the  furnace ; the  alkalies  and  the  fire  eat  into  its 
walls,  and  render  it  ultimately  so  thin  as  to  be  incapable 
of  withstanding  the  pressure  of  (say)  a ton  of  molten 
glass.  On  the  other  hand,  a bad  pot  may  burst  at  the  first 
fusion,  aud  set  a ton  of  molten  glass  swimming  down 
through  the  bars  into  the  “ cave,”  and  generally  play  such 
havoc  as  one  could  scarcely  picture  to  the  imagination. 
Cases  have  been  known  where,  in  an  eight-pot  furnace,  no 
less  than  twenty-one  pots  have  had  to  be  “ set  ” during  a 
single  month  ! Such  accidents  must  sooner  or  later  ruin 
the  manufacturer.  A good  pot  should  stand  at  least  forty 
fusions,  and  may  run  even  to  six  or  as  long  as  twelve 
months  ; much  depends  upon  the  class  of  work,  the  nature 
of  the  mixture,  the  quality  of  fuel,  and  skill  of  the 
workman. 


As  many  months  must  elapse  between  the  commence- 
ment of  a pot  and  its  fiery  ordeal,  it  follows  that  the 
anxiety  of  a manufacturer  must  always  be  great,  because 


100 


THE  PHOTOGRAPHIC  NEWS, 


[Febbttary  16,  1883. 


he  cannot  tell  with  certainty  that  the  pots  made  now  may 
not.  turn  out  failures  in  six  or  twelve  months  hence. 

The  figures  show  sufficiently  clearly  the  general  forms  of 
pot s.  Fig.  1 is  that  of  an  ordinary  opeu  pot,  such  as  is 
used  in  the  manufacture  of  ordinary  window  glass,  rolled 
and  rough  plate,  polished  plate,  bottles,  and  such  glass  as 
does  not  require  to  be  fused  out  of  contact  with  the  flame. 
The  dimensions  vary  according  to  the  requirements.  Some 
will  hold  six  cwt.,  and  others  coutrin  above  a ton  ; from 
four  feet  to  six  feet  in  diameter,  and  proportionate  depth. 
Fig.  2 shows  closed  pots — back,  front,  and  side.  These 


are  employed  for  the  fusion  of  lead  glass,  optical  glass, 
fine  coloured  glass,  and  all  such  “ metals  ” as  require  to  be 
melted  out  of  contact  with  flame.  Their  capacity  ranges 
from  two  cwt.  to  ten  cwt.,  according  to  the  size  of  the  fur- 
nace, aud  the  nature  and  kind  of  work  for  which  they  are 
required. 

Our  next  will  treat  of  furnaces. 

o- 

feme. 

MR.  HERBERT  BARRAUD  IN  OXFORD  STREET. 
“ The  view  reminds  you  of  that  from  Van  Bosch’s  studio, 
in  Paris,”  is  what  we  say  when  we  reach  Mr.  Barraud’s 
first  floor.  Oxford  Street,  however,  wide  and  handsome 
as  it  is  at  this  point,  is  hardly  so  attractive  as  the  Boule- 
vards, for  there  is  more  of  business  and  less  of  pleasure 
visible  in  the  London  thoroughfare.  Still,  Mr.  Barraud’s 
studio  may  well  be  compared  with  the  noted  Paris  house, 
if  only  because  it  is  newly  constructed,  with  taste  and 
style,  and  indicates  a spirited  desire  to  make  a step  for- 
wards beyond  conventional  limits. 

Mr.  Barraud,  in  establishing  his  new  studio,  possessed 
an  advantage  few  Londou  photographers  enjoy.  He  could 
order  things  as  he  liked,  and  thus  was  able  to  dispose  his 
arrangements  as  he  pleased.  There  is  plenty  of  light  in  a 
broad  thoroughfare  like  Oxford  Street,  only  you  must  go 
to  the  very  top  of  a building  to  get  it.  Mr.  Burraud  has 
gone  to  the  top  to  build  his  glass-room,  and  has  succeeded 
so  well  that  he  looks  down  on  everybody  around  him,  his 
side-light  coming  in  directly  due  north.  The  light,  indeed, 
floods  in  from  both  sides  and  from  the  roof  in  such  a 
manner  that  means  have  to  be  employed  for  modifying  it, 
similar  to  those  we  have  seen  in  use  in  Southern  Europe. 

To  obviate  the  difficulty  of  mounting  four  or  five  pairs 
of  stairs  to  this  lofty  eminence,  Mr.  Barraud  has  recourse  to 
a comfortable  lift,  admirably  worked  by  a gas-engiue,  and 
thus  the  sitter,  if  an  invalid,  has  no  more  trouble  in  reach- 
ing the  glass-room  or  dressing-rooms  than  if  they  were 
next  door  to  the  reception  room.  And,  be  it  remarked, 
it  is  not  only  invalids  and  elderly  sitters  who  are  affected 
by  a steep  ascent ; few  people  can  mount  some  forty  or 
fifty  stairs  and  be  ready  at  the  end  of  the  journey  to  sit 
down,  then  and  there,  to  be  posed  for  a portrait. 

We  have  mentioned  the  word  reception  room  ; but  there 
is,  strictly  speaking,  no  such  apartment  in  Mr.  Barraud’s 
studio.  The  establishment  is  more  of  the  nature  of  a picture 
gallery,  and  the  polished  pine  and  staiued-glass  work 
throughout  are  in  keeping  with  this.  Both  on  the  ground- 
floor  and  on  the  first  floor  is  a handsome  display  of  pictures ; 
but,  as  if  to  temper  this  aspect  of  grandeur,  and  to  give 
confidence  to  timid  customers,  a card  of  terms  is  wisely 


put  in  the  window.  Mr.  Barraud’s  prices  are  not  high  ; 
he  informs  passers-by  that,  in  respect  to  cartes-de-visite, 
the  fee  “ for  sitting,”  and  for  two  proofs  and  six  conies, 
is  half-a-guinea,  or  one  guinea  for  twenty-four  copies  ; for 
half-a-guinea,  a “sitting”  for  a cabinet  picture  is  given  ; 
but  only  one  proof  or  copy  supplied,  the  charge  for  six 
copies  and  two  proofs  being  eighteen  shillings.  In  respect 
to  promenade  and  panel  portraits,  Mr.  Barraud,  curiously 
enough,  places  on  his  card  of  terms  “ Fee  for  taking  nega- 
tive and  proof”  ; for  the  former  21s.,  for  the  latter  42s. 
We  do  not  know  if  he  has  any  reason  for  changing  the 
wording  in  this  manner  ; but  if  not,  we  think  “ for 
sitting”  is  decidedly  preferable,  if  only  beeause  no  allusion 
is  made  to  the  negative.  One  does  not  want  the  old  dis- 
pute as  to  the  ownership  of  the  negative  to  crop  up 
again  ; and,  it  may  be,  that  charging  “ for  taking  nega- 
tive” will  convey  to  some  minds  that  the  negative  is 
included  in  the  bargain.  We  presume  Mr.  Barraud  does 
not  give  re-sittiogs  without  extra  charge  ; at  any  rate,  no 
one  could  claim  such  privilege  as  a right  in  these  circum- 
stances. 

We  have  no  need  to  tell  that  Mr.  Barraud  does  excellent 
work,  for  of  that  our  readers  are  already  aware.  A fine 
picture  of  the  Duke  of  Cambridge,  and  another  of  the  late 
Archbishop  of  Canterbury — who,  by-tlie-way,  looks  very 
much  like  the  Rev.  Charles  Voysey  in  his  canonicals — 
are  the  most  striking  attractions  in  the  lower  gallery ; 
while,  on  the  first  floor,  we  meet  with  a capital  likeness  of 
the  la^e  Mr.  Rose,  better  known  as  Arthur  Sketchley,  and, 
best  of  all,  as  Mrs.  Brown.  A very  fine  photograph  of 
Broughton  Castle  is  here,  too,  a magnificent  pile  of  grey 
stone,  with  the  sedgy  banks  of  the  moat  forming  an 
artistic  foreground.  The  picture,  however,  represents  but 
a portion  of  this  “ stately  home  of  England,”  for  its 
proportions  are  too  large  to  be  included  in  a single  view 
from  this  point;  and  it  is  sometimes  inconvenient  to  follow 
Mr.  Toole’s  quaint  advice  to  “ use  a dish  when  the  picture 
is  too  big  for  a plate.” 

The  glass-room  itself  is  of  spacious  proportions.  The 
floor  is  of  pitch  pine,  laid  upon  concrete,  its  smoothness 
and  evenness  much  facilitating  the  movement  of  screens 
and  apparatus,  which  are,  for  the  most  part,  furnished 
with  rubber  castors.  But  the  striking  feature  of  the 
apartment  is  the  air  of  lightness  and  comfort  that  pre- 
vails. A skirting-board  or  panelling — also  of  polished 
pine — rises  to  the  height  of  three  feet,  and  above  this  are 
large  and  handsome  glass  windows.  The  side  walls  rise 
fifteen  feet  to  the  slope  of  the  roof,  and  the  full  height  in 
the  middle  is  about  twenty-five  feet,  so  that  it  is  decidedly 
a lofty  studio.  There  are  no  white  or  blue  curtains  at  the 
side,  but,  instead,  thick,  opaque  Turkey  hangings,  which 
can  be  drawn  across.  Above,  the  glass  roof  may  be  shaded 
by  white  blinds  and  by  black  blinds,  laid  one  over  the 
other,  and  moving  by  spring  rollers.  These  blinds  are 
worked  by  cords  in  the  usual  manner ; the  white  blinds 
are  pulled  over  first,  resting  upon  three  copper  wires  for 
support,  and  if  this  does  not  give  sufficient  shade,  then 
the  black  blinds  above  them  are  also  pulled  across,  these 
having  a separate  set  of  wires  for  support. 

No  putty  has  been  employed  for  glazing.  The  glass 
panes  in  their  frames  are  screwed  down  against  india- 
rubber,  and  so  completely  successful  is  this  plan  of  fitting, 
that,  during  the  past  rainy  winter  not  a drop  of  moisture 
entered  the  studio.  To  this  method  of  glazing,  as  also 
to  the  use  of  heavy  hangings  and  of  an  earthenware  stove 
— Doulton’s  radiating  stove  is  the  name,  we  believe — is 
due  the  warmth  and  comfort  experienced  on  entering  the 
glass-room.  There  is  no  chilliness  or  uupleasant  draught 
encountered  in  any  part  of  the  room,  a state  of  things, 
we  need  not  say,  duly  appreciated  by  all  sitters  who  enter 
it. 

We  have  said  that  apparatus  and  screens  are,  for  the  most 
part,  fitted  with  rubber  castors.  The  background — one  of 
Avery’s  make — is  thus  provided,  and  is  eminently 
practical,  A plain  screen  or  background,  together  with 


HeBRTTABY  16,  1883.J 


THE  PHOTOGRAPHIC  HEWS, 


101 


three  others,  are  mounted  on  this  bit  of  apparatus,  which 
could  thus  be  either  moved  back  or  forward  a few  inches 
to  alter  the  angle  of  reflection,  or  bodily  run  into  another 
part  of  the  studio  without  difficulty.  A canopy  screen, 
also  on  castors,  for  over-shadowing  the  camera,  is  also 
worthy  of  remark  as  being  one  of  the  most  simple  and 
effective  of  such  contrivances  we  have  seen.  It  is  merely 
constructed  of  canvas  and  stout  laths,  the  canvas  painted 
a French  grey;  it  measures  about  six  feet  high,  so  as  to 
admit  of  an  assistant  of  reasonable  stature,  and  is  about 
five  feet  long.  Here  is  a picture  of  it. 


To  ensure  a steady  gaze,  photographers  are  in  the  habit 
of  sticking  up  in  front  of  their  sitters  a small  photograph 
or  picture.  Mr.  Barraud  does  better  than 
this,  lie  employs  not  a small  picture,  but 
a large  one,  to  engage  attention,  and  this 
is  on  a stand,  close  by  the  operator.  The 
sitter  knows  nothing  of  this  picture  until 
the  exposure  comes,  when  the  frame  con- 
taining it  is  twisted  round— it  is  pivotted  on 
the  stand — and,  suddenly,  there  is  disclosed 
to  view  the  bold  features  of  the  “Laughing 
Cure,”  or  some  other  equally  humorous 
countenance.  Above  is  a sketch  of  this 
stand.  It  is  not  everybody  who  is  in  a good 
humour  when  photographed ; some  are 
people  who  have  consented  to  come  against 
their  will;  some  have  been  bothered  or 
vexed  that  morning  by  an  untoward  event ; 
some  resent  the  loss  of  time  ; while  others 
— children,  especially — grow  sulky  and 
morose  under  the  operation  of  posing. 
The  “ Laughing  Cure,”  however,  is  gene- 
rally found  to  remedy  matters  ; “ it  unlocks 
the  features,”  says  Mr.  Barraud. 

The  walls  of  the  studio  are  painted  a French  grey,  with 
perhaps  rather  more  blue  in  it  than  usual,  and  this  con- 
trasts well  with  the  polished  pine  of  floor  and  fittings.  A 
freedom  from  lumber  and  unnecessary  apparatus  gives  the 
apartment  that  appearance  of  smartness  and  neatness 
which  is  characteristic  of  a well-ordered  studio. 

Of  the  rest  of  the  establishment  we  need  say  little.  The 
dark-room  is  below,  in  a cooler  and  more  shaded  position. 
Mr.  Barraud  usually  develops  his  negatives  after  the  sitter 
has  taken  his  departure,  collecting  a batch  of  plates  before 
he  begius  work.  He  has  a large  window  to  give  plenty  of 
light  on  occasion,  but  the  lower  half  of  it  is  permanently 
protected  with  yellow  paper.  This  is  a wise  and  practical 


precaution,  for  whether  the  non-actinic  blinds  are  drawn  or 
no,  that  portion  of  the  window  to  which  the  plate  is  ap* 
proached  is  thus  always  protected.  Mr.  Barraud,  who 
employs  pyrogallol  development,  has  a predilection  for 
quick  development ; for  one  reason  the  gelatine  film  is  not 
so  badly  stained,  and  the  use  of  a clearing  solution  is  thus 
rendered  unnecessary. 


The  “ By-the-Bye ” next  week  will  be  “Photography 
and  Map-Making  ” ; the  following  “ At  Home  ” will  be 
“ Mr.  Alexander  Cowan,  at  Porchester  Terrace.” 


THE  FORTHCOMING  ECLIPSE  OF  THE  SUN. 

BY  C.  RAY  WOODS. 

A group  of  small  coral  islands  in  the  middle  of  the  Pacific, 
the  whole  of  them  only  extending  for  about  seven  miles, 
covered  with,  or  rather  possessing,  a few  palm  trees,  with 
no  inhabitants  save  a few  pigs  which  were  left  by  a small 
party  of  settlers  who  for  a short  time  managed  to  gain  a 
subsistence  by  rearing  live  stock  and  collecting  cocoa-nuts — 
such  is  the  place  which  nature  has  chosen  as  an  observatory 
for  an  important  total  solar  eclipse.  Many  a spot  almost 
unknown  ha3  suddenly  become  famous  through  being  found 
suitable  for  scientific  observations,  and  more  particularly 
has  this  been  the  case  when  the  phenomenon  to  be  seen  has 
been  an  eclipse  of  the  6un.  The  coming  eclipse  of  May  6th 
next  is  observable  throughout  a great  portion  of  the  Pacific 
between  South  America  and  Australia  ; but  what  is  known 
as  the  central  line,  that  narrow  strip  along  which  alone  is 
the  eclipse  total,  passes  over  but  a few  spots  of  land,  and  of 
these,  Caroline  Island  is  the  nearest  to  the  centre  of  that 
central  line,  and  is  in  other  respects  better  adapted  to 
become  a temporary  observatory  than  are  the  few  others. 
Here  the  totality  lasts  for  over  five  minutes,  an  interval  of 
time  seldom  to  be  obtained  for  the  observation  of  eclipse 
phenomena.  In  spite,  therefore,  of  its  being  so  much  out 
of  the  way  of  ordinary  commerce  and  international  com- 
munication, so  rare  and  valuable  an  opportunity  ought  not 
to  be  lost.  The  American  6avants  have  shown  them- 
selves most  alive  to  this,  and  a large  party  of  astrono- 
mers of  that  nation  are  about  starting  on  their  journey. 
Several  French  and  Italian  astronomers  are  also  finding 
their  way  there,  and  the  Royal  Society  of  this  country, 
anxious  to  avail  itself  of  the  work  and  experience  gained 
during  the  last  eclipse,  which,  as  your  readers  are  aware, 
was  observed  in  Egypt,  have  determined  not  to  see 
England  unrepresented.  Mr.  Lawiance  and  myself  leave 
Southampton  to-morrow,  Saturday,  by  the  Medway,  a 
vessel  belonging  to  the  Royal  Mail  Steam  Packet  Company, 
which  takes  ourselves  and  instruments  to  Colon,  on  the 
Panama  isthmus.  We  then  proceed  overland  to  Panama, 
where  we  expect  to  join  the  American  party,  and  take  ship 
again  with  them  down  the  coast  of  Peru  to  Calloa.  Should 
the  Americans  be  a little  earlier,  we  shall  have  to  join  them 
at  the  latter  place.  In  any  case,  we  all  leave  Callao  together 
in  a vessel  chartered  to  take  us  to  Catoline  Island  and  back. 
The  Royal  Society,  and  more  particularly  those  members  who 
have  looked  to  our  equipment,  have  decided  that  the  work 
shall  be  purely  photographic,  for  the  following  very  obvious 
reason®. 

It  has  occasionally  been  remarked  how  singularly  diver- 
gent have  been  the  different  observations.  This  has  been 
most  noticeable  with  the  drawings  of  the  corona,  no  two  of 
which  are  usually  found  to  agree,  whilst  photographs  taken 
at  different  places  and  at  different  times  present  the  same 
details.  Again,  apart  from  mere  spectacular  work,  modern 
dry  plates,  as  the  Egyptian  eclipse  demonstrated,  are  capable 
of  photographing  the  spectrum  during  eclipses,  a branch  of 
work  which  had  hitheito  been  left  to  eye  observations. 
Further,  it  is  practically  impossible  for  an  observer  to  fix 
the  positions  of  every  line  presented  to  his  eye.  The  posi- 
tions of  only  a few  of  the  brightest  had  been  determined,  and 


102 


THE  PHOTOGRAPHIC  NEWS. 


[February  16,  1883. 


these  Dot  with  absolute  correctness.  Photography  perma- 
nently registers  them,  and  permits  them  to  be  correctly 
measured  at  leisure.  Nor  is  this  all.  For  years  astronomers 
have  looked  at  the  spectrum  of  the  corona,  and,  with  the  ex- 
ception of  noting  a few  bright  lines,  they  have  said  that  the 
spectrum  was  practically  continuous.  One  of  the  photo- 
graphs taken  in  Egypt  gives  a large  number  of  undoubted 
coronal  lines,  which  have  demonstrated  the  presence  not  only 
of  hydrogen,  but  many  metals,  such  as  calcium,  magnesium, 
&c.,  at  far  greater  heights  in  the  6un’s  outer  atmosphere  than 
was  ever  suspected  ; a flood  of  light  has  also  been  thrown 
upon  the  constitution  of  the  brilliant  red  prominences  that 
present  such  a marked  and  beautiful  feature  ot  the  eclipsed 
suu.  Since  photography  can  also  grasp  the  unseen,  not 
only  as  regards  the  rays  beyond  the  violet,  but,  thanks 
to  Captain  Abney,  even  the  rays  beyond  the  red,  no  wonder 
eye  observations  are  now  to  be  considered  only  second  beat, 
and  to  photography  will  be  delegated  the  task  of  encroaching 
on  the  confines  of  the  unknown.  And  what  means  are  to  be 
employed  in  the  inquiry  ? This  question  is  not  easily 
answered  in  a few  words,  but  the  following  brief  description 
must  for  the  preseut  suffice.  I must  remark,  however,  in 
passing,  that  it  cannot  be  said  that  all  the  instruments  we 
takeout  are  the  best  that  could  be  used  for  the  puipose,  but 
they  are  undoubtedly  the  best  that  could  be  got  together  in 
the  short  time  allowed  us  for  preparation. 

In  the  first  place,  wetako  out  all  the  instruments  used  for 
photographic  purposes  during  tho  last  eclipse,  but  sundry 
alterations  have  been  made  in  their  arrangement.  The 
equatorial  telescope  stand  used  will  this  time  carry  the  four- 
inch  photo-heliograph  belonging  to  it.  With  this  instru- 
ment we  hope  to  get,  on  a large  scale,  details  of  the  inner 
part  of  the  corona,  such  as  have  never  before  been  obtained. 
On  the  same  stand  will  be  mounted  the  camera  used  on  the 
last  occasion,  five  feet  long,  giving  au  image  of  the  sun  five- 
eighths  of  au  inch  in  diameter.  All  going  well,  we  shall 
thus  get  the  corona  to  its  extreme  visible  limits,  as  in  Egypt. 
Another  set  of  instruments,  instead  of  being  mounted  ou  a 
telescope  stand,  will  be  fed,  if  I may  use  such  an  expression, 
by  a large  siderostat,  an  instrument  driven  by  clockwork 
used  for  keeping  the  rays  of  the  sun  on  any  desired  spot. 
This  set  of  instruments  will  consist  of — 1,  a camera  with  a 
prism  in  front  of  the  lens,  the  same  as  used  in  Egypt,  in 
which  we  hope  to  get  the  spectrum  in  the  red  and  beyond  ; 
2,  the  slit  spectroscope  and  camera  that  produced  so  good 
a result  in  Egypt  that  we  shall  this  time  venture  to  use  two 
prisms  instead  of  one,  and  thus  get  the  spectrum  more  spread 
out,  aud  the  lines  further  apart;  3,  a curved  grating  by 
Prof.  Rowland,  as  recently  described  by  Captain  Abney 
before  the  Photographic  Society,  giving  us  many  bright 
spectra,  of  which  we  shall  utilize  two,  the  first  and  second 
orders,  as  they  are  called — that  is  to  say,  the  two  least 
dispersive  spectra  on  one  side  of  the  grating  ; 4,  a large  one- 
prism  spectroscope,  which,  being  unprovided  with  a lens 
to  throw  an  image  on  the  slit,  will  collect  light  from  all 
parts  of  the  corona,  aud  also  from  the  prominences. 
With  this  we  hope  also  to  obtain  what  is  known  as  the 
flash — that  is,  the  bright  lines  seen  just  when  the  moon 
has  all  but  covered  the  sun’s  extreme  edge,  and  also  the 
different  lines  seen  j ust  before  that,  as  the  moon  approaches 
more  and  more  nearly  over  the  sun ; for  this  purpose  a 
long  moving  slide  will  be  used,  the  plate  being  carried 
across  by  clockwork.  A third  set  of  instruments  will 
be  attached  to  the  stand  of  an  equatorial  telescope, 
carrying  its  own  six-inch  object  glass,  and  a Dallmeyer 
rapid  rectilinear,  six  inches  in  diameter,  and  four 
feet  focus.  The  light  from  the  object  glass  will  be 
allowed  to  fall  on  a flat  Rutherford  grating,  to  which 
two  cameras  will  be  directed,  giving  spectra  of  the  first 
and  second  order.  To  the  Dallmeyer  lens  a spectroscope 
is  attached  containing  one  prism  of  very  dense  glass.  The 
cameras  on  these  instruments  will  be  provided  with  long 
slides,  the  plate  being  moved  across  an  opening  by  means 
of  rackwork.  In  these  instruments  the  edge  of  the  sun’s 
image  will  be  allowed  to  fall  on  the  slit,  and  as  the  sun  is 


more  and  more  obscured,  and  the  glare  from  the  earth’s 
atmosphere  becomes  less  and  less,  different  lines  will,  it  is 
expected,  come  into  view. 

By  this  means,  some  idea  may  be  obtained  of  what  may 
be  called  the  sun’s  Hner  atmosphere,  for  those  lines  which 
come  into  view  fi  a will  be  the  thickest  and  shortest, 
belonging  to  the  elements  nearest  the  sun’s  centre  ; that  is, 
providing  the  most  modern  theory — viz.,  that  the  sun’s 
atmosphere  consists  of  a number  of  layers  of  different 
densities  enveloping  it  like  the  skins  of  an  onion — be  true. 

It  is  also  hoped  that  the  results  obtained  may  throw 
some  light  on,  for  or  against,  Mr.  Lockyer’s  dissociation 
theory,  an  hypothesis  which,  like  most  daring  flights  into 
the  regions  of  speculative  science,  has  been  vigorously 
attacked,  but  which  is  not  to  be  lightly  disregarded,  since 
it  explains  phenomena  which  have  not  been  accounted  for 
on  any  other  theory. 

As  has  been  before  hinted,  some  of  these  instruments 
are  not  the  best  that  might  have  been  used,  but  they  will 
be  of  undoubted  utility,  backed  up,  as  they  are,  by  old  and 
tried  pieces  of  apparatus  The  time  allowed  us  to  get 
ready  has  been  so  short  that,  in  spite  of  the  effective 
arrangements  of  the  Royal  Society,  the  energy  displayed 
by  Mr.  Lockyer,  and  the  steady  perseverance  of  Captain 
Abney,  who  has  undertaken  to  provide  suitable  plates,  we 
may  be  found  guilty  of  a few  sins  both  of  omission  and 
commission.  Nevertheless,  our  equipment,  so  far  as  it 
goes,  is  good  and  elaborate.  Accidents  excepted,  we  see 
no  reason  why  the  results  should  not  put  past  photographic 
work  into  the  shade,  aud  complete  the  blow  struck  at  eye- 
work  in  Egypt. 


NOTES  ON  COMMERCIAL  PHOTOGRAPHY  IN  THE 
UNITED  STATES. 

BY  J.  I>.  SUVERKROP.* 

It  is  with  no  little  diffidence  that  I appear  to-night  before  a 
society  standing  the  first  in  most  branches  of  photographic  art. 
In  the  United  States  photography  has  attained  an  important 
place  as  an  adjunct  to  various  industries,  exclusive  of  its  own 
branches,  which  may  really  be  termed  separate  industries  them- 
selves. It  is  of  the  offshoots  fiom  the  parent  stem  that  I shall 
spsak  under  the  name  of  Commercial  Photography,  and  shall 
endeavour  to  note  some  of  the  most  interesting  of  them.  13y 
far  the  larger  portion  of  commercial  photography  is  devoted  to 
photo -mechanical  reproduction,  aud  this  may  be  divided  into 
three  branches  : — 1st.  That  class  depending  upon  the  copper- 
plate press  for  multiplication  of  copies,  of  which  the  Photo- 
Gravure  may  be  regarded  as  an  excellent  illustration.  2nd. 
The  class  which  is  reproduced  lithographically,  depending  upon 
the  repellent  and  absorbent  chemical  qualities  of  a sensitised 
film  for  the  result ; the  Albertype  is  the  best  example  of  this 
class.  3rd.  The  numerous  Typographic  class,  which,  although 
indirectly  covering  a larger  range  or  field  than  any  of  the  pre- 
vious classes,  is  valued  more  from  a practical  than  an  artistic 
point  of  view  ; the  zincotype  belongs  to  this  order. 

Of  the  first  class  I shall  simply  say  that  the  photo-gravure  is 
carried  on  in  the  United  States  under  various  names — the 
methods,  however,  being  essentially  the  same  as  on  this  side  of 
the  water,  except  that  perhaps  we  do  not  produce  such  good 
work.  In  the  second  class  we  find  many  important  establish- 
me  its,  the  Albertype  being  produced  with  singular  beauty ; the 
helntype  and  various  modifications  of  both  these  methods  are 
in  a flourishing  condition.  One  of  these  methods  is  worthy  of 
note.  A negative  is  taken,  we  will  say,  of  a rose,  leaving  out  all 
the  colour  but  the  red  ; a second  is  taken  of  tho  green  ; and  a 
third  of  the  shades  and  shadows  ; these  are  reproduced  by  the 
Albertype  method,  and  printed  in  register  with  each  other  in 
inks  as  near  as  possible  the  original  colour ; the  result  is  a soft, 
pleasing,  and  life-like  print,  depending,  however,  greatly  upon 
the  chemical  manipulation  of  the  operator,  and  also  upon  the 
proper  choice  of  colours  by  the  printer.  J ust  here  I hope  you 
will  pardon  a slight  digression  : it  has  struck  me  very  forcibly 
that  the  reason  you  have  attained  such  eminence,  especially  in 
the  matter  of  quick  working  plates,  is  because  you  have  such  for- 
midable natural  obstacles  to  overcome — non-actinic  light,  and 
sometimes  a scarcity  of  that , being  oue  of  the  first  to  engage  au 

* Read  before  the  Edinburgh  Photographic  Society. 


Febbuart  16,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


103 


American  eye.  I Lave  actually  seen  people  in  Glasgow  going 
into  a photographer’s  to  “get  taken  ” on  a day  when  the  light 
was  such  that  an  American  photographer  would  have  shut  up 
shop.  But  to  revert  to  my  subject,  we  enjoy  plenty  of  sunlight ; 
and  though  that  tends  to  make  us  rather  slow  in  the  use  of  dry 
plates,  it  is  a great  assistance  to  commercial  photography,  so  that 
in  New  York  alone  the  number  of  firms  engaged  iu  my  third  or 
typographic  class  may  be  counted  by  dozens.  The  photo-litho- 
graphers are  also  numerous,  and  one  large  daily  newspaper  has 
been  illustrated  by  this  method  for  some  years.  It  is,  if  I am 
not  mistaken,  the  only  illustrated  daily  newspaper  in  the  world. 

I In  the  third,  or  typographic  class,  to  which  I now  refer,  two 
methods  are  commonly  in  vogue — first,  the  zincotype  class, 
which  simply  depends  on  photography  for  the  image,  and  upon 
the  action  of  a corrodent  for  the  relief ; and  second,  those  which, 
like  the  gelatinotype,  depend  for  relief  upon  either  the  swelling 
or  dissolution  of  a sensitized  film  of  gelatine  or  gum.  In  the 
zincotype  and  the  swelled  gelatinotype  the  negative  is  of  the 
ordinary  opaque  description,  such  as  is  made  use  of  in  photo- 
lithography, and  is  usually  intensified  with  lead  or  copper.  In 
the  case  of  the  dissolved  gelatinotype,  the  negative  that  is  used 
must  be  a reversible  film,  which  is  made  in  this  way  : the  glass 
is  very  thinly  albumenized,  aud  after  the  negative  is  obtained 
and  dried,  it  is  treated  to  a coat  of  india-rubber  dissolved  in 
sulphuric  ether;  this  is,  when  dry,  coated  with  collodion  ; the 
glass  is  then  immersed  in  water  or  dilute  acetic  acid,  the  im- 
pressed film  comes  away  quite  easily,  is  quite  strong,  and  can 
thus  be  readily  reversed ; and  after  use,  instead  of  being 
scraped  into  the  cleaning  trough,  it  is  taken  off  its  support,  and 
put  away  for  further  reference. 

Zincotyping,  as  commonly  practised,  consists  in  transferring 
an  inky  image  to  a suitable  piece  of  metal  by  the  well-known 
photo-lithographic  method.  This  transfer  is  dusted  with  resin 
flour,  which  serves  the  double  purpose  of  further  protecting  it 
from  the  encroachment  of  the  corrodent,  and  also  of  protecting 
the  sides  of  the  slightly  etched  lines  from  undermining  from  the 
same  cause.  This  is  done,  after  the  first  application  of  the  acid, 
by  slightly  warming  the  plate,  which  causes  the  resin  to  melt 
and  run  down  on  the  sides  of  the  lines,  which  are  thus  shielded 
from  the  subsequent  applications  of  the  corroding  agent.  I may 
say  that  the  zincotype  has  given  way  to  the  gelatinotype  almost 
universally  ; and  I will  close  with  the  three  most  usual  forms  of 
the  latter  process,  the  first  and  second  depending  on  the  expan- 
sion of  portions  of  the  film,  the  third  upon  its  melting  or 
dissolution. 

The  chief  difficulty  with  us  is  drying  the  film  in  our  hot  sum- 
mer weather,  and  to  this  end  a dryer  has  been  invented,  which- 
is  used  with  universal  success.  The  dryer  is  similar  to  the 
ordinary  dry-plate  cupboard  with  shelves  arranged  so  that  the 
air  passes  from  side  to  side  over  each  shelf  in  succession  ; the  air 
being  admitted  through  a zinc-lined  chamber  attached  to  one  side, 


which  in  its  upper  part  contains  ice.  From  this  chamber  the 
air  falls  on  the  bottom  of  the  dryer,  which  is  a metal  plate, 
beneath  which  a Bunsen-burner  is  arranged.  The  exit  pipe  at  the 
top  is  conveyed  into  a chimney.  To  return  to  the  swelled  gela- 
tinotype No.  1.  An  ordinary  glass  is  coated  with  the  sensitised 
solution  of  gelatine,  giving  a film  the  thickness  of  a very  thin 
card  ; this  is  printed  under  a negative,  which  is  carefully  masked 
to  prevent  over-printing  in  the  shadows.  When  printed,  the 
plate  is  immersed  in  a solution  of  tannin  or  alum,  where  it  re- 
mains till  the  unprinted  portions  are  sufficiently  swelled  ; the 


printed  film,  of  course,  retaining  its  normal  condition  and  thick- 
ness, assumes  the  appearance  of  small  but  regular  depressions  all 
over  the  surface  of  the  plate.  A wax  cast  is  taken  from  this, 
which  in  turn  gives  the  matrix  for  the  stereotype. 

In  the  second  swelled  gelatine  method  any  thin  sheet  metal  is 
used  instead  of  glass  ; but  the  metal  must  be  protected  from  the 
action  of  the  bichromate,  else  the  plate  will  soon  become  cor- 
roded and  useless.  The  plate,  after  printing  in  a screw-back 
frame,  is  placed  in  a chrome  alum  bath,  and  when  sufficiently 
raised,  is  cast  direct  in  plaster,  and  electrotyped,  which  makes  the 
process  somewhat  shorter  than  the  foregoing  one.  The  last  gela- 
tine method,  or  dissolving  process,  is  done  in  this  way : — The 
melted  solution  is  poured  into  large  plate-glass  trays  with  a 
raised  lip  or  edge  ; these  trays  have  previously  been  flowed  with 
a thin  solution  of  bees’ -wax  iu  ether  to  prevent  the  film,  which 
is  nearly  one-sixteenth  of  an  inch  in  thickness,  from  adhering  to 
them.  They  are  then  levelled  up  in  the  dryer,  and,  when  chilled, 
are  placed  face  downward  until  dry,  when  the  large  sheets  of 
gelatine  are  easily  stripped  from  the  trays.  With  a pair  of  shears 
a piece  of  the  size  wanted  is  cut  off  these  sheets  and  placed  under 
the  negative  in  an  ordinary  frame  ; after  a short  exposure  it  is 
taken  into  the  dark  room  temporarily  fastened  to  a glass  with 
shellac ; an  ordinary  brush,  such  as  is  used  by  silversmiths,  is 
then  immersed  in  warm  water  and  rubbed  over  its  surface  ; the 
unprinted  portions  dissolve  at  once,  leaving  the  printed  parts 
intact.  When  sufficiently  dissolved,  the  plate  is  placed  in 
alcohol  for  a few  seconds  to  free  it  from  water,  and  is  then  dried, 
when  it  is  ready  for  the  electrotyper  at  once.  A word  upon  the 
intractability  of  gelatine  films  of  appreciable  thickness  may  not 
be  out  of  place.  The  addition  of  glycerine  hardly  helps  matters 
much,  as  in  the  swelled  gelatine  process  we  find  that,  when 
sufficient  glycerine  has  been  added  to  prevent  the  cracking  of 
the  film,  the  entire  film  after  soaking  becomes  flaccid  and 
easily  displaced. 

The  peculiar  way  in  which  gelatine  films  will  crack  off  the 
plates,  flying  into  numberless  pieces,  frequently  taking  the  glass 
with  them,  is  annoying,  .to  say  the  least  ; and  I find  that  even 
here  the  phenomenon  is  not  unknown.  I have  seen  a piece  of 
plate-glass  three-quarters  of  an  inch  thick  coated  with  a film 
hardly  thicker  than  this  paper,  which,  when  subjected  to  a 
change  of  temperature,  cracked  with  a sound  like  tearing  strong 
cloth.  Upon  examination  the  surface  of  the  glass  in  places  was 
found  torn  out  to  the  depth  of  one-eighth  of  an  inch,  and  adhering 
to  the  gelatine  fragments  which  strewed  the  floor.  A mere 
accident  led  to  the  discovery  of  a remedy.  Au  experimenter 
having  mixed  up  his  gelatine  to  soak,  was  suddenly  called  away ; 
at  the  end  of  three  days  he  returned,  and  was  assailed  by  the 
odour  which  greeted  him  from  his  gelatine,  which  had  taken 
advantage  of  his  absence  to  decomposing  thoroughly.  He  was 
about  to  throw  it  away,  when  the  idea  struck  him  that  perhaps 
it  might  act  differently  from  ordinary  gelatine  ; so  he  cooked  it, 
made  up  his  plates,  aud  after  testing  them  in  every  possible 
way,  found  they  would  neither  crack  off,  swell  off,  bubble,  frill, 
nor  act  in  any  of  the  inconvenient  ways  with  which  gelatine 
workers  used  to  be  so  familiar,  and  perhaps  are  not  entirely  free 
from  yet. 


l$0i£8. 

The  expeditions  equipped  to  observe  the  great  solar 
eclipse  in  May  next  are  on  the  eve  of  starting.  English, 
French,  Italian,  and  American  observers  will  all  gravi- 
tate towards  the  same  spot  in  the  Pacific,  a tiny  desert 
island  of  the  Carolina  group,  not  very  far  from  Pitcairn 
Island,  of  which  we  have  heard  so  much  lately.  As  we 
have  said,  the  eclipse  will  here  last  nearly  six  minutes,  so 
that  there  will  be  plenty  of  time  to  secure  photographs  of 
those  wonderful  phonomeua  around  the  sun  which  are  seen 
to  such  advantage  when  the  fiery  orb  itself  is  blotted  out. 
But  our  scientific  friends  will  have  to  undertake  an  ocean 
trip  of  three  months  to  enjoy  their  six  minutes. 


The  English  expedition  is  to  join  that  from  America 
at  Panama,  whence  both  parties  proceed  together  to 


1 


104 


THE  PHOTOGRAPHIC  NEWS.  [^Febkuaby  16,  1883. 


their  destination.  Mr.  C.  Ray  Woods,  who  assisted 
Dr.  Schuster  in  Egypt,  last  year,  is  to  have  the  responsi- 
bility of  the  photographic  operations,  and,  let  us  hope,  will 
receive  the  honour  and  glory  as  well,  if  the  expedition 
turns  out  successfully.  Mr.  Woods  travels  in  company 
with  Mr.  H.  A.  Lawrence,  who  has  been  entrusted  with  the 
telescopic  work. 

Mr.  C.  Ray  Woods  sails  from  England  to-morrow  on 
his  courageous  enterprise — for  it  is  no  light  matter  to 
undertake  a 200  days’  voyage — Dut  and  home  —for  the  pur- 
pose of  securing  a series  of  photographs.  We  are  happy  in 
being  able  to  place  before  our  readers  a brief  account  he 
has  written  for  us,  at  the  last  moment,  of  his  preparations, 
and  the  nature  of  his  duties. 


M.  Janssen,  the  well  known  French  astronomer,  takes 
charge  of  the  French  Eclipse  Expedition,  which  proceeds 
to  the  Pacific. 


Mr.  Woodbury  received  the  silver  progress  medal  of  the 
Photographic  Society  on  Tuesday  evening  from  the  hands 
of  the  President,  who  made  some  interesting  remarks  upon 
the  value  of  the  new  process,  Stannotype.  The  fact  that 
this  latest  modification  of  Woodbury  type  does  away  with 
the  use  of  an  expensive  hydraulic  press  is  of  itself  of  the 
highest  importance,  and,  indeed,  few  photographers  under- 
stand how  simply  permanent  impressions  can  be  produced 
by  the  method.  It  is  said  that  if  but  fifty  copies  of  a 
negative  be  desired,  it  pays  to  print  them  by  the  Stanno- 
type process.  The  President  remarked  the  other  night 
that  it  is  just  twenty-nine  years  since  Mr.  Woodbury 
received  his  first  medal  for  photography,  viz.,  at  Melbourne 
in  1854. 


Mr.  J.  T.  Taylor,  writing  in  the  Photographic  Times, 
speaks  well  of  a magnesium  deflagrating  mixture  as  a 
means  of  producing  an  actinic  light.  Here  are  the  pro- 
portions : — 

Chlorate  of  potash 8 parts 

Sulphide  of  antimony  4 ,, 

Sulphur  2 „ 

Magnesium  dust 2 ,, 


This  matter  is  of  special  interest  just  now,  as  we  find 
that,  although  magnesium  retains  its  old  price  of  12s.  per 
ounce,  the  dust  is  quoted  in  Burgoyne’s  recent  list  at  one- 
third  of  this  price. 

Mr.  Taylor  says  “ A small  portion  of  this  emits,  when 
burned,  a flash  not  only  of  intense  brilliancy,  but  of  ex- 
ceedingly short  duration.  An  engraving  that  was  in  a state 
of  motion  during  the  burning  of  a quantity  so  small  that 
could  be  piled  on  a twenty-five  cent  piece  (say  a shilling) 
yielded  a negative  (wet  plate)  which  was  found  on  deve- 
lopment to  be  quite  sharp  and  fully  exposed.” 

The  application  of  the  electric  light  to  microscopes  was 
practically  illustrated  at  the  last  meeting  of  the  Royal 
Microscopical  Society.  Minute  Swan  incandescent  lamps 


specially  designed  for  microscopical  examination  were  used. 
The  carbon  loop  was  enclosed  in  a very  small  exhausted 
pear-shaped  glass  receiver,  the  size  of  a small  filbert,  so  that 
the  light  could  be  ''-ought  quite  close  to  an  opaque  object. 
It  was  stated  that  a battery  of  five  Bunsen  cells  could  be 
used,  or  two  or  three  small  accumulators,  an  accumulator 
weighing  only  five  pounds  being  sufficient  to  light  one 
lamp  continuously  for  two  hours. 


In  the  course  of  the  discussion,  Mr.  Beck  raised  a point 
which,  if  substantiated,  would  militate  somewhat  against 
the  use  of  accumulators.  The  popular  notion  of  the  accu- 
mulator is  that  when  the  electricity  is  exhausted,  it  is  only 
necessary  to  re-charge  the  accumulator,  when  all  would 
go  on  as  before.  This,  however,  does  not  seem  to  be  the 
case.  According  to  Mr.  Beck,  the  Faure  Company  find 
they  cannot  get  the  same  amount  of  work  out  of  the  accu- 
mulators after  they  had  been  used  some  time,  so  that  if  at 
the  first  charging  they  would  yield  80  per  cent,  of  the 
energy  put  into  them,  they  afterwards  only  give  out 
40  per  cent.  If  this  be  the  case,  a point  of  zero  must  ulti- 
mately be  reached  when  the  accumulator  would  be  useless. 
It  would  be  well  if  this  matter  were  satisfactorily  settled,  or 
those  who  depend  upon  an  accumulator  a3  the  source  of 
supply  may  find  themselves  wofully  deceived. 


Punch,  this  week,  suggests  that  Mr.  W.  B.  Woodbury's 
invention,  “ Photo-filigrane,”  may  prove  extremely  useful 
in  the  case  of  visitors’  cards,  as,  on  holding  the  card  up  to  the 
light,  a portrait  is  plainly  visible;  and  if  the  original  be  a 
bore  or  a dun,  the  answer  can  at  once  be  given,  “ Not  at 
home.”  This  pre-supposes  that  the  card  bears  no  name  or 
address,  an  omission  which,  we  fancy,  is  scarcely  contem- 
plated. Those  who  are  not  familiar  with  “ Photo-filigrane” 
may  like  to  know  that  it  is  a method  of  producing  the 
effects  of  water-marking  in  the  body  of  ordinary  paper,  by 
pressing  it  between  specially  lard  rollers.  These  rollers 
are  engraved  by  photographic  means,  and  the  pictorial 
effect  is  caused  by  the  portions  of  the  paper  which  are  com- 
pressed by  the  design  being  rendered  more  transparent  to 
transmitted  light,  and  darker  in  colour  by  reflected  light. 
The  process  promises  to  be  very  valuable  in  connection 
with  the  production  of  designs  on  bills  of  exchange, 


cheques,  &c 

— 

M.  Janssen  has  been  sojourning  in  Oran,  and  availed 
hims  If  of  the  opportunity  of  an  African  atmosphere  to 
study  the  mirage.  He  was  successful  in  photographing 
it  on  several  occasions,  the  result  being  that  he  attributes 
this  most  romantic  of  phenomena  to  causes  very  different 
to  those  usually  put  forward.  He  communicates  to  the 
French  Academy  of  Sciences  the  issue  of  his  observa- 
tions. 

Mr.  J.  V.  Elsden,  B.Sc.,  is  engaged  in  an  interesting 
investigation  with  the  haloid  salts  of  silver  in  gelatine 
emulsion,  preparing  sensitive  films  in  which  the  iodide, 
chloride,  and  bromide  are  alone  and  combined,  and 
developing  these  with  solutions  of  various  kinds.  “ I think 


February  16,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


165 


I shall  get  some  useful  results,”  he  writes;  and  these  he 
kindly  promises  to  communicate  when  his  research  is  com- 
plete. 

Napoleon  V.  has  been  released  by  the  French  Govern- 
ment. There  was  nothing  to  fear  from  him,  since  he  never 
was  popular,  as  any  photographic  publisher  in  France 
could  have  told  the  Paris  authorities  loug  ago.  Portraits 
of  Prince  Jerome  are  a drug  in  the  market,  and  we  doubt 
whether  it  would  pay  any  first-class  photographer  to 
invite  the  last  champion  of  Bonapartism  to  give  a sitting. 


Scolik,  of  Vienna,  recommends  the  following  method  of 
recovering  the  silver  from  old  plates  and  old  emulsions. 
He  collects  all  fixing  baths,  when  these  are  no  longer 
required,  and  puts  into  the  liquid  all  waste  films  and 
spoilt  emulsion  ; the  silver  is,  in  this  way,  dissolved  out, 
and  only  the  gelatine  remains.  The  silver  iu  solution  is 
now  reduced  to  a metallic  state  by  putting  into  the  liquid 
some  fragments  of  zinc  ; the  precipitated  silver  is  collected, 
washed  in  warm  water  to  free  it  from  any  trace  of  gela- 
tine, and  then  dried.  The  process  has  the  obvious 
advantage  that  the  silver  is  recovered  in  metallic  form  at 
a single  operation. 


“ How  stands  the  question  of  double  dark  slides  versus 
changing-boxes?”  we  asked  Mr.  Meagher,  the  other  day, 
no  mean  authority  on  the  subject.  Mr.  Meagher  was  very 
decided  in  his  reply  : “ I never  make  a changing-box  if  I 
can  help  it ; but  I have  an  order  here  for  sixty  double  dark 
slides  from  one  firm  alone — Mr.  Wilson,  of  Aberdeen— and, 
according  to  my  order-book,  double  dark  slides  are  the 
great  want  of  the  age  just  now.” 


Photography  is  to  play  a part  at  the  approaching 
Electrical  Exhibition  in  Vienna.  In  the  first  place,  a 
gallery  of  paintings  and  photographs  will  be  fitted  up,  in 
order  to  test  the  adaptability  of  various  electric  lamps  to 
illuminate  pictures ; secondly,  there  will  be  photography 
practised  by  means  of  the  electric  light ; and  thirdly,  there 
will,  in  all  probability,  be  a photo-electric  studio  estab- 
lishment for  portraiture. 


A point  of  some  interest  to  zoologists  has  just  been  set  at 
rest  by  Captain  David  Gray,  an  experienced  whaler,  who 
has  undertaken  to  prove  that  there  is  only  one,  and  not  two 
classes  of  the  bottle-nose  whale.  Last  season,  it  appears, 
Captain  Gray  killed  upwards  of  two  hundred  of  these 
creatures,  and  that  indisputable  proof  might  be  at  hand 
that  these  were  really  all  of  the  same  species,  he  caused 
photographs  to  be  taken  of  every  gradation  of  development 
showing  the  external  characters  and  cranium  of  the  animal 
at  different  ages.  The  pictures  clearly  demonstrate  there  is 
no  actual  line  of  demarcation,  and  that  therefore  there  is 
only  one  species. 


Nature  calls  attention  to  the  introduction  of  science 
among  the  subjects  in  which  candidates  for  clerk-ships  in 
the  Civil  Service  may  henceforth  be  examined.  The  step 


is  no  doubt  a wise  one,  for  a knowledge  of  natural  science 
is,  at  any  rate,  as  desirable  as,  say,  an  acquaintance  with 
political  economy,  jurisprudence,  and  Grecian  history.  But 
our  contemporary  must  not  suppose  there  is  anything  novel 
iu  the  institution  of  a science  examination  for  the  Home 
Civil  Service.  Such  examinations  were  held  by  the  Civil 
Service  Commissioners  more  than  twenty  years  ago. 


Professor  McLeod,  of  Cooper’s  Hill,  has  been  studying 
the  action  of  light  upon  india-rubber.  Mr.  Spiller  has, 
on  several  occasions,  pointed  out  the  chanje  that  rubber 
undergoes  in  time,  being  transformed,  not  unfrequently, 
into  a soft  gummy  mass,  and  for  this  reason  photographers 
have  been  warned  how  they  employ  it  a3  a preliminary 
coating  for  sensitive  films.  Prof.  McLeod’s  experiments 
were  conducted,  however,  with  rubber  enclosed  in  glass 
tubes,  some  of  which  were  hermetically  sealed,  and  others 
plugged  with  cotton  wool.  Kept  in  the  dark  tor  a couple 
of  years,  the  rubber  in  these  conditions  underwent  no 
change,  but  that  “ exposed  to  air  and  light  was  covered 
with  a thin  brown  coating,  and,  on  being  bent,  this 
coating  cracked  ; the  end  which  had  been  exposed  to  the 
light  was  rather  brittle,  and  could  not  be  stretched  with- 
out splitting.” 

Professor  Boltzmann  has  succeeded  in  photographing  the 
vibrations  of  sounds.  To  a thin  iron  plate,  attached  to  a 
wall,  and  capable  of  vibrating  to  sound,  he  attaches  a 
small  thin  platimum  plate.  The  image  of  the  platinum 
plate  is  first  focussed  on  a screen  by  means  of  a solar 
microscope,  and  then  a photographic  plate  quickly  moved 
across  in  the  plane  of  the  platinum  screen  by  a strong 
spring,  while  the  mouth-piece  is  spoken  to.  A boundary 
line  between  the  lights  and  shadows  is  thus  obtained, 
which  forms  a curve  closely  corresponding  to  the 
sonorous  vibrations. 


As  the  photographic  dealers  now  supply  everything  a 
photographer  can  possibly  want,  from  a camel’s  hair  brush 
to  a camera,  it  might  be  imagined  that  no  one  would 
take  the  trouble  to  make  anything  for  himself  when  he 
can  get  it  so  much  better  and  cheaper  ready  made.  But 
this  is  not  the  case.  In  the  pages  of  the  English  Mechanic 
are  constantly  to  be  seen  anxious  enquiries  how  to  make 
all  manner  of  things  appertaining  to  photography,  which 
almost  suggests  that  the  enquirers  live  beyond  the  ken  of 
civilization,  or  have  never  heard  of  photographic  dealers. 
Thus  a gentleman  who  has  been  in  the  habit  of  making  his 
own  bevelled  and  gilt-edged  mounts,  complained  recently 
that  he  never  gets  the  edges  quite  straight,  a result 
which  may  be  readily  believed  when  his  method  is  to  screw 
up  about  a dozen  with  thumb  clamps,  and  work  at  them 
with  a hand  plane.  Some  one  else  coming  to  his  assistance 
recommends  him  to  buy  a bookbinders’  cutting  press  and 
plough,  which  can  be  bought  for  about  fifty  shillings. 
This  is  good  advice,  certainly,  but  before  laying  out  the 
sum,  would  it  not  be  wise  for  the  admirer  of  home  made 
articles  to  first  inquire  how  many  bevelled  and  gilt  edged 
mounts  he  can  buy  for  the  same  money  ? 


106 


THE  PHOTOGRAPHIC  NEWS. 


fattnt  Intelligence. 

Patent  Granted  in  France. 

150,479.  Coue,  of  Nantes,  for  ‘‘  A slide  frame  for  photographs.” 
— Dated  9th  August,  1832.  Class  18. 

Specification  Published  during  the  week. 

3491.  E.  G.  Colton,  for  “ Apparatus  forproducing  photographic 
images.” — A communication  from  W.  Kurtz. 

This  invention  [has  reference  to  an  improved  method  of 
and  apparatus  for  producing  photographic  images  in  such  a 
manner  that  the  lights  and  shadows  are  forced  to  move  during 
exposure,  over  the  face  of  the  sitter,  without  the  necessity  of 
any  change  in  the  usual  appliances  of  a photographic  studio,  and 
by  which  over-exposed  high  lights  and  under-exposed  shadows 
are  entirely  dispensed  with,  a thoroughly-exposed  negative 
made  in  a very  short  time  and  without  a reflector,  and  an  artistic 
picture  produced  even  by  inexperienced  operators  with  little  extra 
labour  and  expense.  This  process  has  the  further  advantage 
that  retouching  is  to  a large  degree  dispensed  with,  owing  to  the 
moving  of  the  shadows  and  high  lights  during  exposure, 
whereby  they  are  made  to  come  out  soft  and  fleshy,  and  in  a 
more  natural  manner.  The  invention  consists  of  a method  of 
producing  photographic  images  by  which  the  object  to  be 
photographed  and  the  photographic  apparatus  are  simul- 
taneously moved  during  exposure,  so  that  the  lights  and 
shadows  are  forced  to  pass  over  the  object ; and  it  cousists, 
secondly,  of  a movable  platform  supporting  the  object  to  be 
photographed  and  the  camera,  the  said  platform  being  provided 
with  means  for  being  moved  through  a suitable  distance  during 
the  time  of  exposure,  and  with  a rotary  platform  for  turning  the 
sitter  or  object.  By  this  improved  method  and  apparatus  the 
photographic  images  are  produced  by  the  same  appliances  as 
have  been  used  heretofore  either  in  the  wet  or  dry  process,  with 
this  difference,  that  the  camera  and  sitter  or  other  object  are 
placed  on  a platform  which  is  moved  during  exposure,  so  that 
the  lights  and  shadows  are  forced  to  move  over  the  face  of  the 
Bitter,  whereby  a more  artistic  distribution  of  light  and  shade 
and  a much  better  picture  are  produced.  The  operator  is  by  this 
method  and  apparatus  enabled  to  expose  the  object  first  in  a 
half-light  and  turn  it  then  into  a strong  light,  which  will  give 
him  the  high  lights  last,  so  that  he  becomes  thereby  complete 
master  of  his  light  without  the  trouble  and  delay  of  adjusting 
curtains  and  bliuds.  Pictures  can  also  be  taken  in  a shorter 
time,  with  very  little  retouching,  and  furnish  better  portraits, 
which  have  greater  softness  and  rotundity,  and  are  a a more 
faithful  reproduction  of  nature,  than  the  pictures  with  strong 
high  lights  and  shadows  obtained  by  the  ordinary  method 
hitherto  in  use.  Having  now  described  the  nature  of  the  said 
invention  as  communicated  to  me  from  abroad,  and  in  what 
manner  the  same  is  to  be  performed,  I would  have  it  understood 
that  what  I desire  to  secure  by  Letters  Patent  on  behalf  of  the 
said  William  Kurtz  is: — 1.  Tne  herein -described  improved 
method  of  producing  photographic  images  consisting  in  moving 
the  camera  and  sitter  or  object  simultaneously  during  exposure, 
whereby  the  various  lights  and  shadows  are  made  to  pass  over 
the  object  being  photographed,  as  set  forth.  2.  The  improved 
combination  of  apparatus  for  producing  photographic  images, 
consisting  of  a movable  main  platform,  which  is  rotated  on  a 
centre  pivot  in  a socket  on  the  floor  (or  otherwise  suitably 
pivoted),  a rotary  platform  mounted  on  one  end  of  the  main 
platform  for  turning  the  person  or  object  to  be  photographed, 
and  a camera  at  the  other  end,  substantially  as  described. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

[Lesson  III.— Sensitizing. 

If  we  place  out  in  daylight  a piece  of  albumenized  paper 
a3  prepared  in  the  last  chapter,  no  change  will  take  place, 
because  the  salt  therein  contained  does  not  darken  when 
exposed  to  light. 

If  we  immerse  or  float  the  paper  on  a solution  of  nitrate 
ofsilver,  a chemical  change  will  take  place  in  the  composi- 
tion of  the  salt  contained  in  the  paper.  The  ammonium  and 
barium  chloride  will  lose  their  chlorine  ; the  silver,  having 
a greater  affinity  for  chlorine  than  either  the  ammonium  or 
barium,  will  attract  all  the  chlorine  to  itself  in  preference 


[FEIlhlTAET  16,  1883. 

to  the  nitric  acid  previously  in  combination  with  it;  we 
shall,  therefore,  have  a compound  of  silver  formed,  called 
chloride  of  silver,  together  with  an  organic  compound  called 
albumiuate  of  silver  ; the  nitric  acid  disengaged  from  the 
silver  combines  with  the  ammonium  and  barium.  These 
salts  being  more  or  less  inert,  we  need  only  follow  the  silver 
chloride,  the  salt  which  darkens  in  the  light.  Float  a piece 
of  alburaeniz’d  paper  on  a solution  of  nitrate  of  silver, 
performing  the  operation  iu  a yellow  or  orange-coloured 
light  ; no  apparent  difference  will  have  taken  place  in  the 
paper.  Expose  a portion  of  it  to  the  daylight,  leaving  a 
part  of  it  covered  with  some  opaque  substance ; the  ex- 
posed portion  will  gradually  turn  grey,  then  purple,  after- 
wards deeper,  until  finally  it  reaches  a dark  copper  colour 
of  bronzed  hue,  beyond  which  no  further  change  is  seen  to 
take  place.  Now  what  has  happened  ? The  action  of  the 
light  has  changed  the  chloride  of  silver  into  a sub-chloride, 
giving  off  chlorine  gas. 

Silver  sub-chloride  consists  of  two  equations  of  silver  to 
one  of  chloriue.  Previous  to  exposure,  the  compound  may 
be  said  to  represent  2AgCl  ; after  exposure,  it  would  repre- 
sent Ag-Cl  + CI.  As  a matter  of  fact,  organic  compounds 
and  free  nitrate  of  silver  are  always  present  besides. 

Having  touched  on  the  salient  chemical  points  of 
printing,  we  will  now  devote  a little  time  to  the  practice 
of  it.  Make  up  the  following  solution : — 

Re-crystallized  nitrate  of  silver  ...  8 ounces 
Soft  water 80  ounces 

When  dissolved,  filter  through  Swedish  filtering  paper  ora 
piece  of  clean  sponge  pressed  tightly  into  the  neck  of  the 
funnel ; this  solution  is  named  the  sensitizing  silver  bath,  or 
exciting  bath.  Test  the  solution  for  acidity  by  means  of  a 
piece  of  litmus  paper.  Should  the  colour  of  the  paper  change 
from  blue  and  become  slightly  reddish,  it  indicates  that  free 
nitric  acid  is  present,  which  should  be  neutralized  by  means 
of  sodic  carbonate.  A good  plan  is  to  have  two  bottles 
for  the  bath  ; one  bottle  for  pouring  into  when  sensitizing 
is  finished,  in  which  a little  sodic  carbonate  is  always  kept 
to  insure  the  bath  being  neutral  ; and  the  other  bottle 
should  be  used  for  filtering  iuto  only  (see  R in  diagram 
Lesson  I.).  The  above  quantity  of  solution  will  be  found 
enough  to  float  whole  sheets  of  paper,  and  sufficiently  strong 
to  coagulate  the  albumen  perfectly. 

When  the  proportion  of  silver  is  much  below  thirty 
grains  per  ounce,  and  neutral  or  slightly  alkaline,  there  is 
a great  tendency  for  the  albumen  to  leave  the  paper  ; this 
is  known  by  dull  lines  and  patches  on  the  paper,  also  a 
slightly  opalescent  scum  floating  on  the  bath  ; the  effect  is 
termed  stripping.  The  dish  employed  for  sensitizing 
should  not  be  used  for  any  other  purpose.  The  require- 
ments are  that  it  should  be  flat  and  perfectly  clean.  When 
porcelain  dishes  have  been  used  a short  time,  the  enamel  or 
glaze  cracks  all  over,  the  dish  thereby  becoming  useless  for 
the  purpose.  Ebonite  dishes  of  large  size  are  seldom  flat 
when  new,  and  warp  very  much  after  a little  wear,  there- 
fore a strong  wooden  frame  of  pine  or  teak,  with  a plate- 
glass  bed,  seems  to  last  better  than  anything  else.  The 
wood  should  be  well  rubbed  with  solid  paraffin,  which  has 
the  property  of  completely  resisting  the  action  of  nitrate  of 
silver.  Such  a dish,  well  made,  will  last  a lifetime.  A glass 
rod  may  be  attached  to  the  end  of  such  a dish  to  drag  the 
paper  over,  which  not  only  allows  of  quicker  drying,  but 
prevents  waste. 

Sensitizing. — Having  dusted  the  dish,  pour  out  the  solu- 
tion to  the  depth  of  half  an  inch  equally  all  over  the  vessel ; 
brush  the  surface  of  the  paper  with  a large  flat  camel-hair 
brush ; lay  the  paper  steadily  (albumenized  side  downwards) 
on  the  surface  of  the  sensitizing  bath  in  such  a manner  that 
air-bubbles  are  not  formed,  neither  the  silver  allowed  to 
touch  the  back  ; this  may  be  accomplished  by  floating  in 
the  manner  described  in  the  last  chapter  on  albumenizing. 
As  soon  as  the  paper  has  been  laid  down,  it  should  be  lifted 
by  means  of  a glass  rod  at  one  of  the  corners,  and  examined  ; 
if  the  operation  has  been  successful,  there  will  be  no  air- 


February  16,  1883.] 


THE  rHOTOGRATHIC  NEWS. 


10? 


bells  attaching  themselves  to  the  sheet,  hut  should  there  be 
any,  they  may  be  easily  removed  with  the  glass  rod  or 
blown  off ; the  sheet  is  again  replaced  on  the  bath  and 

fallowed  to  remaiu  long  enough  to  become  fully  sensitized. 
The  length  of  time  will  be  found  to  vary.  For  instance,  if 
we  are  using  paper  which  has  been  albumenized  for  a few 
months,  three  minutes  will  be  found  to  be  long  enough  ; 
but  if  the  paper  is  freshly  prepared,  it  repels  the  solution, 
and  will  take  as  long  as  five  minutes  in  warm  weather  ; rdso 
in  cold  weather  a longer  time  will  be  required  than  is  neces- 
sary when  the  temperature  ranges  from  00°  to75°F.  'When 
the  sheet  is  down  on  the  bath  it  will  be  seen  that  it  does 
not  lie  perfectly  flat.  After  the  space  of  a little  while  it 
becomes  absorbed  with  moisture  and  will  present  an  even 
surface.  When  that  period  arrives,  whether  it  requires 
three  minutes  or  ten,  the  sheet  is  ready  for  removal, 
liaise  the  farthest  corner  of  the  sheet  to  the  left,  off  the 
solution,  by  means  of  the  glass  rod.  Seize  it  by  the  left 
hand,  raising  the  sheet  slowly  ; now  take  the  nearest  corner 
with  the  right  hand  and  draw  the  sheet  steadily  and  slowly 
over  a glass  rod  fixed  at  the  end  of  the  dish;  if  this  is 
carefully  done,  all  excess  will  be  removed,  and  the  sheet 
will  be  dry  in  a few  minutes  ; suspend  it  from  one  corner 
(albumenized  side  outward)  by  means  of  one  of  the 
American  clips  in  the  drying  room. 

By  the  time  ten  sheets  have  been  floated,  about  290  grains 
of  silver  nitrate  will  have  beeu  converted  into  chloride  or 
absorbed.  This  should  be  replaced  by  means  of  4 fluid 
ounces  of  a strong  stock  solution  of  nitrate  of  silver,  made 
by  adding  36  fluid  ounces  of  water  to  6 ounces  of  re- 
crystallized nitrate  of  silver.  If  a les3  quantity  than  ten 
Bheets  are  floated  the  end  may  be  gained  by  making  a dia- 
mond scratch  on  the  bottle  at  80  ounces,  and  whenever 
the  bath  is  poured  back,  add  strong  stock  solution  to  bring 
the  bulk  up  to  that  mark  ; a mercury  testing  bulb,  called 
an  argentometer,  is  sold  for  the  purpose  of  ascertaining 
the  strength  of  silver  contained  in  a solution  with  water, 
but  it  is  not  reliable.  A more  satisfactory  method  will  be 
given  at  the  end  of  these  lessons. 

In  the  last  lesson,  we  stated  that  other  nitrates  are  some- 
times used  in  addition  to  the  nitrate  of  silver.  We  have 
also  said  that  the  strength  or  number  of  grains  per  fluid 
ounce  of  nitrate  of  silver  should  be  in  proportion  to  the 
quantity  of  soluble  chloride  contained  in  the  paper.  This 
may  be  considered  a safe  rule  to  work  by  ; but  as  we  have 
mentioned  the  addition  of  other  nitrates,  our  student  will 
naturally  wonder  why  they  are  used.  The  answer  to  this 
is,  they  are  used  as  a substitute  of  the  silver.  Our  previous 
remarks  will  now  be  supplemented  with  a formula,  wherein 
a paper  heavily  salted — that  is,  containing  twelve  to  twenty 
grains  of  a soluble  chloride  per  ounce  of  albumen— may  be 
made  to  yield  rich  prints  with  a small  proportion  of 
nitrate  of  silver. 

Nitrate  of  soda  40  grains 

Nitrate  of  silver 20  „ 

Ordinary  water  ...  1 ounce 

The  time  required  for  floating  will  be  from  six  to  eight 
minutes,  according  to  temperature. 

Another — 

Nitrate  of  potash 35  grains 

Nitrate  of  silver  ...  30  „ 

Ordinary  water  1 ounce 

Float  three  to  five  minutes,  according  to  temperature, 
l’aper  so  sensitized  will  require  ammonia-fuming  for  a 
quarter  of  an  hour  and  upwards.  We  shall  euter  fully  into 
the  method  of  fuming  in  our  next  lesson. 


NOTES  ON  PHOTOGRAPH!. 

BY  E.  HOWARD  FARMER. 

Lecture  XI. — The  Gelatine  Process— Continued. 
Thiosulphate  of  Soda  (hypo.)  Na^S.O:!,  511-0.  —Having 
developed  the  latent  image  by  either  of  the  methods  shown, 


the  next  operation  is  to  dissolve  out  the  unreduced  silver 
bromide  and  iodide  from  the  film,  which  answers  the  double 
purpose  of  preventing  any  further  action  of  light,  and 
rendering  the  film  transparent,  except  at  those  parts  contain- 
ing the  reduced  silver ; this  operation  is  technically  called 
fixing. 

As  we  already  know,  there  are  several  solvents  of  these 
substances,  but  the  one  universally  employed  with  gelatine 
plates  is  thiosulphate  of  soda  (hypo).  This  substance  is 
manufactured  in  large  quantities  from  pentasulphide  of 
calcium,  a substance  obtained  as  refuse  in  the  manufacture 
of  common  washing  soda,  and  in  the  purification  of  coal  gas  ; 
it  may  be  prepared  by  passing  the  fumes  of  burning  sul- 
phur (sulphurous  anhydride)  through  a solution  of  soda,  and 
subsequently  digesting  the  solution  thus  obtained  with 
sulphur. 

It  occurs  in  commerce  as  largo  translucent  crystals,  which 
contain  5 equivalents  or  42  per  cent,  of  water.  The  crystals 
can  be  fused  in  this  water  of  crystallization,  or  are  soluble 
in  water  to  almost  any  extent,  in  the  act  of  dissolving 
absorbing  a considerable  amount  of  heat,  so  that  the  solution 
becomes  very  cold  ; they  have  a bitter,  disagreeable  taste. 
The  solution  gradually  undergoes  oxydation  by  exposure  to 
the  air,  the  hypo  becoming  converted  into  bisulphate  of 
soda — 

Na,  (Sr03)-f40+H;()=2NaH(S04) 

When  nitrate,  bromide,  or  other  salt  of  silver  is  added  to  a 
solution  of  hypo  in  equivalent  proportions,  a white  substance 
is  formed,  which  consists  of  thiosulphate  of  silver;  this 
thiosulphate  of  silver  rapidly  darkens  in  colour  until  it 
becomes  black,  at  the  same  time  splitting  up  into  silver 
sulphide  and  sulphuric  acid  ; if,  however,  a silver  salt  is 
added  to  hypo,  so  that  the  latter  remains  in  considerable 
excess  of  the  equivalent  proportions,  the  silver  thiosulphate, 
as  soon  as  it  is  formed,  combines  with  two  more  equivalents 
of  hypo,  forming  what  is  called  a double  salt,  which  sub- 
stance is  readily  soluble  in  water  thus  : — 

Silver  Bromide  Thiosulphate  Double  Thiosulphate  of 
of  Soda  Silver  and  Soda 

2AgBr+3Na2(Sa03)  = Ag,(S.03),2Na2(S:03)  +2NaBr 

It  is  this  property  of  forming  a soluble  double  salt  with 
silver  compounds  which  renders  hypo  so  valuable  as  a fixing 
agent.  Its  use  for  this  purpose  was  first  pointed  out  by  Sir 
John  Herschel.  If  an  acid  be  added  to  hypo,  the  latter  is 
immediately  decomposed,  giving  off  an  odour  of  burning 
brimstone,  and  a yellow  substance  (sulphur)  separating  out ; 
this  fact  may  be  used  as  a test  for  the  substance,  and 
obviously,  the  addition  of  acids  or  substances  of  an  acid 
character  to  a hypo  solution  should  be  carefully  avoided. 

Fixing.— As  soon  as  the  image  is  fully  developed,  the 
plate  is  first  rinsed,  and  immersed  in  a saturated  solution  of 
common  alum — 

Alum  1 part 

Water  15  parts 

the  object  of  which  is  to  harden  the  film  and  prevent  its 
frilling  in  the  fixing  bath  ; it  also,  in  the  case  of  oxalate 
development,  dissolves  out  any  oxalate  of  lime  which  has 
been  precipitated  in  the  film  by  double  decomposition 
between  the  lime  salts  usually  contained  in  ordinary  hard 
water,  and  the  oxalate  of  potash  in  the  developer.  After 
remaining  in  the  alum  for  five  minutes,  it  is  again  rinsed, 
and  then  placed  in  the  fixing  bath,  which  should  consist  of — 

Hypo  1 part 

Water  ...  ...  ...  ...  5 parts 

until  the  whole  of  the  unreduced  silver  salts  are  dissolved 
out.  The  time  taken  for  this  may  vary  from  one  to  fifteen 
minutes,  or  more,  according  to  the  hardness  and  thickness 
of  the  film,  and  whether  it  contains  silver  iodide,  in  which 
case  the  fixing  always  takc6  longer  ; it  also  depends  on  the 
temperature  of  the  bath,  and  whether  it  beat  all  saturated 
through  fixing  previous  plates.  As  soon  as  the  fixing  is 
complete,  which  is  known  by  the  total  disappearance  of  the 
yellow  silver  salts  from  the  back  of  the  plate,  it  is  taken 
out,  and  thoroughly  washed  either  in  running  or  frequent 


ios 


THE  PHOTOGRAPHIC  HEWS. 


[Eebrtjabt  16,  1883. 


changes  of  water  until  the  whole  of  the  hypo  has  been 
removed.  To  ascertain  if  this  is  the  case,  sufficient  tincture 
of  iodine  should  be  added  to  some  water  to  give  it  a light 
sherry  wine  colour,  and  to  this  a little  starch  paste  (made 
by  dissolving  a few  grains  of  powdered  starch  in  some  hot 
water)  ; the  two  will  combine  together,  and  form  a blue  com- 
pound-iodide of  starch.  Taking  a plate  aud  holding  it  over 
a white  ground,  pour  on  a little  of  the  blue  compound,  when, 
after  rocking  for  a short  time,  if  the  blue  colour  remains,  the 
late,  and  similar  ones  washed  in  the  same  manner,  may 
e taken  as  thoroughly  free  from  hypo ; but  if  the  blue 
colour  is  destroyed,  there  is  still  hypo  in  the  film,  and 
the  washing  must  be  continued. 

After  washing,  the  plate  should  be  allowed  to  dry,  and  a 
proof  printed  from  it  to  ascertain  if  the  density  and 
character  of  the  image  be  satisfactory.  Supposing  this  to 
be  the  case,  the  plate  is  made  hot  over  a ring  gas-burner  or 
other  suitable  source  of  heat,  and  coated  with  varnish,  the 
heat  being  maintained  until  the  varnish  is  dry,  to  ensure  a 
transparent  film.  There  are  many  formulae  employed  for 
varnishes;  the  solution  of  pure  shellac  in  alcohol  supplied 
by  Hopkin  and  Williams,  if  diluted  with  an  equal  bulk  of 
alcohol,  answers  very  well. 


FREEING  EMULSION  FROM  SOLUBLE  COLLOIDS. 

BY  A.  HADDON.* 

At  a reoent  meeting,  when  we  had  the  pleasure  of  hearing 
Mr.  W.  K.  Burton’s  communication  on  his  improved  method  of 
preparing  gelatino-bromide  emulsion  by  the  precipitation  method, 
I said  from  the  chair,  in  answer  to  some  remarks  made  by 
Mr.  A.  L.  Henderson,  that  the  difference  he  had  observed 
between  the  precipitation  method  and  the  ordinary  washing 
method,  wheD  the  two  emulsions  were  prepared  in  exactly  the 
same  way,  might  perhaps  be  due  to  the  fact  that  in  the  case  of 
washing  the  emulsion  in  shreds  none  of  the  decomposed  gelatine 
was  able  to  get  out,  whilst  in  the  precipitation  method  the 
whole,  or  nearly  the  whole,  was  got  rid  of  by  decantation. 

Mr.  Henderson  has  since  then,  I think,  been  making  some 
experiments  with  “leucine,”  and  has  come  to  the  conclusion 
that  I was  wrong  in  my  statement  that  “ leucine  ” will  not  pass 
through  a gelatine  or  vegetable  parchment  septum.  With  a 
view,  therefore,  of  settling  this  matter  ouce  for  all,  I began 
some  experiments  on  Monday  last,  and  the  results  of  my 
experiments  fully  bear  out  what  I said  on  the  occasion  referred 
to.  Last  week  Mr.  Henderson  presented  me  with  a bottle  of 
“ leucine,”+  and  I have  carried  on  my  experiments  with  his 
own  material,  so  that  there  can  be  no  doubt  as  to  the  kind  of 
“ leucine,”  metagelatine,  or  soluble  gelatine  that  I have  used. 

In  order  to  make  my  experiments  resemble  as  closely  as  pos- 
sible what  happens  in  an  ordiuary  set  emulsion,  I took  a short 
piece  of  glass  tubing  about  an  inch  in  diameter,  ground  one  end 
flat,  and  covered  it  with  a piece  of  blotting-paper  which  had  been 
soaked  in  a tolerably  strong  solution  of  Nelson’s  No.  I photo- 
graphic gelatine,  the  paper  being  cemented  to  the  glass  by  means 
of  gelatine.  Five  cubic  centimetres  of  “ leucine  ” were  placed 
inside  this  small  glass  vessel,  the  whole  supported  in  seventy-five 
c.c.  of  distilled  water,  and  left  in  this  state  for  forty-five  hours. 
At  the  end  of  that  time  the  contents  of  the  tube,  and  the  water 
in  which  the  tube  was  suspended,  were  evaporated  to  dryness 
over  a water  bath.  The  residue  from  the  evaporation  of  the 
contents  of  the  tube  weighed  -0925  grammes.  The  residue  from 
the  distilled  water  weighed  ‘0378.  Adding  these  two  together 
we  get  the  solid  residue,  at  1008  C.,  as  '1303  grammes.  On 
evaporating  five  c.c.  of  the  “ leucine  ” without  any  previous 
treatment,  the  residue  weighed  ’1217  grammes.  The  increase 
in  weight  where  dialysing  has  been  going  on  can,  I think,  be 
accounted  for  by  taking  into  account  the  prolonged  action  of 
the  ammonia  contained  in  the  “ leucine  ” on  the  soft  gelatine 
of  which  the  septum  was  made. 

I hoped  to  have  been  able  to  lay  before  you  the  results  of 
some  other  experiments  I have  been  making  with  vegetable 
parchment ; but  just  at  the  last  moment  I spilt  the  contents  of 
the  glass  tube  after  it  had  been  dialysing  for  forty-two  hours. 

From  the  result  I have  obtained  I think  you  will  agree  with 

• A communication  to  the  London  and  Provincial  Photographic 
Association. 

t By  “ leucine”  Mr.  Henderson  means  gelatine  whose  setting  power  has 
been  destroyed  by  boiling  with  ammonia 


me  that  simply  washing  set  emulsion  in  water  is  not  the  proper 
way  to  remove  the  decomposed  gelatine ; in  fact,  I doubt 
whether  more  than  two  or  three  per  cent,  of  the  decomposed 
gelatine  can  be  removed  in  that  way.  You  may  naturally  ask  : 
What  is  it  that  has  passed  through,  and  whose  weight  amounted 
to  about  twenty-five  per  cent,  of  the  whole  residue  ? Perhaps 
Mr.  Henderson  will  be  able  to  enlighten  us  on  one  point — that 
is,  does  he  add  anything  else  besides  ammonia  to  the  gelatine, 
so  as  to  alter  in  any  way  the  emulsion  prepared  from  “leucine  ?'* 
Gelatines  are  usually  acid,  so  when  that  acid  is  neutralised  by 
the  ammonia,  a salt  is  found  which  will  pass  through  the  septum. 

In  conclusion,  if  green  fog,  frilling,  or  any  other  drawback  in 
gelatino-bromide  emulsion  be  due  to  decomposed  gelatine,  do 
not  imagine  you  will  remove  it  by  simply  washing ; but  if  you 
use  either  the  precipitation  method  by  means  of  alcohol,  or 
adopt  Mr.  Burton’s  efficient  method  of  allowing  the  precipitate 
to  subside,  and  then  decant  the  useless  gelatine,  you  will  conquer 
your  difficulty. 


PHOTO-MICROGRAPHY. 

BY  O.  J.  JOHNSON.* 

Photo-micrography,  or  the  process  employed  in  photographiog 
the  magnified  images  of  microscopic  objects,  has  been  practised 
in  France,  Germany,  England,  and  America  for  some  years  to  a 
more  or  less  limited  degree,  but  of  late  has  received  a great 
impulse  from  the  facilities  afforded  by  rapid  gelatine  dry  plates 
for  the  practice  of  the  art  by  ordinary  artificial  light.  Under 
the  wet  collodion  system  the  sensitiveness  of  the  film  was  too 
slight  for  practical  use  with  the  lamp  or  gas,  and  few  cared  to 
encounter  the  somewhat  precarious  opportunity  afforded  in  this 
climate  by  the  happy  conjunction  of  leisure  and  sunshine.  Too 
often  has  the  writer  been  victimised  when,  counting  on  a 
morning's  holiday,  and  having  made  all  due  preparation,  the  sun 
has  unceremoniously  withdrawn  his  face  just  as  the  sensitized 
plate  was  placed  in  the  camera,  and  for  weeks  together  has 
refused  to  reappear  at  an  opportune  moment. 

The  finest  specimens  of  the  art  that  I have  seen  were  executed 
by  Dr.  Woodward,  Surgeon -General  of  the  United  States  Army, 
and  residing  at  Washington,  who  has  devoted  much  attention 
to  the  subject,  and  who  evidently  has  been  furnished  by  his 
Government  with  ample  funds  for  carrying  out  his  investiga- 
tions. His  apparatus  is  of  the  most  complete  description,  an 
apartment  being  fitted  up  for  the  express  purpose  of  taking 
photo-micrographs,  a heliostat  provided,  and  lenses  ground 
specially  by  Wales  and  others  for  accurate  microscopic  and 
photographic  delineation.  A report,  fully  illustrated,  was  pub- 
lished a few  years  ago  by  the  American  Government,  containing 
the  results  of  the  labours  of  this  scientist  and  his  coadjutor, 
Dr.  Curtis.  Besides  portraying  such  objects  as  diatoms,  the 
nature  of  the  delicate  markings  on  which  has  been  the  subject 
of  so  much  controversy  in  past  years,  these  gentlemen  have 
photographed  numbers  of  pathological  subjects,  which,  however, 
present  great  difficulties  to  the  photographer  on  account  of  the 
want  of  penetration  in  microscopic  lenses. 

Mr.  J.  B.  Dancer,  the  well-known  Manchester  optician,  as 
long  ago  as  1810,  produced  photographs  of  microscopic  objects, 
the  image  of  a flea  and  other  subjects  being  taken  on  silver 
plates. 

The  first  photographic  illustrations  of  microscopic  objects 
published  in  this  country  appeared  in  the  Quarterly  Journal  of 
Microscopic  Science  in  1853,  vol.  1.,  since  which  period  many 
works  have  been  illustrated  by  means  of  these  beautiful  prints. 

Besides  Dr.  Woodward,  the  names  of  Drs.  R.  L.  Maddox, 
Abercrombie,  Wilson,  and  Redmayne,  and  of  Messrs.  Wenham 
and  Shadbolt,  have  for  long  been  connected  with  a successful 
pursuit  of  the  art.  A specimen  of  the  work  of  Dr.  Maddox,  of 
London,  who  photographed  the  objects  deliueated  in  the  frontis- 
piece of  Dr.  Beale's  work  on  the  microscope,  now  lies  on  the 
table.  Mr.  York  has  also  just  published  a series  of  transparen- 
cies of  micro  objects  suitable  for  lecture  illustration. 

I have  also  prints  of  diatoms  from  negatives  taken  by  Fritsch 
and  Muller,  of  Germany,  and  published  by  Williams  and  Norgate, 
14,  Henrietta  Street,  Covent  Garden,  London.  One  of  the  prints 
is  a magnified  representation  of  the  set  of  diatoms  so  marvel- 
lously prepared  by  Mbller,  ot  Schleswig-Holstein,  and  known  as 
the  “ typen  platte,”  or  type  plate.  It  contains  100  specimens  of 
these  beautiful  organisms,  which  are  now  classed  under  the  vege- 
table kingdom,  and  which  are  found  both  in  a fresh  and  fossil 
state  over  the  whole  world,  and  any  stagnant  pond,  running 

• a communication  to  the  Manchester  Photographic  Society. 


February  16,  1883.| 


THE  PHOTOGRAPHIC  NEWS. 


109 


ditch,  or  seaside  pool,  will  afford  living  examples  for  the  micro- 
scopist 

I diverge  for  a moment  from  the  immediate  subject  of  my  paper 
to  describe  these  peculiar  organisms  on  account  of  the  beautiful 
skeletons  they  contain,  which  form  favourite  subjects  for  the 
photo-micrographer,  the  valves  presenting  a flat  plane  to  the 
focnssing-screen,  and  exhibiting  wonderful  variety  in  the  sculp- 
tured markings  on  their  faces.  As  a rule,  they  consist  of  two 
plates  of  siliceous  material  covered  with  delicate  patterns,  the 
plates  being  held  together  by  a band  or  hoop  of  similar  material, 
the  whole  forming  a sort  of  flat  case — in  some  specimens  like  a 
round  shallow  snuff-box,  and  containing  protoplasm  within.  For 
microscopic  purposes  the  specimens  are  boiled  in  acid,  and  the 
clean  shells  mounted  dry  or  in  balsam. 

These  examples  of  the  German  photographers,  however,  do  not 
in  any  way  exceed  in  beauty  the  work  privately  published  by  my 
late  lamented  friend,  Dr.  Itedmayne,  of  Bolton,  whose  book  of 
diatom  photographs  is  also  here  for  inspection. 

Dr.  Woodward,  of  Washington,  has  kindly  sent  me  for  the  pur- 
pose of  this  paper  a print  of  the  diatom,  Surirella  Gemma , as  an 
example  of  high  magnification  ani  the  resolution  of  difficult 
markings.  Few  microscopists  comparatively  succeed  with  their 
own  instruments  in  resolving  the  lines  of  dots  thereon,  even  with 
high  powers,  their  resolution  being  much  more  difficult  than  that 
of  the  common  test  object,  Pleurosigma  Angulatum,  to  which  I 
have  before  referred.  This  photograph  was  taken  with  a lens 
of  5*5  focus,  made  by  Powell  and  Lealand,  and  the  magnification 
is  2,800  diameters,  the  dots,  so  plainly  seen,  each  measuring 
about  of  an  inch,  but  I cannot  say  whether  the  negative 
was  afterwards  enlarged. 

Those  interested  in  this  subject  may  find  magnificent  specimens 
of  Dr.  Woodward’s  work  in  the  libraries  of  the  Royal  Micro- 
scopical Society  at  King’s  College,  and  of  the  Microscopical 
Society  of  Liverpool. 

Apparatus. — The  apparatus  employed  need  not  necessarily  be 
expensive.  Any  small  microscope,  with  fine  and  coarse  adjust- 
ments for  focussing,  and  an  ordinary  quarter-plate  camera  arranged 
on  a short  base-board,  will  serve  for  a beginner  ; and  even  the 
camera  and  microscope  stand  may  be  dispensed  with  by  the  nse 
of  a dark  box,  as  described  in  the  English  Mechanic  for  February 
the  2nd,  1883. 

It  is  preferable,  however,  to  have  a base-board  four  feet  long 
and  eight  inches  wide,  provided  with  a ledge  of  wood  half-an-inch 
square  on  each  side,  between  which  a block  or  carriage  may  slide, 
and  upon  which  a bellows  cameta  can  be  fixed  at  such  an  altitude 
that  the  flange  for  the  lens  will  admit  the  eye-piece  end  of  the 
microscope,  which  must  be  placed  in  the  horizontal  position.  To 
allow  of  a wide  field  it  will  be  well  to  have  the  body  or  tube  cut  off 
about  an  inch  from  the  nose,  and  a screw-collar  arranged  to  allow 
of  replacement  of  the  tube  when  it  is  desired  to  use  the  instrument 
in  the  ordinary  way,  or  to  photograph  with  the  addition  of  the 
eye-piece.  A short  cardboard  tube  fitting  into  the  lens  flange  of 
the  camera  will  allow  of  a taper  velvet  collar  two  or  three  inches 
long  being  glued  thereto,  which  will  serve  to  keep  out  the  light, 
and  yet  allow  free  movement  of  the  object-glass  for  focussing. 

The  bellows  should  possess  the  greatest  latitude  of  expansion, 
allowing  a variation  of  length  of  focus  from  ten  inches  to  thirty- 
six  inches.  The  interior  of  the  microscope  body  should  be 
lined  with  black  velvet  to  prevent  flare  on  the  plate  from  reflec- 
tion. When  the  camera  is  extended  to  the  full  limit,  a piece  of 
looking-glass  held  in  the  left  hand  at  a suitable  angle  opposite 
the  ground  glass  screen  will  enable  the  operator  with  his  right 
hand  to  focus  roughly  with  the  coarse  adjustment  screw.  For 
accurate  focussing  a rod  passes  under  the  camera,  having  at  one 
end  a knob  as  a handle,  and  at  the  other  extremity  a pulley  one 
inch  in  diameter  provided  with  a V groove,  in  which  runs  an  end- 
less cord  working  the  button  of  the  tine  adjustment  also  grooved. 
The  rod  and  pulley  should  work  smoothly  to  avoid  uneven  strain 
on  the  arm  carrying  the  objective,  and  the  fine  adjustment  should 
run  sweetly,  and  answer  immediately  to  the  least  turn  of  the  rod. 
A mechanical  stage  with  rectilinear  motions  for  carrying  the  ob- 
ject to  be  photographed  is  very  convenient,  but  not  essential.  The 
stage  plate  should,  howover,  be  furnished  with  levelling  screws  at 
the  corners  for  bringing  all  parts  of  the  picture  into  a flat  plane. 
Both  of  these  appliances  are  to  be  seen  on  the  instrument  before 
yon. 

On  the  shaft  of  the  fine  adjustment  screw  a short  split  brass 
tube  half-an-inch  long  is  made  to  slide  stiffly,  to  which  a stout 
wire  pointer  three  or  four  inches  long  is  soldered.  A semicircle 
of  cardboard,  having  its  centre  coincident  with  the  axis  of  the  fine 
adjustment  screw,  is  placed  behind  the  pointer,  and  marked  in 


circumference  with  degrees.  The  split  tube  allows  of  the  entiro 
revolution  of  the  adjustment  screw,  whilst  the  pointer  acts  as  n 
index  through  90°  of  arc,  and  records  with  exactness  any  slight 
alteration  in  focus.  The  necessity  for  this  will  be  hereafter  ex- 
plained. 

As  correct  focussing  is  a most  essential  point  in  photo-micro- 
graphy, the  finest  ground  glass  is  inadequate  for  viewing  the 
image  for  final  adjustment.  The  screen  is  therefore  removed, 
and  i lens  of  short  focus  mounted  iu  the  middle  of  a light  lath, 
two  inches  wide  and  fourteen  inches  long,  is  so  adjusted  in  a 
short  tube  that  its  focus  is  conincident  with  the  plane  of  the 
sensitive  film  when  the  lath  is  held  against  the  back  of  the 
camera.  This  operates  as  an  eye-piece,  and  the  adjusting  rod  is 
turned  till  the  picture  appears  in  sharp  outline. 

At  the  side  of  the  base-board  a scale  of  inches  is  marked, 
measuring  from  the  object  carrier  for  recording  the  length  of 
focus  employed.  Scales  of  diameter  under  the  respective  object- 
glasses  can  also  be  added,  showing  at  a glance  the  magnification 
obtained.  Thus  at  thirty-six  inches,  it  is  definitely  seen  on  this 
instrument  that  the  two-iuch  objective  gives  twenty-one 
diameters. 

The  chief  difficulties  to  be  surmounted  by  the  novice  occur 
under  the  following  heads  : — 1.  Non-coincidence  of  actinic  and 
visual  foci  of  lenses.  2.  Even  illumination.  31  Exposure. 
4.  Selection  of  suitable  objects  for  photography. 

(To  be  continued.) 


torfspon&fim. 

BROMO-IODIDE  IN  EMULSION. 

Sib, — I have  just  seen  Mr.  Penny’s  communication  of 
the  26th  January,  regarding  the  introduction  of  iodide  into 
gelatine  emulsion.  I wish  to  offer  one  or  two  remarks  re- 
garding the  question.  In  1877-78,  when  Mr.  Penny’s 
article  iu  the  Year-Book  was  writ:en,  gelatine  emulsions 
had  not  got  out  of  their  infancy.  They  could  toddle,  and  not 
run.  The  rapid  processes  by  aid  of  digestion,  boiling,  and 
ammonia  had  yet  to  be  developed  ; and  it  was  for  the  slow 
process  that  Mr.  Penny  recommended  the  addition  of  iodide. 
The  advantages  of  the  addition  are  more  pronounced  and 
more  numerous  in  the  rapid  processes  than  in  the  last-named 
one,  in  which  it  has  about  the  same  value  as  in  a collodion 
emulsion,  as  Mr.  Carey  Lea  has  shown.  From  the  time 
of  the  article  iu  the  Year-Book,  12th  January,  1878, 
till  the  2Gih  January,  1883,  Mr.  Penny  has,  I think,  been 
silent  regarding  it.  In  the  interval  1 have  borne  the 
brunt  of  the  battle  of  “iodide”  versus  “no  iodide”  in 
rapid  emulsions  ; and  now  that  the  value  of  iodide  “ is 
being  recognised,”  he  comes  forward  and  wishes  to  father 
the  child  which  I have  endeavouied  to  bring  up  so 
properly.  His  help  when  “the  addition  was  not  duly 
appreciated  ” would  have  been  most  welcome. — Yours 
faithfully,  W.  de  W.  Abnet. 


§njm&mgs  of  Somiu*. 

Photographic  Society  op  Great  Britain. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held  at 
5a,  Pall  Mall  East,  on  Tuesday  evening,  the  13th  inst.,  James 
Glauher,  Esq.,  F.R.S.  (president)  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed, 

Messrs.  Leslie,  Robertson,  Edwin  Ball,  and  Alfrel  Itenberg 
were  duly  elected  members  of  the  Society. 

The  Secretary’s  and  Treasurer’s  reports  for  the  past  year  were 
read  and  adopted. 

The  Chairman  then  proposed  a hearty  vote  of  thanks  to  Mr. 
Bird  (the  treasurer)  for  his  untiring  exertions  for  the  good  of  the 
Society. 

Mr.  John  Spieler,  in  seconding  the  motion,  said  that,  speaking 
from  an  experience  of  five  years,  he  could  heartily  appreciate  the 
duties  which  Mr.  Bird  had  performed,  aud  he  congratulated 
that  gentleman  on  being  able  to  show  so  satisfactory  a balance- 
sheet.  He  thought  it  was  a matter  for  congratulation  that  the 


110 


THE  PHOTOGRAPHIC  NEWS. 


[February  16,  1883, 


affairs  of  the  Society  were  so  well  administered.  The  motion 
was  carried  with  acclamation. 

Votes  of  thanks  were  also  passed  to  Messrs.  Ackland  and 
Addenbrooke  for  their  services  as  auditors. 

The  Chairman  then  alluded  to  (he  great  services  rendered  to 
the  Society  by  Captain  Abney  as  Editor  of  the  Journal,  remark- 
ing that  that  gentleman  was  like  a sponge — you  had  only  to 
squeeze  him,  and  you  got  what  you  wanted  out  of  him. 
He  asked  for  a cordial  vote  of  thanks  to  Captain  Abney,  which 
was  heartily  responded  to. 

Colonel  Stuart  Wortley  said  he  thought  the  thanks  of  the 
members  were  also  due  to  their  President  for  his  exertions  in 
their  behalf.  He  (Col.  Wortley)  had  now  attained  his  majority 
as  a member  of  the  Society,  and  though  during  a great  part  of 
that  time  he  had  been  a member  of  the  council,  he  only  once 
or  twice  remembered  the  president  to  have  been  absent  from 
his  place.  He  begged  to  propose  that  a very  warm  vote  of  thanks 
be  passed  to  that  gentleman,  and  expressed  a wish  that  be  might 
long  continue  amongst  them  to  hold  the  office  of  president. 

Captain  Abney  said  that  after  the  eloquent  speech  they  had 
had  from  Colonel  Wortley,  he  would  not  attempt  to  add  anything 
to  what  that  gentleman  had  said.  He  (Captain  Abney)  had  only 
been  fifteen  or  sixteen  years  in  the  Society,  but  during  that  time 
he  had  seen  how  ably  their  president  had  conducted  their 
meetings,  and  he  thought,  had  they  had  a less  worthy  chairman, 
the  Society  would  not  have  the  position  it  now  held.  He 
begged  most  heartily  to  second  the  vote  of  thanks,  which  was 
responded  to  with  acclamation. 

In  returning  thanks,  the  President  assured  the  meeting  he 
had  always  done  his  best  to  forward  the  interests  of  the  Society, 
and  should  continue  to  do  so  in  future  years,  although,  perhaps, 
at  his  age,  he  could  scarcely  look  forward  to  very  many  years 
amongst  them.  While  he  was  spared  he  should,  however,  always 
feel  a very  deep  interest  in  the  welfare  of  the  Photographic 
Society  of  Great  Britain. 

The  result  of  the  election  of  officers  of  the  Society  for  the 
current  year,  to  fill  the  places  of  those  retiring,  was  thee 
announced  as  follows  : — 

President — Mr.  James  Glaisher,  F.R.S. 

Vice-President — Mr.  H.  Baden  Pritchard,  F.C.S. 

Treasurer — Mr.  W.  S.  Bird. 

Members  of  Council  (in  alphabetical  order) —Messrs.  W.  Ack- 
laad,  V.  Blanchard,  T.  Sebastian  Davis,  F.C.S.,  Payne  Jennings, 
H.  P.  Robinson,  and  J.  W.  Swan,  F.C.S. 

The  Chairman  said  the  task  of  scrutineer  required  agreat  deal 
of  order,  arrangement,  and  care,  and  asked  for  a vote  of  thanks 
to  Messrs.  Cowan,  Burton,  Woods,  and  England  for  acting  in 
this  capacity.  This  being  carried,  he  (the  Chairman)  announced 
that  the  progress  medal  for  1883  had  been  awarded  to  Mr.  W. 
B.  Woodbury,  for  improvements  comprehended  under  the  name 
of  the  Stannotype  process.  In  presenting  Mr.  Woodbury  with 
the  silver  medal  of  the  Society,  the  Chairman  expressed  the 
pleasure  it  aft'orded  him  to  do  so,  and  said  he  thought  he 
remembered  the  occasion  of  Mr.  Woodbury  receiving  his  first 
medal  some  twenty-nine  years  ago  at  Melb  mrne.  The  present 
medal  was  the  outcome  of  Mr.  Woodbury’s  labours  during  the 
past  thirty  years,  and,  in  presenting  it  to  him,  he  (the  Chair- 
man) thought  it  was  the  highest  honour  the  Society  had  in  its 
power  to  confer  upon  Mr.  Woodbury. 

Mr.  Woodbury  having  briefly  responded, 

Captain  Abney  then  read  a paper  entitled  “ Silver  Flashed 
Glass  for  Dark  Rooms,”  in  the  course  of  which  he  remarked 
that  some  short  time  ago  Mr.  Bolton  had  kindly  given  him  a 
specimen  of  soaked  silver  glass  for  use  in  the  dark  room,  which 
he  believed  was  at  the  time  considered  to  be  an  excellent 
medium.  It  occurred  to  him,  however,  that  it  might  not  be  all 
that  was  necessary.  Its  appearance  by  transmitted  light  was 
similar  to  what  was  known  as  “ stained  orange.”  He  took 
three  photographs— one  by  electric  light,  with  the  diffraction 
grating  ; a second  with  a pair  of  prisms  ; and  a third  by  solar 
light,  from  which  he  found  that  one  of  the  carbon  bands  in  the 
ultra-violet  passed  through.  On  comparing  these  with  bichro- 
mate of  potash,  they  had  very  much  the  same  appearance  in  the 
spectrum.  From  the  green  upwards,  he  found  bichromate  cut 
off  everything,  and  was,  therefore,  very  much  safer.  He  thought 
it  might  interest  some  of  the  members  to  see  really  what  action 
oidinary  glass  had  upon  the  spectrum,  and  for  that  purpose  he 
handed  round  two  photographs  for  inspection.  He  said  it 
happened  that  where  the  glass  cuts  off  the  ultra-violet  light, 
there  the  solar  spectrum  practically  ceased  ; it  was  useless  to 
use  quartz  lenses  for  solar  light ; the  same  ending  of  the  spec- 


trum could  be  got  up  to  whatever  height  you  go.  One  more 
paint  he  wished  to  mention.  They  had  lately  been  introduced 
to  a material  known  as  “ cherry  fabric  ; ” this  was  only  to  be 
trusted  when  employed  with  orange  paper.  Red  book-binder’s 
cloth  let  some  green  light  through,  though  not  so  much  as 
the  cherry  fabric.  With  regard  to  the  soaked  silver  glass,  he 
found  it  was  only  to  be  trusted  for  collodion,  as  it  was  possible 
to  print  right  through  it. 

Mr.  John  Stiller  said  he  had  had  some  experience  of  the 
cherry  fabric,  and  it  struck  him  they  should  have  a double  layer 
in  order  to  use  this  material  safely  ; there  should  be  no  direct 
light  passing  through  the  interstices. 

Mr.  T.  Sebastian  Davis  thought  the  point  was,  through  what 
medium  the  largest  amount  of  light  could  be  obtained. 

Mr.  Leon  Warnerke  had  had  some  experience  of  bookbinder’s 
cloth,  and  found  that  six  thicknesses  were  necessary. 

Captain  Abney  scarcely  thought  that  two  thicknesses  of  fabric 
were  insufficient.  It  must  be  remembered  that  a very  small 
quantity  of  light  was  being  dealt  with.  The  slit  he  used  was  one 
five-hundredth  part  of  an  inch  broad,  and  that  was  spread  over 
three  inches,  so  that  the  amount  of  light  was  very  small  com- 
pared with  direct  sunlight.  Mr.  Davis  had  said  you  must  get 
the  largest  amount  of  light  with  the  smallest  amount  of  actinic 
action.  He  (Captain  Abney)  quite  agreed  with  him  in  this.  He 
thought  Mr.  Warnerke’s  experience  was  very  interesting  ; also 
that  if  the  cherry  or  bookbinder’s  cloth  were  used,  combined 
with  orange  paper,  he  thought  the  most  perfect  protection 
possible  would  be  obtained. 

Mr.  Warnerke  said  from  several  experiments  he  had  made, 
he  found  that  nothing  was  better  than  picric  acid  for  producing 
yellow  fabrics. 

A vote  of  thanks  was  passed  to  Captain  Abney. 

It  was  announced  that  the  next  monthly  technical  meeting 
would  be  held  on  February  2 "th. 

The  meeting  was  then  adjourned  to  Tuesday,  March  13th. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  at  the  Masons’  Hall  Tavern,  on  Thursday, 
the  8th  inst.,  Mr.  Alexander  MaCKIE  in  the  chair, 

Mr.  A.  L.  Henderson,  referring  to  the  specimens  of  “ fil- 
graue”  shown  at  a previous  meeting,  said  that  Mr.  Woodbury 
had  informed  him  that  the  image  would  be  removed  if  the  paper 
was  immersed  in  water.  He  (Mr.  Henderson)  proposed  several 
specimens,  one  of  which  had  been  immersed  in  water,  and  in 
which  the  impression  had  almost  disappeared  ; another  had  been 
immersed  in  a solution  of  one  grain  paraffin  wax  to  an  ounce  of 
benzine,  and  then  placed  in  water  for  the  same  time  as  the  first 
specimen  ; in  this  case  the  image  was  intact. 

Mr.  IIaddox  thought  that  the  transparency  was  caused  by 
the  fibres  of  the  paper  being  crushed  by  the  pressure.  He  then 
read  a paper  entitled,  “Freeing  Emulsion  from  Soluble  Col- 
loids ” (see  page  108),  and  a discussion  ensued. 

Mr.  Henderson  said  that  to  each  ounce  of  “ leucine,”  he 
added  three  grains  of  iodide  of  potassium  ; he  had  made  an  ex- 
periment by  dropping  on  to  a piece  of  glass  a small  quantity  of 
“ leucine  ” that  had  not  been  dialysed,  and  some  that  had  been 
dialysed  through  a piece  of  pure  parchment ; on  evaporating 
there  was  a slight  gelatinous  residue  on  the  glass,  while  in  the 
other  case  there  was  not. 

Mr.  Haddon  said  that  according  to  “ Watts,”  there  were  two 
forms  of  colloids,  viz.,  soluble  and  insoluble. 

Mr.  Barker  thought  it  was  not  advantageous  to  use  alcohol 
in  an  emulsion,  as  it  disorganises  and  decidedly  decomposes  it. 
He  had  a batch  of  plates  which  had  been  in  the  damp  and  got 
sticky,  but  on  baking  them  they  seemed  to  have  come  to  no 
harm,  as  they  gave  good  results  and  did  not  frill. 

Mr.  Coles  asked  (showing  a chloride  of  silver  image)  what  was 
the  best  way  to  develop  it.  It  had  been  6tated  by  Mr.  Henderson 
that,  having  over-reduced  a dense  negative  by  ozone  bleach  and 
chrome  alum,  he  had  re-intensified  with  bichloride  of  mercury, 
followed  by  lime  water. 

The  Chairman  thought  probably  the  ferro-citrate  developer 
would  be  the  best  for  the  purpose. 

Mr.  Haddon  said  the  theory  of  bichromate  intensification  was 
that  the  bichromate  of  mercury  in  the  presence  of  metallic  silver 
parts  with  a portion  of  its  chlorine,  converting  the  bilver  into 
chloride  of  silver,  the  corrosive  sublimate  itself  becoming  reduced 
to  calomel  ; the  action  of  the  ammonia  being  to  convert  the 
calomel  into  oxychloride  of  mercury.  If  the  whole  of  the  silver 
be  converted  into  chloride,  it  Is  impossible  for  any  intensi- 
fication to  take  place. 


February  16,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


Ill 


Sheffield  Photographic  Society. 

The  ordinary  monthly  meeting  was  held  on  February  6th  at 
Freemason’s  Hall,  Dr.  M.  S.  H.  Morton  presiding.  There  was 
a large  attendance. 

The  President,  who  had  only  recently  arrived  from  India, 
expressed  the  pleasure  he  felt  at  meeting  the  members  after  so 
long  an  absence  from  home,  and  thanked  them  for  the  honour  of 
re-election,  which  was  to  him  quite  unexpected.  He  hoped  that 
the  present  season  would  be  productive  of  good  photographic  work. 

Mr.  J.  Taylor  (Hon.  Sec.)  brought  a fine  selection  of  prints 
for  presentation  to  the  members,  amongst  them  being  Mr.  Robin- 
son's well-known  studies  “A  Merry  Tale,”  11  The  Fern  Gatherers,” 
&c.,  also  specimens  by  Messrs.  A.  Lewis  an  1 W.  Mc’Liesh. 

Mr.  Yeoman  exhibited  a solid  brass  tripod  top  plate  which, 
with  the  material  of  an  ordinary  bamboo  fishing  rod,  made  a good 
telescopic  stand  for  a light  camera. 

It  was  unanimously  voted  that  Dr.  Morton  read  a piper 
respecting  his  tour  in  the  East.  The  Chairman  said  he  had 
secured  a few  negatives,  and  would  be  able  to  contribute  a short 
account  of  them. 


Bury  Photographic  and  Arts  Club. 

The  first  annual  Exhibition  of  Photographs  and  Drawings  iu 
Monochrome  took  place  at  the  Co-operative  Hall,  Bury,  on 
January  24,  25,  26,  and  27.  The  were  150  exhibits,  15  being  in 
black-and-white,  and  135  photographs. 

Mr.  F.  Cooper  was  well  represented,  having  a choice  collection 
of  views  taken  by  himself  in  North  Wales. 

Mr.  E.  Eccles  exhibited  several  nice  opal  pictures  of  children, 
a variety  of  portraits  of  local  celebrities,  and  a few  choice  views 
of  Haddon  Hall  and  Whalley  Abbey. 

Mr.  F.  W.  Livsey  had  a number  of  portrait  groups,  archi- 
tectural views,  and  landscapes,  his  snow  scene  being  much 
admired  ; he  also  exhibited  several  paintings  in  black-and-white, 
and  a nice  view  of  Conway  Castle  in  sepia. 

Mr.  W.  G.  Barlow  had  one  case  of  cabinet  landscapes,  and  one 
case  entitled  “ Home  Scenes;  ” he  also  exhibited  two  paintings 
in  black-and  white,  “ A Lonely  Tramp,”  and  “Ramsey  Bay,” 
which  attracted  much  attention. 

Messrs.  C.  H.  Wood  and  R.  Smith  were  also  contributors  in 
monochrome. 

Mr.  John  Nelson  had  eighteen  views  taken  at  Bolton  Abbey 
and  other  places. 

Mr.  W.  Palmer  exhibited  a case  of  plaques  painted  iu  sepia, 
being  very  unique. 

Mr.  John  Holdney  (the  veteran  artist)  was  represented  by 
four  oil  paintings  in  black-and-white,  which  attracted  much 
attention,  being  painted  so  soft,  and  having  all  the  appearance  of 
porcelain. 

There  was  a lantern  exhibition  each  night,  conducted  by 
Messrs.  Walmsley,  Eccles,  and  Cooper,  which  the  public  duly 
appreciated,  the  views  thrown  upon  the  screen  being  principally 
local,  and  the  production  of  the  members. 


Edinburgh  Photographic  Society. 

The  fourth  ordinary  meeting  of  the  Session  was  held  in  5, 
St.  Andrew  Square,  on  the  evening  of  Wednesday,  7th  February, 
Mr.  A.  Craig-Chuistie,  F.L.S.  (vice-president)  in  the  chair. 

The  minutes  of  last  meeting  having  been  signed,  the  following 
gentlemen  were  unanimously  elected  oi dinary  members  of  the 
Society  : — Messrs.  John  Simmonds,  James  Wilkes,  David 
Hunter,  James  H.  Smith,  James  Gourlay,  Alex.  M.  Low,  L.A., 
Robert  Chambers,  Thomas  C.  Johnstone,  and  Thomas  Black. 

Before  proceeding  to  the  business  of  the  evening,  the  Chair- 
man drew  attention  to  the  very  successful  “ popular  meeting,” 
recently  held  iu  Queen  Street  Hall,  and  said  the  Society  had 
reason  to  congratulate  itself  that,  without  extraneous  aid,  it  was 
able  to  produce  such  a capital  exhibition.  A vote  of  thanks, 
proposed  by  Mr.  Wm.  Nielson,  was  accorded  Mr.  Bashford  for 
the  very  satisfactory  manner  in  which  he  carried  through  his 
portion  of  the  programme. 

The  Secretary  read  a letter  from  the  President,  directing  the 
attention  of  members  to  the  exhibition  to  be  held  in  the  Fine 
Art  Galleries,  Brusstls. 

The  paper  of  the  evening  was  by  Mr.  John  P.  Suverkrop, 
entitled  “ Notes  on  Commercial  Photography  in  the  United 
States  ” (see  page  102),  and  was  illustrated  by  a number  of 
phototype  prints. 

In  the  discussion  which  followed,  Mr.  Norman  Macbeth, 
R.S.A.,  said  it  was  a well-known  fact  that  American  wood- 
engraving  was  far  ahead  of  what  was  produced  in  this  country, 


and  he  would  like  to  know  if  any  of  the  processes  alluded  to  by 
Mr.  Suverkrop  were  capable  of  producing  such  fine  work  as  is 
found  in  Scribner's  or  Harper's  magazines ; and  he  would  also 
like  to  know  the  limit  to  the  style  of  drawing  fitted  to  the  modes 
of  reproduction  described,  and  whether  the  degree  of  fineness 
would  compare  satisfactorily  with  the  choice  woodcuts  for  which 
America  is  so  famous. 

To  these  and  other  questions  asked  by  various  members,  Mr. 
Suverkrop  replied  ; — As  to  the  “ limit  of  the  style  of  drawing,” 
the  answer  is,  there  is  no  limit  to  the  fineness  or  coarseness  of 
the  drawing  so  long  as  the  desired  artistic  effect  is  produced 
in  pure  black  lines  or  dots  on  white  piper.  The  limitation 
is  in  the  finished  plate  and  the  purpose  for  which  it  is  to  be 
used.  Thus  it  is  evident  that  a drawing  nine  inches  square, 
embodying  a tint  of  lines  one-thirtieth  of  an  inch  apart,  may 
be  reproduced  the  same  size,  and  will  print  clearly  in  a 
newspaper,  with  the  necessarily  unfavourable  conditions  of  rapid 
press-work,  cheap  ink,  and  paper.  The  same  drawing,  in  order 
to  appear  favourably  iu  a magazine  illustrated  with  fine  cuts  and 
printed  with  the  highest  typographical  skill  upon  the  best  paper 
with  the  finest  ink,  must  obviously  be  reduced  to  a fineness 
commensurate  with  its  surroundings,  say  to  one-third  diameter, 
which  will  result  in  a plate  three  inches  square,  embodying  a tint 
of  lines  only  one-ninetieth  of  an  inch  apart.  We  must,  however, 
draw  a practical  line  at  that  point,  beyond  which  the  printer 
cannot  go  with  the  finest  materials  at  his  command.  Both 
Scribner’s  and  Harper’s  magazines  of  the  current  month  have 
illustrations  produced  in  this  manner,  and  it  requires  the  eye  of 
an  expert  to  detect  them  from  fine  wood-engravings.  It  must 
be  remembered  that  the  drawings  must  in  every  case  consist  of 
pure  black  lines  or  dots  free  from  half-tones  or  washes.  It  is 
the  introduction  of  photo-engraving  that  has  made  the  wood- 
engravers  of  America  what  they  are  ; but  with  all  their  skill  the 
immense  labour  and  time  required  to  produce  the  woodcut  gives 
the  photo-engraver  au  immense  advantage.  At  the  present  time 
one  firm  turns  out  in  one  day  as  much  as  all  the  wood-engravers 
of  America  in  a week.  In  the  first  successful  experiments  Nel- 
son’s amber  gelatine  was  imported  from  England  ; but  the  heavy 
duty  bringing  the  price  up  to  four  and  a-half  dollars  per  pound, 
made  it  necessary  to  find  a cheap  home-product,  and  now  a 
quality  of  glue  costing  twenty-five  cents  per  pound  is  found  to 
answer  if  a portion  of  decomposed  gelatine  be  added  to  it. 
Decomposed  gelatine  is  soluble  in  cold  water,  but  the  bichromate 
of  potash  renders  it  when  exposed  to  light  insoluble.  Usually 
but  10  per  cent,  of  decomposed  is  added  to  the  good  gelatine. 
The  ink  employed  to  form  the  drawing  over  the  silver  print 
which  it  is  intended  to  reproduce  was  originally  Indian  ink,  but 
now  lamp-black  ground  up  with  a small  quantity  of  gum  and 
glycerine  is  used.  In  order  that  this  ink  drawing  should  re- 
main uninjured  by  the  process  of  bleaching  out  the  silver  image, 
the  bichloride  of  mercury  was  dissolved  in  alcohol.  The  object 
attained  by  conveying  the  outside  air  to  the  drier  through  ice  is 
to  lower  its  temperature  sufficiently  to  enable  the  operator  more 
readily  to  get  the  65°  Fahrenheit,  and  at  the  same  time  deprive 
the  air  of  a large  portion  of  suspended  moisture.  Much  of  the 
moisture  condenses  on  the  zinc  lining  of  the  chamber,  and  pro- 
vision is  made  for  draining  this  away.  A temperature  thus  intro- 
duced at  60°  or  lower  is  raised  by  the  lamp  to  the  required  65°, 
for  without  the  lamp  there  would  be  no  circulation  of  air. 

A number  of  remarkably  beautiful  instantaneous  prints  by 
Mr.  Reid  were  greatly  admired  ; as  also  were  a number  of  platinum 
prints  produced  by  the  Hon.  A.  U.  Erskine. 

The  following  query  was  fouud  in  the  question-box  : — “ What 
is  the  best  moveable  arrangement  for  a stretched  studio  back- 
ground— allowing  its  use  iu  any  r>  quired  position  and  angle  ? ” 

Mr.  Crooke,  by  means  of  the  black-board,  illustrated  the  plan 
he  had  found  very  satisfactory  ; the  bottom  of  each  end  of  the 
frame-work  dropped  into  a groove  formed  in  two  pieces  of  wood 
about  eighteen  inches  long  and  three  inches  thick  ; these  blocks 
were  fastened  to  the  frames  by  what  he  believed  were  called 
“ bed-screws,”  and  each  block  was  then  supplied  with  two 
castors.  By  means  of  these  feet  the  background  was  supported, 
and  could  easily  be  moved  to  any  position  required. 

Two  framed  pictures  were  exhibited  and  presented  to  the 
Society  by  Mr.  Pettit. 

A vote  of  thanks  to  the  Chairman  terminated  the  proceedings. 


Photographers’  Benevolent  Association. 

The  Board  of  Management  of  this  Association  held  its  usual 
monthly  meeting  at  181,  Aldersgate  Street,  on  the  7 th.  inst. 
The  minutes  of  the  previous  meeting  having  been  read  and 


112 


THE  PHOTOGRAPHIC  NEWS. 


[February  16,  1883. 


confirmed,  an  application  for  assistance  was  submitted  to  the 
meeting.  The  Board,  after  carefully  considering  the  matter, 
passed  the  following  resolution,  as  being  the  most  suitable  under 
the  circumstances ; “ That  the  maximum  sum  of  XC  be  granted 
to  the  applicant  as  follows : — One  pound  ten  shillings  at  once, 
and  an  equal  amount  each  week  until  a situation  be  obtained  for 
him  by  the  Association  ; and  that  in  the  event  of  a situation 
being  found,  the  secretary  to  give  him  sufficient  to  pay  railway 
fare  (unless  forwarded  by  employer)  and  other  necessary 
expenses,  provided  that  the  same  does  not  exceed  the  maximum 
quoted  above.” 

Bbistol  and  West  of  England  Amateur  Photographic 
Association. 

The  Annual  Meeting  was  held  on  Wednesday,  24th  January,  at 
the  Association  Studio,  Mr.  W.  Radcliffe  in  the  chair  ; it 
being  purely  a business  meeting,  the  attendance  was  not  large. 

The  minutes  having  been  confirmed,  business  pertaining  to  an 
annual  meeting  was  gone  through. 

The  Treasurer  (Mr.  E.  Brightman)  stated  that  the  funds  of 
the  Association  were  in  a satisfactory  state. 

The  Hon.  Secretary,  in  announcing  the  resignation  through 
ill-health  of  Mr.  A.  Levy,  stated  that  they  had  never  yet  had  a 
resignation  without  the  addition  of  a new  member,  and  there 
would  be  one,  if  not  more,  to  be  balloted  for  at  the  next  meeting. 
He  considered  it  a subject  for  congratulation  that  their  members 
had  steadily  increased.  He  felt  sure  that  the  advent  of  the 
gelatine  process  would  bring  a large  number  of  additional 
members  to  their  ranks. 

It  was  decided  to  postpone  the  report  and  election  of  officers 
till  the  February  meeting,  on  account  of  the  smallness  of  the 
attendance,  caused  not  only  by  the  nature  of  the  meeting,  but 
also  by  the  exceedingly  bad  weather. 


Mk  in  t\ft  Stubiff. 

Photographs  OF  the  Recent  Transit.— Mr.  Forster,  of  Col- 
lumpton,  forwards  us  an  interesting  series,  showing  very  clearly 
the  progressive  march  of  the  planet  over  the  solar  disc.  He 
says : — “ The  pictures  were  taken  with  a half-plate  portrait  lens, 
and  stopped  down  to  half  inch,  and  the  image  enlarged  by  pass- 
ing through  the  Huyghenian  eye-piece  of  a telescope.  Wet  plates 
prepared  with  Mawson’s  collodion  were  used,  and  iron  developer 
was  employed.  No.  3 was  intensified  rather  too  much  with 
pyrogallic.  It  is  just  possible  that  No.  3 may  have  been  takeD 
during  a wave  of  atmospheric  disturbance,  and  theoutlice  of  the 
planet  is  like  a deeply  cogged- wheel  with  bent  teeth. 

The  late  W.  F.  Southwell. — Mr.  Frederick  Southwell,  of  the 
late  firm  of  Southwell  Brothers,  who  recently  died  at  the  age  of 
49  years,  will  be  remembered  by  those  of  our  readers  whose 
memories  will  carry  them  back  twenty  years,  as  managing  what 
was  at  that  time  perhaps  the  highest  class  photographic  establish- 
ment in  London.  The  deceased  gentlemen  had  the  happy  faculty 
of  making  himself  liked  in  whatever  society  he  mixed,  and  was 
treated  with  marked  attention  and  courtesy  by  the  distinguished 
and  royal  sitters  whom  he  had  the  honour  of  photographing  both  in 
the  Baker  Street  studio,  and  at  Windsor  Castle.  He  suffered  for 
some  eight  months  under  an  affection  the  fatal  nature  of  which 
was  only  made  known  to  him  shortly  before  his  decease.  The 
funeral  took  place  at  Brompton  Cemetery  on  Saturday  last. 

Instantaneous  Photography. — On  Tuesday  evening  last, 
Mr.  Arnold  Spiller  read  a paper  with  the  above  title  at  a meeting 
of  the  King’s  College  Science  Society.  The  lecturer  treated  the 
subject  under  four  headings,  viz.,  sensitive  film,  lens,  shutter, 
and  applications.  Under  sensitive  film  the  early  results  by  the 
daguerreotype,  albumen,  and  collodion  processes  were  referred  to, 
the  gelatine  process  being  explained  in  detail.  Under  lenses,  the 
construction,  qualities,  and  different  applications  of  the  various 
Combinations  were  described,  preference  being  given  to  the  rapid 
rectilinear  type  for  general  instantaneous  work.  The  advantages 
and  disadvantages,  and  the  estimation  of  the  exposure  of  the 
various  shutters,  were  next  discussed.  The  paper  concluded 
with  a short  description  of  the  applications  of  photography  by 
Messrs.  Muybridge,  Marey,  and  Shadbolt.  During  the  evening 
several  experiments,  and  some  excellent  photographs  by  Mossrs. 
England,  Valentine,  Henderson,  and  Martin,  were  shown. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
on  Wednesday,  the  21st  inst.,  the  subject  for  discussion  will  be 

Dark-Room  Windows,” 


ftorrespon&ents. 

J.  A.  Nichols. — 1.  Bichromated  gelatine  or  albumen  suggests 
itself,  but  the  insoluble  surface  repels  water  almost  as  com- 
pletely as  a greasy  film  would  repel  this  liquid  ; and  under  the 
circumstances  we  would  suggest  the  following.  Mix  one  volume 
of  a saturated  solution  of  ammonium  bichromate  with  its  own 
hulk  of  water,  and  then  add  so  much  alcohol  as  is  equal  to  the 
volume  of  the  diluted  solution.  Ordinary  albumenized  paper  is 
now  floated  on  the  liquid  for  a few  seconds,  and  dried  in  a well- 
lighted  place  ; after  which,  soluble  matter  is  removed  by  treat- 
ment with  water  and  with  a weak  bath  of  acetic  acid.  The 
object  of  the  alcohol  is  to  prevent  the  dissolving  of  the  albumen. 
Of  course  you  will  write  on  the  back  of  the  paper.  2.  To  a 
moderately  dilute  solution  of  chloride  of  copper,  add  sufficient 
liquid  ammonia  to  re- dissolve  the  greenish  precipitate  which  is 
first  thrown  down.  The  deep  blue  liquid  is  now  placed  in  a well- 
stoppered  bottle  with  copper  turoiugs,  and  allowed  to  remain 
until  the  liquid  becomes  colourless. 

R.  Taylor. — 1.  Only  a very  minute  trace  need  he  added  in 
ordinary  cases,  and  when  the  nitrate  is  moderately  acid  there  is 
often  no  necessity  for  this  addition.  2.  A saturated  solution  of 
bromine  in  water,  often  called  “ bromine  water,”  is  obtained  by 
shaking  a small  proportion  of  liquid  bromine  with  water  in  a 
stoppered  bottle,  and  pouring  off  the  aqueous  solution  from  the 
excess  of  bromine.  3.  Do  you  think  that  the  light  you  use  in 
the  dark  room  is  quite  safe  ? It  is  surprising  how  one  may  be 
led  astray  by  a trace  of  light  f>  g.  Another  matter  which  often 
leads  to  much  waste  of  time  and  energy  is  the  use  of  vessels  of 
porous  earthenware,  traces  of  old  emulsion  becoming  thus 
carried  into  new  batches.  We  shall  he  pleased  to  hear  from 
you  again. 

H.  Spink. — You  cannot  do  better  than  obtain  such  a portrait  lens 
as  you  refer  to,  and  either  of  the  makers  you  name  will  supply 
you  with  one  of  the  best  optical  workmanship.  We  are  inclined 
to  think  that  it  would  be  well  not  to  exceed  a focus  of  ten  inches, 
and  you  must  take  care  not  to  obtain  an  instrument  which  would 
necessitate  an  undue  distance  between  the  sitter  and  the  camera, 
this  being  an  especially  important  point  when  the  atmosphere  is 
a little  hazy.  In  the  brightest  summer  weather  you  will  often 
find  it  advisable  to  use  an  ordinary  view  lens  of  longish  focus, 
exceedingly  crisp  pictures  being  often  obtainable  by  this  means. 

A.  F.  D. — 1.  Purity  of  image.  2.  We  would  advise  whole  plates 
(8|  by  6))  as  fairly  marketable,  and  well  suited  for  enlarging. 
3.  It  is  impossible"  to  say,  as  tastes  differ  so  widely,  and  are  in- 
fluenced by  local  considerations.  4.  We  should  prefer  to  take 
a larger  propoition  of  the  latter. 

Dye. — 1.  A solution  of  iodine  green  in  methylated  spirit. 

2.  Ordinary  magenta  dye  dissolved  in  a similar  manner.  3.  A 
soluble  aniPne  blue.  Let  us  know  if  you  experience  any  further 
difficulty. 

A.  Rend'y. — 1.  Use  it  whichever  way  is  most  convenient,  as  our 
experience  indicates  that  it  mak?s  no  difference  whatever.  2.  A 
moderately  small  stop,  say  equal  to  one-fifteenth  of  the  focus. 

3.  It  is  probably  due  to  the  thickness  of  the  sensitive  film.  4.  Try 
a shorter  exposure  and  more  vigorous  development. 

Rex. — We  are  not  quite  certain  whether  it  is  still  in  force,  but  we 
will  ascertain. 

A.  N.  L. — 1.  Glycerine.  2.  Yes,  it  will  answer  to  a certain  extent, 
but  only  a trace  should  be  added — say  one  drop  to  each  ounce  of 
solution.  3.  They  are  practically  identical. 

II.  D. — The  directions  given  in  the  last  paragraph  on  page  123  of 
the  Year-Book  are  quite  sufficient,  but  if  you  experience  any 
difficulty,  write  again. 

Rapidity. — 1.  The  whole  of  the  ammonia  should  not  be  driven  off. 

2.  Delay  is  not  by  any  means  essential  at  this  point,  but  we  have 
found  a slight  increase  of  sensitiveness  to  result  when  it  is  boiled 
for  half  an  hour  before  adding  the  bulk  of  the  gelatine  ; still  there 
was  certainly  a tendency  towards  green  fog.  Do  not  be  misled  by 
the  red  colour— try  a plate.  3.  Do  not  use  ammonia,  but  increase 
the  time  of  boiling  to  two  hours.  4.  Yes,  at  any  rate  in  this 
particular  instance. 

Colombo. — Unless  you  add  acetic  acid,  the  reduction  will  be 
extremely  rapid.  Add  about  5 per  cent. 

B.  R. — 1.  No,  it  was  a lithograph.  2.  Add  more  gold  solution. 

3.  It  was  certainly  not  effectually  removed,  and  the  result — apart 
from  all  theory — should  convince  you  of  your  mistake. 

In  a Fix. — In  such  an  instance,  the  copyright  belongs  to  the 
person  who  employed  you  to  take  the  picture.  You  can  secure  tho 
copyright  of  any  picture  which  you  have  produced  at  your  own 
expense,  by  registering  it ; but  the  copyright  of  work  executed 
for  a customer  belongs  to  that  customer.  Our  Publishers  under- 
take the  registration  of  any  photograph  for  a fee  of  Is.  6d.  The 
registration  must  be  effected  before  the  salo  if  any  copy  or 
copies. 

T.  T. — A sheet  of  newspaper  hung  up  so  as  to  reflect  a little  light 
on  the  dark  side  would  fully  meet  the  case. 

W.  C.  W. — We  should  prefer  No.  1 or  No.  2;  but  these  we  regard 
as  equally  good. 


NEWS 


CONTENTS. 


PAOR 


Latitude  of  Exposure  . 113 

Thorough  Washing  and  Effectual  Fixation  of  Gelatine  Nega- 
tives   lid 

By-the-Bye.— Photography  and  Map-Making 115 

Notes  on  Photography.  By  E.  Howard  Farmer  . 116 

Alkaline  Hoematoxylin  as  a Developer.  By  J.  Vincent 

Elsden  117 

French  Correspondence.  By  Leon  Vidal 118 

Marion’s  Ferro-Prussiate  Process.  ByEdgarGoold 118 

Pellet’s  Patent  Direct  Copying  Process.  By  Edgar  Goold 119 

Notes 119 

Patent  Intelligence  1121 


PAOE 

Zinc  Bromide  in  Emulsion,  and  Excess  of  Bromide.  By 

Captain  Abney,  K.E.,  F.R.S 122 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 122 

On  the  Mounting  of  Photographs,  and  Injuries  caused 

Thereby 124 

Photo -Micrography.  By  G.  J.  Johnson  125 

Correspondence  126 

Proceedings  of  Societies 12G 

TalkinJhe  Studio 127 

To  Correspondents 128 

The  Every-Day  Formulary  128 


LATITUDE  OF  EXPOSURE. 

The  subject  which  forms  our  title  is  by  no  means  a new 
one,  and  in  fact  is  one  about  which  so  much  has  been 
written,  that  we  need  almost  to  apologise  for  introducing 
it  once  more.  The  fact  that  Mr.  Woods  read  a paper  on 
it  at  a recent  meeting  of  the  Photographic  Society  of 
Great  Britain  must  be  our  excuse. 

Mr.  Woods  pointed  out  that,  given  a knowledge  of  the 
exposure,  whether  it  is  normal,  a little  below  normal, 
or  a little  or  much  above  it,  there  is  possibility  of  com- 
pensating in  the  development,  and  of  producing  in  all  cases 
a similar  result. 

The  agent  which  he  mentioned  as  a restrainer  was  bro- 
mide of  ammonium  or  potassium,  and  he  indicated  that 
different  plates  show  varying  properties  in  regard  to  the 
latitude  of  exposure  which  is  possible  with  them.  The 
only  distinction  made  by  Mr.  Woods  was  between  bromo- 
gelatino  and  bromo-iodide  gelatine  plates. 

We  have  lately  been  experimenting  with  a view  of 
discovering  what  are  the  factors  which  give  in  one  plate 
greater  latitude  of  exposure  than  is  to  be  found  in  another. 

As  regards  under-exposure  the  matter  is  simple.  It  is 
usual  to  consider  the  normal  exposure  for  any  plate  to  be 
the  shortest  which  is  compatible  with  good  results  ; that 
is  to  say,  the  developer  recommended  to  be  used  with  any 
given  plate  is  generally  the  strongest  which  such  plates 
will  stand  without  endangering  its  good  qualities,  and 
such  developer  is  considered  to  be  normal  for  that  par- 
ticular plate.  A somewhat  stronger  developer  may  cer- 
tainly be  used  without  actual  fog  or  other  defect  making 
its  appearance,  and  thus  a small  amount  of  under-exposure 
may  be  compensated  for,  but  the  amount  is  truly  small. 

It  is  in  the  direction  of  over-exposure  that  compensa- 
tion is  likely  to  be  of  use ; so  that,  if  we  know  that  a 
negative  is  either  normally  exposed,  or  over-exposed,  we 
may  still  get  a good  result  from  it.  The  amount  to  which 
different  plates  are  amenable  to  compensating  treatment 
varies  enormously ; or,  more  strictly  speaking,  the  treat- 
ment necessary  to  bring  about  compensation  varies 
enormously  with  different  plates. 

First,  as  regards  the  restrainer  to  be  used.  It  is  common 
to  suppose  that  only  soluble  bromides  act  as  restrainers, 
or  that,  if  other  subtances  do  the  same,  they  act  in  a quite 
different  manner  ; and  it  is  usual  to  cite  ammonium  and 
potassium  bromide  as  those  most  efficient.  As  a matter  of 
fact,  so  far  as  we  are  yet  able  to  judge,  any  neutral  salt 
soluble  in  water,  and  which  is  not  in  itself  incompatible  with 
one  or  other  of  the  developing  agents,  acts  as  a restrainer  ; 
and  there  does  not  appear  to  be  a vast  difference  in  the 
efficiency  of  different  salts.  We  have  tried  bromides, 
iodides,  chlorides,  nitrates,  and  citrates,  and  of  potassium 
and  ammonium,  and  find  that  all  act  as  restramers.  We, 


however,  confine  our  remarks  to  the  result  of  bromide 
of  ammonium,  as  our  experience  of  this  salt  has  been  the 
most  extensive,  and  as  it  is  the  one  commonly  used. 

The  next  question  is,  as  to  what  is  the  practical  func- 
tion of  a restrainer  ? Does  it  prevent  detail  from  appear- 
ing at  all,  or  does  it  simply  make  the  time  which  it  is 
necessary  for  it  to  make  its  appearance  longer  than  it 
would  otherwise  be?  In  fact,  is  bromide  a restrainer, 
or  merely  a retarder'?  So  far  as  we  are  able  to  judge,  it 
acts  the  part  of  a retarder  merely,  up  to  a certain  point, 
and,  after  that,  acts  as  a restrainer  ; but  the  point  where 
it  ceases  to  be  the  one,  and  begins  to  be  the  other,  varies 
vastly  for  different  plates. 

This  is  a matter  not  altogether  easy  to  understand  at 
first,  and  requires  further  explanation.  The  following  ex- 
periment will  teach  much.  Let  a set  of  plates  be  exposed, 
each  for  a similar  time  under  a sensitometer  tablet,  the 
exposure  being  such  that  with  normal  development  the 
figure  20  or  thereabout  will  appear.  Let  each  of  these 
plates  be  developed  with  different  developers,  containing 
each  (say)  one  grain  pyrogallic,  three  minims  ammonia,  but 
with  the  quantity  of  bromide  varying  from  nothing  in  the 
first,  to  three  grains  in  the  second.  The  plates  are  not  to 
be  fixed,  but  to  be  examined  immediately  after  develop- 
ment aud  washing.  It  will  be  found  that  the  first  plate — 
that  is,  the  one  which  was  developed  without  bromide, 
and  probably  several  more,  show,  looked  at  from  the  back, 
a positive  impression  of  the  first  few  squares,  the  parts 
which  are  black  in  front  being  white  behind  : that  is  to 
say,  there  is  reversal  of  image.  According  to  the  nature 
of  the  plate,  it  may  be  found  that  only  the  one  developed 
entirely  without  bromide  shows  this  reversal,  or  that  all 
up  to  (say)  the  plate  developed  with  two  grains  show  it. 
Now  let  us  look  on  the  face  of  the  plates.  We  will  find 
that  up  to  about  the  plate  where  reversal  of  the  image  ceases, 
there  is  no  decrease  in  the  number  which  shows  with  in- 
crease in  the  bromide,  but  sometimes,  on  the  contrary,  an 
increase.  On  the  other  hand,  it  will  be  found  that  after  the 
plate  which  is  the  last  to  show  reversal,  there  is  a decrease 
of  detail  with  an  increase  of  bromide. 

From  this  we  deduce  the  fact  that  bromide  acts  a3a  re- 
tarder— merely  causing  development  to  be  slower — up  to 
the  point  where  a tendency  to  reversal  with  a moderate 
exposure  ceases ; that  in  quantities  greater  than  sufficient 
to  prevent  such  reversal  it  acts  as  a restrainer ; and  further, 
we  deduce,  as  a carollary,  that  the  plate  which  will  require 
most  pushing,  either  by  decrease  of  bromide  or  increase  of 
ammonia,  to  produce  reversal,  is  the  one  in  which,  by  the  use 
of  a certain  given  quantity  of  bromide,  the  greatest  amount 
of  compensation  may  be  brought  about. 

It  does  not  follow,  however,  that,  if  properly  treated,  a 
plate  showing  early  reversal  of  the  image  may  not  also  be 
compensated  for. 


114 


THE  PHOTOGRAPHIC  NEWS. 


[February  23,  1883. 


We  shall  give  a couple  of  extreme  examples  of  plates  of 
opposite  characteristics. 

We  had  some  plates  which  gave  a clear  image  with  a 
developer  containing  pyrogallic  two  grains,  ammonia  two 
minims,  bromide  nil.  There  was  only  the  smallest  possible 
tendency  to  reversal  with  this  developer,  and  the  sensito- 
meter  figure  given  was  14.  An  addition  of  one-eighth 
grain  of  bromide  left  matters  the  same,  but  with  no  ten- 
dency to  reversal.  A quarter  grain  showed  one  figure  less. 
With  one  grain  the  time  of  development  was  immensely 
protracted,  and  the  figure  10  only  appeared.  It  will  be 
seen  that  this  plate  was  amenable  to  compensation  with  a 
very  small  quantity  of  bromide.  Another  was  taken  of 
exactly  opposite  characteristics.  With  an  unrestrained 
developer  20  figures  flashed  out  instantly,  and  then 
supervened  dense  fog.  With  one  grain  of  bromide  there 
was  slight  tendency  to  reversal,  and  the  figure  22 
was  visible.  With  two  grains  of  bromide  the  same  figure 
was  visible,  and  the  only  apparent  difference  was  that  all 
tendency  to  reversal  had  ceased,  and  that  the  image  was 
more  powerful.  These  may  be  taken  as  two  typical  cases. 
The  one  in  which  a quarter  grain  of  bromide  acted  as  a 
restrainer — in  the  sense  of  keeping  back  detail  entirely — 
in  the  presence  of  two  minims  of  ammonia,  the  other  in 
which  two  minims  of  bromide  to  the  same  quantity  of 
ammonia  did  not  act  as  a restrainer.  Nevertheless,  over- 
exposure in  the  case  of  the  last  plate  might  have  been  as 
completely  compensated  for  as  in  the  case  of  the  first,  the 
bromide  being  increased  to  three  or  four  grains. 

We  should  say  that,  in  all  our  experiments,  the  plate 
was  left  in  the  developer  till  all  action  appeared  to  have 
ceased.  The  time  necessary  was  from  ten  seconds  to  ten 
minutes.  We  have  supposed  the  ammonia  constant,  and 
the  bromide  variable ; but  almost  the  same  result  might 
be  brought  about  by  keeping  the  bromide  constant,  and 
varying  the  ammonia.  The  only  difference  is,  that  there 
appears  to  be  for  all  plates  a certain  minimum  of  ammonia 
necessary  to  render  the  pyrogallol  active  enough  to  give 
density. 

The  lesson  to  be  learned  from  all  this  is,  that  it  is 
possible  with  bromide  or  other  restrainer  to  compensate 
for  over-exposure  in  any  plate  to  about  an  equal  extent,  but 
that  the  quantity  of  restrainer  necessary  varies  enormously 
— in  our  experiments,  by  as  much  as  ten  to  one— 
and  that  with  plates  showing  a tendency  to  reversal,  a large 
quantity  of  bromide  may  be  used  without  a longer  expo- 
sure being  necessitated  ; whilst,  with  plates  showing  little 
tendency  to  reversal,  even  a comparatively  small  portion 
of  bromide  necessitates  a protraction  of  exposure. 


THOROUGH  WASHING  AND  EFFECTUAL 
FIXATION  OF  GELATINE  NEGATIVES. 

Few  have  a just  idea  of  the  difficulties  which  accompany 
complete  removal  of  all  traces  of  soluble  matter  from  a gela- 
tine film ; especially  when  the  considerable  hardening 
influences  which  ordinarily  accompany  exposure  and  deve- 
lopment have  rendered  the  gelatine  more  or  less  impervious 
to  aqueous  fluids. 

The  first  point  to  be  considered  is  the  removal  of  the  haloid 
salts  of  silver  from  the  developed  negative,  the  solvent 
being  in  all  ordinary  cases  a strong  solution  of  sodium 
hyposulphite.  As  a chemical  exercise  it  may  be  interesting 
and  instructive  to  calculate  how  much  silver  bromide, 
chloride,  or  iodide,  a given  weight  of  sodium  hyposulphite 
wil.  render  soluble  ; but  from  a practical  point  of  view  such 
calculations  have  but  little  value,  and  they  are  likely  to  divert 
the  attention  of  photographers  from  the  urgent  necessity  of 
making  use  of  such  a considerable  excess  of  hyposulphite  as 
shall  amount  to  several  hundred  times  the  quantity  which 
is  theoretically  necessary  for  dissolving  the  silver  salts. 

I hose  who  have  been  accustomed  to  wet  plate  work,  and 
have  experienced  the  ease  with  which  a collodion  film  yields 
up  its  silver  bromide  and  iodide  to  the  fixing  solution,  are 


especially  liable  to  under-estimate  the  considerable  time  re- 
quired to  fix  a gelatine  negative.  The  wet  collodion  film  is 
of  the  nature  of  an  open  network,  comparable  to  a sponge  ; 
this  structure  being  apparent  at  once  wben  a microscopical 
examination  is  made.  The  gelatine  film  is,  on  the  other 
hand,  quite  free  from  anything  approaching  a cellular 
structure,  and  when  a section  is  magnified  to  the  utmost  a 
clean  and  continuous  surface  is  presented. 

Considering  the  importance  of  thoroughly  removing 
every  trace  of  silver  which  does  not  form  an  integral  part  of 
the  photographic  image,  and  the  low  price  at  which  sodium 
hyposulphite  is  sold,  it  is  advisable  to  carry  out  the  late 
Mr.  Thomas’s  suggestion,  of  always  using  a second  bath  of 
fresh  hyposulphite.  Four  ounces  of  hyposulphite  to  one 
pint  of  water  is  probably  the  best  strength  to  make  the 
bath,  and  not  less  than  sufficient  to  cover  the  plate  to  a 
depth  of  half-an-inch  should  be  used  in  the  first  instance. 
It  is  well  to  allow  the  plate  to  remain  in  this  bath  just 
double  the  time  which  is  required  for  all  traces  of  bromide 
or  iodide  to  disappear  from  the  sight.  The  old  hypo- 
sulphite solution,  having  now  been  drained  away,  is  replaced 
by  a fresh  portion  ; but  in  this  case  about  half  the  quantity, 
or  as  much  as  will  cover  the  plate  to  a depth  of  a quarter 
fo  an  inch,  will  suffice ; and  the  negative  should  be 
allowed  to  remain  in  this  bath  for  about  the  same  time  as  it 
remained  in  the  first.  Immediately  the  plate  is  taken  from 
the  hyposulphite  solution,  it  should  be  placed  in  water,  or 
the  picture  may  be  weakened  or  lost  by  viitue  of  the  increased 
solvent  action  of  the  hyposulphite  solution  as  it  becomes 
concentrated  by  the  partial  drying  of  the  film  ; and  the 
diffusiou  of  silver  salts  through  the  film  which  accompanies 
this  reduction  of  the  image  may  introduce  those  very  evils 
which  ordinarily  accompany  imperfect  fixation. 

Simple  solution,  when  unaccompanied  by  chemical 
reaction,  is  always  accompanied  by  the  absorption  of  heat 
or  the  production  of  cold  ; and  as  a consequence,  one  finds 
that  a freshly  prepared  solution  of  sodium  hyposulphite  is 
considerably  colder  than  the  atmosphere.  This  cold  solu- 
tion acts  far  less  energetically  on  silver  salts  than  when  it 
is  at  a normal  temperature,  and  cot  only  for  this  reason,  but 
for  others  also,  it  should  never  be  used  for  fixing  gelatino- 
bromide  plates.  If,  on  the  other  hand,  the  solution  be 
warmed  by  artificial  means,  there  is  considerable  risk  of  so 
far  increasing  its  solvent  powers  as  to  endanger  the  photo- 
graphic image  itself.  The  best  plan  is  to  prepare  a moderate 
stock  of  the  solution,  and  to  keep  it  in  some  locality  where 
the  temperature  is  tolerably  constant,  say  between  8°  and  10° 
centigrade  (46°  and  61®  Fabr). 

We  pass  on  now  to  the  question  of  washing,  and  unhss 
this  is  done  effectually,  the  whole  work  of  the  photographer 
is  rendered  of  no  avail,  the  negative  gradually  becoming 
weaker  by  the  influence  of  light  and  time  ; while  varnish 
refuses  to  hold  properly  to  the  film,  and  silver  from  the 
printing  paper  stains  it. 

All  these  circumstances  are  easy  to  understand,  as  any 
trace  of  hyposulphite  remaining,  becomes  concentrated  and 
dissolves  more  or  less  of  the  metallic  image,  while  the  silver 
thus  dissolved  diffuses  all  over  the  film,  and  leads  to  the 
ultimate  darkening  of  the  transparent  portions.  Varnish 
will  never  satisfactorily  adhere  to  a film  containing  hypo., 
as  the  salt  retains  moisture,  and  prevents  a fair  union 
between  the  resinous  coating  and  the  gelatine ; white 
the  same  circumstance  fully  explains  the  readiness  with 
which  an  imperfectly  washed  negative  becomes  stained 
during  the  operation  of  printing. 

No  rule  whatever  can  be  given  as  to  the  amount  of 
washing  required  ; but  we  have  generally  found  that  soak- 
ing for  ten  minutes,  in  each  one  of  six  changes  of  water,  is 
sufficient.  In  order  that  some  idea  may  be  gained  as  to 
the  extent  to  which  washing  may  be  necessary  for  any 
particular  batch  of  plates,  it  is  convenient  to  test  for  hypo- 
sulphite of  soda  occasionally.  The  most  convenient  test 
is  a very  dilute  solution  of  the  blue  iodide  of  starch, 
hyposulphites  possessing  the  property  of  decolourising 
this  fluid. 


THE  PHOTOGRAPHIC  NEWS. 


115 


Febeuaby  23,  1883.] 


To  prepare  the  iodide  of  starch  solution,  about  twenty 
grains  of  starch  are  mixed  with  a few  drops  of  cold  water, 
after  which  a teacupful  of  boiling  water  is  poured  in,  so 
as  to  break  up  the  grains  and  form  a very  dilute  starch 
paste ; when  this  is  quite  cold,  tincture  of  iodine  is  stirred 
in,  not  more  than  one  drop  being  added  at  a time,  until 
an  intensely  blue  liquid  is  obtained.  A little  of  this  is 
next  diluted,  until  the  blue  shade  is  only  just  perceptible, 
when  a teaspoonful  is  placed  in  a white  saucer ; and  if  a 
solution  containing  as  small  a quantity  as  one-hundredth 
of  a grain  of  hyposulphite  is  added  to  the  liquid  in  the 
saucer,  the  blue  colour  will  disappear.  To  test  the  pro- 
gress of  the  washing,  place  the  plate  in  a level  position 
with  the  film  upwards,  and  pour  as  much  water  on  the  film 
as  it  will  retain  without  overflowing.  After  this  water 
has  remained  on  the  film  for  ten  minutes,  it  is  poured  off 
into  the  saucer  containing  about  a teaspoonful  of  the  dilute 
iodide  of  starch  solution.  If  decolourising  takes  place, 
hyposulphite  is  certainly  present ; but  if  no  decolonisa- 
tion occurs,  there  is  either  very  little  or  no  hyposulphite 
present.  Even  in  this  latter  case,  one  short  additional 
washing  should  be  resorted  to,  in  order  to  make  all  safe. 

When  the  fixing  solution  is  used  as  freely  as  we  now 
recommend,  the  economy  of  precipitating  the  silver  from 
even  the  first  fixing  bath  becomes  doubtful ; but  the 
primary  object  of  the  photographer  is  to  produce  good, 
permanent,  and  reliable  work  ; while  the  mere  waste  of  the 
silver  dissolved  out  in  fixing,  becomes  a very  small  matter 
when  considered  in  relation  to  the  main  question. 


PHOTOGRAPHY  AND  MAP-MAKING. 

We  are  wont  to  take  a good  deal  of  credit  to  ourselves  for 
keeping  in  the  van  of  photographic  progress.  There  is  no 
improvement  or  modification  of  importance  brought  to 
light  on  the  Continent  or  in  America  that  escapes  our 
attention,  and  little  time  is  allowed  to  elapse  before  such 
improvement  or  modification  is  practically  tested  in  our 
hands.  But  we  are  not  always  so  ready  to  make  applica- 
tion of  these  benefits,  and  an  illustration  of  this  is  afforded 
by  the  limited  use  to  which  photography  is  now-a-days 
put  in  map-making. 

We  suppose  it  is  our  insular  position  and  naturally  con- 
servative disposition  that  causes  us  to  stick  so  long  to  old 
prejudices.  We  are  well-to-do  as  a nation,  and  spend 
more,  in  proportion,  upon  our  Government  establishments 
than  do  other  countries,  and,  possibly,  this  is  one  reason 
the  more  why  we  do  not  hurriedly  forsake  old  ways  and 
turn  to  those  that  are  more  economical  and  expeditious. 
There  are  not  only  as  ready  inventors  in  this  country  as 
elsewhere,  but,  what  is  more,  Great  Britain  is  universally 
known  as  the  best  market  for  patents ; yet,  while  our 
War  Office  is  one  of  the  most  liberal  of  our  spending 
departments,  we  had  the  strange  anomaly,  it  may  be 
remembered,  some  years  ago,  of  a poor  country  like 
Prussia  being  supplied  with  breech-loading  fire-arms  at 
a time  actually  when  we  were  engaged  at  war  with  Russia, 
and  ought  to  have  had  these  superior  weapons  at  any 
price.  A not  less  surprising  state  of  things  is  that  of  map- 
making at  the  present  moment.  Austria,  a needy  nation, 
is  producing  ordnance  maps  better  and  far  more  quickly 
than  we,  who  have  a purse  of  unlimited  length  at  our  dis- 
posal. It  is  computed,  indeed,  that  the  Imperial  Geo- 
graphical Institute  at  Vienna  can  manufacture  maps  ten 
times  as  quickly  as  we  can  ; and  while  we  shall  have  to 
wait,  so  parliamentary  reports  tell  us,  at  least  another 
twenty  years  before  the  Ordnance  Survey  of  the  United 
Kingdom  is  complete,  the  Austrians,  with  a far  wider 
domain,  expect  tOjfinish  within  three  or  four  years. 

Far  be  it  from  us  to  undervalue  the  great  work  which 
has  been  accomplished  by  our  Ordnance  Survey  Office 


at  Southampton.  Photography  is  employed  largely  at  that 
establishment  since  it  was  first  introduced  under  the 
direction  of  Colonel  Sir  Henry  James  some  time  in  1855. 
Our  readers  will  remember  that,  in  one  of  our  early  “ At 
Home  ” articles,  we  gave  an  account  of  a visit  to  that 
establishment,  and  explained  the  way  in  which  the  camera 
is  made  to  assist  in  the  work  of  map-making.  But  South- 
ampton still  gives  employment  to  a large  number  of 
engravers,  for  we  still  engrave  most  of  our  original  maps, 
and  it  is,  generally  speaking,  only  when  it  comes  to  making 
reproductions  of  the  original  that  photography  is  employed 
in  all  its  entirety. 

We  have  said  that  Sir  II.  James  introduced  photographic 
work  in  the  year  1855,  and  this  fact  bears  out  the  remark 
we  made  at  the  commencement  of  this  article.  In  this 
country  we  are  always  on  the  alert  for  novelty  and  im- 
provement, but,  when  we  have  them,  we  are  slow  to  take 
advantage  of  their  value.  So  it  has  been  with  the  pro- 
cess first  known  in  this  country  as  Sir  H.  James’  photo- 
zincographic  process,  albeit  there  were  many  other 
methods  brought  forward  contemporaneously,  which  were 
not  less  practical.  In  fact,  speakiug  without  prejudice,  at 
this  distance  of  time,  good  and  useful  as  was  the  original 
photo-zincographic  process  brought  forward  under  the 
auspices  of  the  late  Colonel  James,  it  cannot  be  denied  he 
was  a most  fortunate  man.  The  honour  of  knighthood, 
and  a large  sum  of  money,  fell  to  his  lot,  in  return  for 
having  given  his  process  to  the  country ; yet  it  has 
puzzled  many  a skilled  photographer  and  skilled  litho- 
grapher to  work  the  process  practically  on  the  lines  given 
in  his  early  manuals  on  the  subject.  The  directions  were 
anything  but  complete,  and  although  we  freely  admit  that 
the  process  was  worked  most  perfectly  by  the  staff  at 
Southampton,  it  was  not  until  information  was  supplied  in 
addition  to  that  in  Colonel  James’  manuals,  that  a practical 
method  of  photo-zincography  or  photo-lithography  was  in 
the  hands  of  the  public.  We  must  not,  in  fact,  now  that 
we  have  mentioned  the  name  of  Sir  H.  James,  ignore  that 
of  Mr.  W.  Osborne,  who  worked  quite  independently  of  the 
Southampton  director,  and  whose  results  were  in  no  way 
inferior. 

To  Colonel  A.  de  Courcy  Scott,  till  recently  the  execu- 
tive officer  at  Southamption,  must  be  given  a large  share 
of  the  credit  that  attaches  to  the  perfect  working  of  photo- 
zincography at  the  Ordnance  Survey  Office,  and  to  him  we 
owe  in  the  main  the  very  beautiful  reproductions  of  the 
Doomsday  Book,  and  other  earlier  illustrations  of  the  pro- 
cess. Still,  thoroughly  as  they  understand  the  application  of 
photography  to  mechanical  printing  at  Southampton,  there 
is  not  the  same  important  use  made  of  the  art  as  by  the 
Austrian  geographers.  A large  staff  of  engravers  are  still 
employed  on  the  costly  and  tedious  operation  of  preparing 
engraved  plates,  and  the  consequence  is  that  both  time 
and  money  are  expended  upon  an  operation  which  could 
be  done  in  the  main  more  correctly,  and,  of  course,  more 
expeditiously,  with  the  aid  of  the  camera.  We  do  not  say 
that  engraving  by  hand  has  not  its  advantages ; possibly 
the  work  is  more  delicate  and  more  even,  although,  with 
the  improvements  of  late  introduced  at  Vienna,  we  hesitate 
in  saying  even  this  much.  Engraved  lines  examined  with 
a magnifier  are  usually  sharper  and  more  continuous ; but 
this  superiority,  when  it  exists,  is  one  that  should  not  be 
purchased  at  too  great  a cost,  especially  as  photography 
has  counter-advantages  which  may  be  well  said  to  balance 
the  processes  once  more. 

Of  the  arrangements  at  the  Imperial  Geographical 
Institute  our  readers  are  also  familiar.  In  recent  issues  of 
the  Photographic  News  we  have  described  the  modus 
operandi  of  Major  Volkmer,  who  has  charge  of  the  photo- 
graphic department,  and  in  the  Year-Book  of  1883  is  a 
pictorial  illustration  of  the  copying  camera  and  lighting 
arrangements  in  Vienna.  Iu  fact,  those  who  desire  to  have 
information  on  the  subject  of  copying  designs  and  maps 
can  do  no  better  than  study  the  excellent  arrangement  of 


116 


THE  PHOTOGRAPHIC  NEWS. 


[February  23,  1883. 


Major  Volkruer,  which  is  one  of  the  most  perfect  that  can 
be  imagined.  There  is  practically  no  hand-engraving  at 
all  in  the  Geographical  Institute  at  Vienna.  The  original 
drawing  or  map  made  from  the  surveys  is  executed  upon 
white  paper  by  means  of  Indian  ink.  Care  is  taken,  as 
Major  Waterhouse  has  but  recently  pointed  out  in  his 
excellent  lessons  on  photo-mechanical  printing,  that  the 
Indian  ink  lines  and  shading  on  the  original  are  of  suitable 
thickness  for  perfect  reproduction  by  photography,  the 
strength  of  the  various  lines — which  are  reproduced  in  pro- 
portion by  the  camera— being  adjusted  according  to  a hard 
and  fixed  rule  that  has  been  laid  down.  In  a word,  the 
original  map  at  the  Vienna  Institute  is  produced  wholly 
and  solely  with  a view  to  its  reproduction  by  photo- 
graphy. In  these  circumstances,  it  is  easy  to  understand 
how  a most  perfect  transfer  of  the  map  may  be  obtained 
for  mechanical  printing.  With  the  aid  of  a rectilinear  lens 
and  copying  and  lighting  arrangements  duly  adjusted,  a 
negative  is  secured  that  is  so  correct  that,  unless  measured 
with  a micrometer  scale,  no  error  from  distortion  of  the 
lens  is  perceptible. 

There  is  one  point,  and  only  one  point,  of  importance 
in  which  the  subsequent  manipulations — that  of  placing 
the  photographic  image  upon  a stone  or  metal  surface  for 
printing  off — differ  from  those  in  general  use  at  the 
Ordnance  Survey  Office  at  Southampton.  A print  is  made, 
as  everybody  knows,  upon  a sheet  of  paper  faced  with  a 
mixture  of  gelatine  and  bichromate,  and  this  print  has  to 
be  inked  up  in  order  to  get  a “ transfer  ” suitable  for 
application  to  the  printing  surface.  In  V ienna,  this  inking 
up  is  done  with  a velvet  roller.  The  bichromate  print  is 
dipped  in  water,  placed  flat  upon  a glass  plate,  and  then 
worked  up  gently  with  a velvet  roller  and  thin  transfer 
ink.  A leather  roller,  let  it  be  ever  so  soft,  fails  to  pro- 
duce such  fine  and  delicate  lines,  as  we  have  already  shown 
in  these  columns,  and  it  seems  to  be  due  to  the  velvet 
roller,  among  other  refinements  of  work,  that  the  Austrians 
are  enabled  to  produce  photo-maps  of  such  delicacy  and 
perfection  as  to  permit  the  superseding  of  engraviug. 

Here,  then,  we  have  the  reasons  why  Austria  is  out- 
stripping Great  Britain  in  the  production  of  its  Ordnance 
Survey  Maps.  We  may  console  ourselves  that  our  maps 
are  more  finely  engraved  and  more  delicately  printed ; but 
even  if  this  is  so,  which  we  believe  our  Austrian  friends 
do  not  admit,  their  results  are  of  a very  perfect  character, 
and  are,  moreover,  produced  at  great  speed  and  at  very 
little  cost. 


Next  week  the  “At  Home”  will  be  “ Mr.  Alexander 
Cowan  at  Porchester  Terrace  ” ; the  following  “ By-the- 
Bye  ” will  be  entitled  “Photographic  Analysis.” 


NOTES  ON  PHOTOGRAPH!. 

BY  E.  HOWARD  FARMER. 

Lecture  XII. — Tiie  Gelatine  Process— Continued. 

Intensification. — There  are  two  principal  methods  em- 
ployed for  increasing  the  density  of  gelatine  negatives. 

1st  By  taking  advantage  of  crystalline  attraction  to 
deposit  additional  silver  on  the  image.  This  is  usually 
called  a physical  method,  since  it  deponds  on  a physical 
attraction. 

2nd.  By  taking  advantage  of  the  reducing  power  of 
metallic  silver  t®  reduce  a soluble  metallic  salt  to  a subsalt, 
the  subsalt  being  either  itself  insoluble,  and  thus  precipi- 
tated on  the  image,  or,  by  reaction  with  another  substance, 
producing  a suitable  increase  deposit.  This  is  termed  a 
chemical  method,  since  it  depends  on  chemical  attraction. 
Ihe  second  or  chemical  method,  examples  of  which  we  have 
in  the  various  mercury  iutensifiers,  is  the  one  most  gene- 
rally employed,  and  will  therefore  be  considered  first. 

Dr.  hder  s Method  with  Mercury. — The  following  solutions 
are  required — 


Mercuric  chloride 

No.  1. 

...  J ounce 

Water 

...  ••• 

...  1 pint 

Ammonia  -880 

No.  2 

...  2 ounces 

Water 

...  ... 

...  1 pint 

Potassium  iodide 

No.  3. 

...  1 ounce 

Water 

...  ... 

...  1 pint 

No.  4. 

Hyposulphite  of  soda 

...  Jounce 

Water 



...  1 pint 

No.  1 generally  requires  filtering  to  give  a clear  solution. 

The  plate,  being  well  washed  after  fixing,  is  first  immersed 
in  No.  1,  when,  after  a short  time,  the  image  becomes 
perfectly  white.  Now  metallic  silver  has  thepowerof  reducing 
mercuric  chloride  (HgCl2)  to  subchloride  (HgCl),  itself  com. 
bining  withtheotherchlorino  to  form  ordinary  silver  chloride. 

Ag-f-  HgCb  = AgCl-f-HgCl 

Mercury  subchloride,  being  insoluble  in  water,  remains  in 
the  film  with  the  silver  chloride,  so  that  in  place  of  the 
original  silver,  we  have  a mixture  of  silver  chloride  and 
mercury  subchloride.  Both  of  these  happen  to  be  white 
substances,  so  that  although  there  is  a considerably 
increased  deposit,  the  opacity  of  the  film  to  transmitted 
light  is  not  much  affected,  and  a further  operation  becomes 
necessary.  This  depends  on  the  amount  of  additional 
density  required  ; if  it  be  but  slight,  the  photograph,  after 
washing,  is  immersed  in  the  ammonia,  No.  2 solution, 
which  rapidly  turns  the  previously  white  image  black  ; 
the  change  which  occurs  in  the  film  being  rather  compli- 
cated. In  the  first  place,  it  dissolves  out  the  silver  chloride 
(of  which  we  kuow  it  is  a ready  solvent)  from  the  film,  so 
that  there  only  remains  mercury  subchloride,  forming  the 
image,  and  this  it  converts  into  mercury  sub-oxide,  and  a 
complex  compound  called  mercurosammonic  chloride. 

If  a considerable  increase  of  density  is  wanted,  the  plate, 
after  treatment  with  No.  1,  and  washing,  is  immersed 
in  No.  3,  which  converts  the  silver  chloride  and  mercury 
sub-chloride  into  silver  iodide  and  mercury  sub-iodide — 
AgCl+HgCl+2KI=AgI+HgI+2KCl 
and  then  with  No.  2,  as  before.  In  this  case,  mercury  sub- 
oxide, as  previously,  is  formed,  and  a similar  complex  com- 
pound ; but,  silver  iodide  being  insoluble  in  ammonia, 
remains  in  the  film,  and  so  gives  a considerably  greater 
density. 

Finally,  if,  after  this,  the  image  is  found  to  be  over- 
intensified, it  may  be  reduced  agaiu  by  treatment  with  the 
hypo  (No.  4)  solution,  which  slowly  dissolves  out  the  silver 
iodide,  ultimately  leaving  an  image  hardly  distinguishable 
from  that  produced  by  1 and  2 alone. 

Dr.  Monckhoven's  Method  with  Mercury. — Two  solutions 


are  prepared : — 

No.  1. 

Mercuric  chloride 

...  i ounce 

Potassium  bromide 

...  i „ 

Water  

...  1 pint 

No.  2. 

Silver  nitrate  

...  J ounce 

Water  (distilled) 

...  J pint 

Potassium  cyanide 

...  J ounce 

Water  

...  1 pint 

The  potassium  cyanide  solutiou  should  be  added  gradually 
to  the  silver  solution.  At  first  a dense  precipitate  will  be 
produced,  but  as  more  is  added  this  will  dissolve  up  again  ; 
when  there  is  only  a little  of  the  precipitate  not  dissolved, 
no  more  cyanide  is  added,  and  what  little  remains  should 
be  thrown  down  the  sink. 

The  washed  plate  is  immersed  in  No.  1,  again  washed, 
and  then  in  No.  2.  On  immersion  in  No.  2,  the  plate 
should  be  carefully  watched,  and  taken  out  immediately  the 
darkening  is  complete,  otherwise  the  density  will  again 
be  reduced, 


FEBBtuitir  23,  1 883. j 


THE  PHOTOGRAPHIC  NEWS. 


117 


Mr.  Edwards  Method  with  Mercury. — A solution  is  made 

as  follows : — 


Mercuric  chloride 
Water 


60  grains 
6 ounces 


Potassium  iodide 
Water 

Hypo. 

Water 


...  00  grains 

...  2 ounces 

...  120  grains 
...  2 ounces 


Either  of  these  solutions  being  taken,  a few  drops  of  a 
ten-grain  solution  of  silver  nitrate  are  added,  and  imme- 
diately flowed  over  the  plate ; as  soon  as  the  requisite 
density  is  obtained,  the  plate  is  washed,  put  into  a dish 
containing  a solution  of  common  salt,  once  more  passed 
through  the  fixing  bath  for  a few  seconds,  again  washed, 
and  then  dried.  If  stains  occur,  they  are  removed  with  a 
five-grain  solution  of  potassium  cyanide. 


Add  the  iodide  to  the  mercury  solution,  when  a red  pre- 
cipitate will  be  thrown  down,  then  add  the  hypo.,  when  it 
will  dissolve  up  clear. 

Immerse  the  roughly- washed  plate  in  the  solution,  when 
the  density  will  rapidly  increase  ; if  required  to  act  more 
slowly,  add  more  hypo,  which  also  improves  the  colour. 

The  rationale  of  these  two  latter  intensifiers  are  very 
similar  to  the  first  one  described.  The  great  objection  to 
all  of  them  is  their  want  of  permanency,  all  mercurous 
compounds  being  unstable  substances. 

Mr.  Selle's  Method  with  Uranium. — A solution  is  pre- 
pared : — 

Uranium  nitrate a ounce 

Potassium  ferricyanide  (red  prus- 

siate  of  potash i ,, 

Water  1 pint 

A small  quantity  of  a reddish-brown  precipitate  is 
usually  formed  in  making  the  solution  ; this  should  be 
allowed  to  settle,  or  the  solution  filtered  before  use. 

The  well  washed  plate  is  immersed  in  this  solution,  the 
image  gradually  increasing  intensity,  the  increase  ultimately 
being  very  great.  The  metallic  silver  reduces  the  potassium 
ferricyanide  to  ferrocyanide,  and  with  the  potassium  ferro- 
cyanide uranium  forms  an  insoluble  double  cyanide,  which 
becomes  precipitated  on  the  image.  Unfortunately  for 
this  intensifier,  hyposulphite  also  reduces  potassium  ferri- 
cyanide to  ferrocyanide,  so  that  unless  the  plate  be  very 
thoroughly  washed,  a precipitate  is  produced,  all  over 
the  film. 


Mr.  Carey  Lea's  Method  with  Schlippe's  Salts ■ — Schlippe’s 
salts  consists  of  a double  sulphide  of  sodium  and  antimony. 
To  intensify  a plate,  it  is  first  immersed  in  a sherry- 
coloured  solution  of  iodine  (dissolved  in  water  with  the 
aid  of  a little  potassium  iodide)  until  the  whole  or  a part, 
according  to  the  increased  density  required  of  the  silver 
forming  the  image,  is  converted  into  silver  iodide,  and  then 
in  a solution  composed  of — 

Schlippe’s  salts  £ ounce 

Water  1 pint 

which  intensifies  it  to  a bright  red  colour.  The  silver 
iodide  combines  with  the  salt  forming  a double  sulphide 
of  silver  and  antimony.  The  solution  does  not  keep  very 
well,  and  should  therefore  be  made  as  required;  it  evolves 
a smell  of  sulphuretted  hydrogen,  so  would  not  have  a 
very  beneficial  effect  on  sensitive  plates  if  within  their 
vicinity. 


Captain  Abney's  Method  with  Silver. — This  brings  us  to  the 
first,  or  physical,  methods  of  intensification,  of  which  it 
is  an  example.  In  order  to  use  it  successfully,  it  is  im- 
perative that  every  trace  of  hyposulphite  and  silver  bro- 
mide should  be  removed  from  the  film  ; for  this  purpose 
the  plate,  after  fixing, -is  immersed  in  a fresh  hypo- 
sulphite solution,  and  then  washed  thoroughly  with  water 
for  an  hour  or  two ; after  this,  it  is  soaked  for  half-an- 
hour  in  a weak  solution  of  peroxide  of  hydrogen  (1  drachm 
of  a 20  vol.  solution  to  5 ounces  of  water),  which  destroys 
any  traces  of  hyposulphite  still  remaining ; finally,  after 
another  washing,  it  i3  ready  for  intensification. 

No.  1. — Pyrogallic  acid 
Citric  acid 


Water 


...  2 grains 

2 to  4 „ 

...  1 ounce 


No.  2. — Iron  sulphate 
Citric  acid 
Water 


...  5 grains 
...  10  grains 
...  1 ounce 


ALKALINE  HCEMATOXYL1N  AS  A DEVELOPER. 

BY  J.  VINCENT  ELSDEN,  B.SC.  (LOND.),  F.C.S. 

That  hoematoxylin  exerts  a reducing  action  upon  silver 
compounds  has  been  known  for  some  years ; but,  not 
having  seen  any  account  of  its  influence  as  a developer  of 
modern  dry  plates,  I undertook  a few  experiments  with 
this  substance  for  the  purpose  of  investigating  how  far  its 
employment  might  be  beneficial  in  emulsion  photography. 

On  dissolving  some  hoematoxylin  in  water,  and  adding  a 
few  drops  of  strong  ammonia  solution,  I found  that  a weak 
image  was  developed  on  a gelatine  dry  plate,  the  plate 
itself  being  stained  bright  purple.  This  staining  of  the  film 
renders  it  absolutely  impossible  to  see  the  image  in  a ruby 
light ; the  purple  colour  appearing,  of  course,  under  the 
influence  of  red  rays,  a dense  black.  When  a weak  solu- 
tion of  ammonia  was  employed,  no  image  at  all  was 
developed,  even  after  an  immersion  of  a considerable 
time. 

I next  tried  the  effect  of  thehoematoxlyin  developer  upon 
a very  rapid  plate,  but  with  the  same  result,  only  a very 
weak  image  appearing  after  a treatment  of  fully  five 
minutes.  Noticing  that  the  power  of  the  clfeveloper  seemed 
to  be  very  quickly  exhausted,  I exposed  ajgbther  plate  of 
ordinary  rapidity,  and  developed*  quickly  with  a still 
stronger  developer,  containing  as  much  as  four  grains  of 
hoematoxylin  and  one  dram  of  ammonia  (-880)  in  an  ounce 
of  water.  This  developer  was  evidently  too  strong,  for 
although  the  image  was  perfectly  developed  in  every  detail, 
there  was  some  tendency  to  a reduction  of  the  whole  film, 
a veil  being  visible  by  reflected  light.  The  staining  of  the 
film  is  of  no  consequence,  as  it  can  be  all  washed  out  by  a 
prolonged  immersion  in  water. 

I next  tried  the  influence  of  the  hoematoxylin  developer 
upon  a piece  of  gelatino-bromide  paper,  previously  exposed 
beneath  a negative.  By  the  ruby  light  nothing  was  visible 
except  a dense  black  surface.  On  washing  and  fixing, 
however,  daylight,  revealed  an  effect  of  considerable  beauty 
— a perfect  image  in  grey  silver  upon  a background  of 
delicate  violet.  The  stain  in  this  case  could  not  be  re- 
moved by  washing,  but  an  application  of  dilute  ferric 
chloride  was  found  perfectly  effectual.  The  light  grey 
nature  of  the  deposit,  however,  is  a great  objection  to  the 
employment  of  hoematoxylin  for  positive  printing.  The 
results  so  far  obtained  seem  to  point  to  the  conclusion  that, 
with  a suitable  restrainer,  a formula  may  be  found  for  a 
hsematoxylin  developer  which  may  be  of  practical  use  in 
photography. 

Character  of  the  Silver  Deposit. — The  physical  nature  of 
the  precipitated  silver  is  at  all  times  a most  important 
element  in  successful  development.  A great  deal  is  written 
about  such  and  such  a developer  giving  the  appearance  of 
a wet  plate  ; but  it  is  doubtful  whether  any  process  of 
development  now  in  practice  will  yield  the  fine,  white  de- 
posit so  characteristic  of  the  wet  collodion  process. 

In  the  case  of  hoematoxylin  the  silver  deposit  certainly 
approaches  nearer  to  this  character  than  anything  I have 
yet  seen.  By  reflected  light  it  appears  of  a light  bluish- 
grey,  and  under  the  microscope,  with  a 1-inch  objective, 
it  appears  of  the  most  exquisite  uniformity  and  fineness. 
Indeed,  in  the  negative  now  before  me,  the  deposit  is  at 
least  twice  as  fine  as  that  obtained  by  alkaline  pyrogallol 
or  ferrous  oxalate,  and  microscopically  it  is  indistinguish- 
able from  the  deposit  on  a good  wet  plate.  Thus,  although 
there  will  be  doubtless  some  difficulty  in  bringing  the  re- 


118 


THE  PHOTOGRAPHIC  NEWS. 


[February  23,  1883. 


during  action  of  hramatoxylin  under  proper  control,  there 
is  certainly  little  to  be  desired  as  regards  the  physical  con- 
stitution  of  the  image.  Whether  the  fine  grained  character 
of  the  deposit  will  lead  to  want  of  density  has  yet  to  be 
determined. 

Chemical  Nature  of  Hoematoxylin  — Some  may  feel  inclin  ed 
to  institute  some  investigations  concerning  alkaline 
hcematoxylin.  I will  therefore  briefly  describe  its  leading 
chemical  features. 

llcematoxylin  may  be  regarded  as  a natural  phenol- 
colour,  having  the  composition  C,BHuOs.  It  exists  in 
logwood,  and  may  be  obtained  by  the  following  process 
recommended  by  Erdmann : — The  commercial  extract  of 
logwood  is  mixed  with  quartz-sand  to  prevent  agglomera- 
tion. Five  or  six  times  its  volume  of  ether  is  added,  and 
the  mixture  agitated  from  time  to  time.  After  a few  days 
a brownish-yellow  solution  is  decanted  off,  and  evaporated 
to  a syrup,  which,  when  mixed  with  water,  deposits  straw- 
coloured  needles  of  hoematoxylin  in  a few  days.  Extract 
of  logwood  thus  treated  yields  from  one-eighth  to  one- 
tenth  of  its  weight  of  this  substance. 

It  dissolves  sparingly  in  cold  water,  readily  in  boiling 
water,  and  in  alcohol  or  ether.  The  solution  speedily  turns 
red,  especially  in  day-light,  and  is  rapidly  converted  by 
oxidising  agents  into  hoematein  C1(H1206.  A similar 
reaction  goes  on  during  development  with  hcematoxylin 
in  presence  of  ammonia.  The  change  may  be  represented 
by  the  following  equation  : — 

Hematoxylin.  Ammonia  Hocmateate. 

2C„HuO.-(-4NH3+0J=2H40+2(NH„C16,Hu06) 

A solution  of  hcematoxylin  in  ordinary  water  appears  to 
lose  its  energy  as  a developer  after  a time,  its  red  colour 
changing  to  purple,  owing  to  oxidation.  Probably,  how- 
ever, the  alcoholic  solution  would  keep  longer. 

By  fusing  hcematoxylin  with  caustic  potash  it  yields 
pyrogallol;  and  colouring  matters  analogous  to  hcema- 
toxylin, called  the  phenol-colours,  are  procured  by  heating 
carbolic  acid  with  polybasic  organic  acids. 

Iu  conclusion,  it  would  be  well  to  mention  that  the 
expense  of  hoematoxylin,  as  prepared  commercially,  is  far 
too  great  to  permit  of  its  extensive  use  by  photographers  ; 
it  is  even  more  expensive  than  hydro-quinone,  costing 
more  per  dram  than  the  latter  does  per  ounce.  Another 
objection  to  its  employment  is  the  trouble  which  it  gives 
in  dyeing  and  staining  everything  with  which  it  comes 
into  contact. 


FRENCH  CORRESPONDENCE. 

MM.  Ch.  Crcs  and  Vergeraud’s  Positive  Pater — M. 
Lamy's  Gelatino  - Bromide  Paper— Tiiiebaut’s  Pelli- 
cle Paper — The  Pellicle  Competition. 

MM.  Cros  and  Vergeraud's  Positive  Paper. — MM.  Cros 
and  Vergeraud  have  worked  out  a process  for  obtaining 
images  so  as  to  have  a positive  impression  from  a positive 
plate,  and  a negative  print  from  a negative  original.  The 
process  is  based  on  the  following  circumstances : the  easy 
reduction  of  soluble  bichromates  mixed  with  certain  organic 
substances,  and  the  relative  insolubility  of  bichromate  of 
silver.  Suitable  paper  is  covered  with  a solution  of  two 
grammes  of  bichromate  of  ammonia,  and  fifteen  grammes 
grape-sugar,  dissolved  in  100  of  water  ; when  dry,  it  is  ex- 
posed to  light  under  a positive.  As  soon  as  the  yellow  paper 
oecomes  grey,  it  is  removed,  and  immersed  in  a one 
per  cent,  silver  bath,  to  which  ten  per  cent,  of  acetic  acid 
has  been  added.  The  image  will  immediately  appear  of  a 
ruddy  hue,  due  to  the  bichromate  of  silver.  The  print,  on 
being  washed,  retains  the  red  impression  of  the  insoluble 
bichromate,  which  becomes  dark  brown  on  exposure  to  sun- 
light. On  submitting  the  print  when  dry  to  the  fumes  of 
sulphuretted  hydrogen,  or  dipping  in  a solution  of  sulphite 
of  copper  and  potash,  it  becomes  black.  The  latter  process 
is  preferable. 

-1/.  Lamp's  Gelatino- Bromide  Paper. — While  on  this  sub- 


ject, a few  words  must  be  said  on  M.  Lamy’s  brilliant  paper 
for  positive  printing.  This  paper  receives  mechanically  a 
film  of  gelatin  o-bromide  of  silver,  and,  contrary  to  Morgan’s 
for  negative  printing,  gives  excellent  positive  images,  and 
suitable  for  gold  toning.  A certain  number  of  well-known 
photographers  have  employed  it  with  great  success.  On 
the  other  hand,  Morgan’s  paper  is  becoming  more  and  more 
highly  appreciated.  In  certain  parts  of  the  country, 
amateurs  use  nothing  else  for  their  negatives.  It  offers  the 
advantage  of  replacing  heavy  plates,  and  the  negatives 
obtained  are  equal  to  glass  in  delicacy,  because  tho  film  is 
of  a fine  regular  texture.  As  soon  as  Mr.  Morgan  shall 
have  perfected  it,  so  that  the  film  may  be  stripped  off  and 
transferred  to  glass,  gelatine,  celludoid,  or  some  other  trans- 
parent vehicle,  its  use  will  be  much  more  general  for  indus- 
trial purposes. 

M.  Thiebaut's  Pellicle  Paper. — M.  Thiebaut  manufactures 
pellicle  paper  of  this  kind,  and  is  successful ; he  would  not 
compete  for  the  thousand  franc  prize  because  he  wished 
to  reserve  his  process. 

The  Pellicle  Competition. — This  competition  closed  on 
December  10th  last,  and  was  not  large,  only  three  or  four  hav- 
ing entered  for  it.  The  commission  appointed  to  judge  the 
results  are  at  work  upon  the  subject  now.  It  is  much  to  be 
desired  that  paper  pellicles  should  be  produced  of  uniform 
good  quality,  and  that  frames  and  portfolios  for  enclosing 
them  be  improved  in  make.  It  would  be  an  excellent  plan 
if  the  pellicle  could  be  placed  in  direct  contact  with  the 
ground  glass,  thereby  simplifying  luggage  and  reducing 
weight,  besides  affording  an  exact  method  of  focussing 
accurately.  It  is  indispensable  that  the  sensitized 
pellicle  should  adhere  closely  to  the  glass,  otherwise  the 
reflected  image  diffused  over  the  ground  glass  surface  will 
not  be  reproduced  sharply. 


MARION’S  FERRO-PRUSSIATE  PROCESS. 

BY  EDGAR  GOOLD.* 

This  process,  which  I have  been  invited  by  your  secretary  to 
illustrate,  offers  great  advantages  to  engineers,  architects,  and 
others,  for  the  reproducing  of  drawings,  patterns,  plans,  &c. 

No  complicated  apparatus  is  necessary  to  work  it,  no  poisonous 
substances  or  dangerous  acids  are  used,  it  does  not  need  very 
great  care,  nor  does  it  require  the  use  of  a photometer  in  the 
printing  ; and  last,  but  not  least,  as  far  as  time  and  labour  go, 
it  requires  neither  toning  nor  fixing,  but,  after  being  exposed  to 
actinic  light  in  the  printing  frame,  it  is  only  necessary  to  wash 
with  water,  which  speedily  gives  a white  line  on  a blue  ground, 
the  transparent  parts  of  the  drawing  to  be  reproduced  giving  a 
blue  ground,  while  the  opaque  parts  give  the  white  lines  ; the 
greater  the  amount  of  actinic  light  to  which  the  print  has  been 
subjected,  the  deeper  the  blue.  There  is  another  way  of  working 
the  process  so  as  to  obtain  a blue  line  on  a white  ground  ; but  to 
do  this,  a negative  must  be  made  on  a special  paper,  supplied  for 
that  purpose,  and  is  known  by  the  name  of  Mince. 

In  very  bright  sunshine  the  exposure  required  varies  from  five 
to  ten  minutes,  while  in  the  very  dull  days  of  winter  it  may 
need  two  or  three  hours,  or  even  a whole  day. 

The  exposure  required  to  make  negatives  is  at  least  three  or 
four  times  the  length  of  time  necessary  to  make  positives.  While 
printing,  the  “ ferro  paper  ’ ’ assumes  various  tints,  changing 
from  yellow  to  greenish  blue,  then  to  bluish  grey,  and  last  to  an 
olive  colour.  When  it  arrives  at  this  stage  the  exposure  must 
be  Btopped.  The  printing  frame  need  not  be  opened  to  ascertain 
the  progress  of  printing,  but  can  be  judged  by  the  margin  of  the 
paper,  which,  of  course,  must  be  little  larger  than  the  tracing 
under  which  it  has  been  placed. 

The  washing  can  be  effected  in  any  room.  The  print  is  taken 
from  the  frame  and  immersed  in  clean  water  until  the  lines 
become  purely  white,  the  time  for  washing  occupying  from  five 
to  ten  minutes.  Over-washing  reduces  the  intensity  of  the  blue 
ground.  The  prints  are  afterwards  suspended  over  a wooden 
bar  to  dry,  and  if  the  prints  aie  very  large  in  6ize,  some  difficulty 
will  be  found  in  lifting  them  from  the  washing  trough  without 
tearing  them.  Frequently  I have  prints  from  five  to  six  feet  long 

• Read  before  the  Newcastle-on-Tync  and  Northern  Counties  Photo- 
graphic Association. 


FebbuarIt  23,  1 883. J 


THE  PHOTOGRAPHIC  NEWS. 


119 


by  three  feet  wide  ; the  method  I use  in  lifting  them  is  to  pass 
a wooden  roller  under  the  side  of  the  print,  then  gently  raise  the 
roller,  holding  the  print  with  the  hands  to  prevent  it  slipping 
off,  then  it  can  easily  be  placed  over  the  wooden  bar  covered 
with  sheets  of  blotting-paper  to  dry.  Those  who  prefer  pre- 
paring their  own  paper  can  easily  do  so,  the  only  points  to  be 
attended  to  being  the  selection  of  a suita’’’ ■ paper  and  the 
mixing  of  the  salts.  I have  found  a hardish  u iglazed  paper  to 
answer  best  ; after  being  sensitized,  it  must  be  dried  in  a 
warm  dark  room,  and  then  kept  from  the  light  until  required 
for  use. 

The  chemicals  used  for  sensitizing  are : potassium,  ferri- 
cyanide,  and  ammonio-citrate  of  iron.  Separately,  these  salts 
are  not  affected  by  light,  but  when  they  are  mixed,  a new  com- 
pound is  formed,  which,  upon  being  exposed  to  sunlight,  is 
decomposed  with  the  formation  of  prussian  blue,  which,  after 
being  washed,  gives  the  paper  the  beautiful  bluish  tint. 

The  exact  chemical  reactions  are  undoubtedly  complex,  and  I 
refrain  from  entering  into  them. 

The  proportions  I have  found  to  give  the  best  results  are : 
one  part  of  ammonio-citrate  of  iron  to  five  parts  of  water,  and 
one  part  of  ferri-cyanide  of  potassium  to  four  parts  of  water, 
mixed  together  in  equal  quantities. 

The  paper  may  be  coated  with  this  solution  with  a large 
camel’s  hair  brush,  one  even  coat  being  sufficient ; the  paper 
being  dried,  is  then  ready  for  use. 

This  system  of  blue  printing  can  be  still  further  extended  by 
the  aid  of  photography,  and  may  be  employed  to  print  copies 
from  glass  negatives  of  machinery,  models,  &c.,  at  a very  low 
cost,  and  without  skilled  assistance. 


PELLET’S  PATENT  DIRECT  COPYING  PROCESS. 

BY  EDGAR  GOOLD.* 

The  mechanical  part  of  this  process  can  be  described  in  very  few 
words,  although  it  is  much  more  complicated  than  Marion’s 
process,  inasmuch  as  the  prints  have  to  be  developed  in  two 
solutions,  viz.,  the  yellow  prussiate  of  potash  bath,  and  the 
hydrochloric  acid  baths  respectively;  after  beiDg  in  each  of  these 
baths,  the  prints  must  be  well  washed  in  clean  water.  The 
method  of  finishing  prints  by  this  process  occupies  much  more 
time  and  care  than  the  one  I have  just  illustrated  ; while  its 
great  advantage  is  the  extreme  sensitiveness  of  the  paper  and  the 
consequent  shorter  exposure  in  the  printing  frame.  The 
exposure  can  only  be  determined  by  constant  practice  and  test 
slips,  the  exposure  varying  from  half  a minute  upwards  according 
to  the  intensity  of  the  light. 

Testing  the  exposure  with  the  test  slips  before  mentioned  is 
best  done  by  placing  three  or  four  of  these  slips  under  a piece  of 
paper,  of  the  same  quality  as  the  original  tracing,  with  a few 
lines  marked  on  it,  and  exposing  in  a smaller  frame  placed  along- 
side on  the  tracing  being  copied.  After  the  print  has  been 
subjected  to  the  action  of  light  for  a short  time,  draw  out  one 
slip,  dip  it  in  the  prussiate  solution,  and  watch  the  chemical  action 
for  about  three-quarters  of  a minute  ; if  the  background  remains 
yellow  and  the  lines  come  out  blue,  the  exposure  has  been  suffi- 
cient ; if,  however,  the  background  comes  out  with  a bluish 
tinge,  the  frame  must  be  re-exposed.  Whilst  testing,  the  frame 
must  be  covered  or  turned  face  downwards.  It  is  absolutely 
necessary  that  test  slips  be  taken  from  the  same  roll  of  paper  as 
the  one  used  for  the  copy. 

The  print  must  be  made  so  as  to  form  a sort  of  tray  about 
three-quarters  of  an  inch  in  depth,  by  carefully  turning  up  the 
edges  with  the  aid  of  a straight  edge.  The  print  must  then  be 
floated  face  downwards  in  a saturated  solution  of  yellow  prussiate 
of  potash  previously  mixed  with  hot  water  and  allowed  to  cool 
After  floating  the  copy  in  the  prussiate  bath  for  half  a minut', 
raise  the  print  at  one  end  with  great  care  ; this  ought  to  be  done 
without  allowing  any  of  the  prussiate  solution  to  get  on  the  back 
of  the  print,  as  this  would  cause  stains. 

It  must  now  be  held  up,  and  the  chemical  action  allowed  to 
continue  until  faint  blue  spots  begin  to  appear  in  the  background ; 
it  must  then  be  immediately  immersed  face  downwards  in  a 
trough  of  clean  water,  to  check  the  further  action  of  the  prus- 
siate solution  ; oDe  edge  of  the  paper  must  now  be  depressed 
under  the  surface  of  the  water,  then  lift  the  whole  paper  by  that 
edge  to  allow  the  water  to  flow  all  over  the  back  of  it.  After 
repeating  this  washing  two  or  three  times,  the  print  must  be 
placed  in  the  hydrochloric  acid  bath  (strength,  one  part  of  acid 
to  ten  of  water),  and  wholly  immersed  for  from  five  to  fifteen 


minutes,  the  surface  being  worked  all  over  with  a brush  to  start 
and  loosen  the  blue  mucilage.  The  copy  is  next  taken  out  of 
the  .acid  bath,  and  placed  in  a tray  containing  clean  water, 
where  it  must  again  be  well  rubbed  all  over  with  a brush  to 
clear  it  of  the  superficial  gum  mucilage  ; after  washing,  the  lines 
of  your  print  will  be  found  to  stand  out  blue  on  a white  ground. 

Any  blue  stains  on  the  copies  may  be  removed  by  the  use  of 
the  “ blue  solving  liquid  ” applied  very  lightly  with  a camel’s 
hair  brush  to  the  part  to  be  erased,  and  when  dried  with  blotting- 
paper,  the  stains  will  entirely  disappear.  This  solving  solution 
is  supplied  with  the  paper. 


Dr.  Liesegang  has  this  year  issued  a little  annnal  under 
the  name  of  Photographischer  Almanack.  This  is  German 
Annual  No.  3. 


Dr.  Horuig’s  valuable  Jakrbuch  for  1883  also  comes  to 
us  from  Vienna  ; it  is  in  pocket-diary  form,  and  contains 
much  that  is  useful,  and  nought  that  is  useless. 

The  Philadelphia  Photographer  has  this  month,  by  way  of 
frontispiece,  a collection  of  bijou  sketches  from  “ Merrie 
England,”  being  reductions  from  the  well-known  studies  of 
Mr.  H.  P.  Robinson,  of  Tunbridge  Wells.  Conspicuous 
among  the  sylvan  pictures  is  the  wonderful  “ Merry  Tale,” 
one  of  Mr.  Robinson’s  latest  triumphs. 


The  first  number  of  the  St.  Louis  Photographer  has  also 
reached  us,  our  friendly  rival  from  St.  Louis,  under  a new 
name.  Mr.  J.  M.  Tomlinson  announces  himself  as  editor. 


Mr.  C.  Ray  Woods  sailed  for  Panama,  on  his  way 
to  the  Pacific,  on  Saturday.  He  hopes  to  arrive  at 
his  destination,  Caroline  Island,  about  the  middle  of 
April : the  long  eclipse,  our  readers  will  remember, 
happens  on  May  6th. 

A question  of  some  importance  is  involved  in  the  lighting 
of  daik-rooms,  apart  from  the  chemical  effect  of  light  upon 
the  photographic  plate.  It  is  a somewhat  serious  fact  that 
since  the  introduction  of  gelatine  plates  many  photographers 
complain  of  their  sight  not  being  so  good  as  formerly. 
Whether  this  be  due  to  the  small  quantity  of  light  which 
the  rapid  plates  of  the  present  day  demand,  and  the  conse- 
quent straining  of  the  eyesight  in  watching  the  development, 
we  cannot  absolutely  say ; but  it  is  certainly  possible. 
Talking  with  two  photographers  of  eminence  after  the  dis- 
cussion at  the  last  meeting  of  tho  Photographic  Society,  both 
agreed  that  their  sight  of  late  years  had  suffered.  In  one 
case  the  defect  was  as  singular  as  it  was  disquieting.  It 
appeared  to  be  a species  of  colour  blindness,  but  developed 
in  a most  unusual  manner.  Thus,  on  looking  at  one  of  the 
pictures  on  the  wall  of  the  room,  there  seemed  to  be  a patch 
totally  devoid  of  colour,  as  though  the  portion  of  the  retina 
on  which  this  patch  was  depicted  had  lost  its  sensitiveness. 


If  this  failing  of  eyesight  be  confirmed  by  other  dry  plato 
workers,  it  is  evident  that  no  time  should  be  lost  in  satis- 
factorily settling  the  effectual  lighting  of  dark-rooms.  It 


120 


THE  PHOTOGRAPHIC  HEWS. 


[February  23,  1883. 


should  also  not  be  forgotten  that  in  most  instances  the 
weakening  of  the  eye  comes  on  so  gradually  as  to  be  im- 
perceptible, and  that  it  is  often  only  by  chance  that  the 
person  wakes  up  to  the  unpleasant  consciousness  that  he  is 
losing  power.  Mr.  Sebastian  Davis  put  the  question  of 
lighting  the  dark-room  very  clearly  when  he  said  that  the 
problem  to  be  solved  was  the  admission  of  the  maximum  of 
light  with  the  minimum  of  actinic  effect.  In  the  collodion 
days  it  took  photographers  some  time  to  discover  that  they 
had  been  working  in  an  unnecessary  state  of  darkness,  and 
at  one  blow  a revolution  was  effected  when  it  was  settled  that 
it  did  not  much  matter  how  much  light  was  admitted,  so 
that  it  was  the  right  kind  of  light.  May  it  not  be  that 
with  gelatine  plates  much  more  light  would  be  available  if 
the  right  medium  of  transmission  could  be  hit  upon? 

The  Eden  Theatre  in  Paris — a spectacle  theatre,  like  our 
burnt-out  Alhambra — is  just  now  engaged  in  putting 
before  the  public,  in  fairy  form,  a representation  of  the 
progress  of  science.  The  performance  is  a ballet  in  twelve 
scenes,  and  although  photography  is  not  actually  repre- 
sented, Mdlle.  Lumiere  is  the  name  of  the  chief  personage 
who  sets  everything  right.  This  ethereal  being,  dressed 
in  white  satin  and  gold,  wages  a perpetual  war  against  the 
king  of  darkness  and  ignorance,  and  it  is  her  grand 
manifestations  that  form  the  attraction  of  the  piece.  The 
discovery  of  electricity,  the  cutting  of  the  Suez  Canal, 
the  boring  of  the  Mont  Cenis  tunnel,  are  the  occasions 
for  much  magnificent  scenic  display. 


In  calling  attention,  last  week,  to  the  magnesium  defla- 
grating mixture  that  Mr.  J.  T.  Taylor  recommends  for 
producing  an  actinic  light,  we  should  have  warned  our 
readers  not  to  mix  the  materials  in  a mortar , since  an 
explosion  of  a serious  nature  is  very  likely  to  happen  if  this 
is  done. 

During  the  coming  summer,  a Fine  Art  and  Industrial 
Exhibition  will  be  held  at  Huddersfield  in  connection  with 
the  opening  of  the  new  Technical  School.  It  is  to  open 
in  June. 


Heard  at  the  Exhibition  of  the  Society  of  Painters  in 
Water  Colours.  First  Photographer : “ Look  at  that  picture ; 
why,  it  is  all  foreground.  The  photograph  it  is  painted 
from  has  been  stupidly  taken  with  a wide-angle  lens.” 
Second  Photographer : “ And  look  at  this  big  gateway ; there 
is  not  a straight  line  about  it.  The  photographer  who 
took  the  original  knew  nothing  about  ‘ swing  backs,’  I’ll 
be  bound.” 


We  enjoyed  a welcome  treat  last  week.  We  were  at 
Mr.  Henderson’s  studio,  and  accompanied  him  into  his 
collodion  dark-room  to  see  a wet  plate  developed.  After 
the  dull  red  gloom  that  weighs  so  heavily  in  latter-day 
dark-rooms,  the  flood  of  pale  yellow  light  streaming 
through  the  window,  and  illuminating  every  object  in  the 
laboratory,  was  positively  delightful.  “ Eh,  isn’t  it  nice  ? ” 
was  Mr.  Henderson's  sympathetic  remark,  in  reply  to  our 
expression  of  relief. 


Herr  J.  C.  Schaarwachter,  of  Berlin,  whose  establish- 
ment is  described  in  our  “ Studios  of  Europe,”  appears  to 
be  the  favourite  photographer  with  the  Court  just  now. 
Our  Princess  Royal  and  her  husband,  the  Crown  Prince, 
so  the  German  papers  tell  us,  passed  an  hour  and  a half  in 
his  studio  the  other  day. 


Touching  astronomical  photographs,  we  see  that  the 
honour  of  having  secured  the  first  picture  of  a heavenly 
body  in  the  camera  is  claimed  for  MM.  Fizeau  and 
Foucault.  It  is  admitted  that  in  the  same  year,  1845, 
photographic  impressions  were  secured  in  the  United 
States  of  a Lyrse  and  Castor,  “ but  a blackish  point  given 
by  a star  is  not  an  image  of  that  star,”  we  are  told.  This 
is  no  doubt  quite  true,  and  we  have  no  intention  of  dis- 
puting the  honour  claimed ; only,  before  confirming  it, 
one  would  like  to  make  sure  that  the  picture  of  the  sun  in 
question  is  not  merely  a whitish  disc,  otherwise  it,  too, 
would  be  open  to  question. 


Mr.  Melton  Prior,  the  War  Correspondent  of  the  Illus- 
trated London  News,  gave  an  interesting  lantern  lecture  at 
the  Savage  Club  on  Wednesday  night.  The  chief  Savage, 
H.R.H.  the  Prince  of  Wales,  was  in  the  chair,  and  a goodly 
assemblage  of  the  artists,  actors,  dramatists,  and  literary 
men  who  make  up  the  Club,  received  tho  lecture  and  illus- 
trations very  warmly.  But  few  photographs  were  included 
in  the  collection,  but  a forcible  portrait  of  Lord  Wolseley — 
a splendid  photograph  of  a splendid  soldier,  Mr.  Prior  called 
it — was  one  of  the  most  successful  exhibits. 


The  Savages  took  the  opportunity,  at  the  end  of  the  enter 
tainment,  to  present  their  chieftain  with  a magnificent 
cabinet  album  containing  the  photographs  and  autographs 
of  the  community.  The  characteristic  signature  of  a man 
beneath  his  portrait  makes  the  latter  doubly  valuable,  and 
it  was  this  feature  in  the  Savage  Club  album  that 
seemed  to  please  the  Prince  especially.  It  is  a point  well 
worth  noting  in  connection  with  photographic  collections. 


We  notice  that  the  platinotype  process  has  been  employed 
with  good  effect  for  printing  upon  fabric,  furnishing 
charming  little  photographs  suituble  for  d’oyleys  and  fancy 
mats;  but  a still  more  important  use  of  the  process  is  the 
application  of  it  to  wood-engraving.  The  difficulty  the 
graver  always  experiences  when  he  has  to  cut  a photograph 
printed  upon  box-wood  by  the  silver  process  lies  in  the  fact 
that  there  is  a film  over  the  wood ; this  film  bothers  the 
cutting  implements  exceedingly,  so  that  recourse  is  usually 
had  to  an  impression  by  some  fatty  ink  method  ; but  by 
using  platinotype,  a photograph  may  be  printed  upon  the 
wood  surfaco  direct  from  the  negative. 


A correspondent  says  : “ Green  fog  has  been  very  pro- 
lific of  late  among  commercial  plates,  and  I ascribe  it  a 
good  deal  to  the  use  of  powerful  developers.  At  any  rate, 
1 have  found  that,  if  without  modifying  the  proportions 
of  pyrogallic,  bromide,  and  ammonia  of  the  formulae  usually 
given  by  makers,  you  dilute  with  water,  green  fog  is 


I'ebruabi'  23,  1883.  | 


The  photographic  news. 


121 


seldom,  if  ever,  met  with.  I took  the  hint  from  one  of  your 
‘Notes’  some  weeks  ago,  and  therefore  send  you  my 
experience  in  return  ; one-fourth  or  one-third  volume  of 
additional  water  I rarely  find  too  much  to  add.” 


Photography  has  proved  of  immense  service  to  the  illus- 
trated periodicals.  There  is  scarcely  a person  of  any  note 
who  has  not  been  photographed,  and  all  that  the  aitist  has 
to  do  when  A or  B is  talked  about  sufficiently  for  pictorial 
purposes,  is  to  invest  a shilling  in  his  photograph.  Many 
artists  never  lose  an  opportunity  of  baying  portraits,  whether 
they  want  them  at  the  moment  or  not.  The  chief  artist  of 
a well-known  illustrated  journal  has  a collection  of  nearly 
four  thousand  portraits,  of  which  fifteen  hundred  are  photo- 
graphs. These  are  all  tabulated  and  arranged  so  that  any 
one  could  be  utilised  at  a minute’s  notice. 


“ Madam, — Thinking  your  house  would  make  a pretty 
picture,  I photographed  it,  and  send  a copy  for  your 
approval ; the  price  is  5s.  6d.  for  6,  or  Is.  Gd.  the  one  sent.” 
The  enterprising  photographer  who  sends  the  above  to  our 
house,  together  with  a very  creditable  3 by  4 picture  on  a 
cabinet  mount,  evinces  some  knowledge  of  human  nature 
in  addressing  his  note  to  the  lady  of  the  house. 

This  system  of  business  certainly  involves  hard  work  in 
proportion  to  the  returns,  as  less  than  one-half  of  the  pic- 
tures sent  out  lead  to  business  ; and,  on  an  average,  each 
negative  taken  cannot  be  considered  to  yield  a clear  profit 
of  more  than  sixpence.  One  can  understand  the  feelings 
of  the  busy  man  of  the  world  who  consigns  the  whole 
affair  to  the  fire  or  the  waste-paper  basket ; but  we  cer- 
tainly wonder  that  any  should  be  mean  enough  to  take 
advantage  of  the  position  of  the  photographer  by  offering 
6d.  or  9d.  for  the  picture.  Our  visitor  tells  us  that  many 
do  this. 


We  are  most  of  us  aware  that  the  Dukes  of  Edinburgh 
and  Albany  have  practised  photography  with  success,  but 
it  may  be  news  to  some  of  our  readers  to  know  that  the 
Prince  of  Wales  is  also  to  be  numbered  among  the  fol- 
lowers of  the  camera.  “ I remember,”  said  Mr.  Ackland, 
the  other  day,  in  proposing  the  toast  of  “ Royalty  ” at  the 
Solar  Club,  “the  Prince  of  Wales  when  he  began  photo- 
graphy. 1 was  present  when  he  coated  his  first  plate,  and 
I recollect,  too,  that,  like  other  mortals  under  similar  cir- 
cumstances, he  contrived  to  let  a large  quantity  of  the 
collodion  run  up  his  sleeve  instead  of  over  the  glass.” 


iatfttt  Jwtflligm*. 

Application  for  Letters  Patent. 

896.  John  Rudolf  Meihe,  of  2,  Laurence  Pountney  Hill,  in 
the  city  of  London,  for  an  invention  of  “ Improvements  in  the 
production  of  printing  plates  or  blocks  by  photographic  means.” 
— A communication  to  him  from  abroad  by  Julius  Allgeyer 
and  Carl  Bolhoevener,  persons  resident  at  Munich,  in  the  king- 
dom of  Bavaria. — Dated  19th  February,  1883. 

Notice  to  Proceed. 

4954.  James  Templeb,  of  8,  Park  Place,  London,  S.W.,  in  the 


county  of  Middlesex,  for  an  invention  of  “An  improved  means 
or  method  for  utilizing  balloons  for  photography,  photographic 
surveying,  or  other  purposes.” — A communication  to  him  from 
abroad  by  Henry  Elsdale,  of  Halifax,  Nova  Scotia. — Dated 
18th  October,  1882. 

Patent  on  which  Stamp  Duty  of  £100  has  been  paid. 
2044.  Frederick  Greening,  of  Beaufoy  Road,  Plaistow  Road, 
in  the  county  ol  Essex,  Engineer,  for  an  invention  of  “ Im- 
provements in  the  production  and  use  of  soluble  gun-cotton, 
or  compounds  analogous  thereto.” — Dated  3rd  June,  1875. 

Patent  Void  through  Non-payment  of  Duties. 
498.  Thomas  Henry  Blair,  of  Franklin,  county  of  Norfolk, 
state  of  Massachusetts,  United  States  of  America,  for  an  in- 
vention of  ‘‘Improvements  in  photographic  apparatus.”— 
Dated  4th  February,  1880. 

My  present  invention  relates  to  means  for  enabling  the  art 
of  making  photographic  pictures  by  the  “ dry  plate  ” process  to 
be  carried  on  by  amateurs  or  persons  having  little  knowledge  of 
the  art,  as  well  as  to  greatly  simplify  the  labour  of  professional 
photographers,  by  adapting  to  a camera  mechanical  devices  by 
means  of  which  the  various  manipulations  of  the  camera  and 
plates  are  carried  on  entirely  from  the  outside  of  the  camera- 
box,  and  the  latter  not  necessarily  opened  during  the  entire 
operation  of  adjusting  the  camera  to  the  view,  focusing  the  lens, 
bringing  the  plate  into  position  to  be  exposed,  returning  such 
plate  to  its  case,  &c.  Claims — 

First.  In  photographic  cameras  the  combination  with  the  plate- 
carrier  and  lens  of  a box,  removable  from  the  camera  for  con- 
taining sensitized  plates  or  negatives,  adapted  to  operate  with 
such  camera,  and  provided  with  a sliding  bottom,  which  serves 
as  a cover  to  the  box  when  removed  from  the  camera,  and  as  a 
guard  to  prevent  dropping  of  the  plate  when  the  box  is  attached 
to  the  camera. 

Second.  In  photographic  cameras,  the  combination  of  the  plate- 
carrier,  and  lens  of  a box  removable  from  the  camera  for  con- 
taining sensitized  plates,  and  provided  with  screw-springs,  latches, 
or  other  means  of  clamping  the  plates  within  the  box,  or  releasing 
such  plate. 

Third.  In  photographic  cameras  containing,  in  combination 
with  the  plate-carrier  and  lens,  a box  for  reception  of  sensitized 
plates  and  provided  screws,  spring  latches,  or  their  equivalents 
for  clampiDg  or  releasing  such  plates,  the  combination  with  such 
plate-box  and  plate-carrier  of  co-operative  means  for  enabling 
the  position  of  each  plate  with  respect  to  the  carrier  to  be 
determined  mechanically  from  the  outside  of  the  camera  without 
visual  inspection  of  the  interior. 

Fourth.  In  photographic  cameras  containing,  in  combination 
with  the  plate-carrier,  or  slide  and  lens,  a box  for  reception  of 
sensitized  plates,  the  combination  with  such  box,  and  the 
numerals  or  other  characters,  distinguishing  each  groove  of  an 
index  bar  connected  with  the  plate-carrier,  and  a zero  mark  or 
pointer  or  indicator  fixed  to  the  camera,  or  the  equivalent  of 
these  parts  for  determining  the  position  of  the  plates  in  the  box 
with  respect  to  the  carrier  from  the  outside  of  the  camera,  with- 
out recourse  to  or  inspection  of  its  interior. 

Fifth.  In  photographic  cameras,  and  in  combination  with  the 
plate-carrier  and  lens  thereof,  a box  for  containing  sensitised 
plates  removable  from  the  camera,  and  provided  with  a spring 
latch,  or  screw,  or  other  clamp  to  each  plate  guide  or  recepta- 
cle, and  with  a numeral  or  other  character  to  each  guide  or 
receptacle,  whereby  the  relative  position  of  each  plate,  with 
respect  to  the  plate -carrier,  may  be  determined  from  the  outside 
of  the  camera. 

Sixth.  In  combination  with  the  plate-carrier  of  a photographic 
camera,  an  index  bar,  upon  which  is  represented  a series  of 
numerals  or  other  characters  synonymous  with  the  plate  recep- 
tacles of  the  plate-box  or  receiver,  whereby  the  position  of  each 
plate  with  respect  to  the  carrier  is  ascertained  without  visual 
inspection  of  such  plate  and  carrier. 

Seventh.  In  photographic  cameras  containing,  in  connection 
with  the  plate-carrier  or  slide,  and  the  plate  receptacle  or  box, 
and  index  for  determining  the  position  of  the  carrier  with  respect 
to  the  several  plates  in  the  receptacle,  the  combination  with  such 
carrier  and  its  index  of  a system  of  focussing  the  lens,  which 
consists  in  scoring  or  otherwise  distinguishing  a particular  point 
upon  the  index  when  the  focus  is  obtained,  in  order  that  the 
plate-carrier,  after  being  disturbed  from  this  focus,  may  be 
returned  to  it  without  readjustment  or  inspection  of  the  carrier 
and  lens. 

Eighth.  In  combination  the  plate-box  or  receptacle  containing 


122 


THE  PHOTOGRAPHIC  NEWS. 


[February  23,  1883. 


numerals  or  other  characters,  to  distinguish  its  several  plate- 
guides  and  the  plate-carrier  containing  an  index  corresponding  to 
such  guides  and  numerals,  substantially  as  and  for  purposes 
herein  described. 

Ninth.  In  combination  with  the  plate-carrier,  or  slide,  a bar  or 
plate  containing  an  index,  and  operated  from  the  outside  of  the 
camera  by  a rack-and-pinion,  or  other  mechanical  device. 

Tenth.  In  combination  with  a photographic  camera,  a remov- 
able or  portable  adjuster  corresponding  on  a reduced  scale  to  the 
vision  outlet  or  picture  boundary  and  peep-hole  of  the  camera 
substantially  as  and  for  purposes  stated. 

Eleventh.  In  combination  with  the  independent  front  or  ex- 
tension of  the  camera  and  the  camera  proper,  the  swinging 
brackets  pivotted  to  such  camera,  and  adapted  to  hold  the  ex- 
tension upright  in  an  advanced  position  in  front  of  said  camera, 
substantially  as  and  for  purposes  herein  set  forth  and  described. 

Twelfth.  The  plate-carrier  or  slide  as  adapted  to  slide  to  and 
fro  of  the  camera-box,  and  with  respect  to  the  lens. 

Patents  Granted  in  Belgium. 

60,080.  P.  A.  Attout,  otherwise  Tailfer,  and  J.  Clayton,  of 
Paris,  for  “ Using  eosine  in  gelatinous  bromic  photography.’’ — 
Dated  5th  January,  1883.  French  patent,  13th  December, 
1882. 

60,181.  H.  Mader,  of  Isny  (Wurtemburg),  for  “A  changing 
slide  for  photographers.” — Dated  16th  January,  1883. 

Patent  Granted  in  United  States. 

271,402.  John  Barnett,  of  New  York,  N.Y.,  for  “ A plate- 
holder  for  photographic  cameras.” — Application  filed  7th 
August,  1882.  No  model. 


ZING  BROMIDE  IN  EMULSION,  AND  EXCESS  OF 
BROMIDE. 

BY  CAPTAIN  ABNEY,  R.E.,  F.R.S. 

I have  noticed  Colonel  Dawson’s  remarks  about  zinc  bro- 
mide in  emulsion,  and  also  Mr.  Arnold  Spiller’s  commu- 
nication in  re  the  same  subject.  I may  perhaps  be  allowed 
to  give  my  experience  with  zinc  bromide,  as  for  some  time 
past  I have  been  working  with  it.  About  two  years  ago  I 
began  by  adding  some  zinc  bromide  to  potassium  bromide 
in  about  the  same  proportions  as  adopted  by  Colonel 
Dawson,  and  did  not  find  any  particular  advantage  in  it. 
During  the  last  six  months  I experimented  with  bromide 
emulsions,  using  nothing  but  zinc  bromide  as  the  haloid 
salt,  sometimes  adding  potassium  iodide  to  it.  My  experi- 
ence is  of  rather  a varied  kind.  I had  a certain  stock  of 
the  zinc  salt  by  me,  and  every  emulsion  was  a decided  suc- 
cess when  made  with  it,  particularly  when  iodide  was  used, 
as  given  below.  The  plates  were  rapid  (23  to  25  on  the 
sensitometerj  and  clean,  and  gave  unusual  density,  and  so 
satisfied  was  I with  my  result,  that  I determined  to  make 
it  the  staple  of  my  emulsions,  although  its  cost  is  very  much 
more  than  potassium  bromide.  My  stock  of  zinc  came  to 
an  end,  and  with  it  the  extreme  rapidity  I had  got.  The 
new  salt  was  pure  enough,  and  acid,  as  must  be  the  case, 
dissolving  perfectly  in  water  and  alcohol,  having  no  trace 
of  oxide  ; but  boil  as  one  would,  the  needful  colour  was  got 
with  great  difficulty,  five  hours  even  being  sometimes 
insufficient.  It  was  curious  to  remark  that  the  addition  of 
five  per  cent,  of  potassium  bromide  at  the  eud  of  a long 
boil,  when  the  proper  colour  had  not  been  obtained,  was 
sufficient  to  send  it  to  the  blue  state  in  five  minutes  ; but 
the  emulsion  was  then  slightly  veiled,  and  did  not  show 
more  than  19  on  the  sensitometer. 

'1  hese  experiences  were  discouraging,  but  I am  certain  that 
when  the  true  chemical  state  of  the  case  is  known,  the  zinc 
emulsions  will  prove  to  be  of  the  same  excellent  quality  as 
when  I first  prepared  them.  The  addition  of  metallic  cad- 
mium to  the  emulsion  helped  matters  to  a certain  extent,  any 
free  hydrobromic  acid  liberated  being  taken  up  by  it. 
1 he  great  drawback  to  the  use  of  the  zinc  is  its  hygroscopic 
character,  an  exposure  of  an  unstoppered  bottle  for  a short 
time  to  the  air  causing  it  to  become  moist.  In  weighing, 
this  is  of  great  consequence  when  a certain  excess  is  neces- 
sary. The  zinc  salt  seems  to  preserve  the  gelatine  from 


decomposition,  as  might  be  expected,  and  this  may  be  of 
importance  in  hot  weather,  when  emulsion  is  left  to  ripen. 
The  formula  I used  were  as  follows  : — 

I. 


Zinc  bromide 

• ••• 

...  125  grains 
...  8 grains 

Potassium  iodide 

• •• 

Water  

" II.  " 

...  1 j ounces 

Silver  nitrate 

• • ••• 

...  178  grains 

W ater  

” III.  " 

...  £ ounce 

Gelatine  ... 

• • ••• 

...  30  grains 

Water 

• ••• 

...  1 ounce 

II.  and  III.  are  mixed  together,  and  then  I.  added.  The 
usual  quautity  (160  to  200  grains)  of  gelatine  was  then 
added,  and  the  washing  proceeded  with.  When  the  bro- 
mide alone  was  used,  the  silver  nitrate  was  reduced  to  170 
grains. 

I may  say  that  zinc  is  not  the  only  salt  which  has  lately 
played  tricks  ou  me.  With  the  formulae  in  which  potassium 
bromide  was  used  in  about  the  same  equivalent  proportions 
as  above,  I have  often  lately  had  to  boil  hours,  whilst 
with  other  samples  of  bromide  one  hour  used  to  be  amply 
sufficient.  That  the  gelatine  is  not  in  fault  is  shown  by 
the  fact  that  the  same  packet  was  used  in  both  cases. 

Now  in  an  older  formula  I had  used  a much  larger  excess 
of  bromide,  and  boiliug  then  took  about  twenty-five  minutes 
to  complete  ; for,  as  I have  often  stated,  the  larger  the  excess 
of  bromide  within  certain  limits,  the  more  rapid  is  the  con- 
version of  the  silver  bromide  from  the  slow  to  the  rapid 
state.  The  drawback  to  the  large  excess  was  found  in  the 
fact  that  the  images  were  apt  to  want  density.  By  increas- 
ing the  bromide  to  a mean  between  that  formerly  used,  and 
that  I had  lately  been  using — viz.,  to  142  grains — I found 
that  the  conversion  took  place  by  boiling  in  from  thirty- 
five  minutes  to  forty-five  minutes,  and  that  rapid  and  dense 
plates  resulted  from  it ; in  fact,  similar  plates  to  those  to 
which  I had  been  accustomed.  It  is  such  vagaries  in  tne 
bromides  which  so  often  baffls  experimenters,  and  lead  them 
to  state  that  different  results  are  obtained  by  them  to 
those  obtained  by  others ; and  it  is  only  by  knowing  the 
results  to  be  expected  by  increasing  or  diminishing  the 
quantity,  that  “even”  plates  are  to  be  obtained.  There 
are  several  novel  experiences  in  emulsion  making  which  I 
have  yet  to  describe,  which  also  throw  light  on  the  different 
degrees  of  sensitiveness  that  are  found  on  working  from  one 
formula.  These  I defer  for  the  present,  as  there  are  one  or 
two  points  which  I wish  to  clear  up  before  giving  them  pub- 
licity. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor-General  of  India. 

Chapter  VI.— The  Preparation  of  the  Photo-Transfer 
Paper — ( continued ). 

For  the  reproduction  of  very  fine  subjects  by  the 
washing-off  method,  Mr.  Bolas  prepares  a paper  similar  to 
Husuik’s;  six  ounces  of  an  easily  soluble  gelatine,  such  as 
Cox’s,  are  dissolved  in  25  ounces  of  warm  water,  and  the 
mixture  is  churned  vigorously  for  twenty  minutes.  At  the 
end  of  this  time,  75  ounces  of  warm  water  are  added,  and 
the  mixture  is  again  churned  for  a few  minutes  in  order  to 
thoroughly  mix  the  water  and  gelatine  solution.  While 
the  mixture  is  being  churned,  3 drops  of  carbolic  acid  and 
a £ of  an  ounce  of  liquor  ammonia  are  added.  The  gelatine 
solution  must  now  be  strained  through  fine  muslin,  and 
poured  into  a dish  standing  in  an  outer  metal  one  filled 
with  hot  water,  kept  hot,  if  necessary,  with  a Bunsin  burner. 
The  surface  of  the  solution  having  been  very  carefully 
skimmed  free  from  froth  and  bubbles,  a sheet  of  the  paper 
is  held  by  two  diagonally  opposite  corners,  and  lowered 


I'ebbuakt  23,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


123 


carefully  on  to  it.  The  paper  is  allowed  to  float  on  the 
gelatine  solution  for  about  half-a-minute,  and  then  hung 
up  to  dry.  The  earliest  coated  papers  will  have  the  thin- 
nest coating,  and  will  be  suitable  for  the  finest  class  of 
work  ; the  later,  and  more  thickly  coated,  will  be  better 
adapted  for  coarser  subjects.  The  coated  paper  is 
thoroughly  dried,  and  may  then  be  stored  away  or  coated 
with  albumen. 

The  preparation  for  albutnenizing  is  made  as  follows  : — 

Six  ounces  of  albumen  are  thoroughly  beaten  to  froth, 
and  then  mixed  with  15  ounces  of  water,  and  20  drops  of 
ammonia  are  added.  The  mixture  is  allowed  to  subside 
for  two  or  three  days,  when  the  clear  part  is  poured  off 
and  carefully  filtered  into  a flat  dish.  The  sheets  of  gela- 
tinized paper  are  floated  on  the  albumen  solution  in  the 
some  manner  as  on  the  gelatine,  and,  in  drying,  special  care 
must  be  taken  to  avoid  dust. 

This  paper  is  sensitized  on  Husnik’s  alkaline  alcoholic 
sensitizer  given  above. 

The  hardened  gelatine  papers  have  rather  a tendency  to 
stick  fast  to  the  zinc  plates  in  trausfer,  and  in  that  case  are 
difficult  to  remove  without  damaging  the  transfer.  Kruger, 
in  his  work  Die  Zincogravure,  gives  the  following  formula 
fora  paper  which  he  says  allows  itself  to  be  very  easily  re- 
moved from  the  zinc  plates. 

Good  photographic  plain  paper  is  floated  from  two  to 
four  minutes  on  a solution  of 

Albumen  of  four  eggs  beaten  and  filtered 
Dextrine  ...  ...  ...  ...  1 ounce 

Water  ...  ...  ...  ...  15  ounces 

and  dried;  then  sensitized  by  floating  again  on  the  same 
solution  with  the  addition  of 

Alcohol...  ...  ...  ...  ...  3 ounces 

Bichromate  of  ammonia  £ ounce 

well  mixed  and  filtered,  and  sufficient  liquor  ammonia  to 
make  it  smell  strongly.  The  coated  paper  is  floated  on 
this  for  about  two  minutes,  dried,  and  is  fit  for  use. 

At  the  Military  Geographical  Institute  in  Vienna,  the 
paper  used  for  photo-lithographic  transfers,  inked-in  with 
a velvet  roller,  is  prepared  in  the  following  way. 

A sheet  of  well-sized  paper  (usually  fine  drawing  paper) 
is  soaked  in  water  till  it  is  quite  supple,  and  then  laid  down 
on  a levelled  glass  plate,  and  all  bubbles  smoothed  out  with 
an  india-rubber  or  flannel  squeegee.  The  edges  of  the 
sheet  are  now  turned  up  for  about  £ inch  all  round,  and 
supported  by  iron  rods.  A warm  solution  of  gelatine  con- 
taining 1 part  of  gelatine  to  30  parts  water  is  poured  on  to 
the  paper  in  the  proportion  of  about  ounces  to  an  ordi- 
nary sized  sheet  22  by  18. 

As  soon  as  the  gelatine  i3  set,  the  sheet  is  laid  on  a 
stringed  frame  to  dry,  which  requires  about  one  and  a-half 
to  two  day3. 

The  day  before  use,  the  gelatinized  paper  is  soaked  in  a 
cold  solution  of  bichromate  of  potash  containing  1 part  of 
bichromate  to  15  of  water  for  about  three  minutes,  air- 
bubbles  being  removed  with  a brush.  The  paper  is  then 
squeegeed  down,  gelatine  side  downwards,  on  a piece  of 
plate-glass,  previously  cleaned  and  rubbed  over  with  a 

Eiece  of  French  chalk,  and  dries  in  from  three  to  twelve 
ours.  The  dry  sensitized  paper  may  be  kept  in  the  dark 
for  eight  or  ten  days  without  spoiling.  It  is  removed  from 
the  glass  plate  in  pieces  as  required,  and  has  a fine  glassy 
surface. 

In  the  early  process  of  photo-lithography  by  transfer, 
published  by  Asser,  of  Amsterdam,  the  transfer  paper 
was  prepared  by  coating  unsized  paper  with  starch 
paste,  and  when  dry  it  was  sensitized  in  a bath  of  bichro- 
mate of  potash.  After  exposure,  printing  ink  was  applied 
with  a roller.  The  process  never  came  into  extended  use, 
as  gelatine  was  found  more  suitable  than  starch.  Mr. 
Bolas  has,  however,  recently  published  a modification  of 
Asser’s  method,  which  he  particularly  recommends  as 
giving  better  results  than  the  gelatine  processes  for  a 


certain  class  of  difficult  subjects  with  ill-defined  grey  lines 
in  the  finer  parts. 

To  produce  the  best  results,  a very  fine  smooth  paper 
must  be  used.  Thin  Rives  paper  is  suitable.  A 3heet  of 
this  paper  is  immersed  in  a dish  of  water,  smooth  side 
uppermost.  A piece  of  glass  plate,  rather  larger  than  the 
paper,  is  slid  under  the  floating  sheet,  avoiding  air-bubbles 
between  the  paper  and  the  glass.  The  paper  and  glass  are 
then  lifted  out  of  the  water  together,  laid  on  a table,  and 
the  paper  having  been  covered  with  another  sheet  of  paper 
or  a piece  of  waterproof  cloth,  the  excess  of  water  is 
squeegeed  out  from  between  the  paper  and  glass. 

The  wet  paper  is  next  to  be  coated  with  a very  weak 
flour  paste,  made  by  boiliug  together  4 parts  of  wheat 
flour  and  100  parts  of  water,  avoiding  lumps.  The  mixture 
is  carefully  strained  through  musliu,  and  a few  drops  of 
ammonia  may  be  added  with  advantage  to  prevent  acidity. 

The  plate  bearing  the  paper,  having  been  placed  nearly 
level,  is  flooded  with  the  warm  paste,  about  14  ounces 
being  required  for  an  ordinary  demy  sheet.  The  plate  is 
then  gently  inclined  so  as  to  run  off  the  excess  of  paste  at 
one  corner,  the  plate  being  rocked  meanwhile  as  in  pour- 
ing off  collodion.  The  plate  with  the  paper  is  now  reared 
up  on  one  edge  to  drain,  and  after  a short  time  the  paste 
will  be  seen  to  divide  itself  into  little  granular  patches. 
The  surface  of  the  paste  must  now  be  smoothed  with  a long- 
haired badger  hair-brush,  an  operation  which  requires  some 
little  practice.  The  brush  should  be  held  loosely  in  the 
hand,  working  from  the  wrist,  and  the  ends  of  the  hairs 
should  pass  lightly  and  rapidly  over  the  surface  of  the 
paper,  till  an  even  and  satisfactory  surface  is  produced. 
The  paper  may  then  either  be  stripped  off  the  glass  and 
hung  up  to  dry,  or  it  may  be  allowed  to  dry  on  the  glass 
plate,  in  which  case  it  is  as  well  to  lightly  wax  the  surface 
of  the  glass  beforehand. 

When  dry,  the  paper  may  be  sensitized  by  soaking  for 
a few  minutes  in  Husnik’s  alkaline  alcoholic  sensitizer 
given  above,  or  in  a 34  per  cent,  solution  of  bichromate  of 
potash  to  which  a few  drops  of  ammonia  have  been 
added.  It  is  hung  up  to  dry  in  a warm  place. 

As  before  noticed,  gum,  though  it  would  have  many 
conveniences  from  its  cheapness  and  easy  solubility,  is  not 
much  used  for  the  preparation  of  ordinary  photolitho- 
graphic paper.  It  has,  however,  been  used  with  consider- 
able success  by  Toovey,  of  Brussels,  in  what  may  be 
termed  an  indirect  transfer  process,  in  which,  instead  of 
ink,  the  soluble  gum  is  transferred  to  the  stone,  and  forms 
the  reserves,  so  that  ink,  afterwards  applied,  fixes  itself  on 
the  lines  of  the  drawing.  This  process  will  be  described 
in  detail  in  a subsequent  chapter. 

Herr  Leth,  of  Vienna,  gave  me  the  following  formula 
for  a preparation  of  the  paper  in  which  gum  is  mixed  with 
gelatine : — 

Gum  arabic £ part 

Gelatine  £ „ 

Bichromate  of  potash  3 parts 

Water 48  ,, 

The  bichromate  of  potash  is  in  large  excess,  and,  according 
to  Herr  Leth,  this  is  useful  in  printing  from  weak  nega- 
tives, because  the  ground  can  be  rubbed  clean  without 
injuring  the  lines. 

According  to  Martin  ( Handbuch  der  Emailphotographie 
und  der  Phototypie,  $■<;.),  another  formula  of  Leth’s  is  as 
follows  : — 

ounces  of  gum  arabic  are  dissolved  in  48  ounces  of 
water  ; 4J  ounces  of  bichromate  of  potash  are  added,  and 
when  dissolved,  the  albumen  of  40  eggs  is  mixed  in,  and 
the  whole  beaten  to  froth.  When  settled,  it  is  filtered 
into  a dish,  and  paper  floated  on  it,  and  dried. 

A gum  process  was  formerly  used  at  the  Military 
Geographical  Institute,  in  Vienna,  the  transfer  paper  being 
prepared  by  coating  ordinary  albumenized  paper  with  a 
filtered  mixture  of  solutions  of — 


124 


THE  PHOTOGRAPHIC  HEWS.  [EEBEUABr  23,  1883. 


1.  — Finest  gum  arabic  ...  ...  ...  2J  parts 

Water 35  ,, 

2.  — Bichromate  of  potash 1 ,, 

Water 30  „ 

Albumenized  paper  may  also  be  used  by  itself  for  photo- 
lithographic transfers.  The  sensitizing  bath  should  be  a 
solution  of  bichromate  of  potash  containing  alcohol,  and 
the  paper  must  be  floated  on  it  albumenized  side  upwards, 
so  as  to  avoid  dissolving  off  the  albumen.  With 
albumenized  paper  it  is  rather  difficult  to  keep  the  ground 
free  from  ink  in  the  white  parts. 

{To  be  continued.) 


0>i  THE  MOUNTING  OF  PHOTOGRAPHS,  AND 
INJURIES  CAUSED  THEREBY.* 

It  is  a well-known  fact  that  the  fading  of  photographs  is 
caused  not  so  frequently  by  the  actual  mount,  as  by  the 
mounting  material  employed.  Sour  paste  or  gum  has 
spoilt  many  a fine  picture,  the  green  mould  decomposing 
the  albumen  upon  the  surface  of  the  print  bringing  about 
the  oxidation  of  the  silver.  It  appears  almost  unnecessary 
to  waste  time  talking  of  this  well-known  circumstance, 
for  everyone  using  these  substances  kuows  what  is  to  be 
feared,  and  recognises  directly  the  cause  of  fading. 

The  conditions  under  which  paste  begins  to  decompose 
by  the  formation  of  microscopic  organisms  are  at  present 
by  no  means  so  fully  known  as  to  enable  it  to  be  stated  with 
certainty  in  every  single  case  whether  decomposition  has 
really  set  in  or  not.  The  germs  existing  in  starch  may 
easily  be  destroyed  by  boiling,  but  after  a few  hours’ 
exposure  to  the  air  they  are  found  again  in  great  numbers, 
without  reckoning  those  which  in  certain  cases  adhere  to 
the  card  or  back  of  print.  The  speed  with  which  these 
germs  multiply  varies  according  to  the  situation  of  the 
room  in  which  the  mounting  goes  on,  and  that  of  the 
storage  rooms  for  cards  and  pictures.  Even  when  present 
in  large  numbers,  they  only  exert  a pernicious  influence 
when  the  paste  has  been  sufficiently  exposed  to  convert  the 
germs  into  fungi.  In  summer  two  hours  sometimes  suffices  ; 
in  winter  it  takes  as  many  days. 

Where  there  are  not  many  pictures  to  be  mounted,  and 
they  can  all  be  allowed  to  dry  before  putting  away,  the 
danger  of  mildewing  is  not  great,  provided  fresh  paste  be 
used.  Un  the  contrary,  when  many  have  to  be  done  at  the 
same  time  and  packed  up  when  only  half  dry,  or  with  large 
pictures  to  avoid  damaging  them,  they  are  placed  between 
sheets  of  card  in  a drawer  to  the  exclusion  of  the  air,  such 
conditions  would  conduce  to  the  development  of  organic 
germs.  Of  course  many  circumstances  have  to  be  con- 
sidered which  do  not  appear  at  first  sight,  and  therefore 
the  real  cause  of  the  mischief  does  not  always  come  to 
light.  lor  instance,  mounting  boards  should  be  examined 
both  as  to  their  storage  and  the  manner  in  which  they  are 
arranged,  so  as  to  discover  if  some  be  relatively  free  from 
mould  germs,  and  others  attract  them,  whether  the  boards 
are  kept  from  the  damp,  or  the  mounting  paste  itself  be  at 
fault.  I he  photographer  looks  for  a reason  in  the 
appearance  of  the  cardboard  itself,  and  excludes  the  pre- 
sence of  injurious  substances  such  as  hyposulphite, 
chlorine,  &c.  If  when  under  examination  by  a chemist  a 
negative  result  is  given,  he  thinks  there  must  be  some 
mistake,  while  the  real  cause  would  be  more  easily  observed 
through  a microscope  than  by  all  the  reagents  of  a 
laboratory. 

Is  the  photographer  really  quite  helpless  in  this  matter? 
It  would  seem  so.  The  room  for  the  mounting,  packing,  and 
pressing  of  pictures  cannot  be  changed  ; it  is  most  likely 
difficult  to  ventilate,  and  therefore  highly  favourable  to 
the  development  of  mildew.  Space  may  be  very  limited, 
and  cause  the  greater  need  for  stacking  up  even  small 

• rhotographitches  Wochenblatt. 


photographs.  What  is  to  be  done,  then,  to  avoid  this 
apparently  unavoidable  evil  ? 

The  remedy  is  simple  and  certain,  while  at  the  same 
time  it  possesses  the  advantage  of  not  absolutely  requiring 
that  fresh  paste  should  be  made  every  time.  It  consists 
in  the  addition  of  some  chemically  pure  carbolic  acid 
directly  after  the  paste  is  made.  The  antiseptic  properties 
of  this  substance  are  well  known.  The  germs  already 
existing  will  be  destroyed  by  it,  and  their  formation 
effectually  prevented  where  the  pictures  are  still  damp. 
The  paste  keep3  so  well  that  it  may  be  used  for  weeks  after 
its  preparation,  while  usually  it  cannot  be  used  after  a few 
hours  in  hot  weather.  I cannot  recommend  this  addition 
too  highly  to  photographers,  as  it  removes  at  once  one  of 
the  greatest  dangers  from  their  pictures. 

Now  comes  the  question  of  how  much  should  be  used. 

I give  the  following  as  an  excellent  mounting  paste.  This 
subject  should  not  be  treated  too  lightly;  it  is  so  important 
to  the  whole  appearance  and  duration  of  photographs. 

Some  good  wheatflour,  not  potato  or  rice  starch,  is 
mixed  with  a little  luke-warm  water  in  a warm  jar  to  the 
consistency  of  thick  batter,  to  which  boiling  water  is  added 
while  stirring.  It  is  important  that  the  right  quantity  of 
luke-warm  water  should  be  used  in  the  first  instance,  as, 
if  too  thick,  it  becomes  lumpy  ; if  too  much  water,  it  is  thin. 
Only  so  much  boiling  water  must  be  added  to  make  the 
paste  when  hot  as  firm  as  very  stiff  batter.  An  equal 
amount  of  a ten  per  cent,  solution  of  gelatine,  and  one- 
third  of  spirits  of  wine,  in  which  six  grammes  per  litre  of 
carbolic  acid  have  been  dissolved,  are  added  to  the  paste. 
This  mounting  material  lasts  good  for  a long  time,  aud 
must  be  used  just  warm,  as  when  cold  it  assumes  the  con- 
sistency of  gelatine. 

Thi3  paste,  although  somewhat  expensive,  is  exceedingly 
convenient  to  use.  Dry  albumenized  photographs,  when 
spread  with  it,  do  not  roll  up  so  much,  and  this  is  of  great 
advantage  for  large  pictures,  as  they  stretch  when  made 
wet,  and  cause  the  card  to  cockle.  Wetting  the  card  to 
avoid  this  is  of  no  use,  as  the  albumenized  surface  con- 
tracts so  much  on  drying. 

If  a photographer  finds,  sooner  or  later,  tiny  light  spots 
covering  his  pictures,  often  arranged  as  showing  the  sweep 
of  the  paste-brush,  let  him  try  the  addition  of  carbolic  acid, 
and  in  most  cases  the  evil  will  be  remedied.  In  most  cases, 
but  not  always.  There  may  be  other  reasons  besides 
formation  of  mildew,  and  the  chief  one  may  be  put  down 
to  the  use  of  the  so-called  bronze  card  mounts. 

This  favourite  mode  of  decoration  is  obtained  by 
sprinkling  bronze  powder  over  the  card.  If  such  mounts 
contain  ingredients  likely  to  affect  photographs,  this  affords 
a ready  means  of  causing  them  to  fade. 

By  analysing  the  composition  of  different  bronze  tints, 
gold  being  debarred  from  general  use  on  account  of  its  cost, 
the  following  results  will  be  found  on  referring  to  Koenig. 


Light  yellow 

Copper. 

82-3 

Zinc. 

16-7 

Tin. 

Bright  yellow 

84-5 

15-3 

— 

Reddish  yellow 

900 

9-6 

— 

Orange 

99-0 

0-7 

— 

Copper  red 

99-9 

— — 

— 

Violet 

98-2 

0.5 

— 

Green 

84-3 

150 

— 

White 

— 

2-4 

96*5 

ingredients  in  the 

various  bronzes 

are  heated  and 

mixed  with  grease  as  protection  from  the  carbonic  acid  in 
the  air. 

Without  further  discussion,  it  may  be  seen  that  these 
bronzes  cannot  exert  sufficient  influence  upon  photographs 
to  affect  them,  and  upon  the  whole  are  indifferent  to 
silver  pictures.  On  this  account  I have  never  heard  of 
pictures  fading  when  mounted  on  cards  printed  with  these 
so-called  gold-bronzes.  But  for  very  cheap  mounts  for 
which  the  large  amount  of  copper  required  by  the  table 
above  is  too  expensive,  bi-sulphide  of  tin  (aurum  musivum) 


THE  PHOTOGRAPHIC  NEWS. 


125 


February  23,  1883.] 


is  required,  which  gives  a bronze  tint,  like  that  seen  cover- 
ing plaster  figures.  This  bi-sulphide  of  tin  consists  of 
35-55  of  sulphur  and  GT45  of  tin.  As  this  substance 
really  contains  such  a large  amount  of  what  is  most  per- 
nicious to  photographs,  one  cannot  wonder  at  its  action. 
Added  to  which,  the  combination  itself  is  not  stable,  so 
that  the  sulphur  can  readily  attack  silver  pictures. 

Curiously  enough,  the  spots  caused  by  this  bi-sulphide 
of  tin  are  very  similar  to  those  formed  by  the  decomposi- 
tion of  paste.  They  are  small,  not  shaiply  defined,  and 
follow  the  strokes  of  the  brush.  The  reason  for  this 
appearance  is  that  the  card  receiving  more  paste  in  some 
places  than  others  slightly  raises  the  picture  in  these  parts, 
and  the  eminences  when  the  pictures  are  stacked  up 
together  detach  a small  quantity  of  the  bronze  card  touch- 
ing them,  as  may  be  seen  through  a magnifying  glass.  It 
is  useless  to  try  and  rub  off  all  traces  of  the  powder, 
because  it  enters  into  the  surface  of  the  paper.  Let  this 
stand  as  a warning  to  all  photographers  to  shun  cheap 
bronze  cards. 

Although  this  aurum  musivum  is  so  easily  distinguish- 
able from  all  others  by  its  colour,  it  is  better  to  have  a 
chemical  test  for  it.  The  most  simple  are  nitric  acid  and 
alkalis.  Bronzes  containing  copper  and  zinc,  and  some 
having  tin  in  their  composition,  are  very  soluble  in  the 
former,  while  the  bi-sulphide  of  tin  withstands  concentrated 
nitric  acid.  On  the  other  hand,  it  is  soluble  in  alkaline 
solutions,  while  the  bronzes  are  not.  lu  testing,  care  must 
be  taken  not  to  cofuse  the  action  of  the  adhering  substance 
with  that  of  the  bronze  itself  when  using  the  printed  card. 
The  best  plan  is  to  place  a drop  of  the  testing  solution 
upon  the  bronze  card  and  observe  the  result  through  a 
magnifying  glass  ; the  dissolving  of  real  bronze  in  nitric 
action  will  infallibly  evolve  a gas. 


PHOTO-MICROGRAPHY. 

BV  G.  J.  JOHNSON.* 

Actinic  and  Visual  Foci. — In  photographic  lenses  by  good 
makers  great  pains  are  taken  to  make  the  actinic  and  visual  rays 
meet  in  the  same  point ; but,  as  microscopic  lenses  as  a rule  are 
constructed  solely  for  giving  the  best  definition  to  the  human  eye, 
a different  formula  is  adopted  for  the  curves  of  the  glasses.  For 
the  sake  of  your  junior  members,  some  of  whom  may  be  imper- 
fectly acquainted  with  optics,  you  will,  perhaps,  grant  me  a 
short  indulgence  while  I explain  the  principle  of  achromatism. 
[Diagrams  were  thrown  npon  the  screen  illustrative  of  the  con- 
struction of  achromatic  lenses  and  the  over-correction  of  micro- 
scopic objectives.] 

As  it  is  generally  accepted  that  the  best  definition  is  obtained 
in  photo-micrography  without  the  use  of  the  eyepiece,  you  will  at 
once  see  the  necessity  for  allowing  readily  for  this  discrepancy 
between  the  visual  and  actinic  foci.  In  the  instrument  before 
you  l have  determined  by  experiment  that,  when  a two-inch 
object-glass  by  Baker  is  employed,  the  screen  being  thirty -seven 
inches  distant  from  the  object  which  has  been  visually  focussed, 
the  objective  must  be  withdrawn  inches,  or  the  rod  turned  till 
the  pointer  previously  placed  at  zero  passes  through  15°,  to  the 
right  (at  half  the  focal  distance  74?  must  be  allowed),  the  chemical 
rays  will  then  make  a sharp  picture  on  the  film,  whilst  the  outline 
appears  blurred  to  ordinary  vision.  In  the  more  delicate  correc- 
tions required  by  the  higher  powers  recourse  may  be  had  to 
extension  of  the  bellows  instead  of  altering  the  fine  adjustment 
screw.  The  allowance  required  for  each  objective  can  readily 
be  ascertained  by  placing  an  ordinary  micrometer  scale  ruled  to 
yi^ths  and  y^’^ths  inch  on  the  stage  of  the  microscope  at  an  angle 
of  10°  to  15®,  so  that  each  line  has  a varying  focal  point.  On  the 
screen  is  a photograph  of  such  a scale  taken  at  thirty-seven  inches 
by  the  two-inch  lens,  the  visual  focus  having  been  adjusted  at  the 
first  line  of  the  thousandths,  and  the  best  photographic  defiinition 
coming  out  about  the  fifth  or  sixth  line  of  the  hundredths.  The 
difference  in  the  visual  foci  of  these  two  lines  was  represented  by 
15°  on  the  scale,  which  was  readily  found  by  viewing  the  scale 
through  the  eyepiece  and  swinging  the  index  between  the  two 
focal  points.  Instead  of  the  micrometer  scale  an  object  not 


* Continued  from  page  109. 


pressed  too  flat— such  as  a fly  which  has  delicate  hairs  lying  in 
different  planes— may  be  employed  in  a like  manner. 

If  a specially-sharp  picture  be  required  of  some  difficult  object, 
trial  plates  should  be  taken  with  determinate  variations  in  the 

length  of  the  bellows,  either  by  cutting  a dry  plate  into  slips 

which  should  be  numbered  and  exposed  separately— or  a diaphragm 
can  be  placed  immedately  behind  the  focussing-screen,  having  a 
revolving  disc  three  inches  in  diameter  fixed  m the  centre,  a 
quadrant  being  cut  out  of  the  same  to  allow  of  sucessive  ex- 
posure, the  disc  being  revolved  and  the  shutter  lowered  between 
each  variation  of  the  bellows.  Four  results  will  thus  be  exhibited 
on  the  same  plate. 

No  tables  can  be  given  for  the  actinic  allowance  required  by 
the  various  powers.  A one-inch  by  Dancer,  lent  by  a friend,  was 
found  to  produce  sharp  pictures  without  any  such  allowance,  whilst 
another  by  Swift  required  2°  on  my  scale.  Powers  above  one- 
quarter  of  an  inch  seldom  require  compensation,  and  some  of  the 
photographic  lenses  of  English  make,  when  stopped  down,  per- 
form admirably  on  large  objects  of  half  or  one  inch  diameter. 
Many  of  the  pictures  to  be  seen  to-night  were  produced  by 
Dallmeyer’s  stereoscopic  lens,  kindly  lent  by  Mr.  Pollitt.  The 
tyro  is  recommended  to  ascertain  definitely  once  for  all  the  exact 
allowance  required  for  each  lens,  and  to  keep  a careful  record 
of  the  same. 

in  order  to  produce  satisfactory  negatives  no  pains  should  be 
spared  to  obtain  a flat  and  even  picture,  by  levelling  the  object  by 
means  of  the  set  screws  referred  to.  I have  seen  many  otherwise 
commendable  photographs  utterly  spoiled  by  one-half  of  the 
picture  being  out  of  focus. 

Illumination. — The  most  preferable  source  of  light,  as  far  as  my 
experience  goes,  is  the  sun  ; but  the  electric  arc,  lime-light,  gas, 
and  paraffine  lamps  have  all  been  used.  Now  that  sensitive  dry 
plates  are  within  the  reach  of  all,  the  paraffine  lamp  is  usually 
employed,  either  naked  or  with  a bull’s-eye  condenser  interposed. 
If  the  latter  be  employed,  difficulty  is  often  experienced  in  obtain- 
ing even  illumination  all  ever  the  field,  the  thickness  of  the  glass 
breaking  up  the  rays  into  prismatic  colours.  Mr.  Dancer  recom- 
mends a double  combination  quarter-plate  lens  used  as  a con- 
denser, an  image  of  the  lamp  flame  being  formed  thereby  a little 
behind  the  object,  so  that  the  rays  just  cross  before  arrival.  A 
disc  of  light  should  be  produced  which  amply  covers  the  size  of 
the  object.  It  will  be  found  convenient  to  ascertain  the  correct- 
ness of  the  illumination  by  placing  a slip  of  white  writing  paper 
on  the  object  slide,  and  observing  whether  the  image  of  the  flame 
fully  envelops  the  field.  In  using  the  higher  power,  when  it 
becomes  necessary  to  obtain  more  intense  light  upon  a small  space, 
the  paraffine  flame  may  be  placed  edgewise.  With  a good  lamp, 
powers  up  to  the  one-fifteenth  of  an  inch  may  be  employed 
with  dry  plates.  For  low  magnifications  ordinary  daylight  from 
a white  cloud  will  suffice.  In  using  sunlight  it  is  sometimes 
necessary  to  interpose  a glass  cell  containing  a solution  of  common 
alum  to  arrest  the  heat  rays,  otherwise  the  object  or  the  lens  may 
be  injured.  With  naked  sunlight,  also,  diffraction  and  interference 
lines  are  apt  to  appear  around  the  image,  when  a p late  of  ground 
glass  should  be  fixed  an  inch  or  so  behind  the  object  to  soften 
the  light.  Dr.  Woodward,  in  using  very  high  powers,  has  some- 
times found  it  imperative  to  make  use  of  monochromatic  light. 
This  can  be  obtained  by  causing  the  sun’s  rays  to  pass  through  a 
solution  of  sulphate  of  copper  to  which  is  added  strong  ammonia. 

In  photographing  the  delicate  markings  on  some  diatoms  the 
light  must  impinge  on  these  transparent  objects  at  a considerable 
angle,  or  the  direct  flood  of  rays  will  drown  all  detail.  In  photo- 
graphing the  proboscis  of  a blow-fly  I have  found  a superabundance 
of  light  fatal  to  the  fine  delineation  of  the  false  trachea.  With 
objects  difficult  of  resolution  the  ordinary  achromatic  condenser 
of  the  microscope  is  often  employed. 

Definition. — In  the  lower  powers  definition  is  rendered  much 
core  perfect  by  the  introduction  of  a stop  behind  the  back  lens. 
For  instance  : in  portraying  a section  of  the  stem  of  the  dog  rose, 
a stop  a-quarter  of  an  inch  in  diameter  materially  improved  the 
definition  of  the  delicate  cells,  and  in  many  histological  specimens, 
where  great  penetration  is  required,  the  tissues  being  compara- 
tively thick,  a reduction  of  the  aperture  of  the  lens  is  imperative. 
Stops  of  cardboard  or  turned  wood  may  be  employed,  or  Davis’s 
iris  aperture  shutter,  which  gives  all  variations  in  size  from  a pin 
point  upwards. 

Objects. — All  microscopical  objects  are  not  equally  suitable  on 
account  of  either  colour  or  thickness.  Tissues  stained  light  blue 
or  purple  give  faint  images,  whilst  dense  brown  objects  will  not 
allow  light  to  penetrate  the  detail.  Preparations  of  insects  (such 
as  fleas,  which  make  capital  subjects  for  the  beginner)  should 


126 


THE  PHOTOGRAPHIC  NEWS. 


[February  23,  1883, 


have  lain  in  the  potash  solution  or  turpentine  a sufficient  time  to 
render  the  body  semi-transparent.  Sections  of  woods,  if  cut  thin 
and  strained  a suitable  colour,  make  good  pictures.  Sections  of 
lung  if  thin,  give  good  results,  but  many  anatomical  preparations 
of  soft  tissues  are  too  thick  to  allow  of  perfect  focussing  with 
the  higher  powers.  A beautiful  section  of  the  retina  of  the 
human  eye  which  I possess,  although  most  interesting  when 
viewed  in  the  ordinary  microscope,  is  quite  unfit  for  the  camera. 
Diatoms  which  present  a flat  surface,  like  arachnoidiscus,  are 
most  suitable,  hut  require  careful  levelling  on  the  stage. 

Exposure.— No  fixed  rule  can  be  given  for  exposure,  which  varies 
with  the  light,  lenses,  and  length  of  focus  employe!,  hut  much 
trouble  will  be  avoided  by  the  operator  if  a standard  light  be 
used,  and  a careful  record  kept  of  the  results  of  exposures  by 
means  of  a register,  such  as  that  which  lies  on  the  table.  With 
Swan’s  “ ten  times  ” dry  plates  a small  microscopic  paraffine  lamp 
without  condenser,  fixed  seven  inches  from  the  object,  gave  a good 
icture  in  one  minute,  with  a two-inch  lens  full  aperture,  and  the 
ellows  extended  to  thirty  inches. 

As  a rule,  amateurs  over-expose  their  plates,  and  produce  a 
weak,  thin  negative.  The  movable  disc  before  referred  to  affords 
an  easy  method  of  testing  the  time  of  exposure,  four  tests  being 
obtained  on  one  plate.  Another  method  is  to  partially  raise  the 
shutter  at  intervals,  noting  the  time  for  each  exposure  ; then  to 
cut  the  plate  down  the  middle  with  a diamond,  and  develop 
one  half  two  or  three  minutes  longer  than  the  other.  Six  varia- 
tions on  the  exposures  can  thus  be  seen,  and  the  utmost  novice 
will  be  able  to  discern  “ which  way  the  cat  jumps.” 

Photographic  Process— If  sunlight  were  always  at  command  I 
should  prefer  the  wet  collodion  process,  on  account  of  the  readi- 
ness and  rapidity  with  which  trial  plates  can  be  developed  and 
examined.  Every  object  differs  so  much  in  density  or  size  that 
the  time  of  exposure  is  very  varying,  and  carefully-repeated  ex- 
periments are  necessary.  I have  heard  it  stated  that  Dr.  Maddox 
thought  he  did  well  to  secure  one  good  negative  a day. 

Development. — For  readiness  of  application  at  rare  intervals 
of  leisure  I have  preferred  the  ferrous  oxalalate  developer  for  dry 
plates,  and  all  my  gelatine  negatives  have  been  executed  so  far  by 
this  process  ; but  it  is  doubtful  whether  this  method  allows  of  so 
much  latitude  in  nursing  up  the  contrasts  in  a negative  of  a very 
transparent  object,  as  is  afforded  by  the  pyro  developer.  I have 
also  intensified,  where  requisite,  with  the  saturated  solution  of 
bichloride  of  mercury,  and,  after  well  washing,  steeping  in  the 
solution  of  ammonia.  The  solution  of  mercury  may  be  kept  in 
stock  and  used  over  and  over  again. 

Magnification. — The  greater  the  disparity  between  the  distance 
of  the  front  lens  from  the  object  and  the  distance  of  the  lens  from 
the  sensitive  plate  the  less  chance  is  there  of  securing  penetration 
or  deep  focus.  Therefore,  if  large  prints  are  required,  better 
results  will  follow  from  employing  a low  power,  and  taking  a 
small  picture,  afterwards  enlarging  from  the  negative.  Quarter- 
plates  will  suffice  in  most  instances  for  this  class  of  work,  and 
those  members  who  have  seen  Professor  Piazzi  Smyth’s  negatives 
of  the  Pyramids,  only  one  inch  square,  and  enlarged  three  diame- 
ters by  Mr.  Pollitt,  will  be  aware  how  well  they  bear  further 
magnification  on  the  lantern  screen. 

The  highest  resolution  I have  heard  of  or  seen  by  photo-micro- 
graphy is  that  by  Dr.  Woodward  with  Zeiss’s  oil  immersion  lens 
one-twelfth  of  an  inch,  on  the  diatom  Amphipleura  pellucida, 
where  the  striae,  which  in  nature  count  about  100,000  to  the  inch, 
are  plainly  delineated  on  the  print ; and  Mr.  Crisp,  the  secretary 
of  the  R.M.S.,  tells  me  the  lines  have  never  been  so  clearly  shown 
by  ordinary  vision.  The  nineteenth  band  of  Nobert’s  test-plate 
of  finely-ruled  lines  on  glass,  containing  about  100,000  to  the  inch, 
was  also  resolved  by  this  unapproached  operator  with  Tolle’s  one- 
eighteenth  of  an  inch  immersion  lens. 

From  certain  late  researches  of  Professor  Abbe  the  theory  is 
established  that  when  we  are  near  the  limits  of  “ resolution  ” the 
superiority  of  photographic  vision,  so  to  apeak,  over  that  of 
ordinary  microscopic  vision,  is  as  5 to  4,  all  other  things 
being  equal ; but  it  must  be  remembered  that  ordinary  microscopic 
powers  are  constructed  for  vision,  and  not  for  chemical  por- 
traiture. 

The  various  magnifications  obtained  by  tbe  several  powers  are 
set  down  by  Mr.  Davis  as  follows.  At  thirty-six  inches  : — 


= 

X 

12 

i-in. 

— 

X 

173 

99 

99 

21 

i 99 

99 

99 

360 

99 

99 

37 

1Z  99 

99 

99 

530 

» 

>» 

80 

In  conclusion : before  we  show  upon  the  screen  some  of  the 
combined  work  of  Mr.  Pollitt  and  myself,  allow  me  to  admit  that 


in  the  presence  of  such  an  important  Society  1 feel  I have  much 
more  to  learn  than  to  teach,  and  I invite  your  candid  criticism  of 
any  statement  I have  made  with  a view  to  furthering  the  develop- 
ment of  a most  interesting  branch  of  your  art,  which  for  some 
years  has  been  a source  ot  much  interest  to  myself,  and  is  evi- 
dently about  to  become  of  great  educational  value. 


<&0msp0ni>f»C£. 

THE  PHOTOGRAPHIC  CLUB  AND  PUBLICATION 

“Oil,  dear  ! I heard  such  a shout, 

Asking  for  reformation  which  they  can't  do  without.” 

Sir, — As  one  of  the  fathers  of  the  Photographic  Club, 
permit  me  to  thank  my  children  for  the  compliment  they 
have  paid  me,  and  to  congratulate  them  on  their  adopting 
at  least  a part  of  the  reform  I so  strongly  advocated — viz., 
{.ublishing  a programme  of  the  proceedings,  a free  meeting 
monthly,  &c.  Some  of  mv  friends  have  likened  me  to 
Arabi  Pacha,  who,  after  having  been  kicked  out,  his  enemies 
have  seen  fit  to  introduce  the  required  reforms. 

I am  glad  to  see  that  at  last  something  is  likely  to  be 
done  to  “ warrant  the  chairman  in  certifying  that  the 
matters  of  discussion  are  fit  for  publication  (being  a rule  of 
the  Club).”  I can  scarcely  thin u that  for  two  years  a dozen 
persons  have  met  weekly  without  something  being  said  or 
done  worthy  of  publication. 

Apologising  for  intruding  on  your  space,  but  in  the  inte- 
rests of  the  profession,  I think  it  right  that  this  matter 
should  be  ventilated. — I remain,  yours  respectfully, 

A.  L.  Henderson. 


THE  TRANSIT  OF  VENUS. 

Dear  Sir, — Please  correct  a little  mistake  in  your  report 
respecting  photos  of  “ Transit  of  Venus  ” in  your  last 
number.  I did  not  say  that  the  photo.  No.  3 presented  the 
appearance  of  a deeply-cogged  wheel  with  curved  teeth,  but 
that  it  was  possible  that,  owing  to  the  planet  so  appearing 
in  the  telescope , it  might  have  affected  the  size  of  the 
image  on  the  plate. — I am,  deal  sir,  yours  truly, 

J.  Foster. 

_o 

§ robbings  of  3ociHiti. 

NEWCASTt/E-ON-T  YNE  AND  NORTHERN  COUNTIES’  PHOTOGRAPHIC 
Association. 

The  ordinary  monthly  meeting  of  the  above  Association  was 
held  in  the  College  of  Physical  Science,  Newcastle,  on  Tuesday, 
the  13th  inst.,  at  7.30  p.m.,  Mr.  A.  L.  Steavenson  in  the 
in  the  chair. 

The  minutes  of  the  annual  meeting  were  read  and  confirmed. 
A letter  was  read  from  the  President  (Colonel  Sheppee)  expressing 
regret  at  not  being  able  to  be  present ; also  the  following  letter — 
“ University  of  Durham,  College  of  Physical  Science, 
Newcastle-on- Tyne,  Feb.  Gth,  1883. 

“ Dear  Sir, — 1 have  much  pleasure  in  stating,  that  the  por- 
trait of  the  late  Professor  A.  Friere  Marreco,  which  was  so  kindly 
presented  to  the  College  of  Physical  Science  by  the  Newcastle - 
on-Tyne  and  Northern  Counties’  Photographic  Association,  was 
formally  placed  before  the  Council  of  the  College  at  their  meeting 
yesterday,  and  I was  desired  to  inform  you  that  the  same  was 
accepted  with  much  gratification,  and  to  beg  that  you  will  be 
good  enough  to  convey  the  thanks  of  our  Council  to  your 
Association  for  their  very  kind  consideration. — Believe  me,  dear 
sir,  yours  very  faithfully,  Theo.  Wood  Browning.” 

Messrs.  J.  Garland,  E.  Schumann,  and  R.  Snowdon  were 
nominated  for  membership. 

Mr.  Edgar  Goold,  of  Elswick,  gave  a practical  demonstration 
of  Marion’s  Ferro-Prussiate  Process  ; and  also  of  Pellet’s  Patent 
Direct  Positive  Process  (seepage,  11 U).  The  operations,  skilfully 
performed,  were  witnessed  with  much  interest  by  the  members 
present,  and  at  their  conclusion  a hearty  vote  of  thanks  was 
accorded  Mr.  Goold  on  the  motion  of  Mr.  Payne,  seconded  by 
Mr.  Pike. 


February  23,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


127 


Mr.  Payne  read  a paper  on  “Our  Association,”  referring 
to  the  opinions  of  some  of  the  members  that  the  meeting 
room  was  unsuitable.  Mr.  Payne  said  he  had  given  the  matter 
considerable  attention,  and  had  come  to  the  conclusion  that  the 
room  was  not  so  much  at  fault  as  the  members  themselves  ; there 
was  no  doubt  whatever  that  we  were  exceedingly  fortunate  in 
possessing  such  a home.  Complaints  had  been  made  that  there 
was  an  absence  of  interest  taken  in  the  discussions  and  various 
matters  brought  before  the  Association  ; but  if  we  were  afraid  to 
speak  on  a matter,  or  enter  into  discussion,  we  must  blame  our- 
selves for  the  silence.  If  members  would  contribute  a little 
more  to  the  interest  of  the  meetings,  and  make  more  use  of  the 
Association  by  soliciting  or  offering  advice  on  various  topics, 
and  by  bringing  samples  of  work,  good,  bad,  or  indifferent— for 
all  were  equally  instructive — they  would  effectually  help  their 
fellow-members  to  gain  information  themselves,  and  banish 
complaint.  Mr.  Payne  concluded  by  proposing  “ That  it  be  the 
custom,  excepting  special  occasions,  to  devote  half-au-hour  each 
ordinary  meeting  for  questions  and  general  discussion  ; and  he 
would  have  it  understood  that  every  member  be  expected  to 
bring  some  object  of  interest,  whether  negatives,  prints,  or 
novelties  in  apparatus. 

Mr.  J.  P.  Gibson  seconded  the  proposal,  and  said  he  thought 
Mr.  Payne  deserved  the  thanks  of  the  Association  for  bringing 
the  subject  forward. 

Mr.  Payne  exhibited  some  fine  photographs  of  pottery,  and 
some  stereoscopic  transparencies,  the  latter  on  collodio-albumen 
plates.  A conversation  ensued  with  regard  to  stereoscopic  pic- 
tures generally,  in  which  Messrs.  Payne,  Sawyer,  Laws,  and  the 
Chairman  took  part. 

Mr.  Laws  showed  an  excellent  photograph  representing  the 
crib  (surrounded  by  figures)  included  in  the  decorations  at 
St.  Dominic’s  (Catholic)  Church  last  month,  taken  under  con- 
siderable difficulty,  and  by  the  aid  of  artificial  light  only— viz., 
three  Argand  burners,  four  kerosene  lamps,  several  wax  candles, 
and  magnesium  ribbon  (for  about  one-sixth  of  the  exposure, 
seventy  minutes)  ; lens  used,  a 10  by  8 rapid  rectilinear. 

Votes  of  thanks  to  Mr.  Payne,  Mr.  Lyddell  Sawyer  (for  con- 
tribution of  photographs),  and  to  the  Chairman,  concluded  the 
meeting. 

London  and  Provincial  Photographic  Association. 

At  a meeting  of  the  above  Association,  held  at  Mason’s  Hall 
Tavern,  1 5th  February,  1883,  Mr.  W.  Cobb  occupied  the  chair. 

Mr.  Brown  showed  a plate-box,  illustrating  further  improve- 
ment of  the  one  shown  by  Mr.  Cowan  at  a previous  meeting  ; 
the  box  was  constructed  of  cardboard,  and  was  about  a quarter 
of  an  inch  larger  than  the  plates  intended  to  be  packed  in  it ; 
the  ends  of  the  cards  forming  the  sides  were  cut  and  folded  so 
as  to  form  a substitute  for  the  wooden  uprights  in  Mr.  Cowan’s 
box,  and  the  plates  were  packed  back  to  back  as  in  the  original 
box. 

Mr.  Ashman  passed  round  two  prints  with  a highly-glazed 
surface,  obtained  by  dusting  powdered  talc  on  to  a piece  of 
glass,  then  squeegeeing  the  print  on  to  it  directly  it  was  removed 
from  the  washing  trough ; after  one  hour  the  print  fell  off 
with  the  surface  as  exhibited.  The  prints  required  to  be 
mounted  dry  ; he  preferred  an  india-rubber  solution  for  the 
purpose. 

Mr.  Henderson  suggested  that  the  method  demonstrated  by 
Mr.  Cowan  at  a previous  meeting  would  be  best  for  the  purpose. 
If  prints  were  mounted  on  thin  card,  and  laid  against  each 
other,  or  passed  through  a burnisher,  a gloss  would  be  obtained 
equal  to  those  shown  by  Mr.  Ashman. 

It  was  remarked  that  prints  which  had  been  gelatinized  were 
not  so  permanent  as  those  which  had  not  been  so  treated,  which 
Mr.  Haddon  attributed  to  the  absorptive  nature  of  gelatine. 

Mr.  Barker  thought  that  gelatinizing  preserved  prints 
if  a neutral  gelatine  was  used,  but  if  an  acid  one,  then  the 
prints  would  fade,  owing  to  the  acidity. 

Mr.  Harrison  showed  a universal  gauge  for  cutting  plates 
to  any  required  size. 

Mr.  R.  L.  Sims  was  elected  a member. 


Manchester  Photographic  Society. 

The  ordinary  monthly  meeting  of  this  Society  was  held  in  the 
Mechanics’  Institute  on  Thursday,  the  8th  inst.,  the  President, 
Mr.  J.  W.  Leigh,  in  the  chair.  The  minutes  of  the  previous 
meeting  were  read  and  confirmed. 


Mr.  G.  J.  Johnson  read  a very  interesting  paper  on  “ Photo- 
micrography ” (see  page  108),  exhibiting  the  apparatus  necessary 
for  the  production  of  photo-micrographs,  and  describing  at  some 
length  the  difficulties  to  contend  with,  and  how  he  had  surmounted 
most  of  them.  Mr.  Johnson  then  commenced  his  lecture,  which 
was  illustrated  by  many  dozens  of  photographs  of  his  own  produc- 
tion, which  bore  favourable  comparison  with  others  by  professional 
artists.  The  lecturer  gave  a considerable  amount  of  credit  to 
Mr.  J.  Pollitt,  whose  valuable  assistance  he  had  secured.  The 
first  slides  shown  were  an  illustration  of  chromatic  rays,  produced 
by  the  bisulphide  of  carbon  prism,  which  were  fnlly  explained  by 
the  lecturer.  These  were  followed  by  diagrams  of  heat,  light, 
and  actinic  rays,  prisms  of  glass,  and  a splendid  drawing  of 
Ur.  Woodward’s  studio,  upwards  of  a hundred  photo-micrographs 
following,  the  nature  of  which  Mr.  Johnson  explained. 

The  photographs  were  thrown  upon  the  screen  by  the  Honorary 
Secretary,  who  was  complimented  by  Mr.  Johnson,  Mr.  Pollitt, 
and  other  members,  on  the  able  management  of  the  lantern  and 
the  excellent  definition  given. 

Mr.  VV.  J.  Chadwick  explained  that  ho  used  achromatic 
meniscus  lenses  of  long  focus,  with  a diaphragm  in  front,  which 
he  had  found  superior  to  most  portrait  lenses  so  generally  in  use 
with  optic  lanterns. 

A vote  of  thanks  to  Mr.  Johnson  was  unanimously  carried. 

The  Chairman  exhibited  two  very  large  specimens  of  photo- 
gravure, by  Messrs.  Goupil  and  Co.,  Paris,  which  were  universally 
admired.  He  also  passed  round  several  prints  on  the  rough  paper 
supplied  by  the  Platinotype  Company  from  11  by  9 negatives. 
The  paper  was  considered  by  many  to  be  more  suitable  for  the 
style  of  picture  than  that  of  finer  grain. 

The  Hon.  Secretary  exhibited,  on  behalf  of  Mr.  J.  J. 
Atkinson,  Liverpool,  three  instantaneous  shutters,  viz.,  the 
Kirkby,  Miller,  and  Bocas,  the  latter  of  which  is  provided  with  an 
ingenious  arrangement  for  correctly  timing  the  exposure  from  a 
fraction  of  a second  to  three  seconds. 

Mr.  Chapman  showed  one  of  Watson  and  Son’s  snap  shutters. 
These  much  interested  the  members,  and  a vote  of  thanks  to  the 
exhibitors  was  cordially  agreed  to. 

Owing  to  the  lateness  of  the  hour,  other  contributions  had  to 
be  postponed  until  the  next  meeting. 


in  tfc  Stubiff. 

South  London  Photographic  Society. — At  the  next  meet- 
ing, to  be  held  at  the  House  of  the  Society  of  Arts  on  Thursday, 
March  1st,  at  8 p.in.,  some  arrangements  for  using  the  electric 
light  for  the  developing  room  wiil  be  exhibited.  The 
use  of  the  gas  engine  and  electric  light  apparatus  of  the 
Society  of  Arts  has  kindly  been  promised,  so  that  members  can 
make  some  experimental  exposures  by  electric  light  should  they 
desire  to  do  so. 

Egyptian  Heroes. — Messrs.  West  and  Co.,  of  Gosport, 
have  secured  a very  characteristic  picture  of  the  Egyptian  heroes 
who  paraded  before  Her  Majesty  on  the  occasion  of  her  visit  to 
Portsmouth. 

Sara  Bernhardt’s  French  advertising  agent  can  give  odds  to 
the  one  she  had  in  this  country.  A Paris  illustrated  paper  was 
recently  publicly  forbidden  to  publish  the  copy  of  a photograph 
which  Sarah  had  taken  of  herself  in  her  coffin.  The  paper  was 
threatened  with  the  law  and  with  confiscation,  if  it  had  offended. 
But  as  it  had  never  so  much  as  thought  of  such  a thing  it 
quickly  understood  that  it  was  an  advertisement  for  the  actress. 
She  went  so  far  as  to  have  the  police  at  the  newspaper  office. 
It  is  not  known  whether  the  newspaper  paid  half  the  expense, 
for  it  got  half  the  benefit  of  the  advertisement.  Other  news- 
papers are  anxious  for  similar  favours  from  her. — Detroit  Free 
Press. 

In  re  The  Photographic  Artists’  Co-operative  Supply 
Association. — There  were  two  petitions  for  the  winding-up  of 
the  Company,  on  the  ground  that  it  was  insolvent,  and  was 
being  carried  on  at  a loss.  Mr.  Romer,  Q.C.,  and  Mr.  Boome 
for  the  petitioner  ; Mr.  Ince,  Q.C.,  and  Mr.  Bramwell  Davis  for 
the  Company.  His  Lordship  said  that  he  had  heard  a great  deal 
about  the  Company,  and  as  to  how  it  had  been  conducted.  He 
had  been  told  by  the  provisional  liquidator  that  if  the  Company 
were  now  wound  up,  the  creditors  would  be  paid  in  full ; but  if 
it  went  on,  and  the  claim  of  Captain  Kerr  for  past  salary  were 
insisted  on,  there  would  be  a deficiency.  In  these  circumstances 
he  would  make  a winding-up  order.  He  would  stay  drawing  up 
the  order,  in  deference  to  the  wish  of  the  parties,  pending  the 


128 


THE  PHOTOGRAPHIC  NEWS. 


[February  23,  1883 


hearing  of  the  appeal,  which  would  be  brought  on  as  speedily  as 
possible. — Daily  Chronicle. 

Emulsion  Photographs. — Mr.  Wilson’s  Mosaics  says  : — 
“ Some  good  and  tender  soul  has,  at  the  expense  of  a great  deal 
of  labour,  published  in  the  Photographic  News  a series  of 
‘ Twelve  Elementary  Lessons  on  the  Emulsion  Process.’  It  is 
one  of  the  most  valuable  contributions  yet  made  to  emulsion 
literature  and  instruction  ; and  we  are  glad  to  know  it  has 
been  reprinted  in  this  country,  as  one  of  their  capital  series  of 
photo-monographs,  by  the  Scovill  Manufacturing  Company, 
New  York.  It  may  be  had  of  all  dealers,  and  is  invaluable.” 
The  foregoing  remarks  have  reference  to  the  “ABCof  Modern 
Photography,”  of  which  a third  and  enlarged  edition  is  in  the 
press. 

Photographic  Club.— On  Wednesday  next,  the  28th  inst., 
the  subject  for  discussion  is  “On  the  Preparation  of  Lantern 
Slides.”  It  is  also  a Lantern  night.  Visitors  are  invited  to 
attend  and  bring  slides. 


$0  &0m8i?0tt&£ttia. 


*,*  We  cannot  undertake  to  return  rejected  communications. 

F.  Dux. — The  substance  of  all  which  lias  been  published  will  be 
found  in  the  Photographic  News  and  the  Year-Books,  but 
there  is  no  work  in  which  the  various  details  are  collected. 

H.  II. — 1.  Doubtless  you  have  added  far  too  much  : make  a fresh 
solution.  2.  The  simplest  way  is  to  develop  carbon  pictures  on 
the  glass.  3.  Yes;  but  the  front  lens  (the  stop  being  in  the 
usual  position)  will  give  a slight  pincushion  distortion,  while 
the  back  lens  will  give  barrel-shaped  distortion.  4.  You  may 
regard  them  as  practically  identical.  5.  Certainly. 

C.  J.  Dobbs — J.  B.  Holroyde. — Letters  which  have  been  sent 
for  you  to  our  Office  will  be  forwarded  on  receipt  of  address. 

A.  A.  Campbell  Swinton. — As  far  as  we  know,  there  has  not 
been  any  definite  advance  beyond  the  point  reached  by  Becquerel. 

Registered  Photograph.— Mr.  William  Quin,  of  Tottenham, 
desires  us  to  state  that  he  has  registered  his  photograph  of  the 
interior  of  Winchester  Cathedral. 

Hanco. — Cadmium  iodide  25  grains 

Ammonium  iodide  ...  35  „ 

Cadmium  bromide  20  ,, 

Alcohol  ...  ...  2£  ounces 

One  part  should  be  mixed  with  three  parts  of  plain  collodion. 

Q.  R.  Y. — An  article  on  the  subject  will  appear  in  the  News 
shortly. 

Peter  Lintoft. — It  is  acid  : stir  in  a pinch  of  ordinary  whiting. 

A Country  Photo. — No  kind  of  resinous  varnish  produces  a 
satisfactory  result.  You  had  much  better  adopt  the  usual 
method  of  producing  a smooth  surface  by  rolling  or  burnishing. 
2.  The  use  of  the  so-called  encaustic  paste  is  often  advantageous, 
but  cate  must  be  taken  not  to  apply  too  much.  3.  The  principal 
objection  is  the  circumstance  that  the  vapour  is  extremely 
irritating  to  the  eyes. 

Collodionist. — No  wonder  you  have  utterly  spoiled  your  bath, 
as  the  enamel  ordinarily  used  for  lining  iron  vessels  is  usually 
of  such  a nature  as  to  be  very  easily  attacked  by  hot  fluids,  and, 
moreover,  it  is  almost  always  cracked  and  discontinuous. 
Either  an  evaporating  dish  of  hard  porcelain  should  be  employed, 
or,  better  still,  the  boiling  down  may  be  conducted  in  a glass 
flask.  In  this  latter  case,  vigorous  ebullition  is  necessary  in 
order  to  counteract  the  tendency  of  the  vapour  to  condense  in  the 
neck  of  the  flask. 

Light. — 1.  We  cannot  answer  by  post.  2.  Consult  our  adver- 
tising pages.  3.  The  spots  are  doubtless  due  to  iron,  and  treat- 
ment with  dilute  hydrochloric  acid  will  remove  them.  Remove 
all  traces  of  the  acid  by  a prolonged  soaking  in  water. 

Sulphur. — There  must  be  some  mistake,  as  no  such  substance 
exists. 

Bulmer  Howell. — Thanks  ; your  view  is  undoubtedly  correct,  but 
registration  is  practically  valueless  if  effected  after  sale. 

Rex. — Lambert’s  patent  1874,  No.  3633,  is,  we  imagine,  the  one  to 
which  you  refer.  It  is  now  void,  and  contains  a description  of  the 
well-known  method  of  developing  a carbon  print  on  a collodion 
film. 

J-.R.  Young. — There  is  no  book  on  the  subject,  but  theusual  way 
is  to  print  from  a deeply  engraved  plate  on  a thin  tissue  paper, 
the  image  being  next  transferred  to  the  unglazed  pottery  by 
pressure. 

C.  Cox. — Perhaps  you  do  not  use  a substratum ; if  not,  try  the 
experiment. 

W.  F.  & Co. — Next  week. 

Elementary  Lesson. — Our  lesson  on  silver  printing,  and  several 
other  papers  of  interest,  are  unavoidably  crowded  out  this  week. 


THE  EVERY-DAY  FORMULARY. 

The  Gblatino-Bromide  Process. 

Emulsion. — A— Nit.  silver  100  grains,  dist.  water  2 oz.  B— Bromide 
potassium  85  grains, Nelson’s  No.  1 gelatine  20  grains,  dist.  water  1£  oz.,  a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C— Iodide 
potassium  8 grains,  dist.  water  £ oz.  D— Ilard  gelatine  120  grains,  water 
several  oz.  'When  the  gelatine  is  thoroughly  soaked,  let  all  possible  water  be 
poured  off  D.  A and  B are  now  heated  to  about  120"  Fahr.,  after  which  B 
is  gradually  added  to  A with  cor stant  agitation ; C is  then  added.  Heat  in 
waterbath  for  half  an  hour,  and  stirin  D.  After  washing  add  j oz.  alcohol. 

Pyro.  Developer.— No.  1— Strong  liq.  ammonia  1}  oz.,  bromide  potas- 
sium 240  grains,  water  80  oz.  No.  2 — Pyro.  30  grains,  water  10  oz.  In  case 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
and  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing. — Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  by 
soaking  in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  rinsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts.  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased  ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  uniil  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Backing  Sheets.— A chromographic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shirting  is  coated,  and  the  bheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  back  of  glass  plate. 

The  Wet  Coi.LOniON  Process. 

The  Nitrate  Bath.  — Water  14  oz.,  nit.  silver  1 oz.,  nitric  acid  1 drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  i-oz„  liquid  ammonia  £-oz. 

Film-removing  Pickle  for  Old  Plates.— Water  1 pint,  sulphuric 
acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  6 pints  of  water,  ard  1 dr. 
liq.  ammon. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 

pyroxyline  of  suitable  quality  250  grains,  shake  well  and  add  ether  2 pints. 
Iodize  this  by  mixing  with  one-third  of  its  volume  of  alcohol  J pint,  iod. 
ammon.  80  grains,  iod.  cadm.  80  grains,  brom.  ammon.  40  grains. 

Normal  Iron  Developer.— Water  10  oz., proto-sulphate  iron  £ oz., 
glacial  acetic  acid  £ oz.,  alcohol  J oz.  The  amount  of  proto-sulphate 
iron  may  be  diminished  to  l oz.  when  full  contrasts  arc  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  be  reduced  to  j oz. ; but  when  bath  is  old  more  is  wanted. 

Intensifying  Solution. — Water  6 oz.,  citric  acid  75  grains,  pyro.  30 
grams.  When  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Dead  Intensification.— After  neg.  washing,  immerse  in  dist.  water 
100  parts,  red  pruss.  potash  6 parts,  and  nit.  lead  4 parts.  When  it  is  yellowish 
white  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution.— 1.  Potass,  cyanide  200  grains,  water  10  oz.  2.  Sat. 
sol.  of  sod?  hypo. 

Varnish.— Shellac  2 oz.,  sandarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  16  oz. 

Printing  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 
ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution.— Nit.  silver  50  grs.,  water  1 oz.,  sod.  carb.  £ gr. 

Acetate  Toning  Bath.— Chi.  gold  1 gr.,  acet.  soda  20  grs..  water  8 oz. 

Lime  do.— Chi.  gold  1 gr.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do. — Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath. -Sodium  hypo.  4 oz.,  water  1 pint,  liq.  ammon.  30  drops. 

Reducer  for  Deep  Prints. — Cyan,  potass.  5 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Encaustic  Paste. — Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  1)  oz., 

water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion.— Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

Mountant. — 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

Collotypic  Substratum.— Soluble  glass  3 parts,  white  of  egg  7 parts, 
water  10  parts. 

Collotypic  Sensitive  Coating.— Bichromate  potash  £ oz.,  gela- 
tine 2£  oz.,  water  22  oz. 

Collotypic  Etching  Fluid-— Glycerine  150  parts,  ammonia 50 parts, 

saltpetre  5 parts,  water  25  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  albumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  for  paper. 

Cyanotype  Printing.— Water  1 oz.,  red  prussiate  of  potash  (ferri- 
cyanide)  1 dr.,  aminonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

Various. 

Luckardt’s  Retouching  Varnish. — Alcohol  300  parts,  sandara* 
50  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnish.— Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 
benzole  80  to  100  parts. 

Encaustic  Paste.— Best  white  wax,  in  shreds,  1 oz.,  turpentine  5cz. ; 

dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  flannel. 

Ferrotypes. 

Collodion.— Ammonium  iodide  35  grains,  cadmium  iodide  25  graios, 
cadmium  bromide  20  grains,  pyroxyline  70  grains,  alcohol  5 oz., ether  6 cz, 

Bath.— Silver  nitrate  1 oz.,  water  10  oz.,  nitric  acid  1 drop. 

Developer.— Ferrous  sulphate  1 oz.,  glac  acetic  acid  1 oz.,  water  16oz, 

Fixing  and  Varnish.— Same  as  wet  collodion  process. 


THE  PHOTOGRAPHIC  HEWS, 


/ . - 

Voi.  XXYII.  No.  1278. — March  2,  1883. 


CONTENTS. 


PAOR 


Patent  Intelligence  131 

Twelve  Elementary  Lessons  on  8ilver  Printing 138 

The  Adaptation  of  Machinery  to  Photography.  By  O.  II. 

Babcock  13!) 

Review  140 

Bicycles  and  Tricycles  as  a Means  of  Locomotion  to  Photo- 
graphers. By  C.  E.  Arthur  141 

A Quick  Method  of  Masking  Out  the  Sky  in  Landscape  Nega- 
tives with  a Candle.  By  A.  Harrison  Hill 142 

Correspondence  142 

Proceedings  of  Societies 143 

Talk  in  the  Studio 143 

To  Correspondents 144 


pAob 


An  Arrangement  for  Spreading  Emulsion  on  the  Glass  Plate  129 

Lantern  Slides  129 

At  Home.— Mr.  A.  Cowan’s  Laboratory  in  Porchester  Terrace  131 

Photography  as  a Help  to  Painting  By  M.  R.  Burton 132 

The  Reduction  of  Over-Exposed  Silver  Prints.  By  Arnold 

Spiller  133 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

■Waterhouse,  B.S.C 133 

Notes  on  Photography.  By  E.  Howard  Farmer  134 

Sulphocyanide  of  Ammonium  a Solvent  of  Gelatine.  By 

H.  L.  T.  naakmsn 135 

The  Removal  of  Fixed  Glass  Stoppers  135 

Notes 136 


AN  ARRANGEMENT  FOR  SPREADING  EMULSION 
ON  THE  GLASS  PLATE. 

At  the  last  meeting  of  the  Photographic  Society,  Mr. 
Charles  Whiting  exhibited  a very  simple  and  ingenious 
apparatus  for  spreading  emulsion  on  the  glass  plate,  and  the 
arrangement  is  so  simple  that  any  person  possessed  of  a 
very  moderate  amount  of  mechanical  skill  may  construct  it 
himself. 

The  frame-work  of  the  apparatus  may  be  regarded  as  a 
kind  of  skeleton  table  without  a top,  and  one  side  is  repre- 
sented diagrammetrically  by  the  subjoined  diagram.  B 
and  B represent  two  of  a set  of  four  levelling  screws. 


block,  D.  It  must  be  understood  that  the  block  D is  so 
long  as  to  project  beyond  the  frame-work  at  each  side,  and 
each  projecting  end  carries  a forked  or  stirruped  screw, 
C,  E,  and  these  stirrups  carry  a glass  rod  shown  in  section 
at  C. 

The  mode  of  using  the  apparatus  now  becomes  obvious. 
The  stirrups  having  been  set  to  the  right  height,  by  means 
of  the  adjusting  screws,  and  the  table  levelled,  a plate  is 
placed  in  the  rebate,  and  a measured  portion  of  emulsion  is 
poured  on,  near  the  middle.  The  glass  rod  is  now  placed 
in  the  stirrups,  and  the  sliding  piece  D is  moved  to  and  fro 
once  or  twice  ; stops  being  inserted  in  the  slot,  in  order  to  pre- 
vent the  rod  travelling  so  far  as  to  cause  the  emulsion  to  How 
over  the  edges  of  the  plate.  An  apparatus  of  this  character 
should  be  of  especial  value  to  the  collotype,  as  it  would 
certainly  prove  valuable  in  coating  his  printing  plates,  also  as 
a means  of  readily  coating  gelatine  emulsion  plates  without 
soiling  the  backs;  this  being  an  important  point  when 
exposure  is  to  be  made  through  the  glass  in  order  to  produce 
a reversed  negative. 

At  the  meeting  of  the  Photographic  Society  referred  to, 


Mr.  W.  E.  Debenham  suggested  a cam  arrangement  for 
lifting  the  rod  at  the  end  of  the  stroke,  and  it  was  also 
suggested  that  by  giving  the  forked  end  or  stirrup  a little 
play  on  its  shank,  and  arranging  a feeling  piece  or  finger  of 
silver  wire  to  drag  on  the  edges  of  the  plate,  no  incon- 
venience would  result  from  the  use  of  glass  varying  much  in 
thickness. 


LANTERN  SLIDES. 

First  Article. 

During  the  past  few  weeks,  at  more  than  one  of  our 
metropolitan  societies,  the  subject  which  beads  this  article 
has  been  brought  forward,  somewhat  tardily,  it  may  be — 
for  we  should  ourselves  have  been  glad  to  have  seen  the 
matter  started  at  the  beginning  of  the  dull  season — but 
not  yet  too  late  for  a vast  amount  of  information  to  be 
forthcoming  upon  this  now  popular  theme.  There  is  no 
doubt  but  that  gelatine  plates  have  stimulated  lantern 
work  very  greatly,  perhaps  not  to  the  same  extent  as 
some  other  branches  of  the  art,  but  probably  in  a direction 
where  real  advancement  was  necessary,  viz.,  in  the  quality 
of  the  work  produced. 

If  we  are  to  take  the  last  show  at  the  South  London 
Society  in  January  as  typical  of  this  advance  (and  there 
are  no  two  opinions  as  to  the  pre-eminence  of  that  Society 
in  all  that  appertains  to  lantern  matters),  we  do  not  hesi- 
tate to  say  that  the  last  exhibit  brought  out  some  of  the 
best  lantern  work  that  has  ever  been  shown.  True,  there 
were  some  poor  slides,  but  this  would  always  occur  in  the 
absence  of  a sort  of  censorship  of  the  slides  submitted  for 
exhibition  ; and  we  may  here  remark  that  we  regard 
with  approval  the  suggestion  which  was  made  at  that 
society's  last  meeting,  which  was  that  a sub-committee  or 
small  jury  of  censors  should  pass  the  slides  which  are  sent 
in  for  exhibition,  the  jury  to  sit  an  hour  or  two  before  the 
performance  commences.  No  would-be  exhibitor  need 
feel  offended  if,  out  of  twenty  of  his  slides  sent  in  to  the 
jury,  only  ten  or  a dozen  were  projected  on  to  the  screen  ; 
on  the  contrary,  before  another  lantern  show  came  round, 
he  might  probably  thank  the  jury  for  having  guarded  his 
reputation  by  withholding  such  slides  as  in  their  judgment 
were  not  up  to  the  fair  standard  of  quality. 

As  was  justly  remarked  by  one  member,  himself  a 
first-rate  slide  maker,  the  exhibition  of  a slide  is  a most 
critical  test ; unlike  a gallery  of  photographs,  where  there 
is  plenty  to  distract  the  visitors,  an  exhibition  of  a slide 
takes  place  before  several  hundreds  of  pairs  of  eyes ; 
every  one’s  vision  and  thought  are  concentrated  upon  the 
object  on  the  screen  ; if  there  is  a defect  or  a shortcoming, 
it  is  noted  by  somebody,  just  as  surely  as  when  a first-class 
slide  makes  its  appearance,  it  never  fails  to  “ bring  down 


130 


THE  PHOTOGRAPHIC  NEWS. 


[March  2,  1883, 


the  house,”  or  to  receive  warm  expressions  of  admiration 
and  approval. 

Valuable  as  has  been  the  past  history  of  the  lantern  as 
an  instrument  of  pleasurable  amusement  and  instruction,  it 
bids  fair  in  the  future  to  become  vastly  more  popular,  if 
not,  indeed,  a downright  necessity,  and  we  are  not  merely 
predicting  when  we  say  that  it  will  soon  hive  a place  in 
all  schools,  colleges,  and  science  classes,  for  already  we  see 
the  lantern  introduced  in  ways  little  thought  of  a few  years 
ago.  We  may  just  refer  to  our  issue  of  Dec.  8th,  1882, 
in  which  we  briefly  described  Professor  Thompson’s 
arrangement  for  exhibiting  slides  horizontally  in  the 
lantern,  instead  of  vertically,  as  is  usual.  The  advantage 
of  this  method  is  very  great,  especially  to  a lecturer  — 
liquids  can  be  most  conveniently  shown  ; not  upside  down, 
as  is  generally  the  case  in  the  vertical  arrangement. 

We  scarcely  need  to  urge  the  importance  of  the  lantern 
itself,  for  that  is  admitted : our  theme  is  lantern  slides,  and 
it  is  this  upon  which  we  propose  to  dwell.  The  ensuing 
remarks  are  penned  with  the  desire  to  make  this  branch  of 
our  art  attractive,  to  assist  the  beginner,  to  help  in  any 
little  difficulties,  to  draw  forth  the  experience  of  the  able 
worker,  and,  generally,  to  improve  the  quality  of  lantern 
slides  as  they  leave  the  hands  of  that  large  body  of  Hur 
readers,  the  enthusiastic  amateurs.  Our  columns  are  open 
for  the  experiences  of  those  who  are  able  to  advise,  and  to 
those  who  seek  for  information  ; and  we  court  every  proper 
enquiry,  which  will  be  promptly  and  cordially  answered. 

Lantern  slides  may  be  good,  bad,  and  indifferent. 
Stated  broadly,  the  proportions  are  about  equal  in  the 
productions  of  amateurs,  who,  of  course,  can  rarely  give 
up  the  requisite  time  and  attention  to  attain  to  the  skill 
essential  for  turning  out  good  work,  and  thus  eliminating 
the  bad  or  indifferent.  It  is  somewhat  difficult  to  describe 
in  words  what  a good  lantern  slide  ought  to  be — there  are 
so  many  points  to  be  considered,  such  as  the  nature  of  the 
subject,  whether  landscape  or  seascape ; mountain  or  glen  ; 
wooded  or  barren ; minute  in  detail,  or  massive  and 
gigantic  ; brilliantly  lit,  or  sombre  and  obscure.  Groups, 
portraiture,  statuary,  interiors,  copies  of  works  of  art, 
machinery,  or  examples  of  constructive  engineering,  all 
require  special  treatment.  It  goes  without  saying  that 
the  result  must  depend  very  much  upon  the  character  of 
the  negative  itself  from  which  the  slide  is  to  be  made,  and 
it  will  be  equally  apparent  that  a good  slide  cannot  be 
made  from  a bad  negative ; yet  much  may  be  done  to 
“ coddle  ” and  make  it  give  a transparency  in  which  some 
of  the  negative’s  defects  are  compromised  and  ameli- 
orated. 

The  processes  by  which  lantern  slides  are  produced  are 
numerous.  Some  of  the  methods  are  for  the  production 
of  positives  in  the  camera— i.e.,  photographing  the  negative 
as  though  it  were  an  object  in  actual  relief ; other 
methods  are  only  for  use  by  printing  just  as  albumenized 
paper  is  used.  The  two  distinctive  methods  must,  of 
course,  depend  upon  whether,  as  in  the  first  instance,  the 
transparency  is  reduced  from  a negative  of  larger  dimen- 
sions, as  (say)  from  an  8J  by  6£  negative ; and,  in  the 
second  case,  either  a reduced  negative  must  previously 
have  been  made,  or  contact  printing  resorted  to  by  placing 
the  transparency  plate  in  actual  contact  with  the  original 
negative,  whether  it  be  4 J by  or  larger. 

At  the  present  time  there  are  hundreds,  if  not 
thousands,  of  amateurs  who  have  taken  up  photography 
since  gelatino-bromide  plates  came  into  the  market  as 
commercial  articles,  and  these  workers  probably  wisely 
adopt  the  quarter-plate  or  5 by  4 size.  Either  of  the  sizes 
may  be  used  for  direct  printing  by  superposition  on  pre- 
pared plates ; in  other  words,  the  intervention  of  another 
camera  operation,  in  order  to  produce  a lantern  trans- 
parency, is  not  needed ; and  herein  is  effected  a considerable 
saving  in  time  and  labour,  for  some  hundreds  could  be 
roduced  in  one  day,  and  the  process  can  be  carried  on 
y gaslight. 


On  the  other  band,  we  shall  find  an  equally  large 
number  of  photographers  who  work  all  manner  of  sizes, 
from  half-plate  up  to  12  by  10,  or  larger.  All  such  sizes 
must  be  photographed  in  the  camera  in  order  to  obtain 
a lantern  transparency,  and  we  will  explain  why.  If  we 
take  (say)  a 7£  by  5 negative,  we  may  say,  “I  can  print 
two  or  three  slides  from  different  parts  of  this.”  Well, 
just  try  it,  and  we  undertake  to  say  the  resulting  slide 
will  show  such  unsatisfactory  properties  of  perspective 
that,  if  the  view  be  known,  those  who  see  it  will  condemn 
it,  saying,  There  is  something  wrong  about  that  view  ; it 
doesn’t  look  like  what  I remember  of  it.”  We  therefore 
deprecate  the  idea  that  it  will  suffice  to  print  a transparent 
positive  or  positives  from  various  parts  of  a landscape 
negative,  say  7$  by  5;  we  grant  it  that  it  would  be  un- 
commonly convenient,  and  save  an  enormous  amount  of 
time ; but  we  can  only  consent  to  such  a method  as  a 
make-shift  one,  or  where  it  is  admitted  that  it  is  only 
resorted  to  for  a special  purpose  ; and  we  must  insist  that, 
where  the  negative  is  larger  than  half-plate,  the  trans- 
parency must  be  obtained  by  reduction  by  means  of  the 
camera. 

An  amateur  possessing  a negative  of  a given  subject 
requires  only  one — or,  perhaps,  two — lantern  slides  there- 
from. A professional,  or  lantern  slide  publisher,  may 
require  one  thousand  slides  from  one  negative.  The 
amateur  would,  of  course,  select  such  a process  as  would, 
with  the  least  labour,  give  him  his  slide  or  two  of  the  best 
quality.  The  professional  would  prefer  a process  which, 
although  it  might  entail  more  preparation,  would  furnish 
results  level  in  quality,  and  capable  of  being  turned  out 
quickly,  either  by  employing  duplicated  negatives,  or  some 
of  the  photo-mechanical  processes  for  printing  ; thus,  the 
conditions  are  unlike,  and  we  shall  have  to  study  the  sub- 
ject from  opposite  points  of  view.  Whereas  an  amateur 
may  coddle  and  dodge  a defective  negative  so  that  he  may 
bring  one  satisfactory  positive  through,  a professional 
could  never  resort  to  such  tricks ; he  must  have  a negative 
capable  of  being  reproduced,  or  capable  of  turning  off 
positives  level  and  equal  in  quality  and  strength,  otherwise 
the  work  would  cost  him  more  than  the  slides  would  sell 
for,  a result  which  does  not  weigh  in  amateur  matters. 

We  cannot  now  do  more  in  this  first  article  than  indicate 
a few  of  the  methods  extant  for  the  production  of  slides. 
We  do  not  pin  ourselves  to  chronology  or  merit  in  the 
order  in  which  we  state  them,  as  opinions  might  vary  on 
these  matters. 

Methods. 

Photographing  the  negative  in  the  camera  on  wet  collo- 
dion or  collodion  emulsion. 

Photographing  the  negative  in  the  camera  on  gelatine 
plates  of  various  kinds. 

Producing  a carbon  or  other  transparency  by  super- 
position, and  then  taking  a reduced  negative  therefrom  in 
the  camera  by  aoy  convenient  process. 

Printing  from  reduced  negatives  by  superposition  or  in 
the  camera. 

Printing  direct  from  original  negatives  by  any  process. 

Woodbury  or  Stannotyping  in  conjunction  with  original 
or  reduced  negatives. 

Processes. 

Wet  collodion,  albumen,  collodio-albumen. 

Collodion  emulsion,  wet  or  dry. 

Gelatine  plates,  bromide,  chloro-bromide,  chloro-iodo« 
bromide,  &c. 

Gelatino-chloride  plates. 

Carbon  processes. 

Photo-mechanical  processes,  Woodbury,  Stannotype,  &C. 

In  our  subsequent  articles  we  shall  treat  of  these 
in  extenso , as  well  as  describing  the  requisite  apparatus  for 
the  reduction  of  negatives  and  production  of  trans- 
parencies. 


March  2,  1883.  | 


THE  PHOTOGllATHIC  NEWS. 


131 


<2\i  fomc. 

MR.  ALEXANDER  COWAN’S  LABORATORY  IN 
PORCHESTER  TERRACE. 

Mr.  Cowan’s  name  has  not  been  before  the  world  in  connec- 
tion with  a grand  discovery,  but  be  has  a much  higher 
claim  upon  the  sympathies  of  his  brother  photographers 
than  could  be  conferred  by  any  such  distinction.  His 
sagacity  as  an  experimentalist,  his  ingenuity  as  a mechani- 
cian, his  deftness  and  cunning  in  manipulation,  his  ready 
wit  in  designing  and  inventing,  and  above  all  his  delicate 
and  skilful  touch,  combined  with  a deep  and  thorough 
knowledge  of  the  art-science  he  loves  so  well,  have  placed 
him  in  the  forefront  of  photographic  authorities  of  the 
practical  school.  And  as  there  never  was  one  more  ready  to 
make  public  the  fruits  of  his  labours,  just  as  there  certainly 
is  none  whose  results  are  better  worth  rnakiug  known,  we 
have  in  Mr.  Cowan  one  to  whom  all  photographers  are  very 
much  indebted. 

We  need  not  point  out  what  Mr.  Cowau  has  done  in  the 
past.  Among  the  “ Standard  Formula  ” in  the  Ykar-Book, 
Mr.  Cowan’s  name  will  be  found  in  connection  with  one  of 
the  most  practical  forms  of  development  yet  devised  ; while  to 
every  branch  of  photographic  manipulation  pretty  well,  Mr. 
Cowan  has  contributed  some  improvement  or  modification 
of  value. 

Mr.  Cowan’s  laboratory  in  Porchester  Terraco  is  precisely 
what  one  would  expect  from  its  occupant.  If  it  is  not  very 
spacious,  it  is  at  any  rate  commodious,  and  we  doubt  much 
whether  any  other  chemist  or  photographer  could  be  found 
who  possesses  half  the  number  of  useful  arrangements  and 
clever  contrivances  within  a space  so  limited.  But  wo 
must  stay  our  encomiums  if  we  are  to  describe  anything  of 
the  contents  of  the  busy  little  spot;  only,  before  we  begin, 
we  make  an  apology  to  Mr.  Cowan  himself  for  the  very 
imperfect  manner  in  which  we  fear  his  manifold  attractions 
will  be  put  before  the  reader. 

Mr.  Cowan’s  dark-room  differs,  we  may  remark  in  the 
first  place,  from  other  dark-rooms,  in  the  fact  that  it  is  not 
dark  ; or,  rather,  we  should  say,  it  is  always  perfectly 
light,  except,  and  except  only,  for  the  few  seconds  that  a 
plate  is  under  the  developer.  This  is  due  to  the  simple 
circumstance  that  the  gas-tap— something  like  an  organ- 
stop,  to  push  in  or  out — is  so  convenient  to  hand.  The 
supply  of  gas  is  arranged  so  that  this  stop  never  extin- 
guishes, but  only  lowers  the  light.  To  say  that  everything 
is  neat,  precise,  and  in  apple-pie  order  throughout,  and 
arranged  after  a perfect  system,  is  to  say  little.  The  labor- 
atory resembles  a beehivo  as  much  for  its  symmetry  as  for 
its  compactness.  Here  on  a shelf  is  a row  of  six  bottles, 
numbered  from  1,  2,  3,  4,  6,  8,  the  solutions  made  up 
according  to  “ Cowan’s  method  of  varying  the  proportions 
of  bromide  in  the  developer,”  as  showu  in  the  Standard 
Formulx  of  the  Year-Book.  Under  the  shelf  is  another 
smaller  one,  that  admits  “standing-room  only”  for  one 
bottle;  when  a bottle  is  in  use,  instead  of  putting  it  back 
into  the  row,  it  is  placed  by  itself  below,  and  in  this  way 
the  manipulator  is  always  sure  which  particular  solution  he 
has  been  using.  The  plan  is  a most  practical  one  for  the 
photographic  laboratory,  where  one  has  to  deal  with  many 
bottles  in  an  uncertain  light. 

Here  is  a cheap  furnace  or  copper  that  may  be  constructed 
with  an  outlay  of  half-a-crown,  Mr.  Cowan  tells  us,  and 
which  he  employ  principally  for  mixing  together  several 
batches  of  emulsion.  He  takes  from  under  one  of  the 
benches  an  old  hyposulphite  cask,  and  puts  it  into  the 
middle  of  the  laboratory.  Its  sides  are  roughly  pierced  with 
holes  to  admit  air,  and  through  one  of  the  lowest  of  them  is 
thrust  a rubber  gas-tube.  A Bunsen  burner,  which  most 
photographers  possess — there  are  few  photographers  who  do 
not  possess  the  old  hypo  cask  and  few  feet  of  gas  tubing  as 
well — is  now  placed  on  the  bottom  of  the  cask  and  connected 
with  the  tubing,  and  the  apparatus  stands  ready  for  lighting. 
The  “ copper  ” to  contain  the  water,  or  anything  else  to  be 


heated,  is  simply  a big  vessel  of  galvanised  iron,  to  be  pur- 
chased anywhere  for  half-a-crown,  aud  this,  when  the  lamp 
is  lit,  is  lifted  upon  the  cask.  A firm,  portable,  and  cheap 
heating  arrangeme  nt  is  thus  at  hand.  For  mixing  batches 
of  emulsion,  Mr.  Cowan  takes  an  earthenware  jar  (Doulton’s 
chemical  jars  are  best  aud  cheapest},  with  “ shut-over”  top 
of  three  or  four  gallons  capacity,  and  this,  containing  the 
emulsion,  is  put  in  the  “copper”  of  warm  water.  We  give 
a sketch  ef  the  arrangement ; a is  the  jar,  which  goes  into 


b,  the  galvanised  iron  “copper,”  whilo  c is  the  cask  that 
receives  b. 

Mr.  Cowan,  of  course,  makes  his  own  emulsion,  and  so 
successfully,  that  the  plates  are  practically  all  of  the  same 
standard  of  sensitiveness.  He  controls  matters  in  two  ways — 
by  manufacture  and  development.  Thus,  in  his  preparation 
of  batches  of  emulsion,  he  employs  always  solutions  of  the 
same  strength.  There  is  no  preliminary  weighing  or  fuss 
over  calculations  of  weights,  as  a commencement  to  work. 
This  is  all  obviated  by  keeping  huge  stock  bottles 
of  solutions  of  given  strength  of  silver,  bromine  salts,  &c.,  so 
you  may  get  to  work  at  once.  The  proportions  of  liquid 
taken  are  rigidly  adhered  to.  Mr.  Cowan  has  a series  of 
glass  flasks  at  hand,  each  marked  with  its  capacity,  and 
these  have  only  to  be  filled,  to  measure  off  the  required 
quantities.  Then,  after  several  batches  of  emulsion  have 
been  prepared — Mr.  Cowan  is  just  now  using  the  boiling 
method,  and  makes  about  forty  ounces  at  a time — these  are 
all  mixed  together  in  the  manner  we  have  described.  Such 
a plan  of  proceeding  caunot  fail  to  give  a very  uniform 
material  ; but  to  work  always  to  the  same  standard,  Mr. 
Cowan  makes  with  his  composite  batch  two  or  three 
practical  essays.  He  exposes  a dozen  plates,  and  develops 
them  experimentally  with  his  row  of  solutions,  containing 
various  proportions  of  bromide.  When  he  gets  a negative 
that  suits  him,  he  looks  at  the  No.  of  the  bottle  employed, 
notes  it,  and  then  gives  instructions  that  that  bottle,  and  no 
other,  is  to  be  employed  for  the  next  few  months,  or  until 
the  new  batch  of  plates  is  exhausted.  Before  passing  to 
another  subject,  we  may  mention  that  Mr.  Cowan  still  gives 
preference  to  a developer  containing  citric  acid. 


Of  Mr.  Cowan’s  plate-holder  we  give  a sketch  once  more, 
since  it  is,  in  our  opinion,  the  handiest  device  yet  made 


132 


THE  PHOTOGRAPHIC  NEWS 


[March  2,  1883, 


known  for  developing  plates  neatly,  safely,  aud  expedi- 
tiously. It  is  merely  of  tin,  with  wire  loops,  and  any  tin- 
man would  produce  them  at  tenpence  or  a shilling  each. 
All  sorts  of  contrivances,  from  a piece  of  string  upwards, 
have  been  suggested  for  the  purpose,  as  our  readers  know 
only  too  well : but  we  repeat,  no  other  method  permits  one  to 
work  with  more  cleanliness  and  efficiency. 

After  developing  and  washing  comes  another  little 
arrangement ; it  is  so  simple,  any  one  might  think  of  it. 
Mr.  Cowan  has  thought  of  it,  and  constructed  it.  There 
is  always  a little  stained  gelatine  adherent  to  the  back  of 
a plate,  and  this  must  be  rubbed  or  scrubbed  off  to  make 
the  negative  bright  and  clean.  Our  friend  has  a most 
ready  way  of  doing  this.  A common  square  nail-brush 
is  in  a little  receptacle  on  the  right  of  the  sink,  and  placed 
in  the  sink  itself  is  a wooden  gridiron,  with  an  upright  wall 
wall  towards  the  photographer.  Against  this  wall,  or  up- 
right, the  plate  is  laid  face  downwards,  its  lower  edge 
securely  resting  in  a notch,  or  rather  a series  of  notches,  cut 
across  the  gridiron  ; in  this  position  it  can  be  scrubbed  with- 
out fear  or  difficulty,  to  free  the  back  from  dirt  and  stain. 
We  give  a sketch  in  section  of  the  little  arrangement, 


which  is  simplicity  itself ; a,  is  a section  of  the  sink,  b is 
a section  of  the  gridiron  ; and  c is  a glass  plate  resting  iu 
the  notch. 

“It  we  have  no  satisfactory  means  of  intensifying  gela- 
tine plates,  photographers  should  always  bear  in  mind  they 
have  several  good  methods  of  reducing,  and  that  is  the 
next  best  thing,"  says  Mr.  Cowan,  when  we  allude  to  the 
subject  of  intensification.  “ For  that  reason  I always  take 
care  to  get  plenty  of  density  ; you  can  do  anything  with  a 
dense  plate,  if  you  cannot  satisfactorily  improve  a weak  one.” 
The  two  solutions  that  Mr.  Cowan  has  chosen  for  reducing 
are  here  ready  to  hand  ; No.  1,  the  weaker  of  the  two  in  its 
action,  is  simply  a mixture  of  one  ounce  of  hydrochloric 
acid  with  twenty  ounces  of  water,  together  with,  if  the  plates 
show  a tendency  to  frill,  an  ounce  or  two  of  a saturated  solu- 
tion cf  chrome  alum.  No.  2,  as  it  here  stands,  is  about  four 
times  as  strong  as  it  should  be,  and  must  therefore  be  well 
diluted  before  use  ; it  is  compounded  of  : — 

Hydrochloric  acid  1 ounce 

Perchloride  of  iron  ...  ...  £ ,, 

Water  ...  ...  ...  ...  20  ounces 

We  have  more  to  say  about  Mr.  Cowan’s  practical  method 
of  making  transparencies  with  the  aid  of  luminous  paint, 
and  about  his  compact  and  ingenious  enlarging  apparatus, 
his  experiments  connected  with  gelatino-cbloride  printing, 
&c.,  &c.,  for  an  afternoon  in  his  laboratory  is  indeed  a 
demonstration  ; but  we  must  defer  our  remarks  to  another 
occasion,  for  our  article  has  unfortunately  already  run  to  its 
limit. 


The  “By-the-Bve”  next  week  will  be  on  “ Photographic 
Analysis”;  the  following  “At  Home”  will  be,  “In  Mr. 
A.  L.  Henderson’s  Laboratory." 


PHOTOGRAPHY  AS  A HELP  TO  PAINTING. 
by  m.  r.  burton. 

I am  well  aware  that  the  artist  who  would  address  photo- 
graphers on  the  assumption  that  photography  is  merely  a 
hand-maid  of  the  older  arts  would  have  small  chance  of  a 


favourable  hearing  from  them ; but  after  the  admission 
that  photography  has  great  powers  and  uses,  apart  from 
sculpture  and  painting,  I may,  perhaps,  be  allowed  to  say 
a few  words  on  that  branch  of  the  art  which  ha3  naturally 
attracted  the  most  of  my  own  attention — i.e.,  the  practical 
help  which  the  photographer  may  give  to  the  painter. 

Photography  has  already  done  much  for  drawing,  by 
accustoming  both  artists  and  the  public  to  seeing  objects 
represented  on  a plain  surface  with  absolute  correctness; 
and  if  painters  ever  do  come  to  be  that  happy  class  of 
mortals  “ whose  theatre  demands  their  best,”  they  will 
owe  much  of  their  good  luck  to  the  sister  art,  which  they 
are  too  apt  to  view  with  mingled  jealousy  and  contempt. 
Painters  and  photographers  are  mutually  helpful,  whether 
they  wish  to  be  so  or  not ; but  they  might  be  much  more 
so  if  they  would  accept  the  connection  and  make  the  most 
of  it. 

Some  people  may  be  surprised  at  my  expressing  the 
opinion  that  it  is  to  the  landscape  painter  that  photo- 
graphy may  be  most  helpful.  Some  figure-painters  set 
photographs  of  their  models  in  the  desired  position,  and, 
no  doubt,  those  who  do  so,  know  how  to  use  them  ; but 
their  use  must  always  be  very  limited.  The  real  artist 
employs  his  models  merely  to  carry  out  an  idea,  or  often  a 
sketch  already  made,  and  has  to  resign  himself  to  their  not 
assuming  much  of  the  action  and  expression,  or  often  even 
the  exact  form,  he  wants.  The  purpose  they  completely 
fulfil  is  letting  the  artist  have  before  his  eyes  the  infinitely 
varied  tints  and  forms  of  the  living  being,  and  for  that  a 
photograph  would  not  serve.  No  doubt  a model,  endowed 
with  some  histrionic  talent,  might  enter  into  the  subject, 
and  pose  himself  for  the  moment  required  by  the  photo- 
grapher, as  he  could  not  do  for  the  hours  the  painter 
needs,  and  pictures  are  sometimes  so  made ; but  then  they 
are  made  by  the  model  and  the  photographer,  and  the 
painter  had  better  let  them  alone. 

Photographs  can  never  take  the  place  of  models,  and  a 
young  artist,  especially,  should  beware  of  working  from 
them,  lest  his  work  should  be  a mere  copy  of  a photo- 
graph. As  accessories  in  the  studio  they  are  very  useful. 
To  have  a photograph  of  a figure  in  as  nearly  as  possible 
the  possition  he  requires,  may  often  help  the  artist  in  his 
perspective,  and  its  simple  black-and-white  rendering  may 
serve  as  a key  to  the  conflicting  shadows  and  colours 
which  distract  him  in  the  living  model.  In  the  case  of 
small  black-and-white  pictures  for  engraving,  &c.,  the 
draughtsman  and  photographer  may  work  hand-in-hand, 
sometimes  one  and  sometimes  the  other  being  artist-in- 
chief ; but  to  write  about  the  painter  as  the  servant  of  the 
photographer  would  be  a digression  from  my  subject. 

Landscape  painting  in  its  present  phase  is  hardly  an 
older  art  than  photography.  The  landscape  painters  of 
the  present  day  show  no  desire  to  emulate  their  old  Dutch 
predecessors,  and  have,  on  the  other  hand,  a hope  in  the 
future  and  a desire  for  progress  that  makes  them  more 
likely  than  any  other  class  of  artists  to  join  hands  with 
the  photographers. 

There  is  no  remark  more  common  amongst  photo- 
graphers and  their  enemies  than  that  photography  can 
never  succeed  in  landscape  paiuting,  because  landscape 
painting  depends  almost  entirely  upon  colour.  Much  may 
be  said  both  for  and  against  this  assumption,  but  I think 
a visit  to  that  quiet  corner  of  the  National  Gallery  where 
Turner’s  water  colours  are  kept  will  convince  any  one  that, 
in  the  hands  of  a great  artist,  landscapes  may  lose  little  by 
want  of  colour.  Photographing  mountains  cannot  as  yet 
be  considered  a success,  but  iu  every  other  branch  of  land- 
scape art,  photography  attains  a completeness  which  goes 
far  to  make  up  for  its  limited  scope. 

In  comparison,  of  course,  the  photographer  is  heavily 
hampered  as  compared  with  the  landscape  painter ; but  in 
rendering  the  infinite  detail  of  nature,  the  waves  of  the  sea, 
the  leaves  and  twigs  of  trees,  and  all  the  variety  of  vegetable 
and  mineral  wealth  which  covers  the  immediate  fore- 
ground of  a picture,  he  has  immense  advantages.  Mer 


March  2,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


133 


transcripts  of  these  details  are  unattractive,  and  the  photo- 
grapher must  either  overcome  the  difficulties  of  compo- 
sition, and  obtain  breadth  of  light  and  shade  for  his  own 
picture,  or  else  let  it  be  used  by  the  painter,  who  can  give 
it  the  added  charm  of  colour.  Photographic  studies  of 
waves,  trees,  and  plants  are  already  much  used  by  artists, 
though  they  can  seldom  be  got  to  fulfil  the  exact  purpose 
wanted. 

The  artist  feels  that  by  working  up  his  tree  from  a tree 
he  has  bought  in  a shop  he  runs  a great  chance  of  being 
commonplace  ; if  he  could  get  a photograph  of  his  own 
individual  tree,  it  would  be  quite  another  story.  A 
critical  friend  may  tell  him  he  ought  to  go  back  and  work 
from  the  tree  itself,  but  this  may  be  impossible  ; it  must  be 
impossible  in  the  case  of  ferns  and  flowers,  which  have 
changed  even  while  he  was  making  his  sketch.  Really  his 
best  hope  lies  in  a photograph  of  his  subject  taken  on  a 
calm  day  from  his  own  point  of  view. 

To  get  a photograph  done  for  himself  is  his  best  chance. 
If  photographs  done  for  other  purposes  are  to  be  used,  they 
must  be  offered  in  great  variety,  so  that  he  may  have  a 
chance  of  finding  a branch  or  a fern  like  that  in  his  pictures. 

In  recommending  the  use  of  photography  in  landscape 
painting,  I should  like  it  to  be  understood  that  I propose 
it  as  a help  in  practice,  not  as  a means  of  study.  A man 
who  cannot  paint  a picture  from  nature  will  never  be  able 
to  paint  one  from  photographs,  and  though  an  experienced 
artist  may  do  well  to  take  as  many  sketches  as  he  can 
during  his  summer  tour,  and  work  them  up  with  the  help 
of  memory  and  photographs,  a student  had  much  better 
stick  to  his  subject  in  the  open  air.  A certain  evil  odour 
hangs  about  the  use  of  photography  by  artists,  from  the 
number  of  men  who  have  thought  it  would  save  them  the 
trouble  of  drawing,  and  so  have  produced  pictures  with 
neither  the  accuracy  of  photographs  nor  the  originality  of 
paintings. 

Of  the  various  ways  by  which  an  artist  might  be  helped 
by  a photographer,  the  most  effectual  would  be  a working 
partnership  in  which  the  photographer  would  make  nega- 
tives of  particular  subjects  for  the  future  use  of  the  artist ; 
but  besides  this,  the  photographer  might  do  much  by  pro- 
ducing such  negatives  as  he  thought  likely  to  be  useful  to  his 
artistic  brethren.  Not  being  myself  a professional  photo- 
grapher, I cannot  tell  what  would  be  the  probable  pecuniary 
advantages  of  such  working,  but  I believe  that  the  demand 
would  increase  with  the  supply  much  more  rapidly  than 
the  laws  of  political  economy  would  lead  one  to  expect. 
At  present,  even  when  one  artist  would  gladly  get  a photo- 
graph to  work  from,  he  is  deterred  from  doing  so  by  the 
very  small  choice,  and  the  probability  that  some  other  artist 
is  working  or  has  worked  from  the  self-same  photograph. 

The  photographs  most  likely  to  be  used  by  artists  are,  I 
think,  studies  of  single  figures  in  attitudes,  remarkable  either 
for  their  grace  or  for  some  peculiar  difficulties  of  drawing 
which  they  illustrate,  as  figures  engaged  in  rustic  occupa- 
tions. Amongst  landscape  subjects,  I believe  that  any 
photographs  of  trees  or  plants  done  on  a large  distinct 
scale  in  calm  weather  would  be  very  welcome  in  many  an 
artist’s  portfolio.  Clouds,  too,  might  be  of  use,  though  the 
very  limited  cases  in  which  they  can  be  taken  must  lessen 
their  utility. 

I cannot  too  strongly  urge  a partnership  of  the  painter 
and  photographer ; their  identification  I do  not  suggest. 
In  either  art,  only  really  good  work  is  of  use,  and  consider- 
ing that  Titian  at  the  age  of  ninety-nine  only  considered 
that  he  was  beginning  to  understand  one  art,  an  ordinary 
man  in  an  ordinary  lifetime  can  hardly  hope  to  master  two. 


^THE  REDUCTION  OF  OVER-EXPOSED  SILVER 
PRINTS. 

BY  ARNOLD  SPILLER. 

It  is 'quite  a questionable  point  amongst  photographers  ns 
to  whether  it  is  worth  while  reducing  over-printed  proofs, 


yet  in  large  establishments,  what  a large  proportion  of  prints 
are  really  cast  aside  from  over-priuting ! The  substance 
usually  employed  as  a solvent  of  the  silver  (and  gold)  image 
is  potassium  cyanide.  A wide  difference  of  opinion  exists 
among  experimenters  as  to  the  exact  strength  of  the  solu- 
tion to  be  employed  for  the  purpose.  Some  two  years  ago 
Mr.  England  stated  in  the  columns  of  the  News  that  a 
suitable  solution  could  be  prepared  by  dissolving  two  grains 
of  cyanide  iu  a pint  of  water,  the  prints  being  kept  in  the 
liquid  for  from  one  to  two  hours.  About  the  same  time  I 
made  several  experiments  with  the  salt  in  question,  but  the 
results  were  hardly  satisfactory,  for  although  in  some  cases 
the  reduced  prints  were  all  that  could  be  desired,  very  often 
zigzag  markings  made  their  appearance,  showing  uneven 
reduction.  Fairly  uniform  results  were  obtained  by  adding 
the  cyanide  to  the  fixing  bath,  but  for  my  own  part  I prefer 
to  work  as  little  as  possible  with  this  poisonous  salt. 

After  experimenting  with  ferric  and  othersaline  solutions, 
I found  that  a mixture  of  chromic  and  nitric  or  hydrochloric 
acids,  when  sufficiently  diluted  with  water,  reduced  silver 
prints  evenly,  quickly,  and  without  the  disagreeable  property 
inherent  to  the  cyanide  bath.  I make  up  the  following 
stock  solution : — 

Potassium  bichromate  ...  ...  10  grains 

Nitric  or  hydrochloric  acid  (strong)  | dram 

Water  10  ounces 

The  reducing  solution  is  prepared  by  diluting  one  ounce  of 
the  above  with  a pint  of  water.  When  hydrochloric  acid  is 
used,  the  prints  must  be  immersed  in  the  bath  previous  to 
fixing,  in  order  to  dissolve  the  silver  chloride  which  is 
necessarily  formed  by  the  reaction  of  this  acid  on  the  silver 
chromate  ; but  wheu  nitric  acid  is  employed,  no  after  fixing 
is  required,  as  the  silver  nitrate  formed  is  soluble  in  the 
liquid. 

When  using  the  hydrochloric  acid  solution,  it  is  neces- 
sary to  withdraw  the  prints  from  the  bath  before  the  reduc- 
tion is  complete,  as  the  image  continues  reducing  in  the 
fixing  bath  ; therefore  I prefer  the  nitric  acid  method,  as 
when  once  the  proofs  are  removed  from  the  latter  solution 
into  the  wash  water,  the  reduction  ceases. 

The  mode  of  working  with  the  nitro-chromic  solution  is 
as  follows: — The  silver  prints  are  taken  from  the  fixing 
(hyposulphite)  bath,  and  washed  in  several  changes  of 
water  for  about  half-an-hour  ; they  are  next  immersed  in 
the  reducing  solution  till  the  desired  result  is  obtained  ; 
the  proofs  are  then  withdrawn,  and  placed  in  running 
water  for  some  twelve  hours.  It  may  be  noted  that  by  treat- 
ing the  prints  after  fixing  with  an  oxidising  agent,  the 
hyposulphite — or,  rather,  thiosulphate — is  converted  into 
bisulphate,  a substance  much  less  liable  to  cause  fading  of 
the  image. 

With  regard  to  the  length  of  time  necessary  for  keeping 
the  prints  in  the  nitro-chromic  bath,  much  depends  on  the 
extent  of  reduction  required,  and  it  is  impossible  to  give 
exact  directions  on  this  head;  but  in  my  own  experience 
from  ten  to  twenty  minutes  generally  suffice.  As  the 
gold  deposit  is  dissolved  more  quickly  than  the  silver, 
prints  intended  to  be  reduced  by  this  method  should  be 
somewhat  over-toned. 


FHOTO-LITHOGRAFHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  VI.— The  Preparation  ok  the  Photo-Transfer 
Paper — ( continued ). 

One  very  great  objection  to  the  transfer  processes  of 
photo-lithography  is  the  difficulty  of  accurately  preserving 
the  scale  of  the  original,  owing  to  the  distortions  caused  by 
the  unequal  shrinkage  or  expansion  of  the  transfer  prints 
in  the  various  wettings,  dryings,  and  squeezings  they  have 
to  undergo  before  transfer.  In  this  way  much  of  the 


134 


THE  PHOTOGRAPHIC  NEWS. 


[March  2,  1883. 


value  of  the  reproduction  by  photography  is  lost.  In 
copies  of  pictorial  and  ordinary  subjects  in  which  accuracy 
to  scale  is  unimportant,  this  defect  is  not  of  much  conse- 
quence; but  in  the  reproduction  of  maps,  plans,  and  other 
drawings  to  an  exact  scale,  it  is  undoubtedly  a great 
drawback.  If  the  alteration  of  size  were  uniform  all  over 
the  sheet,  it  could  be  allowed  for  in  taking  the  negative  ; 
but  it  is  nearly  always  more  in  one  direction  than  another, 
according  to  the  make  of  the  paper  and  the  way  the  sheets 
are  cut,  some  papers  expanding  in  width  and  contracting 
In  length,  and  vice  versa,  the  distortion  being  tolerably 
uniform  with  the  same  paper  and  treatment. 

This  defect  may  be  minimised  by  careful  selection  of  the 
paper  and  treatment  of  the  transfers.  When  possible, 
the  paper  should  be  cut  and  laid  on  the  negative  in  such  a 
manner  as  shall  be  found  by  experience  to  give  the  transfer 
the  least  distortion.  It  is  sometimes  a good  plan  to  soak 
the  paper  in  water  and  dry  it  before  coating  with  gelatine. 
In  copying  large  scale  plans,  where  the  distortion  may 
make  a sensible  difference  in  measurements  taken  in  the 
length  of  the  sheet  or  across  it,  it  is  a good  plan  to  have 
two  scales  drawn  on  the  original  at  right  angles  to  one 
another. 


when  brushed  on,  should  present  a perfectly  homogeneous 
coating  of  an  amber  tint,  free  from  streaks  or  spots. 

The  coating  of  the  sheets  may  be  done  in  daylight,  but 
the  drying  must  be  in  the  dark,  and  should  be  effected 
quickly,  so  as  to  avoid  differences  of  thickness  in  the  coat- 
ing and  crystallisation  of  the  ctiromic  salt,  which  is,  how- 
ever, less  to  be  feared  if  bichromate  of  ammonia  be  used. 
During  the  drying,  the  supporting  plate  of  zinc  is  kept 
lovel,  and  may  be  heated  with  gas  or  in  a stove. 

When  the  coating  of  the  foil  is  dry,  the  sheet  is  separated 
from  the  zinc  plate,  being  turned  over  on  to  a large  sheet 
of  cardboard,  which  is  gently  warmed  till  the  water  used 
for  making  contact  between  the  two  metals  has  completely 
evaporated.  The  sheet  is  then  ready  for  exposure  to  light. 
The  sensitized  coating  will  keep  good  for  two  or  three  days, 
but  it  is  preferable  to  expose  it  the  same  day  as  prepared. 

The  above  summary,  though  not  complete,  includes  most 
of  the  best  processes  of  preparing  the  photo-transfer  paper 
as  described  by  their  authors  ; and  by  combining  the  in- 
formation thus  given,  the  operator  should  be  able  after  a 
few  trials  to  select  a mode  of  working  that  will  suit  his 
purposes. 

(To  be  continued.) 


Tinfoil  Transfers. — Senhor  J.  J.  Rodriguez,  of  Lisbon, 
has  proposed  to  overcome  this  defect  in  a very  effectual 
and  ingenious  manner  by  using  sheets  of  tinfoil  coated 
with  bichromated  paper  instead  of  paper.  The  tinfoil  can 
be  laid  in  very  close  contact  with  the  negative,  and  in 
transfer  it  moulds  itself  round  the  ink,  and  prevents  it  from 
spreading  on  the  zinc  or  stone. 

The  tinfoil  should  not  be  thicker  than  thin  paper — the 
thinner  the  better,  provided  that  there  are  no  holes  in  it, 
and  that  it  is  not  too  thin  to  handle  conveniently. 

The  sheets  of  tinfoil  are  first  glazed  with  light  pressure 
upon  a lithographic  stone,  which  should  not  be  highly 
polished,  but  very  finely-grained,  and  then  very  slightly 
pumiced.  A very  finely-grained  zinc  plate  would  also 
answer  well.  Too  strong  a pressure  destroys  the  flexibility 
of  the  metal,  and  causes  it  to  tear  readily.  If  the  stone  is 
too  highly  polished,  the  adherence  between  the  glazed  sur- 
face of  the  tin  and  the  sensitive  coating  will  be  weakened  ; 
and  if  too  rough,  the  delicacy  of  the  drawing  will  be  spoilt, 
and  stains  may  be  caused  under  the  action  of  the  inking 
roller. 

The  glazed  foil  should  be  perfectly  cleaned,  and  laid  on  a 
smooth  hard  surface,  such  as  a lithographic  stone  ; or,  better, 
a zinc  plate  of  the  kind  used  for  engraving.  The  surface 
of  the  support  is  moistened  with  water,  and  the  tiu-foil  is 
laid  on  it,  carefully  avoiding  creases ; the  sheet  is  then 
smoothed  down  on  to  its  support  by  gentle  rubbing  with  a 
very  soft,  smooth,  damp  pad. 

If  the  surface  of  the  metallic  sheet  seems  clean,  it  will  be 
sufficient  to  rub  it  lightly  with  a piece  of  rag  moistened 
with  a 10  per  cent,  solution  of  potash  or  soda;  if  it 
should  be  necessary  to  have  recourse  to  stronger  measures, 
a little  precipitated  chalk  or  whiting  may  be  added  to  the 
alkaline  solution.  The  sheet  is  then  well  washed  to  re- 
move all  traces  of  the  alkali,  and  the  sensitive  coating  is 
brushed  on. 

For  large  sizes,  bichromated  gelatine  is  preferable  as  the 
the  sensitive  material  to  asphaltum. 

The  sensitizing  liquid  is  composed  of : — 

Good  gelatine  40  parts 

Water  500  ,, 

dissolve  with  heat,  and  then  add 

Bichromate  of  ammonia  ...  ...  20  parts 

Water  500  „ 

also  dissolve  with  heat.  The  two  solutions  are  mixed 

while  warm,  and  filtered  at  once  through  a double  flannel 
or  a clean  sponge. 

The  best  gelatine  to  use  is  a kind  which  sets  at  about 
95°  F.,  without  at  the  same  time  being  too  difficulty  soluble. 

If  the  underlying  support  is  properly  plane,  the  mixture, 


NOTES  ON  PHOTOGRAPH!. 

BY  E.  HOWARD  FARMER. 


Lecture  XIII. — The  Gelatine  Process  (Intensification) 
Continued. 

The  Polytechnic  Method  with  Silver. — A solution  is  pre- 
pared as  follows : — 


No.  1. 

Silver  nitrate  

...  1 ounce 

Water  (distilled) 

...  12  ounces 

No.  2. 

Potassium  bromide 

...  } ounce 

...  2 ounces 

Water  

No.  3. 

Thiosulphate  of  soda  (hypo.) 

...  2 ounces 

Water  

...  G ounces 

Add  No.  2 to  No.  1,  and  after  washing  the  precipitated 
bromide  thoroughly  by  decantation,  dissolve  it  with  agita- 
tion in  No.  3.  The  muddy  liquid  thus  obtained  is  either 
filtered  perfectly  clear,  or  placed  aside  for  a day,  and  the 
clear  solution  syphoned  off  ; it  is  then  made  up  to  sixteen 
ounces  with  water,  and  kept  for  use.  To  intensify  a plate, 
wash  thoroughly  after  fixing,  and,  taking  it  on  a pneu- 
matic holder,  flood  with  the  following  mixture : — 

Pyro  (preserved  in  sulphite)  ...  4 grains 

Water  2 ounces 

Silver  solution  1 drachm 

to  which  is  added,  immediately  before  use,  about  half-a- 
drachm  of  dilute  (l  to  8)  ammonia.  If  the  silver  shows 
no  tendency  to  reduction,  add  more  ammonia,  and  if  it 
be  thrown  down  immediately,  useless  ; with  a little  experi- 
ence a peculiar  browning  of  the  liquid  shows  when  suffi- 
cient ammonia  is  added.  Rock  the  plate  and  apply  fresh 
solution  as  the  density  gradually  increases ; if  not  suffi- 
ciently dense  aud  the  solution  be  muddy,  rinse  the  plate, 
and  use  fresh.  Finally,  place  it  for  a short  time  in  the 
fixing  bath,  and  wash.  Or  immerse  the  washed  plate  in 
the  silver  solution,  and  leave  it  there  for  five  minutes  ; 
take  out,  drain,  and  flood  with  an  ordinary  oxalate  deve- 
loper, when  the  image  will  rapidly  increase  in  density. 
Rinse  the  plate,  and  place  iu  the  fixing  bath  as  before.  If 
the  plate  only  requires  slightly  intensifying,  dilute  the 
silver  solution  more  or  less,  as  desired. 

Note. — Plates  which  in  ordinary  development  show  signs 
of  fog  setting  in,  can  be  successfully  treated  thus : — 
Immediately  a trace  of  fog  appears,  wash  and  fix  the  plate, 
again  wash  and  treat  with  the  above  intensifier,  when  the 
requisite  detail  and  density  can  readily  be  obtaiued. 

Reduction  of  Density. — There  are  three  principal  methods 


Maech  2,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


135 


of  reducing  density : — 1.  The  image  may  be  changed  in 
colour,  so  as  to  be  more  transparent  to  actinic  light.  2.  It 
can  be  partially  converted  into  some  compound  which  can 
be  dissolved  out  in  hyposulphite  or  other  solvent.  3.  The 
gelatine  film  can  be  reduced  in  thickness  by  solution  or 
mechanical  means. 

Air.  Debenham's  Method  with  Ozone  Bleach. — Two  solu- 
tions are  required : — 

No.  1. — Chrome  alum  ...  ...  ...  1 ounce 

Water  1 pint 

No.  2. — Ozone  bleach 

The  plate  is  immersed  in  a solution  composed  of  half  an 
ounce  of  each  of  these  in  five  ounces  of  water,  and  then  in 
the  hyposulphite  bath.  To  reduce  locally,  a stronger  solu- 
tion is  poured  in  a stream  on  the  part  desired,  the  opera- 
tion being  repeated  if  necessary. 

Method  with  Chloride  of  Lime  or  with  Eau  deJavelle  (Hypo- 
chlorite of  Potash). — For  the  first,  a saturated  solution  of 
chloride  of  lime  is  prepared,  and  for  the  second 

*Chloride  of  lime  ...  ...  2 ounces 

Carbonate  of  potash 4 ,, 

Water  40  „ 

The  lime  is  mixed  with  30  ounces  of  the  water,  and  the 
carbonate  dissolved  in  the  other  10  ounces.  The  solutions 
are  mixed,  boiled,  and  filtered.  Either  of  these  are 
diluted,  and  the  plate  immersed  until  the  required  reduc- 
tion is  produced  ; it  is  then  passed  through  the  fixing  bath 
and  washed. 

In  these  cases  a double  action  occurs,  part  of  the  film 
being  dissolved  off,  and  a portion  of  the  silver  being  con- 
verted into  chloride,  which  is  removed  in  the  fixing  bath. 

Method  with  Ferric  Chloride. — A solution  is  prepared 

with — 

Ferric  chloride  1 drachm 

Water  4 ounces 

The  plate  is  immersed  in  this,  which  converts  the  silver 
into  silver  chloride  ; on  washing  and  immersion  in  the 
hyposulphite  bath,  this  is  dissolved  out. 

Other  Methods. — There  are  various  other  methods  extant 
for  reducing  density  ; one  or  two  only  required  a single 
solution  1 have  found  answer  very  well  : — 

No.  1. 

Copper  sulphate J ounce 

Ammonia sufficient 

Water  1 pint 

The  quantity  of  ammonia  is  such  as  to  redissolve  the 
precipitate  which  is  first  formed  on  adding  it  to  the 
copper  sulphate. 

No.  2. 

Potassium  ferricyanide  (red  prus- 

siate  of  potash) 1 ounce 

Water  ...  ...  ...  ...  1 pint 

A few  drops  of  either  of  these  should  be  added  to  an 
ounce  of  the  hyposulphite  bath,  diluted  with  four  ounces 
of  water,  the  plate  immersed  until  the  requisite  reduction 
is  obtained,  and  washed.  In  the  first  case  silver  sulphate, 
and  in  the  second  silver  ferrocyanide,  are  formed,  and 
immediately  dissolved  out  by  the  hyposulphite. 


SULPHOCYAN1DE  OF  AMMONIUM  A SOLVENT 
OF  GELATINE. 

BY  H.  L.  T.  HAAKMAN. 

I believe  it  is  not  generally  known  that  sulphocyanide 
of  ammonium  is  a perfect  solvent  of  gelatine  emulsion. 
I discovered  this  when  trying  to  fix  and  tone  a bromide 
negative  in  a cold  solution  of  sulphocyanide  and  gold. 
Even  when  the  solution  is  weak,  the  emulsion  film  dis- 
appears as  by  magic.  This  property  makes  it  valuable  for 
the  prompt  cleaning,  without  application  of  heat,  of 
funnels,  beakers.  &c.,  when  they  cannot  be  so  readily 
cleaned  by  immersion  in  hot  water. 

• “ Instruction  in  Photography,”  6th  edition, 


THE  REMOVAL  OF  FIXED  GLASS  STOPPERS* 
When  the  glass  stopper  of  a bottle  is  ground  fine  enough  to 
prevent  leakage,  and  is  well  put  into  its  seat,  it  is  generally 
somewhat  difficult  to  get  out.  Often  it  is  impossible  to  remove 
it  by  the  ordinary  means  of  tapping  it  and  unscrewing  with  the 
fingers,  and  then  most  persons  sacrifice  the  bottle  by  breaking  off 
the  neck.  A glass-stoppered  bottle  that  is  so  well  ground  as  not 
to  require  the  slovenly  use  of  grease,  or  other  aids  to  bad  work, 
involves  a good  deal  of  skilled  labour,  and  it  is  a real  waste  to 
destroy  it,  even  if  this  can  be  done  without  any  loss  of  the  con- 
tents in  breaking  it.  It  is  a fact  not  generally  known  that  the 
very  finest  and  most  skilful  stoppering  that  is  practicable  on  a 
large  scale  and  at  moderate  cost  is  not  entirely  effective  against 
loss  of  many  volatile  liquids.  A tray  of  fifty  one-pound  bottles 
of  ether,  kept  in  a cool  cellar,  and  carefully  weighed  from  time 
to  time,  lost  at  the  rate  of  more  than  an  ounce  a month  throughout 
the  whole  experiment,  although  stoppered  as  well  as  practicable, 
and  never  agitated.  When  agitated,  as  by  transportation,  and 
especially  when  transported  in  warm  weather,  the  loss  must  be 
many  times  greater,  and  accidental  imperfection  in  stoppering, 
or  in  the  exposure  of  a box  of  bottles  to  a summer  sun  in  long 
transportations,  will  occasionally  cause  the  loss  of  a considerable 
part,  or  even  the  entire  contents  of  some  bottles,  so  that  they 
reach  their  destination  partly  or  entirely  empty,  but  with  little 
or  no  sign  of  leakage  perceptible,  so  that  the  bottles  look  as 
though  they  had  been  put  up  partly  full  or  empty  ; and  leaks 
so  small  as  not  to  be  discoverable  when  put  up  are  quite  sufficient 
to  empty  a bottle  during  transportation.  These  difficulties  are 
greatest  with  such  liquids  as  chloroform,  ether,  and  nitrite  of 
amyl,  and  the  latter  is  the  most  difficult  of  all.  All  these 
stoppers  require  to  be  put  in  as  tightly  as  it  is  possible  to  put 
them  in,  and  all  stoppers  are  screwed  in  with  what  is  called  a 
stopper  wrench,  and  such  a wreDch  is  needed  to  take  them  out. 
This  is  a piece  of  hard  wood  about  3£  inches  long  by  about  1 or 
1^  inches  in  breadth  and  depth.  In  the  middle  of  one  side  a 
mortise  is  cut  nearly  through  just  long  enough  and  wide  enough 
to  admit  the  flat  part  of  the  largest  size  stopper.  This  applied 
to  the  stopper  gives  a very  considerable  leverage,  and  with  it 
stoppers  are  screwed  in  by  turning  them  in  the  direction  of  the 
movement  of  the  hands  of  a watch,  as  all  right-hand  screws  are 
put  in.  To  take  the  stopper  out  it  must,  of  course,  be  unscrewed 
or  turned  in  the  opposite  direction.  In  this  way  almost  all 
stoppers  may  be  taken  out  safely  if  the  neck  of  the  stopper  be 
strong  enough  to  bear  the  strain,  especially  if  the  stopper  be 
smartly  tapped,  first  on  one  side  and  then  on  the  other,  by  the 
wooden  wrench  before  it  is  applied  to  unscrew  it.  But  some 
liquids  have  a tendency  to  cement  the  stoppers  into  their  seats 
either  by  drying  in  the  joint  or  by  a slight  action  upon  the 
glass  surfaces.  Such  liquids  as  solutions  of  soda  and  potassa, 
and  especially  the  disinfectant  solution  of  chlorinated  soda, 
almost  always  render  the  stoppers  immovable  by  any  ordinary 
means,  and  even  the  stopper  wrench  will  often  fail  to  start  them. 
It  is  highly  probable  that  half  the  bottles  used  with  such  liquids 
are  sacrificed  before  the  contents  can  be  got  at,  and  in  breaking 
off  the  necks  the  break  often  extends  so  that  a part  of  the  con- 
tents is  liable  to  be  lost. 

When  a stopper  resists  all  management — by  warming  the 
neck  with  a cloth  wet  with  hot  water,  by  tapping,  and  by  the 
wrench,  or  by  all  these  in  combination  — there  is  another  means 
which  will  almost  always  succeed.  Let  the  bottle  be  inverted 
so  as  to  stand  on  the  stopper  in  a vessel  of  water,  so  filled  that 
the  water  reaches  up  to  the  shoulder  of  the  bottle,  but  not  up  to 
the  label.  The  vessel  should  be  so  large  that  the  bottle  stands 
in  an  inclined  position,  or  otherwise  a portion  of  air  may  be 
trapped  in  the  gutter  between  the  mouth  of  the  bottle  and  the 
stopper,  and  thus  prevent  the  access  of  the  water  to  the  joint 
which  is  to  be  soaked  out.  The  bottle  should  stand  in  this 
position  over  night,  and  if  still  refractory,  for  another  day  and 
night,  and  if  still  tight,  three  or  more  days,  and  in  such  cases 
the  water  should  be  warm  at  first  and  again  quite  hot  for  the 
last  five  minutes  before  the  wrench  is  applied.  There  are  many 
bottles  which  are  very  valuable,  and  the  better  the  stoppering 
the  more  valuable  they  are.  Almost  all  such  may  be  saved  by 
the  means  indicated,  if  the  necessary  time  and  patience  be 
given. 

Many  bottles  which  are  hardest  to  unstopper  by  reason  of  the 
action  of  the  liquids  on  the  glass  are  unfit  for  any  after  use,  and 
might  about  as  well  be  sacrificed  as  not,  were  it  not  for  the 
liability  of  losing  the  contents  iu  breaking  them. 

• Squibbs  Materia  Mediea,  quoted  in  the  Chemical  X*ws. 


136 


THE  PHOTOGRAPHIC  NEWS. 


[March  2,  1883. 


A second  edition  of  “ The  Photographic  Studios  of 
Europe  ” will  be  published  next  month. 


The  Society  for  Photographing  Relics  of  Old  London 
are  preparing  to  issue,  as  a part  of  this  year’s  series,  three 
views  of  portions  of  Lambeth  Palace  — the  Gatehouse,  the 
exterior  of  the  Library,  and  the  so-called  Lollards’  Tower. 


On  the  completion  of  our  lessons  on  Printing,  ToniDg, 
Mounting,  &c.,  we  shall  publish  “ Twelve  Elementary 
Lessons  on  Optics  ; ” these  will  be  from  the  pen  of  Captain 
Abney. 

Some  neat  little  menus  have  recently  been  printed  by 
Mr.  Jabez  Hughes,  of  Ryde,  for  Her  Majesty’s  luncheon 
parties.  A couple  of  trout  lying,  as  if  freshly  caught, 
upon  a pebbly  bank,  or  a brace  of  grouse  upon  the  heather, 
and  other  similar  designs,  form  an  appropriate  heading  to 
the  cards ; but  the  especial  attraction  lies  in  the  circum- 
stance that  the  subjects  have  all  been  chosen  and  worked 
by  members  of  the  Royal  family.  The  original  sketch  is 
in  pen  and  ink,  and  this  has  then  been  copied  and  printed 
by  platinotype  upon  cards  of  suitable  size.  Mr.  Hughes 
wisely  chose  platinotype,  since  the  process  Dot  only  gives 
the  original  colour  best,  but  permits  printing  direct  upon 
cardboard,  upon  which  the  menu  itself  may  be  written, 
without  difficulty.  Another  reason,  too,  we  must  not 
forget,  is  that  Her  Majesty  always  insists  on  permanent 
photography  when  she  can  get  it. 


The  production  of  fancy  menu  cards  of  this  kind  is  an 
occupation  that  will  commend  itself  especially  to  amateurs. 
Instead  of  pen  and  ink  sketches,  there  is  no  reason  why 
photographs  taken  direct  of  fruit  and  flowers,  and  game 
and  fish,  should  not  be  utilised.  The  artistic  production  of 
these  would  necessitate  some  labour  and  skill ; but  once  a 
few  suitable  negatives  secured,  the  printing  would  give 
little  trouble.  If  need  be,  the  blank  space  to  be  left  white 
in  the  photograph  might  be  arranged  with  a large  sheet 
of  white  paper  or  white  cloth,  the  fruit  or  game  being 
suitably  arranged  above.  As  we  have  shown,  the  platino- 
type process  is  most  suitable  for  printing  the  cards. 


Dr.  Siemens’  plan  of  getting  flowers  to  bloom  and  fruit 
to  ripen  by  electric  light  does  not  seem  to  be  quite  so 
practical  as  was  first  supposed.  M.  Deharain,  who  con- 
ducted a series  of  experiments  in  electric  horticulture,  if 
we  may  so  designate  the  science,  during  the  Electric  Exhi- 
bition in  Paris,  says  that  while  electric  illumination  alone 
is  sufficienc  to  keep  plants  growing  for  two  months 
and  a-half,  the  beneficial  radiations  are  not  sufficiently 
powerful  to  cause  the  growth  of  germinating  seeds,  or  to 
allow  of  the  ripening  of  fruit  in  older  plants. 


Several  of  our  scientific  contemporaries  are  making  a 
fuss  over  the  fact  of  Professor  Helmholz,  of  Berlin,  having 


been  ennobled.  To  us  it  seems  a pity  that  any  man  who 
has  made  his  name  renowned  in  the  world  of  science  or 
art  should  afterwards  change  or  modify  that  name.  And 
for  little  reason,  too,  for  in  Germany,  the  mere  prefix  of 
von  is  by  no  means  an  indication  of  high  social  standing. 
When  we  resided  there  some  years  ago,  we  employed  a 
bootmaker  who  wrote  von  before  his  name,  and  very  good 
boots  he  used  to  make,  too ; but  we  did  not  value  our 
hob-nails  any  the  more  because  they  were  the  result  of  a 
nobleman's  labours. 


M.  Boissonnas,  of  Geneva,  whose  name  is  already  familiar 
to  our  readers  by  reason  of  his  improvements  in  instanta 
neous  photography,  has  just  forwarded  us  half-a-dozen  re- 
markable little  pictures.  That  they  are  bright  in  tone, 
and  both  artistic  and  happy  in  pose,  is  but  a matter  of 
course,  for  these  are  features  always  present  in  M.  Boiasan- 
nas’  work  : it  is  rather  the  subjects  of  the  photographs  that 
deserve  remark.  The  little  pictures  represent  a group  of 
two,  a lady  and  a lioness,  evidently  the  qneen  of  lion 
tamers  with  one  of  her  subjects.  The  lady,  gaily  attired, 
is  of  handsome  proportions,  and  smiles  so  charmingly  as 
she  strokes  the  tawny  beast,  that,  instead  of  producing  a 
feeling  of  horror,  as  one  might  suppose,  the  photographs 
only  cause  one  to  exclaim  over  the  lady’s  pluck. 


While  on  the  subject  of  lions  and  tigers,  we  may  as 
well  say  that  during  the  past  week,  we  ourselves  have 
been  troubled  with  the  problem  of  photographing  the 
wild  beast  in  its  lair;  for  we  paid  a visit  to  the 
Hudson’s  Bay  Company’s  premises  to  see  the  vast  collec- 
tion of  skins  gathered  together  during  the  year  from 
all  parts  of  the  Company’s  dominions  for  the  annual 
sale.  There  were  bears  — black  and  white,  brown,  and 
grisly — not  a score  or  so,  but  8,976  “ by  the  book  ” ; foxes, 
wolves,  beavers  (105,000),  lynxes,  skunks,  wolverines, 
badgers,  martens,  minks,  otters,  &c.,  &c.,  floor  upon  floor 
of  the  huge  warehouses  being  filled  with  these  relics  from 
the  backwoods.  With  a scenic  background  and  a little 
make-belief  underwood,  an  imaginative  photographer  with 
his  camera  could  have  produced  a dozen  different  wild  beast 
pictures. 


Among  other  strange  lessons  our  visit  taught  us,  was 
that  a brown  bear  is  usually  any  colour  but  brown,  and  a 
silver  fox  anything  but  silver.  The  skin  of  a strange 
animal  called  the  “ army  bear  ” was  shown  us,  its  thick 
black  hide  at  once  suggesting  an  admirable  composition 
photograph,  “ The  Army  Bear  at  Bay  ” ; only  we  found 
out  subsequently  the  skin  was  but  that  of  the  ordinary 
black  bear,  and  received  its  military  name  because  of  the 
demand  for  it  for  grenadiers’  bearskins.  As  furs  and  skins 
play  an  important  role  among  photographic  accessories,  it 
may  be  well  to  point  out  that  colour  has  more  to  do  with 
the  price  than  any  other  features.  Thus,  white  or  coloured 
fox  skins,  let  them  be  ever  so  pretty,  only  fetch  an  average 
of  twelve  shillings,  while  a silver  fox  skin,  almost  jet  black 
— for  the  fewer  silver  hairs  the  higher  the  price — some- 
times attracts  a purchaser  at  forty  or  forty-five  pounds. 


Mabch  2,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


137 


‘!The  ether,”  that  hypothetical  medium  which  is  sup- 
posed to  fill  and  pervade  space,  and  to  convey  light, 
force,  energy,  sound,  or  whatever  these  phenomena  are 
called,  from  one  body  to  another,  has  recently  been 
expounded  very  aptly  by  Professor  Oliver  Lodge.  “The 
ether,”  he  tells  us,  is  a continuous  medium,  and  there  are 
no  other  kuown  methods  for  one  body  to  act  on  another 
than  by  continuous  medium  and  by  projectile.  The  action 
of  one  animate  body  on  another  animate  body  not  touching, 
is  rather  more  complex — as  in  the  case,  for  example,  of  a 
man  calling  the  attention  of  a dog. 


“ Thus,  one  plan,”  says  the  professor,  “ is  to  prod  him 
with  a stick,  another  is  to  heave  a stone  at  him,  a third  is 
to  whistle  or  call,  while  a fourth  is  to  beckon  him  by 
gesture,  or,  what  is  essentially  the  same  process,  to  flash 
sunlight  into  his  eye  with  a mirror.  In  the  first  two  of 
these  methods,  the  media  of  communication  are  perfectly 
obvious — the  stick  and  the  stone ; in  the  third — the 
whistle — the  medium  is  not  so  obvious,  and  this  case  might 
easily  seem  to  a savage  like  action  at  a distance  ; but  we 
know,  of  course,  that  it  is  the  air,  and  that  if  the  air 
between  be  taken  away,  all  communication  by  sound  is 
interrupted.  But  the  fourth  or  optical  method  is  not  so 
interrupted ; the  dog  can  see  through  a vacuum  perfectly 
well,  though  he  cannot  hear  through  it ; but  what  the 
medium  now  is  which  conveys  the  impression  is  not  so 
well  known.  The  sun’s  light  is  conveyed  to  the  earth  by 
such  a medium  as  this  across  the  emptiness  of  planetary 
space.”  It  is  this  medium  to  which  the  name  “ ether  ” has 
been  given. 


There  are  still  other  ways  of  acting  upon  a dog ; to 
wit,  by  electric  or  magnetic  action.  “ But,  leaving  these 
more  mysterious  and  subtle  modes  of  communication  on 
one  side,  let  us,”  continues  the  professor,  “ return  to  the 
two  most  simple  ones — viz.,  the  stick  and  the  stone. 
These  two  are  representative  of  the  only  possible  funda- 
mental modes  of  communication  between  inanimate  bodies, 
for  one  is  compelled  to  believe  that  every  more  occult 
mode  of  action  will  ultimately  resolve  itself  into  one  or 
other  of  these  two.  The  stick  represents  the  method  of 
communication  by  continuous  substance  ; the  stone  repre- 
sents the  communication  by  actual  transfer  of  matter,  or 
the  projectile  method.”  The  projectile  method,  however, 
when  we  begin  to  apply  it,  in  one  direction  after  another, 
to  our  world  and  the  worlds  around  us,  presents  many 
difficulties,  and  we  are  compelled  to  abandon  mere  impact 
as  a complete  explanation  of  action  in  general.  In  a word, 
we  are  driven  to  the  other  hypothesis.  “ We  must  begin 
to  imagine  a continuous  connecting  medium  between 
particles — a substance  in  which  they  are  imbedded,  and 
which  extends  into  all  their  interstices,  and  extends  with- 
out break  to  the  remotest  limits  of  space.  Once  grant 
this,  and  difficulties  begin  rapidly  to  disappear.  There  is 
now  continuous  contact  between  the  particles  of  bodies, 
and,  if  one  is  pushed,  the  others  naturally  receive  the 
motion.”  Given  this  hypothetical  “ ether,”  and  the  com- 
munication of  light,  heat,  energy,  &c.,  from  one  body  to 
another,  is  to  be  explained  without  difficulty. 


A curious  question  of  art  copyright  is  just  now  occupying 
some  attention.  The  late  Dante  G.  Rosetti,  some  time 
before  his  death,  permitted  the  English  Picture  Publishing 
Company,  of  Manchester,  to  photograph  his  picture  “ Our 
Lady  of  Pity,”  the  intention  being  to  reproduce  it  in 
autotype.  Shortly  after  he  sold  the  picture  to  Mr.  H. 
Virtue  Tebbs  without  any  reservation,  and  Mr.  Tebbs 
naturally  was  surprised  to  find  that  copies  of  his  picture  in 
autotype  were  being  offered  for  sale.  On  making  the 
discovery  he  wrote  to  Mr.  F.  Shields,  one  of  the  partners 
in  the  Picture  Publishing  Company,  pointing  out  the 
infringement  of  copyright,  and  received  from  Mr.  Shields  a 
reply  acknowledging  his  “ indisputable  claims.”  In 
making  this  admission,  however,  Mr.  Shields  appears  to 
have  reckoned  without  his  “ financial  partners,”  who,  taking 
a different  view  of  the  matter,  declined  to  recognise  Mr. 
Tebbs’  position.  They  base  their  rights  on  a letter  of  Mr. 
Rosetti,  wherein  he  says : — 11  Do  whatever  you  like  as 
regards  the  issue  of  one  or  more  autotypes.  I only  hope 
they  may  be  worth  your  while,  and  on  that  account  only 
would  suggest  your  trying  one  at  first ; but  you  are  best 
judge.  Proofs  not  yet  to  hand.  When  they  reach  me  I will 
see  about  the  title.  There  is  a sonnet  of  Dante’s  illustrating 
the  subject,  but  my  own  impression  is  that  a short  extract 
from  the  prose  narrative  would  do  best.”  To  this  Mr.  Tebbs 
answers  that  he  is  informed  that  Rosetti  never  authorised  the 
publication  of  the  autotype  in  question  during  his  life,  that 
at  the  time  he  wrote  the  letter  he  had  not  seen  the  autotype, 
and  that  when  he  did  so  he  declined  distinctly  to  permit  its 
issue. 


The  matter,  therefore,  narrows  itself  into  two  questions 
Is  the  letter  written  by  Rosetti  an  authorisation  of  publi- 
cation of  the  autotypes,  and  if  so  did  he  give  formal  notice 
to  the  English  Publishing  Company  of  the  withdrawal  of 
his  consent?  It  is  quite  evident  that  to  substantiate  their 
rights,  the  Company  must  establish  the  first  point,  or  they 
may  be  beaten  on  the  broader  principle,  that  when  an  artist 
sells  a picture  without  any  reservation,  the  new  owner 
acquires  the  copyright,  and  may  refuse  to  recognise  a simple 
permission  to  copy  given  by  the  artist  while  the  picture 
was  in  his  possession.  The  quarrel  is  a very  pietty  one  as 
it  stands,  and  in  the  meantime  the  Company  appear 
inclined  to  adhere  to  their  ground,  as  the  autotype  is  still 
offered  for  sale. 


Since  Mr.  Tebbs  has  published  his  complaint,  Mr.  C. 
Rowley,  one  of  the  partners  in  the  Company,  has  written 
to  the  Athenxum  stating  that  he  was  in  possession  of  the 
“personal  and  the  autograph  sanction  to  publish  the  work 
from  the  late  D.  G.  Rosetti  himself,  and  the  assent  of  the 
executor,”  and  that  “ on  the  supposition  that  the  executor 
had  power  to  restrain  or  permit , a royalty  on  every  copy 
sold  would  have  been  remitted  to  him.”  On  the  face  of 
this  statement,  Mr.  Rowley  would  appear  to  have  “ pro- 
tested ” too  much.  If  he  acknowledges  the  executor  had 
power  to  restrain  or  permit,  surely  this  power  must  be 
possessed  by  the  real  owner  of  the  picture  ! 


138 


THE  PHOTOGRAPHIC  HEWS. 


[March  2,  1883. 


Ipatfnt  Intelligent. 

Application  for  Provisional  Protection. 

1007.  James  Henry  Hare  and  Henry  James  Dale,  both  of 
Little  Britain,  in  the  city  of  London,  lor  an  invention  of  “ Im- 
proved apparatus  for  supplying  sensitive  plates  in  photographic 
cameras.”— Dated  24th  February,  1883. 

Specifications  Published  during  the  week. 

3232.  J.  F.  Pluoker,  for  “Stand  for  photographic  cameras.” 
This  invention  consists  in  an  improved  construction  of  tripod 
or  stand  for  photographic  cameras.  This  improved  stand  is  very 
portable,  as  it  is  of  exceedingly  light  construction,  and  is  capable 
of  being  readily  collapsed  within  a very  restricted  compass.  It 
is  provided  with  a ball  and  socket  joint,  for  the  adjustment  of 
the  camera  at  any  angle  or  position  required.  The  legs  of  the 
stand  are  telescopic,  each  being  made  in  three  sections  (more  or 
less)  of  brass  or  other  tubing,  sliding  the  one  within  the  other, 
the  lower  end  of  each  section  (except  the  innermost  one)  being 
provided  with  a clip  formed  by  slitting  the  end  of  the  tube 
lengthwise,  making  it  slightly  conical  externally,  and  sur- 
rounding it  with  a sliding  band  or  collar,  whereby  the  section  next 
below  may  be  tightly  gripped,  and  prevented  from  sliding.  The 
lowermost  section  of  each  leg  terminates  in  a foot,  formed  of  a 
semi-tubular  piece  of  metal  provided  with  lateral  projections 
inserted  in  the  end  of  the  tubular  section,  which  is  collapsed  at 
the  extremity  or  brought  to  a corresponding  semi-tubular  form 
and  livetted  or  soldered  thereto.  The  legs  of  the  stand  are 
pivoted  in  a head-piece  between  ears  formed  of  an  assemblage  of 
V-shaped  pieces,  each  of  which  forms  one  ear  of  each  of  two 
adjacent  pairs,  the  several  pieces  being  held  together  below  by 
a plate,  and  above  by  a collar  embracing  lugs  formed  on  them, 
the  collar  being  a flange  on  the  underside  of  a segment  of  a 
sphere  forming  the  male  part  of  a ball  and  socket  joint,  the 
female  part  of  which  is  a concave  socket  corresponding  in 
sphericity  to  and  fitting  on  the  male  part.  This  socket  is  by  a 
central  hook  or  other  attachment  connected  to  a screw  passing 
axially  through  the  male  part  and  the  plate  beneath,  and 
screwing  into  a tubular  stem  situated  at  the  underside  centrally 
between  the  legs  of  the  stand,  the  said  stem  being  provided  with 
a thumb-piece  pivoted  so  as  not  to  prevent  the  folding  of  the 
legs  close  together,  and  by  which  the  screw  may  be  tightened 
up  in  order  to  bind  the  ball  and  socket  tightly  together  and  fix 
the  camera  after  adjustment.  The  socket  is  formed  with  a 
screw  on  top,  upon  which  the  camera  is  fixed. 

What  I claim  as  the  invention  to  be  protected  is — 

1st.  A telescopic  folding  tripod  stand  for  photographic 
cameras  constructed  substantially  as  described. 

2nd.  The  construction  of  the  head-piece  and  ball  and  socket 
joint  for  supporting  and  adjusting  the  camera  on  a tripod  stand 
substantially  as  herein  shown  and  described. 

3rd.  The  construction  of  the  clamping  joint  for  uniting  the 
telescopically  sliding  sections  of  the  legs  of  a camera  tripod  or 
stand,  such  joint  consisting  in  the  combination  of  the  slit  and 
coned  end  and  its  tightening  band  substantially  as  shown  and 
described. 

4th.  The  construction  of  the  feet  of  the  tubular  telescopic 
legs  of  a camera  stand  substantially  as  shown  and  described. 

Patents  Granted  in  France. 

160,656.  Ricard  and  Co.,  for  “ Obtaining  coloured  photographs 
on  stuff.” — Dated  16th  August,  1882.  Class  17. 

150,668.  Wall,  for  “A  photographic  process.” — Dated  17th 
August,  1882.  Class  17. 

Patents  Granted  in  America. 

271,765.  Viola  J.  Augir,  of  Spencer,  Iowa,  for  “An  album  for 
photographs,  &c. — Application  filed  loth  May,  1882.  No  model. 
271,789.  Joseph  Chain  e,  Arthur  Durand,  and  Frederic  Sal- 
lonier  de  Chaligny,  of  Lyons,  France,  for  “ A process  of  and 
apparatus  for  colouring  photographs.” — Application  filed  27th 
November,  1882.  No  model.  Patented  in  France,  24th  June, 
1882,  No.  149,778. 

271,826.  Mathias  Flammang,  of  Newark,  N.J.,  for  “ A plate- 
holder  for  photographic  cameras.” — Application  filed  28th 
December,  1881.  No  model. 

271,838.  F.  B.  Gould,  of  Boston,  Mass.,  for  “A  microscopic 
photographic  transparency.” — Application  filed  28th  January, 
1882.  No  model. 


Patent  Granted  in  Austria-Hungary. 

E.  Olive,  of  Paris,  for  “ Mourning-frames  for  photographs,”— 
Dated  17th  June,  1882. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  IV.— Drying,  Fuming,  and  Cutting-up. 

All  paper,  when  wet,  expands,  and  contracts  upon  drying. 
Sensitized  paper  is  not  an  exception  to  the  rule.  Now,  if 
this  expansive  and  contractive  property  acted  equally,  no 
disadvantage  would  result;  but  such  is  not  the  case.  It 
has  been  found  that  the  manner  of  drying  has  some  in- 
fluence on  the  result ; for  that  reason,  therefore,  it  is  cus- 
tomary for  most  printers,  when  they  remove  the  wet  sheet 
from  the  bath,  to  clip  it  by  one  corner  first,  then  another, 
and  so  on  until  it  has  depended  from  each  about  an  equal 
length  of  time,  and  become  dry ; the  sheets  will  also  dry 
flat  in  this  manner,  a matter  of  no  mean  importance  when 
the  practice  of  fuming  is  adopted.  So  much  has  been  said 
by  some  of  our  best  photographic  printers  both  for  and 
against  the  practice  of  fuming  the  paper  with  ammonia,  and, 
considering  that  our  American  cousins  adopt  it  almost 
exclusively,  we  will  briefly  describe  the  operation. 

When  ammonia  hydrate  (NH^OH),  known  as  liq.  ammon. 
fort.  s.g.  -880,  is  exposed  to  the  atmosphere,  pungent  fumes 
of  gas  are  given  off.  If  these  fumes  are  collected  in  a 
closed  box,  and  sensitized  paper  subjected  thereto,  the 
sensitiveness  will  be  nearly  doubled  ; the  colour  of  the 
print  will  be  inclined  to  violet,  of  course  depending  on  the 
length  of  time  it  is  acted  upon.  The  toning  will  also  take 
place  in  nearly  half  the  time  required  for  un-fumed  paper. 
Finally,  tbe  result  will  be  quite  equal  in  every  respect  to 
paper  not  so  treated.  The  reasons  why  we  think  fuming 
is  not  more  generally  adopted  in  this  country  are — Firstly, 
because  the  fuming  cupboard  or  box  is  a trouble  to  make ; 
secondly,  because  the  commercial  article  as  obtained  from 
many  places  is  not  up  to  the  standard ; and  thirdly, 
partly  as  a result  of  the  two  first  reasons,  because 
many  of  those  who  have  tried  it  have  failed.  We  have 
seen  all  sorts  of  contrivances  used  ; in  one  case  a cupboard 
was  requisitioned,  the  sheets  were  hung  up  by  means  of 
clips  some  sixty  inches  from  the  floor,  whilst  a basin  con- 
taining an  indefinite  amount  of  the  liquid  was  placed  on 
the  floor,  the  door  shut,  and  the  action  continued  for  a 
quarter  of  an  hour  ; the  drawback  to  this  plan  was,  that  the 
paper  was  not  acted  upon  equally,  hence  a mixed  batch  of 
prints  was  the  result.  We  have  since  seen  an  arrange- 
ment which  has  been  in  constant  use  for  some  years,  there- 
fore can  speak  as  to  its  practicability.  An  ordinary  pine 
box  measuring  25  by  20  inches,  by  18  inches  deep,  to 
which  a lid  is  attached,  having  a piece  of  moulding 
screwed  ou  ; also  strips  of  felt  tacked  on  to  the  upper  edge 
of  the  box  to  prevent  the  escape  of  gas  when  shut;  inside, 
and  a couple  of  inches  from  the  top,  a light  wooden  frame 
covered  with  coarse  netting  is  hinged  so  as  to  allow  of 
the  stock-bottles  being  taken  in  and  out ; a saucer  on  the 
bottom  to  contain  the  liquid  completes  this  simple  but 
effective  arrangement.  To  prevent  failure  and  disappoint- 
ment attention  should  be  given  to  one  or  two  essential 
points. 

Purchase  the  ammonia  solution  in  Winchesters,  and  keep 
them  well  stoppered.  Pour  out  a measured  quantity  (say 
one  ounce)  into  the  saucer  just  before  starting  the  fuming ; 
this  quantity  will  be  found  sufficient  for  half-a-quire  of 
paper.  Always  keep  the  lid  on  the  box,  except  when 
changing  paper.  Be  sure  the  paper  is  quite  dry  before  it 
is  placed  iu  the  box.  Ascertain  from  each  sample  the 
correct  time  to  fume;  give  it  that  time,  and  no  more. 

To  those  who  have  never  tried  fuming  we  would  say  : 
Give  the  first  sheet  thirty  seconds ; cut  off  a small  piece, 
and  expose  to  daylight.  If  the  colour  be  reddish — as  it 
darkens  in  the  light — the  time  has  been  insufficient;  it  will 


Uabch  2,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


139 


be  quite  safe  to  put  it  back  in  the  box  for  a minute  longer. 
Another  small  piece  maybe  cut  off  and  tried  as  before ; 
this  time  it  may  first  print  gtey,  afterwards  becoming 

fmrple  ; this  is  an  indication  that  the  paper  is  sufficiently 
umed  for  all  ordinary  purposes.  When  there  is  much 
moisture  in  the  atmosphere,  some  samples  of  paper  show  a 
peculiar  mottled  effect,  although  the  purple  colour  has  been 
reached.  Such  a sample  of  paper  will  produce  the  very 
best  results  by  floating  five  or  six  minutes  on  a weak 
sensitizing  bath,  and  prolonging  the  fuming  until  the 
paper  will  print  a slatey  blue  ; this  may  require  from  five 
minutes  to  twenty.  Wheu  the  paper  is  acted  upon  too 
long,  also  when  not  quite  dry,  a metallic  lustre  will  per- 
vade the  whole  print.  Such  prints  cannot  be  made  to  give 
a satisfactory  toue  ; neither  can  a good  surface  be  produced 
by  the  after-operations  of  rolliug  or  burnishing.  As  soon 
as  the  sensitizing  and  fuming  is  completed,  the  paper 
should  be  packed  away  in  a dry  place  ; for  if  it  is  allowed 
to  remain  lying  about  the  room,  it  will  soon  discolour  ; 
but  if  it  is  rolled  up  tightly,  or  cut  up  and  placed  under  a 
heavy  weight,  it  may  be  preserved  some  three  or  four  days 
(except  in  sultry  weather)  without  any  appareut  coloura- 
tion. Even  after  a week  it  will  do  for  plain  printing. 
If  it  is  thought  desirable  to  preserve  it  a longer  time  than 
a few  days,  it  may  be  kept  white  between  sheets  of  blotting- 
paper  which  have  been  passed  through  a six  or  seven  per 
cent,  aqueous  solution  of  sodic  carbonate. 

Both  the  sensitized  and  sodic  papers  require  to  be  dry 
and  kept  under  pressure  in  a dry  place.  The  great  advan- 
tage in  this  plan  is,  that  the  prints  do  not  require  any 
longer  toning  than  usual.  Another  plan  of  fuming  is  to 
submit  the  felt  pads  to  the  action  of  ammonia,  these  being 
kept  in  an  ammonia  cupboard,  and  changed  from  time  to 
time  ; or  the  pads  may  be  made  in  the  form  of  flat  bags 
to  hold  carbonate  of  ammonia.  Ammonia  pads  are  used  a 
good  deal  in  Germany. 

There  is  a plan  of  preserving  by  re-floating  the  paper 
after  it  has  been  dried  on  an  acid  bath  for  a short  time, 
then  re-dried,  and  packed  away  under  pressure  ; citric  or 
tartaric  acid  is  usually  employed  for  this  purpose.  Some 
photographers  prefer  adding  the  acid  to  the  sensitizing 
bath  to  save  time  ; but  we  should  not  recommend  the 
beginner  to  do  so.  If  he  wished  to  try  an  experiment  in 
that  direction,  the  following  will  be  found  to  answer  : — 

Picked  gum-arabic  2 ounces 

Dissolve  in  water  ...  ...  80  „ 

Add  citric  acid 2 „ 

Tartaric  acid  ...  2 „ 


Float  the  back  of  the  paper  on  the  above  mixture  for 
two  miuutes,  dry  and  pack  away  in  a dry  place  ; paper  so 
prepared  should  keep  for  one  year  at  least.  It  will 
require  fuming  before  it  is  used,  and  should  not  be  toned 
in  the  same  gold  toning  bath  used  for  freshly-prepared 
paper.  One  thing  will  soon  become  evident  to  the  tyro, 
that  is,  that  freshly-prepared  sensitive  paper  is  not  capable 
of  withstanding  the  deleterious  action  of  the  atmosphere 
for  any  great  length  of  time  ; therefore,  whenever  he 
desires  to  preserve  it  as  white  as  freshly-prepared,  this 
fact  must  be  borne  in  mind. 

We  cannot  say  much  in  regard  to  cutting-up,  beyond 
giving  the  sizes  mostly  in  use.  When  the  photographer 
intends  trimmiug  his  prints  previous  to  toning,  it  matters 
little  whether  the  paper  is  first  of  all  folded  aud  creased, 
then  torn,  or  cut  with  a knife  or  scissors  ; but  when  the 
prints  are  trimmed  or  cut  after  toning  and  washing,  it 
will  be  found  better  to  employ  scissors  for  reducing  the 
sheet,  otherwise  the  rough  edges,  caused  by  tearing,  may 
cause  serious  tears  in  the  process  of  washing.  A sheet  of 
llive  paper  as  we  receive  it  measures  about  22^  by  17f 
inches ; starting  downwards  we  have  to  print  negatives 
20  by  16  inches,  18  by  15,  16  by  13,  15  by  12,  14  by  11, 
12  by  10,  11  by  9,  10  by  8,  9 by  7,  8J  by  6|,  7 by  5, 
64  by  4$,  6$  by  4$,  6|  by  3£,  5$  by  3^,  5 by  4 ; 4J  by  3$, 
au  of  which  are  old  standard  sizes  ; besides  these  there  are 


odd  sizes,  and  what  may  be  termed  the  new  sizes.  The 
panel  is  13  by  8 inches  ; double  promenade,  81  by  8J  ; 
promenade,  8j  by  4J,  and  others. 

The  sizes  being  so  numerous,  no  fixed  rule  can  be  given 
as  to  cutting  up  ; neither  can  two  pieces  be  got  out  of  a 
sheet  larger  than  our  14  by  11  size  ; but  we  shall  have  a 
strip  left  22  by  3,  which  will  give  us  eight  carte-size  pieces. 
Thirty-two,  or  thirty  six— or  even  forty-eight — carte-size 
pieces  can  be  cut  out  of  a sheet;  it  depends  entirely  upon 
which  way  it  is  cut.  We  do  not  advise  the  student  to  be 
too  economical.  He  will  find  it  better  to  have  his  paper  a 
little  larger  than  the  size  he  intends  his  print  to  be  when 
finished.  As  an  illustration,  take  the  smallest  size  he  is 
likely  to  print — i.e.,  C.D.Y.  from  quarter-plate  (4J  by  3|) — 
fold  the  sheet  in  halves,  cut  it  through  the  centre,  the 
albumenized  surfaces  touching,  and  the  corners  even  ; now 
fold  again  in  halves  and  cut  through  ; repeat  as  before 
until  five  cuts  have  been  made.  We  shall  now  have  thirty- 
two  pieces  all  the  same  size,  with  plenty  of  margin  for  re- 
trimming after  printing  ; likewise,  what  is  of  paramount 
importance — in  portraiture  at  least— the  stretching  of  the 
paper  which  takes  place  during  the  after-processes  of 
washing,  toning,  &c.,  will  be  equal.  In  our  next  lesson, 
we  shall  deal  with  plain  printing’ ; also  vignetting  and 
masking,  &c. 

o 

THE  ADAPTATION  OF  MACHINERY  TO  PHOTO- 
GRAPHY. 

BY  G.  H.  BABCOCK.* 

In  this  age  of  steam,  telegraphs,  and  photography,  when  the 
three  most  subtle  agencies  of  nature — light,  heat,  and  electricity 
— have  been  subdued  by  man  and  trained  to  do  his  bidding, 
startling  developments  and  astounding  applications  in  art  and 
science  are  looked  for  as  an  almost  daily  programme  in  the 
great  drama.  Is  it,  then,  to  be  wondered  at  that  the  go-ahead 
Yankee,  in  his  impatience  at  the  slowness  of  this  “fast ’’age, 
should  conceive  and  actually  carry  out  the  idea  of  applying 
steam  power  to  the  production  of  photographs,  and  should  turn 
them  out  at  a speed  which  eclipses  the  boasted  rapidity  of  the 
“lightning  ” printing-press  ? 

As  an  evidence  that  this  may  be,  and  even  has  been  accom- 
plished, I have  the  pleasure  of  presenting  for  the  inspection  of 
the  Society,  this  evening,  several  specimens,  among  them  a sheet 
containing  about  three  hundred  photographs,  all  printed  from 
one  negative,  at  the  rate  of  twelve  thousand  an  hour  ! As 
astonishing  as  this  speed  may  seem,  I am  assured,  and,  from 
what  I have  seen,  believe,  that  it  may  be  greatly  increased. 

The  means  by  which  this  is  accomplished  is,  simply  the 
adaption  of  machinery  to  the  process  of  printing  by  develop- 
ment. This  process,  though  little  used  of  late,  has  certainly 
produced  some  very  fine  specimens,  and  prints  so  produced  are 
generally  conceded  to  have  the  advantage  in  permanency  over 
the  ordinary  prints  produced  by  the  direct  action  of  light. 

The  machine  is  the  invention  of  Mr.  Charles  Fontayne,  of 
Cincinnatti,  Ohio,  who  has  spent  several  years  in  perfecting  it, 
and  the  developing  process  which  he  uses  therewith.  I am 
assured  by  him  that  the  process  by  which  these  specimens  were 
produced  is  quite  different  from  any  other  known  ; but  in  what 
this  difference  consists  I am  not  informed.  A negative  is  fixed 
in  a box,  together  with  a sheet  of  prepared  paper,  and  the 
latter  exposed  by  automatic  machinery  to  the  condensed  light 
of  the  sun  pissing  through  the  negative.  After  each  exposure 
the  paper  is  traversed  underneath  the  negative,  to  present  a 
fresh  surface  for  the  succeeding  impression.  These  motions, 
together  with  that  of  clamping  the  negative  into  close  contact 
with  the  paper  at  the  instant  of  exposure,  are  all  performed  by 
the  operator  simply  turning  a crank. 

The  rapidity,  at  the  several  tines  I witnessed  its  operation, 
was  two  hundred  impressions  per  minute,  at  which  speed  the 
time  of  exposure  was  but  ’03  of  a second  for  each  impression. 
The  condensing  lens  being  seven  inches  in  diameter,  and  the 
circle  of  condensed  light  about  one  and  a-half  inch,  the  above 
exposure  is  equal  to  ’65  of  a second  direct  exposure  to  the  light 
of  the  sun.  If,  therefore,  the  machine  were  to  be  used  for  a 
larger  class  of  pictures,  such  as  book  illustrations  and  stereo- 


* Read  before  tire  American  Photographical  Society. 


140 


THE  PHOTOGRAPHIC  NEWS. 


[Mabch  2,  1883. 


grams,  a condensing  lens  might  be  dispensed  with,  and  yet 
nearly  twenty-five  hundred  impressions  be  taken  in  an  hour. 

This  opens  a field  for  photography  hitherto  impracticable  in 
consequence  of  the  time  and  expense  of  printing  as  ordinarily 
practised.  The  illustrations  for  a book,  having  all  the  exquisite 
beauty  and  perfection  of  the  photograph,  may  be  turned 
out,  by  the  use  of  this  machine,  with  a rapidity  wholly  un- 
dreamed of,  either  in  plate-printing  or  lithography.  The 
expense  of  engraving  may  be  dispensed  with,  and  the  negative 
come  direct  from  the  artist’s  hands,  drawn  upon  a prepared 
glass  from  which,  in  the  course  of  a few  hours,  the  plates  for  a 
large  edition  may  be  printed,  each  one  a perfect  duplicate  of 
the  original  drawing.  As  an  evidence  of  the  facility  with  which 
this  may  be  done,  a print  produced  by  the  ordinary  ammonia- 
nitrate  process,  from  a rough  sketch  so  prepared,  is  herewith 
presented.  It  will  be  seen  that  an  ease,  freedom,  and  spirit  is 
given  to  the  drawing  which  cannot  be  equalled  by  any  process 
of  engraving,  and  when  the  negative  is  properly  prepared  by 
an  experienced  artist,  nothing  further  could  be  desired  for  illus- 
trating ideal  subjects  ; but  for  the  actual,  and  for  reproducing 
the  works  of  others,  of  course,  the  draughtsman  would  give  way 
to  the  far  more  truthful  camera. 

But  besides  book  illustrations  and  portraits  for  visiting  cards, 
and  advertising  purposes,  of  which  specimens  are  shown,  this 
machine  may  be'  applied  to  the  multiplication  of  stereograms, 
which,  by  its  use,  may  be  made  so  cheaply  as  to  bring  them 
into  the  humblest  family,  where,  by  their  exquisite  beauty  and 
truthfulness,  they  will  engender  a taste  for  the  beautiful,  and,  in 
time,  entirely  eradicate  the  cheap  and  disgustingly  coarse 
lithographs,  engravings,  and  water-colour  daubs,  which  at  present 
form  so  large  a proportion  of  the  pictures  within  reach  of  the 
poor. 

When  these  new  adaptations  of  photography  shall  have  been 
fully  accomplished,  then  shall  our  noble  art,  which  has  already 
done  more  to  develop  and  elevate  the  taste  of  the  present 
generation  than  any  other  one  instrumentality,  take  a stand  by 
the  side  of  its  great  sister  art — Printing — and,  hand  in  hand, 
will  they  go  forth  to  educate,  ennoble,  and  elevate  mankind. 

The  pictures  herewith  presented  possess  additional  interest 
to  this  Society,  from  the  fact  that  they  are  taken  upon  ordinary 
American  writing  paper,  which  was  not  prepared  specially  for 
photographic  purposes.  Mr.  Fontayne  first  used  this  paper  in 
his  experiments  on  account  of  its  cheapness,  and,  having 
become  accustomed  to  it,  he  now  prefers  it  to  any  of  the  foreign 
photographic  papers.  In  the  course  of  his  extended  experi- 
ments, he  has  used  almost  every  variety  of  American  paper, 
including  that  made  from  straw,  manilla,  and  cane,  with  varying 
degrees  of  success,  and  he  promises  at  some  future  time  to  pre- 
sent the  result  of  these  experiments  to  this  Society. 


Micro- Photooeapby.  By  A.  Cowley  Mai  ley,  B.  A.  (Lewis: 

136,  Gower  Street.) 

It  not  unfrequently  happens  that  the  author  of  the  first 
hand -book on  a subject  fails  to  produce  a really  well-arranged 
and  thoroughly  satisfactory  book  ; but  we  find  in  Mr. 
Malley’s  little  work  nothing  to  indicate  that  the  author  is 
a pioneer  in  a special  branch  of  scientific  literature. 

A short  preliminary  chapter  on  the  optical  principles 
involved  in  photographic  and  microscopic  work  brings  the 
author  fairly  to  his  subject,  and  we  soon  become  satisfied 
that  he  is  not  only  well  versed  in  the  practical  details 
of  his  subject  matter,  but  that  he  also  possesses  the  rare 
faculty  of  teaching  much  in  a few  words.  A considerable 
portion  of  the  work  consists  of  a description  of  such  matters 
relating  to  microscopic  practice,  as  we  imagine  will  be 
useful  to  those  of  our  readers  who  may  wish  to  devote  them- 
selves to  this  interesting  branch  of  photography.  At  the 
same  time,  Mr.  Malley’s  book  is  complete  aud  comprehensive 
in  itself,  and  may  be  studied  with  advantage  by  the 
professional  photographer,  the  histologist,  or  the  micro- 
scopist ; while  the  medical  student  might  with  advan- 
tage study  the  work  with  a view  of  obtaining  for  himself 
permanent  records  of  his  labours  in  the  histological  labora- 
tory, or  the  dissecting-room.  Four  specimens,  printed  by  the 
Woodburytype  method,  illustrate  the  book. 


Dr.  Dallinger’s  convenient  lamp  is  thus  described  : — 

To  the  back  of  an  ordinary  tin  paraffin  lamp,  A,  a board  is 
attached  to  give  rigidity  ; this  board  is  fastened  by  screws  to  a 
block  which  can  be  raised  or  lowered  on  the  pillar  I)  by  a rack- 
and-pinion  movement.  A lateral  motion  is  communicated  to 
the  pillar  D by  means  of  the  screw  F. 


The  lid  o an  oblong  tin  box  about  one  inch  wider  than  the 
chimney  of  the  lamp,  has  a hole  cut  in  it  of  sufficient  size  to 
allow  of  its  fitting  tightly  on  the  small  flange  below  the  tongues 
of  the  burner,  and  as  near  as  possible  to  the  side  of  the  lid 
intended  for  the  front,  that  for  the  back  being  turned  down 
horizontally. 

Another  round  hole,  two  inches  in  diameter,  is  cut  in  the  front 
of  the  box,  at  such  a level  that  the  flame  may  occupy  its 
centre. 

In  the  middle  of  the  opposite  side  a slit  three  inches  long  is 
made,  the  upper  extremity  of  which  is  cut  again  at  right  angles  ; 
the  flaps  thus  formed  are  turned  outward,  and  a plane  silvered 
mirror  fastened  between  them. 

The  spaces  left  at  the  top  and  bottom  of  the  flaps  allow  a 
current  of  air  to  circulate  between  the  mirror  and  the  chimney 
of  the  lamp,  and  prevent  their  cracking. 

Still,  Mr.  Malley  prefers  to  work  by  solar  light,  and  gives 
the  following  particulars : — 

The  best  light  for  micro-photography  is  sunlight,  but  the 
difficulties  of  its  employment  in  our  climate  more  than  counter- 
balance the  excellence  of  its  results. 

We  shall  give  a description  of  the  apparatus  necessary  for  the 
benefit  of  those  who  can  afford  sufficient  time  during  daylight  for 
micro-photography,  or  who  may  be  more  favourably  situated 
atmospherically. 

It  should  be  borne  in  mind  that  the  actinic  power  of  the 
sun  is  subject  to  considerable  variations,  due  to  its  elevation 
above  the  horizon  ; this  depends  on  the  hour  of  the  day  and 
time  of  the  year,  the  greatest  intensity  being  about  noon  in  mid- 
summer, while  at  the  same  hour  in  midwinter  it  is  about  one- 
third  less.  No  fixed  rule  can  be  given  for  exposure  ; its  duration 
therefore  must  be  left  to  the  judgment  and  experience  of  the 
operator. 

The  rays  of  the  sun  may  be  thrown  on  the  condenser  of  the 
microscope  from  a mirror  moved  by  hand.  This  is  inconvenient, 
and  requires  an  assistant.  Some  means  of  keeping  the  light  in 
position  is  almost  a necessity,  and  for  this  purpose  several 
instruments  have  been  invented,  the  cheapest  being  designed  by 
Stoney,  and  lately  modified  by  Spencer,  of  Dublin.  As  all  these 
instruments  are  expensive,  we  shall  describe  a form  of  Heliostat, 
very  easily  made,  and  sufficiently  accurate  for  the  purpose. 

A thick,  well-seasoned  oak  or  mahogany  board,  about  six  inches 
wide  and  twelve  long,  A,  is  fitted  with  levelling  screws, 
xxxx,  at  its  four  corners.  On  it  a small  French  clock,  M,  is 
placed,  a boxwood  wheel  one  inch  in  circumference  being  pre* 
viously  attached  to  the  hour-hand  axle. 

A sheet  of  white  paper,  with  a line  N8  drawn  across  it,  is 


March  2,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


141 


gummed  to  the  back  of  a square  of  thick  plate  glass,  D,  the 
whole  being  fastened  to  A,  as  in  the  figure. 

A ball-and-socket  joint  is  fixed  at  E,  the  ball  having  a hole 
half-way  through  it,  the  orifice  being  on  a level  with  the  top  of 
the  glass  plate,  and  in  a direct  line  with  NS. 


A wooden  pillar  F,  the  top  being  cut  obliquely,  is  placed  as 
shown  ; on  it  is  fastened  a thick  brass  plate,  by  a binding  screw, 
B,  passing  through  the  slot  at  one  extremity,  the  other  ex- 
tremity being  perforated  to  receive  a knitting  needle,  H. 

This  knitting  needle  must  be  perfectly  straight,  and  work  very 


smoothly  in  E and  G.  On  it,  between  E and  G,  a boxwood 
wheel,  I,  four  inches  in  circumference,  is  fixed,  and  above  G a 
small  mirror  K. 

A motion  four  times  as  slow  as  that  of  the  hour-hand  of  the 
clock  is  imparted  to  the  needle,  and  thus  to  the  mirror,  by  a silk 
cord  passing  round  the  boxwood  wheels,  M and  I. 

An  elastic  band  and  a small  hook  is  the  best  means  of  keeping 
the  cord  tight ; it  should  always  be  detached  when  the  instru- 
ment is  not  in  use. 


I Another  and  larger  mirror,  L,  mounted  to  allow  of  its  rotation 
in  a'.l  directions,  and  elevation  to  any  required  height,  is  placed 
in  front  of  the  mirror  K,  and  generally  on  it  left-hand  side. 

A stout  card,  R,  whose  sides  are  the  same  length  as  the  needle, 
is  divided  into  degrees,  minutes,  and  seconds. 

A small  plumb-line,  P,  a spirit-level,  and  a compass,  complete 
the  apparatus. 

The  general  arrangement  for  working  with  a Swan  lamp 
is  shown  by  the  subjoined  figure  ; but  for  the  detailed  de* 


scription  of  the  apparatus  we  must  refer  our  readers  to  the 
book  itself. 


BICYCLES  AND  TRICYCLES  AS  A MEANS  OF 
LOCOMOTION  TO  PHOTOGRAPHERS. 

BY  C.  E.  ARTHUR. 

Having  noticed  from  time  to  time  in  the  Photographic 
News  queries  respecting  the  practicability  of  the  adoption 
of  bicycles  and  tricycles  as  a means  of  locomotion  to  photo- 
graphers, I beg  to  offer  a few  practical  remarks  of  my  view 
of  the  case. 

Bicycles. — Hitherto  I have  noticed  that  all  the  advice 
given  in  the  Photographic  News  under  this  heading  has 
only  been  for  the  carrying  of  such  apparatus  as  the  sceno- 


graph,  or,  at  the  best,  the  conveying  of  a very  limited 
number  of  plates.  But  by  my  plan,  apparatus  sufficient 
for  the  use  of  any  professional  photographer  for  half-plate 
work  may  easily  be  conveyed.  1 would  suggest  that  the 
“ Cassie  Luggage  Carrier  ” be  adopted.  Bv  this  means 
sufficient  apparatus  can  easily  be  carried  without  any  very 
perceptible  difference  in  weight  to  the  rider.  The  arrange- 
ments are  very  simple,  and  consist  of  two  metal  boxes  fixed 
to  the  fork  of  the  machine  to  hang  down  below  the 
treadle — one  box  on  each  side  of  the  wheel.  The  boxes 
may  measure  from  ten  to  twelve  inches  broad  and  deep, 
and  about  four  inches  in  thickness.  The  size  of  the  box 
can,  of  course,  be  altered  to  suit  the  convenience  of  the 
apparatus,  but  with  such  cameras  as  the  “ Perfect  Pocket 
Camera,”  manufactured  by  the  Sciopticon  Company,  the 


142 


THE  PHOTOGRAPHIC  NEWS. 


[March  2,  1883. 


size  of  the  box  mentioned  is  quite  large  enough.  This 
camera  and  eight  or  twelve  double  slides  can  be  packed  in 
the  two  boxes  together  with  lens  and  focussing  cloth ; or  a 
couple  of  grooved  boxes  and  a changing-box,  such  as  that 
produced  by  Shew  and  Co.,  Newman  Street,  can  be  carried 
in  place  of  the  double  dark  slides,  and  thus  entail  less  ex- 
pense, though  necessitating  more  labour  in  changing  ; but 
by  this  means  about  two  dozen  plates  might  be  carried. 

The  greatest  drawback  to  the  photographing  bicyclist 
is  the  carrying  of  the  camera  stand.  It  has  been  suggested 
by  some  enterprising  amateur  to  place  a stick  cut  from  the 
hedge  (if  available)  below  the  fork  of  the  machine,  and 
fit  the  camera  on  the  top  of  the  handle,  and  thus  do  away 
with  the  conveyance  of  an  ordinary  tripod.  This  sugges- 
tion may  do  very  well  for  amateurs  choosing  their  own 
subjects,  but  the  difficulties  that  a professional  would  Jen- 
counter  would  be  numerous  ; for  instance,  the  taking  of 
the  interiors  of  churches,  or  any  object  in  these  sacred 
edifices,  leaving  out  the  great  objections  that  might  be 
raised  to  the  introduction  of  such  a machine  into  a sacred 
building.  Or,  again,  in  grouping,  the  difficulties  to  be 
overcome  at  once  present  themselves,  and  need  no  detail- 
My  plan  is  to  take  a light  folding  tripod,  as  small  as  can 
possibly  be  done  with,  and  fix  it  along  the  handle-bar. 
Granting  the  length  of  the  handle-bar  to  be  about  two 
feet  in  length,  a five-feet  folding-staud  would  then  pro- 
trude only  four  inches  each  end  of  the  handle.  Should  this 
be  in  the  way  of  the  proper  use  of  the  handle,  Messrs.  Goy 
have  brought  out  a front  wheel  “ luggage  rest,”  which  can 
easily  be  fixed  to  the  front  of  the  handle-bar.  If  this 
mode  of  conveyance  is  objectionable,  it  might  be  fixed  to 
the  backbone  of  the  machine  behind  the  seat  by  having 
two  pieces  of  metal  in  the  shape  of  a Y attached  to  the 
backbone,  on  which  to  rest  the  stand,  of  course  fixing  it 
with  straps. 

One  great  advantage  which  might  be  mentioned  in 
having  the  “Cassie  luggage  carrier”  attached  to  the 
treadles  is,  that  the  weight  being  below  the  treadle  it  is 
scarcely  felt,  and  that  in  ascending  hills  it  is  a great  assist- 
ance rather  than  a drawback. 

Tricycles. — Again,  many  articles  have  appeared  under 
this  heading,  and  all,  or  most  of  them,  seem  to  fail  in 
practice.  The  machine  I usually  employ  in  my  excursions 
is  the  “Excelsior"  manufacture,  by  Baliss  and  Thomas, 
Coventry,  and  the  one  approved  of  for  adoption  by  the 
employes  of  the  General  Post  Office.  I have  found  it 
thoroughly  suitable  for  my  requirements  in  every  way. 
It  has  a 54-inch  driving  wheel,  which  naturally  gives  it  a 
much  greater  power  in  locomotion  than  one  with  a smaller 
wheel. 

The  apparatus  which  I generally  use,  and  which  1 find 
in  every  way  suitable  to  the  occasion,  is  the  half-plate 
camera.  As  1 am  often  away  for  a week  at  a time,  I have 
to  endeavour  to  carry  as  large  a number  of  plates  as 
possible,  and  be  able  to  expose,  if  required,  two  dozen 
daily.  The  mode  which  I have  adopted  is  very  easily 
applied,  and  is  very  convenient.  A box  measuring 
13  by  12  inches  is  attached  to  the  back  of  the  seat  by 
strong  leather  bauds,  instead  of  being  fixed  to  the  back- 
bone of  the  machine,  and  I fiud  that  it  has  this  great 
advantage:  by  so  doing,  there  is  less  liability  to  the  breakage 
of  the  box’s  contents  through  the  motion  of  the  machine. 
The  box  contains  half-plate  camera,  lens,  tripod  top,  and 
focussing  cloth,  besides  boxes  necessary  for  the  carrying 
and  changing  of  the  two  dozen  half-plates  and  two  dozen 
quarter-plates.  The  total  weight  incurred,  without  plates, 
but  including  the  box  they  are  carried  in,  is  only  17^  pounds; 
if  more  plates  are  necessarily  required  to  be  carried,  they 
can  be  packed  in  a smaller  box,  and  suspended  below  the 
seat.  Again,  when  away  from  home  the  plates  that  have 
already  been  exposed  in  the  camera  may  be  taken  out  at 
night,  packed  up,  and  replaced  by  fresh  ones.  This  can 
very  easily  be  done  in  the  bedroom  of  one’s  hotel  by  using 
the  tricycle  lamp,  and  simply  wrapping  a piece  of  orange- 
coloured  paper  round  it,  as  a means  of  illumination. 


It  will  thus  be  seen  that  four  dozen  plates,  at  least,  could, 
if  required,  be  exposed  every  day,  and  a fresh  start  made 
again  next  morning.  If  goiug  away  from  home  for  a small 
undertaking,  of  course  a less  number  of  plates  can  be 
carried,  and  then  less  weight  will  be  incurred.  The  idea 
which  I wish  to  convey  is  the  practicability  of  my  plan  for 
a more  extended  tour.  I can  also  carry,  in  lieu  of  the  half- 
plate camera,  packed  in  the  same  box,  a whole  plat6 
camera  and  four  double  slides.  By  the  mode  I have 
adopted  in  my  half-plate  camera,  I am  enabled  with  very 
little  extra  weight— i.  e.,  ten  ounces  per  dozen  plates — to 
change  an  almost  unlimited  number  of  plates,  and  this 
much  more  quickly  than  by  the  use  of  an  ordinary  chang- 
ing box.  The  camera  stand,  which  is  an  ordinary  folding 
tripod,  is  then  strapped  upon  the  backbone  of  the  machine 
quite  out  of  the  way,  and  I am  ready  for  the  road. 


A QUICK  METHOD  OF  MASKING  OUT  THE  SKY 
IN  LANDSCAPE  NEGATIVES  WITH  A CANDLE. 

BY  A.  HARRISON  HILL. 

Having  at  times  had  a deal  of  trouble  with  thin  and  bad 
corners  in  the  negatives,  I adopted  the  following  plan, 
which  I find  answers  remarkably  well.  Take  a tallow 
candle  with  rather  a long  snuff  that  smokes  well,  in  the 
right  hand,  hold  the  negative  in  a sloping  position,  and 
move  the  candle  about  till  you  have  smoked  the  parts  of 
the  negative  dense  enough,  of  course  taking  care  not  to 
crack  it  by  making  too  hot.  After  placing  in  the  printing 
frame,  stretch  a piece  of  white  tissue  paper  on  the  outside 
of  the  printing-frame  to  protect  the  smoke  from  being 
rubbed  off  during  printing.  In  the  print  you  will  find  a 
clean  white  sky  ready  to  have  the  clouds  printed  in  from 
a wax  cloudjnegative,  which  is  a great  improvement.  With 
care,  clouds  can  be  smoked  on  the  negative  in  the  same 
way,  which  print  very  well  indeed. 

Not  having  seen  anything  of  this  kind  described  before, 
I thought  it  might  be  of  benefit  to  some  of  ray  brother 
photographers.  I ask  those  interested  to  give  it  a trial. 


tarfsgott&tncf. 

IODIDE  IN  GELATINE  EMULSION. 

Sir, — Permit  me,  in  reply  to  Captain  Abney’s  letter,  to 
say  that  in  my  former  communication  I claimed  only  to 
have  proved  (and  published)  the  value  of  iodide  in  gelatine 
emulsion  in  the  stage  in  which  the  process  was  at  that  date. 
Had  I professed  to  have  done  in  1877  what  others  have 
done  in  later  years,  there  might  have  been  some  excuse  for 
Captain  Abney’s  complaint. 

Let  each  one  have  due  credit  for  his  share  in  the  work 
of  bringing  any  process  to  perfection.  I willingly  recog- 
nise and  appreciate  the  labour  of  all  who  have  had  a hand 
in  perfecting  the  process  in  question.  “ The  value  of 
iodide  being  now  recognised,”  is,  in  my  opinion,  a valid 
reason  for  desiring  the  record  of  progress  to  be  a correct 
one. 

Mr.  Farmer  has  honourably  acknowleged  the  error,  and 
I beg  to  thank  him  for  his  candour. 

To  take  up  Captain  Abney’s  metaphor,  1 may  say  the 
valiant  defence  of  “ the  child,”  asserted  by  Captain 
Abney,  I am  not  going  to  dispute,  for  however  “ welcome 
my  help  would  have  been,”  I have  never  recognised  any 
special  responsibility  in  its  “ bringing  up.”  If  he  has,  of  his 
own  free  will,  taken  to  it,  I make  no  complaint ; but 
logically,  that  gives  him  no  title  beyond  that  of  foster- 
father.  It  does  not  invalidate  my  claim  to  be  its  parent, 
nor  does  it  justify  a charge  of  neglect  agaiust  me. 

Yet  I find  myself  indicted  upon  a novel  charge  of  child- 
desertion,  and  by  it,  I am  told,  I have  forfeited  the 
privilege  of  paternity.  That  the  father  should  relinquish 
his  rights  in  “ the  child  ” in  favour  of  another  who  claims 


March  2,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


143 


to  “have  brought  it  up  properly,”  ia  an  amusing  non 
seqiiilur.  From  Captain  Abney’a  pathetic  complaint  it 
might  really  be  supposed  that  he  had  found  “ the  child  ” 
deserted  on  a doorstep  ; in  his  compassion  for  the  forsaken 
one  had  hugged  it  to  his  bosom,  rescued  it  from  death  by 
coldness  and  neglect,  had  fed  and  nurtured  it,  and  taught 
it  to  run  in  the  way  it  should  go,  when  —Oh  ! horror  of 
horrors!  a claimant  appears  upon  the  scene  to  snatch  the 
darling  from  his  arms  ! 

If  Captain  Abney  has  acted  the  part  of  a /outer -father 
to  “the  child,”  1 am  willing  to  give  him  credit  for  all 
his  care  ; but  1 cannot  confess  to  having  forsaken  it. 

In  truth,  is  not  this  child — iodide— precious  to  all  of 
us — so  to  say,  a “ child  of  the  regiment  ” of  photographers, 
who  has  had,  and  should  still  have,  many  foster-parents,  all 
contentedly  sharing  a common  interest  in  its  growth  and 
prosperity?  G.  S.  Penny. 


THE  PHOTOGRAPHIC  CLUB. 

Sir, — The  committee  of  the  Photographic  Club  have 
requested  me  to  state  that  the  Club  does  not  officially 
publish  its  proceedings  except  in  its  annual  report.  The 
statements  of  Mr.  Hendersou  in  his  letter  of  the  19th  ult. 
respecting  publication  are  therefore  incorrect. 

For  t.he  convenience  of  members  a subject  for  discussion 
is  announced  weekly  in  the  photographic  press. — I am, 
sir,  yours,  &c.,  E.  Dunmore,  Hon.  Sec. 


FIXING  NEGATIVES. 

Dear  Sib, — I have  this  morning  been  informed  by  a 
professional  photographer  of  eminence,  and  a distinguished 
amateur,  that  any  number  of  negatives  may  be  fixed  in  one 
bath  of  hyposulphite  of  soda  twelve  months  old,  whether 
saturated  with  sulphide  or  bromide  of  silver  ; that  no 
deposit  of  sulphide  of  silver  shall  take  place  on  the  film  ; and 
that  they  shall  fix  out  bright  and  clear.  If  this  be  so,  why 
should  we  be  continually  told,  “ Use  a fresh  solution  of 
hypo,  to  fix  your  negatives,”  as  prescribed  by  all  the 
published  formulas? 

1 shall  be  obliged  by  your  letting  this  letter  appear  in 
the  next  number  of  your  paper,  as  I think  it  is  of  import- 
ance ; and  I should  like  to  know  if  it  be  so  or  no? 

W.  Hardino  Warner. 


DrocM&mgs  of  JSocutus. 

Photographic  Society  of  Great  Britain. 

A meeting  was  held  on  Tuesday  last,  Feb.  27th,  Mr.  John 
SriLLER,  vice-president,  in  the  chair. 

Messrs.  Berger,  Challenger,  and  Co.,  of  Fenchurch  Street, 
sent  some  coloured  photographs,  which  had  been  forwarded  to 
them  by  Mr.  L.  Cellerier,  of  Geneva  ; and  it  was  stated  that  the 
colours  had  been  impressed  at  the  same  time  as  the  photographic 
image,  but  no  particulars  were  given.  The  circumstance  that  a 
wet  gelatino-bromide  film  appears  more  opaque  than  a similar 
film  when  dry  was  discussed,  but  it  will  be  remembered  that  Mr. 
Dunmore  has  shown  that  a wet  film  and  a dry  film  are  equal  as 
regards  their  power  of  allowing  actinic  rays  to  pass. 

Mr.  Warnerke  exhibited  an  adjustable  inner  frame  or  carrier 
which  could  also  be  used  for  holding  pieces  of  glass  of  irregular 
shape.  It  consists  of  a plain  frame  of  pear-wood,  of  which  the 
two  longer  sides  are  slotted  as  shown  by  the  subjoined  cut ; the 
slots  facing  towards  the  inside  of  the  frame.  Two  transverse  bars 


of  wood  having  an  angular  section  (L)  are  pared  off  towards  the 
ends  so  as  to  move  freely  in  the  slots,  and  to  allow  of  the  strips 
being  placed  out  of  parallelism  with  the  ends  of  the  frame, 
should  this  be  necessary.  The  spring  of  the  dark  slide  tightens 
all. 

Mr.  Chas.  Whiting’s  coating  apparatus  was  exhibited  as  de- 
scribed (see  page  129). 


London  and  Provincial  Photographic  Association. 

A meeting  of  the  above  was  held  at  Mason's  Hall  Tavern,  on  the 
22nd  inst. 

Mr.  W.  H.  Prestwioh,  who  occupied  the  chair,  showed  a box 
constructed  like  that  shown  by  Mr.  Brown  at  the  last  meeting, 
except  that  the  ends  were  made  of  double  milboard,  the  inside 
fold  being  folded  so  as  to  hold  the  plates  in  position. 

Mr.  Brown  said  it  had  been  stated  that  pressure  decreased  the 
sensitiveness  of  a gelatine  plate.  He  had  left  a portion  of  a plate 
under  a pressure  of  a fraction  under  3 lbs.  to  the  square  inch  for 
eight  hours,  and  on  development  could  detect  no  change. 

Mr.  Henderson  showed  two  very  fine  enamel  pictures,  from 
instantaneous  negatives  by  Mr.  W.  Cobb,  illustrating  the 
unveiling  of  the  statue  of  the  late  Prince  Imperial  at  Wool- 
wich. 

The  Chairman  had  tried  the  method  of  enamelling  prints 
described  by  Mr.  Ashman  at  the  last  meeting,  and  was  very 
successful  if  he  mounted  by  Mr.  Ashman’s  method  ; but  if  he 
used  Mr.  Cowan’s  process,  the  prints  would  not  strip  from 
the  glass  ; but  he  found  he  could  utilize  Mr.  Cowan’s  plan  if  he, 
after  talcing  the  glass,  poured  on  a solution  of  curd  soap  dissolved 
in  alcohol  and  water. 

Mr.  W.  E.  Debenham  had  tried  the  process,  and  he  found 
that,  if  the  back  print  was  covered  with  a very  thick  solution  of 
gum,  it  would  strip  readily  ; but  if  a thin  solution  were  used,  it 
stuck  to  the  glass. 

Mr.  Henderson  showed  a plate  envelope  to  be  used  in  lieu  of 
the  dark  slide,  and  sent  for  exhibition  by  Mr.  Beach.  It  was 
made  of  thick  paper,  the  plate  being  placed  in  one  side,  as  in  an 
envelope,  and  the  flap  folded  over,  and  slipped  into  a cut  to  hold 
it ; when  in  the  camera  a slide  in  the  reversed  side  was  to  be 
drawn  out,  as  in  an  ordinary  dark  slide.  He  thought  these  could 
be  made  in  England  at  a cost  of  about  Is.  6d.  per  dozen. 


Mil  in  Stubi0. 

Photo-  Astronomy. — M.  Wolf,  chief  of  the  Physical  Depart- 
ment in  the  Paris  Observatory,  recently  delivered  a lecture  at 
the  Sorbonne,  on  the  methods  employed  in  astronomical 
physics,  before  a very  large  and  enthusiastic  audience.  Ms 
Wolf  insisted  upon  the  three  methods  employed  by  astronomers — 
viz.  ocular  inspection  with  telescopes,  spectroscopic  analysis, 
and  photography.  He  dwelt  upon  the  difficulties  of  vision 
with  instruments  possessed  of  a great  magnifying  power,  and  he 
tried  to  oppose  the  popular  delusion  that  every  description  of 
celestial  phenomena  could  be  photographed  with  advantage.  He 
explained  that  this  method  could  be  almost  exclusively  confined 
to  the  sun  and  moon.  The  lecture  was  illustrated  by  many 
experiments  and  projections. — Nature. 

A Photograph  of  a Heroine.— The  Queen,  in  acknow- 
ledging the  receipt  of  a portrait  of  Miss  Jessie  Ace,  the  heroic 
rescuer  of  two  of  the  shipwrecked  crew  of  the  barque  Prins 
Albert,  on  the  27th  of  last  month,  intimates  that  her  Majesty  is 
very  pleased  with  the  photograph  both  as  a work  of  art  and  also 
as  a memento  of  a noble  act.  The  photograph  was  supplied  at 
the  express  request  of  her  Majesty. 

Savage  Club  Album. — The  album  presented  the  other  day 
to  His  Royal  Highness  the  Prince  of  Wales  by  his  “ brother 
Savages,”  was  manufactured  specially  for  the  occasion  by 
Messrs.  Marcus  Ward  and  Co.,  at  their  works  in  Belfast.  It  is 
of  large  size,  taking  four  cabinet  portraits  on  a page,  and  the 
Russia  leather  binding  is  richly  inlaid  and  ornamented.  Mr. 
Albert  Warren  has  placed  a tomahawk  at  the  head  of  his  design 
for  the  title-page,  and  beneath  it  appear  savage  heads,  shields, 
feathers,  and  other  emblematic  devices.  The  portrait  of  the 
Prince  fills  an  entire  page,  and  is  an  excellent  specimen  of  the 
skill  of  Mr.  Van  der  Weyde,  who  photographed  His  Royal  High- 
ness, and  also  150  others.  On  the  opposite  leaf  appears  an 
admirable  photograph  of  the  only  other  honorary  member,  Sir 
Francis  Truscott,  from  the  gallery  of  Mr.  A.  Fradelle,  246, 
Regent  Street,  whence  also  came  some  70  more  portraits,  includ- 
ing that  of  the  hon.  treasurer,  Sir  Phillip  Cunliffe  Owen,  G.C.B. 
After  the  committee  and  officers  of  the  club,  the  portraits  are 
placed  according  to  seniority  of  membership,  beginning  with 
H.  J.  Byron,  Lionel  Brough,  J.  L.  Toole,  Barry  Sullivan, 
and  Jonas  Levy ; and  the  last  in  the  collection  is  G.  H. 
Boughton,  A.R.A.  In  all  there  are  280  portraits,  affording 


144 


THE  PHOTOGRAPHIC  NEWS. 


[March  2,  1883. 


Bpecimens  of  the  work  of  Messrs.  Locke  and  Whitfield,  Bassano, 
Valentine  Blanchard,  Walter  Dubisson,  and  other  photographers. 
Considerable  time  was  occupied  in  the  task  of  collection.  Mr. 
Hunt,  editor  of  the  Eastern  Morning  News,  of  Hull,  is  noted  as 
being  the  first  to  send  in  his  photo. ; one  was  sent  from 
California,  others  from  South  Africa  and  varied  parts  of  Her 
Majesty’s  dominions.  Only  one  of  the  old  Savages,  Mr.  John 
Hollingshead,  failed  to  send  in  his  portrait.  It  is  a sad  circum- 
stance that  no  less  than  eight  members,  whose  photographs 
appear,  died  while  the  album  was  in  preparation.  As  an  incident 
of  Court  etiquette,  we  may  mention  that  the  Prince  of  Wales 
signed  the  album  which  he  received,  “ Albert  Edward  ” ; but  in 
the  duplicate  copy  prepared  for  the  Club  the  signature  is  “ Albert 
Edward  P.”  The  hon.  secretary  of  the  club,  Mr.  E.  J.  Good- 
man, upon  whom  devolved  a great  deal  of  labour  in  getting  up 
the  album,  had  the  honour  of  being  presented  with  a photo- 
graph of  the  Prince,  bearing  the  signature  of  His  Royal  Highness. 
— Daily  Chronicle. 

A Novel  Experiment  in  Complementary  Colours. — Mr. 
John  Gorham  writes,  in  Nature  : — “ The  old  maxim  of  an  adja- 
cent grey  in  order  to  give  visibility  to  a complementary  colour 
seems  to  hold  its  ground.  Mr.  Charles  T.  Whitmell  puts  it 
very  clearly  when  he  alludes  to  ‘ the  advantage  of  a reduction  of 
brightness  to  a level  comparable  with  that  of  the  existing  colour.’ 
Mr.  Whitmell  will  find,  I think,  that  this  brightness  may  be 
still  further  reduced  below  the  level  of  the  existing  colour.  This 
may  be  shown  by  one  or  two  remarkable  experiments  with  light 
admitted  through  a small  needle  hole  the  one-fiftieth  of  an  inch 
in  diameter,  made  through  the  bottom  of  a half  ounce  pill-box 
painted  inside  with  lampblack.  On  placing  a sheet  of  white 
paper  on  the  table  at  night  in  a room  lighted  with  ordinary  gas, 
and  looking  through  the  small  hole  with  one  eye,  both  eyes 
being  open,  he  will  see  on  the  paper  a disc  of  a beautiful  cobalt 
blue  colour,  evidently  the  complementary  of  the  yellow  light  of 
the  gas.  On  examining  the  sky  in  the  same  way  in  the  morning, 
there  will  be  seen,  especially  if  the  weather  is  dull  and  hazy,  as 
it  has  been  of  late,  a disc  of  a primrose  yellow  colour,  the  com- 
plementary of  the  blue  sky,  which,  although  invisible,  is  still 
making  its  impression  on  the  sensitive  retina.  Later  on  in  the 
day,  between  five  and  six  o’clock,  when  the  weather  is  murky, 
the  disc  has  a well-marked  pink  colour,  the  atmosphere  being 
evidently  tinged  with  dark  green.  These  several  results  I have 
witnessed  from  day  to  day  for  the  last  fortnight,  and  they  have 
been  verified  by  others  to  whom  I have  shown  them.  But 
when  the  sky  is  very  blue  and  clear,  there  is  seen,  for  obvious 
reasons,  a blue  disc  only.  In  the  above  experiments  there  is  the 
curious  anomaly  of  having  one  eye  impressed  with  the  exciting 
colour,  the  other  with  its  complementary.’ 

He  Wante»  to  Pose. — A resident  of  Park  Street  had  a photo- 
grapher come  up  the  other  day  for  the  purpose  of  taking  a view 
of  his  residence,  and  the  man  of  the  camera  had  just  got  in 
position,  when  along  came  an  old  coon  with  a buck-saw  on  his  arm, 
and  wanted  to  know  what  was  up.  “ Going  to  photograph  the 
house,”  was  the  reply.  “ Then  I guess  I’ll  pose,”  remarked  the 
old  man  ; „ I’ll  take  a position  at  the  left  of  the  gate,  and 
represent  the  statue  of  Industry.”  The  members  of  the  family 
came  out  and  arranged  themselves,  and  the  mau  called  out  : 
“ Here,  old  man,  you  want  to  get  out  of  that ! ” “ Can't  I 
represent  Industry  ? ” “No,  sir!”  “Can’t  I stand  over  there 
and  represent  Laziness  ?”  “ No,  sir  ! We  don’t  want  you  in 
the  group  at  all.”  “Le’me  represent  the  Sleeping  Beauty.” 
“ You  go  away  ! ” He  drew  off  to  one  side,  the  passing  teams 
halted  to  give  the  artist  a chance,  and  directly  the  plate  was 
made.  Everybody  rushed  forward  when  it  was  ready  for  in- 
spection. and  the  old  man  was  one  of  the  first.  As  the  plate  was 
held  up  he  giggled  and  tickled,  and  finally  burst  into  a loud  laugh. 
He  had  dodged  around  the  corner  of  the  house,  and  his  full 
figure  was  revealed  behind  the  family.  “ What  do  you  represent 
in  that  attitude  ? ” sternly  inquired  the  photographer.  “ Well,  I 
reckon  that’s  a pretty  good  pose  for  Contentment.”  “Very  well  ; 
you  will  now  represent  Dissatisfaction.”  And  the  artist  took 
the  festive  old  chap  by  the  ear,  and  walked  him  out  of  the  crowd, 
and  put  in  a couple  of  kicks  which  changed  the  pose  of  Content- 
ment to  that  of  Sorrow. — Detroit  Free  Press. 

Another  American  Story. — X , a well-known  photo- 

grapher, took  the  train  for  home  the  other  night,  and,  wearied 
with  a long  day’s  work  in  posing  bad  subjects  for  pictures,  fell 
into  a gentle  doze.  At  the  first  station  a lady  entered,  and 

stopping  at  the  vacant  seat  by  X ’s  side,  said,  “ Can  I sit 

here,  sir  ? ” “ Yes’m,”  said  the  half-aroused  artist : “ full 

length  or  bust  ? ” 


A Present  for  the  Princess  Royal. — During  the  last  two 
years  a very  elaborate  series  of  photographs  of  the  splendid 
collection  at  Buckingham  Palace  (which  is  particularly  rich  in 
Dutch  paintings)  has  been  taken  by  a German  artist,  for  the 
Crown  Princess,  who  now  possesses  representations  of  all  the 
gems  of  Her  Majesty’s  collection. — Truth. 

Photographic  Club. — On  Wednesday  next,  March  7th,  the 
subject  for  discussion  will  be  “ On  Lenses  Most  Suitable  for 
Producing  Enlargements.” 


$0  Comspon&ents. 

*#*  We  cannot  undertake  to  return  rejected  communications. 

J.  I. — 1.  Not  with  advantage,  as  it  is  desirable  to  remove  the 
inert  salts.  2.  Probably  the  collodio-albumen  process.  3.  Yes, 
as  a general  rule;  but  special  circumstances  would  have  to  be 
considered.  4.  We  cannot  say  ; write  and  ask  them.  5.  Such 
lenses,  if  used  with  judgment,  may  serve  fairly  well ; but  it  is 
much  better  to  make  use  of  instruments  specially  constructed 
for  the  purpose. 

Delta. — The  formula  given  should  yield  good  results  and  be 
fairly  rapid,  but  you  might  find  it  advantageous  to  increase  the 
proportion  of  bromide  a trifle,  and  to  make  use  of  a stronger 
nitrate  bath. 

H.  S. — Photographs  sent  for  our  opinion  as  to  technical  defects 
go  into  the  waste  paper  basket  after  we  have  examined  them  ; 
it  is,  therefore,  useless  to  attempt  to  search  for  those  you 
refer  to. 

Enquirer. — 1.  Thanks  for  the  paper,  which  we  have  already 
returned  by  post.  2.  We  forget  the  exact  circumstances  of  the 
case  you  refer  to,  hut  shall  be  pleased  to  see  what  can  be  done 
with  the  negative. 

W.  F.  He  Co.— 1.  The  only  thoroughly  satisfactory  method  with 
which  we  are  acquainted  is  to  first  make  a so-called  photo- 
lithographic transfer— that  is  to  say,  an  image  in  fatty  ink — 
and  then  transfer  this  to  the  prepared  wood  block  by  means  of 
pressure.  The  articles  by  Major  Waterhouse  give  abundant 
details  as  to  means  of  making  the  transfer  when  a line  subject 
is  to  be  put  on  the  wood.  When  an  impression  from  an  ordinary 
gradated  negative  is  required,  a very  excellent  method  is  to 
make  a collotypic  print,  and  to  transfer  this  to  the  wood  by 
pressure.  We  shall  publish  full  particulars  of  an  improved 
and  much  simpler  method  before  long.  2.  Its  solvent  action 
on  the  altered  product  is  not  sufficiently  powerful. 

T.  W.  O. — You  cannot  do  better  than  to  obtain  a portable  camera 
of  the  ordinary  type  from  one  of  the  high-class  makers,  and  we 
think  that  you  will  do  well  to  employ  the  ordinary  double  slides 
rather  than  any  form  of  changing  box.  2.  The  “A  B C of 
Photography,”  of  which  a new  and  enlarged  edition  is  in  the 
press.  3.  See  articles  on  “ Lantern  Transparencies,”  now 
appearing  in  the  News. 

Fenster  (Plymouth). — In  our  hands,  and  in  the  hands  of  several 
of  our  friends  it  has  answered  admirably  ; but  when  a very  large 
area  is  exposed,  two  layors  should  be  used.  2.  We  should 
imaging  not,  provided  that  moderate  care  is  exercised  in  working ; 
still  we  doubt  the  wisdom  of  altering  yeur  original  plan. 
3.  From  half  a grain  to  three  grains. 

F.  C.  P. — The  sample  of  blotting  paper  contains  sodium 
hyposulphite. 

M.  D.  — 1.  Use  an  emulsion  containing  a large  proportion  of  silver 
bromide.  2.  Itisan  inseparable  condition,  and  you  must  put  up 
with  it.  3.  No,  as  such  an  addition  would  certainly  render  the 
film  tender,  and  liable  to  frill.  4.  Try  another  kind  of  gelatine. 
5.  About  the  halfpence  each. 

A.  A.  B. — The  solid  silicate  of  potash.  It  will  dissolve  very 
slowly. 

E.  F.  T.  D. — 1.  It  is  certainly  subject  to  rates  while  you  use  it  for 
business  purposes.  2.  Prussian  blue  (water  colour)  applied  with 
the  tip  of  a fine  sable  brush.  3.  Probably  due  to  dust  in  your 
slide.  Wipe  the  inside  with  a scrap  of  damp  sponge,  paying 
especial  attention  to  thoconmrs.  If  youi  trouble  continues,  send 
us  a piece  of  one  of  the  negatives. 

H.  L.  T.  H. — The  iodide  is  very  much  less  solubb  than  the 
bromide,  but  we  have  never  met  with  a case  in  which  thorough 
fixation  was  impracticable. 

W.  P.  M. — The  shorter  focus  lens  will  be  most  suitable  when  the 
main  object  is  to  include  as  much  of  the  subject  as  possible; 
but  the  longer  focus  lens  will  be  better  if  your  object  is  to  obtain 
pictures. 

Subscriber. — Send  one  for  us  to  see. 

J.  B. — Thanks ; we  have  also  found  it  advantageous  to  use 
ammonium  chloride. 

Torpedo. — We  know  of  cases  in  which  it  has  been  done  without 
any  mischief  resulting,  but  should  hardly  recommend  it. 

Fancy. — Get  a basket-maker  to  construct  one  for  you. 

E.  A.  Cade. — No  copy  of  the  rules  was  enclosed  with  your  letter. 


THE  PHOTOGRAPHIC  HEWS, 


Voi.  XXVII.  No.  1279.— March  9,  1883. 


CONTENTS. 


PAGE 


Single  Lenses  for  Instantaneous  and  Portrait  Work 145 

Chloride  and  Bromide  of  Silver  when  Boiled  in  much  Wuter  146 

By-the-Bye  — Photographic  Analysis 146 

Notes  on  Photography.  By  E.  Howard  Farmer  147 

Misnomers.  By  Captain  Abney,  R.E.,  F.It.S 148 

Ink  Photographs.  By  T.  W.  Wilkinson 140 

French  Correspondence.  By  Leon  Vidal 149 

Commercial  Success  in  Photography.  By  John  Qeddes 150 

On  Improvements  and  New  Applications  of  the  Platinotype 
Process.  By  Herbert  B.  Berkeley  151 


riot 

Notes 152 

Patent  Intelligence  151 

Glass  “Soaked”  with  Silver  for  Use  with  the  Gelatine  Pro- 
cess. By  Capt.  W.  de  W.  Abney 155 

Within  what  Limits  may  the  Pyrogallic  Acid  be  Usefully 

Varied  in  a Developer  1 By  G.  L.  Addenbrooke 156 

Correspondence  156 

Proceedings  of  Societies 157 

Talk  in  the  Studio 160 

To  Correspondents.... 160 


SINGLE  LENSES  FOR  INSTANTANEOUS  AND 
PORTRAIT  WORK. 

After  a long  period  of  disfavour,  the  single  achromatic 
lens  would  again  appear  to  be  about  to  have  a time  of 
popularity.  Some  years  ago  such  an  instrument  was 
scarcely  used,  lenses  of  the  symmetrical  and  rectilinear 
types  being  almost  the  only  ones  which  photographers 
seemed  to  consider  worthy  of  attention.  Now,  however, 
things  are  different.  The  exaggerated  ideas  concerning  dis- 
tortion which  were  ever  present  in  the  photographic  mind, 
and  which  greatly  arose  from  misapprehension  in  mis- 
taking distortion  produced  by  tipping  of  the  camera  for 
distortion  produced  by  the  lens,  are  being  allayed,  and  we 
are  beginning  to  understand  that,  except  in  a few 
exceptional  cases,  the  true  distortion  which  a single  lens 
produces  is  quite  unobservable.  We  are  also  awaking  to 
the  advantage  in  brilliancy  of  image  to  be  gained  from  the 
use  of  a lens  with  only  two  reflecting  surfaces.  Probably 
the  introduction  of  the  “ wide-angle  landscape  ” lens  has 
had  much  to  do  with  the  reviving  popularity  of  the  lens 
we  are  treating  of ; and  doubtless  this  remarkable  com- 
bination has  deserved  the  popularity  which  it  has  gained, 
even  although,  as  we  explained  some  time  ago,  the  power 
given  by  it  and  other  wide-angle  lenses  has  led  many 
photographers  into  mistakes  by  causing  them  to  use  at  all 
times  the  wide-angles  which  were  by  these  means  at 
command. 

The  wide-angle  landscape  lens  is  constructed  to  work 
with  a considerably  larger  aperture  than  had  been  con- 
sidered possible  with  former  lenses,  and  with  the  intro- 
duction of  it  and  the  rapid  dry  plates  there  came  the 
possibility  of  instantaneous  work  with  single  lenses. 
Although  the  older  single  lenses  were  provided  with  but 
small  apertures,  yet  it  is  wonderful  with  how  large  a stop 
those  of  the  best  make  will  work  if  we  be  satisfied  with 
a limited  angle  of  view.  Moreover,  it  is  worth  while  com- 
paring, with  regard  to  the  size  of  plate  covered  sharply, 
the  single  lens  with  the  lens  of  the  “ rapid  ” type.  It 
will  be  found  surprising  how  nearly  the  one  comes  up  to 
the  other. 

First,  as  regards  maximum  aperture.  We  find  that  the 
largest  aperture  in  the  rapid  series  ranges  from  { (rarely 
met  with)  to  X and  /r.  Most  of  them  appear  to  range 
about  /n.  W e have  tried  several  single  lenses  of  good 
make  to  discover  at  what  maximum  aperture  they  will 
work.  We  have  a Lerebour  lens  of  14  inch  focus,  which 
will  stand  -/7.  An  old  lens  of  still  longer  focus,  by  A. 
Ross,  we  find  will  stand  about  the  same.  A wide-angle 
view  lens  will  easily  stand  It  will  be  seen  that  here 
we  have  no  very  great  advantage  in  the  rapid  lens.  The 
rapidity  varies  as  the  square  of  the  fraction  representing 
the  ratio  of  the  aperture  to  the  focal  length.  Taking  TL 
to  represent  the  rapid  lens,  and  X the'single,  we  have  a 


difference  of  rapidity  which  is  as  nearly  as  possible  repre- 
sented by  3 to  2 — nothing  very  great,  as  will  be  seen. 

Now  as  to  the  angle  covered  by  these  apertures.  We 
have  by  us  a lens  of  the  rapid  type  manufactured  by  one 
of  our  best  opticians,  and  certainly  a splendid  instrument. 
It  is  nominally  of  16  inch  focus,  but  is  in  reality  16f 
inches. 

Its  largest  aperture  is  a shade  over  and  with  this 
aperture  it  defines  up  the  corners  of  a plate  8£  by  6£  inches, 
or  over  a circle  a little  over  10£  inches  diameter — equal 
to  about  $ the  focal  length  of  the  lens.  The  single  lenses 
we  find  will  cover  at  the  largest  aperture  at  which  we  can 
work  them  a circle  equal  to  just  about  the  same  ; possibly 
a shade  less. 

We  find  that  to  cause  our  rapid  lens  to  cover  a plate 
10  by  8,  we  have  to  stop  down  to  ; that  is,  to  cause  it 
to  cover  a circle  of  £ its  focal  length.  With  this  aperture 
the  single  lens  covers  only  a circle  slightly  over  § its  focal 
length.  To  cause  it  to  cover  a circle  | its  focal  length  we 
have  to  use  an  aperture  of  T-^  or  ^5,  the  differences  in 
rapidity  between  the  rapid  and  single  lens  being  here,  to 
cover  the  same  angle  again  about  3 to  2.  lo  cover  a 
12  by  10  plate  with  the  16|  inch  rapid  lens — that  is,  to 
cover  a circle  with  diameter  equal  to  its  focal  length — we 
have  to  stop  down  to  ^ . Here  the  landscape  lens  over- 
takes the  rapid  one.  With  the  same,  or  even  a somewhat 
larger  stop,  it  will  include  the  same  angle. 

Let  us  now  examine  the  results  which  we  have  before 
us.  We  find  that  the  single  lens  has  certain  advantages 
over  others — notably,  its  few  reflecting  surfaces,  its  cheap- 
ness, and  the  great  equality  of  illumination  which  it  gives. 
We  find  on  investigation  that  it  cannot  be  used  with  quite 
so  large  a maximum  aperture  as  the  rapid  lens,  but  that 
in  this  respect  it  falls  short  much  less  than  is  commonly 
supposed.  We  find  that  with  stops,  if  smaller  than  the 
lowest  admissible  with  the  rapid  lens,  it  covers  stop  for  stop 
a smaller  angle  ; but  here,  again,  we  find  the  difference  less 
than  one  might  suppose.  Now  let  us  see  the  possibilities 
which  there  we  may  deduce  from  this,  if  using  single  lenses 
for  instantaneous  work  and  portraits.  In  this  greater 
number  of  subjects  which  are  suitable  for  instantaneous 
work,  a narrow  angle  of  view  is  far  more  suita-ble.  than  a 
wide  one.  This  is  specially  the  case  with  shipping  and 
the  like,  where,  if  a wide  angle  is  included,  the  ships  are 
so  dwarfed  as  to  become  quite  insignificant.  For  example, 
in  the  case  of  a whole  plate,  a lens  of  sixteen  or  eighteen 
inches  focus  will  generally  give  a much  better  picture  than 
one  with  eight  or  ten  inches.  In  such  a case  we  may 
easily  cover  the  plate  with  a single  lens  worked  /j  or  TT, 
the  difference  of  exposure  given  by  this  and  the  rapid  lens 
at  being  by  no  means  great.  With  the  subject  indi- 
cated,  and  with  a rapid  plate,  an  exposure  of  l-10th  second 
should  be  enough. 


146  THE  PHOTOGRAPHIC  NEWS.  [Mabc n 9,  1883. 


For  portraits,  also,  the  single  lens  may  be  used,  and 
especially  for  large  heads.  In  portraiture  the  limitation  of 
angle  is  still  more  desirable  than  in  landscape  work,  and 
the  largest  aperture  which  will  define  at  all  will  also  cover 
through  the  widest  angle  which  ought  to  be  used  in 
portraiture.  In  the  case  of  large  heads  it  is  by  no  means 
uncommon  to  use  a portrait  lens,  and  to  stop  down  to  a 
smaller  aperture  than  a single  lens  will  define  with,  the 
reason  being  that  the  long  focus  used  necessitates  a small 
aperture  to  give  definition  in  more  than  one  plane. 

With  /T  the  exposure  in  a studio  should  not  exceed  ten 
seconds.  The  aperture  may  occasionally  in  special  cases 
be  increased  beyond  /T.  In  fact,  it  may  be  increased  to 
give  sufficient  spherical  aberration  to  produce  exactly  the 
same  effect  as  is  produced  in  a diffusion  of  focus  lens. 

We  have,  it  will  be  seen,  been  considering  only  such  forms 
of  single  lenses  as  are  not  specially  constructed  for  instan- 
taneous work,  but  it  is  quite  possible  that  by  modification 
of  the  curves  a single  achromatic  lens  might  be  constructed 
which  would  give  definition  through  a limited  angle  with 
even  a larger  aperture  than  the  one  which  we  have  in- 
dicated; in  fact,  we  have  lately  noticed  advertisements  of 
a single  lens  to  work  at  -A.  We  have  not  had  an  oppor- 
tunity of  judging  of  the  definition  given  by  this  lens,  but 
if  it  is  good,  certainly  we  have  here  a remarkable  step  in 
the  right  direction. 


THE  BEHAVIOUR  OF  CHLORIDE  AM D BROMIDE 
OF  SILVER  WHEN  BOILED  IN  MUCH  WATER 
AND  THEIR  PRECIPITATION  FROM  CONCEN- 
TRATED SOLUTIONS. 

Lately  a good  deal  of  attention  has  been  paid  to  the 
method  of  preparing  emulsion  by  boiling  it  in  a large 
quantity  of  water  in  the  presenee  of  a small  quantity  of 
gelatine.  Very  good  results  are  obtained  by  this  plan, 
which,  as  our  readers  are  aware,  is  advocated  by  Mr.  Burton, 
who  carries  the  dilution  to  a very  wide  extent. 

What  are  the  advantages  of  boiling  in  a large  quantity 
of  water?  Greater  sensitiveness  is  usually  attributed  ; but 
there  is  another  not  less  important  point  that  we  desire  to 
touch  upon,  and  upon  which  photographers  set  great  store. 
In  boiling  with  much  water  and  little  gelatine,  there  is  less 
chance  of  producing  fog  than  when  we  have  to  do  with 
little  water  and  a great  deal  of  gelatine.  In  the  Burton 
method,  it  is  well  known,  tho  boiling  goe3  on  for  hours 
without  any  tendency  to  fog,  but  it  would  be  very  unsafe  to 
treat  an  emulsion  rich  in  gelatine  in  the  same  manner. 

When  bromide  of  silver  is  boiled  under  these  circum- 
stances— that  is  to  say,  with  a good  deal  of  water,  and  in  the 
presence  of  a very  little  gelatine — the  silver  salt  is  reduced 
in  a very  slight  degree ; but  how  is  it  when  only  pure 
water  is  employed  ? Is  the  silver  salt  reduced  at  all  when 
boiled  in  pure  water  ? This  is  a question  which  has  not  yet 
been  solved  photographically.  It  is,  namely,  very  difficult 
to  produce  a bromide  of  silver  emulsion  in  pure  water  ; 
nearly  always  there  is  formed  a curd-like  or  grain-like 
precipitate  which  refuses  to  emulsify  under  any  circum- 
stances. 

But  we  can  nevertheless  point  to  an  analogy.  We  know, 
at  any  rate,  that  chloride  of  silver  is  reduced  on  boiling 
with  pure  water.  Cooke  has  found  that  freshly-precipitated 
flocculent  silver  chloride  gives  up  a little  chloride  of  silver 
to  boiling  water,  and  that  on  repeated  boiling  less  and  less 
of  the  chloride  is  dissolved,  until  at  last,  when  it  has  passed 
from  the  flocculent  to  the  grain-like  condition,  all  dissolution 
leaves  off. 

Of  1-4561  giammes  of  chloride  of  silver  employed  by 
Cooke,  0 2241  of  a gramme  was  dissolved  in  G6  litres  of 
water.  . 1 he  residue  obtained  from  this  water,  on  being  dis- 
solved in  ammonia,  gave  more  than  0 001  gramme  of  metallic 
silver.  If,  therefore,  during  the  operation  of  boiling,  all 
light  was  carefully  cut  < ff,  we  must  conclude  that  hot  water 
exerts  a slight  reducing  action  upon  chloride  of  silver.  In  all 


likelihood,  however,  the  action  of  pure  water  is  weaker  than 
that  of  a solution  of  gelatine. 

Some  little  time  ago,  a practical  photographer  of  experi- 
ence told  us  that  he  obtained  an  accession  of  sensitiveness 
and  vigour  in  emulsion  if  he  dissolved  the  nitrate  of  silver 
in  but  very  little  water,  instead  of  a large  quantity,  and 
then  added  it  to  the  bromo-gelatine  solution  ; while  some 
photographers  there  are  who  make  a practice  of  adding  the 
silver  in  crystals.  Now  we  may  point  to  an  aua'logy  in 
chemistry  that  seems  to  bear  out  this  view.  Ruyssen  and 
Varenne  have  found  that  chloride  of  silver  is  dissolved  the 
more  easily  in  dilute  hydrochloric  acid,  &c.,  the  more  readily 
it  is  precipitated  from  a concentrated  solution  of  nitrate  of 
silver.  The  6ame  holds  good  also  in  the  case  of  sub- 
chloride of  mercury  and  chloride  of  lead.  So,  it  may 
well  be  inferred  that  the  same  also  takes  place  with 
bromide  of  silver,  and  if  more  silver  bromide  is  dissolved  in 
an  emulsion,  it  becomes  more  sensitive. 

Apparently,  we  find  also  in  the  realms  of  pure  chemistry 
an  explanation  why  it  is  not  desirable  to  mix  together 
perfectly  equal  equivalents  of  bromide  of  potassium  and 
nitrate  of  silver.  As  a matter  of  fact,  many  chemists  have 
shown  that  bromide  of  silver  is  most  difficultly  soluble  in 
pure  water,  while  in  water  containing  very  little  soluble 
bromide  or  nitrate  of  silver,  it  is  altogether  insoluble.  On 
the  other  hand,  singularly  enough,  in  water  containing 
much  soluble  bromide  or  nitrate  of  silver,  bromide  of  silver 
is  soluble  to  a material  extent.  If,  then,  with  this  fact  in 
our  mind,  we  remember  that  photographers  have  a liking 
for  preparing  gelatine  emnlsion  with  a large  excess  of  solu- 
ble bromide,  and  collodion  emulsion  with  a large  excess  of 
silver  nitrate,  we  can  scarcely  regard  the  concordance  of 
the  phenomena  as  accidental. 

- o 

PHOTOGRAPHIC  ANALYSIS. 
Photographic  analysis  is  just  like  spectrum  analysis.  It 
is  a quick  and  ready  means  of  examining  bodies  and  dis- 
covering their  nature — or,  rather,  natures.  It  is  con- 
cerned, however,  with  the  analysis  of  mind  rather  than 
matter.  Still,  in  its  main  aspect,  photographic  analysis  may 
well  be  compared  to  spectrum  analysis,  for  in  the  latter, 
as  in  tne  former,  it  is  necessary  but  to  bring  the  object 
to  the  touchstone  of  ordeal,  in  order  to  learn  the  result. 
You  heat  a body  in  spirit  flame  or  blow-pipe,  and,  presto  ! 
its  composition  is  at  once  set  before  you  in  the  spectroscope 
— in  an  instant  the  whole  story  of  its  composition  or 
character  is  laid  bare.  So  it  is  with  photographic  analysis  ; 
the  sensitive  plate  is  introduced  into  the  camera,  you 
expose,  and  at  the  instant  of  your  uncapping,  the  result 
is  apparent. 

Perhaps  we  had  better  explain  ourselves  a little  more. 
As  we  have  said,  it  is  not  in  the  analysis  of  matter  that 
photography  assists,  but  in  the  analysis  of  character. 
We  maintain  that,  as  in  the  case  of  the  spectroscope,  you 
have  merely  to  bring  the  photographic  lens  to  bear  upon  your 
chosen  body  or  bodies,  and,  in  an  instant,  we  have  valuable 
assistance  in  divining  their  character.  In  the  studio,  where 
there  is  but  a single  sitter,  and  he  is  under  the  hands  of 
the  photographer,  no  correct  reading  can  be  obtained  : so 
many  things  tend  to  interfere  with  the  truth  of  the  research, 
that  it  is  not  worth  having  as  a result  of  photographic 
aualysis.  But  it  is  different  in  groups,  and  especially  in 
the  case  of  groups  photographed  out-of-doors  ; then,  if 
the  photographer  does  not  interfere,  and  has  only  time  to 
give  but  a few  rapid  instructions  as  to  posing — and  he 
can  seldom  do  more— we  get  valuable  results  in  respect 
to  the  reading  of  character,  which  afford  the  psychologist 
infinite  study. 

'I  he  best  groups  to  examine  are  those  of  well-to-do  people. 
In  fact,  photographic  analysis  cannot  be  applied  to  its  full 


March  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


147 


extent  in  the  case  of  tillers  of  the  soil,  and  men  and  women 
of  the  same  humble  caste.  As  it  is  with  bodies  under  the 
spectroscope,  in  which  the  yellow  sodium  line  seems  to  be 
the  general  characteristic,  so  in  photographing  a group 
of  aborigines  the  one  dominant  characteristic  laid 
bare  by  photographic  analysis  is  that  of  shyness.  But 
when  we  come  to  the  examination  (by  directing  upon 
them  the  photographic  lens)  of  other  classes,  higher  in 
the  social  scale,  we  obtain  results  much  more  elaborate  ; 
some,  indeed,  being  so  complicated  as  to  require  the  most 
experienced  student  of  human  nature  to  comprehend. 

Into  the  more  subtle  indications  of  photographic  analy- 
sis we  do  not,  however,  propose  to  enter  on  the  present 
occasion.  Our  remarks  are  quite  of  a preliminary  nature, 
and  bear  the  same  elementary  stamp  as  does  the  shilling 
science  primer  to  a comprehensive  treatise  by  Stokes  or 
Huxley.  In  fact,  photographic  analysis,  as  a science,  is 
but  in  its  infancy  ; and  if  but  half  the  attention  is  paid  to 
deciphering  its  results  as  are  given  to  bodies  above  the 
earth  and  below  it,  we  shall  soon  be  in  possession  of  a 
system  of  “thought-reading”  far  transcending  that  of 
Mr.  Irving  Bishop.  Perhaps  the  new  Psychological 
Society  will  give  its  mind  to  the  subject. 

In  any  case,  whatever  its  importance,  the  results  of 
photographic  analysis  are  exceedingly  interesting.  In  some 
instances  we  get  results  before  even  the  lens  is  uncapped. 
Here  is  a case  in  point.  A group  of  foremen  in  a Govern- 
ment yard  are  under  examination  by  the  lens,  their  fussy 
overbearing  chief  seated  in  the  centre.  “ Stop,  stop  !”  he 
he  cries,  springing  to  his  feet,  just  as  the  cap  is  being 
withdrawn  ; “ this  won’t  do,  there  are  two  chairs  ; I can’t 
have  anybody  but  me  sitting  down.”  Then,  when  all  is 
quiet  once  more,  and  the  eventful  moment  comes,  we  have 
the  bright  line  “ arrogance,”  unmistakably  depicted  in  the 
centre  of  the  plate. 

All  sorts  of  groups  will  repay  study.  A marriage  group, 
with  bride  and  bridegroom  in  the  centre,  and  the  gaily- 
dressed  wedding  guests  around,  rarely  fails  to  offer  plenty 
of  material  for  the  photographic  analyst.  A group  of 
Freemasons  is  another  interesting  example,  except  that 
here  there  is  a good  deal  of  sameness  about  the  character 
— self-satisfaction  and  self-importance  predominating. 
Groups  of  scientific  men,  of  staff -officers,  of  painters, 
of  authors,  of  students,  of  clergymen,  of  ambassadors, 
of  athletes — nay,  of  photographers — all  are  quickly  resolved 
into  their  elements  by  the  uncapping  of  the  lens! 

Let  us  take  an  example.  Here  is  a group  of  a dozen  men 
posed  under  the  portico  of  a public  building.  It  will  serve 
our  purpose  well.  We  take  it  up  haphazard,  and  know  not 
the  particular  walk  in  life  the  geutlemen  follow.  But 
that  is  a matter  of  indifference — we  have  no  desire  to  know 
how  they  call  themselves ; we  want  to  find  out  their 
characteristics  or  idiosyncracies  as  human  beings.  Here  is 
one  gentleman  well  to  the  front ; he  has  whipped  off  his 
hat,  so  that  the  head  gear  may  not  overshadow  his  features, 
and  stands  staring  straight  at  the  camera.  He  concentrates 
his  ideas  on  himself ; he  is  perfectly  still  and  rigid,  and 
gives  not  a thought  to  others  around.  He  knows  all  about 
photography  and  photographic  portaits,  and  takes  his 
measures  accordingly ; his  character  is  easy  to  read. 
Above  all,  he  takes  care  of  No.  1 ; he  may  overreach  him- 
self a little  now  and  then,  but  that  he  is  more  pushing  than 
his  neighbours,  and  keeps  well  abreast  of  the  world,  is  very 
evident.  Whatever  betides,  he  makes  things  safe  for 
himself  in  his  every-day  career. 

Still  examining  the  same  group,  we  choose  No.  2 
personage.  He  is  quite  in  the  rear  ; but  he  is  well  seen, 
because  be  happens  to  be  standing  half-way  up  the  steps. 
He  does  not  look  at  the  camera,  or  rather  his  face  is  turned 
away  from  it,  and  with  a composed  and  devout  appearance 
he  is  gazing  into  the  far  distance.  Was  it  he,  who  called 
out  to  his  friend  Jones,  in  front,  to  move  just  a little  to 
the  right  before  the  drop-shutter  fell?  liis  hands  rest 
upon  the  knob  of  his  umbrella,  and  the  linen  he  displays — 


there  is  a good  deal  of  it — is  very  white  and  very  limp. 
Apparently  the  only  thing  in  the  world  about  which  be  is 
not  thinking  is,  that  he  is  one  of  a group  before  the 
camera — at  least,  so  one  infers  from  his  placid  counte- 
nance. His  character,  you  may  set  down  at  once  as  of  the 
Pecksniffian  type. 

As  coming  aptly  after  Pecksniff,  we  select  for  example 
No.  3 — a little,  thin,  smiling  figure,  half  elbowed  out 
of  his  place  by  those  on  either  side  of  him.  He  is 
quite  coutent  to  be  where  he  is,  notwithstanding  the 
uncomfortable  position  ; and  he  painfully  presses  one  arm 
behind  him,  so  that  he  may  not  inconvenience  the  big  bully 
beside  him.  He  enjoys  the  half-place  permitted  him  far 
more  than  personage  No.  1,  with  all  his  vantage  ground ; he 
is  a relative  of  Tom  Pinch,  and  would  still  smile  and  beam 
and  be  content  were  he  eclipsed  altogether. 

No.  4 personage  is  a young  fellow,  who  has  placed  him- 
self in  a half-recumbent  attitude  on  the  grass  in  front  of  the 
group.  The  fact  is,  he  does  not  care  where  he  goes — the 
ingenuous  youth.  Only  he  is  so  very  frank  and  straight- 
forward in  his  demeanour  that  you  cannot  help  thinking 
it  is  all  put  on,  when  you  come  to  examine  closely.  His 
handkerchief  peeps  out  of  his  breast  pocket,  and  the  silver- 
knobbed  cane,  with  its  elegant  tassel,  droops  from  a neatly- 
gloved  hand.  Our  young  friend  in  front  evidently  lays 
stress  on  his  personal  appearance,  and  would  not  feel 
offended  if  called  the  Adonis  of  the  party. 

No.  5 is  all  whiskers  and  smiles,  and  would  have  us 
believe  he  is  the  merriestwag  breathing — the  heartiest,  most 
good-humoured  of  beings.  But  it  is  evident,  at  a glance, 
that  he  has  hard  work  to  keep  it  up,  and  there  is  more 
of  a set  grin  than  genuine  feeling  about  his  face  : a sort 
of  fine-weather  gentleman,  or  stage  “ merry  Swiss  boy," 
who  is  uncommonly  dull  and  unpleasant  when  you  meet 
him  in  ordinary  every-day  life. 

No.  6 personage  has  a firm,  determined  countenance, 
and  stands  with  his  arms  tightly  folded  with  a sort  of  let’s- 
do-something  kind  of  manner  about  him.  That  he  is  all 
energy  and  life,  there  is  little  doubt ; he  might  do  a thing 
hastily,  but  you  could  not  charge  him  with  apathy  or  lazi- 
ness. The  man  next  him,  who  stands  in  profile,  and  is 
looking  nowhere  in  particular,  is  a little  difficult  to  deci- 
pher ; but, that  in  his  own  opinion  he  is  a man  of  parts,  well- 
read,  and  possessed  of  high  taste  and  culture,  is,  at  any  rate, 
as  clear  as  noon-day.  Finally,  the  florid  gentleman,  look- 
ing straight  to  the  front,  with  his  hands  in  his  pockets,  is 
the  most  difficult  to  fathom  of  all— so  difficult,  indeed,  that 
we  are  not  disposed  to  make  a reading  until  we  have  con- 
ducted a second  experiment. 

Here,  then,  is  an  example  of  photographic  analysis.  Like 
other  operations  of  the  kind,  it  requires  to  be  conducted 
with  care  and  nicety  ; but  that  it  is  a fascinating  study, 
and  one  yielding  accurate  results,  few  will  deny.  AVe 
anticipate  the  speedy  formation  of  a Society  of  Photo- 
graphic Analysts. 


The  “ At  Home  ” next  week  will  be  at  “ Mr.  A.  L. 
Henderson’s  Laboratory ; ” the  following  “ By-the-Bye  ” 
will  be  on  “ Models.” 


NOTES  ON  PHOTOGRAPH!. 

BY  E.  HOWARD  FARMER. 

Lecture  XIY. — Tiie  Gelatine  Process— Continued. 

Defects  and  their  Remedies. — The  principal  causes  of 
failure  maybe  classified  uuder  three  headings,  according  to 
the  results  they  give  rise  to — 

1st.  Those  which  produce  green  fog  or  a reduction  of 
the  silver  bromide  to  the  metallic  state. 

2nd.  Those  which  produce  a colouration  of  the  film, 
called  pink  and  green  fog,  usually  with  the  alkaline  deve- 
lopers. 


148 


THE  PHOTOGRAPHIC  NEWS. 


[March  9,  1883. 


3rd.  Those  which  produce  frilling. 

Besides  these  there  are  others,  such  as  want  of  density, 
spots  of  various  kinds,  &c. 

1. — Grey  Fog. 

Cause. — Decomposition  of  gelatine  by  atmospheric 
changes  or  by  keeping  ; cooking  too  long;  temperature  too 
high  in  alkaline  condition,  or  with  insufficient  excess  of  bro- 
mide ; too  much  ammonia  ; excess  of  silver  nitrate  ; faulty 
mixing;  actinic  light  at  some  stage  of  the  operation  ; plates 
too  long  drying;  fumes  from  gas  or  other  sources;  plates 
kept  in  damp,  or  packed  in  unsuitable  material  ; over- 
exposure or  forcing  in  development. 

Preventive  or  Remedy. — By  adding  au  antiseptic  to  the 
emulsion;  plates  or  emulsion  which  fog  can  generally  be 
cured  by  soaking  in  dilute  bichromate  of  potash  or  very 
dilute  bromine  water,  and  subsequent  washing. 

Pink  and  Green  Fog. 

Cause. — Using  a faulty  sample  of  gelatine  ; decomposi- 
tion of  gelatine  by  ammonia  or  other  alkali  during  prepara- 
tion ; nitric  acid  in  the  emulsion ; plates  imperfectly 
cleaned,  or  which  have  been  kept  some  time  between 
cleaning  and  coating ; ammonia  in  the  developer. 

Preventive  or  Remedy. — Use  ferrous  oxalate  development, 
or  give  full  exposure,  and  use  as  little  ammonia  as  possible, 
with  pyro.  development ; treat  the  well-washed  plate 
with — 

Ferric  chloride  30  grains 

Potassium  bromide 30  ,, 

Water 1 ounce 

until  bleached,  and  reduce  with  ferrous  oxalate. 

Frilling. 

Cause. — Too  soft  gelatine ; decomposed  gelatine  or  other 
soluble  matter  in  the  emulsion  ; improperly  cleaned  plates  ; 
unequal  drying ; long  setting  in  warm  weather  ; warm 
water  for  developing  ; too  strong  fixing  bath  ; water  from 
tap  impinging  on  one  portion  of  the  him  ; too  long  or  too 
short  drying  ; drying  with  alcohol ; treating  plate  with 
acid  or  alkaline  solution ; too  much  alkali  in  developer. 

Preventive  or  Remedy. — Add  a small  quantity  of  chrome 
alum  to  the  emulsion ; coat  the  plates  with  a substratum 
of  albumen  or  gelatine,  and  chrome  alum  ; coat  the  plates 
before  developing  with  plain  collodion,  and  give  an  edging 
of  wax  or  rubber.  If  slight,  soak  in  alum  before  and 
after  fixing. 

Yellow  Fog. 

Cause. — Inferior  pyrogallic  acid  ; excess  of  ammonia  in 
developer ; prolonged  immersion  in  pyro.  developer ; use 
of  discoloured  pyro. 

Preventive  or  Remedy. — Use  sulphite  of  soda  in  developer, 
or  soak,  after  fixing  and  washing,  in  alum  and  acid. 

Red  Fog. 

Cause. — Excess  of  silver  nitrate  in  the  emulsion,  or 
leaving  the  silver  nitrate  for  some  time  in  contact  with 
the  gelatine  ; nitric  acid  in  the  emulsion.  Silver  intensifi- 
cation by  the  acid  method;  contact  of  damp  sensitized 
paper  with  unvarnished  film. 

Preventive  or  Remedy. — Soak  in  dilute  potassium  cyanide. 

White  Opalescent  Fog. 

Cause. — Salts  of  lime  iu  gelatine  and  water  coming  in 
contact  with  oxalate  developer. 

Preventive  or  Remedy. — Alum  and  acid. 

Halation  or  Blurring. 

Cause. — Is  seen  as  fog  round  the  image  of  bright  objects. 
Occurs  generally  with  thin  films. 

Preventive  or  Remedy.— Thickly-coated  plates,  either 
bromide  or  brorao-iodide.  Back  the  plates  with  Brunswick 
black.  Read  “ Instruction  in  Photography,”  page  25. 

Want  of  Density. 

Cause  — Over-exposure  ; insufficient  emulsion  on  the 
plate ; partially  exhausted  developer  ; access  of  actinic 
light  to  the  plate  ; hardness  of  the  film,  due  to  chrorae- 
alum  or  tannin  in  the  emulsion  ; use  of  ferrous  oxalate 


developer  prepared  with  potassium  oxalate  in  an  alkaline 
condition ; too  great  a proportion  of  silver  iodide  in  the 
emulsion. 

Preventive  or  Remedy. — Use  a small  quantity  of  silver 
chloride  in  the  emulsion  ; as  soft  gelatine  as  consistant  with 
safety ; freshly  mixed  developer  ; intensification. 

Note. — Rapid  emulsions  generally  give  less  density  than 
slow  ones. 

Spots. 

Opaque  spots  of  irregular  outline  are  due  to  reduction 
of  silver  bromide  caused  by  particles  of  dirt  settling  on  the 
film  during  coating  or  drying. 

Semi-transparent  spots  are  due  to  grease  in  the  gelatine. 

Spots  (pits)  which  are  observed  to  be  indentations  in 
the  film  are  also  due  to  grease,  and  generally  occur  with 
Coignet’s  gelatine. 

Small  pinholes  are  produced  by  particles  of  dust  settling 
on  the  dry  plate  so  as  to  prevent  the  light  (forming  the 
image)  acting  on  the  film. 

Round  spots  with  sharp  outlines  are  caused  either  by 
air-bubbles  adhering  to  the  film  during  development,  or 
air-bells  in  the  emulsion  when  the  plate  was  coated. 


MISNOMERS. 

BY  CAPTAIN  ABNEY,  R.E.,  F.R  S. 

There  should  be  a crusade  started  against  certain  mis- 
nomers which  are  commonly  employed  ; and  though,  owing 
to  my  bad  bringing  up,  I sometimes  use  them  myself, 
yet  there  is  always  a sense  of  shame  when  they  have  slipt 
out.  I am  quite  prepared  to  be  told  that  I am  hyper- 
critical, and  that  one  term  is  as  good  as  another  ; in  fact,  that 
remark  is  frequently  made.  If,  then,  one  term  is  as  good 
as  another,  why  not  adopt  and  stick  to  the  proper  one? 
Amongst  terms  most  frequently  used  by  photographers 
amongst  these  misnomers  are  actinism  and  actinic  rays. 
A red  glass  is  said  to  be  “ non-actinic,”  and  a blue  glass  to 
be  actinic,  or  that  it  allows  the  actinic  rays  to  pass. 
Again,  we  hear  of  “ chemical  rays,”  and  “ heat  rays,”  and 
“ radiant  heat,”  all  of  which  may  be  incorrect  if  mental 
reservations,  which  most  people  cannot,  or  don’t  know 
how,  to  make,  are  not  made.  I suppose  we  may  class 
chemical  rays  and  actinic  rays  as  one  and  the  same  thing. 
Let  us,  fora  moment,  stop  and  see  what  these  terms  mean. 
It  is  supposed  to  mean  that  these  rays  act  chemically  on 
certaiu  compounds,  causing  the  formation  of  a new  com- 
pound. Let  us  take,  the  case  of  the  green  rays  of 
the  spectrum.  If  we  place  a thermopile  in  them,  we  shall 
find  that  they  heat  the  pile,  and,  according  to  usually- 
accepted  terms,  the  green  ray  is  a heat  ray.  Place  a 
photographic  compound  (say  silver  bromide)  in  it,  and  it 
is  capable  of  causing  a visible  darkening,  or  a darkening 
shown  on  applying  a developer ; so,  then,  the  green  ray 
is  a chemical  or  actinic  ray,  and  we  may  speak  of  it  as  a 
visual  ray.  So  it  is  a many-sided  ray,  and  we  may  in  usual 
parlance  speak  of  it  as  a heat  ray,  a chemical  ray, 
and  a visual  ray,  *•  whichever  you  like.”  If  it  be  one 
ray,  if  the  term  be  correct,  it  should  not  be  another  ; but 
if  we  take  the  rays  as  energy-carriers,  and  the  work  per- 
formed to  be  shown  as  chemical  action  or  heat,  or  as  a 
mechanical  action,  such  as  causing  certaiu  apparatus  in  our 
eyes  to  vibrate  aud  to  give  sensation  of  light,  the  maoy- 
sidedness  of  the  ray  is  at  once  explained.  Again,  there  is 
a certain  awkwardness  in  calling  a ray  a chemical  ray,  or  an 
actinic  ray,  for  it  may  happen  that  the  ray  is  sometimes 
“ chemical  ” and  sometimes  not.  Thus,  the  green  ray  is  not 
a chemical  ray  when  chloride  of  silver  is  in  question, 
though,  as  we  have  said  before,  it  is  so  when  bromide  of 
silver  is  used.  In  fact,  rays  will  be  entitled  to  a certain 
distinguishing  denomination  at  one  time,  aud  at  another 
they  may  be  relegated  to  another  category. 

An  actinometer  in  French  is  an  instrument  for  measuring 
heat — if  I mistake  not,  a thermometer  or  a pyrometer  is 
an  actinometer,  and  it  is  thus  not  hard  to  see  what 


March  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


149 


actinism  means  in  French — but  what  it  really  does  mean 
in  English  is  more  difficult  to  understand.  Again, 
“radiaut  heat’’  is  all  very  well  if  understood  with  the 
mental  reservation  which  we  have  alluded  to  before.  But 
radiant  heat  may  also  be  radiant  chemical  action, 
according  as  the  ray  acts  on  lamp-black,  or  on  a salt  of 
silver.  Let  every  one  try  to  get  in  his  head  that  every 
ray  is  an  energy-carrier,  and  capable  of  doing  some  kind  of 
work,  aud  that  the  work  may  show  itself  by  the  heating,  or 
by  a chemical  decomposition  of  a body,  and  better  views 
of  the  action  of  light  will  soon  take  hold  of  the  mind. 
This  view  is  not  heretical  at  the  present  time,  any  more 
thau  is  the  theory  that  the  earth  revolves  on  its  axis. 
“ Those  who  know,”  talk  about  “ actinic  rays  ” in  much 
the  same  way  that  they  talk  of  the  “ sun  rising  ” and 
setting  : both  use  the  remains  of  exploded  theories.  But 
those  “ who  don’t  know,”  are  liable  to  take  their  views  of 
science  from  definitions,  and  of  this  we  had  a curious 
example  at  the  British  Association  at  Southampton,  where  a 
speaker,  who  might  be  supposed  to  be  “one  who  knows,” 
talked  of  these  different  divisions  of  rays  as  realities, 
and,  when  corrected,  saw  no  need  of  the  correction. 

There  are  other  points,  such  as  the  “ latent  image,”  to 
which  I propose  to  refer  on  a subsequent  occasion.  My 
present  object  is  to  denounce  looseness  of  terms. 


INK  PHOTOGRAPHS. 

BY  T.  W.  WILKINSON. 


The  Negative. — To  produce  an  ink  photograph,  the  nega- 
tive should  not  be  an  original,  but  a rather  thin  (or  flat) 
copy  from  a print;  this  negative  must  be  thoroughly  well- 
exposed,  and  have  all  detail  in  lights  and  in  shadows,  but 
must  not  be  at  all  intense  in  the  lights.  From  this  negative 
a print  is  made  upon  a collotype  block,  which,  after  deve- 
lopment, is  reticulated  by  immersion  in  a mixture  of  water 
and  ammonia  in  proportions  varying  according  to  whether 
the  subject  in  hand  requires  fine  or  coarse  grain,  such  grain 
being  given  by  the  well-known  wrinkliug  or  reticu'ation  of 
a carbon  film  when  subjected  to  the  action  of  ammonia  or 
other  alKali.  If  the  grain  be  required  fine,  ten  drops  of 
ammonia  to  the  pint  of  warm  water  will  be  found  sufficient  ; 
whilst  a coarser  grain  may  bo  obtained  by  increasing  the 
ammonia,  bearing  in  mind  that  the  stronger  in  ammonia  is 
the  mixture,  the  quicker  will  be  the  action,  and  the  more 
chance  of  failure.  Such  being  the  case,  experimentalists 
will  find  it  best  to  use  the  ammonia  weak,  and  to  raise  the 
temperature  of  the  mixture  until  the  desired  result  is 
obtained. 

The  block  being  obtained  with  the  proper  amount  of 
reticulation  or  grain,  it  must  be  handed  over  to  the  litho- 
grapher, who  will  ink  it  up,,  lay  it  down  upon  the  stone,  and 
from  the  stone  produce  the  result  in  an  ink  photograph. 
This  last  part  of  the  process  is  where  an  amateur  is  most 
likely  to  fail,  as  it  is  at  this  stage  where  experience  and 
technical  skill  are  absolutely  necessary. 

Those  readers  desirous  of  trying  the  above  process  will  find 
ample  instructions  for  making  the  collotype  blocks  in  the 
Year-Book  for  1883. 


FRENCH  CORRESPONDENCE. 

Mr  Colas’  Gallate  of  Iron  Paper— M.  Andra’s  Ex- 
periments on  Cold  Emulsification— Reproductions 
from  tiie  Museum  at  St.  Petersburg— Photographic 
Assistants’  Examination— Valyn’s  Alembic. 

M.  Colas’  Gallate  of  Iron  Paper. — It  may  be  interesting 
to  give  the  results  of  experiements  with  gallate  of  iron 
paper  manufactured  by  M.  Colas,  of  Courbevoie, 
near  Paris.  At  the  outset,  this  paper  only  preserved  its 
photographic  qualities  for  a few  days  ; but  now,  owing  to 
certain  improvements,  it  will  keep  for  several  months.  A 
sample  of  paper  presented  to  the  Photographic  Society  of 


France  gave  equally  good  results  after  keeping  two 
months  as  when  first  prepared.  This  Colas  process  is 
based  on  the  following  reactions : the  reduction  of  a per- 
salt  of  iron,  which,  in  the  presence  of  an  organic  substance, 
is  brought  about  by  the  action  of  light  to  the  state  of  a 
proto-salt,  and  the  varied  effect  gallic  acid  works  on  both 
components.  In  fact,  it  is  an  old  process  which  PoiteviD, 
among  others,  has  described.  With  ordinary  gallic  acid 
the  reaction  gives  rather  too  accentuated  a general  tint; 
but  with  M.  Colas’  modification  this  tint  is  made  lighter, 
without  entirely  disappearing.  The  high-lights  of  the  print 
are  never  pure  white,  but  the  tint  is  not  deep  enough  to 
affect  the  picture  seriously  ; otherwise  the  operation  is 
very  simple.  After  exposure  under  a positive  (often  an 
original  drawing  executed  on  transparent  paper),  the  print 
is  immersed  in  a bath  containing  3 grammes  of  gallic  acid 
to  1,000  of  water ; the  same  bath  may  be  used  for  a large 
number  of  prints,  and  keeps  a long  time.  It  is  advisable, 
after  what  has  been  said,  to  use  the  gallic  acid  prepared 
by  M.  Colas.  As  soon  as  the  image  appears  of  an  inky 
black,  the  paper  must  be  removed,  washed,  and  allowed 
to  dry. 

M.  Andra’s  Experiments. — M.  Andra  has  laid  before  the 
Photographic  Society  of  France  his  experiments  on  the 
formula  published  by  Mr.  Henderson  for  the  cold  pre- 
paration of  gelatino-bromide  emulsion.  He  has  followed 
the  same  track  with  success,  modifying  the  formulae  to 
simplify  them,  while  maintaining  the  principle  of  emulsi- 
fication in  the  presence  of  a relatively  considerable  amount 
of  alcohol.  Suppressing  the  carbonate  of  ammonia  and 
iodide  of  potassium  from  the  formula  in  question,  he 
added  to  a solution  of  15  grammes  of  bromide  of  ammonia 
in  100  of  water,  2 of  Nelson’s  No.  1 gelatine.  When  dis- 
solved, into  this  lukewarm  mixture  is  poured — 

Alcohol  at  40°  ...  100  cubic  centimetres 

Pure  ammonia  ...  12  ,,  „ 

and  shaken  well  together.  He  afterwards  emulsified  the 
liquid  by  pouring  into  it,  without  auy  precaution,  a solu- 
tion of  20  grammes  of  nitrate  of  silver  in  100  c.  c.  of  dis- 
tilled water,  and  again  vigorously  shaking.  The  bromide 
of  silver  formed  is  of  remarkable  fineness,  no  deposit  at 
the  bottom  of  the  bottle,  aud  the  colour  of  the  emulsiou  is 
of  a fine  orange  red.  This  colour  disappears  after  several 
hours,  ami  turns  to  greenish  blue.  The  reaction  is  com- 
plete twenty  hours  after  preparation.  To  this  quantity, 
12  grammes  of  Heinrich  gelatine,  previously  softened,  is 
added  and  mixed  in  the  water  batb,  and  after  the  addition 
of  15  c.  c.  of  a 2 per  cent,  solution  of  bichromate  of  potash, 
may  be  washed  and  strained.  When  drained,  the  neces- 
sary proportions  are  kept  up  by  15  or  16  c.  c.  of  softened 
gelatine,  placed  in  the  water  bath,  filtered,  and  the 
plates  coated.  Thus  prepared,  although  sensitive  enough, 
M.  Andra  thinks  it  increases  in  sensitiveness  by  being  left 
for  a week  or  ten  days.  Finally,  M.  Andra  considers  that 
emulsification  operates  under  more  favourable  conditions 
when  the  bromated  solution  contains  half  its  volume  of 
alcohol. 

Reproductions  from  the  Museum  of  St.  Petersburg. — The 

firm  of  Braun  and  Co.  have  just  issued  reproductions  of 
pictures  from  the  St.  Petersburg  Museum.  These  photo- 
graphs are  large,  measuring  eighteen  inches  by  fourteen 
inches,  and  are  printed  in  carbon.  They  are  really 
wonderful.  By  no  other  process  could  such  large  reproduc- 
tions be  made,  or  the  vigour  and  transparency  of  oil  paint- 
ing so  well  rendered.  The  deep  blacks  of  the  carbon  process 
admit  of  reflection  in  the  shadows,  while  in  phototypes  they 
are  opaque.  Another  reason  in  favour  of  the  application  of 
carbon  to  this  kind  of  work  is,  that  only  a limited  number  of 
prints  of  each  subject  is  required.  With  the  phototype  or 
any  other  mechanical  process  an  immense  number  of  im- 
pressions would  have  to  be  disposed  of  to  defray  the  outlay 
in  the  first  instance,  while  with  carbon  the  same  expense 
attends  each  print.  The  price  of  these  pictures  is  rather 
I high,  but  as  their  circulation  is  likely  to  be  limited,  it  is 


150 


THE  PHOTOGRAPHIC  NEWS.  [March  0,  1883. 


not  necessary  for  everyone  to  possess  them.  They  form  a 
magnificent  collection,  admirably  printed  by  a permanent 
process.  The  house  of  Braun  and  Co.  is  sufficiently  well 
known  and  appreciated  without  its  being  necessary  to  call 
attention  to  these  fine  works,  but  there  is  no  reason  why  we 
should  not  point  out  these  new  successes  among  the  valuable 
collection  proceeding  from  their  studio. 

Photographic  Assistants'  Examinations— The  first  examina- 
tion of  photographic  assistants  is  definitely  fixed  for 
March  19th.  Ten  candidates  have  sent  up  their  names,  a 
very  good  number  for  the  first  time,  but  it  is  probable  that 
the  candidates  will  increase  greatly  in  number  when  it  is 
found  how  much  importance  and  what  advantages  are 
attached  to  holders  of  certificates  of  proficiency.  The  three 
theoretical  examiners  appointed  are  MM.  Davanne,  Bardy, 
and  Leon  Vidal.  The  practical  work  executed  by  the 
candidates  will  take  place  according  to  the  different  specia- 
lities of  industrial  application  of  photography  they  intend 
taking  up. 

Valgn's  Alembic. — At  the  last  meeting  of  the  Photographic 
Society  ot  F ranee  an  ingenious  specimen  of  the  \ aly  n alembic 
was  shown.  The  subjoined  diagram  shows  the  principles  of 


A,  boiler  or  copper;  A',  diaphragm  ; a,  rim  of  the  copper  ; o'  tube  of 
air-hole;  B,  water  bath;  i,nm  of  water  bath;  C,  top;  c,  rim  of  top; 
D,  swan  neck  tube ; E,  isolating  cone  of  the  top  ; F,  serpentine  tube  ; 
/,  outlet  of  serpentine  tube  ; G,  refrigerating  basin  ; I,  funnel ; J,  overflow 
tube ; K,  stop  cock  of  refrigerator. 

its  construction.  This  alembic  possesses  the  advantages  of 
portability  and  low  cost ; it  is  made  in  various  sizes. 

Leon  Vidal. 


COMMERCIAL  SUCCESS  IN  PHOTOGRAPHY. 

BY  JOHN  GEDDES.* 

Every  year  finds  photography  entering  some  new  field  of 
existence,  and  the  field  of  workers  correspondingly  in- 
creasing. Public  taste  is  not  so  easily  satisfied  now  as 
formerly.  There  are  thousands  now-a-days  in  no  way  con- 
nected with  photography,  who  can  judge  photographs  with 
as  much  good  taste  and  knowledge  as  professional  workers. 
The  standard  of  excellence  is  year  by  year  improving,  and  the 
photographer  who  has  almost  reached  the  goal  of  human  per- 
fection (photographically  speaking)  this  year,  finds  by  the  next 
that  the  goal  is  still  as  far  off  as  ever.  The  more  successful  the 
photographer  becomes  as  a worker,  the  more  successful  will  be 
his  trade  commercially.  Customers  patronize  those  only  from 
whom  they  receive  the  greatest  satisfaction  ; and  it  is  simply  a 
question  of  pounds,  shillings,  and  pence,  that  photographers 
should  do  their  best,  to  secure  the  respect  and  esteem  of  all 
their  patrous.  Success  in  business  depends  mainly  upon  the 
class  of  work  given  out.  Good  work  will  always  speak  for  itself, 
and  a good  word  spoken  in  the  photographer’s  favour  regarding 
his  method  of  producing  work  will  go  a long  way  in  establish- 
ing that  success. 

First,  then,  to  be  successful  in  business,  you  must  be  success- 
ful in  the  management  of  your  sitter.  Many  a one  has  a precon- 

*  Read  before  the  Photographic  Society  of  Dundee. 


ceived  idea  that  they  take  well  only  in  a certain  position, 
possibly  from  the  fact  that  they  once  got  a good  photograph  in 
that  position,  which  at  the  time  had  flattered  them  to  their 
heart’s  content.  Well,  if  there  be  nothing  outrageous  in  that 
position,  by  all  means  take  them  in  it.  You  can  at  the  same 
time  also,  if  necessary,  suggest  a position  which  you  may  be 
allowed  to  place  them  in,  and  as  “ gif  gaf  makes  good  friends,” 
they  will  as  readily  accept  your  suggestion  as  you  have  accepted 
theirs,  and  think  all  the  more  of  you  to  find,  after  they  have  seen 
the  proofs,  that  your  position  is  the  best  after  all.  Then  there 
are  others  who  have  no  idea  in  their  heads  at  all ; they  are  at  your 
mercy,  and  ask  advice.  A lady,  for  instance,  wishes  to  know  if 
you  think  she  would  look  best  standing  or  sitting,  front  face  or 
side  face,  with  bonnet  and  cloak  on,  or  with  bonnet  and  cloak 
off.  This  is  a hard  nut  to  crack  with  many  a photographer.  The 
true  way  out  of  the  difficulty  would  be  to  say  that  you  make  it 
a rule  to  offer  no  advice  in  respect  to  what  customers  should  or 
should  not  wear,  or  whether  they  should  stand  or  sit,  &c. ; but 
this  does  not  always  please,  and  they  press  you  to  say  something, 
backing  it  up  with  a remark  to  the  effect  that  you  ought  to  know 
best,  having  such  a large  experience  in  that  line.  Little  do  they 
know  that  it  is  just  this  large  experience  which  keeps  a photo- 
grapher from  venturing  a suggestion  at  all.  Customers  are  so 
apt  to  make  your  suggestion  an  excuse  for  not  liking  their  photo- 
graph, whatever  the  fault  may  be.  But  there  is  still  another 
way  out  of  the  difficulty,  and  this  I call  humouring  your  customer. 
Make  suggestions  until  you  get  at  their  ideas,  and  while  you  are 
supposed  to  be  giving  advice  you  are  only  in  reality  acting  upon 
the  hints  they  are  throwing  out.  Then , if  two  positions  or  modes 
of  dressing  will  settle  the  matter,  by  all  means  take  them  the 
two  ways.  This  will  not  only  please  best,  but,  in  my  mind,  will 
pay  best. 

Then  in  management  of  the  sitter,  a great  deal  depends  upon 
the  manner  of  posing.  Never  appear  to  be  in  a hurry ; work 
quietly,  quickly,  and  neatly.  Don't  flurry  about  your  customers, 
or  you  will  give  them  a flurried  look  in  the  photograph.  Don’t 
put  your  subject  into  a thousand  different  attitudes  before  you 
finally  take  them,  or  the  result  at  the  best  will  be  a failure. 
Don’t  screw  them  into  the  head-rest  until  the  last  moment  (in 
fact,  with  the  rapid  plates  of  the  present  day,  head-rests  are  almost 
unnecessary,  or,  if  used,  the  slightest  possible  touch  is  "ufficient 
to  inspire  confidence  in  your  sitter’s  steadiness),  and  not  till  then 
bid  them  look  at  a particular  object.  Do  not  talk  too  much.  If 
your  customers  are  of  a talkative  disposition,  let  them  have  it  all 
their  own  way.  Never  appear  nervous  or  excited  under  any 
conditions,  or  you  are  sure  to  impart  that  to  your  sitter.  Never 
lose  your  temper,  and  never  exhibit  ill-nature.  Customers  are 
not  slow  to  notice  this.  Always  assume  a cheerful  expression  ; 
be  happy  in  your  remarks,  and  try  and  put  your  customers  as 
much  at  their  ease  as  possible,  and  I am  confident  the  result  will 
be  a success. 

If  children  are  your  subjects,  study  them  all  the  while  you 
are  getting  things  ready  ; if  they  are  of  the  squalling  kind,  don’t 
hurry  at  your  work  ; let  them  get  time  to  feel  used  to  their  situa- 
tion, and  the  squalling  will  stop.  If  they  are  of  the  familiar 
kind,  don’t  encourage  them  until  the  last  moment ; something 
attractive  will  then  do  the  needful  at  the  proper  time.  I am 
perhaps  making  a hap-hazard  remark  when  I say  that  married 
photographers  who  have  families  of  their  own  are  the  most  suc- 
cessful with  children  ; they  understand  children’s  ways  best — or, 
at  least,  they  ought  to  do  so — and  they  can  successfully  apply 
that  knowledge  to  their  little  customers. 

Then  another  point  to  be  studied,  is  being  reasonable  and 
natural  in  all  your  positions.  The  best  of  photographs  may  be 
marred  by  inartistic  photographing  : such  as  a man  standing  by 
the  seashore  and  no  hat  on,  unless  you  can  at  the  same  time 
suggest  a gale  of  wind,  with  the  peculiar  physiognomy  of  the 
individual  in  question  suggestive  of  the  loss  of  his  hat  ; another 
leaning  over  a rustic  bridge  or  gate  with  plain  background  and 
figured  carpet ; another  holding  on  to  a velvet  chair  in  the 
middle  of  a dense  forest,  &c.,  &c.  If  you  are  not  busy,  do  not 
grumble  with  every  one  at  the  want  of  trade — people  are  apt  to 
form  a wrong  impression  as  to  your  capabilities  consequent 
upon  your  want  of  trade  ; and  never,  even  at  your  busiest,  if 
at  all  in  your  power,  refuse  work.  The  maxim  holds  good  here, 
“ What  you  won't,  another  will and  what  you  refuse  to  do 
now,  is  simply  like  shutting  your  door  upon  that  customer  for 
all  time  to  come. 

Tidiness  is  another  means  towards  success  ; be  always 
tidy  yourself.  Apropos  of  this  I may  say,  avoid  any- 
thing uncommon  in  your  appearance  : gaudy  smoking  cap. 


Mabch  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


151 


and  velvet  coats  give  one  a seedy  looking  appearance ; at  the 
best,  they  are  a relic  of  a bygone  age  ; banish  the  relic,  and 
avoid  anything  that  would  tend  to  make  a peculiarity  of  your- 
self. Tidiness,  however,  must  not  end  here : keep  your  place 
of  business  tidy,  especially  your  studio  ; let  the  samples  of  your 
work  be  always  fresh  and  clean  ; and  do  not  crowd  your  studio 
with  accessories  like  a second-hand  furniture  dealer’s  shop. 

This  now  brings  me  to  what  I would  call  my  second  point, 
viz , to  be  successful  in  business,  you  must  be  successful 
in  workmanship.  No  workman  will  turn  out  good  work  with 
bad  tools,  so  that  your  sheet  anchor  to  success  must  be  good 
apparatus.  Many  an  amateur  might  produce  better  work  if  he 
could  afford  better  apparatus  ; and  many  a professional  photo- 
grapher puts  out  wretched  work  simply  because  he  is  working 
with  wretched  apparatus.  It  does  not  fall  to  the  lot  of  every 
photographer  to  be  able  to  purchase  the  most  costly  instruments, 
neither  is  it  necessary.  There  are  many  cameras  and  lenses  of 
the  cheaper  kind  with  less  pretensions  than  their  costlier 
brethren  which  will  side  by  side  beat  them  hollow,  both  for 
substantiality  of  workmanship,  and  quality  of  work  produce- 
able.  I do  not  necessarily  advocate  cheap  goods,  but  I depre- 
cate extragavance.  Have  everything  substantial,  and,  what  is  of 
more  importance,  suited  to  the  requirements  of  your  trade. 

I would  here  take  the  liberty  of  speaking  a good  word  for  swing- 
back  cameras.  To  those  who  do  not  use  them,  I would  certainly 
say,  go  in  for  them  at  once;  experience  alone  will  enable  you  to 
find  out  their  good  qualities.  They  are  of  service  in  every 
photograph  you  take,  both  in  portraiture  and  landscape.  Then, 
following  in  these  remarks  upon  good  apparatus,  I would  say. 
always  produce  good  work.  I may  be  told  this  remark  is  un- 
necessary, as  every  photographer  tries  to  produce  good  work.  Be 
this  as  it  may,  every  photographer  does  not  turn  out  good  work, 
and  the  best  of  photographers  will  at  times  be  ashamed  of  the 
work  they  are  sending  out.  True,  this  cannot  always  be  avoided, 
but  I venture  to  say  that  in  the  majority  of  cases,  where  bad 
work  is  sent  out,  it  can  be  avoided.  If  you  have  a bad  negative, 
is  it  reasonable  to  suppose  you  can  have  a good  print  ? To  cure 
that,  if  it  is  possible  to  secure  a better  negative,  try  again.  I can 
quote  a case  in  point  of  a subject  (not  a living  one,  certainly) 
upon  which  I desired  a certain  effect  in  light  and  shade,  and  to 
secure  that  end,  I photographed  it  no  less  than  twenty  times. 
Possibly  you  will  say  that  was  due  to  my  inability.  Granted  ; I 
merely  state  this  to  show  that  if  better  can  be  produced,  and  if 
it  be  in  your  power  to  do  so,  by  all  means  do  it.  Do  not  give 
your  retouchers  too  much  to  do.  Upon  any  single  negative,  a 
deal  of  this  work  can  be  effected  naturally  by  a careful  arrange- 
ment of  blinds  in  the  studio.  Retouching  I certainly  advocate  ; 
the  photographer  who  does  not  retouch  now  is  certainly  behind 
the  age.  Then  I may  be  accused  of  treading  on  tender  ground 
when  I say,  in  all  cases,  where  practicable,  give  proofs  ; it  is  more 
satisfactory  both  to  photographer  and  customer.  1 will  qualify 
that  statement,  however,  by  saying  that  in  many  cases  it  is 
impossible  and  unnecessary  to  give  proofs — such  as  customers 
from  the  country,  family  groups,  &c.  In  these  cases  it  is 
essential  that  your  customers  know  the  quality  of  the  negative 
taken  before  they  leave  your  studio,  and  if  satisfactory  to  your- 
self, in  nine  cases  out  of  ten  your  customer  will  be  pleased  with 
your  approval. 

Another  means  of  contributing  to  the  success  of  a photo- 
grapher is  in  sending  out  good  prints ; the  best  of  negatives 
can  be  spoiled  by  bad  printing — in  fact,  with  the  printer  lies  the 
whole  brunt  of  the  battle.  I will  not  attempt  to  go  over  all 
the  details  of  the  printer’s  department,  for  that  would  mean  a 
paper  of  itself  ; but  I will  say  this  much,  that  a good  printer  is 
the  back-bone  of  a photographer,  for  in  spite  of  care  in  operat- 
ing, in  exposing,  and  in  development,  there  will  be  dense  nega- 
tives and  weak  negatives,  over-exposed  negatives  and  under- 
exposed negatives,  spots,  comets,  streaks,  &e.  To  the  printer 
we  look  for  a modification  of  all  these  evils,  and  to  one  who 
understands  his  work  thoroughly  and  well,  we  do  not  look  in 
vain.  His  is  a work  in  which  quality,  rather  than  quantity, 
should  be  the  aim.  Care  in  printing  means  less  work  in  spotting- 
out,  and  consequently  cleaner  finished  prints.  On  all  orders,  let 
the  stamp  of  the  true  photographer  be  impressed,  the  genuine 
ring  of  good  work.  Remember  always  that,  according  to  the 
work  you  put  out,  so  accordingly  will  be  your  trade.  Good  work 
will  always  act  like  the  welcome  beacon  guiding  customers  to 
your  door  ; while  bad  work  may  be  compared  to  the  sunken 
reef,  of  which  every  one  will  steer  clear.  Regarding  cheap 
work,  I can  only  say  that  the  man  who  puts  out  cheap  work  puts 
but  indifferent  work,  or  he  does  injustice  to  himself  and  the 


profession  to  which  he  belongs.  I admit  that  to  a certain  extent 
cheap  work  may  command  a trade ; for  that  inherent  weakness 
in  human  nature,  “going  to  the  cheapest  market,”  is  to  be  found 
even  in  the  customers  of  a photographer.  These  are  not  the 
customers,  however,  to  rely  upon  in  establishing  a good  trade. 
Good  work  will  always  command  a good  price,  and  in  photo- 
graphy, I believe,  more  than  any  other  calling,  the  cheapest 
houses  are  the  fust  to  go  to  the  wall. 


ON  IMPROVEMENTS  AND  NEW  APPLICATIONS  OF 
THE  PLATINOTYPE  PROCESS. 

BV  HERBERT  B.  BERKELEY.* 

The  platinot.ye  process  is  much  like  the  Irishman’s  knife.  It  is 
never  precisely  new  ; it  is  never  exactly  old  ; and  it  is  from 
time  to  time  receiving,  so  to  speak,  new  blades  and  renovated 
handles. 

Perhaps  the  most  important  improvement  in  the  process  as 
applied  to  paper  is  to  be  found  in  the  increased  stability  of  the 
sensitive  surface,  making  it  more  secure  against  the  action  of 
moist  air,  with  the  accompanying  advantage  of  additional 
capabilities  for  brilliancy,  so  that  negatives  need  no  longer  be 
so  vigorous  as  was  formerly  the  case.  At  the  same  time,  when 
vigour  aud  richness  are  required,  it  is  in  vain  to  eeek  them  by 
the  aid  of  a thin,  flimsy  negative,  whose  detail  leaves  a great 
deal  for  the  imagination  to  supply,  and  whose  hi*h-lights  are 
nowhere  to  bo  found.  Vigour,  however,  is  a quality  not 
always  aimed  at  by  artists  ; but  photographers  generally  will 
condone  almost  any  defect — or,  shall  we  say,  “effect?’’ — in 
preference  to  that  of  absence  of  vigour. 

After  all,  one  of  the  strong  points  of  platinotype  is  the  vigour 
of  which  it  is  capable  when  the  photographer  calls  it  forth  by 
the  aid  of  a suitable  negative.  Let  silver  prints  and  platino- 
type be  hung  side  by  side ; then  let  them  be  viewed  from  a 
little  distance.  The  result  is  that  the  silver  print  pales,  and 
the  subject  becomes  indistinct  and  meaningless,  while  the 
platinotype  tells  its  tale,  though  placed  at  the  other  end  of  the 
room.  And  when  harmony,  softness,  and  atmospheric  effect 
are  desired,  how  well  platinotype  can  render  these ! The 
atmospheric  effect  of  a silver  print  is  not  comparable  to  that  of 
a platinotype,  the  luminosity  of  which  is  many  degrees  in 
advance.  It  is  these  qualities  which  render  platinotype  so 
much  in  favour  with  the  artists  of  the  brush.  But  in  my 
pardonable  admiration  for  the  art-capabilities  of  the  process,  I 
am  forgetting  that  I was  requested  to  describe  to  you  the  pro- 
cess in  its  possible  and  actual  applications. 

it  may  be  useful  to  some  of  the  members  to  know  how  best  to 
reproduce  an  etching  as  nearly  as  possible  in  the  approved  manner 
of  a high-class  original.  A negative  is  made  in  the  usual  manner. 
If  on  a gelatine  plate,  it  will  be  well  to  add  to  its  brilliancy  by 
treatment  with  ferric  oxalate  and  subsequent  redevelopment  by 
ferrous  oxalate— the  method  originally  introduced  by  Mr.  VV. 
Willis.  Thin  Japanese  paper  is  then  sensitized  by  the  platino- 
type method  through  its  entire  thickness ; this,  when  dry,  is 
printed  under  the  negative  until  the  lines  show  through  at  the 
back  of  the  sheet.  The  print  is  then  developed  in  the  usual 
manner,  except  that,  previously  to  floating,  or,  rather,  immersion 
— for  the  print  is  allowed  to  sink  under  the  surface — a tray  of 
gauze  muslin  is  placed  in  the  bath  in  order  to  permit  of  the  print 
being  withdrawn  without  tearing  or  creasing.  The  tray  and 
print  are  then  transferred  to  the  acid  baths  ; and  when  com- 
pleted, the  print  is  taken  up  on  a sheet  of  paper,  and  dried 
between  blotting-paper,  when  it  will  be  found  that  the  lines 
possess  considerable  depth  and  richness — an  effect  you  cannot 
have  failed  to  have  observed  in  all  good  etchings.  Platinotype 
is  very  suitable  for  producing  prints  from  an  “ etching  ” on  a 
bitumeuized  glass  plate.  The  method  of  proceeding  will  be 
evident. 

It  is  very  possible  that  an  analogous  method  to  the  above 
might  be  utilised  for  producing  burnt-in  photographs  on  glass 
and  porcelain  ; but  it  would  be  necessary  that  the  image  should 
consist  of  a considerably  greater  depth  of  metallic  platinum,  for, 
on  firing,  a deposit  giving  full  vigour  on  paper  becomes  but  a 
ghost  of  what  it  originally  was.  That  a method  founded  upon 
the  lines  I have  indicated  would  be  valuable  there  can  be  little 
doubt  ; but  at  present  I cannot  do  more  than  express  a hope 
that  the  platinotype  process  may  some  day  help  us  to  a simple 
method  for  popularising  this  but  little-known  application  of 
photography.  (To  be  continued.) 

* Head  before  the  Bristol  and  West  of  England  Amateur  Photographic 
Association, 


152 


THE  PHOTOGRAPHIC  NEWS. 


[Mabch  9,  1883. 


M.  Janssen,  the  eminent  photo-astronomer,  who  takes 
charge  of  the  French  Eclipse  Expedition  to  Caroline 
Island,  sailed  for  his  destination  last  week. 

We  are  happy  to  announce  the  formation  of  two  new 
societies.  The  first  is  the  “ Glasgow  and  West  of  Scotland 
Amateur  Photographic  Association,”  of  which  Mr.  Hugh 
Reid  is  president,  and  Mr.  Edwin  Smithells  honorary 
secretary.  That  it  is  to  consist  of  working  members  is 
evident  from  one  of  the  rules,  which  says : “ That  each 
member  be  required  to  contribute  not  less  than  three 
photographs  in  each  year  for  exhibition  and  distribution 
by  ballot.  The  taking  of  the  negative,  and  the  printing 
and  toning  of  the  finished  picture,  to  be  done  by  the 
member  exhibiting.” 


The  other  society  we  have  to  welcome  is  the  “ North 
Staffordshire  Photographic  Association.”  The  head- 
quarters of  this  society  is  at  the  Wedgwood  Institute, 
Burslem,  and  the  members  have  elected  Mr.  W.  B. 
Allison  honorary  secretary,  Mr.  W.  Alexander  Jones 
being  president.  On  another  page  we  print  the  rules  of 
the  society. 


The  examination  of  assistants  for  diplomas,  which  takes 
place  this  month  in  Paris,  under  the  auspices  of  the 
Syndicate  of  Photography,  is  likely  to  be  a successful 
affair.  Already  there  is  a goodly  number  of  appli- 
cants for  examination,  and  the  date  for  sending  in  names 
extends  to  the  15th  instant. 

Prince  Lichtenstein  is  just  now  one  of  the  most  energetic 
and  successful  of  photographers.  He  is  engaged  in 
securing  photographs  of  the  various  types  of  races  in 
Europe  and  the  East,  and  has  recently  had  made  a large 
Euryscopic  lens  by  Voigtlander,  which  enables  him  to 
secure  the  faces  of  his  models  life-size. 


The  Corporation  records  of  Stratford-upon-Avon,  which 
are  of  great  historical  and  Shakespearian  interest,  are  to 
be  reproduced  by  photography,  and  printed  in  Autotype. 
It  is  said  that  the  records  date  from  the  Conquest,  and 
that  they  contain  much  that  will  throw  light  on  the 
world’s  greatest  dramatic  poet  and  his  times. 

Wilde,  of  Gdrlitz,  who  employs  the  oxalate  developer, 
does  not  use  bromide  of  potassium  as  a restrainer,  but 
tincture  of  iodine.  Of  the  latter  he  takes  three  to  six  drops 
to  every  ounce  of  ferrous  oxalate  of  normal  strength,  when 
developing  portrait  negatives.  For  reproductions,  four  or 
five  times  as  much  of  the  tincture  is  employed,  together 
with  a small  quantity  of  citric  acid,  which  keeps  the  liquid 
clear,  and  restrains  development  at  the  same  time.  The 
tincture  is  made  by  dissolving  1 part  of  iodine  crystals  in 
200  parts  of  alcohol,  and  then  adding  an  equal  volume  of 
water. 


Sad  news  comes  tc  us  of  the  keeping  qualities  of  gelatine 
plates.  Thus  writes  the  head  of  an  important  firm  of 
photographers: — “In  making  a thorough  inspection  of 
the  contents  of  our  negative  safes,  I have  found  the  gela- 
tine plates  much  injured  by  damp  or  contact  with  sensi- 
tized paper  in  damp  weather  ; fortunately,  we  have  saved 
ourselves  by  having  many  duplicate  negatives.  I find  that 
neither  collodion  nor  two  coats  of  varnish  is  sufficient  pro- 
tection. I find,  too,  that  not  a single  plate  intensified  by 
mercury  has  stood — all  are  gone  or  going.  Thank  goodness, 
I had  not  above  three  dozen  altogether.  Flates  that  have 
not  had  above  five  or  six  hundred  prints  taken  from  them 
seem  to  have  stood  pretty  fairly,  but  when  much  more, 
they  have  small  brown  specks  and  stains  from  contact  with 
the  silvered  paper.  You  know  that  we  take  every  precau- 
tion against  damp,  so  it  looks  the  more  alarming.” 

We  learn- that  Scolik,  of  Vienna,  now  prepares  his  por- 
trait emulsion  after  Henderson’s  cold  method,  obtaining 
plates  of  medium  sensitiveness,  say  20u  on  the  Warnerke 
sensitometer. 


A controversy  has  been  going  on  in  America  as  to  who 
was  the  first  to  take  a photographic  portrait.  Both  the 
friends  of  the  late  Professor  Draper  and  the  late  Professor 
Morse  claim  the  honour,  and  the  Pall  Mall  Gazette  quotes 
the  following,  written  by  the  son  of  the  last  named  Pro- 
fessor. Mr.  Morse  says: — “In  my  intercourse  with 
Daguerre  I specially  conversed  with  him  in  regard  to  the 
practicability  of  taking  portraits  of  living  persons.  He 
expressed  himself  somewhat  sceptical  as  to  its  practi- 
cability, only  in  consequence  of  the  time  necessary  for  the 
person  to  remain  immovable.  No  sooner,  however,  had  I 
mastered  the  process  of  Daguerre  than  I commenced  to 
experiment  with  a view  to  accomplish  this  desired  result. 
I have  now  the  results  of  these  experiments,  taken  in 
September  or  the  beginning  of  October,  1839.  They  are 
full-length  portraits  of  my  daughter,  single  and  also  in 
group  with  some  of  her  young  friends.  They  were  taken 
out  of  doors,  on  the  roof  of  a building,  in  the  full  sunlight, 
and  with  the  eyes  closed.  The  time  was  from  ten  to 
twenty  minutes.” 


Referring  to  the  New  York  Daguerrian  Journal  (published 
in  1847,  and  the  pioneer  of  photographic  periodical  litera- 
ture), a copy  of  which  is  in  our  possession,  we  find  a state- 
ment bearing  on  the  subject.  This  statement,  without 
invalidating  Mr.  Morse’s  assertion,  introduces  another 
claimant,  who  certainly  is  entitled  to  mention  as  one  of  the 
earliest  experimenters  in  the  photographic  art.  In  the 
second  volume  of  the  journal  is  an  article  on  the  Daguerreo- 
type process,  by  Mr.  John  Johnson,  of  New  York,  who, 
with  much  minuteness  details  his  experiments  undertaken 
in  conjunction  with  Mr.  Alexander  Wolcott,  who  after- 
wards became  known  as  the  inventor  of  a reflecting  camera 
and  of  a sensitive  preparation  for  Daguerreotype  plates 
called  “ Wolcott’s  mixture,’’ which  old  Daguerreotypists 
may  perhaps  remember.  On  the  morning  of  the  6th  of 
October,  1839,  Mr.  Johnson  took  to  Mr.  Wolcott's  resi- 
dence a full  description  of  Daguerre’s  discovery,  and  it  was 


March  9,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


153 


arranged  that  Mr.  Wolcott  should  supply  the  camera  (as 
he  had  some  knowledge  of  the  matter),  aud  that  Mr.  John- 
son should  procure  the  materials  recommended  by 
Daguerre.  In  the  afternoon  of  that  day,  an  impromptu 
camera  was  rigged  up  by  one  operator,  and  the  other 
proceeded  to  polish  a copper  plate  coated  with  silver. 
The  first  attempt  was  a failure,  as  the  plate  was  polished 
so  effectually  that  nearly  all  the  silver  was  removed.  The 
only  substitute  at  hand  was  a burnisher,  and  a few  strips 
were  at  once  polished.  Two  plates  were  iodised,  exposed, 
mercurialized,  and  treated  with  common  salt,  and  greatly 
were  the  experimenters  puzzled,  for  though  impressions 
were  obtained  of  the  same  subject,  they  were  unlike  each 
other.  No  explanation  could  be  furnished  on  referring  to 
Daguerre’s  directions,  and  it  was  not  until  some  time  after- 
wards that  Messrs.  Johnson  and  Wolcott  discovered  the 
difference  between  a negative  and  a positive,  which  they 
had,  in  fact,  obtained. 


Their  endeavours  to  find  out  the  reason  of  the  differ- 
ence occupied  “the  remainder  of  the  day,”  and  finally 
another  attempt  was  agreed  upon.  “ Having  duly 
arranged  the  camera,”  says  Mr.  Johnson  “1  sat  for  five 
minutes,  and  the  result  was  a profile  miniature  on  a plate 
not  quite  three-eighths  of  an  inch  square.  Thus,  with  much 
deliberation  and  study,  passed  the  first  day  in  Daguerreo- 
type.  ’ It  could  have  been  wished  that  Mr.  Johnson  had 
been  a little  more  explicit  in  stating  whether  the  portrait 
was  secured  on  the  same  day  as  that  on  which  the  experi- 
ments were  commenced.  His  words,  “the  remainder  of  the 
day,”  would  assume  that  it  was  not.  On  the  other  hand, 
he  has  himself  italicised  the  word  “first,”  and  this,  as  it 
stands,  implies  the  contrary  However,  be  this  as  it  may, 
Johnson’s  experiments  must  have  been  undertaken  at  the 
same  time  as  those  of  Professor  Morse,  and  there  could  not 
have  been  many  days  between  the  production  of  the  por- 
traits, whichever  may  have  been  first.  Writing  on  this 
matter  in  1851,  the  editor  of  the  Dayuerrian  Journal 
remarks  : “ This  specimen  is  a profile  view  of  a gentleman, 
and  if  not  the  first  likeness  from  life,  is  said  to  claim  age 
with  the  oldest  Daguerreotype  ever  produced.”  The  editor 
further  observes : “The  plate  is  cemented  by  means  of 
Canada  balsam  to  a piece  of  plate  glass  about  three-fourths 
of  an  inch  square,  and  thus  it  has  been  preserved  in  its 
present  state.”  It  would  be  interesting  if  it  could  be 
ascertained  whether  this  portrait  is  now  in  existence. 


The  estimation  of  chlorine  in  bodies  of  organic  origin 
is  not  always  easy,  as  it  does  not  then  react  in  the  usual 
way  with  silver  nitrate.  Messrs.  Plimpton  and  Graves 
find  that  in  the  case  of  volatile  organic  bodies  it  is  merely 
necessary  to  diffuse  them  through  ordinary  coal  gas,  and 
then  to  burn  the  gas.  The  products  of  combustion  being 
now  absorbed  by  caustic  soda,  the  chlorine  is  obtained  in 
a fit  condition  to  be  precipitated  by  silver  nitrate. 


The  Edison  incandescent  light  is  the  sole  illuminant 
now  employed  in  the  Eastman  Dry  Plate  Works,  Rochester, 
New  York.  The  use  of  the  incandescent  light,  protected 


of  course,  by  suitable  non-actinic  coverings,  render  it 
practicable  to  keep  up  the  turn-out  of  plates  all  the  year 
round. 


Among  the  charming  examples  of  Asser’s  starch  method 
of  photo-lithography  which  accompanied  the  letter  we 
print  on  another  page  from  that  gentleman,  is  a magnifi- 
cent print  of  Bartolozzi’s  Infant  Bacchus,  produced  in  two 
tints. 


Major  Waterhouse,  the  Assistant  Surveyor- General  of 
India,  writes  : “ I fiud  that  my  method  of  intensifying 

wet  collodion  with  ferrous  oxalate  works  almost  better  with 
Carey  Lea’s  solution  of  bichromate  of  potash  and  hydro- 
chloric acid,  giveu  on  page  651  of  last  year’s  News,  than  it 
does  with  the  bromide  of  copper  solution,  and  in  this  way 
it  will  come  much  cheaper.” 


“ The  observation  is  not  a new  one  to  me.  I had  the 
honour  to  mention  it  here  on  the  10th  of  May,  1812." 
Ihus  spoke  M.  Chevreul  at  one  of  the  last  meetings 
of  the  Academy  of  Sciences.  It  is  not  reserved  to  many 
distinguished  men  to  be  one  of  the  “ elect  ” of  science, 
like  this  famous  French  chemist,  during  a period  of  seventy- 
one  years. 


The  French  Photographic  Society  is,  we  believe,  the 
only  photographic  body  that  regularly  indulges  in  an 
annual  banquet;  to-morrow,  the  members  meet  at  the 
Cafe  Riche,  under  the  presidence  of  M.  Peligot,  of  the 
Institute.  One  of  these  days  we  may  find  the  British 
societies  following  the  excellent  example  of  their  Paris 
brethren. 

We  hear  that  Professor  Rowland  has  been  employing 
his  concave  grating  to  some  purpose  in  photographing  the 
violet  region  of  the  spectrum.  Between  the  lines  II  and 
K,  where  usually  but  90  lines  are  to  be  counted,  Mr.  Row- 
land has  succeeded  in  photographing  no  less  than  190 ! He 
cannot  do  this  with  a gelatine  plate,  however,  but  has  to 
employ  a dry  collodion  film,  upon  which  much  finer 
measurements  can  be  made. 

It  behoves  one  to  be  careful  not  to  draw  conclusions  too 
rashly  from  photographic  results— or  other  experimental 
results,  for  that  matter — where  many  phenomena  aud  changes 
have  contributed  to  the  end  ; but  making  some  crude  experi- 
ments lately  after  the  manner  of  Dr.  Huggins,  we  attained 
a very  interesting  result.  Dr.  Huggins,  our  readers  well 
know,  has  succeeded  in  photographing  the  corona  of  the  sun 
by  the  interception  of  certain  rays,  and  it  was  our  interest 
in  this  research  that  led  to  the  experiment. 

Three  plates  were  rapidly  exposed  to  the  sun,  the  first  in 
the  ordinary  way,  the  second  aud  third  behind  green  glass. 
An  oxalate  developer  half  the  normal  strength  was  used, 
and  the  first  plate,  a9  might  be  expected,  gave  a black  solar 
disc,  with  a dark  fringe  or  halo  round  it  half  as  broad  as 
the  diameter  of  the  sun.  This  halo  was  of  uniform  depth 
t hronghout— that  is  to  say,  not  perceptibly  lighter  on  the 


154 


THE  PHOTOGRAPHIC  NEWS. 


[^AEcn  9,  1883. 


outside  than  inside.  One  of  the  plates  exposed  behind  the 
green  glass  was  next  developed  as  before,  with  the  result 
that  only  the  sun’s  disc  was  seen,  and  not  a trace  of  the 
halo;  in  developing  the  third,  a goodly  proportion  of  hypo- 
sulphite solution  was  addid  to  the  weak  oxalate  developer, 
with  a view  to  reversing  the  sun’s  image.  We  did  not 
succeed  in  doing  this,  but  instead,  brought  forth  a reversal 
immediately  around  the  suu.  Nor  was  it  the  broad  and 
uniformly  dark  halo  that  was  reversed  ; on  the  negative  the 
black  sun  was  surrounded  by  almost  transparent  glass,  the 
transparency  gradually  decreasing  with  the  distance  from 
the  sun.  We  do  not  suggest  this  is  the  corona,  although  it 
may  very  well  be  so  ; we  only  wish  to  point  to  the  fact 
how  a modification  in  development  may  make  all  the 
difference. 


Half  a ton  of  Rhine  negatives  ! This  is  the  result  of  a 
three  years’  campaign  in  the  Rhineland  by  Mr.  Simpson. 
Unfortunately,  the  series  thus  laboriously  completed  has 
been  mutilated  by  the  loss  of  the  Cologne  plates,  at  the 
moment;  too,  of  arrival  at  their  destination.  These  latter 
had  been  securely  packed  in  an  old  brandy  cask,  and  in 
carting  the  eleven  hundred  pounds  of  glass  through 
London,  about  Christmas  time,  the  barrel  appears  to  have 
caught  the  eyes  of  some  thirsty  soul,  not  over-scrupulous, 
who  captured  the  prize  without  delay. 


“ To  point  a moral  ” we  leave  for  the  moment,  so 
that  we  may  “ adorn  a tale.”  For,  it  should  be 
remembered,  that  liquor  casks  once  served  the  photo- 
grapher’s turn  very  aptly.  When  Dagron  carried  out  from 
Paris  his  photo-microscopic  apparatus  in  the  balloons 
Daguerre  and  Niepce  at  the  time  of  the  siege,  in  order  that 
he  might  establish  an  incoming  mail  by  the  aid  of  homing 
pigeons  and  micro-photographic  despatches,  he  had  con- 
siderable difficulty  in  evading  the  Germans.  One  of  the 
balloons  was  taken  on  its  descent,  and  M.  Dagron,  in  the 
other,  had  barely  time  to  assume  a blue  blouse  and  cap 
proffered  by  some  friendly  peasantry,  and  to  place  the 
apparatus  iu  a couple  of  waggons,  before  the  Prussian 
cavalry  swooped  down  upon  them.  The  vehicle  with  the 
balloon  was  at  once  seized,  but  the  other  with  the  apparatus 
made  good  its  retreat.  The  instruments,  placed  in  barrels, 
were  then  conveyed  by  means  of  a Prussian  permit  for  the 
transport  of  wine,  through  the  enemy’s  line,  and  taken 
safely  to  Tours.  The  germ  of  la poste  cerienne  was  contained 
in  those  casks. 


A correspondent  puts  what  he  calls  a hard  case.  A lady 
comes  to  his  studio,  and  desires  to  be  photographed  ; she 
is  accompanied  by  a gentleman,  who  says  he  is  an 
artist,  and  wishes  to  pose  her.  This,  by  consent  of  the 
photographer,  he  does,  and  the  negative  is  taken,  the 
photographer  concerning  himself  only  with  the  developing 
manipulations  and  focussing.  When  the  proofs  are  sent, 
the  lady  is  not  pleased  with  them,  and  desires  to  sit  again. 
In  the  meantime,  the  artist  drops  out  of  sight— that  is,  he 
leaves  the  matter  to  be  arranged  by  the  photographer  and 
the  sitter.  Ihe  latter  declares  that  she  will  not  pay  for 


the  proof,  while  the  photographer,  contending  that  the 
failure  is  not  his,  does  not  feel  justified  in  giving  a re-sittiDg 
without  extra  payment. 


It  is  clear,  in  such  a case,  that  the  photographer  should 
make  it  understood  beforehand  he  shall  not  be  held 
responsible  for  failures  arising  from  faults  in  the  pose  and 
expression.  By  the  way,  it  is  a curious  fact  that  the 
resulting  pictures  of  sitters,  posed  by  artists  in  photo- 
graphic studios,  are,  in  nine  cases  out  of  ten,  fiascos. 


Photographs  of  “ No.  1 ” are  very  prolific  just  now,  for 
the  police  seem  to  be  finding  them  in  every  direction. 
Still,  it  would  be  more  satisfactory  to  find  something  else 
besides  his  portrait. 


latent  Intelligence. 

Application  for  Provisional  Protection. 

1061.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patent  Agents,  Southampton  Buildings,  London,  for 
an  invention  of  “ An  improved  process  for  sensitizing  photo- 
graphic paper  and  developing  pictures  thereon.” — A communi- 
cation to  him  from  abroad  by  Redfield  Benjamin  West  and 
Benjamin  Corey  West,  both  of  Guilford,  Connecticut,  United 
States  of  America. — Dated  27th  February,  1883. 

1095.  James  Weaver  Tattersell,  of  Accrington,  in  the  county 
of  Lancaster,  Photographer,  for  an  invention  of  “ Improve- 
ments in  washing  photographs.”— Dated  28th  February,  1883. 

Notice  to  Proceed. 

5086.  Richard  Brown  and  Robert  William  Barnes  and 
Joseph  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  Photographers,  for  an  invention  of  “ Improvements 
in  and  relating  to  the  production  of  printing  surfaces  from 
gelatine  reliefs.” — Dated  25th  October,  1882. 

Specification  Published  during  the  Week. 

3268.  W.  F.  Stanley,  for  “ Photographic  cameras.” 

An  application  of  a peculiar  divided  scale,  which  I term  a focal 
scale,  to  the  sliding  parts  of  a camera,  by  means  of  which  the 
camera  may  be  set  at  once  in  chemical  focus  of  any  object  ready 
to  take  a photograph  of  proportional  size,  by  measurement  only, 
instead  of  by  observation  of  the  reflected  image  upon  ground 
glass.  Also  a means  of  adjusting  this  scale  by  an  underslide. 
To  carry  out  this  invention  the  camera  has  affixed  to  it,  or  inlaid 
in  a part,  a scale  of  ivory  or  other  material,  indicating  distance  of 
focus  and  proportion  of  image,  in  such  position  that  the  move- 
ment of  a sliding  part,  either  in  the  mounting  of  the  lens  or  the 
body  of  the  camera,  carries  an  index  which  indicates  the  focal 
value  of  movement  of  the  sliding  part.  By  the  movement  of 
the  sliding  part  the  focus  is  set  for  any  given  distance  of  object 
to  be  photographed  by  the  scale  the  proportion  of  the  image  of 
the  object  indicated  upon  the  scale  as,  J size,  j-  size,  and  so  forth, 
as  well  as  the  distance  in  feet,  inches,  or  other  measurement  that 
the  object  is  placed  to  be  photographed  from  an  index  line  on 
the  camera.  Further  to  carry  out  this  invention,  the  camera 
or  the  stand  upon  which  it  is  fixed  has  a slide  by  which  the 
camera  can  be  moved  a short  space  to  finally  adjust  the 
measurement  to  the  scale*  This  slide  may  be  moved  by  a bcrew 
or  by  hand.  The  focal  scale  may  be  replaced  by  a rack  and 
pinion  or  other  mechanical  equivalent,  and  the  readings  may 
be  placed  on  a dial  instead  of  a straight  scale,  this  being 
practically  equivalent  to  the  straight  scale  desciibed  for  the 
purpose  of  indicating  the  distace  of  object  to  be  photographed 
and  its  proportional  size,  the  object  of  this  invention.  In  the 
above  invention  it  must  be  particularly  observed  that  the  scale 
applied  to  the  camera  is  not  one  of  equal  parts,  for  this  has  been 
before  applied  to  cameras,  but  is  one  in  which  the  scale  is 
proportional  to  the  focal  distance  of  the  lens. 

Patent  Granted  in  Austria-Hungary. 

G.  Lkrl  and  Sons,  of  Vienna,  for  “ An  extensible  frame  for 
photography.” — Dated  19th  July,  1882. 


1 


Mabcii  9,  1883.J 


TfiE  PflOTOGRAPfilC  NEWS. 


155 


G.  Lerl  and  Sons,  for  “ Improvements  in  their  patent  extensibl6 
frames  for  photography.” — Dated  19th  July,  1882. 

Patent  Granted  in  Germany. 

21,580.  P.  Rouaix,  of  Paris,  for  “ An  apparatus  for  obtaining 
photographs  without  a camera  obscura.” — Dated  17th  August, 
1882.  Class  57. 

Patent  Granted  in  America. 

272,173.  William  Thomas,  of  New  York,  N.Y.,  for  “A  photo- 
graphic camera.” — Application  filed  10th  November,  1882. 
No  model. 


GLASS  “SOAKED"  WITH  SILVER  FOR  USE  WITH 
THE  GELATINE  FROCESS. 

B?  CArT.  W.  DE  w.  abnet.* 

Some  short  time  ago  Mr.  Bolton  kindly  gave  me  a specimen  of 
some  soaked-silver  glass  which  had  been  furnished  him  by  a 
well-known  gentleman  in  the  photographic  world.  I am  led  to 
believe  it  is  prepared  by  painting  white  glass  with  a silver  com- 
pound, and  then  firing  it.  After  the  first  firing  it  has  a lemon- 
yellow  colour  ; but  after  three  or  four  it  takes  the  tint  of  the 
glass  I show.  Its  appearance  by  transmitted  light  is  very 
similar  to  that  shown  by  stained  orange — a glass  which  behaved 
somewhat  peculiarly  with  gelatine  plates.  By  reflected  light  the 
glass  is  very  remarkable.  It  presents  the  appearance  of  green 
fog  as  seen  on  a gelatine  plate,  being  iridescent  and  green . As 


was  remarked  to  me  by  Mr.  Bolton,  until  he  had  seen  this 
flashed  glass  he  was  an  opponent  of  the  theory  that  I had 
propounded,  that  green  fog  is  due  to  a reduced  silver  compound. 
I dare  not  enter  into  a discussion  of  green  fog  on  this  occasion, 
as  I have  already  had  my  say  about  it.  It  is  quite  sufficient  to 
know,  at  all  events,  some  causes  of  its  appearance  in  order  to 
avoid  it,  and  this  I hold  to  be  the  true  scientific  method  of 
discovery.  Now  as  to  its  suitability  for  the  developing-room. 
A piece  of  the  glass  was  placed  before  the  slit  of  the  spectro- 
scope, the  lower  half  of  which  was  screened,  and  a photograph 
with  a gelatine  plate  taken.  It  was  impossible  to  get  the  sun 
as  a source  of  illumination,  except  on  one  occasion ; hence 
the  electric  light  was  used.  The  first  photograph  I show  was 
taken  with  quartz  lenses  to  the  collimator  and  camera,  and  a 
Rowland  diffraction  grating  used  for  getting  dispersion  of  the 
spectrum.  By  this  means  all  the  ultra-violet,  even  that  which 
could  not  pass  through  glass,  was  impressed.  It  will  be  seen 
by  the  photograph  that  the  rays  just  beyond  the  limit  of  the 
violet  passed  through  the  glass,  and  rays  still  more  refrangible 
were  stopped.  It  may  be  said  that  rays  from  wave-length  3900 
to  wave-length  3400  passed  through  one  thickness  of  flashed 
silver,  giving  a very  fair  image. 

The  next  photograph,  Fig.  I.,  shows  the  action  of  the  whole 
spectrum  when  transmitted  through  the  flashed  glass,  and  is 
compared  with  the  action  of  the  spectrum  when  the  unshaded 
light  is  used.  The  spectrum  was  formed  by  two  flint  glass 
prisms.  It  will  thus  be  seen  that  light  is  transmitted  at  both 


ends  of  the  spectrum,  which  has  an  action  of  a gelatine  plate. 
With  an  ordinary  collodio-bromide  emulsion  plate,  the  only 
deleterious  light  is  that  in  the  ultra-violet ; at  the  least  re- 
frangible end  the  light  has  no  effect. 

It  may  be  interesting  to  show  the  absorption  that  takes  place 
in  ordinary  sheet  glass.  Fig.  III.  shows  the  absorption,  using  a 
grating,  since  glass  prisms  would  be  inadmissable  ; the  spectrum 
being  taken  by  quartz  lenses  which,  Dr.  W.  H.  Miller  and 
Professor  Stokes  showed,  transmitted  all  the  ultra-violet  rays. 
I think  it  may  be  well  to  remind  my  hearers  that  there  is  no 
advantage  in  using  quartz  lenses  for  the  light  they  have  to  deal 
with.  The  solar  spectrum  ends  almost  at  the  same  point  as 
where  absorption  by  glass  in  the  ultra-violet  commences,  even  at 
the  highest  elevations.  This  cutting-off  of  the  spectrum  is 
apparently  not  due  to  our  atmosphere,  but  to  something  outside  it. 

Another  photograph  shows  the  effect  of  two  thicknesses 
of  the  soaked-silver  glass  (dotted  curve,  Fig.  I.),  by  which  it  will 
be  seen  that  almost  all  the  ultra-violet  light  is  cut  off,  and  also 
rather  more  of  the  green  towards  the  red.  The  next  photograph 
I show  is  a comparison  between  the  thickness  of  this  glass  and 
J-inch  thickness  of  a weak  solution  of  bichromate  of  potash 

* Bead  before  the  Photographic  Society  of  Great  Britain. 


(Fig.  II.).  This  last  photograph  was  taken  on  a collodio-bromide 
plate  of  green  bromide  which  1 use  for  the  infra-red  region.  It 
will  be  seen  that  with  the  bichromate  the  violet  band  is  entirely 
absent. 

1 find  that  the  low  rays  are  nearly  as  readily  transmitted 
through  the  flashed  glass  as  through  the  bichromate  ; there  is  a 
slight  absorption,  but  not  much. 

I was  led  to  examine  whether  the  non-reflection  of  certain  rays 
in  the  ultra-violet  by  silver  had  any  correspondence  with  the  light 
transmitted  through  this  compound  of  silver.  Fig.  V.  shows 
where  silver  fails  to  reflect,  and  it  will  be  seen  that  it  differs 
entirely  in  locality  from  the  place  of  transmission  through  the 
glass. 

The  deduction  to  be  diawn  from  this  is,  that  soaked-silver 
glass  is  unsafe  to  use  even  for  collodion,  if  only  one  thickness  is 
used  ; that,  in  order  to  render  it  safe  for  gelatine  plates,  ruby 
glass  should  be  combined  with  it,  to  more  entirely  cut  off  the 
j yellow  and  green.  I exhibit  a transparency  printed  on  a gelatine 
plate,  with  an  exposure  of  three  seconds  by  daylight  coming 
through  this  glass.  The  question  arises,  Is  this  the  only  medium 
which  behaves  in  this  manner,  viz.,  in  letting  the  ultra-violet 
j rays  through  ? It  is  not : through  a thin  solution  of  aurine  the 
same  phenomenon  is  observed ; but  if  the  solution  be  strong,  or 


156 


THE  PHOTOGRAPHIC  NEWS. 


[March  9,  1883. 


if  a plate  coated  with  varnish  containing  this  dye  be  examined, 
the  ultra-violed  band  will  be  wanting. 

If  the  spectrum  of  the  green  light  issuing  from  the  iridescent 
film  of  the  flashed  glass  be  examined,  it  will  be  found  to  absorb 
the  light  which  it  reflects  ; in  other  words,  the  light  reflected 
and  that  absorbed  are  complementary.  This  is  not  always  the 
case  ; but,  where  we  have  a fluorescent  appearance,  the  reflection 
of  light  on  such  surfaces  is  quasi-metallic. 

My  last  photograph  exhibits  the  action  of  the  new  cherry  fabric 
in  the  spectrum  of  the  electric  light.  A piece  of  the  fabric  was 
placed  in  contact  with  the  gelatine  plate,  and  the  spectrum 
allowed  to  act  through  it  for  five  seconds,  with  the  result  you  see 
before  you  (Fig.  IV.).  The  yellow  is  cut  off ; but  the  green, 
blue,  and  violet  are  well  shown,  as  is,  of  course,  the  red.  This 
medium  by  itself,  even  in  two  thicknesses,  is  not  a protection 
against  the  admission  of  the  kind  of  light  which  should  be  kept 
out.  If  it  be  used,  it  should  be  used  with  orange  paper,  to  cut 
off  the  blue  and  violet,  and  then  nothing  but  red  will  pass. 
Bookbinders’  red  cloth  behaves  in  a somewhat  similar  manner, 
and  the  same  precaution  regarding  it  should  be  taken.  I have 
thought  it  right  to  give  this  warning,  as  it  might  lead  to  blame 
being  cast  on  wroug  shoulders  in  the  case  where  foggy  plates  arc 
met  with.  Fig.  V.  is  the  effect  of  the  spectrum  on  AgBr. 

Mr.  Stiller  added  the  following  remarks  : — I have  had  some 
experience  with  coloured  fabrics ; indeed,  I may  say  that  I 
devote  nearly  every  day  to  the  subject  of  colours  and  their  effect 
upon  fabrics,  and  I think  that  to  use  this  coloured  cloth  safely, 
there  should  be  a double  layer,  so  that  the  interstices  of 
one  layer  may  be  covered  by  being  superimposed  by  the  other. 
If  the  window  is  made  large  enough  to  admit  sufficient  light 
with  double  folds,  the  paper  would  not  be  necessary. 


WITHIN  WHAT  LIMITS  MAY  THE  PYROQALLIC  ACID 
BE  USEFULLY  VARIED  IN  A DEVELOPER? 

BY  G.  L.  ADDENBROOKE. 

I suggested  the  question,  at  the  last  Technical  Meeting,  more 
as  one  on  which  I should  like  to  receive  information,  than  as  one 
on  which  I could  impart  anything.  I have,  however,  for 
a considerable  time  taken  great  interest  in  the  developer, 
because  I believe  that  in  a thorough  knowledge  of  it  chiefly  lies 
the  possibility  of  doing  the  highest  class  of  work — that  is,  of 
taking  photographs  which,  in  some  degree,  at  any  rate,  may 
exhibit  real  feeling  and  atmospheric  effect. 

Approaching  the  subject  from  one  point  of  view,  I have  under- 
taken the  following  series  of  experiments,  which,  though  so  far 
very  incomplete,  may  still  perhaps  have  some  interest. 

First,  I will  indicate  the  condition  under  which  they  were 
made.  A camera,  without  lens,  was  fixed  on  a small  stand,  which 
has  a sliding  support  to  hold  a standard  candle,  with  the  flame 
always  opposite  the  open  lens  mouth,  this  being  of  such  size  as 
not  to  interfere  with  all  the  rays  from  the  candle  proceeding  to 
the  other  end  of  the  camera.  The  ground  glass  was  twelve  inches 
from  the  flame.  The  dark  slide  contained  the  plate  of  a Warnerke 
sensitometer,  and  behind  this  was  placed  the  gelatine  plate  to  be 
tested.  These  plates  were  specially  coated  for  me,  so  that  the 
amount  of  emulsion  might  be  the  same  on  each,  and  evenly  dis- 
tributed over  the  surface.  Exposures  were  regulated  just  to  give 
the  last  number  on  the  sensitometer,  that,  besides  density,  the 
resulting  negatives  might  show  both  all  gradation  possible,  and 
how  far  solarization  extended. 

For  development,  stock  solutions  of  the  following  proportions 
were  used,  the  amount  of  developer  being  made  up  with  water 
to  2 oz. : — 


this  to  act  on  the  plate  for  five  minutes,  I found  that,  under  the 
above  conditions,  eight  minutes’  exposure  was  necessary  to  bring 
out  a trace  of  No.  25  on  the  sensitometer,  the  plates  being  slow 
once. 

It  may,  perhaps,  just  be  noted,  that  the  temperature  of  the 
developer  was  never  allowed  to  vary  more  than  a few  degrees ; 
and  that  compensation  was  made  for  the  citric  acid,  and  that 
distilled  water  was  used  in  all  cases. 

Starting  on  this  basis,  I have  so  far  made  the  following  experi* 
ments,  the  results  of  which  I now  pass  round : — 


Exposure  in 

Pyro. 

Ammonia 

Pot.  Br. 

Time  of 

seconds. 

per  oz. 

per  oz. 

per  oz. 

Development^ 

gr. 

minim. 

gr. 

minutes. 

lA  ... 

...  430 

T 

1 

i 

5 

2a  ... 

...  •* 

1 

1 

x 

5 

3a... 

...  ,, 

i 

1 

x 

5 

4a  ... 

...  >» 

2 

1 

x 

6 

5a  ... 

...  ,, 

4 

1 

x 

6 

1b  .. 

...  if 

a 

X 

1 

.1 

80 

2b  .. 

...  *, 

i 

1 

40 

3b  .. 

1 

1 

i 

& 

20 

4b  .. 

...  j9 

2 

1 

i 

10 

5b  .. 

...  jy 

4 

1 

1 

5 

lc  .. 

• ••  }» 

1 

1 

i 

5 

2c  ... 

...  ft 

1 

2 

i 

K 

5 

3c  .. 

•••  jf 

1 

4 

i 

5 

Series  A. —It  will  be  noticed  that  the  higher  numbers  are  as 
distinct  in  No.  1 as  in  No.  5,  proving  that  an  increase  of  pyro. 
does  not  bring  out  more  detail.  As  to  density,  No.  1 is  very  thin 
and  uniform;  No.  2 contains  nearly  twice  the  contrast ; No.  3 
is  but  very  little  denser  than  No.  2 ; while  Nos.  4 and  5 show 
apparently  no  increase  at  all.  Hence  it  is  clearly  shown  that 
with  these  plates,  using  a moderate  ordinary  proportion  of  am- 
monia, there  is  no  advantage  to  be  gained  by  having  more  than, 
say,  14  grain  pyro.  to  each  ounce  of  developer,  and  that  the  chief 
power  of  modifying  the  density  of  the  negative  to  suit  varying 
circumstances  lies  in  the  use  of  amounts  of  pyro.  varying  from  J 
to  1 grain.  Though  other  emulsions  may  admit  of  some  expan- 
sion or  contraction  of  this  scale,  yet  I think  its  truth  as  a whole 
will  stand. 

Series  B. — The  continuing  action  of  the  developer  is  here 
indicated.  No.  1,  though  somewhat  stained,  is  at  least  twice  as 
dense  as  No.  5,  notwithstanding  that  only  the  quantity  of 
pyro.  was  used  to  devolop  it,  the  other  constituents  remaining 
the  same  ; No.  2 is  the  densest  of  the  series — about  half  as  dense 
again  as  No.  1 ; No.  3 is  a little  less  dense  than  No.  2 ; No.  4 
than  No.  3 ; and  No.  5 than  No.  4. 

Series  C. — Here  it  is  seen  that,  for  the  first  two  plates, 
doubling  the  ammonia  doubles  the  density.  No.  3,  however,  is 
no  denser  than  No.  2,  for  here  we  have  passed  the  power  of  the 
pyro.  present  to  complete  the  reaction.  This  series  was  not 
carried  further,  as  such  strong  solutions  of  ammonia  acted  on 
the  whole  film. 

It  will  be  noticed  that  each  of  these  series  contains  a key 
negative,  so  to  speak,  taken  under  the  same  conditions,  so  that 
the  different  plates  can  all  be  compared  together  readily.  There 
are  many  more  series  which  would  afford  interesting  data,  and  I 
cannot  but  feel  the  fragmentary  nature  of  the  present  com- 
munication, which  is  partly  due  to  the  short  time  I have  had  to 
make  experiments.  I hope,  however,  as  opportunities  offer,  to 
pursue  the  investigation  on  the  lines  indicated,  and  trust,  at  a 
future  date,  to  have  something  more  worthy  of  bringing  to  your 
notice. — Photographic  Journal. 


Tyrogallic  acid 
To  each  ounce  of  this  1 

Ammonia  

Potassic  bromide  ... 

And— 

Ammonia  

Potassic  bromide 
Water 


(!)• 

...  1 grain  per  drachm 
grain  citric  acid  was  added. 

(2). 

...  1 minim  -880  per  drachm. 

(3) . 

...  > grain  per  drachm. 

(4) . 

...  1 minim ’880 

...  J-  grain 
...  1 drachm 


With  these  proportions,  developers  varying  very  widely  can  be 
quickly  and  accurately  compounded. 

Taking  as  a standard,  1 gr.  pyro.,  1 min . ammonia,  and  ’ gr. 
potassic  bromide  to  the  ounce  of  distilled  water,  and  allowing 


GREEN  LIGHT  IN  DARK-ROOMS. 

Sir, — On  reading  your  “ Notes”  in  issue  of  Feb.  23rd, 
upon  light  for  the  dark  room,  I was  surprised  to  find  so 
little  notice  has  evidently  been  taken  of  iny  letter  upon  the 
subject,  which  was  published  in  an  issue  in  December  last. 
Will  you  allow  me  to  ask  if  any  photographer  has  tried 
the  green  light  instead  of  the  ruby  for  the  dark  room?  I 
still  use  it,  and  find  it  answer  perfectly  for  day  and  artificial 
light.  Besides  the  great  advantage  of  not  hurting  the  sight, 
you  can  see  so  much  better  in  developing,  and  also  with, 
regard  to  the  proper  amount  of  intensity  required,  can 


March  9,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


157 


control  it  better ; the  light  admitted  through  the  ground 
glass,  yellow  and  green,  seems  to  be  more  white  looking 
than  green. 

I hope  you  will  excuse  me  troubling  you  again,  but  I 
thought  my  letter  might  have  been  forgotten,  as  I am 
anxious  for  other  photographers  to  be  benefitted  as  I have 
been  in  the  case  of  failing  sight.  W.  L.  Bradshaw. 

THE  PHOTOGRAPHIC  CLUB. 

Sir, — 1 am  compelled  to  reply  to  Mr.  Dunmore’s  letter 
which  appears  in  your  impression  of  March  2nd,  as  he 
imputes  untruthfulness  in  my  statement  re  the  rules  of 
the  Photographic  Club  regarding  publication. 

I was  in  hopes  that  Mr.  Dunmore  would  have  said  some- 
thing more,  so  that  I might  have  the  pleasure  of  exposing 
the  Club’s  doings,  viz.,  having  rules  and  not  adhering  to 
them.  Mr.  Dunmore’s  silence  in  this  matter  is  a substan- 
tiation of  my  statements.  / 

In  conclusion,  I still  adhere  to  the  correctness  of  my 
former  communication.  A.  L.  Henderson. 


WORKING-UP  OF  ALCOHOL  RESIDUES. 

Dear  Sir, — In  the  Photographic  News,  Friday,  Decem- 
ber 8,  1882,  page  747,  it  is  stated,  under  the  head 
“ Collecting  and  Working-up  Residues,’’  in  directions  for 
recovering  alcohol  residues,  that  the  alcohol  residue  is 
to  be  mixed  with  equal  weight  of  fresh  quick-lime,  and 
placed  in  a tin  can  on  a saud  bath  or  saucepan  of  water, 
and  heat  applied,  &c.”  Now,  in  following  out  these 
directions,  1 very  nearly  met  with  a serious  accident.  I 
proceeded  as  follows.  I weighed  the  alcohoi  residue 
(weight  about  18  lbs.),  to  which  I put  12  lbs.  of  fresh 
unslacked  lime  from  the  kilus,  in  the  lump,  which,  after  it 
had  been  standing  for  some  little  time,  commenced  to 
evolve  heat,  which  quickly  increased  until  the  boiling  point 
had  been  reached.  The  alcohol  was  volatilised  very 
violently,  so  much  so  that  it  could  not  escape  fast  enough 
through  the  connection  with  the  condensing  arrangement, 
and  eventually  blew  the  top  part  of  the  still  off,  and 
hurled  it  violently  against  the  ceiling  of  the  room,  when 
the  room  became  immediately  filled  with  a dense  vapour 
of  alcohol,  which  would  most  certainly  have  ignited  had 
any  light  been  near  at  hand  ; but,  fortunately,  I had  not 
lighted  the  gas  under  the  retort,  or  I don’t  know  what 
would  have  been  the  consequence. 

1 shall  be  glad  if  you  could  tell  me  wherein  the  failure  has 
occurred.  Either  I have  misunderstood  your  instructions, 
or  there  is  some  error  in  printing.  I have  thought  since, 
that,  instead  of  equal  weight  of  quick  lime,  as  printed,  it 
should  be  carbonate  potassium ; for  the  effect  of  addiug 
quick- lime  to  water,  or  watery  liquids,  is  to  create  an 
intense  heat,  almost,  if  not  quite,  equal  to  the  boiling 
point.  T.  B.  C. 

[The  quick-lime  process  is  especially  adapted  for  remov- 
ing a small  proportion  of  water  from  alcohol ; and  when  it 
is  employed  for  working- up  dilute  alcoholic  residues,  a 
very  capacious  still  should  be  used.  Doubtless  the  exit 
tube  of  the  apparatus  became  choked  by  slacked  lime. 
Our  readers  are  doubtless  aware  that  quick-lime  is  now 
pretty  extensively  used  for  blasting  coal,  and  even  hard 
rocks.  A cylinder  of  lime  is  fitted  into  the  boring,  and 
the  proper  proportion  of  water  is  pumped  in. — Ed.  F.N.] 


ASSER’S  PHOTO-LITHOGRAPHIC  METHOD. 

Dear  Sir, — I am  always  much  interested  in  the  com- 
plete and  excellent  articles  upon  “ Photo-lithography  and 
Photo-zincography,’’  which  Major  J.  Waterhouse  writes 
for  your  valued  paper  ; and  I remember  with  much  pleasure 
the  courteous  visit  this  gentleman  paid  me  some  years  ago. 
Nevertheless,  I must  take  the  liberty  of  correcting  his 
statement  concerning  my  photo-lithographic  process, 
which  appears  in  the  No.  1.277  of  your  paper.  It  ran  as 
follows ; — 


“ In  the  early  process  of  photo-lithography  by  transfer, 
published  by  Asser,  of  Amsterdam,  the  transfer  paper  was 
prepared  by  coating  unsized  paper  with  starch  paste,  and, 
when  dry,  it  was  sensitized  in  a bath  of  bichromate  of  pot- 
ash. After  exposure,  printing  ink  was  applied  with  a 
roller.  The  process  never  came  into  extended  use,  as 
gelatine  was  found  more  suitable  than  starch.” 

Allow  me  to  mention,  thereupon,  that  my  transfer  pro- 
cess, crowned  with  the  Medal  of  Progress  (Fortschritt's 
Medaille ) at  the  International  Exhibition  of  Vienna  in  1873, 
is  of  general  adoption  in  this  country,  not  only  by  the 
Government,  but  also  by  municipal  communes,  railway 
directors,  architects,  artists,  &c. 

It  is  also  used  for  the  execution  of  important  works,  and 
renders  great  services  by  reproducing  engravings,  etchings, 
and  drawings ; moreover,  this  method  is  always  preferred 
when  clear  reproductions,  having  at  the  same  time  an 
artistic  appearance,  are  required.  This  result  is  obtained 
by  the  use  of  unsized  paper,  covered  with  a layer  of  starch. 

This  method  presents  the  advantage,  in  opposition  to 
gelatine,  of  removing  the  unmodified  bichromate  of  potash 
from  the  not  exposed  places  before  the  bringing  on  of  the 
printing  ink,  and  this  without  taking  away  the  starched 
layer  ; this  layer  possessing  the  property  of  remaining 
insoluble  in  water,  and  yet  keeping  the  necessary  moisture 
to  obtain  middle  tints — the  transfer  paper  being  inked  by 
a roller  covered  with  velvet  (used  by  me  from  the  begin- 
ning). A clever  and  experienced  stone  or  zinc  printer  can 
judge  a priori  of  the  effect,  whilst  by  the  gelatine  systems 
the  result  is  left  more  or  less  to  accident. 

In  order  to  illustrate  the  above  statement,  I send  you 
some  specimens  prepared  according  to  my  process. — I re- 
main, yours  truly,  E.  T.  Asser. 

[Major  Waterhouse  merely  referred  to  the  circumstance 
that  Mr.  Asser’s  admirable  process  is  not  very  extensively 
adopted  in  this  country.  It  has  often  surprised  us  to  find 
that  a method  so  well  suited  for  the  reproduction  of 
especially  difficult  subjects — as  when  shaded  or  broken 
lines  form  a part  of  the  subject — is  so  little  practised  on 
this  side  of  the  Channel.  The  samples  sent  illustrate 
in  a striking  manner  the  wide  capability  of  Asser’s 
method.  We  shall  have  something  further  to  say  regard- 
ing this  matter  before  long. — Ed.  B N.] 


Drflcfi&ings  of  jsocidu*. 

South  London  Photographic  Society. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held  at 
the  House  of  the  Society  of  Arts,  John  Street,  Adeiphi,  W.C.,  on 
Thursday  evening,  the  1st  inst.,  the  Rev.  F.  F.  Statham,  M.A., 
President,  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed, 

Mr.  G.  A.  Garrett  was  elected  a member  of  the  Society. 

The  Chairman  expressed  satisfaction  that  the  change  in  the 
arrangements  for  the  prize  competition  made  at  their  previous 
meeting  seemed  to  have  been  attended  with  satisfactory  results, 
and  thought  that  the  competition  for  which  pictures  had  been 
sent  in  since  their  last  meeting  was  perhaps  the  most  successful 
one  they  had  ever  had.  He  announced  that  they  had  had 
another  discussion  in  committee  as  to  the  best  mode  of  de- 
cision upon  the  relative  merits  of  the  examples  sent  in,  and  it 
had  been  further  decided  that,  instead  of  waiting  until  the  end 
of  the  year  for  the  arbitrators  to  give  their  decision,  the  relative 
merits  of  the  pictures  should  be  decided  at  each  monthly 
meeting  by  the  members  themselves,  in  the  following  manner. 
All  the  pictures  sent  in  for  competition  would  be  himg  round 
the  walls  and  numbered  consecutively.  Two  pieces  of  paper 
would  be  handed  round  to  the  members,  one  headed  “ Lands- 
cape,” the  other  “ Figure,”  and  each  member  would  put  on  the 
paper  the  number  borne  by  that  picture  in  each  group  respec- 
tively which  he  considered  to  possess  the  highest  merit.  From 
these  lists,  the  average  of  merit  would  be  estimated,  and  each 
month  that  picture  in  each  group  which  was  so  adjudged  to  be 


158 


THE  PHOTOGRAPHIC  HEWS. 


[March  9,  1883. 


the  best  would  be  set  aside,  and  from  these  the  arbitrators  would 
make  their  decision  at  the  end  of  the  year.  He  (the  Chairman) 
thought  they  ought  to  congratulate  Mr.  Dunmore  on  his  im- 
proved suggestion,  as  he  believed  they  had  now  a system  of 
adjudication  which  would  preclude  all  jealousy  on  the  part  of 
competitors.  . . 

The  subjects  for  the  next  month’s  competition  were  then 
balloted  for  as  at  the  last  meeting,  and  the  results  were : for 
landscape,  “Sunshine;”  and  for  figure,  “ Always  m Trouble.” 

Through  the  kindness  of  Mr.  H.  Trueman  Wood,  the  secre- 
tary of  the  Society  of  Arts,  the  members  had  an  opportunity  of 
seeing  several  interesting  arrangements  illustrative  of  the 
application  of  electricity  to  the  daily  work  of  the  photographer. 
The  incandescent  lamp,  as  adapted  for  dark-room  use,  was 
exhibited.  One  lamp  was  actuated  by  a five-cell  Bunsen 
battery,  and  an  arrangement  for  switchiug  on  the  current  by  a 
kind  of  knee-push  or  button  was  exhibited.  A hand  dynamo, 
constructed  on  the  Pacinotti  principle,  served  also  to  work  a 
dark-room  lamp.  One  point  to  which  attention  was  called  was 
the  facility  with  which  the  light  of  the  incandescent  lamp  could 
be  rendered  non-actinic,  either  by  enveloping  it  in  the  new 
cherry-fabric,  or  in  paper  of  a suitable  colour.  Small  dynamo- 
machines  adapted  for  such  electro  depositions  as  are  involved  in 
the  Waterhouse  photo-engraving  process  were  also  shown  in 
action.  The  new  electric  light,  plant  of  which  has  been  fitted 
up  in  the  House  of  the  Society  of  Aits,  was  next  described. 
The  motive  power  is  provided  by  an  eight-horse  nominal  Cross- 
ley  gas-engine,  while  the  electrical  generator  is  a Siemen’s  S D 
dynamo,  wound  on  the  shunt  principle.  Fifty-one  Edison 
incandescent  lamps  are  fitted  in  the  Lecture  Theatre  and  the 
Council  Room,  but  an  arrangement  exists  by  which  two  lights, 
each  of  nearly  2,000  caudle  power,  can  be  brought  into  circuit. 
Mr.  G.  Davenport,  the  chief  clerk  of  the  Society  of  Arts,  has 
taken  great  interest  in  the  fitting  up  of  the  electric  light  plant, 
and  on  the  present  occasion  he  undertook  the  running  of  the 
gas-engine  and  the  management  of  the  dynamo  machine. 

Mr.  F.  A.  Bridge  made  some  remarks  as  to  the  magnesium 
light,  and  pointed  out  that  it  might  often  advantageously  re- 
place the  electric  light. 

The  Chairman  said  he  thought  they  must  all  feel  indebted  to 
Mr.  Wood  for  this  interesting  exhibition,  the  great  merit  of  which 
seemed  to  be  the  economy  with  which  the  electric  light  might  be 
applied  to  photographic  purposes.  He  had  had  an  idea  that  for 
such  purposes  very  costly  machinery  indeed  was  required,  and 
he  would  like  to  know  the  relative  expenses  of  these  machines 
and  processes.  Something  had  been  mentioned  about  the 
necessity  of  keeping  a “ small  boy  ” on  the  premises  for  the 
purpose  of  turning  the  handle  of  the  machine,  but  he  thought 
someone  might  be  found  amongst  the  members  of  every  house- 
hold to  do  it,  without  the  expense  of  extra  assistance.  With 
regard  to  the  battery,  of  course  that  would  have  to  be  kept  out  of 
doors  when  not  in  use,  on  account  of  the  fumes  produced  by  the 
acid. 

Mr.  E.  W.  Foxlee  said  he  rather  expected  something  would 
have  been  said  about  secondary  batteries. 

Mr.  Bolas  thought  it  was  doubtful  if  there  would  be  any 
advantage  in  using  a secondary  battery,  as  it  would  have  to  be 
charged  with  about  four  times  as  much  as  could  be  got  out  of  it. 
The  public  generally  were  beginning  to  find  out  that  second- 
ary batteries  were  not  worth  anything  from  an  industrial  point 
of  view. 

Mr.  W.  Brooks  had  an  idea  that  electricity  might  be  used  in 
the  Woodburytype  process.  He  did  not  think  electricity  in  con- 
nection with  photography  had  yet  leceived  sufficient  attention. 
He  had  given  up  his  batteries  years  ago ; there  were  so  many 
different  ones  used  that  he  was  quite  at  sea.  He  would  like  to 
mention  that  if  you  took  a picture  on  a gelatine  plate,  and  dried 
with  a great  heat,  a sufficient  amount  of  relief  was  obtained  for 
electrotyping. 

Mr.  Foxlee  had  not  used  gelatino -bromide  films,  but  he  had 
used  bichromate  films  for  that  purpose. 

Mr.  S.  Fry  said  that  attention  had  been  justly  drawn  to  the 
material  known  as  “ cherry  fabric,”  and  it  had  been  mentioned 
that  it  was  desirable  to  use  two  thicknesses.  He  himself  thought 
that  if  a sheet  of  tissue  paper  were  used,  together  with  one  thick- 
ness of  cherry-fabric,  it  would  be  found  to  answer  the  purpose. 
He  considered  the  fabric  more  suitable  than  ruby  glass  for 
photographic  purposes  ; under  the  spectroscope  he  found  the 
blue  to  be  much  better  neutralised  with  the  cherry-fabric  than 
with  anything  else,  and  the  most  sensitive  plates  might  be 
developed  with  safety  under  this  light.  He  had  no  doubt  th 


electric  light  would  come  into  universal  use,  and  was  quite  sure 
artificial  light  was  preferable  in  this  country  to  the  light  of  day. 

The  Chairman  said  Mr.  Fry  seemed  to  adhere  to  the  belief 
that  the  electric  light  could  only  be  used  with  very  powerful 
machinery,  but  he  thought  the  contrary  had  been  shown. 

Votes  of  thanks  were  then  passed  to  the  Society  of  Arts,  and  to 
Mr.  H.  Trueman  Wood,  for  the  use  of  their  electrical  apparatus. 
It  was  announced  that  at  the  next  meeting  a paper  would  be  read 
by  Mr.  H.  Trueman  Wood,  on  “ The  Methods  by  which  the  Vocal 
Organs  have  been  Photographed.” 


London  and  Provincial  Photographic  Association. 

At  the  meeting  on  the  1st  inst.,  Mr.  J.  B.  B.  Wellington  in 
the  chair, 

Mr.  W.  M.  Ashman  showed  some  paper  negatives  made  by 
exposing  in  the  camera  on  Morgan’s  bromide  paper.  To  render 
this  transparent  he  had  used: — 1,  ordinary  wax;  2,  a mixture  of 
spermaceti  and  paraffin  wax  ; 3,  castor  oil.  Those  treated  with 
castor  oil  were  the  most  transparent,  but  there  were  still  small 
spots  which  were  more  opaque  than  the  rest  of  the  negatives. 

Mr.  W.  E.  Debenham  thought  Canada  balsam  mixed  with 
castor  oil  and  turpentine  might  be  successful. 

Mr.  J.  Barker  thought  the  defect  was  due  to  tbe  paper  not 
being  specially  prepared  for  making  negatives  ; he  believed  acids 
were  employed  in  its  manufacture,  which  would  cause  it  to  be 
less  easily  acted  upon  by  the  oil  and  wax. 

In  reply  to  a question  as  to  the  rapidity  of  the  emulsion,  Mr. 
Ashman  stated  that  he  found  it  about  twice  as  fast  as  wet 
collodion;  for  each  carte  negative  he  had  used  one  grain  of  pyro. 
and  sufficient  of  ammonia  solution  containing  one  grain  of 
bromide  to  each  minim  of  strong  ammonia ; the  paper  was  wetted 
at  the  back,  and  pressed  down  on  to  a piece  of  glass,  and  then 
exposed  like  an  ordinary  plate. 

Mr.  P.  J.  Leate  observed  that  the  paper  had  been  success- 
fully used  for  landscape  work  by  using,  as  supports  for  the  paper, 
slips  of  wood  coated  with  the  gelatine  and  glycerine  medium 
employed  for  copying  apparatus.  He  thought  the  best  way  to 
obtain  reproduced  negatives  equal  to  the  original  was  to  make 
a contact  transparency  on  a bromide  plate,  develop  right  through 
to  the  back  with  ferrous  oxalate,  convert  the  image  into  chromate 
with  chronic  acid,  dissolve  this  out  with  dilute  ammonium,  and, 
after  exposing  the  plate  to  daylight,  develop  the  remaining 
bromide  to  form  the  negative. 

Id  a discussion  on  the  manner  in  which  the  haloids  would  re- 
place each  other  in  combining  with  silver, 

Mr.  A.  Haddon  said  that  if  a bromide  or  chloride  was  deve- 
loped with  ferrous  citro-oxalate,  it  fixed  readily  ; but  if  some 
iodide  of  potassium  was  added  to  the  developer,  the  image  came 
up  quickly,  and  the  remaining  chloride  changed  to-  a yellow 
colour,  and  took  a long  time  to  fix.  Also  if  a soluble  iodide  was 
added  to  a bromide  emulsion,  a change  in  colour  ensued. 

Mr.  Debenham  had  found  that  if  the  silver  in  the  emulsion 
was  thoroughly  converted  into  bromide  first,  no  decomposition 
of  the  bromide  took  place.  In  reply  to  the  Chairman,  he  (Mr. 
Debenham)  suggested  bleaching  the  negative  right  through  with 
the  bichloride  to  get  rid  of  some  splashes  of  bichloride  of  mercury 
solution  which  had  fallen  on  them,  with  the  gelatine  and 
glycerine  medium  employed  for  copying  apparatus.  He  thought 
the  best  way  to  obtain  reproduced  negatives  equal  to  the 
original  was  to  make  a contact  transparency  on  a bromide  plate, 
develop  right  through  to  the  back  with  ferrous  oxalate,  convert 
the  image  into  chromate  with  chromic  acid,  dissolve  this  out 
with  dilute  ammonia,  and,  after  exposing  the  plate  to  daylight, 
develop  the  remaining  bromide  to  form  the  negative. 

The  Chairman  showed  ajnegative  taken  outof  doors,  and  which 
had  received  a very  short  exposure  ; nearly  all  the  image,  except 
the  sky,  appeared  as  a positive  when  viewed  by  transmitted 
light,  the  colour  of  the  whole  being  rather  bluish  ; by  reflected 
light  the  portions  which  should  have  been  dark  were  of  a bright 
red,  owing  to  the  colour  of  the  fog  ; it  was  not  kept  loDg  in  the 
developer. 

Mr.  Debenham  thought  the  reversed  image  was  due  to 
violent  red  fog,  which  generally  appeared  most  marked  in  the 
under-exposed  parts,  and  he  believed  it  was  intensified  by 
examining  the  plate  by  daylight  before  it  was  thoroughly  fixed. 

In  a short  discussion  on  leucine,  Mr.  Barker  said  that  in 
preparing  emulsion,  more  leucine  was  formed  in  the  presence  of 
an  alkali  or  acid,  than  when  the  solution  was  kept  neutral ; and 
he  believed  that  both  leucine  and  tyrosine  were  formed  in  very 
sensitive  emulsion. 

Mr.  Adams  was  elected  a member  of  the  Afsociatiom^' 


Mabch  9,  1 883. J 


THE  PHOTOGRAPHIC  NEWS. 


159 


Bristol  and  West  of  England  Amateur  Photographic 
Association. 

The  ordinary  monthly  meeting  was  held  at  the  Studio  on  Vi  ed- 
nesday,  28th  February,  Mr.  T.  Davet,  vice-president,  in  the 
chair. 

The  minutes  having  been  confirmed,  Messrs.  Bush  and  I rancis 
were  elected  ordinary  members. 

The  Chairman  announced  that  the  next  business  was  the  elec- 
tion of  officers. 

Rev.  H.  B.  Hall  said  that  if  everybody  was  agreeable  he 
would  propose  that  all  officers  be  re-elected  ; he  was  glad  to  see 
that  the  Association  Journal  would  contain  each  month  a notice 
of  what  was  to  take  place  at  the  ensuing  meeting,  as  this  would 
save  the  Hon.  Secretary  some  of  the  work  which  devolved  upon 
him. 

Mr.  W.  Tribe  seconded  the  proposition,  which  was  carried 
unanimously. 

The  Chairman,  in  thanking  the  members  for  re-electing  the 
the  President  and  Vice-Presidents,  said  he  was  sure  they  appre- 
ciated the  honour,  and  although  some  of  these  gentlemen  were 
not  amongst  them  as  often  as  they  should  like,  still  he  hoped 
the  members  felt  that  they  all  endeavoured  to  do  their  duty. 

Mr.  H.  A.  Hood  Daniel  begged  to  thank  the  members  for 
re-electing  him  as  the  Hon.  Secretary,  and  said  that  personally 
he  would  have  preferred  some  other  gentleman  being  elected  for 
the  year,  so  that  he  (Mr.  Daniel)  might  have  a holiday.  It  might 
surprise  some  of  them  if  they  knew  the  many  things  there  were 
to  be  done  in  a Society  such  as  that  ; nevertheless,  he  did  not 
feel  at  all  wishful  to  give  up  these  duties  while  the  Association 
continued  to  flourish  as  at  present,  which  could  only  be  the  case 
if  members  kept  up  their  energy  aud  spirit  in  its  meetings  and 
doings. 

The  Hon.  Secretary  then  presented  the  annual  report,  of 
which  the  following  is  an  abstract : — 

Your  Council  is  pleased  to  be  able  to  present  an  annual  report 
of  as  satisfactory  a nature  as  any  that  has  preceded  it.  It  is  also 
a matter  for  much  congratulation  that  the  addition  of  new 
members  during  the  past  year  has  more  than  reached  the 
average,  the  result  being  that,  notwithstanding  deaths  and 
resignations,  the  size  of  the  Association  steadily  increases.  A 
great  loss  has,  however,  been  sustained  by  the  Association  in 
the  removal  by  death  of  Mr.  Robert  Biggs,  a much-valued 
member,  and  who,  had  he  lived,  purposed  carrying  out  some 
experiments  in  connection  with  the  periodical  photographing  of 
subjects  sufferiug  from  increasing  idiotcy,  and  which  experi- 
ments would  have  proved  most  interesting  and  highly  instruc- 
tive to  the  medical  profession. 

The  following  meetings  have  been  held,  and  communications 
contributed  during  the  session : — “ Notes  on  the  Use  of 
Luminous  Paint  in  Photography,”  Part  I.,  by  Mr.  E.  Bright- 
man ; “ On  Different  Kinds  of  Lantern  Slides,”  by  Messrs. 
Davey,  Powell,  and  Daniel ; “ Notes  on  Lantern  Apparatus,” 
by  Mr.  H.  A.  Hood  Daniel  ; “ A Retrospect  of  Photographic 
Experiences,”  by  the  President  (Colonel  Biggs)  ; “ How  to 
Dry  Gelatine  Plates  Rapidly,"  by  the  Rev.  J.  J.  Strutt  Bird ; 
Excursion  meeting  to  Castle  Coombe ; Excursion  Meeting  to 
Froom  Glen  ; “ On  the  Effect  of  Light  upon  Certain  Kinds  of 
Ordinary  Paper,”  by  the  Rev.  J.  J.  Strutt  Bird. 

The  monthly  meetings  have  been  fairly  well  attended,  although 
there  are  some  members  that  the  Council  would  like  to  see 
taking  a greater  interest  in  the  evening  meetings.  The  excur- 
sion meetings  which  have  been  held  were  well  attended,  and  have 
proved  very  enjoyable  and  productive  of  a considemble  amount 
of  work. 

Your  Council  cannot  but  feel  it  to  be  a subject  for  much  regret 
that  there  were  not  enough  pictures  sent  in  to  form  a competi- 
tion in  either  class  for  the  Association  medals,  this  want  of 
energy  amongst  the  members  causing  the  benefits  intended  by 
such  competitions  to  be  quite  lost. 

The  studio  is  still  in  good  working  order,  and  your  Council 
hopes  to  see  an  increase  in  the  number  of  subscribers  during 
the  next  year,  as  the  advantages  offered  by  such  an  institution 
are  valuable  to  those  partial  to  portrait  and  life  studies. 

The  financial  position  of  the  Association  is  satisfactory,  there 
being  a balance  in  its  favour. 

Your  Council,  in  conclusion,  would  once  more  urge  the 
members  individually  to  make  special  efforts  to  attend  regu- 
larly every  meeting  they  possibly  can;  to  influence  every 
amateur  they  hear  of  in  the  West  of  England  to  make  appli- 
cation for  admission  to  the  Association ; and,  finally,  to  make  a 


— "M 

point  of  making  one  contribution  at  least  to  tho  monthly  meet 
ings  during  each  session,  as,  without  such  individual  effort,  the 
meetings  caDnot  bo  made  either  so  interesting  or  instructive  a8 
they  should  be. 

Your  Council  would  also  direct  special  attention  to  the 
Association’s  triennial  international  exhibition,  for  which  ex- 
tensive arrangements  have  been  made  for  it  to  be  held,  as  in 
the  year  1880,  at  the  Academy  of  Arts,  Queen’s  Road.  The 
Exhibition  promises  well,  and  it  is  hoped  the  Association  will 
be  well  represented. 

Mr.  II . A.  Hood  Daniel  proposed  to  accept  the  resolution 
adopted  at  a previous  meeting,  which  altered  the  date  of  the 
annual  meeting  from  October  to  January,  notice  having  been 
given  at  the  previous  meeting,  which  was  carried  nem.  con. 

The  Chairman  then  called  upon  the  Hon.  Secretary  to  read  a 
paper  On  Improvements  and  New  Applications  of  the  Platino- 
type  Process  ” (see  page  151)  which  evoked  much  interest,  and 
caused  some  discussion. 

The  Chairman  asked  if  there  was  any  difficulty  in  the  keep- 
ing at  an  even  temperature  the  developing  solution. 

Mr.  Daniel  replied  in  the  negative. 

Mr.  Phillips  enquired  the  best  way  of  keeping  the  tempe- 
rature of  the  solution  all  over  the  dish. 

Mr.  Daniel  replied  that  there  were  many  very  good  ways  of 
doing  so,  but  that  a convenient  one  was  to  have  the  dish  of 
developer  some  distance,  say  a foot,  above  an  atmospheric  burner 
enclosing  the  space  between  all  round  ; it  was  perfectly  under 
control. 

Mr.  Brightman  suggested  a sand  bath. 

Rev.  H.  B.  Hare  said  he  did  not  admire  the  colours  of  the 
Platinotype  pictures. 

Mr.  Daniel  suggested  an  India  tint,  which  the  pictures 
could  be  printed  upon,  and  which  would  slightly  warm  the 
whites  ; he  was  very  fond  of  the  process. 

Mr.  Tribe  thought  the  paper  being  slightly  extra  tinted 
would  make  the  pictures  still  more  beautiful. 

Rev.  H.  B.  Hare  exhibited  a filtering  machine  for  gelatine, 
which  had  the  advantage  of  keeping  the  gelatine  warm  without 
any  trouble.  The  top  part  contained  a socket  for  a funnel,  and 
which  was  jacketted  with  hot  water  ; the  lower  part  contained 
a holder  for  the  receptacle  for  the  emulsion  to  drop  into,  the 
receptacle  being  surrounded  by  hot  water,  one  part  fitted  on  the 
other,  with  a cover  on  the  top,  the  whole  being  of  tin,  and 
perfectly  light-tight.  It  was  very  evidently  a very  useful  and 
complete  arrangement. 

Votes  of  thauks  to  Mr.  H.  B.  Berkeley  and  Rev.  II.  B.  Hare 
closed  the  meeting. 


Dundee  and  East  of  Scotland  Photographic  Association. 
The  sixth  regular  meeting  of  the  above  Society  was  held  in 
Lamb’s  Hotel,  Reform  Street,  on  Thursday,  March  1st, 
Mr.  James  C.  Cox,  President,  in  the  chair. 

The  minutes  of  the  last  meeting  having  been  read  and  con- 
firmed, the  nomination  of  office-bearers  for  election  at  the  annual 
meeting  on  April  5th  was  duly  made. 

Mr.  John  Geddes  then  read  a paper  entitled  “Commercial 
Success  in  Photography  ” (see  page  150),  in  which  he  argued  that 
the  highest  and  bestefforts  would  meet  surest  reward.  He  gave 
some  thoroughly  good  advice  as  to  photographic  practice,  and  a 
hearty  vote  of  thanks  was  awarded  to  him  for  his  able  paper. 

The  question-box  afforded  material  for  discussion.  Two 
queries  on  photographic  chemistry  were  answered  with  con- 
siderable ability  by  several  of  the  members  present. 

The  President  exhibited  an  interesting  series  of  photographs 
on  linen  fabrics,  both  of  coarse  and  fine  texture — from  oatmeal 
cloth  to  fine  sateen — which  were  permanent  and  washable,  show- 
ing the  further  development  of  the  art  to  ornamental  and 
decorative  purposes. 

A vote  of  thanks  to  the  President  brought  the  meeting  to  a 
close. 


North  Staffordshire  Photographic  Association. 

The  following  are  the  rules  of  this  new  Society,  adopted  at  a 
meeting  on  March  3rd,  Mr.  W.  Alexander  Jones  in  the  chair. 

1.  That  this  Society  be  called  the  .North  Staffordshire  Photo- 
graphic Association. 

2.  That  the  said  Association  have  for  its  object,  the  advance- 
ment of  the  science  and  art  of  photography  among  its  members 
and  others  interested. 


THE  PHOTOGRAPHIC  NEWS. 


[March  9,  1883. 


3.  That  puttozranhers,  both  professional  and  amateur,  be 
admitted  as  members. 

4.  That  the  annual  subscription  of  members  be  10s. 

5.  That  a meeting  of  members  be  held  monthly  at  Burslem. 

6.  That  at  the  above  meetings,  due  notice  of  papers  to  be 
read  be  given  to  the  chairman. 

7.  That  an  exhibition  of  members  work,  &c.,  to  be,  if  practi- 
cable, held  annually,  and  that  a portion  of  the  funds  of  the  Associa- 
tion be  devoted  to  the  purchase  of  prizes  for  the  best  photograph 
of  such  subjects  as  the  committee  may  decide  upon. 

8.  That  at  a general  meeting  of  members,  judges  be  selected 
for  the  above  exhibition. 

9.  That  the  affairs  of  the  Association  be  conducted  by  a com- 
mittee of  nine  members. 

10.  That  the  committee  and  officers  be  elected  at  a general 
meeting  held  annually  at  Martinmas. 

11.  That  copies  of  these  rules  be  supplied  upon  application  to 
the  secretary,  post  free  6d. 

12.  That  copies  of  the  papers,  Ac.,  read  at  meetings,  be 
supplied  to  each  member  by  the  secretary. 

13.  That  any  member  not  having  paid  his  subscription  by 
Jan.  1st  iu  each  year,  after  application  from  secretary,  his  name 
be  erased  from  the  list  of  members. 

Glasgow  and  West  of  Scotland  Amateur  Photographic 
Association. 

The  following  are  the  names  of  the  officers  of  the  new  Society, 
which  is  to  consist  exclusively  of  amateurs  : — 

President — Hugh  Reid. 

Vice-President — William  Lang,  Jun. 

Council — W.  C.  Hum®,  John  Parker,  P.  Falconer,  T.  N. 
Armstrong,  W.  Snell  Anderson,  and  C.  Park. 

Auditors—  W.  C.  Hume  and  John  Parker. 

Treasurer—  Robert  Cutting,  11,  Bolhwell  Street. 

Secretary— Edwin  Smithells,  154,  West  George  Street. 


3Lalk  in  tfre  StuMn. 

New  Novel  by  Mr.  Pritchard.— The  Athenceum  says: 
“ Mr.  Baden  Pritchard,  the  author  of  ‘ George  Vanbrugh’s  Mis- 
take,’ has  written  a new  story  called  ‘ The  Doctor’s  Daughter.’  ” 
We  may  add  that  the  opening  chapter  will  appear  on  the 
17th  inst.  in  the  South  London  Press,  which  has  acquired  the 
London  copyright ; the  provincial  rights  have  been  purchased 
by  Messrs.  Cassell,  Petter,  and  Galpin,  who  will  publish  the 
story  simultaneously  in  several  country  papers. 

One  of  the  most  recent  inventions  is  a “ hand-grenade 
fire  extinguisher.”  It  is  a glass  bottle  of  convenient  shape 
containing  a chemical  solution.  It  is  claimed  that  when  thrown 
upon  any  burning  object  with  sufficient  force  the  bottle  will 
break  and  the  liberated  gases  will  at  once  stifle  and  destroy  the 
fire. — Connecticut  Gazette.  Ammonia  has  a remarkable  power  of 
extinguishing  fire  ; and  we  would  suggest  a few  pint  bottles 
containing  the  strong  solution. 

How  the  Pictures  in  the  Louvre  are  Cleaned. — A 
correspondent  of  the  Philadelphia  Evening  Bulletin  has  taken 
the  pains  to  find  out  how  the  galleries  and  the  pictures  in  the 
Louvre  are  kept  clean.  On  Mondays  the  palace  is  closed  ; it  is 
then  that  the  weekly  cleaning  takes  place.  The  first  thing  done 
is  to  cover  the  floor  with  damp  sawdust  to  the  depth  of  an 
inch  or  so.  Oak  sawdust  is  used  for  the  boards,  and  elm  dust 
for  the  marbles.  This  is  allowed  to  remain  some  time,  and  is 
then  removed,  and  with  it  goes  every  particle  of  dust  or  dirt 
which  may  have  adhered  to  the  floor.  Then  the  men  buckle  on 
to  their  feet  large  stiff  brushes,  and,  armed  with  a stout  stick, 
to  one  end  of  which  is  fastened  a great  piece  of  prepared  beeswax, 
they  first  rub  the  floor  with  wax,  then  skate  over  it  with  their 
brushes,  and  finally  give  it  the  finishing  polish  with  a great 
woollen  cloth  kept  expressly  for  the  purpose.  The  same  cloth  is 
passed  daily  over  the  floor  before  the  opening  of  the  museum, 
which  is  all  that  is  required  until  the  following  Monday.  Iu 
this  way  no  dust  arises,  and  the  pictures  need  rarely  to  be  cleaned. 
M hen  this  becomes  necessary,  which  happens  about  once  in  four 
or  five  years,  the  museum  is  closed  for  several  days.  No  one  is 
allowed  to  touch  a picture  unless  the  “ Conservateur  du  Musve  ” 
be  present.  The  pictures  are  taken  down,  and  it  is  the 


“ Conservateur  ” himself  who  places  a thick  sheet  of  clean 
wadding  over  the  painting,  pressing  it  down  gently  in  such  a way 
that  every  particle  of  dust  adheres  to  the  wadding.  After  this 
is  done,  a thin  coat  of  oil  or  some  mixture  which  replaces  it  is 
rubbed  on,  and  the  picture  is  not  again  touched  until  the  next 
general  house-cleaning. 

Quite  Natural. — A good  joke  was  played  upon  the  photo- 
grapher on  the  day  of  the  snow  storm.  Anxious  to  preserve  a 
lasting  memento  of  so  rare  an  occurrence,  Taber  brought  his 
camera  on  to  the  sidewalk  and  prepared  to  hold  the  mirror  to 
nature.  In  order  to  make  the  picture  effective,  he  marshalled 
into  line  some  dozen  “ gamins,”  who  with  snowballs  in  their 
hands  were  to  represent  the  funny  part  of  the  business.  When 
all  was  ready,  Gen.  Taber  gave  the  following  order : “ Boys, 
when  I say  one,  two,  three,  fire,  let  fly  your  snowballs.”  The 
camera  was  all  fixed,  and  the  General's  voice  was  heard  from 
under  the  cloth  at  the  business  end  of  the  machine  calling  out : 
One,  two,  three,  fire.”  The  boys  did  fire,  but  with  such  deadly 
effect  that  camera  and  operator  both  rolled  over  in  snow. — 
Detroit  Free  Press. 

Photographic  Club. — On  Wednesday  next,  March  14th,  the 
subject  for  discussion  will  be  “ On  Silver  Printing  and  the 
Means  Adopted  to  Secure  Permanency.” 


$0  &0mss0nDfttts. 

*#*  We  cannot  undertake  to  return  rejected  communications. 

Enquirer. — A mixture  of  moderately  stiff  starch  paste  and  lamp 
black  : apply  it  with  a sponge. 

Hanco. — 1.  It  will  only  assume  a very  pale  straw  colour,  unless 
the  ether  is  impure  or  the  cotton  decomposed.  2.  The  pyroxy- 
line  is  unsuitable ; try  a sample  which  is  less  harsh  to  the  touch, 
and  more  easily  friable. 

G.  M. — We  understand  that  the  additions  are  quite  unimportant. 

T.  T. — 1.  An  ordinary  acetate  bath.  2.  There  is  no  advantage 
whatever  in  adopting  it. 

D.  M. — Neither  curve  is  a true  parabola,  but  No.  3 will  be  quite 
near  enough  for  your  purpose.  2.  About  10  inches  in  diametei. 
3.  Better  to  run  the  wire  through  a hole  at  the  apex  of  the 
mirror.  4.  Use  a reflector  of  white  paper. 

S.  A. — It  is  by  no  means  easy  to  secure  a really  careful  person, 
but  you  may  perhaps  be  able  to  suit  yourself  through  our  adver- 
tising columns. 

Major  It.  Gordon. — The  tent-like  changing  box  which  was 
exhibited  by  Mr.  Shew  at  the  last  Exhibition  of  the  Photo- 
graphic Society  of  Great  Britain  would  probably  answer  your 
purpose. 

Rapidity. — 1.  A small  and  continuous  stream,  and  thorough 
stirring  at  the  same  time,  is,  we  believe,  best.  A funnel  may 
be  partially  plugged  by  a piece  of  glass,  s o that  both  hands  shall 
be  free  during  the  process.  2.  It  appears  to  tend  not  only 
towards  rapidity,  but  also  towards  deterioration  of  the  gelatine, 
and  the  consequent  trouble.  3.  Perhaps  your  sample  of  iodide 
was  impure,  excess  of  alkali  being  by  no  means  uncommon  in 
the  case  of  commercial  samples.  4.  We  have  generally  found 
it  to  work  well,  notwithstanding  its  acidity.  5.  Thanks  for  the 
suggestion. 

Enquirer. — The  negative  has  not  been  sufficiently  washed,  and 
the  hypo,  has  broken  through  the  varnish  in  places,  and  taken 
up  silver  from  the  sensitive  paper.  As  regards  the  other  nega- 
tives, we  would  recommend  you  to  first  obtain  transparencies, 
after  which,  clear  the  varnish  off,  and  refix,  washing  well  after- 
wards. See  our  leader  of  a fortnight  ago,  and  the  note  this 
week. 

M.  Kingston. — Not  at  present. 

C.  Ciiandron. — 1.  It  is  almost  unknown  in  this  country,  and  wo 
imagine  you  had  better  communicate  directly  with  the  manu- 
facturers. 2.  Anything  in  excess  of  the  amount  required  to 
neutralise  the  free  acid  is  undesirable,  and  may  occasion 
trouble.  3.  Soak  for  some  hours  in  a mixture  of  one  part  of 
glaciul  acetic  acid  with  ten  parts  of  water,  care  being  taken  to 
subsequently  remove  all  traces  of  acid  by  repeated  soakings  in 
water. 

C.  Rattenburg. — 1.  All  traces  of  hypo,  would  be  almost  immedi- 
ately oxidised  under  the  circumstances,  but  your  print  would  bo 
destroyed  at  the  same  time.  2.  It  is  seldom  flat  enough  for  the 
purpose,  but  special  flat  glass  adapted  for  making  reversing 
mirrors  cun  be  had  at  the  rate  of  about  6i.  per  equate  inch. 
3 Thin  tissue  paper  answers  very  well  in  ordinary  cases. 

C.  Porter. — 1.  Considering  that  the  ether  is  by  far  more  volatile 
than  alcohol,  the  mixed  solvents  added  to  make  up  the  loss  bv 
evaporation  should  contain  rather  more  ether  than  alcohol. 
2.  Neutra'ize  the  free  acid  with  a small  quantity  of  whiting. 


THE  PHOTOGRAPHIC  HEWS, 


Vol.  XXVII. 


March  16,  1883. 


PlOE 

*168 


Fading  of  Photographic  Print9 "VTSSi- 

Thorough  Washing  and  Effectual  Fixation  of  Gelatine  Nega-  - — - -Patent  Intelligence  *170 

Certain  Notes  on  Developing  Rooms,  &c.  By  Samuel  Fry 170 


At  Home. — At  Mr.  A.  L.  Henderson’s  Laboratory,  King 

William  Street,  City 1G2 

Notes  on  Photography.  By  E.  Howard  Farmer  \ 164 

Freeing  Emulsions  from  Soluble  Colloids.  By  A.  Haddon  ...  161 
Gelatine  I’late9  for  Transparencies.  By  Andrew  B.  Stewart ...  165 
On  Improvements  and  New  Applications  of  the  Platinotype 

Process.  By  Herbert  B.  Berkeley  166 

Notes  on  Green  Fog.  By  J.  M.  Turnbull 167 


French  Correspondence.  By  Leon  Vidal 171 

Washing  Leucine  out  of  Emulsion.  By  A.  L.  Henderson.  ...171 

A Collodion  Note.  By  J.  Kay 172 

Dry  Plates  and  Correctness  of  Exposure.  By  Alfred  Elliott...  172 

Correspondence  172 

Proceedings  of  Societies 174 

Talk  in  the  Studio 175 

To  Correspondents 176 


FADING  OF  PHOTOGRAPHIC  PRINTS. 

The  cause  of  the  fading  of  prints  is  continually  cropping 
up,  and  we  suppose  will  do  so  till  prints  on  albumeuized 
paper  are  things  of  the  past.  In  the  early  days  of  printing, 
we  call  to  mind  the  exhaustive  experiments  undertaken  by 
Mr.  llardwich,  and  also  the  additional  evidence  as  to  the 
nature  of  fading,  brought  forward  by  Mr.  Spiller ; and  we 
believe  that  not  much  further  knowledge  of  the  matter  has 
accrued  since  those  early  days.  The  usual  idea  of  the 
cause  of  fading  is,  that  thorough  washing  has  failed  to 
eliminate  the  hyposulphite  from  the  interior  of  the  paper, 
and  from  the  albumen,  thus  leaving  a sulphur  compound  in 
contact  with  metallic  silver.  Mr.  Spiller,  however,  showed 
that  the  silver  liable  to  be  acted  upon  by  the  hyposulphite 
was  an  organic  compound,  the  sulphide  of  which  is  yellow, 
thus  disclosing  the  real  cause  of  the  disappearance  of  the 
image.  It  must  also  not  be  forgotten  that  by  using  a weak 
fixing  bath  it  is  possible  to  form  an  insoluble  hyposulphite 
of  silver,  and  thus  to  form  a nucleus  for  decomposition. 

Recently  we  have  had  a proof  of  a fading  of  the  image 
on  a gelatine  plate,  which  we  trace  to  somewhat  the  same 
cause.  The  plate  was  developed  in  the  ordinary  manner 
by  the  alkaline  developer,  and  then  immersed  in  a dish  of 
hyposulphite  of  soda.  It  was  taken  out  before  the  fixing 
was  complete,  but  the  bromide  was  apparently  dissolved 
by  the  hyposulphite  left  in  the  film  ; it  was  then  placed 
in  a dish  of  water,  and  after  two  or  three  changes,  was 
taken  out  and  allowed  to  dry.  After  remaining  exposed  to 
light  for  some  days,  a gradual  fading  of  the  image  was 
observed,  and  a yellowing  of  the  transparent  parts  near  that 
margin  of  the  plate  where  the  image  was  not  completely 
fixed  whilst  in  the  dish,  but  where  all  the  bromide  had  sub- 
sequently been  dissolved.  A test  applied  showed  that  we 
had  a sulphide  of  silver  present,  and  presumably,  an  organic 
sulphide,  though  not  necessarily,  since  we  have  observed 
the  same  yellowing  of  the  image  on  a collodion  plate  in 
which  only  harmless  organic  matter  was  present. 

In  the  case  of  the  gelatine  plate,  it  is  manifest  that  the 
hyposulphite  became  decomposed  and  gradually  attacked 
the  image  formed  of  metallic  silver,  and  this  is  analogous 
to  the  fading  of  the  dark  image  in  a silver  print,  whilst  the 
yellowing  of  the  whites  in  the  latter  is  due  to  the  decom- 
position of  the  organic  salt  not  dissolved  away.  In  the 
gelatine  plate,  no  doubt,  had  the  fixing  been  completed  in 
the  usual  manner,  this  would  not  have  happened,  since 
soluble  hyposulphite  of  silver  would  have  been  formed,  and 
subsequently  washed  out.  With  a silver  print,  the  case  is 
somewhat  different ; the  image  is  formed  in  a great  measure 
of  “ albuminate  of  silver,  and  it  is  not  always  possible  to 
dissolve  this  substance  out  of  the  film.  Ferhaps  the 
application  of  common  salt  to  the  print  before  fixing  would 
render  it  more  nearly  in  the  same  condition  as  the  gelatine 
plate.  There  are,  however,  organic  compounds  of  silver 


which  are  perfectly  soluble  in  hyposulphite ; amongst  these 
is  the  citrate  of  silver  which  Mr.  G.  W.  Simpson  intro- 
duced in  his  collodio-chloride  process,  though  he  used  it 
in  a somewhat  roundabout  away,  by  adding  citric  acid  and 
nitrate  of  silver.  Now,  there  are  various  experiences  re- 
garding the  collodio-chloride  process  ; some  have  it  that 
the  prints  obtainedby  this  method  fade,  whilst  others  main- 
tain the  contrary.  We  have  before  us  several  dozen  prints 
produced  some  fifteen  years  ago  on  collodio-chloride,  and 
they  are  as  fresh  as  the  first  day  on  which  they  were  printed. 
The  whites  are  pure,  and  the  toned  image  unenfeebled. 
The  support  used  was  paper  enamelled  with  barium 
sulphate  in  gelatine,  and  the  collodio-chloride  flowed 
on  to  this— silver  nitrate  being  in  excess.  Taper  coated 
at  the  same  time,  but  not  used,  is  of  an  orange  yellow ; 
but  the  enamelled  paper  beneath  is  perfectly  white.  The 
fact  is,  that  when  we  prepared  this  paper,  the  gelatine 
was  thoroughly  hardened  by  chrome  alum,  and  rendered 
repellent  of  water,  so  that  any  moisture  in  the  collodion 
film  above  it  did  not  carry  to  it  any  of  the  silver  salt.  Glass 
positives  which  were  prepared  at  the  same  time  are  also 
intact ; whilst  collodio-chloride  prints  in  which  the  collo- 
dion film  was  placed  on  an  albumenized  surface  are  faded. 
Here,  then,  we  see  that  the  support  has  a marked  influence 
on  the  permanence  of  the  image.  By  the  use  of  an  imper- 
meable support  all  deleterious  matter  can  be  washed  from 
the  film,  whilst  from  an  absorbent  support  it  cannot.  One 
more  fact  is  interesting  : we  have  prints  made  with  collo- 
dion containing  an  excess  of  citrate  of  soda,  instead  of  an 
excess  of  nitrate  of  silver.  They  are  not  so  vigorous  as 
when  the  silver  salt  is  in  excess  ; but  whether  the  support 
used  for  holding  the  emulsion  was  the  enamelled  paper  or 
the  albumenized  paper,  the  prints  have  remained  un- 
changed, tending  to  prove  that  it  is  the  excess  of  the  silver 
salt  which  is  deleterious.  We  propose  to  return  to  this 
subject. 


THOROUGH  WASHING  AND  EFFECTUAL  FIXA- 
TION OF  GELATINE  NEGATIVES. 

Second  Article. 

The  article  on  this  subject  which  appeared  in  our  issue  of 
the  23rd  of  last  month  has  served  to  make  many  of  our 
readers  look  back  on  their  stock  of  negatives,  and  it  is 
surprising  to  find  how  many  defects  and  annoyances  were 
traced  to  the  presence  of  sodium  hyposulphite. 

In  the  first  place,  many  plates  which  have  become 
stained  by  silver  during  the  printing  were,  when  examined, 
found  to  contain  very  notable  traces  of  the  fixing  salt. 
Although  in  many  cases  the  silver  had  only  gained  access 
to  the  film  through  minute  holes  in  the  varnish,  it  was 
found  that  it  had  spread  in  the  gelatine  film,  far — indeed 
very  far — beyond  the  limits  of  the  original  aperture.  It  is 


162 


THE  PHOTOGRAPHIC  NEWS. 


[March  16,  1883, 


easy  to  understand  this,  as  sodium  hyposulphite  is  a hygro- 
scopic salt,  although  not  deliquescent  in  the  ordinary 
sense  of  the  term  ; and  the  silver  salt,  or  compound  : 
diffused  slowly,  but  steadily  through  the  substance  of  the 
somewhat  moist  gelatine. 

A firm  of  portraitists  having  a large  establishment  in 
the  City,  called  our  attention  to  a considerable  batch  of 
negatives — representing,  indeed,  nearly  the  whole  of  the 
work  during  a period  of  some  four  months. — which  had 
become  yellow,  thin,  and  stained  on  the  clear  parts. 
AVhen  one  of  these  was  placed  on  the  levelling  stand, 
covered  with  water,  and  allowed  to  stand  for  ten  minutes, 
the  liquor  gave  decided  indications  of  hyposulphite  on 
being  tested  with  the  iodide  of  starch  reagent.  On  enquiry 
it  was  found  the  period  during  which  these  negatives  had 
been  taken,  corresponded  exactly  with  that  during  which 
the  washing  of  the  plates  had  been  entrusted  to  an  assis- 
taut  who  had  previously  worked  in  another  department 
of  the  establishment. 

Another  case  clearly  indicated  the  fact  that  an  amount 
of  washing  which  is  sufficient  in  one  instance,  may  be  alto- 
gether inadequate  in  others. 

Four  negatives  only  out  of  an  extensive  series  were  found 
to  show  signs  of  hypo,  disease,  and  on  examining  the  glass 
it  was  found  to  correspond  with  the  remainder  of  a dozen 
of  plates  which  had  been  sent  as  a sample  from  a plate 
maker.  The  films  of  these  plates  were  found  to  be  un- 
usually thick  and  tough,  so  that  the  ordinary  washing  left 
much  hypo,  locked  up  in  the  gelatine.  This  case  illus- 
trates the  imperative  need  of  testing  occasionally,  in  order 
that  the  relative  amount  of  washing  required  in  various 
instances  may  be  estimated. 

The  methods  of  testing  for  hypo.,  which  we  described  in 
the  article  referred  to,  render  it  so  extremely  easy  to  prove 
the  washing  from  time  to  time,  that  there  is  but  little 
excuse  for  negligence  in  this  respect ; but  we  mention 
here  a few  details  by  which  the  testing  operation  may  be 
rendered  still  more  certain  and  easy.  When  the  water, 
which  has  remained  for  some  time  in  contact  with  the 
film,  is  added  to  the  dilute  iodide  of  starch  solution,  the 
colour  is  weakened,  insomuch  a3  the  solution  is  diluted. 
For  this  reason  it  is  as  well  to  provide  two  saucers,  each 
containing  the  same  quantity  of  the  blue  fluid.  To  one  of 
these  the  liquor  to  be  tested  is  added,  while  the  same  bulk 
of  water  is  added  to  the  other.  Under  these  circumstances, 
the  least  difference  in  tint  becomes  obvious  at  once,  and 
the  probability  of  error  is  considerably  diminished. 

Defects  attributed  to  damp  are  often  due  simply  to  care- 
less washing  ; and  there  is  but  little  doubt  that  the 
mischief  referred  to  on  page  152  of  our  last  number  is,  in 
reality,  a case  of  imperfect  washing,  as  a gelatine  film 
quite  free  from  hypo.,  and  well  dried  before  washing,  is 
scarcely  affected  by  being  stored  in  a locality  so  damp  as 
to  cause  the  rapid  deterioration  of  albumenized  paper. 


fomc. 

AT  MR.  A.  L.  HENDERSON'S  LABORATORY,  KING 
WILLIAM  STREET,  CITL 
Enamel  Photography  in  Practice. 

We  have  before  us,  as  we  write,  a charming  specimen  of 
enamel  photography.  It  represents  the  sweet  face  of  o 
dainty  little  lady  of  some  fifteen  summers,  the  half  toues 
soft  and  translucent  to  a degree,  while  yet  there  is  that 
brilliancy  and  smoothness,  both  in  high  lights  and  dark 
shadows,  only  seen  in  photo-enamels  of  a high  order, 
this  enamel,  so  pure  and  delicate  that  it  recalls  Lafon  de 
Camarsac  at  his  best,  we  saw  created  a few  hours  since 
from  first  to  last  under  the  skilful  hands  of  Mr.  A.  L 
Henderson;  he  demonstrated  the  whole  story  of  its  pro- 
duction, and  that  story  we  are  now  going  to  tell  our 
readers.  I here  is  nothing  new  in  the  formulae  we  print, 


nor  in  the  manipulations  ; but  as  it  is  not  reserved  to  many 
to  see  the  production  of  a photo-enamel  in  its  perfection 
by  a master-hand,  we  make  no  apology  to  set  down  here 
an  account  of  enamel  photography  in  practice. 

Mr.  Henderson  does  not  employ  the  dusting-on  method, 
but  calls  his  modus  ope randi  partly  a substitution  process, 
and  partly  a depositing  process.  lie  begins  his  work  as 
we  enter,  for  Mr.  Henderson  is  a busy  man,  who  estimates 
time  at  its  proper  value.  This  is  a collodion  dark  room 
with  yellow  windows  in  which  we  staud.  and  therefore 
most  agreeably  lighted.  There  is  a copying  camera  at 
hand,  and  as  Mr.  Henderson  lifts  one  of  the  yellow 
windows,  we  see  a uegative  is  already  in  positiou  for  copy- 
ing. A glass  plate  is  coated  with  Mawson’s  collodion 
— the  glass  being  simply  polished,  and  not  prepared  in  any 
way — and  put  into  a silver  bath  ; the  latter  is  somewhat 
weak,  being  made  up  at  twenty-two  grains  of  silver 
nitrate  to  the  ounce,  and  it  is  fully  iodised.  The  aim  is 
to  produce  a clear  transparency  : “ What  is  best  suited 

for  a lantern  transparency,  is  best  suited  for  an  enamel,  I 
always  say,”  is  Mr.  Henderson’s  remark,  as  he  presently 
puts  his  sensitized  plate  into  the  dark  slide. 

In  nine  cases  out  of  teD,  a vignetted  transparency  is 
required  for  enamel  photography,  and  obviously  the 
vignetting  must  be  done  with  extreme  delicacy.  To  effect 
this  vignetting  in  the  camera,  Mr.  Henderson  makes  use 
of  the  pendulum  vignette  arrangement,  which,  though  it 
has  been  repeatedly  described,  is  not  so  well  known  a3  it 
should  be.  Indeed,  most  photographers  regard  it  as  an 
arrangement  more  theoretical  than  practical,  and  we  may 
say  at  once,  therefore,  that  it  is  in  constant  use  in  Mr. 
Henderson's  laboratory.  We  give  a sketch  of  it  here,  so 


that  its  capabilities  may  be  more  perfectly  understood. 
A,  is  the  transparency  or  negative  ; B,  is  the  camera,-  C, 
is  the  lens  ; and  D,  the  pendulum  or  rather  pendulum  bob, 
in  which  a small  oval  orifice  exists,  through  which  the 
photographic  lens  can  peep  at  the  transparency.  If  you  look 
on  the  focussing  glass  of  the  camera,  now  the  pendulum 
is  still,  you  see  the  portrait  as  in  a cut-out  mount  ; that  is 
to  say,  the  best  of  the  portrait  in  a sharply-cut  oval.  But 
set  the  pendulum  swinging — not,  of  course,  side  to  side,  but 
so  that  it  oscdlates  to  and  fro  between  you  aud  the  negative, 
coming  first  towards  you,  aud  then  receding  towards  the 
negative  — and  you  observe  a marked  difference  in  the 
image  on  the  focussing  screen.  The  bust  then  is  in  an 
oval,  which  is  always  altering  in  size,  constantly  decreas- 
ing or  increasingin  magnitude;  and  obviously,  if  this  occurs 
luring  the  exposure  of  the  plate,  a very  perfect  vignette 
is  produced.  The  pendulum  is  easily  constructed,  aud,  as 
it  affords  valuable  assistance  in  making  all  sorts  of  transfers 
aud  enlargements,  those  who  engage  in  such  work  should 
give  it  a trial.  Mr.  Henderson’s  pendulum  is  some  40  inches 
long,  and. he  tells  us  he  frequently  times  an  exposure  by 
counting  its  beats ; as  most  of  our  readers  are  aware,  the 


Mabcti  16,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


163 


beat  of  a pendulum  of  some  39  inches  is  reckoned  about 
one  second. 

Our  collodion  plate  has  an  exposure  of  two  minutes,  one 
of  the  yellow  windows  of  the  laboratory  being  lifted  half- 
way up  to  allow  of  the  transparency  or  negative  being 
illuminated.  The  developer  contains  three  grains  of  iron 
to  the  ounce,  and  is  used  with  a restrainer  consisting  of  a 
little  citric  acid  and  alum.  The  development,  therefore,  is 
rather  slow.  No  intensification  follows,  care  being  taken, 
indeed,  not  to  get  the  half-tones  too  marked,  as  they 
otherwise  get  exaggerated  in  the  after  manipulations. 

Our  thin  collodion  transparency  has  next  the  margins 
removed  by  simply  passing  the  fingers  round  the  plate, 
and  scraping  the  collodion  off.  To  loosen  the  film,  it  may 
be  laid  for  a time  in  acidulated  water  (sulphuric  acid  four 
ounces,  water  one  quart),  for,  as  we  have  said,  the  glass 
receives  no  preparation  to  facilitate  the  separation  of  the 
film.  It  is  now  put  into  a dark  brown  solution  of  iodine, 
made  by  dissolving  iodine  crystals  in  iodide  of  potassium 
and  water.  The  silver  image  is  in  this  way  converted  into 
iodide  of  silver,  and  rapidly  assumes  a yellowish  tinge.  A 
few  minutes  only  are  necessary  for  the  conversion — the 
film  by  this  time  is  generally  free  of  the  glass,  but  this  is 
kept  underneath,  as  a convenient  means  of  support— and 
then,  after  careful  washing,  it  goes  into  the  depositing 
bath.  This  last  consists  of  iodine,  bichloride  of  platinum, 
lead,  and  tin ; and,  according  to  Mr.  Henderson, 
no  better  formula  can  be  given  than  that  mentioned  in  his 
specification.  Here  it  is  : — 

Bichloride  of  platinum  5 parts 

Bichloride  of  tin  (or  its  compounds)  30  „ 

Iodine,  to  saturation 

Hydrochloric  acid  960  „ 

Silicate  of  potash  20  „ 

Acetate  of  lead 40  „ 

Water 8,000  ,, 

It  is  necessary,  while  the  film  is  in  the  platinum  bath, 
that  the  solution  should  always  be  in  motion,  otherwise 
the  deposition  is  not  uniform.  Mr.  Henderson  has  an 
ordinary  bottle-jack,  from  which  is  suspended  a shelf, 
and  upon  this  the  platinum  bath,  containing  the  film,  is 
placed.  The  shelf  revolves,  and  thus  the  solution  is  never 
at  rest. 

The  film  image  now  undergoes  great  change.  It  becomes 
dark  and  sooty  in  appearance.  It  appears  so  very  much 
overdone  and  so  opaque,  that  only  firm  faith  in  the  process 
prevents  you  from  throwing  it  away.  The  time  required 
for  depositing  is  rather  undefined,  for  the  process  some- 
times lasts  for  hours ; but  it  may  be  accomplished  in  a 
few  minutes  under  favourable  conditions,  if  the  liquid  is 
not  cold  ; and  Mr.  Henderson,  in  fact,  is,  at  a pinch,  cap- 
able of  getting  through  the  whole  process  of  enamelling, 
from  taking  the  transparency  down  to  firing  the  plate,  in 
half-an-hour. 

We  now  come  to  the  firing.  Mr.  Henderson  uses  a 
most  serviceable  little  muffle  furnace,  constructed  for  him 
by  Messrs.  Nicole,  Nielsen,  and  Co.,  of  Soho  Square,  at  a 
cost,  we  believe,  of  ten  or  twelve  pounds.  It  is  heated  by 
Bunsen  gas  burners,  so  readily,  that  within  twenty 
minutes  after  being  lit,  the  inside  is  of  a cherry  red,  and 
ready  for  use.  In  front  of  the  furnace  is  a tray  which 
serves  to  rest  enamels  upon,  to  warm  them  before  entry  into 
the  furnace,  or  for  withdrawing  them  for  a moment,  for 
examination,  during  the  process  of  firing.  An  oval  enamel 
plate  is  selected,  polished  with  a little  putty  powder  to 
free  it  from  any  traces  of  oxide,  and  then  rubbed  with  an 
alkaline  solution  (caustic  potash  dissolved  in  water)  to  re- 
move any  grease  or  finger-marks.  To  avoid  air-bubbles 
between  film  and  enamel  i3of  the  greatest  importance,  and 
therefore  the  application  of  the  one  upon  the  other  is  done 
under  water.  The  concave  enamel  plate  is  immersed  side- 
ways, so  that  it  cannot  act  as  a diving-bell,  and  retaiu 
air-bells  underneath ; and  then  the  sooty  film,  attached  to 
the  under  side  of  a glass  plate,  is  put  under  the  water  too, 


taking  care  that  the  film  rests  face  upwards  upon  the 
enamel.  In  this,  as,  in  fact,  in  every  other  manipulation 
in  the  process,  practised  skill  is  necessary,  and  hands  new 
to  the  work  are  scarcely  likely  to  perform  perfect  work  at 
the  first  trial. 

The  film  being  neatly  and  closely  fitted  over  the  enamel — 
a penknife  is  used  for  lifting  the  enamel,  to  avoid 
fingering — this  is  withdrawn  from  the  water,  and  here 
the  position  of  the  image  may  be  re-adjusted  by  skilful 
fingers;  indeed,  very  skilful  fingers  are  necessary  to  adjust 
cleanly  and  nicely,  for  nowhere  on  the  face  of  the  image 
must  there  be  a touch.  The  enamel  is  a very  un- 
promising thing  to  look  at  now  : it  is  ten  times  as  dark 
as  it  should  be,  and  of  a dirty  opaque  black.  It  is 
drained,  and  then  put  on  the  tray  in  front  of  the  furnace 
to  dry  and  warm.  Gradually  it  turns  to  a brown,  and 
loses  much  of  its  sooty  blackness.  In  five  minutes,  or 
even  less,  it  is  brown  all  over,  and  ready  for  firing.  Too 
rapid  heating,  however,  induces  blisters.  Mr.  Henderson 
has  in  his  hand  an  iron  spatula  ; he  opens  the  furnace  door 
and  takes  out  by  means  of  this  handy  tool  a porcelain 
plaque,  of  which  there  are  several  heating,  and  puts  this 
hot  biscuit-looking  slab  on  the  tray  in  front  of  the  furnace. 
Then  the  spatula  is  slipped  under  the  enamel  and  the 
latter  put  upon  the  plaque,  where  it  gets  rapidly  heated. 
A few  seconds  elapse,  and  the  enamel  by  this  time  being 
very  hot,  the  spatula  is  slipped  under  it  once  more,  and  it 
is  conveyed  into  the  furnace.  A pot  of  cold  water  close 
at  hand  serves  to  cool  the  spatula  from  time  to  time,  and 
thus  prevent  an  untoward  accident  to  the  manipulator. 

Gradually  the  image  begins  to  assume  a glaze  at  the 
edges.  In  two  or  .three  minutes  the  high  lights  are 
as  shining  as  the  enamel  plate  wa3  before  the 
image  was  placed  upon  it,  but  the  dark  shadows  still 
remain  dull.  Mr.  Henderson  puts  bis  handy  spatula  under 
the  enamel,  and  brings  it  out  of  his  furnace  for  our 
inspection.  It  is  of  a lovely  primrose  colour,  but  the 
dark  shadows  in  the  hair  are  still  dull ; consequently  it  is 
remitted  to  the  furnace  for  a few  minutes  longer,  and  now 
when  it  is  withdrawn,  although  there  is  still  the  bright 
primrose  tint,  the  whole  surface  is  glossy  in  the  extreme. 

The  enamel  is  finished.  It  is  permitted  to  cool,  and  the 
yellowness  rapidly  gives  place  to  a brilliant  white.  The 
dark  opaque  brown  shadows  have  all  disappeared,  and  in 
their  place  are  delicate  and  translucent  half-tones  and 
glossy  blacks.  In  five  minutes  the  enamel  is  perfectly 
cold,  and  Mr.  Henderson  presents  it  to  us  as  a memento 
of  our  visit.  But  he  quickly  takes  it  back  again  ; in  the 
background  are  two  minute  black  specks — dust  that  has 
dropped  from  the  furnace.  These  are  ruthlessly  dug  out 
with  a penknife,  retouched  in  fusible  pigment  by  an  assis- 
tant, and  the  enamel  once  more  committed  to  the  oven. 
In  two  or  three  minutes  the  enamel  has  been  again  fused, 
and  before  long  it  is  once  more  in  our  hands,  without  a 
sign  of  any  imperfection. 

“ Many  think  that  success  depends  upon  timing  the 
sojourn  of  an  enamel  in  the  furnace  to  a second,”  says 
Mr.  Henderson  ; and  to  show  this  is  not  the  case,  our  friend 
selects  a portrait  by  his  side — it  is  one  of  a series  of  family 
pictures  that  Mr.  Henderson  is  executing  for  the  King  of 
Siam — and,  putting  it  into  the  furnace,  shuts  the  door  upon 
it  for  five  minutes.  At  the  end  of  this  time,  copper  and 
enamel  were  so  soft  that  the  spatula  could  cut  them  in  two, 
but  still  the  image,  except  that  its  tint  is  slightly  reddened 
by  the  operation,  undergoes  no  change.  “ No,  the  great 
enemy  to  enamel  photography  is  dust,  and  therefore  I take 
care  to  disturb  it  as  little  as  possible,”  says  Mr.  Henderson. 

Putty  powder  is  a wonderful  aid  in  enamel  photography. 
Not  ouly  is  it  invaluable  in  polishiug  an  enamel  surface, 
but  it  permits  you  to  modify  your  image.  If  this  appears 
too  dark,  you  may  withdraw  it  from  the  furnace  when 
only  half  fired,  and  when  the  more  delicate  tints  are  glazed, 
but  the  heavy  shadows  still  unburnt.  Then,  a little  fric- 
tion with  putty  powder  will  reduce  the  darker  shadows 


164 


THE  PHOTOGRAPHIC  NEWS. 


March  16,  1883. 


considerably,  after  which  the  enamel  goes  into  the  furnace 
once  more,  and  the  firing  is  completed.  Spoilt  enamels 
are  simply  cleaned  off  with  fluoric  acid,  and  the  plates  used 
once  more. 

Enamels  of  all  sorts  and  sizes  are  here,  some  for  tiny 
lockets  not  more  than  half-an-inch  across,  some  with 
whole-plate  portraits  upon  them.  Here  is  an  enamel  of  the 
late  Prince  Consort,  and  here  one  of  the  Grand  Duke  of 
Hesse  and  his  wife,  the  late  Princess  Alice.  Her  Majesty 
the  Queen  is  one  of  Mr.  Henderson’s  best  customers,  for 
she  is  a firm  believer  in  imperishable  photographs.  Here 
is  a picture  on  enamel  of  the  Prince  of  Wales  uncovering 
the  monument  to  the  late  Prince  Imperial  at  Woolwich — 
from  a fine  negative  taken  byMr.Cobb.we  believe — and  here 
are  some  of  Mr.  Henderson’s  wonderful  Derby  pictures 
They  are  in  all  stages  of  progress,  but  no  matter  their 
nature  or  number,  they  must  all  perforce  go  under  Mr. 
Henderson’s  hands,  for  enamel  photography,  if  simple  to 
describe,  requires  undoubted  skill  and  delicate  manipula- 
tion, if  it  is  to  be  practised  with  success. 


NOTES  ON  PHOTOGRAPHY. 

Lectcre  XV.— Silver  Printing  (Theory  of). 

BY  E.  HOWARD  FARMER. 

For  silver  printing,  it  is  generally  found  that,  in  order  to 
get  vigorous  and  brilliant  prints,  the  following  requisites 
are  necessary : — 

1st.  A layer  of  silver  chloride. 

2nd.  A considerable  excess  of  silver  nitrate. 

3rd.  A layer  of  some  organic  silver  oompound. 

4th.  That  these  should  be  retained  on  the  very  surface 
of  the  paper  or  other  substratum. 

The  functions  performed  by  these  four  requisites  are 
distinct  and  important. 

Silver  chloride  alone  is  reduced  by  light,  darkening  to  a 
deep  violet  colour,  with  formation  of  silver  subchloride 
and  evolution  of  chlorine ; the  chloriue  thus  set  free,  how- 
ever, by  its  tendency  to  re-combine  with  the  silver,  acts  as 
a powerful  retarder  of  the  reduction.  Sdver  nitrate,  by 
reacting  with  this  chlorine  to  form  fresh  silver  chloride, 
prevents  its  retarding  action  ; hence  silver  chloride,  in 
presence  of  excess  of  silver  nitrate,  darkens  far  more 
rapidly  than  when  alone 

When  an  image  produced  in  this  way,  and  consisting 
of  silver  subchloride,  is  placed  in  the  fixing  bath,  to  dis- 
solve out  the  unreduced  salt,  it  is  decomposed  into  silver 
chloride  and  metallic  silver  ; 

Ag2Cl  = AgCl  + Ag. 

The  consequence  of  this  is.  that  the  vigour  or  density  of 
the  image  is  enormously  reduced  ; in  fact,  so  much  so,  as 
to  render  it  almost  invisible.  We  must,  therefore,  look 
for  some  additional  action  to  account  for  the  non-reduction 
of  our  prints  in  fixing,  aud  we  find  this  in  the  organic 
compound  of  silver. 

Albumen  is  the  organic  substance  usually  employed. 
When  silver  nitrate  is  added  to  this,  it  combines  with  it, 
forming  a substance  we  may  call,  for  convenience,  silver 
albuminate,  at  the  same  time  producing  coagulation,  or 
rendering  the  albumen  insoluble  in  water. 

The  silver  albuminate,  on  exposure  to  light,  darkens 
like  the  chloride  ; but  the  colour,  instead  of  being  violet, 
is  a brick  red;  or  if  the  insolation  be  prolonged,  the  well- 
known  bronze  appearance  occurs.  The  brick-red  sub- 
stance is  asuboxide  of  silver,  probably  mixed  with  metallic 
silver,  when  bronzing  occurs. 

Silver  suboxide  alone  is  like  the  sub  chloride,  decom- 
posed by  hypo. ; but  when  it  is  produced  in  presence  of 
organic  matter,  such  as  paper,  &£.,  it  remains  in  combina- 
tion with  it,  and  resists  the  destructive  action  of  hypo. 
Silver  albuminate  unreduced  is,  like  the  chloride,  readily 
dissolved  by  hypo. 

Ihe  image  on  an  ordinary  silver  print,  when  it  is  taken 


from  the  printing-frame,  consists  then  of  a mixture  of 
violet  sub-chloride  and  red  sub-oxide  of  silver,  and  it  is 
owing  to  the  combination  of  these  two  that  its  pleasant 
colour  is  due.  On  immersion  in  the  fixing  bath,  the  sub- 
chloride is  decomposed,  leaving  a small  quantity  of  metallic 
silver  and  the  familiar  red  sub-oxide  forming  the  image. 
If  the  excess  of  nitrate  of  silver  be  removed  from  sensitive 
paper,  the  reduction  of  the  chloride  is  very  much  retarded, 
and,  on  taking  a print  with  ’..a  paper,  a red  image  is  at 
once  obtained,  having  a similar  appearance  to  an  ordinary 
print  after  fixing.  It  would  appear  from  this  theory  that 
the  silver  chloride  is  of  little,  if  any,  use  in  the  paper,  and, 
according  to  Hardwich,  it  can  be  omitted  with  but  little 
difference  in  the  result,  except  that  the  time  of  printing  is 
prolonged. 

To  render  the  finest  details  visible  by  reflected  light, 
and  to  obtain  brilliancy,  it  is  found  to  be  of  prime  import- 
ance that  the  sensitive  compound  should  be  retained  as  a 
smooth  layer  on  the  surface  of  the  paper.  And  here  again 
albumen  becomes  invaluable,  for,  owing  to  its  glutinous 
character,  it  does  not  sink  into  the  pores  of  the  paper,  but 
remains  as  a thin  film  on  its  surface,  forming  at  the  same 
time  a vehicle  to  retain  the  silver  chloride  and  nitrate  in 
the  same  position. 

Toning.* 

If  a thoroughly  washed  print  be  placed  in  a plaiu  solution 
of  gold  chloride  it  will  tone,  but  at  the  same  time  its 
vigour  will  be  very  much  reduced  ; the  reason  of  this  is 
that  the  chlorine  from  the  reduced  gold  combines  with 
the  silver  of  the  image  to  form  white  silver  chloride,  which 
dissolves  out  in  the  fixing  bath. 

3Ag:Cl+AuCl3  = 6AgCl-l-Au 

In  order  to  avoid  this  loss  of  vigour,  a substance  is  added 
to  the  toning  bath  which  will  absorb  the  chlorine,  an 
example  of  which  we  have  in  sodium  acetate,  which  take3 
up  the  chlorine,  forming  sodium  chlor-acetate.  If  the 
toning  takes  place  with  silver  nitrate  in  the  paper,  a 
retarder,  such  as  a soluble  chloride  or  hydrochloric  acid, 
is  also  required  to  be  present,  or  the  gold  will  be  immedi- 
ately thrown  out  of  solution. 

Prints  can  be  toued  in  the  fixing  bath  to  a colour  very 
much  resembling  that  given  with  gold,  by  adding  to  it  an 
acid  or  oxidizing  substance,  in  this  case  sulphur  is 
deposited  on  the  image,  and  the  prints  are  not  permanent. 

Fixing. 

On  fixing  a print,  the  unreduced  silver  chloride  and 
albuminate  are  dissolved  out,  aud  the  silver  sub-chloride 
decomposed  into  silver  and  silver  chloride,  the  latter  also 
being  dissolved.  A bath  which  has  been  kept,  or  has 
already  fixed  a good  many  prints,  is  apt  to  become  acid 
by  decomposition  of  the  silver  thio-sulphate  it  contains  in 
solution — 

Sulphuric  Acid. 

2Ag  ;Ss03+ HsO=AgsS + H.SOt 

This  sulphuric  acid,  by  re-acting  on  the  hypo.,  tends  to 
deposit  sulphur  on  the  prints,  and  destroy  their  perman- 
ency ; hence  a small  quantity  of  ammonia  should  be  added 
to  the  bath,  iu  order  to  prevent  acidity  occurring. 


FREEING  EMULSION  FROM  SOLUBLE  COLLOIDS. 

BY  A.  H ADDON,  t 

Part  II. 

Before  giving  the  details  and  results  of  a few  experiments  I 
have  been  making  on  the  removal  of  soluble  from  insoluble 
gelatine,  I should  like  to  read  a few  short  extracts  on  dialysis 
and  the  preparation  of  colloids  in  a state  of  purity  from  Watt’s 
Dictionary  of  Chemistry,  page  715,  vol.  iii.,  second  edition,  1872  : — 
“ Membranes  and  septa  of  the  colloid  class  possess  the  property 
which  is  very  useful  in  assisting  diffusive  separations.  The  jelly 
of  starch,  that  of  animal  mucus,  of  pectin,  of  Poyen’s  vegetable 

* “ Instruction  in  Photography.” 

t Bead  before  the  London  and  Provincial  Photographic  Association. 


March  16,  1883.  J 


THE  PHOTOGRAPHIC  NEWS. 


165 


gelose,  and  other  solid  colloidal  hydrates,  all  of  which  are  strictly 
insoluble  in  cold  water,  are  themselves  permeable  when  in  mass, 
as  water  is,  by  the  more  highly-diffusive  substances.  But  such 
jellies  greatly  resist  the  passage  of  the  less  diffusive  substances, 
and  cut  off  entirely  other  colloid  subst  inces  like  themselves  that 
may  be  in  solution.  Iu  this  repect,  they  resemble  animal  mem- 
branes  A mere  film  of  the  colloidal  septum  pro- 

duces this  separating  effect.”  And  at  page  717  The  purifica- 
tion of  many  colloid  substances  may  be  effected  with  great 
advantage  by  placing  them  on  the  dialyser.  Accompanying 
crystalloids  are  eliminated  and  the  colloid  left  behind  in  a state 
of  purity.  The  purification  of  soluble  colloids  can  rarely  be 
effected  by  any  other  known  means,  and  dialysis  is  evidently 
the  appropriate  mode  of  preparing  such  bodies  free  from 
crystalloids.”  Again,  on  page  718  : — “ Caramel  of  sugar,  purified 
by  repeated  precipitation  with  alcohol  and  afterwards  by  dialysis, 
contains  the  proportion  of  carbon  in  the  highest  of  the  caramelic 
bodies  of  Gelis  ; it  forms  a tremulous  jelly  when  concentrated, 
aud  appears  decidedly  colloidal.  Like  all  other  colloids,  it  has 
a soluble  and  an  insoluble  modification.” 

Although  no  one  disputed  the  quantities  I had  the  pleasure  of 
laying  before  you  in  my  short  communication  on  the  8th  of  last 
month,  yet  several,  from  their  questions,  did  not  seem  convinced 
that  it  was  impossible  to  remove  decomposed  gelatine  by  dialys- 
ing emulsion,  or  by  simply  washing  it,  when  set,  in  threads.  In 
order,  therefore,  to  convince  those  few  belonging  to  this  Associa- 
tion, and  any  outsiders  who  may  be  of  this  opinion,  I have  been 
making  a few  more  experiments  in  the  same  direction. 

Mr.  A.  J.  Brown  thought  that  blotting-paper  coated  with 
gelatine  was  not  a fair  septum  to  use.  In  order,  therefore,  to 
remove  any  objection  that  could  be  made  on  that  head,  I tried 
to  use  thin  films  of  gelatine  supported  by  threads  tied  across  the 
ends  of  the  glass  tubes  I employed  ; but,  unfortunately,  after 
the  gelatine  had  been  allowed  to  soak  for  some  time  (twelve 
hours)  in  water  it  detached  itself  from  the  threads  and  ends  of 
the  glass  tubes  used.  In  order  to  overcome  this  difficulty  of 
the  swelling  of  the  gelatine  I added  two  drops  of  a 10  per  cent 
solution  of  chrome  alum  to  the  gelatine,  and  used  muslin  as  the 
support  for  the  film.  The  muslin  was  then  cemented  to  the  end 
of  the  glass  tube,  using  the  same  mixture  of  gelatine  and  chrome 
alum  as  above  ; the  whole  was  then  allowed  to  dry.  When  this 
septum  was  soaked  in  water  it  swelled  but  very  little. 

To  get  rid  of  the  solvent  action  of  the  ammonia  contained  in 
Mr.  A.  L.  Henderson’s  “leucine,”  I evaporated  10  c.c.  of  it  to 
dryness  over  a water  bath,  redissolved  it  in  water,  and  then 
placed  it  in  the  dialyser.  The  amount  of  solid  matter  dried  at 
100°  C.  was  ’2390  gramme.  The  glass  tube  with  septum  at 
the  bottom  containing  the  “leucine”  was  placed  in  100  c.c.  of 
distilled  water.  At  the  end  of  twenty-four  hours  this  water 
was  replaced  by  another  100  c.c.,  and  the  dialysing  allowed  to 
go  on  for  forty-six  hours  longer.  At  the  end  of  that  time  the 
dialates  were  evaporated  to  dryness  over  a water  bath,  and  the 
amount  of  solid  matter  amounted  to  -0750  gramme.  This 
number  compares  very  closely  indeed  with  that  which  I obtained 
in  my  first  experiment,  given  in  my  previous  paper,  where  I 
found  -0  j78  gramme  as  the  weight  of  solid  matter  in  the  dialate 
when  5 c.c.  of  “leucine”  were  employed.  On  evaporating  the 
contents  of  the  dialyser,  I obtained  '1650  as  the  weight  of  colloid 
left  behind.  This,  added  to  the  weight  of  solid  matter  found  in 
the  dialate,  gives  a total  of  '2400  gramme,  giving  a difference  of 
only  -001  gramme  between  the  actual  quantity  taken,  and  the 
quantities  found  in  the  different  vessels.  This,  I think,  proves 
conclusively  that  the  increase  in  weight  which  took  place  in  my 
previous  experiments  was  due  to  the  action  of  the  gelatine  of 
which  the  septum  was  made. 

In  order  to  test  the  effects  of  other  septa  of  a different  nature 
on  the  dialysiDg  properties  of  “ leucine,”  I stretched  a piece  of 
vegetable  parchment  over  the  end  of  a glass  tube,  using  the  same 
kind  of  cementation  as  before.  Again  : 10  c.c.  of  “ leucine  ” 
were  evaporated  to  dryness  in  order  to  get  rid  of  the  ammonia  ; 
the  residue  amounted  to  ‘2400  gramme.  The  dialysing  was 
allowed  to  go  on  for  about  the  same  time  and  in  the  same  manner 
as  in  the  case  where  muslin  coated  witn  gelatine  was  used,  and 
at  the  expiration  of  the  time,  both  dialates  were  evaporated  ; in 
this  case,  '0770  gramme  was  passed  through — a nuuber  which,  I 
think,  you  will  acknowledge  is  practically  the  same  as  those 
obtained  when  septa  of  blotting-paper  and  muslin,  covered  with 
gelatine,  were  used. 

I was  asked  by  Mr.  Henderson  if  I had  tried  the  effect  of 
absolute  alcohol  on  his  “leucine,”  so  as  to  ascertain  whether  any- 
thing was  thrown  down  by  it.  At  the  time  he  asked  the 


question  I had  not  made  the  experiment,  but  since  then  I have. 
If  five  parts  of  absolute  alcohol  be  added  to  one  part  of  “ leucine  ” 
a white  cloud  is  formed.  On  heating  the  mixture  in  a test 
tube  to  the  boiling  point  the  cloudiness  does  not  disappear,  but 
by  adding  cold  water  after  the  mixture  had  cooled  to  the  extent 
of  thirty  per  cent,  the  cloudiness  was  entirely  removed.  This, 
I think,  points  to  the  fact  that  the  cloudiness  was  due  not  to 
the  precipitation  of  undecomposed  gelatine,  but  to  the  strong 
alcohol  throwing  down  the  iodide  of  potassium.  All  photo- 
graphers who  have  practised  the  wet  process  know  this  salt  is 
very  much  more  soluble  in  weak  than  in  absolute  alcohol. 

In  order  to  cause  my  last  experiments  to  resemble  as  nearly 
as  possible  what  takes  place  in  the  ordinary  washing  ofgelatino- 
bromide  emulsion,  I took  two  portions  of  gelatine,  each  weigh- 
ing one  gramme.  These  were  soaked  in  24  c.c.  of  distilled 
water,  so  as  to  make  a jelly  of  the  same  consistency  as  is  usually 
employed  in  emulsions.  To  one  portion  I added  '8650  gramme 
of  colloid,  obtained  from  gelatine  that  had  been  acted  on  by 
caustic  potash.  The  other  was  left  just  as  it  was,  without  any 
addition.  Both  were  then  allowed  to  set  for  twenty  hours. 
At  the  end  of  that  time  each  jelly  was  passed  once  through  a 
metallic  syringe,  the  bottom  of  which  had  teen  perforated  with 
holes  of  an  inch  in  diameter,  and  allowed  to  soak  for  fifteen 
minutes  in  50  c.c.  of  distilled  water.  This  was  poured  away, 
and  another  60  c.c.  poured  on,  and  the  gelatine  allowed  to  soak 
for  another  fifteen  minutes.  Both  washing  waters  were  then 
evaporated  in  a basin  over  a bath,  and  the  residues  at  100°  C. 
amounted  to  '4330  gramme  and  '0220  gramme  respectively,  so 
that  in  half-an-bour  100  c.c.  of  water  was  extracted  from 
the  gelatine  pure  and  simple  ‘0220  grammes  of  soluble 
matter,  and  the  same  volume  of  water  extracted 
•4330  gramme  of  solid  matter,  when  '8650  gramme  of  a colloid 
had  been  added  to  it.  In  this  way  47*5  per  cent,  of  the  whole 
of  the  colloid  added  was  removed  ; this  does  not  include  the 
soluble  matter  that  the  gelatine  itself  gives  up.  The  washing 
water  in  each  case  was  passed  through  a filter  paper  once,  in 
order  to  remove  any  small  pieces  of  insoluble  gelatine  that 
would  otherwise  have  been  carried  over  if  the  washing  water  had 
been  simply  decanted  from  the  beaker  into  the  evaporating  dish. 
The  percentage  of  decomposed  gelatine  in  one  case  was  very 
much  larger  than  can  ever  happen  in  the  case  of  emulsion  pre- 
pared with  ordinary  care.  At  the  same  time  I must  say  that  I 
was  very  much  astonished  at  the  very  large  quantity  removed  ; 
but  this  is  undoubtedly  due  to  the  fine  state  into  which  the  jelly 
was  divided,  and  therefore  may  have  come  not  from  the  interior 
of  the  small  pieces  of  gelatine,  but  from  the  gelatine  where  fresh 
surfaces  had  been  exposed,  due  to  the  subdivision. 

The  last  experiment  I made  was  in  the  same  direction,  only 
using  “ leucine  ” instead  of  gelatine  decomposed  by  caustic  potash. 
In  this  case  I again  took  one  gramme  of  gelatine,  and  added  to 
it  the  residue  from  10  c.c.  of  “leucine.”  On  washing  this  in 
exactly  the  same  manner  as  I washed  the  other  jellies,  filtering 
the  washing  water  and  evaporating,  I obtained  a residue  of 
T260  gramme.  Of  this  residue  '022  gramme  is  due  to  soluble 
matter  in  the  gelatine,  and  ’0760  gramme  is  due  to  crystalloids 
in  the  “ leucine  ” as  proved  by  the  dialysing  experiments,  so  that 
•0980gramme  must  be  deducted  from  the  total  amount  extracted ; 
it  leaves  '0280  gramme  of  “ leucine  ” extracted,  but  the  whole  of 
the  colloid  in  10  c.c.  is  .1760  gramme,  therefore  15'9  per  cent,  of 
the  “ leucine”  was  extracted.  Thus  it  would  seem  that  the  less  the 
per  centage  of  soluble  colloid  that  there  is  in  the  jelly,  the  more 
difficult  it  is  to  get  rid  of  it,  and  what  is  got  rid  of  1 am  still  of 
opinion  is  due  to  the  large  surface  exposed  to  the  action  of  the 
water,  and  not  to  the  passage  of  the  colloid  from  the  interior  of 
the  jelly  into  the  water.  One  thing  astonishes  me,  and  that  is 
the  very  great  difference  in  the  per  centage  removed  when  a 
large  quantity  of  soluble  colloid  is  added,  and  when  only  a small 
quantity  is  present. 


GELATINE  PLATES  FOR  TRANSPARENCIES. 

BY  ANDREW  B.  STEWART.* 

The  late  exhibition  of  transparencies  by  the  members  of  this 
Society  has  had  several  results — some  profitable,  some  unprofit- 
able, and  some  which  may  be  either  the  one  or  the  other.  The 
profitable  ones  may  be  said  to  be  the  attraction  of  new  members, 
the  discovery  of  unsuspected  talent,  and  the  encouragement  of 
those  in  whom  the  discovery  has  been  made  to  persevere.  The 
chief  of  the  unprofitable  ones,  in  my  case  at  least,  is  the  wasting 

% Read  before  the  Edinburgh  Photographic  Society. 


166 


THE  PHOTOGRAPHIC  NEWS. 


[Maech  16,  1883. 


of  a great  many  plates  in  producing  a very  few  worth  showing  ; 
while  one  of  the  third  class  has  arisen  out  of  the  second,  and  it 
is  on  this  subject  I now  address  you. 

My  many  failures  were  occasioned  by  the  extreme  sensitive- 
ness of  the  plates  which  I used,  and  this  led  me  to  consider 
whether  it  would  not  be  possible  to  prepare  plates  which  might 
be  printed  in  the  same  manner  as  ordinary  sensitized  paper,  in 
which  the  progress  of  the  printing  might  be  watched,  and  which 
would  require  no  development.  While  cogitating  on  this  sub- 
ject, I came  across  Captain  Abney’s  description  of  an  emulsion 
which  seemed  to  suit  all  my  requirements.  It  is  an  emulsion  of 
gelatine,  citrate  of  silver,  and  silver  chloride,  made  with  sodium 
chloride,  40  grains  ; potassium  citrate,  40  grains  ; silver  nitrate, 
160  grains ; gelatine,  190  ; water,  altogether  about  6 ounces  ; and 
alcohol,  3 drams. 

I resolved  to  try  a few  specimens  of  these  plates,  but  by 
accident  I fortunately  or  unfortunately  added  a considerably 
larger  quantity  of  the  sodium  chloride  than  was  necessary.  The 
result  of  this  was  that  the  silver,  having  more  affinity  for  the 
chloride  than  for  the  citrate,  was  entirely  taken  up  by  the  chlo- 
ride, thus  leaving  the  citrate  free  to  be  washed  out  with  the  un- 
combined chloride  and  other  soluble  salts.  I also  added,  when 
re-melting,  two  drams  of  liqtior  ammonia,  and  boiled  the  whole 
for  an  hour  at  least.  Practically  my  plates  may  be  called  gela- 
tine chloride  plates. 

When  the  plates  were  dry  I tried  one.  It  printed  slowly  and 
beautifully  of  a fine  purple  colour.  When  printed  up  to  about 
the  colour  I wanted  it,  when  finished  I put  it  into  hypo,  when 
the  whole  image  vanished,  and  the  plate  appeared  perfectly 
slean.  I tried  another,  printed  it  until  all  detail  was  lost  in  the 
shadows,  half  tones  gone,  and  even  the  high  lights  discoloured, 
fixed  in  hypo,  with  almost  the  same  result.  Still  there  was 
some  colour  in  the  film  this  time,  but  so  little  that  this  was  also 
set  aside  as  a failure.  A third  plate  I tried,  printed  deep, 
soaked  in  a borax  and  chloride  of  gold  toning  bath,  and  fixed 
with  almost  the  same  result  as  before,  but  a little  more  colour. 
On  drying  the  plates,  however,  I found  the  image  appeared  more 
clearly,  and  the  plates  generally  darkened  in  colour.  Still,  how- 
ever, they  lacked  density,  and  I set  about  trying  to  intensify.  I 
tried  chloride  of  mercury  and  ammonia,  chloride  of  mercury  and 
cyanide  of  silver,  Edwards'  intensifier,  and  other  things,  but  all 
to  no  purpose.  My  plates  seemed  useless. 

In  my  despair  I did  what  the  doctor  told  the  miser  to  do,  who 
asked  a physician  in  a friendly  way  what  he  should  do  for  a bad 
cough.  I took  advice.  I went  to  the  nearest  photographer — 
our  worthy  secretary — and  into  his  sympathetic  ear  I poured 
forth  my  sorrows.  He  looked  at  the  plates  I showed  him  (I  may 
tell  you  I had  not  then  discovered  the  mistake  I had  made),  and 
he  told  me  I had  evidently  not  followed  Capt.  Abney’s  formula. 
However,  after  a good  many  attempts  to  impart  density  to  the 
pictures,  he  tried  re-developing  with  pyro,  with  the  result  of 
making  the  plate  a deep  brown  all  over,  leaving  the  image, 
however,  as  before,  perfectly  clear  and  distinct.  The  applica- 
tion of  hypo,  however,  brought  it  back  very  much  to  its  original 
state,  and  left  us  as  much  puzzled  as  ever ; and  after  taking  up 
a great  deal  more  of  his  valuable  time  than  I had  any  business 
to  do,  I left  him.  Discouraged,  but  not  yet  beaten,  I went 
home  and  worked  away  on  the  plates  until  I succeeded  in 
destroying  all  I had  already  done. 

The  most  hopeful  plan  now  seemed  to  be  the  application  of  a 
developer,  and  after  a few  more  trials  I at  last  succeeded  in 
getting  something  like  what  I wanted,  and  I now  propose  to 
show  you  the  results. 

Unfortunately,  before  I hit  on  this  plan  of  re-developing,  I had 
concluded  that  the  plates  were  worthless,  and  accordingly  I left 
them  lying  about  in  the  dark  room  till  I should  find  time  to 
clean  them,  and  so  they  got  contaminated  with  chemical  im- 
purities, hence  the  many  imperfections  you  will  observe  in  the 
plates.  Imperfect  as  they  are,  however,  they  will  be  sufficient 
to  give  you  some  idea  of  the  capabilities  of  the  process,  and 
enable  you  to  judge  of  its  value. 

No.  1 was  printed  to  correct  depth,  dropped  into  an  old  and 
almost  exhausted  acetate  of  soda  toning  bath,  and  then  fixed 
with  hypo.  Image  disappeared,  but  re-appeared,  and  darkened 
on  drying.  Result  of  the  picture  is  quite  distinct,  full  of  detail, 
perfectly  transparent,  but  so  thin  as  to  be  almost  invisible  by 
transmitted  light  without  an  opaque  background.  It  shows  a 
a pale  yellow  in  the  lantern  in  a disc  of  two  feet  diameter. 

No.  2,  printed  till  half  tones  lost  and  high  lights  darkened. 
Toned  in  Btrong  fresh  borax  toning  bath,  and  fixed.  Picture 


disappeared,  but  came  out  again  on  drying.  Result — picture 
perfect  but  transparent,  and  almost  invisible,  without  opaque 
background,  shows  very  pale  brown,  with  tint  of  purple  in 
lantern. 

No.  3 printed  to  full  depth.  Toned  in  very  strong  borax, 
bath  warm,  then  put  into  developer — sat.  sol.  sulph.,  1 drachm  ; 
oxalate  potassium,  3 drachms ; bromide  potassium,  3 grains  ; 
water,  1 k ounces ; sol.  cyanide  silver,  a few  drops.  There  it 
remained  till  the  sky  darkened,  and  I then  fixed  it.  As  usual, 
the  picture  faded  out.  I then  dropped  into  the  developer 
again,  when  the  image  immediately  began  to  come  up  strongly, 
and  I allowed  it  to  remaiu  until  it  came  up  fully.  Unfortu- 
nately, the  sky  stain  came  up  also.  Result — the  picture  is 
vigorous  and  full  of  detail  and  contrast,  shows  well  by  trans- 
mitted light  with  or  without  a background,  and  in  the  lantern 
is  of  a fine  dark  purple. 

No.  4 was  very  much  under-printed,  dropped  into  same  deve- 
loper as  No.  3,  till  sky  showed  signs  of  darkening,  then  put  into 
toning  bath  four  minutes,  and  fixed.  As  usual,  image  dis- 
appeared. Dropped  into  developer,  image  re-appeared  very 
slowly.  Strengthened  bath  by  addition  of  half-ounce  ferrous 
oxalate  ; image  came  up  a little  quicker  ; added  more  ferrous 
oxalate  till  image  completely  up.  Result — picture  dense,  but 
wants  contrast,  evidently  foggy.  In  lantern  shows  rich  brown, 
but  very  far  from  being  a brilliant  picture,  the  high  lights  being 
dark  and  foggy. 

No.  5,  printed  a little  over  full  depth,  toned  in  nearly 
exhausted  toning  bath,  developed  as  No.  3 without  cyanide, 
fixed,  and  re-developed.  Result — a good  picture,  shows  well  by 
transmitted  light,  full  of  contrast  and  detail,  and  in  lantern  shows 
of  a fine  rich  brown,  but  exhibits  evident  traces  of  over-exposure 
in  the  high-lights. 

No.  6,.  same  as  No.  5,  but  with  cyanide  of  silver  and  double 
allowance  of  bromide  in  the  developer.  Result — fine,  but  much 
over-developed.  Shows  too  dense  with  a background,  but  would 
do  well  for  a window  transparency  ; shows  splendidly  in  lantern 
with  small  disc  at  a short  distance. 

No.  7,  printed  to  full  depth,  toned  in  strong  new  borax  bath, 
developed  as  No.  6,  but  with  double  allowance  of  cyanide,  fixed, 
and  re-developed.  This  shows  the  result  I have  been  aiming  at 
— clear  glass  in  the  high-lights,  fine  half-tones,  and  great  depth 
in  the  shadows — withal,  perfect  transparency,  and  a fine  purple 
tone,  it  shows  well  either  with  or  without  a background,  and  in 
the  lantern. 

No.  8 was  over-printed,  treated  as  No.  7,  but  plate  being 
spotted,  was  not  carefully  treated.  Except  over-printing  and 
spots,  the  result  is  very  similar  to  No.  7. 

No.  9,  very  much  over-printed,  toning  bath  very  weak, 
treated  as  No.  8.  Result — a fine  rich  brown,  but  very  much 
over-exposed  and  over-developed. 

The  result  of  these  experiments,  though  not  quite  conclusive, 
seems  to  be  that  plates  coated  with  gelatino-chloride  of  silver 
emulsion  are  exceedingly  suitable  for  transparencies  if  printed  to 
full  depth,  toned  with  gold,  treated  with  weak  solutions  of  ferrous 
oxalate,  with  the  addition  of  cyanide  of  silver  and  bromide, 
fixed  with  hyposulphite  of  soda,  re-developed  as  I have  described 
in  Nos.  6 and  7. 

Their  greatest  advantages  seem  to  be  that  the  whole  process  of 
forming  the  image  is  perfectly  under  control  in  every  stage, 
while  the  vigour  and  transparency  of  Nos.  6 and  9 seem  to  leave 
little  to  be  desired,  and  the  operation  after  printing  may  be 
carried  on  in  strong  gas-light,  as  all  my  experiments  were. 


ON  IMPROVEMENTS  AND  NEW  APPLICATIONS  OF 
THE  PLATINOTYPE  PROCESS. 

BY  HERBERT  B.  BERKELEY.* 

Very  excellent  paper  transparencies  may  be  produced  by 
printing  on  a speciallv-prepared  platinotype  paper,  in  which  the 
image  is  carried  in  the  shadows  through  to  the  back  of  the 
paper  in  the  manner  just  referred  to.  The  print,  when 
thoroughly  dry,  is  treated  with  paraffin  wax  by  immersion  in  a 
dish  heated  to  a sufficient  high  temperature  to  make  this  wax 
fluid.  After  a short  time  the  prints  may  be  taken  out  and 
placed  between  blotting-paper,  over  which  a hot  flat-iron  is 
passed.  Paraffin  is  preferable  to  bees’-wax  only  on  account  of 
its  stable  character.  The  transparencies  so  produced  are 
remarkably  vigorous,  of  fine  detail  and  gradation,  and  of  a rich 
brown-colour.  They  may  be  used  for  reproducing  negatives. 

• Continued  from  page  151, 


March  1*5  lhb3  j 


THE  PHOTOGRAPHIC  NEWS. 


167 


A purely  amateur  association,  such  as  this  is,  scarcely  num- 
bers one  interested  in  engraving  on  wood  amongst  its  member-  ; 
hence  the  application  of  platinotype  to  wood-blocks  will  hardly 
prove  the  matter  for  congratulation  it  would  be  in  a community 
of  engravers.  But  ever  since  photography  was  first  applied  to 
wood  blocks,  supplanting  the  draughtsman’s  pencil,  the  film  or 
medium  necessary  for  carrying  the  photographic  image  has 
proved  a serious  drawback  and  impediment  to  rapid  and  effective 
work.  The  film  will  often  split  off  the  block  under  the  action 
of  the  graver  just  where  it  is  most  important  to  retain  it!  To 
seutitise  a wood  block,  it  is  rubbed  with  a pad  of  cotton  wool 
moistened  with  stroug  alcohol ; the  surface  is  then  smeared  over 
with  a tuft  of  wool  containing  the  sensitiser.  The  block  is  then 
dried,  printed  upon,  developed,  and  rinsed  rapidly  for  a few 
seconds  in  the  acid  bath  ; it  is  then  dried  off  with  methylated 
spirit,  and  is  ready  for  the  engraver. 

The  recent  application  of  the  process  to  textile  fabrics  I 
believe  to  be  more  important  than  mauy  might  suppose  it  to 
be  ; for,  putting  aside  the  various  more  or  less  fanciful  articles 
which  may  be  produced  by  materials  so  decorated,  there  yet 
remain  solid  worth  and  art-capabilities  which  ought  to  render 
fabrics  of  great  value  to  the  photographer  whose  ideas  are  not 
entirely  guided  by  the  fixed  rules  of  conventionality,  who  is  able 
to  use  discrimination,  and  has  the  courage  of  his  convictions. 
In  reproductions  of  oil  paintings  the  result  is  sometimes 
remarkable  ; the  texture  adds  much  to  the  effect,  and  to  the 
eye  of  an  artist  considerably  enhances  the  value  of  the  photo- 
graph. Photographs  from  nature,  both  portraits  and  landscapes, 
may  also  be  most  effectively  printed  on  textile  fabrics.  Some 
portraits  I have  seen  were  exceedingly  pleasing,  rich  and  vigorous, 
yet  in  harmony  and  softness  like  a mezzotint  engraving. 

When  developing  prints  on  textile  fabrics,  it  is  of  the  utmost 
importance  to  heat  the  bath  to  a temperature  exceeding  that  neces- 
sary for  paper,  in  order  that  the  reduction  of  the  platinum  shall 
take  place  as  quickly  as  possible  after  contact  with  the  fluid.  The 
resulting  image  will  then  have  a richness  and  “bloom”  not 
obtainable  by  any  other  means.  Care  must  be  taken  not  to 
print  too  deeply,  because  a cooler  bath  as  a means  of  correction 
of  errors  of  exposure  is  scarcely  desirable  ; moreover,  the  very 
hot  bath  (say  200°  Fahr.)  develops  detail  after  a shorter  exposure 
than  is  necessary  when  a cooler  bath  is  used.  This  reminds  me 
that  it  is  a very  common  fault  of  beginners,  noticing  how 
rapidly  the  image  appears,  to  act  on  the  supposition  that  the 
whole  action  is  complete  in  “ less  than  no  time,”  and  the  prints 
are  taken  off'  the  hot  solution  (often  not  hot  enough)  and  placed 
in  the  acid  bath  before  the  shadows  have  had  time  to  gather 
strength  and  homogeneity.  The  result  is  a coarse,  poor  print. 
It  is  well  to  remember  that  the  development  cannot  be  too  long. 
The  exposure  may  be  too  long,  after  which  the  bath  may  be  too 
hot  ; but  the  best  results  are  produced  by  a fully-hot  bath  and 
a properly-regulated  exposure. 

Another  important  point  in  connection  with  textile  fabrics  is 
the  use  of  plenty  of  acid  bath,  for,  naturally,  the  quantity  of  iron 
and  platinum  salts,  and  also  of  potassic  oxalate,  transferred  to 
the  baths  is  much  greater  with  these  materials  than  is  the  case 
with  the  less  absorbent  papers. 


NOTES  ON  GREEN  FOG. 

BY  J.  M.  TURNBULL.* 

Since  the  general  adoption  of  the  gelatine  process,  there  are 
several  shortcomings  in  connection  with  it  that  have  come 
prominently  forward.  Amongst  the  principal  of  these  are  frilling 
and  green  fog.  I do  not  intend  to  discuss  the  former  of  these 
at  present,  as  the  cause  of  and  remedy  for  frilling  are  now  very 
well  known  ; but  the  cause  of  green  fog  being  more  obscure,  I 
shall  have  a few  words  to  say  on  what  is,  in  my  opinion,  the 
cause  of  it,  and  the  means  to  be  taken  to  correct  it.  There  have 
been  various  theories  put  forward  within  these  few  years,  but 
none  of  them  is,  in  my  opinion,  altogether  correct,  some  of  them 
being  very  wide  of  the  mark.  I shall,  however,  at  present 
notice  only  one  of  these,  that  of  Captaiu  AbDey.  f He  says  : 
*"  This  fog  is  due  to  decomposed  gelatine  and  oxidised  pyrogallic 
acid.  Green  by  reflected  light,  it  is  piuk  by  transmitted  light, 
being  dichroic.  This  at  once  points  to  the  fact  that  this  fog  is 
somewhat  of  the  nature  of  a dye,  and  every  oxidising  agent 
ought  to  destroy  it.” 


' Read  before  the  Edinburgh  Photographical  Society. 
+ “Photography  with  Emulsions,”  2nd  edition,  p.  227. 


Now  with  regard  to  the  first  part  of  this  theory,  that  it  is 
caused  by  decomposed  gelatine,  it  is  a well-known  and  admitted 
fact  that  decomposed  gelatine  is  soluble  in  cold  water,  and  that 
should  there  Be  any  of  it  in  the  emulsion  through  being  boiled, 
or  in  the  gelatine  itself  prior  to  being  made  into  an  emulsion,  it 
is  entirely  removed,  or  but  very  little  of  it  is  left  when  the 
emulsion  is  washed,  so  that  this  is  not  one  of  the  causes  of  green 
fog. 

As  a further  proof  of  this,  I have  several  times  had  quantities 
of  emulsion  standing  for  some  weeks  through  want  of  time  to 
coat  the  plates  ; the  gelatine  then  was  a good  deal  decomposed, 
part  of  it  having  evenjliquefied.  On  adding  a sufficient  quantity 
of  a strong  bodied  gelatine,  plates  coated  with  it  turned  out  as 
fine  as  need  be,  with  entire  freedom  from  green  fog  and  other 
defects.  This  shows  that  even  if  decomposed  gelatine  is  present 
in  quantity,  green  fog  does  not  as  a consequence  result.  But 
when  a soft  or  partially  decomposed  gelatine  is  used,  frilling 
will  be  produced,  of  which  more  hereafter.  Nor  is  green  fog 
caused  by  oxidised  pyrogallol,  as  is  easily  proved  by  the 
fact  that  when  a plate,  liable  to  give  green  fog,  is  deve- 
loped with  sulphite  of  soda  in  the  developer,  which  greatly 
retards  the  oxidation  of  the  pyrogallol,  green  fog  will  be 
produced  while  the  developer  is  still  perfectly  clear  ; yet  if  the 
same  plate  were  developed  without  sulphite,  green  fog  might 
be  absent.  This  I have  no  doiibt  is  caused  by  the  hardening 
action  of  the  sulphite  on  the  film ; oxidized,  otherwise 
discoloured  pyrogallol,  acts  simply  as  a dye  or  stain  on  the 
film,  and  gives  the  well-known  greenish  yellow  colour  to 
gelatine  negatives.  But  that  this  is  not  the  true  green  fog  is 
proved  by  the  fact  that  this  colour  is  discharged  by  immersing 
the  plate  in  citric  or  hydrochloric  acid  and  alum,  while  proper 
green  fog  is  not  cleared  away. 

In  the  early  days  of  gelatine  emulsions,  when  a soft  gelatine 
such  as  Nelson’s  No.  1 was  used  almost  exclusively  in  making 
emulsion,  green  fog  was  never  heard  of,  nor  would  it  yet  be,  if 
such  a soft  gelatine  were  still  used  exclusively  in  making  plates  ; 
but  when  using  such  a gelatine,  a much  worse  evil  than  green 
fog  had  to  be  combatted,  and  this  was  frilling.  To  remedy 
this  a harder  gelatine  is  now  used.  This  is  no  doubt  an  effectual 
remedy  for  frilling,  but  it  is  often  used  in  excess,  and  this  is 
what  is,  in  my  opinion,  the  cause  of  green  fog.  This  hard  gela- 
tine gives  a skinny,  impenetrable  film,  which  either  the  developer 
or  fixing  permeates  very  slowly.  If  we  examine  the  colour  of  an 
ordinary  bromo-iodide  plate,  we  find  that  it  is  of  a greenish 
yellow  : if  this  is  a hard  film,  as  I have  already  spoken  of,  the  hypo 
fails  to  get  at  all  the  unused  bromide  in  the  film,  and  the  result  is 
green  fog.  There  is  no  doubt  this  species  of  fog  can  be  modified 
more  or  less  in  the  development ; if,  for  instance,  the  plate  be 
under-exposed,  and  the  development  be  forced  or  prolonged, 
the  maximum  of  fog  will  result,  the  ammonia  evidently  being  the 
agent  that  acts  most  on  it,  the  quantity  of  pyro.  seeming  to  make 
no  difference  as  far  as  the  fog  is  concerned.  To  remedy,  as  far 
as  is  possible,  in  the  development,  the  bad  effect  of  plates  giving 
green  fog,  they  should  be  given  as  much  exposure  as  is  allowable, 
and  developed  with  an  extra  quantity  of  bromide  and  pyro,  and 
a minimum  of  ammonia  ; or  the  plate3  should  be  developed 
with  ferrous  oxalate,  which  gives  negatives  free  from  this  defect, 
though,  in  very  bad  cases,  I have  seen  plates  that  gave  green  fog 
even  with  it.  It  is  in  the  making  of  the  emulsion  that  we  must 
take  care  that  green  and  also  red  fog  are  not  produced.  To 
make  gelatine  emulsion  properly,  it  should  not  be  made  with 
one  sample  of  gelatine,  though  there  are  in  the  market  samples  of 
gelatine  which  will  give  very  fine  plates.  Two  different  kinds  of 
gelatine  should  be  used,  one  a softish  kind,  such  as  Nelson’s  No.  1; 
this  of  itself  isan  excellent  gelatine,  but  too  soft  to  prevent  frilling. 
This  should  be  tempered  with  a hard  sample,  such  as  Heinrich’s, 
Henderson’s,  or  Nelson’s  amber  ; but  no  more  of  the  hard  variety 
should  be  added  than  will  just  prevent  frilling.  This  is  most 
important,  as  the  finest  and  most  perfect  plates  are  got  when 
they  are  just  off  what  I may  call  the  frilling  point.  The  film  is 
then  in  its  best  condition  for  development ; it  is  more  porous, 
the  solution  gets  quicker  into  it,  and  is  therefore  quicker  deve- 
loped, and  consequently  much  time  is  saved,  less  washing  is 
required,  and  there  is  much  less  danger  of  retaining  hypo  in  the 
finished  negative,  On  no  account  should  chrome  alum  be  used 
in  the  emulsion  to  harden  the  finished  film,  as  is,  I believe,  often 
done.  This  is  a most  dangerous  practice,  as,  when  even  the  very 
softest  gelatine  is  used,  the  least  over-dose  will  make  the  film  too 
hard,  and  also  produce  green  fog  ; all  the  hardening  can  be  done 
with  the  judicious  use  of  a harder  sample  of  gelatine,  as  1 have 
already  stated. 


168 


THE  PHOTOGRAPHIC  NEWS. 


[March  16,  1883. 


Itotfs. 

Brussels  is  busy  preparing  for  its  Photographic  Exhibi- 
tion in  the  summer.  It  is  to  be  organised  by  the  Associa- 
tion Beige,  under  the  patronage  of  the  King.  Applications 
from  intending  exhibitors  will  be  received  any  time  before 
June. 


Mr.  Alexander  Cowan  showed  on  Tuesday  night,  at  the 
Photographic  Society,  an  extensive  series  of  transparencies 
produced  in  the  camera  by  the  gelatino-chloride  process. 
Mr.  Cowan,  in  dwelling  on  the  simplicity  and  beauty  of  the 
process,  explained  that  he  had  nothing  new  to  communi- 
cate, since,  in  producing  his  plates, he  had  followed  strictly 
the  process  detailed  by  Dr.  Eder  in  the  Year-Book  for 
1882.  He  boiled  his  emulsion  for  nearly  half-an-hour ; 
but  on  this  point  he  had  little  experience,  since  the  very 
first  trial  proved  a success,  and  the  batch  of  emulsion  he 
made  was  not  yet  exhausted. 


The  various  tints  of  these  gelatino-chloride  trans- 
parencies was  well  shown  in  a lantern,  and  we  congratulate 
the  Photographic  Society  on  having  acquired  this  appa- 
ratus, since  it  will  greatly  assist  demonstrations  before  an 
audience.  Mr.  Cowan  exhibited  transparencies  made  both 
by  contact  printing  and  in  the  camera,  and  stated  that  the 
beautiful  range  of  tint  in  the  specimens  he  had  secured  by 
simply  modifying  the  development  of  the  plate,  and  nothing 
more. 


The  Otago  Times  gives  an  account  of  the  very  latest  dis- 
covery in  science,  due  to  Dr.  Guidrah,  of  Victoria,  which 
seems  to  throw  the  photo-telegraphic  results  of  Mr.  Bid- 
well  completely  in  the  shade.  The  electroscope,  as  this 
latest  invention  is  called,  enables  you  not  only  to  speak  to 
your  distant  friend,  but  to  see  him.  Indeed,  a whole  land- 
scape, or  rather  a photograph  of  it,  can  be  sent  by 
telegraph. 


We  have  an  account  of  a trial  of  this  wonderful  instru- 
ment that  took  place  in  Melbourne — wonderful  accounts 
always  come  from  a distance,  the  greater  the  distance,  the 
more  wonderful,  apparently — on  the  31st  October  last  in 
the  presence  of  some  forty  scientific  and  public  men.  This 
is  what  they  saw.  “Sitting  in  a dark-room,  they  saw  pro- 
jected on  a large  disc  of  white  burnished  metal,  the  race 
course  at  Flemington,  with  its  myriad  host  of  active  beings. 
Each  minute  detail  stood  out  with  perfect  fidelity  to  the 
original,  and  as  they  looked  at  the  wonderful  picture 
through  binocular  glasses,  it  was  difficult  to  imagine  that 
they  were  not  actually  on  the  course  itself,  and  moving 
among  those  whose  actions  they  could  so  completely  scan.” 


Mark  Twain  says  there  is  something  very  fascinating 
about  science ; it  gives  you  such  wholesale  returns  of  con- 
jecture for  such  trifling  investments  of  fact. 

The  English  eclipse  expedition  to  the  Pacific,  as  Mr. 
Woods  has  told  us  will  occupy  itself  mainly  with  photo- 


graphing the  corona  and  its  spectrum  ; M.  Janssen  and  the 
French  staff,  on  the  other  hand,  will  seize  this  grand  oppor- 
tunity of  the  sun  being  eclipsed  for  upwards  of  five  minutes, 
to  solve,  if  possible,  several  astronomical  problems.  One  of 
these  is  to  discover  whether  there  really  are  any  minor 
planets  existing  between  the  sun  and  Mercury,  a question 
that  has  been  much  discussed  of  late,  especially  in  France. 
To  find  out  these  small  and  rapidly  moving  bodies,  a 
thorough  search  will  be  instituted  by  means  of  a photo- 
graphic apparatus  consisting  of  five  cameras,  the  time  of 
exposure  being  five  minutes— during 'totality — so  that  no 
planet,  however  small,  is  likely  to  escape  observation. 


The  spectrum  of  the  corona  and  its  rings  will  be  observed 
by  a triple  camera,  while  a telescope  of  short  focus  is  to  be 
used  for  spectroscopic  analysis  of  the  eclipse.  M.  Janssen’s 
party  will  not  land  at  the  same  spot  as  the  other  expedi- 
tious, but  choojj  an  islet  some  miles  distant,  so  that  if  the 
heavens  should  happen  to  be  covered  in  one  place,  it  may 
not  be  in  the  other.  Since  their  encampment  will  be  on  a 
desert  island,  M.  Janssen  takes  out  a light  wooden  structure 
and  a couple  of  tents,  the  former  to  serve  as  observatory, 
while  of  the  latter,  one  is  to  supply  sleeping  accommodation, 
and  the  other  constitute  a dark-room  laboratory. 


Dr.  Ball,  the  Astonomer-Royal  for  Ireland,  gave  last 
week,  at  the  Royal  Institution,  a capital  illustration  of  the 
mode  of  signalling  the  appearance  of  comets,  planets,  and 
other  heavenly  bodies  between  America  and  this  country. 
It  is  simply  agreed  upon  to  use  Worcester’s  dictionary  as 
a code,  and  all  that  is  necessary  is  to  telegraph  one  of  the 
words  in  it.  Thus,  when  America  sighted  Encke’s  comet, 
its  position  was  recorded  as  123°  45'  ; but  instead  of 
telegraphing  to  England  these  elaborate  figures,  the  word 
“ umbrella  ” was  sent.  This  word  the  English  observers 
found  in  Worcester’s  dictionary,  page  123,  line  45,  and  thus 
a look-out  could  be  instituted  in  the  proper  direction,  as 
well  as  if  a more  lengthy  and  expensive  telegram  had  been 
sent. 


Another  remark  of  Dr.  Ball’s  is  worth  repeating. 
People  complained,  he  said,  of  the  great  expense  of  the 
Transit  of  Venus  Expedition,  undertaken  to  measure  the 
distance  between  the  sun  and  the  earth.  The  cost  of  the 
undertaking  was  £20,000,  and  this  certainly  is  a large 
sum  regarded  from  an  outsider’s  point  of  view  : but  if  we 
look  upon  the  matter  as  a surveying  expedition,  he  said,  we 
get  another  aspect  of  affairs  altogether.  In  fact,  the  cost 
but  represents  something  like  one  shilling  for  every  250 
miles  surveyed. 

The  Americans  have  made  such  rapid  strides  of  late 
years  in  wood  engraving,  that  it  is  not  surprising  to  learn 
they  also  distance  us  in  photo-mechanical  reproduc- 
tion. Mr.  J.  P.  Suverkrop,  in  a paper  on  commercial 
photography  in  the  United  States,  read  some  few  weeks 
ago  before  the  Edinburgh  Photographic  Society,  pointed 
out  that  specimens  of  American  photo-gravure  were  finer 
than  those  produced  this  side  of  the  water.  He  also 


March  16,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


169 


mentioned  another  fact  which  is  deserving  the  attention  of 
those  interested  in  book  and  periodical  illustration.  In 
England  the  zincotype  process  is  almost  universally 
practised,  but  in  America  it  has  given  way  to  the  gelatino- 
type.  This  substitution,  when  the  efforts  which  the 
Americans  make  to  obtain  good  results  are  remembered, 
would  not  have  been  adopted  without  good  reason,  and  it 
would  be  interesting  to  have  some  more  information  on  the 
subject.  In  looking  at  an  English  and  American  peri- 
odical, one  difference  is  very  marked — the  superiority  of  the 
ink  and  the  paper  used  in  the  latter.  Photo-mechanical 
reproduction  has  not  yet  had  a fair  chance  in  England,  as 
it  has  generally  been  associated  with  vile  ink  and  worse 
paper.  We  might  also  add  that  when  artists  draw  with 
the  special  object  of  being  photographed,  a great  advance 
will  have  been  made. 


In  a Christmas-card  competition  organised  by  a popular 
journal,  some  fifteen  hundred  specimens,  many  of  a very 
high  order  of  merit,  were  sent  in.  The  conditions  were 
plainly  stated,  namely,  that  the  prize  drawings  would  be 
photographed  and  published  ; but  the  result  was  very  dis- 
appointing. Several  of  the  cleverest  drawings  could  not  be 
published  at  all,  because  the  designers  had  used  washes  to 
produce  a flat  tint,  or  had  adopted  a method  of  shading 
which  would,  when  photographed,  be  reproduced  in  solid 
black.  Many  of  the  inferior  drawings  looked,  when  printed, 
better  than  those  which  took  the  first  prizes,  and  it  is  doubt- 
ful, on  the  whole,  whether  more  harm  than  good  was  not 
done  by  the  competition.  What  is  true  of  amateur  artists 
is  also  true  of  professional  ones.  They  will  not  take  the 
trouble  to  learn  what  photography  requires,  and  hence  run 
down  “process,”  and  prefer  to  stick  in  the  old  groove. 
Wha  can  be  done  by  photography  may  be  seen  any  day  in 
Mr.  Du  Maurier’s  pictures.  It  is  true  that  these  are  photo- 
graphed on  to  wood,  but,  so  far  as  the  artist  is  concerned, 
the  principle  is  the  same. 

The  controversy  between  Mr.  Virtue  Tebbs,  the  owner 
of  Rosetti’s  picture  “ Our  Lady  of  Pity,”  and  the  English 
Picture  Company,  as  to  the  right  of  the  latter  to  copy  and 
sell  the  photographs  of  the  painting,  is  still  being  con- 
tinued in  the  Athenaum.  It  would  seem  that  the  Company 
really  had  permission  from  the  late  Mr.  Rosetti  to  copy 
the  picture,  and  that  this  permission  was  afterwards  con- 
firmed by  Mr.  W.  M.  Rosetti  as  executor.  The  latter, 
writing  last  week,  says:  “Not  being  a lawyer,  I do  not 
profess  to  know  whether  Mr.  Tebbs'  claim  to  copyright  is 
well  or  ill  founded,  if  it  is  well  founded,  my  having  in- 
formed the  Autotype  Company  that  I had  no  objection  to 
the  publication  of  the  autotype  must  have  been  of  no 
effect,  or  vice  versa."  This  is  equivalent  to  saying,  “ If  a 
thing  is  really  black,  then  my  having  said  it  was  white 
must  have  been  of  no  effect,  or  vice  versa." 


The  point  to  be  settled  is  certainly  of  some  importance, 
both  to  purchasers  of  pictures  and  copyists.  It  may  be 
presumed  that  the  owner  of  a picture  can,  if  he  please, 
cancel  a simple  permission  to  copy;  but  in  this  case 
matters  are  complicated  by  the  death  of  the  owner,  and 


the  confirmation  of  the  permission  by  the  executor.  The 
person  really  to  blame  is  the  vendor,  as  he  omitted  to 
mention  the  fact  that  he  had  sanctioned  the  copying.  The 
question  whether  the  written  permission  of  Mr.  D.  G. 
Rosetti  constitutes  an  assignment  of  copyright,  is  one 
which  only  a legal  tribunal  can  decide. 

A correspondent  in  Leeds  sends  us  an  ugly  brown  por- 
trait, produced  by  “anew  iron  process,”  and  says  that 
“ the  best  of  it  is,  it  is  permanent.”  Without  knowing 
anything  of  the  details  of  the  method,  we  should  have 
pronounced  this  to  be  “the  worst  of  it,”  since  in  our 
humble  opinion  the  quicker  the  disagreeable  picture 
vanished  the  better.  Regarded  as  an  experimental  iron 
print,  it  has  doubtless  much  to  recommend  it,  and  as  we 
have  no  desire  to  quench  our  correspondent’s  thirst  for 
investigation,  we  may  fairly  say  the  picture  is  good  of  its 
sort.  Only,  as  the  critic  remarked  about  the  voice  of  the 
amateur  tenor  who  sang  so  glibly,  the  sort  is  bad. 


The  National  Police  Gazette , of  New  York,  has  in  a recent 
number  honoured  photography  by  making  it  the  subject 
of  a “ spicy  ” picture,  and  a still  more  “ spicy  ” article. 
The  picture  is  drawn  by  a gentleman  once  well-known  in 
London  a3  a scenic  artist  and  as  the  cartoonist  of  a now 
defunct  conservative  comic  journal,  and  represents  a photo- 
grapher dressed  in  what  we  may  presume  is  the  costume 
of  our  New  York  brethren— a braided  velvet  short  coat, 
light  waistcoat  and  continuations,  and  a foragiug  cap — 
in  an  attitude  of  amazement.  He  has  let  fall  the  focussing 
cloth  from  one  hand,  and  the  cap  of  the  lens  from  the  other, 
and  is  glaring  wildly  at  two  not  very  prepossessing  ladies, 
attired  in  the  height  of  fashion.  The  text  at  the  foot  of 
the  picture  tells  “ how  two  wilted  daisies  from  Jersey 
tried  to  set  up  an  opposition  to  the  Jersey  Lily,  scared  a 
photographer  into  a colic,  and  got  severely  left.”  The 
picture,  however,  pales  in  interest  before  the  article,  which 
details,  with  much  minuteness,  the  experience  of  a 
Virginian  photographer  in  photographing  fat  legs,  a 
mania  for  the  pictures  of  which  appears  to  exist  among  the 
ladies  of  West  Virginia.  Perhaps  it  is  as  well  to  add  that 
the  National  Police  Gazette  is  a sporting  journal  of  a type 
which  sacrifices  truth  to  something  worse  than  smartness. 
Happily,  this  class  of  newspaper  is  still  confined  to 
America. 


The  annual  report  of  the  City  and  Guilds  of  London 
Institute,  issued  this  week,  shows  that  nineteen  candidates 
went  up  for  examination  in  photography,  an  increase  of 
five  on  the  number  of  the  previous  year.  Of  these,  twelve 
passed,  three  obtaining  honours.  Seven  had  been  taught 
in  classes,  the  teachers  of  which  receive  payment  on  the 
results  of  the  examinations,  and  twelve  iu  other  institu- 
tions, or  prepared  by  private  study.  The  percentage  of 
failures  was  respectively  28-5  and  4T6,  those  taught  in  the 
classes  having  thus  the  advantage.  As  in  all  probability 
those  who  had  been  so  instructed  had  studied  privately, 
the  difference  is  not  so  striking.  The  examiner  (Captain 
Abney)  says: — “I  cannot  report  any  improvement  in  the 
result  of  the  examination.  Some  of  the  candidates  who 


170 


THE  PHOTOGRAPHIC  NEWS. 


[March  16,  1883. 


sat,  knew  absolutely  nothing  either  of  the  practice  or  theory 
of  photography  ; others  showed  a practical  knowledge  of 
the  process,  and  of  that  alone,  showing  that  their  train- 
ing had  been  neglected.  On  the  other  hand,  there  are 
some  exceptionally  well  answered  papers  in  both  grades, 
and  these  show  that  in  some  cases  the  teaching  has  been 
sound,  and  the  practical  work  well  carried  out.” 


latent  Intelligent*. 

Application  for  Letters  Patent. 

1229.  Alfred  Horace  Dawes,  of  Brook  Cottage,  Windermere, 
in  the  county  ot  Westmorland,  Artist,  for  an  invention  of 
“ An  improved  process,  system,  or  method  of  producing  per- 
manent coloured  photographic  card  pictures.” — Dated  7th 
March,  1883. 

Patent  Void  through  Non-payment  of  Duties. 

847.  Julius  Hermann  Guido  Wolfram,  of  Dresden,  in  the 
kingdom  of  Saxony,  Chemist,  for  an  invention  of  “ Improve- 
ments in  the  manufacture  or  production  of  collodio- bromide  of 
silver  emulsion,  and  preparing  photographic  dry  plates  there- 
with.”— Dated  26th  February,  1880. 

This  Invention  consists  iD, — 

1st.  The  preparation  of  a modification  of  collodio -bromide  of 
silver  emulsion  of  high  sensitiveness,  by  producing  the  bromide 
of  silver  in  the  presence  of  a sufficient  quantity  of  liquor 
ammonia. 

2nd.  The  preparation  of  dry  plates  for  photographic  purposes 
by  means  of  collodio-bromide  of  silver,  the  object  being  to  render 
them  as  sensitive  (or  approximately  so)  as  gelatino-bromide 
plates.  Collodio-bromide  of  silver  emulsion  prepared  as 
heretofore  usual  produces  photographic  dry  plates  of  a very 
inferior  sensitiveness.  Collodion  prepared  according  to  this 
invention  renders  it  possible  to  produce  dry  plates  for  photo- 
graphic purposes  equal  (or  approximately  so)  in  sensitiveness  to 
gelatino-bromide  of  silver  plates.  The  adding  of  liquor  ammonia 
to  ready-made  collodio-bromide  of  silver  emulsion,  and  allowing 
it  to  re-act  thereon  for  a considerable  period,  so  as  to  convert  the 
bromide  of  silver  into  its  highest  state  of  sensitiveness,  does  not 
produce  a result  so  satisfactory  as  that  obtained  by  the  use  of 
the  preparation  of  gelatino-bromide  of  silver  emulsion.  Now  I 
have  found  that  in  order  to  obtain  a good  result  with  collodio- 
bromide  of  silver,  it  is  essential  such  bromide  of  silver  should  be 
produced  in  the  presence  of  a sufficient  quantity  of  liquor 
ammonia,  and  collodio-bromide  of  silver  emulsion  according  to 
my  invention  may  be  prepared  in  tbe  following  manner  (that  is 
to  say)  : — I add  to  40  to  50  grammes  of  collodion,  which 
contains  1’3  per  cent,  of  pyroxyline,  a solution  consisting  of  two 
grammes  of  nitrate  of  silver  dissolved  in  8 to  20  grammes  of 
liquor  ammonia,  which  contains  7 to  9 per  cent,  of  ammonia,  and 
8 to  20  grammes  of  absolute  alcohol.  I further  add  sufficient 
alcohol  of  40  to  50  per  cent,  to  re-dissolve  all  the  silver  salts  that 
have  been  precipitated.  I then  add  to  40  to  50  grammes  of 
collodium,  which  contains  1 '3  per  cent,  of  pyroxyline,  a solution 
consisting  of  bromide  of  potassium,  of  bromide  of  sodium,  or 
bromide  of  ammonium  dissolved  in  8 to  20  grammes  of  liquor 
ammonia,  which  contains  7 to  9 per  cent,  of  ammonia,  to  which 
8 to  20  grammes  of  alcohol  are  added.  This  latter  solution  is 
added  to  the  first-mentioned  collodion,  shaking  or  agitating 
violently  at  the  same  time.  As  soon  as  a uniform  mixture  is 
attained,  the  mixture  of  pyroxyline  and  bromide  of  silver  is 
precipitated  by  the  addition  of  a large  quantity  of  water  ; the 
precipitate  is  then  freed  from  ammonia  and  salt  by  decantation, 
afterwards  dried,  and  dissolves  in  50  to  150  grammes  of  ether 
alcohol,  to  which  1 to  3 per  cent,  of  glycerine  and  any  suitable 
kind  of  preservative  may  be  added.  As  a modification  of  the 
above-described  method  of  preparing  the  collodio-bromide  of 
silver,  I may  use  8 to  20  grammes  of  liquor  ammonia  which 
contain  14  to  18  per  cent,  of  ammonia.  In  this  case  I add  to  20 
to  30  grammes  of  collodium,  a solution  consisting  of  bromide  of 
potassium,  of  bromide  of  sodium,  or  bromide  of  ammonium 
dissolved  in  5 to  10  grammes  of  water,  to  which  5 to  10  grammes 
of  alcohol  are  added.'  The  quantity  named  for  nitrate  of  s:,ver 
may  be  varied  according  to  circumstances  ; 2 to  6 gran  mes  of 


nitrate  of  silver  may  be  used.  According  as  the  quantity  of 
liquor  ammonia  is  increased,  the  sensitiveness  of  the  emulsion 
will  be  heightened.  Instead  of  nitrate  of  silver,  any  other  6alt  of 
silver  soluble  in  liquor  ammonia  may  be  employed.  It  is  to  be 
understood  that  the  preparation  of  collodio-bromide  of  silver 
emulsion,  as  above,  as  well  as  the  preparation  of  dry  plates  by 
means  of  such  emulsion,  can  take  place  only  in  a room  faintly 
illuminated  by  red  light.  The  dry  plates  are  prepared  in  the  well 
known  manner,  by  pouring  on  to  the  glass  plates  (which  may  be 
previously  coated  by  a weak  solution  of  caoutchouc  as  used  here- 
tofore) the  above-described  collodio-bromide  of  silver  emulsion, 
and  hereafter  allowing  any  excess  of  the  poured  quantity  of  the 
emulsion  to  drip  off  from  the  plate,  or  allowing  the  entire 
quantity  poured  to  remain  on  the  horizontally  placed  plate.  The 
emulsion  will  soon  dry  on  the  plates  and  coat  the  same,  which 
plates  are  then  ready  for  use.  The  plates  prepared  by  the 
collodio-bromide  of  silver  emulsion  may,  before  or  after  this 
emulsion  has  dried,  be  coated  with  any  kind  of  known  preserva- 
tives in  well-known  manner.  Having  described  the  nature  of 
my  said  invention,  and  explained  the  manner  of  carrying  it  into 
practical  effect,  I would  have  it  understood  that  what  1 consider 
to  be  novel  and  original,  and  therefore  claim  under  tbe  Letters 
Patent  hereinbefore  in  part  recited,  is, — 

1.  The  preparation  of  a modification  of  bromide  of  silver  of 
very  high  sensitiveness  in  collodion  by  the  formation  of  bromide 
of  silver  in  the  presence  of  sufficient  quantities  of  liquor 
ammonia,  substantially  as  described. 

2.  The  preparation  of  dry  plates  for  photographic  purposes  by 
the  use  of  collodio-bro.nide  of  silver,  substantially  as  described. 

Patent  on  which  Stamp  Duty  of  £50  has  been  paid. 

1217.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patent  Agents,  Southampton  Buildings,  London,  for 
an  invention  of  “ Improved  apparatus  for  facilitating  the  read- 
ing or  examination  of  microscopic  photographs  of  written  or 
printed  documents,  pictures,  statuary,  natural  objects,  or  the 
like.” — A communication  to  him  from  abroad  by  Eusebius  J. 
Molera  and  John  C.  Cebrian,  both  of  San  Francisco,  California, 
United  States  of  America. — Dated  20th  March,  1880. 


CERTAIN  NOTES. ON  DEVELOPING  ROOMS,  ETC. 

BY  SAMUEL  FRY. 

A great  boon  has  been  conferred  on  us  this  season  by 
the  new  “ cherry  fabric  ” for  windows  and  lanterns : by 
this  we  get  by  far  the  best  light  yet  known  for  developing. 
It  is  a complete  confirmation  of  the  views  I have  long  ex- 
pressed, that  ruby  is  by  no  means  a satisfactory  deve- 
loping colour  for  windows  or  lamps,  from  the  fact  that  to 
be  safe  it  has  to  be  extremely  dark  and  glaring  in  colour, 
and  the  rest  of  the  room  is  nearly  dark.  With  cherry 
fabric  the  opposite  is  found  to  be  the  case — the  room  is 
cheerfully  lighted,  and  the  colour  quite  safe.  With  a 
window  even  of  large  dimensions,  on  which  the  sun  does 
not  shine  much,  two  thicknesses  are  quite  safe,  but  the 
glass  of  the  windows  should  either  be  lightly  stippled  with 
paint,  or  have  tissue  paper  laid  over  the  object  to  prevent 
direct  passage  of  rays  of  light  through  the  small  interstices 
of  the  fabric.  The  same  precaution  should  be  used  in 
covering  lanterns  with  this  material — one  thickness  is 
quite  safe  for  either  gas  or  petroleum  lantern,  but  tissue 
paper  should  be  laid  over.  The  practice  of  developing  by 
artificial  light  has  of  late  rapidly  extended.  During  dull 
weather,  or  at  night,  its  convenience  was  soon  discovered, 
and  extended  to  all  work,  day  and  night.  The  lantern,  of 
which  this  is  an  engraving,  is  known  in  the  States  as 
Carbutt’s,  and  is  a most  convenient  one.  It  is  to  be  hoped 
some  house  will  supply  them,  both  for  gas  and  oil  lamps, 
aud  with  a ventilating  chimney,  as  in  hot  weather,  aud  >1 
small  rooms,  it  is  very  disagreeable.  The  great  advantage 
of  this  system  is,  that  a uniform  density  can  be  got  on 
negatives  by  the  light  being  always  the  same. 

An  erroneous  idea  has  got  abroad  that  the  walls  and 
ceiling  of  a developing  room  should  be  black.  This  is 
wrong ; they  should  be  light  in  colour.  The  reflections 
from  walls  are  the  same  as  the  colour  causing  the  r"flec- 


Mabch  16,  1883.J 


THE  PHOTOGRAPHIC  NEWS 


m 


tions,  and  no  daDger  can  possibly  aiise  ; with  dark  walls 
the  room  is  gloomy  in  the  extreme,  without  any  advantage. 


Lantern  arranged  for  making  positives  by  contact. 


Now  a word  on  developing.  I have  said  before,  and  I 
repeat  now,  it  should  be  rapid.  Under  three  minutes 
should  be  the  average,  and  such  power  should  be  obtained 
as  to  avoid  intensification.  I have  elsewhere  given  the 
annexed  formula  as  one  that  develops  every  plate  T know 


Lantern  arranged  for  developing,  and  after  fixing,  examining  negatives 
by  opal  light. 


with  unfailing  success,  and  gives  that  kind  of  negative  re- 
ferred to  by  that  most  successful  artist,  Mr.  Abel  Lewis, 
who  in  conversation  told  me  he  always  got  up  full  density 
in  his  dry  plate  negatives,  and  never  intensified  them,  pre- 
ferring them  reduced  afterwards,  if  need  be,  by  citric  acid 
and  alum,  to  using  aoy  kind  of  intensifier.  I fully  endorse 
this  view.  Please  note  this  formula  : — 


A. 

Acid  pyrogallol  ... 
Acid  citric 
Water  


1 ounce 
30  grains 
12  ounces 


B. 

Ammonium  bromide 
Ammonia  liquor  ’880 
Water  


300  grains 
1 ounce 
1 


Stock  solution.  Dilute  for  use  thus  : — 


A.  — 1 ounce  to  15  ounces  water. 

B.  1 ,,  15  ,,  ,, 


It  is  a great  advantage  that  these  preparations  are  com- 
posed simply  of  all  the  materials  we  have  at  hand,  and 
that  this  keeps  indefinitely.  Development  is  immediate, 
and,  by  adding  more  of  either,  fresh  energy  is  imparted. 
The  great  antidote  to  green  fog,  yellow  stains,  dichroic 
fog,  &c.,  is  prompt  development  in  strong  solution,  and 
then  thorough  washing  in  the  non-actiuic  light. 

One  more  point  while  on  these  matters.  We  hear  from 
time  to  time  of  dry-plate  negatives  being  soft  and  pappy 
after  varnishing  ; but  I have  never  heard  of  any  goiug  so 


that  have  been  treated  as  I will  now  describe,  and  never 
expect  to.  After  well  washing  from  the  developer,  soak 
before  fixing  in  weak  alum,  fresh  daily  (why,  by-the- 
way,  do  people  so  strongly  object  to  the  “ bother  ” of 
using  alum?  it  makes  the  plates  much  better  for  retouch- 
ing, and  absolutely  insoluble)  ; then,  after  the  final 
washing  before  varnishing,  make  them  very,  very  hot,  and 
let  them  rest  so  for  a short  time,  and  then  cool  to  var- 
nishing temperature.  1 know  from  personal  experience, 
and  from  considerable  opportunities  of  judging,  that  plates 
so  treated  stand  being  for  ever,  apparently,  in  the  printing 
frame  successfully,  but  that  plates  intensified  by  mercury, 
or  where  alum  is  omitted,  or  only  a baud  warmth  used  for 
varnishing,  either  fade  away  or  become  soft  and  sticky, 
taking  silver  off  the  paper,  and  thus  soon  being  utterly 
destroyed. 


FRENCH  CORRESPONDENCE. 
Chromo-Phototype  Prints  from  the  Firm  of  Lahure — 

M.  Lamy’s  Positive  Gelatino-Bromide  Paper. 

Chromo -Phototypes.  — Among  the  illustrated  works  in 
which  polychromatic  photo-engraving  in  relief  has  been 
employed,  we  must  mention  a real  gem  issued  by  the  firm 
of  Lahure ; it  is  entitled,  Le  Conte  de  1' Archer.  This  book  is 
admirably  printed  as  to  type,  paper,  &c.,  and  illustrated  by 
a certain  number  of  chromo-phototypes  interspersed  with 
the  text,  in  the  manner  of  Kate  Greenaway’s  publications. 
The  firm  of  Gillot  has  executed  these  pictures  with  great 
success  from  water-colour  sketches  by  M.  Poirson.  The 
impressions  are  taken  in  six  colours,  and  the  result  is 
charming — a real  feast  for  the  eyes,  and  a delight  to  all 
bent  on  progress ; the  work  is  said  to  be  only  the  fore- 
runner of  many  others  of  the  same  kind. 

M.  Lamy's  Paper. — I have  experimented  on  M.  Lamy’s 
gelatino-bromide  paper.  It  is  not  suitable  for  positive  im- 
pressions ; it  is  covered  with  too  thin  a film  of  gelatino- 
bromide  for  that  purpose.  M.  Lamy  prepares  it  by 
machinery  in  lengths  of  five  metres,  one  metre  broad. 
Unfortunately,  the  toning  of  these  prints  is  difficult  even 
under  favourable  conditions.  Gold  toning  just  causes  them 
to  lose  a little  of  the  coldness  of  their  tone,  after  develop- 
ment, washing,  fixing,  &c.  However,  such  as  it  is,  the  tone 
is  by  no  means  unpleasing ; if  it  does  not  rival  prints  on 
albumenized  paper,  it  is  none  the  less  agreeable,  and  this 
extremely  sensitive  paper,  so  that  a print  is  obtained  in  a 
few  seconds  by  the  light  of  a candle,  may  render  good 
service  in  the  art  of  reproduction.  If  M.  Lamy  could 
obtain  reversible  pellicle  paper  like  M.  Thiebaut’s,  his 
success  would  be  complete.  The  development  of  the 
print  is  effected  in  the  same  way  as  ordinary  negatives, 
with  a mixture  in  suitable  proportion  of  two  solutions  of 
neutral  oxalate  of  potash  and  sulphate  of  iron,  to  which 
may  be  added  a few  drops  of  a solution  of  citric  acid. 

Leon  Vidal. 


WASHING  LEUCINE  OUT  OF  EMULSION. 

BY  A.  L.  HENDERSON.* 

Mr.  A.  Haddon,  a few  weeks  ago,  read  a paper  before  you  detailing 
some  experiments  with  a compound  called  leucine,  which  I 
lately  introduced.  Since  then  I have  made  several  experiments, 
which  to  a certain  extent  disprove  the  correctness  of  the  theory 
that  all  colloids  do  not  pass  through  gelatine. 

The  experiment  Mr.  Haddon  made  was  to  use  a piece  of  filtering 
paper,  impregnated  with  pure  gelatine  as  a septum.  This  test, 
as  far  as  the  manufacture  of  gelatine  emulsion  is  concerned,  is 
not  conclusive,  as  an  emulsion  contains  soluble  salts  as  well 
as  the  precipitated  bromide  of  silver,  which  may  render  the 
gelatine  somewhat  porous.  I have  repeated  Mr.  Haddon’s 
experiment,  substituting  emulsion  containing  its  salts  in  lieu  of 
the  pure  gelatine  ; and  i find  not  only  does  the  leucine  dialyse 
out,  but  it  will  filter  through  the  septum.  I propose  to 
demonstrate  to  you  this  evening  that  leucine  will  dissolve  out 

* Head  befere  the  London  and  Provincial  Photographic  Association. 


172 


THE  PHOTOGRAPHIC  NEWS. 


[March  16,  1883, 


of  gelatine — that  is  to  say,  gelatine  that  is  broken  up  as  is  used  in 
the  washing  process  of  emulsion.  I have  here  one  drachm  of 
dry  gelatine  to  which  I will  add  two  ounces  of  leucine  solution. 
I will  melt  this  together,  allow  the  gelatine  to  set,  and  will 
then  break  it  up  very  finely  in  three  ounces  of  distilled  water  ; 
after  standing  for  five  minutes,  I will  place  a drop  or  two  of  the 
aqueous  liquid  on  a piece  of  glass,  and  evaporate  it  over  a spirit 
lamp,  and  you  will  find  a residue  left  which  is  perfectly  soluble 
in  cold  water,  and  is  a gummy  substance.  Mr.  Graham  states,  in 
Fownes’  Chemistry,  that  “ diffusion  is  slow  with  non- crystalline 
bodies,  which,  like  gelatine,  are  capable  of  forming  a jelly,  though 
even  here  exceptions  are  met  with.”  On  behalf  of  leucine,  I 
claim  it  as  an  exception. 

Since  making  the  above  experiments,  I have  tried  another — 
namely : after  well  washing  the  gelatine  I re-melted  it,  setting 
and  re-washing  without  finding  any  residue,  when  a few  drops 
were  evaporated  on  a glass  plate. 


A COLLODION  NOTE. 

BY  J.  KAY. 

Now  that  dry  plates  are  so  generally  used  by  photo- 
graphers, it  happens  that,  where  the  wet  collodion  process 
is  not  entirely  abandoned,  the  collodion  iodized  for  a long 
time  becomes  highly  coloured,  so  much  so,  indeed,  in 
some  instances,  as  to  be  exceedingly  slow  in  its  action. 
The  cause  of  this,  undoubtedly,  is  acidity.  In  practice  I 
have  found  that  the  addition  of  two  drops  or  more,  as  the 
case  may  be,  of  strong  liq.  amm.,  -880  sp.  gr.,  to  one  pint 
of  collodion,  then  well  shaken,  an  invaluable  expedient, 
restoring  the  collodion  to  its  original  colour,  and  securing 
an  amount  of  sensitiveness  really  surprising.  The  ammo- 
nia should  be  of  full  strength,  as,  when  diluted  with  water, 
twice  the  quantity  is  required,  while  a weaker  solution 
generally  produces  a honey-combed  appearance  in  the  film 
if  used  to  any  considerable  extent — say,  nine  or  ten  drops 
to  the  pint. 


DRY  FLATES  AND  CORRECTNESS  OF 
EXPOSURE. 

BY  ALFRED  ELLIOTT. 

I have  read  so  much  in  the  photographic  journals  during 
the  last  year  of  the  apparently  many  faults  that  dry 
plates  possess,  and  which  I am  pleased  to  say  I have  never 
discovered,  that  I have  presumed  to  send  you  a short 
account  of  my  simple  method  of  working,  that  perhaps 
may  be  of  some  little  service  to  a few  of  my  less  fortunate 
brother  operators.  My  system  or  method  has  convinced 
me  that  what  failures  I have  had — and  of  course  I have 
had  many,  out  of  the  thousands  of  plates  I have  exposed 
and  developed— have  been  the  result  of  my  want  of 
experience  or  care,  and  not  the  fault  of  the  plates.  First, 
then,  as  to  what  I consider  important  aids  to  success : 
using  the  plates  of  only  one  maker,  and  that  a good  one  ; 
having  a good  light  of  the  right  sort  in  your  dark  room  ; 
(I  prefer  an  artificial  one,  it  being  always  of  the  same 
strength,  and  consequently  lessening  the  risk  of  over  or 
under  developing)  ; and  now,  most  important  of  all — 
Correctness  of  Exposure. — Only  let  photographers  of  wet 
plate  experience  use  their  brains,  and  thtir  utmost  care  in 
every  exposure,  then,  and  not  till  then,  the  developing 
will  become  easy,  and  flatness,  weakness,  and  hardness  of 
image  will  be  known  no  more,  and  dry  plates  will  be 
hailed  as  a blessing.  As  a slight  instance  of  the  import- 
ance of  exposure,  imagine  that  by  mistake  two  seconds’ 
exposure  has  been  given  to  a dry  plate  (twenty  timesquicker 
than  wet),  instead  of  the  second,  the  resulting  negative 
must  be  on  a par  at  the  very  least  with  a wet  negative 
that  has  received  forty  seconds  instead  of  twenty,  and 
which  last,  all  practical  photographers  know,  will  not  be 
as  good  as  if  it  had  been  correctly  exposed,  with  all  the 
advantages  it  has  received  with  the  now  considered  wonder- 
fully accommodating  iron  developer.  I believe  that  if  we 


time  our  dry  plates  as  correctly  as  we  used  to  do  our  wet, 
then  we  shall  find  that  pyrogallic  is  as  obliging  and  able  to 
cover  our  faults  as  ever  iron  was.  Correctness  of  exposure 
was  always  necessary  to  produce  excellence  in  results,  and 
until  the  photographer  times  his  dry  plates  with  ten  and 
twenty  times  more  exactness  than  he  did  his  wet,  certainty 
and  uniformity  in  his  negatives  he  will  not  get,  and  must 
not  expect. 

By-the-bye,  I might  mention  that  I always  use  pyro- 
gallic development,  and  the  alum  bath  after  developing, 
and  that  I have  never  had  a single  case  of  frilling  or  green 
fog  out  of  the  many  thousands  of  the  makers’  plates  that 
I have  used. 


(fcomsponiifna. 

A PHOTOGRAPHER’S  VISIT  TO  THE  ANTIPODES. 

Deab  Sia, — Being  on  a visit  to  the  Colonies,  I thought 
a Hue  to  the  readers  of  the  News  at  home  anent  what  is 
doing  this  side  of  the  Orange  might  possibly  be  of  some 
little  interest. 

Melbournites  should  be  well  photographed,  there  being 
at  least  half-a-dozen  flourishing  studios  within  as  many 
hundred  yards,  and,  judging  from  the  specimens  exhibited 
in  the  different  6how-cases,  the  work  all  over  is  good.  On 
inquiring  of  some  friends  as  to  who  are  considered  the 
ptincipal  photographers  in  the  city,  I was  told  that  the 
names  of  Mr.  Lindt,  and  Messrs.  Johnston,  O’Shanessy, 
and  Co.,  stood  well  in  favour  with  the  Victorians ; I 
accordingly  “ went  for  them.” 

I had  the  good  fortune  to  find  Mr.  Lindt  at  home,  and 
on  being  shown  into  the  mystery  of  mysteries,  was  very 
cordially  received  by  him.  Mr.  Lindt’s  studio  and  “ tiny” 
reception  room  are  models  for  any  photographer  to  copy 
from  (I  say  “tiny”  reception  room,  for  I was  fairly 
staggered  at  the  rents  paid  for  even  a small  entrance  in 
this  wondetful  city  of  thirty  years’  growth)  ; everything  is 
neat,  clean,  and  all  in  perfect  good  taste.  Mr.  Lindt  does 
not  select  his  accessories  from  photographic  dealers’  cata- 
logues ; he  has  little  furniture  in  his  studio,  but  that  little  is 
selected  from  any  first-rate  cabinet-maker’s  stock.  Whenever 
a chair  or  Davenport  of  artistic  design  is  met  with,  it  is 
taken  into  his  service;  this,  combined  with  artistic  posing 
and  lighting,  gives  their  special  charm  to  Mr.  Lindt’s  un- 
phetographic  pictures. 

I was  shown  some  very  fine  five-inch  vignette  heads 
direct  from  life,  obtained  with  from  four  to  five  seconds’ 
exposure,  certainly  leaving  little  to  be  desired.  While 
waiting  in  the  reception  room,  I looked  over  some  portfolios 
of  landscape  work.  Scenes  of  Australian  bush-life,  pictures 
in  fairyland  (as  Mr.  Lindt  has  christened  them),  and  some 
fern  pieces  being  amongst  the  best  landscape  work  I have 
6een.  At  my  request  Mr.  Lindt  has  promised  to  send  you 
a few  out  of  his  series,  so  that  you  may  give  the  readers  of 
the  News  some  idea  of  the  work  their  Colonial  cousins  are 
doing.  In  the  course  of  our  chat,  Mr.  Lindt  told  me  that 
the  Victorian  Government  had  been  asked  to  place  a pro- 
tective duty  on  dry  plates  to  enable  some  local  man  to  make 
them  at  a profit  (to  himself  only).  This  the  Melbourne 
photographic  fraternity,  headed  by  Mr.  Lindt,  stoutly  re- 
sisted, and  succeeding  in  quashing  meantime. 

1 spent  an  exceedingly  pleasant  and,  to  me,  instructive 
half  hour  with  Mr.  Lindt,  and  only  regret  that  I could  not 
avail  myself  of  his  hearty  invitation  to  go  to  the  Australian 
Alps  with  him  on  a photographic  tour  he  was  on  the  eve 
of  starting  for. 

Messrs.  Johnson,  O’Shanessy,  and  Co.,  photographers  to 
II.R.H.  The  Duke  of  Edinburgh,  have  a fine  display  of 
photographs  in  the  entrance  hall  leading  to  their  studio. 
Mr.  Hasler,  managing  partner  of  the  firm,  showed  me  every 
attention  during  my  visit.  The  business  of  this  firm  is 
purely  portraiture,  of  which  they  have  their  hands  well 


March  16,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


173 


filled,  their  average  number  of  sitters  being,  I was  told, 
about  thirty  : prices  received  for  cabinet,  40s.  per  dozen  ; 
enamelled,  50s.  per  dozen.  The  speciality  of  this  firm  seems 
to  be  instantaneous  photographs  of  children,  great  care  and 
attention  being  paid  to  the  lighting  and  posing  of  this,  the 
most  delightful  of  all  classes  of  portraiture.  The  Colonials 
seem  to  have  a great  fancy  for  enamelled  pictures;  in  fact, 
Mr.  Hasler  told  me  the  most  of  their  customers  would  not 
have  pictures  unless  enamelled. 

Both  Mr.  Lindt  and  Messrs.  Johnson,  O’Shanessy,  and  Co., 
are  holders  of  medals  and  orders  of  merit  from  all  the  exhibi- 
tions at  which  they  have  shown  their  work. 

In  Dunedin  the  two  names  most  to  the  front  are,  for 
portraits,  Mr.  Morris,  and  for  landscapes,  Mr.  Burton.  Mr. 
Morris  received  me  very  heartily,  and  readily  showed  me  all 
over  his  model  establishment.  The  studio  is  one  of  the 
prettiest  I have  been  into,  Mr.  Morris  having  discarded  the 
usual  bluish  tint  for  the  walls,  and  instead  has  had  his 
studio  very  nicely  papered  and  painted,  the  walls  being 
decorated  with  antique  ornaments,  one  or  two  nice  little 
sketches  in  oils,  and  sundry  nick  nacks,  which  all  go  to 
make  a pleasing  variety  for  the  eye  to  rest  on  while  “ being 
took.’’ 

Great  attention  is  paid  to  retouching,  Mr.  Morris  assuring 
me  that  be  personally  gave  the  finishing  touches  to  all 
negatives  before  passing  them  to  the  printer.  In  re  the 
much  discussed  proofs  question,  all  proofs  from  this  studio 
are  submitted  untouched,  and  he  does  not  find  any  excep- 
tion taken  to  this  method,  any  objection  as  to  the  roughness 
of  the  face,  &c.,  being  met  by  showing  a nicely-retouched 
and  finished  proof  of  some  previous  sitter  alongside  of 
of  their  rough  proof— one  great  recommendation  to  this 
system  being  that  sitters  can  see  proofs  in  two  days,  and,  in 
cases  of  urgency,  the  day  after  sitting.  I find  that  dry 
plates  have  not  wholly  supplanted  by  wet  in  this  part  of  the 
world  ; but  Mr.  Morris’  work,  both  wet  and  dry,  leaves  very 
little  to  be  desired. 

I spent  several  pleasant  half-hours  chatting  with  Mr. 
Burtoo,  through  whose  charming  series  of  New  Zealand 
scenery  it  gave  me  very  great  pleasure  to  look.  Mr.  Burton 
has  quite  laid  aside  the  wet  plates,  and  has  done  several 
successful  trips  with  the  dry.  From  his  graphic  description 
of  the  many  difficulties  encountered  by  the  landscape  photo- 
grapher in  New  Zealand,  the  unusual  advantage  of  dry 
versus  wet  is  conclusively  shown,  and  certainly,  with  such 
results  a9  Mr.  Burton  showed  me,  he  will  have  no  cause  to 
regret  the  change. 

I had  the  pleasure  of  meeting  with  several  amateurs  here, 
one  in  particular,  Mr.  John  Sommerville,  ajgenial  Scotch- 
man, who  showed  me  some  work  of  his  done  about  fourteen 
years  ago,  which  would  do  credit  to  many  a modern  pro- 
fessional. 

One  thing  that  has  struck  me  in  my  visits  to  the  Colonial 
photographers  is  the  good  feeling  that  exists  amongst  them 
towards  one  another.  I only  in  one  instance  met  with  a 
firm  who  had  a secret  process,  and  was  rather  amused  to 
find  that  this  said  secret  was  worked  many  years  ago  by  an 
amateur  in  Dunedin.  The  above-mentioned  secret  (!)  is  a 
very  clever  style  of  combination  printing  which  I may,  on 
my  return  to  the  old  country,  trouble  your  readers  with  a 
description  of. 

There  is  nothing  new  in  all  the  foregoing  gossip,  and  I 
can  only  plead,  as  my  excuso  for  occupying  valuable  space, 
the  pleasurable  interest  the  visits  I have  attempted  to 
describe,  gave  me. — i am,  dear  sir,  yours  truly, 

E.  N.  E. 


CIIERRk  FABRIC. 

Sir, — Will  you  permit  us  to  thank  Captain  Abney  for 
pointing  out  in  his  paper,  published  last  week,  that  when 
cherry  fabric  is  employed  to  protect  against  the  electric 
light,  “ it  should  be  used  with  orange  paper  to  cut  off 
the  blue  and  violet,  and  then  nothing  but  red  will  pass.-’ 


A fact  of  value  cannot  be  repeated  too  often,  and  therefore, 
this  repetition  of  our  own  statement  we  are  grateful  for. 
When  wc  first  submitted  the  material  to  the  attention  of 
your  readers  we  not  only  enclosed  a sample  in  the  Photo- 
graphic News,  so  that  photographers  might  judge  for 
themselves,  but  we  had  printed  on  every  sample  “ the 
cherry  fabric  is  a sure  protection  against  ordinary  artificial 
light,  and  with  a sheet  of  orange  or  non-actinic  paper 
will  shield  against  full  sunlight  or  electric  light.”  By 
ordinary  artificial  light  we  mean  a candle  flame  or  small 
gas  jet,  such  as  is  employed  in  most  dark  rooms  ; and 
although  you,  sir,  pointed  out  some  months  ago  that 
cherry  fabric  was  penetrated  by  the  light  of  a fish-tail 
burner,  this  was  after  an  exposure  of  five  minutes.  In 
any  case,  for  gas  flames,  a double  thickness  of  cherry 
fabric  may  always  be  relied  upon — lor  pinholes  cannot 
always  be  avoided  in  the  manufacture  ; while  protection 
from  daylight  or  electric  light  may  be  ensured,  as  we  said, 
by  employing  orange  paper  in  conjunction  with  the  fabric. 

We  have  troubled  you  with  this  note,  since  it  might 
appear  to  some  that  Captain  Abney’s  observation  was 
original.  We  would  not  for  one  moment  desire  to  interfere 
with  the  harmless  amusement  of  the  gallant  captain  in 
slaying  the  slain  before  the  members  of  the  Photographic 
Society,  but  when  a statement  appears  in  print  we  feel,  in 
justice  to  ourselves  that  some  attention  should  be  paid  to 
it. 

May  we  add  that  we  feel  particularly  grateful  to 
Mr.  Samuel  Fry  and  others,  who  gave  the  cherry  fabric 
so  good  a character  at  the  last  meeting  of  the  South 
London  Society. — Yours,  &c.,  Law,  Sons,  & Co. 

Foots  ('ray  Mills,  Kent. 


IODIDE  IN  GELATINE  EMULSION. 

Sir, — In  reply  to  Mr.  Penny,  in  your  last  number  but 
one,  allow  me  to  say  that  the  “amusing  non  sequitur"  is 
made  by 'giving  his  own  interpretation  to  the  case  in  point. 
— Yours  faithfully,  W.  de  W.  Abney. 


REDUCING  OVER-PRINTED  SILVER  PRINTS. 

Sir, —The  subject  of  reducing  over-printed  silver  prints 
having  again  cropped  up,  will  you  permit  me  to  describe 
a process  I have  lately  used  with  unqualified  success. 

After  removing  from  the  hypo,  bath  such  prints  as  have 
been  rightly  printed,  I lift  the  remainder  up,  and  add  to 
the  fixing  solution  a small  quantity  of  tincture  of  iodine 
and  a solution  of  cyanide  of  potassium,  then  again  im- 
merse the  prints. 

I cannot  give  any  definite  proportions,  as  I have  simply 
worked  by  the  rule-of-thumb,  according  to  the  depth  of 
my  prints ; but  this  I can  say,  that  prints  apparently  use- 
less—and  which  would  have  been  so,  perhaps,  otherwise 
treated — come  up  as  bright  and  vigorous  as  those  which 
have  received  but  the  ordinary  treatment,  and,  what  is 
more  to  the  purpose,  but  little  altered,  and  often  improved 
in  tone.— Youis  truly,  R.  Stanley  Freeman. 


“INIv-PHOTO.” 

Sir, — Referring  to  an  article  an  your  issue  of  March  9th 
last,  by  Mr.  T.  W.  Wilkinson,  we  beg  to  remind  you  that 
the  name  “ luk-photo”  was  copyrighted  by  us,  and  duly 
registered  as  a trade-mark ; and  we  must  caution  your 
readers  against  any  infringement  or  colourable  imitation 
of  it. 

Our  process  being  a secret  one,  we  shall  not  attempt  to 
put  Mr.  T.  W.  Wilkinson  right,  but  are  quite  content  that 
vour  readers  should  prove  for  themselves  how  very  far  he 
is  wrong,  reminding  them  that  they  are  not  at  libeity  to 
infringe  our  trade-mark  by  calling  any  results  they  may 
obtain  by  any  process  whatever  “ Ink- Photos.” — We  are, 
sir,  your  obedient  servants,  fcjPRAGUE  AND  Co. 


174 


THE  PHOTOGRAPHIC  NEWS. 


Drocfdnijgs  d Shrritiin. 

Photographic  Society  of  Great  Britain. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held  on 
Tuesday  evening,  the  13th  inst.,at  5a,  Pall  Mall  East,  Mr.  James 
Glaisher,  F.R.S.  (President),  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  Messrs.  W.  E.  Debenham  and  George  Renwick  were 
duly  elected  members  of  the  Society. 

Mr.  A.  Cowan  then  read  a paper  entitled  “ Gelatino- Chloride 
Emulsion  for  the  Camera,”  in  the  course  of  which  he  remarked 
that,  whilst  on  all  hands  the  beauty  of  the  process  was  acknow- 
ledged, it  was  still  thought  to  be  too  slow  for  the  camera  ; but 
he  wished  to  show  that  the  process  could  be  rendered 
as  rapid  as  the  gelatino-bromide,  and  still  retain  the  variety  of 
tone'obtainable  with  gelatino-chloride.  With  regard  to  the  latter 
process,  he  was  of  opinion  that  no  great  variety  of  tone  is  ob- 
tainable by  simply  altering  the  exposures  when  using  a fixed 
developer,  but  he  found  that  with  the  ferrous-citrate  developer, 
without  any  oxalate,  a great  variety  of  tones  can  be  got  by  enor- 
mously increasing  the  exposure,  and  very  greatly  restraining  the 
developer.  He  had  made  experiments  with  ferrous-oxalate,  and 
had  not  found  any  change  of  colour  with  any  amount  of  expo- 
sure, but  simply  a denser  deposit ; and  he  found  that  the 
slower  the  image  comes  up,  the  warmer  the  colour,  and  vice 
versa.  The  method  by  which  he  procured  his  gelatino-chloride 
emulsion  was  that  given  by  Dr.  Eder  in  the  Year-Book  for 
1882.  Mr.  Cowan  handed  round  for  inspection  several 
transparencies  illustrating  the  different  varieties  of  tone  he  had 
obtained  by  the  different  methods.  At  the  conclusion  of  the 
paper, 

Captain  Abney  said  that  perhaps  he  himself  had  worked  more 
with  the  chloride  than  anyone  present.  Last  year,  when  in 
Switzerland,  he  took,  for  experimental  purposes,  a lot  of  gelatine 
boiled  chloride  plates,  and  he  thought  they  were  more  brilliant 
than  bromide  plates,  but  there  was  no  difference  between  the 
two  in  rapidity.  In  summer  he  found  the  chloride  plates  equally 
as  good  as  the  bromide.  Some  time  ago  Mr.  Cowan  had  only  tried 
the  iron  developer,  but  he  (Captain  Abney)  thought  the  ordinary 
pyro  developer  could  be  used  by  diminishing  the  ammonia 
in  the  solution  ; then  chloride  will  come  up  more  rapidly  than 
the  bromide  plate.  In  relation  to  the  development  of  plates  by 
the  different  salts  of  iron,  he  might  say  that  the  ferious-citro 
oxalate  was  twenty  times  quicker  than  the  citrate  of  iron  deve- 
loper. Mr.  Cowan  told  him  he  could  develop  a plate  with  the 
ordinary  oxalate  of  iron,  but  he  must  confess  that  when  he  had 
tried  it,  it  had  not  been  so  successful  as  it  ought  to  have  been. 
The  great  secret  of  making  the  chloride  emulsion  was  to  use 
plenty  of  hydrochloric  acid. 

Mr.  W.  Bedford  said  he  had  tried  the  boiling  process,  and 
also  the  simple  emulsifying  process,  and  his  experience  was  that 
when  the  emulsion  is  boiled,  all  chance  is  lost  of  obtaining  that 
beautiful  warm  colour  which  all  aim  at  getting.  He  thought 
Mr.  Cowan  had  succeeded  in  getting  a rapid  process  with  warm 
tones,  which  he  (Mr.  Bedford)  considered  a great  advance.  He 
thought  Mr.  Cowan  was  much  to  be  commended  for  his  diligent 
experiments. 

Mr.  W.  K.  Burton  wished  to  ask  Mr.  Cowan  what  was  the 
guide  as  to  when  the  boiling  had  been  sufficiently  performed, 
and  what  was  the  limit  of  sensitiveness. 

Mr.  Cowan  said  it  was  scarcely  in  his  power  to  reply  to  this 
question,  having  only  made  one  boiled  emulsion,  and  that  took 
half  an  hour.  He  remarked  that  Mr.  Bedford  had  stated  that 
the  boiled  emulsion  loses  the  power  to  get  the  warm  colours  ; 
he  himself  did  not  think  that  this  was  the  case.  He  would  like 
to  ask  Captain  Abney  whether  it  is  correct  that  exposure  only 
will  alter  the  colour. 

Captain  Abney  said  with  retard  to  colour  with  ferrous-citro- 
oxalate,  if  you  reduce  the  strength  of  the  solutions  so  as  to  take 
the  same  time  as  the  ferrous  citrate,  you  get  the  same  colours. 
He  had  sometimes  been  able  to  get  a perfect  pink  picture  with 
ferrous-citro  oxalate  by  reducing  the  strength.  With  regard  to 
Mr.  Burton’s  question  what  was  the  guide  as  to  sufficiency  of 
boiling,  he  said  that  you  must  judge  by  the  colour.  If  you  go 
beyond  a colour  like  emerald  green,  you  get  fog  ; but  the  best 
time  to  8 top  is  when  you  arrive  at  sky-blue  colour ; that  is  the 
point  where  the  emulsion  is  most  free  from  any  tendency  to  fog, 
and  the  safest  point  after  that  is  when  you  get  the  green  colour. 
He  thought  a quarter  of  an  hour,  or,  at  the  most,  twenty  minutes 
was  quite  a sufficient  time  for  boiling. 


[March  16,  1883. 


At  the  suggestion  of  the  Chairman,  a warm  vote  of  thanks  was 
accorded  to  Mr.  Cowan  for  hi3  paper. 

The  Chairman  announced  the  receipt  of  some  coloured  pic- 
tures for  exhibition,  remarking  that,  as  the  colouring  was 
mechanical,  and  not  photographic,  they  would  not,  perhaps, 
possess  much  interest.  These  were  handed  round  for  inspection. 
He  also  announced  that  Mr.  Cade  had  written  asking  him  to 
bring  before  the  notice  of  the  members  the  proposed  Photo- 
graphic Copyright  Protection  Association,  and  said  that  he  had 
been  asked  to  inform  them  that  a meeting  would  be  held  on  the 
subject  at  Messrs.  Elliott  and  Fry’s,  on  Wednesday  evening,  the 
14  th  inst.,  at  seven  o'clock.  He  also  appealed  to  the  members 
for  the  loan  of  photographs  to  cover  the  walls  of  the  room,  as  the 
pictures  now  hanging  would  be  removed  before  their  next 
meeting. 

Mr.  John  Stiller  asked,  with  regard  to  the  date  of  the 
technical  meeting,  whether  it  might  not  be  advisable  to  pass  this 
meeting  over,  as  it  fell  on  Tuesday  in  Easter  week,  and  he 
thought  there  would  be  but  a meagre  attendance  on  such  an 
occasion. 

The  Chairman  replied  that  this  question  had  already  been 
considered,  and  as  the  notices  of  the  meeting  had  been  sent 
out,  it  was  deemed  advisable  to  adhere  to  the  date  fixed. 

The  meeting  was  then  adjourned  to  Tuesday,  the  10th  of 
April. 

Some  lantern  transparencies  were  afterwards  exhibited  in  the 
Society’s  new  lantern  by  Messrs.  Cowan,  England,  and  Bedford, 
illustrative  of  the  various  tones  obtainable  by  the  different  pro- 
cesses for  preparing  the  slides. 


London  and  Provincial  Photographic  Association. 

A meeting  was  held  on  the  8th  inst.,  when  Mr.  W.  M.  Ashman 
presided. 

After  discussion  on  the  question  of  “ Bath  for  Fixing  Nega- 
tives,” 

Mr.  Henderson  read  a paper  on  “ Washing  Leucine  out  of 
Emulsion  ” (see  page  171). 

Mr.  Haddon  also  read  a paper  entitled  “ Freeing  Emulsion  from 
Soluble  Colloids  ” (see  page  164). 

Mr.  Brown  did  not  think  the  precipitate  obtained  by 
Mr.  Haddon  on  the  addition  of  absolute  alcohol  to  the  leucine  was 
iodide,  as  he  himself  had  obtained  it  when  iodide  was  not  present. 
The  lower  the  temperature,  the  more  precipitate  he  obtained. 

Mr.  Haddon  said  it  was  not  soluble  in  cold  water.  He  thought 
it  was  not  possible  to  get  rid  of  all  the  leucine.  It  was  found  that 
gelatine  will  dissolve  a much  larger  proportion  of  lime  (phosphate) 
than  wafcr  will  in  its  pure  state. 

Mr.  Henderson  said  that  gelatines  which  were  stated  to  he 
some  of  the  hardest  in  the  market,  very  soon  lost  their  setting 
properties  with  ammonia. 

Mr.  Hatdon  said,  in  answer  to  a question,  that  more  gelatine 
would  be  precipitated  with  hot  alcohol  than  cold. 

Mr.  W.  Cobb  had  tried  the  new  reducing  agent  called 
‘‘  briiliautine,”  and  found  it  gave  no  better  results,  if  so  good,  as 
the  formulae  already  given  for  the  purpose. 

Mr.  W.  E.  Debenham,  as  an  illustration  of  the  fact  that 
parchment  paper  was  not  a safe  septum  to  employ  for  dialysis, 
showed  two  samples  of  a gummy-looking  substance,  the  result,  of 
dialysis,  with  a septum  that  to  the  eye  appeared  perfect,  of  an 
ounce  of  meta-gelatine.  The  larger  sample,  weighing  rather  more 
than  twice  as  much  as  the  other,  was  the  product  of  the  washing 
water  evaporated  down,  whilst  the  smaller  one  was  what  was  left 
in  the  dialyser  dried. 

Mr.  P.  J.  Keate  was  elected  a member  of  the  Association. 


Edinburgh  Photographic  Society. 

The  fifth  ordinary  meeting  was  held  in  6,  St.  Andrew  Square,  on 
the  7th  inst.,  Mr.  James  Henderson  in  the  chair. 

The  minutes  having  been  approved,  the  following  gentlemen 
were  elected  ordinary  members : — Mr.  Charles  G.  C.  Christie, 
Captain  F.  F.  Parkinson,  Mr.  Samuel  Hunter,  and  Mr.  J. 
Macnaughten. 

The  first  paper  was  by  Mr.  Andrew  B.  Stewart,  on  “Gela- 
tine Plates  for  Transparencies  ” (see  page  1G5). 

In  proposing  a vote  of  thanks  to  Mr.  Stewart,  Mr.  W . T. 
Basuford  said  he  considered  the  paper  read  was  of  great  value 
as  a record  of  failures,  a feature  in  our  experiments  too  often  kept 
in  tho  background.  The  varying  stages  in  Mr.  Stewart’s  progress 
towards  success  were  extremely  interesting,  and  the  result  as  to 


THE  PHOTOGRAPHIC  NEWS. 


175 


March  16,  1883.J 


colour,  purity  of  high  lights,  and  wonderful  translucency  in  the 
dense  portions  of  (he  prints  exhibited,  were  certainly  a distinct 
advance  on  any  gelatine  transparencies  hitherto  brought  before 
the  Society. 

Mr.  J.  M.  Turnbull  advocated  collodio-bromide  dry  plates 
as  peculiarly  suitable  for  lantern  transparencies. 

The  second  paper,  entitled  “ Notes  on  Green  Fog,”  was  read  by 
Mr,  J.  M.  TrRNBUi.L  (see  page  167). 

Mr.  M’Kean  supported  Mr.  Turnbull  in  his  opinion  that  much 
of  the  evil  known  as  green  fog  was  caused  by  the  employment  of 
a hard  repellant  gelatine.  Mr.  Tamkin  stated  that  greeu  fog  had 
never  occurred  in  his  practice,  but  he  had  procured  a negative 
which  exhibited  the  evil  iu  a marked  degree. 

Dr.  Hunter  wondered  if  the  source  of  the  gelatine  had 
anything  to  do  with  the  production  of  some  of  the  evils 
associated  with  modern  dry  plates.  While  iu  Paris  some  time 
ago  he  was  amazed  at  the  distinctions  there  drawn  between  the 
various  gelatines  derived  from  bones.  In  that  city  he  had 
noticed  samples  of  gelatine  from  sheep-bones,  ox-bones,  horse- 
bones,  and  bones  of  other  animals  ; the  most  beautiful  iu 
appearance,  and  which  was  used  for  choice  decorative  purposes, 
was  the  gelatine  obtained  from  the  bones  of  the  rat — which 
animal  of  an  unusually  large  size,  was  found  in  enormous 
numbers  in  the  sewers. 

The  Chairman  tendeied  the  thanks  of  the  meeting  to  Mr. 
Turnbull  for  his  paper. 

Mr.  James  Howie  exhibited  some  prints  from  negatives  taken 
by  burning  magnesium  in  oxygen.  They  were  portraits  of  Mr. 
Normau  Macbeth,  E.S.A,,  and  Mr.  Alexander  Matheson,  and 
were  very  favourably  received. 

Mr.  A.  Craig-Christie,  F.R.S.,  directed  attention  to  the  fact 
that  the  combustion  of  magnesium  in  oxygen  was  sometimes 
attended  with  explosive  violence,  and  recommended  that 
precautions  be  taken  to  guard  against  the  possible  consequences 
of  such  a mishap. 

Mr.  Robert  Murray,  C.E.,  exhibited  some  exquisite  snow- 
scapes  taken  recently  upon  coffee-plates. 

After  a vote  of  thanks  to  the  Chair,  the  meeting  terminated. 


Manchester  Photographic  Society. 

TnE  ordinary  monthly  meeting  was  held  at  the  Mechanics’ 
Institute,  on  the  8th  instant,  Mr.  John  Pollitt  in  the  chair. 

The  minutes  of  the  previous  meeting  were  read  and  confirmed, 
and  Messrs.  Everett  Briggs  and  Benj.  B.  Wilson  elected  members 
of  the  Society. 

The  Hon.  Secretary  described  the  working  of  the  Stanno- 
type  process,  and  passed  round  a gelatine  mould  covered  with 
tinfoil,  and  prints  from  the  same.  The  simplicity  of  the  process 
was  much  admired.  A discussion  followed,  in  which  Mr.  A. 
Biothers,  Mr.  R.  Atherton,  and  others  took  part. 

Mr.  W.  J.  Chadwick  passed  round  a negative  (with  print) 
taken  ou  one  of  Professor  Stebbing’s  films,  the  result  being  very 
satisfactory. 

Mr.  J.  Greatorex  showed  two  transparencies  on  8.)  by  G| 
plates  of  his  own  preparation,  which  were  covered  with  spots, 
both  opaque  and  transparent,  as  well  as  an  UDexposed  plate  from 
the  same  emulsion,  which  was  perfectly  clean  and  free  from 
dust.  He  attributed  the  spots  to  the  iron  matter  in  the  water 
with  which  it  was  washed,  as,  on  making  subsequent  batches, 
and  using  only  distilled  water,  the  plates  developed  perfectly 
clean.  He  also  stated  that  he  had  lately  tried  the  hydrokinone 
developer,  as  recommended  by  Captain  Abney,  and  more  recently 
by  Mr.  E.  Howard  Farmer  ; but  he  could  not  speak  favourably 
of  it,  as  in  every  case  the  result  had  been  stained  films,  although 
with  the  ferrous  oxalate  developer  the  transparency  was  all  that 
could  be  desired.  He  could  not  remove  the  stain  by  any  method 
without  damage  to  the  picture. 

Mr.  J.  Schofield  exhibited  a few  capital  enlargements  on 
Morgan’s  argentic-bromide  paper,  and  stated  that,  as  several  of 
the  members  had  expressed  a desire  to  see  his  method  of  workinsr, 
he  had  come  prepared  to  show  them.  Presuming  the  picture  to 
be  enlarged  is  on  a plate  4]  by  3},  he  used  the  seiopticon  ; and 
to  prevent  the  necessity  of  having  to  turn  down  the  light  whilst 
the  sensitive  paper  was  being  put  into  position,  he  had  made  a 
box  which  held  the  lantern,  with  an  opening  in  the  front  for  the 
lens,  and  a sleeve  hole  at  the  back  for  regulating  the  light  and 
arrangements(  top  and  bottom,  for  admission  of  air,  but  through 
which  no  light  escapes.  The  negative  having  been  placed  in 
position,  and  focussed  on  a sheet  of  white  paper  on  a drawing- 
board,  hung  on  the  wall,  the  lid  of  the  box  was  fastened  on,  and 


a sheet  of  ruby  glass  in  front  of  the  box  placed  before  the  lens, 
and  the  paper  was  then  attached  to  the  drawing-board.  He  (Mr! 
Schofield)  stated  that  in  his  experience  the  results  were  much 
finer  if  the  exposure  were  made  on  the  dry  paper  rather  than 
when  wet ; but  it  was  difficult  to  get  the  paper  flat  upon  the 
board  by  using  pins.  By  cutting  a groove  down  each  side  of  the 
board,  and  having  a strong  wire  spring  to  fall  over  from  the  out- 
side, the  paper  was  drawn  tight  and  fiat.  The  arrangements 
were  very  simple,  and,  as  evidenced  by  the  work  shown  by  Mr. 
Schofield,  most  effective. 

The  Hon.  Secretary  read  a letter  from  Mr.  W.  Harding 
Warner,  asking  the  opinion  of  the  members,  “ if  an  ad  libitum 
quantity  of  plates  might  be  fixed  in  one  bath  of  hyposulphite  of 
soda  without  a deposit  of  sulphur  upon  the  films.” 

The  Chairman  and  Mr.  Atherton  both  stated  they  used 
the  bath  for  a great  many  plates — in  fact,  until  it  became 
exhausted — without  detriment  to  the  finished  negatives. 

Mr.  Chadwick  then  exhibited  the  “eclipse  ” light,  kindly  sent 
down  for  exhibition  by  Mr.  McLellan,  of  Glasgow,  and  a new 
camera  by  Mr.  Hare. 

A vote  of  thanks  having  been  passed  to  those  who  had 
contributed  to  the  evening’s  enjoyment,  the  meeting  was  ad- 
journed to  April,  when  Mr.  A.  Brothers,  F.R.A.S.,  will  show  how 
the  camera  may  be  used  in  connection  with  the  microscope. 

Halifax  Photographic  Club. 

On  Tuesday  evening,  March  6th,  the  ordinary  meeting  was  held, 
Mr.  W.  C.  Williams  (vice-president)  in  the  chair. 

The  minutes  of  last  meeting  being  read  and  confirmed, 

Mr.  Williams  exhibited  a very  beautiful  paper  print  from  an 
enlargement  15  by  12,  from  a gelatine  transparency  8J  by  6J, 
which  was  enlarged  with  Ross’s  ordinary  symmetrical  full-plate 
lens,  and  was  really  very  fine  and  sharp  to  the  edge.  He  also 
exhibited  a new  idea  for  a camera-stand,  which  was  not  quite 
complete,  but  will  be  fully  described  when  he  has  finished  it,  and 
will  be  a great  advantage  and  convenience  to  travelling  photo- 
graphers. 

Several  places  of  interest  were  mentioned  by  other  members 
for  tours  and  summer  excursions. 


Amateur  Photographic  Association. 

A council  meeting  of  this  Society  was  held  March  8th,  Mr. 
James  Glaishf.r,  F.R.S.,  in  the  chair. 

The  minutes  of  the  last  meeting  having  been  read  and  con- 
firmed, the  following  members  were  elected  : — Mrs.  Marion 
Abbott,  Messrs.  J.  H.  T.  Ellerbeck,  J.  W.  Baxendale,  Gerard 
Smith,  R.  B.  White,  C.  H.  James,  Theodule  Perrot,  J.  Minto, 
J.  S.  Byers,  H.  H.  O’Farrell,  and  A.  Tagliaferro. 

The  Secretary'  then  laid  before  the  meeting  the  prizes  which 
had  been  awarded  at  the  annual  meeting,  which  were  as  folk  ws  : 
— For  C.  Stephens,  a large  silver  goblet;  S.  Norman,  a large 
album  elegantly  bound  ; F.  Beasley,  a water  colour  drawing  iu 
frame  by  “Earp”;  W.  S.  Hobson,  an  album  elegantly  bound; 
F.  S.  Schwabe,  an  oil  painting  in  frame  by  “ Masters  ” ; G. 
Brook,  Junr.,  a silver  goblet ; R.  Leventhorpe,  a silver  goblet ; 
W.  Adcock,  an  oil  painting  in  frame  by  “ Masters  ” ; G.  W. 
Palmer,  Lord  de  Ros,  W.  Vanner,  each  an  album  elegautly  bound ; 
and  W.  Muller,  an  oil  painting  in  frame  by  “ Me  Evoy.” 

These  were  approved  by  the  meeting.  A vote  of  thanks  to 
the  Chairman  was  carried  unanimously. 


Mk  in  t[T£ 

South  London  Photographic  Society. — The  Hod.  Secret  a' y, 
Mr.  F.  A.  Bridge,  has  issued  the  following  circular  to  members  : — 
‘•Dear  sir, — At  the  next  meeting  of  the  Society,  to  be  held  at 
the  House  of  the  Society  of  Arts,  John  Street,  Adelphi,  on 
Thursday,  April  5th,  at  8 o’clock,  Mr.  H.  Trueman  Wood  will 
read  a paper  ‘ On  the  Methods  by  which  the  Vocal  Organs  have 
been  Photographed.’  The  following,  from  the  question  box, 
will  also  be  discussed  : ‘ When  large  pictures  are  required,  is  it 
better  to  take  them  direct,  or  to  take  small  negatives,  and  then 
enlarge  them  ? ’ With  reference  to  the  Artistic  Competition,  I 
have  to  inform  you  that  the  successful  competitors  for  February 
were  Mr.  John  Nesbit  (landscape,  ‘ A Rural  Spot  ’)  and  Mr.  W. 
Cobb  (figure,  ‘ The  Gardener ’j.  The  subjects  chosen  for  this 


176 


THE  PHOTOGRAPHIC  NEWS, 


[March  16,  1883. 


month  are— landscape,  ‘ Sunshine  ’ ; figure,  * Always  in  Trouble.’ 
Pictures  to  be  sent  addressed  to  me  at  the  Society  of  Arts,  on 
or  before  April  5th,  bearing  a private  mark  only,  accompanied  by 
an  envelope  bearing  a similar  mark  outside,  and  containing  the 
name  and  address  of  the  competitor.  The  pictures  will  be 
exhibited  at  the  next  meeting,  and  the  members  present  will 
then  decide  by  vote  which  are  the  successful  contributions. 
The  selected  pictures  of  each  monthly  competition  will  be  sub- 
mitted to  three  artistes  at  the  end  of  the  year,  and  a special 
award  will  be  made  for  the  best  picture  of  the  year.” 

Flight  of  Gulls. — Mr.  Henry  Sampson,  of  Southport,  sends 
us  some  striking  photographs  of  a flight  of  sea-gulls,  taken,  he 
tells  us,  with  one  of  Kirkby’s  shutters. 

According  to  the  journal  of  the  Russian  Physico-Chemical 
Society,  the  first  photographs  with  the  electric  light  were  made 
by  the  St.  Petersburg  photographer,  Mr.  Levitski,  in  the  winter 
of  1856.  If  Mr.  Levitski’s  photographs  were  made  no  earlier 
than  1856  his  claim  to  priority  in  this  application  of  the  electric 
light  cannot  be  maintained,  for  the  writer  of  this  distinctly 
remembers  seeing  photographs  taken  by  means  of  the  electric 
light  by  the  late  Professor  Silliman,  of  Yale  Cottage,  in  the 
winter  of  1852-3.  The  light  was  produced  by  the  current  from 
a galvanic  battery,  and  the  pictures  were  as  distinct  and  clear 
as  any  taken  by  sunlight,  though  marred  in  their  effect  by  the 
dense  and  heavy  shadows. — Massachusetts  Spy. 

Cause  of  the  Acid  Reaction  Exhibited  by  some  Kinds 
of  Paper. — By  Haerling.  It  has  been  stated  by  Feichtinger, 
that  paper  sized  with  resin  exhibits  an  acid  reaction,  which  he 
attributes  to  the  presence  of  free  sulphuric  acid.  According  to 
the  author,  the  acid  reaction  is  not  due  to  free  acid,  but  to  the 
presence  of  aluminium  sulphate,  which  is  used  for  fixing  the 
6ize. — Journal  oj  the  Chemical  Society. 

Photographic  Club.— On  Wednesday  next,  the  21st  inst., 
the  subject  for  discussion  will  be,  “ On  Methods  of  Filtering 
Emulsions  and  Coating  Plates.” 

♦ 

^omspondents. 

*„*  We  cannot  undertake  to  return  rejected  communications. 

*„*  Our  Publishers  desire  to  call  the  notice  of  Advertisers  to  the 
fact  that,  next  Friday  being  Good  Friday,  the  News  will  be 
published  on  Thursday  morning. 

J.  L.  Robin. — The  best  kind  of  arrangement  is  that  figured  on 
page  164  of  the  Year-Book.  If,  however,  you  do  not  wish  to 
make  it  on  such  a large  scale,  fix  the  runners  to  a long,  low 
bench  or  table,  to  the  other  end  of  which  is  brackctted  an  upright 
board.  The  complex  adjustment  for  moving  the  original  into 
any  required  position  may  well  be  omitted. 

J.  H.  M. — Make  them  of  pine- wood,  fne from  knots,  and  tongued 
or  dovetailed  together.  When  made,  soak  them  in  melted 
paraffin  wax. 

R.  P. — The  collodion  has  been  made  with  alcohol  containing  too 
much  water  : try  another  sample.  If  you  allow  a rather  longer 
time  than  usual  for  the  collodion  to  set,  the  mischief  will  be 
diminished. 

G.  F.  (Trowbridge). — 1.  The  temperature  has  not  any  direct  in- 
fluence as  regards  this  point.  2.  There  is  no  advantage,  what- 
ever in  making  use  of  a very  dilute  solution  ; indeed,  rather  the 
reverse.  3.  Either  immediately,  or  before  the  lapse  of  much 
time,  as  any  considerable  heating,  after  the  required  point  is 
reached,  may  do  mishief. 

C.  F.  Bailey. — We  have  found  the  quantity  recommended  in  the 
first  and  second  formula;  far  too  small,  and  should  recommend 
nothing  weaker  than  the  third.  2.  The  usual  liquid  ammonia. 
David  Green. — 1.  It  is  likely  to  consist  of  a mixture  of  mer- 
curous chloride  (calomel),  metallic  silver,  and  a basic  chloride  of 
silver.  2.  It  is  not  to  be  depended  upon. 

Purple  Brown. — 1.  The  acetate  bath  referred  to  in  the  Year- 
Book.  2.  You  must  use  more  gold,  and  allow  the  film  longer 
to  set.  Sensitize  your  own  paper.  3.  Galvanised  iron  is  not  so 
suitable,  as  the  zinc  is  extremely  liable  to  dissolve  off.  4.  Do  not 
over-expose,  and  be  especially  careful  not  to  fog  the  plates  in  the 
dark  room.  Wo  have  not  tried  the  preparation  referred  to. 

S.  Johns. — There  is  nothing  gained  by  the  use  of  such  an  exces- 
sively small  stop;  and  you  will  probably  gain  nothing  by  working 
with  a smaller  aperture  than  that  of  the  smallest  diaphragm 
which  you  refer  to  as  belonging  to  the  set. 

Western. — 1.  It  will  not  oxidise  if  thoroughly  protected  from  the 
action  of  the  air ; and  the  usual  practice  is  to  warm  the  plate,  and 
rub  it  over  with  bee’swax. 


S.  T.  (Cambridge). — It  is  very  unadvisable  to  make  a dark  room 
in  such  an  out-of-the-way  and  inconvenient  corner,  more 
especially  as  you  intend  to  prepare  gelatino-bromide  plates.  Why 
not  make  a red  blind  for  the  apartment  which  you  call  your 
“ ordinary  den  ? ” Even  although  the  window  may  be  large,  you 
will  find  it  easy  to  arrange  a light  wooden  frame  to  fit  in  rebates 
placed  round  the  window.  Two  thicknesses  of  “ Cherry  Fabric,” 
and  one  of  orange  paper  sandwiched  between,  will  answer  well  in 
ordinary  cases.  When  the  daylight  is  very  intense,  pin  up  an 
extra  thickness  of  the  “ fabric.” 

Beginner. — Your  acids  were  too  weak;  hence  the  cotton  dissolved. 
Unless  you  have  been  accustomed  to  exact  chemical  manipulations, 
you  are  likely  to  meet  with  numerous  failures  in  the  preparation 
of  pyroxyline.  The  best  directions  for  its  manufacture  are  to  be 
found  in  Hardwich’s  Photographic  Chemistry. 

Barnes. — Nitrate  of  ammonia  is  deliquescent,  and  has  no  action  on 
the  film  ; hence  the  reason. 

Certainty. — While  you  are  a novice,  you  will  do  well  to  profit  by 
the  experience  of  others,  and  use  one  of  the  ordinary  formula. 

Thos.  Ryder. — 1.  Gamboge  is  very  frequently  used,  and  answers 
well.  Rub  it  on  a plate  with  a little  water.  2.  Almost  insoluble 
in  alcohol,  but  it  dissolves  readily  in  bisulphide  of  carbon. 
3.  The  ordinary  solution  of  magenta  dye,  which  is  to  be  obtained 
for  6d.  a bottle  at  any  oil  shop. 

B.  T.  C. — 1.  It  is  due  to  minute  globules  of  fatty  matter  dis- 
seminated through  the  liquid.  If  you  agitate  it  with  ether,  the  fat 
will  be  dissolved  by  this  solvent, and  the  solution  will  rise  to  the  top, 
leaving  the  aqueous  fluid  clear.  2.  Be  careful,  as  a highly  danger- 
ously explosive  body  may  be  formed  unless  a considerable  excess 
is  present.  3.  There  must  be  some  mistake,  as  “ bichromate  ” is 
undoubtedly  meant. 

Subscriker  (Warminster). — As  far  as  we  know,  there  are  not 
more  in  this  country  than  those  you  mention ; but  the  case  is  very 
different  in  Germany,  where  a collotyper  may  be  found  in  almost 
every  large  town. 

Johnnie. — 1.  The  achromatic  lens  from  the  opera  glass  will  answer 
very  fairly  well.  In  mounting  it,  take  care  not  to  pinch  it  hard 
in  the  cell,  and  turn  the  convex  side  towards  the  camera.  Stop 
should  be  seven-eighths  of  an  inch  in  front  of  the  lens. 

C.  C.  Allfokd. — 1.  The  image  consists  of  metallic  silver,  and  it 
consequently  dissolves  rapidly  in  nitric  acidof  moderate  strength. 
2.  Add  three  or  four  drops  of  water  to  each  ounce,  try  again,  and 
repeat  the  dose  if  necessary.  Too  much  water  will  cause  minute 
reticulations  all  over  the  film. 

C.  Black. — We  believe  not ; it  was  said  to  be  moving  at  the  time. 

Robert  Todd. — 1.  Lamp-black  is  almost  invariably  used,  and 
you  had  better  obtain  the  fine  quality  ordinarily  known  as  veget- 
able black.  2.  A native  oxide  of  iron,  and  its  original  price  is  a 
mere  trifle — perhaps  a shilling  a ton  over  the  expense  of 
digging  it. 

Otto  Pfen.vinger. — Matt  glass  is  bad,  as  it  holds  dirt  so  per- 
sistently that  it  is  almost  impossible  to  clean  it  except  by 
re-grinding.  It  would  probably  be  worth  your  while  to  replace 
it  by  a clear  glass,  it  being  very  easy  to  partially  shade  this  by 
means  of  tissue  paper,  or  a thin  coating  of  white  paint.  The 
covering  can  readily  he  removed  for  winter's  work,  or  renewed, 
should  it  become  dirty. 

Gray. — 1.  You  do  not  give  us  sufficient  particulars ; perhaps 
traces  of  hypo,  have  been  carried  into  it  by  the  fingers.  There  is 
no  necessity  to  keep  the  solution  in  the  dark.  2.  No,  the  same 
quantity.  3.  No.  4.  About  a drachm. 

E.  P. — 1.  Theoretically,  it  should  be  at  an  infinite  distance,  but 
one  may  take  something  like  50  yards  away,  as  an  approximation. 
2.  It  is  doubtless  due  to  the  free  acid  ; we  have  met  with  the 
same  kind  of  thing,  but  changed  the  paper.  3.  Wewilllookup 
what  particulars  we  can,  and  post  them  to  you. 

P.  S.  T. — Send  us  a print;  it  may  perhaps  be  due  to  lime  in  the 
water.  Note  whether  it  makes  any  difference  whether  the  face 
is  upwards  or  downwards. 

T.  W.  W. — The  picture  you  allude  to  is  by  Mr.  Robinson,  and  its 
title  is  “ A Merry  Tale.”  We  quite  agree  with  you. 

***  We  much  regret  that  pressure  on  our  space  compels  us  to  let 
Lesson  V.  stand  over. 

%*  Authors  may  have  Reprints  of  their  Ai  tides  at  3s.  per  page 
per  hundred  copies  ; but  the  order  must  be  given  when  the  proof 
is  returned. 


PHOTOGRAPHS  REGISTERED. 

Messrs.  Timpebley  Bnos.  (Darweu) — Photo,  of  Lord  Wolselcy  ; Photo,  of 
Lady  Wolseley. 

Mr.  J.  Lbacii  (Dolgelly)— 3 Photos,  of  Accident  on  the  Cambrian  Railway. 
Mr.  F.  K.  Ryles  (Burslcm) — Photo,  of  Mr.  Rodney  Smith. 

Mr.  A.  L)vi  111 K (Glasgow — Photo,  of  S.  S.  City  of  Rome. 

Messrs,  apple  ion  and  Co.  (Bradford;— 3 Pnotos.  of  Oldham  Street 
Wesleyan  Chapel,  Manchester. 

Mr.  F.  Abo  all  (Truro)— 8 Photos,  of  Archbishop  Benson. 

Mr.  F.  Down  kb  (Watford) — Photo,  of  Karl  of  Essex. 

Mr.  James  Glass  (Londonderry)— Photo,  of  St.  Columb’s  Temperance 
Brass  Band. 


NEWS 


PAOK 

Hyposulphite  in  Mounts  and  Paper  177 

Tne  Keeping  Properties  of  Gelatine  Emulsion  178 

Bv-the-Bye.— Models  178 

The  Electric  Light  in  Photography 179 

Photo-Lithography,  &c.  By  Major  J.  Waterhouse,  B.S.C 180 

Approximative  Photometric  Measurements 182 

Notes 184 

Patent  Intelligence  186 

Twelve  Elementary  Lessons  on  Silver  Printing 186 


PACK 


Notes  on  Photography.  By  E.  Howard  Farmer 188 

Photo-Lithography.  By  Thomas  M.  Laws 188 

A Defence  of  Collodion.'  By  J.  F.  Coonley 190 

Photographic  Experiences  in  Egypt.  By  William  H.  llau 190 

Correspondence  . 191 

Proceedings  of  Societies 191 

Talk  in  the  Studio 192 

To  Correspondents 192 

The  Every-Day  Formulary  192 


HYPOSULPHITE  IN  MOUNTS  AND  PAPER. 

The  most  persisteut  and  dangerous  enemy  of  the  photo- 
grapher is  undoubtedly  the  ordinary  fixing  salt,  sodium 
hyposulphite ; and  the  mischief  wrought  by  this  salt  is 
especially  serious,  as  it  often  only  sets  in  after  the  work 
has  left  the  hands  of  the  photographer. 

As  old  prints  become  gradually  and  almost  im- 
perceptibly paler  and  yellower,  so  does  the  probability  of 
the  holders  going  to  a fresh  studio  become  greater.  It 
is  true  that  the  general  public  have  a vague  notion  that  a 
photograph  is  not  to  be  relied  on  as  regards  permanency  ; 
but  the  fact  that  permanent  photographs  can  be  produced 
is  also  generally  known  ; and  the  public,  when  looking  on 
a fading  picture,  naturally  ask : why  does  not  Mr.  So-and- 
So  take  his  pictures  by  the  permanent  method? 

Much  of  the  rapid  fading  so  common  in  the  present 
day  is  rather  due  to  the  presence  of  sodium  hyposulphite 
in  the  mounts,  than  to  deficient  washing  of  the  prints  ; 
although  both  causes  contribute  to  the  general  result. 

The  use  of  chlorine,  or  of  hypochlorous  acid,  for 
bleaching  paper,  is  now  all  but  universal ; and  unless  all 
traces  of  these  agents  are  effectually  removed,  the  paper 
becomes  brittle  and  useless.  In  order  to  avoid  the  trouble 
and  expense  of  a protracted  washing,  it  is  usual  for  the 
paper-maker  to  neutralize  the  destructive  tendencies  of  the 
chlorine  or  the  hypochlorous  acid  by  the  addition  of 
sodium  hyposulphite ; and  as  this  latter  substance  is 
practically  harmless  from  a paper-maker’s  point  of  view, 
it  is  by  no  means  unusual  for  a very  considerable  propor- 
tion to  be  added. 

The  hyposulphite  thus  introduced  into  the  photo- 
grapher’s work-rooms  very  frequently  causes  the  rapid 
fading  of  the  prints  which  he  sends  out ; although  there  is 
certain  evidence  that  it  is  possible  for  a silver  print,  which 
actually  contains  hyposulphite,  to  resist  the  destructive 
action  of  time  to  a really  unexpected  extent. 

In  such  a case,  damp  appears  to  be  the  determining  con- 
dition, and  the  following  experiments  appear  to  confirm 
this  view.  Prints  were  mounted  with  ordinary  fresh  paste, 
on  mounts  well  known  to  be  loaded  with  sodium  hypo- 
sulphite, and  the  mounted  pictures  were  divided  into  three 

{>ortions.  One  set  was  carefully  dried,  and  exposed  to 
ight  in  a printing  frame,  a sheet  of  waxed  paper  placed 
at  the  back  serving  to  keep  them  from  absorbing  fresh 
moisture.  The  second  set  was  placed  loose  iu  a drawer 
where  we  keep  miscellaneous  papers,  the  room  being  in 
general  use,  and  consequently  warm  and  dry.  The  third 
set  were  loosely  tied  into  a bundle,  and  placed  in  a damp 
cellar.  At  the  end  of  a fortnight  the  material  of  the  third 
set  showed  signs  of  acidity,  when  a small  piece  was  cut  off 
and  placed  on  a sheet  of  delicately  tiuted  litmus  paper, 
this  having  been  previously  moistened  with  water  ; while 


No.  1 and  No.  2 did  not  react  on  similar  pieces  of 
moistened  litmus.  The  acidity  was  doubtless  due  to  the 
decomposition  or  fermentation  of  the  paste,  this  material 
having  not  only  been  used  in  mounting  the  print,  but  also 
in  manufacturing  the  cardboard.  At  the  same  time,  the 
more  delicate  half-tones  of  those  portions  of  the  prints 
which  had  been  preserved  in  the  damp  cellar  were  found 
to  have  altogether  disappeared ; but  no  difference  was 
noticeable  in  the  case  of  the  first  or  of  the  second  set. 

In  order  to,  as  far  as  possible,  ascertain  whether  the 
presence  of  hyposulphite  was  an  essential  element  in  the 
fading,  another  similar  set  had  been  prepared,  mounted  on 
cards  which  were  free  from  the  deleterious  salt ; and  por- 
tions of  these  were  placed  in  the  three  situations  as  already 
described.  At  the  end  of  the  first  fortnight  no  difference 
at  all  was  traceable  between  those  portions  of  the  second 
set  which  had  been  kept  in  a damp  place,  those  which  had 
been  thoroughly  protected  from  damp,  and  those  which 
had  been  kept  loosely  in  a drawer.  At  the  end  of  six 
weeks,  however,  those  mounted  on  card  free  from  hypo., 
and  kept  in  the  cellar,  showed  very  faint  indications  of 
fading  ; but  those  which  had  been  mounted  on  the  hypo- 
sulphited  cardboard  were  by  this  time  almost  gone  ; large 
yellowish  blotches  occupying  the  greater  part  of  their 
surface.  None  of  those  which  had  been  kept  either  in 
printing-frames  or  in  the  drawer  showed  any  signs  of 
fading  whatever. 

These  results  indicate  two  circumstances  as  tending 
materially  towards  the  fading  of  silver  prints— hyposul- 
phite and  damp  ; the  most  rapid  disappearance  of  the  image 
taking  place  when  both  act  conjointly. 

A source  of  hyposulphite  which  is  frequently  over- 
looked is  the  white  blotting-paper,  which  is  so  frequently 
used  for  partially  drying  the  prints  on  their  removal  from 
the  wash  water  ; a really  notable  amount  of  the  salt  being 
frequently  present  in  paper  of  this  kind.  We  have  found 
that  a folio  or  book,  built  up  of  sheets  of  well  washed 
calico,  forms  even  a better  damping-off  arrangement  than 
the  usual  blotting-paper,  and  its  use  obviates  the  necessity 
of  testing  each  batch  ot  blotting-paper  as  it  is  put  into 
stock.  When  the  calico  folio  becomes  dirty  or  requires 
washing,  it  should  be  unstitched,  boiled  in  clean  water, 
and  the  separate  sheets  hung  out  to  dry. 

The  experiments  above  described  indicate  the  imperative 
necessity  of  testing  every  batch  of  cardboard  for  the  pre- 
sence of  the  destructive  and  mischievous  hyposulphite. 
The  testing  operation  is  quite  easy,  it  being  merely  neces- 
sary to  cut  up  some  of  the  material  into  small  pieces,  and 
to  soak  the  fragments  for  some  ten  minutes  in  the  smallest 
quautity  of  water  which  will  serve  to  cover  them.  The 
liquid  is  then  drained  off,  filtered,  and  tested  as  we  de- 
scribed in  our  recent  leaders  (present  vol.,  page  115  and 
page  162). 


178 


THE  PHOTOGRAPHIC  NEWS. 


Mabch  22,  1883. 


THE  KEEPING  PROPERTIES  OF  GELATINE 
EMULSION. 

One  of  the  greatest  drawbacks  of  gelatine  as  compared  with 
collodion  emulsion  is  the  comparative  uncertainty  of  its 
keeping  properties.  It  is,  except  under  certain  conditions, 
scarcely  safe  to  make  a gelatine  emulsion,  when  time  may 
permit,  with  the  intention  of  coating  plates  at  any  con- 
venient moment,  possibly  months  hence.  It  is  quite  likely 
that  when  we  come  to  use  it,  we  may  find  the  gelatine  de- 
composed, and  the  emulsion  useless.  Besides  this,  there  is 
great  objection  to  using  a little  at  a time,  unless  precau- 
tions be  taken  not  to  melt  the  whole  each  time  that  this 
little  is  required.  There  are,  however,  conditions  under 
which  a gelatine  emulsion  may  be  kept  for  a marvellously 
long  time.  It  is  worth  while  looking  into  the  question  of 
what  these  conditions,  so  far  as  we  can  ascertain  them,  are. 
In  the  first  place,  as  to  what  forms  of  decomposition  we 
have  to  guard  against.  There  appear  to  be  two  distinct 
causes  of  the  destruction  of  emulsion  from  keeping.  One  of 
these  is  decomposition  of  the  gelatino ; the  other  is  decom- 
position, or  rather,  change,  of  the  silver  bromide,  such  as 
to  cause  it  to  be  reduced  by  the  developer,  without  the  influ- 
ence of  light. 

With  regard  to  the  first,  there  are  vast  differences  in 
the  lengths  of  time  which  different  gelatines  will  keep  in 
solution  without  begining  to  putrefy.  Some  of  the  hard 
gelatines  recently  introduced  for  emulsion  purposes  may 
be  kept  in  the  jelly  form  for  months  without  showing  any 
sign  of  decomposition,  and  this  without  any  preservation 
whatever.  The  other  day  we  coated  some  plates  with 
emulsion  made  six  months  ago  with  Heinrich’s  gelatine, 
no  alcohol  or  other  preservative  having  been  used,  and 
found  them  perfect.  It  had  been  kept  during  the  colder 
months  of  the  year,  so  that  it  had  everything  in  its  favour  ; 
but  still  the  result  is  remarkable.  To  enable  us  to  keep 
emulsion  during  warm  weather,  when,  as  we  know,  gelatine 
is  so  liable  to  decompose,  it  is  necessary  to  use  a preserva- 
tive. The  most  natural  to  use  is  alcohol,  but  here  we  meet 
with  difficulty.  Alcohol  beyond  an  amount  of  about 
5 per  cent  is  objectionable  in  an  emulsion,  as  it  reuders  the 
film  hard  and  impervious  to  the  developer.  An  amount 
much  in  excess  of  this  quantity  introduces  structural 
defects,  and  actually  slows  the  emulsion.  It  has  been 
proposed,  in  view  of  these  facts,  to  cover  the  surface  of  the 
emulsion  with  alcohol ; but  here  another  difficulty 
arises.  If  we  take,  say,  a pint  of  gelatine  emulsion,  place 
this  in  a quart  jar,  let  it  set,  aud  pour  five  ounces  of  alcohol 
on  its  surface,  we  shall  have,  after  a few  days,  a very 
remarkable  result.  If  we  now  pour  off  the  liquid  which 
is  on  the  surface  of  the  emulsion,  we  find  that  we  have  six 
or  seven  ounces  of  water  containing  ouly  20  per  cent,  of 
alcohol,  and  that,  in  fact,  the  alcohol  ha3  diffused  itself 
equally  through  the  whole  emulsion,  which,  as  a conse- 
quence, contains  a far  too  great  percentage.  'I’he  same 
objection  holds  against  the  plan  of  cutting  the  emulsion 
in  strips,  and  placing  these  in  alcohol.  Even  5 per  cent, 
of  alcohol  has,  however,  a very  considerable  effect  in  pre- 
serving gelatine.  It  is  probable  that  an  emulsion  contain- 
ing this  amount  might  easily  be  kept  for  a year  in  a cool 
place.  With  a larger  quantity  it  will  keep  apparently 
indefinitely.  We  have  just  coated  some  plates  with  emul- 
sion which  has  been  kept  under  alcohol  for  three  years. 
The  films  show  structural  defects,  something  after  the 
nature  of  “ craping,”  and  are  very  impervious  to  the  deve- 
loper ; but  there  is  uo  fog  or  defect  of  the  kind. 

The  best  way  of  insuring  the  keeping  of  an  emulsiou  is 
certainly  to  use  an  antiseptic.  The  most  efficient  of  all, 
probably,  is  carbolic  acid.  A drop  of  this  to  each  ounce 
or  two  of  the  emulsion  makes  it  keep  for  a very  long  time. 
The  same  may  be  said  of  thymol  or  salicylic  acid.  The 
latter  should  be  dissolved  in  the  alcohol,  to  be  added  to 
the  emulsions  in  such  proportion  that  there  will  be  one 
grain  of  salicylic  acid  to  each  ounce  of  emulsion.  We 
have  kept  emulsions  which  contained  small  quantities  of 


carbolic  acid  and  thymol,  for  a year  without  its  showing 
signs  of  deterioration. 

We  mentioned  that  if  an  emulsion  is  to  be  used  at 
different  times,  steps  should  be  taken  to  prevent  the  neces- 
sity of  melting  the  whole  each  time.  If  it  be  kept  in  a 
suitable  jar  there  is  no  difficulty,  as  the  quantity  used 
may  be  taken  out  with  a spoon,  or  even  with  the  hand, 
and  melted  in  a separate  vessel.  The  most  suitable  jars 
are  those  known  as  shut-over  jars.  They  have  lids  with  a 
lip  which  makes  them  light-tight,  and  are  of  good  glazed 
ware.  They  can  be  had  from  Messrs.  James  Stiff  and  Sons, 
or  Doulton  and  Co.,  of  Lambeth,  and  probably  from  other 
potters. 

When  the  gelatine  of  an  emulsion  has  so  far  decomposed 
as  to  refuse  auy  more  to  set,  it  does  not  follow  that  the 
silver  bromide  is  rendered  useless.  Mr.  L.  Waruerke 
mentioned  to  us,  that  he  had  recently  had  such  an  emulsion 
that  he  simply  diluted  it  with  hot  water  when  the 
bromide  subsided,  and  being  mixed  with  fresh  gela- 
tine made  an  excellent  emulsion  again. 

So  far  with  regard  to  the  decomposition  of  the  gelatine. 
We  now  come  to  the  question  of  decomposition  of  the 
silver  bromide,  aud  here  we  may  say  that  we  have  been 
unable  to  ascertain  the  conditions  causing  the  appearances 
to  be  described,  so  fully  as  in  the  case  of  the  decomposition 
of  the  gelatine.  What  would  appear  to  occur  is  not  so 
much  a decomposition  of  the  silver  bromide  by  keeping,  as 
a predisposition  for  it  to  decompose  during  drying.  Our 
reason  for  believing  this  is  that  the  resulting  fog  generally 
shows  itself  ouly  on  the  face  of  the  plate,  although,  in 
aggravated  cases,  it  penetrates  to  the  back,  aud  also  that 
the  conditions  of  drying  much  influence  the  intensity  of 
the  fog.  If  drying  be  performed  with  dry,  cool  air,  the 
fog  is  slight.  If  it  be  caused  by  a current  of  warm,  damp 
air,  the  fog  is  dense.  In  any  case  it  may  be  cured  by 
treatment  with  bichromate  of  potassium.  That  the  fog 
just  described  is  not  produced  by  decomposition  of  the 
gelatine  is  proved  by  the  fact  that  we  can,  if  we  choose, 
briug  it  about  without  keeping  the  emulsion,  and  under 
conditions  which  preclude  the  possibility  of  decomposition 
of  the  gelatine. 

As  to  the  influences  which  tend  to  the  peculiar  decom- 
position of  the  silver  bromide,  we  can  only  say  that  it 
appears  most  often  in  au  emulsion  which  is  kept  alkaline, 
seldom  in  one  which  is  neutral,  aud,  iu  our  experience, 
never  when  there  is  slight  acidity. 

Finally,  to  those  who  wish  to  keep  emulsion  for  long 
periods,  we  say,  keep  it  neutral  or  very  slightly  acid,  add 
to  it  5 per  cent,  of  alcohol,  and  to  each  pint  ten  drops  of 
carbolic  acid,  or  a small  quantity  of  either  of  the  other 
antiseptics  which  we  mentioned,  aud  place  the  jars  iu  the 
coolest  place  possible.  If  stone  bottles  be  used,  it  is  a 
good  plan  to  sink  them  in  a cistern  ; this  prevents  them  from 
ever  becoming  very  warm.  Under  these  conditions,  there 
should  be  no  deterioration  after  a year’s  keeping,  possibly 
after  a much  longer  time. 


MODELS. 

Very  few  photographers  avail  themselves  of  the  assistance 
of  models,  either  liviug  or  lay.  It  is  a great  pity  this 
should  be  so,  for  it  is  certain  that  one  cannot  study  the 
arts  of  lighting  and  draping  very  well  without  their  aid. 
The  impatient  assistant,  or  fidgetty  reception-room  hand, 
who  is  usually  m^de  to  do  duty  for  trial  plates,  is  a very 
poor  substitute,  the  busy  photographer  seeking  to  improve 
as  he  goes  on,  without  much  thought  about  taking  pictures 
that  are  not  paid  for. 

Aud  yet  the  matter  of  lighting  is  perhaps  the  mo9t  impor- 
tant, since  it  is  the  most  effective,  quality  iu  photography, 
l’he  high  rank  taken  by  Adam  Salomon’s  portraiture  wa3 
due  to  the  circumstance  that  be  understood  lighting  the 


THE  PHOTOGRAPHIC  NEWS. 


Mabch  22,  1883.] 


sitter  ; his  technical  photography  was  nothing  out  of  the 
way,  but  his  training  as  a sculptor  gave  him  an  advantage 
over  most  of  his  brethren.  In  a word,  the  effective 
illumination  of  his  models  has  never  been  surpassed,  if  it 
has  ever  been  equalled.  Usually  the  photographer  pays 
great  attention  to  the  construction  of  his  studio,  but  lacks 
the  judgment  to  use  his  illumination  ; he  overlooks  the 
fact  that  it  is  not  the  designing  of  ingenious  screens,  but 
the  thoughtful  employment  of  them,  that  is  necessary  to 
ensure  success.  He  demands  of  his  friends  practical  hints 
and  implicit  directions  as  to  the  advisability  of  letting 
light  in  from  this  side  or  that,  as  to  making  his  roof  lower 
or  higher,  and  as  to  the  distance  the  sitter  should  be 
placed  from  the  casement ; in  brief,  he  imagines  a studio 
can  be  constructed  that  shall  at  any  time  give  him  a plastic, 
well-modelled,  and  effectively-lighted  result. 

Our  readers  will  bear  us  out  that  photographers  who 
regard  lighting  from  this  cut-and-dried  poiut  of  view  are 
by  no  means  a small  class.  And  there  is  another  class,  not 
very  small,  either,  who,  beyond  trying  tosecure  an  occasional 
so-called  Rembrandt  effect,  do  not  study  their  lighting 
from  one  year’s  end  to  another.  They  find  they  get  pass- 
able pictures  with  a screen  here,  and  the  camera  there,  and 
they  are  satisfied.  They  do  not  care  for  anything  beyond 
conventional  limits,  aud  most  certiinly  never  get  it. 

Why  should  the  photographer  be  able  to  do  without 
what  every  other  artist  declares  a necessity  ? The 
painter’s  model  is  a part  of  himself.  For  the  study  of 
drapery  and  drapery  folds,  a lay  figure  serves  most  of 
his  purposes,  and  it  would  be  well,  indeed,  if  the  photo- 
grapher followed  suit,  and  were  to  study  drapery  in  the 
same  fashion.  There  is  no  one  in  this  country  who  can 
photograph  drapery  like  Fritz  Luckardt,  for  one  reason, 
no  doubt,  because  no  British  photographer  has  taken  the 
trouble  to  study  it,  under  the  camera,  so  thoroughly  as  the 
well-known  Viennese  photographer.  Whether  it  is  silk  or 
satin,  soft  wool  or  stiff  brocade,  with  rigid  bends  or  grace- 
ful folds,  Luckhardt  will  render  all  its  picturesque  qualities 
in  the  most  favourable  manner,  displaying  them  to  the  very 
margin  of  the  negative.  Only  systematic  study  and  experi- 
ence in  lighting  and  draping  can  teach  the  photographer 
to  do  this.  Herr  Luckhardt  knows  very  well  beforehand 
what  he  is  going  to  produce ; he  is  sure  success  will  attend 
his  effort  before  he  takes  hi3  picture ; that  is  to  say,  he 
has  studied  the  effect  of  lighting  and  draping  so  well,  that 
he  can  always  pose  to  get  a required  result. 

Adam-Salomon,  again,  as  we  have  said,  studied  lighting 
systematically  as  an  art.  He  did  not  rely  upon  his  know- 
ledge of  statuary  to  impart  ideas ; he  had  recourse  to  lay 
figures.  He  is,  indeed,  the  only  photographer  wo  have 
known  whose  studio  contained  not  the  mere  wooden  doll 
of  a painter,  but  life-sized,  full-visaged,  well-dres3ed 
figures,  whom  the  casual  visitor  might  take,  at  first  3ight, 
for  a phlegmatic  sitter.  We  saw  two  of  these  models  on 
the  occasion  of  our  last  visit  to  M.  Salomon’s  studio,  a few 
days  before  his  death.  The  complexions  of  these  dolls, 
their  hair  and  general  appearance,  were  so  well  rendered, 
that  they  served  as  wonderful  substitutes  for  human  models, 
and  it  was  with  their  assistance  that  the  famous  French 
photographer  worked  out  those  wonderful  effects  of  light 
and  shade  that  made  his  name  a household  word  through- 
out Europe.  M.  Salomon  only  received  sitters  for  the 
space  of  two  hours  during  the  day ; the  rest  of  the  time 
he  devoted  to  work  in  his  photographic  or  sculptor’s 
studio.  The  benefit  of  studying  light  effects  with  a lay 
model  will  be  obvious  to  all,  for  the  mere  turn  of  the  head, 
or  deflection  of  the  forehead,  often  makes  all  the  difference ; 
and  when,  at  last,  the  happy  effect  i3  produced  upon  the 
lay  model,  it  is  not  difficult  to  light  a living  sitter  after  the 
same  manner. 

Coming  next  to  the  living  model,  it  must  not  be 
supposed  that  everyone  in  this  world  is  suited  to  play 
the  apparently  very  easy  1 Ole.  Apart  from  appearance  and 
temperament,  it  takes  much  to  make  a good  model,  as  any 


painter  of  experience  will  tell  you.  And  it  is  for  this 
reason  we  make  so  bold  as  to  counsel  our  readers,  when 
inclined  for  study,  to  call  to  their  aid  a professional  model, 
rather  than  anyone  else.  A professional  model,  they  will 
find,  will  often  just  make  all  the  difference  between  success 
and  failure  in  the  result,  as  it  frequently  does  with  the 
painter.  And  here  we  may  remark  on  a statement  that  is 
now  and  again  put  forth  to  show  why  photography  has 
no  claim  to  be  considered  an  art — a statement,  curiously 
enough,  that  never  gets  properly  challenged.  It  is  urged 
that  the  photographer  must  have  his  model  before  him, 
otherwise  he  cannot  produce  his  result,  and  therefore  it  is 
the  model,  rather  than  the  photographer,  who  is  the  creator 
of  the  picture.  This  is  true  enough,  but,  practically,  the 
painter  is  in  the  same  position.  In  nine  cases  out  of  ten, 
he  could  not  produce  his  picture  without  he  had  the  model 
before  him,  and  a model,  too,  appropriately  draped  and 
gracefully  posed,  if  the  picture  is  to  be  a success.  Of 
course,  the  painter  usually  possesses  more  artistic  ability, 
and  is  endowed  with  far  wider  powers,  thau  the  photo- 
grapher; but  that  is  not  the  question.  We  simply  wish 
to  say  that,  because  a photographer  must  have  a model 
before  him,  this  is  no  proof  that  photography  is  without 
title  to  be  considered  an  art,  for  the  reason  that  nine 
painters  out  of  ten  could  not  produce  artistic  results 
except  under  the  very  same  circumstances.  To  depict  a 
cavalier,  the  painter  sets  his  model  astride  a saddle  in 
his  studio ; to  depict  a falling  man,  he  suspends  lii3  model 
with  hoops  and  cables  from  the  ceiling ; while  a fisher- 
man usually  stands  with  net  aud  rope,  as  if  really  engaged 
in  fishing. 

We  want  to  see  photographers  taking  a leaf  out  of  the 
painter’s  book,  and  studying  lighting  and  draping  with 
trained  models.  Two-thirds  of  the  portrait  studies  shown 
on  the  walls  in  Fall  Mall  every  year — one  might  almost 
say  nine-tenths— would  be  vastly  improved  if  they  would 
only  do  this.  A girl  who  has  comely  features  and  well- 
proportioned  limbs,  and  is  accustomed  to  smile  or  to  laugh 
by  the  hour  together,  is  a totally  different  model  from  the 
haphazard  selections  usually  made  from  studio  or  printing 
room.  The  painter  does  not  take  the  first  best  person  he 
meets.  Either  he  has  made  up  his  mind  to  a picture,  and 
goes  about  seeking  a fitting  model,  or  one  morning  some 
Madonna  or  Hercules  walks  into  his  studio,  and  forthwith 
he  sees  bis  way  clear  to  a canvas.  Many  a great  picture 
has  been  started  into  being  by  the  happy  arrival  of  a choice 
model,  and  there  is  no  reason  why  photographers  should  not 
benefit  by  such  “ happy  thoughts,”  as  well  as  their  prouder 
brethren.  Look  at  Rejlander’s  pictures;  they  certainly 
owe  their  success  more  to  the  study  and  selection  of  the 
model  than  to  anything  else.  Of  course  he  never 
attempted  a picture  unless  he  first  of  all  realised  it,  but 
his  way  of  working  was  precisely  that  of  the  painter  ; in 
other  words,  he  either  searched  for  a model  to  embody 
his  idea,  or  else  let  a model’s  appearance  suggest  a picture 
for  itself. 

Our  main  point,  however,  has  been  to  speak  of  models 
a3  an  aid  in  the  photographer’s  customary  work — how  by 
having  comely  and  passive  sitters,  specially  fitted  for 
posing,  he  may  study  systematically  the  arts  of  lighting 
and  draping,  and  thus  improve  in  art  photography.  There 
is,  obviously,  the  employment  of  models  in  picture  making, 
and  photographers  who  turn  their  attention  to  this  branch 
would  do  equally  well  to  have  recourse  to  the  professional 
model  rather  than  to  the  occasional  amateur. 


THE  ELECTRIC  LIGHT  IN  PHOTOGRAPHY.* 

Tue  arc  light  has  already  been  made  the  subject  of  experiment 
in  photographic  portraiture,  and  is  now  regularly  used  to 
illuminate  a number  of  studios  in  Europe.  By  a new  arrange- 
ment of  the  lights  and  the  studio,  the  source  of  light  is  placed 


* The  Century, 


180 


THE  PHOTOGRAPHIC  NEWS. 


[March  22,  1883. 


completely  within  the  control  of  the  operator,  and  effects  are 
obtained  that  cannot  be  secured  in  any  other  way. 

The  studio  examined  is  at  the  end  of  a low,  dark  store  on  the 
ground  floor,  and  there  is  no  dependence  whatever  upon  day- 
light. Upon  the  sides  of  the  room  near  the  ceiling  are  two 
tracks  carrying  a wooden  car  that  reaches  from  side  to  side  of  the 
room.  On  this  car  are  laid  tracks  for  a smaller  car,  that  travels 
on  across  the  room  in  the  opposite  direction. 

The  arrangement,  it  will  be  seen,  is  the  same  as  that  used  in 
stone-yards  and  machine-shops,  and  known  as  an  overhead  crane. 
On  this  crane  is  suspended  a powerful  arc  light,  and,  by  pulling 
cords  at  the  side  of  the  room,  the  light  can  be  moved  to  any 
part  of  the  ceiling,  or  raised  and  lowered,  as  may  be  desired. 
In  front  of  this  crane  is  another  having  only  one  motion,  across 
the  room,  the  car  on  top  carrying  five  arc  lights  suspended 
beneath  it.  This  crane  is  also  controlled  by  cords  in  easy  reach 
of  the  operator.  The  subject  sits  in  front  of  these  six  lights,  and 
by  moving  the  lamps  perfect  control  of  the  illumination  is 
secured.  The  light  may  be  concentrated  at  one  side,  or  spread 
out  in  front,  or  distributed  in  any  manner  that  the  artistic  treat- 
ment requires.  To  secure  still  more  complete  control  of  the 
light,  a platform  is  placed  in  the  middle  of  the  room  before  the 
lights.  This  platform  is  large  enough  to  contain  a seat  for  the 
subject  and  the  camera.  It  is  also  pivotted  at  the  centre,  so  that 
it  can  be  turned  completely  round  in  a horizontal  plane. 

In  taking  a portrait,  the  subject  sits  upon  the  platform  facing 
the  camera,  and  the  lights  are  raised,  lowered,  or  moved  about 
till  just  the  effects  of  lighting  that  are  desired  are  obtained.  Th  ■ 
operator  stands  on  the  floor  behind  the  camera,  with  one  hand 
resting  on  a handle  fastened  to  the  platform.  The  instant  the  ex- 
posure begins,  the  operator  slowly  turns  the  platform  round,  keep- 
ing it  in  motion  while  the  exposure  lasts.  It  is  plain  that  the 
camera  keeps  the  same  relative  position  to  the  subject  during  the 
time  of  exposure  and  while  the  platform  is  moving,  while  the  re- 
lation of  the  subject  to  the  light  is  continually  changing.  This 
arrangement  gives  a continually  shifting  play  of  light  on  the  sub- 
ject, and  secures  a portrait  having  a fine  gradation  of  tone  and 
excellent  modelling  of  the  features. 

Only  dry  plates  are  used  with  the  apparatus,  and  the  exposure 
is  a trifle  longer  than  with  daylight.  To  secure  a like  degree  of 
definition  the  plate  must  be  exposed  five  seconds,  where  a dry- 
plate  in  sunlight  would  require  three  seconds. 

The  portraits  made  by  this  arrangement  of  electric  lights  were, 
marked  by  an  excellent  degree  of  finish,  so  that  retouching  did 
not  appear  to  be  necessary.  The  complete  control  of  the  light 
makes  it  possible  to  carry  on  work  at  all  hours  of  the  day  or  night, 
and  in  any  weather. 

For  copying,  the  electric  light  appears  to  be  excellent,  a single 
arc  lamp  with  a reflector  of  white  paper  being  all  that  is  required. 


PIIOTO-LITHOGRAFIIY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor -General  of  India. 

Chapter  VII. — Production  of  the  Photo-transfer  Print. 

Exposure  to  Light. — The  sensitive  paper,  having  been  pre- 

Eared  by  any  of  the  methods  described  in  the  last  chapter, 
as  next  to  be  exposed  to  light  under  the  negative.  For 
this  purpose  the  ordinary  pressure  frame  used  for  silver 
printing  will  answer  ; but,  as  considerable  pressure  is  re- 
quired to  produce  the  very  close  contact  with  the  negative 
which  is  necessary  in  reproducing  line-work,  it  is  desirable 
to  have  additional  springs  fitted  at  right  angles  to  the  back 
cross-bars,  so  that  the  pressure  may  be  thrown  more  evenly 
all  over  the  back  of  the  frame.  Some  operators  prefer  the 
printing  frame  to  be  fitted  with  screws  instead  of  springs, 
and  the  cross-bars  carrying  the  screws  may  with  advantage 
be  made  movable,  so  as  to  enable  more  or  less  pressure  to 
be  applied  at  any  desired  point. 

As  the  exposure  is  veiy  short,  and  can  generally  be 
judged  sufficiently  well  by  the  appearance  of  the  edges  of 
the  paper  beyond  the  negative,  there  is  no  necessity  for 
examining  the  progress  of  the  print  during  exposure;  and 
it  is  best  not  to  do  so,  if  possible,  on  account  of  the  tendency 
to  doubling  of  the  image  by  contraction,  or  expansion  of 
the  very  hygrometric  gelatinised  paper.  The  back  of  the 


printing  frame  may  consequently  be  rigid,  instead  of  being 
jointed  in  the  usual  manner;  and  it  is  a good  plan  to  cover 
the  sensitive  paper  with  a sheet  of  patent  plate  glass,  placing 
over  this  sufficient  paper  or  felt  padding  to  produce  a good 
pressure  when  the  frame  is  closed. 

The  frames  and  pads  must  be  thoroughly  dried  before 
use,  otherwise,  if  they  are  damp,  the  gelatinised  paper  is 
liable  to  6tick  to  and  destroy  the  negative.  In  damp 
weather  it  is  a good  precaution  to  brush  a little  French 
chalk  over  the  sensitive  paper  and  negatives. 

For  line-work  it  is  better  to  expose  in  sunlight  when 
available,  taking  care  to  place  the  frames  perpendicularly 
to  the  direction  of  the  solar  rays,  so  that  any  possible  diffu- 
sion of  light  may  be  minimised.  When  printing  in  the 
shade,  the  same  object  is  gained  by  placing  a black  canvas 
screen  round  the  printing  frame  to  a height  of  about  2t  to 
3 feet. 

The  duration  of  the  exposure  will,  of  course,  depend  on 
the  quality  of  the  negative,  the  sensitiveness  of  the  paper 
(as  regulated  by  the  quantity  of  bichromate  in  it),  and  the 
chemical  intensity  of  the  light.  With  a clear,  strong  nega- 
tive, very  sensitive  paper,  and  strong  sunshine,  from  half-a- 
minute  to  two  or  three  minutes  will  be  enough.  In  dull 
weather,  or  with  bad  negatives,  the  time  may  be  increased 
from  five  to  twenty  minutes,  or  longer. 

When  properly  exposed,  the  outside  borders  of  the  paper 
beyond  the  negative  should  appear  of  a greenish  brown,  and 
the  lines  of  the  print  of  a clear  reddish  brown  on  a bright 
yellow  ground,  the  finest  lines  being  well  visible.  Though 
the  image  should  be  well  brought  out,  it  must  not  be  over- 
printed so  much  as  to  affect  the  white  parts,  or  it  will  be 
difficult  to  get  them  clean  in  washing,  especially  if  inked  in 
the  press  ; the  lines  also  will  retain  too  much  ink,  and  give 
a heavy  transfer.  On  the  other  haud,  if  the  print  be  under- 
exposed, the  fine  lines  will  be  liable  to  be  washed  away,  and 
the  transfer  will  be  weak. 

The  exposure  may  be  rather  more  with  hand-inked  prints 
than  with  press-inked.  Husnik  recommends  exposing  till 
a spot  painted  out  in  the  dense  open  part  of  the  negative 
appears  just  lighter  on  the  yellow  ground  than  the  surround- 
ing ground. 

An  actinometer  may  be  U3ed  if  thought  necessary,  but  in 
practice  sufficient  experience  is  soon  gained,  especially  if 
the  conditions  of  exposure  are  tolerably  constant — either 
sunshine  or  shade — and  the  negatives  of  fairly  even  quality. 

During  the  exposure  it  may  be  advisable  to  shrde  off  with 
a cloth  or  hankerchief  the  clear  and  open  parts  of  a negative, 
while  the  denser  and  closer  parts,  which  may  perhaps  bo 
covered  with  a slight  deposit,  receive  more  exposure.  With 
the  same  object  Mr.  Bolas  recommends  that  a piece  of  fine 
tracing  paper  should  be  stretched  at  the  back  of  the  negative 
and  shaded  with  blackleal,  applied  with  a stump  in  such  a 
manner  that  all  the  lines  may  appear  about  equal  in  trans- 
parency. If  necessary,  the  tracing  paper  over  the  denser 
parts  may  be  made  more  transparent  by  means  of  a little 
varnish,  or  a piece  of  the  tracing  paper  may  be  cut  out  with 
a knife.  This  mode  of  working  is  chiefly  necessary  when 
copying  engravings  or  other  subjects  with  very  fine  lines, 
aud  is  seldom  required  with  strong  black  and  white  subjects. 

Clare  must  bo  taken  not  to  expose  the  sensitive  paper  to 
light  when  putting  it  into  or  taking  it  out  of  the  frames, 
aud  on  no  account  must  prints  be  examined  in  daylight. 

lnh'ngof  the  Print. — Raving  now  obtained  the  photogra- 
phic print,  the  next  proceeding  is  to  give  the  lines  forming 
the  design  a thiu  coating  of  greasy  iuk,  so  as  to  transform 
the  print  into  something  similar  to  an  ordinary  lithographic 
transfer  drawing  or  print. 

As  noticed  before,  there  are  two  ways  of  doing  this,  which 
may  shortly  be  called  the  "washing-off'’  and  the  “inking- 
up  ’’  methods. 

In  the  first,  the  whole  surface  of  the  collo-chromate  print  is 
covered  with  transfer  ink,  and  the  print  is  then  washed 
either  in  hot  or  cold  water,  according  to  the  nature  of  the 
colloid  substance  employed  for  the  preparation  of  the  paper. 


Mabch  22,  1883. j 


THE  PHOTOGRAPHIC  NEWS. 


181 


The  whole  of  the  parts  unaltered  by  light  are  dissolved  and 
washed  away,  taking  the  superfluous  ink  with  them,  while 
the  lines  forming  the  image  are  left,  with  the  greasy  ink 
adhering  firmly  to  them. 

It  is  evident  that  when  the  original  is  faint  in  parts,  or 
contains  very  fine  lines,  so  that  the  negative  is  not  clear 
throughout,  such  parts  or  lines  will  be  too  faintly  impressed 
on  the  chromo-colloid  coating  to  render  it  insoluble  through- 
out, and  consequently  they  will  be  liable  to  be  undermiued 
and  carried  away  in  the  washing,  causing  the  image  to  appear 
broken  and  incomplete.  This  breaking  away  of  the  finer 
parts  of  the  image  is,  to  a greater  extent,  obviated  in  the 
inking-up  methods,  in  which  the  collo-chromate  print  is 
simply  damped  with  cold  water,  and  then  inked-up  with  a 
roller  or  dabber  charged  with  transfer  ink,  something  in  the 
same  way  as  in  collotype  printing.  The  lines  of  the  image, 
beiDg  unabsorbent  of  moisture,  take  the  ink,  while  the  white 
and  moist  parts  refuse  it. 

In  this  method,  all  the  lines  of  the  image,  even  the  faintest’ 
are  retained  on  the  colloid  surface  of  the  paper,  aud  take  a 
coating  of  ink  more  or  less  thick  in  proportion  to  their 
strength.  Many  effects  can  thus  be  produced,  especially  by 
the  judicious  use  of  soft  and  hard  inks,  that  would  be  im- 
possible in  the  washing-off  method. 

Some  of  the  “ washing-off  ” methods  have  the  further 
disadvantage  that  all  the  colloid  coating  being  removed 
from  the  ground  of  the  paper,  the  transfer  print  has  no 
“adhesiveness”  or  “grip”  to  the  stone,  and  is  liable  to  slip 
in  repeated  passing  through  the  press.  This  defect  is  reme- 
died in  the  “ inking-up  ” methods,  and,  moreover,  none  of 
the  colloid  coating  being  removed,  the  ink  on  the  lines  of  the 
image  is,  as  it  were,  embedded  in  the  surrounding  gelatine, 
and  is,  therefore,  better  protected  from  spreading  than  when 
lying  on  the  top  of  the  ridge  of  gelatine,  &c.,  produced  in 
the  washing-off  methods. 

The  difficulty  of  the  inking-up  methods  has  been  to  pre- 
vent the  paper  sticking  to  the  rollers  in  rolling  up  ; but 
experience  gained  since  the  introduction  of  the  collotype 
processes  has  been  usefully  applied  to  the  production  of 
transfer  prints,  and  with  the  use  of  a softish  ink  and  rollers 
of  glue  or  velvet  there  need  be  no  difficulty  in  rolling  up 
transfers  in  this  way. 

We  shall  consider  both  methods  in  detail,  commencing 
with  the  washing-off  as  being  the  most  usual.  The  first 
requirement  is  suitable  transfer  ink,  for  which  many 
different  compositions  have  been  proposed.  As  a rule, 
they  consist  of  ordinary  lithographic  printing  ink,  which 
is  a mixture  of  lamp-black  and  linseed  oil  varnish,  mixed 
with  wax,  resins,  oils,  or  fats  and  varnish  in  such  pro- 
portions a3  to  form  an  ink  possessing  sufficient  toughness 
aud  solidity  not  to  be  rubbed  off  the  lines  when  washed 
with  a sponge,  and  at  the  same  time  not  so  tough  as  to 
refuse  to  wash  away  at  all.  It  must  not  be  too  soft,  or  it 
will  have  a tendency  to  mass  up  on  to  the  lines  and  over- 
charge them  with  ink,  so  that  when  transferred,  the  ink 
spreads  and  makes  the  lines  heavy  and  unsightly ; such 
ink  also  clogs  the  sponge  in  washing,  and  makes  it  difti  :ult 
to  clear  the  lines.  A good  ink  should  lie  in  a thin  coating 
on  the  lines,  and  be  hard  enough  not  to  spread  in  transfer, 
while  at  the  same  time  fat  and  thick  enough  to  well 
penetrate  the  surface  of  the  stone  or  zinc,  and  make  a 
good  firm  transfer.  There  should,  however,  be  no  more 
ink  on  the  lines  than  is  sufficient  to  produce  the  desired 
effect,  and  the  thinner  and  closer  the  lines  are,  the  thinner 
the  coating  of  ink  should  be. 

The  composition  of  the  ink  to  be  used  will  depend  on 
climate  and  on  the  mode  of  working ; the  choice  must  be 
guided  by  experience.  A harder  ink  will  be  employed  in 
warm  weather  thau  in  cold,  and,  as  a general  rule,  ink 
applied  in  the  press  should  be  harder  than  ink  applied  by 
hand  with  a roller,  dabber,  or  brush. 

The  following  formula  for  the  transfer  ink  used  at  the 
Ordnance  Survey  Office,  Southampton,  is  an  excellent  one 
for  general  purposes  : — 


Best  chalk  litho.  ink 
Middle  litho.  varnish 
Burgundy  pitch 
Palm  oil 

White  wax 

Bitumen 


2 pounds 

1 pound 
12  ounces 

2 „ 
o 

— »> 


To  prepare  it,  the  ink  and  varnish  are  first  thoroughly 
ground  together  with  a muller  on  a stone  slab.  The 
Burgundy  pitch  is  melted  in  an  iron  saucepan  over  a clear 
fire  till  the  water  is  driven  off,  the  wax  is  added  in  small 
pieces,  next  the  palm  oil,  and  then  by  degrees  the  bitumen 
finely  powdered.  The  mixture  is  well  stirred  together  and 
heated  till  it  commences  to  burn  on  applying  a light.  The 
flame  being  extinguished  with  the  lid  of  the  saucepan 
(which  should  have  a long  wooden  handle  fastened  to  it 
for  this  purpose),  the  printing  ink  and  varnish  are  added 
in  small  quantities  at  a time,  stirring  well.  When  uni- 
formly mixed,  the  pot  is  taken  off  the  fire,  and  the 
composition  is  ground  iu  small  portions  on  a hot  slab 
with  a stone  muller,  and  may  finally  be  transferred  to 
pots  or  tins. 

This  ink  has  been  found  too  soft  for  use  in  a hot  damp 
climate,  so  we  now  prefer  to  use  a mixture  of  about  3 parts 
of  the  ordinary  hard  retransfer  ink — plate  to  stone — with 
1 part  of  best  chalk  litho.  printing  ink,  thinned  with 
turpentine.  Similar  mixtures  are  used  by  other  operators 


with  good  effect. 

If  hard  retransfer  ink  is 

not  available,  the  following 

may  be  substituted  : — 

White  wax 

1 pound 

Mastic  

..  ...  4 ounces 

Shellac  

4 „ 

Soap  

8 „ 

Lampblack 

4 „ 

Asphaltum 

2 „ 

Middle  varnish  ... 

5 „ 

Several  recipes  for  ink  of  the  same  kind  will  be  found 
in  Richmond’s  “ Grammar  of  Lithography.” 

Mr.  Butter,  of  the  Royal  Arsenal,  Woolwich,  recom- 
mends the  use  of  retransfer  ink  alone,  or  of  the  following, 
which  is  similar  to  the  Southampton  ink,  using  less 
Burgundy  pitch,  and  leaving  out  the  bitumen  : — 


Chalk  litho.  ink.  ... 
Middle  litho.  varnish 
Burgundy  pitch  ... 

Palm  oil 

White  wax 


...  2 pounds 

...  1 pound 

...  4 ounces 


If  a press  is  available  for  inking,  it  is  preferable  to  use 
it,  because  it  gives  a thinner  and  more  uniform  coating 
with  greater  cleanliness  aud  certainty  than  can  be  obtained 
in  any  other  way ; but  it  has  the  disadvantage,  if  used 
with  thin  negatives  or  thinly  gelatinised  paper,  of  driving 
the  ink  too  much  into  the  gelatine,  and  making  it  harder 
to  clear  weak  parts  than  is  the  case  if  the  ink  is  laid  on 
by  hand. 

To  ink-in  the  press,  an  ordinary  lithographic  press  is 
used,  carrying  either  a polished  stone  or  a zinc  plate 
fastened  on  a wooden  bed  of  suitable  thickness.  The  room 
in  which  the  press  stands  should  be  darkened  during  the 
operation. 

A small  quantity  of  the  transfer  ink  is  taken  and  worked 
down  with  turpeutine  to  the  consistence  of  cream.  A 
lithographic  roller  is  then  very  evenly  charged  with  the 
iuk  by  laying  a little  of  it  on  the  roller  with  a palette  knife, 
and  then  working  it  well  to  and  fro  in  different  directions 
on  the  inking  slab  until  all  inequalities  are  removed. 
The  stone  or  zinc  plate  is  then  inked  up  with  the  roller 
until  covered  with  a thin  uniform  coating  of  ink.  The 
transfer  print  is  then  laid  face  downwards  on  the  inked 
surface  ; a piece  of  thin  backing  paper  i8  laid  over  it  to 
prevent  the  tympan  leather  from  being  soiled,  and  it  is 
then  passed  through  the  press  with  a moderate  pressure. 
The  priut  is  lifted,  and  if  the  coating  of  ink  is  not  even  all 


182 


THE  PHOTOGRAPHIC  NEWS. 


[March  22,  1883. 


over  it,  it  is  laid  down  again  in  a reversed  position,  the 
plate  being  inked  again  if  necessary,  and  passed  through 
the  press  once  more.  Care  must  be  taken  not  to  allow  the 
ink  to  stain  the  back  of  the  prints,  the  paper  backing  being 
changed  as  often  as  necessary. 

If  a press  is  not  available,  or  in  cases  where  the  work  is 
fine,  or  the  gelatine  thin,  the  transfer  print  may  be  inked 
by  hand,  using  an  india-rubber  or  glue  roller,  or  a dabber 
made  of  roller  composition,  a piece  of  sponge  or  cotton,  or 
a brush. 

The  transfer  is  pinned  on  to  a board,  or,  as  recommended 
by  Mr.  Bolas,  clamped  down  on  a piece  of  plate-glass  by 
four  strips  of  metal  or  wood  and  some  American  clips  ; 
this  method  has  the  advantage  that  the  progress  of  the 
inking  and  the  uniformity  of  the  coating  can  be  examined 
from  time  to  time  by  looking  through  the  glass. 

When  using  a band  roller,  a softish  ink,  containing 
little  varnish,  should  be  used,  otherwise  the  roller  will 
catch  the  gelatine  surface,  making  the  inking  difficult,  and 
perhaps  raising  blisters. 

Mr.  Bolas  recommends  a solution  of  equal  parts  of  typo- 
graphic ink  and  middle  lithographic  varnish  in  sufficient 
oil  of  turpentine  to  give  it  the  consistence  of  cream.  A 
piece  of  muslin  being  placed  over  the  mouth  of  the  bottle 
containing  it,  a few  drops  are  filtered  out  on  to  the  inking 
slab.  This  ink  is  applied  to  the  transfer  print  with  a 
dabber  made  of  rag,  or  of  the  composition  used  for  printing- 
rollers,  taking  care  to  get  a very  thin  and  uniform  coating, 
working  down  thick  and  uneven  places  till  they  are  the 
same  as  the  rest  of  the  film.  If  necessary,  a little  tur- 
pentine may  be  added  to  the  ink  on  the  slab  from  time 
to  time,  and  should  the  coating  of  ink  get  hopelessly 
lumpy  or  uneven,  it  may  be  washed  off  with  a little 
turpentine,  and  inked  in  again.  Care  must  be  taken 
throughout  that  no  ink  falls  on  the  back  of  the  paper. 

For  use  with  his  double-coated  paper,  Husnik  recom- 
mends the  following : — 


Finest  printing  ink 

...  20  par 

Wax  

...  50  „ 

Tallow  

...  40  „ 

Resin  

...  35  „ 

Turpentine... 

...  310  „ 

Fine  Berlin  blue  ... 

...  30  „ 

or  one-sixth  part  of  wax  added  to  ordinary  retransfer  ink, 
and  dissolved  in  turpentine  to  the  consistence  of  oil. 
These  iuks  are  applied  to  the  transfer  print  with  a tuft  of 
cotton,  up  and  down  and  across,  in  even,  parallel  strokes, 
until  the  print  acquires  a uniform  dark  grey  colour. 

Au  ink  ready  prepared  hy  Husnik  is  also  found  in 
commerce. 

Washing  the  Transfer  Print. — Having  by  any  of  the 
above  methods  obtained  an  even  coating  of  ink,  the  print 
has  next  to  be  washed  to  remove  the  superfluous  ink,  and 
so  bring  out  and  develop  the  image. 

If  the  transfer  paper  is  prepared  with  soluble  gelatine, 
and  inked  in  the  press,  it  will  be  desirable  to  use  warm 
water  to  dissolve  and  remove  the  superfluous  gelatine.  In 
other  cases,  cold  water  may  be  used. 

It  has  generally  been  recommeuded,  in  working  the 
Southampton  process,  to  lay  the  inked  transfers,  face 
uppermost,  on  trays  containing  water  at  about  90°  F., 
until  the  soluble  gelatine  swells  sufficiently  to  make  the 
details  of  the  image  clearly  visible  as  shiny  patches  on  a 
matt  black  ground.  This,  however,  is  not  essentially 
necessary ; and  in  doing  large  numbers  of  transfers,  we 
generally  allow  them  to  soak  for  a short  time  in  tepid 
water  till  the  ink  is  well  loosened.  They  are  then  laid, 
face  upwards,  on  a sloping  plate  of  glass  or  metal,  and 
gently  washed  with  a soft  sponge  under  a running  stream 
of  warm  water,  until  all  the  superfluous  ink  and  gelatine 
have  been  removed,  and  the  image  appears  clear. 

If  the  paper  is  fresh,  and  the  print  made  from  a good 
negative,  with  sufficiently  opaque  ground  and  clear  lines 
the  unaltered  gelatine,  with  the  ink  on  its  surface,  wil 


wash  away  with  the  greatest  readiness ; but  if  the  paper 
be  rather  old,  or  the  negative  thin  in  parts,  so  that  the  ink 
does  not  clear  away  readily,  it  will  be  advisable  to  allow 
the  prints  to  soak  for  a short  time  in  rather  warmer  water, 
and  then  wash  again. 

It  may  be  noted  that  once  the  transfer  prints  have 
been  thoroughly  wetted  or  immersed  in  water,  the 
windows  may  be  opened,  and  the  washing  done  by  day- 
light. It  is  sometimes  recommended  to  use  warm  gum 
water  for  washing  off  the  ink,  but  it  is  not  necessary.  In 
washing  the  transfers,  the  sponge  must  be  kept  full  of 
water,  so  as  to  ensure  a constant  flow  over  the  surface  of  the 
print  to  wash  off  the  ink  as  soon  as  it  becomes  disengaged ; 
if  allowed  to  rest  on  the  paper  after  the  removal  of  the 
gelatine,  it  is  liable  to  cause  stains.  The  sponge  must  be 
used  with  a very  light  hand,  so  as  not  to  remove  the  finer 
lines  ; and  if  a little  scrubbing  is  necessary,  as  it  sometimes 
is,  to  remove  the  ink  in  faulty  parts  of  the  print,  it  must  be 
done  with  caution. 

Transfer  prints  on  Husnik's  paper,  or  papers  prepared 
with  gum,  albumen,  or  insoluble  gelatine,  may  be  washed 
off  in  cold  water  with  a soft  sponge  or  brush. 

Mr.  Bolas  recommendes  the  priut  to  be  soaked  in  cold 
water  for  ten  minutes,  and  then  softly  brushed  with  a 
broad  camel’s  hair  brush,  keeping  a constant  stream  of 
water  flowing  over  the  paper.  As  the  ink  becomes 
loosened,  some  of  it  will  tend  to  attach  itself  to  the  broader 
and  darker  lines,  while  the  fine  lines  will  retain  their 
original  thickness,  and  therefore,  in  inking  the  transfer 
print,  this  tendency  must  be  allowed  for,  and  the  thickness 
of  the  coating  of  ink  regulated  by  the  requirements  of  the 
finest  lines.  Should  the  print  not  clear  easily  under  the 
brush,  it  may  be  soaked  for  a while  in  slightly  warm 
water. 

When  the  transfers  are  perfectly  clean,  they  are  finally 
well  rinsed  front  and  back  in  clean  cold  water,  and  hung 
up  to  dry ; or  they  may  be  carefully  blotted  off  with 
blotting-paper,  and  either  dried,  or,  when  they  have 
reached  the  proper  stage  of  dampness,  transferred  at  once. 

Husnik  recommends  that  the  transfers  should  be  ex- 
posed to  the  light  for  a time  after  drying,  in  order  that 
the  white  parts  may  lose  their  stickiness.  This  may  also 
be  brought  about  by  soaking  the  prints  for  a couple  of 
minutes  in  a solution  of  tannin  at  1 to  100.  After  draining, 
the  prints  are  blotted  off  and  transferred  while  damp. 

When  the  transfer  print  is  dry,  the  image  should  appear 
quite  clear,  the  lines  sharply  defined,  and  the  ground  free 
from  irk.  It  constantly  happens  that  parts  which 
appeared  quite  clean  while  washing  will  be  found  covered 
with  a scummy  coaling  of  ink,  or  ragged  particles  of  ink 
will  be  found  between  the  lines.  The  cause  of  this  is 
insufficient  washing,  and  it  requires  some  little  experience 
to  detect  the  presence  of  ink  on  the  swollen  and  partially 
insoluble  gelatine.  This  defect  can  generally  be  remedied 
with  a sponge  and  warm  water. 


APPROXIMATIVE  PHOTOMETRIC  MEASUREMENTS  OF 
SUN,  MOON,  CLOUDY  SKY,  AND  ELECTRIC  AND 
OTHER  ARTIFICIAL  LIGHTS* 

Sir  William  Thomson  pointed  out  that  the  light  and  heat  per- 
ceived in  the  radiations  from  hot  bodies  were  but  the  different 
modes  in  which  the  energy  of  vibration  induced  by  the  heat 
was  conveyed  to  our  consciousness.  A hot  kettle,  red-hot  iron, 
incandescent  iron,  platinum,  or  carbon,  the  incandescence  in  the 
electric  arc,  all  radiate  energy  in  the  same  manner,  and  accord- 
ing as  it  perceived  through  the  sense  of  sight,  by  its  organ,  the 
eye,  or  by  the  sense  of  lieat,t  we  speak  of  it  as  light  or  heat. 
When  the  period  of  vibration  is  longer  than  one  four-hundred- 

• Fro-n  Naturr.  Abstract  of  a Lecture  by  Sir  W.  Thomson,  delivered 
at  the  Glasgow  Philosophical  Society. 

+ Sometimes  wrongly  called  the  sense  of  touch.  The  true  list  of  the 
senses,  first  given,  I believe,  by  Dr.  Thomas  Reid,  makes  two  of  what  used 
to  be  called  the  sense  of  touch,  so  that,  instead  of  the  stiU  too  common 
wrong-reckoning  of  five  senses,  we  have  six,  as  follows : — Sense  of  force ; 
sense  of  heat ; sense  of  sound , sense  of  light ; sense  of  taste ; sense  of  smell. 


Mabch  22,  1863.  | 


THE  PHOTOGRAPHIC  NEWS. 


183 


million-millionth  of  a second,  the  radiation  can  only  be  per- 
ceived by  the  sense  of  heat ; when  the  period  of  vibration  is 
shorter  than  one  four-hundred-million-millionth  of  a second,  and 
longer  than  one  eight-hundred -mil lion-mill'  ,:.h  of  a second, 
the  radiation  is  perceived  as  light  by  the  eye. 

Pouillet,  from  a series  of  experiments,  deduced  a value  of  the 
energy  radiated  by  the  sun,  equal  in  British  units  to  about  86 
foot-pounds  per  second  per  square  foot  at  the  earth’s  surface,  or 
about  one  horse-power  to  every  6J  square  feet  of  the  earth’s 
surface.  We  may  estimate  from  this  the  value  of  the  solar 
radiation  at  the  surface  of  the  sun.  The  sun  is  merely  an  in- 
candescent molten  mass  losing  heat  by  radiation,  and  surrounded 
by  an  atmosphere  of  incandescent  vapour,  so  that  the  radiant 
energy  really  comes  out  from  any  square  foot  or  square  mile  of 
the  sun’s  surface,  as  from  a pit  of  luminous  fluid  which  we  can 
cannot  distinguish  as  either  gaseous  or  liquid.  Take,  however, 
instead  of  the  sun,  an  ideal  radiating  surface  of  a solid  globe  of 
440,000  miles  radius.  The  distance  of  the  earth  being  taken  as 
93,000,000  miles,  the  radius  of  the  sun  is  equal  to,  say  in  round 
numbers,  one  two-hundredth  of  the  earth’s  distance,  hence  the 
area  at  the  earth’s  distance  corresponding  to  one  square  fo®t  of 
the  sun’s  surface,  is  equal  to  40,000  square  feet.  The  radiation 
on  this  surface  is  (40,000  X 86,  or)  3,440,000  foot-pounds, 
which  is  therefore  the  amount  of  radiation  from  each  square  foot 
of  the  sun’s  surface.  This  amounts  to  about  7,000  horse-power, 
which,  according  to  our  brain-wasting  British  measure,  we  must 
divide  by  144,  if  we  wish  to  know  the  radiation  per  square  inch 
of  the  sun’s  surface,  which  we  thus  find  to  be  50  horse-power. 

The  normal  current  through  a Swan  lamp  giving  a 20-candle 
light  is  equal  to  1'4  amperes  with  a potential  of  40  to  45  volts. 
Hence  the  activity  of  the  electric  working  in  the  filament  is  6T6 
ampere-volts  or  Watts  (according  to  Dr.  Siemens’  happy  desig- 
nation of  the  nam-  of  Watt,  to  represent  the  unit  of  activity 
constituted  by  the  ampere-volt).  To  reduce  this  to  horse-power, 
we  must  divide  by  746,  and  we  thus  find  about  l-12th  of  a 
horse-power  for  the  electric  activity  in  a Swan  lamp.  The 
filament  is  3j  inches  long,  and  -01  of  an  inch  in  diameter  of 
circular  section  ; the  area  of  the  surface  is  thus  l-9th  of  a square 
inch,  and  therefore  the  activity  is  at  the  rate  of  3-4ths  of  a 
horse-power  per  square  inch.  Hence  the  activity  of  the  sun’s 
radiation  is  about  sixty-seven  times  greater  than  that  of  a Swan 
lamp  per  equal  area,  when  incandesced  to  240  candles  per  horse- 
power. 

In  this  country  the  standard  light  to  which  photometric 
measurements  are  referred  is  that  obtaiued  from  what  is  known 
as  a standard  candle.  Latterly,  however,  objections  have  been 
raised  against  its  accuracy.  It  has  been  said  that  differences  of 
as  much  as  14  per  cent,  have  been  found  in  the  intensity  of 
the  light  given  by  different  standard  candles,  and  that  serious 
differences  have  been  observed  in  the  intensity  of  the  light  from 
different  parts  of  the  same  candle  in  the  course  of  its  burning. 
The  Carcel  lamp,  the  standard  in  use  in  France,  has  been  re- 
regarded  as  the  only  reliable  standard.  It  is,  no  doubt,  very 
reliable  and  accurate  in  its  indications,  but  it  should  be  remem- 
bered that  its  accuracy  is  greatly  owing  to  the  careful  method 
and  the  laborious  precautions  taken  to  secure  accuracy.  If  some- 
thing akin  to  the  precautions  applied  to  the  Carcel  lamp  by 
Regnault  and  Dumas  were  applied  to  the  production  and  use  of 
the  standard  candle,  there  is  little  doubt  but  that  sufficient 
accuracy  for  mo3t  practical  purposes  could  also  be  obtained  with 
it ; probably  as  good  results  as  are  already  obtained  by  the  use 
of  the  Carcel  lamp. 

At  the  Conference  on  Electrical  Units  which  met  in  Taris 
lately,  a suggestion  was  made  to  use  as  a standard  for  photo- 
metric measurements  the  incandescence  of  melting  platinum, 
and  very  interesting  results  and  methods  in  connection  with  the 
proposal  were  presented  to  the  meeting.  According  to  experi- 
ments by  Mr.  Violle,  which  M.  Dumas  reported  to  the  Confer- 
ence, a square  centimetre  of  liquid  platinum  at  the  melting 
temperature  gives  of  yellow  light  seven,  and  of  violet  twelve 
times,  the  quantities  of  the  same  colours  given  by  a Carcel  lamp. 
The  apparent  area  of  the  Swan  filament,  being  one-ninth  of  a 
square  inch,  is  ’23  of  a square  centimetre,  and  when  incandesced 
to  20  candles,  must  be  about  as  bright  as  the  melted  platinum  of 
Mr.  Violle'8  experiment,  as  the  7 carcels  of  yellow  and  12  of 
violet  must  correspond  to  something  like  10  carcels  or  85  candles, 
in  the  ordinary  estimation  of  illumination  by  our  eyes.  The 
tint  of  Mr.  Violle’s  glowing  platinum  cannot  be  very  different 
from  that  of  the  ordinary  Swan  lamp  incandesced  to  its  “ 20 
candles.”  Thus  both,  as  to  tint,  and  brightness,  it  appears  that 
melted  platinum  at  its  freezing  temperature  is  nearly  the  same 


as  a carbon  filament  in  vacuum  incandesced  to  240  candles  per 
horse-power. 

For  approximative  photometric  measurements  the  most  con- 
venient method  is  certainly  that  of  Rumford,  by  a comparison 
of  the  shadows  cast  by  the  sources  of  light  on  a white  surface. 
The  apparatus  necessary  are  only  a piece  of  white  paper,  a small 
cylindrical  body  such  as  a pencil,  and  a means  of  measuring 
distances.  Ordinary  healthy  eyes  are  usually  quite  consistent  in 
estimating  the  strength  of  shadows,  even  when  the  shadows 
examined  are  of  different  colours,  and  with  a reasonable  amount 
of  care  photometic  measurements  by  this  method  may  be  obtained 
within  2 or  3 per  cent,  of  accuracy.  The  difference  in  the  colours 
of  the  shadows  is  of  course  due  to  each  shadow  being  illuminated 
by  the  other  light. 

Arago  has  compared  the  luminous  intensity  of  the  sun  with 
that  of  a candle,  and  estimates  it  as  equal  to  about  15,900  times 
that  of  a candle  flame. 

Seidel,  as  Sir  W.  Thomson  had  been  informed  by  Helmholtz, 
estimated  the  luminous  intensity  of  the  moon  as  about  equal  to 
that  of  grayish  basalt  cr  sandstone.  An  experiment  on  sunlight 
made  in  Glasgow  on  the  8th  of  this  month  (since  this  paper  was 
read),  compared  with  an  observation  on  moonlight,  which  he 
made  at  York  during  the  meeting  of  the  British  Association 
there  in  1881,  had  led  him  to  conclude  that  the  surface  of  the 
moon  radiates  something  not  enormously  different  from  one- 
quarter  of  the  light  incident  on  it.  It  would  be  exactly  this  if 
the  transparency  of  the  Glasgow  noon  atmosphere  of  December  8 
1882,  had  been  exactly  equal  to  that  of  the  York  midnight 
atmosphere  of  September,  1881,  referred  to  below,  for  the 
respective  altitudes  of  the  sun  and  moon  on  the  two  occasions. 
The  observation  on  moonlight  referred  to  above  showed  the 
moonlight  at  the  time  and  place  of  the  observation  (at  York  early 
in  September,  1881,  about  midnight,  near  the  time  of  full  moon) 
to  be  equal  to  that  of  a candle  at  a distance  of  230  centimetres. 
The  moon’s  distance  13'8  X I010  cm.)  is  I-65  X 10s  times  the 
distance  of  the  candle.  Hence,  ignoring  for  a moment  the  loss 
of  moonlight  in  transmission  through  the  earth’s  atmosphere,  we 
find  ( 1 -65  x 108)2,  or  27  thousand  million  million  as  the 
number  of  candles  that  must  be  spread  over  the  moon’s  earth- 
ward hemisphere  painted  black,  to  send  us  as  much  light  as  we 
receive  from  her.  Probably  about  one  and  a-half  times  as  many 
candles,  or  say  forty  thousand  million  million  would  be  required, 
because  the  absorption  by  the  earth’s  atmosphere  may  have 
stopped  about  one-third  of  the  light  from  reaching  the  place 
where  the  observation  was  made.  The  moon’s  diameter  is 
3'5  X 108  centimetres,  and  therefore  half  the  area  of  her  surface 
is  19  X 10IG  square  centimetres,  which  is  nearly  five  times  forty 
thousand  million  million.  Thus  it  appears  that  if  the  hemi- 
sphere of  the  moon  facing  the  earth  were  painted  black  and 
covered: with  candles  standing  packed  in  square  touching  one 
another  (being,  say,  one  candle  to  every  five  square  centimetres 
of  surface),  all  burning  normally,  the  light  received  at  the  earth 
would  be  about  the  same  in  quantity  as  estimated  by  our  eyes,  as 
it  really  is.  It  would  have  very  much  the  same  tint  and  general 
appearance  as  an  ordinary  theatrical  moon,  except  that  it  would 
be  brightest  at  the  rim  and  continuously  less  bright  from  the 
rim  to  the  centre  of  the  circle  where  the  brightness  would  be 
least. 

The  luminous  intensity  of  a cloudy  sky  he  found  about  1 0 a.m. 
one  day  in  York  during  the  meeting  of  the  British  Association 
to  be  such,  that  light  from  it  through  an  aperture  of  one  square 
inch  area  was  equal  to  about  one  candle.  The  colour  of  its 
shadow  compared  with  that  from  a candle  was  as  deep  buff 
yellow  to  azure  blue,  the  former  shadow  being  illuminated  by 
the  candle  alone,  the  latter  by  the  light  coming  through  the 
inch  hole  in  the  window  shutter. 

The  experiment  on  sunlight  of  last  Friday  (December  8) 
showed,  at  1 o’clock  on  that  day,  the  sunlight  reaching  his 
house  in  the  University  to  be  of  such  brilliancy  that  the  amount 
of  it  cousing  through  a pinhole  in  a piece  of  paper  of  -09  of  a 
centimetre  diameter  produced  an  illumination  equal  to  that  of 
126  candles.  This  is  6'3  times  the  20-candle  Swan  light,  of 
which  the  apparent  area  of  incandescent  surface  is  ‘23  of  a 
square  centimetre,  or  3\8  times  the  area  of  the  pin-hole.  Hence 
the  sun’s  surface  as  seen  through  the  atmosphere  at  the  time 
and  place  of  observation  was  24  times  as  bright  as  the  Swan 
carbon  when  incandensced  to  240  candles  per  horse-power.  By 
cutting  a piece  of  paper  of  such  shape  and  size  as  just  to 
eclipse  the  flame  of  the  candle  and  measuring  the  area  of  the 
piece  of  paper,  he  found  about  2'7  sq.  centims.  as  the  corre- 
sponding area  of  the  flame.  This  is  420  times  the  area  ef  the 


184 


THE  PHOTOGRAPHIC  NEWS. 


[Makch  22,  1883, 


pin-hole,  and  therefore  the  intensity  of  the  light  from  the  sun’s 
disc  was  equal  to  (126  X 420)  about  53,000  times  that  of  a 
candle -flame.  This  is  more  than  three  times  the  value  found 
by  Arago  for  the  intensity  of  the  light  from  the  sun’s  disc  as 
compared  with  that  from  a candle-flame  ; so  much  for  a Glasgow 
December  sun  ! 

The  '09  cm.  diameter  of  the  pin-hole,  of  the  Glasgow  obser- 
vation, subtends,'  at  230  centimetres  distance,  an  angle  of 
l-2556  of  a radian  ; which  is  23 '7  times  the  sun’s  diameter 
(1/108  of  a radian).  But  at  230  cm.  distance  the  sunlight 
through  the  pinhole  amounted  to  126  times  the  York  moonlight 
(which  was  1 candle  at  233  cm.  distance).  Hence  the  Glasgow 
sunlight  was  [(23  7)2  X 126  times  or]  71,000  times  the  York 
moonlight.  We  cannot,  therefore,  be  very  far  wrong  in  esti- 
mating the  light  of  full  moon  as  about  one-seventy-thousaudth 
of  the  sunlight,  anywhere  on  the  earth.  This,  however,  is  a 
comparison  which,  because  of  the  probably  close  agreement  of 
the  tints  of  the  two  lights,  can  probably  be  made  with  minute 
accuracy  ; and  we  must  therefore  not  be  satisfied  with  so  very 
rough  an  approximation  to  the  ratio  at  this  70,000.  A lime 
light,  or  magnesium  light,  or  electric  arc-light,  carefully  made 
and  re-made  with  very  exactly  equal  brilliance,  for  each  separate 
observation  of  sunlight  and  moonlight,  might  be  used  for 
intermediary. 


Switzerland  is  to  have  a photographic  exhibition  this 
year ; it  will  be  open  from  May  till  September. 

(gDr.  Liesegang  has  favoured  us  with  an  early  copy  of 
his  new  edition  of  “ Die  Bromsilber  Gelatine.”  The  work 
has  been  most  carefully  prepared,  and  is  well  up  to  date. 

A goodly  collection  of  photographs  connected  with 
pisciculture  will  form  part  of  the  International  Fisheries 
Exhibition  which  is  to  be  opened  at  South  Kensington  on 
May  12  by  the  Queen.  The  late  Mr.  Crawshay,  of 
Cyfarthfa  Castle,  collected  during  his  lifetime  a most 
valuable  series  of  photographs  of  trout  and  salmon  in 
English  rivers,  which  he  presented,  we  remember,  to 
Frank  Buckland.  This,  if  still  complete,  would  be  an 
interesting  addition  to  the  Fisheries  Exhibition. 


MM.  Goupil  et  Cie.,  of  Paris,  are  said  to  have  purchased 
a wonderful  secret  process — a wet  collodion  method,  so  we 
are  told — which  permits  them  to  reproduce  paintings  in 
the  camera  far  more  perfectly  than  by  the  old  method. 
Certainly,  the  copies  of  paintings  recently  issued  by 
MM.  Goupil  represent  magnificent  photographic  work  ; 
still,  we  much  doubt  its  being  siruply  due  to  a modified 
collodion  process. 


As  photographers  are  more  interested  than  most  people 
in  the  sun,  they  may  like  to  know  some  details  of  the 
working  of  a railway  to  that  luminary,  which  Professor 
Young,  of  Princeton  College,  has  calculated,  en  attendant 
the  realisation  of  the  scheme.  He  says : “ Take  a railroad 
from  the  earth  to  the  sun,  with  a train  running  40  miles 
an  hour,  without  stops,  and  it  would  take  about  265  years 
and  a little  over  to  make  the  journey.”  As  to  the  fare, 
the  learned  Professor,  calculating  at  the  modest  rate  of  a 
halfpenny  per  mile,  estimates  it  at  £193,700.  You  would 
have  to  be  a millionaire,  therefore,  to  take  tickets  for  your 
wife  and  family. 


An  entirely  new  explosive  is  said  to  have  been  used  in 
damaging  the  Government  Offices  at  Westminster,  and  as 
novel  exploding  agents  appear  regularly  about  once  a week, 
we  may  be  permitted  to  say  that  it  is  not  the  material,  but 
only  the  name,  that  is  new  in  nineteen  cases  out  of  twenty. 
Examined  critically,  the  new  explosive  generally  turns  out 
to  be  the  photographer’s  old  friend  guncotton,  or  that 
insidious  liquid  nitro-glycerine,  or  a permutation  or  com- 
bination of  these  two.  And  as  nitro-glycerine  and  gun- 
cotton are  both  nitro-compounds,  and  practically  the  same 
— the  one  being  produced  by  the  action  of  nitric  acid  on  a 
solid  (cotton),  and  the  other  by  the  action  of  nitric  acid 
on  a liquid  (glycerine) —it  follows  that  whatever  the 
grandiose  names  invented  for  the  novelties,  they  all  turn 
on  the  same  chemical  pivot. 


One  word  more  on  the  subject  of  the  Westminster 
explosion.  The  whole  affair  has  been  most  grossly 
exaggerated.  Excepting  the  broken  glass,  which  can 
scarcely  be  called  a national  calamity,  the  damage  done 
amounts  to  the  destruction  of  a stone  window-sill,  the 
wrecking  of  a small  room  in  the  basement,  and  serious 
damage  to  an  apartment  overhead.  When  we  get  news- 
papers illustrated  by  photography  which  will  let  the  public 
see  the  truth  for  themselves,  we  suspect  the  sensational 
articles  in  our  dailies  will  be  at  a discount. 


Sometime  back  we  described  how  M.  Janssen  proposed 
to  employ  photography  to  measure  the  light  intensity  of 
heavenly  bodies,  and  we  published,  too,  in  these  columns, 
a criticism  on  the  method  by  Mr.  Plener.  M.  Janssen 
judges  of  the  luminosity  by  the  density  of  the  photographic 
image  produced.  The  first  results  of  the  French  astron- 
omer have  now  been  communicated  to  the  Academy  of 
Sciences,  the  light  of  the  full  moon,  of  the  comet  of  1881, 
&c.,  having  been  under  examination.  M.  Janssen’s 
method  is  based  on  the  principle  of  photometry,  that  the 
intensities  of  two  light-sources  are  in  the  inverse  ratio  of 
the  time  they  take  to  perform  the  same  photographic  work, 
or  the  time  taken  to  produce  the  same  depth  of  tint  on  two 
sensitive  films  of  a like  nature. 


In  the  last  century,  it  was  the  parsons  who  were  treated 
as  menials,  the  chaplain,  if  permitted  to  dine  at  table, 
being  expected  to  leave  with  the  pudding.  Now-a-days, 
apparently,  it  is  the  man  with  a scientific  training  who 
comes  in  for  indignities,  judging  from  the  following 
advertisement,  which  the  Chemiker  Zeitung  quotes,  for  an 
“academically-educated  chemist,  fully  acquainted  with 
the  manufacture  of  sugar,  who  can  undertake  in  summer 
coppersmith’s  work,  or  supervise  teams  of  draught  oxen.” 
It  is  not  so  long  ago  that  the  Chemical  News  contained  an 
advertisement  for  a capable  man  to  undertake  commercial 
analysis,  and  “ to  wait  at  table.” 


We  doubt  the  wisdom  of  making  a small  instantaneous 
camera  in  the  form  of  a revolver,  as  M.  Enjalbert  has  done. 
Of  course  a camera  pistol  is  harmless  enough  in  itself,  but 
most  people  have  got  the  idea  into  their  heads  that  it  is 


Mabch  22,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


185 


safest  to  be  out  of  the  neighbourhood  of  an  instrument  of 
the  sort,  and  hence  we  think  those  who  carry  a camera- 
revolver  may  occasionally  get  themselves  into  trouble. 


Dr.  J.  M.  Eder  sends  us  Part  V.  of  his  comprehensive 
work  on  photography.  It  treats  of  “Studio  and  Labora- 
tory," and  to  the  practical  photographer  is  certainly  the 
most  interesting  section  of  the  book  yet  issued.  Eder's 
“ Ausfiihrliches  Handbuch  der  Photographic,”  the  title  of 
the  entire  work,  is  likely  to  put  all  other  manuals  in  the 
shade,  for  we  are  promised  about  1,200  pages,  and  no  less 
than  1,000  woodcuts.  Part  V.,  which  is  now  before  us, 
contains  192  engravings,  and  being  so  richly  illus- 
trated, it  becomes  intelligible  to  any  photographer  who 
knows  but  a little  of  German.  The  publisher  is  Wilhelm 
Knapp,  of  Halle,  and  each  part  sells  for  two  shillings  and 
sixpence. 


One  of  the  objections  against  using  the  Warnerke  sensi- 
tometer — or,  rather,  against  burning  a bit  of  magnesium 
wire  in  the  dark-room  occasionally — is  the  distressing 
effect  upon  the  eyes  of  the  vivid  light  and  thick  fumes. 
Everybody  tries  to  avoid  these  in  the  best  way  he  can,  and 
a very  good  plan  of  protecting  oneself  is  that  adopted  by 
Mr.  Cowan  in  his  laboratory.  He  simply  takes  the  pre- 
caution to  have  a sheet  of  orange  glass  in  his  left-hand, 
while  he  burns  the  magnesium  in  his  right.  The  burning 
magnesium  is  moved  to  and  fro  in  front  of  the  luminous 
paint  tablet  (to  sensitize  the  latter),  and  Mr.  Cowan 
leisurely  watches  the  operation  through  the  orange  glass, 
which,  held  between  hisjeyes  and  the  light,  saves  him 
entirely  from  the  piercing  rays  and  white  vapours  given  off 
on  burning. 


We  spoke  about  Mr.  Cowan’s  “light”  dark-room,  the 
other  day ; but  a matter  equally  surprising  to  those  who 
believe  in  ruby  gloom,  and  nothing  else,  for  gelatine 
photography,  is  Mr.  Cowan’s  store-closet  of  emulsion. 
This  resembles  a cupboard  in  which  housewives  keep  their 
jams  and  preserves,  and  it  is,  indeed,  a simple  wooden 
cupboard,  and  nothing  more.  On  the  shelves  are  ranged 
the  jars  of  emulsion,  quite  open  to  the  light,  the  only  pre- 
caution being  that  they  are  jars  with  “shut-over”  tops 
— so-called  chemical  jars  of  Doulton  ware.  By  not  quite 
filling  the  jars,  and  takiug  care  not  to  remove  the  top 
except  in  the  dark-room,  there  is  not  the  least  risk  of 
spoiling  the  emulsion  by  access  of  light. 


The  windows  of  dark  rooms  which  look  into  studios  are 
occasionally  the  source  of  a little  quiet  enjoyment  to  the 
photographer— or  used  to  be,  for  the  public  are  getting 
alive  to  the  fact  that  these  apparently  opaque  patches 
are  a3  transparent  as  common  window  glass.  In  the  old 
days,  when  it  used  to  be  the  fashion  for  Edwin  and 
Angelina  to  be  taken  together  before  they  “ took  ” each 
other  for  better  or  worse,  it  was  no  uncommon  thing  for 
the  photographer  to  be  an  amused  witness  of  the  oscu- 
latory  salutes  with  which  the  amorous  youth  used  to 
beguile  the  time  while  awaiting  the  result  of  the  sitting. 


It  was  a proof  of  the  superior  acuteness  of  the  feminine 
intellect  that,  in  nearly  every  case,  the  lady  received 
these  demonstrations  of  affection  with  reluctance,  or  was 
obviously  ill  at  ease  from  the  suspicion  that  “ some  one 
was  looking.” 


All  this  is,  of  course,  droll  enough ; but  one  gets 
used  to  the  love-making  of  other  people  in  a sur- 
prisingly short  time,  and  most  photographers  become 
hardened  to  the  process.  On  one  occasion,  however,  a 
well-known  photographer  was  awakened  in  sober  earnest, 
when,  on  looking  through  his  dark-room  window,  he  saw 
a lady,  whom  he  had  left  a minute  or  two  previously  in 
the  apparent  possession  of  her  senses,  suddenly  take  leave 
of  them.  She  had  walked  up  to  the  dark-room  window, 
had  put  her  face  within  half  a foot  of  the  glass,  and 
was  smirking  and  smiling,  and  otherwise  contorting  her 
countenance  in  the  most  idiotic  fashion.  Forgetting  that 
she  could  not  look  through,  the  startled  photographer 
imagined  his  sitter  was  making  faces  at  him,  when — 
happy  thought! — the  solution  of  the  mystery  occurred  to 
him.  The  dark  glass,  of  course,  acted  as  a mirror,  and 
the  lady  was  simply  practising  her  “ expression." 

Government  refuses  to  build  an  observatory  on  Ben 
Nevis,  so  money  is  to  be  raked  for  the  purpose  by  private 
subscription.  Five  thousand  pounds  is  the  estimated  cost, 
but  this  is  surely  too  moderate  a sum.  There  is  plenty  of 
building  material  on  the  spot,  as  everyone  who  has  climbed 
over  the  rough  boulders  to  the  top  of  Scotland’s  Mont 
Blanc  knows  very  well ; but  the  labour  of  fashioning  it  for 
masonry,  as  also  the  cost  of  building  more  than  four 
thousand  feet  above  the  level  of  the  sea,  would  necessarily 
be  very  great.  Mr.  Wragge,  the  energetic  metereologist 
and  mountaineer  who  took  daily  observations  on  Ben  Nevi3 
during  the  past  two  summers,  has  abundantly  proved  the 
importance  of  the  station,  standing  as  it  does  as  a sort  of 
out-post  on  the  coast ; and  he  ha3  pointed  out  how  it 
might  be  made  still  more  useful  by  having  another  station 
some  five  hundred  miles  in  front  in  the  Atlantic — a moored 
light-ship  would  answer  the  purpose — with  which  obser- 
vations might4be  compared. 


We  recently  quoted  a statement  made  at  the  Royal 
Microscopical  Society,  to  the  effect  that  electric  accumu- 
lators were  likely  to  turn  out  failures,  on  account  of  their 
gradual  loss  of  energy  when  re-charged,  and  necessary 
extinction  in  course  of  time.  Mr.  Edison  has  lately  been 
expressing  himself  to  the  same  effect,  but  in  far  more 
forcible  language  than  that  used  at  the  Microscopical 
Society.  If  the  report  of  his  conversation  with  the  reporter 
of  a Boston  newspaper  be  correct,  he  has  denounced  the 
storage  battery  as  “a  catch-penny,  a sensation,  a mechan- 
ism for  swindling  by  stocking  companies.”  He  estimates 
the  yearly  depreciation  at  not  less  than  thirty  per  cent,  of 
the  first  cost  if  used  daily,  and  that  a renewal  of  the 
accumulator  once  in  four  years  is  necessary.  If  this  bo 
so,  the  shareholders  in  the  Faure  Company  have  not  a very 
brilliant  outlook.  But,  then,  the  accumulator  is  only  in  its 
infancy. 


186 


THE  PHOTOGRAPHIC  NEWS. 


[March  22,  1883. 


At  the  last  meeting  of  the  Anthropological  Institute, 
Dr.  Garson  exhibited  a series  of  photographs  of  cases  of 
hypertrichosis.  It  is  rather  singular  that  one  of  the  uses 
to  which,  in  the  very  earliest  days  of  photography,  it  was 
thought  the  art  would  be  specially  adapted  should  be 
medical  science.  Sir  John  Robinson,  Secretary  to  the 
Royal  Society  of  Edinburgh,  in  speaking  before  the  Society 
of  Arts  in  1839  on  Daguerre’s  discovery,  which  had  been 
announced  to  the  world  but  a short  time  previously,  said  : 
“ Id  one  department  it  will  give  valuable  facility.  Ana- 
tomical and  surgical  drawings,  so  difficult  to  make  with 
the  fidelity  which  it  is  desirable  they  should  possess,  will 
then  be  easily  produced  by  a little  skill  and  practice  in 
the  disposition  of  the  subjects  and  of  the  lights.”  This 
was  said  forty-four  years  ago ; yet  how  little,  comparatively 
speaking,  has  photography  been  utilised  by  the  medical 
profession ! Is  there  a single  work  on  physiology,  patho- 
logy, or  anatomy  in  existence  which  is  illustrated  by 
photographs  ? If  so,  we  should  be  glad  to  hear  of  it. 


The  Royal  College  of  Surgeons  almost  ignores  photo- 
graphy. It  has  gone  to  an  enormous  expense  in  the  pre- 
paration of  an  elaborate  series  of  drawings  illustrative  of 
every  form  of  skin  disease,  but  not  a single  photograph 
can  be  found ; and  this,  too,  in  a department  for  which 
photography  is  peculiarly  suitable.  Of  course,  in  regard 
to  colour,  these  drawings  are  of  great  value,  but  in  accu- 
racy of  form  they  surely  cannot  compare  with  photo- 
graphs. 

Evidently  spurred  on  by  the  recent  photo-balloon  experi- 
ments of  the  German  War  Office,  our  military  authorities 
at  home  have  resolved  upon  undertaking  some  trials  of  a 
similar  nature  during  the  summer.  There  is  no  doubt 
much  has  to  be  accomplished  in  balloon-photography,  and 
if  only  those  who  have  experience  on  the  subject  were  con- 
sulted, some  useful  information  might  result.  It  is  not 
generally  known  that  one  of  the  best  scientific  authorities 
— if  uot  the  best — on  ballooning  is  the  president  of  the 
Photographic  Society,  Mr.  James  Glaisher,  F.R.S. 

Mr.  Glaisher  enjoys  the  enviable  reputation  of  having 
been  nearer  heaven  than  any  other  man.  During  his 
numerous  voyages,  he  has  risen  to  a distance  of  seven  mil  es 
above  the  earth,  and,  as  a wonderful  instance  of  what 
might  be  depicted  by  a camera  at  great  altitudes,  Mr. 
Glaisher  tells  us  that  on  one  occasion  the  whole  breadth 
of  England  could  be  seen  at  a glance,  as  on  a map,  the 
coast  at  Norfolk  being  recognised  on  the  one  hand,  and 
the  Welsh  sea-liue  on  the  other.  One  of  these  days, 
perhaps,  we  shall  have  maps  made  by  photography  in  this 
way. 


f atari  Intelligent. 

Application  for  Letters  Patent. 

1380.  Richahd  Brown,  and  Robert  William  Barnes,  and 
Joseph  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  for  an  invention  of  “ Improvements  in  and  relating 
to  the  preparation  of  pictures  and  photographs  to  be  used  in 


the  production  of  pictures  by  the  art  of  photography  and 
photo-engraving,  and  in  the  production  of  gelatine  reliefs  and 
printing  surfaces  therefrom.” — Dated  15th  March,  1883. 

Notice  to  Proceed. 

813.  Thomas  Samuels,  of  Monken  Hadley,  in  the  county  of 
Middlesex,  for  an  invention  of  “ Improvements  in  apparatus 
for  holding  dry  plates  or  films  before,  during,  and  after  expo- 
sure, and  for  changing  them  in  the  photographic  camera.” — 
Dated  15th  February,  1883. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  V. 

In  lesson  No.  III.  we  learnt  the  meaning  of  the  terra  sensi- 
tized paper — what  it  is,  and  how  to  prepare  it  ; we  also 
considered  the  darkening  action  which  would  take  place  if 
the  paper  be  exposed  to  daylight.  For  this  reason,  only 
yellow  light  should  be  used  in  the  printing  apartment  when 
the  sensitive  paper  is  uncovered,  because  the  delicate  whites 
of  the  print  will  not  be  found  to  suffer  in  the  slightest 
degree  by  the  continued  action  of  such  alight.  Our  next 
operation  will  be  to  place  some  of  this  sensitive  paper  on  a 
negative,  in  a suitable  frame,  and  print  an  impression 
thereon. 

The  accompanying  sketch  A indicates  what  is  called  the 


A. 

printing  or  pressure  frame,  such  as  usually  employed  for 
negatives  up  to  6£  by  inches  (half-plate),  attaching 
a label  or  tablet,  as  showo,  with  the  number  of  prints 
required,  and  placing  one  stroke  beside  it  each  time  the 
frame  is  re-charged ; this  forms  a convenient  mode  of 
registering  the  number  of  prints  executed.  Perhaps  a 
better  plan  may  suggest  itself  to  many,  such  as  attaching 
a label  permanently  to  the  negative,  narrow  strips  of 
albumenized  paper  being  well  suited  for  the  purpose.  The 
sketch  B is  provided  with  a plate-glass  bed  whereon  the 


B 


negative  is  laid,  so  that  any  smaller  sized  negative  than  the 
plate-glass  may  be  printed  in  it.  As  a rule,  however,  they 
are  usually  employed  for  the  larger  sizes  only. 

When  the  frame  is  open,  light  is  free  to  passthrough; 
but  when  closed,  as  in  the  sketch,  light  can  only  pass 
through  the  negative  on  to  the  sensitive  paper.  The  back 
is  made  in  two  halves  hinged  together,  so  that  the  pressure 
may  be  retained  on  one-half,  while  the  other  half  may  be 
opened  to  examine  the  progress  of  printing.  V ery  little 


March  22,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


187 


danger  of  altering  the  position  of  the  print  exists  if  only 
ordinary  care  be  exercised,  and  sufficient  pressure  be  re- 
tained on  the  other  half. 

Pressure  is  effected  in  a variety  of  ways.  Strips  of  hard 
sheet  brass  answer  admirably  lor  small  sizes  ; they  may  be 
secured  by  means  of  a screw  at  one  end,  the  other  eud  pass- 
ing, when  closed,  into  a wire  loop  or  other  contrivance, 
thereby  bringing  pressure  to  bear  on  the  back.  Our  ad- 
vice is  to  purchase  an  assortment  of  new  printing-frames 
from  any  one  of  the  photographic  stock-dealers,  from 
whom  they  may  be  had  remarkably  cheap. 

We  will  suppose  we  are  working  with  a quarter-plate 
negative  in  a quarter-plate  frame,  size  4 £ by  3J  (glass  beds 
are  seldom  fitted  to  this  size)  ; the  negative  must  lie  quite 
flat  in  the  rabbet;  if  it  does  not  do  so,  either  the  rabbet  is 
not  true,  or  the  negative  is  not  flat.  If  the  frame  is  at  fault, 
and  cannot  be  easily  corrected,  it  will  be  wise  economy  to 
discard  it,  or  a number  of  valuable  negatives  may  be  broken 
in  consequence ; but  if  the  the  negative  is  not  flat,  which 
may  be  seen  by  looking  along  the  edge,  we  must  gum  one 
or  two  narrow  strips  of  paper  on  the  portion  that  does  not 
touch  the  rabbet ; if  the  negative  no  longer  rocks  in  the 
frame  when  pressed  at  each  end,  it  may  be  considered  safe 
to  apply  the  pressure. 

Place  the  negative  down  on  the  rabbet  of  the  printing- 
frame,  varnished  side  being  uppermost ; pass  a camel- 
hair  brush  once  or  twice  over  the  surface  to  remove  any 
adhering  particles  of  dust ; then  place  one  of  the  pieces 
of  paper  we  cut  in  the  last  lesson,  down  on  the  negative, 
albumenized  side  iu  contact  with  the  varnished  surface  of 
the  negative  ; upon  this  lay  evenly  one  or  more  thick- 
nesses of  blotting-paper,  each  piece  as  large,  or  larger,  than 
the  piece  of  sensitive  paper  ; this  forms  a padding  to 
increase  and  equalize  the  pressure  (a  better  article  for  the 
purpose,  when  come-at-able,  is  the  red  sheet  rubber,  which 
does  not  affect  the  print  nor  cause  dust  like  paper,  felt, 
and  padding,  of  that  description.  It  is  manufactured  any 
size  and  thickness) ; place  the  back  of  the  frame  in  its 
proper  position,  and  close  the  springs.  If  the  negative  can 
be  moved  about  easily  after  the  springs  are  closed,  the  pres- 
sure is  insufficient,  and  more  padding  must  be  added. 
Blurring  in  the  print  is  a proof  that  negative  and  paper 
have  not  been  pressed  into  contact.  Let  the  printing 
board  or  bench  be  erected  out  in  the  open  air,  as  far 
away  from  the  surrounding  buildings  as  found  convenient; 
construct  it  with  a sufficient  angle  for  rain  to  run  off 
sharply,  and  let  it  face  due  north.  Photographs  may  be 
printed  iu  direct  sunlight ; but  any  imperfections  in  or  on 
the  glass,  such  as  blisters,  scratches,  &c.,  will  be  faithfully 
reproduced,  unless  the  sunlight  be  filtered  through  a semi- 
opaque substance,  such  as  tissue  paper  or  ground  glass. 
Moreover,  many  varnishes  will  not  stand  the  heat  pro- 
duced— they  become  tacky ; on  the  whole  it  is  better  not 
to  use  direct  sunlight,  especially  as  nearly  as  much  w7ork 
can  be  produced  by  having  a good  expanse  of  north  light. 
When  it  is  desired  to  print  in  wet  weather,  the  frames 
should  be  exposed  to  light  under  glass.  Printing  takes 
place  much  slower  than  as  previously  described ; we 
will  assume  the  weather  chosen  for  printing  be  fine. 

Having  charged  the  frame  with  a negative,  paper,  and 
padding,  and  secured  the  pressure,  place  it,  glass  side 
uppermost,  on  the  bench  out  in  the  daylight.  After  the 
lapse  of  five  minutes,  the  progress  of  printing  should  be 
examined  ; until  the  student  is  master  of  the  art,  he  should 
do  this  in  the  printing-room,  or  he  may  find  the  whites  of 
his  print  very  much  degraded,  more  especially  the  vig- 
nettes. Unfasten  the  spring  nearest  the  head  (if  it  be  a 
portrait),  with  the  right  hand,  holding  the  frame,  glass 
side  inwards,  by  means  of  the  left  hand  ; with  the  right, 
gently  open  the  released  half  »f  the  back  outwards.  Next 
raise  the  pad,  and  print  by  one  corner ; the  paper 
previously  white  will  now  have  a picture  printed  on  it, 
perhaps  deep  enough,  or  it  may  be  only  just  marked, 
depending  upon  the  density  of  the  negative,  and  the 


strength  of  the  light ; it  should  be  closed  up  with 
care,  or  the  paper  may  not  find  its  way  to  the  position 
from  which  it  was  lifted.  Such  an  effect  is  observable 
when  we  get  a double  impression.  Turn  the  frame 
upside  down,  release  the  other  spring,  now  at  the  top,  and 
examine  the  other  half  of  the  print.  If  it  is  progressing 
satisfactorily,  close  it  up  carefully,  and  again  place  it  out 
in  the  light.  This  operation  may  be  repeated  at  short 
intervals  until  the  print  is  finished.  Any  portion  becom- 
ing too  dark  may  be  covered  with  a piece  of  yellow  paper 
rather  smaller  than  the  shadow  to  be  blocked,  the  most 
convenient  mode  of  procedure  being  to  gum  it  on  to  a 
piece  of  glass  the  same  size  as  the  printing-frame,  the  posi- 
tion of  the  paper  being  just  over  the  shadow.  The  proper 
time  to  stop  the  action  of  printing  can  only  be  determined 
by  individual  taste ; but  we  may  say  that,  as  a rule,  the 
printing  may  be  continued  until  there  is  slight  shading  or 
tone  exhibited  through  all  the  lights— that  is,  where  the 
dense  parts  of  the  negative  have  been — excepting  the 
extreme  high  lights  in  portraits,  such  as  the  most 
opaque  parts  of  forehead,  chip,  &c. ; we  shall  then  have  a 
print  just  a trifle  deeper  than  we  require  when  finished  ; 
the  reason  why  we  print  deeper  will  be  seen  when  we  tone 
oar  print.  It  will  be  sufficient  here  to  mention,  that  the 
prints  become  lighter  in  the  after  operations,  depending 
on  the  treatment  adopted. 

In  the  case  of  dense  and  under-exposed  negatives,  some- 
times the  shadows  will  be  bronzed  before  the  lights  are 
barely  touched  ; this  is  very  noticeable  in  some  early 
attempts  at  landscape  negatives.  We  may  be  desirous  of 
printing  them,  although  they  are  not  up  to  the  mark  ; and 
exposing  the  paper  to  the  light  before  or  after  printing, 
either  to  the  front  or  back,  has  been  found  useful  by  some 
printers.  But  if  several  prints  are  required,  and  harmonious 
results  expected,  we  have  recourse  to  further  dodging,  and 
recommend  the  following : — Cover  the  back  of  the  nega- 
tive with  papier  mineral  or  a similar  substance,  securing  it 
to  the  edges  of  the  negatives  by  means  of  gum  ; cut  the 
paper  away  from  above  the  dense  portions,  so  that  light  is 
not  obstructed.  Secure  the  cut  portion  to  the  negative 
with  a touch  of  gum,  and  apply  sparingly  some 
powdered  plumbago  to  that  portion  of  the  paper  which 
covers  the  deepest  shadows.  Cloud  effects  may  likewise  be 


produced  in  view  pictures  by  stumping  in  with  plumbago 
where  necessary.  Sometimes  negatives  are  exactly  oppo- 
site to  the  foregoing  in  printing  quality ; the  lights  not 
being  dense  enough  will  be  printed  fully  before  sufficient 
strength  has  been  gained  in  the  shadows  ; such  prints  look 


188 


THE  PHOTOGRAPHIC  NEWS.  [March  22,  1883. 


weak  and  flat  when  finished.  In  such  a case,  a stronger 
sensitizing  bath  and  more  fuming  are  both  resorted  to.  \Y e 
can  also  make  satisfactory  prints  by  stippling  over, 
within  the  lights  on  the  back  of  the  negative,  a little  car- 
mine or  Prussian  blue.  When  it  is  expected  the  negative 
will  have  a little  wear,  it  will  be  better  to  use  oil  colour, 
applied  with  the  ball  of  the  finger,  until  an  even  density  is 
obtained.  There  are  only  two  things  to  guard  against — that 
is,  putting  the  colour  on  too  densely,  and  allowing  the 
colour  to  overlap  the  lights.  In  the  first,  we  produce  flat- 
ness, although  obtaining  density  ; in  the  second,  we  get  a 
halo  vignetted  on  the  surrounding  parts.  Portraits  and 
views  are  sometimes  printed  in  oval,  cushion,  dome,  and 
other  shapes,  having  a sharply-defined  line  between  the 
subject  and  the  white  margin  which  surrounds  the  picture. 
This  is  brought  about  by  placing  what  is  termed  a mask  on 
the  negative,  previous  to  the  sensitive  paper,  and  securing 
it  in  position  by  means  of  gummed  paper,  so  that  all  prints 
may  be  in  the  same  position.  In  adjusting  oval  masks  to 
portrait  negatives — say  bust  pictures — arrange  them  so 
that  the  shoulders  are  evenly  balanced,  and  do  not  ascend 
higher  than  one-third  up  the  oval ; also  where  possible  let 
an  equal  distance  exist  between  the  sides  of  the  head  and 
the  outer  line.  The  sketch  on  page  187  shows  the  various 
sizes  that  are  sold  by  any  of  the  stock  dealers,  and  as  they 
may  be  obtained  very  cheaply,  it  will  be  found  more  con- 
venient to  procure  a stock  than  to  attempt  cutting  them. 

We  shall  describe  vignetting  of  every  kind  in  our  next 
lesson. 


NOTES  ON  PHOTOGRAPHY. 

Lecture  XVI. — Silver  Printing  ( Continued ). 

BY  E.  HOWARD  FARMER. 

The  ordinary  paper  of  commerce  is  not  found  to  be  suitable 
for  silver  printing,  and  specially  prepared  paper  is  therefore 
always  employed.  There  are  two  principal  brands  in 
general  use : Kive  paper,  so-called  from  the  place  of  its 
manufacture  in  France ; and  Saxe  paper,  from  Saxony. 

Salting. — This  is  the  first  operation  in  preparing  the 
paper  for  printing. 

For  Albumenizcd  Paper* 

Ammonium  chloride  ...  100  to  200  grains 
Alcohol  ...  ...  ...  ...  £ ounce 

Water  4j  ounces 

Albumen  ...  ...  ...  ...  15  ounces 

The  albumen  is  obtained  from  fresh  eggs  (each  egg  gives 
about  an  ounce),  added  to  the  other  materials,  and  the 
whole  thoroughly  beaten  up  with  a bundle  of  quills  ; it  is 
then  allowed  to  stand  for  a time,  and  filtered  through  a 
piece  of  sponge  placed  in  the  neck  of  a funnel. 

The  paper  is  floated  on  this  solution  for  about  a minute 
and  a haif,  avoiding  dirt  and  bubbles,  and  hung  up 
with  American  clips  to  dry,  the  temperature  not  being 
lower  than  80°  Fah.  When  dry,  it  is  rolled,  and  put  away 
flat  until  it  is  required  for  sensitizing. 

For  doubly  albumenized  paper  it  is  first  floated  on  a 
plain  solution  of  albumen,  the  albumen  coagulated  by  heat, 
and  the  paper  then  salted  on  the  albumenized  side. 

For  Plain  Paper.* 

Ammonium  chloride  ...  100  to  200  grains 
Gelatine  ...  ...  ...  ...  10  grains 

Water  10  ounces 

The  solution  is  filtered  as  before,  the  paper  floated  for 
about  three  minutes,  and  hung  up  to  dry. 

Sensitizing. — This  is  usually  done  the  day  before  the 
paper  is  required  for  printing. 

•Silver  nitrate  (rccrystallized)  ...  30  to  60  grains 

Distilled  water 1 ounce 

A pinch  of  carbonate  of  soda  should  be  added  to  ensure 
the  solution  being  neutral.  The  salted  paper  is  floated  on 

• “Instruction  in  Photography.” 


this  from  three  minutes  in  hot,  to  five  minutes  in  cold, 
weather,  and  hung  up  to  dry. 

It  is  hung  up  so  that  one  corner  is  lowest,  and  on  this 
is  placed  a small  piece  of  bibulous  paper  (it  adheres)  to 
absorb  the  drainings. 

When  dry,  but  before  it  curls  up,  it  is  placed  in  clean 
blotting-paper  between  boards  for  use. 

When  a few  sheets  have  been  sensitized  the  bath  will 
become  reduced  in  strength,  and  must  either  be  titrated 
(estimated),  and  made  up  to  proper  strength  ; or  it  can  be 
poured  back  into  the  bottle  and  made  up  to  its  original 
bulk  with  double  strength  solution.  Each  sheet  takes 
about  half  an  ounce  of  solution. 

After  being  used  some  time  the  sensitizing  bath  becomes 
discoloured.  To  remove  this,  it  is  shaken  up  with  a little 
kaolin,  and  filtered,  or  exposed  to  the  sun  in  a neutral 
condition,  and  filtered.  For  hard  negatives  a weak  salting 
and  sensitizing  bath  is  used,  and  printed  in  the  sun.  For 
weak  negatives  a strong  salting  and  sensitizing  bath  is 
used,  and  printed  in  the  shade. 

Ready  Sensitized  Paper. — The  sensitized  paper  can  be 
preserved  longer  by  keeping  it  under  pressure  between 
blotting-paper  which  has  been  soaked  in  a solution  of 
carbonate  of  soda,  and  dried  ; or  it  can  be  floated  on  citric 
acid  in  the  bath  and  dried. 


Toning.* 

1.  — Gold  chloride 

Chloride  of  lime  ... 

Chalk  (precipitated) 
Water  

2.  — Sodium  acetate 

Gold  chloride 
Water  

3.  — Borax  

Water  

Gold  chloride 
Water 


. . 2 grains 
...  2 „ 

...  1 tea-spoonful 

...  16  ounces 
...  80  grains 
...  1 grain 

...  10  ounces 
...  100  grains 
...  10  ounces 
...  1 grain 

...  10  ounces 


No.  1 i3  kept  a day  or  two,  or  prepared  with  hot  water. 
The  paper  should  have  a little  free  silver  nitrate  left  on 
it.  No.  2 is  kept  a day  or  two,  and  the  whole  of  the  silver 
nitrate  should  be  washed  out  of  the  paper  before  toniug. 
No.  3 is  specially  recommended  for  use  with  ready  sensi- 
tized papers;  the  solution  should  be  mixed  in  equal 
quantities  when  required.  The  whole  of  the  silver  nitrate 
should  be  removed  from  the  paper,  and  a little  soda  car- 
bonate added  to  the  wash-water  to  destroy  any  acidity 
before  toning. 

The  temperature  of  the  toning  bath  should  never  be 
below  60®  F.  The  prints  should  be  printed  and  toned  a 
little  deeper  than  they  are  intended  to  remain.  If  the 
toniug  bath  refuses  to  act,  it  may  be  due  to  the  gold  being 
exhausted,  some  hypo,  having  got  into  it,  or  acid  in  the 
paper.  A red  tone  in  the  print  shows  insufficient,  and  a 
blue  tone  over,  toniug.  The  prints  should  be  moved  about 
while  toning. 

Fixing. — 

Hypo 4 ounces 

Water  ...  ...  ...  ...  1 pint 

Ammonia  -880  ...  ...  ...  1 drachm 

After  toniug,  the  prints  are  rinsed,  and  placed  in  the 
fixing  bath  from  twelve  to  twenty  minutes. 


Washing  should  take  place  in  runnint 
hours,  or  each  time  the  water  is 
drained  and  blotted.  The  wash-water  should  be  tested 
by  the  iodide  of  starch  reaction  already  described. 


water  for  several 
ranged  the  prints 


PHOTO-LITHOGRAPHY. 

BT  THOMAS  M.  LAWS.* 

The  subject  under  discussion  could  be  made  to  embrace  a very 
wide  field,  for  it  would  be  quite  legitimate,  under  the  head  of 
“ Photo-lithography,”  to  glance  at  the  various  photo-mechanical 

* Head  before  the  Newcastle-on-Tyne  and  Northern  Counties  Photo- 
graphic Association. 


Mabch  22,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


189 


printing  processes  owing  their  origin  to  the  action  of  light  on 
bichromate  of  potassium,  used  in  conjunction  with  gelatine, 
albumen,  and  such  organic  matters.  It  is  now  between  forty 
and  fifty  years  since  Mungo  Ponton  discovered  the  properties  of 
these  substances,  which  more  immediately  concern  photographers. 
It  is  not  by  any  means,  then,  a novel  subject,  but  is,  indeed, 
one  of  the  processes  springing  from  the  cradle  of  photography, 
and  it  has  grown  and  spread  its  branches  to  such  an  extent,  that 
there  is  scarcely  an  art  but  has  felt  in  some  degree  the  benefit 
of  its  touch. 

Photography,  so  far  from  being  an  unwelcome  intruder  and 
usurper  among  her  sister  arts,  has  been  really  an  ally  to  them, 
has  created  work  and  suggested  new  departures,  to  the  mutual 
advantage  of  all.  It  is  not  any  part  of  this  paper,  though,  to 
consider  these  various  applications.  The  weekly  and  monthly 
publications  lying  on  our  library  tables  give  some  idea  of  the 
extent  to  which  engravers  and  draughtsmen  are  generally  aided, 
either  in  a primary  or  secondary  form,  by  photography  ; in  fact, 
it  is  well  seen  that  the  camera  and  the  press  go  hand-in-hand. 

Photo -lithography  in  its  simplest  form  deals  only  with  line 
work,  black  and  white,  but  no  half-tone  whatever.  It  professes 
to  produce  the  same  results  in  line  from  a lithographic  stone  or 
zinc  plate  by  the  aid  of  photography,  as  are  produced  by  the 
lithographic  draughtsman.  Of  course  crayon  work  and  tinting 
is  another  matter,  with  which  we  have  at  present  nothing  to  do. 
The  demonstration  to-night  is  simply  concerning  line  work,  and 
for  that  purpose  the  original  from  which  the  photograph  is  taken 
must  be  of  line  work  ; and  here  comes  the  first  matter  for  con- 
sideration, In  the  general  routine  of  a draughtsman’s  work, 
there  are  really  very  few  subjects  which  can  be  handed  over  to 
the  photo-lithographer  ; in  fact,  the  run  of  commercial  drawings 
are  not  adaptable,  and  the  trained  lithographic  artist  with  his 
pen  and  brush  commands  the  work.  In  these  days  of  pictorial 
effect,  draughtsmen  rush  to  washes  of  colours  to  represent  the 
various  materials  of  the  design — stone,  metal,  wood,  trees,  grass, 
water,  clouds,  and  such-like.  These  washes  are  fatal  to  the 
reproduction  of  the  drawing  in  facsimile  by  photography. 
Nothing  butjwell-defined  lines  and  dots  should  be  in  the  original, 
as  the  colours  completely  obliterate  the  underlying  lines,  and 
are  reproduced  as  great  smears.  The  lithographic  artist  workiug 
by  hand  has  here  the  advantage,  as  he  can  alter  these  at  will  by 
lines  and  dots,  as  instance,  the  grain  of  the  wood,  the  waving 
lines  of  water,  the  flourishes  of  trees,  and  heaps  of  dots  of  sand. 
So,  unless  the  original  drawing  be  made  with  the  intent  of  photo- 
lithographing it,  there  is  a great  chance  of  its  being  unsuitable. 
It  should  also  be  very  firm,  clear,  open,  and  correct  in  every 
detail.  There  are  some  admirable  examples  in  a well-known 
journal — the  Builder — which  are  evidently  done  from  pen-and- 
ink  drawings,  made  specially.  There  is  not  a simpler  process 
than  the  reproduction  of  a suitable  subject,  and  not  a more 
troublesome  and  aggravating  oue  than  the  attempt  at  an  un- 
suitable one. 

The  sscond  matter  is  making  the  negative,  and  in  this  too 
much  care  cannot  be  exercised.  Speaking  to  a body  of  photo- 
graphers, I need  no  more  than  allude  to  the  necessity  for  securing 
sparkling  definition  to  the  very  edge  of  the  negative.  A recti- 
linear lens,  or  one  of  like  character,  should  be  used,  and  of 
sufficient  length  of  focus  to  more  than  cover  with  equal  brilliancy 
of  illumination  the  size  of  plate  required,  and,  of  course,  stopping 
down  to  get  sharpness. 

In  reducing  a large  plan  to  (say)  fifteen  or  twenty  inches,  a 
great  length  of  focus  is  required,  and  it  is  always  well  to  bear  in 
mind,  if  we  have  not  a stock  to  select  from,  that  by  removing 
one  of  the  leuses  of  a rectilinear  or  other  combination  lens  from 
its  tube,  and  use  the  single  lens,  we  have  practically  another 
instrument  of  double  the  focus,  which,  if  used  fairly  within  its 
covering  power,  will  do  admirably  for  straight-line  work. 

In  enlarging  it  is,  of  course,  the  other  way  about — a short- 
focus  lens  is  more  to  the  purpose.  The  camera  and  subject 
should  be  perfectly  parallel  and  centre  to  centre ; the  least 
deviation  will  affect  the  straightness  of  the  lines.  I believe  the 
wet  process  is  very  much  in  favour  for  the  production  of  the 
negative.  It  is  easy  and  certain  to  obtain  any  amount  of  density 
with  wet,  and  that  is,  perhaps,  the  chief  consideration,  the  lines 
being  required  so  clear — just  bare  glass — and  the  other  part  so 
perfectly  opaque.  Some  of  the  negatives  on  the  table  are  by 
the  wet  process.  The  only  remarks  that  need  be  made  are,  that 
the  collodion  was  ordinary  and  rather  old  ; if  the  exposure  be 
too  long,  the  lines  are  spoiled  through  want  of  brightness,  and, 
if  too  short,  the  lines  will  certainly  be  clear  enough  ; but  the 
grain  of  the  paper  original  will  be  obtrusive  and  difficult  to 


intensify.  If  a little  gelatine  be  introduced  to  an  ordinary  slow 
iron  developer,  there  will  be  a great  gain  in  clearness  and  density. 
A good  plan  is  to  have  a stock-bottle  of — 

Gelatine ...  60  grains 

Water  ...  ...  6 ounces 

When  soft,  add  two  ounces  of  glacial  acetic  acid.  This  keeps 
indefinitely,  and  for  use  add  to  the  developer  instead  of  the  usual 
quantity  of  acetic  acid.  Intensify  with  a few  drops  of  the  silver 
solution  and  the  developer  mentioned,  and  before  fixing  tho- 
roughly bleach  by  immersion  in  a solution  of  bichloride  of 
mercury.  Fix  in  hypo.,  re-immerse  till  again  bleached  in 
mercury,  and  blacken,  with  solution  of  ammonia.  Between  each 
operation  there  must  be  copious  washings.  This  is  all,  no 
doubt,  familiar  to  you,  but  I merely  speak  of  it  because  the 
negatives  were  so  intensified. 

Perhaps  the  most  popular  intensifier  is  Dr.  Eder’s  lead  process  ; 
any  amount  of  opacity  appears  to  be  obtained  with  it.  This  and 
many  others  will  be  found  detailed  in  Major  Waterhouse’s  recent 
articles  on  “ Photo-lithography.” 

In  using  gelatine  plates  it  is  preferable  to  have  the  slower 
quality,  and  in  developing  with  ferrous  oxalate  to  use  the  bro- 
mide freely  to  obtain  clear  lines,  prolonging  the  development  to 
gain  more  density.  After  fixing  the  mercury  intensifier  may  be 
used,  or  other  favourite  methods.  Occasionally  from  indifferent 
originals  there  are  parts  which  may  refuse  to  be  coaxed  up  to 
right  density,  and  where,  maybe,  the  main  portion  consisting  of 
fine  work  would  be  endangered  by  further  forcing.  It  such 
cases  a little  after  retouching  with  Indian  ink  will  work  wonders. 

The  next  operation  is  preparing  the  transfer  paper.  In  this 
there  is  great  latitude,  both  in  the  materials  and  the  manipula- 
tion. The  object  is  to  obtain  a print  which  is  to  retain  the 
greasy  lithographic  ink  upon  the  lines  and  subject  matter  only, 
similar  to  an  ordinary  lithographic  transfer.  Paper  coated  with 
a mixture  of  gelatine  and  bichromate  of  potash  is  the  readiest 
method.  When  dry,  light  renders  this  insoluble  and  non- 
absorbeut  of  water,  and  the  parts  affected  thus  by  light  retain 
the  greasy  ink  applied,  while  the  unaltered  parts  are  washed 
away  in  warm  water.  There  are  so  many  different  modifications 
of  the  process  that  I had  some  difficulty  in  deciding  upon  one. 
The  mode  chosen  is  after  the  New  Zealand  manner  of  obtaining 
a tacky  surface,  which  makes  the  after  operation  of  transferring 
to  the  stone  so  very  easy  and  certain,  and  also  does  away  with 
hot  water  in  the  development : — Three  ounces  of  gelatine  are 
covered  with  water  and  allowed  to  soak,  and  about  twenty  grains 
of  chrome  alum  dissolved  in  water  are  added.  When  heated 
and  made  up  to  thirty-five  or  forty  ounces  it  is  ready  for 
coating.  It  must  be  kept  warm  by  the  dish  being  laid  in 
another  one  containing  hot  water,  orany  other  convenient  method. 
All  air-bells  must  be  removed,  and  the  paper  is  floated  or 
drawn  over  the  solution  very  carefully.  It  is  then  hung  up  to 
dry,  and  afterwards  re-coated  in  the  same  manner.  When  dried 
it  will  keep  all  right  in  stock.  When  required  to  sensitize,  it  is 
floated  on  a saturated  solution  of  bichromate  of  potash  for  a 
minute  or  so  until  it  is  limp.  It  is  then  allowed  to  dry  in  the 
dark  or  yellow  non-actinic  light.  There  are  some  pieces  of 
bank-post  paper  on  the  table  prepared  in  this  way.  The  time 
of  exposure  in  the  printing-frame  varies,  of  course,  with  the 
negative  ; all  the  lines  must  be  lightly  visible.  The  paper  is 
exceedingly  sensitive,  and  must  not  be  examined  except  in  a 
non-actinic  light. 

We  now  come  to  the  inking,  and  here  I would  have  liked  to 
have  used  the  highly-commended  velvet  roller  method,  but  have 
not  had  the  opportunity  nor  the  roller.  To  those  interested, 
they  cannot  do  better  than  refer  to  Mr.  Pritchard’s"  Studios  of 
Europe,”  which  gives  a good  description.  The  prints  here  were 
inked  at  the  lithographic  press.  A stone  is  rolled  up  with 
transfer  ink,  the  print  placed  face  downwards,  and  pulled 
through.  A thin  coating  is  best,  and  it  ought  to  be  done  by  a 
skilled  lithographer. 

To  develop,  the  print  is  placed  in  cold  water,  face  up,  and 
allowed  to  remain  awhile  till  the  unaltered  bichromate  is  soaked 
out ; it  is  then  placed  in  clean  water,  and  rubbed  lightly  with  a 
soft  sponge  free  from  grit.  The  ink  will  thus  be  washed  away 
from  the  parts  unaffected  by  light,  aud  will  remain  firm  on  the 
lines,  &c.  The  white  portion  will,  owing  to  the  chrome  alum 
before  alluded  to,  have  a coating  of  gelatine  left,  which,  although 
insoluble,  will  absorb  water  and  allow  of  the  transfer  adhering 
to  the  stone  when  undergoing  the  final  operation,  which  is  per- 
formed by  a lithographer,  and  in  a similar  manner  that  he  is 
accustomed  to  ink  ordinary  transfers. 

Perhaps  a little  further  reference  to  the  chrome  alum  may  not 


190 


THE  PHOTOGRAPHIC  NEWS. 


[March  22,  1883. 


be  amiss,  as  by  its  means  the  gelatine,  as  you  see,  still  remains 
in  the  transfer  and  favours  the  “ grip,”  which  is  so  important  in 
transferring  to  the  stone.  There  is  a transfer  here  that  does  not 
possess  this  quality,  and  it  is  very  liable  to  be  damaged  through 
slipping,  &c.,  while  palling  through  the  press.  It  was  prepared 
without  the  chrome  alum,  and  the  gelatine  is  all  consequently 
washed  away.  There  are,  of  course,  other  methods  for  obtaining 
the  tackiness,  but  the  one  selected  works  all  right. 


A DEFENCE  OF  COLLODION. 

BY  J.  F.  COONLEY* 

I have  never  been  possessed  of  sufficient  penetration  to  be 
enabled  to  discover  the  great  advantages,  or  of  sufficient  dis- 
cernment to  see  the  beauties,  claimed  by  the  admirers  of  the  new 
or  gelatine  process.  That  there  are  occasional  fine  results  produced 
on  gelatine  plates  I admit,  but  the  proportion  of  such  is  very 
small  in  comparison  with  the  failures,  and  attended  with  much 
vexation,  time,  and  a great  deal  of  uncertainty.  But  these  are  not 
its  greatest  drawbacks  ; if  they  were,  they  might  possibly  be 
overcome  in  time.  There  are  other  points  to  be  taken  into  con- 
sideration, and  an  important  one  is  the  permanency  or  staying 
properties  of  the  negatives.  Men  in  our  profession,  and  people 
in  general,  I think,  are  given  to  jumping  hastily  at  conclusions, 
and  often  are  ecstatic  over  a new  thing  before  they  have  become 
acquainted  with  its  properties  or  merits.  They  look  only  at  the 
surface,  and  do  not  go  down  to  the  foundation.  They  take  a 
superficial  view,  and  adopt  or  advocate  an  article  because  it  is 
new,  whereas  the  proper  course  would  be  to  weigh  all  of  its  possi- 
bilities and  its  probabilities,  and  when  they  have  gone  down  to 
the  root  of  it,  they  will  be  far  better  prepared  to  express  a sound 
and  correct  opinion  based  on  facts  and  reliable  data. 

I do  not  presume  for  one  moment  to  think  that  there  is  a 
gentleman  who  is  familiar  with  photographic  manipulation 
that  will  not  concede  the  probability  of  a successful  wet  plate 
worker  becoming  as  expert  in  dry  plates  as  any  now  engaged  in 
making  that  kind  of  negative.  I am  possessed  of  sufficient  con- 
fidence in  myself  to  think  I could  do  so  in  a very  brief  period,  and 
be  able  to  show  as  good  results  as  any  I have  seen.  Perhaps, 
after  working  this  process  one  or  two  years,  I would  do  no  better 
than  at  first,  from  the  fact  of  being  circumscribed,  or  hemmed  in, 
as  it  were,  by  the  material  I should  have  to  use.  If  it  was  good, 
all  right ; if  it  was  bad,  I would  not  be  instrumental  in  making 
it  so.  The  plate  was  not  of  my  creation,  and  the  element  of 
success  or  failure  was  imbedded  in  its  film  when  it  was  coated. 
If  bad,  no  amount  of  care  or  exposure  could  make  a good  negat  ive 
with  it ; if  good,  I am  not  entitled  to  any  great  credit  for  the 
result.  In  other  words,  I should  be  in  the  hands  of  others  who, 
perhaps,  are  careless,  dirty,  or  inaccurate,  and  be  compelled  to 
work  whatever  they  gave  me  in  return  for  so  much  money. 

Gelatine  plates  are  made  by  the  manufacturers  for  the  purpose 
of  making  money,  and  they  are  not  throwing  any  large  quantities 
of  them  away  as  imperfect,  even  were  it  possible  to  detect  their 
imperfections  before  using.  But  time  is  valuable,  and  I am 
satisfied  without  going  to  the  trouble  or  expense  of  demonstrating 
their  imperfections — others  have  done  that  for  me.  1 want  some- 
thing that  is  reliable,  and  is  partly,  if  not  wholly,  a creation,  or  at 
least  a compounding,  of  my  own  for  making  negatives.  The 
non-keeping  quality  of  gelatine  negatives  is  to  me  a foregone 
conclusion,  and  for  that  reason  alone,  if  no  others  existed,  I would 
reject  their  use,  except  it  be  for  some  special  purposes. 

As  to  the  collodion  base  for  negatives,  it  is  reliable  and  durable. 
If  the  negatives  have  not  been  treated  with  mercury  or  sulphuret 
of  potassium  for  intensifying  (which,  by  the  way,  is  of  very  rare 
occurrence,  and  never  used  by  any  one  understanding  his  busi- 
ness), they  will  make  as  fine  prints  years  after  they  were  made 
as  at  first,  if  treated  with  the  same  care  and  skill  in  printing  ; 
or,  in  other  words,  they  retain  all  the  printing  qualities  that  they 
first  possessed.  So  far  they  can  be  relied  on.  They  have  with- 
stood the  test  of  time,  the  severest  test  they  will  ever  have  to 
endure.  This  statement  is  beyond  dispute,  and  I presume  there 
is  no  one  that  will  deny  it. 

On  the  other  hand,  how  is  it  with  negatives  made  on  a gelatine 
base?  From  all  the  evidence  I can  procure,  together  with  my 
observation  and  knowledge  of  the  action  of  the  ingredients  in  the 
combinations  that  are  the  component  parts  of  the  resulting  nega- 
tives, I am  of  the  opinion  that  it  is  an  exception  to  find  a gelatine 
negative  a year  old  that  will  give  the  same  quality  of  print  as 
when  first  made.  I also  believe  that  most  of  them  will  decompose 


and  fade,  becoming  ghosts  of  their  former  selves,  or  else  become  so 
hard  and  intense  that  it  will  be  impossible  to  get  a print  from 
them,  to  say  nothing  about  spots  from  wrant  of  washing,  stains, 
streaks,  and  other  things  for  which  no  cause  has  been  found,  or,  if 
found,  has  not  been  published  that  I am  aware  of.  I believe  the 
elements  of  decay  are  a part  of  the  negative,  and  come  into  ex- 
istence at  the  time  the  negative  is  completed ; that  they  are 
accelerated  by  the  action  of  either  an  intensifying  or  a reducing 
agent,  both  of  which  have  to  be  extensively  used — few  plates 
yielding  the  proper  printing  quality  without  either  strengthening 
or  reducing  their  intensity.  When  this  expedient  has  been  re- 
sorted to,  the  time  of  their  durability  is  limited,  their  death  warrant 
has  been  signed,  and  it  is  only  a question  of  a few  months  when 
the  inquest  will  be  held,  and  the  remains,  almost  unrecognizable, 
be  consigned  to  the  acid  or  potash  tank. 

If  proprietors  of  photograph  galleries  wish  to  accumulate  a 
quantity  of  negatives  made  on  a foundation  so  treacherous  and 
uncertain,  I suppose  they  have  the  privilege  of  doing  so ; but  I am 
not  surprised  that,  after  a few  months’  trial,  many  of  the  in  have 
had  good  cause  to  regret  their  employment,  and  curse  the  day  they 
were  prevailed  upon  to  adopt  their  use. 

The  materials  of  w'hich  they  are  composed  seem  to  be  beyond  the 
power  of  any  man  living  to  reduce  to  an  exact  science.  I have 
serious  doubts  if  the  mau  is  forthcoming  that  will  ever  give  us 
the  directions  to  enable  us  to  work  them  with  the  same  success  or 
with  the  fine  results  which  collodion  is  capable  of  producing,  or 
with  anything  approaching  the  same  certainty.  If  a dry  plate  is 
ever  made  to  do  all  that  can  be  done  with  the  wet  collodion,  with 
the  advantages  of  rapidity,  and  have  the  keeping  qualities,  together 
with  the  same  certainty  and  uniformity  as  to  results,  I believe  the 
iugredient  called  gelatine  will  have  to  be  replaced  by  something 
that  is  not  of  such  a treacherous  nature,  and  that  can  be  relied 
on  to  work  the  same  at  all  times,  in  all  climates,  and  at  all  seasons 
of  the  year,  if  treated  with  the  same  knowledge  and  skill.  That 
a plate  of  this  kind  may  become  one  of  the  important  discoveries 
of  the  future  1 consider  probable.  Until  it  does,  or  until  more 
certainty,  uniformity,  and  durability  are  combined  in  gelatine 
plates,  I wish  to  be  excused  from  using  them  or  advocating 
their  use. 

o 

PHOTOGRAPHIC  EXPERIENCES  IN  EGYPT. 

BY  WILLIAM  H.  RAU.* 

A full  description  of  the  Nile  journey  having  already  been 
written  by  Mr.  E.  L.  Wilson,  it  would  be  superfluous  for  me  to 
do  so  here,  so  I will  simply  touch  on  those  photographic  items 
that  are  new  and  out  of  the  ordinary  track  of  the  photographer 
so  far  away  from  home,  and  attempt  to  enumerate  briefly  the 
difficulties  encountered  in  the  one  thousand  miles’  journey  down 
the  Nile.  The  atmosphere  of  Egypt  is  clear  and  crisp,  like  that 
of  Colorado  and  New  Mexico.  Distances  are  deceptive,  and 
clouds  very  scarce  south  of  Cairo.  One  can  surely  depend  on 
a clear  day,  no  matter  when  he  starts  out  to  work.  Of  course, 
with  such  an  intense  light  as  this,  the  shadows  are  equally 
iutense,  and  the  operator  is  apt  to  be  deceived  in  the  amount  of 
exposure  to  be  given.  We  always  gave  plenty  of  time  to  every 
exposure  where  it  was  possible  to  do  so.  Of  course,  on  an 
expedition  of  this  kind,  where  bad  judgment  and  carelessness 
would  involve  the  loss  of  many  dollars,  a clear  head  and  previous 
experience  are  invaluable.  The  operator  must  never  allow 
himself  to  be  led  at  all  away  from  wliat  he  knows  is  safe  by 
some  trifle  that  may  occur,  and  that  is  apt  to  lead  him  off.  Our 
exposures  varied  from  an  instantaneous  up  to  twenty,  and  some- 
times thirty  minutes.  Having  taken  passage  on  a Khedive’s 
steamer,  wo  were  allowed  ample  time  to  visit  all  points  of 
interest,  but  none  too  much  to  photograph  the  same  : so,  when- 
ever it  was  possible  to  do  so,  wo  started  with  our  donkeys  and 
Arab  carriers  much  earlier  than  other  travellers,  in  order  to  gaiu 
time  and  not  be  molested  by  the  crowd.  The  first  temple  on 
the  Nile  is  that  of  Denderah,  which  was  not  many  years  ago 
entiiely  covered  with  dirt,  on  the  top  of  which  was  an  Arab 
village.  The  exterior  view  of  the  buildingwas  disappointing,  as 
it  is  sunken  in  the  dirt ; its  interior  is  entirely  cleaned  out,  but 
is  dark  and  yellow,  its  only  light  coming  in  from  small 
holes  in  the  roof,  excepting  the  front  hall,  which  is  open  out 
to  the  free  air.  We  made  a series  of  negatives  all  around  this 
fine  old  temple,  and  when  rapidly  directed  in  our  movements 
by  Mr.  Brugsch  Bey,  who  guided  us  to  the  special  points, 
so  that  no  time  was  lost.  The  most  difficult  picture  of  any 
hue  that  we  attempted  was  a piece  of  fins -coloured  sculpture 


* Read  before  the  Association  of  Operative  Photographers  of  New  York. 


Continued  from  page  504,  vol.  xxri. 


THE  PHOTOGRAPHIC  NEWS 


191 


March  22,  1883. J 


in  a panel  on  the  ceiling.  The  camera  was  supported  on  two 
trays  made  by  an  Arab  watchman  in  the  temple,  and  was  pointed, 
of  course,  straight  up  at  the  ceiling,  to  focus  which  I had  to  lie 
flat  on  my  back  on  the  stone  floor.  Another,  was  a piece  of 
sculpture  in  the  roof  chamber,  representing  the  resurrection  of 
Osiris.  This  we  illuminated  with  magnesium  and  gave  two 
minutes’  exposure.  Working  rapidly,  both  8 by  10  and  stereo., 
we  made  thirty-five  exposures  from  7.30  until  10.15  a.m.,  only 
one  of  which  was  a failure.  Keneh,  a small  town  opposite 
Denderah,  is  the  manufacturing  place  for  an  immense  number 
of  water  jars  and  filters  ; it  is  close  to  the  shore,  not  more  than 
ten  minutes’  donkey  ride,  where  a number  of  interesting  bits 
were  picked  up,  the  special  one  being  characteristic— a potter  at 
his  wheel  making  small  water-jug3.  His  work-room  was  small, 
low,  and  yellow,  and  oDly  a rapid  dry  plate  could  have  success- 
fully made  this  picture. 

Our  next  stopping-place  was  Luxor,  where  we  moored  for 
three  days.  First  day  spent  in  the  Valley  of  Tombs,  known  as 
Bab  el  Malouk,  where  the  life  of  the  ancient  Egyptians  is 
represented  in  relief  on  the  walls  of  the  tombs  reaching  hundreds 
of  feet  into  the  mountain.  A few  sections  only  could  be 
properly  illuminated  with  magnesium  and  exposures  made  on 
them,  some  of  which  had  never  been  photographed  before.  In 
the  tomb  of  Sethi  I.,  father  of  the  great  Rameses,  known  as 
Belzonis'  tomb,  by  whom  it  was  discovered  fifty  years  ago,  we 
made  our  first  exposure,  four  hundred  and  seventy  feet  down 
into  the  mountain,  where  no  ray  of  light  could  find  its  way. 
On  the  walls  of  the  deepest  room  were  a number  of  partly- 
finished  sculptures  and  others  as  first  traced  with  a red  colour 
by  the  draughtsman.  We  next  entered  Bruce’s,  or  the 
“ Harper’s,”  tomb ; the  latter  name  was  derived  from  the 
famous  picture  in  one  of  the  chambers  of  men  playing  the  harp  ; 
this  chamber  is  one  of  a series  cut  in  the  sides  along  the  entrance  ; 
its  principal  pictures  on  the  walls  represent  two  harpists  playing 
on  instruments  of  elegant  form  before  the  god  Moru  or  Hercules; 
one,  if  not  both,  of  the  minstrels  is  blind.  To  make  a negative 
of  one  of  these  harpers  wa3  the  most  difficult  crowded  attempt 
we  had  yet  come  to,  as  the  chamber  was  not  more  than  six  feet 
square  by  four  and  a-half  feet  high,  and  needed  the  magnesium 
to  light  it,  and  a rapid  plate  lens  and  large  stop  to  catch  it ; but 
an  exposure  of  five  minutes  secured  us  a fine  result.  It  was 
necessary  to  fold  up  the  tripod  legs  and  carefully  prop  and 
adjust  it,  after  which  I found  I could  scarcely  squeeze  my  head 
behind  the  ground  glass  to  focus.  After  noon  we  started  for  the 
Rameseum,  which  we  reached  after  a hard  climb  over  the  chalky 
cliffs,  taking  in  the  temples  of  Hatasu  or  Deir  el  Bahari  en  route, 
neither  of  which  call  for  any  special  photographic  mention. 
They  are,  of  course,  stupendous  piles,  and  make  fine  pictures. 
The  second  day  we  started  again  across  the  Nile,  going  direct  to 
the  Colossi  ; getting  the  faces  well  lighted.  We  found  that  in 
order  to  take  in  both  figures,  and  give  them  the  least  amount  of 
distortion,  it  was  necessary  to  resort  to  the  single-front  lenses  of 
Morrison,  getting  further  away  from  the  objects,  and  making 
the  farthest  one  appear  as  large  as  the  near  one.  With  the  full 
combination,  the  farther  one  was  dwarfed.  We  made  them 
singly,  then  together,  looking  north,  then  south,  and  finally  rear, 
which  really  gives  the  best  idea  of  their  immense  height — 
sixty-six  feet.  Medinet  Abou  was  next  visited,  and  a number  of 
pleasant  hours  spent  in  exploring  and  photographing  the  beauti- 
ful sculptures  on  the  walls  of  the  palace  of  Ramese  III.  A better 
opportunity  was  afforded  here  than  at  many  other  places  for 
making  pictures  of  the  paintings  on  the  walls.  While  working 
here,  we  received  a message  from  Burgsch  Bey  to  follow  the 
guide,  and  come  to  the  place  where  the  royal  find  took  place  in 
1881.  So  packing  up  hastily,  we  mounted  our  donkeys,  and 
soon  arrived  at  the  spot,  where  we  found  twenty  or  more  Arabs, 
with  a long  rope  in  hand.  On  approaching  the  hole,  we  heard 
Mr.  Brugseh  calling  us  to  first  send  down  our  instruments,  then 
ourselves.  After  descending,  by  means  of  a rope  placed  around 
the  body,  to  a depth  of  sixty  feet,  we  crawled  into  the  tunuel 
where  the  mummies  of  thirty-five  kings,  queens,  and  princes 
were  hidden.  Mr.  Brugseh  informed  us  that  he  wanted  us  to 
make  two  negatives  of  the  two  hieratic  iusciiptions  painted  with 
black  colour,  one  on  each  side  of  the  tunnel  close  to  the  shaft. 
The  camera  wa9  unscrewed  and  propped  up  with  stones,  rapid 
lenses  put  on,  and  with  difficulty  focussed  ; a silk  handkerchief 
(white)  was  thrown  on  the  floor  to  serve  as  a reflector  to  get 
more  light,  and  an  exposure  of  two  minutes  given,  after  which 
we  inspected  the  tunnel  to  the  end,  three  hundred  and  sixty- 
five  feet,  and  were  hauled  up  by  the  Arabs.  These  inscriptions 
were  made  by  the  priests  who  hid  the  mummies,  and  could  not 


be  removed  owing  to  the  cracked  condition  of  the  stone,  so 
photography  came  in  as  a helper,  and  secured  exact  copies.  Our 
third  day  was  spent  at  Karnak,  the  great  temple  of  Amon-Ra, 
which  was  two -thousand  years  building,  and  covered  thirteen 
acres  of  ground.  We  were  on  hand  for  work  at  seven  o’clock, 
and  worked  hard  and  steady  until  four  o’clock,  during  which 
time  we  had  made  sixty  exposures.  Probably  the  camera  never 
had  richer  food  presented  to  it  than  at  Karnak — every  turn 
presented  a magnificent  ruin  ; columns,  obelisks,  hieroglyphics, 
&c.,  mixed  up  in  grand  profusion.  The  hall  of  columns,  with  its 
sixty-foot  pillars  of  stone  closely  crowded  together,  taxed  the 
swing  back  and  sliding  front  to  the  utmost.  The  weather  was 
fine,  but  very  hot.  (To  be  continued .) 


REDUCING  OVER-EXPOSED  SILVER  PRINT. 

Sir, — In  your  issue  of  the  2nd  instant  I described  some 
methods  for  reducing  over-exposed  silver  prints.  After 
relating  my  experience  with  a plain  cyanide  bath,  I re- 
marked that  “ fairly  uniform  results  were  obtained  by  add- 
ing the  cyanide  to  the  fixing  bath  ; but  for  my  own  part  I 
prefer  to  work  as  little  as  possible  with  this  poisonous  salt.” 

In  last  week’s  News  Mr.  R.  Stanley  Freeman  writes : — 
“The  subject  of  reducing  over-printed  silver  prints  hav- 
ing again  cropped  up,  will  you  permit  me  to  describe  a 
process  I have  lately  used  with  unqualified  success  ? After 
removing  from  the  hypo  bath  such  prints  as  have  been 
rightly  printed,  I lift  the  remainder  up,  and  add  to  the 
fixing  solution  a small  quantity  of  tincture  of  iodine  and 
a solution  of  cyanide  of  potassium : then  again  immerse 
the  prints.” 

From  the  above  extracts  it  is  evident  that  the  only 
difference  between  the  method  adopted  by  Mr.  Freeman 
and  that  previously  published  by  myself  is,  that  the  former 
adds  a solution  of  iodine  to  his  hypo  bath.  Now,  is  there 
any  advantage  in  making  this  addition  ? 1 should  say, 
certainly  not ; for  when  iodine  is  added  to  a solution  of 
sodium  hyposulphite,  tetrathionate  and  iodide  of  sodium 
are  formed  according  to  the  following  : — 

2Na.S203  + 21  = Na2S406  + 2NaI. 

1 need  hardly  point  out  that  the  two  latter  salts  have 
no  action  on  the  silver  image. 

In  conclusion,  I reiterate  that,  “for  my  own  part,  I 
prefer  to  work  as  little  as  possible  with  this  poisonous 
salt,”  cyanide  of  potassium.  Arnold  Shller. 


Dr0ce£&'m0S  of  jsofulus. 

Newcastle-on-Tyne  Photographic  Association. 

The  ordinary  monthly  meeting  of  the  above  Association  was 
held  in  the  College  of  Physical  Science,  on  Tuesday  evening  last, 
the  13th  instant,  Colonel  Sueppee,  the  President,  in  the  chair. 
Previous  to  the  commencement  of  the  business, 

The  Chairman  made  a few  remarks,  in  the  course  of  which  he 
thanked  the  members  for  his  election. 

The  minutes  of  the  last  ordinary  meeting  having  been  read 
and  confirmed,  Mr.  Gibson  was  nominated  for  membership. 
Messrs.  J.  Garland,  E.  Schumann,  and  R.  Snowdon  were  duly 
admitted  members  of  the  Association. 

Mr.  Thomas  M.  Laws  then  read  a paper  on  “ Photo-litho- 
graphy ” (see  page  188),  and  gave  a demonstration.  Mr.  Laws’ 
remarks  and  operations  were  followed  with  much  interest,  and 
at  their  conclusion  a hearty  vote  of  thanks  was  accorded  to  him. 

The  meeting  then  became  of  a conversational  character,  and 
several  questions  were  discussed. 

Some  excellent  photographs  were  shown  by  Mr.  Galloway, 
and  others  were  presented  to  the  Association  by  Mr.  Robinson 
and  Mr.  Auty  ; the  latter  gentleman  also  showed  and  described  a 
Shew’s  instantaneous  shutter,  and  one  by  Messrs.  Harvey, 
Reynolds,  and  Co.,  attracted  considerable  attention.  Mr.  Gould 
exhibited  a very  fine  stereoscope,  with  rackwork  for  focussing. 

Votes  of  thanks  to  the  donors  of  photographs,  exhibitors  of 
apparatus,  &c.,  and  to  the  Chairman,  concluded  the  meeting. 


192 


THE  PHOTOGRAPHIC  NEWS. 


[Maech  22,  1883, 


Photographic  Society  of  Ireland. 

The  fourth  annual  lantern  meeting  was  held  on  Thursday  last, 
in  the  Lectuie  Theatre  of  the  Royal  College  of  Science,  when  a 
large  and  varied  collection  of  views  were  exhibited,  all  of  which 
were  taken  from  negatives  the  work  of  members  of  the  Society. 
There  was  an  audience  of  about  450.  Messrs.  T.  A.  Bewley 
and  C.  Watson  had  charge  of  the  lanterns,  the  description  of 
each  picture  being  given  by  Mr.  John  L.  Robinson. 


3,alk  in  tjtt  Stubi0. 

A Fire  Originating  in  a Studio. — A destructive  fire 
occurred  early  on  Thursday  morning  at  Colchester.  It 
originated  in  the  photographic  studio  of  Mr.  Braess,  Sir  Isaac’s 
Walk,  and  speedily  spread  to  the  adjoining  buildings.  In  spite 
of  the  efforts  of  the  local  brigades,  assisted  by  the  engines  from 
the  Cavalry  and  Royal  Artillery  Barracks,  the  fire  was  not  got 
under  till  several  thousand  pounds  worth  of  property  had  been 
destroyed. 

What  “ Funny  Folks  ” says  : — “ By  no  Means  a Bad  ’Un. — 
A new  serial  story,  by  Mr.  H.  Baden  Pritchard,  called  * The 
Doctor’s  Daughter,’  is  about  to  commence  in  the  South  London 
Tress.  We  are  requested  to  state,  in  answer  to  many  anxious 
inquiries,  that  Mr.  Pritchard  has  no  intention  of  afterwards 
writing  a sequel  - having  for  its  chief  character  the  son  of  a 
medical  man — under  the  title  of  ‘ The  Doctor’s  Bill.  ’ ” 

Mr.  George  Smith’s  New  Portable  Camera. — This  is  con- 
structed to  take  plates  three  inches  square,  aud  is  therefore 
specially  adapted  for  the  lanternist  in  search  of  subjects  for 
making  slides.  Mr.  Smith’s  ingenious  universal  motion  as 
adapted  to  the  back,  and  the  draw  flaps  of  the  slides,  are  made 
of  ferrotype  plates,  an  arrangement  well  calculated  to  ensure 
effectual  exclusion  of  light,  and  also  portability. 

The  Supposed  Fenian  Outrage  at  Windsor.— The  dog 
Hubert,  which  Lady  Florence  Dixie  believes  to  have  been 
instrumental  in  saving  her  life,  has  been  photographed  by  Mr. 
W.  H.  Carpenter,  of  Windsor,  and  a striking  likeness  has  been 
produced,  a copy  of  which  will  be  sent  to  the  Queen. 


£2Ho  &0rr£880ad£nts. 

*,*  We  cannot  undertake  to  return  rejected  communications. 

W.  B.  Funnell. — Thank  you.  Wo  will  ask  for  an  explanation. 

G. — The  sensitising  bath  is  probably  too  weak  to  thoroughly  coagu- 
late the  film.  Strengthen  it. 

G.  S. — Send  it  to  our  office,  and  we  will  consider  the  matter. 

Clarence  James. — It  is  a kind  of  difficulty  which  may  arise  in 
connection  with  any  business  matter  ; but,  fortunately,  the  pro- 
portion of  customers  who  act  so  inconsiderately  is  not  by  any  means 
large. 

Herbert  Green. — Thank  you;  we  will  make  use  of  it  shortly. 

Nitrate. — Yes;  if  the  alcohol  is  diluted  with  one-third  of  its 
volume  of  water. 

A.  G.  B. — A more  prolonged  washing  is  generally  required  when 
the  water  is  hard,  as  the  lime  salts  tend  to  indurate  the  film. 

2.  Any  kind  of  lens,  and  an  arbritrary  unit.  3.  Satisfactory  up 
to  a certain  point ; but  not  quite  up  to  the  highest  standard. 
4.  Simple  landscape;  convex  side  inwards.  5.  The  first. 
6.  Yes;  the  focus  for  parallel  rays. 

William  Watson. — 1.  The  spots  always  appear,  but  they  will  do 
no  harm  ; if,  however,  spots  appear  on  the  second  film,  they  are 
likely  to  show  in  printing.  2.  Try,  in  the  first  instance,  about  as 
much  exposure  as  you  would  give  in  the  case  of  a silver  print. 

3.  The  coating  and  drying  of  the  plates ; still,  you  may  work  in  a 
bright  yellow  light. 

W.  Dawson.— On  pi  ge  235  of  our  volume  for  1881  (No.  1185). 

Amateur. — Between  75  to  80  feet. 

S.  Samson. — Those  given  in  the  “Formulary1'  are  especially 
adapted  for  the  class  of  work  to  which  you  refer. 

J.  P- — 1.  You  have  no  redress.  2.  In  strict  law  it  is  not  re- 
quired ; but,  if  not  observed,  you  would  have  some  difficulty  in 
obtaining  a favourable  decision. 

J-.B- — A moderately  dilute  solution  of  a glue  of  good  quality  is, 
in  our  opinion,  the  best.  Glue  which  gives  a disagreeable 
smelling  solution  is  hardly  safe. 

A.  & Co. — Thanks  for  the  specimens.  Our  Publisher  will  com- 
municate with  you. 

Vandyke. — 1.  Probably  not;  but,  whether  or  not,  it  would  hardly 
be  considerate  for  you  to  adopt  the  same  title.  2.  In  any  town  . 
3.  The  final  “ e ” would  make  no  difference. 

***  Several  Answers  aud  Society  Reports  stand  over,  as  some 
contributors  appear  to  have  forgotten  the  circumstance  of  our 
going  to  press  a day  earlier  than  usual. 


THE  EVERY-DAY  FORMULARY. 

The  Gelatino-Bromide  Process. 

Emulsion. — A— Nit.  silver  100  grains,  dist.  water  2 oz.  B — Bromide 
potassium  85  grains,  Nelson’s  No.  1 gelatine  20  graiDs,  dist.  water  1J  oz.,  a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C — Iodide 
potassium  8 grains,  dist.  water  J oz.  D— Hard  gelatine  120  grains,  water 
several  oz.  When  the  gelatine  is  thoroughly  soaked,  let  all  possible  water  be 
poured  off  D.  A and  B are  now  heated  to  about  120°  Fahr.,  after  which  B 
is  gradually  added  to  A with  constant  agitation ; C is  then  added.  Heat  in 
water  bath  for  half  an  hour,  and  stir  in  D.  After  washing  add  J oz.  alcohol. 

Pyro.  Developer.— No.  1— Strong  liq.  ammonia  li  oz.,  bromide  potas- 
sium  240  grains,  water  80  oz.  No.  2 — Pyro.  30  grains,  water  10  oz.  Incase 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
and  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 
Fixing. — Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 
Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  bv 
soaking  in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  rinsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts.  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased  ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Fol’s  Backing  Sheets.— A chromographic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shirting  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  back  of  glass  plate. 

The  Wet  Collodion  Process. 

The  Nitrate  Bath.  — Water  14  oz.,  nit.  silver  1 oz.. nitric  acidl  drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  i-oz.,  liquid  ammonia  J-oz. 

Film-removing  Fickle  for  Old  Plates.— Water  1 pint,  sulphuric 
acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  6 pints  of  water,  and  1 dr. 
liq.  ammon. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 

pyroxyline  of  suitable  quality  250  grains,  shake  well  and  add  ether  2 pints. 
Iodize  this  by  mixing  with  one-third  of  its  volume  of  alcohol  J pint,  iod. 
ammon.  80  grains,  iod.  cadm.  80  grains,  broxn.  ammon.  40  grains. 

Normal  Iron  Developer. — Water  10  oz., proto-sulphate  iron  J oz., 
glacial  acetic  acid  £ oz.,  alcohol  f oz.  The  amount  of  proto-sulphate 
iron  may  be  diminished  to  ( oz.  when  full  contrasts  are  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  be  reduced  to  1 oz. ; but  when  bath  is  old  more  is  wunted. 

Intensifying  Solution. — Water  6 oz.,  citric  acid  76  grains,  pyro.  30 
grains.  When  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Bead  Intensification.— After  nog.  washing,  immerse  in  dist.  water 
100  parts,  red  pruss.  potash  6 parts,  and  nit.  lead  4 parts.  When  it  is  yellowish 
white  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution.— 1.  Potass,  cyanide  200 grains,  water  10  oz.  2.  Sat. 
sol.  of  sodT  hypo. 

Varnish.— Shellac  2 oz.,  sandarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  16  oz. 

Printing  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 

ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution. — Nit.  silver  50  grs.,  water  1 oz.,  sod.  carb.  J gr. 
Acetate  Toning  Bath. — Chi  gold  1 gr.,  acct.  soda  20  grs..  water  8 oz. 
Dime  do.— Chi.  gold  1 gr.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do. — Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 
Fixing  Bath.  — Sodium  hypo.  4 oz.,  water  1 pint,  liq.  ammon.  30  drops. 
Reducer  for  Deep  Prints.— Cyan,  potass.  5 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Bncaustic  Paste.— Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 
Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  ljoz., 

water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion. — Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  o/..,  ether  10  oz.,  castor  oil  20  drops. 

Mountant. — 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 
Collotypic  Substratum. — Soluble  glass  3 parts,  white  of  egg  7 parts, 
water  10  parts. 

Collotypic  Sensitive  Coating.— Bichromate  potash  J oz.,  gela- 
tine 2.)  oz.,  water  22  oz. 

Collotypic  Btching  Fluid. — Glycerine  150  parts,  ammonia  50  parts, 

saltpetre  5 parts,  water  2o  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  albumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  for  t aper. 

Cyanotype  Printing. — Water  1 oz.,  red  prussiate  of  potash  (ferri- 
cyanide)  1 dr.,  ammonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 
Vahiovs. 

Buckardt’s  Retouching  Varnish.— Alcohol  300  parts,  sandarac 
50  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnishi  —Sandarac  IS  parts,  mastic  4 parts,  ether  200  parts, 
benzole  80  to  100  parts. 

Bncaustic  Paste.- -Best  white  wax.  in  shreds,  1 oz.,  turpentine  5oz. ; 
dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  flannel. 

Fkbrotypes. 

Collodion.— Ammonium  iodide  35  grains,  cadmium  iodide  25  grains, 
cadmium  bromide  20  grains,  pyroxyline  70  graiDs,  alcohol  5 oz.,  ether  6 oz. 
Bath.  - Silver  nitr  ite  1 oz., "water  10  oz.,  nitric  acid  1 drop. 
Developer. —Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 oz.,  water  16  oz. 
Fixing  and  Varnish,— Same  as  wet  collodion  process. 


THE  PHOTOGRAPHIC  HEWS. 


Vol.  XXVII:  No.  4282. — March  SO,  1883. 

- //  ’ 


Fading  of  Photographic  Prints 193 

A New  Method  of  Photo-Mechanical  Printing  193 

Py-tho-Bye. — People  who  do  not  Like  their  Portraits  194 

Artificial  Light  and  its  Means  of  Production.  By  J.  Banting 

Rogers  195 

Photo-Lithography,  &c.  By  Major  J.  Waterhouse,  B.S.C 19G 

Review  199 

Notes 199 

Patent  Intelligence  201 

Twelve  Elementary  Lessons  on  Silver  Printing  203 


I’ve: 


q r . „ 

r/’  CONTENTS. 

PlOE 

Photographic  Experiences  in  Egypt.  By  William  H.  Rau 204 

On  Pyro  Development,  By  John  Carbutt  205 

The  Pencil  and  Brush.  By  The  Old  Hand  20G 

Backgrounds  for  Amateurs  : How  to  Raise  a Ghost.  By 

Thomas  Gulliver  ",  206 

Correspondence  20G 

Proceedings  of  Societies 207 

Talk  in  the  Studio 207 

To  Correspondents 208 

The  Every-Day  Formulary  208 


FADING  OF  PHOTOGRAPHIC  PRINTS. 

Very  recently  we  pointed  out  some  remarkable  instances  of 
the  value  of  an  impermeable  support  for  prints  on  collodion 
chloride,  to  secure  immunity  from  fading,  and  we  called  to 
mind  that  the  late  Mr.  G.  W.  Simpson,  iu  the  directions  for 
its  use,  always  denounced  using  an  albumen  substratum  for 
glass  diapositives  produced  by  the  process,  on  account  of 
its  liability  to  initiate  the  evil.  For  our  own  part,  we 
have  not  found  this  substratum  to  act  in  this  way, 
though  that  it  does  initiate  fading  we  are  bound  to  believe 
on  the  evidence  of  others.  It  may  be  assumed,  we 
think,  that  when  pure  nitrate  and  chloride  of  silver  are 
present,  without  any  admixture  of  albuminate  of  silver,  the 
fading  of  a print  is  unlikely  to  occur,  whilst  its  presence  aids 
in  producing  the  defect.  rlhe  use  of  a collodion  emul- 
sion as  in  the  collodio-chloride  process  is  almost  pro- 
hibitory for  large  work  on  paper,  on  account  of  the  expense, 
and  also  in  a minor  degree  on  account  of  the  difficulty 
experienced  in  getting  an  even  film.  If  it  be  employed, 
there  is  no  better  medium  than  the  enamelled  paper  to 
which  we  alluded  in  our  last,  a similar  one  to  which 
Obernetter  employed,  and  we  believe  still  employs 
for  the  purpose.  The  drawback  to  the  paper  is  that  it  will 
not  keep  indefinitely,  or,  indeed,  for  auy  longer  period 
beyond  a few  weeks ; the  film  becomes  yellow,  and  the 
fixing  bath  will  not  always  dissolve  out  the  organic  silver 
compound  which  causes  the  discolouration. 

If  the  emulsion  be  prepared  with  an  excess  of  an  alka- 
line citrate,  the  paper  retains  its  colour  for  a much  longer 
period but  then,  as  we  have  already  pointed  out,  the 
image  is  wanting  in  vigour,  and  is  slow  in  printing.  The 
reason  of  this  is  evident : the  liberated  chlorine  from  the 
chloride  will  with  difficulty  combine  with  the  citrate,  and 
hence  the  printing  has  to  take  place  in  an  atmosphere,  as 
it  were,  of  free  chlorine.  If  such  a paper,  however,  be 
prepared  with  a chlorine  absorber,  such  as  tannin,  we  have 
the  same  vigour  as  is  obtained  by  the  excess  of  free  nitrate  ; 
and  it  should  be  recollected  that  free  nitrate  i3  only  of  use 
where  the  paper  is  not  totally  desiccated.  Our  readers  may 
remember  that,  some  years  ago,  we  showed  at  the  Photo- 
graphic Society  some  transparencies  on  collodio-chloride, 
and  described  the  manner  in  which  they  were  produced, 
insisting  on  the  fuming  of  the  plates  with  ammonia.  The 
reason  of  this  was  obvious,  since  the  plates,  which  con- 
tained all  the  soluble  salts  formed  by  the  double  decom- 
position necessary  to  form  the  chloride  of  silver,  together 
with  the  citric  acid  and  free  nitrate  of  silver,  had  to  be 
heated  before  a fire  to  dry,  to  prevent  sensible  crystalliza- 
tion of  these  salts.  All  moisture  wa3  expelled,  and  conse- 
quently the  silver  nitrate  had  not  the  same  sensitizing 
action  as  when  in  the  ordinary  slightly  moist  condition. 
The  use  of  ammonia  at  once  gave  the  necessary  chlorine 
absorbent.  In  very  dry  climates,  as  in  America,  the  fuming 


with  ammonia  has  to  be  resorted  to,  in  order  to  give  vigour 
to  an  ordinary  albumenized  print. 

The  question  arises  as  to  whether  we  can  prepare  a paper 
with  citrate  of  silver  and  chloride  without  collodioD,  which 
shall  give  the  necessary  degree  of  permanence.  In  the  list 
of  papers  read  before  the  Photographic  Society,  we  have 
one  by  Captain  Abney,  in  which  he  advocates  the  use  of 
th is  mixture  of  sensitive  salts  in  gelatine,  and  we  are  in- 
clined to  think  that  in  this  medium,  fading  should  not  take 
place,  since  the  gelatine  is  not  so  ready  to  combine  with 
silver  as  it  is  with  citric  acid  ; and  we  have  a sensitizer  ready 
to  hand  in  the  shape  of  gelatine.  On  trying  the  process,  we 
have  been  well  satisfied  with  the  results  on  the  whole,  except 
for  a slight  degradation  of  the  whites  of  the  print,  which 
must  be  due  either  to  the  colour  of  the  gelatine  itself,  or  else 
to  a combination  of  the  citrate  of  silver  with  the  gelatine. 
We  are  somewhat  iuclined  to  the  last  idea,  since  if,  before 
fixing  such  a print,  we  convert  the  silver  into  chloride  by 
immersion  iu  a solution  of  common  salt,  this  yellowness,  to 
a large  extent,  disappears,  at  least  so  far  as  our  experiments 
go.  We  still  have  the  danger,  however,  of  hyposulphite  of 
silver  remaining  behind  after  washing,  and  it  may  well 
be  that  this  salt  might  combine  with  the  gelatine,  and 
eventually  give  rise  to  fading. 

It  is,  however,  our  present  opinion  that  this  is  not  nearly 
so  likely  to  be  the  case  as  with  albumen,  and  we  may  remark 
parenthetically  that  the  toning  of  a gelatino-citro  chloride 
print  is  not  more  difficult  than  of  a collodio-chloride  print, 
and  the  same  toning  baths  may  be  used.  Our  conclusion, 
nevertheless,  is  that  a silver  printing  process  which  will 
give  permanence  is  only  to  be  found  when  we  have  a 
definite  crystalline  organic  silver  compound  formed,  such 
a9  the  citrate,  and  not  a colloidal  compound,  such  as 
albumenate  present ; and  when  the  support  is  such  as 
collodion,  where  the  washing  can  be  thoroughly  executed, 
owing  to  its  porosity,  for  then  all  products  soluble  in  water 
can  be  eliminated,  and  we  see  no  reason  why  a silver  print 
should  not  be  as  permanent  as  its  would-be  rival  in  public 
affection. 


A NEW  METHOD  OF  PHOTO-MECHANICAL 
PRINTING. 

At  the  last  meeting  of  the  Photographic  Club,  the  subject 
of  obtaining  photographs  by  means  of  a pinhole,  instead  of 
a lens,  was  again  brought  forward  ; aud  it  was  pretty 
generally  admitted  that  one  principal  source  of  difficulty 
is  the  drilling  of  a clean  hole  in  an  extremely  thin  sheet  of 
metal ; while  a punched  hole  is  almost  invariably  tubular 
or  funnel-shaped,  owing  to  the  obtrusion  of  the  metal 
round  about  the  true  image  forming  aperture.  In  such  a 
case,  or  if  the  opaque  screen  in  which  the  hole  is  drilled  is 
not  extremely  thin,  the  reflection  of  light  from  the  sides 


194 


THE  PHOTOGRAPHIC  NEWS. 


[March  30,  1883. 


of  the  aperture  will  interfere  materially  with  the  purity  of 
the  image. 

A member  of  the  Club  mentioned  that  he  had,  some 
years  ago,  succeeded  in  obtaining  clean-cut  holes  in 
extremely  thin  sheets  of  metal  by  a process  of  photo- 
engraving, and  that  such  apertures  yielded  very  good  pin- 
hole pictures.  The  method  was  as  follows  : — A round  spot 
of  white  was  photographed  against  a black  background,  so 
as  to  yield  a negative  in  which  the  image  of  the  spot  should 
be  represented  by  a black  dot  corresponding  to  the  re- 
quired aperture.  In  the  next  place,  a very  thin  sheet 
of  a copper  alloy  was  coated  on  both  sides  with  a sensitive 
bitumen  film  (see  our  volume  for  1882,  p.  770).  One  side 
of  this  plate  was  then  exposed  to  light  for  a sufficient 
time  to  render  the  bitumen  moderately  insoluble  iu  the 
ordinary  solvents ; after  which  the  other  side  was  exposed 
under  the  negative.  When  a sufficient  exposure  had  been 
given,  the  plate  was  treated  with  benzole,  so  as  to  remove 
that  bitumen  whicu  had  been  covered  by  the  opaque  dot 
of  the  negative ; and  the  metal  was  etched  away  by  a 
moderately  strong  solution  of  perchloride  of  iron.  Hot 
benzole  will  now  serve  to  remove  the  bitumen  acted  on  by 
light,  and  the  image  forming  plate  is  ready  for  use,  the 
most  convenient  method  of  using  it  being  to  solder  it  over 
the  aperture  of  an  ordinary  lens  diaphragm. 

This  method  of  making  pin-holo  stops  served  to  remind 
us  of  a hitherto  unpublished  method  of  making  printing 
stencils  by  photographic  agency ; and  although  we  do  not 
suppose  that  the  process  is  likely  to  supersede  existing 
photo-typic  or  photo-lithographic  methods,  it  may  serve  in 
cases  where  photographers  wish  not  only  to  prepare  the 
printing  surface,  but  also  to  print  themselves. 

A vigorous  negative  of  the  printed  or  written  matter  is 
first  prepared  in  the  ordinary  way,  and  a sheet  of  black 
netting  is  laid  over  it,  after  which  a contact  or  camera  trans- 
parency is  made. 

A sheet  of  thin  metal,  which  has  been  coated  on  both 
sides  with  the  usual  sensitive  bituminous  film,  is  now 
exposed  on  one  side,  in  order  to  render  the  bitumen 
generally  insoluble,  after  which  the  reverse  side  is  exposed 
under  the  transparency,  and  developed  in  the  usual  way 
with  turpentine,  benzole,  or  a similar  solvent.  The  plate 
is  next  exposed  to  the  action  of  an  etching  fluid  until  the 
metal  is  perforated  ; and  the  stencil  is  complete.  The 
object  of  the  netting  will  be  obvious,  as  strips  of  metal 
corresponding  to  its  threads  are  left  across  the  eaten-out 
portions  of  the  metal  plate,  and  serve  to  bind  the  various 
parts  of  the  plate  together.  Without  some  provision  of 
this  kind,  such  letters  as  “O,”  “ B,”  and  “ B’’  would  neces- 
sarily be  imperfectly  reproduced,  and  the  fine  white  lines 
corresponding  to  the  netting  do  not  materially  interfere 
with  the  legibility  of  printed  matter.  As  regards  print- 
ing from  the  stencil,  it  may  be  mentioned  that,  either  the 
roller  method,  as  exemplified  in  the  case  of  Edison’s 
electric-pen  printing  process,  or  the  squeegee  method  as 
carried  out  iu  the  typographic  process  of  l)e  Zuccato,  is 
far  preferable  to  any  mode  in  which  the  printing  colour 
is  applied  with  a brush. 

Either  side  of  the  stencil  may  be  printed  from  with 
equal  facility,  either  right-handed  or  left-handed  impres- 
sions being  thus  produced  at  will. 


lis-tWSp. 

PEOPLE  WHO  HO  NOT  LIKE  THEIR  PORTRAITS. 
People  who  do  not  like  their  portraits,  at  first  sight,  form 
a large  class,  since,  with  an  exception  here  and  there,  it 
includes  everybody.  Many  survey  their  proofs  without  a 
murmur,  and  give  a large  order  for  prints  on  the  spot ; but, 
, at,  the  pictures  are  not  satisfactory  in  their  eyes. 
Of  all  classes,  possibly,  the  elderly  gentleman  is  the  most 
easily  pleased ; but  he  generally  thinks  the  photographer 
makes  him  out  rather  more  bald  than  he  is,  and  depicts  the 


crow’s  feet  under  his  eyes  too  prominently.  Phyllis,  le 
her  picture  be  ever  so  charming,  is  never  gratified  when 
the  proof  is  submitted  to  her.  “ Dear  me  ; well,  I suppose 
it  is  me.  I should  never  have  known  it.  But  I had  better 
have  some  copies  printed,  of  course.  Oh  yes,  you  can 
have  the  proof  back,  certainly ; and  now  let  me  look  at 
something  nice.”  This  is  meant  for  a polite  speech. 
Not  unfrequently  it  is  simply  : “ Oh,  what  a fright ! Pm 
sure,  Ma,  I can’t  look  like  that.  And  there’s  the  lace  on 
my  left  sleeve  crushed  out  of  all  knowledge.” 

Our  dictum  as  to  people  never  liking  their  portraits 
refers  only  to  “ first  sight,”  or  to  the  time  when  the  pic- 
ture is  taken.  Ten  days  afterwards — or,  it  may  be,  ten 
years — it  is  another  matter  altogether.  “Have  you  the 
negative  still  of  that  portrait  you  took  exactly  three 
summers  ago?”  is  an  enquiry  that  comes  again  and 
again.  “ I did  not  like  the  picture  at  the  time,  if  you 
remember;  but  my  friends  think  it  such  a good  one  that 
I thought  I would  call  about  it.”  The  caller,  under  these 
circumstances,  generally  gives  a very  good  order ; he  or 
she — for  young  gentlemen  are  quite  as  fastidious  as  young 
ladies — has  had  pictures  taken  more  recently,  and  these 
please  less  and  less  the  more  the  sitter  advances  in  years. 
Photographers  are  so  well  acquainted  with  the  fact  that  a 
good  picture  is  sure  to  be  liked  sooner  or  later,  that, 
despite  an  unfavourable  verdict  at  the  time,  the  negative 
is  carefully  put  away  and  registered  ; and,  in  a well- 
established  business,  stock  orders  are  almost  as  remunera- 
tive as  those  given  by  fresh  sitters. 

There  is,  of  course,  no  objection  to  a sitter  passing  an 
adverse  opinion  on  his  portrait,  and  photographers  who 
are  beginning  business  must  not  be  too  easily  depressed 
by  unwelcome  words,  when  they  have  not  only  done  their 
best,  but  fully  believe  they  have  been  highly  successful  in 
their  purpose. 

As  a rule,  matters  come  right  in  the  end,  and  the 
customer  is  satisfied.  Nay,  if  the  sitter  has  not  at  the 
first  openly  expressed  dislike,  he  may,  and  frequently 
does,  generally  acknowledge  his  obligations  to  the  photo- 
grapher. The  sitter  takes  his  picture  home,  and  there, 
however  much  he  may  inveigh  against  its  imperfections, 
friends  one  after  another  begin  to  point  out,  it  is  not  so 
bad  after  all.  There  is  a trite  saying  to  the  effect  that  no 
one  is  a good  judge  of  his  own  portrait,  and  if  only  sitters 
could  be  induced  to  take  the  opinion  of  friends,  rather 
than  their  own,  the  difficulties  of  a photographer  in  such 
matters  would  be  reduced  to  nil.  In  any  case,  we  would 
warn  young  photographers  never  to  expect  any  thanks. 
In  a portrait,  you  touch  a sitter  on  tbe  most  delicate  point, 
his  personal  appearance ; and  the  less  store  he  pretends 
to  set  upon  it,  the  more  likely  is  he  to  take  umbrage  at 
any  supposed  discount  of  his  good  looks. 

So  far,  in  respect  to  the  bond  fide  sitter,  who,  if  not  at 
once,  is,  after  a while,  convinced  that  you  have  turned 
out  good  work.  There  is,  unfortunately,  another  class, 
whom  photographers  know  but  too  well,  and  with  whom  it 
is  necessary  to  be  exceedingly  strict;  we  mean  those  who 
decry  the  portrait,  but  desire,  nevertheless,  to  keep  the 
proofs  sent  them  of  the  negative.  It  has  been  said  that 
everybody  has  a disposition  to  be  mean  sometimes,  and 
certainly  there  are  people  especially  mean  in  their  dealings 
with  a photographer,  however  large-hearted  and  benevo- 
lent they  may  be  at  other  times.  When  the  regulation  to 
pay  previous  to  sitting  is  adhered  to,  there  is  little  chance 
of  suffering  from  the  meanness  in  question  ; but,  unfortu- 
nately, photographers  do  not  keep  to  this  hard  aud  fast 
rule.  Then,  we  have  recurring  examples  of  this  weakness. 
A lady  is  desirous  of  getting  a portrait  of  baby,  and  upon 
the  latter  the  photographer  spends  half  a morning,  and  a 
dozen  precious  films.  All  to  no  purpose ; none  of  the 
proofs  please,  and  as  baby  cannot  be  worried  again  just 
then,  the  ajrpointment  is  put  off  sine  die.  But,  as  tbe 
lady  is  going  away,  she  turns  back  and  asks  if  there  is  any 
objection  to  her  keeping  one  of  the  proofs ; they  are  proba- 
bly of  no  use  to  the  photographer,  she  ventures,  and  one 


March  30,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


195 


of  them  is  not  such  a bad  picture  of  her  darling,  after  all. 
Naturally,  the  photographer  refuses,  perhaps  somewhat 
curtly,  and  off  bounces  my  lady.  Next  morning  there 
enters  nurse  ; she  is  a very  guileless  creature,  and,  of 
course,  knows  nothing  of  the  unpleasantness  between  her 
mistress  and  Mr.  Photographer.  She  only  knows  that  Mr. 
Photographer  is  a very  nice  gentleman,  and  for  that  reason 
she  ventures  to  ask  for  herself — only  for  herself,  mind- 
one  of  baby’s  spoilt  pictures,  which  she  kuows  is  of  no  use 
to  anybody. 

Our  readers  are  perfectly  familiar  with  examples  of  this 
kind,  without  our  quoting  further.  Many  photographers 
for  this  reason  make  it  a custom  to  charge  a fee  for  sitting, 
and  then  an  additional  sum  for  copies.  Mr.  Fergus,  of 
Largs,  does  this,  his  custom  being  to  require  only  half- 
a-crowna  copy  for  cabinet  pictures,  but  a guinea  forposing. 
Mr.  Bassano,  of  Bond  Street,  and  others,  do  the  same  ; 
while  the  custom  is  not  unknown  on  the  Continent,  for  we 
found  it  to  prevail  at  Herr  Koller's  studio  in  Pesth.  It 
is  one  safeguard  the  more,  but  at  the  same  time,  if  people 
are  disposed  to  be  mean,  they  will  know  how  to  evade  even 
regulations  of  this  kind. 

The  custom  of  forwarding  untoned  and  unfixed  prints  is 
another  way  of  protecting  yourself.  The  plan  has  its 
drawbacks,  it  is  true,  for  if  a portrait  will  not  please  after 
careful  retouching  and  mounting,  it  is  scarcely  likely  to  do 
so  in  the  rough.  Mr.  Jabez  Hughes,  who  employs  the 
carbon  process  systematically  at  his  studio  in  Ryde,  once 
replied  to  us,  when  we  asked  if  he  printed  everything  in 
permanent  pigments:  “No,  I do  not  always  employ 
carbon ; I print  from  my  negatives  also  by  the  silver 

rocess,  but  only  the  unfixed  proofs  supplied  for  approval. 

may  say,  therefore,  that  I utilise  in  their  proper  sphere, 
the  fading  as  well  as  the  permanent  process.”  On  the 
other  hand,  there  are  a great  many  studios — probably  the 
majority — whence  proofs  are  despatched  as  carefully 
finished  as  the  subsequent  prints. 

Apart  from  the  natural  dislike  to  one’s  own  portrait, 
when  it  is  first  seen,  and  which,  as  we  have  said,  is  got  over 
in  time,  there  are  frequently  other  reasons,  no  less  absurd, 
but  still  no  less  important  for  a photographer  to  under- 
stand, why  a picture  is  decried.  These  he  will  soon  guess, 
if  he  only  studies  human  nature.  Young  ladies  and  young 
gentlemen  are  vain  enough,  no  doubt,  but  they  do  not 
absorb  all  the  vanity  in  this  world.  A man  of  forty  tells 
you:  “I  am  no  chicken,  1 know,  but  still  that  picture 
makes  me  an  old  fellow  of  sixty  at  least ; ” while  a man  of 
sixty  again  will  say  : “ 1 know  I have  plenty  of  grey  hairs, 
but  lam  not  quite  such  au  antiquated  pantaloon  as  that ! ” 
and  so  on.  Brilliant  lighting  and  judicious  retouching  will 
do  much  to  check  these  complaints ; while  in  the  case  of 
younger  sitters  it  is  the  costume,  rather  than  the  features, 
that  is  at  fault,  when  a picture  is  rejected  after  a week’s 
consideration.  The  most  satisfactory  portraits — to  the 
photographer— are  those  ordered  and  paid  for  by  mama 
or  papa,  aunt  or  uncle,  for  the  simple  reason  that  the  prints 
are  approved,  not  by  the  sitter,  but  by  a relative,  who,  as 
we  have  said,  is  a more  impartial  judge.  The  great  thing 
is  to  know  whether  a picture  will  be  ultimately  approved 
or  not.  If  a garment  is  awry,  or  folds  exist  where  they 
should  not  be,  nothing  will  induce  the  young  lady  or 
gentleman  to  like  a portrait,  and  a wise  man  does  not 
waste  words  in  seeking  to  convince  the  dissatisfied  one  ; 
in  like  manner,  a photographer  who  studies  human  nature 
has  little  difficulty  in  at  once  localising  the  fault  if  there  is 
one,  and  of  guaging  whether  the  dislike  of  the  sitter  is  of 
a temporary  or  permanent  nature. 


ARTIFICIAL  LIGHT  AND  ITS  MEANS  OF  PRODUCTION. 

BT  J.  BANTING  ROGERS.* 

I am  somewhat  justified  in  treating  the  pine  log,  or  pitch  stick, 
as  the  most  primitive  form  of  artificial  lighting  ; for,  it  is  quite 

• From  an  Address  delivered  at  the  Town  Hall,  Reading. 


within  the  region  of  reason  to  suppose  that  in  the  dark  ages, 
man — with  his  active  conscience — dreaded  nothing  so  much  as 
the  absence  of  daylight.  The  pine  log,  or  pitch  stick,  or  torch, 
would  be  a ready  means  to  give  him  light,  and  the  forests 
plentifully  supplied  the  article — the  more  resinous  the  torch 
the  better  the  flame — thus  we  may  fairly  assume  the  pine  log 
to  be  the  parent  of  artificial  light  as  employed  by  man. 

That  being  admitted,  we  will  now  make  rapid  strides  through 
other  primary  forms  of  dispersing  darkness — as  the  floating 
wick,  set  in  the  midst  of  fatty  or  resinous  substances  of  vege- 
table growth,  or  from  the  beast  taken  in  the  chase  ; and  come 
down  to  the  so-called  days  of  civilization,  when  the  candle  was 
a manufactured  article,  and  of  great  value  in  commerce. 

The  candle  will  hold  its  own  as  an  institution  to  measure 
light.  Scientists  may  endeavour  to  find  an  equivalent  under  a 
new  name  ; but  the  good  old  sperm— six  to  the  pound,  forty-two 
hours’  lighting  power—  will  hold  its  own,  for  the  standard  is  as 
near  perfection  as  can  be  desired  for  all  purposes  of  practical 
utility  ; and  the  conditions  under  which  six  candles  can  be  made, 
are  reliable  and  trustwoithy.  Thus  science  will  have  a very 
hard  task  to  say  the  candle  can  be  replaced  as  the  standard. 

Gas  has  been  a great  boon  to  man,  and  in  this  age  played  as 
prominent  a part  in  the  advancement  of  science  as  ever  did  any 
invention.  If  I take  good  gas  under  able  management,  and  the 
ability  to  make  that  good  by  the  aid  of  so  renowned  au  expert 
in  gas  as  Mr.  Sugg  ; and  further,  as  a comparative  against  the 
light  I am  showing  (the  great  gaslight  of  Dr.  Siemens,  800 
candles,  in  the  fountain  opposite  the  municipal  buildings),  my 
eight  small  incandescent  lamps  quite  hold  their  own  against  this 
monstrous  light  as  an  outdoor  illuminant. 

It  is  as  well  at  this  stage  to  state  that  the  ordinary  batswing 
burner,  commonly  used  in  street  lamps,  is  stated  to  consume  five 
cubic  feet  of  gas  per  hour,  and  gives  a light  equal  to  fourteen 
candles. 

By  this  we  have  a recognized  measure  of  light  power,  by  the 
sperm  candle,  and  the  batswing  burner  of  fourteen-candle  power 
as  an  accepted  standard  for  five  cubic  feet  of  gas  per  hour. 

Thus  far  I have  gone  with  the  subject  of  light  by  means 
known  to  the  present  day.  Many  other  forms  may  have  been 
used,  but  they,  like  the  ones  I have  lightly  touched  upon,  can 
play  no  part  iD  the  light  as  required  in  this  day.  The  question 
is,  how  far  can  we  improve  upon  the  present  means  ? I will  now 
endeavour  to  show  the  power  of  electricity  and  the  appliances 
brought  to  bear  to  make  it  a fair  and  just  competitor  for  public 
favour  as  a lighting  agency  for  the  future. 

It  may  be  interesting  if  I give  you  now  some  little  explanation 
of  the  causes  which  produce  these  wonderful  effects.  I do  not 
for  one  moment  presume  to  know  what  this  subtle  force  is  ; and 
it  may  be  fairly  assumed  no  man  has  up  to  date  defined  its 
power,  its  quality,  its  quantity,  its  affinity,  or  its  attributes. 
The  whole  matter  has  been  mere  theory  and  speculation,  and  a 
fine  field,  for  it . The  more  that  is  accomplished  by  this  great 
force,  the  less  man  seems  to  comprehend  its  power.  Men  talk 
learnedly  of  “ generating  ” electricity.  This  is  palpably  wrong ; 
man  cannot  make  what  really  exists,  or  generate  what  at  present 
lies  in  the  substance,  and  it  is  very  fair  assumption  to  say  that 
this  great  and  subtle  force  “ electricity  ” pervades  all  and  every 
substance  more  or  less,  and  it  is  only  to  be  utilized  by  being 
severed  or  extracted  from  the  subject  matter  operated  upon  for 
the  time  being.  As  one  of  the  imponderables,  we  know  not  its 
weight,  its  colour,  or  its  magnitude  ; but  we  do  know  that  it 
can  be  evolved  to  produce  a light  which  makes  the  darkest  night 
wear  the  aspect  of  the  brightest  day.  That  this  subtlety  is  a 
force  incalculable  in  power  is  fully  shown  by  the  damage  done 
by  the  lightning’s  flash.  We  cannot  make,  manufacture,  or 
generate  it ; but  by  processes — chemical  and  mechanical — we 
can  evolve  it  to  produce  light  and  other  startling  phenomena.  By 
chemical  agency  we  know  that  we  can  evolve  a force  that 
conveys  the  thoughts  or  wishes  of  man  to  his  fellows  to  any 
distance,  even  to  the  Antipodes.  We  know  that,  to  evolve  this 
force  by  chemical  agency,  to  produce  these  results,  we  decompose 
so  many  grains,  ounces,  or  pounds  of  metals  (zinc  preferably). 
This  is  a palpable  fact  that  can  be  traced  in  the  battery  cell. 
This  process  for  purposes  of  telegraphy  is  the  best  and  cheapest 
mode.  But  no  amount  of  chemical  action  could  produce  light 
to  make  it  an  entertainable  question  commercially ; the 
decomposition  of  the  metals,  whether  by  the  slow  process  of 
diluted  alkalies  or  acids,  or  the  rapid  consumption  of  metals,  in 
acids  in  their  strength.  Can  the  fact  ever  come  before  us  to 
meet  the  question  of  lighting  as  a commercial  question  ? It  may 
look  fascinating  to  the  investor  to  hope  so.  But  a little 


196 


THE  PHOTOGRAPHIC  NEWS. 


[Mabch  30,  1883. 


thought  should  convince  that,  however  well  it  may  be  written 
up  for  marketing  shares,  it  cannot  be  more  than  a laboratory 
success,  a phenomenon  of  science,  a feat  of  mind  over  matter. 
Again,  even  as  a luxury,  it  would  be  a nuisance,  for  the  fumes 
given  off  from  powerful  batteries  would  ruin  all  substances — 
metallic  or  fibrous — that  they  come  in  contact  with.  Thus  it  is 
only  fair  to  the  investor  to  say  that,  when  such  schemes  are 
offered,  caution  is  a necessity,  or  they  may  think  too  late.  But 
when  we  produce  this  great  and  subtle  force — electricity — by 
mechanical  agency,  the  means  used  to  evolve  or  give  it  out  show 
no  wearing  away  of  the  magnets,  no  lessening  the  size  of  the 
induction  coils,  even  after  producing  what  would  represent 
millions  of  candle  power ; the  machine  does  not  lose  its 
properties  for  producing  electricity  if  due  force  is  given  to  put 
the  machine  in  motion  at  the  desired  speed. 

Electricity  ! What  is  it  ? No  m in  has  yet  defined  it ; no  man 
knows  its  component  parts.  It  and  music  may  fairly  be  said  to 
be  the  twin  powers  of  the  air  we  breathe,  for  the  power  of  music 
is  capable  of  enormous  range,  as  electricity  is  of  enormous 
strength,  both  of  which  are  actuated  by  the  air,  for  neither  are 
capable  of  being  produced  in  vacuo. 

To  the  best  expert,  electricity  is  a something  inexplicable. 
Theories  have  been  formed  by  the  hundred,  and  with  what 
success?  Merely  to  open  up  room  for  more  theory.  But  that 
electricity  pervades  all  apace  where  air  has  free  access,  is  proved 
beyond  doubt ; and  in  no  instance  is  it  more  palpable  than  in 
the  fact  of  it  giving  forth  the  feeble  spark,  as  it  does  the  mass  of 
light  that  equals  the  brightest  day. 

As  a twin  power  of  the  air,  it  may  be  the  strength  or  actinism 
of  the  light  the  photographer  so  much  depends  upon  to  fix  the 
picture  in  his  camera.  The  effect  of  air  and  light  is  proved  by 
their  influence  upon  metallic  bodies.  As  a fact,  the  magneto 
machine  can  produce  the  electric  light  at  any  altitude  it 
ma  y be — on  the  mountain  top,  or  down  the  deepest  mine ; 
it  may  be  in  a space  only  capable  of  holding  it  in  its  place ; 
or  it  may  be  out  in  the  open.  Its  power  to  produce  is  regulated 
by  the  velocity  of  motion  given  to  it,  and  not  the  space  afforded 
it,  and  yet  the  surrounding  air  does  not  alter  its  properties  in 
any  way  to  affect  us  personally.  How  like  music ! The  violinist 
may  play  in  the  most  confined  space,  and  his  instrument  give 
out  the  same  note  as  if  he  were  playing  on  the  wildest  moorland  ; 
500  violinists  might  play  in  the  same  way,  and  500  other 
instruments,  differing  in  sound,  as  violin,  harp,  dulcimer, 
trombone,  trumpet,  bassoon,  and  the  voice  (most  wonderful  of 
all)  giving  forth  their  distinct  sounds  ; only  by  the  loudness 
should  we  be  affected,  by  the  deafening  sound.  It  would  not 
affect  the  air  we  breathe,  wild  as  the  commotion  may  be,  either 
in  discord  or  harmony.  The  same  by  magneto  machines  ; they 
might  be  placed  as  close  together  as  machinery  would  work 
them,  and  produce  a strength  that  would  vie  with  the  lightning’s 
flash — capable  of  destroying  life  or  overturning  property — and 
yet  we  should  not  be  sensibly  affected  by  the  electricity  thus 
evolved  by  the  machines  in  motion  ; it  would  not  affect  the  air 
we  breathe,  though  the  whirl  of  the  machines  might  be  un- 
pleasant to  our  sense  of  hearing.  Hence  I feel  I am  justified  in 
my  idea  as  to  music  and  electricity  being  the  twin  powers  of 
the  air,  which  no  man  has  yet  defined.  Music  can  be  measured 
by  the  vibration  to  the  given  chord  to  denote  the  sound  it  will 
produce,  but  why  produced  is  beyond  explanation.  Electricity 
has  been  measured  infinitesimally,  and  is  seen  in  the  strength 
put  forth  by  the  storm  ; but  the  subtlety  defies  us  to  fathom  its 
mystery. 

This  is  sufficient  to  make  us  wonder.  Chemically,  we  see 
results,  but  can  turn  to  the  battery  cell  to  see  causes  and  effects, 
to  lead  to  the  result  shown.  But  when  mechanical  agency  is 
used,  we  see  no  diminution  in  size  or  weight  ; these  are  facts 
sufficient  to  make  men  wonder  at  the  power  and  extent  of  this 
invisible  agency.  No  better  definition  can  be  found  than  the 
( renie  appearing  out  of  the  small  jar  to  the  Calendar  (vide  Arabian 
Nights  Tales). 

The  air — that  mysterious  agency — has  been  bisected  by  man, 
and  its  component  parts  known  fractionally.  Light — prismatic- 
ally  each  ray  has  Seen  measured,  and  by  demonstrations  the 
power,  strength,  and  property  of  each  ray  tested  to  produce 

i3  seen  by  the  decomposing  action  of  light  on  metals  ; 
the  actinism  of  the  ray  applicable  to  photography ; the 
polarization  of  iron  and  other  phenomena  resulting  certain  in 
action  by  cause  and  effect.  Man  can  evolve  electricity  and  make 
it  subservient  to  his  will.  But  no  man  has  yet  ventured  to 
assert  that  he  knows  the  component  parts  of  its  subtlety.  Man’s 


knowledge  extends  to  results,  as  facts  of  attraction  and  re  pulsion 
positive  and  negative  actions ; there  man’s  knowledge  ceases, 
then  comes  the  cloud,  and  heavy  and  laborious  calculations 
are  gone  into.  To  show  what  ? That  figures  will  not  give 
the  causes  to  lead  to  the  definition  of  what  the  wondrous 
and  all  prevailing  force  electricity  is.  There  are  some  who  have 
aired  their  assumed  knowledge  on  platforms,  and  said  they 
knew  all  about  it,  &c.  The  great  Faraday,  after  forty  years  of 
study  (such  as  the  world  knows  he  gave  to  the  subject  of 
electric  science),  confessed  he  knew  not  of  its  form,  shape,  or 
substance. 


PIIOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  VIII. — Inkino-up  Methods. 

In  these  methods  the  print  is  first  wetted  with  cold  water, 
and  then  laid  evenly  down,  face  upwards,  upon  a smooth 
surface,  and  transfer  ink  is  applied  with  a roller  ordabber, 
something  in  the  same  way  as  in  the  methods  last  described  ; 
but  instead  of  the  ink  taking  all  over  the  print,  it  will  only 
attach  itself  to  the  lines,  while  the  whites  remain  clear,  or 
nearly  so.  Many  different  modes  of  doing  this  have  been 
published  from  time  to  time,  but  the  following  are  some  of 
the  best,  and  w ill  be  sufficient  to  give  a good  general  idea  of 
the  operations. 

Captain  Abney  inks  up  prints  produced  on  his  “ papyro- 
type  ” paper,  described  in  the  last  chapter,  by  drawing  them 
through  cold  water,  and  then  squeegeeing  them  down  on  to 
a smooth  zinc  or  pewter  plate.  If  necessary,  the  edges  may 
be  secured  with  strips  ot  paper  and  india-rubber  solution. 
The  superfluous  water  is  then  blotted  off,  and  the  print  rolled 
in  by  means  of  a gelatine  roller*  charged  with  ink  composed 
of : — 

Best  chalk  litho.  printing  ink  ...  4 parts 
I’alm  oil  ...  ...  ...  ...  1 part 

The  roller  is  at  first  well  charged  with  ink,  and  rolled 
slowly  and  with  some  pressure  until  the  print  is  well  charged 
all  over.  The  roller  is  freed  from  the  excess  of  ink  by  rolling 
on  a clean  slab  or  piece  of  paper,  and  then  worked  smartly 
and  lightly  over  the  print  until  all  inky  scum  is  removed, 
and  the  image  stands  out  clear  and  sharp.  Should  the  sur- 
face of  the  print  become  dry  and  not  clear  readily,  a wet 
sponge  may  be  passed  over  it.  If  the  operation  be  properly 
performed,  a very  delicate  transfer  print  is  the  result. 

The  slight  washing  given  to  the  print  in  the  first  instance 
is  sufficient  to  remove  the  bichromate  from  the  paper,  and 
when  the  transfer  print  is  judged  to  be  properly  inked,  it  is 
dried  without  a final  rinsing  in  water,  and  exposed  to  light 
so  as  to  make  the  whole  surface  insoluble,  and  thus  prevent 
it  sticking  to  the  stone  or  zinc  when  transferred,  though  it 
will  be  sufficiently  adherent  to  prevent  slipping.  Thegela- 
tine  surface,  being  insoluble  and  hardened,  will  have  no 
tendency  to  squeeze  out  and  blur  the  lines.  A somewhat 
similar  process  is  used  at  the  Military  Geographical  Insti- 
tute in  Vienna,  the  roller  used  being  of  the  same  shape  as 
the  ordinary  lithographic  roller,  but  covered  with  velvet 
instead  of  leather. 

According  to  Captain  Volkmer’s  pamphlet,  describing  the 
processes  in  use  at  the  Institute,  the  operations  are  as  follow. 
The  print,  made  on  the  paper  described  in  the  last  chapter, 
is  taken  into  a dark  room  and  soaked  in  a bath  of  cold  water 
till  it  is  quite  limp.  It  is  then  laid  down  on  a glass  plate, 
gelatine  side  up,  and  the  superfluous  water  removed  with 
blotting-paper.  Should  the  gelatine  swell  up  too  much,  so 
that  the  finer  lines  take  the  ink  with  difficulty,  the  print 
may  be  soaked  first  for  one  or  two  minutes  in  a bath  of 
bichromate  of  potash  about  1 to  200. 


* A very  good  composition  for  these  rollers  is : — 

Gelatine 

Glycerine  

Castor  oil  

Water  


30  parts 
U „ 

6 ,, 


THE  PHOTOGRAPHIC  HEWS. 


197 


March  30.  1863.  | 


The  wet  print  is  dow  rolled  up  with  transfer  iuk  made  of 
equal  parts  of  ordinary  lithographic  printing  ink  and  so- 
called  “ wax  ” or  fat  ink,  composed  of — 

Litho.  printing  ink  ...  ...  14  parts 


Turpentine 
Tallow 
Marseilles  soap 
Yellow  wax  ... 


4 

6 

9 

12 


The  inks  having  been  well  mixed  by  rubbing  down  with 
a muller  or  a slab  with  turpentine,  some  of  the  mixture  is 
rolled  up  on  a 6tone  with  an  ordinary  leather  roller,  and  a 
thin  coating  is  abo  given  to  a zinc  plate.  The  velvet  roller, 
having  been  lightly  charged  with  ink  from  the  latter,  is 
passed  over  the  damp  print  until  the  image  is  sufficiently 
brought  out. 

Should  the  paper  become  somewhat  dry  during  the  inking 
up,  and  the  ground  get  dirty,  it  is  again  damped  in  water, 
and  the  inking  continued  until  the  image  appears  completely 
black  in  all  parts.  If  dirty  spots  appear,  they  may  be 
cleaned  by  washing  with  a wet  sponge,  or  gentle  rubbing 
with  the  finger.  Finally,  the  print  is  laid  between  sheets  of 
clean  proof  paper  to  remove  the  greater  part  of  the  moisture, 
and  in  about  an  hour  may  be  transferred  to  stone  in  the 
usual  manner. 

The  method  ofinking-in  with  a velvet  roller  has  also  been 
introduced  at  the  Royal  Arsenal,  Woolwich,  and  Mr.  Baden 
Pritchard  has  given  several  useful  hints  on  the  subject  in 
the  News  (vol.  xxv.,  p.  568). 

The  bichromated  gelatine  paper  used  at  Woolwich  is  pre- 
pared in  the  same  way  as  for  the  Southampton  process, 
without  alum  or  any  addition  tending  to  harden  the  gelatine. 
After  exposure  to  light  in  the  usual  way,  the  print  is  soaked 
in  cold  water  for  four  or  five  minutes,  and  is  then  laid  care- 
fully and  flat  upon  a glass  plate,  which  must  be  a little 
shorter  than  the  print.  Excess  of  moisture  is  removed  by 
means  of  blotting-paper,  and  the  print  is  now  ready  to  be 
inked-up. 

The  glass  plate  with  the  print  is  laid  upon  a stone  slab 
about  the  same  size,  placed  on  a table,  press,  bed,  or  any 
other  convenient  position  for  rolling.  The  edge  of  the 
print  nearer  the  operator  is  folded  under  the  glass  plate,  the 
further  edge  being  left  free,  so  that  when  the  roller  is 
passed  over  it  in  a direction  away  from  the  operator,  the 
print  is  pressed  down  and  flattened  without  cockling. 

The  velvet  roller,  having  been  charged  with  transfer  ink 
composed  of — 

Transfer  ink  ...  ...  ...  ...  2 ounces 

Olive  oil  ...  ...  ...  ...  ...  ^ ounce 

well  mixed,  and  reduced  with  turpentine  to  a creamy  con- 
sistence, is  passed  lightly  over  the  print,  always  in  the  same 
outward  direction.  The  lines  gradually  take  the  ink,  and 
in  a few  rollings,  if  the  other  conditions  are  favourable,  a 
perfect  transfer  will  be  produced.  It  may,  however, 
occasionally  be  necessary  to  slightly  sponge  the  surface  to 
remove  scum  and  clear  up  the  whites. 

The  velvet  roller  used  is  similar  to  an  ordinary  litho- 
graphic roller,  and  is  handled  in  the  same  way,  but  its 
construction  requires  some  care. 

First,  it  should  be  a good  deal  lighter  than  an  ordinary 
lithographic  roller.  This  may  be  effected  by  reducing  the 
diameter  of  the  woolen  stock  until  it  is  just  large  enough 
to  allow  of  the  roller  being  used  without  scraping  the 
knuckles;  or  the  stock  itself  may  be  lightened  by  being 
made  of  tin.  Mr.  Winstone,  of  Shoe  Lane,  suggested  this 
improvement,  and  made  me  some,  which  have  answered 
well. 

The  roller  should  also  be  soft  and  “ puddingy,”  and  to 
secure  this  the  stock  is  first  covered  with  three  folds  of 
thick  flannel  or  “collar  cloth.”  For  the  outer  covering, 
cotton  velvet  is  the  best  material ; the  edges  must  be  care- 
fully drawn  together  at  the  join  with  stitches,  and  not  sewn 
in  the  usual  way,  with  a double  thickness  at  the  join. 

After  use  the  roller  must  not  be  scraped,  but  put  away  in 


a bag  just  as  it  is;  before  using  it  again,  the  old  ink  must 
be  removed  by  rolling  on  a clean  slab,  and  cleaning  the 
siab  at  intervals  with  turpentine. 

We  have  not  found  the  velvet  roller  answer  so  well  for 
rolling  up  transfers  as  the  ordinary  lithographic  roller, 
using  exactly  the  same  ink  as  for  the  washed  off  transfers, 
but  much  thinner.  The  wet  transfer  print  is  laid  on  a glass 
plate,  one  end  tucked  under,  and  the  image  is  rolled  up  in 
the  usual  way,  backwards  and  forwards. 

For  inking-up  the  delicate  transfers  prepared  on  the 
paste  paper,  described  in  the  last  chapter,  Mr.  Bolas  recom- 
mends dabbing  the  ink  on  with  a brush  made  from  an 
ordinary  sash  tool,  but  specially  prepared  for  the  purpose 
by  having  the  tips  of  the  bristles  broken  up,  and  the 
bristles  themselves  saturated  with  fatty  matter  to  prevent 
any  undue  quantity  of  moisture  from  penetrating  them. 
The  brush  is  first  covered  over  with  printer’s  ink,  and  then 
beaten  on  an  anvil  till  the  final  eighth  of  an-inch  of  the 
bristles  is  battered  and  disorganised.  More  printers’  ink 
having  been  applied,  the  brush  is  worked  for  a short  time 
against  a brick  wall  or  some  other  rough  surface,  and,  after 
a thorough  cleaning  with  turpentine,  it  is  fit  for  use. 

The  transfer  ink  used  is  a mixture  of  one  part  of  ordin- 
ary letter-press  ink  with  two  parts  of  turpentine.  A few 
drops  of  this  are  filtered  on  to  the  inking  slab  through  a 
piece  of  muslin  placed  over  the  neck  of  the  bottle,  and  well 
worked  with  the  brush. 

After  exposure  to  light  the  transfer  is  washed  in  a few 
changes  of  cold  water,  till  the  bichromate  is  removed.  It  is 
then  dried  and  placed  between  folds  of  paper,  after  which 
it  is  well  ironed  with  a moderately  heated  flat-iron.  This 
has  the  effect  of  darkening  the  colour  of  the  insolated  parts 
cf  the  coating  of  flour  paste,  and  increasing  their  affinity 
for  greasy  ink  without  altering  the  white  parts.  After  the 
ironing,  the  print  is  again  soaked  in  water  to  soften  the  un- 
altered parts,  and  is  ready  to  be  inked-in. 

It  is  laid  evenly  on  a glass  plate,  and  the  excess  moisture 
blotted  off.  The  inking  brush  being  charged  with  ink  and 
allowed  to  rest  for  a few  minutes  till  6ome  of  the  turpentine 
has  evaporated,  the  inking  is  then  commenced,  by  gently 
dabbing  the  face  of  the  print  with  the  inking  brush,  and 
the  operation  is  continued  slowly  and  uuiformly  until  every 
part  of  the  transfer  is  charged  with  rather  more  ink  than  is 
required  to  remain  on  it.  The  brush  is  then  freed  from  the 
superabundance  of  ink  by  working  it  on  a clean  part  of  the 
slab,  and  the  inking  is  resumed  with  a more  rapid  and  light 
touch,  so  as  to  clean  off  all  the  superfluous  ink,  and  bring  the 
design  out  clearly  and  well  defined.  Care  should  be  taken 
to  reproduce  the  effect  of  the  original  as  nearly  as  possible, 
and  if  the  inking  is  unsatisfactory,  it  can  be  cleaned  off  with 
turpentine  and  done  again. 

In  using  the  brush  it  must  be  brought  down  vertically  on 
to  the  paper,  and  not  dragged  or  brushed  over  it,  otherwise 
some  of  the  composition  might  be  removed,  and  the  paper 
below  stained. 

When  the  inking  is  finished,  the  excess  of  moisture  is 
removed,  the  print  being  hung  up  until  it  is  just  damp 
enough  to  transfer.  The  ink  used  being  quick  drying,  these 
transfers  cannot  be  kept  more  than  a few  hours.  If  it  is 
required  to  keep  the  transfers  longer,  a little  tallow  (from 
tV  t0  ti  according  to  the  time  the  transfer  is  is  to  be  kept) 
should  bo  added  to  the  ink,  or  some  of  the  other  inks 
recommended  for  rolling  up  should  be  used. 

In  his  Traite  pratique  cl'impression  aux  encres  grasses,  M. 
Moock  gives  the  following  method.  The  exposed  prints  are 
soaked  in  water,  then  laid  down  evenly  on  a lithographic 
stone,  and  inked  by  hand  with  a small  dabber  made  ot  fine 
linen  or  cotton  cloth  free  from  fluffiness.  The  dabber  is 
evenly  and  lightly  charged  with  a mixture  of  transfer  ink 
and  turpentine,  and  applied  with  a succession  of  vertical 
strokes  all  over  the  surface,  repeating  the  wetting  and  inking 
till  it  is  considered  that  sufficient  ink  has  been  applied. 
The  superfluous  ink  is  then  removed,  aud  the  whites  cleared 
by  sharply  striking  the  print  with  the  lower  part  of  the 


198 


THE  FHOTOGKAFHIC  NEWS. 


[March  80,  1883. 


palm  of  the  right  hand.  From  time  to  time  the  excess  of 
ink  is  wiped  on  a clean  cloth  held  in  the  left  hand,  and  a 
little  practice  and  experience  are  required  to  lay  on  and  take 
off  ink  in  various  parts  as  may  be  necessary.  If  properly 
done,  the  print,  after  this  tour  de  main,  should  be  just  in 
proper  condition  ; if,  however,  it  should  be  too  dark,  a touch 
with  a dry  roller  will  lighten  it ; if,  on  the  contrary,  it  is 
too  pale,  it  may  be  moistened  and  inked  again.  When 
finished,  the  print  is  dried,  and  is  then  ready  for  transfer. 

M.  Kodriguez  inks  his  tinfoil  transfers  with  a litho- 
graphic roller  and  an  ink  composed  of  two  or  three  parts  of 
transfer  ink  to  one  of  printing  ink.  The  ink  should  not 
contain  too  much  varnish  so  as  to  be  too  fluid. 

The  tinfoil  print  is  immersed  in  cold  water  for  a few 
minutes,  and  then  laid  down  on  a very  smooth  lithographic 
stone.  The  foil  is  smoothed  down  with  a roller  covered  with 
flannel,  which  at  the  same  time  removes  the  excess  of  mois- 
ture. The  inking  roller  must  be  lightly  charged  with  ink, 
renewed  frequently  until  the  transfer  is  sufficiently  brought 
out.  Should  the  print  be  under-exposed  and  ink  with 
difficulty,  a little  softer  ink  may  be  used. 

If  the  ground  becomes  dirty,  it  may  be  cleaned  by  pour- 
ing on  a weak  solution  of  gum-arabic,  and  then  rubbing 
with  a soft  sponge.  Should  the  print  be  over-exposed,  it 
will  ink  up  quickly  and  be  veiled  all  over.  The  ink  is 
washed  off  with  turpentine,  a little  gum-water  is  washed 
over  the  surface  of  the  foil,  and  the  print  inked  ia  again. 

When  the  image  is  properly  inked,  the  surface  of  the  foil 
is  washed  with  water  and  left  to  dry  for  two  hours,  after 
which  it  is  inked  in  again.  The  print  is  then  thoroughly 
washed,  and  blotted  off  as  far  as  possible.  It  is  then  removed 
from  its  support,  and  hung  up  to  dry  completely.  It  can 
then  be  transferred  in  the  ordinary  way. 

In  the  inking-up  processes  there  are  certain  rules  which 
regulate  the  laying  on  and  taking  off  of  ink,  and  which  it  is 
useful  to  know. 

Dryness  of  the  print  favours  deposition  of  ink,  while 
moisture  retards  it. 

By  rolling  up  slowly  and  heavily,  ink  is  laid  on  ; alight 
brisk  action  of  the  roller  takes  it  off  again. 

Thin  soft  ink  leaves  the  roller  readily,  and  may  take  all 
over  the  print.  Hard  stiff  ink  requires  heavy  rolling,  and 
is  easily  lifted  again  by  a quicker  action  of  the  roller. 

Hot  weather  softens  the  ink  and  makes  it  leave  the  roller 
more  readily  than  in  cold  weather.  The  paper  also  dries 
quicker  and  requires  more  frequent  wetting  to  keep  it  clean. 

Too  little  ink  on  the  roller  gives  thin  weak  images ; too 
much  will  pile  up  and  smash  out  in  transferring. 

Failures. 

The  principal  causes  of  failure  in  the  inking  of  transfer 
prints  are  : — 

The  ink  adhering  to  and  refusing  to  leave  the  ground  of  the 
print. — This  may  arise  from  the  sensitive  paper  being  kept 
too  long,  dried  at  too  great  a heat,  or  exposed  to  light,  or 
deleterious  fumes,  so  that  the  coating  of  bichromated  gela- 
tine, &c.,  has  become  decomposed  and  insoluble.  It  may 
also  be  caused  by  using  too  weak  a negative,  or  by  over- 
exposure, and  by  an  excess  of  chrome  alum  or  other  harden- 
ing agent.  The  remedies  are  obvioue. 

The  ink  leaving  the  lines. — This  may  arise  from  under- 
exposure, or  from  the  negative  being  fogged  or  too  dense 
in  the  lines,  so  that  the  effect  of  light  is  insufficient.  Also 
from  the  use  of  unsuitable  ink  or  too  great  pressure  with 
the  sponge  in  washing  off.  If  the  ink  is  at  iault,  the  use 
of  a softer  or  tougher  quality  will  probably  mend  matters. 
If  the  exposure  has  been  correct,  and  the  details  are  clearly 
visible,  defective  spots  can  often  be  filled  in  by  dabbing  a 
little  ink  on  with  the  finger,  and  rolling  or  washing  again. 
In  the  rolling-up  methods  the  print  should  not  be  too  wet, 
or  the  ink  will  not  adhere  properly. 

The  lines  being  ragged  and  broken. — This  may  be  caused 
by  under-exposure,  or  from  the  coating  of  gelatine  being  too 
thick,  or  the  washing  water  too  hot,  so  that  the  lines  are 
undermined  and  washed  away.  In  the  rolling-up  methods 


too  thick  a coating  of  gelatine  may  swell  too  much,  and  so 
prevent  the  inking  tool  from  reaching  the  lines. 

The  surface  of  the  print  spotted  or  streaky. — Bad  prepara- 
tion of  the  paper,  too  great  a heat  in  drying  it,  or  too  thin 
a coating  of  colloid  fill  produce  this  defect.  With  thinly- 
coated  papers  iukin^  in  the  press  sometimes  drives  the  ink 
through  the  coating  into  the  paper.  The  remedy  is  to  use 
a more  thickly-coated  paper,  or  ink  by  hand. 

The  close  parts  clogged  with  ink. — The  gelatine  coating 
too  thin.  Imperfect  contact  between  the  negative  and  the 
paper,  in  which  case  the  lines  will  appear  heavy  and  blurred. 
Over-expo3ure.  Ink  unsuitable ; or  too  much  of  it.  Wash- 
ing water  too  hot. 

2 he  print  heavy  and  dark,  or  pale  and  weak. — Over-expo- 
sure and  over-inking,  or  the  converse. 

In  enumerating  the  causes  of  failure,  the  influence  of  the 
original  drawing  on  the  result  must  not  be  lost  sight  of, 
and  some  of  the  defects  noticed  above  may  be  caused  by 
weak,  pale,  and  imperfect  lines  in  the  drawing,  6mall  spots 
and  stains,  general  dirtiness  or  discolouration  by  age,  use  of 
improper  colours,  &c.,  &c.  In  such  cases  the  photo-litho- 
grapher must  either  reject  the  subject  as  unsuitable  for  tho 
piocess,  or  do  the  best  he  can. 

As  a rule,  with  suitable  originals,  the  difficulties  in  this 
most  important  part  of  the  process  are  not  great,  and  can 
easily  be  overcome  with  a little  care  and  experience. 

Trimming  And  Joinino  the  Transfer  Prints. 

When  the  transfer  prints  are  dry,  they  are  trimmed,  and 
all  parts  not  required  to  transfer  are  cut  away,  or  stopped  out 
with  gamboge,  burnt  sienna,  or  otherconvenient  watercolour. 
Parts  that  may  appear  dirty  or  insufficiently  washed  are 
washed  again,  or  painted  out  with  the  water  colour. 
Places  where  the  ink  may  have  been  washed  away  are 
touched  in  with  ordinary  lithographic  writing  ink. 

If  the  original  drawing  has  been  reproduced  in  several 
sections,  the  transfer  prints  will  have  to  be  joined  together 
before  transfer. 

To  do  this  successfully,  great  care  must  be  taken  that  all 
the  sections  are  copied  under  precisely  the  same  conditions, 
so  that  they  may  accurately  correspond  in  dimensions  and 
general  appearance  and  quality.  The  least  shifting  of  tho 
camera  or  plan  board,  or  even  alteration  of  focus,  may  be 
sufficient  to  spoil  the  junction. 

To  assist  in  the  joining  up,  and  make  sure  of  having 
clean  edges,  a maigin  of  at  least  an  inch  should  be  allowed 
round  t!^p  edges  of  adjoining  sections. 

In  sections  where  the  adjoining  edges  are  quite  blank,  it 
is  a good  plan  to  put  a few  pencil  marks  on  the  original  to 
serve  as  registering  or  joining  points.  They  are  stopped 
out  before  transfer. 

The  negatives  should  be  of  about  the  same  density,  and 
all  the  transfer  prints  equally  exposed  and  of  the  same  age, 
so  that  all  parts  of  the  subject  may  transfer  equally  well, 
and  produce  a uniform  result.  In  a well  joined  up  print  it 
should  be  almost  impossible  to  detect  the  joining  lines.  If 
some  sections  are  light  and  some  dark,  the  appearance  of  the 
finished  prints  will  bo  very  unsatisfactory. 

For  joining  tho  transfer  prints,  a drawing  board,  or  table 
with  a smooth  deal  wood  top,  some  pins,  and  some  thick 
gelatine  solution,  should  be  provided. 

The  trimmed  prints  are  laid  face  upwards  on  the  table  in 
their  proper  position,  and  the  best  lines  stlected  for  cutting 
them.  In  doing  this  it  is  better  not  to  cut  through  more 
names  and  detail  than  can  be  helped,  or  may  be  necessary 
in  order  to  provide  a sufficient  number  of  joining  prints. 

As  a rule,  only  one  of  two  adjoining  sections  need  be  cut, 
but  parts  of  the  other  may  be  used  if  tba  details  are  better. 
Having  selected  and  cut  the  edges  of  transfer  prints, 
begin  by  taking  one  of  the  upper  corndr  priuts  and  the  one 
lying  next  to  it,  laying  the  best  edge  uppermost.  Now  take 
a pin  and  pass  it  through  any  convenient  point  near  the  top 
edge  of  the  upper  transfer,  pass  it  also  through  the  corres- 
ponding point  of  the  lower  one,  and  fasten  both  down  to 
the  board.  Do  the  same  near  the  other  end  of  the  two 


Mabcii  30,  1883. J 


THE  PHOTOGRAPHIC  NEWS 


199 


transfers,  anil  introduce  more  pins  in  between,  at  intervals  of 
an  inch  or  so  along  tho  joining  line,  and  at  about  halt"  an 
inch  from  it,  caiefully  adjusting  the  joining  of  the  different 
points  all  along.  Fasten  down  the  other  transfer  print  in 
like  manner,  woiking  from  top  to  bottom,  and  when  the 
work  has  all  been  fitted  together,  take  some  of  the  gelatine 
solution  on  a fine  brush,  and  put  a little  between  the  transfers 
here  and  there,  but  not  too  close  to  the  edge  of  the  join,  or 
there  will  be  danger  of  its  being  squeezed  out  in  transfer, 
and  stopping  out  some  of  the  detail.  When  the  points  of 
gelatine  are  dry,  take  out  the  pins,  gently  turn  the  sheet 
over,  and  cut  away  the  superfluous  paper  of  the  under  trans- 
fers to  within  half-an-inch  or  so  of  the  joins  ; now  pass 
Eome  gelatine  all  along  under  the  joins,  taking  care  not  to 
go  too  near  the  edge  or  put  too  much,  and  let  it  dry.  The 
sheet  is  now  ready  for  transfer. 

In  joining  up,  care  must  be  taken  to  keep  the  sections 
square,  and  to  avoid  distortion  ; and  it  is  sometimes  advis- 
able to  join  up  the  sections  on  a skeleton  rectangle  or 
graticule,  drawn  of  the  proper  size  on  a sheet  of  paper. 

As  a rule,  it  is  botfer  not  to  make  the  transfer  to  zinc  or 
stone  the  same  day  as  the  transfer  print  is  prepared,  but  to 
wait  till  the  following  day.  In  a large  establishment  work- 
ing regularly,  the  routine  will  generally  be,  paper  prepared 
in  the  morning;  prints  exposed,  inked,  and  washed  in  the 
afternoon  ; and  joined  up  and  transferred  next  morning. 

(To  be  continued.) 

o 

iUfriefo. 

Ausfuurliches  Handbitch  dee  Photographie— Part  V. 

By  Ur.  J.  M.  Eder  (Knapp,  Halle,  Germany). 
Portraiture  in  the  open  air,  and  in  the  studio,  is  exhaus- 
tively treated  of  in  the  fifth  part  of  Dr.  Eder’s  handbook, 
and  very  full  details  as  to  studio  construction  are  given, 
together  with  numerous  illustrative  drawings  of  typical 
studios ; the  circumstances  which  render  special  forms 
desirable  being  thoroughly  discussed.  One  minor  trouble 
to  the  photographer  is  the  dripping  of  water  from  his 
glass  roof,  and  it  must  be  remembered  that  this  not  only 
arises  from  actual  leakage,  but  also  from  the  condensa- 
tion of  moisture  on  the  inner  surface  of  the  glass.  In 
order  to  avoid  annoyance  from  this  source,  it  becomes  very 
desirable  to  make  use  of  grooved  sash  bars,  such  as  are 
shown  in  section  by  fig.  3,  and  the  rebate  on  one  side  should 


Fig.  1.  Fig.  2.  Fig.  3. 

be  a little  deeper  than  that  on  the  other  side,  as  shown  iu 
the  figure.  By  adopting  this  plan,  and  cuttiug  the  glass 
obliquely  (Fig.  2),  rather  than  at  right  angles  (Fig.  1),  all 
the  troubles  incident  to  a leaky  roof  are  obviated.  This 
principle,  as  carried  out  in  the  studio  of  Luckhardt,  has 
already  been  laid  before  our  readers,  and  fuller  details  will 
be  found  iu  the  “Studios  of  Europe.” 

The  use  of  backgrounds,  reflectors,  and  screens  by  the 
portraitist  is  thori^ghly  treated  of,  both  from  theoretical  and 
practical  points  of  view,  the  methods  to  be  afdopted,  being 
fully  illustrated  by  wood  engravings.  As  an  instance  of 
photographic  work  under  exceptionally  difficult  conditions, 
we  find  mention  made  of  the  plan  which  Evans  adopted  in 
obtaining  a photograph  of  a portion  of  the  interior  of  one 


of  the  tunnels  of  the  Pacific  railroad,  two  mirrors  being 
ai  tanged,  as  shown  in  the  diagram,  to  reflect  direct  sunlight 
into  the  tunnel.  Dr.  Vogel  adopted  a similar  method  in 
photographing  certain  excavations  in  Egypt. 


The  arrangements  best  suited  for  tho  dark-room  are 
treated  of  as  thoroughly  as  those  required  for  the  studio  ; 
and  considering  that,  since  the  advent  of  the  gelatino-bro- 
mide  process,  the  whole  aspect  of  the  dark-room  has 
changed,  this  portion  of  the  book  will  be  read  with  special 
interest.  The  various  forms  of  tent  and  portable  laboratory 
are  next  described,  after  which,  glass  plates,  plate-boxes, 
holders,  baths,  measures,  and  other  mechanical  appliances, 
are  comprehensively  treated  of.  It  is  often  convenient  to 
measure  small  quantities  by  drops  ; and  to  facilitate  this,  a 
table  is  given,  showing  approximately  the  number  of  drops 
which  will  weigh  one  gramme  (15‘43  grains). 

Name  of  Fluid.  Number  of  Drops  to  one  Gramme. 


W ater  

...  20 

Nitric  acid 

...  27 

Hydrochloric  acid  ... 

...  20 

Sulphuric  acid 

...  28 

Ether... 

...  83 

Alcohol 

...  62 

Oil  of  turpentine  

...  55 

Castor  oil  

...  44 

Olive  oil 

...  47 

Of  course  these  figures  are  approximate,  as  drops  vary 
according  to  temperature  and  the  nature  of  the  vessel  from 
which  they  fall.  If  the  numbers  are  multiplied  by  four, 
they  will  nearly  indicate  the  number  of  drops  to  one  drachm 
of  sixty  grains. 



it0tcs. 

Mr.  Robinson’s  “Merry  Tale  ” will  be  remembered  as 
the  most  attractive  of  his  pictures  at  the  last  exhibition  in 
Pall  Mall.  Albeit  the  “ink-photo”  picture  we  issue  to- 
day can  scarcely  be  compared  to  a fine  silver  print,  it  is  a 
far  more  truthful  rendering  of  the  photograph  than  any 
wood-cut  could  give. 

Messrs.  Sprague  and  Co.  are  in  their  right  in  insisting 
that  the  term  “ink-photo”  belongs  to  them;  not  merely 
as  a question  of  right,  but  also  of  convenience,  the  word 
should  be  retained  in  connection  with  this  particular 
description  of  photo-mechanical  prints,  which  we  were  the 
first  to  introduce  to  a photographic  public. 

The  English  Eclipse  Expedition  on  its  way  to  Caroline 
Island  in  the  Pacific,  arrived  at  Jamaica  ou  the  7th  inst. 
after  a favourable  passage. 

A new  varnish  for  negatives.  Major  Waterhouse  writes 
us  from  the  Ordnance  Survey  Office,  Calcutta: — “We 
have  found  a strong  decoction  of  linseed  a good  thing  for 
running  over  our  large  map  negatives  after  intensification, 


200 


THE  PHOTOGRAPHIC  NEWS. 


Mabch  30,  1883. 


instead  of  varnishing  them  in  the  usual  way.  It  makes 
the  films  hard  enough  to  resist  ordinary  usage,  without 
being  at  all  sticky  in  moist  weather.” 


Mr.  A Cowley  Malley,  in  his  little  work  on  “ Micro- 
Photography,”  just  published,  bears  out  what  we  recently 
advanced  as  to  the  value  of  photography  in  pathological 
researches.  The  Athenaeum , commenting  on  his  remark 
that  “ In  the  domain  of  pathology  we  find  many  observers 
differing  in  their  descriptions  of  well-known  lesions,” 
says,  “ A photographic  image  carefully  obtained  may,  of 
course,  be  relied  on  to  show  what  is  actually  seen  by  the 
observer.”  It  may  be  hoped  that  this  opinion  will 
gradually  gain  ground  among  medical  scientists,  and  that 
n time  it  will  come  to  pass  that  a practical  knowledge  of 
photography  will  form  a portion  of  the  medical  student’s 
curriculum. 


It  has  been  known  for  some  time  past,  that  Mr.  Muy- 
bridge and  Mr.  Sandford,  of  California,  have  had  a differ- 
ence as  to  who  was  the  originator  of  the  idea  to  study 
animal  me-hanics  through  the  medium  of  instantaneous 
photography.  Mr.  Sandford  claimed  to  have  initiated  the 
investigation,  while  Mr.  Muybridge  declared  there  was  no 
possibility  of  such  a research  before  he  worked  out  his 
elaborate  system  of  recording  animal  locomotion.  The 
matter  is  now  come  to  a crisis,  for  Mr.  Muybridge  has 
brought  an  action  against  Mr.  Sandford  for  fifty  thousand 
dollars,  this  sum  being  claimed  for  damages  done  to  the 
American  photographer  by  the  prejudicial  statements  of 
the  ex-governor  of  California.  Accordingly,  the  American 
law  courts  will  have  a photographic  cause  cel'ebre  before 
them  in  a few  months. 

To  see  ourselves  as  others  see  us  is  no  doubt  impossible, 
but  photography  comes  very  near  to  that  “ giftie”  Burns 
desired  so  much.  A portrait  taken  to-day  may  not  show 
us  much  more  of  ourselves  than  we  can  already  realise,  but 
a picture  twenty  years  old  tells  a different  tale.  Ibat 
speaks  the  truth  pretty  plainly,  and  tells  you  many  facts 
you  never  knew  before.  The  present  generation,  indeed, 
is  circumstanced  as  none  other  that  has  preceded  it.  A 
man  of  thirty  may  not  only  look  upon  himself  as  a boy, 
but  he  may  look,  too,  upon  father  and  mother  when  they 
were  his  own  age  ; and  his  eyes  are  sometimes  strangely 
opened  in  the  process. 


Who  discovered  collodion  ? The  question  is  not  an  easy 
one  to  answer.  Photographic  students  are  usually  told 
that  the  suggestion  to  employ  collodion  in  photography 
came  from  Le  Grey,  and  that  the  first  collodion  process 
elaborated  and  described  is  that  of  Mr.  Archer,  which  was 
published  in  the  Chemist  in  the  autumn  of  1851,  and  which 
differs  little  from  the  method  practised  to  this  day.  But 
this  information  does  not  help  us  to  find  the  discoverer  of 
collodion. 


Schonbein  was  undoubtedly  the  first  to  prepare  gun- 
cotton in  1845,  but  it  was  not  until  Bottger  published  his 


memoir  in  1846  that  the  process  of  making  pyroxylin  was 
given  to  the  world.  Still,  Bottger  does  not  seem  to  have 
described  collodion.  In  Bouillet’s  Diclionnaire  des  Sciences, 
we  find  that  “ c’est  W.  Maynard,  de  Boston,  qui,  le  premier, 
a propose,  en  1847,  d’eroployer  le  collodion  en  guise  de 
bandage.”  This,  so  far,  only  proves  that  to  an  American 
is  due  the  suggestion  of  using  collodion  in  surgery ; but  if 
we  turn  to  Ure,  it  is  certain  that  Mr.  Maynard  also  told 
how  pyroxylin  was  to  be  dissolved  in  ether  to  make  collo- 
dion ; and  that  he  was  the  first  to  do  so  seems  also  evident 
from  the  circumstance  that  “several  French  chemists,  at 
the  suggestion  of  M.  Malgaigne,  attempted  to  make  an 
ethereal  solution  of  this  compound  (gun-cotton)  by  pur- 
suing the  process  recommended  by  Mr.  Maynard  ” ; but, 
it  seems,  they  failed  in  procuring  cotton  of  the  proper 
kind.  Another  reason  for  supposing  Mr.  Maynard  to  be 
the  discoverer  of  collodion  lies  in  the  fact  that  he  describes 
its  preparation  within  a year  of  the  publication  of  Bbttger’s 
memoir. 


A disinterested  suggestion: — “As  every  change  that 
comes  over  our  globe  seems  to  have  some  connectiou  with 
spots  on  the  sun — whether  it  is  a bad  harvest  or  a financial 
crisis — don’t  you  think  it  would  be  well,”  asks  a corre- 
spondent, “ for  the  Agricultural  Hall  and  the  Stock  Ex- 
change to  establish  a joint  photographic  observatory,  so  as 
to  be  on  the  look-out  for  misfortune?  Forewarned  is 
forearmed,  you  know,  and  if  the  suggestion  is  carried  out, 
I am  willing  to  accept  the  6rst  appointment  to  the  obser- 
vatory at  a liberal  salary.” 


Speaking  of  Hissam-i-Sultaneh,  a Persian  prince  who  is 
just  dead,  a traveller,  writing  in  the  Standard,  tells  some- 
thing of  the  splendour  and  home-life  of  this  Eastern 
grandee.  “ We  drank  tea,”  says  our  traveller,  “ poured 
from  a golden  tea-pot,  and  handed  on  golden  waiters  ; 
while  the  coffee  cups  were  of  chased  silver  starred  with 
jewels.  The  conversation  at  one  period  turned  on  photo- 
graphy. The  Prince  showed  us  a likeness  of  himself,  and 
begged  that  before,  leaving  Meshed  we  should  all  come  and 
be  photographed  with  him.  This  we  accordingly  did. 
The  photographer,  who  was  of  Royal  blood,  after  breaking 
several  slides,  at  last  accomplished  an  indifferent  picture, 
a copy  of  which  was  presented  to  each  of  us,  bearing  the 
stamp  of  the  Prince’s  signet.” 


Mr.  Rassam,  who  has  been  exploring  in  Assyria  on 
behalf  of  the  British  Museum,  has  returned  with  many 
thousand  earthen  cylinders  covered  with  cuneiform  writ- 
ings. It  appears,  however,  that  the  spirit  of  exclusiveness 
prohibits  any  but  the  solitary  interpreter  engaged  at  the 
British  Museum  from  reading  them  ; and,  according  to  a 
very  moderate  calculation,  the  task  will  take  this  gentle- 
man about  one  hundred  years ! There  are  many  scholars 
on  the  Continent  capable  of  assisting  in  the  work,  but 
their  services  are  not  to  be  called  in.  Could  not  a com- 
promise be  effected  by  means  of  photography  ? Why 
should  not  the  writings  be  photographed,  and,  by  moans  of 
distributing  copies  to  the  various  savans,  let  a curious 


/ 


March  30,  1883. J 

public  know  something  about  the  ancient  history  of  the 
world  in  reasonable  time  ? 

If  the  truth  be  told,  however,  we  believe  it  will  be  found 
that  the  photographic  resources  and  appliances  of  the 
British  Museum  are  very  limited,  and  are  by  no  means 
what  they  should  be. 

Professor  Hofmann,  the  well-known  chemist,  has  con- 
ceived a most  ingenious  way  of  demonstrating  that  there  is 
no  loss  of  matter  or  weight  attending  the  phenomenon  of 
combustion.  He  burns  a small  piece  of  phosphorus  in  a 
crucible  at  the  end  of  a glass  tube,  placed  in  a flask,  the 
phosphorus  being  ignited  by  a small  piece  of  heated  copper, 
which,  with  the  rest  of  the  apparatus,  is  adjusted  on  a 
balance.  The  flask  is  fitted  with  a stop-cock  and  tube,  and 
a small  qaantity  of  the  air  is  exhausted  before  the  burning 
begins.  The  weight  before  and  after  combustion  is  found 
to  be  precisely  the  same;  and  if,  after  the  expeiiment,  the 
stop-cock  is  opened  and  air  is  permitted  to  rush  in,  the 
flask  weighs  actually  more  than  before. 

The  last  meeting  of  the  Royal  Astronomical  Society 
was  a remarkable  one  from  a photographic  point  of  view. 
Dr.  Gould,  who  has  been  very  successful  at  Cordova  with 
stellar  photography,  exhibited  a series  of  enlargements 
from  negatives  of  some  forty  or  fifty  star  clusters.  These 
negatives  were  successful  in  showiug  stars  down  to  the 
10th  or  11th  magnitude,  and,  with  the  aid  of  the  micro- 
meter, will  be  used  for  purposes  of  star  measuring. 


Equally  interesting  as  showing  the  important  part  which 
photography  now  plays  in  astronomy,  was  Mr.  Common’s 
photograph  of  the  Great  Nebula  in  Orion,  taken  on  the 
30th  January  last  with  a 3 -feet  reflector,  and  an  exposure 
of  thirty-seven  minutes.  Mr.  Common’s  opinion  was  that 
it  was  evident  photography  would  give  the  means  of 
registering  the  details  as  well  as  the  relative  brightness  of 
different  parts  of  the  nebulae  better  than  the  most  careful 
hand-drawings.  In  the  course  of  the  discussion  which 
ensued,  the  question  was  asked  whether  it  was  possible  to 
determine  the  relative  brightness  of  stars  by  photography, 
seeing  that  the  photographic  impression  was  different  for 
different  odours  of  light  as  seen  by  the  eye.  To  this 
Mr.  Common  could  only  say  that  he  had  never  taken 
photographs  of  any  strikingly  coloured  stars  which  would 
offer  the  only  satisfactory  test.  It  is  satisfactory  to  find, 
as  showing  the  accuracy  of  photographic  astral  observa- 
tions (on  which  some  doubt  has  been  cast),  that  the 
magnitudes  of  the  stars  in  both  Mr.  Common’s  and  Dr. 
Draper’s  photographs  of  the  nebula  have  been  found  to 
correspond  very  well  with  the  magnitudes  arrived  at  by 
the  ordinary  means. 


The  application  of  photography  to  wood -blocks  for  pur- 
poses of  wood-engraving  is  still  somewhat  unsatisfactory. 
There  are  many  tolerable  methods  known,  the  best  of 
which  we  have  published  in  these  columns  ; but  engravers 
and  publishers  are  always  on  the  look-out  for  better.  A 
plan  recently  devised  by  Mr.  Henderson  deserves  their 


£01 


attention.  The  great  thing  to  avoid  is  the  presence  of  a 
film  upon  the  face  of  the  box-wood,  which  peels  off  when 
the  graving-tool  touches  it,  and  in  the  specimens  sub- 
mitted to  us  by  Mr.  Henderson,  this  film  is  almost  entirely 
absent,  albeit  he  gets  his  result  by  floating  a collodion 
image  upon  the  surface  of  the  box-wood. 


The  key  of  Mr.  Henderson’s  plan  is  to  employ  alcohol 
instead  of  water  in  fixing  the  image  on  the  wood.  A 
collodion  transparency  is  taken,  detached  from  the  glass, 
and  put  into  a bath  of  alcohol ; the  wood  block  is  likewise 
immersed,  and  the  two  brought  into  contact.  In  these 
circumstances,  the  wood  does  not  swell,  as  it  would  in  water, 
and  the  collodion  film  sinks  very  deeply  into  the  wood. 
Moreover,  if  the  collodion  film  is  of  a pulverulent  nature 
and  not  of  a horny  description,  there  is  but  the  least  trace 
of  a film. 


What  land  possesses  the  widest  range  of  natural  beauty  ? 
The  subject  is  one  of  some  interest  to  the  landscape 
photographer,  or  rather  we  should  say  to  the  tourist 
photographer,  and  we  have  heard  it  discussed  at  various 
times  with  a good  deal  of  spirit.  The  best  opinion  we 
remember,  was  one  pronounced  some  years  ago  at  a cosmo- 
politan table  d’hote  at  the  Hotel  Roseg  at  Pontresina — we 
took,  by-the-bye,  a little  photograph  of  that  table  d’hote 
with  the  rows  of  serviettes  neatly  laid  for  dinner— and  the 
opinion  was  given  by  a travelled  American.  He  pro- 
nounced in  favour  of  France. 


His  neighbour,  an  English  lady,  did  not  agree  at  all ; 
where  was  the  fine  scenery,  for  instance,  between  Calais 
and  Paris  all  along  the  Chemin  de  Fer  du  Nord  ? she 
asked.  But  the  American  quietly  held  his  own,  and  in 
the  end  proved  his  case.  One  after  another  he  recounted 
the  natural  charms  of  France — the  wild  rocky  coast  of 
Brittany,  the  green  Normandy  orchards,  the  forest  slopes 
of  the  Pyrenees  and  the  Vosges,  the  olive  groves  beside 
the  blue  Mediterranean,  the  green  banks  of  the  Seine  and 
Rhone,  the  glaciers  and  snowy  peak  of  Mont  Blanc,  the 
vineyards  of  Auvergne.  It  was  only  in  the  matter  of  lakes 
that  French  scenery  was  defective,  concluded  the 
American  critic ; but  still  she  could  claim  half  the  lake  of 
Geneva  and  tiny  lakelets  in  Savoy  and  in  the  Pyrenees. 


latent  Jtttdligoia. 

Grants  of  Provisional  Protection. 

896.  John  Rudolf  Mbihb,  of  2,  Laurence  Pountney  Hill,  in 
the  city  of  London,  for  an  invention  of  “ Improvements  in  the 
production  of  printing  plates  or  blocks  by  photographic  means.” 
— A communication  to  him  from  abroad  by  Julius  Allgeyer 
and  Carl  Bolhoevener,  persons  resident  at  Munich,  in  the  king- 
dom of  Bavaria. — Dated  19th  February,  1883. 

1007.  James  Henry  Hare  and  Henry  James  Dale,  both  of 
Little  Britain,  in  the  city  of  Loudon,  for  an  invention  of 
“ Improved  apparatus  for  supplying  sensitive  plates  in  photo- 
graphic cameras.” — Dated  24th  February,  1883. 

Patent  Void  through  Non-payment  of  Duties. 

1054.  John  Chadwick  and  William  Isaac  Chadwick,  both 
of  Manchester,  in  the) county  of  Lancaster,  Engineers,  for  an 


THE  PHOTOGRAPHIC  NEWS. 


202 


THE  PHOTOGRAPHIC  NEWS. 


[March  30,  1883. 


invention  of  “ Improvements  in  apparatus  for  controlling  the 
exposure  in  photographic  operations.” — Dated  11th  March, 
1880. 

Our  invention  relates  to  apparatus  employed  in  obtaining  so- 
called  “ instantaneous  ’’  photographs,  and  consists  in  improved 
means  of  controlling  and  regulating  the  duration  of  the  expo- 
sure. The  apparatus  consists  of  a rotary  shutter  centred  on  a 
fixed  disc  so  as  to  revolve  in  front  of  the  lens  aperture.  The 
shutter  is  a plate  composed  of  two  sector  shaped  portions,  which 
balance  each  other  on  the  centre,  and  alternately  obscure  the 
lens  aperture,  the  exposure  taking  place  during  the  intervening 
interval.  The  shutter  is  rotated  by  the  impulse  of  a spring, 
which  is  bent  or  compressed  against  an  abutment,  made  adjust- 
able to  enable  the  tension  of  the  spring,  and  consequently  the 
rapidity  of  the  movement  of  the  shutter,  to  be  regulated  to 
lengthen  or  shorten  the  exposure  at  will.  The  fixed  disc  on 
which  the  shutter  rotates  has  an  opening  fitting  on  or  in  the 
lens  tube,  and  is  provided  with  two  spring  catches,  one  of  which 
retains  the  shutter  when  set  for  use,  and  the  other  prevents  it 
rebounding  after  the  exposure.  The  first  catch  is  acted  on  to 
release  the  shutter,  and  effect  the  exposure  by  a diaphragm  on 
the  end  of  a tube,  to  which  is  attached  an  india-rubber  bulb,  or 
its  equivalent,  within  reach  of  the  operator,  the  bulb  and  tube 
being  preferably  filled  with  water.  The  shutter,  when  thus 
released  from  the  catch,  is  impelled  round  upon  its  centre, 
thereby  momentarily  uncovering  and  again  obscuring  the  lens 
aperture,  the  shutter  being  then  caught  and  retained  by  the 
second  catch.  A stop  is  provided  to  hold  the  shutter  in  a posi- 
tion to  leave  the  lens  uncovered  whilst  focussing.  The  herein- 
before referred  to  apparatus  may  be  applied  to  cameras  having  a 
double  lens,  as,  for  example,  in  instruments  employed  in  obtain- 
ing stereoscopic  photographs. 

Having  described  the  nature  of  the  said  invention,  and  the 
manner  of  performing  the  same,  we  declare  that  what  we  claim 
as  the  invention  to  be  protected  by  the  herein  before  in  part 
recited  Letters  Patent,  is, — 

1st.  A shutter  for  covering  and  uncovering  the  lens  of  a photo- 
graphic camera,  mounted  to  rotate  on  a centre  in  front  of  the 
lens,  substantially  as  shown  and  described. 

2nd.  A rotary  shutter  for  covering  and  uncovering  the  lens 
of  a photographic  camera  consisting  of  two  sector  shaped  por- 
tions, which  balance  one  another  on  the  centre,  and  alternately 
cover  the  lens,  substantially  as  shown  and  described. 

3rd.  The  combination  of  the  rotary  photographic  shutter,  the 
spring  for  impelling  the  shutter,  and  the  adjustable  abutment 
for  the  said  spring,  substantially  as  and  for  the  purpose  shown 
and  described. 

4th.  The  combination  with  the  rotary  photographic  shutter  of 
the  spring,  its  abutment,  and  of  the  spring  catch  for  retaining 
the  shutter,  substantially  as  shown  and  described. 

5th.  The  combination  with  the  rotary  spring,  impelled  photo- 
graphic shutter,  and  the  stop  of  the  spring  catch  for  preventing 
recoil  of  the  shutter,  substantially  as  shown  and  described. 

1093.  James  MorNSTErnEi*  Rogers,  of  Kingsland,  in  the  county 
of  Middlesex,  for  an  invention  of  11  Improvements  in  the 
arrangement  and  construction  of  apparatus  for  holding  and 
exhibiting  photographs,  cards,  pictures,  and  similar  objects.” 
— Dated  13th  March,  1880. 

My  invention  relates  to  certain  improvements  in  the  arrange- 
ment and  construction  of  apparatus  for  holding  and  exhibiting 
photographs,  cards,  pictures,  and  similar  objects.  It  consists  of 
a base  of  wood  or  metal,  on  one  side  of  which  is  a standard  of 
suitable  height.  To  the  lower  end  of  the  standard  I fix  a lever, 
and  attached  to  or  near  to  the  fore  end  of  this  lever  is  a line, 
cord,  or  fine  chain  which  passes  over  and  is  fixed  at  one  point  in 
a grooved  pulley  attached  to  the  standard  near  the  top.  The 
line  or  chain  thence  passes  downwards,  and  is  attached  to  the 
end  of  a spiral  or  other  suitable  spring  fixed  to  the  base  afore- 
said. To  the  inner  side  of  the  pulley  I attach  a click  (pressed  to 
its  bearing  by  a spring)  which  works  upon  the  edge  of  a slotted 
wheel  with  two  notches,  one-half  of  which  is  ratcheted.  This 
slotted  wheel  is  locked  in  its  motion  by  a locking  arm  attached 
to  the  standard.  A lever  with  two  arms  is  fixed  to  this  slotted 
wheel,  and  inside  on  the  same  pivot  is  a small  pinion  which  takes 
into  an  intermediate  toothed  wheel,  which  latter  takes  into  and 
actuates  a second  toothed  wheel,  which  is  the  principal  and 
centre  toothed  wheel,  which  actuates  the  other  portion  of  my 
apparatus.  This  wheel  works  on  a centre,  from  which  projects 
a square^  pin  which  forms  the  bearing  on  one  side  for  a drum. 
Below  this  centre  wheel  is  another  intermediate  wheel  which 
takes  into  a pinion  on  the  axis  of  an  escapement  wheel . To  the 


other  side  of  the  base  above  mentioned,  I fix  a second  standard, 
which  carries  a suitable  bearing  for  the  other  end  of  the  drum 
aforesaid.  The  drum  is  composed  of  two  circular  plates,  one  at 
each  end  of  a bolt.  Round  ea -h  of  these  plates  is  a number  of 
holes.  Through  each  hole  of  each  plate  passes  a strong  wire 
which  is  bent  at  right  angles  on  the  outsides  of  each  plate,  and 
is  continued  a suitable  distance,  when  it  is  again  bent  at  right 
angles,  so  that  each  end  forms  a pivot  bearing,  one  pivot  being 
flattened  on  each  side.  A block  carrying  a projecting  pin  is  fixed 
on  one  end  of  each  wire.  The  pivot  bearings  carry  a frame  con- 
taining on  each  surface  one  or  more  photographs,  cards,  pictures, 
or  other  objects  of  a similar  kind  which  it  may  be  desired  to 
exhibit.  Each  frame  holds  two  springs  which  press  against  the 
flattened  pivot  bearing,  so  that  it  may  be  held  in  position  while 
revolving.  To  work  my  apparatus,  and  so  exhibit  each  photo- 
graph, card,  picture,  or  other  object  in  succession,  I press  the 
lever  aforesaid,  which  draws  down  the  line  attached  to  the 
pulley,  which  sets  in  motion  the  wheel  acting  upon  the  ratchet, 
and  releases  the  locking  arm  fixed  to  the  standard.  The  double 
lever  arm  is  thus  set  in  motion,  and  raises  the  projecting  pins 
aforesaid  on  the  drum  wires  or  carriers.  These  carriers,  being 
turned  over,  are  held  from  falling  or  returning  by  a catch  fixed 
to  the  top  of  the  standard,  and  the  projecting  pins  take  into  the 
escapement  wheel  above  mentioned  in  their  revolution.  In 
order  to  make  the  apparatus  ornamental,  I cover  it  with  a fancy 
frame  with  an  open  or  glass  front,  as  may  be  suitable,  against 
which  the  frames  carrying  the  photographs,  cards,  pictures,  or 
other  object  press,  and  are  thus  brought  into  a position  for  view. 
In  place  of  arranging  my  apparatus  as  described,  I may  place 
the  drum  in  a vertically-inclined  direction.  The  apparatus  could 
also  be  used  as  a means  of  displaying  advertisements,  the  driving 
gear  being  rotated  by  a mechanical  device,  such  as  a water  or 
electric  motor,  or  by  clockwork,  instead  of  rotating  it  by  hand. 
By  placiog  adjustable  lenses  over  the  apertures  in  and  altering 
the  case,  the  apparatus  can  be  used  as  a stereoscope.  It  is 
obvious  that  the  details  of  my  invention  can  be  modified  without 
departing  from  the  principle  thereof.  Having  thus  described  my 
invention  of  improvements  in  the  arrangement  and  construction 
of  apparatus  for  holding  and  exhibiting  photographs,  cards,  pic- 
tures, and  similar  objects,  and  the  best  mode  known  to  me  of 
performing  the  same,  I would  have  it  understood  that  what  I 
believe  to  be  novel  and  original,  and  therefore  claim,  is — 

Firstly.  The  arrangement  and  construction  of  apparatus  for 
holding  aud  exhibiting  photographs,  pictures,  and  the  like,  in 
which  the  holders  or  frames  carried  by  wires  or  their  equivalent 
from  a revolving  drum,  frame,  or  its  equivalent,  are  raised, 
brought  into  view,  and  others  substituted  successively,  sub- 
stantially as  hereinbefore  described. 

Secondly.  The  drum  having  the  wires  flattened  at  the  ends, 
and  with  projecting  parts  fitted  with  blocks,  or  their  equivalent, 
for  the  purposes  hereinbefore  described. 

Thirdly.  The  springs  fitted  to  the  holders,  for  the  purposes 
hereinbefore  described. 

Fourthly.  The  arrangements  for  raising  and  operating  the 
holders  or  frames,  substantially  as  and  for  the  purposes  herein- 
before described. 

Fifthly.  The  combination  of  cams  or  their  equivalent,  for 
raising  the  holders  or  frames  and  gearing  with  the  escapement, 
substantially  as  and  for  the  purposes  hereinbefore  described. 

Sixthly.  The  case  with  the  inclined  face  forming  a guide  for 
the  travel  of  the  holders  or  frames  when  being  raised,  sub- 
stantially as  and  for  the  purposes  hereinbefore  described. 

Seventhly.  The  general  arrangement  of  apparatus  for  holding 
and  exhibiting  photographs,  pictures,  and  the  like,  substantially 
as  and  for  the  purposes  hereinbefore  described. 

Patent  on  which  Stamp  Duty  of  £50  has  been  paid. 
1117.  William  Willis,  junior,  of  Bromley,  in  the  county  of 
Kent,  for  an  invention  of  “ Improved  materials  and  processes 
for  photo-chemical  printing.” — Dated  loth  March,  1880. 

Patent  Granted  in  France. 

151,097.  Lemary,  for  “ Photo-dyeing,  or  dyeing  photographs, 
and  industrial  products  obtained  thereby.” — Dated  14th  Sep- 
tember, 1882.  Class  17. 

Patents  Granted  in  America. 

273,008.  Erastus  B.  Barker,  of  New  York,  N.Y.,  assignor  to 
E.  and  II.  T.  Anthony  and  Co.,  of  the  same  place,  for  “ A 
photographic  shield.” — Application  filed  6th  December,  1882. 
No  model. 


March  30,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


203 


273,206.  Redfield  B.  West,  of  Guildford,  Conn.,  assignor  of 
one-hall  to  Benjamin  C.  West,  of  the  same  place,  for  “Photo- 
graphic printing.”— Application  filed  17th  November,  1832. 
No  specimens. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  VI. 

The  term  vignette,  as  applied  to  photographic  printing,  is 
understood  to  mean  a gradual  softening  or  blending  of  the 
picture  into  the  background,  or  a portion  of  any  picture, 
from  the  deepest  shades,  into  white  surroundings. 

Two  definite  shapes  are  mostly  in  use  for  this  purpose, 
and  take  the  form  either  of  an  egg  or  a pear.  I f we  cut  a 
hole  the  size  and  shape  of  a pigeon’s  egg  in  a piece  of  card- 
board, and  place  it  on  the  outside  of  a quarter-plate  print- 
ing frame  containing  a negative  and  sensitized  paper,  we 
shall  find,  after  the  frame  has  been  exposed  to  the  daylight 
some  minutes,  the  light  which  has  passed  through  the  hole 
in  the  cardboard  has  produced  od  the  sensitive  paper  what 
we  term  a vignette  ; by  placing  the  cardboard  close  to  the 
negative  we  should  obtain  a harsh  vignette,  the  effect  of 
which  is  somewhat  similar  to  the  medallion  we  were  con- 
sidering in  the  last  lesson  ; but  the  outline,  instead  of  being 
sharp,  would  be  undecided  or  blurred  in  proportion  to  the 
thickness  of  the  negative  plate.  Such  an  effect  is  both  un- 
desirable and  inartistic.  Place  a piece  of  thick  glass  between 
the  same  negative  and  cardboard,  also  a fresh  supply  of 
sensitive  paper,  and  print  as  before  ; upon  examination  it 
will  be  noticed  that  this  second  print  will  exhibit  far  more 
gradation  than  the  first.  Within  reasonable  limits,  the 
more  we  increase  the  distance  between  the  two,  the  softer 
and  more  perfect  will  the  gradation  be.  Having  become 
acquainted  with  the  meaning  of  a vignette,  and  an  easy 
mode  of  producing  it,  we  will  mention  some  of  the  arrange- 
ments employed  by  photographic  printers  to  obtain  similar 
results. 

The  vignetting  glass  is  an  article  of  commerce;  it  can 


Fig.  1. 


be  easily  made  by  removing  the  colour  from  flashed  ruby 
glass  by  means  of  hydro-fluoric  acid.  Very  good  results 
may  be  obtained  with  it,  even  in  contact  with  the  nega- 
tive in  a strong  light,  provided  due  care  has  been  taken  in 
its  preparation.  Vignetting  papers  (also  an  article  of  com- 


merce) are  excellent  for  the  purpose  ; they  may  be  pre- 
pared by  stippling  oil  colour,  the  shape  required,  on  tissue 
paper  which  has  been  previously  soaked  in  melted  paraffin, 
the  colour  becoming  denser  as  the  shape  is  enlarged.  The 
width  of  stippling  need  not  exceed  half-an-inch ; while 
the  part  intended  to  be  opaque  can  be  covered  with  yellow 
paper.  A result  almost  identical  can  be  attained  by  cutting 
a series  of  openings  in  tissue  papers,  the  openings  being 
progressive,  as  in  figure  No.  1. 

Empire  cloth,  the  material  sometimes  used  for  back- 
grounds, is  an  excellent  article  for  the  manufacture  of 
vignette  shapes.  Those  who  wish  to  use  it  should  proceed 
as  follows: — For  a quarter-plate  frame,  the  piece  measur- 
ing six  inches  by  two  and  a-half  should  be  cut,  and  an 
opening  made  about  a quarter-of-an-inch  larger  ail  round 
than  would  bo  necessary  with  cardboard  ; cover  this 
orifice  with  some  thin,  light  material,  such  as  cambric, 
securing  it  with  paste  : when  dry,  cut  out  the  centre, 
and  Vandyke  the  edges  as  in  fig.  No.  2.  Grind  the  edges 


Fig.  2. 

of  two  quarter-plates,  and  bind  them  together  at  the 
sides  by  means  of  the  same  material,  leaving  the  top  and 
bottom  open  with  sufficient  room  between  the  plates  for 
the  vignetting  shape  to  be  moved  about ; the  advantage  of 
these  shapes  being,  that  they  are  not  affected  by  damp, 
like  paper.  The  opening  can  be  easily  shifted  to  any  part 
of  the  negative  during  the  progress  of  printing,  by  either 
raising  or  lowering  the  slip,  or  moving  it  from  side  to  side  ; 
and  it  will  be  found  advantageous  to  alter  the  position 
of  the  opening  during  printing  in  the  case  of  thin  nega- 
tives, in  order  to  obtain  a still  greater  degree  of  softness. 
The  whole  arrangement  can  be  secured  to  the  printing- 
frame  by  a couple  of  buttons,  as  in  Fig.  3.  Very  fine 
vignettes  may  be  obtained  with  an  ordinary  oval  opening 
in  cardboard  or  sheet-lead  secured  in  the  required  position 
to  the  printing-frame,  the  latter  being  made  to  revolve  by 
means  of  a turn-table.  One  advantage  the  sheet-lead  has 
over  paper  is,  that  it  can  be  easily  hammered  to  any  shape, 
and  it  will  last  a very  long  time. 

Among  other  plaus  of  vignetting,  we  may  mention  that 
when  it  is  desired  to  print  only  vignettes  from  a nega- 
tive, coat  the  back  with  a mixture  of  equal  parts  of  gold 
size  and  turpentine  ; while  tacky,  rub  powdered  plumbago 
wherever  it  is  intended  to  keep  the  paper  white,  softening 
off  gradually  to  the  requisite  shape ; very  fine  vignettes  are 


201 


THE  PHOTOGRAPHIC  NEWS. 


[March  30,  1883. 


obtained  in  this  manner.  Auother  plan  cf  a similar 
nature  is,  to  thin  Bates’  black  varnish  with  turpentine. 
Coat  the  back  of  the  negative  with  this  mixture  ; when 
nearly  set,  remove  (by  means  of  a rag  dipped  into  turpen- 
tine) the  varnish  from  over  the  parts  that  are  to  be  printed, 


Fig.  3. 

D D is  the  printing-frame ; B B,  Empire  cloth  hinders ; A A A A,  move- 
able  »lip,  passing  through  two  glass  plates. 

softening  off  the  edges  at  the  same  time  by  dabbing  them 
with  the  rag.  Clouds  are  effectively  produced  by  means  of 
either  the  plumbago  or  black  varnish  methods.  Return- 
ing, again,  to  the  cardboard  shape,  we  should  mention  that 
some  printers  cover  the  opening  with  tissue  paper  ; print- 
ing in  direct  sunlight  is  then  advisable.  Others  soften  the 
sharp  line  of  the  cardboard  by  Vandyking  it  out  like  the 
teeth  of  a saw,  as  in  fig.  2, or  attaching  (so-called)  cotton- 
wool by  means  of  a touch  with  the  gum-brush,  and,  when 
dry,  pulling  it  out  into  the  finest  shreads  possible.  There 
are  other  methods,  but  the  foregoing  are  the  most  practical, 
and  one  or  other  of  them  will  be  found  in  use  in  most  estab- 
lishments having  any  vignetting  to  do.  Perhaps  conveni- 
ence will  determine  the  method  our  student  will  adopt,  for 
it  matters  little  which  one  it  is,  so  long  as  the  desired  soften- 
ing off  or  blending  is  attained.  A toned-in  vignette  signifies 
a vignette  which  is  surrounded  by  a neutral  grey  tint 
instead  of  white ; they  are  suitable  for  three-quarter 
length  portraits,  and,  when  nicely  executed,  are  a very 
pretty  style  of  photographic  printing.  Make  a vignette 
shape  capable  of  showing  so  much  of  the  figure  as  will 
look  well,  always,  where  possible,  including  some  of  the 
background  on  each  side  of  the  figure  to  balance  the  pic- 
ture. It  will  be  advisable  to  make  a trial  print  with  the 
shape,  and,  if  suitable,  use  it  as  a shield  for  the  other 
prints.  Cut  away  all  the  white  margin,  leaving  only  the 
vignetted  portion,  and,  in  doing  so,  it  is  better  to  keep 
well  within  the  vignetting,  so  that  the  shield  or  mask  may 
be  a little  smaller  than  the  vignette. 

Gum  the  shield  to  a piece  of  glass  at  least  as  large  as 
the  print  to  be  treated,  albumenized  surface  being  out- 
wards ; when  dry,  it  is  ready  for  use.  Make  a second 
print  exactly  as  before  ; but  this  time,  instead  of  cutting 
it,  place  it,  printed  side  upwards,  between  two  glass  plates. 
The  inner  portion  must  now  be  protected  by  placing  the 
shield  already  cut  immediately  over  it ; over-lapping  must 
not  be  permitted ; the  soft  gradation  should  be  seen  equally 
all  round  the  shield.  Now  place  it  out  in  a subdued  light, 
moving  the  shield  gently  until  the  white  paper  has  darkened 
to  a deep  grey ; remove  it  to  the  printing-room,  and  examine 
it ; if  perfect,  the  tone  should  be  even,  and  blend  into  the 
vignetting.  A line  of  light  over  any  portion  of  it  will  be 
due  to  the  mask  being  too  large  ; halation  surrounding 
the  figure  may  be  from  the  same  cause,  or  from  not  print- 
ing tne  surrounding  or  second  portion  to  match  the  first. 

Views  with  figures,  aDd  portraits  with  fancy  back- 
grounds, such  as  exterior  or  interior,  conservatory,  &c., 


are  sometimes  considerably  improved  by  vignetting,  and 
some  charming  results  can  be  obtained  by  blending 
gradually  from  the  figure  to  the  edges  of  the  plate.  To  do 
this  nicely  the  vignette  shape  is  made  as  usual  to  print 
the  figure  or  figures  as  the  case  may  be.  When  printed 
sufficiently  the  mask  is  removed,  and  the  whole  exposed 
to  a good  light  for  a miuute  or  two ; the  time  to  stop  the 
action  may  be  known  by  all  the  deep  shadows  showing  on 
the  print. 

Cameo-vignette  is  the  name  given  to  pictures  which 
are  vignetted  in  the  centre  of  an  oval,  the  oval  being 
afterwards  pressed  up  by  means  of  an  embossing  machine. 
Oval  masks,  and  the  counterparts,  are  supplied  by  dealers 
in  cameo-embossing  presses.  To  produce  a cameo- 
vignette  it  is  first  necessary  to  vignette  a print  in  the 
ordinary  way  ; on  this  we  place  a counterpart.  Having 
due  regard  to  the  position  it  occupies  (see  remarks  for 
fixing  medallion  masks  in  the  last  lesson),  lay  the  print  and 
mask,  face  downwards,  in  a printing-frame  with  a glass 
bed,  being  careful  not  to  disturb  the  position  ; add  the 
pad,  back,  close  the  springs,  and  print  as  for  an  ordinary 
print ; any  depth  of  printing  may  be  given,  this  being 
entirely  a matter  of  individual  taste.  Marbled,  or  any 
other  pattern,  maybe  obtained  for  the  border  in  the  same 
manner  by  substituting  a negative  of  the  pattern  for  the 
plain  glass. 

If  we  desire  to  put  a plain  background  into  a print  from 
a negative  (say)  with  a landscape  in  the  distance,  and 
figures  in  the  foreground,  we  cut  out  the  background 
close  to  the  figures;  this  we  carefully  adjust  on  the 
varnished  side  of  the  negative,  touching  the  edges  with  a 
trace  of  gum  ; the  inner  portion,  which  should  be  an  exact 
counterpart,  is  gummed  to  a sheet  of  glass,  as  in  toned-in 
vignettes.  If  we  take  a print  from  the  negative  now,  the 
background  will  be  white ; to  obtain  a neutral  tint,  we 
have  only  to  place  the  cut-out  figure  portion  over  the 
figures,  to  shield  them  from  the  further  action  of  the  light, 
when  we  are  enabled  to  print  in  a background  of  any  depth 
we  choose.  By  substituting  negatives  for  plain  glass,  it 
will  be  found  quite  easy  to  block  out  the  original  back- 
ground, and  print  in  another  ; besides  backgrounds,  wo 
advise  an  attempt  on  foregrounds,  figures,  accessories, 
aud  skies,  for  these  may  be  successfully  accomplished 
after  a little  practice  and  a few  failures. 

Combination  printing,  after  the  difficulties  have  been 
surmounted,  will  be  found  to  possess  a charm  peculiarly 
its  own  ; ita  capabilities  would  afford  matter  sufficient  to 
fill  the  pages  for  the  whole  series  of  lessons  we  propose 
devoting  to  printing,  toning,  finishing,  &c.  ; therefore,  in 
the  limited  space  at  our  disposal,  we  can  only  indicate  its 
use  in  making  or  improving  photographic  pictures.  That 
this  class  of  printing  is  held  high  in  the  estimation  of  the 
judges  at  photographic  exhibitions  is  proved  by  the  fact 
that  a skilful  composition  rarely  fails  to  obtain  an  award. 


PHOTOGRAPHIC  EXPERIENCES  IN  EGYPT. 

BY  WILLIAM  H.  RAC.* 

Leaving  Karnak  at  four  o’clock  we  returned  to  Luxor, 
where  we  made  a number  of  fine  views  of  the  great  temple 
of  Amon  Ra  and  Raineses  II. ; then  a group  of  the  Fantasia 
Dancers  of  Luxor,  and  we  are  done.  Not  satisfied,  but 
feeling  that  we  had  secured  all  it  was  possible  to  do  in  the  three 
days,  we  moored  at  Thebes.  Our  next  stopping -place  was  the 
town  of  Esneh,  on  the  west  bank.  Here  only  part  of  the  temple 
is  excavated,  and  its  exterior  almost  entirely  covered  with  Arab 
mud  huts  ; its  interior  was  dark  and  gloomy,  and  required  an 
exposure  of  thirty  minutes.  Next  came  Edfou,  the  most  com- 
plete temple  in  all  Egypt.  We  worked  this  temple  like  the  rest, 
that  is,  give  detailed  views  showing  details  of  columns,  con- 
struction, hieroglyphics,  &c.  From  its  high  propylon  or  towers 
wre  could  get  an  excellent  picture,  showing  the  plan  of  an  ancient 
Egyptian  temple  (as  they  were  all  built  alike). 

One  is  apt  to  be  misled  by  the  lines  of  a temple,  as  they 

* Continued  from  page  191, 


March  30,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


205 


always  lean  in  at  the  top , and  would  make  you  think  that  the 
swing-back  was  wrong.  Assouan  and  its  bazaars  is  reached  a 
day  later,  and  we  pick  up  a number  of  portraits  of  Nubian  girls, 
street  scenes,  &c.  The  Nubians  were  very  shy  of  us  fora  long 
time  ; no  amount  of  coaxing  or  backsheesh  would  bring  them  to 
terms  ; until  by  chance,  a little  Nubian  girl  happening  to  be  in  front 
of  the  camera,  and  finding  no  harm  resulted  from  it,  they  became 
bolder,  and  finally  allowed  us  to  pose  them,  with  a picturesque 
background.  Everything  had  to  be  done  very  quickly,  as  they 
are  always  on  the  move,  and  you  can  never  tell  when  they  will 
jump  and  run  away.  We  visited  the  Island  of  Elaphantine, 
directly  opposite  Assouan,  and  only  got  a group  of  Nubian  child- 
ren, two  of  which  had  never  owned  a stitch  of  clothing  They 
posed  naturally,  and  looked  very  picturesque  ; as  usual,  rapidity 
was  essential  to  success.  We  are  now  at  the  first  Cataract,  and 
ride  over  the  desert  on  donkeys  to  Phil*,  where  we  find  the 
“ Saidieh  ” ready  for  us  to  take  us  up  to  Aboo  Simble,  near  the 
second  Cataract.  Only  a few  negatives  were  made  at  Phil®,  as  we 
have  three  days  there  on  our  return  from  the  second  Cataract ; 
still  we  went  all  over  the  ground,  read  up  our  books,  and  made 
ourselves  familiar  with  everything  in  this  beautiful  place. 

We  now  head  for  Wady  Haifa,  first  stopping  at  Debod,  which 
is  small  and  insignificant ; then  at  Gertassy,  which,  though  very 
small,  is  one  of  the  most  picturesque  bits  on  the  Nile,  as  it  looms 
up  against  the  sky  on  the  high  Nile  banks.  Kalabsheh  is  too 
ruined  to  make  much  of  a picture.  Denderahis  small  and  ugly  ; 
but  Kirsheh,  the  next  landing  place,  was  the  most  characteristic 
Nile-view  we  had  yet  seen — palms,  deserts,  temples,  and  Nile 
farms.  Waharraka  was  poor,  and  the  weather  very  windy,  so 
that  it  was  hard  to  make  a sharp  negative.  There  we  obtained 
an  excellent  view  of  a Sakkieh  or  water-house,  showing  its 
buckets  and  construction  of  its  interior.  Wady  Soboah,  although 
nearly  covered  with  sand,  was  still  quite  picturesque ; but  vast 
expanses  of  grey  sand  make  bad  foregrounds,  so  figures  must  be 
introduced  to  relieve  and  make  a picture.  Korosko  afforded  a 
chance  to  make  detailed  views  showing  methods  of  irrigation. 
Behind  the  village  is  a mountain,  which  we  climbed,  and  from 
whose  summit  an  excellent  view  of  the  desert  towards  Khartoom 
was  made.  Views  from  high  elevations  are  generally  poor  ; but 
this  was  an  exception.  In  the  town  many  caravan  loads  lay 
awaiting  boats  to  take  them  down  to  Assouan  and  Cairo.  As  we 
steamed  for  Derr,  the  next  place  of  interest,  we  secured  some 
fine  instautaneous  views  of  dahabiehs,  under  full  sail  and  furling 
sail.  Ibreem,  the  next  place,  is  a bluff  300  feet  high  ; on  top 
perches  a ruined  Roman  castle,  so  we  made  a view  of  it  from  the 
deck  of  our  boat.  Below  the  first  Cataract  the  temples  were  far 
back  from  the  shore,  and  were  a day  or  more  apart  from  each 
other;  but  in  Nubia,  between  the  first  and  second  Cataract,  the 
temples  and  ruins  are  close  to  the  shore,  and  sometimes  four 
were  visited  in  a day.  These  latter  were  generally  uninteresting, 
but  Ipsamboul  or  Aboo  Simbel  make  up  for  all  the  lesser  ones. 
It  faces  the  river,  and  is  close  to  its  banks  ; its  collossi  can  be 
Been  sometime  before  reaching  it,  which  we  did  towards  even- 
ing. 

Early  next  morning,  with  our  man  Achmed,  we  started  to 
work.  Weather  beautiful,  clear,  and  crisp.  The  temple  facade 
has  four  figures,  66  feet  high,  of  ltameses  II.,  and,  with  the  frieze 
of  monkeys  above  it,  makes  a height  of  100  feet.  So  short  focus 
lenses  were  resorted  to  in  almost  every  picture.  We  climbed  all 
around  and  over  some  of  these  giants,  making,  as  usual,  detailed 
views  of  arms,  legs,  heads,  &c. ; general  views  from  every  side 
and  front,  interiors  and  inscriptions  on  its  interior  walls.  No 
light  enters  the  rock  temple  but  that  from  its  great  door,  now 
more  than  half  filled  with  sand.  Interior  views  need  very  long 
exposures ; some  we  assisted  with  magnesium  light.  The  smaller 
temple,  about  500  feet  away,  is  still  more  difficult  to  photograph, 
as  it  falls  away  from  the  river,  and  needs  p minting  up  to  get  it  in 
a picture. 

Our  most  satisfactory  picture  of  the  temples  of  Aboo  Simbel 
was  made  from  a bank  of  mud  in  the  middle  of  the  river,  which 
gave  the  location  of  both  temples  and  an  idea  of  their  size  ; 
although  to  make  them  show  up,  a good  size  single  lens  was 
again  resorted  to.  Leaving  reluctantly,  we  soon  reached  Wady 
Haifa,  beyond  which  no  boats  of  any  size  can  go.  Nothing  of 
interest  is  here,  but  few  exposures  made  only  on  Sakkiehs  and 
groups  of  women,  whom  we  catch  when  they  least  expect  it.  A 
long  and  tiresome  ride  over  a desert  on  very  poor  donkeys  brings 
us  to  the  rock  of  Aboo  Seer,  the  terminus  of  our  Nile  voyage. 
A light  wind  was  blowing,  and  a sharp  picture  was  hardly  hoped 
for. 

A view  to  show  the  second  Cataract  is  disappointing,  as  no 


cataract  is  seen,  only  a series  of  rapids  and  dark  granite  boulders 
intercepting  the  passage  of  the  river  for  miles.  We  return  now 
to  the  “ Saidieh,”  and  begin  our  return  to  Cairo. 

To  be  Continued. 


ON  PYRO  DEVELOPMENT. 

BY  JOHN  CARBUTT.* 

In  presenting  this  short  paper  on  “ A Modified  Pyro  Developer,’ 
I am  well  aware  that  you  will  find  nothing  strictly  original  in  it 
and  my  only  excuse  in  offering  it  is  to  bring  to  notice 
certain  modifications  in  the  pyrogallic-acid  developer,  so  that, 
before  the  season  for  out-door  photography  opens,  those 
so  disposed  may  for  themselves  make  comparison  by  trial 
against  the  ferrous  oxalate  developer,  which,  from  its  simple 
combination  and  cleanliness  in  using,  has  become  quite  a 
favourite  with  both  practical  and  amateur  photographers.  From 
my  means  of  observation,  I am  able  to  say,  however,  that  the 
pyrogallic  developer  is  fast  displacing  the  ferrous  oxalate, 
especially  by  portrait  photographers,  and  I have  no  doubt  that, 
on  trial,  many  who  have  hitherto  exclusively  made  use  of  the 
iron  developer  will,  on  trial  of  the  pyro,  give  it  the  preference. 
The  several  objectionable  features  hitherto  met  with  in  the  use 
of  pyro,  I think,  will  be  fairly  met  in  the  formula  I present,  and  I 
mention  the  objection  that  many  have  to  the  fumes  of  ammonia, 
and  the  tendency  of  it  to  produce  pink,  green,  and  other  stains 
in  the  film,  and  to  the  dislike  of  a formula  where  a few  drops  of 
this  and  a few  drops  of  that  chemical  are  required.  Although 
the  sulphite  of  sodium,  recommended  by  Mr.  H.  B.  Berkeley,  of 
England,  as  a preventive  of  the  ammonia  stain,  has  been  found 
fairly  efficient,  the  substitution  of  another  and  cheaper  alkali  for 
the  ammonia,  aud  in  combination  with  a citrate,  as  recommended 
by  Mr.  G.  Watmough  Webster,  is  what  will,  in  my  opinion, 
make  pyro  in  the  future  the  preferable  developer  for  gelatine 
dry  plates.  I have  from  the  first  issuing  of  a formula  for  a 
developer  for  dry  plates  recommended  citric  acid,  both  with  pyro 
and  ferrous  oxalate,  early  recognising  that  it  had  a special  value. 
Some  months  since  I made  a series  of  experiments  with  the 
various  citrates  with  pyro,  and  of  those  tried,  citrate  of 
ammonium  gave  results  so  like  a wet  plate  on  the  surface  that 
any  one  not  having  seen  it  developed  would  have  taken  it  for  a 
collodion  plate  ; but  the  development  was  very  slow,  something 
like  fifteen  minutes.  Some  two  years  since  I made  trial  of 
carbonate  of  sodium  in  connection  with  pyro,  but  owing  to  its  so 
quickly  discolouring  the  pyro  solution,  and  yielding  such  dense 
negatives,  and  strongly  coloured,  it  was  given  up  ; decolourizing 
the  negative  had  not  then  been  discovered.  Now,  however,  all 
is  changed,  thanks  to  our  photographic  brethren  across  the 
water,  upon  whose  investigations  formulas  have  been  based  that 
will,  I doubt  not,  give  pyro  the  preference  as  a developer  for 
gelatine  plates,  at  least  to  those  with  whom  time  means  money, 
for  it  not  only  allows  of  shorter  exposure  in  the  camera— shorter 
time  to  develop  the  plate — but  allows  of  more  latitude  in 
exposure  and  modification  durmg  development,  to  suit  existing 
circumstances,  than  does  the  oxalate  developer.  The  staining  of 
the  plate  to  such  an  intense  unprintable  colour  need  no  longer 
be  a cause  of  alarm,  and  of  the  various  methods  recommended 
for  discharging  the  colour  out  of  the  film,  I until  recently 
preferred  the  dilute  sulphuric  acid ; citric  acid,  in  combination 
with  alum,  will  do  it,  but  I found  it  to  endanger  the  plate, 
causing  it  to  exfoliate  entirely  if  left  in  the  solution.  Knowing 
the  effectiveness  with  which  oxalic  acid  will  remove  organic 
stains,  I made  atrial  of  it,  aud  found  it  to  remove  the  yellowish- 
green  colour  of  a negative  developed  with  pyro  and  sal  soda  most 
effectually,  and  have  combined  it  with  the  alum  bath,  so  that 
hardening  and  bleaching  of  the  plate  may  be  effected  at  one 
operation  ; and  I can  promise  you  that  a gelatine  plate,  developed 
with  the  formula  I will  now  describe,  and  afterwards 
demonstrate,  will  yield  a negative  that,  while  wet,  will  present 
the  nearest  approach  to  a collodion  plate  yet  seen. 

I prefer  to  make  the  solutions  of  ten  per  cent,  strength,  the 
proportions  only  being  changed  when  using  them,  and  all  in 
measurable  quantities,  excepting  the  bromide,  which  is  prepared 
in  case  of  need,  rather  than  as  a required  component  of  the 
mixed  developer,  for  it  is  only  in  case  of  greatly  exaggerated 
over-exposure,  or  for  the  purpose  of  producing  great  contrast, 
that  it  will  be  needed. 


• Read  before  the  Photographic  8ociety  of  Philadelphia. 


206 


THE  PHOTOGRAPHIC  NEWS. 


[March  30,  1883. 


The  working  formulas  are  as  follows  : — 

No.  1. — Ten  per  cent.  Tyro  Solution. 

Water 8 ounces 

Citric  acid  100  grains 

Pyrogallic  acid...  ...  ...  ...  1 ounce 

Dissolve  the  citric  acid  in  the  water,  pour  into  the  one-ounce 
bottle  of  pyro,  then  into  a glass-stoppered  twelve-ounce  bottle 
(having  previously  marked,  with  a file,  on  its  side,  a previously 
correctly  measured  quantity  of  ten  ounces),  fill  up  with  water  to 
the  ten  ounce  mark.  I have  pyro  solution  so  prepared  last  July, 
and  it  is  quite  as  active  as  freshly  prepared  solution. 

No.  2 — Soda  Solution . 

Carbon  of  sodium  (washing  soda)  ...  16  ounces 

Water  (one  gallon)  128  ,, 

No.  3. — Citrate  of  Sodium. 

Soda  solution 2 ounces 

Citric  acid,  in  powder,  just  sufficient 
to  neutralize  and  change  a strip  of 
blue  litmus  paper  red. 

No.  4. — Bromide  Solution. 

Bromide  of  potassium  90  grains 

Water 2 ounces 

No.  5. — Hardening  and  Bleaching  Bath. 

Pulverized  alum  2 „ 

Oxalic  acid  ..  ...  | ounce 

Water 20  ounces 

The  solution  of  carbonate  of  sodium  may  also  be  prepared  as 
a saturated  one,  and  a portion  diluted  for  the  day’s  use.  Four 
or  five  ounces  diluted  with  water  to  twenty  is  a good  strength 
to  use  with  the  strong  pyro  solution. 

Developing  the  exposed  plate,  for  a 5 by  8 plate,  in  a minim 
graduate,  measure  half-drachm  pyro  solution  ; pour  into  a 
graduate  of  four  or  six  ounce  capacity  two-aud-a-half  ounces  of 
soda  solution,  add  the  pyro,  stir  with  a strip  of  glass,  and  pour 
over  the  exposed  plate  iu  developing  tray  ; six  to  ten  seconds  is 
the  average  time  at  which  the  image  makes  its  appearance  on  a 
properly  exposed  plate.  Let  the  developer  act  until  the  image 
is  well  out,  and  the  finer  details  well  covered  over.  The  high 
lights  should  show  plainly  on  the  back  of  the  plate.  Should 
the  image  be  twenty  to  forty  seconds  iu  appearing,  add  from  one 
to  two  drachms  of  the  saturated  solution  of  soda,  or  two  to  four 
drops  of  liquor  ammonia,  which  will  usually  bring  up  a slightly 
under-exposed  plate.  If,  on  the  contrary,  the  image  makes  its 
appearance  rapidly,  showing  over-exposure,  at  once  remove  the 
plate,  and  wash  off  the  developer.  To  one  ounce  of  water,  add 
a half  drachm  each  of  No.  1 and  No.  3,  and  mix  with  the  deve- 
loper. Lay  the  plate  in  it.  The  development  should  be  more 
like  a properly  timed  plate,  and  if  it  still  develops  too  fast,  add 
a few  drops  of  the  bromide  solution.  The  development  being 
completed,  wash  off  the  developer,  and  immerse  for  a couple  of 
minutes  in  the  alum  bath  ; give  a good  rinsing,  and  fix  in  hypo- 
sulphite— one  part  to  five  parts  of  water — and  finish  with  a 
thorough  washing. 

■ Finally,  I consider  that  the  addition  of  citrate  of  sodium 
to  the  pyro  developer  is  one  of  the  best  controllers  of  that  deve- 
loping agent  that  I am  acquainted  with.  Its  action  is  different 
to  the  bromide.  The  former  acts  as  a retarder  of  the  light’s 
action,  while  the  latter  acts  as  a restraiuer,  aud,  if  freely  used, 
will  destroy  the  light’s  action. 


TIIE  PENCIL  AND  BRUSH. 

BY  THE  OLD  HAND. 

It  is  as  well,  in  any  matters  connected  with  art  and  science, 
to  begin  with  the  most  simple  principles,  and  on  them  the 
learner  ought  to  dwell  till  such  time  as  he  becomes  per- 
fect master  of  them. 

Many — male  and  female — at  present  engaged  in  photo- 
graphy, and  those  about  to  enter  into  it  as  a profession, 
would  do  well  to  turn  their  attention  to  sketching,  and,  to 
make  the  hand  familiar  with  the  use  of  the  pencil  and 
brush,  should  accustom  themselves  to  the  drawing  of 
lines,  curves,  circles,  &c.,  proceeding  on  to  more  difficult 
subjects,  as  a lion’s  head,  with  bold  curved  lines  to  repre- 
sent the  mane,  &c.,  vases,  leaves,  flowers,  &c.,  so  that  by 


practice  they  may  acquire  what  is  known  among  artists  as 
having  a firm  hand  and  decided  touch— two  things  they 
will  find  of  much  use,  remembering  that  in  all  matters  of 
art,  the  rules  are  learnt  in  a very  short  time.  But  to 
secure  a perfect  knowledge  of  them  there  must  be  long 
practice  and  application,  and  the  baud  strengthened  and 
improved  by  everyday  practice.  A photographer  or 
photographer’s  assistant  does  not  require  the  same  course 
of  study  and  training  as  would  be  necessary  for  one 
desirous  of  becoming  a great  historical  or  landscape  painter, 
but  merely  to  acquire  a sufficient  amount  of  dexterity  in 
using  the  pencil  aud  brush  as  will  enable  them  to  correct, 
assist,  or  improve  the  negatives  from  which  impressions 
are  to  be  taken. 

To  corameuce  with  the  A B C of  the  matter,  make 
between  the  lines  of  a ruled  copy-book  (or  rule  some  lines 
ou  cartridge  paper,  with  an  HB  or  BB  pencil) 
the  same  kind  of  lines,  curves,  and  circles,  crosses,  lions’ 
heads,  as  1 mentioned  above,  then  copy  the  same 
with  a fine  sable  brush  and  neutral  tint.  By  continually 
practising  this  sort  of  sketching  with  pencil  and  brush, 
the  hand  will  bj  found  to  gradually  acquire  a degree  of 
firmness,  freedom,  and  certainty,  that  will  enable  the 
learner  to  do  many  things  in  regard  to  correction  and 
improvement  in  photographic  work,  that  will  prove  highly 
advantageous,  and  be  of  much  professional  use  to  him. 


BACKGROUNDS  FOR  AMATEURS— HOW  TO 
RAISE  A GHOST. 

BY  THOMAS  GULLIVER. 

Many  gentlemen  now  using  gelatine  plates  have  at  com- 
mand a good  large  plate  glass  window,  and  it  often 
happens  that  this  said  glass  window  faces  a bit  of  land- 
scape or  a shrubbery.  By  a little  careful  arrangement 
this  window  may  be  made  into  a landscape  background. 
Care  must  be  taken  to  put  the  camera  on  a low  stand,  as 
the  background  is  formed  by  the  reflection  of  the  trees, 
&c.,  opposite. 

Should  it  be  deemed  advisable  to  introduce  a ghost  into 
the  picture,  all  that  is  required  would  be  to  pose  the 
lady  or  gentleman  ghost  fashion,  and  place  either  one  or 
the  other  so  that  the  reflection  should  come  in  its  appro- 
priate place. 


terfsjjaniHttCf. 

BREAKING  UF  EMULSION. 

Sir, — Here,  with  only  one  chance  of  obtaining  materials, 
& c.,  for  prosecuting  the  art  of  photography,  we  are  often 
reduced  to  invent  expedients  for  ourselves,  one  of  which  I 
have  found  so  useful  that  I forward  the  idea  to  you,  in 
case  you  may  consider  it  worthy  of  notice.  Having 
nothing  iu  the  way  of  material  to  break  up  emulsion  by 
Wratten’s  method,  I took  a vulcanite  comb,  and,  drawing 
it  across  the  set  emulsion  from  end  to  end  of  the  dish, 
and  again  from  side  to  side,  it  divided  it  into  small  cubes, 
which  were  washed  with  ease. — I am,  dear  sir,  your3 
truly,  Walton  Hayden. 

Ottawa  River,  Canada. 


THE  PHOTOGRAPHER’S  PROGRESS. 

Dear  Sir, — As  an  aid  to  my  work  in  the  laboratory,  I 
two  months  ago  thought  of  educating  myself  in  the  art  of 
photography  ; I had  no  other  idea  present  to  ray  mind  than 
that  I should  prepare  my  own  plates,  and  do  all  the  incidental 
work  connected  with  the  art,  which,  it  seems,  is  now  nearly 
all  done  by  the  special  dealer,  and  it  was  with  no  small 
degree  of  surprise  that  in  making  my  purchases  I received 
such  an  outfit  as  would  have  enabled  mo  on  the  spot  to 
“set  up  shop  ! ” Since  then,  with  the  help  of  books  (and 


March  30,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


207 


the  plate  makers),  1 have  taken  great  delight  and  pleasure 
from  the  practice  of  the  art. 

I do  not  think  that  young  men  with  spare  time  for  such 
healthful  enjoyment  are  generally  aware  of  the  facilities 
of  prosecuting  the  art  so  obviously  placed  within  their 
reach. 

I constructed  a drop  shutter  from  a description  by  one  of 
your  correspondents,  aud  it  answers  admirably — 1 cannot 
do  without  it.  It  seems  to  me  that  the  most  brilliant 
pictures  generally  are  to  be  got  by  full  aperture  with  the 
rectilinear,  and  using,  when  possible,  the  drop  shutter.  I 
have  the  idea  that  for  a moment,  in  capping  aud  uncapping, 
a side  light  gaining  admission  into  the  camera  (just  as  the 
cap  comes  off  and  goes  on)  is  detrimental,  whereas  there  is 
decision  about  the  drop  shutter. 

I have  been  successful  with  micrographic  pictures  to  an 
extent  which  flatters  my  vanity,  and  I hope  does  justice  to 
the  manufacturer  of  the  plates.  I try  hard  to  get  good 
transparencies,  but  cannot  attain  to  the  beauty  of  some  1 
have  seen,  and  put  though  the  lantern — the  whites  as  char 
as  crystal,  and  the  lines  as  sharp  as  a knife.  I suppose  1 
must  for  this  blame  my  negative,  my  working,  aud,  last  of 
all,  the  plates. 

I was  partly  successful  one  evening  in  photographing  a 
young  audience,  I was  addressiug,  of  about  one  hundred, 
in  the  hall  in  our  village.  With  assistance  I got  two 
oxy-magnesium  lights  to  “ work  the  oracle.” 

Exposure,  I think,  will  always  be  one  of  the  most  difficult 
points  in  the  art  for  beginners,  judging,  at  least,  from  ray 
own  amateuring  experiences.  The  actinic  power  of  the 
daylight  is  so  variable  that  what  to  the  artist  may  seem 
quite  a similar  condition  of  atmosphere  to  some  given  data, 
he  finds,  at  the  cost  ol  two  or  three  plates,  is  not  so  considered 
by  the  sensitive  coating.  Some  are  evidently  prone  to  blame 
the  plate,  but  wheu  tried  by  artificial  light  I find  very 
correct  exposuro  can  be  given.  I believe  if  the  amateur 
would  take  a note  always  of  the  condition  of  the  light,  time 
of  year,  barometric  or  rain  band  spectroscope  readings, 
temperature,  and  prevalent  weather,  he  would  have  chance 
of  formulating  workable  rules  for  his  or  others’  guidance. — 
Yours,  much  obliged  for  the  indulgence,  K.  B.  Smith. 


§roc£c5'mg3  of  jsocuius. 

Photographic  Society  of  Great  Britain. 

A meeting  was  held  on  Tuesday  last,  Captain  Abney  occupying 
the  chair. 

The  Cellerier  colour  pictures, “which  were'shown  on  a former 
occasion,  were  again  brought  under  discussion,  and  Mr.  John 
Spiller,  who  had  dissected  some  of  them,  came  to  the  conclusion 
that  the  effects  were  obtained  by  a double  printing  process,  hand 
colouring  being  resorted  to  between  the  printings.  It  seems 
probable  that  a very  faint  photographic  image  is  first  impressed 
on  salted  paper,  after  which  the  colouring  is  applied.  A sensi- 
tive superstratum,  perhaps  a gelatine  emulsion,  being  now  applied, 
the  fully  gradated  photographic  image  is  priuted,  a registering 
printing  frame  being  used  to  insure  coincidence  of  the  two  im- 
pressions. Several  other  gentlemen  who  had  also  examined  the 
picture  concurred  in  the  view  taken  by  Mr.  Spiller,  and,  in 
addition  to  this,  Mr.  Spiller’s  dissections  of  the  pictures  spoke 
for  themselves. 

Mr.  Cowan  showed  a picture,  the  interior  of  his  studio,  taken 
with  a pinhole  stop,  anti  an  interesting  discussion  ensued  as  to 
the  limits  of  definition  attainable  ; Captain  Abney  pointing  out 
that,  were  it  not  for  diffraction,  this  limit  would  correspond 
approximately  with  the  diameter  of  the  aperture  ; but  diffraction 
may  so  far  affect  the  result  as  to  double  the  minimum  of  defini- 
tion. Mr.  Cowan’s  photograph  certainly  possessed  a certain 
pictorial  quality  not  generally  met  with  in  a photograph,  all 
objects  being  equally  sharp,  whether  three  feet  or  thirty  feet 
from  the  camera 

Mr.  Bolton  showed  some  vacuum  filtirs,  in  which  partial 
exhaustion  was  effected  by  the  condensation  of  steam  ; such  an 
arrangement  possessing  a possible  advantage  in  the  absence  of  an 

air-pump. 


The  Chairman  handed  round  his  successive  exposure  electric 
shutter,  as  used  by  him  for  his  photo-grammetrical  investigations 
regarding  the  altitude  of  clouds.  Some  conversation  took  place 
as  to  the  effect  of  the  long-continued  action  of  light  on  certain 
varieties  of  glass,  the  general  impression  being  that  ordinary 
sheet  glass  becomes  lighter  in  colour  after  having  been  long 
exposed  ; and  Mr.  Ackland  referred  to  the  rapidity  with  which 
dense  flint  glass,  such  as  is  used  in  making  the  modern  deep- 
curved  lenses,  is  tarnished  by  sulphurous  vapours. 

The  Chairman  next  read  a notice,  having  reference  to  the 
Calcutta  International  Exhibition  of  1883,  1884  ; but  the  sub- 
stance of  the  notice  was  placed  before  our  readers  over  a month 
ago. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  the  2‘2nd  inst.,  Mr.  A.  L.  Henderson 
occupying  the  chair,  the  following  questions  from  the  box  were 
discussed: — (1).  “For  equal  rapidity  of  plates,  prepared  by 
means  of  ammonia  and  boiling,  is  it  possible  to  obtain  equal 
fineaess  of  division  of  the  bromide  or  silver?”  (2).  “Does  an 
unwashed  emulsion  ripen  when  set,  and  to  what  extent  ? ” 

Mr.  A Cowan  said,  with  respect  to  the  first  question,  he  never 
obtained  fineness  of  division  in  ammonia  nitrate,  but  always 
obtained  the  blue  colour. 

Mr.  Golding  often  found  that  of  two  emulsions  prepared  in 
precisely  the  same  manner,  one  would  give  a dense,  the  other 
a thin,  picture. 

Mr.  W.  Cobb  found  a slowly-emulsified  emulsion  gave  a finer 
division  than  a rapidly-emulsified  one. 

Mr.  H addon  said  Mr.  Burton’s  old  method  of  adding  ammonia 
after  boiling  gave  greater  granularity;  he  used  no  ammonia,  but 
found  boiling  gave  a finer  emulsion. 

Mr.  Golding  said,  as  to  the  other  question,  it  did  ripen. 

The  Chairman  thought  it  advantageous  to  keep  it,  as  it  would 
not  granulate  ; but  did  not  think  it  would  increase  the  speed,  and 
would  give  a thin  image. 

Mr.  Bedford  said  it  was  advantageous  to  keep  it ; it  gave 
2 or  3 more  on  the  sensitoineter  when  kept. 

Mr.  Debenham,  like  Mr.  Prestwich,  thought  hard  gelatine 
would  not  make  a slower  plate. 

Mr.  G.  D.  Plomer  was  elected  a member. 


Mk  in  tin  Stuiriff. 

South  London  Photographic  Society. — At  the  meeting  of 
the  Society  to  be  held  at  the  House  of  the  Society  of  Arts,  John 
Street,  Adelphi,  on  Thursday  next,  Mr.  H.  Trueman  Wood  will 
read  a paper  “ On  the  Methods  by  which  the  Vocal  Organs  have 
been  Photographed.’’  The  following,  from  the  question-box, 
will  also  be  discussed  : “ When  large  pictures  are  required,  is 
it  better  to  take  them  direct,  or  to  take  small  negatives,  and 
then  enlarge  them  ? ” 

The  Elphinston-Vincent  Dynamo. — On  Wednesday  a 
demonstration  of  the  capabilities  of  this  apparatus  was  given  at 
the  printing  works  of  Messrs.  Unwin  ; and  as  regards  the  yield 
of  current  it  was  proved  to  be  fully  equal  to  any  machine  based 
either  on  the  Pacinotti,  or  on  the  Niardet-systems  ; while  the 
compactness,  accessibility  of  parts,  and  general  excellence  of 
design,  which  characterise  the  new  machine,  served  to  elicit  very 
favourable  remarks  from  several  eminent  engineers  who  were 
present. 

Balloon  Photography. — Captain  Morton,  the  eminent 
aeronaut,  has  just  built  a balloon  for  the  proprietors  of  the 
Pictorial  World.  The  first  ascent  was  made  on  Easter  Monday, 
from  Three  Bridges.  It  is  intended  to  make  a series  of  ascents 
both  in  the  United  Kingdom  and  abroad,  when  experienced 
artists  will  accompany  the  aeronaut.  Arrangements  hrve  been 
made  for  a series  of  experiments  in  balloon  photography,  and  by 
the  aid  of  the  latest  and  most  approved  apparatus,  and  the 
expeiience  of  skilled  operators,  it  is  hoped  to  obtain  a number 
of  beautiful  views  of  the  earth  as  seen  from  the  car  of  a balloon. 
— Daily  Chronicle. 

Mr.  Proctor’s  Lectures  on  Astronomy. — The  second  of  this 
course  was  delivered  on  Wednesday  evening  at  St.  James’s  Hall, 
the  subject  being  “ The  Sun  : Ruler,  Fire,  Light,  and  Life  of 
the  Solar  System."  Taking  the  sun  first  as  an  apt  emblem  of 
Deity,  Mr.  Proctor  considered  its  size,  mass,  might,  light,  and 
heat ; its  structure  as  revealed  by  the  spectroscope ; its  tele- 


208 


THE  PHOTOGRAPHIC  NEWS, 


[March  30,  1883, 


scopic  aspect,  spots  faculre,  and  so  forth ; its  coloured  flames, 
coronal  streamers  ; and  its  relation  to  the  suns  which  are  strewn 
in  countless  millions  throughout  the  depths  of  space.  There 
were  more  than  forty  illuminated  and  largely  magnified  illus- 
trations. A disc  twice  as  large  as  the  great  fifteen  feet  disc 
shown  last  week  was  exhibited,  and  will  be  used  during  the  re- 
maining lectures  of  the  course. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
April  4,  the  subject  for  discussion  will  be  “ On  the  Sensi- 
tiveness of  Gelatine  Plates  by  Various  Formula;.” 


$>o  ®orr£8ponb£nts. 

***  We  cannot  undertake  to  return  rejected  communications. 

A Lover  of  Art. — Thanks.  We  will  try  it  as  soon  as  we  have 
leisure. 

A.  Wright. — Thank  you  for  your  note,  and  the  information  con- 

* tained  therein,  which  shall  certainly  be  acted  on. 

A.  Donald. — It  will  give  us  much  pleasure  to  make  some  experi  - 
ments  with  it. 

G.  M.  (Glasgow). — Received.  Next  week. 

J.  B.  White. — If  rendered  alkaline  by  carbonate  of  soda,  and 
exposed  to  sunlight  for  a long  time,  it  may  become  workable 
again;  but  we  should  prefer  to  prepare  a fresh  solution. 

Acid. — 1.  The  potass  salt  will  not  answer  the  same  purpose  as 
the  baryta  salt.  2.  Use  boiling  water. 

R.  Tindall. — 1.  About  whole-plate.  2.  It  depends  on  how 
near  the  object  is  to  be  to  the  camera  ; and,  moreover,  the 
lenses  vary  to  some  extent ; but  we  should  think  18  inches  would 
be  ample  in  ordinary  cases.  3.  One-fifth  of  the  equivalent  focus. 
4.  Ranging  from  a quarter  of  an  inch  to  one  inch. 

Revived. — An  article  will  appear  shortly. 

J.  Borston. — We  should  advise  you  to  obtain  Captain  Abney’s 
“Instruction  in  Photography.” 

R.  P. — 1. — We  have  found  that  if  the  methylated  solvents  are  of 
good  quality,  they  answer  satisfactorily ; but  some  commetcial 
samples  are  far  too  impure.  2.  If  the  glass  fits  extremely  well 
into  the  rebates,  ordinary  black  varnish  will  answer;  otherwise 
you  must  use  marine  glue.  3.  It  appears  to  us  that  you  must 
be  mistaken. 

A.  Dresser. — Write  to  Mr.  Atkinson,  cf  Liverpool. 

C.  M.  R. — It  is  often  done,  but  such  a course  is  not  to  be  recom- 
mended. 

F.  Stuart  Seed — It  is  very  curious  indeed.  Thanks. 

H.  H.  (Burton-on-Trent). — That  given  in  the  “Formulary”  may 
be  taken  as  an  average,  but  it  must  be  modified  according  to 
circumstances.  No  hard  and  fast  rule,  applicable  in  every  case, 
can  be  laid  down. 

P.  R.  Green. — Try  Eder’s  method  of  intensification,  as  described 
in  the  V ear-Book. 

Amateur. — In  your  case,  we  think  the  rolling  press  will  prove 
the  more  suitable. 

F.  R.  B.— It  means  that  the  exposure  required  is  from  one-tenth 
to  one-twentieth  of  that  which  would  be  required  in  the  case  of 
a wet  collodion  plate. 

W.  S.  S. — We  imagine  that  you  are  wrong  from  a legal  point  of 
view,  as  the  copyright  of  the  picture  belongs  to  the  customer  ; you 
have  therefore  no  right  to  make  use  of  it. 

Pantaleon. — If  it  dissolved  as  you  say,  it  was  certainly  aspurious 
one,  and  the  solution  is  valueless.  A solution  of  gold  in  aqua  raj.  a 
contains  chloride  of  gold,  but  the  excess  of  acid  must  be  removed 
by  evaporation  over  a water  bath. 

Nemo. — We  congratulate  you  on  your  success,  and  hope  you  will 
still  farther  advance.  The  paper  will  be  found  in  our  volume  for 
1880,  page  568. 

G.  Forster. — 1.  The  surface  of  the  glass  has  became  thoroughly 
disintegrated  by  the  long  continued  action  of  the  hot  liquid. 
2.  A moderate  red  heat  will  answer  the  purpose.  3.  Either 
benzole  or  light  mineral  oil. 

Chas.  Pendred — I.  A sheet  of  glass  is  warmed,  and  one  face  is 
rubbed  over  with  a piece  of  wax  ; after  which  all  excess  is  polished 
off  with  a flannel.  The  waxed  side  is  now  coated  with  collodion, 
and  when  the  film  has  set,  the  plate  is  allowed  to  remain  in  water 
until  no  appearance  of  greasiness  remains  ; after  which  the  wet 
print  is  squeegeed,  face  downwards,  on  the  collodionised  surface. 
\\  hen  the  print  is  dry  it  can  be  stripped  from  the  plate,  and  it 
brings  with  it  the  collodion  film. 

F.— 1.  It  has  undergone  some  kind  of  putrefactive  fermonta- 
tton  which  would  certainly  render  it  unfit  for  use.  2.  Strong 
nitric  acid  will  remove  the  stains  at  once.  3.  AVood  soaked  in 
melted  paraffin  wax  answers  very  well.  AVe  are  under  the 
impression  that  Mr.  Foxlee  exhibited  a bath  of  this  kind  at  one 
a “Je  ,ec^n'cal  meetings.  4.  A weak  solution  of  magenta  dye. 
o.  Not  unless  the  boiling  were  continued  during  several  hours. 

Keswick.  I he  precipitate  is  iodide  of  silver,  and  you  can  either 
allow  it  to  subside,  or  separate  it  by  filtration, 


THE  EVERYDAY  FORMULARY. 

The  Gklatino-Bromidf.  Process. 

Emulsion.— A — Nit.  silver  100  grains,  dist.  water  2 oz.  B— Bromide 
potassium  85  grains, Nelson’s  No.  1 gelatine  20  grains,  dist.  water  1J  oz.,  a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C— Iodide 
potassium  8 grains,  dist.  water  J oz.  D— Hard  gelatine  120  grains,  water 
several  oz.  When  the  gelatine  is  thoroughly  soaked,  let  all  possible  water  be 
poured  off  D.  A and  B are  now  heated  to  about  120°  Fahr.,  after  which  B 
is  gradually  added  to  A with  corstant  agitation ; C is  then  added.  Heat  in 
water  bath  for  half  an  hour,  and  stir  in  D.  After  washing  add  j oz.  alcohol. 

Tyro.  Developer.— No.  1— Strong  liq.  ammonia  1|  oz.,  bromide  potas- 
sium 240  grains,  water  80  oz.  No.  2 — Pyro.  30  grains,  water  10  oz.  In  case 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  per  cent.  sol.  potassium  bromide, 
and  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing.— Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  by 
soaking  in  sat.  sol.  of  mercuriochloride,  and  after  thorough  riDsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts)  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased  ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Backing  Sheets.— A chromographic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shitting  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  hack  of  glass  plate. 

The  Wet  Collodion  Process. 

The  Nitrate  Bath.  — Water  14  oz.,  nit.  silver  1 oz.,  nitric  acidl  drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  j- oz.,  liquid  ammonia  J-oz. 

Film-removing  Pickle  for  Old  Plates.— Water  1 pint,  sulphuric 
acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  6 pints  of  water,  and  1 dr. 
liq.  ammon. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 

pyroxyline  of  suitable  quality  250  grains,  shake  well  and  add  ether  2 pints. 
Iodize  this  by  mixing  with  one-third  of  its  volume  of  alcohol  J pint,  iod. 
ammon.  80  grains,  iod.  cadm.  80  grains,  brom.  ammon.  40  grains. 

Normal  Iron  Developer.— Water  10  oz.,  proto-sulphate  iron  J oz., 
glacial  acetic  acid  i oz.,  alcohol  j oz.  The  amount  of  proto-sulphate 
iron  may  be  diminished  to  1 oz.  when  full  contrasts  are  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  be  reduced  to  j ox. ; but  when  bath  is  old  more  is  wanted. 

Intensifying  Solution.— Water  6 oz.,  citric  acid  <6  grains,  pyro.  30 
grains.  When  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Bead  Intensification.— After  neg.  washing,  immerse  in  dist.  water 
100  parts,  red  pruss.  potash  6 parts,  and  nit.  lead  4 parts  When  it  is  yellowish 
white  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution. — 1.  Potass,  cyanide  200  grains,  water  10  oz.  2.  Sat. 
sol.  of  sod)  hypo. 

Varnish.— Shellac  2 oz.,  sandarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  1G  oz. 

Printing  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs, 
ammon.  clilor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution. — Nit.  silver  50 grs.,  water  1 oz.,  sod.  carb.  J gr. 

Acetate  Toning  Bath.— Chi  gold  1 gr.,  acet.  soda  20 grs.,  water  8 oz. 

Lime  do.— Chi.  gold  1 gr.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do.— Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath. -Sodium  hypo.  4 oz..  water  1 pint,  liq.  ammon.  30  drops. 

Reducer  for  Deep  Prints.— Cyan,  potass.  5 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Encaustic  Paste. — Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.—  Bichromate  potash  lj  oz., 

water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion.— Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

Mountant.— 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

Collotypic  Substratum.— Soluble  glass  3 parts,  white  of  egg  7 parts, 
water  10  parts. 

Collotypic  Sensitive  Coating.— Bichromate  potash  J oz.,  gela- 
tine 2J  oz.,  water  22  oz. 

Collotypic  Etching  Fluid.— Glycerine  150  parts,  ammonia  50  parts, 

saltpetre  5 parts,  water  25  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  albumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  for  paper. 

Cyanotype  Printing. — Water  1 oz.,red  prussiate  of  potash  (ferri- 
cyanide)  I dr.,  ammonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

A’ariovs. 

Luckardt’s  Retouching  Varnish.— Alcohol  300  parts,  sandarac 

50  parts,  camphor  5 parts,  castor  oil  10  parts,  A’enicc  turpentine  5 parts. 

Matt  Varnish.— Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 
benzole  80  to  100  parts. 

Encaustic  Paste.— Best  white  wax,  in  shreds.  1 oz.,  turpentine  5cz. ; 
dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  flannel. 

Ferrotypes. 

Collodion.— Ammonium  iodide  35  grains,  cadmium  iodide  25  grains, 
cadmium  bromide  20  grains,  pyroxyline  70  grains,  alcohol  5 oz.,  ether  6 oz. 

Bath.-  Silver  nitrate  1 oz.,  water  10  oz.,  nitric  acid  1 drop. 

Developer.  -Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 oz.,  water  16 oz. 

Fixing  and  Varnish.— Same  as  wet  collodion  process. 


PATENT  OFFICE  LIBRARY 


A Me 


:APHIC  NEWS  ” 29™  MARCH,  1883 


H . P.  ROblNSON.  TUNBRIDGE  WELLS.  COPYRIGHT. 


PATi: ' 


-*•'  r"j ET»  r» 

vl  I • 


1 o 


RARY 


THE  PHOTOGRAPHIC  HEWS, 


Vol.  XXYII.  No.  1283. — April  6,  1883. 


1C: 


«■* 

■ 


• .11 


Simple  Drop  Shutter 209 

The  Trimming  of  Prints 210 

New  Foreign  Lenses 210 

Enamelling  without  Collodion  or  Gelatine.  By  R.  Offord  .211 

By-the-Bye.— Paris  Chit-Chat  211 

The  English  Eclipse  Expedition.  Bv  C.  Ray  Woods  212 

French  Correspondence.  By  Leon  Vidal 214 

Notes  on  Celestial  Photography.  By  R.  C.  Johnson,  F.R.A.S.  216 

A New  Plate-Carrier 215 

Notes 216 

Patent  Intelligence  218 

Twelve  Elementary  Lessons  on  Silver  Printing 218 


CONTENTS. 

Notes  on  Photography.  By  E.  Howard  Farmer  219 

A Method  of  Toning  Gelatine  Transparencies.  By  H.  Trueman 

Wood 220 

How  to  Sensitise  Paper.  By  Henry  J.  Newton 220 

On  Gelatino-Chloride  Emulsion  in  the  Camera  By  A.  Cowan  221 
To  Save  Silver  Wastes  arising  from  the  Development  of  Plates. 

By  W.  Clement  Williams  222 

Correspondence  222 

Proceedings  of  Societies 222 

Talk  in  the  Studio 223 

To  Correspondents 224 

Photographs  Registered 224 


SIMPLE  DROP  SHUTTER. 

It  is  probable  that,  in  spite  of  its  theoretical  defects,  the 
simple  drop  shutter  is  at  present  more  used  for  so-called 
instantaneous  work  than  all  other  shutters  put  together ; a 
few  notes  on  its  working  will  therefore  not  be  out  of  place, 
especially  as  the  season  for  instantaneous  work  is  fast 
approaching — nay,  indeed,  has  come. 

We  have  at  various  times  pointed  out  that,  whatever  form 
of  shutter  is  used,  it  is  most  necessary  for  its  efficiency  that 
but  a fraction  of  the  total  time  of  exposure  should  be 
occupied  in  the  opening  and  closing  of  the  instrument. 
This  is  a statement  so  apparently  self-evident  that  it  would 
seem  only  necessary  to  make  it  that  it  should  be  acted  upon. 
Yet  the  vast  numbers  of  shutters  in  which  the  instrument 
is  either  opening  or  closing  during  the  whole  of  the  expo- 
sure show  that  the  thing  is  not  thoroughly  understood. 
This  is  the  case  in  the  commonest  of  all  forms  of  drop 
shutter,  that  in  which  there  passes  in  front  or  behind  the 
lens  an  aperture  of  the  same  diameter  as  the  lens.  In  this 
case,  the  light  received  by  the  plate  from  the  time  that  the 
exposure  commences  till  the  time  that  it  ends  is  exactly 
half  what  it  would  be  were  the  lens  to  be  fully  open  during 
the  whole  exposure.  As  a consequence,  one  of  two  things 
must  occur:  either  the  exposure  must  be  doubled  in  length, 
giving  exactly  double  the  chance  of  blurring  from  move- 
ment of  the  subject,  or  an  amount  of  light  only  half  as 
great  as  might  be  is  allowed  to  act  on  the  plate,  and  the 
effect,  probably,  is  great  under-exposure.  In  either  case,  the 
same  result  is  brought  about  as  would  occur  were  a perfect 
shutter  usvd,  and  wvre  the  area  of  the  stop  reduced  to  one- 
half,  only  that  the  additional  flatness  of  the  field  and  depth 
of  focus  which  would  result  from  the  latter  procedure  are 
not  brought  about. 

A perfect  shutter  of  any  form  we  need  scarcely  look  for  ; 
in  fact,  it  would  appear  to  be  an  impossibility.  We 
cannotconceive  of  any  instrument  which  opens  and  closes  in 
“ no  time.”  All  that  we  can  do  is  to  make  the  opening  and 
closing  occupy  only  a fraction  of  the  time  of  the  exposure. 

In  the  drop  shutter  this  end  is  naturally  brought  about 
by  making  the  moving  aperture  long  in  the  direction  of  its 
motion.  But  here  at  once  there  appears  a disadvantage. 
The  total  exposure  is  made  too  long.  To  take  an  example. 
Let  us  suppose  the  diameter  of  our  lens  aperture  to  bo  an 
inch  and  a-half,  and  that  we  make  the  length  of  the  apeiture 
of  the  moving  portion  of  the  shutter  four  inches.  There 
will  be  exposure  during  the  time  that  the  shutter  falls 
through  five  and  a-half  inches,  and  this  will  take  almost 
exactly  a sixth  of  a second.  This  is  comparatively  a long 
exposure — far  too  long  for  many  subjects.  There  is,  how- 
ever, a means  of  readily  shortening  this,  namely,  by  so  con- 
structing our  instrument  that  it  will  fall  for  a short  dis- 
tance before  it  opens ; that  is,  before  the  exposure  com- 


mences. It  is  chiefly  to  point  out  the  advantage  to  be 
gained  from  such  a construction  that  this  article  is  written. 

To  return  to  our  example,  suppose  that  the  instrument  is 
so  constructed  that  a drop  of  only  an  inch  and  a-half  takes 
place  before  exposure  commences,  we  will  find  that  the  re- 
maining five  and  a-half  inches  are  dropped  in  as  nearly  as 
possible  Tl5  second  ; that  is  to  say,  by  allowing  the  inch 
and  a-half  of  preliminary  drop  we  have  at  once  reduced  the 
length  of  exposure  to  one-half  what  it  was  before.  And  let 
it  be  noted  that  not  only  have  we  done  this,  but  we  have 
greatly  eliminated  one  of  the  chief  disadvantages  of  the 
drop  shutter,  namely,  its  property  of  giving  a ionger  ex- 
posure to  the  sky  than  to  the  foreground.  If  a drop-shutter 
is  so  constructed  that  the  exposure  begins  whenever  the  drop 
commences,  the  sky  receives  a much  longer  exposure  than  the 
foreground.  The  greater  the  distance  which  has  been  fallen 
before  the  instrument  opens,  the  more  nearly  equal  will  be 
the  exposure  of  the  foreground  and  the  sky. 

By  allowing  the  dropping  piece  of  a shutter  to  fall 
through  different  distances  before  the  instrument  opens,  we 
have  a ready  method  of  varying  the  exposure  to  a consider- 
able extent.  For  example,  if  we  allow,  in  the  case  which 
we  have  imagined,  a drop  of  about  four  inches  to  take  place 
before  opening  commences,  we  may  reduce  our  exposure  to 
one-third  of  what  it  was — namely,  to  an  eighteenth  of  a 
second. 

The  alternative  method  to  this  one  is  the  fixing  of  a piece 
of  elastic,  either  to  supplement  the  action  of  gravity,  or, 
when  the  shutter  is  fixed  on  its  side,  to  take  the  place  of  it. 
The  elastic  is  a thing  to  be  avoided  whenever  possible  ; it 
shakes  the  camera  if  the  tension  be  anything  considerable, 
and,  moreover,  the  accelerating  effect  is  much  less  than  is 
generally  supposed. 

The  increase  of  velocity  of  the  moving  part  is  equal  only 
to  the  square  root  of  the  force  applied  to  move  it.  Thus, 
returning  to  our  example,  let  us  suppose  the  dropping  part 
of  our  shutter  to  weigh  one  ounce.  The  force  moving  it  is 
gravity,  and  is  equal  to  an  ounce.  It  might  appear  that  if 
a force  of  another  ounce  was  applied  by  means  of  elastic,  so 
as  to  increase  the  total  to  two  ounces,  the  exposure  would 
be  reduced  to  one-half ; but  this  is  not  the  case.  To  reduce 
the  exposure  to  one-half,  we  have  to  bring  a force  equal  to 
four  times  the  original  one  to  bear.  Thus,  we  would  require 
to  apply  plus  the  ounce  of  gravity  in  elastic,  giving  a ten- 
sion of  three  ounces.  To  reduce  the  exposure  to  one-third, 
we  would  require  nine  times  the  force,  or  an  elastic  tension 
of  eight  ounces,  plus  th6  one  of  gravity.  This  tension  — 
hall  a pound — is  one  which  would  be  almost  sure  to  shake 
the  camera.  Besides  this,  if  we  continue  to  use  our  shutter 
vertically,  we  retain  the  difference  in  exposure  given  to  the 
foreground  and  the  sky. 

We  have  in  these  remarks  been  disregarding  friction. 
In  the  case  of  the  elastic,  too,  we  have  been  supposing, 


210 


THE  PHOTOGRAPHIC  NEWS. 


[April  6,  1883. 


for  simplicity  sake,  that  the  force  applied  by  the  elastic 
remained  the  same  during  the  whole  motion  ; but  this  is 
far  from  the  case.  If  we  take  the  diminishing  tension  of 
the  elastic,  we  find  ourselves  involved  in  a problem  which 
is  difficult  to  work  out  accurately  ; but  this  we  may  see 
distinctly — that  the  forces  applied  by  the  elastic  in  the  cases 
supposed  would  have  to  be  at  the  commencement  con- 
siderably more  than  three  and  eight  ounces,  and  that  the 
risk  of  shaking  the  camera  would  be  correspondingly 
increased. 

The  condemnation  of  the  use  of  elastic  which  we  apply 
to  the  shutter  of  the  drop  form— that  is,  the  one  with  one 
moving  part— must  be  understood  not  to  apply  to  that 
which  has  two  parts  moving  simultaneously  in  opposite 
directions.  In  this  case  the  reaction  of  the  one  which 
would  act  on  and  move  the  camera  is  exactly  counter- 
acted by  the  reaction  of  the  other. 


THE  TRIMMING  OF  PRINTS. 

Mr.  W.  Thomson,  of  Aberdeen,  sends  us  some  details  with 
regard  to  his  experience  in  punching  out  carte-de-visite 
prints  by  means  of  a steel  cutter,  such  as  is  employed  in 
cutting  out  envelopes ; the  two  principal  advantages  of 
this  method  being  the  rapidity  with  which  a large  number 
of  prints  may  be  cut  out,  and  the  uniformity  of  size  which 
is  ensured. 

Suitable  dies  or  cutters  can  be  obtained  to  order  in 
London  and  most  large  towns  at  a moderate  rate — we 
believe  from  6d.  to  9d.  per  linear  inch  of  cutting  edge — and, 
if  carefully  used,  they  will  remain  in  good  order  for  years. 
Mr.  Thompson  says : — 

I use  a die,  a block  of  lead,  and  a mallet ; and  the  enclosed 
photograph  will  give  you  some  idea  of  the  various  articles 
in  use.  For  C.D.V.  size,  I cut  a whole  sheet  of  paper  into 
cartes  with  one  stroke  of  the  mallet,  this  being  a very  great 
saving  of  time,  and  also  makes  very  much  superior  work 
to  the  knife  and  cutting  glass  ; moreover,  the  corners  are 
nicely  rounded  to  suit  the  round-cornered  card  mounts. 


A A. — The  die. 

B.  — The  moulded  lead  block  or  plate,  10  by  £ in. 

C. — Block  of  cast  iron,  which  is  not  required  if  a good 
solid  table  is  at  hand  to  lay  the  lead  on. 

D.  — The  mallet. 

F. — The  cut  paper  as  it  falls  out  of  the  die.  The  round 
hole  in  the  centre  of  the  die,  A,  is  to  admit  a pencil  for 
pushing  out  the  cut  paper.  One  of  more  elaborate  con- 
struction could  be  made,  with  a spiral  spring,  for  the  same 
purpose. 

E. — Negative  showing  the  register  paper  in  position. 
Any  number  of  these  papers  can  be  cut  from  waste  albu- 
menized  paper, 


It  is  scarcely  necessary  to  say  that  the  prints  must  be 
so  piled  up  as  to  ensure  the  exact  superposition  of  the 
corresponding  parts  of  the  various  impressions  ; and  Mr. 
Thomson’s  method  of  working  to  a register  paper 
attached  to  the  negative  is  easy,  and  will  be  found  very 
convenient;  but  we  have  found  a slightly  modified  system 
rather  more  convenient  in  actual  practice. 

'Two  small  patches  of  black  varnish  (say,  about  one- 
eighth  of  an  inch  in  diameter)  are  painted  on  the  negative, 
just  beyond  the  limits  of  the  portion  required  to  be  in- 
cluded in  the  stamped  out  picture,  one  of  these  patches 
being,  let  us  suppose,  at  the  top,  and  the  other  at  the 
bottom.  In  the  centre  of  each  black  patch  a small  round 
hole  is  cleared  out  with  a pointed  tool,  so  that  the  main 
patch  prints  white,  and  the  central  spot  black.  The  prints 
which  are  to  be  cut  at  one  time— perhaps  three  or  four 
dozen— are  now  impaled  on  a couple  of  pins,  care  being 
taken  that  all  face  in  the  same  direction,  and  that  the  pins 
run  exactly  through  the  register  dots.  The  circumstance 
of  the  paper  expanding  rather  more  in  one  direction  than 
the  other  affects  the  register  to  a trifling  extent,  but  not 
so  much  as  to  occasion  any  inconvenience. 

Instead  of  cutting  on  a leaden  plate,  many  persons 
prefer  to  use  a board  or  slab  of  lime-wool,  which  has  been 
sawn  transversely,  so  that  the  end  of  the  grain  shall  be 
directed  towards  the  cutting  edge  of  the  die. 

We  strongly  recommend  those  photographers  who  turn 
out  considerable  numbers  of  carte  pictures  to  adopt  the 
method  of  cutting  them  out  with  a die;  but  for  cabinets, 
and  larger  photographs,  the  advantages  of  trimming  by 
means  of  the  die  are  not  so  considerable. 


NEW  FOREIGN  LENSES. 

The  progress  made  in  photographic  chemistry  finds  its 
counterpart,  apparently,  in  the  realms  of  photographic 
optics.  Iu  this  country  the  two  leading  firms  of  Dallmeyer 
and  Ross  and  Co.  have  both  of  them  novelties  in  store  ; 
and  from  Germany  we  hear  that  instruments  of  new  con- 
struction have  of  late  made  their  appearance.  Of  these 
latter  we  propose  to  speak,  for,  since  photographers  abroad 
employ  English  lenses  to  a large  extent,  it  is  only  fair 
that  we,  in  this  country,  should  say  something  about  foreign 
optics  in  return. 

Most  opticians  have  busied  themselves  in  the  construc- 
tion of  compound  lens  systems.  Since  the  introduction  of 
the  excellent  wide-angle  single-combination  landscape  lens 
of  Dallmeyer,  in  1864,  single  lenses  have  undergone  no 
alteration. 

Moritz  Mittenzwey,  of  Zwickau,  in  Saxony,  among 
others,  has  recently  brought  out  a single  lens  of  particular 
construction.  This  instrument  is  said  to  embrace  a very 
large  field,  and  is  always  in  focus.  For  portraiture  is  said 
to  work  with  an  aperture  of  i of  the  focus  ; while  in  the  case 
of  group  photography,  the  aperture  is  | of  the  focus. 
Even  with  a very  large  opening,  there  is  very  little  un- 
sharpness, we  are  told ; but  until  the  instrument  has  been 
patented,  and  is  properly  put  before  the  world,  it  would 
be  unsafe  to  allude  more  fully  to  the  wonderful  qualities 
claimed  for  it. 

The  well-known  firm  Francjais,  of  Baris,  has  made 
some  stir  of  late  with  its  “Douvel  objectiv  reetdindar  it 
foyer  multiples.”  The  construction  is  aplanatic,  and  by 
interchange  of  the  different  lens  pieces— we  think  neither 
Messrs.  Ross  and  Co.  nor  Mr.  Dallmeyer  would  recom- 
mend such  a course  with  any  of  their  lenses — as  many  as 
nine  different  combinations  may  be  produced  of  different 
focus  and  power.  The  most  powerful  combination  of 
these  is  about  equal  to  that  of  a rapid  rectilinear  ; while 
other  aplanatic  combinations  are  suitable  for  large  land- 
scapes, and  give  such  straight  lines,  we  are  told,  that  they 
may  be  employed  for  reproductions.  For  tourists  the 
lens  is  therefore  a universal  instrument ; only  he  must  be 
an  intelligent  tourist,  for  otherwise,  like  the  fox  in  the 


April  6,  1883. J 


THE  PHOTOGRAPHIC  NEWS 


211 


fable,  who  had  nine  ways  of  escaping  the  hunters,  when 
they  pursued  him,  he  may  find  all  fail  him  when  the  time 
comes  for  a practical  result. 

Among  the  opticians  who  produce  aplanatic,  rectilinear, 
and  euryscopic  lenses,  may  also  be  mentioned  Suter,  of 
Basle.  His  aplanatic  instruments  for  portraits  and  groups 
are  more  powerful  than  most  aplanatic  instruments, 
although  inferior  to  the  anti-planatic  lens.  Still,  as  the 
Swiss  optician’s  instruments  focus  well,  and  are  com- 
paratively cheap,  they  find  a good  many  friends. 


ENAMELLING  WITHOUT  COLLODION  OR 
GELATINE. 

BY  R.  OFFORD. 

At  a recent  meeting  of  the  London  and  Provincial  Photo- 
graphic Association  some  prints  enamelled  in  a novel 
manner  having  been  passed  round  for  inspection,  and  a 
discussion  having  arisen  thereon,  perhaps  it  would  be 
better  to  define  clearly  the  process  by  which  those  rough 
specimens  were  produced. 

The  method  of  my  procedure  is  as  follows: — 

Prepares  piece  of  perfectly  smooth  flat  glass  free  from 
scratches,  a little  larger  than  prints  to  be  glazed. 
Thoroughly  polish  with  any  well  known  preparation  (such 
as  methylated  spirit,  nitric  acid,  and  tripoli).  Be  careful 
not  to  leave  the  least  smeariness  from  the  last  cloth,  which 
should  be  perfectly  dry.  Make  a rubber  of  flannel  by 
wrapping  up  half  an  ounce  of  French  chalk  (talc)  in 
powder  in  two  folds  of  new  flannel,  and  tying  round 
with  string,  like  a rough  printer’s  dabber.  Keep  this 
always  in  a box  free  from  dirt  and  chemicals.  Strike  the 
polished  glass  lightly  with  this  all  over,  until  the  chalk  is 
seen  covering  the  surface,  then  rub  it  all  over  firmly  with 
the  dabber,  until  the  chalk  has  apparently  all  gone  but  at 
the  edges.  Take  trimmed  prints  straight  from  the  last 
washing  bath,  or,  if  they  have  been  allowed  to  dry,  soak 
them  in  clean  water  for  an  hour  or  two.  Having  immersed 
the  polished  and  talced  plate  in  a dish  of  water,  face  up, 
quickly  transfer  prints  to  the  dish,  and  press  them  lightly, 
face  downwards,  upon  the  glass.  Take  care  not  to  rub 
the  surface  of  glass,  or  allow  prints  to  slide  about  much 
over  it. 

Quickly  remove  to  a squeegee  board,  such  as  is  used  in 
carbon  printing,  with  a piece  of  rubber  cloth  nailed  to  one 
end.  Lightly  squeegee  prints  under  cloth  several  times, 
from  centre  to  each  end.  Raise  cloth,  carefully  wipe  the 
back  of  glass,  and  examine  for  air-bubbles.  If  there  are 
none,  blot  off  superfluous  water  from  face,  and  allow  to 
dry  slowly.  If  there  are  air-bubbles,  replace  glass  in  dish 
of  water,  allow  prints  to  float  off,  gently  replace,  aud  re- 
eat the  process.  They  are  better  if  not  dried  too  quickly, 
n an  ordinary  room,  not  warmed,  they  will  dry  in  from 
one  hour  to  two,  and  will  then  drop  off.  The  question  of 
how  to  mount  prints  thus  treated,  and  yet  retain  the  delicate 
gloss  which  gives  even  greater  transparency  to  the  shadows 
than  the  ordinary  enamelling,  is  not  easy  to  answer. 

It  has  been  suggested  to  employ  Mr.  Cowan’s  method  of 
starching,  either  before  putting  on  the  glass,  or  as  soon  as 
the  superfluous  water  has  been  removed.  In  the  first  case, 
the  print  cannot  be  soaked  enough  to  make  it  adhere 
closely  to  glass  without  air-bells,  or  the  squeegeeing 
removes  the  starch.  In  either  case,  the  print  is  not  certain 
to  leave  the  glass  when  dry,  uuless  the  glass  is  treated 
with  alcoholic  solution  of  soap,  and  this  at  the  expense  of 
the  delicate  gloss.  Afterwards,  when  placed  on  a wetcard, 
considerable  pressure  is  required  in  a rolling  press  to  make 
surfaces  adhere  ; this  again  destroys  the  gloss.  The  most 
successful  plan  hitherto  adopted,  is  to  coat  back  of  print 
with  india-rubber  solution,  aud  the  face  of  mount  with 
the  same.  The  solution  must  be  free  from  dust  and  dirt, 
and  must  be  evenly  laid  on.  When  dry,  the  print  and 
mouDt  can  be  carefully  pressed  together,  and  subjected  to 
very  light  rolling  in  a press.  The  best  result  is  produced 


by  a polished  steel  plate  and  single  roller  above,  with  print 
laid  down  on  plate,  and  a piece  of  stout  card  intervening 
between  roller  and  back  of  mount.  Pressure  only  just 
enough  to  bring  surfaces  fairly  together  should  be  used. 


PARIS  CHIT-CHAT. 

It  is  a little  early  to  look  out  for  novelties  in  Paris,  for  until 
the  warm  spring  sunshine  exerts  its  welcome  influence,  the 
streets  and  boulevards  of  the  gay  capital  lack  their  custom- 
ary brightness.  Still,  there  has  been  plenty  of  life  in 
Paris  during  the  past  fortnight,  and  if  the  weather  was 
cold  in  Easter  week,  there  was  an  exhilarating  air  and 
plenty  of  sunshine  to  tell  of  the  advancing  year.  Nay,  in 
some  of  the  more  sheltered  squares  and  under  friendly 
awnings,  it  was  possible  to  sit  down  with  comfort,  and,  in 
the  enjoyment  of  the  afternoon  sun,  dream  of  the  summer 
time  everybody  is  looking  and  longing  for.  In  the  Luxem- 
bourg Gardens — certainly  one  of  the  pleasantest  play- 
grounds of  Paris — the  trees  were  budding  green,  and  only 
required  the  warm  breath  of  a southern  wind  to  bid  them 
burst  into  verdant  leaf  ; the  broad  basin  before  the  palace 
was  dotted  with  the  sails  of  an  infantine  flotilla,  and  white- 
bonnetted  bonnes,  with  their  gay  streaming  ribbons,  walked 
unruly  charges  to  and  fro,  as  they  are  wont  to  do  in  every 
park  and  square  of  the  French  metropolis. 

A new  name  we  noted  as  a claimant  among  photo- 
graphers of  the  first  order.  This  was  Chalot  et  Cie.,  of 
the  Rue  Vivienne,  whose  show-cases  contain  many  fine 
specimens  of  portraiture.  Our  Paris  brethren  are  not 
long  getting  themselves  known  when  they  choose.  It  is 
all  very  well  making  fine  pictures,  but  what  is  the  good, 
if  the  public  don’t  know  it?  01  course,  all  good  workers 
must  advance  in  time  if  they  will  only  wait : but  in  Paris, 
seemingly,  the  good  men  have  no  inclination  to  wait.  They 
push  themselves  to  the  front  at  once,  and  in  a way  we 
have  already  pointed  out  in  these  columns.  It  is  immate- 
rial whether  their  studio  is  in  a busy  thoroughfare  or  not ; 
if  it  is,  well  and  good,  they  put  forth  specimens  of 
their  work  and  passers-by  see  it ; but  they  do  not  rely 
simply  on  this  one  collection  to  attract  the  public.  They 
put  up  handsome  show-cases,  and,  in  some  cases,  occupy 
whole  shop-fronts  in  fashionable  spots  or  at  busy  corners, 
where  their  pictures  are  likely  to  meet  the  eye  of  the 
lounger  ; and  as,  in  Paris,  everybody  lounges,  and  every- 
body is  on  the  look-out  for  something  to  stare  at  and  kill 
time  over,  the  fine  show-cases  on  the  Boulevards,  in  the 
Rue  Royale,  on  the  Place  d’Opera,  &c.,  come  in  for  a full 
share  of  attention.  The  address  of  the  photographer  is 
not  only  on  every  picture,  but  on  the  show-cases  as  well, 
and  the  consequence  is  that  a first-rate  photographer  who 
is  also  a first-rate  man  of  business,  elbows  his  way  to  the 
front  out-of-hand. 

The  studio  Van  Bosch,  on  the  Boulevard  des  Italiens, 
is  still  one  of  the  attractions  of  the  neighbourhood.  The 
Carte  Van  Bosch,  a monster  card  of  the  same  relative  pro- 
portions as  the  cabinet — that  is  to  say,  squarer  than  the 
carte — is  held  up  here  as  a speciality,  the  huge  unframed 
specimens  being  pinned  against  a background  of  golden 
olive  plush,  which  sets  off  the  pictures  most  tastefully. 
Reutlinger,  on  the  Boulevards,  too,  is  also  pushing  big 
portraits,  aud  the  same  may  be  said  of  Mulnier  and  Nadar. 
I'he  latter,  as  we  predicted  in  our  “ Studios  of  Europe, ’’ 
now  shows  in  the  premier  rang.  Lejeune,  in  the  Rue  St. 
Houore,  and  Lafou  de  Camarsac,  facile  princeps  in  photo- 
enamelling,  make  very  little  show,  trusting,  according  to 
their  wont,  to  a well-earned  reputation  to  bring  grist  to 
the  mill.  At  Benque’s  principal  show-place— a shop  front 
in  the  Rue  Royale — some  attractive  pictures  of  Madame 
Judic,  who  is  just  now  performing  in  a popular  play  called 
Mademoiselle  Ni  touche,  are  a source  of  considerable  attrac- 


212 


THE  PHOTOGRAPHIC  NEWS. 


[April  6,  1883. 


tioD,  as  is  also  a very  fine  and  large  group.  Benque 
knows  that  theatrical  pictures — not  mere  carte  busts,  but 
large  scenes  or  groups  from  a play — are  attractive,  if  well 
conceived  and  executed,  and  for  this  reason  he  generally 
places^a  group  picture  at  the  point  of  vantage  ; but  it  must 
be  a good  picture,  full  of  life  and  meaning,  and  not  an 
aimless  grouping  of  lay  figures,  if  it  is  to  make  its  mark. 

In  the  Rue  St.  Honore  we  saw  a novelty  that  deserves 
the  serious  attention  of  photographers.  Innovations  in 
the  form  and  shape  of  photographic  portraits  we  have  had 
without  number  of  late,  but  they  have  all  been  in  one 
direction — all  growing  bigger  and  bigger.  We  have  had 
Boudoirs,  Panels,  Promenades,  Mammoths,  the  huge 
Carte  Van  Bosch,  &c.,  &c  , before  us,  and  very  fine  and 
handsome  are  these  productions.  The  prices,  too,  have  gone 
on  increasing  with  the  size  of  the  pictures,  and,  as  our 
readers  know,  three  and  four  guineas  a piece  are  now-a- 
days  asked  for  some  of  the  grand  pictures.  Unfortunately, 
the  general  public  do  not  keep  pace  with  the  photographer’s 
desires.  Now  and  then,  an  order  comes  for  a boudoir  or  a 
mammoth,  or  by  whatever  name  the  photographer  terms 
his  monster  portraits  ; but  the  carte  and  cabinet  public  do 
little  else  but  admire  the  specimens  in  the  show-case.  How- 
ever  much  we  may  adopt  the  advice  given  by  the  Little 
Marchioness  to  Dick  Swiveller,  to  make  believe  very  much, 
the  fact  remains  that  most  of  us  in  this  world  are  more 
familiar  with  pence  than  with  pounds.  Fancy  is  all  very 
well,  but  it  does  not  alter  every-day  fact,  and  it  certainly 
is  undeniable  fact  that  middle-class  people  cannot  afford 
to  dispense  guineas  for  their  portraits. 

The  modest  little  picture  which  we  have  called  a novelty 
— for  it  will  be  a novelty  to  nine  photographers  out  of 
ten — is  the  carte  mignonne.  While  its  appearance  is  very 
taking,  not  less  because  of  its  diminutive  proportions,  as 
by  reason  of  its  stylish  little  mount,  its  cost  is  such  that 
it  should  be  readily  purchased  by  the  public,  and  yet 
yield  a good  profit  to  the  photographer.  In  a word, 
the  Carte  Mignonne  has  this  essential  quality  : it  is  an 
excuse  for  the  photographer  to  charge  his  customers  less, 
while  neither  his  profit  nor  his  credit  as  an  artist  need 
suffer.  The  carte-de-visite  has  hitherto  been  the  starting 
unit  of  the  photographer  ; if  the  Carte  Mignonne  should 
ultimately  occupy  this  position,  we  make  so  bold  as  to 
assert  that  both  photographers  and  the  public  will  be 
gainers ; for  the  former  can  give,  and  the  latter  receive, 
good  work  at  a lower  price  than  that  hitherto  charged. 

The  Carte  Mignonne  will  go  into  a card  case — its  size 
is  four-fifths  that  of  a gentleman’s  card — but  nevertheless, 
it  has  no  pretensions  to  be  a visiting  card  or  anything  of 
the  kind.  It  is  as  much  a portrait  as  the  Panel  or  Boudoir 


or  the  newer  forms  of  portrait,  and,  like  these,  is  mounted 
on  a black  mount  with  bevel  gold  edges.  It  is  this  bijou 
little  mount  that  makes  the  picture  bo  bright  and  natty, 


and  stamps  it  as  a novelty.  M.  Lagriffe,  of  the  Rue  St. 
Honore,  where  we  saw  the  specimens,  charges,  we  believe, 
from  five  to  six  francs  a dozen  for  the  pictures,  and 
although  we  frankly  say  we  have  seen  better  work,  his 
attractive  little  pictures  are,  many  of  them,  delightful  pro- 
ductions. We  do  not  know  if  card  mounts  for  the 
Mignonne  are  to  be  purchased  in  this  country  at  the  present 
moment,  but,  seeing  that  they  are  obtainable  in  Paris,  it  is 
only  a question  of  asking  in  order  to  have.  The  size  of 
the  print  is  about  2 in.  by  1*  in.  or  lT\in.,  and  of  the  black 
mount,  with  its  gilt  bevel,  about  2/yin.  by  lr\  in. 

There  is  another  advantage  about  the  Carte  Mignonne, 
which  became  very  obvious  on  looking  at  a collection  of 
them.  Whether  it  is  a full-length  portrait,  or  a group  of 
two  or  three  depicted  within  the  narrow  limits — they  were 
nearly  all  of  this  nature— the  pose  and  draping  of  the 
models  seemed  well-nigh  perfect.  This  was  mainly  due 
to  the  diminutive  size  of  the  pictures,  all  errors  becoming 
so  reduced  so  as  to  be  scarcely  observable.  There  was  no 
sign  of  awkwardness  or  gaucherie  in  any  of  the  pictures, 
and  yet,  doubtless,  if  they  had  been  on  a larger  scale, 
defects  in  posing  and  in  the  drapery  would  have  been 
apparent  enough  in  many  of  them.  As  our  readers  have 
frequently  observed,  a big  ungainly  group  reduced  to 
small  dimensions  at  once  becomes  neat  and  delicate,  while 
frequently  a portrait  that  passes  muster  in  its  carte-de- 
visite  form,  when  enlarged  shows  the  most  glaring  defects. 
So  that  these  Cartes  Mignonne  would  make  much  less 
call  upon  the  photographer’s  time  in  the  studio,  while,  as 
to  material,  not  half  that  required  for  cartes  is  necessary, 
since  the  length  of  a Carte  Mignonne  is  about  the  breadth 
of  a carte.  In  the  matter  of  printing,  toning,  and  trim- 
ming, there  would  be  no  saving  of  trouble,  it  is  true,  unless, 
by  the  aid  of  a simple  arrangement  in  the  dark  slide,  three 
or  four  negatives  were  taken  on  one  plate. 

Here,  then,  is  the  result  of  bur  gleanings  from  Paris 
this  spring,  and,  such  as  they  are,  we  hasten  to  place  them 
before  our  readers. 


THE  ENGLISH  ECLIPSE  EXPEDITION. 

BY  C.  KAY  WOODS. 

No.  1. — On  tub  Way  to  the  West  Indies. 

A heavy  wind  greeted  us  as  we  weighed  anchor  in  South- 
ampton Waters,  which  boded  ill  for  the  weather  we  seemed 
likely  to  meet  as  soon  as  we  should  pass  the  Isle  of  Wight  and 
find  ourselves  in  the  troubled  waters  of  the  Channel.  True, 
the  weather,  which  for  some  days  before  we  started  had 
deserved  all  the  hard  name6  bestowed  upon  it,  had  changed 
for  the  better  ; nevertheless,  it  was  scarcely  to  be  expected 
that  we  should  at  starting  find  ourselves  as  happy  as  we 
should  have  liked  to  have  been.  Nor  were  we  disappointed. 
As  we  passed  the  Needles,  a rough  sea  found  us  busily  em- 
ployed in  the  middle  of  what  might  have  been  a comfort- 
able dinner;  as  it  happened,  the  saloon  rapidly  cleared, 
and  few  of  us  were  left  to  enjoy  the  good  things  provided 
for  us.  In  fact,  the  Company — wise,  perhaps,  in  their  gene- 
ration— found  that  by  making  the  dinner  hour  half-an-hour 
later  than  the  usual  time,  saved  one  half  of  it,  whilst  the 
other  half  was  wasted  ; or,  might  we  not  say.  bestowed  as 
nutriment  to  the  finny  denizens  of  the  English  Channel? 
But  the  general  discomfort  was  comparatively  short-lived. 
A few  days  found  all  on  board  “ in  a perfect  6tate  of  con- 
valescence ; ” not  exactly  basking  in  the  smiles  of  Phoebus, 
but  enjoying  a warm  air  and  tranquil  breeze,  which  ever 
and  anon  chased  the  clouds  away  from  before  the  sun,  and 
allowed  “ Old  Sol  ” to  obtain  an  occasional  glimpse  of  us. 
And  then  we  were  able  to  look  around  and  see  into  what 
company  fortune  had  thrown  us. 

Our  fellow-travellers,  we  found,  were  a thoroughly  repre- 
sentative group  of  ship's  passengers  in  general,  and  West 
India  passenger*  in  particular.  Here  was  the  usual  gentle- 
man interested  in  navigation,  “who  wants  to  know,  you 
know,’’  rendering  himself  the  plague  of  all  the  officers  on 


Apbil  6,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


213 


board,  who  dodged  behind  masts,  capstans,  or  ventilating 
funnels,  when  they  saw  him  coming.  There  was  the  invalid 
going  out  for  the  benefit  of  his  health.  Here,  again,  were 
a group  of  young  doctors  going  out  “ to  poison  the  blacks,” 
as  one  of  them  expressed  it  ; and  there  a group  of  Spaniards 
proceeding  to  the  West  Indian  possessions  of  their  own 
nation,  including  one  promiuent  individual  who  possessed 
singular  articles  in  the  shape  of  hats  “fearfully  and 
wonderfully  made,”  and  who  rapidly  gained  for  himself 
the  soubriquet  of  “ the  bold  brigand.”  Nor  must  wo  for- 
get to  mention  the  inevitable  motherly  old  party,  who 
bustled  about  with  a good-natured  smile  on  her  pleasant 
face,  finding  out  the  musical  talent,  and  whipping  them  in 
to  jovial  gatherings  round  the  piano.  It  was  the  same  old 
lady  (bless  her!)  who  spoke  of  us  as  the  two  astrologers 
(sic!)  who  were  on  board.  What  a thing  it  is  to  have  a 
reputation,  even  on  board  a West  India  Mail?  Moreover, 
you  will  not  be  surprised  to  hear  that  we  found  another 
amateur  professor  of  the  “black  art”  ou  board,  increasing 
our  number  to  three. 

Amid  such  a group,  one  is  immediately  seized  with 
regret  that  a detective  camera  does  not  form  a portion  of  our 
equipment,  and  attempts  are  made  to  utilize  a quarter-plate 
camera  and  instantaneous  shutter.  With  a elide  ready 
opened  for  exposure,  and  his  finger  on  the  trigger,  the  wary 
photographer  paces  the  quarter  deck  on  the  look  out  for  a 
stray  shot.  But,  alas  ! the  fame  of  gelatine  plates  has 
preceded  him.  Many  an  eye  looks  askance  at  the  apparently 
innocent  looking  bundle  of  black  cloth  under  his  arm.  He 
is  detected  in  the  first  attempt  ; each  individual  sits  down 
and  puts  on  that  staid  and  demure  expression  so  indis- 
pensable, in  the  mind  of  the  public,  when  they  suspect  they 
are  being  “ took,”  and  the  baffled  photographer  sneaks 
sheepishly  down  to  his  cabin,  and  lays  his  camera  aside  for 
another  occasion.  “ But  no  matter,  a time  will  come  ! ” 

Steering  steadily  S.W.  by  W.,  cold  breezes  and  mists  are 
gradually  left  behind.  Warm  winds  tell  us  that  we  are 
rapidly  proceeding  on  our  way  to  tropical  regions.  Patches 
of  gulf-weed  occasionally  float  past,  pieces  are  fished  up  by 
hooks  attached  to  strings,  and  are  examined  under  micro- 
scopes, and  the  daily  increasing  height  of  the  sun  warns  us 
to  get  ready  lighter  clothing.  But  it  is  at  night  time  that 
the  altering  aspect  of  nature  strikes  us  most  forcibly.  The 
constellations  of  the  zodiac  shine  almost  immediately  over- 
head, and,  amid  a brilliant  galaxy  of  stars,  Orion  beams 
down  upon  us  with  a beauty  seldom  displayed  in  our  own 
misty  clime.  New  stars,  new  constellations,  appear  above 
the  horizon  on  each  succeeding  night,  and  eyes  are  turned 
towards  the  South  in  expectation  of  soon  seeing  the  southern 
cross.  Phosphorescence  patches  glide  past  us  in  the  water, 
and  as  the  ship  speeds  on  at  the  late  of  twelve  or  thirteen 
knots  an  hour,  brilliant  flashes  of  light  appear  again  and 
again  in  her  wake.  But  as  yet  they  are  only  patches.  It 
istoo  early  in  the  season  to  see  the  whole  surrounding  water 
bathed  intbat  beautiful  phosphorescent  glowthat  illuminates 
each  wave  with  a brilliant  crest  of  tire,  so  often  described  by 
travellers.  But,  should  such  a spectacle  greet  us  during  the 
many  months  we  shall  be  on  the  water,  it  will  not  be  an 
uninteresting  experiment  to  see  how  long  it  takes  to  produce 
an  impression  on  a sensitive  plate. 

Life  on  board  a good,  well-trimmed,  well-regulated 
vessel  is  a most  agreeable  change  from  the  usual  routine  of 
the  laboratory,  observatory,  or  dark  room,  and  though,  amid 
the  many  phenomena  that  are  continually  being  presented 
to  us,  one  misses  with  regret  the  many  conveniences  for 
scinti fic  investigation  that  one  has  at  hand  when  at  home, 
the  attentive  mind  need  never  be  at  a loss  to  find  some 
object  worth  its  contemplation.  Nor,  at  the  same  time, 
can  one  be  well  blamed  tor  entering  just  as  fully  into  the 
amusements,  pastimes,  and  fun  that  form  so  large  a portion 
of  the  time  spent  within  the  limits  of  a passenger  steam- 
ship— the  merry  joke  that  goes  round  the  table  when  at 
meals,  the  dance  on  the  smooth  and  clean- kept  deck,  or  the 
«ong  or  recitation  that  takes  up  the  evening.  In  musical 


talent  our  little  community  is  specially  favoured,  and  on  one 
evening  an  elaborate  concert  was  planned  and  successfully 
carried  out.  Viscount  Combermere  occupied  the  chair,  and 
a good  round  sum  was  collected  on  behalf  of  the  orphans  and 
widows  of  those  that  die  in  the  service  of  the  Royal  Mail 
Steam  Packet  Company. 

Our  photographic  efforts  have  been  carried  out  under 
some  little  difficulties.  You  may  be  sure  that  photo- 
graphers on  board  obtain  no  peace  or  quietness  until  a 
few  groups  are  taken,  and  to  develop  these  photographs 
is  not  the  most  enviable  task.  We  arranged  that  our  dark 
tent  should  be  placed  in  the  cabin,  and  have  found  it  very 
useful  for  the  changing  of  plates.  Developing  within  it 
is  quite  another  matter.  Apart  from  being  nearly  roasted 
with  the  heat,  and,  should  the  alkaline  developer  be  used 
(though  on  board  we  always  use  ferrous  oxalate),  choked 
with  ammonia,  there  are  other  evils  that  do  not  ordinarily 
come  within  photographic  experiences.  A small  child,  for 
instance,  sees  a pair  of  boots  and  the  lower  parts  of  a pair 
of  trousers  appearing  from  beneath  a machine  which 
excites  her  youthful  curiosity,  and  running  a pin  into  one’s 
calf,  rushes  off  with  a scream  of  delight  as  a spasmodic 
movement  of  the  boots,  and  a yell  from  a head  within 
“ that  funny  little  bathing  machine,”  proclaims  that  the 
aforesaid  limbs  are  real.  Add  to  this  a sudden  and  un- 
expected roll  of  the  ship,  tipping  the  contents  of  a dish  of 
hypo  down  one's  sleeve,  and  you  will  readily  believe  me 
when  I say  that  photography  may  sometimes  be  a pain  as 
well  as  a pleasure. 

Our  voyage  has  been  exceptionally  smooth,  but  other 
vessels  have  been  less  fortunate.  On  Saturday,  the  24th, 
we  sighted  a vessel  belonging  to  the  same  Company 
as  our  own,  which  had  started  out  five  days  pre- 
viously, and,  we  conjecture,  was  destined  to  be  yet  further 
delayed.  Towards  the  close  of  tbe  day,  when  we  had 
left  her  out  of  sight,  indications  of  a storm  appeared  in  the 
North,  we  passing  just  on  its  outskirts,  tbe  wind  carrying 
it  in  the  opposite  direction  to  which  we  were  travelling. 
As  the  night  came  on,  flashes  of  lightning  appeared  again 
and  again  in  our  rear,  and  there  seems  little  doubt  that 
the  vessel  we  had  passed  encountered  the  gale,  of  which 
we  only  experienced  the  tail  end  in  the  shape  of  a heavy 
downpour  of  rain,  lasting  throughout  the  best  part  of  the 
night.  In  the  morning  the  sky  was  clear  and  the  sun 
shone  brightly,  but  the  sea  was  very  rough,  hugh  billows 
causing  her  to  roll  heavily,  while  an  occasional  wave  broke 
over  the  ship,  swamping  the  deck.  But  it  was  a splendid 
sight.  In  one  moment  we  seemed  poised  in  the  air  ; in 
the  next  we  were  touching  the  water’s  edge.  The  sun 
gleamed  from  the  snowy-white  surface  of  each  watery 
crest,  and  around  us,  from  each  shower  of  spray,  tbe  colours 
of  the  spectrum  glowed  in  the  miniature  rainbows,  while 
passing  flying  fisb,  as  they  skimmed  over  the  surface  of  the 
water,  added  an  interesting  feature  to  the  scene.  By-and- 
bye,  however,  the  sea  became  calmer,  and  we  once  more 
subsided  into  the  calm  monotony  which  had  characterized 
our  rapid  progress.  Throughout  the  voyage  we  had 
passed  but  few  vessels,  and  these  were  close  down  to  the 
horizon,  giving  us  no  opportunity  for  instantaneous  sea- 
views. 

On  the  morning  of  Thursday,  March  1st,  we  awoke  to 
find  ourselves  at  Barbadoes,  anchored  in  the  harbour  ; and, 
armed  with  small  cameras,  we  prepared  to  go  on  shore. 
Passing  through  the  town,  we  proceeded  to  transact  any 
business  we  required  done,  and  then  gave  ourselves  up  to  the 
enjoyment  of  the  rest  of  the  day.  Bo  fai  as  photography  was 
concerned,  the  prospect  was  rot  too  inviting.  The  houses 
and  streets  were  mainly  constructed  on  the  “ band-box  and 
packing-case  system  ” — square,  whitewashed  structures,  all 
straight  lines  and  right  angles — greeted  us,  and  best  part  of 
tbe  population,  consisting  of  negroes  in  garments  only  too 
European,  presented  a picture  of  a sort  of  mongrel  civiliza- 
tion which  would  require  a very  fanciful  imagination  to 
go  in  ecstasies  over.  The  African  is  Beldom  “ a thing  of 


214 


THE  PHOTOGRAPHIC  HEWS. 


[Apkil  6,  1883. 


beauty,”  even  in  his  native  wildness,  and  a civilized  nigger 
is  scarcely  calculated  to  inspire  either  poetry  or  art.  So  we 
reserved  our  ammunition,  hired  a carriage  with  a most  dis- 
reputable looking  black  driver  in  dirty  brown  garments 
tattered  and  torn,  his  woolly  pate  surmounted  with  an  old 
and  battered  chimney-pot  hat,  and  drove  out  intothecountry. 
The  country  itself,  so  far  as  our  short  inspection  permitted 
us  to  judge,  was  a mixture  of  the  natural  and  artificial. 
The  artificial  we  despised,  and  very  little  of  that  which 
seemed  natural  appeared  worth  preserving.  Only  two  plates 
were  exposed,  and  these  on  subjects  which  were  no  more 
characteristic  of  the  West  Indies  than  of  any  other  spot  on 
this  habitable  globe  ; but  they  were  picturesque,  and  that  we 
deemed  sufficient.  On  the  way  back,  a very  pretty  subject 
attracted  our  attention,  but  it  was  marred  by  an  ugly 
telegraph  pole,  and  so  we  let  it  alone  and  made  our  way 
back  to  the  ship.  Possibly  we  may  not  have  done  the  island 
justice,  after  all ; should  this  be  the  case,  a closer  inspection 
on  our  return  will  perhaps  enable  us  to  remedy  this  defect. 

At  Barbadoes  the  greater  part  of  our  fellow-passengers 
left  us  to  embark  in  other  vessels,  their  number  including 
nearly  all  the  ladies  and  most  of  the  talent.  No  more  balls 
and  concerts,  no  more  Christy  Minstrels  ! Well,  we  must  do 
the  best  we  can,  and  find  other  means  of  passing  the  time. 
We  have  yet  some  distinguished  individuals  on  board.  Part 
of  the  Panama  Canal  Commission,  for  instance,  are  with  us, 
and  we  have  been  fortunate  enough  to  secure  the  friendship 
of  M.  de  Cabarrus,  nephew  to  M.  de  Lesseps,  who  has 
promised,  should  our  stay  on  the  Isthmus  be  sufficiently 
long  to  warrant  it,  to  initiate  us  into  the  mysteries  of  the 
daring  engineering  scheme  on  which  he  is  now  engaged. 

We  stopped  for  a couple  of  hours  at  Jacmel,  in  Hayti,  to 
get  rid  of  a little  cargo,  but  we  were  not  able  to  land,  and 
we  were  not  near  enough  inshore  to  expose  plates  with  any 
chance  of  success — much  to  our  regret,  as  the  place  seemed 
very  pretty.  To-day,  the  7th,  we  reach  Jamaica,  where  we 
shall  have  time  to  take  an  excursion  inland,  and,  let  us  hope, 
to  obtain  a few  mementos  of  the  places. 

In  concluding  this  note,  I should  just  like  to  correct  a 
little  popular  misunderstanding  as  to  the  locality  of  our 
destination.  The  island  we  are  going  to  is  in  about  lat. 
10°  S.,  and  long.  150°  W.,  and  does  not  belong  to  the 
Carolina  group,  those  islands  being  very  much  further 
West. 

Jamaica,  March  7th. 


FRENCH  CORRESPONDENCE. 
Examinations  fop.  Assistants— The  Chambre  Syndicale 
of  Photography— Certificated  Operators— Remarks 
upon  the  Examination — Learned  Societies  at  the 
Sorbonne— Communications  by  MM.  Triboulet, 

Perron,  and  Vidal. 

Examinations  for  Assistants. — The  entire  week,  com- 
mencing from  March  19,  was  devoted  by  the  jury  to  the 
examination  of  candidates  for  the  certificate  of  proficiency 
as  assistants.  MM.  Davanneand  Bardy  interrogated  upon 
technical  photography,  and  M.  Leon  Vidal  on  applied 
photography.  The  candidates  admitted  to  the  practical 
examination  went  to  the  studios  of  MM.  Gougenheim, 
Berthaud,  Volkman,  and  Chalot  respectively.  The  jury, 
composed  of  the  entire  body  of  examiners — viz.,  MM.  Ber- 
thaud, Bardy,  Chalot,  Charton,  Davanne,  Gougenheim, 
L<5vy,  Vidal,  and  De  Villechole — have  awarded  the  certifi- 
cates of  proficiency  as  follows: — M.  Bornstein — For 
general  theoretical  knowledge  and  the  current  photographic 
operations  ; M.  Chevalley — For  general  theoretical  know- 
ledge and  practical  working  of  photography ; for  photo- 
type, with  commendation  of  his  artistic  ability  in  retouch- 
ing ; M.  Fisch — For  general  theoretical  knowledge; 
M.  Ginestet — For  general  photographic  knowledge,  theo- 
retical and  practical ; enamels  and  carbon  process ; 
M.  Gouffe — For  general  photographic  knowledge  ; photo- 


engraving in  relief ; M.  Jolly — For  general  theoretical 
knowledge  of  photography;  M.  Rucket — For  general 
photographic  knowledge;  M.  Volkman — For  phototype 
and  photo-engraving  in  relief.  The  demands  of  the 
candidates  determined  the  points  on  which  they  desired  to 
be  questioned.  The  jury  have,  therefore,  been  obliged 
to  limit  the  theoretical  and  practical  examinations  to 
these  special  subjects,  and  to  write  out  separately  each 
diploma  of  proficiency  so  as  to  define  clearly  the  special 
merit  of  each  candidate.  These  examinations,  which  con- 
stitute an  excellent  commencement  for  an  institution 
designed  to  render  great  service  to  photographic  practice 
and  science,  show  a want  of  sufficient  theoretical  know- 
ledge on  the  part  of  candidates.  A book  of  questions  with 
answers  will  be  brought  out  for  the  purpose  of  helping  the 
candidates  presenting  themselves  at  the  next  examination 
to  learn  theoretically  all  that  is  essential  in  our  science, 
and  the  examinations  will,  in  future,  be  more  difficult, 
although  they  were  conducted  with  gieat  care.  It  is 
hoped  that  these  examinations,  by  obliging  candidates  to 
study,  will  greatly  contribute  towards  raising  the  class  of 
photographic  assistants.  The  next  examination  will  take 
place  a year  hence,  and  new  entries  have  already  been 
addressed  to  the  President  of  the  Chambre  Syndicale. 

Meeting  of  Learned  Societies  at  the  Sorbonne. — Every  year 
during  the  Easter  holidays,  a congress  of  various  scientific 
and  fine  art  societies  from  the  provinces,  besides  Paris,  takes 
place  at  the  Sorbonne.  This  time  the  number  of  delegates 
was  considerable.  A few  notes  may  be  made  on  the  con- 
munications  relating  to  photography,  commencing  with 
that  by  M.  Triboulet,  member  of  the  Academy  of  Meteoro- 
logical Aerostatics,  on  the  various  applications  of  balloon 
photography  and  means  of  perfecting  it.  M.  Triboulet 
demonstrated,  with  the  assistance  of  his  not  over  successful 
photographs,  the  construction  of  his  panoramic  apparatus 
worked  with  seven  objectives.  The  camera  has  six  vertical 
slides,  each  bearing  a lens  ; the  seventh  is  disposed  under- 
neath horizontally.  It  appears  to  be  an  enormous  pieoe  of 
apparatus,  and  not  very  manageable,  if  one  may  judge  from 
the  results  shown.  The  six  lenses  placed  vertically  embrace 
the  view  of  the  horizon,  and  tend  to  form  a circular 
panoramic  view,  while  the  horizontal  lens  is  made  to  connect 
the  others.  In  short,  the  results  achieved  are  of  no  impor- 
tance, and  we  think  that  M.  Triboulet  will  have  to  content 
himself  with  some  other  method — that  of  employing  an 
electric  current— to  work  the  shutter.  Apropos  of  this,  the 
objection  we  make  to  Mr.  Woodbury’s  balloon  apparatus, 
although  worked  by  electricity,  is  that  it  has  only  one 
objective  placed  at  the  bottom  of  the  camera.  M.  Perron, 
another  member  of  the  Academy  of  Meteorological 
Aerostatics,  said,  on  this  point,  that  he  had  tried  in  vaiu  to 
make  use  of  Mr.  Woodbury ’s|fapparatus.  He  did  not  say 
how  it  was,  but  we  think  that  the  fault  lay  rather  with  the 
operator  than  the  apparatus.  He  remarked,  also,  that  the 
general  non-success  of  balloon  photography  must  be  to  a 
certain  extent  due  to  the  unsteadiness  of  motion.  Of 
course  this  can  no  longer  be  the  cause,  as  now  the  shutter 
can  be  worked  with  the  rapidity  of  j>r)  of  a second.  The 
misfortune  is  that  several  of  our  leronauts  are  not 
acquainted  with  the  present  photographic  appliances. 
Astronomical  reproduction  forms  the  principal  basis  of 
their  work,  and  they  ignore  the  methods  in  use.  There 
still  remain  to  be  developed,  in  Paris,  the  plates  exposed 
from  the  four  corners  of  the  globe  during  the  last  transit 
of  Venus,  and  those  charged  with  the  development  are 
absolute  strangers  to  tbe  different  methods.  I made  two 
communications  at  the  Sorbonne,  one  at  the  chemical  and 
physical  science  section  on  Warnerke’s  sensitometer,  to 
make  it  well  known,  and  induce  savants  to  study  the  ques- 
tion relating  to  this  standard  for  measuring  the  varied 
sensitiveness  of  other  substances.  The  other  paper,  in  the 
fine-art  section,  was  entitled  “ On  the  Utility  of  Instruction 
in  Methods  of  Drawing  so  as  to  be  Directly  Transformed 
to  Typographic  Negatives."  Of  course  my  work  treated  of 


April  6,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


215 


the  use  of  photography  in  the  transformation  of  designs 
executed  in  a special  manner  on  certain  paper  in  chemical 
photo-engraviug.  I announced  the  approachiug  publica- 
tion of  a manual  of  design  suitable  for  typography.  At 
the  end  of  the  Congress,  I heard  with  great  satisfaction 
the  Minister  for  Public  Instruction  proclaim  me  Officer  for 
Public  Instruction.  This  national  recompense  for  my 
modest  work  is  another  proof  of  thi  iuterest  attached  to 
the  progress  and  popularity  of  photographic  processes. 

Leon  Vidal. 


NOTES  ON  CELESTIAL  PHOTOGRAPHY. 

BT  R.  C.  JOHNSON,  F.R.A.S.* 

Great  expectations  were  formed,  on  the  discovery  of  photo- 
graphy, that  faithful  autographic  records  would  he  obtained  by 
its  means  of  the  wonders  which  are  revealed  by  the  telescope  ; 
but,  excepting  as  regards  the  two  most  conspicuous  of  the 
celestial  bodies — the  sun  and  the  moon — these  expectations 
have  not  yet  been  realised. 

The  best  photographs  of  the  moon  — such  as  have  been  taken 
by  Draper,  De  la  Rue,  Rutherfurd,  and  Ellery  — come  far  short 
of  representing  all  the  detail  which  can  be  perceived  with  high 
telescopic  powers.  Those  who  have  not  access  to  a large  tele- 
scope which  is  capable  of  bearing  powers  of  from  600  to  800 
diameters  can  judge  for  themselves  of  the  truth  of  this  assertion 
by  comparing  any  particular  spot  on  the  moon,  as  shown  by  the 
best  photograph  (for  instance,  the  well-known  crater  Copernicus, 
or  the  lunar  Appenines),  with  the  drawing  of  the  same  spot 
given  in  Nasmyth  and  Carpenter's  monograph  on  our  satellite. 

These  remarks  apply  also  to  the  sun,  excepting  that  an  extra- 
ordinary reticulated  structure  hasreceatly  been  photographed  by 
M.  Janssen,  of  Paris.  This  reticulation  has  not  been  perceived 
by  eye  observation,  and  its  nature  and  cause  have  yet  to  be  dis- 
covered. 

The  principal  reason  why  photography  has  failed  in  this  res- 
pect is  because  too  much  has  been  expected  from  it.  A longer 
or  shorter  interval  of  time  is  necessary  for  light  to  act  upou  the 
plate,  and  during  this  interval  countless  disturbances  are  taking 
place  in  a cylindrical  column  of  air  some  fifty  miles  in  length, 
and  having  a diameter  equal  to  that  of  the  object-glass  or 
speculum  employed.  It  is  only  on  those  rare  occasions  when 
the  air  is  in  a state  of  almost  absolute  serenity  that  it  is  possible 
to  obtain  a fine  photograph.  Besides  this,  in  photographing  the 
stars,  either  singly  or  in  groups,  so  long  an  exposure  is  generally 
required  that  the  telescope  has  to  be  driven  by  a clock  which 
will  make  it  accurately  follow  (or  rather  counteract)  the  diurnal 
motion  for  a space  of  one  or  two  hours.  Notwithstanding  the 
great  improvement  in  electric  and  other  controls,  this  is  still  a 
most  difficult  thing  to  accomplish. 

By  the  discovery  of  the  rapid  gelatine  process,  a great  impetus 
has  been  given  to  astronomical  photography.  The  nebula  in 
Orion  has  been  photographed  by  Dr.  Henry  Draper,  of  New 
York,  in  1880-82,  with  an  achromatic  telescope  of  eleven  inches 
aperture,  and  gelatine  plates.  Exposures  respectively  of  51,  101, 
and  137  minutes  were  given.  While  a good  representation  of 
this  irregular  nebulosity  has  been  obtained,  the  most  striking 
result  is  that  with  the  longest  exposure,  the  images  of  stars  which 
are  almost  the  minima  visibilia  with  this  telescope  are  recorded  ; 
and  the  legitimate  conclusion  is  arrived  at  “ that  it  is  not  un- 
reasonable to  hope  that,  by  still  further  prolonging  the  expo- 
sure, and  by  still  further  study  of  photographic  processes,  stars 
and  details  (of  the  nebula;)  entirely  invisible  to  the  eye  may  be 
obtained,  t 

The  late  Mr.  C.  E.  Burton,  also,  last  year  photographed  the 
images  of  Mizar  and  its  faint  companion  in  ten  secouds,  the 
stars  being  about  one-tenth  of  an  inch  apart  J As  the  iuterval 
between  these  stars  is  only  fourteen  seconds  of  arc,  this  gives 
promise  of  a useful  application  of  photography  for  the  measure- 
ment of  double  stars,  or  the  charting  of  stellar  groups  or 
clusters. 

Mr.  David  Gill,  the  energetic  Director  of  the  Royal  Observa- 
tory at  the  Cape  of  Good  Hope,  has  recently  sent  home  some 
wonderful  photographs  of  the  great  comet  of  last  autumn.  \V ith 
a portrait  lens  of  two  and  a-half  inches  aperture  and  eleven 
inches  focus,  and  a camera  strapped  to  the  tube  of  the  equatorial, 


• Read  before  the  Liverpool  Amateur  Photographic  Association, 
t Monthly  Notice,  Royal  Astronomical  Society,  vol.  slii.,  page  367. 
t Hid.,  vol.  xlii.  page  424. 


and  with  exposures  varying  between  thirty  minutes  andtwo 
hours,  the  best  photographs  ever  taken  of  a comet  have  been 
secured.  But  these  photographs  are  chiefly  remarkable  from 
the  fact  that  an  immense  number  of  stars  of  all  magnitudes  are 
accurately  depicted  on  one  plate.  These  stars  extend  over  a 
considerable  extent  of  tho  heavens,  and  point  out  the  possibility 
of  accurately  charting  at  one  operation  a space  of  about  twenty 
degrees  square.  It  is  plain  that  if  this  can  be  successfully  accom- 
plished, an  exposure  of  two,  or  even  three,  hours,  will  be  worth 
attempting. 

On  examination  of  a negative  on  which  are  the  images  of  a 
great  number  of  stars,  it  will  be  seen  that  these  images  are  all 
circles  of  nearly  the  same  size,  and  that  the  various  magnitudes 
are  shown  by  the  intensity  of  the  discs.  If  the  driving-clock 
of  the  telescope  has  not  been  most  accurate  in  its  rate  the  discs 
are  slightly  oval,  and  this  is  nearly  always  the  case.  It  is  not 
on  this  account  much  more  difficult  to  measure  their  respective 
distances,  and  there  is  then  no  fear  that  au  accidental  spot  on 
the  film  may  be  mistaken  for  a star. 

As  might  have  been  anticipated,  from  the  variety  of  colour 
which  exists  among  the  stars,  the  photographic  magnitudes 
frequently  differ  from  the  apparent  ones,  and  from  this  fact 
great  possibilities  of  the  value  of  photographic  charting  are  at 
once  opened  up.  We  know  that  our  optic  nerves  are  insensible 
to  rays  having  vibrations  of  less  than  about  325  billions  per 
second.  These  are  the  ultra-red  rays  ; and  conversely,  that  we 
cannot  see  rays  beyond  the  ultra-violet  end  of  the  spectrum, 
which  have  vibrations  exceeding  in  number  about  763  billions 
per  second.  Yet  both  of  these  groups  of  rays  can  be  photo- 
graphed on  plates  which  are  sensitised  with  appropriate  salts ; 
and  it  seems  quite  likely  that,  by  the  use  of  negatives  so  pre- 
pared, the  existence  of  stars  which  will  for  ever  be  invisible  to 
the  eye  of  man  may  be  ascertained,  and  the  autographic  records 
may  be  the  means  of  elucidating  some  of  the  mysteries  of  the 
motions  of  binary  systems,  or  of  finding  out  the  position  which 
is  occupied  by  a great  central  sun. 

The  difficulty  of  detecting  evidence  of  change  or  of  motion 
in  nebuhe,  and  in  the  richer  clusters  in  which  thousands  of  stars 
are  aggregated,  is  so  great  that  the  attempt  to  solve  it  has  been 
scarcely  made.  In  these  two  classes  of  celestial  objects  the 
application  of  photography  may  lead  to  discoveries  of  the 
supremest  interest. 


A NEW  ELATE- CARRIER. 

At  one  of  the  last  meetings  of  the  Photographic  Society 
Mr.  Warnerke  exhibited  a plate-carrier  he  had  devised  for 
taking  any  sized  plate  less  than  the  camera  was  made  for: 
instead  of  having  to  carry  many  carriers  of  different  sizes, 
his  apparatus  would  take  from  plates  one  inch  and 
upwards  ; it  would  hold  a glass  disc,  as  also  irregular 
plates,  or  any  plate  which,  becoming  broken,  would  not 
go  into  an  ordinary  carrier  ; all  these  could  be  utilized  in 
the  one  he  exhibited.  It  consisted  of  a square  frame, 
fitting  the  camera ; on  the  top  and  bottom  pieces  slots 
were  made,  in  which  two  bars  of  wood  moved,  either 
straight  or  slanting,  so  that  any  sized  or  irregular-shaped 
plate  could  be  placed  upou  these  two  bars,  the  whole  being 
kept  in  position  (as  usual)  by  the  slide  to  the  lid  pressing 


upon  it.  Pear-tree  wood  was  recommended  for  making 
the  apparatus  from.  Mr.  Warnerke  also  stated  that  he 
used  black  velvet  attached  to  the  lid,  which  he  considered 
the  best  preventive  against  light  being  reflected  from  the 
back. 


216 


THE  PHOTOGRAPHIC  NEWS. 


[April  6,  1883, 


»0tW. 

We  call  our  readers’  attention  to  a Paris  novelty —la  Carte 
Mignonne — described  in  another  column.  It  presents  at 
least  one  advantage  : the  Mignon  is  an  excuse  lor  photo- 
graphers to  charge  less,  while  still  maintaining  their  present 
prices. 

0 

We  print  in  another  column  an  interesting  letter  from 
Mr.  Ray  Woods — the  first  of  a series  he  promises  the 
readers  of  the  News— who  has  been  entrusted,  on  the  part 
of  Great  Britain,  more  especially  with  the  photographic 
work  connected  with  the  great  eclipse.  The  solar  eclipse 
does  not  take  place  till  the  6th  of  next  month,  but  as  the 
destination  of  the  expedition  is  a tiny  desert  island  in  the 
mid-Pacific,  it  was  necessary  to  make  a start  some  months 
previously. 

Three  months  ago  we  received  a new  sample  of  sulpho- 
pyrogallol  from  the  Platinotype  Company  for  experiment, 
but  it  is  only  within  the  past  few  days  that  we  have  been 
able  to  make  a thorough  trial  of  it.  The  solution,  not- 
withstanding the  time  of  keeping,  did  not  seem  to  have 
become  at  all  darker,  and  we  are  bound  to  say  it  deve- 
loped most  excellent  negatives,  with  plenty  of  density ; 
there  was  no  restraining  effect,  that  we  could  discover,  due 
to  the  sulphite  of  soda,  in  this  sample.  Moreover,  it  is  a 
very  convenient  thing  to  have  a pyrogallol  solution  in  this 
form,  ready  for  work  at  any  moment. 


Mr.  Muybridge  invites  subscriptions  for  an  edition 
de  luxe  of  his  work  on  “The  Attitudes  of  Man,  the  Horse, 
and  other  Animals,  in  Motion.”  It  will  be  illustrated  by 
a hundred  photographs,  and  every  subscriber  will  be  pre- 
sented, besides,  with  twenty-four  original  photographs 
showing  the  action  of  any  chosen  horse,  or  other  animal, 
he  may  desire  to  see  pourtrayed  in  motion.  The  sub- 
scriber has  permission,  moreover,  to  enter  the  studio  track 
during  the  experiments.  The  work  is  to  be  published  by 
the  Scovill  Manufacturing  Company,  419,  Broome  Streep 
New  York,  the  price  being  one  hundred  dollars. 


We  rejoice  to  learn  that  our  amiable  Paris  corres- 
pondent, M.  Leon  Vidal,  was  nominated  last  week,  by  the 
French  Government,  Officier  de  l’lnstruction  Publique,  at 
the  close  of  the  Congress  at  the  Sorbonne. 


Those  who  intend  to  exhibit  at  the  approaching  exhibition 
in  Calcutta  will  be  glad  to  know  that  Major  Waterhouse  is 
on  the  executive  committee.  He  writes  from  Wood  Street, 
Calcutta,  as  follows  : — “I  see  a notice  in  the  News  about 
our  Exhibition.  I shall  be  very  glad  to  do  anything  I can 
for  intending  exhibitors  of  photographs  or  photographic 
apparatus,  chemicals,  &c.,  if  they  will  write  to  me  here.  We 
are  trying  to  make  the  exhibition  a success  so  far  as  possible, 
though  the  time  is  rather  short.” 


\\  e may  remind  our  readers  that  application  to  exhibit  at 
the  Calcutta  International  Exhibition  must  be  made  before 


the  1st  of  August,  and  that  the  exhibition  will  be  opened 
on  the  4th  of  December.  Exhibits  will  be  received  at  Cal- 
cutta from  1st  October  to  within  a week  of  date  of  opening. 
Gold,  silver,  and  bronze  medals  will  be  awarded  by  a jury 
specially  chosen.  The  agent  for  Great  Britain  is  Mr.  W. 
P.  Dillworth,  4,  Westminster  Chambers. 


Mr.  Lansdell,  who  a short  time  since  lead  a paper  on 
“ Eastern  Travel  ” before  the  members  of  the  Photographic 
Society,  announces  n new  work  “Through  Siberia,”  which 
Las,  by  way  of  frontispiece,  a “ photograph  of  the  author  in 
salmon-skin  costume.”  This  may  prove  an  incentive  to 
buy  the  book  among  photographers  anxious  to  know  how 
“ salmon  ” comes  out  in  a photograph. 


A correspondent  in  a non-photographic  contemporary 
has  discoveied  that  for  amateur  work  camera  tripods  as 
made  are  far  from  perfection.  He  then  proceeds  to  give 
his  idea  of  a tripod  which  shall  combine  “ portability, 
rigidity,  and  cheapness.”  Take — to  translate  the  inventor’s 
plan  into  the  language  of  cookery  book— the  tubing  of 
which  gas  burners  are  made,  and  tightly  insert  another 
tempered  steel  tube,  “made  on  the  plan  of  the  steel 
barrels  of  cedar  penholders.”  Part  up  your  tubes  into 
pieces  of  27  in.  long,  and  couple  each  two  together  by  other 
tubing  made  to  fit  outside  the  legs,  or  short  brass  dowels 
to  fit  inside.  Connect  a base-board  by  tubes  soldered  to 
hinges,  and  screwed  in  proper  position.  For  greater  con- 
venience in  packing,  shape  the  six  tubes  so  that  a section 
of  each  would  form  a segment  of  an  inch,  and  thus  make 
a stick  three-quarters  of  an  inch  diameter,  which,  by  the 
addition  of  a knot  at  the  top,  would  counterfeit  a walking 
stick.  Or,  if  the  tubes  are  left  round,  and  a cover  slipped 
over  the  lot,  the  tripod  can  be  screwed  up  as  an  excellent 
imitation  of  an  umbrella. 


No  doubt,  as  an  imitation  walking-stick  or  umbrella,  this 
tripod  would  answer  admirably  ; but,  as  other  corres- 
pondents who  have  tried  metal  tubing  stands  point  out, 
the  vibration  “ is  something  dreadful.  Even  the  motion 
of  pulling  out  the  shutter  of  the  dark  slide  sets  up 
such  a vibration  that  one  has  to  wait  sometimes  half  a 
minute  before  taking  the  cap  off.”  So  much  for  this  gas- 
tubing tripod’s  “ rigidity,”  with  which  we  fancy  its  “ por- 
tability ” and  “ cheapness”  would  be  much  on  a par. 


Now  that  the  use  of  collodion  is  practically  nil,  will 
insurance  offices  think  fit  to  reduce  the  premium  for  extra 
risk  which  they  have  demanded  for  so  many  years  ? By 
the  way,  in  spite  of  the  supposed  dangers  arising  from 
ether  and  alcohol,  can  the  percentage  of  fires  in  photo- 
graphic studios  be  called  high  ? We  are  inclined  to  think 
the  reverse  is  the  case.  As  a matter  of  fact,  a fire  in  a 
photographic  studio  is  extremely  rare. 


Perhaps  the  most  serious  fire  of  this  kind  happened  in 
the  studio  of  a photographer  who  happened  also  to  be  a 
manufacturer  of  collodion.  The  collodion  was  stored  in 
glass  barrels,  each  holding  some  six  gallons.  The  tempera- 


April  6,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


217 


ture  of  the  studio  had  been  raised  by  a large  stove,  which 
had  been  kept  burning  for  several  hours,  and  the  conse- 
quence was  one  of  the  barrels  burst — whether  from  a flaw 
in  the  glass,  or  from  the  stopper  becoming  fixed,  could  not 
be  ascertained.  The  studio  and  its  contents  were  speedily 
destroyed ; and  no  doubt  insurance  offices  regarded  the 
fire  as  pointing  a very  salutary  moral.  But  the  circum- 
stances were  very  exceptional,  and  were  not  likely  to 
occur  in  connection  with  any  ordinary  studio. 


Our  friend  Mr.  J.  T.  Taylor,  in  writing  of  Wahls 
studio,  in  Baltimore,  in  the  Photographic  Times,  says  that 
the  principal  work  undertaken  is  cabinet  pictures,  “ for 
which  the  low  price  of  $3  a dozen  (a  dollar  is  4s.  2d.), 
only  is  charged,  this  reduction  from  regular  rates  having 
been  made  in  connection  with  the  introduction  of  gelatine 
dry  plates.  As  might  have  been  expected,  this  reduction 
in  the  prices  has  led  to  strong  antagonism  on  the  part  o^ 
other  photographers.”  Of  course,  if  a photographer 
decides  upon  lowering  his  charges,  any  excuse  will  serve  ; 
but  few  will  agree  with  Mr.  Walzl  that  gelatine  plates  are 
so  much  less  expensive  than  collodion  films. 


The  examination  of  photographers’  assistants  in  Paris, 
under  the  auspices  of  the  Chambre  Syndicale  de  la  Photo- 
graphic, has  been  concluded,  and  its  results  made  known. 
The  three  examiners  were  MM.  Davanne,  Bardy,  and  Vidal, 
and  a “ brevet  de  capacite  ” was  accorded  in  eight  instances. 
Since  photographers  of  all  nationalities  come  to  England 
for  work,  it  may  be  convenient  to  record  in  our  columns 
the  names  of  these  certificated  assistants.  Taken  alpha- 
betically, they  are : MM.  J.  Bornstein,  A.  E.  Chevalley, 
J.  Gineste,  P.  Gouffe,  A.  Fisch,  A.  Jolly,  C.  Ruckert,  and 
F.  Valkman. 


To  practise  a little  deception  in  order  to  secure  a 
person’s  portrait  is  not  unknown  in  the  realms  of  photo- 
graphy ; but  in  painting,  the  thing  is  sufficiently  rare  to 
make  a note  of.  In  the  memoir  of  Lord  Laurence,  we  are 
toll  that  his  mother,  although  desirous  of  having  a por- 
trait of  every  member  of  her  family,  was  very  obstinate 
about  sittiug  herself,  and,  indeed,  absolutely  refused  to  do 
so.  But  when  Miss  Laurence  gave  sittings  to  the  artist, 
she  objected,  it  seems,  to  being  alone,  and  the  consequence 
was  that  her  mother  bore  her  company  ; when  the  por- 
trait was  finished,  however,  to  Mrs.  Laurence’s  surprise,  it 
was  that  of  herself,  instead  of  her  child. 


What  is  the  best  way  of  packing  dry  plates  in  a box  ? 
One  plan  is  to  put  the  plates  in  pairs,  face  to  face,  with  a 
sheet  of  tissue  paper  between  ; and  another  is  to  separate 
the  faces  with  strips  of  cardboard.  Mr.  Cowan  considers 
it  a sine  qud  non  that  plates  should  rest  in  a box,  all  facing 
one  way,  films  being  downwards,  as  this  position  is  the 
most  convenient  when  filling  dark  slides  ; no  mistake  can 
then  occur,  even  if  you  have  to  transfer  from  box  to  dark 
slide  in  pitchy  darkness.  To  save  as  much  space  as  possi- 
ble, he  does  not  employ  two  strips  of  cardboard,  one  at 
each  end,  to  separate  the  plates,  but  only  one  strip,  first  at 


one  end,  then  at  the  other.  Thus,  in  packing,  a strip  of 
card  is  first  laid  at  the  right  hand  end  of  the  box,  and  a 
plate  (film  downwards)  rested  upon  it;  then  a strip  of  card 
is  placed  at  the  left  hand  of  the  box,  and  another  plate 
put  down  upon  that ; and  so  the  filling  of  the  box  goes  on, 
the  plates  being  divided  from  one  another  by  a simple 
strip  of  card,  which  is  placed  alternately  at  one  end  or 
other. 

One  advantage  of  photography  appears  to  be  the 
facilities  it  offers  for  re-discoveries.  Photographs  in 
natural  colours  used  on  an  average  to  form  the  subject  of 
a sensational  paragraph  about  once  in  six  months;  but  the 
“discoverers”  have  long  since  given  up  “natural 
colours  ” in  disgust,  and  the  “ diaphote  ” now  occupies  a 
high  place  in  their  esteem.  The  principle  of  the  diaphote 
is  the  development  of  photographic  action  at  a distance  by 
means  of  electricity.  Becquerel  demonstrated  the  possi- 
bility of  this  many  years  ago ; and  Baine’s  recording 
telegraph  was  really  au  application  of  the  principle.  The 
diaphote  was  suffered  to  remain  undisturbed  until  1880, 
when  a Ur.  Licks,  of  Pennsylvania,  and  a Professor  Min- 
chin  (nationality  unknown),  kindly  re-discovered  it.  No 
sooner,  however,  was  their  discovery  made  known,  than 
Professor  Graham  Bell  announced  that  he  had  already 
deposited  a sealed  patent  for  seeing  by  telegraphy,  a state- 
ment which  caused  the  other  claimants — Messrs.  John 
Perry  and  W.  C.  Ayton — to  declare  that  the  discovery, 
if  anybody’s,  was  theirs,  as  three  years  previously  they 
had  made  experiments  in  a similar  direction. 


The  Graphic  of  last  week  points  out  that  the  superiority 
of  wood-engraving  in  America  is  largely  due  to  photo- 
graphy. From  the  use  of  photography  has  spruug  up  a 
new  style  of  engraving,  the  chief  characteristics  of  which 
are  minute  finish  and  a marvellous  reproduction  of  the 
artist's  style,  even  down  to  brush  marks  and  chalk  lines. 
To  a master  of  the  art  of  engraving  like  Mr.  W.  J.  Linton 
(who,  we  may  remark,  in  passing,  has  made  America  his 
home),  this  method  is  very  objectionable,  for  the  reason 
that  the  engraver  is  reduced  to  a mere  mechanic.  But,  as 
the  Graphic  observes,  it  is  a question  of  demand  and 
supply ; the  public  want  good  illustrations  and  in  great 
quantities.  Artists  who  can  draw  on  wood  are  few  in 
number ; but,  by  the  aid  of  photography,  every  artist  is  at 
once  available,  while  his  picture  is  often  much  improved 
when  reduced  by  the  photographer  on  the  block. 

The  science  of  newspaper  writers  is  often  very  wonder- 
ful. The  New  York  Illustrated  Times  gravely  remarks  : — 
“ Professor  Fox,  practising  with  the  albumenized  paper  of 
photographers,  reached  the  conclusion  that  light  cannot 
penetrate  water  to  a greater  depth  than  about  125  feet. 
More  recently,  however,  some  more  sensitive  plates  have 
been  exposed  at  a depth  of  300  feet  under  water,  and  the 
traces  of  light  were  distinctly  left  on  the  plate.”  The  idea 
of  employing  albumenized  paper  as  a test  for  the  pene- 
tration of  light  through  water  was  carried  out  in  one  of 
the  Swiss  lakes  many  years  ago,  and  has  long  been  super- 
seded. 


218 


THE  PHOTOGRAPHIC  HEWS. 


[April  6,  1883. 


fatwt  Jntdlignue. 

Application  for  Letters  Patent. 

1608.  Raphael  Hunter  Brandon,  of  1,  Rue  Laffitte,  Paris,  in 
the  republic  of  Fiance,  Engineer  and  Patent  Agent,  for  an  in- 
vention of  “ Improvements  in  the  formation  of  gelatine  bromide 
film  paper  for  photographic  negatives.”— A communication  to 
him  by  Alphonse  Charles  Auguste  Thiebaut,  Photographer, 
of  1.  Rue  Laffitte,  Paris,  FrancE.— (Complete  Specification). — 
Dated  30th  March,  1883. 

1650.  Richard  Reynolds  and  Frederick  Woodward  Bran- 
son, of  the  firm  of  Reynolds  and  Branson,  of  Leeds,  in  the 
couuty  of  York,  for  an  invention  of  “ Improvements  in  photo- 
graphic ‘shutters’  for  instantaneous  photography.” — Dated 
2nd  April,  1883. 

Patents  Granted  in  America. 

273,995.  Jbsse  W.  Hyman,  of  Englewood,  N.J.,  for  “ A method 
of  colouring  photographs.” — Application  filed  20th  July,  1882. 
No  specimens. 

274,079.  Samuel  V.  Allen,  of  Freeport,  111.,  for  “A  photo- 
graphic camera.” — Application  filed  16th  November,  1880.  No 
model. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  VII. 

We  have  shown  that  sensitized  paper  and  prints  rapidly 
discolour  in  daylight;  we  will  now  describe  the  means  of 
rendering  the  prints,  if  not  absolutely  permanent,  at  all 
events  stable  enough  to  retain  their  vigour  for  some  years. 
This  is  brought  about  by  what  is  termed  toning  and 
fixing. 

Toning  is  the  operation  which  ultimately  determines 
the  colour  of  the  finished  print.  Briefly  described,  the 
print  is  composed,  as  stated  in  Lesson  III.,  of  silver  sub- 
chloride (Ag,Cl),  together  with  free  silver  nitrate  in  the 
paper.  The  greater  portion  of  the  latter  salt  can  be  easily 
removed  by  soaking  in  water,  leaving  the  image  unaltered. 
By  submitting  the  washed  print  to  the  action  of  a diluted 
solution  of  gold  terchloride  (AuCL),  a chemical  change 
will  take  place.  A portion  of  the  silver  sub-chloride  will 
be  acted  upon,  re-converting  it  into  silver  chloride,  and  re- 
ceiving a deposit  of  gold  dependent  upon  the  time  the 
action  is  continued,  and  the  restraining  power  of  the  com- 
pounds added  ; likewise  the  amount  of  free  silver  nitrate 
left  in  the  print. 

Rule. — The  longer  a print  is  subjected  to  the  toning 
bath,  the  more  gold  will  be  deposited,  and  the  tone  will  be 
colder  in  consequence. 

According  to  this  rule,  if  warm  brown  tones  are 
required,  the  prints  should  remain  only  a short  time 
in  the  toning  solution  ; purple  tones  will  be  obtained 
by  continuing  the  action  a little  longer,  and  blue 
tones  by  prolonged  immersion.  It  will  be  noticed 
that  prints  become  somewhat  reduced  in  vigour  while 
being  thus  acted  upon,  due  to  the  bleaching  action  of 
chlorine,  but  not  nearly  to  the  extent  produced  in  the  after 
operation  of  fixing  in  sodium  thiosulphate,  wrongly  called 
“ hypo,”  where  the  silver  chloride  is  dissolved  out,  leaving 
the  image  composed  of  metallic  silver,  upon  which  is 
deposited  metallic  gold.  Wheu  the  fixing  salt  has  been 
eliminated  by  copious  washing,  the  print  may  be  said  to 
be  unalterable  by  light,  although  we  do  not  wish  the 
student  to  understand  that  silver  prints  are  absolutely 
permanent,  for  experience  leads  us  to  regard  their  stability 
with  a great  deal  of  suspicion. 

Cutting. — It  will  be  found  more  convenient  to  trim  the 
prints  to  the  required  shape  before  putting  them  in  the 
water.  This  should  be  done  in  the  printing  room,  using 
only  yellow  light.  The  cutting  shape  is  a piece  of  plate 
glass  cut  and  ground,  or  polished  at  the  edges,  the  exact 
size  and  shape  the  print  is  to  be.  Take,  for  instance,  a 
cabinet  mount  with  jline  round  the  margin,  or  one 


of  the  stout  bevelled  edge  mounts,  the  cutting  shape 
should  measure  about  6 inches  by  3| ; an  ordinary 
cabinet  mount  measures  between  the  lines  6£  by  4 
inches  ; when  mounted,  the  print  will  show  -,T5th  of  an 
inch  margin  at  the  top  and  sides,  and  £th  of  an  inch 
at  the  bottom  beyond  the  print.  Cutting  shapes  of  all 
sizes  may  be  obtained  at  the  dealers  in  photographic 
materials.  Lay  the  print  face  upwards  on  a piece  of  plate 
glass,  place  the  shape  on  the  top  of  it,  and  adjust  it  in 
position  in  such  a manner  that  the  centre  is  equally 
balanced|;  that  means,  if  the  photograph  be  a portrait 
group  of,  say,  three  persons,  the  centre  figure  should  be 
midway  between  the  two  sides.  For  a head  and  shoulder 
vignette,  let  the  chin  be  the  centre ; for  a three-quarter 
length  portrait,  the  centre  should  be  a little  lower, 
reaching  to  the  chest;  this  admits  of  sufficient  back- 
ground or  space  above  the  head  to  balance  the  rest. 
When  adjusted,  cut  away  the  excess  of  paper  by  passing  a 
sharp  peuknife  round  the  edges  ; Robinson’s  cutting 
wheel  is  much  used  for  the  purpose,  on  account  of  the 
great  ease  by  which  ovals,  dome-top,  and  round  corners 
may  be  cut,  a sketch  of  the  little  instrument  being  here 
appended  (see  fig.)  ; scissors  may  be  used,  but  a little 


practice  is  required,  or  the  lines  will  not  be  cut  true  to 
the  shape. 

Washing  away  the  Free  Silver. — Place  the  cut  prints,  face 
downwards,  in  a vessel  of  water,  putting  each  in  separately 
to  avoid  their  sticking  together ; keep  them  moving  by 
gently  pressing  them  downwards  for  the  space  of  three  or 
four  minutes  ; the  water,  previously  clear,  will  now  be 
opalescent;  pour  away  the  water  into  a large  jar,  to  be 
afterwards  treated  for  residues  ; more  water  must  now  be 
added,  the  prints  separated,  and  the  water  again  poured 
off  into  the  jar.  After  three  waters  have  been  poured  off, 
the  prints  will  be  ready  for  the  toning  bath.  It  is  the 
custom  of  some  American  printers  to  add  one  ounce  of 
glacial  acetic  acid  to  each  gallon  of  the  fourth  or  la3t 
washing  water;  when  the  acetate  toning  bath  is  used,  the 
plan  is  commendable,  especially  when  fuming  is  adopted. 
The  prints  should  remain  at  least  five  minutes  in  the 
acidulated  water,  and  must  be  well  moved  about  to  prevent 
unequal  action.  The  colour  of  the  print  will  assume  a 
brick-red.  Some  English  printers  obtain  a similar  result 
by  adding  one  ounce  of  common  salt  to  each  gallon  of  the 
last  washing  water.  The  numerous  formulae  for  toning 
baths  which  have  been  published,  all  of  which  contain  some 
merit,  renders  it  difficult  to  particularize  ; we  can  only  con- 
tent ourselves  by  giving  one  good  workable  formula,  and 
refer  our  readers  to  past  issues  of  the  Photographic  News, 
and  the  Standard  Formulae  to  be  found  in  the  Year-Book 
of  Photography.  The  bath  known  as  the  acetate  seems 
to  be  more  generally  used  than  any  other,  and  with  care 
can  be  used  every  day  for  a long  period,  by  the  simple 
addition  of  a little  stock  solution  when  it  shows  signs  of 
exhaustion.  Moreover,  almost  any  tone  may  be  procured 
by  means  of  it. 

Acetate  Bath. — Make  up  the  following  stock  solution  : — 

AuClj  (terchloride  of  gold) 60  grains 

Prepared  chalk  240  ,, 

Water 10  ounces 

Shake  up,  and  leave  to  neutralize  in  the  case  of  traces  of 
acid. 

Place  in  a jug — 

Acetate  of  soda  1 ounce 

Clean  common  salt  ...  ...  ...  } ,, 

Boiling  water  ...  ...  ...  ...  50  ounces 

When  dissolved  and  cool  enough,  pour  on  to  the  gold  and 
chalk.  After  a vigorous  shakiug,  put  aside  in  a dark 
place  for  twenty-four  hours  to  settle.  To  make  up  the 
toning  bath,  pour  off  six  ounces  (let  it  be  clear)  from  the 


April  6,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


219 


stock  bottle,  and  dilute  it  with  one  gallon  of  water,  which 
will  be  sufficient  to  tone  eight  or  ten  sheets  of  fumed  paper. 

Toning. — Pour  the  toning  solution  out  into  a clean 
shallow  dish,  the  larger  the  better.  Porcelain  dishes  of 
various  sizes  are  sold  for  the  purpose,  and  should  not  be 
used  for  any  other.  Place  about  twenty  or  thirty  prints 
in  the  liquid,  one  by  one,  face  downwards,  agitating  the 
while  by  rocking  the  dish,  which  must  be  so  placed  that 
very  subdued  white  light  may  fall  on  it  when  required,  so 
that  the  colours  may  be  properly  judged.  After  the  space 
of  five  minutes,  the  prints  should  be  turned  face  upwards, 
one  by  one,  when  it  will  be  seen  that  they  are  still  red.  If 
the  dish  is  largo  enough  to  allow  of  it,  another  twenty 
prints  may  be  put  in  as  before,  face  downwards ; a little 
white  light  is  now  allowed  to  reach  the  prints.  Commence 
by  turning  over  half-a-dozen  of  the  prints  last  added,  laying 
them  face  upwards  in  one  corner  of  the  dish,  against  the 
source  of  light,  but  in  the  solution  ; next  pass  each  print 
of  the  first  twenty  or  so  towards  the  half-dozen  red  oues. 
A slight  difference  in  colour  will  be  noticed,  but  not  suf- 
ficient to  warrant  the  removal  of  any  one  print ; draw  them 
back  again  carefully  through  the  solution,  and  pass  them 
again,  one  by  oue,  to  the  same  corner  of  the  dish,  this 
time  turning  up  the  remainder  of  second  addition.  Some 
of  the  prints  first  added,  when  compared  with  those  freshly 
turned  up,  will  be  found  to  be  verging  in  colour  to  a warm 
violet,  if  warm  tones  are  desired,  the  prints  of  that 
shade  should  be  removed  from  the  bath,  and  placed  in  a 
vessel  of  water  containing  one  ounce  per  gallon  of  common 
salt,  which  arrests  further  action  of  the  toning  ; ordinary 
water  does  not  do  so  perfectly. 

After  a few  prints  have  been  removed  from  the  toning 
solution,  more  may  be  added  from  the  washing  water, 
face  downwards,  and  treated  precisely  as  the  others  have 
been,  until  the  whole  batch  are  toned.  If  cold  tones  are 
required,  the  prints  should  remain  for  a longer  period  in 
the  toning  bath.  When  they  arrive  at  the  blue  stage 
they  may  be  removed.  If  any  doubt  exists  in  the  student’s 
mind  as  to  whether  the  print  be  sufficiently  toned  or  not, 
he  will  find  it  a good  plan  to  hold  it  up  against  the  source 
of  light  ; the  colour,  as  seen  by  transmitted  light,  will  be 
pretty  nearly  the  colour  ot  the  print  when  finished  ; but 
notwithstanding  all  that  has  been  said,  practice  is  the  best 
guide  for  indicating  the  exact  time  to  remove  the  prints, 
some  papers  becoming  much  warmer  than  others  during  the 
after  process  of  fixation.  A few  points  essential  to  good 
work  in  ordinary  practice  should  be  impressed  on  the 
student  as  follows : — Always  cleanse  your  hands  and  the 
vessels  to  be  used  previous  to  soaking  the  prints  in  water. 
When  the  toning  is  finished,  pour  the  solution  back  into 
a clean  jar,  to  be  kept  only  for  the  purpose,  and  place  it 
on  the  shelf  protected  from  dust  and  light.  When  again 
required,  pour  off  the  clear  solution,  and  throw  the 
sediment  found  at  the  bottom  into  the  residues ; add  a 
measured  quantity  of  stock  solution,  and  stir  it  up  well 
before  the  prints  are  added — i.e.,  one  ounce  or  less  per 
sheet.  Avoid  placing  too  many  prints  in  the  bath  at  oue 
time,  and  keep  them  constantly  agitated.  The  number  of 
prints  above  recommended  applies  only  to  small  sizes. 
When  toning  10  by  8 or  12  by  10  prints,  not  more  thau 
two  or  three  should  be  in  the  bath  at  one  time,  unless  a 
larger  quantity  of  solution  is  employed  than  we  have 
mentioned.  Do  not  use  the  solution  stronger  than  indi- 
cated in  the  formulae.  Twenty  to  thirty  minutes  will  be 
about  the  average  time  required  when  a good  sample  of 
terchloride  of  gold  is  used. 

After  the  first  washing  and  toning  vessels  have  been 
washed  and  put  in  their  places,  give  the  prints  two  changes 
of  water  to  free  them  from  traces  of  the  toning  solution. 
They  are  now  ready  for  the  next  operation,  “ fixing,”  which 
will  be  described  in  the  next  lesson. 

Note. — Subdued  white  light  admitted  in  the  printing 
room  during  toning  must  be  used  with  extreme  caution, 
as  the  priuts  are  not  safe  until  after  fixation. 


NOTES  ON  PHOTOGRAPHY. 

BT  E.  HOWARD  FARMER. 

Lecture  XVII. — Optics* 

The  Refraction  of  Light  and  Lenses. — When  a ray  of 
light  passes  obliquely  from  one  transparent  medium  to 
another  of  a different  character  or  deusity,  it  is  refracted 
(bent  out)  from  its  former  direction.  If  a perpendicular 
is  drawn  on  the  surface  separating  the  two  media  at  the 
point  where  the  light  enters,  it  is  found  that  when  the 
second  medium  is  denser  than  the  first,  the  light  is 
refracted  towards  this  perpendicular,  and  when  it  is  rarer 
than  the  first,  away  from  the  perpendicular. 

In  passing  through  an  ordiuary  sheet  of  glass,  light  is 
bent  in  this  way ; but,  owing  to  the  second  surface  being 
parallel  to  the  first,  the  second  refraction  is  equal  to  the 
first,  and,  from  the  foregoing  rule,  in  the  opposite  direction, 
so  that  the  emergent  light  proceeds  in  a path  parallel  to  its 
former  one.  When  the  two  surfaces  are  not  parallel  with 
each  other,  the  emergent  light  makes  an  angle  with  its 
former  path,  which  is  greater,  the  greater  the  angle 
enclosed  by  the  surfaces.  On  examining  these  cases  also  by 
the  rule  given,  it  will  be  found  that  the  light  on  emergence 
is  always  refracted  towards  the  thickest  part  of  the  glass. 
Depending  on  these  facts  lenses  are  made ; when  thickest 
in  the  centre  they  cause  light  passing  through  them  to 
converge  towards  the  centre,  and  when  thickest  at  the 
margin  to  diverge  towards  the  margin.  The  first  kind  are 
called  converging  lenses,  and  the  second  kind  diverging 
lenses.  There  are  three  forms  of  each — 


1.  Double  convex 

2.  Plano  convex  (one  side  flat) 

3.  Convexo-concave  (convexity  greatest) 


converging 

lenses. 


4.  Double  concave 

5.  Plano  concave  (one  side  flat) 

6.  Concavo-convex  (concavity  greatest) 


diverging 

lenses. 


Nos.  3 and  6 are  usually  called  meniscus  lenses,  either 
converging  or  diverging.  Whenever  light  passes  through 
a lens,  the  emergent  ray  is  weaker  than  the  incident  one, 
more  or  less  being  invariably  lost  by  reflection  from  the 
two  surfaces. 

Chromatic  Aberration  (dispersion). — White  light,  after 
passing  through  a single  lens,  is  found  to  be  fringed  with 
colour,  and  objects  viewed  through  it  also  appear  fringed 
with  colours ; this  is  due  to  dispersion,  or  that  the  differ- 
ent coloured  lights  are  refracted  by  the  lens  to  different 
extents.  It  is  corrected  in  converging  lenses  by  combin- 
ing with  a converging  crown  glass  lens  a diverging  flint 
glass  lens ; the  dispersion  of  the  two  lenses  being  oppo- 
site in  direction,  neutralize  one  another;  the  dispersion 
with  flint  glass  being  greater  than  with  crown  glass  for  an 
equal  amount  of  refraction,  enables  the  required  refraction 
to  be  obtained.  Such  a lens  is  said  to  be  achromatic 
spherical  aberration.  Owing  to  the  spherical  curves  given 
to  lenses,  rays  from  the  same  point  falling  on  their  margin 
are  not  brought  to  the  same  focus  as  those  falling  on  their 
centre,  the  consequence  being  that  images  formed  by  them 
are  blurred  and  indistinct.  This  evil  is  reduced  to  a 
minimum  by  the  employment  of  small  sections  of  curves, 
and  by  the  use  of  stops. 

Curvature  of  Field. — Sometimes,  on  focussing  the  centre 
of  an  object  on  the  ground  glass,  the  margins  are  found  to 
be  indistinct,  and  if  the  margins  are  brought  into  focus, 
the  centre  becomes  indistinct.  This  is  due  to  the  fact  that 
the  natural  focus  of  an  image  formed  by  a lens  is  curved, 
not  flat.  In  order  to  obtain  a sharp  image  on  a flat  sur- 
face, a meniscus  form  of  lens  with  the  concave  side  next 
the  object,  is  employed,  and  a stop  used  some  distance  in 
front  of  it.  In  this  case  the  centre  of  the  lens  is  used  to 
form  the  centre  of  the  image,  and  the  margins  of  the  lens 
nearest  the  respective  margins  of  the  plate  to  form  the 


* Read"  A Treatise  on  Photography  ” (chap,  xxix.) 


220 


THE  PHOTOGRAPHIC  HEWS. 


Apbil  6,  1883. 


image  of  obliquely  placed  objects,  the  result  being  that 
ody  those  rays  which  come  to  a focus  nearest  the  flat 
plate  are  employed.  At  the  same  time,  however,  distortion 
is  introduced,  and  the  angle  of  view  curtailed. 

Distortion. — When  rays  from  an  object  fall  obliquely  on 
a lens,  those  which  pas3  through  the  margin  nearest  that 
part  of  the  plate  where  the  image  is  formed  fall  on  it, 
nearer  the  centre  than  they  should  do  for  correct  propor- 
tion, and  those  which  pass  through  the  opposite  margin 
fall  on  it  further  off  than  they  should  do  ; hence  if  a stop 
is  placed  some  distance  away  from  the  lens,  so  as  to  use 
the  margin  to  form  portions  of  the  picture,  distortion  is 
produced — barrel,  if  the  stop  is  in  front,  and  pincushion 
if  it  be  behind.  This  defect  is  effectually  cured  by  using 
two  lenses  with  a stop  between  them. 

Inequality  of  Illumination. — This  is  produced  by  three 
causes: — 1st,  the  more  obliquely  light  falls  on  a given 
aperture,  the  less  there  will  be  transmitted ; 2nd,  the 
more  obliquely  a beam  of  light  falls  on  a surface,  the 
greater  the  surface  it  will  cover;  3rd,  with  inferior  lenses 
the  centre  of  the  plate  may  be  illuminated  with  reflected 
light  from  the  lens  (flare  spot). 

Mote. — It  is  particularly  requested  that  all  the  members 
of  the  class  will  be  present  to-morrow,  or  the  next  Satur- 
day, at  7-30. 

o- 

A METHOD  OF  TONING  GELATINE 
TRANSPARENCIES. 

BY  H.  TRUEMAN  WOOD. 

Sufficient  interest  was  taken  in  some  lantern  slides  which  I 
showed  the  other  day  at  the  Photographic  Club  to  make  it 
seem  its  worth  to  note  the  method  by  which  they  were  pro- 
duced, especially  a6  there  appears  a general  wish  among  the 
makers  of  lantern  slides  to  substitute  some  warmer  colour 
for  the  cold,  often  almost  greenish  black,  generally  found 
when  gelatine  is  employed. 

The  process  used  was  simply  the  uranium  process  for  the 
intensification  of  gelatine  negatives,  by  uranium,  described 
in  Dr.  Eder’s  Modern  Dry  Plates.  Having  used  it  success- 
fully for  its  proper  purpose,  it  occurred  to  me  to  try  whether 
it  would  serve  equally  well  as  a toning  agent,  and  after  a 
few  trials  it  appeared  that  without  much  difficulty  a series 
of  warm  browns  and  ied6  could  be  obtained,  while  in  some 
cases  a richer  colour,  even  tending  to  purple,  could  be 
achieved.  The  plate  is  immersed  in  a solution  containing 
1 to  2 pc  r ceDt.  of  uranium  nitrate  and  a similar  amount  of 
potassium  ferricyanide.  The  amount  of  the  iron  salt  may 
vary  considerably,  and  the  colour  of  the  resulting  trans- 
parency will  also  vary.  The  uianium  should  not  be  in 
excess,  or  the  high  lights  of  the  transparency  will  be  stained. 
It  the  slide  be  sufficiently  vigorous  in  the  first  instance, 
toning  with  a weak  solution  gives  a colour  very  like  that  of 
the  admirahle  collodio-bromide  slides  of  Mr.  Brookes. 
If  theslidebe  weak,  and  require  intensification,  the  employ- 
ment of  a stronger  solution  gives  a reddish  brown,  or  rather 
a brownish  red.  The  plate  may  be  immersed  in  the  uranium 
solution  first,  and  the  iron  added  ; and  I am  inclined  to 
think  this  is  the  best  plan. 

For  most  subjects  these  colours  are  evidently  less  appro- 
priate than  the  ordinary  black  and  white,  but  I think  the 
variety  that  can  be  obtained  by  their  use  is  pleasant  in  any 
case,  and  there  are  subjects  for  which  the  colour  is  a positive 
advantage. 

Dr.  Eder  speaks  of  the  process  as  permanent ; but  of  that 
I have  no  experience,  never  having  tried  the  process  at  all 
till  last  autumn. 


HOW  TO  SENSITISE  PAPER. 

BY  HENRY  J.  NEWTON.* 

It  may  strike  the  reader  of  this  heading  as  being  quite  absurd 
to  be  writing  about  how  to  sensitize  paper  at  this  late  date,  and 

• Photographic  Times. 


also  as  somewhat  presumptuous  in  anyone  to  suppose  that  ther® 
can  anything  be  said,  or  any  useful  information  given,  upon  a 
subject  supposed  to  be  so  well  understood  generally  by  the  pro- 
fessional photographer.  I will  simply  tell  how  I do  it,  and  give 
my  reasons  why  ; and  if  I succeed  in  convincing  anyone  that  the 
reasons  are  good,  and  they  are  thereby  induced  to  try  my 
method,  I think  they  will  adopt  it.  For  a long  time  the  photo- 
graphic mind  has  been  almost  wholly  absorbed  by  the  gelatine 
dry  plate  process,  and  now,  after  success  has  been  attained  in 
that  direction,  it  seems  to  me  a good  time  to  explain  how  to  use 
the  negatives  to  the  best  advantage. 

A negative  of  itself  is  of  little  value  or  interest,  neither  is 
there  any  beauty  in  it,  except  to  an  experienced  photographer. 
The  business  is  carried  on  for  the  profit  made  in  the  prints  from 
the  negative  ; therefore,  he  who  can  make  the  best  prints  will 
gain  an  enviable  reputation  and  establish  a business,  other  things 
being  equal,  when  another,  with  equally  good  negative,  would 
fail. 

The  bath  which  I use  is  compounded  as  follows : — 

Nitrate  of  silver 40  grains 


Nitrate  of  ammonia 
Liquid  ammonia 
Water  


30 
2 minims 
1 ounce 


This  bath,  you  will  perceive,  is  decidedly  alkaline,  and  should  be 
kept  so  by  occasionally  adding  more  ammonia,  as  the  tendency 
is  to  become  acid  by  liberating  nitric  acid  by  the  decomposition 
of  the  nitrate  of  silver.  I have  become  so  used  to  the  working 
of  this  bath,  that  I can  tell  by  the  appearance  of  the  prints  when 
it  requires  more  ammonia. 

After  you  have  compounded  this  bath,  test  its  strength  by  the 
hydrometer,  and  make  a note  of  the  record  in  your  memorandum 
book.  The  nitrate  of  ammonia  is  of  less  specific  gravity  than  the 
silver,  therefore  it  will  not  register  so  much  ; but  as  in  use  the 
bath  is  not  depleted  of  that  salt,  to  strengthen,  add  more  solu- 
tion compounded  as  above,  and  then  the  silver  nitrate  until  the 
hydrometer  test  indicates  the  original  strength.  This  bath  can 
be  satisfactorily  used  until  the  silver  is  reduced  to  twenty-five 
grains  to  the  ounce,  and  even  less. 

The  nitrate  of  ammonia,  in  conjunction  with  the  silver 
nitrate,  acts  powerfully  as  a coagulator  of  the  albumen,  the 
consequence  of  which  is  that  you  get  an  uncommonly  fine 
brilliant  surface  to  your  paper.  Another  and  perhaps  more 
important  advantage  of  this  bath  is  the  fact  that  it  does  not 
change  colour.  An  acid  or  neutral  bath  soon  turns  yellow  or 
brown,  and  in  a short  time,  especially  in  warm  weather,  becomes 
unfit  for  use,  and  has  to  undergo  “ reconstruction,”  by  boiling 
or  otherwise,  whereas  the  bath  I recommend  can  be  used  for  a 
year  or  more,  and  remain  clear  and  white  as  at  first. 

Again,  it  is  not  necessary  to  fume  paper  sensitized  on  this 
bath,  as  it  prints  a deep,  rich  colour,  and  when  used  for  printing 
from  a W“ak  negative,  the  print  will  be  more  satisfactory  without 
fuming.  For  strong  negatives  I would,  however,  recommend 
fuming.  To  accomplish  this,  reduce  the  ammonia  to  one-half 
its  original  strength  by  diluting  it  with  an  equal  part  of  water. 
With  this  diluted  ammonia,  fume  in  warm  weather  from  fifteen 
to  twenty  minutes  ; in  cold  weather  not  more  than  thirty  or 
thirty-five  minutes. 

I would  advise  any  one  using  this  bath  to  try  it  with  and 
without  fuming.  The  fumed  paper  tones  in  a little  less  time 
than  the  unfumed.  To  sensitize,  let  the  paper  lay  on  the  bath 
about  three  minutes  ; when  taken  off,  iaise  one  end  and  press  it 
against  the  edge  of  the  dish  until  it  adheres,  then  bring  up  by 
pressing  against  the  paper  until  the  end  ofi  t is  above  the  edge; 
take  hold  of  it  then,  and  raise  it  gradually  at  a slight  angle.  The 
paper  will  adhere  closely  to  the  side  of  the  dish  by  atmospheric 
pressure,  and  the  surface  will  be  free  from  any  of  the  sensitizing 
solution.  There  will  be  no  drip  or  waste.  After  it  is  hung  up 
to  dry,  wipe  the  bottom  edge  with  blotting  or  filtering  paper, 
and  it  will  dry  in  less  than  half  the  time  that  would  be  required 
if  lifted  from  the  bath  in  the  usual  way. 

This  is  quite  important,  not  only  saving  time  and  sensitizing 
solution,  but  the  fact  that  the  paper  dries  quickly  and  is  freed 
from  any  unnecessary  excess  of  nitrate  of  silver  is  also  impor- 
tant, because  it  will  remain  white  much  longer,  and  conse- 
quently be  in  better  condition  for  printing  should  it  become 
necessary  to  keep  it  two  or  three  days  after  sensitizing. 

I have  experimented  with  almost  every  printed  formula  for  a 
sensitizing  bath  for  albumen  paper,  but  have  found  none  which 
yields  results  so  satisfactory  as  this  one.  The  prints  are  peculiar 
for  their  clearness  and  brilliancy,  and  easy  and  satisfactory 
response  to  the  effect  of  the  toning  bath. 


Apbil  6,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


221 


ON  GELATINO-CHLORIDE  EMULSION  IN  THE 
CAMERA. 

BY  ALEXANDER  COWAN.* 


The  only  apology  I can  offer  in  bringing  before  you  this  evening, 
the  subject,  of  gelatino-chloride  emulsion  is  the  fact  that,  whilst 
on  all  hands  the  beauty  of  the  process  is  acknowledged,  yet  there 
somehow  exists  the  idea  that  it  is  of  necessity  a slow  process, 
and  only  useful  for  contact-printing  from  negatives  of  the  same 
size  as  the  positive  required,  and  is  not  available  for  artificial 
light  or  for  reduction  in  tho  camera.  That  this  opinion  does 
exist,  and  has  often  been  expressed,  I know  ; and  in  proof  of 
this  I should  like,  for  a moment,  to  quote  a paragraph  from  an 
article  in  the  British  Journal  of  23rd  February  last,  iu  which  the 
writer  says  : — 

“ Where  negatives  are  specially  taken  of  the  required  size,  and 
when  contact-printing  consequently  is  possible,  nothing  can 
exceed  the  beauty  of  the  results  producible  by  means  of  collodio- 
bromide,  carbon,  Woodbury,  or  gelatiuo-chloride,  with  ferrous- 
citrate  or  citro-ferrous-oxalate  development;  but  unfortunately 
these  methods  are  too  slow,  as  a rule,  for  employment  iu  the 
camera  when  reduction  is  necessary,  so  that  the  wet-collodion 
process  continues  to  be  used  by  the  majority  of  makers  of 
lantern  slides.”  Again,  a little  further  on,  the  writer  of  the 
article,  after  remarking  on  the  beautiful  tones  that  the  gelatino- 
chloride  plates  are  capable  of  producing,  says  : “ However,  as  I 
have  said,  gelatino-chloride  is  too  slow  for  camera  work,  at  least 
for  the  majority  of  amateurs.”  Every  one  who  visited  the 
exhibition  at  the  Society  of  Arts  was  struck  with  the 
beauty  of  the  transparencies  by  the  gelatino-chloride  process 
exhibited  by  Dr.  Eder,  and  the  sight  of  them  no  doubt  induced 
many  besides  myself  to  try  the  process.  I believe  the  article, 
as  published  by  him  in  the  Year-Book  of  Photography  for 
1882,  contains  all  the  information  required  for  any  one  at  all 
conversant  with  emulsion-making.  For  convenience,  however, 
I will  give  the  exact  formula  and  mode  of  working  in  English 
weights  and  measures,  and  I should  like  to  add  at  this  time  that 
I can  tell  you  nothing  original,  but  all  that  I can  tell  you  has 
been  begged  or  borrowed  from  every  available  source  at 
command. 

The  proportions  for  emulsions  such  as  these  pictures  have  been 
printed  on  are  the  following  : — 


Silver  nitrate  ... 
Sodium  chloride 
Gelatine  (Heinrich’s)  ... 
Distilled  water 


...  950  grains 
...  480  „ 

...  960  „ 

...  30  ounces 


The  silver  is  dissolved  in  10  ounces  of  the  water  ; the  chloride  and 
half  of  the  gelatine  in  15  ounces,  and  the  other  half  of  the 
gelatine  iu  the  remaining  5 ounces  of  water,  after  having  been 
allowed  to  swell  for  some  time  previously.  All  the  vessels  are 
heated  to  about  120°,  or  sufficiently  to  thoroughly  melt  the 
gelatine,  and  are  then  removed  to  the  dark  room,  and  the  silver 
solution  mixed  with  the  gelatine,  and  then  slowly  emulsified  into 
the  gelatine  and  chloride  ; this  is  then  poured  out  into  a flat 
dish  and  cooled  rapidly  with  running  water,  and,  when  tho- 
roughly set,  washed  in  the  usual  manner.  This  makes  from 
40  to  50  ounces  of  an  exceedingly  fine  emulsion,  and  very  slow 
— just  the  thing  for  making  transparencies  by  contact-printing 
and  development  by  ferrous  citrate  or  ferrous  citro- oxalate,  but 
for  camera  work  is  certainly,  under  ordinary  circumstances,  too 
slow. 

I will  now  hand  round  some  slides  taken  in  the  camera,  and 
give  the  formula  used  to  make  the  emulsion.  I should  like  to 
say,  before  doing  so,  that,  as  far  as  I have  experimented,  I have 
not  tried  to  obtain  the  extremely  warm  tones  on  plates  exposed 
in  the  camera,  for  reasons  which  1 will  explain  further  on.  For 
the  emulsion  for  quick  plates  the  same  proportions  are  taken, 
with  the  addition  of  40  minims  of  a 1 0 per  cent,  solution  of  hydro- 
chloric acid  ; but  only  one-quarter  the  bulk  of  gelatine  is  used  ; 
half  of  this  is  mixed  with  the  chloride,  and  half  with  the  gela- 
tine as  before,  and  the  remaining  three-fourths  left  to  swell  in 
water.  As  soon  as  the  silver  and  chloride  are  emulsified  together, 
the  vessel  is  removed  to  the  boiling  arrangement  and  boiled 
for  fifteen  to  thirty  minutes  or  longer,  according  to  the  rapidity 
required,  and  then  the  remainder  of  the  swelled  gelatine  at  once 
stirred  in,  a leaf  at  a time,  put  by  to  set,  and  washed  in  the  usual 
way.  The  developers  used  in  the  experiments  I am  about  to 
detail  were— the  ordinary  ferrous  oxalate;  the  ferrous  citro- 
oxalate  of  Captain  Abney  ; the  ferrous  citrate  of  Dr.  Eder. 

• Read  before  the  Photographic  Society  of  Great  Britain. 


The  first  plate  I hand  round  is  printed  out  direct  on  citro- 
chloride  after  Captain  Abney’s  formula ; but  as  I have  as  yet 
had  so  little  experience  with  it,  I have  no  remarks  to  make. 
The  other  two  contain  a series  of  transparencies  printed  in 
contact  by  gaslight,  and  developed  by  {various  modifications  of 
the  developers  I have  mentioned  ; and  as  they  are  all  numbered, 
I can  give  any  information  respecting  any  one  of  them  if 
required  ; but  as  I propose  to  show  you  some  others  of  which  I 
have  noted  more  exactly  the  conditions  observed  in  each  case, 
I will  pass  them  on  without  any  further  comment.  The  two 
slides  of  group  are  the  first  trials  I ever  made  in  the  camera, 
and  were  exposed  to  reflected  light  from  a bright  sky  for  forty- 
five  seconds  ; and  one  developed  with  ferrous  citrate  without 
any  restrainer,  and  the  other  with  the  addition  of  a trace  of 
ferrous  oxalate.  The  next  series  are  printed  by  gaslight  on  slow 
plates,  and  will  be  explained  by  those  that  follow. 

I have  not  found,  when  using  the  ferro-citrate-oxalate  developer, 
that  the  length  of  exposure  has  any  effect  on  the  colour  of  the 
image,  and  I think  the  following  experiments  will  illustrate 
this:— Six  plates  were  exposed  to  the  same  light,  viz.,  three 
inches  from  a gas  flame,  each  plate  having  one-half  more  expo- 
sure than  the  other,  the  first  having  forty  seconds,  and  the  last 
303  seconds  ; and  I think  you  will  see  that  there  is  no  difference 
in  tone,  but  only  an  increasing  depth  of  the  same  colour  ; the 
whole  of  them  are  developed  for  the  same  length  of  time,  viz., 
thirty  seconds. 

The  first  of  the  series  of  comparative  experiments  I propose 
to  show  you  contains  six  exposures  made  in  the  camera  on  a 
very  dull  day,  with  varying  exposures  from  five  to  ten  minutes, 
and  developed  as  the  last,  with  varying  proportions  of  the  same 
developers  ; but  the  remarks  I have  to  offer  further  on  will 
explain  any  differences  that  may  be  noticed  in  them. 

With  ferrous-citro-development  I have  been  able  to  get  a 
variety  of  tones,  as  the  examples  handed  round  will  show  ; the 
majority  of  these  plates  have  been  exposed  to  artificial  light,  as 
being  more  constant  when  experiments  have  to  be  taken  up  at 
any  leisure  moment.  The  first  plate  was  exposed  for  sixty 
seconds,  3 inches  off  gas  flame,  and  developed  with  ferrous 
citrate  (made  with  liq.  ammonia)  for  ten  minutes.  The  next 
plate  treated  exactly  the  same  ; but  the  developer  was  made 
with  carbonate  of  ammonia,  and  gives  an  image  of  double  the 
density.  The  next  plate  had  only  half  the  exposure,  and  was 
treated  the  same,  and  still  gives  a denser  picture  than  No.  1, 
thus  proving  to  my  mind  that  the  developer  made  with  the 
carbonate  is  much  more  powerful  than  that  made  with  liq. 
ammonia ; so  for  all  subsequent  experiments  I have  used  the 
carbonate. 

In  the  next  plate,  No.  4,  I gave  eight  times  the  exposure  of 
the  last,  and  developed  for  only  one  quarter  the  time  (24 
minutes),  to  see  what  effect  long  exposure  had  on  the  colour  of 
the  image,  and  to  my  mind  it  conclusively  proves  that  great 
alteration  in  colour  is  not  to  be  gained  by  great  differences  in 
exposure  when  using  a constant  developer  ; but  I thmk  that  the 
further  examples  will  show  that,  with  very  prolonged  exposures 
and  same  developer  powerfully  restrained,  a great  variety  of 
tones  may  be  produced . The  next  plate,  No.  5,  will,  I think, 
explain  this,  as  it  was  treated  in  all  respects  the  same  as  the 
last,  but  with  the  addition  of  one  grain  of  chloride  of  sodium 
added  to  each  ounce  of  the  developer ; this  plate  took  forty 
minutes  to  develop,  but  you  will  notice  a very  distinct  change 
of  colour.  In  the  last  plate  on  this  series,  only  half-a-grain  of 
restrainer  was  used,  and  only  fourteen  minutes’  time  of  develop- 
ment, and  I think  these  last  two  examples  show  the  great  re- 
straining power  of  the  chloride. 

In  the  next  series  I determined  to  test  this  point  more  tho- 
roughly, and,  as  the  exposures  to  gas-light  would  be  tedious,  I 
made  the  next  six  plates  by  daylight,  giving  the  first  one  five 
seconds,  and  using  two  grains  of  chloride  as  restrainer,  and  deve- 
loping ten  minutes;  this,  although  a great  over-exposure  for  an 
unrestrained  developer,  was  not  enough,  so  the  second  plate  was 
given  twenty  seconds  to  daylight,  and  developed  the  same  time, 
and  proved  about  the  right  exposure,  although,  from  the  experi- 
ence gained  by  the  previous  series,  the  exposuie  was  twenty 
times  more  than  would  be  required  by  the  same  developer  with- 
out any  restraining  chloride  ; but  the  colour  of  the  image  is 
totally  different. 

In  the  next  plate,  No.  3,  I again  doubled  the  exposure,  giving 
forty  seconds,  and  doubled  the  chloride,  using  four  grains  to 
each  ounce  of  developer,  and  developed  for  same  time — ten 
minutes — the  result  being  a distinct  change  in  colour.  Up  to 
this  stage  I should  say  that  I had  entirely  used  slow  plates  ; but 


222 


THE  PHOTOGRAPHIC  NEWS. 


[Aran.  6,  1883, 


in  order  to  see  whether  the  same  tones  could  be  obtained  on  the 
quick  plates,  which,  under  ordinary  treatment,  give  cold  tones, 
1 made  the  next  exposure  < n a quick  plate,  requiring  only  one- 
sixth  the  time,  and  I was  pie  ised  to  find  the  result  very  similar. 
The  fifth  plate  I treated  the  same  way  as  the  last,  but  added 
one-quarter  the  volume  of  ferrous  citro-oxalate,  with  the  result 
that  the  development  only  took  three  minutes,  but  the  whole 
tone  is  altogether  colder.  The  last  on  the  series  was  treated 
with  exactly  the  same  developer,  but  had  eight  ounces  of  chlo- 
ride to  the  ounce,  the  colour  being  the  same,  but  the  lights  of 
the  picture  remaining  a little  brighter. 

I feel  that  I have  not  nearly  exhausted  the  subject  of  the 
development  of  these  plates,  but  trust  that  some  others  will  give 
us  the  benefit  of  their  experience  in  this  direction. 


TO  SAVE  SILVER  WASTES  ARISING  FROM  THE 
DEVELOPMENT  OF  PLATES. 

BY  W.  CLEMENT  WILLIAMS. 

I use  a zinc  tray  two  inches  deep  to  hold  the  fixing  hypo. ; 
this  we  will  call  A. 

Another  tray  1|  inch  deep,  but  bottomless  (with  the 
exception  of  a number  of  pieces  of  wire  strained  across  to 
answer  this  purpose),  and  of  a size  to  fit  into  A easily,  but 
prevented  by  a projection  from  doing  so  lower  than  1 inch, 
is  called  B. 

When  a plate  is  ready  for  fixing,  lay  it  on  the  wire 
foundation  of  B,  of  course  film  upwards  ; lower  B into  the 
hypo,  tray  A,  and  gently  rock  until  fixation  is  complete. 

If  you  now  examine  the  lower  tray  you  will  find  the 
silver  thrown  down  in  the  form  of  a fine  black  powder, 
and  it  is  astonishing  what  a large  quantity  of  this  a few 
plates  will  afford. 

I will  hardly  say  it  is  the  action  of  the  zinc  that  causes 
precipitation  ol  the  silver. 


(&0msy0tt&tncf. 

SAL  SODA  DEVELOPER. 

Dear  Sir, — On  page  20G  of  your  last  number,  Mr.  John 
Garbutt,  speaking  of  the  sal  soda  developer  says:  “The 
solution  of  carbonate  of  sodium  may  also  be  prepared  as  a 
saturated  solution,  and  a portion  diluted  for  the  day’s  use.” 
1 had  thought  the  same,  and  made  up  a lot,  about  the 
time  that  I wrote  to  you  about  Dr.  Newton’s  developer,  and 
took  4 ounces  to  16  ounces  of  water  ; but,  after  a time,  the 
developer  did  not  develop  so  freely  as  before,  and  I got 
tired  of  waiting  for  my  negatives,  and  thinking  that  the 
cold  weather,  or  a fresh  supply  of  plates,  was  the  cause,  1 
returned  to  ammonia  ; but,  one  day,  looking  at  the 
Winchester  in  which  the  cold  saturated  solution  was  made, 
I noticed  about  one  pound  of  soda  carbonate  deposited  in 
crystals  at  thejbottom  ; so,  gently  taking  up  the  bottle,  and 
holding  it  up  to  the  light,  I gently  shook  it  up,  when  1 saw 
that  only  about  an  inch  on  the  top  of  the  crystals  was  any- 
thing like  saturated,  while  the  top  could  have  had  but  very 
little  in  solution,  and  it  was  just  4 ounces  from  the  top 
that  I used  to  dilute  ; so,  seeing  why  the  developer  had  got 
slower,  I started  with  a fresh  solution,  and  was  again  pleased 
with  the  result.  Instead  of  making  saturated  solutions, 
I would  advise  Mr.  Carbutt’s  No.  2,  and  let  that  be  shakeu 
up  before  taken,  if  it  hasjstood  still  for  some  time.  Perhapi 
you  can  just  give  our  brethren  the  hint  in  your  Notes,  and 
save  a good  developer  from  being  neglected.  — Yours  truly, 

E.  Williams. 


INK-PHOTOS. 

Dear  Sir, — Inycur  issue  of  March  16th  I notice  a letter 
from  Messrs.  Sprague  and  Co.,  in  which  they  claim  copy- 
right in  the  name  or  title  of  “ Ink-Photo.”  For  the  infor- 
mation of  Messrs.  Sprague  and  the  fraternity  generally,  I 


may  state  that,  between  the  years  1874-7,  I produced  a 
series  of  photo-collotype  prints,  that  were  published  in  a 
weekly  illustrated  journal,  under  the  name  or  title  of  “ Ink- 
Photos.”  No  special  claim  having  been  made  to  the  said 
name,  the  same  has  become  public  property  ; therefore, 
although  it  may  be  convenient  for  Messrs.  Sprague  to  still 
use  the  name,  they  cannot  claim  the  legal  right  to  the  ex- 
clusive use  of  it.— I am,  yours  faithfully,  A.  Borland. 


§r0cubmgs  of  £otulu*t 

London  and  Provincial  Photographic  Association. 

At  the  meeting  of  the  above  Association  held  at  the  Mason’s 
Hall  Tavern,  Thursday,  29th  ult.,  Mr.  A.  J.  Brown  in  the  chair, 

Mr.  Cowan  had  coated  about  five  dozen  plates  from  a batch 
of  emulsion,  then  added  five  grains  of  soft  gelatine  to  the 
ounce  of  the  remainder,  and  coated  more  plates.  Development 
in  each  case  began  at  the  same  time,  and  there  was  no  advantage 
as  to  detail,  the  plate  with  the  soft  gelatine  added  bemg  slightly 
the  most  dense. 

Mr.  Barker  said  plates  prepared  from  hard  and  soft  gelatine, 
if  used  at  once,  would  develop  alike,  but  if  kept  about  one  year 
the  result  would  be  in  favour  of  the  soft  gelatine.  He  found 
difficulty  to  develop  and  a tendency  to  fog  with  hard  gelatine. 

Mr.  Cowan  showed  a series  of  lantern  transparencies  all  of  the 
same  subject  printed  on  gelatino-chloride  plates,  and  demon- 
strated the  mode  of  development  employed  to  obtain  the  various 
colours.  He  contended  that  the  warmer  the  colour  required,  the 
greater  should  be  the  exposure,  and  the  greater  the  amount  of 
restraining  chloride  used  in  the  developer  (ferrous  citrate). 

Mr.  Debenham  had  not  found  that  with  auy  given,  the  tone 
was  not  materially  altered  by  variation  of  exposure.  When  no 
restrainer  was  used,  he  found,  with  Mr.  Cowan,  that  the  tone 
was  always  black  or  cold,  even  when  the  exposure  was  so  long 
that  the  plate  rushed  up  immediately  in  development.  He 
found,  however,  that  if  one  or  two  grains  of  bromide  were  added 
to  each  ounce  of  the  ferrous-citro  oxalate,  the  tone  could  be 
varied  from  nearly  black  to  almost  a rust  colour,  merely  by 
lengthening  the  exposure  and  proportionately  shortening  the 
time  of  development.  He  showed  transparencies  produced  first 
by  development  upon  chloride  plate ; secoud,  by  printing  out  fully 
upon  a citro-chloride  plate,  and  simple  fixation  (this  gave  a 
yellowish  brown  colour);  and  thirdly,  by  the  same  plan,  but  with 
the  addition  of  gold  to  the  hypo  bath,  which  was  used  new  and 
fresh. 

Mr.  Henderson  showed  a series  of  excellent  lantern  trans- 
parencies from  negatives  taken  from  a captive  balloon  at  Brighton 
on  Easter  Monday. 

Mr.  Debenham  passed  round  some  very  fine  panel  prints.  It 
was  announced  that  there  would  be  a discussion  on  portrait  lenses 
on  the  12th  inst.,  when  all  interested  in  the  subject  are  invited  to 
attend. 

Liverpool  Amateur  Photographic  Association. 

The  monthly  meeting  was  held  at  the  Free  Public  Library, 
William  Brown  Street,  on  the  29th  ult.,  Dr.  Kenton  in  the 
cbair. 

The  minutes  of  the  February  meeting  having  been  read  and 
confirmed,  Messrs.  Allmand,  Clarke,  Ellsworth,  Plimpton, 
Pierce,  and  Kirby  were  elected  members. 

The  ltev.  G.  J.  Banner  exhibited  two  very  fine  negatives  on 
Wonderschonen  plates.  These  had  been  taken  quite  recently, 
after  the  plates  had  been  in  his  possession  two  years  and  eight 
months.  They  had  been  kept  during  the  whole  time  in  a warm 
cupboard,  where  they  must  have  been  perfectly  dry. 

The  Chairman  remarked  that  freedom  from  moisture  did  not 
always  involve  the  preservation  of  sensitive  plates.  In  his  ex- 
perience, some  plates  which  had  been  carefully  guarded  from 
damp  had  proved  worthless  after  the  lapse  of  a certain  time  ; 
whereas,  others  which  had  received  no  special  care  did  not  seem 
to  deteriorate  in  the  least. 

Mr.  R.  C.  Johnson,  F.R.A.S.,  read  a paper  on  “Celestial 
Photography  ” (see  page  215). 

The  Chairman,  in  expressing  the  pleasure  with  which  he  had 
listened  to  Mr.  Johnson’s  interesting  paper,  remarked  that  it 
was  somewhat  disappointing  to  note  the  paucity  of  detail  in 
photographs  compared  with  that  to  be  found  in  a good  etching 


Apbil  6,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


223 


or  engraving,  and  asked  Mr.  Johnson  if  he  could  give  further  in- 
formation on  the  adaptability  of  astronomical  lenses  to  photo- 
graphic purposes. 

Mr.  Kirkby  said  it  was  an  interesting  fact  that  Nasmyth’s 
original  drawings  of  Copernicus  were  in  the  possession  of  a 
member  of  the  Association,  Mr.  King. 

Mr.  Johnson,  in  reply  to  the  Chairman,  said  that  the  length 
of  focus  of  telescopic  lenses  rendered  it  exceedingly  difficult  to 
use  them  advanta.eously  for  photographic  purposes.  These 
lenses,  too,  were  seldom  corrected  for  photographic  work,  and 
for  this  purpose  reflecting  telescopes  were  better. 

Mr.  L.  Hughes  remarked  that  in  astronomical  pictures  pro- 
duced by  hand,  peculiarities  were  wont  to  be  exaggerated  by 
the  artist,  and  especially  when  the  mind  of  the  observer  was 
resting  with  special  emphasis  on  some  one  feature  of  the  object 
depicted  ; whereas,  in  the  photograph,  absolute  accuracy,  com- 
bined with  perfect  balancing  of  every  portion  of  the  detail, 
might  be  relied  on. 

Mr.  E.  Roberts  said  that  possibly  absence  of  detail  in  celestial 
photographs  might  be  accounted  for  by  want  of  precision  on  the 
part  of  the  clock-work  apparatus. 

Mr.  Rogers  exhibited  two  slides  of  the  same  object — namely, 
the  rice-grain  granularity  of  the  photosphere  of  the  sun — to 
illustrate  the  difference  between  hand- work  and  photography. 

After  some  further  discussion,  and  the  examination  of  numer- 
ous photographs  and  slides  exhibited  by  Mr.  Johnson  to  illustrate 
his  paper,  on  the  motion  of  the  Rev.  G.  J.  Banner,  seconded  by 
Mr.  Kirkby,  a cordial  vote  of  thanks  was  accorded  to  Mr.  John- 
son for  his  very  valuable  and  interesting  communication. 

The  Hon.  Secretary  then  exhibited  and  described  an  instan- 
taneous shutter  sent  him  by  Mr.  Banks,  which  seemed  to  combine 
the  three  advantages  of  efficiency,  simplicity,  and  inexpensive- 
ness. 

Mr.  Hughes  gave  a very  kind  invitation  to  the  Association  to 
pay  him  a visit  at  Conway  during  the  coming  season,  promising 
them  not  only  the  hospitality  of  his  house,  but  also  a profitable 
photographic  day’s  work  under  his  guidance  among  the  interest- 
ing nooks  and  corners  of  the  quaint  old  town. 

The  Chairman,  on  behalf  of  the  Association,  conveyed  to  Mr. 
Hughes  his  cordial  thanks,  and  instructed  the  Hon.  Secretary  to 
make  the  necessary  arrangements. 

Mr.  Adams  then  gave  a demonstration  of  his  mode  of  employ- 
ing his  new  preparation,  “ brilliant,”  for  the  reducing  of  over- 
dense  negatives,  and  the  general  improving  of  their  printing 
qualities.  Numbers  of  negatives  were  dealt  with  by  Mr.  Adams 
with  much  success. 

A vote  of  thanks  to  Mr.  Adams  was  passed  with  acclamation 
by  the  meeting,  which  was  shortly  after  adjourned  till  the  last 
Thursday  in  April. 


North  Staffordshire  Photographic  Association. 

A meeting  of  this  new  Society  was  held  at  the  Wedgwood 
Institute,  Burslem,  on  Saturday,  March  31,  Mr.  A.  Humboldt 
Sexton  in  the  chair. 

Several  new  members  were  enrolled,  and  Mr.  A Humboldt 
Sexton  was  unanimously  elected  president  of  the  Association. 
A committee  of  management,  consisting  of  two  professionals  and 
two  amateurs,  was  appointed,  to  hold  office  until  next  Martinmas. 

The  Secretary  having  read  letters  from  several  gentlemen, 
expressing  regret  at  their  unavoidable  absence,  it  was  resolved 
that  each  meeting  be  advertised  in  the  local  newspapers  some 
days  previous  to  its  appointed  date. 

Notice  was  given  to  the  Chairman  of  the  following  paper  to 
be  read  on  the  14th  of  April: — “Experiences  with  various 
Emulsion  Processes,”  by  Mr.  J.  Lockett.  Papers  will  also  be 
read  on  future  dates  on  “ Micro-photography  ” (with  practical 
illustrations  by  aid  of  the  micioscopic  camera  and  lantern),  by 
Mr.  W.  B.  Allison  ; and  “ Light  and  Lenses,”  by  Mr.  H.  Gouer. 

It  was  determined  to  organize  a few  photographic  excursions 
during  the  next  summer.  The  following  gentlemen  were 
appointed  as  a committee  on  March  13th  : — Messrs.  B.  E.  Bur- 
gess, M.  H.  Gouer,  W.  B.  Allison,  and  W.  C.  Potter. 


Amateur  Field  Club. 

The  members  of  this  Club  held  an  exhibition  of  lantern  slides 
last  Friday  evening  at  the  Society  of  Arts.  Slides  were  shown 
by  Messrs.  Gale,  Wainwright,  Conway,  Trueman  Wood,  Howard, 
Beasley,  Whiting,  Andrew,  and  other  members  of  the  Club  ; also 
a few  lent  for  the  occasion  by  Mr.  England  aDd  Mr.  Cowan. 
The  show  on  the  whole  was  extremely  good,  though  there  were 


a few  slides  which,  we  may  take  it,  were  shown  as  illustrations 
of  the  difficulties  which  have  to  be  surmounted  by  the  beginner 
in  the  manufacture  of  such  articles.  Most  of  them,  however, 
were  judiciously  reserved  till  near  the  close  of  the  evening, 
when  the  room  was  beginning  to  empty.  As  is  generally  the 
case  with  volunteer  exhibitions  of  this  sort,  there  was  a plethora 
of  riches,  aud  it  would  have  been  better  if  a selection  had  been 
made,  or  at  least,  if  the  number  shown  by  any  one  individual 
had  been  more  slowly  exhibited.  When,  in  the  latter  part  of  a 
long  evening,  thirty  or  forty  slides  by  the  same  maker  are  flashed 
on  the  screen,  one  after  the  other,  as  fast  as  they  can  be  slipped 
into  the  carriers,  the  spectators,  as  was  the  case  on  Friday,  begin 
to  get  tired  and  to  slip  away,  even  though  the  slides  themselves 
may  be  all  that  can  be  desired. 

As  regards  processes  employed,  the  wet  plate  had  the  majority 
of  adherents,  though  gelatine  ran  the  bath  hard.  In  the  matter 
of  quality,  it  is  not  easy  to  say  which  had  quite  the  best  of  it. 
Some  of  the  gelatine  slides  by  Messrs.  Beasley  and  Conway  were 
considered  quite  equal  to  the  best  of  the  wet-plate  slides  by  Mr. 
Gale,  but  the  general  average  of  the  latter  was  distinctly  superior. 
Mr.  Howard  and  Mr.  Brownrigg  alone  exhibited  results  obtained 
by  the  old  dry-plate  processes,  and  Mr.  Wood  showed  an  interest 
ing  series,  illustrating  the  different  colours  which  could  be" 
obtained  by  toning  gelatine  transparencies  with  uranium. 


in  Stubin. 

Photographic  Society  of  Great  Britain. — The  next  meet- 
ing of  this  Society  will  take  place  on  Tuesday  next,  April  10th, 
at  8 p.m.,  at  the  Gallery,  oa,  Pall  Mall  East,  when  Mr.  James 
Cadett  will  read  a paper  on  “ Photography  of  the  Vocal  Organs 
in  the  Act  of  Singing,”  and  Herr  Emil  Behnke  will  show  his 
vocal  organs  in  the  laryngoscope. 

Balloon  Photography. — The  following  resolution  was  carried 
at  the  Balloon  Society’s  meeting,  Friday,  March  30th,  held 
in  the  Lecture  Room,  Royal  Aquarium: — “That  the  cordial 
thanks  of  the  Society  be  offered  to  Messrs.  Henderson  and  Cobb 
for  having  successfully  photographed  from  a balloon  the  Volun- 
teer Review  at  Brighton.”  The  Society’s  first  “ Balloon  Garden 
Party  ” will  take  place  at  Lillie  Bridge,  West  Brompton,  on 
Saturday,  April  28th. 

Local  Art  at  the  Bristol  Academy. — Of  Mr.  T.  Prothero’s 
clever  little  picture,  “ Paul  Pry,”  the  Court  Journal  says  : — 
“ One  of  the  contributions  to  this  year’s  Bristol  Academy 
has  attracted  a good  deal  of  attention.  The  work  in  question  is 
by  Mr.  T.  Prothero,  and  is  a portrait  in  oils  of  the  popular 
comedian  Mr.  Charles  Collette,  in  the  character  of  “ Paul  Pry.” 
There  is  as  much  humour  about  the  treatment  of  the  subject  by 
the  artist  as  there  always  is  in  the  actor’s  rendering  of  the  part. 
This  speaks  volumes  for  the  picture.” 

A Curious  Case  ©f  Ignition. — A correspondent  writes  to 
Nature: — “One  fine  morniug  recently,  as  two  ladies  were 
standing  together  in  the  drawing-room  of  a house  in  this 
neighbourhood,  smoke  was  observed  to  rise  from  the  dress  of  one 
of  them.  This  was  found  to  be  due  to  ignition  by  the  solar  rays 
focussed  on  her  dress  by  the  lens  of  a graphoscope  which  stood 
on  the  table.  Similar  cases  of  accidental  concentration  of  the 
sun’s  rays  have,  I am  aware,  been  recorded.  It  would  be 
interesting  to  know  whether  any  serious  fires  have  thus  origi- 
nated. One  can  easily  imagine  circumstances  which  would 
favour  such  results  from  a simple  cause. 

The  Photographic  Artists’  Co-operative  Supply 
Association,  Limited. — An  appeal  was  heard  on  Tuesday, 
before  Lords  Justices  Bagallay  and  Cotton,  against  an  order  of 
the  Court  for  the  winding  up  of  this  company  made  by  Mr. 
Justice  Chitty,  on  the  ground  that  it  was  insolvent.  The 
company  had  appealed  ; but  it  was  alleged  that  if  the  compiny 
failed  in  their  appeal,  the  costs  would  not  be  payable  by  anyone. 
The  company  had  been  carrying  on  business  for  a number  of 
years  ; but  on  the  petition  of  the  assistant  secretary,  the  company 
was  ordered  to  be  wound  up.  It  was  now  contended  that  the 
company  was  being  worked  at  a profit,  and  if  it  were  allowed  to 
go  on  it  would  be  to  the  advantage  of  the  shareholders.  Their 
Lordships  directed  that  the  amount  of  costs  be  fixed  at  £50. 

Hydro-quinone  or  Quinol.— Nietzki  is  pursuing  his  investi- 
gations on  this  body,  and  he  has  already  described  several  new 
derivatives  which  possess  considerable  interest.  There  is  every 
reason  to  believe  that  quinol  will  shortly  be  introduced  into  the 


224 


THE  PHOTOGRAPHIC  NEWS. 


[Api?il  6,  1883. 


market  at  a moderate  price.  Quinol  is  best  prepared  by  passing 
excess  of  sulphurous  auhydride  through  the  crude  mixture  con- 
taining quinone ; after  which  the  quinol  is  extracted  by  means 
of  ether. 

How  Superfluous  Dogs  are  Killed  in  Philadelphia. — 
They  are  put  into  an  apartment  which  is  made  air-tight,  and 
carbonic-acid  gas  is  then  allowed  to  flow  in.  One  hundred 
can  be  despatched  in  this  manner  at  once,  and  their  death  is 
quick  and  painless.  The  Grotto  del  Cane,  near  Naples,  probably 
suggested  the  idea ; this  cavern  being  ordinarily  charged  with 
carbonic  acid  to  a height  of  about  two  feet,  so  that  a man  may 
enter  with  impunity,  while  a dog  is  immediately  suffocated. 

Blaikley's  Pocket  Slide. — This  slide  is  constructed  of  thin 
sheet  metal,  covered  with  cloth,  and  is  only  about  one-fourth  of 
an  inch  thick,  but  it  is  used  in  conjunction  with  a special  wooden 
frame  which  adapts  it  to  the  camera.  Into  this  frame  the  pocket 
slide  is  put  in  much  the  same  manner  as  a plate  is  put  into  the 
ordinary  slide,  and  any  wet  or  dry  back  can  of  course  be  altered 
to  suit  the  pocket  slide. 

The  Chemical  Review  says : — “ The  Japanese  Government  pro- 
pose to  authorise  any  citizen  of  the  empire  to  patent  an  inven- 
tion, no  matter  to  whom  it  may  belong,  or  in  what  countries  it  is 
patented,  and  that  any  Japanese  individual,  by  taking  out  such 
a patent,  can  utilise  the  invention  of  a foreigner  to  his  heart’s 
content,  unless  the  said  foreigner  takes  the  early  step  of 
patenting  his  article  in  Japan.” 

A French  writer  has  observed  that  the  initials  of  the  five 
elements  (in  their  French  names)  which  enter  chiefly  into  the 
constitution  of  organic  matter,  namely,  Carbonne,  Hydrogens, 
Azote,  Oxygene,  and  Soufre,  spell  CHAOS. 

A Judge’s  Opinion  on  Methylated  Spirit. — Methylated 
spirit  was  referred  to  in  the  Court  of  Queen’s  Bench  on 
Wednesday,  and  as  a witness  referred  to  methylated  spirit, 
the  judge  (Baron  Huddleston)  thought  proper  to  enlighten  the 
public  as  to  the  nature  of  this  preparation.  He  said  : “ That 
is  a preparation  of  naphtha  in  a cheap  form,  and  of  much  lower 
strength  than  spirits  of  wine."  A witness  to  whom  this  view 
came  very  opportunely,  replied,  “ Yes,  my  lord.”  All  present 
felt  overpowered  by  the  great  weight  of  chemical  knowledge 
which  his  lordship  displayed,  and  the  case  was  promptly  settled. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
April  11th,  1883,  the  subject  for  discussion  will  be  on  “ The 
Causes  of  Frilling  in  Gelatine  Plates.” 


$0  Gomsflontont*. 

***  We  cannot  undertake  to  return  rejected  communications. 

Leonard  Berkely.—  1.  Untoned  silver  prints  are  soaked  in  a 
solution  of  mercuric  chloride  until  the  image  disappears,  after 
which  the  prints  are  rinsed  and  dried.  Apiece  of  thick  blotting- 
paper,  wh  ch  has  been  moistened  with  a saturated  solution  of 
sodium  hyp  'Sulphite  and  dried,  is  sent  out  with  each  print;  and 
when  this  blotting- paper  is  placed  on  the  albumenized  surface 
and  moistened  with  water,  tho  hyposulphite  acts  on  the  bleached 
image  and  causes  it  to  reappear.  2.  Add  a small  proportion  of 
a solution  of  protosulphate  of  iron,  and  the  gold  will  be  slowly 
deposited  as  a purple  precipitate. 

W.  H.  (Leytonstone). — Abney’s  “Instruction,"  which  is  pub- 
lished at  our  Office,  will  give  you  the  required  information. 

G.  Frost. — 1.  Any  material  of  a moderately  dark  brown  colour. 
2.  It  is  very  suitable  for  general  work. 

Fair-Bird.— Everything  depends  on  the  ownership  of  the  original 
copyright;  but  if  no  copyright  existed  at  the  time  of  A's  death, 
B would  be  the  owner  of  the  copyright  of  the  enlargement,  C 
being  a mere  workman  or  servant  of  B.  The  act  of  D would 
probably  be  illegal. 

W.  A.  C. — Close  black  twill ; two,  or  even  three,  thicknesses. 

A.  W. — We  do  think  it  arises  from  dust. 

R.  B.  (Liverpool). — The  principal  methods  are  the  following. 

1.  The  Pretsch  method,  in  which  the  granulation  of  bichromated 
gelatine  is  moulded  from,  and  extremely  fine  results  have  been 
obtained ; but  Pretsch  blocks  require  very  careful  printing. 

2.  Ruling  or  mechanical  methods,  in  which  an  ordinary  relief 
forms  the  model.  The  process  you  name  may  be  taken  as  an 
example..  3.  Etching  methods,  in  which  a stippled  picture  in 
fatty  ink  is  transferred  to  a zinc  plate,  and  this  is  converted  into 
a typographic  block  by  etching  with  an  acid.  The  fatty  picture 
may  be  a coarsely-grained-collotype,  an  “ink  photo,”  such  hs 
we  presented  to  our  readers  last  week,  or  a transfer  obtained  by 
the  starch  method  of  Asser.  Details  of  the  various  processes 
will  be  found  in  the  back  volumes  of  the  Photographic  News. 


J.  W.  Collis. — A letter  addressed  to  Captain  A.  de  Khotinsky, 
St.  Petersburg,  would  doubtless  reach  the  inventor.  We  believe 
he  was  recently,  and  possibly  may  be  now,  staying  at  the 
Cannon  Street  Hotel,  London. 

Andrew  L . — 1.  It  consists  of  silica  in  a state  of  almost 

absolute  chemical  purity  ; and  the  only  acid  capable  of  attacking 
it  is  hydrofluoric  acid.  2.  From  a business  point  of  view,  such 
an  arrangement  is  extremely  undesirable. 

C.  R.  F. — 1.  It  is  not  an  iron  compound,  in  any  sense  ; but  com- 
mercial samples  generally  contain  traces  of  iron  as  an  impurity. 
2.  Add  a little  albumen — say,  ten  grains  of  white  of  egg  to  each 
ounce.  3.  Carried  to  extremes,  as  in  your  case,  it  is  liable  to 
occasion  the  evil  of  which  you  speak  ; diminish  to  one-fourth  or 
thereabouts. 

Studio. — 1.  It  will  be  very  difficult,  if  not  altogether  impracti- 
cable, to  restore  the  ground  glass  to  its  original  condition 
without  removing  it  from  its  setting,  and  again  grinding. 
2.  Thin  starch  paste.  3.  It  should  only  leave  a minute  trace  of 
ash. 

Photo.  Litho.— 1.  Ordinary  albumenised  paper  will  generally 
answer  quite  as  well  as  the  special  Husnik  paper;  this  latter 
is  double  coated,  first  with  gelatine,  and  finally  with  albumen. 
2.  Your  nitric  acid  was  probabiy  far  too  strong,  one  part  to 
fifty  of  water  being  about  what  is  wanted  for  such  work  as  you 
refer  to. 

Belmont. — We  cannot  tell  you  of  anyone  just  at  the  present  time, 
but  should  think  that  you  might  find  a suitable  person  by 
advertising. 

W.  Bkadnee. — Coagulate  the  albumen  film,  before  sensitizing,  by 
immersion  of  the  paper  in  methylated  alcohol.  It  has  been  said 
that  if  a lump  of  camphor  be  kept  in  the  sensitizing  bath,  there 
is  no  fear  of  blisters  appearing. 

E.  Constance. — Corks  are,  as  a rule,  much  more  suitable  than 
stoppers  for  out-door  work  ; still,  you  must  be  careful  not  to 
interchange  them.  It  is  a good  plan  to  tie  each  to  its  bottle  by  a 
short  length  of  string. 

A.  Manners. — Ordinary  flint  glass  will  not  answer,  as  it  is  ordin- 
arily very  variable  in  density.  Optical  flint  can  be  obtained 
from  Messrs.  Chance  and  Co.,  of  Birmingham. 


PHOTOGRAPHS  REGISTERED. 

Mr.  F.  S.  Ssr.i)  (Hereford)  - Photo,  of  Old  Vest  Hanging  over  Chair,  &c. 
Mr.  Rylss  (Burslem)  — 2 Photos,  of  Joseph  Harknesa. 

Mr.  Hannah  (Shrewsbury)— 2 Photos,  of  Rev.  C.  Garrett. 

Messrs.  Smalley  linos.  (Fleetwood)— Photos,  of  The  Library,  Roesgl; 
Thornton  Church  ; The  Baths,  Rossal ; The  Mount,  Fleetwood. 


ENLARGED  TO  UPWARDS  OF  300  PAGES. 


SECOND  EDITION  OF  "STUDIOS  OF  EUROPE.” 

Price  2s.,  by  post  2s.  3d.  The  first  English  edition 
was  exhausted  in  three  months,  and  editions  appear  in 
America,  Germany,  aud  France.  On  the  15th  inst. 
will  be  published — 

THE  PHOTOGRAPHIC 

STUDIOS  OF  EUROPE, 

BY 

H.  BADEN  PRITCHARD,  F.C.S., 

Editor  of  the  Year-Book  of  Photography,  late  Hon.  Secretary 
of  the  Photographic  Society. 


The  Second  Edition  will  contain  much  useful 
additional  matter,  and  will  represent  the  cheapest 
and  most  practical  hand-book  ever  issued. 


THE 


PHOTOGRAPHIC 

TGj’?5va 

Vol.  XXVII.  No.  1284. — April  13,  1883. 
CONTENTS 


HEWS. 


Photcgraphing  the  Vocal  Organs  ..  225 

The  Production  of  Vignetting  Plates I.'!."’."""  225 

Olass 0‘2g 

By-the-Bve. — Inventors  and  Discoverers  2**7 

Notes  on  Photography.  By  E.  Howard  Farmer  229 

French  Correspondence.  By  Leon  Vidal 229 

A New  Danger ool) 

Tripod  and  Rod.  By  J.  Davey  030 


rlo* 


Notes 231 

Patent  Intelligence  23t 

A Few  Remarks  on  the  Photographing  of  Children  234 

Correspondence  235 

Proceedings  of  Societies 2SG 

Talk  in  the  Studio 239 

To  Correspondents 240 

The  Every-Day  P'ormulary  240 


PHOTOGRAPHING  THE  VOCAL  ORGANS. 

Sicit  exceptionally  difficult  photographic  problems  as  may 
occasionally  present  themselves,  generally  serve  to  call 
forth  such  patient  and  energetic  efforts  as  to  lead  to  a 
degree  of  success  as  was  altogether  unhoped  for  at  the  out- 
set: a good  illustration  of  this  being  afforded  by  the  recent 
success  attained  in  laryngeal  photography.  More  than 
twenty  years  ago  Czermak  made  some  experiments  on 
photographing  the  throat,  direct  sunlight  being  reflected 
into  the  mouth,  and  wet  plates  being  used.  Fairly  good 
results  were  obtained,  although  far  behind  those  which 
have  been  obtained  during  the  past  six  months  as  a result 
of  the  labours  of  Trueman  Wood,  Cocking,  Cadett, 
Lennox  Browne,  Behnke,  and  Ackworth.  Those  who 
were  fortunate  enough  to  be  present  at  the  recent  meet- 
ings of  the  South  London  Society  and  the  Parent  Society, 
were  much  interested  in  learning  how  the  difficulties 
incidental  to  laryngeal  photography  had  been  successfully 
overcome. 

As  regards  the  actual  means  finally  adopted,  Mr.  True- 
man Wood  furnishes  us  with  the  following  concise  and 
clear  description  : — 

In  the  arrangement  actually  adopted,  the  electric  light  was 
placed  by  the  side  of  the  camera,  and  a little  in  front  of  it. 
The  rays  were  directed  by  means  of  a condenser  upon  a mirror 
immediately  before  the  camera,  and  just  above  the  lens,  this 
mirror  being  set  at  an  angle  of  45°,  so  as  to  direct  the  light 
immediately  upon  the  subject.  The  condenser  was  furnished 
on  the  side  next  the  lamp  with  a water  jacket,  through 
which  a current  of  water  was  kept  flowing  to  prevent  injury  to 
the  lens  from  the  heat  of  the  lamp.  The  rays  from  the 
mirror  were  received  upon  the  small  laryngoscopic  mirror, 
placed,  as  before  described,  at  the  back  of  the  throat.  The 
image  of  the  vocal  organs  formed  in  this  mirror  was  reflected 
upon  another  small  mirror  fixed  to  the  front  of  a drop 
shutter.  The  object  of  this  was  that  the  person  whose 
organs  were  being  photographed  could  see  when  the  image 
was  properly  directed,  so  that  it  would  be  received  by  the 
camera  lens.  As  soon  as  he  saw  reflected  in  the  little  mirror 
on  the  shutter  the  image  which  it  was  desired  to  photograph 
he  gave  a pre-arranged  signal,  and  the  exposure  was  made.  It’ 
was  hardly  necessary  to  say  that  the  focussing  had  been  effected 
by  means  of  a previous  view  of  the  organs.  To  obviate  the  neces- 
sity of  getting  the  mirror  properly  arranged  twice,  in  some  of 
the  later  experiments  arrangements  were  adopted  by  which  a 
pair  of  stereoscopic  lenses  could  be  used,  one  lens  serving  as  a 
finder,  and  the  other  producing  the  picture.  For  this  purpose  a 
temporary  back  had  been  fitted  to  the  camera,  one-half  of  which 
was  fitted  to  receive  a small  dark  slide,  while  the  other  half  held 
a focussiug  screen,  the  camera  being  divided  in  two  by  the  usual 
partition.  The  shutter  was  worked  by  a pneumatic  arrange- 
ment, and  was  mounted  on  a separate  stand  from  the  camera, 
the  same  stand  serving  also  to  carry  the  condenser  and  the 
larger  mirror.  The  short  tube  on  which  the  shutter  wa. 


mounted  was  connected  with  the  camera  lens  by  means  of  a 
sleeve  of  black  velvet. 

The  subjoined  rough  sketch  in  plan  will  render  it  quite 
easy  for  the  reader  to  comprehend  the  arrangement  of 
apparatus  used. 


A.  — Camera. 

B.  — The  vocal  organs. 

C.  — The  electric  arc. 

D.  — Pair  of  condensers. 

E.  — Water  chamber. 

F.  G. — Tubes  for  water  supply  and  exit. 

H.  — Plain  ruirror,  for  reflecting  the  beam  of  electric 
light  towards  the  throat. 

I.  — Shutter,  to  which  is  attached  a small  mirror  in 
which  the  sitter  may  see  his  vocal  organs  reflected. 

J.  — LaryDgeal  mirror,  which  serves  not  only  to  reflect 
light  down  the  larynx,  but  also  to  reflect  the  image  into 
the  camera. 


THE  PRODUCTION  OF  VIGNETTING  PLATES. 
It  is  pretty  generally  recognized  that  the  usual  vignetting 
glasses,  obtained  by  partially  dissolving  away  the  orange 
or  ruby  film  from  a piece  of  flashed  ruby  or  flashed  orange 
glass,  are  seldom  quite  satisfactory,  the  hydrofluoric  acid 
generally  being  irregular  in  its  action  on  the  coloured 
surface-glass ; and,  moreover,  the  acid  in  question  is  so 
highly  corrosive,  as  to  be  hardly  a desirable  reagent  in 
the  work-room  of  the  photographer,  a mere  trace  of  its 
j vapour  being  sufficient  to  rapidly  obscure  the  surfaces  of  a 
I photographic  objective  or  other  optical  instrument.  To 


226 


THE  PHOTOGRAPHIC  NEWS. 


purchase  vignetting  plates  ready-made  is  by  no  means 
satisfactory,  as  pictures  vary  extremely  as  regards  the 
kind  of  opening  which  is  likely  to  suit. 

Feilner’s  system  of  making  vignetting  plates,  patented 
about  a year  ago  in  Germany,  and  described  in 
Liesegang’s  Archiv,  will  probably  be  found  useful  to 
those  photographers  who  desire  to  obtain  as  good 
vignettes  as  is  possible  from  each  particular  negative,  and 
results  which  shall  be  absolutely  uniform  for  all  pictures 
taken  from  the  same  negative. 

A series  of  paper  shades  are  gummed  on  glass  plates,  as 
represented  by  figures  1 to  5,  care  being  taken  that  the 
papers  are  so  mounted  on  the  glass  that,  when  the  plates 
are  superimposed,  the  paper  shades  shall,  if  considered 
collectively,  form  a kind  of  funnel-shaped  figure  as  repre- 


sented by  fig.  7.  It  is  generally  desirable  to  use  an 
additional  shade  made  of  black  paper  (fig.  6.),  in  order  to 
insure  complete  opacity.  The  series  of  shades  are  next 
mounted  in  a kind  of  copying  camera  arrangement,  which 
is  represented  by  the  subjoined  block,  the  plates  being 


arranged  as  represented  in  at  E,  a single  thickness  of  finely- 
ground  glass  being  placed  at  each  end  of  the  series.  The 
work  of  photographing  the  gradated  image,  and  thus 
making  a vignetting  plate,  requires  no  special  comment; 
and  it  is  obvious  that  either  a positive  or  a negative  can  be 
obtained  at  will  by  reproducing  the  first  photograph  ; or, 
if  preferred,  the  same  end  can  be  obtained  by  either  work- 
ing from  masks  or  discs,  as  the  case  may  be,  in  the  first 
instance. 

Fig.  8 gives  some  notion  of  a special  form  of  opening, 
such  as  may  occasionally  be  required. 

It  is  obviously  possible  to  obtain  artificial  cloud  nega- 
tives by  a somewhat  similar  proceeding. 


LApbil  13,  1883. 


GLASS. 

Fifth  Article. 

In  every  process  or  manufacture  in  which  great  heat  is 
used,  the  furnace  and  its  construction  become  matters  of 
most  vital  consequence,  so  much  depending  upon  its 
suitability  and  economy  of  fuel,  as  well  as  upon  its  dura- 
bility, needing  few  repairs,  combined  with  a moderate 
outlay  for  its  first  cost.  In  a few  short  articles,  such  as 
the  present,  it  is  quite  impossible  to  treat  of  matters  of 
minute  detail,  otherwise  the  bulk  of  a year’s  issue  of  the 
News  might  easily  be  devoted  to  the  subject  of  furnaces, 
heat  in  its  various  methods  of  application,  and  so  on. 

When  we  consider  that  heat  (one  of  the  most  potent 
agencies  employed  by  man)  forms  the  basis  and  ground- 
work of  every  process  of  manufacture,  even  to  the  making 
of  ice,  and  is,  as  Tyndall  has  it,  a “ mode  of  motion  ” ; that 
the  sun  (according  to  Froctor  only  100,000,000  years  old) 
has  stored  up  our  present  coal  fields,  and  quickens  the 
herbage  upon  which  our  beef  and  mutton  is  reared,  and 
whence  wre  derive  the  motion  requisite  to  drive  the  quill 
that  pens  these  lines,  or  setup  this  type  ; when  we  reflect 
that  it  is  the  same  heat  which  hardens  clay  and  melts  gold, 
and  is,  in  fact,  an  excellent  servant  but  a terrible  master, 
we  may  well  devote  a chapter  to  furnaces  and  heat 
appliances  as  far  as  concerns  glass-making. 

We  have  already  hinted  that  glass  manufacture,  as 
carried  on  in  England,  differs  from  that  of  Belgium.  It 
is  from  no  want  of  a robust  feeling  of  patriotism  that  we 
say  unhesitatingly  that  the  English  system  is  wrong, 
inasmuch  as  it  is  laborious,  costly,  and  less  scientific  than 
that  of  Belgium  ; therefore  we  elect  not  to  waste  our  space 
by  useless  descriptions  of  what  is  old-fashioned  or  behind 
the  age,  and  so  we  forthwith  give  a sketch  of  the  furnaces 
actually  in  use  at  the  present  day  in  Belgium.  This  sketch 
is  a sectional  drawing,  taken  through  the  centre  of  the 
pots ; it  shows  almost  without  description  what  is  the 
exact  construction,  for  it  has  been  very  neatly  reproduced 
by  our  engraver,  and  we  may  remark  that  probably  in  no 
published  work  is  there  to  be  found  a drawing  in  section 
of  a Belgian  furnace  which  shows  so  clearly  the  whole 
affair  at  a glance.  A few  words  of  explanation  may  render 
the  drawing  doubly  intelligible. 


A Belgian  pot  furnace,  for  use  with  coal. 

The  visitor  to  the  glass-making  district  of  Belgium  situ- 
ated around  Charleroi  and  Lodelinsart  would  be  very 


April  13,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


227 


much  at  a lo3sto  comprehend  where  the  glass-works  were, 
if  he  looked  for  the  familiar  “cone”  which  surmounts 
the  furnaces  of  the  English  works.  The  Belgians  discard 
the  costly  brick-built  “cones,”  and  construct  their  furnaces 
in  barn-like  buildings,  roofed  with  tiles,  and  through  the 
ridge  a yard  or  two  of  what  resembles  nothing  more  than 
the  top  of  a Thames  steam- boat  smoke-stack  protrudes. 
This  is  shown  in  our  sketch  with  the  familiar  curl  of  smoke 
issuing  therefrom.  Below  this  the  draught  and  smoke  are 
confined  in  sheet  iron  plates  instead  of  the  expensive  brick 
“ cone  ” of  the  English  system.  The  ground  line  is  gene- 
rally about  three  feet  above  the  level  of  the  surrounding 
surface  of  terra-firma,  and  thereby  reduces  the  depth 
necessary  for  the  floor  of  the  “cave.”  The  cave,  there- 
fore, is  frequently  on  a level  wi'h  the  roadway  passing  the 
works,  so  that  the  ashes  and  rubbish  can  easily  be  wheeled 
out.  The  arch  of  the  cave  is  generally  of  brick  or  stone, 
and  the  foundations  of  the  furnace  rest  or  abut  thereon, 
as  shown.  Above  the  ground-line  the  work  has  to  be  very 
good,  accurate,  and  substantial  ; fire-bricks,  slabs,  blocks, 
and  lumps  of  various  foriu3  enter  into  the  structure  of  the 
furnace,  the  whole  being  put  together  with  a grout  or 
cement  of  thin  fire-clay,  and  the  utmost  care  and  highest 
skill  in  the  brick-setter’s  art  are  brought  into  play  so  as  to 
form  a firm,  compact,  and  durable  structure.  The  turning 
of  the  arch  or  furnace  crown  especially  calls  for  the  great- 
est skill,  for  it  is  very  much  flattened  on  the  top,  and  is 
by  no  means  part  of  a regular  circle  or  sphere,  and  holes 
have  to  be  left  in  the  sides  opposite  each  pot,  through 
which  the  pots  are  filled,  and  the  molten  glass  gathered 
and  blown. 

Had  space  permitted,  we  should  have  shown  an  elevation 
and  plan  of  this  furnace,  and  we  could  then  have  shown 
how  the  pots  are  set  opposite  each  workiug  hole,  also  the 
other  openings  into  the  furnace  through  which  the  pots 
are  introduced,  and  through  which  the  fuel  is  fed ; but 
our  section  will  give  so  good  an  idea  of  the  general  arrange- 
ment, that  it  will  suffice  for  any  furnace  of  four,  six,  or  eight 
pots,  and  we  have  now  merely  to  follow  the  direction  of  the 
draught,  to  comprehend  the  functions  of  the  furnace. 
Cold  air  enters  the  “cave"  or  “tunnel,”  thence,  through 
the  bars  or  grid,  passing  through  the  fuel,  which  is  dis- 
posed in  a certain  manner,  according  to  the  nature  and 
quality  of  the  coal  used  ; the  fuel  enters  into  vivid  com- 
bustion, and  volumes  of  flame  dart  upwards  towards  the 
crown  of  the  furnace  ; they  also  lick  round  the  sides  of 
the  pots,  in  between  them,  and  the  drawiug  will  now  show 
how  the  flame  is  drawn  down  again  across  the  surface  of 
the  pots,  and  darts  out  in  a thick  bundle  through  the 
working  holes  shown  where  the  iron  door  is  figured. 
Whilst  “founding,”  these  doors  are  closed,  so  that  the 
flame  and  smoke  rush  off  up  the  conical  case  above  the 
crown,  and  thence  up  the  smoke-stack  into  the  air.  It 
will  thus  be  seen  that  the  pots  are  always  in  an  atmo- 
sphere of  flame  or  intensely  heated  gas ; no  cool  air  should 
reach  them,  not  even  on  the  surface,  for  we  have  seen  how 
simply  but  beautifully  scientifically  the  heat  is  reverber- 
ated and  drawn  down  on  to  the  surface  of  the  metal  in  the 
pots.  It  is  a grand  sight  to  stand  on  the  platform  on 
which  the  gatherers  and  blowers  work,  shown  at  the  top 
of  the  steps  in  our  sketch,  and  when  the  metal  is  nearly 
fined  and  the  iron  doors  are  opened,  and  all  smoke  has 
gone,  and  the  fuel,  and  the  pots,  and  the  molten  glass,  and 
the  crown  and  walls  of  the  interior  of  the  furnace  are  one 
vivid  white  glow,  the  furnace  is  being  let  back  a little  in 
order  that  the  metal  may  become  quite  fine,  and  lambent 
tongues  of  colourless  flame  dart  out  of  the  “ hole,”  through 
which  we  can  see  right  across  through  the  heated  atmo- 
sphere of  the  furnace  to  the  hole  opposite.  One  cannot 
help  feeling  impressed  with  the  great  skill  and  ingenuity 
of  man,  how  he  tames  the  greatest  forces,  and  trains  the 
fiercest  powers  to  conform  to  his  will.  It  is  a matter  of 
regret  to  think  that  so  much  skill  is  brought  to  bear  to 
produce  an  article  which  is  not  uufrequently  sold  for  the 
ridiculous  sum  of  one  penny  per  superficial  foot ! 


When  a furnace  is  constructed  or  rebuilt,  it  remains 
several  weeks  unused,  so  as  to  dry  as  thoroughly  as  it  will 
under  the  normal  conditions  of  the  atmosphere.  Then,  if 
the  furnace  is  to  be  kindled,  a small  fire  is  made  on  the 
bars  where  the  word  “ fuel  ” is  seen  in  our  sketch.  All 
openings  are  left  full  open,  so  that  a stream  of  warm  air 
circulates  everywhere,  and  this  goes  on  for  a week  or  so. 
Simultaneously  with  the  kindling  of  the  furnace,  a ready 
and  matured  pot  is  brought  out  of  stock  and  carried  to  the 
pot  arch.  Now  the  pot  arch  is  another  separate  and 
distinct  small  furnace,  built  like  a small  coal  cellar,  in  one 
corner  of  which  a fire  is  made ; a pot  is  brought  and 
wheeled  in,  and  the  doorway  bricked  up  ; the  heat  is  raised 
and  continued  until  the  pot  becomes  red  hot,  and  then  white 
hot,  and  this  process  goes  on  whilst  the  glass  furnace  is 
also  being  got  into  heat.  At  the  end  of  a week  or  so  the 
heat  is  increased  in  both  furnaces,  so  that  the  rise  in 
temperature  is  gradual,  and  the  large  furnace  is  ready  to 
receive  the  pot  or  pots.  The  operation  of  setting  pots  is 
a difficult  and  remarkable  one.  Wrhen  all  is  ready,  the 
opening  into  the  pot  arch  is  pulled  out,  and  the  like  opera- 
tion is  effected  at  the  glass  furnace ; then  a gang  of 
labourers  proceed  to  lift  the  white  hot  pot  from  out  ot  the 
pot  arch  by  means  of  a gigantic  iron  pitchfork,  somewhat 
appropriately  called  the  “ devil,”  which  runs  on  a pair  of 
wheels.  The  men  push  the  prongs  of  the  fork  so  as  to 
encircle  the  pot,  and  weighing  down  the  cool  end  they  run 
the  pot  away  to  the  furnace  and  thrust  it  on  to  its  seat, 
called  the  “siege,"  just  as  shown  in  our  sketch.  Each 
pot  has  to  be  adjusted  opposite  its  proper  working  bole, 
set  fair  and  square,  au  equal  space  between  each,  and  the 
greatest  care  observed  to  guard  against  any  accident  to 
the  pots  or  the  furnace,  either  by  rough  usage  or  injudicious 
exposure  to  cold  air.  The  operation  of  setting  eight  or 
ten  pots  in  a furnace  is  one  demanding  a high  degree  of 
skill  on  the  part  of  the  manager  and  his  subordinates,  and 
calls  for  coolness  and  nerve  under  circumstances  of  very 
trying  character,  for  the  temperature  of  the  house  becomes 
very  high  ; to  anyone  unaccustomed,  the  glare  and  heat  are 
simply  unbearable.  The  meu  have  to  be  protected  with 
woollen  clothes,  leathergloves,  and  face  masks,  and  under- 
stand that  they  have  to  obey  instantly  the  commands  of 
the  manager  or  foreman  who  directs  the  work. 

When  the  pots  are  “ set,”  the  openings  into  the  furnace 
are  bricked  up  and  otherwise  closed,  and  the  heat  got  up 
again  for  a few  hours,  for  of  course  the  heat  must  have 
declined  considerably  during  the  setting  of  the  pots. 
Meanwhile  the  mixtures  to  be  melted  are  being  wheeled 
from  the  mixing  room  to  the  furnace,  and  placed  in  iron 
boxes  or  tanks,  or  stand  ia  the  iron  wheelbarrows  ready  to 
be  shovelled  into  the  pots. 


INVENTORS  AND  DISCOVERERS. 
Inventors  and  discoverers  arc  well  known  to  be  an  injured 
race.  Few  have  their  rights  properly  recognised,  and  fewer 
still  derive  any  personal  benefit  from  them.  It  has  been  so 
from  the  beginning  of  history,  and  is  likely  to  be  so  to  the 
end.  The  introduction  of  photography — that  is,  of  practi- 
cal photography — furnishes  us  with  a very  good  instance. 
Daguerre  was  hailed  for  some  time  as  the  one  and  only  in- 
ventor of  practical  photography.  Arago,  who  stood  sponsor 
for  the  new  invention,  and  published  it  to  the  world  in 
an  impassioned  harangue  which  has  since  become  histori- 
cal, never  once  mentioned  the  name  of  Nicephore  Niepce, 
Daguerre’s  dead  partner,  and  it  was  not  until  some  months 
afterwards  that  the  connection  between  the  two  men  got 
bruited  abroad.  To  an  Englishman,  indeed,  Mr.  Bauer, 
the  secretary  of  the  Royal  Society,  was  due  the  first  signifi- 
cant protest  agaiust  ignoring  Niepce’s  name  in  connection 
with  the  discovery,  for  it  was  bis  impartial  testimony, 
together  with  the  exhibition  of  some  of  Niepce's  camera 


228 


THE  PHOTOGRAPHIC  NEWS. 


[April  13,  1883. 


photographs,  which  contributed  most  to  establish  the  latter’s 
claim  to  share  in  the  honour  of  the  invention  of  photo- 
graphy. 

Still,  to  estimate  the  claims  of  an  inventor  or  discoverer, 
is  one  of  the  most  difficult  of  problems.  Thus,  while  the 
discovery  of  photography,  as  meaning  simply  the  impress 
of  light  upon  certain  bodies,  is  buried  beneath  the  weight 
of  centuries,  we  may  well  attribute  to  Nicephore  Niepce  the 
taking  of  the  first  camera  photograph  ; to  Daguerre,  the 
means  to  take  the  first  permanent  pictures — for  Daguerreo- 
types, if  not  absolutely  permanent,  are  comparatively  so  ; 
while  to  Fox  Talbot,  last,  but  not  least,  the  world  must  give 
credit  for  securing  photographs  on  a transparent  medium, 
by  means  of  which  other  photographs  are  produced — in  a 
word,  for  giving  us  the  germ  of  the  photographic  process 
which  has  been  the  most  extensively  employed  by  all.  But 
these  three  philosophers  do  not  at  all  represent  latter-day 
photography  ; other  savans,  too  numerous  to  mention,  have 
contributed  knowledge  scarcely  less  important  to  that 
furnished  by  Niepce,  Daguerre,  and  Talbot,  and  unless  the 
labours  of  this  trio,  illustrious  as  it  is,  had  been  so  supple- 
mented, we  should  still  have  but  a very  imperfect  process  of 
photography  now-a-days  at  our  disposal.  For  Niepce’s  pic- 
tures, produced  on  salts  of  silver  in  the  camera  were  not  fixed; 
Daguerre’s  iodide  of  silver  process  (before  bromo-iodide  was 
suggested)  was  so  slow  that  portraits  could  not  be  secured  ; 
while  it  was  not  until  the  introduction  of  collodion  and 
glass  for  negative  photography  that  the  process  of  Talbot 
became  thoroughly  vulgarised. 

It  is  very  difficult,  then,  to  apportion  to  every  inventor 
his  just  due.  Whether  it  is  simply  a question  of  honour 
or  something  more  substantial,  the  task  of  fair  allotment 
is  beset  with  grave  obstacles.  When  there  are  many 
claimants — and  there  usually  are — how  are  we  to  estimate 
the  value  of  their  contributions?  One  man  may  be  cited 
as  the  originator  of  an  idea  ; his  claim  to  be  the  first  who 
published  the  matter  to  the  world  cannot  be  disputed,  and 
he  asks,  therefore,  that  we  should  render  unto  Caesar 
what  is  Caesar’s  by  right.  But  was  the  idea  taken  up? 
ask  other  claimants.  Is  it  not  a fact  that  the  memoir  pub- 
lished fell  dead  from  the  press,  and  that  for  a score  of 
years  after,  not  one  voice— not  even  the  author’s — was 
raised  to  point  out  the  value  of  the  suggestion?  Nay, 
more  ; was  the  suggestion  of  any  practical  value?  was  it 
not  simply  a crude  experiment,  in  which  not  even  the 
experimentalist  himself  discerned  any  value  ? — an 
interesting  scientific  result,  may  be,  but  not  more  so  than 
hundreds  of  others  tha  t are  published  yearly. 

So  later  experimentalists  will  argue  ; and,  in  fact,  this 
is  the  sort  of  argument  that  has  of  late  come  up  in  respect 
to  the  telephone,  the  dynamo  electric  machine,  and  the 
incandescent  electric  lamp,  just  as  it  was  in  the  case  of  the 
electric  telegraph,  the  steam  engine,  the  locomotive, 
&c.,  &c. 

Take  the  telephone  as  an  example.  Four  or  five  years 
ago,  Graham  Bell  came  to  this  country  with  his  wonder- 
ful telephone.  He  lectured  upon  it,  and  demonstrated  its 
wonderful  action  before  every  scientific  body  of  eminence. 
He  showed  how,  by  the  simplest  of  apparatus,  the  human 
voice  could  set  throbbing  an  electric  current  through  a 
vast  length  of  wire,  so  that  one  person  could  make  his 
voice  heard  to  another  several  miles  away.  The  invention, 
as  Graham  Bell  brought  it  from  America,  was  perfect  in 
all  its  details ; it  was  not  only  an  ingenious  and  highly 
pleasing  demonstration  of  electrical  science,  but  it  was  at 
the  same  time  an  invention  whose  great  use  and  high 
commercial  value  were  apparent  to  the  meanest  capacity. 
Graham  Bell’s  telephone,  it  was  at  once  evident,  would  be 
of  incalculable  worth  as  a simple  and  ready  means  of 
holding  communication,  and  in  a few  months  the  clever 
American  professor  had  found  purchasers  without  number 
for  his  invention.  Since  Graham  Bell’s  instrument 
appeared  before  the  public,  Edison,  Thomson,  Varley, 
and  others,  have  come  forward  with  similar  instruments, 


or  with  marked  improvements  on  the  original,  and  to-day 
we  have  loud-speaking  telephones  that  not  only  convey 
the  human  voice,  but  magnify  its  sound  greatly  on  reach- 
ing its  destination. 

But  Graham  Bell  is  not  the  inventor  of  the  telephone. 
The  honour  of  constructing  the  first  instrument  to  carry 
tones  is  due  to  a German  gentlemau,  Reiss,  whose  name,  we 
see,  has  of  late  been  coupled  with  the  Thomson  telephone. 
Herr  Ileiss  undoubtedly  made  a telephone  in  1861,  and  a 
description  of  it  was  read  to  the  Physical  Society  of  Frank- 
furt in  a paper  “ On  the  Reproduction  of  Tones  by  Electro- 
magnetic Means.”  Reiss  showed  distinctly  how  certain 
tones  could  be  transmitted  through  a wire  by  vibrations, 
or,  what  is  the  same  thing,  by  the  making  and  breaking 
contact  very  rapidly  of  an  electric  current ; and  anyone 
interested  in  the  subject  may  still  see  woodcuts  of  the  instru- 
ment in  the  Get  man  electric  manuals. 

In  these  circumstances,  should  Reiss’  name,  and  Reiss’ 
only,  be  attached  to  the  telephone  henceforth?  Well, 
undoubtedly  he  was  the  first  to  suggest  such  a thing  as 
telegraphing  sound,  but  when  it  comes  to  connecting  his 
name  to  the  practical  telephone  in  everyday  use  at  present, 
one  may  well  hesitate.  And  for  this  reason.  Supposing, 
after  Reiss  had  made  his  communication,  no  one  else  had 
taken  up  the  subject;  it  did  lie  dormant  ten  or  fifteen  years. 
In  that  case,  the  memoir  would  have  remained,  like  nine 
communications  out  of  every  ten  made  to  learned  societies, 
in  the  buried  archives  of  the  Frankfurt  Society,  and  fifty 
years  hence  would  have  passed  into  the  limbo  of  forgotten- 
ness. For  Reiss,  valuable  as  his  communication  is,  read  by 
the  light  of  the  present  day,  attracted  but  little  attention  in 
scientific  circles  when  be  made  his  announcement.  He 
had  certainly  no  idea  that  his  discovery  would  be  the 
means  of  people  talking  to  ono  another  through  twenty  miles 
of  wire  ; or,  if  he  bad,  he  kept  the  idea  locked  up  in  his 
own  breast.  His  research  was  a most  interesting  one, 
undoubtedly,  but  it  was  far  from  being  the  outcome  of  a 
practical  instrument.  It  is  one  thing  to  make  a telegraph 
wire  transmit  an  audible  sound,  and  another  thing  to  be 
the  means  to  carrying  on  conversation  between  two  persons. 

Here,  then,  is  another  illustration  of  the  difficulty  of 
deciding  between  inventors.  We  do  not  know  whether 
Graham  Bell  was  cognisant  of  Reiss’  early  experiment,  but 
it  i8  very  likely  that  when  he  engaged  in  the  work  of 
transmitting  sound  by  electricity,  he  collected  all  the  data 
that  had  been  published  on  the  subject.  Supposing  he  did 
this,  as  a scientific  man  should  have  done,  there  is  never- 
theless very  great  credit  due  to  him  for  giving  us  a practi- 
cal telephone.  Somebody  was  required  to  elaborate  the 
principle  still  further,  otherwise  we  should  never  have  had 
the  instrument.  For  Reiss  did  not  give  us  a practical  tele- 
phone at  all.  Indeed,  wo  may  fearlessly  assert  that 
Graham  Bell  was  a benefactor  to  Reiss;  for  if  the  American 
experimentalist  had  not  brought  forward  his  telephone,  the 
world  would  never  have  heard  of  his  predecessor. 

The  difficulty  illustrated  in  apportioning  to  Reiss  and 
Graham  Bell  their  fair  proportion  of  honour  in  the  inven- 
tion of  the  telephone  repeats  itself  on  every  hand.  The 
dynamo-electric  machine,  of  which  Pacinotti  appears  to 
have  been  the  original  designer,  has  been  claimed  of  late 
over  and  over  again,  and,  of  course,  the  latest  improvements 
in  this  direction  are  vastly  superior  to  the  original  Paci- 
notti  instrument.  The  incandescent  electric  lamp,  we  are 
now  told,  was  invented  twenty  years  ago  ; but  he  would  be 
a bold  man  who  proposed  to  give  all  the  houour  and  glory 
of  the  present  day  incandescent  lamps  to  anyone  who  lived 
before  the  days  of  high  vacuums.  In  photography,  numer- 
ous instances  can  be  quoted  in  which  it  would  not  be  fair  to 
give  all  the  credit  to  the  first,  any  more  than  to  the  last, 
worker  on  improvements.  Le  Gray  suggested  collodion  for 
photography,  and  Archer  was  the  first  to  make  practical 
use  of  it ; but  neither  the  one  nor  the  other  invented  col- 
lodion. Should  not  he  who  did  this — Mr.  Maynard,  of 
Boston,  whose  name  no  one  hears — be  entitled  to  some 


ArBiL  13,  1883.] 


THE  PHOTOGRAPHIC  HEWS. 


229 


share  in  the  honour  ? So  we  must  end  where  we  began,  by 
sayiDg  that  the  proper  recognition  of  inventors  is  rarely 
met  with,  merely  adding  a word  of  caution,  that  in  these 
circumstances  it  behoves  one  to  be  very  careful  in  assigning 
honours  to  this  or  that  claimant. 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  XVIII. — Optics — Continued. 

Depth  of  Focus. — This  depends  upon  two  factors:  one, 
the  diameter  of  the  stop  ; and  two,  the  focal  length  of  the 
lens.  It  is  inversely  proportioned  to  the  diameter  of 
the  stop  — i.e.,  a stop  of  two  inches  diameter  will  only  give 
half  the  depth  of  focus  given  by  a one-inch  stop ; and 
inversely  proportioned  to  tbe  fooai  length — i.e  , a lens  of 
twelve  inches  focus  will  only  give  half  the  depth  of  focus 
given  by  a lens  of  six  inch  focal  length. 

Compound  Lenses. — These  cousist  of  two  lenses  either  of 
the  same  or  different  focal  lengths,  mounted  at  some 
distance  apart,  and  with  a stop  between  them.  They  are 
employed  in  two  principal  cases : 1,  when  absolute 

freedom  from  distortion  is  required ; and  2nd,  when 
rapidity  of  exposure  is  necessary.  By  combining  two 
lenses  in  this  way  the  distortion  and  aberrations  produced 
by  one  lens  can  be  corrected  by  the  other,  enabling  a much 
larger  stop  to  be  used,  and  giving  an  image  free  from  dis- 
tortion. The  extra  rapidity  is  obtained,  however,  at  the 
expense  of  the  angle  of  view,  and  as  the  rapidity  increases, 
so  does  the  angle  which  can  be  included  in  the  picture 
diminish. 

Apparent  Distortion  ( Incorrect  Perspective'). — When  a 
photograph  is  taken  including  a very  wide  angle,  the 
resulting  picture  appears  distorted,  or  the  foreground 
appears  exaggerated,  and  the  distance  dwarfed.  This  is 
due  to  the  want  of  accommodation  possessed  by  the  eye  ; 
if  the  eye  lens  could  include  a wide  angle  for  viewing  wide 
angle  pictures,  all  difficulties  would  vanish  ; but,  un- 
fortunately, the  angle  it  can  readily  do  so  is  not  more  than 
55  or  60  degrees.  Now,  in  order  for  pictures  to  appear  in 
correct  perspective,  it  is  necessary  that  they  should  be 
viewed  at  such  a distance  that  the  angle  they  subtend  with 
the  eye  is  equal  to  the  angle  they  subtended  with  the  lens 
in  the  camera,  and  this  distance  is  obviously  about  equal 
to  the  focal  length  of  the  lens ; hence  the  rule  : every 
icture  should  be  viewed  at  a distance  equal  to  the  focal 
ngth  of  the  lens  with  which  it  is  to  be  taken.  Remember- 
ing that  the  eye  only  includes  an  angle  of  about  55 
degrees,  a picture  subtending  a wider  angle  cannot  be 
viewed  at  the  proper  distance,  because  the  eye  cannot 
then  include  it  ; and  wheu  it  is  moved  further  off,  so 
as  to  subtend  a smaller  angle,  apparent  distortion  is  pro- 
duced. It  may  and  does  frequently  occur,  that  of  two 
pictures  taken  from  the  same  point  of  view,  and  including 
the  same  angle,  one  taken  on  a quarter  plate  will  appear 
distorted,  while  another  taken  on  a 7^  by  5 plate  appears 
all  right.  This  is  also  due  to  the  eyes'  want  of  accommoda- 
tion. Supposing  the  angle  of  view  to  be  55°  in  each  case, 
the  quarter  plate  picture  will  have  to  be  held  about  four 
inches,  and  the  74  by  5 about  seven  inches,  from  the  eye  ; 
but  the  eye  has  not  the  power  of  seeing  distinctly  objects 
so  close  to  it  as  four  inches,  or,  in  other  words,  has  only  a 
limited  range  of  focus  ; in  consequence,  while  the  by  5 
picture  can  be  viewed  at  the  right  distance  for  correct  per- 
spective, the  quarter  plate  has  to  be  held  further  off,  and 
so  appears  distorted.  This  explains  why  carte  pictures  are 
best  taken  with  a lens  of  seven  or  eight  inches  focal  length. 

Focal  or  Equivalent  Focal  Length. — The  focal  length  of  a 
lens  is  the  distance  fron  its  optical  centre  to  the  point 
where  parallel  rays  passing  through  it  arc  brought  to  a 
focus;  in  the  caae  of  compound  lenses  this  distance  is 
called  its  equivalent  focal  length,  meaning  that  it  is  equiva- 
lent to  a single  lens  of  the  same  focal  length.  There  are 


several  methods  of  ascertaining  the  focal  or  equivalent 
focal  lengths  of  a lens. 

1.  Focus  the  sun  or  other  distant  object  on  a screen, 
and  measure  the  distance  from  any  point  on  the  lens  to  the 
screen  ; turn  the  lens  round,  focus,  and  again  measure  the 
distance  from  the  same  point.  The  mean  of  these  two 
distances  is  the  focal  length  of  the  lens,  and  the  point  in 
its  centre  (optical  axis)  this  distance  from  the  focus  is  its 
optical  centre. 

2.  Focus  with  a lens  of  known  focal  length  an  object 
on  a screen,  and  measure  the  length  of  the  image  ; focus 
the  same  object  with  the  lens  whose  focal  length  is 
required,  and  also  measure  the  image  formed  ; then  what- 
ever proportion  the  second  image  bears  to  the  first,  so  will 
the  focal  length  of  the  second  lens  be  to  that  of  the  first 
one. 

3.  Focus  a plane  object  on  the  ground  glass  so  that  the 
image  is  exactly  the  same  size  as  the  object,  and  measure 
the  distance  between  the  object  and  the  ground  glass. 
One-fourth  of  this  distance  is  the  focal  length  of  the  lens, 
and  the  point  midway  between  is  its  optical  centre. 

4.  To  calculate  the  equivalent  focal  length  of  a com- 
pound lens  Multiply  the  focal  length  of  one  lens  by  that 
of  the  other,  and  divide  by  the  sum  of  their  focal  lengths, 
less  the  distance  they  are  separated. 

Angle  of  View. — To  find  the  angle  of  view  included  in 
a picture  Draw  a line  equal  to  the  length  of  the  picture, 
and  erect  a perpendicular  on  its  centre  equal  to  the  focal 
length  of  the  lens  employed.  Draw  lines  from  this 
perpendicular  to  the  ends  of  the  base-line.  The  angle 
they  include  measured  with  a sector  gives  the  number  of 
degrees  included  in  the  picture. 

N.B. — This  only  holds  when  the  picture  is  much  smaller 
than  the  object. 


FRENCH  CORRESPONDENCE. 

M.  Thiebaut’s  Pellicle  Paper— Photographic  Society 
of  France. 

M.  Tliiebaut's  Pellicle  Paper. — I have  lately  had  occasion 
to  make  some  experiments  on  M.  Thiebaut’s  reversible 
pellicle.  The  preparation  is  really  excellent,  and  I do 
not  think  it  possible  to  be  made  better.  Paper  thus  pre- 
pared is  used  like  an  ordinary  gelatino-bromide  plate. 
The  operations  of  development,  fixing,  and  washing,  do 
not  present  any  difficulty,  and  the  immense  advantage 
gained  is  that  the  dry  plate  can  be  easily  detached  from 
the  support  or  frame,  and  no  danger  need  be  feared  on 
that  account.  Although  the  pellicles  may  be  used  on 
either  side,  they  are  very  solid.  Nothing  is  more  simple 
than  the  process  of  transferring  the  pellicle  afterwards  to 
glass,  aud  the  photographer’s  luggage  is  considerably 
lightened. 

Banquet  of  the  Photographic  Society  of  France. — At  the 
banquet  of  the  Society,  held  on  March  17tb,  a toast  was 
proposed  in  the  name  of  the  photographic  press,  French 
and  foreign.  This  is  another  proof  of  the  good  feeling 
existing  between  contemporaries  of  all  countries. 

Leon  Vidal. 

o 

A NEW  DANGER. 

Whether  the  Times  was  hoaxed  or  not  when  it  printed  that 
astonishing  narrative  of  the  West-end  curate  who  was  coaxed 
into  kissing  a young  lady  of  considerable  attractions,  and 
maliciously  photographed  in  the  act,  e ben  trovato.  Who  is  safe  ? 
Dynamite  is  nothing  to  your  new  “ Pocket  Patent  Ins:antane- 
ous  Photograph  ! ” The  peace  of  a family,  the  reputation  of  a 
house,  may  “ be  made  to  jump,”  as  the  French  say,  in  two 
seconds,  without  even  the  alarm  of  an  explosion  I The  rays  of 
the  sun  are  sufficient  to  work  silently  this  dismal  ruin.  Your 
lady’s-maid  surreptitiously  gets  a patent  flash  of  you  (who  make 
up  rather  well)  with  your  wig  off  and  your  teeth  out.  The 
valet  takes  his  ducal,  or  even  Royal,  master  under  circumstances 
and  at  times  when  he  is  not  posing  at  all  as  the  hero  of  the 


230 


THE  PHOTOGRAPHIC  NEWS. 


[Apeil  13,  1883. 


popular  imagination.  The  doctor— but  I forbear  to  continue 
this  harrowing  train  of  thought.  We  are  all  human,  but  we  do 
not— even  the  frailest  of  us— deserve  to  be  photographed  in 
season  and  out  of  season,  especially  out,  to  gratify  the  malice  or 
avarice  of  others  as  frail  and  more  malicious  than  ourselves. 
What  would  a lady  not  spend  in  buying  herself  up,  or  securing 
the  negative  of  herself  as  she  appeared  when  last  crossing  the 
Channel  ? I am  told  that  great  statesmen  fall  asleep  in  the 
middle  of  the  day  sometimes,  with  their  mouths  wide  open  ; 
that  some  very  distinguished  people  are  known  to  be  irascible  ; 
and  that  in  the  privacy  of  the  domestic  circle,  or  in  the  midst  of 
friendly  gatherings,  other  personages  of  the  most  exalted  rank 
and  position  have  been  seen  to  disport  themselves  in  a manner 
which  is  but  feebly  described  by  the  word  “ burlesque.”  Yet 
any  day  the  shop  windows  may  swarm  with  some  sudden  photo- 
graph, calculated  to  make  every  individual  hair  of  the  person,  or 
persons,  therein  depicted,  stand  on  end  ! 

I began  to  write  sportively  enough,  but  I have  grown  grave. 
Yesterday  the  victim  was  a curate.  To-day  it  may  be  you  or 
me  ; and  to-morrow  the  highest  persons  in  the  realm  may  re- 
ceive no  more  quarter  from  the  secret  photographer  than  they 
have  already  from  the  Paris  raconteur.  Some  people  may  argue 
that  every  one’s  morals  are  likely  to  improve  by  this  dread  of 
constant  exposure  : but  that  is  not  the  point.  The  immense 
majority  of  incidents,  which  could  be  so  photographed,  deal  with 
a class  of  actions  at  which  no  one  need  blush,  but  which  no  one 
who  happened  to  be  the  actor  would  care  to  see  photographed. 
Under  these  circumstances,  I cannot  see  that  even  the  West-end 
curate  himself  was  much  to  blame  for  bestowing  that  one 
chaste,  parting  kiss,  under  protest ; indeed,  were  a lady  pretty, 
and  to  ask  me  to  kiss  her  as  a pledge  of  unreciprocated  love,  I am 
by  no  means  certain  that  I should  feel  justified  in  refusing  to 
obey  her  behests.  At  the  same  time,  I shall  be  surprised  if  the 
curate  or  the  curate’s  friends  are  not  somewhat  anxious  to  get 
hold  of  the  negative,  and  I ask  myself  unquietly,  “ Have  I,  too 
— am  I likely  to  have — a negative  ? ” — Truth. 


TRIPOD  AND  ROD. 

BT  J.  DAVET.* 

To  the  busy  worker,  whose  time  is  passed  amidst  the  hum  of 
city  life,  whose  associations,  during  the  greater  part  of  the  year 
confine  him  to  the  office,  the  desk,  the  manufactory,  or  to  the 
routine  of  a profession,  what  can  be  more  exhilarating  than  the 
prospect — when  early  spring  begins  to  suggest  thoughts  of  rock 
and  river  and  country  scenes — of  a month’s  holiday,  to  be 
enjoyed  with  those  accompaniments  of  rod  and  line,  and  camera 
and  lens,  of  which  one  or  other  cannot  fail  to  afford  sport  and 
pleasure  under  almost  all  possible  variations  of  weather,  be  it  wet 
or  dry,  fair  or  foul  ? For  it  may  be  noted  that  whilst  the  camera 
can  only  be  used  with  good  effect  when  the  weather  is  fine,  the 
reverse  is  to  a great  extent  true  of  the  pictorial  art.  Hence  we 
have  a resource  for  those  “off”  days  when  a “ southerly  wind 
and  a cloudy  sky  ” fail  to  proclaim  a photographic  morn  ; and  if 
it  should  so  happen  that  unfavourable  weather  for  the  camera 
should  drive  the  tourist  to  his  reserve  of  rod  and  line,  what 
more  pleasant  way  of  spotting  the  desirable  points  of  view  for  a 
future  campaign,  than  when  engaged  in  transferring  the  spotted 
beauties  from  their  watery  home  to  the  fisherman’s  basket  ? 

It  is  usually  the  case  that  the  scenery  of  rivers — especially  of 
trout  streams — is  of  a kind  which  lends  itself  well  to  photo- 
graphic composition : witness,  for  instance,  the  Valley  of  the 
Lyn  above  Lynmouth.  Here  one  hesitates  at  the  door-step  of 
the  hotel,  or  of  the  cottage  lodgings,  and,  whilst  looking  from 
camera  to  rod  and  rod  to  camera,  feels  “ How  happy  could  I be 
with  either,  were  t’other  dear  charmer  away  ! ” and  one’s  mind 
is  finally  made  up  by  the  suitability  or  otherwise  of  the  weather. 
We  have  here,  then,  an  alternative  resource  which  saves  us  from 
that  fatal  temptation  to  waste  plates  in  unsuitable  weather 
which,  if  yielded  to,  is  so  disastrous  in  its  artistic  results,  and 
aggravating  to  temper. 

In  illustration  of  the  happy  blending  of  these  two  pursuits,  I 
recall  with  infinite  pleasure  a certain  afternoon — May  27th,  1880 
— when  a party,  whose  names  are  not  unknown  in  the  Bristol 
and  West  of  J.ngland  Amateur  Photographic  Association,  were 
the  guests  of  a worthy  and  reverend  host  in  the  neighbourhood 
of  hrome.  With  what  genial  and  hearty  courtesy  did  he  intro- 
duce us  to  his  charming  parish,  replete  with  runnning  stream 

* Head  before  the  Bristol  and  West  of  England  Amateur  Photographic 
Association. 


brimful  of  trout,  where  lovely  views  of  wood  and  water  enchanted 
our  eyes  ! Do  I not  also,  and  do  not  some  of  us  now  present,  re- 
call the  invitation  to  one  of  the  party  to  “ take  a throw  ” ? 
There  is  an  enchantment  about  that  little  invitation,  and  it  was 
not  refused.  Tripod,  camera,  focussing-cloth,  all  the  parapher- 
nalia were  at  once  laid  down,  and  with  a turn  of  the  wrist  our 
host’s  cast  of  flies  were  lightly  dropped  just  where  a dimpling 
circle,  with  its  gently  expanding  rings,  marked  the  spot  where  Mr. 
Troutie  was  taking  his  afternoon  tea.  A little  tug,  a little  rush, 
a lively  bending  of  the  top  joint,  revealed  the  painful  fact  to  him 
that  he  was  no  longer  a free  agent.  A short  struggle,  and  the 
net  was  deftly  slipped  under  his  spotted  sides.  A moment  or 
two  to  look  at  and  admire  the  capture,  and  then  for  the  next. 
Whenever  the  circling  rings  on  the  calm  surface  of  the  water 
(for  it  does  not  always  require  a breeze  or  a ripple  to  secure 
sport)  bespoke  a fish,  there  the  same  little  game  was  played,  and 
the  result  laid  in  plentiful  supply  of  fresh  grass  ; their  glistening 
sides  resplendent  with  their  characteristic  pink  spots  was  some- 
thing to  remember  for  many  a day. 

Reverting  again  to  the  valley  of  the  Lyn,  it  may  be  said  that 
this  portion  of  the  adjoining  counties,  Devon,  and  Somerset,  is 
a paradise  for  both  camera  and  rod.  Whichever  way  we  turn, 
there  is  food  f r anglers  and  artists.  The  various  streams  of 
Dartmoor  and  Exmoor  abound  in  small  trout ; the  vallies  and 
dingles  equally  abound  in  charming  views,  especially  of  cascades 
and  rocky  water  courses. 

The  sea  coast  of  North  and  South  Devon  is  of  the  most 
romantic  description,  and  sport  is  by  no  means  confined  to  that 
of  the  angler,  for  we  have  here  the  wild  red  deer,  the  fox,  and 
hare.  I think  I am  right  in  saying  that  for  the  red  deer  it  is  the 
only  part  of  England  left  where  they  exist  in  a wild  state. 

To  any  intending  visitor  to  the  valley  of  the  Lyn,  it  is  worthy 
of  mention  that  anyone  who  has  in  possession  one  of  the  now 
nearly  disused  tents  for  field  work  might  once  sgain  turn  it  to 
some  use.  The  views  in  the  immediate  vicinity  of  Lynmouth 
are  so  numerous  and  so  near  to  each  other  that,  by  pitching  a tent 
there,  one  could  do  a good  day’s  work  without  moving  ; and  if 
the  impedimenta  of  wet  collodion  were  an  objection,  there  would 
be  a certain  satisfaction  in  such  a district  in  even  developing 
ones  own  dry  plates  on  the  spot.  1 am  of  opinion  that  it  is  better 
to  develop  on  the  spot  at  once,  or  else  to  leave  it  entirely  until 
the  return  to  one’s  well-arranged  dark  room  at  home,  and  that  it 
is  not  desirable,  as  a rule,  to  make  shifts  at  hotels  or  lodgings,  and 
to  develop  after  the  day’s  outdoor  work  is  done.  If 
this  latter  (and  to  me  objectionable)  course  is  taken,  it 
makes  a toil  of  a pleasure,  and  the  health-giving  effects  of  the 
out-of-door  work  by  day  is  more  than  counterbalanced  by  the 
late  and  long  hours  of  work  required  to  complete  development  of 
many  negatives. 

Whilst  on  the  subject  of  developing,  I may  make  a 
passing  reference  to  the  various — the  wonderfully  various 
— formula)  for  developers.  I have  taken  the  trouble  to 
copy  out  a few  of  the  fearful  and  wonderful  instructions  for 
making  them  as  recommended  by  the  faculty.  They  are  in  every 
shape  and  form,  made  up  in  stock  solutions  to  be  mixed  in  all 
sorts  of  propoitions  in  A and  B solutions,  which  will  keep  to 
be  mixed  in  wondrous  ways  when  wanted,  and  to  fathom  the 
ultimate  proportions  of  which  is  a sore  trial  for  the  novice.  Now 
I have  worked  out  some  of  these,  and,  whilst  noting  that  they 
vary  from  (say)  1 grain  pyrogallic  to  the  ounce  for  gelatine  plates, 
to  8 grains  pyrogallic  for  some  of  the  somewhat  out  of  date  collo- 
dion emulsion  plates,  and  also  that  they  vary  a good  deal  in  the 
proportions  of  bromide  and  ammonia,  still  there  is  a strong 
family  likeness  in  all  of  them.  Now,  an  amateui,  especially  a 
beginner,  wants  simplicity  in  his  instructions ; and  it  has 
occurred  to  me  that  what  I have  taken  upon  myself  to  call  a 
one- two-three  developer  is  a close  approximation  to  some  of 
the  standard  ones,  and  is  almost  identical  with  one  recom- 
mended by  Swan.  I mean  by  one,  two,  three  : 

Hypo  ...  1 grain 

Bromide  2 grains 

Ammonia 8 drops 

as  a standard,  to  be  varied  according  to  circumstances,  the  class 
of  plate,  and  the  accidents  of  over  or  under-exposure,  &c.  This 
formula  is  so  easy  to  remember,  and  can  be  so  easily 
varied,  that  a beginner  has  only  to  carry  the  1,  2,  3 in  his 
mind,  and  can  mix  and  vary  as  he  likes  without  the  abstruse 
calculations  involved  in  making  up  stock  solutions.  One  and 
two  : filling  up  a drachm  of  No.  1 to  2 ounces  in  a 2-ounce 
measure,  then  doing  ditto  with  No.  2 ; and  then,  “ last  scene  of 
all,”  mixing  the  two  in  equal  propoitions. 


April  13,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


231 


My  own  object  in  first  taking  to  photography,  some  few 
summers  ago,  was  the  production  of  transparencies  for  the 
lantern  ; but,  of  course,  this  soon  grew  into  silver  printing  on 
paper,  and  I learnt  that  there  is  no  more  charming  occupa- 
tion for  leisure  hours  and  in  summer  holidays  than  the  produc- 
tion of  small  negatives  (7|  by  4$),  which  are  easily  reduced  in 
the  camera  to  lantern-size  transparencies,  and  which,  if 
sufficiently  perfect  to  make  it  worth  while,  can  be  enlarged  in 
carbon  up  to  24  by  18,  and  form  handsome  additions  to  the 
decoration  of  vacant  wall  spaces  in  the  rooms  at  home.  I may 
say  that  this  latter  process  I always  get  done  by  a leading  firm 
for  me,  not  having  the  necessary  time  to  spare  for  that  branch  of 
the  art. 

Transparencies  require  much  care  and  experience  to  turn  out 
well.  An  ordinary  transpareny  is  not  more  difficult  than  an 
ordinary  silver  print  on  paper  ; and  in  printing  half-a-dozen  or 
half-a-hundred,  it  is  probable  that  the  whole  batch  would,  in 
the  hands  of  an  experienced  operator,  turn  out  fairly  even  and 
good  ; but  with  lantern  transparencies  it  is  a little  different,  for 
the  least  clouding  in  the  lights,  or  too  great  heaviness  in  the 
shadows,  renders  them  at  once  unsuitable  for  thi owing  upon  the 
screeD,  so  great  is  the  loss  of  light.  This  applies  more 
especially  to  those  slides  intended  for  lanterns  in  which  mineral 
oils  are  burnt.  Where  the  lime  or  oxy-hydrogen  light  is  used, 
there  may  be  naturally  a little  more  margin  allowable  for  waste 
of  light  owing  to  the  greater  brilliancy  of  the  illumination. 

A good  slide,  therefore,  should  possess  full  detail,  aud  yet  be 
perfectly  clear.  A good  negative — perfect,  if  possible — is  there- 
fore the  first  requirement  to  begin  with  ; the  illumination  of  it 
should  not  be  too  brilliant,  and  if  the  sun  is  shining,  and  the 
light  highly  actinic,  it  is  better  to  place  finely-ground  glass  or 
some  tissue  paper  over  it.  Then,  when  a fair  exposure  has  been 
given — not  too  full — I usually  stop  development.  As  soon  as  all 
detail  is  well  out,  fix,  and  then  fill  up  to  the  requisite  density 
with  ordinary  silver  intensification.  My  transparencies  have 
always  been  made  by  the  old  wet  collodion  process,  and  if  the 
above  points  are  attended  to,  very  pleasing  and  satisfactory 
results  may  be  attained. 

Apropos  of  the  vexed  subject  of  intensification  for  gelatine 
plates,  I have  tried,  and  with  a certain  amount  of  success,  the 
mercurial  plan,  but  it  seems  to  me  that  the  weak  point  in  this, 
quite  apart  from  possible  instability,  upon  which  I am  not  pre- 
pared to  express  an  opinion,  is  the  difficulty  of  arresting  the 
process  at  a given  point  of  colour  or  intensity.  It  seems  all  or 
none.  Now  I have  found  that  an  intensifier  composed  of  the  old 
well-known  15-grain  iron  developer,  with  15  grains  of  citric 
acid  added,  and  used  with  a solution  of  silver  10  grains,  and 
acetic  acid  1 0 drops  to  the  ounce,  dropped  into  it,  quant,  stiff., 
builds  up  intensity,  as  it  were,  in  the  most  gradual,  clean,  and 
satisfactory  manner. 

Reverting  now  for  a moment  to  the  secondary  subject  of  this 
paper,  we  sometimes  hear  it  said  that  there  is  not  much  fishing 
in  the  neighbourhood  of  Bristol.  Now  if  there  is  not  much,  I 
venture  to  say  that  there  is  at  least  consideaable  variety.  The 
Avon  is  well  supplied  with  coarse  fish,  and  in  spinuing  or  trolling 
for  pike  the  angler  may  occasionally  be  rewarded  by  a three- 
pound  trout,  or  he  may  idle  away  a summer’s  day  in  filling  his 
creel  with  roach.  Chub  are  not  unknown  by  any  means,  and 
the  waters  of  the  Froom  and  the  Midford  brook  contain 
trout  and  perch,  and,  I believe,  roach  and  dace. 

With  regard  to  the  former  river,  the  Froom — which,  by-the- 
bye,  is  not  to  be  confounded  with  the  Froom  which  runs 
through  Stapleton  and  joins  the  Avon  at  Bristol,  but  refers  to 
the  other  Froom  which  flows  into  the  Avon  at  Threshford  near 
Bath— has  been  for  some  years  in  the  hands  of  an  association 
having  its  head-quarters  in  Bristol,  and  designated  “ The  Avon 
and  Tributaries  Angling  Association.”  This  Association  placed 
a large  quantity  of  trout  fry  in  the  Froom  water  some  years  back, 
and  had  it  in  contemplation  to  stock  the  water  thoroughly  and 
well.  Just,  however,  as  the  good  effects  of  their  efforts  were 
becoming  apparent,  difficulties  arose  with  the  owners  of  some  of 
the  riverside  properties,  and  so  much  of  the  water  was  taken 
from  the  committee  as  to  render  it  undesirable  to  continue  the 
good  work. 

It  is  much  to  be  regretted  that  the  proprietors  referred  to 
could  not  be  induced  to  look  upon  the  expenditure  of  the  associ- 
ation as  calculated  to  promote  mutual  advantage  and  benefit. 
There  is,  perhaps,  no  happier  example  of  the  double  suitability 
to  camera  and  rod  than  is  afforded  by  that  portion  of  the  Froom 
which  lies  near  Farleigh  Castle.  At  this  spot  there  is  ample 
Work  for  the  camera  for  the  best  part  of  a day,  within  a few 


yards  of  the  Bridge,  somewhat  away  from  the  course  of  the 
stream  itself,  and  more  amongst  the  old  ruins;  whilst  the  “rod- 
ster  ” may,  by  taking  train  to  Freshford,  have  a day’s  fishing 
over  the  two  or  more  miles  of  water  which  lie  between  that 
station  and  Farleigh,  and  enjoy  a most  delightful  ramble  along 
the  banks  of  this  pretty  little  river. 

There  are  many  private  waters,  too,  within  easy  hail  of  Bristol, 
and  I could,  with  bated  breath,  tell  of  one  where,  with  an  arti- 
ficial minnow  and  breezy  weather,  the  favoured  angler,  provided 
with  the  necessary  pass,  has  an  exceedingly  good  chance  of 
capturing  many  a brace  of  trout,  running  from  three-quarters  of 
a pound  up  to  two,  three,  and  even  five  or  six  pounds  weight. 
As  I have  been  able  to  verify  these  sizes  personally,  I think  I 
may  venture  to  assert  that  there  is,  at  all  events,  some  fishing 
near  Bristol. 

Were  I to  plunge  into  reminiscences  of  old  fishing  days,  I fear 
I should  become  wearisome.  It  usually  happens  that  such 
reminiscences  are  more  interesting  to  the  actors  in  them  than  to 
outside  listeners.  Neither  do  I wish  to  try  to  write  a book  on 
angling — that  has  been  well  done  by  Francis  Francis,  and  in  the 
olden  days  by  the  great  master  old  Izaak  Walton.  Now,  if  any 
one  here  present  has  never  in  the  course  of  his  life  “ happened 
upon  ” dear  old  Izaak,  let  him  hunt  up  a copy  forthwith,  and  I 
promise  him  much  pleasure  from  the  perusal  thereof.  The 
delicious  air  of  contemplation  and  genial  humor  which  pervade 
the  book  will  always  render  it  conspicuous,  even  quite  apart  from 
any  value  it  may  have  as  a special  text  book. 

Will  you  allow  me  to  conclude  with  a few  words  which  I have 
extracted  from  this  very  favourite  old  author?  So  much  of  the 
work  is  in  the  form  of  conversations  between  Venator  and 
Piscator  and  another,  that  the  following  will  explain  itself  : — 

Venator. — Let’s  go  merrily  to  supper,  and  then  have  a gentle 
touch  at  singing  and  drinking  ; but  the  last  with  moderation. 

Cortdon. — Come,  now  for  your  song,  for  we  have  fed  heartily. 
Come,  hostess,  lay  a few  more  sticks  on  the  fire ; and  now  sing 
when  you  will. 

Piscator. — Well,  then,  here’s  to  you  Corydon  ; and  now  for 
my  song — 

“ Oh  ! the  gallant  fisher’s  life, 

It  is  the  best  of  any, 

’Tis  full  of  pleasure  void  of  strife, 

And  is  beloved  by  many. 

Other  joys 
Are  but  toys. 

Only  this 
Lawful  is, 

For  our  skill 
Breeds  no  ill, 

But  contentand  pleasure.” 


Botes. 

Mr.  Cooking’s  throat  photograph,  taken  by  the  lime- 
light, took  the  members  of  the  Photographic  Society  a 
little  by  surprise,  as  they  were  scarcely  prepared  for  such 
a success.  The  actual  picture  was  less  than  half  an  inch 
in  diameter,  but  even  when  enlarged  on  the  screen  to 
nearly  eighteen  inches,  the  definition  was  quite  satis- 
factory. A cabinet  lens  was  used.  Few  photographers 
know  how  to  employ  a portrait  lens ; Mr.  Cocking 
certainly  does. 


it  was  quite  a treat  on  Tuesday  night  to  have  a lantern 
display  without  the  lantern  intervening  between  specta- 
tors and  the  screen.  In  fact,  the  use  of  a damp  screen, 
with  the  lantern  behind  it,  is  now  so  rare  that  this  method 
of  exhibition  came  quite  fresh  to  the  members  of  the 
Photographic  Society.  Moreover,  images  are  decidedly 
seen  to  greater  advantage  on  a damp  screen. 


We  saw  a curious  photograph  the  other  day  in  Mr. 
William  Mayland’s  studio  at  Deal.  It  was  a sea  picture 


232 


THE  PHOTOGRAPHIC  HEWS. 


[April  13,  1883. 


with  the  waves  breaking  over  the  Godwin  sands,  and  in 
the  distance,  clearly  limned  on  the  horizon,  were  the  white 
chalk  cliffs  of  France,  thirty  miles  away  from  the  camera. 


In  the  cause  of  Science ! Says  the  St.  James'  Gazette  : — 
« A German  brewer  in  Nevada,  who  has  beeu  reading  about 
blasting  agents — of  gun-cotton,  nitro-glycerine,  and  finally 
quicklime — has  been  cogitating  over  the  subject,  and  ba8 
come  to  the  conclusion  : Why  not  yeast  ? Accordingly,  he 
commenced  a series  of  trials,  and  in  the  pursuit  of  science, 
not  only  blew  several  strongly-hooped  casks  to  pieces,  but 
actually  ‘forced  out  one  end  of  his  brewery.’  We  pre- 
sume he  will  now  make  a final  experiment,  and  raze  his 
establishment  to  the  ground.” 


Dr.  Stolze,  in  the  Wochenblatt,  recommends  the  prepara- 
tion of  durable  sensitized  paper  as  follows  : — The  paper  is 
floated  upon  a silver  bath  (nitrate  of  silver  1 part,  water 
10  parts)  for  some  four  minutes,  then  drawu  over  a glass 
rod,  and  laid,  reverse  side  downwards,  upon  a second  bath 
of  citrate  of  potash  (citrate  1 part,  water  30  parts)  for 
another  four  minutes.  Subsequently  it  is  immersed  in 
rain  water.  The  toning  of  this  paper  should  take  place 
after  fixing,  snd  a sulpho-cyanide  of  gold  bath  is  recom- 
mended for  the  purpose. 


Knights  of  science  are  so  rare  that  their  advent  may 
well  be  chronicled.  Dr.  Playfair,  who,  until  recently,  was 
Chairman  of  Committees  in  the  House  of  Commons,  is 
nominated  K.C.B. ; and  another  equally  famous  chemist, 
Professor  Abel,  C.B  , is  to  receive  the  honour  of  Knight- 
hood. 


“ The  atmosphere  is  so  much  clearer  over  there,”  is  a 
travelled  Englishman’s  explanation  when  he  shows  some 
very  bright  portrait  that  has  been  taken  in  Paris,  Vienna, 
or  St.  Petersburg!!.  Photographers  know  very  well  that 
it  is  rather  the  retouching  “ over  there,”  more  than  any- 
thing else,  that  gives  the  brightness  and  boldness  as  well, 
very  often,  in  the  photograph  ; still,  to  make  quite  certain, 
it  may  be  as  well  to  note  what  Mr.  Proctor  says,  in  the 
last  number  of  Knowledge,  anent  the  amount  of  light 
absorbed  by  the  atmosphere  in  a room  or  studio.  You 
may  take  “ one  10,000th  part  as  the  utmost  loss  of  ab- 
sorption in  a room  nine  yards  long.  This,  of  course, 
would  be  utterly  inappreciable,  even  with  the  most  delicate 
photometer,”  adds  Mr.  Proctor. 


That  was  an  ingenious  gentleman  who  invented  the 
story  in  the  Times  the  other  day  of  the  High  Church  curate 
sworn  to  celibacy,  and  the  young  lady  who  had  conceived 
for  him  an  ardent  and  hopeless  passion.  Only  one  favour 
she  requested  before  bidding  him  adieu  for  ever,  that  he 
would  give  her  oue  kiss ! The  young  curate,  touched  with 
pity,  complied,  and  some  days  after  had  the  happiness  of 
receiving  a neat  little  parcel  tied  up  with  blue  ribbon  ; in 
opening  this  he  found  an  instantaneous  photograph  (cabinet 
size)  of  himself  kissing  the  young  lady,  with  an  intimation 
that  there  were  eleven  more  copies,  and  that  he  might  have 


the  whole  dozen  at  £20  a-piece.  The  story  is  well  found, 
but  one  really  would  like  to  know  by  what  instantaneous 
process  the  photograph  was  taken,  how  the  camera  and 
operator  were  concealed,  and  bow  the  lady  managed  so  that 
the  curate  had  his  face  turned  to  the  camera  and  in  focus. 


A Society  journal  asserts  that  the  latest  freak  of  fashion 
is  to  have  one's  smiles  photographed.  If  this  be  so,  the 
height  of  folly  can  no  further  go.  In  spite  of  the  repeated 
injunction  to  “ smile  and  look  pleasant,”  which  every 
photographer,  until  he  got  wiser,  has  made  use  of  some 
time  in  his  career,  a natural  smile  reinaius  one  of  the  most 
difficult  things  to  accomplish  photographically. 


A laughing  expression  successfully  caught  is,  however, 
a triumph.  One  of  Mr.  Cowan’s  lantern  transparencies 
exhibited  at  the  Thotographic  Society  was  the  picture  of 
a girl  laughing,  enlarged  to  life  size.  The  fidelity  to 
nature  was  so  dro'.ly  palpable,  that  the  spectators  could 
not  resist  laughing  themselves.  If  good  models  could  be 
obtained,  we  are  inclined  to  think  a series  of  experi- 
ments might  be  produced,  which,  when  thrown  on  the 
screen,  would  be  intensely  humorous,  and  much  more 
provocative  of  laughter  than  the  so-called  comic  slides. 


The  Princess  Beatrice  has  been  sitting  to  Mr.  Moira  for 
a portrait  in  miniature,  and  the  circumstance  has  caused 
the  World  to  hope  for  “a  more  general  revival  of  interest 
in  a branch  of  art  that  has  too  long  remained  in  abeyance.'* 
As  if  the  simpering,  inane,  miniature  of  our  grandmothers 
had  not  beeu  killed  beyond  recovery  by  photography  t 
The  best  specimens  of  the  old  school  cannot  equal  the 
combination  of  the  photographer  with  the  artist,  as  even 
the  World  might  discover  if  coloured  photographic  minia- 
tures were  the  fashion. 


A papier  mache  floor,  according  to  an  American  con- 
temporary, is  cheaper  and  warmer  than  matting  or  oil- 
cloth. Photographers  who  wish  to  know  how  they  may 
cover  their  studio  or  laboratory  floors  with  the  material, 
have  but  to  follow  this  simple  plan.  After  the  floor  has 
been  thoroughly  cleaned,  the  holes  and  cracks  are  filled 
with  paper  putty,  made  by  soaking  old  newspapers  in  a 
paste  made  of  flour,  water,  and  ground  alum,  one  pound 
of  flour  and  a table-spoonful  of  alum  being  added  to  three 
quarts  of  water,  and  boiled.  With  this  paste  the  floor  is 
coated,  aud  then  a sheet  of  glazed  brown  paper— such  as 
hardware  is  wrapped  in — is  applied  ; a second  coating  of 
paste  and  of  paper  is  advisable,  and  then  the  whole  per- 
mitted to  dry.  Subsequently  more  paste  is  applied,  and 
covered  with  a wall  paper  of  an  appropriate  pattern ; this 
latter,  when  dry,  receives  iwo  or  more  coats  of  size  made 
by  dissolving  half-a-pound  of  white  glue  in  two  quarts  of 
hot  water,  and  finally,  when  the  sizing  is  thoroughly 
desiccated,  the  whole  surface  is  covered  with  a coat  of  hard 
oil  finish  varnish.  A smooth  and  durable  paper  floor  is 
the  result. 


Drawing-room  candles  and  fancy  soap  tablets  may  be 
tastefully  decorated  with  photographs  without  much 


Ai’bil  13,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


233 


trouble,  and  we  wonder  this  style  of  ornamentation  has 
not  been  taken  up.  Some  years  ago  we  pointed  out  how 
carbon  impressions  could  be  transferred  and  developed 
upon  hard  composite  and  parathn  caudles  very  readily,  and 
there  is  little  doubt  a sale  could  be  found  for  such  articles 
de  luxe.  Carbon  tissue  is  generally  developed  in  water  of 
about  90°  F.,  and  the  melting  point  of  hard  candles  is 
some  30°  higher. 

As  an  instance  of  the  depreciation  in  the  value  of  silver, 
we  were  recently  told  that  a firm  occupied  in  fitting  silver 
articles,  work  that  necessitates  a good  deal  of  boring  and 
filing,  has  of  late  ceased  to  collect  their  waste,  the  cost  of 
saving  and  separating  the  filings  not  being  compensated  for 
by  the  value  of  the  precious  metal.  Photographers  should 
benefit  by  the  depreciation  of  s’lver  more  than  most  people. 

It  is  doubtful  whether  any  but  photographers  with 
established  connection  can  afford  to  do  without  the  club 
system.  Many  men,  however,  think  a club  somewhat 
derogatory,  though  the  reason  why,  is  difficult  to  see.  Two 
or  three  of  the  largest  businesses  in  Loudon  are  based 
entirely  on  “ clubs,”  and  the  number  of  sitters  who  daily 
trip  up  the  staircase  of  a well-known  city  establishment  is 
something  astonishing.  A correspondent  tells  us  that  in  a 
club  he  has  formed  he  has  found  it  beneficial  to  soothe  the 
susceptibilities  of  sitters.  To  do  this  he  drops  the  word 
“ club  ” altogether ; and  does  not  make  it  a sine  qua  non 
that  a certain  number  of  members  shall  be  guaranteed. 
Practically  his  method  comes  to  this  : “ weekly  payments 
taken,”  and  anybody  who  chooses  to  pay  on  this  plan  can 
do  so.  Of  course  it  involves  a little  trouble  in  collection, 
but  at  present  he  finds  the  system  pay,  and  is  likely  to  con- 
tinue it. 


Note  on  development : — Mr.  Cowan  recently  stated  that 
in  developing  studio  negatives,  he  always  aimed  upon 
getting  density,  for  the  simple  reason  that  it  was  an  easy 
matter  to  weaken  a gelatine  plate,  while,  on  the  contrary, 
a portrait  negative  could  not  be  very  satisfactorily  intensi- 
fied. In  landscape  photography,  however,  it  is  not  so 
certain  that  the  reverse  is  not  sometimes  the  best  plan — 
viz.,  to  bring  out  every  detail  without  caring  for  deusity, 
and  then  intensifying,  if  necessary,  with  a double  treat- 
ment of  bichloride  of  mercury  and  ammonia. 


We  have  lately  seen  some  startling  examples  of 
working  in  the  last-named  fashion,  our  friend  always 
permitting  his  negatives  to  dry,  so  as  to  secure  a proof 
print  for  inspection,  prior  to  intensifying.  The  first 
proofs  examined  side  by  side  with  prints  from  the  intensi- 
fied negatives,  were  but  mere  spectres ; indeed,  many  a 
photographer  would  have  thrown  away  a negative  that 
gave  such  weak  and  ghostly  images,  and  yet  the  brilliancy 
and  vigour,  no  less  than  the  surprising  detail  of  the  later 
prints,  were  really  marvellous.  Indeed,  the  change  from 
bad  to  good  seemed  almost  incredible.  “ But  T.  cannot  too 
strongly  urge  the  thorough  fixing  and  washing  of  plates  thus 
intensified,”  was  our  friend's  important  dictum. 


The  artists  who  draw  weekly  cartoons  in  Punch , Moon- 
shine, Fun,  Judy,  &c.,  have  obviously  to  be  very  ready  in 
the  matter  of  composing  pictures.  A subject  is  given,  and 
within  a few  hours  their  cunning  brain  and  facile  pencil 
must  execute  a well-balanced  sketch  that  shall  be  not  only 
witty  and  effective,  but  must  possess  pretensions  as  an  art 
production.  Thus  their  experience  in  composition  is  very 
wide,  and  since  they  must  ever  be  quick  and  ready  with 
their  art-knowledge,  it  is  from  them  more  especially  that 
the  photographer — who  ha3  also  his  wits  about  him  if  he 
wants  h is  negative  to  have  art  attributes — is  likely  to  learn 
something. 

The  two  following  hints,  then,  from  one  of  our  most 
famous  cartoonists,  deserve  to  be  noted.  No.  1. — “Uni- 
formity is  dead  against  art  composition,  and  a composition 
balanced  uniformly  like  a pair  of  scales  is  an  abomination.’ 
No.  2. — “ To  connect  two  objects  with  a shadow  should  be 
a last  resource;  shadows  are  the  most  facile  means  at  one’s 
disposal  for  composing  a picture,  but  for  this  very  reason 
they  must  be  used  with  great  discretion.” 

A correspondent  asks  if  there  is  any  restriction  as  to 
taking  photographs  on  the  Continent.  We  can  only  reply, 
that  “ no  sketching  permitted  near  the  fortifications,”  is  a 
notice  still  in  vogue  in  many  parts  of  Europe,  and  if  sketch- 
ing is  not  permitted,  the  camera  is  scarcely  likely  to  be 
welcomed.  The  restriction  is,  however,  of  no  account  in 
Switzerland,  where  there  are  no  fortifications  now-a-days, 
and  is  only  likely  to  embarrass  the  tourist  photographer 
who  travels  the  Tyrol  near  the  Austrian  frontier.  In  the 
latter  case,  the  incentive  to  use  the  camera  is  very  great, 
for  fortresses  are  met  with  in  the  most  romantic  of  situa- 
tions, at  the  foot  of  deep  frowning  precipices,  or  rocky 
defiles  where  silvr’y  crag  and  black  pine  trees  present 
attractive  pictures. 

We  ourselves  once  had  a curious  photographic  experi- 
ence in  the  Tyrol.  We  were  staying  a few  days  at  Win- 
disch  Matrei,  located  in  a sequestered  valley  in  the  Gross- 
Glockner  district,  between  the  Glockner  and  Yenediger 
Glaciers.  A low  cart  passed  us  on  the  road  one  afternoon, 
loaded  with  yellow  crockery,  and  propelled  by  two  Italians. 
The  incident  was  so  trivial,  it  would  have  been  forgotten 
forthwith,  but  for  the  fact  that  next  day,  sauntering  down 
the  valley  towards  the  little  town  of  Lienz,  we  saw  the 
same  hand-cart  of  crockery  drawa  up  in  a retired  spot  not 
far  from  the  road,  apparently  deserted  by  its  owners. 

Not  a soul  wa3  visible  in  the  neighbourhood,  but  on  our 
making  a halt — we  were  a pedstrian  party  with  kuapsacks 
— there  presently  peered  over  a low  wall  one  of  the  Italian 
faces.  And  then,  our  eyes  attracted  to  the  spot,  we  saw 
for  the  first  time  the  tube  of  a photographic  lens  directed 
up  the  valley.  It  was  not  a small  lens,  but  measured  a 
good  four  inches  in  diameter,  while  a glance  at  the  camera 
showed  this  to  beafine  mahogany  brass-bound  instrument. 
What  poor  Italian  crockery-men  did  with  apparatus  of 
this  kind  it  was  not  our  province  to  enquire  ; but  that  they 
were  effecting  a quiet  survey  upon  Austrian  soil  was  a 
matter  beyond  all  doubt. 


234 


THE  PHOTOGRAPHIC  HEWS. 


Apbil  13,  1883. 


f atmt  Jntflligfita. 

Application,  for  Letters  Patent. 

1787.  Lucy  Wise,  of  Clifton,  near  the  city  and  county  of  Bristol, 
for  an  invention  of  “ Improvements  in  receptacles  or  albums 
for  rendering  them  capable  of  containing  crystoleum  paintings.” 
— Dated  9th  April,  1883. 

Grants  of  Provisional  Protection. 

1095.  James  Weaver  Tattersall,  of  Accrington,  in  the  county 
of  Lancaster,  Photographer,  for  an  invention  of  “ Improve- 
ments in  apparatus  for  washing  photographs.” — Dated  28th 
February,  1883. 

1229.  Alfred  Horace  Dawes,  of  Brook  Cottage,  Windermere, 
in  the  county  of  Westmorland,  Artist,  for  an  invention  of 
“An  improved  process,  system,  or  method  of  producing  per- 
manent coloured  photographic  card  pictures.” — Dated  7th 
March,  1883. 

Patents  Void  through  Non-payment  of  Duties. 
1303.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patent  Agents,  Southampton  Buildings,  London,  for 
an  invention  of  “ An  improved  apparatus  for  holding  and  ex- 
hibiting photographic  or  other  pictures,  and  the  like.” — A com- 
munication to  him  from  abroad  by  Theodor  Muench,  of  Vienna, 
Austria. — Dated  30th  March,  1880. 

According  to  the  said  invention,  the  frames  for  holding  the 
photographs,  drawings,  pictures,  or  other  flat  objects,  are  each 
mounted  on  pivots  in  a rectangular  holder,  in  such  a manner 
that  each  of  the  said  frames  can  be  turned  on  its  pivot  through 
an  angle  of  about  120  degrees.  The  frames  may  be  of  metal  and 
cardboard,  whilst  the  pivots  for  the  separate  frames,  as  well  as 
the  rectangular  holder,  are  by  preference  made  of  metal,  and  the 
said  rectangular  holder  may  be  arranged  to  slide  into  grooves  in 
the  opposite  sides  of  a suitable  box  or  case,  so  that  it  can  he 
easily  removed  or  exchanged.  Such  boxes  or  cases  are  by  pre- 
ference made  of  wood,  and  may  have  any  fanciful  form,  and  be 
constructed  so  as  to  receive  any  suitable  number  of  the  holders. 

I wish  it  understood  that  I claim, — 

First.  In  an  apparatus  for  holding  and  exhibiting  pictures, 
the  open  holder  provided  on  two  of  its  opposite  sides  with  a 
series  of  pivot-bearings  in  combination  with  frames,  each  of 
which  is  provided  at  or  near  its  lower  edge  and  on  opposite  sides 
with  pivots  arranged  within  the  said  holder,  all  constructed  and 
operating  substantially  as  set  forth  and  for  the  purpose  specified. 

Second.  The  combination  of  the  holder  and  its  pivotted  frames 
with  a case  provided  with  the  inclined  groove  for  the  reception 
of  the  said  holder,  all  arranged,  constructed,  and  operating  as 
set  forth  and  for  the  purpose  specified. 

Third.  The  combination  of  the  holder  and  its  pivotted  frames 
with  a wheeled  case  having  the  inclined  groove,  all  constructed, 
arranged,  and  operating  substantially  as  set  forth  for  the  purpose 
specified. 

1305.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patont  Agents,  Southampton  Buildings,  London,  for 
an  invention  of  “ Improvements  in  and  relatiug  to  woven 
fabrics  with  photographs  thereon,  to  preserve  the  same  and  fit 
them  for  tho  application  of  oil  colour.” — A communication  to 
him  from  abroad  by  the  firm  of  Wilhelm  M.  L.  Winter  and 
Company,  of  Vienna,  Austria. — Dated  30th  March,  1880. 

This  invention  relates  to  woven  fabrics  on  which  positive 
photographic  pictures  have  been  produced  by  any  appropriate 
method,  such  for  instance  as  that  described  in  the  specification 
of  former  letters  patent,  dated  31st  March,  a.d.  1877,  No.  1264  ; 
and  the  said  invention  has  for  its  object  the  preparing  or  treat- 
ing of  the  said  woven  fabrics  in  such  a manner  that  they  will  be 
protected  from  the  action  of  damp,  air,  and  from  other  atmo- 
spheric influences,  and  will  be  in  a proper  condition  for  receiving 
oil-colour  on  their  surface.  The  process  for  treating  the  said 
fabric  for  the  purposes  described  is  as  follows,  that  is  to  say  : — 
The  fabric  is  stretched  on  a suitable  frame  and  coated  with  wax 
or  equivalent  fatty  substance  on  the  front  or  picture  surface  un- 
til it  appears  entirely  smooth  and  compact.  After  the  coating 
of  wax  has  become  hard,  the  other  or  reverse  side  of  the  fabric 
is  coated  with  varnish,  the  latter  combining  with  the  wax 
which  has  penetrated  the  fabric.  By  this  process  the  fabric  is 
effectually  protected  from  atmospheric  influences  ; it  is  rendered 
as  dense,  solid,  and  non-absorbent  as  ordinary  painters’  canvas 
prepared  for  painting,  and  the  clearness  and  depth  of  the  photo- 
graphic tone  are  increased  to  such  a degree  that  the  effect  pro- 


duced excels  that  of  photographs  on  albumenized  paper.  The 
fabric  may  ultimately  be  painted  with  oil-colours  and  varnished, 
and  treated  in  the  same  manner  as  ordinary  oil-paintings 
Having  thus  fully  described  the  said  invention  as  communicated 
to  me  by  my  foreign  correspondent,  and  the  manner  of  perform- 
ing the  same,  I wish  it  understood  that  I claim, — A woven  fabric 
which,  after  having  a positive  photographic  picture  produced 
thereon,  is  coated  on  the  one  side  with  wax  or  equivalent  fatty 
substance,  and  on  the  other  side  with  varnish,  substantially  as 
and  for  the  purpose  specified. 

Specification  Published  during  the  Week. 

3889.  E.  Edwards,  for  “ Photographic  cameras.” — A communi- 
cation from  P.  Rouaix. 

This  invention  relates  to  photographic  cameras  in  which  the 
operations  of  sensitizing  and  developing  the  glass  plate  upon 
which  a picture  is  to  be  obtained  are  carried  on  in  the  camera 
itself,  without  the  necessity  for  a separate  dark  chamber.  The 
improved  camera  constructed  according  to  this  invention  con- 
sists of  a front  part  and  lens  of  any  of  the  ordinary  well-known 
kinds,  and  of  a back  part,  of  novel  method  of  construction,  in 
which  the  desired  operations  are  eflected.  This  part  of  the 
camera  is  provided  at  the  back  with  a hinged  door,  which  can  be 
opened  or  closed  as  desired,  and  with  a flat  horizontal  slide 
fitting  below  the  top  of  the  camera,  and  having  a handle  by 
which  it  can  be  drawn  in  or  out  as  desired.  Below  this  slide  and 
near  its  front  edge  is  arranged  a groove  provided  with  a spring, 
so  that  a separate  ground  glass  for  focussing  can  be  readily 
inserted  and  held  in  it,  the  movable  slide  and  glass  being  then 
pushed  forward  into  their  place  against  a stop  inside  the 
camera,  and  the  picture  being  then  accurately  focussed  upon 
the  ground  glass  by  means  of  a rack-and-pinion,  or  other  equiva- 
lent means  in  the  ordinary  way,  and  the  lens  is  then  closed.  To 
sensitize  the  plate,  the  ground  glass  is  removed,  and  a suitable 
plate,  coated  with  iodized  collodion  in  the  open  air,  is  inserted 
and  fixed  in  its  place.  The  slide  is  then  pushed  forward  against 
the  stop  already  described,  the  collodionized  plate  then  hanging 
vertically  over  the  centre  of  a suitable  vessel  containing  silver 
sensitizing  solution,  which  is  fitted  into  an  opening  in  the 
bottom  of  the  camera.  The  back  shutter  is  then  closed,  and 
the  lens  being  already  covered  no  light  can  reach  the 
interior  of  the  camera.  The  vessel  containing  tbe  silver 
bath  is  then  raised  until  the  collcdionized  plate  is  completely 
immersed  in  it,  and  it  remains  there  until  properly  sensitized. 
The  vessel  is  then  lowered,  and  the  sensitized  plate  occupying 
exactly  the  same  position  as  that  previously  occupied  by  the 
ground  glass,  the  lens  is  uncovered  and  the  plate  exposed  for  a 
sufficient  time,  when  the  lens  is  again  covered.  To  develop  the 
picture  thus  produced,  the  horizontal  slide,  together  with  the 
plate,  is  drawn  back  against  a catch,  in  which  position  it  is  exactly 
above  a second  vessel  fitted  into  a second  opening  in  the  bottom 
of  the  camera,  and  containing  a suitable  developing  solution. 
This  second  vessel  is  then  steadily  raised  until  the  plate  is  com- 
pletely immersed  in  the  solution,  where  it  remains  for  a sufficient 
time,  and  the  vessel  being  then  lowered,  the  back  shutter  is 
opened,  and  the  horizontal  slide  being  drawn  back,  the  plate 
carrying  the  developed  picture  is  removed,  and  can  be 
fixed  or  otherwise  treated  as  desired.  The  vessels  containing 
the  baths  may  be  made  together  or  separate  according 
to  the  size  of  the  apparatus,  and  they  are  guided  by 
grooves  in  the  sides  of  the  camera,  and  may  be  provided  with 
movable  water-tight  covers,  so  that  the  removal  of  their  con- 
tents is  unnecessary.  Openings  closed  by  hinged  or  other 
movable  covers  provided  with  suitable  fastenings  are  made  in 
the  camera  at  the  end  of  the  openings  in  which  the  vessels  are 
fitted,  so  that  the  latter  can  be  removed  to  be  cleaned  or  refilled 
when  necessary. 

Patent  Granted  in  Belgium. 

60,529.  F.  Necber,  of  Hamburg,  for  “A  portable  mount  for 
transparent  photographs.” — Dated  22na  February,  1883. 


A FEW  REMARKS  ON  THE  PHOTOGRAPHING  OF 
CHILDREN. 

BY  J.  H.  HALVET.* 

In  bringing  this  subject  before  the  notice  of  the  Association  this 
evening,  I wish  to  say  it  is  principally  intended  for  tbe  younger 
members,  or  for  those  who,  having  tried  and  from  some  cause  or 
other  not  succeeded,  have  become  disheartened.  And  here  let 

• Bead  before  the  Glasgow  Photographic  Association. 


ApbiI,  13,  1883.  J 


THE  PHOTOGllATHIC  NEWS. 


235 


me  say  that  I do  not  for  a moment  suppose  that  I shall  bring 
anything  new  or  startling  to  bear  on  the  subject,  or,  in  fact,  give 
a formula  for  catching  the  particular  expression  of  any  particular 
child  ; yet  I believe  that  by  carefully  following  the  lines  I shall 
lay  dowu  you  will  probably  succeed  where  before  you  may 
possibly  have  failed. 

Now,  before  we  proceed  to  the  actual  taking  nf  the  child,  or 
what  I should  rather  term  the  “artistic  side  of  the  question,” 
let  us  consider  whether  the  photographing  of  children  is  a 
success  financially.  I would  say  undoubtedly  a success.  Rapid 
dry  plates  specially  prepared  for  children,  backgrounds  for 
children,  baby  lenses  at  anything  but  baby  prices,  made  for 
photographers  with  big  pockets,  &c  — these  things,  taken  with 
the  fact  that  through  the  children  you  gain  the  parents,  all  go 
to  prove  that  the  photographing  of  children  is  a paying  business. 

And  yet  how  many  photographers  there  are  who  would 
rather  toil  up  a snowy  mountain  to  photograph  a favourite 
view,  or  conduct  certain  experiments  in  a very  uncertain 
light  for  several  hours  at  a stretch,  than  face  a child  of 
three  months’  growth  for  the  small  space  of  fifteen  minutes ! 
The  antipathy  shown  to  children  by  some  photographers  is 
something  amusing.  Many  refuse  to  photograph  them  ; others 
declare  they  are  a nuisance ; while  some  say  they  would  rather 
see  the  D come  into  the  gallery  than  a child  ! 

All  this  is  caused  by  the  want  of  a very  desirable  quality  in  all 
photographic  operations — that  is,  patience.  If  it  be  really  a 
matter  of  necessity  that  you  should  lose  your  temper,  by  all 
means  do  it  in  the  dark-room  ; but  always  present  a cheerful 
front  to  the  enemy. 

Before  we  proceed  to  the  studio,  I would  like  to  mention  a 
little  circumstance  that  took  place  last  year.  I happened  to  call 
on  a photographic  friend,  and  found  him  busily  engaged  photo- 
graphing a little  boy  He  had  spent  about  an  hour  with  him, 
and  succeeded  in  wasting  nearly  a dozen  plates.  The  young 
lady  in  the  show-room  was  coming  up  every  five  minutes,  saying 
that  the  sitters  were  getting  tired  out,  and  could  not  wait  any 
longer  ; the  frame-maker  was  waiting  for  his  account — did  he 
think  he  would  be  long,  &c.  These  things,  taken  with  the 
intense  heat  of  the  day,  show  you  where  patience  is  required. 
At  last,  after  spending  an  hour  and  a-half,  he  obtained  one  posi- 
tion. “ Now  ! now  ! ” exclaimed  the  father,  “ we’ll  have  a 
second  position.”  “ No  ! ” roared  the  now  thoroughly-enraged 
photographer,  “ I’ll  be  hanged  if  we  do  ! ” The  father  took  the 
child  away  without  paying  for  the  time  and  trouble  he  bad  in- 
curred, indignant  that  he  could  not  have  as  many  positions  of 
his  child  as  he  chose  to  pay  for.  Here  was  an  instance  where 
tact  had  refused  to  come  to  the  assistance  of  patience  and  long- 
suffering.  The  mistake  here,  I fancy,  lay  in  the  want  of  a fixed 
rule  to  pay  before  sitting,  or  to  give  not  more  than  a certain 
amount  of  time  to  each  child.  Photographers,  however,  soon 
find  out  what  best  suits  their  own  businesses,  and  the  class  of 
customers  with  which  they  have  to  deal. 

We  will  now  imagine  we  have  a child  in  the  show-room — a 
baby,  we  will  suppose.  If  it  be  crying,  let  it  stop  there  by  all 
means  till  it  is  done.  The  mother  will  probably  soothe  it  in  a 
manner  that  no  operator  could  attempt,  and  in  a much  shorter 
time.  While  this  operation  is  beiDg  performed,  ascertain  the 
size  required,  fill  your  slide,  and  have  it  handy.  Remove  all 
traces  of  head-rest,  &c. ; and,  if  you  have  one,  use  a light  back- 
ground, as  rapid  exposures  against  a dark  ground  seldom  have  a 
pleasing  effect.  A platform  about  eighteen  inches  in  height,  and 
five  feet  square,  will  be  found  a very  useful  accessory  for 
children,  as  it  saves  you  pointing  down  the  lens,  and  also  brings 
the  children  into  a better  light. 

The  baby  is  now  here,  and  as  you  have  made  use  of  your 
minute  or  so  of  spare  time,  you  are  at  liberty  to  amuse  the 
child  to  the  best  of  your  ability.  A very  good  thing  to  throw  a 
baby  into,  is  an  old  arm-chair  with  two  or  three  velvet  cushions 
to  make  it  feel  soft  and  comfortable.  This  in  itself  is  a good 
step  toward  success.  By  the  way,  allow  no  one  to  actually  come 
into  the  studio  with  you  but  the  mother  or  nurse  ; if  you  do, 
one  is  sure  to  plant  herself  one  side  of  the  camera,  and  one  on 
the  other.  Your  left-hand  neighbour  is  shaking  a pocket-hand- 
kerchief ; the  other  to  your  right  is  violently  blowing  a penny 
trumpet.  You  yourself  feel  like  a fool  between  the  two  ; the 
child  itself  is  similarly  situated  ; and  the  result  is  disappoint- 
ment and  failure.  No ! You  must  insist  on  only  one  coming 
into  the  studio,  and  that  is  another  step  toward  success. 

Well,  we  are  now  ready  to  expose.  Make  some  idiotic  noise 
with  the  mouth.  The  child  has  a nice,  bright  look  now.  You 
expose.  Ah  1 it  moved  just  before  you  got  the  cap  on.  Never 


mind  ; fill  your  slide  again,  and  wonder  what  they  used  to  do  in 
the  days  of  the  old  wet  plates.  Everything  is  ready,  and,  t-o 
your  surprise,  he  is  looking  the  very  way  you  want  him.  You 
expose,  giving  a good,  full  exposure.  With  a sigh  of  relief  you 
turn  to  take  out  your  slide,  and  find  that  you  have  not  drawn 
the  shutter.  Suppressing  all  inward  desire  of  prayer,  you  set 
your  teeth  firmly  and  prepare  for  your  third  attempt,  and  this 
time  succeed. 

Do  not  try  any  one  kind  of  amusement  too  long,  as  it  tires 
them.  The  rustling  of  a piece  of  paper,  striking  a match,  play- 
ing on  an  old  concertina  (preferably  one  where  all  the  notes 
sound  together,  as  it  is  more  discordant  and  attracts  attention 
sooner),  the  mewing  of  a cat,  and  imitation  of  a parrot,  I have 
found  most  efficacious.  The  mewing  of  a cat  is  very  useful 
when  photographing  dogs. 

We  now  come  to  a more  difficult  age — children  from  two  to 
five  ; but  with  our  old  friend  patience  to  assist  us,  there  is  little 
fear  but  we  shall  succeed.  Have  a good  assortment  of  toys  at 
hand,  but  do  not  show  them  all  at  once,  or  you  will  have  nothing 
to  fall  back  upon.  If  the  child  appear  nervous  or  frightened, 
get  whoever  is  with  it  to  do  the  principal  part  of  the  amusing 
until  the  child’s  mistrust  of  you  has  worn  oil,  and  again  I think 
your  patience  will  be  rewarded.  But  should  you  get  a child 
that  screams  at  the  highest  pitch  of  its  voice,  dances  on  the  floor, 
&c.,  and  says  that  he  won’t,  that  is  surely  a spoilt  child,  and 
the  parents  may  thank  themselves,  and  not  blame  you  for  not 
being  able  to  photograph  it. 

One  more  type,  and  I have  done.  Little  girls  under  ten  are 
sometimes  shy,  stiff,  and  awkward  to  pose.  Have  a few  exam- 
ples of  newly-posed  pictures  by  you.  Show  them ; tell  them 
how  much  nicer  they  would  look  if  they  would  but  allow  you  to 
pose  them,  and  I think  this  method  will  yield  the  desired  result. 

In  conclusion  : never  let  a child  be  scolded  in  the  studio  ; 
never  let  it  be  stuffed  with  sweet  cakes  there ; never  give  it 
the  penny  you  promised  before  sitting ; and  never  lose  your 
temper. 


MIGNON  PORTRAITS. 

Dean  Sir, — I have  no  doubt  the  Mignon  portrait  would 
answer  well  in  this  country,  aud  I for  one  am  anxious  to 
try  them.  But  I do  not  think  the  card  mounts — I mean 
such  small  ones — are  to  be  obtained  from  English  dealers. 
Can  you  give  me  the  address  of  a dealer  in  Paris  who 
makes  them  ? I do  not  suppose  the  cost  of  carriage  would 
be  very  much. — Faithfully  yours,  T.  W. 

Leeds , HM  April , 1883. 

[We  should  have  no  difficulty  in  giving  the  address  of  a 
Paris  dealer,  but  we  think  that  if  our  correspondent  makes 
application  to  some  of  our  advertisers,  they  will  be  able  to 
get  him  the  cards.  If  he  is  then  unsuccessful,  we  shall  be 
happy  to  assist. — Ed.  P.N.] 


Sir, — The  adoption  of  the  Mignon  portrait  in  England 
is,  I think,  only  a question  of  money.  What  do  the 
mounts  cost?  Will  you  please  let  me  know? 

Edward  Wathersox. 

[We  do  not  know  the  price  of  the  mounts  ; they  would 
naturally  be  rather  expensive ; but  if  they  take  with  the 
public,  that  is  surely  the  chief  consideration. — Ed.  P.N.] 


A PLEA  FOR  PHYLLIS. 

Dear  Sir,— In  your  article  “ By-the-Bye,”  March  30tb, 
many  excuses  are  made  for  people  not  liking  their  own 
portrait ; but  I think  the  real  cause  is  omitted.  When  we 
see  ourselves,  it  is  by  the  aid  of  a reflector,  and,  of  course, 
our  features  are  reversed. 

I think  there  is  every  excuse  for  Phyllis  saying:  “I 
should  never  have  known  it ! ” when  we  take  into  con- 
sideration that  she  has  never  seen  herself  as  others  see  her, 
and  as  the  portrait  represents  her.  She  knows  there  is  a 
spot  on  her  right  cheek,  her  left  eye  somewhat  smaller  than 


236 


THE  PHOTOGRAPHIC  NEWS. 


[ArniL  i 3,  1883. 


her  right  eye  ; the  comers  of  her  mouth  are  certainly  not 
alike,  and  her  dress  in  general  is  arranged  for  one  side  or 
the  other.  All  this  she  sees  daily  reflected  from  her 
mirror,  never  taking  into  consideration  that  everything  is 
reversed,  so  we  cannot  wonder  at  her  exclaiming,  when 
her  portrait  is  handed  to  her:  “ Well,  I should  never  have 
known  it ! ” Amateur. 


grocefirings  at  Sacutus. 

Photographic  Society  of  Great  Britain. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held 
at  5a,  Pall  Mall  East,  on  Tuesday  evening,  the  10th  inst., 
Mr.  James  Glaisher,  F.R.S.,  President,  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  Sir.  It.  Murray  Lawes  was  elected  a member  of  the 
Society. 

The  Chairman  announced  that  Major  Waterhouse,  of  Calcutta, 
had  forwarded  to  the  Society  a programme  of  the  International 
Exhibition  to  be  held  there  in  December  next.  In  Class  A, 
photographers  would  be  admitted ; and  in  Class  B,  photographic 
apparatus,  chemicals,  &c.  Full  particulars  could  be  obtained 
from  Mr.  W.  B.  Dilworth,  of  Westminster  Chambers,  or  Major 
Waterhouse  would  be  happy  to  furnish  anyone  with  information 
himself  by  letter,  and  he  requested  that  the  matter  might  be 
brought  to  the  notice  of  the  Society. 

Mr.  James  Cadett  then  read  a paper  entitled  “ On  Photo- 
graphy of  the  Vocal  Organs  in  the  Act  of  Singing.” 

Mr.  Cadett  said  that  before  commencing,  he  must  apologise 
for  having  left  them  in  the  lurch  on  the  occasion  of  their  last 
meeting ; he  had  had  to  postpone,  at  the  eleventh  hour,  the 
paper  he  had  promised,  so  they  had  been  left  without  one.  He 
said  that  the  paper  he  was  now  about  to  read  would  to  many, 
perhaps,  seem  superfluous  after  the  lecture  given  by  Mr.  H. 
Trueman  Wood  at  the  South  London  Photographic  Society’s 
meeting  on  Thursday  last,  and,  but  for  his  promise  being  given, 
he  would  not  have  presumed  to  bring  it  before  their  notice.  He 
proposed  to  give  a description  of  some  experiments  carried  out  at 
the  laboratory  of  the  Society  of  Arts,  by  Messrs.  J.  J.  Ackworth, 
H.  Trueman  Wood,  EmilBehnke,  Lennox  Browne,  and  himself, 
and  would  call  upon  Herr  Behnke  first  of  all  to  explain  to  the 
meeting  what  it  was  required  to  photograph.  For  this  purpose 
he  showed  on  the  screen  a diagram  of  the  human  head  in  section, 
which  Herr  Behnke  proceeded  to  explain,  pointing  out  the  soft 
palate,  vocal  ligaments,  epiglottis,  &c.,and  said  that  Dr.  Lennox 
Browne  and  he  had  determined  to  obtain  photographs  of  these 
for  the  work  they  had  in  course  of  preparation.  He  also  ex- 
plained the  difficulties  in  the  way  of  getting  at  the  vocal  organs 
by  means  of  the  camera.  Mr.  Cadett  then  proceeded  to  show 
that  the  photographing  of  the  soft  palate  was  a comparatively 
easy  matter,  provided  the  interior  of  the  mouth  was  carefully 
lighted  ; but  to  obtain  a photograph  of  the  larynx  was  not  so 
easy,  on  account  of  the  difficulty  of  sending  the  light  down  the 
throat  of  the  person  operated  upon.  The  most  perfect  instru- 
ment for  effecting  this  was  the  ordinary  laryngoscope  used 
by  surgeons,  and  Mr.  Cadett  described  the  apparatus  they 
had  been  using  in  their  experiments.  It  consisted  of  an 
electric  lamp  with  a combined  condenser,  consisting  of  two 
plano-convex  lenses,  to  which  was  attached  an  apparatus  for 
keeping  the  condenser  cool,  consisting  of  a pail  of  water  fixed  on 
a high  tripod  stand,  the  water  being  made  to  flow  through  a 
cell  placed  before  the  condenser.  The  rays  of  the  light 
were  condensed  and  thrown  upon  a side  mirror  made  out  of  a 
piece  of  ordinary  looking-glass,  and  from  this  mirror  they  were 
again  thrown  on  to  the  small  mirror,  or  laryngoscope,  which  Herr 
Behnke  fixed  in  position  in  his  throat,  and  which  served  both  to 
bring  the  vocal  ligaments  into  view,  and  also  to  illuminate  them. 
In  front  of  the  camera  lens,  another  small  mirror  was  placed, 
fixed  on  a sliding  shutter.  By  means  of  this  mirror,  Herr 
Behnke  was  able  to  see  when  the  laryngoscope  was  in  the  proper 
position,  at  which  point  he  gave  the  signal  that  he  was  ready,  and 
the  sliding  shutter  was  then,  by  a pneumatic  arrangement,  moved 
from  the  front  of  the  camera  lens.  A slide  was  exhibited  on 
the  screen,  showing  the  apparatus  used  by  Dr.  Stein  some  years 
ago,  sunlight  being  used,  and  the  rays  thrown  into  the  mouth  of 
the  patient  by  an  arrangement  of  mirrors.  In  this  case  the 
patient  tied  his  tongue  down  while  holding  the  mirror  in  position 
in  the  throat.  The  exposures  were  more  rapid  than  by  the 


electric  light,  probably  because  sunlight  was  used,  and  were 
made  by  meaus  of  a drop  shutter,  to  which  one  end  of  a piece 
of  string  was  fastened,  the  other  end  being  attached  to  the  foot 
of  the  person  operated  upon,  who  moved  his  foot  and  let  the 
shutter  fall  as  soon  as  he  saw  the  image  in  proper  position. 
The  great  disadvantage  of  this  method  was  that  the  mirror  was 
placed  at  one  side,  instead  of  being  in  front  of  the  lens  of  the 
camera.  A transparency  was  also  shown  from  a collotype  print 
from  the  original  negative  taken  by  Professor  Czermak  in  1860, 
which  Herr  Behnke  explained,  pointing  out  the  back  of  the  tongue, 
epiglottis,  cartilages,  &c.,  and  the  vocal  ligaments.  Herr 
Behnke  thought  that  considering  the  difficulties  that  had  to  be 
encountered  at  the  time  this  negative  was  taken,  Professor 
Czermak  had  succeeded  very  well.  Mr.  Cadett  then  proceeded 
to  show  on  the  screen  photographs  exhibiting  the  positions  of 
the  soft  palate  in  the  production  of  different  sounds,  and  also 
the  contraction  which  the  uvula  undergoes  when  producing 
tones  in  contradistinction  to  when  breathing. 

Dr.  Lennox  Browne  wished  to  say,  with  regard  to  Professor 
Czermak’s  photograph,  that  he  found  it  difficult  to  believe  that 
it  was  really  a photograph  ; but  he  wished  to  remark  that  the 
slide  that  they  were  now  looking  at,  taken  in  conjunction  with 
those  lately  produced,  proved  tlie  correctness  of  the  drawings 
which  they  possessed  of  the  vocal  organs.  He  wished  to  thank 
Mr.  Cadett,  the  Photographic  Club,  the  South  London  Photo- 
graphic Society,  and  the  Photographic  Society  of  Great  Britain, 
for  the  enthusiasm  they  had  shown  in  aiding  Herr  Behnke  and 
himself  in  their  work. 

The  Chairman  thought  the  subject  was  one  of  very  great 
interest  to  photography,  as  it  tended  to  prove  its  great  and  in- 
creasing usefulness. 

Mr.  Francis  Cobb  drew  attention  to  the  great  difficulties 
which  had  to  be  met  in  photographing  the  vocal  organs,  from  the 
fact  that  the  vocal  cords  while  in  the  operation  of  forming 
sounds  were  in  a continual  state  of  vibration,  and  he  thought  all 
photographers  would  be  able  to  appreciate  the  difficulties  that 
had  to  be  overcome  under  such  circumstances. 

Cattain  Abney  said  he  had  met  with  similar  difficulties  when 
photographing  the  interior  of  the  eye. 

Dr.  Lennox  Browne  did  not  think  the  difficulties  were  so 
great  in  photographing  the  eye,  there  being  no  vibration  ; though 
the  photographs  obtained  of  the  eye  had  been  of  much  moie 
value  to  medicine,  because  the  conditions  of  photographing  were 
much  easier. 

An  opportunity  was  then  afforded  to  the  members  of  seeing 
Herr  Behnke  exhibit  his  vocal  organs  by  means  of  the  laryngo- 
scope ; after  which 

The  Chairman  asked  the  members  for  a very  hearty  vote  of 
thanks  to  Messrs.  Cadett  and  Behnke.  He  thought  they  must 
all  acknowledge  that  it  had  beeD  a very  interesting  paper  indeed. 
He  also  asked  for  the  thanks  of  the  members  to  the  Autotype 
Company,  who  had  sent  them  some  photographs  for  the  walls, 
which  would  otherwise  have  been  bare  this  evening ; also  to 
Mr.  Leon  Warnerke  for  some  Russian  pictures,  lent  for  the 
same  purpose, 

Mr.  Garrett  Cocking  showed  on  the  screen  a negative  of 
the  vocal  organs  taken  writh  the  lime-light. 

The  meeting  was  then  adjourned  till  Tuesday,  the  8th  of  May. 

South  London  Photographic  Society. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held  in 
the  House  of  the  Society  of  Arts,  John  Street,  Adelphi,  W.C., 
on  Thursday  evening,  the  5th  inst.,  the  Rev.  F.  F.  Statham, 
M.A.  (President),  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  Mr.  John  Downes  was  elected  a member  of  the 
Society. 

The  Chairman  observed  that  he  had,  perhaps,  been  a little 
premature  in  congratulating  the  members,  on  the  occasion  of 
their  last  meeting,  on  the  success  of  the  new  arrangements  for 
the  artistic  competitions.  Though  last  month  there  had,  un- 
doubtedly, been  an  improvement  both  in  the  numbers  and  merit 
of  the  pictures  sent  in,  he  was  sorry  to  say  that  on  the  present 
occasion  there  was  a considerable  falling  off,  at  least,  in  the 
number  of  competitors ; and,  in  fact,  for  the  figure  subject, 
“ Always  in  Trouble,”  not  a single  picture  had  been  sent  iD, 
whether  owing  to  the  difficulty  of  the  subject  or  not,  he  could 
not  say.  It  had  occurred  to  him,  and  he  had  mentioned  the 
matter  in  committee,  that  under  their  new  arrangements,  by  which 
each  member  present  proposed  a subject  for  competition  in 


April  13,  1883.J 


THE  PHOTOGRAPHIC  NEWS 


237 


landscape  and  figure  respectively,  from  which  one  of  each  was 
selected,  it  was  a great  pity  to  lose  the  whole  of  the  unselected 
subjects,  and  he  would  therefore  ask  each  member,  in  the  event 
of  his  proposed  subject  not  being  the  one  selected,  to  bear  it  in 
mind  for  another  time.  The  subjects  for  the  present  month 
were  then  ballotted  for  in  the  usual  way,  with  the  following 
results : Landscape,  “ A Shady  Nook  ; ” Figure,  “ Dignity  and 
Impudence.” 

Mr.  H.  Trueman  Wood  gave  a description  of  “ The  Methods 
by  which  the  Vocal  Organs  have  been  Photographed,”  and  com- 
menced by  remarking  that  he  had  been  surprised  to  learn  that 
such  a topic  would  prove  acceptable  to  the  meeting,  as  these 
subjects  were  not  generally  of  so  much  interest  to  the  members 
as  those  with  which  they  could  themselves  deal.  With  a view  of 
attempting  to  show  the  applicability  of  photography  to  medical 
research,  endeavours  had  been  made  by  the  aid  of  the  lime- 
light to  obtain  photographs  of  the  vocal  organs,  but  the  need  of  a 
more  powerful  means  of  iliumination  became  obvious ; and 
he  had  been  only  too  glad  to  put  the  electric  light  apparatus  of 
the  Society  of  Arts  at  the  disposal  of  Herr  Emil  Behnke  and  Mr. 
Lennox  Browne,  who  had  carried  out  the  former  experiments,  for 
the  purpose  of  attempting  to  producebetter  results.  Before  giving 
the  meeting  the  results  of  these  efforts,  Mr.  Wood  wished  to 
demonstrate  what  it  was  required  to  photograph,  and  showed  in 
the  lantern  a diagram  of  the  human  head  in  section,  pointing  out 
the  different  vocal  organs  which  it  was  necessary  to  reach  with 
the  camera.  He  said  that  Herr  Behuke’s  idea  had  originally 
been  that  it  would  be  preferable  to  use  two  lights,  and  accord- 
ingly he  (Mr.  Wood)  had  obtained,  by  the  kindness  of  Messrs. 
Siemens  Bros.,  the  loan  of  two  of  their  lamp*.  It  was  well  known 
that  the  electric  arc  gave  out  great  heat, and  it  was  therefore  neces- 
sary to  use  some  sort  of  screen,  which,  in  the  first  experiments, 
was  simply  a globe  filled  with  alum,  to  prevent  the  heat  going 
down  the  throat  when  the  light  was  thrown  on  to  the  organs. 
Their  first  efforts  had  been  made  in  this  way,  and  with  sufficient 
success  to  obtain  better  photographs  than  had  been  got  previously, 
which  encouraged  them  to  try  for  results  still  better.  While 
they  were  working  with  these  appliances,  an  important  ally  came 
into  the  field  in  the  presence  of  Mr.  James  Cadett.  Mr.  Cadett, 
Herr  Behnke,  aud  he  himself  spent  the  better  part  of  a day  work- 
ing with  these  rough  apparatus,  and  they  arrived  at  the  conclusion 
that  something  better  must  be  devised,  also  that  the  second  light 
was  unnecessary,  but  that  a good  strong  light  right  down  the 
throat  was  essential.  It  was  necessary  to  so  arrange  the  light  as 
to  send  it  straight  down  the  throat  in  such  a manner  that  Herr 
Behnke  should  at  the  same  time  be  enabled  to  see  that  the 
mirror  was  in  the  proper  position,  and  that  the  picture  reflected 
directly  into  the  camera  lens.  This  could  only  be  done  by  put- 
ting the  mirror  in  front  of  the  camera,  which  would  be  rather  an 
obstruction  to  taking  the  photograph ; but  Mr.  Cadett  had 
devised  a method  of  getting  over  that  difficulty.  Mr.  Wood 
then  asked  Herr  Behnke  to  place  himself  in  position,  and 
that  gentleman  proceeded  to  illustrate  the  manner  in 
which  the  photograph  was  taken.  He  used  a small  circular 
mirror  of  about  14  inch  diameter  with  a handle  so  bent 
as  to  enable  him  to  place  it  in  such  a position  at  the  back  of 
the  mouth  that  a reflection  of  the  vocal  organs  was  thrown  on  to 
it  by  the  aid  of  the  electric  light  projected  down  the  throat.  By 
means  of  the  second  mirror,  in  the  camera.  Herr  Behnke  was  able 
to  place  the  smaller  mirror  in  position  in  his  throat  so  as  to  throw 
the  reflection  of  the  vocal  organs  directly  into  the  camera  lens. 
It  was  necessary  to  warm  the  small  mirror  before  inserting  it,  to 
prevent  its  becoming  dim  while  in  the  throat.  Having  succeeded 
in  obtaining  the  requisite  position,  Herr  Behuke  proceeded  to 
sing  a series  of  notes,  and  the  members  were  enabled  to  notice 
the  \ arious  changes  of  the  organs  with  the  different  tones.  Mr. 
Wood  then  explained  that  in  photographing  the  organs  the  ex- 
posure was  made  at  soon  as  Herr  Behnke  succeeded  in  secuiing 
the  right  position,  aud  he  showed  on  the  screen  some  of  the  nega- 
tives which  they  had  taken,  and  also  passed  round  some  prints 
from  the  same. 

Mr.  Charles  Stevens  asked  what  length  of  exposure  was 

given. 

Mr.  Wood  replied  that  they  had  tried  various  exposures,  from 
a quarter  of  a second  up  to  one  second,  but  Mr.  Cadett  con- 
sidered the  short  exposure  the  best. 

The  Chairman  thanked  Mr.  Wood  for  giving  their  Society  the 
first  opportunity  of  bringing  this  most  interesting  matter  before 
the  public.  He  did  not  think  he  should  be  sajing  too  much  if 
he  considered  it  the  first  step  in  what  might  prove  very  impor- 
tant scientific  investigations.  He  felt  some  diffidence  in 


attempting  to  speak  on  such  a matter,  on  which  he  though 
they  ought  to  have  the  opinions  of  medical  men  ; and  as  he  saw 
Dr.  Mann  present,  he  hoped  that  gentleman  would  not  leave 
the  room  without  giving  them  the  benefit  of  his  views.  He, 
however,  looked  upon  this  matter  in  another  aspect  also,  and 
that  was  the  proof  it  gave  them  of  the  very  great  value  of  photo- 
graphy. No  doubt  the  experiments  which  had  been  made  would 
lead  to  investigations  which  would  prove  of  great  value  in 
throwing  more  light  upon  diseases  of  the  throat  and  voice, 
incident  to  public  speakers  and  singers,  and  moreover  he 
ventured  to  affirm  that  there  was  a very  large  amount  of  interest 
attaching  to  the  subject  scientifically,  in  exhibiting  the  different 
appearances  of  the  human  throat  in  health  and  disease,  and  he 
believed  medical  science  would  derive  very  much  benefit  from  it. 

In  proposing  a cordial  vote  of  thanks  to  Mr.  Wood,  he  begged 
to  include  the  names  of  Messrs.  James  Cadett,  Emil  Behnke, 
and  Lennox  Browne,  which  having  been  heartily  accorded, 

Dr.  Mann  said  it  was  impossible  for  him  to  do  otherwise  than 
respond  to  the  President’s  request  that  he  should  say  a few 
words  on  this  interesting  topic,  and  he  entirely  endorsed  what 
that  gentleman  had  said  about  the  importance  of  the  fact  that 
what  had  been  done  so  far  was  a first  step,  and  a first  step  only. 
Hitherto  they  had  had  no  means  of  getting  such  representations 
of  these  vocal  organs,  and  the  great  value  of  photography  had 
been  demonstrated  by  the  success  of  the  efforts  already  made 
in  this  direction,  in  so  far  as,  being  once  possessed  of  a good 
impression  of  a vital  part,  they  had  it  on  record  for  all  times. 
1 his  he  conceived  to  be  the  one  great  point  of  importance 
attaching  to  the  work  now  being  done.  He  (Dr.  Mann)  also 
illustrated,  by  sketches  on  the  blackboard,  the  appearances  of 
the  vocal  organs  when  producing  different  tones,  and  the  regions 
where  diseases  of  the  throat,  &c.,  occurred. 

In  reply  to  a question,  Mr.  Wood  stated  that  the  lens  he 
used  was  a Ross’  symmetrical  8 by  5 rapid,  and  said  that 
Messrs.  Ross  had  very  kindly  undertaken  to  lend  him  a pair  of 
smaller  lenses  mounted  stereoscopically,  so  that  one  could  be 
used  as  a finder.  He  wished  to  mention  that  very  energetic 
help  had  been  accorded  to  them  by  Mr.  Ackworth,  and  asked 
to  be  allowed  to  include  the  name  of  that  gentleman  in  the  vote 
of  thanks. 

The  Chairman  asked  Herr  Behnke  what  was  the  extreme  range 
of  voice,  maximum  and  minimum,  obtainable,  and  whether  so 
great  a difference  as  an  octave  could  be  got. 

Herr  Behnke  replied  that  it  would  be  quite  possible  to  go 
over  the  whole  compass  of  the  voice.  He  could  easily  sing 
over  an  octave  and  a half,  and  then  it  would  be  perceived  that 
there  were  very  great  differences,  particularly  with  regard  to  the 
registers  of  the  voice  ; but  differences  of  semitones  would  be  quite 
indiscernible  to  the  eye.  He  wished  to  say  a few  words  respect- 
ing the  object  of  what  they  were  doing.  The  photographs  of 
the  soft  palate  which  had  been  shown  were  original.  As  they 
had  seen,  the  soft  palate  took  different  positions  in  the  produc- 
tion of  different  qualities  of  the  voice,  and  this  influence  of  the 
soft  palate  on  the  qualities  of  the  voice  had  never  been  shown 
before.  Photography,  he  said,  could  not  lie,  and  when  people 
saw  photographs  of  these  things,  they  would  know  that  they 
must  be  correct.  He  had  tried  some  twelve  years  ago  to  obtain 
photographs  of  the  larynx,  by  the  aid  of  lime-light,  but  without 
much  success,  and  what  had  been  shown  at  the  present  meeting 
were  but  their  first  attempts  with  the  electric  light.  They  had, 
however,  been  able  to  show  the  different  formations  of  the  vocal 
ligaments  in  the  production  of  two  registers  at  least,  and  he 
hoped,  and  had  no  doubt,  they  would  yet  be  more  successful. 

Mr.  Lennox  Browne  wished  to  draw  the  attention  of  the 
Society  to  the  fact  that  these  experiments  showed  how  difficul- 
ties might  be  overcome  when  they  arose,  and  the  way  in  which 
Mr.  Cadett  had  arranged  the  mirror  in  front  of  the  shutter,  &c., 
was  highly  commendable.  Personally,  he  was  deeply  indebted 
both  to  Mr.  Cadett  aud  Mr.  Wood,  and  he  congratulated  the 
Society  on  having  brought  the  matter  to  such  a successful  in- 
auguration. 

It  was  announced  that  the  successful  competitor  in  this 
month’s  artistic  competition  was  Mr.  John  Nesbit. 

The  meeting  then  adjourned. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  of  the  above,  held  at  the  Mason's  Hall  Tavern, 
on  the5thinst.,  Mr.  W.  Coles  in  the  chair, — 

Mr.  W.  E.  Deben ham  passed  round  a number  of  prints  sent 
him  by  a friend,  which  were  covered  with  small  reddish-brown 


238 


THE  PHOTOGRAPHIC  NEWS. 


[April  13,  1883. 


spots,  and  he  inquired  if  anyone  could  suggest  their  cause.  He 
had  experienced  them  some  time  back,  and  he  attributed  them 
to  something  in  the  preparation  of  the  paper. 

Mr.  Barker  had  once  had  similar  marks  on  his  prints,  and  he 
attributed  them  to  mealiness  ; they  disappeared  when  the  sensi- 
tizing bath  was  strengthened. 

The  following  questions  were  found  in  the  box,  viz. : — 

1.  Does  the  metal  with  which  the  haloid  is  combined,  in 
the  manufacture  of  gelatine  chloride  emulsion,  have  any  effect 
on  the  resulting  colour  of  the  image  ? 2 If  one  makes  lantern 
transparencies  from  a copyright  picture,  and  presents  them  to 
friends ; or  if  one  copies  an  illustration  from  Punch,  and 
distributes  copies  among  his  friends,  would  either  bean  infringe- 
ment of  the  Copyright  Act  ? 

In  discussing  the  first  question,  Mr.  Golding  said  he  found 
chloride  of  sodium  gave  the  warmest  tone,  next  to  that  ammo- 
nium, next  zinc.  He  had  not  experimented  with  other  metals. 

Mr.  Debenham  found  that  the  addition  of  iodide  to  a chloride 
emulsion  gave  the  shadows  a yellowish  colour. 

Mr.  Wellington  showed  plates  prepared  with  a chloride 
ammonium  emulsion  exposed  for  thirty,  twenty,  and  ten  minutes 
respectively,  8 inches  from  a gas  flame,  developed  with  ferrous 
citrate,  24  grains  of  chloride  sodium  being  added  to  each  ounce 
of  developer  ; the  pictures  all  developed  in  about  ten  minutes. 

The  second  question  was  regarded  as  of  too  legal  a nature  for 
those  present  to  give  an  opinion. 

Mr.  J.  S.  Tolly  enquired  if  there  was  any  reason  why  extra- 
rapid commercial  plates  should  be  so  dirty.  He  had  tried  several 
makers,  and  found  the  plates  very  dirty,  and  the  emulsion  of  a 
loose  rough  character. 

Mr.  E.  Wills  was  elected  a member  of  the  Association. 


Bristol  and  West  of  England  Amateur  Photographic 
Association. 

The  ordinary  monthly  meeting  was  held  at  the  Studio,  Portland 
Street,  on  Saturday  evening,  31st  March,  Mr.  T.  DaVey,  Vice- 
President,  in  the  chair 

The  minutes  having  been  confirmed, — 

The  Chairman  read  his  paper  entitled  “ The  Tripod  and  Rod,” 
which  was  written  in  a chatty  style,  and  was  listened  to  with 
much  interest. 

Mr.  Daniels  said  there  were  two  things  which  he  would  re- 
mark upon  : 1st,  he  quite  agreed  with  Mr.  Davey  that  deve- 
loping while  from  home  (except  in  the  case  of  test  plates)  was 
exceedingly  undesirable ; many  plates  were  spoilt  through 
through  the  absence  of  the  convenience  which  one  had  at  home, 
as  also  through  being  cramped  for  room,  working  by  an  uncertain 
light,  Ac.  ; also  it  made  one’s  holiday  really  hard  work,  for  the 
evenings  were  filled  up  with  developing,  &e.,  and  the  hours  for 
sleep  much  shortened,  thus  depriving  the  holiday  of  its  benefits. 
2nd,  he  considered  Isaak  Walton’s  Book  on  Angling  a 
remarkably  fine  cookery  book  for  fish. 

Mr.  Davey  said  that  plates  were  often  hurried  in  development 
while  away,  and  it  made  a labour  of  a pleasure. 

Mr.  Tribe  said  he  considered  it  very  desirable,  for  beginners 
especially,  to  develop  a few  test  plates  while  away,  just  to  ascer- 
tain that  they  were  not  deceived  in  the  light,  and  thus  to  avoid 
having  failures  with  all  their  plates. 

Mr.  Davey  said  that  it  was  not  meant  that  a test  plate  here 
and  there  should  not  be  developed,  but  that  it  should  not  lead 
to  a general  practice  of  developing  all  plates  while  away. 

Mr.  Phillips  quite  concurred  with  Mr.  Tribe. 

Mr.  Brightman  remarked  that  when  at  Lynmouth,  he  hired  a 
small  room,  and  fitted  it  up,  developing  every  plate  before  re- 
turning home. 

Mr.  Davey  commented  upon  the  various  developing  formula;. 

Mr.  Brightman  said  that  each  was  supposed  to  be  best 
suited  to  the  plates  it  was  designed  for. 

Mr.  Stephens  asked  if  any  one  present  had  tried  the  varnish 
advertised  for  intensifying  gelatine  negatives  ; but  no  one  was 
able  to  give  any  account  of  its  effect. 

After  some  further  discussion  of  a general  nature,  a vote  of 
thauks  to  Mr.  Davey  for  his  interesting  paper  closed  tbo  meeting. 


Dundee  and  East  of  Scotland  Photographic  Association. 
The  third  annual  meeting  of  this  Society  was  held  in  Lamb's 
Hotel,  on  Thursday  night,  April  5th,  Mr.  J.  C.  Cox,  President, 
in  the  chair.  There  was  a good  attendance  of  office-  beaiers  and 

members. 


The  Secretary  (Mr.  C.  Johnson)  read  the  minutes  of  the  last 
meeting,  which  were  approved  and  confirmed. 

The  Secretary  and  Treasurer  presented  their  annual  reports, 
which,  having  been  printed,  were  taken  as  read,  and  duly 
approved. 

The  Secretary’s  report  showed  that  there  had  beeu  a steady 
upward  pi ogre  s,  with  a considerable  increase  in  members  of 
high  attainments  and  position.  Papers  of  importance  to  the  art 
showing  research  and  talent,  had  been  read.  There  had  been 
two  lantern  exhibitions,  which,  if  not  a success  financially,  were  a 
great  success  in  the  quality  of  the  slides  and  the  ability  of  the 
lecturers  ; and  the  largest  out-door  meeting  held  was  most 
successfully  conducted.  As  the  local  papers  and  photographic 
journals  had  contained  reports  of  all  the  meetings,  the  Secretary 
said  he  suould  condense  the  account  of  the  year's  doings  as  much 
as  was  consistent  with  making  the  report  a handy  record  to 
each  member  of  the  proceedings  of  the  Association.  At  the 
close  of  his  summary,  Mr.  Johnson  said  : — “ I am  sure  you  will 
all  agree  with  me  in  giving  a cordial  welcome-home  to  one  whose 
face  has  been  much  missed  from  our  Council  and  meetings 
during  the  winter  session  ; one  who  has  always  been  to  the 
front  in  our  exhibitions,  out-door  meetings,  or  anything  calcu- 
lated to  promote  the  good  of  the  Society.  I need  scarcely  say  I 
allude  to  Mr.  G.  D.  Valentine,  one  of  our  first  Vice-Presidents 
and  member  of  Council ; he  returns  to  us  from  his  trip  round 
the  world  with  a fresh  store  of  health  which  makes  labour 
pleasant,  and  I have  little  doubt  but  the  Association  will  soon 
have  the  benefits  of  his  keen  observation  during  his  extensive 
tour.” 

The  President  then  gave  his  annual  address,  in  the  course  of 
which  he  said,  calling  attention  to  the  reports,  that  the  Secre- 
tary’s was,  as  usual,  full  and  explicit,  and  ought  to  afford  satisfac- 
tion, not  ouly  with  what  had  been  done,  but  with  the  way  in 
which  it  had  been  done.  This  time  last  year  he  (the  Chairman) 
had  urged  that  good  lantern  exhibitions  should  be  held.  These 
had  turned  out  a great  success  otherwise  than  financially  ; but 
why  (even  with  free  slides  and  lectures  through  the  generosity 
of  certain  members;  these  lantern  exhibitions  should  not  at  least 
square  themselves  he  was  at  a loss  to  know.  He  had  hoped 
that  ere  now  they  might  have  had  Mr.  Muybridge  in  Dundee  to 
have  shown  his  wonderfully  clever  pictures  of  animals  in  motion  ; 
such  an  exhibition  could  not  but  have  raised  an  interest  in 
lantern  work,  and  altered  the  public  mind  upon  what  they  were 
apt  to  associate  with  the  bygone  lantern  slides,  fearful  in  colour 
and  composition,  such  as  a blue  dog  making  tracks  for  a purple 
cat,  and  a yellow  ochre  human  monster  moving  his  left  ear,  as 
he  remembered  once  seeing.  He  expressed  a hope  that  the 
gentlemen  who  had  favoured  by  reading  papers,  which  had  been 
thoroughly  appreciated,  would  again  favour.  It  was  gratifying 
to  note  the  increase  in  membership,  and  if  all  were  true  re- 
garding the  increased  number  of  local  amateurs  in  photography, 
a still  further  extension  of  membership  might  be  looked  for. 
The  question-box  was  a new  and  good  institution,  and  ought 
certainly  to  be  largely  used,  from  the  information  the  discussions 
afforded.  With  respect  to  holding  another  exhibition,  it  was 
not  for  him  to  negative  the  idea,  but  his  own  feeling  was  that 
it  should  not  be  this  year,  at  least.  As  regarded  the  report  of  the 
Treasurer,  that  gentleman’s  duties  would  be  much  lightened  if 
some  of  the  members  were  not  so  bashful  in  handing  in  their 
subscriptions.  He  had  for  himself  to  thank  the  members  for 
their  forbearance,  and  for  the  assistance  he  had  received  from 
them ; he  appreciated  the  confidence  testified  in  his  re- 
election. 

Votes  of  thanks  were  passed  to  the  Secretary  and  Treasurer, 
and  to  the  editors  of  the  local  and  photographic  journals  for  their 
reports  of  the  Society's  proceedings. 

A communication  was  received  from  Mr.  Muybridge,  New 
York,  with  regard  to  his  photographs  of  animals  in  motion,  and  a 
publication  of  a work  on  the  subject. 

The  next  business  was  the  election  of  office-bearers  for  the 
ensuing  year,  which  resulted  as  follows ; — 

President — J.  C.  Cox. 

Vice-Presidents. — W.  D.  Valentine  and  D.  Ireland. 

Secretary — C.  Johnson. 

Treasurer — J.  Robertson. 

Council — G.  D.  Macdougald,  J.  Geddes,  S.  Rollo,  G.  D. 
Valentine,  H.  G.  Fraser,  and  Dr.  Tulloch. 

Mr.  Roger  proposed  that  a lantern  and  limelight  apparatus  be 
purchased  for  the  use  of  the  Society,  and  a committee  was 
appointed  to  report  as  to  cost  and  to  carry  out  details. 

The  annual  holiday  and  out-door  meeting  was  fixed  for 


April  13,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


239 


June6tb,  and  the  place  selected  was  Meiklour,  near  Perth.  A 
committee  was  named  to  carry  out  arrangements. 

Mr.  George  D.  Valentine,  who  has  just  returned  from  a tour 
round  the  world,  exhibited  a collection  of  beautiful  photograph 
landscapes  by  Lindt,  of  Melbourne  ; Burton,  Dunedin  ; Spencer, 
Tauranga  ; Hart  and  Campbell,  Invercargill ; large  views  of  the 
Yosemite  Valley,  San  Francisco,  by  Watkins ; some  exquisite 
portrait  work  by  Morris,  Dunedin;  beautifully  coloured  lantern 
slides,  by  M’Allister,  New  York.  They  were  all  much  admired, 
aDd  gave  ample  proof  that  the  brethren  at  the  Antipodes  and 
other  parts  of  the  globe  are  not  behind-lxand  in  the  race  for  per- 
fection. 

An  interesting  meeting  was  brought  to  a close  by  a vote  of 
thanks  to  Mr.  Valentine  for  his  exhibits,  and  congratulations  on 
his  safe  return  home  ; also  the  usual  vote  to  the  chair. 


Photographers’  Benevolent  Association. 

The  Board  of  Management  held  their  usual  monthly  meeting  at 
181,  Aldersgate  Street,  on  the  4th  inst. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  Mr.  Kobert  Higgs  was  proposed,  seconded,  and  duly 
elected  a member  of  the  Association. 

After  disposing  of  the  other  business,  the  meeting  adjourned 
until  May  2,  at  8 o'clock. 

Halifax  Photographic  Club. 

The  usual  monthly  meeting  was  held  at  the  Courier  Office, 
April  3rd,  Mr.  J.  B.  Holroyde  in  the  chair. 

The  minutes  of  last  meeting  having  been  read  and  confirmed, 

Mr.  J.  E.  Jones  read  a paper  on  his  photographic  experiences, 
in  the  course  of  which  he  took  occasion  to  complaiu  of  the  defects 
and  failures  he  had  met  with  in  dry  plates,  exhibiting  several 
negatives  in  illustration  of  defects.  On  writing  to  the  makers, 
he  could  obtain  no  more  satisfactory  reply  than  that  the  fault 
was  not  in  the  plates,  which  were  perfect  when  they  left  the 
works,  but  were  due  to  the  operator. 

The  Chairman  and  several  of  the  members  also  spoke  of  the 
bad  quality  of  various  plates,  exhibited  in  spottiness,  unevenness 
of  film,  &c.  ; and  it  was  suggested  that  the  Club  should  obtain  a 
batch  of  plates  from  various  makers,  try  them,  and  report  on 
their  qualities. 

Mr.  Bulmer  and  Mr.  Councillor  Smith  made  some  remarks 
on  the  making  of  emulsion,  and  their  mat  and  glazed  appearances. 

Mr.  W.  C.  Williams  exhibited  a very  fine  album  containing 
many  very  choice  priuts  of  views  in  N.  Wales,  Tintern  Abbey, 
Kirkstal  and  Fountains  Abbeys  ; also  his  new  camera  stand  and 
carriage,  which  was  now  complete — a very  ingenious  contri- 
vance. 

A vote  of  thanks  was  passed  to  Mr.  Jones  for  his  interesting 

paper. 


<&alk  in  t\}t  jstubifl. 

Note-Book  of  Photography. — Mr.  Openshaw,  of  Manchester, 
sends  us  a neat  little  book  for  noting  exposures  aud  other 
details  connected  with  camera  work  out-of-doors.  Mr . Open  - 
shaw  tells  us  it  is  “acknowledged  by  the  first  London  and 
Manchester  firms  to  be  the  most  compact  out  ; ” so  that  all 
we  need  do  here,  is  to  congratulate  him  on  this  fact. 

“ No.  1.” — Messrs.  Marion  and  Co.  forward  us  some  very 
good  portraits  of  Mr.  P.  J.  Tynan,  “ the  No.  1 who  escaped 
the  police  authorities  aud  went  to  Mexico.”  How  about  the 
No.  1 who  went  to  market,  an  1 the  other  No.  1 who  stayed  at 
home?  These  are  questions  one  feels  inclined  to  ask  on  looking 
at  the  No.  1 that  went  to  Mexico.  In  any  case,  many  will  like 
to  possess  a portrait  of  the  suspected  No.  1,  and  copies  of  this, 
Messrs.  Marion  and  Co.  tell  us,  they  are  quite  ready  to  supply. 

An  Old  Story  Retailed.— It  is  a little  too  bad  to  take  in 
our  old  friend  the  "Times  so  often  as  they  do.  Everybody  knows 
its  old-fashioned  plodding  style  and  its  quaint  predilection  for 
news  that  is  some  days  old,  but  there  is  surely  no  reason  why 
it  should  be  made  the  literary  butt  of  every  wag  in  the  kingdom. 
The  following  “Curate’s  Adventure,”  which  appeared  in  the 
columns  of  “ our  leading  journal,”  as  it  is  sometimes  ironically 
styled,  will  be  recognized  with  its  new  tag,”  an  “Instantaneous 
Photograph  (cabinet  size),”  by  many  of  our  readers.  Here  it  is. 

A correspondent  informs  us  of  a romantic  incident  which  has 
recently  occurred  in  a prosperous  London  suburb.  A devoted 


young  High  Church  curate  of  interesting  appearance  and  great 
popularity  in  his  district  was  waited  upon  by  a young  lady  of 
considerable  attractions,  but  with  an  air  of  deep  melancholy,  and 
clad  in  a somewhat  ascetic  garb.  After  some  confusion  and  the 
shedding  of  a tear  she  revealed  to  him  that  she  had  ventured  to 
visit  him  on  a matter  deeply  affecting  her  happiness,  she  feared 
her  life.  The  curate  naturally  asked  what  it  might  be,  but  after 
several  attempts  to  speak,  choked  by  sobs,  she  informed  him 
that  the  matter  was  one  of  such  deep  importance  that  she  could 
not  impart  it  except  at  her  own  abode,  where  she  adjured  him,  as 
her  spiritual  friend,  by  all  he  held  sacred,  to  visit  her.  After 
some  little  conversation  the  reverend  gentleman  promised  to  do 
so,  and  the  Dext  day  he  called  at  the  address  given  him.  Then 
the  young  lady,  with  a look  of  still  deeper  dejection  and  a voice 
indicative  of  remorse  and  shame,  revealed  to  him  the  fatal  secret. 
She  had  conceived  a deep,  a passionate  love  for  the  curate  him- 
self. She  knew,  she  said,  that  her  passion  was  hopeless  ; he,  in 
his  devotion  to  the  Church,  for  which  she  loved  him  all  the  more, 
had  vowed  himself  to  a life  of  celibacy,  and  she  would  resignedly 
carry  her  attachment  to  the  grave,  which  she  felt  was  not  far  off. 
But  there  was  one  kindness  which  it  was  in  his  power  to  grant 
her,  the  remembrance  of  which  would  bring  consolation  to  her 
dark  and  weary  path.  Would  he,  before  they  parted  for  ever, 
give  her  one  kiss  ? After  some  timidity  and  agitation,  the 
young  curate,  touched  with  pity,  complied.  The  lady  shed 
another  tear,  bade  him  adieu  in  a hollow  voice,  and  he  departed. 
A few  days  afterwards  he  received  a neat  little  parcel  gracefully 
tied  with  a piece  of  blue  ribbon,  and  on  opening  it  found  an 
instantaneous  photograph  (cabinet  size)  of  himself  kissing  the 
young  lady.  Accompanying  this  was  a communication  from  the 
fair  creature  herself  that  there  were  eleven  more  copies,  and  that 
he  might  have  the  whole  dozen  at  £20  a-piece.  Should  he  not 
be  in  want  of  them,  it  was  her  intention  to  dispose  of  them  in 
another  quarter.  Negotiations  on  the  subject  are  said  to  be 
proceeding.” 

On  Monday,  the  10th  inst.,  at  Westminster  County  Court, 
before  Mr.  F.  H.  Bayley,  the  judge,  a case  was  heard  in  which 
Mr.  Alfred  Taylor,  an  artist,  sought  to  recover  from  the  pro- 
prietors of  the  Graphic  damages  in  respect  of  a number  of 
instantaneous  photographs,  which  the  plaintiff  had  taken  of  the 
ruins  of  Alexandria  after  its  bombardment.  The  plaintiff,  who 
claimed  the  sum  of  £25  1 5s.,  stated  that  in  July  of  last  year  he 
called  on  the  manager  of  the  defendants,  and  arranged  to  supply 
them  with  photographs  and  sketches  of  the  war  in  Egypt.  He 
informed  the  manager  that  the  photographs  would  be  taken  by 
the  instantaneous  process,  and  that  they  would  have,  upon 
arrival  in  England,  to  be  put  in  the  hands  of  a photographer  to 
be  developed.  He  sent  three  boxes  with  directions  that  the 
contents,  containing  undeveloped  glass  pictures,  were  not  to  be 
exposed  to  other  than  a ruby  light.  He  learned,  however,  that 
they  were  exposed,  and  so  rendered  useless,  and  he  sought  to 
recover  in  respect  thereof.  For  the  defence  it  was  contended 
that  the  plaintiff  never  gave  the  manager  to  understand  that  the 
photographs  were  undeveloped,  aud  submitted  by  counsel  that 
whatever  damage  had  been  sustained  was  caused  in  transit. 
After  a lengthened  hearing  His  Honour  expressed  his  opinion 
that  the  defendant’s  manager  was  not  made  aware  of  the  fact 
that  the  photographs  were  undeveloped,  and  found  therefore  in 
their  favour,  with  costs. 

Silvering  Mirrors  by  Means  of  Glycerine. — Prof. 
Palmieri  has  devised  a process  for  silvering  glass  by  means  of 
the  reducing  action  on  the  salts  of  silver,  which  is  said  to  have 
the  advautage  of  producing  a very  brilliant  metallic  deposit. 
When  into  an  ammoniacal  solution  of  nitrate  of  silver  is  poured, 
first  a little  caustic  potash,  and  then  a few  drops  of  glycerine, 
the  i eduction  begins  at  once  ; aud  this  action  is  accelerated  if 
ether  or  alcohol  be  added  to  the  mixture.  A moderate  heat  and 
darkness  are  said  to  increase  the  brilliancy  of  the  precipitate,  and 
darkness  also  favours  the  adhesion  to  the  mirror  of  the  deposit. 

In  Memoriam. — We  regret  to  have  to  record  the  death  of  Mr. 
Joseph  Wake,  who  for  over  ten  years  has  acted  as  chief  of  our 
artistic  staff.  He  was  a member  of  the  Manchester  Academy  of 
Fine  Art,  and  of  the  Hogarth  Ciub,  London  ; and  was  person- 
ally known  to  so  large  a circle  of  photographers,  that  we  feel 
this  short  notice  will  not  be  considered  out  of  place.  The 
deceased  gentleman  was  subject  to  periodical  attacks  of  bleeding 
from  the  nose,  which  became  more  and  more  difficult  to  arrest, 
and  left  him  at  times  in  a very  prostrate  condition.  He  suc- 
cumbed at  the  early  age  of  47  to  a visitation  of  this  nature 
(possibly  complicated  with  internal  haemorrhage),  aud  expired 
the  20th  of  March  after  a very  brief  illness.  Mr.  Wake  was  a 


240 


THE  PHOTOGRAPHIC  NEWS. 


[Apkil  13,  1883. 


man  of  serene  temper,  and  amiable  disposition ; he  had  a 
practical,  all-round  knowledge  of  the  styles  of  working  up  photo- 
graphic portraits,  and  was  successful  at  securing  likeness.  He 
made  it  a condition  of  his  services,  that  he  should  be  free  to 
take  a week’s  absence  whenever  he  found  the  eternal  round  of 
finishing  portraits  burdensome,  and  would  then  refresh  his  spirit 
by  landscape  painting  and  sketching,  and  communing  face  to 
face  with  nature.  The  artistic  merit  of  his  work  has  been  gene- 
rally acknowledged,  and  we  deplore  the  premature  extinction  of 
his  powers.  Requiescat  in  pace. — Autotype  Notes. 

, Photographic  Club. — At  the  next  meeting  of  this  Club, 
on  Wednesday,  April  18th,  1883,  the  subject  for  discussion  will 
be  on  “ Packing  and  Unpacking  Gelatine  Plates  when  on  a 
Tour.” 


®0  &0msi}0n&fttts. 

*,*  We  cannot  undertake  to  return  rejected  communications. 

New  Subscriber. — There  is  not  any  work  on  this  special  branch 
of  the  subject,  but  you  will  find  the  necessary  data  in  any  treatise 
on  optics. 

Lover  of  Art. — Full  particulars  on  page  211  of  our  volume  for 
1882  (No.  1235).  Mr.  Fletcher  makes  so  many  kinds  of  furnace 
that  we  cannot  quite  follow  your  question.  Write  to  him.  His 
address  is  Museum  Street,  Warrington. 

Peter  Manisty. — 1.  The  gelatine  is  certain  to  be  very  much 
deteriorated  if  tile  heat  is  kept  up  during  so  long  a period,  and 
no  means  are  known  by  which  the  original  qualities  can  be  re- 
stored. Spoiled  gelatine  hardened  by  means  of  chrome  alum  is 
in  no  sense  a substitute  for  the  original  undeterioratel  material. 
2.  Not  unless  much  more  bromide  is  used. 

A.  Scott. — 1.  The  function  of  the  sulphuric  acid  is  two-fold,  as 
it  not  only  hardens  the  cotton  fibres,  but  also  unites  with  some 
of  the  water  contained  in  the  nitric  acid,  thus  increasing  its 
effective  strength.  2.  It  is  expensive  at  present,  and  the  advan- 
tages resulting  from  its  use  do  not  seem  to  be  considerable. 

Russeli  Steele. — No  doubt  Mr.  J.  J.  Atk-'nson,  37,  Manchester 
Street,  Liverpool,  can  obtain  itfor  you  ; if  not,  write  to  us  again. 

C.  J.  H. — We  will  try  to  ascertain. 

M.  T.  C. — It  is  so  purely  a matter  for  personal  consideration  that 
it  is  extremely  difficult  to  give  useful  advice;  still,  as  a very  con- 
siderable majority  of  photographers  work  according  to  the  second 
method,  we  would  advise  you  to  make  yourself  thoroughly 
familiar  with  it  in  the  first  place. 

Thomas  Braderman. — 1.  Add  a moderate  excess  of  dilute  hydro- 
chloiic acid,  and  collect  the  precipitated  chloride  of  silver  on  a 
filter.  Wash  well,  and  dry.  2.  It  will  be  necessary  to  use  quite 
twice  as  much  ammonia.  3.  Mercuric  chloride  or  corrosive  sub- 
limate. 4.  Doubtless  one  glass  has  been  lost,  and  the  instrument 
is  consequently  valueless.  5.  About  half  its  weight  of  sulphur. 
6.  Use  thin  glue.  7.  It  can  hardly  be  regarded  as  a true  solution. 

J.  Jones. — There  is  no  objection,  excepting  that  they  rust  some- 
what rapidly.  It  is,  however,  advantageous  to  varnish  them 
with  a bituminous  varnish,  such  as  Brunswick  black,  and  the 
dry  film  is  far  less  liable  to  crack  off  if  india  rubber  is  added, 
or  by  mixing  the  black  varnish  with  about  one-third  of  its 
bulk  of  a thin  solution  of  india-rubber  in  benzol.  For  work 
away  from  home,  we  should  recommend  light  paper  or  ebonite 
dishes,  6uch  as  can  now  be  obtained  from  any  photographic 
material  dealer. 

Pyro  (Derby). — 1.  You  should  not  only  coat  your  plates  with  a 
thicker  film  of  emulsion,  but  also  make  the  emulsion  itself  richer 
in  silver  bromide.  2.  Probably  it  is  due  to  the  actual  passage  of 
light  through  the  shutter  of  the  elide.  To  test  the  opacity,  you 
should  put  a plate  in  the  slide,  lay  some  opaque  object,  as  a coin, 
on  the  outside ; after  which,  expose  to  sunlight  for  five  or  six 
minutes.  3.  The  proportion  of  glycerine  should  not  exceed  one- 
sixth  of  the  weight  of  the  gelatine.  4.  Fine  lamp-black,  such  as 
is  sold  under  the  name  of  “ vegetable  black.” 

Zinco. — No  success  can  be  attained  in  this  direction,  unless  the 
tones  of  the  photograph  are  translated  into  some  kind  of  a grain 
or  stipple,  and  there  are  several  ways  of  doing  this  ; but  unless 
you  tell  us  exactly  in  which  direction  you  are  working,  it  will  be 
impossible  for  us  to  suggest  any  one  method  as  being  the  most 
suitable. 

Pyro  (Londonderry). — We  have  sometimes  noticed  the  tint  to  be  a 
little  greenish,  but  found  the  intensified  negative  none  the  worse. 

David  Me. . — The  sample  must  have  been  unusually  impure; 

silver  nitrate  should  give  no  precipitate  when  added  to  the 
solution. 

Amateur. — ltub  the  sliding  parts  with  blacklead ; grease  would 
swell  the  wood,  and  quite  spoil  the  apraratus. 

Leverson. — 1.  Sensitizo  with  a 5 per  cent,  solution  of  potassium 
bichromate.  2.  The  addition  of  uminouia  will  do  no  harm. 
3.  Dilute  with  twice  its  volume  of  methylated  spirit. 


THE  EVERY-DAY  FORMULARY. 

The  Gelatino-Bromide  Process. 

Emulsion. — A — Nit.  silver  100  grains,  dist.  water  2 oz.  B — Bromide 
potassium  85  grains,  Nelson’s  No.  1 gelatine  20  grains,  dist.  water  1J  oz.,  a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C— Iodide 
pota-sium  8 grains,  dist.  water  J oz.  D— Ilard  gelatine  120  grains,  water 
several  oz.  \Y  hen  the  gelatine  is  thoroughly  soaked,  let  all  possible  waterbe 
p Aired  off  D.  A and  B are  now  heated  to  about  120°  Fahr.,  after  which  B 
is  gradually  added  to  A with  constant  agitation ; C is  then  added.  Heat  in 
water  bath  for  half  an  hour,  and  stir  in  1).  After  washing  add  j oz.  alcohol. 

Pyro.  Developer. — No.  1— Strong  liq.  ammonia  1 1 oz.,  bromide  potas- 
sium  240  grains,  water  80  oz.  No.  2 — Pyro.  30  grains,  water  10  oz.  Incase 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
and  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing. — Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  by 
soaking  in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  rinsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts.  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Backing  Sheets.— A chromographic  paste  is  prepared  with 

gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shirting  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  back  of  glass  plate. 

The  Wet  Collodion  Process. 

The  Nitrate  Bath.  — Water  14  oz.,  nit.  silver  1 oz„  nitric  acid  1 drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  i-oz.,  liquid  ammonia  J-oz. 

Film -removing  Pickle  for  Old  Plates.— Water  1 pint,  sulphuric 
acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  6 piDts  of  water,  and  1 dr. 
liq.  amnion. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 
pyroxyline  of  suitable  quality  250  grains,  sh»ke  well  and  add  ether  2 pints. 
Iodize  this  by  mixing  with  one-third  of  its  volume  of  alcohol  J pint,  iod. 
ammon.  80  grains,  iod.  cadm.  80  grains,  brom.  ammon.  40  grains. 

Normal  Iron  Developer.— Water  10  oz., proto-sulphate  iron  J oz., 
glacial  acetic  acid  4 oz.,  alcohol  J oz.  The  amount  of  proto-sulphate 
iron  may  be  diminished  to  1 oz.  when  full  contrasts  are  desired,  or  inei cased 
to  1 oz.  when  contrasts  arc  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  he  reduced  to  ( oz. ; but  when  bath  is  old  more  is  wanted. 

Intensifying  Solution. — Water  6 oz.,  citric  acid  "5  grains,  pyro.  30 
grains,  " hen  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Dead  Intensification.— After  nog.  washing,  immerse  in  dist.  water 
1U0  parts,  red  pruss.  potash  6 parts,  and  nit.  lead  4 parts.  When  it  is  yellowish 
wt  ite  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution. — 1.  Potass,  cyanide  200grains,  water  10  oz.  2.  Sat. 
sol.  of  soiT  hypo. 

Varnish.— Shellac  2 oz.,  sandarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  16  oz. 

Prixtiko  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 
ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution.— Nit.  silver  50  grs.,  water  1 oz.,  sod.  carb.  J gr. 

Acetate  Toning  Bath. — Chi  gold  1 gr  , acet.  soda  20 grs.,  waters  oz. 

Dime  do.— Chi.  gold  1 gr.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.-  Filter  cold. 

Bicarbonate  do.— Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath. — Sodium  hypo.  4 oz..  water  1 pint,  liq.  ammon.  30  drops. 

Reducer  for  Deep  Prints.— Cyan,  potass.  6 gTs.,  liq.  ammon.  5 drops, 

water  1 pint. 

Encaustic  Paste. — Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  11  oz., 

water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion.— Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

Mountant.— 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

Collotypic  Substratum. — Soluble  glass  3 parts,  white  of  egg  7 parts, 

water  10  parts. 

Collotypic  Sensitive  Coating.— Bichromate  potash  i oz.,  gela- 
tine 2.J  oz.,  water  22  oz. 

Collotypic  Etching  Fluid.— Glycerine  150  parts,  ammonia  50  parts, 

saltpetre  5 parts,  water  25  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  alhumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  forraper. 

Cyanotype  Printing.— Water  1 oz.,  red  prussiate  of  potash  (ferri- 

cyanide)  1 dr.,  ammonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

Various. 

Luckardt’s  Retouching  Varnish.— Alcohol  300  parts,  sandarac 

50  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnish.— Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 

benzole  80  to  100  parts. 

Encaustic  Paste. — Best  white  wax,  in  shreds.  1 oz.,  turpentine  5oz. ; 
dissolve  in  gcnllc  heat,  and  apply  cold  with  piece  of  flannel. 

Ferrotypes. 

Collodion.— Ammonium  iodide  85  grains,  cadmium  iodide  25  grains, 
cadmium  biomide  20  grains,  pyroxyline  70  grains,  alcohol  5 oz., ether  5 oz. 

Bath.  - Silver  nitrate  1 cz.,  water  10  oz.,  nitric  acid  1 drop. 

Developer.  -Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 oz.,  water  16oz. 

Fixing  and  Varnish,— Same  as  wet  collodion  process. 


THE  PHOTOGRAPHIC  HEWS. 


Vot.  XXVII.  No.  1285. — April  20,  1883. 


A New  Background  

The  Causes  of  Frilling  in  Gelatine  Plates Vtl>.  »• 

Muybridge's  New  Investigation  ziah. 

Dr.  Edcr’s  Recent  Experimental  Investigations  on  Gelatino-  Ns? 

Bromide 21.1  v~ 

By-the-Bye.— About  Drapery  241 

Photographing  the  “ Soft  Palate.”  By  Edwin  Cocking 245 

Hardwich  on  the  Lime  Light.  By  T.  F.  Itardwich,  M.  A 245 

Securing  a Dead  Black  Surface  on  Optical  Brass  Work.  By 

William  Forgan 247 

Notes 248 


A A %*. 

PlOK 

Patent  'Intelligence  250 

£»esch  Correspondence.  By  Leon  Vidal 251 

Artistic  Printing.  By  R.  Offord 2»1 

NotcVoh  Photography.  By  E.  Howard  Farmer  252 

Y«i-- Meter  and  Camera  Director.  By  Thomas  II.  W. 

Knolles 252 

Correspondence  253 

Proceedings  of  Societies 254 

Talk  in  the  Studio 25G 

To  Correspondents 256 

Photographs  Registered 256 


A NEW  BACKGROUND. 

A backgroi’ND  that  forms  the  subject  of  a patent  in 
Austria,  and  is  the  design  of  Herr  Luck,  has  just  been 
described  in  the  Correspondent  by  Captain  Pizzighelli. 
Its  advantage  seems  to  be  that  while  most  photographic 
backgrounds  in  general  use  are  flat,  this  can  either  be  em- 
ployed in  that  position,  or  made  concave,  at  the  will  of  the 
photographer.  Concave  backgrounds  are  of  course  no 
novelty  ; as  our  readers  know  very  well,  repeated  instances 
of  their  use  have  been  given  in  these  columns,  from  the 
hollow  half-sphere  of  Mr.  Kurtz,  and  the  alcove  of 
M.  Adam-Solomon,*  down  to  the  simple  arrangement  at 
Mr.  Mayall’s  Brighton  studio,*  where  an  articulated 
wooden  screen  is  made  to  do  duty  for  the  purpose. 

We  append  a sketch  of  Herr  Luck’s  background.  Fig.  1 


Fig.  1. 


Fig.  2. 


shows  the  front  of  the  screen,  and  fig.  2 the  back.  In 
fig.  2 the  background  is  set  up  flat,  in  fig.  1 it  is  in  its  con- 
cave position.  The  frame- work  of  the  background,  which 
is  supported  on  two  feet,  a a,  consists  of  a row  of  wooden 
supports,  b b b b,  which  above  and  below  are  fastened  to 
two  flexible  steel  bands,  c c.  The  cross  support,  </,  which 
may  be  turned  in  a vertical  diiection  upon  its  pivot,  makes 
the  background  a flat  one  when  in  the  position  indicated 
in  the  sketch  (fig.  2).  If  you  desire  to  make  the  back- 
ground concave,  the  cross-piece,  d , is  shifted  from  its 
position  and  turned,  and  then  the  cords,  e (fig.  1),  are 
drawn  as  tightly  as  may  be  to  give  the  background  the 
required  bend.  These  cords,  e,  are,  as  indicated  on  fig.  1, 
fastened  to  the  background  both  above  and  below,  and 
passiug  through  rollers, //,  are  thus  easily  manipulated. 
There  are  convenient  hooks  at  the  side  of  the  background 
frame  for  receiving  the  cords,  so  that  after  the  necessary 
concavity  has  been  secured,  there  is  no  risk  of  motion. 

No  doubt  such  a background  would  be  found  useful.  It 
need  take  up  no  more  room  than  the  ordinary  one,  and  a 
great  variety  of  changes  in  the  lighting  may  be  effected  by 


manipulating  the  cords  ; a half-circle  may  even  be  obtained 
if  necessary,  and  there  is  obviously  no  need  to  disturb  the 
sitter  while  the  desired  modification  is  being  effected. 


THE  CAUSES  OF  FRILLING  IN  GELATINE 
PLATES. 

This  may  probably  sound  like  such  thread-bare  subjects 
as  the  fading  of  silver  prints  or  the  intensification  of  gela- 
tine negatives,  and  be  passed  over  as  uninteresting  and  out 
of  date,  for  now-a-days  few  workers  are  troubled  with 
frilling.  Yet  frilling  does  exist,  and  turns  up  when  and 
where  least  expected ; and  it  is  no  use  blinking  the  fact 
that  our  knowledge  of  gelatine  does  not  quite  lead  us  to 
state  exactly  and  precisely  what  frilliug  really  is,  how  it 
arises,  when  it  occurs,  or  the  means  necessary  to  prevent 
it  rather  than  to  cure  it. 

The  Photographic  Club,  which  may  fairly  lay  claim  to 
being  the  most  advanced  of  all  the  photographic  confra- 
ternities (for  it  is  generally  at  the  Club  that  all  the 
novelties  are  first  brought  out),  has  for  some  time  past 
carried  out  a very  excellent  idea  of  having  a definite 
subject  for  discussion  each  evening.  At  a very  recent 
meeting  the  subject  that  heads  this  occupied  the  attention 
of  the  members,  and  brought  out  some  very  valuable 
information,  the  essence  of  which  may  be  useful  to  our 
general  readers. 

Stated  in  general  terms,  there  are  not  one-half  the  com- 
plaints of  frilling  that  used  to  arise  a year  or  two  ago,  for 
commercial  plate-makers  have,  of  course,  learned  how  to 
steer  clear  of  most  of  the  gelatine  difficulties ; but  that 
they  have  yet  something  to  learn  is  very  evident. 

It  is  to  be  regretted  that  the  term  “ frilling  ” seems  to 
be  applied  indiscriminately  to  all  the  phases  of  surface 
disturbance  of  gelatine  plates,  and  arose,  perhaps,  quite 
consistently  from  the  then  most  frequent  plague  of  the 
puckering  or  goffering  round  the  edges  of  plates  on 
development,  generally  at  the  raw  edges  of  such  plates  as 
had  been  cut  up  from  large  plates  (four  quarter-plates 
being  frequently  cut  up  from  one  8£  by  6^),  and  in  this 
sense  the  term  “ frilling  ” unquestionably  applies  correctly. 
But  there  are  other  forms  of  this  disease  which  have 
received  no  generic  names.  For  instance,  one  of  the 
earliest  difficulties  attendant  upon  the  use  of  the  softer 
kinds  of  gelatine  was  certainly  not  frilling  as  commonly 
understood,  but  was,  as  was  described  bj  one  speaker,  a 
“ disintegration  ” of  the  substance  of  the  film,  and  may 
readily  be  depicted,  if  we  remind  those  of  our  readers  who 
have  experimented  in  the  preparation  of  gelatine  emulsions 
how  difficult  it  has  always  been  to  make  an  emulsion  with 
“ Nelson’s  No.  1 Photographic.”  Prolonged  liquefaction 
of  this  particular  make  has,  in  our  hands,  invariably  ended 
in  the  entire  loss  of  its  setting  power.  We  have  made 


See  Pritchard’s  “ Photographic  Studios  of  Europe,’ 


242 


THE  PHOTOGRAPHIC  NEWS. 


I 


Atbii.  20,  1883. 


beautiful  emulsions  with  this  gelatine,  have  managed  to 
get  them  washed  or  dialysed,  and  the  plates  coated  and 
dried,  exposed,  and  an  image  developed  of  such  quality  as 
would  gladden  the  heart  of  the  wet  collodion  man,  when 

oh,  horrors ! eruptions  seem  to  be  taking  place,  the  film 

lifts  in  places,  floats  up  all  along  one  edge,  half  the  film 
wraps  over  on  to  the  other  half,  and,  at  a slight  inclination 
of  the  developing  dish,  the  films  floats  off,  and  with  a flop 
goes  down  the  sink ! 

Now,  wbat  is  the  cause  of  this  ? We  are  told  that  gela- 
tine is  a complex  substance  liable  to  organic  changes.  Just 
so,  and  changes  are  most  likely  to  occur  in  the  presence  of 
heat ; but  what  the  precise  change  is  that  takes  place  in  an 
emulsion  which  behaves  as  we  have  just  described,  it  is  very 
difficult  to  say,  but  it  is  called  frilling.  It  is  really,  more 
correctly  speaking,  disintegration.  There  are  yet  other 
appearances  which  are  more  akin  to  real  frilling ; they  are 
the  blistering  of  some  films  which  rise  up  in  countless 
bubbles,  of  various  sizes,  sometimes  all  over  a plate,  some- 
times around  the  pouring-off  corner.  These  we  attribute 
to  incipient  disintegration  or  destruction,  or  to  the  presence 
in  the  bulk  of  the  otherwise  perfect  emulsion  of  a certain 
per-centage  of  spoiled  gelatine,  which,  without  actually 
producing  the  worst  results,  is  sufficiently  injurious  to 
point  to  the  desirability  of  eliminating  all  such  traces  of 
danger. 

A mild  form  of  the  defect  is  where  a slight  puckering 
will  show  itself  without  actually  loosening  the  film  or  ex- 
tending to  the  edges  of  the  plate.  This  and  the  blistering 
just  named  may  be  got  over  with  considerable  certainty  by 
careful  washing  and  then  soakiDg  the  plate  in  alcohol.  But 
we  are  anticipating.  The  committee  of  the  Club  might 
judiciously  have  amended  the  title  of  the  discussion,  aud 
made  it ‘‘ On  the  Causes  of  Frilling  in  Gelatine  Plates: 
their  Prevention  and  Cure,”  for,  as  might  have  been  fore- 
seen, the  discussion  resolved  itself  into  the  means  for  pre- 
vention and  cure.  The  Club  fortunately  numbers  among 
its  members  several  gentlemen  who  have  made  a great  study 
of  gelatine,  and  the  information  elicited  was  very  useful  ; 
in  fact,  could  be  obtained  from  no  other  source.  Several 
well-known  workers  described  their  methods  of  working, 
the  speakers  being  of  two  distinct  kinds — those  who  pre- 
pare and  develop  their  own  plates,  and  those  who  only 
develop  commercial  plates.  The  latter  section  have,  of 
course,  the  opportunity  of  avoiding  some  of  those  diffi- 
culties which  beset  the  enthusiastic  and  determined 
amateur  who  feels  that  he  cannot  claim  the  entire  work 
unless  he  prepares  his  own  plates.  Among  commercial 
plate  manufacturers  there  are  many  whose  plates  will  not 
frill  nor  be  subject  to  any  surface  disturbance  under  any 
ordinary  treatment  such  as  gelatine  plates  usually  undergo. 
The  means  adopted  by  these  makers  to  prevent  “ frilling, 
&c.,"  may  be  scientific  or  secret ; that  is  scarcely  the  object 
of  these  remarks,  but  we  desire  to  communicate,  for  the 
general  benefit,  such  information  as  may  be  useful.  In 
the  use  of  commercial  plates,  if  there  is  the  slightest 
tendency  to  frilling  in  any  form,  the  means  generally 
adopted  are  the  use  of  chrome  alum  in  the  developer ; or 
a preliminary  soaking  in  chrome  or  common  alum  ; im- 
mersion in  saturated  solution  of  common  alum  after  deve- 
loping ; in  fact,  alum  at  every  possible  or  convenient  stage. 
We  need  scarcely  say  that  the  action  of  alum  and  of  chrome 
alum  is  to  render  gel  tine  insoluble  in  ordinary  water. 
There  are  other  substances  which  have  a similar  action, 
but  none  are  so  innoxious  as  the  alum  salts.  In  the  deve- 
lopment of  commercial  plates  of  repute  and  known  pro- 
perties, probably  in  niuety-nine  instances  in  a hundred,  the 
observance  of  simple  preventive  measures  will  avoid  any 
trouble  or  danger  to  the  films ; but  this  does  not  apply  in 
the  case  of  amateurs  or  experimentalists,  to  whom  we  must 
look  for  every  real  advancement  in  processes. 

We  have  already  instanced  the  case  of  emulsions  made 
with  No.  1 photographic  gelatine,  concerning  which  at 
the  meeting  named,  it  was  pretty  generally  admitted  that 
plates  made  with  No.  1 photographic,  usually  developed 


with  readiness  a soft  yet  vigorous  image  ; and  although  in 
the  discussion  a well-known  gelatine  man  argued  that  this 
did  not,  of  necessity,  imply  but  that  hard  gelatines  might 
be  made  to  act  similarly,  yet  there  is  no  doubt  that,  as 
was  said  by  more  than  one  of  the  speakers,  if  we  could 
only  make  our  emulsions  with  a gelatine  similar  to  No.  1 
photographic,  we  should  thereby  embrace  some  very  valu- 
able properties,  and  it  would  be  desirable  to  experiment 
in  that  direction.  Whereas,  the  mere  portrait  or  land- 
scape man,  who  has  to  develop  bought  plates,  has  few 
difficulties  to  overcome,  which  he  may  circumvent  by  the 
use  of  alum  and  alum  salts,  or  by  hardening  the  water  by 
Epsom  salts  (a  penny  packet  in  a pailful  of  water),  and 
the  avoidance  of  rain  or  soft  water,  the  experimenter  has 
troubles  of  quite  a different  nature.  In  all  the  processes 
in  which  the  gelatine  is  subjected  to  heat,  decomposition, 
disintegration,  or  frilling  are  liable  to  arise;  we  say 
liable,  not  of  necessity,  but  at  times  and  seasons. 

Whether  we  emulsify  or  boil  with  only  a tithe  or  the 
whole  of  the  gelatine,  it  will  depend  upon  the  character 
of  that  gelatine  whether  we  need  adopt  any  preventive 
measures.  If  we  attempt  to  boil  the  whole  of  an  emul- 
sion made  up  with  No.  1,  we  get  an  emulsion  as  rotten 
as  rags,  aud  probably  no  precautions  will  save  us  from 
that  result.  If  we  make  an  emulsion  on  the  precipitation 
plan,  we  may  employ  No.  1 with  confidence,  for  then  it 
needs  only  one  liquefaction.  Also,  Plener's  system  would 
enable  us  to  use  the  softest  of  gelatine.  But  if  we  employ 
a soft  gelatine,  or  any  gelatine  where  a risk  is  run  of 
encountering  the  defects  we  have  pointed  out,  it  will  be 
very  prudent  to  use  preventive  means.  Two  celebrated 
makers  stated  it  as  their  practice  to  use  chrome  alum  in 
the  emulsion  itself,  added  in  liquid  form  to  the  emulsion 
when  liquefying  before  coating.  One  gentleman  said  he 
had  fouud  one-eighth  of  a grain  of  chrome  alum  per  ounce 
of  emulsion  was  a sure  preventive  of  trilling  under  ordin- 
ary circumstances,  and  another  speaker  said  that  his  prac- 
tise was  to  use  one-sixteenth  of  a grain  per  ounce.  These 
apparently  homoeopathic  doses  of  chrome  alum  may  seem 
almost  useless,  but  it  must  be  borne  in  mind  that  the 
action  of  chrome  alum  on  liquid  gelatine  is  very  great, 
and  that  there  is  also  a continuance  of  the  action  ; that  is, 
plates  prepared  with  a chrome  alumed  gelatine  will  con- 
tinue to  harden  by  age,  whereas  a gelatine  minus  the 
chrome  alum  will  be  almost  unchaugable.  This  points  to 
the  limit  in  the  employment  of  the  chrome  alum  being 
very  low.  It  is  a notorious  fact  that  certain  plates  of 
commercial  make  develop  much  more  rapidly  than  others, 
and  yet  the  respective  films,  and  the  sensitiveness  of  the 
various  makes,  do  not  favour  the  idea  that  the  softest 
gelatine  makes  the  quickest  plate,  and  the  most  easily 
developed  ; on  the  contrary,  a plate  may  be  made  with  a 
soft  gelatine,  which  is  so  loaded  with  chrome  alum  as  to 
be  exceedingly  slow  to  develop,  and  the  chrome  alum  may 
be  in  such  great  excess  beyond  what  is  requisite,  as  to 
appear  to  slow  the  plate.  The  fact  is,  the  film  is  im- 
pervious by  the  developer. 

Notwithstanding,  it  may  prove  of  very  great  service  to 
our  readers  to  know  that  they  may  employ  almost  any 
gelatine  if,  knowing  its  characteristics,  they  use  the  pre- 
cautions of  one-eighth  of  a grain  of  chrome  alum  per 
ounce  of  emulsion  ; it  is  possible  certain  cases  may  permit 
of  even  more,  without  deterioration  of  the  plates. 

Now  that  we  have  such  very  perfect  methods  of  emul- 
sion making— that  is  to  say,  boilmg  with  as  little  as  two 
grains  per  [ounce  ; the  precipitatiou  methods  ; and  the 
ammonio-nitrate  process,  not  to  name  Plener’s  mecbanico- 
chemical  method — we  may  reasonably  hope  to  see  No.  1 or 
any  soft  gelatine  used  with  eutire  immunity  from  frilling. 


MUYBRIDGE’S  NEW  INVESTIGATION. 

As  we  mentioned  recently,  Mr.  Muybridge  is  about  to 
undertake  a further  investigation  into  the  subject  of 
animal  mechanics  and  locomotion,  and  the  results  he 


THE  PHOTOGRAPHIC  NEWS. 


243 


Aphix  20,  1883.  | 


obtains  will  be  published  in  a large  volume  cle  luxe  by  the 
Scovill  Manufacturing  Company,  of  New  York.  As  every- 
body knows,  Mr.  Muybridge  was  most  warmly  welcomed 
during  his  last  visit  to  Europe,  and  the  encouragement  he 
then  received  has  induced  him  to  undertake  a yet  more 
extended  investigation.  In  his  announcement  respecting 
this  new  research  he  says : “ The  photographs  I have 

hitherto  made  have  been  simply  experimental,  but  the 
immense  value  of  the  information  to  be  obtained  by  a 
carefully  executed  and  more  exhaustive  series  of  investiga- 
tions has  been  abundantly  and  conclusively  recognized  by 
the  most  eminent  artists  and  art  critics,”  &c. 

Most  of  our  readers  are  familiar  with  the  methodic 
which  Mr.  Muybridge  secures  his  instautaneous  photo- 
graphs of  moving  animals.  Those  hitherto  takeu  have 
been  produced  with  wet  collodion  with  a very  rapidly 
moving  drop  shutter,  or  rather  shutter  acted  upon  with 
poweiful  elastic  springs,  Mr.  Muybridge  putting  the 
exposure  at  one  ten- thousandth  pait  of  a second.  We 
may  at  once  say  that  this  period  is  purely  imaginary, 
and  it  is  very  doubtful  whether  the  exposure  is  so  brief  as 
iron  of  a second  ; still,  whatever  the  precise  duration,  it 
is  very  certain  that  Mr.  Muybridge  secures  an  exceedingly 
sharp  image  even  of  a galloping  horse.  In  his  new 
experiments,  Mr.  Muybridge  will  employ  gelatine  plates 
as  a matter  of  course,  but  unless  he  has  recourse  to  some 
Other  form  of  shutter— say  to  a revolving  disc,  or  similar 
method — the  period  of  pose  cannot  be  further  shortened. 
There  is,  however,  no  need  why  a shorter  pose  should  be 
resorted  to. 

We  give  a sketch  of  Mr.  Muybridge’s  out-door  studio 


or  track  which  was  constructed  at  Palo  Alto,  in  California’ 
in  1878,  and  which  will  at  once  make  clear  his  arrangement 
for  photographing  animals  in  motion. 

In  this  case  there  are  thirty  cameras  in  a row.  They 
work  automatically,  the  drop  shutters  being  moved  by 
electricity,  as  the  horse  or  other  animal  touches  one  of  the 
threads  stretched  across  his  path.  These  threads,  of  which 
there  are  thirty— answering  to  the  number  of  cameras — 
are  mere  gossamer  lines,  and  do  not  require  even  to  be 
broken,  in  order  that  exposure  may  be  made  by  the  par- 
ticular camera  in  connection  ; a mere  touching  or  straining 
of  the  thread  brings  about  exposure.  Consecutive  photo- 
graphs are  thus  secured  during  a complete  stride  of  the 
horse  or  any  other  animal  moving  along  the  track,  the 
photographs  being  recorded  at  regular  intervals  at  discre- 
tion of  the  experimentalist,  from  one  second  to  the 
hundredth  part  of  a second.  Besides  the  row  of  automatic 
cameras,  there  are  five — our  sketch  shows  three  of  them — 
which,  at  the  time  of  the  experiment,  are  placed  at  different 
points  of  the  studio  track,  and  in  this  way,  pictures  from 
as  many  points  of  view  are  simultaneously  obtained, 
illustrating  fore-shortenings  of  various  attitudes  of 
motion. 

“The  Attitudes  of  Man,  the  Horse,  and  other  Animals 
in  motion,”  is  the  title  of  Mr.  Muybridge’s  new  work, 
which,  as  we  have  said,  is  to  be  published  by  subscriptions 
of  one  hundred  dollars.  Especially  to  the  painter,  the 
sculptor,  and  the  physiologist,  is  the  book  intended  as  a 
work  of  reference,  and  there  cannot  be  a doubt  that  it 
will  be  exceedingly  valuable  to  every  student  of  animal 
mechanism. 


DR.  EDEIl’S  RECENT  EXPERIMENTAL  INVESTI- 
GATIONS ON  GELATINO-BROMIDE. 

Dr.  Eder  has  recently  published,  in  the  Correspondenz,  the 
first  of  a series  of  articles  embodying  the  results  of  his 
more  recent  work  on  gelatino-bromide ; and  we  now  repro- 
duce the  substance  of  the  article  in  a somewhat  abstracted 
form. 

The  “sensitiveness  of  a wet”  plate  continues  to  be 
used  as  a rough-and-ready  standard  of  comparison  ; and, 
notwithstanding  the  fact  that  it  is  physically  impossible  to 
exactly  compare  the  sensitiveness  of  a wet  plate  with  that 
of  a gelatino-bromide  film,  it  is  convenient  to  refer  to  wet 
plates  as  some  kind  of  a rough  standard. 

Experiments  have  shown  that  a gelatiue  plate  which 
gives  the  number  10  on  the  Warnerke  seusitometer,  may 
be  regarded  as  approximately  corresponding  to  the  average 
wet  plate;  and  setting  out  from  this  poiut,  the  following 
table  has  been  constructed  : — 


Sensitometer 

number. 

10  ... 

Sensitiveness,  expressed  in  terms 
of  a •’  Wet  Plate.” 

1 

n ... 

...  H 

12  ... 

...  if 

13  ... 

...  24 

14  ... 

...  3' 

15  ... 

...  4 

16  ... 

...  5 

17  ... 

...  7 

18  .. 

...  9 

19  ... 

...  12 

20  ... 

...  16 

21  ... 

...  21 

22  ... 

...  27 

23  ... 

...  36 

24  ... 

...  48 

25  ... 

...  63 

The  nature  of  the  developer  used,  has,  of  course,  some 
influence  on  the  sensitiveness  of  the  plates ; but  in  the 
above  cases  it  is  assumed  that  oxalate  developer,  without 
any  addition,  is  used  ; or  pyro.,  to  which  ammonia  is  added 
at  intervals  of  about  thirty  seconds,  so  as  to  produce  a 
slight  tendency  to  fog;  the  time  of  development  being 
from  three  to  four  minutes.  The  numbers  are  supposed 
to  be  read  after  fixation,  the  plate  being  held  against  the 
sky. 

Schumann’s  statement  that  a gelatino-bromide  plate  is 
less  sensitive  when  developed  at  30°C.,  than  when 
developed  at  5°,  is  contested  ; the  more  recent  investiga- 
tions of  Dr.  Eder  serving  to  demonstrate  that  a developer 
at  a moderate  high  temperature  acts  very  much  more 
rapidly  than  when  the  temperature  is  low ; but  when  a 
sufficient  time  is  allowed  for  each  developer  to  thoroughly 
penetrate  the  film,  the  difference  becomes  less  apparent. 
Here  are  examples : — 

A.— Oxalate  Developer. 

Temperature  of  developer  4 — 8°C.  16 — 17°C  26 — 28°C. 
Time  of  development  1 min...  3°  W.  ...  8°W.  ...  13°W. 

„ „ 2 min. ..9^  W....  10°  \V....  15°W. 

II. — Pyrogallic  Developer. 

Temperature  of  developer  ...  1 — 2°C.'  26 — 28°C. 

Time  of  development  £ min 6°\V.  ...  HP W. 

„ „ 3 min  ...  14°\V.  ...  15°VV. 

Emulsion  with  Carbonate  of  Silver  in  Ammonium  Carbonate. 
— When  a solution  of  silver  nitrate  is  decomposed  with 
ammonium  carbonate,  a white  precipitate  of  silver 
carbonate  is  first  thrown  down  ; but  excess  of  the 
ammonium  salt  serves  to  re-dissolve  this.  Such  a prepara- 
tion slowly  evolves  carbonic  acid,  even  in  the  cold.  A 
very  good  solution  is  obtained  by  dissolving  1 part  of 
silver  nitrate  and  1 part  of  fresh  (transparent)  carbonate 
of  ammonium  in  200  parts  of  water,  a very  gentle  heat 
being  applied  until  the  evolution  of  gas  slackens.  Such  a 
solution  is  used  precisely  in  the  same  way  as  the  ammoni- 


244 


THE  PHOTOGRAPHIC  NEWS. 


[April  20,  1883. 


acal  solution  of  silver  (made  with  caustic  ammonia), 
which  Dr.  Eder  has  already  described,  the  special 
advantage  of  the  carbonated  solution  being  the  fact  that 
chemical  fog  is  far  less  liable  to  set  in,  and  this  advantage 
is  secured  at  the  expense  of  a very  trifling  loss  of  sensi- 
tiveness. 

Wilde’s  solution  of  iodine,  which  is  prepared  by  dis- 
solving 1 part  of  iodine  in  200  parts  of  alcohol,  and  then 
adding  the  same  bulk  of  water,  is  a very  convenient 
restrainer,  10  to  20  drops  being  added  to  100  cub.  cents, 
of  oxalate  developer.  Ferric  chloride  may  also  be  used  as 
a restrainer,  2 to  20  drops  of  a 10  per  cent,  solution  being 
added  to  100  cub.  cents,  of  oxalate  developer. 


ABOUT  DRAPERY. 

We  have  spoken  about  models,  and  shown  how  absolutely 
necessary  it  is  for  the  photographer  to  have  good  models, 
if  he  wishes  to  produce  good  pictures— meaning  by  good 
models,  not  simply  comely  personages,  but  personages 
accustomed  to  sit  and  pose  to  artists.  The  draping  of 
models  is  a scarcely  less  important  matter,  and  what  we 
have  to  say  on  the  subject  bears  reference  just  as  much 
to  the  photographer’s  every-day  work  of  portraiture,  as  to 
his  production  of  studies  and  ideal  pictures.  There  are 
three  points  especially  to  be  considered  in  relation  to 
drapery  ; namely,  first,  its  texture,  and  secondly  its  colour 
or  cut — its  photographic  colour  ; finally,  in  the  case  of 
picture  making,  there  is  also  shape  to  be  considered,  and 
this  point,  simple  as  it  may  at  first  appear,  most 
embarrasses  the  student  when  he  wants  to  begin  work. 

If  photographers  only  knew  the  difficulties  that  beset 
painters  in  their  endeavours  to  find  suitable  costumes  for 
models,  the  former  would  at  once  appreciate  the  value  of 
shape  and  fashion  in  costume.  There  are  very  few  districts 
in  old  England  where  picturesque  costume  is  now  to  be 
found  among  the  peasantry,  where  the  ploughboy’s  smock 
and  milkmaid’s  flapping  sun-bonnet,  where  the  cotton 
night-cap  and  quaint  knee-breeches  of  the  gaffer,  are  still 
worn  in  their  primitive  simplicity.  Forgotten  nooks  there 
are,  and  outlying  hamlets— a patch  of  lichen-grown  and 
deeply-thatched  homesteads  and  cotters’  dwellings,  lying 
in  some  sequestered  valley,  beside  which  neither  rail  nor 
high  road  travels,  may  now  and  then  be  discovered — where 
models  ready  dressed  for  a picture  are  seen.  But  for  the 
most  part,  our  sweet  scenes  of  woodland  and  pasturage, 
shady  lane  and  rustic  stile,  are  bereft  of  any  such  welcome 
accessories.  The  advances  of  railways  and  schoolboards 
have  driven  before  them  national  costumes,  and  now,  if 
these  are  seen,  they  are  generally  spoilt  by  supplemental 
clothing  with  an  unmistakable  air  of  town-made  and  vulgar 
frippery  about  them. 

In  Norway  (in  the  Hallingdal  Valley,  to  wit,  and  some 
parts  of  Tellemark)  there  is  still  a pure  national  costume  ; 
and  in  some  of  the  remoter  districts  ot  Germany  a quaint, 
picturesque  dress  is  also  met  with  among  the  peasantry. 
Unfortunately,  there  is  a tendency  to  combine  town  finery 
with  these  primitive  robes,  and  the  consequence  is  seen  in 
Switzerland,  where  modern  jewellery  and  ornaments  are 
worn  with  clothing  picturesque  enough  in  its  way,  but 
bereft  of  its  sweetness  and  modesty  by  starched  laces  and 
stiff  buckram.  As  a rule,  the  artist  buys  worn  garments  for 
his  models,  and  does  not  purchase  new  clothing  if  he  can 
help  it.  Photographers  who  have  won  for  themselves 
a name  in  art-photography  have  done  the  same.  “ I 
bought  that  gown  off  a woman’s  back  in  Seven  Dials ! ” said 
Mr.  Hubbard,  in  respect  to  the  model  in  one  of  his  charm- 
ing compositions ; while  the  late  Mr.  Rejlander  has  been 
known  to  follow  the  wearer  of  a desirable  garment  by  rail 
and  bus  from  the  south  of  London  to  the  north  in  order 
to  get  an  opportunity  for  a bargain  : and  it  is  but  a little 


while  since  that  Mr.  Robinson  said  of  one  of  his  most 
cherished  draperies:  “That  was  bought,  mind  you,  not 
made  ! ” and  gave  a graphic  account  of  the  difficulties  he 
encountered  in  obtaining  it. 

An  artist,  in  a word,  never  lets  the  chance  escape  him 
of  purchasing  eligible  drapery  ; in  fact,  new  garments  are 
of  little  use  to  him.  They  are  too  harsh  and  stiff,  and 
give  unpleasant  lines.  And  if  painters  cannot  do  without 
proper  drapery,  how  much  more  indispensable  is  it  to  the 
photographer ! But  in  the  matter  of  lighting  and  draping, 
the  work  of  the  photographer  is  better  comparable  to 
sculpture  than  painting,  and  as  we  have  previously 
remarked,  there  is  much  in  common  between  sculpture  and 
photography.  There  is  no  colour  either  in  the  work  of  the 
one  or  the  other,  and  to  make  up  for  this,  they  have  to 
pay  particular  attention  to  lighting  and  draping.  The 
study  of  light  and  shade  without  colour  may  be  said  to  be 
the  main  object  of  both  sculptor  and  photographer,  and 
the  latter  has  much  to  learn  about  the  behaviour  of 
different  shades  in  the  camera.  His  eye  must  ignore  colour 
in  judging  of  effects,  or  rather  estimate  it  at  its  photo- 
graphic value.  This  leads  to  the  consideration  of  texture 
and  tint.  Some  years  ago,  white  was  execrated  by  photo- 
graphers, and  blue  was  also  deprecated  because  “ it  came 
out  white.”  Now,  white  satin,  white  furs,  and  white  laces, 
are  to  be  found  in  photographs  innumerable,  and  some 
artists — Fritz  Luckardt,  Schaarwiichter,  Lbwy,  &c. — seem 
positively  to  revel  in  these  difficult  draperies.  But  such 
stuffs  still  require  the  master  hand  to  control  them,  and 
can  scarcely  be  cited  as  material  specially  suitable  for 
photographic  work. 

A French  authority  has  cited  laine  claire  as  one  of  the 
most  charming  photographic  draperies.  In  texture  and 
tint,  a soft  woollen  fabric  is  indeed  peculiarly  adapted  to 
photographic  work.  Take  a soft  cachemire,  for  instance, 
with  its  graceful  folds,  or  a delicate  alpaca,  if  the  latter 
is  not  harsh  and  inflexible.  Another  choice  material  is 
fine  Indian  muslin,  which  in  its  unstiffened  condition 
hangsin  gauzy  diaphanous  folds  that  are  eminently  pleas- 
ing. Old  laces  too,  limp,  and  slightly  tinted  with  age,  are 
exceptionally  pleasing  as  photographic  drapery.  As  most 
photographers  know,  a weak  solution  of  coffee  presents  a 
most  ready  and  effective  means  of  subduing  a glaring 
white,  and  we  have  seen  Mr.  Robert  Faulkuer  produce 
the  most  charming  little  garments  for  his  baby  models 
from  a yard  or  two  of  muslin  dipped  in  a very  weak 
infusion  of  coffee.  If  a fabric  is  stiff  from  starch 
or  ironing,  exposure  to  damp  or  to  a little  steam  will 
speedily  reduce  its  harsh  character,  and  cause  it  to 
drop  in  the  most  graceful  of  folds.  Knitted  shawls  or 
scarves  of  white  wool  are  also  among  the  most  delightful 
of  draperies  for  portraiture,  since  both  tint  and  texture  are 
agreeably  rendered  by  photography.  Texture  is  in  truth 
a quality  that  photographers  should  study  more  than  they 
do. 

Certainly  the  weakest  point  in  rustic  studies  with  female 
models  is  the  feet.  A study  of  sculpture  would  teach  the 
photographer  much  in  this  respect.  A naked  foot  is 
possibly  the  most  agreeable,  but  then  comely  models,  or, 
indeed,  models  in  general,  have  rarely  pretty  feet.  The 
wearing  of  boots  and  shoes  has  a most  disastrous  effect 
upon  the  shape  of  the  foot  au  naturel,  and  unless  this  is 
partly  covered — say  with  moss  and  leaves,  or  by  a running 
brook — the  result  is  usually  ugly,  more  especially  as  the 
photographic  lens  is  rather  hard  upon  a mass  of  white  so 
far  from  the  centre  of  the  picture.  Shoes  and  boots  are 
always  the  most  unromantic  portion  of  a rustic  costume — 
however  much  a smart  bottine  may  help  the  stylish  town 
belle — and  for  this  reason  we  wonder  the  photographer,  in 
dressing  his  dairy-maid  or  country  lass,  never  makes  use  of 
sabots.  Wooden  shoes  are  not  unknown  in  our  own 
country,  and  in  France  they  are  very  general;  they  may 
be  seen,  too,  of  a decidedly  shapely  character,  if  the 
purchaser  will  only  take  the  trouble  to  pick  out  a quaint 


April  20,  1883.J 


THE  FHOTOG11APHIC  NEWS. 


245 


pair.  A neat  ankle,  and  indeed  a great  part  of  the  foot, 
is  seen  when  wearing  sabots,  and  we  feel  quite  sure  that  any 
photographer  who  is  acquiring  a wardrobe  with  a view  to 
produce  studies  and  pictures,  could  make  good  use  of 
such  objects.  In  any  case,  they  afford  a way  out  of  a 
difficulty  which,  judging  from  past  results,  is  one  that 
has  spoilt  many  a promising  picture. 


PHOTOGRAPHING  THE  “ SOFT  PALATE.” 

BY  EDWIN  COCKINO. 

In  reference  to  some  photographs  taken  by  me  in  October 
last  year  (1882)  of  the  “ soft  palate”  (a  transparency  from 
one  having  been  shown  by  the  optical  lantern  at  the  last 
meeting  of  the  Photographic  Society  of  Great  Britain),  I 
may  state  that  having  gone  through  some  experiments  on 
two  evenings  only,  I have  not  had  further  opportunities  for 
taking  advantage  of  the  limited  experience  thus  gained. 

On  both  occasions  the  oxy-hydrogen  lime  light  was  used 
as  the  illuminating  power,  two  lights  being  in  use  at  the 
same  time  ; and  in  consequence  of  its  being  found  necessary 
to  bring  both  lights  so  very  close  to  each  other,  for  the  pur- 
pose of  preventing  one  side  of  the  interior  of  the  mouth,  and 
also  the  soft  palate,  from  being  in  strong  shadow,  great 
difficulty  was  experienced  in  placing  the  camera,  with  a 
No.  IB  lens,  close  enough  to  get  a large  image,  which  was 
wanted  ; also,  unfortunately,  do  head-rest  was  at  hand  to 
keep  intact  the  position  of  the  sitter,  whose  face  was  60  close 
to  the  lime  burners  that  the  powerful  light  was  veiy  trying 
to  his  eyes,  as  also  that  the  heat  tended  to  produce  an  involun- 
tary motion  of  the  bead.  Under  these  circumstances  my 
first  experiments  were  made,  and  some  half-dozen  negatives 
were  taken  and  developed  ; the  result  beiog  a very  soft 
palate  indeed — in  fact,  more  like  wool. 

On  the  second  evening  a head-rest  [was  used,  and  the 
negatives  were  then  to  be  taken  as  small  as  possible  (and  I 
may  here  observe  that  I think  that  in  this  matter  of  small 
negatives  will  lay  one  of  the  elements  of  success  in  this 
work).  I had  in  the  interim  fitted  up  a camera,  so  that  it 
could  take  six  pictures  on  a half-plate  ; but  it  being  found 
desirable  that  the  two  lights  should  be  brought  still  closer 
together,  and,  consequently,  the  camera  having  to  be  placed 
farther  off  from  the  sitter,  I was  compelled  to  put  that 
arrangement  on  one  side,  and  use  a No.  2B  lens,  which  at 
the  distance  of  six  or  seven  feet  gave  an  image  of  the  mouth 
about  one  quarter  of  an  inch  in  diameter.  After  taking 
and  developing  one  negative,  which  proved  successful,  nine 
other  negatives  were  then  taken  (but  not  developed  at  the 
time)  in  different  positions  according  to  the  pitch  of  sound 
which  was  given  out  by  the  sitter  whilst  the  photograph 
was  being  taken. 

There  was  no  opportunity  given  for  attempting  to 
photograph  the  vocal  chords  (situated  down  in  the  throat), 
in  consequence  of  the  difficulty  of  placing  the  mirror  of 
the  laryngoscope  (held  at  the  back  of  the  mouth)  in  the 
right  position,  so  that  the  invisible  might  be  made  visible. 
A glimpse  of  these  delicate  organs  was  now  and  then  seen 
upon  the  focussing  screen,  but  so  fugitive  that  they  were 
here,  and  gone  again.  It  was  at  this  point  that  it  became 
evident  to  me  that,  with  the  direct  transmission  of  light 
from  the  lime  burners,  it  would  be  almost  impossible  to 
secure  the  proper  incidence  of  the  rays  of  light  upon  the 
mirror,  so  that  it  might  be  reflected  down  the  throat,  and 
any  further  attempts  were  given  up  for  that  occasion. 

Even  for  takiug  the  soft  palate,  it  was  necessary  that  a 
mirror  or  plane  looking-glass  should  be  placed  in  front  of 
the  sitter  just  over  the  direct  line  of  the  centre  of  the  lens, 
so  that  the  sitter  himself  could  see  approximately  when 
the  right  position  was  attained;  but  the  actual  moment 
for  exposure  was  indicated  by  a medical  gentlemen  present, 
who  also  knew  perfectly  well  what  was  desired  to  be  re- 
presented. The  exposures  were  made  by  a pneumatic 
shutter  inside  the  camera,  which  was  prevented  from  open- 
ing downwards  further  than  just  below  the  centre  of  the 


lens  ; and  it  soon  became  evident  to  me,  whilst  these  ex- 
periments were  going  on,  that  when  the  “ laryngoscope  ” 
came  to  be  used,  the  image  seeu  on  the  looking-glass  must 
be  directly  in  the  line  of  the  centre  of  the  lens,  and  I then 
thought  of  some  arrangement  which  might  be  made.  By 
using  another  pneumatic  shutter,  with  a looking-glass 
attached  to  it,  placed  outside  the  lens,  or  fixed  nearer  the 
sitter,  and  by  uniting  the  two  tubes  at  some  part  with  a 
Y-shaped  metal  tube,  one  pressure  upon  the  bulb  would 
set  in  motion  the  two  shutters  simultaneously,  the  sitter 
himself  could  then  make  the  exposures,  and  a most  impor- 
tant difficulty  be  overcome  ; as  also  that  the  two  shutters 
moving  in  opposite  directions,  the  inside  one  going  down, 
whilst  the  outside  one  went  up,  during  the  opening,  and 
vice  versa  during  the  closing,  would  greatly  assist,  if  neces- 
sary, ia  making  the  exposure  shorter  still.  I had  scarcely 
turned  over  in  my  mind  what  the  necessities  of  the  work 
required  iu  the  future,  when — my  experiments  came  to  an 
end. 


HARDWICH  ON  THE  LIME  LIGHT. 

BY  T.  F.  HAKDWICH,  M.A.* 

In  using  a biunial  or  a pair  of  lanterns  for  the  production  of  dis- 
solving views,  a common  defect  is,  that  the  two  pictures  are  not 
of  equal  intensity.  Supposing  the  focal  depth  of  the  lenses  and 
condensers  to  be  the  same,  the  fault  is  usually  to  be  found  in  the 
jets. 

In  the  case  of  the  oxyhydrogen  or  mixed  gases  the  nipples  of 
the  jets  should  be  bored  with  great  care,  or  there  will  be  a small 
but  appreciable  difference  in  the  pictures.  The  last  eighth  or 
tenth  of  an  inch  of  the  bore  should  be  very  smooth  and  uniform 
in  size  throughout.  If  it  be  at  all  conical,  tapering,  and  becoming 
smaller  towards  the  orifice,  or,  worse  still,  as  I have  seen  in  one 
instance,  tapering  away  from  the  orifice,  the  light  will  not  be  so 
good.  The  orifice  itself,  also,  should  have  a sharp  edge  inwardly 
to  direct  the  stream  of  gas,  and  should  not  be  rounded  off  or 
trumpet-shaped.  When  I find  this  to  be  the  case  I rub  down 
the  point  of  the  nipple  on  a dry  hone,  such  as  boys  use  for 
sharpening  knives,  until  a clean  edge  is  obtained,  and  then  guage 
the  orifices  with  a needle  to  satisfy  myself  that  they  are  of  the 
same  size. 

In  the  blow-through  process  (the  term“  blow-through  ” is  not 
euphonious,  but  I know  of  no  other  so  accurate  or  expressive)  an 
inequality  of  illumination  is  often  due  to  a contraction  at  some 
part  of  the  hydrogen  tube  of  one  of  the  jets.  It  should  be  borne 
in  mind  that  the  pressure  of  coal  gas  drawn  from  the  main  is 
comparatively  low,  and  hence  the  passage  should  be  kept  well 
open.  By  drawing  air  through  the  two  jets  with  the  mouth  you 
will  perhaps  observe  that  it  passes  less  freely  through  the  one 
which  gives  the  feeble  light  ; and  when  the  bye-pass  hydrogen 
is  turned  down  low,  that  lantern  will  go  quite  out  in  dissolving. 

On  trying  a new  biunial  lantern  I once  noticed  that,  although 
the  two  blow-through  jets  were  to  all  appearance  exactly  alike, 
the  one  gave  a brighter  disc  than  the  other.  They  were  “ inter- 
changeable ” jets,  and  on  examining  them  carefully,  I discovered 
a leak  in  the  one  which  gave  the  stronger  light.  The  plug  sepa- 
rating the  oxygen  from  the  hydrogen  was  not  absolutely  tight, 
but  allowed  a little  of  the  former  gas  to  pass  into  the  latter.  It 
occurred  to  me  that  if  I were  to  rime  out  a small  channel  in  the 
plug  of  the  other  jet  until  I found  by  suction  that  the  two  corres- 
ponded, I should  remedy  the  defect ; and  such  proved  to  be  the 
case,  for  the  pictures  became  at  once  of  equal  intensity  and  un- 
usual brightness.  I thought  at  first  that  I had  stumbled  upon 
an  improvement ; but  further  experience  showed  that  great  care 
was  Deeded  in  making  this  channel  of  communication  between 
the  oxygen  and  hydrogen  of  the  right  size,  and  that  if  it  were  at 
all  too  large  the  flame  tended  to  pass  backward  and  could  not  be 
kept  burning  at  the  mouth  of  the  jet.  A few  candles  more  or 
less  in  illuminating  power  are  of  small  consequence  compared 
with  simplicity  and  certainty  of  manufacture,  and  hence  I content 
myself  at  present  with  stating  the  fact  that,  if  a minute  quantity 
of  the  oxygen  should  leak  into  the  coal  gas  at  a point  lower  down 
than  the  outlet,  it  will  cause  that  jet  to  give  a brighter  disc  than 
the  other. 

A great  deal  of  useful  information  can  be  gained  by  looking 
in  at  the  front  glass  of  each  lens  whilst  the  lanterns  are  burning, 

* Read  before  the  Newcastle-on-Tyne  and  Northern  Counties’  Photo- 
graphic Association. 


246 


THE  PHOTOGRAPHIC  NEWS. 


[Apeil  20,  1883. 


and  comparing  the  two.  We  ought  to  see  a cone  of  rays 
coming  out  large  enough  to  cover  the  whole  surface,  and  if 
there  be  only  a bright  pencil  of  light  in  the  centre  of  the  lens, 
we  are  perhaps  making  too  near  to  the  top  edge  of  the  lime  ; 
or,  in  the  case  of  an  interchangeable  jet,  we  have  not  carried  the 
point  round  far  enough  to  be  at  right  angles,  aud  hence  the 
flame  is  striking  the  lime  on  one  side.  These  are  comparatively 
small  matters,  but  they  affect  the  result ; and  the  beauty  of 
dissolving  views  is  much  lessened  by  any  inequality  in  the 
illumination. 

The  blow-through  jet  is  often  spoken  of  disparagingly  as 
giving  a poor  light  compared  with  the  oxyhydrogen  ; but  few  are 
aware  how  much  may  be  effected  by  studying  the  proper  con- 
ditions. The  two  gases  should  be  made  to  mix  as  perfectly  as 
possible,  and  the  area  of  ignition  should  be  large  to  compensate 
for  its  lower  intensity.  If  these  points  are  attended  to  you  will 
be  able  to  lecture  to  an  audience  of  400  people,  and  the  pictures 
will  be  distinctly  seen  at  the  end  of  the  room. 

The  construction  of  a good  blow-through  jet  requires  as  much 
care  as  that  of  a jet  for  the  mixed  gases.  In  my  own  practice 
I have  quite  discarded  the  common  form,  and  have  adopted  the 
one  first  introduced,  I believe,  by  Mr.  Young,  of  Manchester, 
namely,  a circular  aperture  of  one-eighth  of  an  inch  for  the 
hydrogen,  and  a stream  of  oxygen  blowing  through  it  from 
behind.  Mr.  Young’s  aperture  for  the  oxygen  was  not  more 
than  one-thirtieth  of  an  inch  in  diameter  ; but  his  object  was 
to  economise  that  gas,  which  is  not  so  necessary  now  that 
chlorate  of  potash  can  be  bought  at  a low  rate.  The  orifice  for 
the  oxygen  may,  therefore,  be  enlarged  with  advantage  to  one- 
twenty-fifth  or  one-twentieth  of  an  inch. 

Mr.  E.  G.  Wood,  of  Cheapside,  London,  has  patented  a blow- 
through  jet,  which  seems  to  me  to  be  a good  commercial  form. 
It  has  an  aperture  of  one-eighth  of  an  inch  for  the  hydrogen,  and 
three-sixteenths  or  one-quarter  of  an  inch  behind  it,  and  one  of 
one-twentieth  of  an  inch  for  the  oxygen.  The  effect  of  this 
“ dome  ” arrangement  is  that  the  oxygen  gathers  up  nearly  all 
the  hydrogen,  and  a small  blue  flame  is  seen  burning  at  the  out- 
let very  much  like  the  flame  of  the  oxyhydrogen  or  mixed  gases 
Mr.  Wood  includes  the  dome  in  his  specification,  but  I doubt 
whether  he  could  establish  his  claim  to  priority,  and  perhaps  it 
would  not  be  necessary  for  him  to  attempt  to  do  so  ; for,  if  his 
jets  were  all  as  well  made  as  the  one  he  sent  to  me,  the  demand 
for  them  would,  probably,  be  as  great  as  he  could  supply.  I 
notice,  inside  the  dome,  an  arrangement  of  three  very  small 
screws  to  keep  the  oxygen  tip  in  position,  so  that  it  may  blow 
exactly  through  the  centre  of  the  hydrogen  holes.  This  is  very 
important,  as  the  jet  would  certainly  give  less  light  if  the  stream 
of  oxygen  were  not  in  the  middle.  The  mixture  of  the  gases  is 
not  absolutely  perfect  either  in  this  or  in  any  other  blow-through 
jet  which  I have  examined.  The  oxygen  is  in  excess  in  the 
inner  part  of  the  flame,  and  the  hydrogen  on  the  outside,  so  that 
when  you  look  at  the  lime  spot  you  see  a dark  nucleus.  This 
nucleus  disappeared  on  removing  the  cylinder  to  a greater 
distance — say,  to  three-sixteenths  or  a quarter  of  an  inch  from 
the  nozzle  of  the  jet. 

On  one  point  I am  at  issue  with  Mr.  Wood.  He  has  slanted 
the  lime  cylinder  in  his  blow-through  jet  in  order  to  preserve  an 
angle  of  45°  for  the  incidence  of  the  flame.  This,  I think,  is 
unnecessary,  as  a much  smaller  angle  than  45°  will  answer  for 
the  blow-through  process.  One  of  the  mo3t  powerful  jets  in 
my  possession  has  an  angle  of  20°,  and  the  only  difference  you 
need  make  is  to  approximate  the  lime  a little  more  closely,  in 
consequence  of  the  smallness  of  the  angle.  Mr.  W.  H.  Oakley 
has  constructed  a variety  of  jets  for  me  after  different  models, 
and  I am  satisfied  by  repeated  trials  that  an  upright  cylinder  of 
lime  answers  well. 

Complaints  have  been  made  of  a snapping  noise  like  the  ex- 
plosion of  a small  percussion  cap  in  using  blow-through  jets  in  a 
double  lantern.  The  explanation  is  that  there  exists  for  the 
moment  an  explosive  mixture  in  the  small  chamber  behind  the 
hydrogen  orifice.  I presume  the  defect  might  be  cured  by 
altering  the  gas  passages  of  the  dissolving  tap  ; but,  short  of  t hat, 
a partial  remedy  will  be  to  dissolve  slowly,  to  keep  the  bye-pass 
hydrogen  at  a maximum,  and  not  to  weight  the  oxygen  bag  too 
heavily.  A half-hundred  weight  ought  to  be  sufficient,  even 
for  a large  bag,  and  it  is  not  often  necessary  to  increase  the 
pressure  as  the  lecture  proceeds,  Bince  the  pipes  become  heated, 
and  this  compensates  in  a measure  for  the  comparative  emptiness 
of  the  bag. 

I now  proceed  to  make  a few  remarks  upon  the  ethoxo  lime 
light  of  Mr.  Broughton,  which  is  likely  to  come  into  more 


general  use.  No  fluid,  however  volatile,  will,  I think,  entirely 
supersede  coal  gas  unless  it  can  be  shown  to  give  a better  light ; 
but  when  gas  cannot  be  obtained,  ether  is  the  best  substitute  for 
it  which  I have  tried.  Not  only  is  no  heat  required  to 
volatilise  it,  b„i  .here  is  an  actual  depression  of  temperature 
during  the  volatilisation,  and  the  condensed  moisture  of  the 
room  can  be  seen  streaming  down  the  sides  of  the  tank  as  the 
Vapour  rises. 

The  following  mode  of  working  the  process  is  not  intended  to 
give  the  maximum  light  of  which  it  is  capable,  but  will  be  found 
simple  for  rooms  holding  200  persons  Supposing  the  lenses  to 
have  a focal  length  of  six  inches,  place  the  dissolving  lantern  at 
a distance  of  eighteen  and  a-half  feet  from  the  screen  ; this  will 
give  a disc  of  twelve  feet  diameter  with  four-inch  condensers. 
Fill  an  eight-foot  bag  with  oxygen,  and  load  it  with  one  and-a- 
balf  hundredweight  if  you  use  the  tube  containing  pumice,  or 
with  one  hundredweight  if  without  it.  I recommend  all  who 
make  the  oxygen  in  the  lecture  room  with  Chadwick’s  generator 
to  use  the  pumice  safety  tube,  since  the  pressure  is  sometimes 
greater  than  they  are  aware  of.  In  my  own  practice,  however, 
with  elastic  bags  and  moderate  pressure  I have  discarded  the 
pumice,  as  I find  it  impedes  the  flow  of  the  oxygen,  and 
necessitates  heavier  weights  on  the  bag.  Neither  do  I think 
that  there  ought  to  be  any  danger  of  explosion,  provided  the 
tank  be  kept  full  of  ether.  I am  bound  to  say,  however,  that 
Mr.  Broughton  himself  does  not  agree  with  me  in  this  opinion. 
Taking  into  account  the  haste  and  confusion  of  a lecture  room, 
and  the  possibility  of  the  weights  slipping  off,  he  advises  the 
constant  use  of  the  safety  tube.  This  advice  is  no  doubt  prudent, 
and  in  any  case  the  oxygen  bag  should  be  placed  under  the 
charge  of  a careful  attendant,  whose  duty  it  should  be  to  see 
that  it  does  not  touch  the  wall,  and  that  it  is  not  interfered 
with  during  the  lecture.  In  addition  to  this  precaution  a small 
back-pressure  valve  may  be  placed  on  the  nozzle  of  the  bag,  and 
I have  found  none  better  than  Chadwick’s  valve,  which  inter- 
feres very  little  with  the  onward  flow  of  the  gas,  and  has  only 
one  fault,  namely,  that  the  oiled  silk  is  apt  occasionally  to  stick 
to  the  brass.  A sharp  suck  or  blow  through  with  the  breath 
will,  however,  usually  suffice  to  release  it,  and  this  point  should 
be  attended  to  before  the  lecture  begins. 

The  true  state  of  the  case  as  regards  the  danger  of  using 
ether  vapour  appears  to  be  this : — Ether  vapour,  mixed  with  air 
in  any  proportion,  burns  quickly  when  light  is  applied.  Neither 
does  it  form  an  explosive  mixture  with  oxygen  when  the  oxygen 
is  saturated  with  the  vapour.  But  if  the  ether  vapour  be  present 
in  only  small  quantity — about  one  volume  to  ten  of  oxygen — it 
explodes  violently  on  contact  with  flame.  Now,  the  other  tank 
is  so  made  that  the  oxygen  gas  passes  backwards  and  forwards 
through  the  liquid  much  in  the  same  way  that  coal  gas  does  in 
the  lime  purifying  chamber  ; hence  with  a full  tank  it  can 
hardly  fail  to  saturate  itself  by  the  time  it  reaches  the  surface. 
If,  however,  the  tank  were  used  down  nearly  dry,  it  is  obvious 
that  a point  would  by-and-bye  be  reached  when  the  oxygen  would 
take  up  too  little  of  the  ether  to  give  security.  And  the  same 
thing  might  happen  if  a weak  ether  of  sp.  gr.  ’750  were  used 
instead  of  ether  of  '720,  because  in  that  case  the  tank  would 
eventually  contain  little  else  than  spirits  of  wine. 

In  order  to  be  sure  of  the  amount  of  ether  contained  in  the 
tank,  I fill  it  by  weight,  and  not  by  measure.  The  tank  now 
before  you  weighs  two  pounds  and  six  ounces,  and  if  ether  be 
poured  into  it  until  it  weighs  three  pounds,  you  have  ten  ounces 
by  weight,  aud  about  thirteen  by  measure.  After  the  lecture  is 
over  you  weigh  it  again,  and  find,  perhaps  that  it  has  lost  about 
four  and  a-half  ounces  by  weight — some  six  ounces  nearly  by 
measure.  You  leave  what  remains  of  the  ether  in  the  tank  with 
the  taps  closed,  and  fill  up  again  to  three  pounds  by  weight 
before  the  next  lecture. 

The  vapour  of  ether  has  a slightly  solvent  action  on  rndia- 
rubber,  so  that  the  tubing  used  to  convey  it  must  be  new  and 
strong.  I have  had  fracture  of  the  india-rubber  on  two  occasions 
from  using  old  aud  brittle  tubing.  A short  tube  is  to  be  pre- 
ferred to  a longer  one,  and  as  the  tanks  lately  made  by  Mr. 
Broughton  have  a safety  chamber  holding  fourteen  fluid  ounces 
on  the  side  nearest  to  the  bag,  the  tank  may  be  placed  on  the 
table  close  to  the  lantern  without  any  fear  of  suction  backwards. 

The  jets  for  the  ethexo  light  may  be  either  of  the  blow-through 
or  the  mixed  gases  kind ; but  the  latter  are  more  economical, 
and  perhaps,  all  things  considered,  safer  in  this  process.  The 
size  of  the  orifice  of  the  nipple  should  be  about  one-thirtieth  or 
one-twenty-fifth  of  an  inch,  the  ordinary  size  of  one-twentieth 
being  rather  too  large  for  dissolving  when  the  vapour  of  ether 


April  20,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


247 


is  used  instead  of  gas,  and  at  a lower  pressure.  Turn  on  the 
ether  tap  gradually,  and  work  the  oxygen  up  to  it  uutil  the  force 
is  full  on,  and  the  latter  partially  so.  The  flame  should  be 
slightly  tinged  with  red,  and  a dark  cone  of  about  one-eighth  of 
an  inch  long  should  be  seen  in  the  centre.  The  hottest  part  is 
immediately  beyond  this  dark  cone,  and  if  you  bring  the  lime 
within  it  there  will  be  a blank  nucleus  iu  the  centre  of  the  spot, 
and  a loss  of  light.  When  once  the  proportions  of  the  two  gases 
have  been  properly  adjusted,  the  flime  will  need  very  little 
further  attention  during  the  lecture  ; but  towards  the  close  the 
amount  of  ether  vapour  will  decrease  somewhat,  and  the  oxygen 
tap  of  the  jet  will  require  altering  accordingly. 

I conclude  my  paper  with  a word  on  the  subject  of  chlorate 
of  potash,  as  used  for  the  manufacture  of  oxygen  gas.  Some 
two  or  three  years  since,  Mr.  F.  York  sent  to  me  a sample  of  the 
crude  crystals  which  are  sold  at  a low  price  for  the  preparation  of 
oxygen,  and  I found  them  to  answer  sufficiently  well  for  lantern 
purposes.  Further  experience,  however,  has  shown  me  that 
this  first  crystallisation  is  not  of  reliable  quality,  and  that  it 
often  yields  oxygen  so  highly  contaminated  with  chlorine  as 
hardly  to  admit  of  purification.  It  requires  also  a stronger  heat, 
and  more  oxide  of  manganese  to  decompose  it. 

I do  not  observe  any  appreciable  difference  in  the  light  when 
oxygen  from  the  crude  chloral  is  used  ; but,  taking  into  account 
the  destruction  of  the  retorts,  and  the  corrosion  of  the  taps,  to 
say  nothing  of  the  injury  caused  to  the  bag,  I am  not  sure  that 
there  is  much  economy  in  employing  it,  although  the  recrystal- 
lised is  exactly  double  the  price. 



SECURING  A DEAD  BLACK  SURFACE  ON  OPTICAL 
BRASS  WORK. 

BY  WILLIAM  FOROAN.* 

If  an  article  has  been  lacquered  before,  that  lacquer  must,  in  the 
first  place,  be  removed,  and  the  article  afterwards  carefully 
cleaned  and  polished.  When  the  brass  has  not  been  lacquered 
before,  it  must  receive  before  lacquering  the  highest  possible 
finish  and  polish  if  it  is  desired  to  make  a fine  job.  This  is  done 
by  taking  out  the  marks  of  the  file  with  finer  and  finer  sorts  of 
emery  paper  or  cloth,  then  polishing  with  rotten  stone  or  oil, 
and  giving  the  article,  after  this  has  been  cleaned  off,  a final 
touch  with  a buff-stick  and  crocus  powder.  The  article  must  be 
carefully  wiped  clean,  and  care  taken  that  it  is  not  touched  with 
the  fingers  after  this  has  been  done,  as  these  would  leave  a 
greasy  mark.  Care  must  be  taken  at  every  step  to  invariably 
lay  the  successive  strokes  of  the  emery  cloth  or  paper  and 
polishers  in  the  same  dfrection.  When  the  desired  degree  of 
polish  has  been  attained,  a quantity  of  lacquer  is  poured  into 
(say)  an  egg-cup,  which  is  a very  convenient  receptacle  for  the 
purpose.  A fine,  flat  camel’s  hair-brush  is  taken,  and  the  article 
being  gently  warmed  and  held  on  the  left  hand,  a small  quantity 
of  the  lacquer  is  taken  up  on  the  brush,  and  then  the  brush  is 
drawn  over  the  brass  with  straight  strokes,  always,  if  possible,  in 
the  same  direction.  The  article  may  generally  be  held  by 
screwing  a piece  of  wire  into  some  hole  in  it,  and  holding  the 
wire  with  a small  hand-vice.  As  many  coats  of  the  lacquer  may 
be  given  as  desired  by  keeping  the  brass  hot ; the  degree  of 
heat  is  an  important  element  in  the  success  of  the  operation. 
Holtzappel  says  it  must  not  be  warmer  than  boiling  water,  but 
so  far  a3  my  experience  goes,  I should  say  the  heat  of  boiling 
water  would  be  too  great.  Considerable  skill  is  required  in 
lacquering  well,  and  that  skill  can  only  be  attained  after  a good 
deal  of  experience.  The  great  secret  of  lacquering  for  beginners, 
at  all  events,  is  to  take  as  little  as  possible  of  the  lacquer  at  a 
time  on  the  brush,  have  the  article  perfectly  clean,  a good  brush 
with  no  loose  hairs  in  it,  and  clean,  and  not  make  the  article  too 
hot. 

Now  as  to  lacquers.  There  are  a great  variety  of  them.  As 
a rule, . English  brass-work  is  covered  with  a very  pale  lacquer 
containing  almost  no  colour;  while,  on  the  contrary,  Continental 
lacquers  contain  too  much  colour.  I show  you  two  microscope 
object  glass  boxes,  one  of  which  is  finely  polished  and  lacquered 
by  Mr.  Wray,  and  the  other  is  by  Dr.  Carl  Zeiss,  of  Jena.  Mr. 
AV  ray  s is  a very  fine  specimen  of  lacquering.  It  has,  however, 
in  it  a fugitive  colouring  material,  and  when  a certain  time 
elapses,  the  brightness  leaves  it.  Zeiss’,  again,  has  a great 
amount  of  colour  in  it.  Wray’s  looks  well  when  new  ; but  it 
very  soon  fades,  and  the  colour  becomes  bad.  I show  you 

* Bead  before  the  Edinburgh  Photographic  Society. 


another  box  of  his,  which  I have  had  for  some  years,  in  which 
the  colour  has  changed  very  much.  The  simplest  and  best  pale 
lacquer,  Holtzappel  says,  is  made  of  shellac  and  spirits  of  wine 
only,  iu  the  proportions  of  about  4 lb.  of  the  best  pale  shellac 
to  one  gallon  of  spirit.  It  is,  he  says,  required  to  be  as  clear  and 
bright  as  possible,  and  is  always  made  without  heat  by  continu- 
ous agitation  for  five  or  six  hours.  If  not  clear  it  may  be 
filtered,  and  should  be  kept  out  of  the  influence  of  light.  It 
may  be  coloured  for  yellow  tints  with  turmeric,  cape-aloes, 
saffron,  or  gamboge ; and  for  red  tints  with  annatto  or  dragon’s 
blood. 

What  I have  described  is  the  process  adopted  for  lacquering 
the  outside  of  photographic  lens  mounts,  or  all  those  portions  of 
the  brass  work  where  the  light  does  not  pass.  The  inside  of  the 
mounts,  however,  are  treated  in  a totally  different  way.  We 
must  have,  where  light  passes,  a surface  a3  nearly  dead  blank  as 
can  be  got.  This  is  obtained  in  the  inside  of  the  tubes,  by 
mixing  finely-triturated  lamp-black  with  the  lacquer  used  for 
the  outside,  and  applying  the  black  lacquer  in  one  or  more  coats 
with  heat  to  the  inside  of  the  tube.  The  result  is  a finely- 
grained  black  surface  which  reflects  no  light.  As  soon  as  the 
surface  has  received  one  or  two  coats,  no  more  must  be  given, 
as  the  repeated  application  of  the  lacquer  would  make  the  surface 
glossy — the  very  thing  which  it  is  wished  to  avoid.  This  method 
of  blackening  the  brass  does  excellently  for  all  portions  which 
are  not  to  come  into  contact  with  the  fingers  ; but  wherever  the 
brass  requires  to  be  handled,  we  must  have  recourse  to  something 
different  from  lamp-black.  One  of  the  modes  adopted  for  that 
purpose  is  to  bronze  the  articles.  There  are  various  ways  of 
doing  this.  Everyone  must  be  familiar  with  the  ordinary 
greenish  colour  of  gas-fittings  which  are  bronzed.  The  article 
is  first  thoroughly  cleaned  from  all  grease,  and  then  dipped  in 
vinegar  or  a strong  solution  of  sal  ammoniac,  or  sal  ammoniac 
and  vinegar  mixed  in  the  proportion  of  one  to  three  ounces  of 
the  sal  ammoniac  to  one  pint  of  vinegar.  Holtzappel  says  a 
quick  bronze  is  made  with  one  ounce  of  corrosive-sublimate 
dissolved  in  one  pint  of  vinegar.  The  best  and  most  rapid, 
however,  of  all  the  bronzing  liquids,  is  the  nitro-muriate  of 
platinum,  called  “ chemical- bronze.”  It  is  known  iu  the  shops 
as  the  ter-chloride  of  platinum.  This  produces  the  colour  very 
readily.  All  these  methods,  however,  merely,  so  far  as  I am 
aware,  give  a bronze  tint,  and  not  the  black  surface  we  should 
like  to  get.  I show  you  here  a few  lens  stops  of  Mr.  Grubb's, 
which  have  seen  some  use,  and  you  will  see  that  the  bronze  has 
nearly  all  disappeared.  If  I take  a piece  of  clean  brass,  and 
touch  it  with  the  platinum  solution,  the  bronze  effect  is  almost 
instantly  produced ; but  it  does  not,  in  my  hands,  produce 
black.  The  bronzing  process  is  invariably  used  with  all  articles 
put  together  with  soft  solder.  The  method  I am  about  to 
describe  requiring  a considerable  amount  of  heat,  the  articles 
must  be  without  any  soldered  joints.  When  I first  began  to 
“ work  in  brass,”  a great  many  years  ago,  at  the  lathe,  I experi- 
enced much  difficulty,  sometimes  not  being  able  to  give  some 
parts  of  the  articles  I produced  a sufficiently  dead-black  surface, 
such  as  the  settings  of  lenses,  lens  stops,  and  such  like. 

Merely  bronzing  in  such  a case  will  not  do,  and  lacquer  and 
lamp-black  is  worse.  I became  acquainted  with  an  Edinburgh 
optician  who  had  been  taught  his  knowledge  of  brass  work 
finishing  for  philosophical  instruments  in  the  work-shop  of  the 
late  Mr.  John  Adie ; he  knew  no  method  except  bronzing.  At 
that  time  he  had  a large  business  in  the  sale  of  the  student's 
Natchet  and  Hartnack  microscopes,  the  brass  stages  of  which 
are,  perhaps,  the  most  beautiful  specimens  of  blackened  brass 
which  can  be  produced.  W e wrote  to  Natchet,  and  asked  him 
how  it  was  done,  and,  I think,  he  replied  that  it  was  done  by 
nitrate  of  silver.  We  tried  that,  and  failed.  There  was  nothing 
for  it  but  to  fall  back  upon  the  bronze  again.  Some  time  after, 
when  the  Rev.  J.  B.  Reade  described  his  microscope  kettle-drum 
condenser  in  the  Proceedings  of  the  Royal  Microscopical  Society, 
he  incidentally  mentioned  that  those  portions  of  the  mount  which 
it  was  necessary  to  blacken  were  blackened  by  nitrate  of  copper. 
My  friend  and  I tried  it  almost  as  soon  as  I had  read  it,  and  we 
succeeded  at  once,  to  our  great  delight,  in  producing  a black 
surface  which  was  everything  we  wished.  I prepare  the  solu- 
tion by  dissolving  copper  wire  in  nitric  acid,  weakened  by  addiug, 
say,  three  or  four  parts  of  water  to  one  of  acid.  The  article  to 
be  blackened  is  heated  to  pretty  hot,  and  then  dipped  into  the 
solution  ; it  is  then  taken  out,  and  heated  over  a Bunsen  burner 
or  spirit  lamp.  When  the  article  is  heated  to  the  proper 
temperature,  the  green  colour  of  the  copper  first  appears,  and  as 
the  heat  is  increased,  the  article  becomes  of  a fine  dead  black. 


248 


THE  PHOTOGRAPHIC  NEWS. 


[April  20,  1883. 


It  is  not  necessary  to  lacquer  it.  It  seems  better,  to  my  think- 
ing, to  let  it  alone,  just  giving  it  a good  brushing  to  remove  the 
dust,  and  it  may  be  considered  finished.  If,  however,  it  gets  a 
single  coat  of  lacquer,  the  colour  becomes  blacker,  and  if  there 
is  not  sufficient  put  on  to  make  the  surface  glisten  ; too  much 
lacquer,  however,  invariably  produces  an  objectionable  polished 
surface. 


Bates. 

The  second  edition  of  the  “ Photographic  Studios  of 
Europe,-’  enlarged  to  three  hundred  pages,  will  be  pub- 
lished to-morrow. 

Mr.  Walter  Woodbury  has  been  giving  evidence  as  an 
expert  in  several  cases  of  photographic  interest  in  the 
law  courts  lately ; it  would  certainly  be  difficult  to  find 
anyone  better  qualified  to  act  in  such  a capacity. 

Yet  another  knight  of  science.  Dr.  G.  W.  Siemens,  who 
was  the  last  president  of  the  British  Association,  and  whose 
name  is  familiar  in  connection  with  electricity  and  applied 
physics,  proceeds  to-day  to  Osborne,  in  company  with  Prof. 
Abel,  to  receive  knighthood. 

Photographers  are,  perhaps,  not  aware  that  they  are 
constantly  having  in  their  hands  a cure  for  drunkenness. 
An  American  firm  advertises  a remedy  for  this  vice,  under 
the  name  of  the  “ Double  Chloride  of  Gold.” 


Professor  Pickering,  the  Director  of  the  Harvard 
Observatory,  has  issued  an  appeal  to  all  possessors  of 
astronomical  photographs  to  contribute  duplicate  nega- 
tives to  the  collection  of  stellar  photographs  which  is 
now  being  formed  at  the  Observatory. 

We  were  the  first  among  our  contemporaries  to  describe 
the  Swan  incandescent  lamp,  which  was  not  only  the  earliest 
practical  solution  of  household  lighting  by  electricity,  but 
is  still  the  most  prominent  among  many  rivals.  While,  at 
the  present  day,  it  would  puzzle  a purchaser  where  to  buy  an 
Edison,  Lane-Fox,  or  other  patent  incandescent  electric 
light,  the  Swan  lamps  have  been  for  two  years  past  an 
article  of  commerce,  and,  in  advertising  parlance,  are  “ sold 
everywhere.”  It  was  in  June,  1880,  that  we  saw  the  first 
little  shining  globule  in  Mr.  Swan’s  drawing-room  at  Gates- 
head, and  last  week  we  had  the  pleasure  of  witnessing  the 
latest  condition  of  affairs  as  exemplified  in  that  gentleman’s 
house  at  Bromley.  Here,  with  the  aid  of  a half-horse  power 
gas  engine,  and  a series  of  Storage  batteries,  the  lighting  of 
more  than  a dozen  rooms  and  passages  is  effected  in  the  most 
delightful  manner.  At  the  door  of  every  room  a handy 
switch  suffices  to  make  darkness — in  the  words  of  Horace 
Smith — 

“ Start  into  light, 

And  make  the  lighter  start." 

On  retiring  to  rest,  the  gas  engine  is  stopped  by  the  turn  of 
a tap,  but  the  master  of  the  household  has  still  electricity  at 
his  command  in  the  storage  batteries.  He  may  read  com- 
fortably in  bed  for  some  hours  longer,  by  a convenient  over- 
hanging globe,  or,  if  he  so  wishes,  can  suddenly  light  up 
any  or  all  of  the  lamps  at  a moment’s  notice. 


By  the  wav,  the  removal  of  Mr.  Swan’s  bead-quarters  to 
town  has  given  rise  to  a rumour  that  he  has  left  bis  large 
factory  of  drv  plates  and  collodion  at  Newcastle  to  take  care 
of  itself.  \V  ^ may  here  take  the  opportunity  of  denying  this 
rumour,  and,  strange  to  say,  that  although  Mr.  Swan  finds 
the  demand  for  his  gelatine  plates  still  greater  than  ever 
the  call  for  collodion  does  not  abate.  Ergo,  somebody  must 
be  working  the  wet  collodion  process  very  energetically  still. 

A simple  method  of  silvering  glass  is  useful  to  anyone 
occupied  in  taking  reversed  negatives,  &c.,  and  the  process 
recently  published  of  M.  Palmieri  is  within  the  scope  of 
every  photographer,  especially  if  he  has  prepared  gelatine 
plates  with  ammonio-uitrate  of  silver.  This  latter  liquid  is 
taken,  and  to  it  is  added  first  a little  caustic  potash,  and 
then  some  drops  of  glycerine  ; reduction  begins  at  once,  and 
the  silver  particles  are  thrown  down  on  the  glass,  producing 
a very  brilliant  metallic  deposit.  Ether  or  alcohol  added 
to  the  mixture  accelerates  the  reduction,  and  if  the  photo- 
grapher undertakes  the  process  in  his  dark  room,  and  employs 
a moderate  heat,  there  results  increased  brilliancy  in  the 
deposit  of  silver,  and  better  adherence  of  the  latter  to  the 
glass. 

Speaking  of  silver  deposited  chemically,  we  may  call 
attention  to  a very  interesting  fact  that  has  recently  been 
observed  by  Messrs.  Liveing  and  Dewar.  It  is  that  when 
a deposit  of  silver  particles  is  made  upon  a plate  of  quartz, 
this  is  still  transparent  to  certain  rays  of  light ; that  is 
to  say,  that  when  a spectrum  image  is  permitted  to  fall 
upon  silvered  quartz,  a certain  portion  of  the  ultra-violet 
shines  through,  while  the  film  is  quite  opaque  to  the  rest 
of  the  spectrum.  This  singular  discovery  was  made  by 
means  of  photography,  which  recorded  the  fact,  for  the 
eye  failed  to  appreciate  the  particular  rays  in  question. 

Gold  particles  similarly  deposited  do  not  give  rise  to  the 
same  phenomenon,  but  in  support  of  their  theory 
Messrs.  Liveing  and  Dewar  tell  us  that  the  late  Dr.  W. 
A.  Miller  made  an  observation  very  similar  to  theirs. 
He  found,  namely,  that  a silver  reflector,  curiously  enough, 
failed  to  reflect  a band  in  the  ultra-violet  spectrum  ; in 
other  words,  the  mirror  was  transparent  to  light  in  respect 
to  these  particular  rays,  although  acting  as  a reflector  to 
all  visible  rays. 

Judging  from  the  number  of  patents  which  are  taken 
out  every  year  for  “improvements”  and  “inventions” 
(the  latter,  by  the  way,  not  always  synonymous  with  the 
former)  in  connection  with  photography,  Mr.  Chamber- 
lain’s Patent  Bill , read  for  the  second  time  on  Monday, 
should  prove  of  some  interest  to  the  photographic  pro- 
fession. The  most  important  factor  in  the  Bill  is  that  for 
the  payment  of  £4  (instead  of  £25,  as  now)  an  inventor 
can  obtain  protection  for  four  years.  Should  he  at  the  end 
of  that  time  discover  that  his  patent  is  likely  to  be  of  mone- 
tary value,  he  can  extend  the  time  to  fourteen  years  by  the 
payment  of  £150  in  two  instalments  of  £50  and  £100, 
the  total  cost  for  fourteen  years’  protection  being  £154, 
or  a reduction  of  £21  on  the  present  fee. 


April  20,  1883.  j 


THE  PHOTOGRAPHIC  HEWS. 


249 


Of  the  four-years’  system,  which  undoubtedly  is  a great 
boon,  inventive  photographers  will  possibly  take  advantage, 
although  we  must  confess  that  up  to  the  present  time 
photographic  patents,  with  very  few  exceptions,  have  either 
proved  abortive,  or  have  been  failures  commercially.  It  is 
so  difficult,  for  instance,  to  patent  a process  when  the  sub- 
stitution of  one  material  for  another  may  enable  the  patent 
to  be  successfully  infringed,  it  is  not  generally  known 
that  Daguerre  patented  his  process  in  thi3  country,  but  wre 
are  not  aware  that  royalties  were  even  paid  by  the  early 
Daguerreotypists.  Sir  Henry  Bessemer  probably  has  had 
as  much  experience  of  the  patent  laws  as  anybody  living, 
but  when  he  invented  his  bronze  powder,  which  laid  the 
foundation  of  his  fortune,  he  preferred  keeping  the  process 
of  manufacture  a secret,  to  patenting  it.  In  nearly  every 
branch  of  applied  arts  and  sciences  there  are  trade 
secrets,  and  notably  among  photo-lithographers.  Most  of 
the  photo-lithographers  engaged  commercially  have 
“ dodges  ” which  they  will  not  disclose  for  love  or  money, 
and  certainly  would  never  think  of  patenting. 


A very  interesting  discussion  followed  the  reading  of 
Mr.  H.  T.  Wood's  paper  on  Wednesday  night,  but  nearly 
the  whole  of  the  ieeling  of  the  meeting  tended  rather 
towards  favouring  the  inventor,  the  introducer,  or  even 
the  re-introducer  of  a process,  than  towards  a fair  con- 
sideration of  public  rights. 

A.  ( examining  the  water-mark  of  a bank-note  produced  by 

filigraine.)  Very  clever,  certainly.  B.  It  is  ; but  what  do 
you  think  the  Bank  of  England  says  — that  I have  rendered 
myself  liable  to  twenty  years’  penal  servitude ! Think  of 
that!  A.  Ah!  but  you  wouldn’t  get  the  twenty  years 
really,  you  know  ; they  knock  off  one  year  in  every  five, 
as  a matter  of  course  ; and  if  you  behave  yourself,  that  is 
taken  in  mitigation  of  the  punishment  as  well. 

By  the  way,  it  is  not  generally  known  that  the  wave 
water-mark  belongs  by  charter  to  the  Bank  of  England. 
You  may  print  crooked  water-mark  lines,  or  zigzags,  or 
circles,  but  you  must  not  produce  wavy  lines  on  a docu- 
ment. A difficulty  recently  arose  with  the  General  Post 
Office,  which  wanted  to  print  its  orders  with  transparent 
wave  lines  ; and  this  was  only  got  over  by  the  Bank  of 
England  doing  the  work  for  the  Postmaster-General. 


Photographers  know  how  dangerous  is  fuming  gun- 
cotton, that  is  to  say,  gun-cotton  containing  free  nitric 
acid,  which  comes  off  in  the  form  of  heavy  brown  vapour. 
Although  the  material  will  dissolve  well  enough  in  ether 
and  alcohol,  the  heating  and  spontaneous  explosion  of  it 
is  always  to  be  dreaded ; and  for  a similar  reason,  the 
chemists  who  examined  the  acid  nitro-glycerine  recently 
seized  by  the  police  would  not  hold  themselves  responsi- 
ble for  its  safety,  as  if  it  were  a well-prepared  nitro- 
compound. Plenty  of  water,  made  alkaline  with  a little 
carbonate  of  soda,  was  added  to  counteract  the  acidity, 
and  this,  photographers  should  note,  is  the  best  treatment 
for  any  fuming  gun-cotton  they  may  have  in  the  labora- 
tory. 


It  is  a moot  point  whether  the  gelatine  or  collodion  pro- 
cess  is  the  more  costly  to  the  professional  photographer. 
To  some  extent  the  question  depends  upon  the  extent  of 
the  business  done.  Where  there  are  a large  number  of 
sitters,  gelatine  must  be  cheaper  to  use  than  collodion, 
since  the  loss  of  time  in  preparation  is  obviated,  while 
its  superior  sensitiveness  enables  portraits  to  be  secured 
when  it  would  be  useless  to  employ  collodion.  In  a small 
business,  and  where  large-sized  plates  are  much  in  use, 
collodion  may  sometimes  have  the  advantage.  But  against 
this  economy  in  cost  must  be  set  the  convenience  of 
gelatine,  and  the  power  which  the  photographer  has  of 
concentrating  his  whole  at  tention  in  the  posing  and  arrange- 
ment of  the  sitter. 


A suggestive  book  on  the  “ Principles  of  Physiog- 
nomical Hair-dressing, ’’  by  Mr.  Joseph  Lichtenfeld,  has 
just  been  published.  Though  addressed  to  hair-dressers, 
and  through  them  to  the  public,  it  is  of  considerable 
interest  to  photographers,  since  it  deals  scientifically  with 
the  methods  by  which  a face  can  be  set  off  by  the  hair. 
Mr.  Lichtenfeld  lays  down  the  dictum  that  “the  chief 
factor  which  should  regulate  every  other  line  of  the 
coiffure  is  the  top  of  the  nose.  If  this  be  “tip-tilted,’’ 
then  the  hair  should  be  so  dressed  that  the  lines  come  as 
nearly  as  possible  parallel  with  the  lines  indicated  by  the 
nose  ; if  the  nose  be  downward  in  its  inclination,  then  the 
reverse  should  be  the  case.  Mr.  Lichtenfeld  gives 
numerous  illustrations,  which  well  carry  out  his  theory. 
Photographers  who  have  to  yield  to  the  dictates  of  fashion, 
however  outrageous  they  may  be,  would  be  grateful  if 
ladies  would  only  study  the  “ Principles  of  Physiog- 
nomical Hair-dressing,”  and  carry  them  out.  Many  a 
pretty  face  has  been  spoilt  by  the  unsuitable  arrangement 
of  the  hair ; and  the  defects  are  never  so  glaring  as  when 
photographed.  Those  who  are  curious  on  the  subject  of 
Mr.  Lichtenfeld's  book  may  see  the  principal  illustrations 
in  the  Queen  of  last  week,  where  they  have  been  repro- 
duced. 


Now  that  the  vocal  organs  can  be  photographed,  a 
possibility  in  the  way  of  a photographic  novelty  is  opened 
up.  Photographs  of  the  features  of  Patti,  Nillson,  Albani, 
and  other  queen3  of  song,  are  eagerly  bought  by  the 
public ; why  should  they  not  also  rush  after  photographs 
of  the  wondrous  mechanism  by  which  the  fair  vocalists 
have  enchanted  multitudes  ? There  is,  unfortunately,  the 
drawback,  which  Dr.  Behnke  pointed  out,  of  the  difficulty 
of  keeping  the  tongue  still  (which  must  present  a 
tremendous  obstacle  in  the  case  of  ladies) ; but  much  might 
be  done  by  perseverance. 


Old  Daguerreotypists  must  be  possessed  of  a stock  of 
curious  stories  of  the  ignorance  of  the  sitters  of  thirty 
years  ago.  A correspondent  who  entered  the  profession 
in  1851  tells  how,  on  one  occasion,  a lady  and  gentleman 
wished  to  be  photographed  together.  When  the  arrange- 
ments were  complete,  and  the  exposure  about  to  be  made, 
the  lady  observed  that  she  had  lost  a child  about  three 


250 


THE  PHOTOGRAPHIC  NEWS. 


[April  20,  1883. 


months  before,  and  asked  the  startled  photographer 
whether  she  could  not  be  taken  with  the  child  sitting  on 
her  lap ! 

Photographers  who  are  not  firm  in  the  point  of  prepay- 
ment are  often  the  victims  of  shabby  people.  Stilt,  the 
thing  is  by  no  mean3  new.  In  a journal  published  in  the 
early  days  of  the  art,  we  find  an  operator  thus  boasting: 
“ In  eight  years,  we  have  lost  Daguerreotypes  from  but 
three  persons.  The  first  was  by  a notorious  blackleg  ; the 
second  by  a travelling  pickpockit;  aud  the  third  by  a 
clergyman  to  whom  we  have  written  six  letters  and  received 
no  attention.  This  worthy  divine  owes  us  £2  12s.” 
Happy  is  the  photographer  to  whom  hiSj  sitters  owe 
nothing ! 


Datfnt  Intelligence. 

Application  for  Letters  Patent. 

1870.  William  Lloyd  Wise,  of  46,  Lincoln’s  Inn  Fields,  in  the 
county  of  Middlesex,  for  an  invention  of  “Improvements  in 
and  pertaining  to  apparatus  for  utilizing  solar  heat.” — A com- 
munication from  La  Socidte  Centrale  pour  l’Utilisation  de  la 
Chaleur  Solaire  (Brevets  Mouchots  et  Abel  Pifre)*,  of  Paris, 
France. — Dated  12th  April,  1883. 

Grants  of  Provisional  Protection. 

1380.  Richard  Brown,  and  Robert  William  Barnes,  and 
Joseph  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  for  an  invention  of  “ Improvements  in  and  relating 
to  the  preparation  of  pictures  and  photographs  to  be  used  in 
the  production  of  pictures  by  the  art  of  photography  and  photo- 
, engraving,  and  in  the  production  of  gelatine  reliefs  and  printing 
surfaces  therefrom.” — Dated  loth  March,  1883. 

Patents  Void  through  Non-payment  of  Duties. 
1419.  Joseph  JuLirs  Sachs,  of  Manchester,  in  the  couDty  of 
Lancaster,  for  an  invention  of  “ Improvements  in  the  prepara- 
tion of  printing  and  embossing  surfaces  or  media.” — Dated 
7th  April,  1880. 

My  said  invention  relates  chiefly  to  an  improved  method  of 
preparing  surfaces  or  media  for  design-printing,  but  it  is  also 
partly  applicable  to  embossing,  type  printing,  and  other  similar 
purposes.  In  carrying  out  my  said  invention  I take  a pattern 
or  design,  or  transparencies  thereof,  produced,  say,  for  example, 
by  the  action  of  light,  or  any  other  suitable  means,  from  a 
fabric,  material,  or  design,  and  having  placed  the  same  upon  a 
layer  of  chrome  gelatine,  or  other  suitable  material  of  the  same 
nature,  such  as  albumen  or  gums  covering  a suitable  roller  or 
surface,  I expose  it  to  the  action  of  light,  aud  afterwards  remove 
the  pattern  or  design,  and  wash  the  surface  of  chrome  gelatine 
or  its  equivalent.  The  part  of  the  material  on  which  the  fight 
has  acted  will  be  insoluble,  and  will  be  unaffected  by  the  process 
of  washing,  the  other  part  being  washed  away  in  part  or 
altogether.  If  the  soluble  part  is  entirely  washed  away  or 
removed,  the  insoluble  part  will  be  in  relief ; but  if  the  soluble 
part  is  only  slightly  washed,  it  is  merely  swollen  by  the  action 
of  the  water,  and  will  be  left  in  relief.  I then  take  the  new 
compound  lately  discovered,  called  Spence’s  metal  (the  said  metal 
consisting  of  metallic  perthionates  or  persulphides,  either  used 
alone  or  combined  with  sulphur  while  the  latter  is  at  melting 
point),  or  I take  any  other  suitable  metal  or  composition 
having  similar  properties  to  Spence’s  metal,  and  I melt  such 
Spence’s  metal,  or  other  suitable  metal  or  composition,  at  a low 
temperature,  and  cast  it  on  the  surface  above  described,  whereby 
I obtain  a cast  copy  or  impression  from  the  said  surface.  The 
metal  thus  prepared  may  either  be  used  for  printing  from  direct 
or  I produce  facsimiles  of  those  casts  or  copies  by  the  electro- 
type or  any  other  suitable  process,  and  use  such  casts,  copies,  or 
impressions  as  printing  surfaces.  In  place  of  using  a photo- 
graph, as  above  described,  I in  some  cases  take  any  pattern  or 
design  produced  by  hand,  or  by  stencilling,  weaving,  knitting, 

* M,  Tifre’s  apparatus  is  described  on  page  514  of  our  last  volume. 


printing,  or  other  means,  and  with  a thick  paint  or  other 
composition,  so  as  to  have  a raised  surface.  If  this  surface  is 
not  in  the  first  instance  sufficiently  raised  for  my  purpose,  it 
may  be  made  more  elevated  by  having  passed  over  it  while  in 
the  plastic  state  any  powder  or  fibrous  material  which  will 
adhere  to  the  composition,  by  which  means  the  design  may  be 
raised  up  to  any  desired  extent.  Spence’s  metal,  or  any  other 
suitable  similar  metal  or  composition,  is  then  cast,  as  before 
described,  upon  the  surface  so  obtained,  and  may  be  used  as 
before,  or  further  casts,  copies,  or  impressions  may  be  taken  as 
above  described.  The  process  lastly  hereinbefore  described 
may  also  be  employed  for  embossing  or  type  printing  or  similar 
purposes.  Having  now  described  and  particularly  ascertained 
the  nature  of  my  said  invention,  and  the  manner  in  which  the 
same  is  or  may  be  used  or  carried  into  effect,  I would  observe, 
in  conclusion,  that  what  I consider  to  be  novel  and  original,  and 
therefore  claim  as  the  invention  secured  to  me  by  the  herein- 
before in  part  recited  Letters  Patent  is, — The  preparation  of 
printing  and  embossing  surfaces  or  media  substantially  in  the 
manner  hereinbefore  described.* 

Notice  to  Proceed. 

101.  Charles  Denton  Abel,  of  28,  Southampton  Buildings, 
Chancery  Lane,  in  the  county  of  Middlesex,  for  an  invention  of 
“ Improvements  in  the  application  of  eosine  in  photographic 
processes.” — A communication  to  him  from  abroad  by  Pierre 
Alphonse  Attout,  called  Tailfer,  and  John  Clayton,  both  of 
Paris,  France. — Dated  8th  January,  1883. 

Patents  Sealed. 

4954.  James  Temples,  of  8,  Park  Place,  London,  S.W.,  in  the 
county  of  Middlesex,  for  an  invention  of  “ An  improved  means 
or  method  for  utilizing  balloons  for  photography,  photographic 
surveying,  or  other  purposes.” — A communication  to  him  lrom 
abroad  by  Henry  Elsdale,  of  Halifax,  Nova  Scotia. — Dated 
18th  October,  1882. 

This  invention  consists  essentially  in  the  use  or  employment 
' of  a small  balloon  or  balloons  for  lifting  the  camera,  the  peculi- 
arities or  advantages  being  in  the  great  reduction  in  the  size  or 
cost  of  the  balloon  itself,  and  necessary  appliances  ; the  immense 
saving  of  gas ; the  avoiding  of  all  personal  danger,  as  the  operator 
remains  on  the  ground  ; the  far  greater  rapidity  of  working  ; the 
great  saving  in  labour ; and  the  much  more  portable,  convenient, 
and  practicable  scale  of  the  whole  apparatus. 

The  balloon  or  balloons  are  of  sufficient  capacity  for  lifting  the 
camera  and  necessary  apparatus  to  any  desired  height  above  the 
level  of  the  ground.  The  exposure  of  the  plate  is  effected  either 
by  an  automatic  appliance  set  to  time,  or  by  the  employment  of 
electricity  under  the  control  of  an  operator  on  the  ground.  The 
balloon  may  be  either  free  or  captive  ; if  captive,  the  cord  may 
serve  as  a means  of  transmitting  a current  ; if  free,  there  should 
be  an  aperture  with  envelope  to  ensure  the  descent  of  the  bal- 
loon at  a convenient  time.  The  patentee  finally  claims  : — 

1.  The  use  or  employment  of  either  a captive  or  free  balloon, 
or  balloons,  in  which  is  contained  a photographic  camera,  the  ex- 
posure of  the  plate  being  effected  either  by  an  automatic  apparatus 
set  to  time,  or  by  the  employment  of  electricity  under  the 
control  of  an  operator  on  the  ground. 

2.  The  formation  of  a special  aperture  in  the  balloon  or 
balloons,  for  the  purpose  of  allowing  the  gas  to  escape,  so  as  to 
ensure  the  descent  of  the  balloon  or  balloons  after  a given  period 
of  time. 

5086.  Richard  Brown,  and  Robert  William  Barnes,  and 
Joseth  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  Photographers,  for  an  invention  of  “ Improvements 
in  and  relating  to  the  production  of  printing  surfaces  from 
gelatine  reliefs.” — Dated  25th  October,  1882. 

Patent  Granted  in  France. 

151,250.  Bretagne,  for  “ Photographic  apparatus.” — Dated  23rd 
September,  1882.  Class  17. 

Certificate  of  Addition. 

146,779.  Philippi,  for  “Reproducing  drawings,  woodcuts,  &c., 
on  metal  by  photography.” — Dated  25th  September,  1882. 
Class  17. 

Patent  Granted  in  United  States. 

274,515.  Philip  Prado,  of  Baltimore,  Md-,  for  “A  photo- 
micrographic camera." — Application  filed  18th  October,  1882. 
No  model. 


• The  use  of  Spence’s  metal  as  a means  of  casting  from  the  photographic 
relief  was  editorially  suggested  in  our  volume  for  1880,  about  a fortnight 
before  the  date  of  Mr.  Sach’s  patent. 


THE  PHOTOGRAPHIC  NEWS. 


251 


April  20,  1883.] 


FRENCH  CORRESPONDENCE. 

Gelatine  Plates  Treated  with  Eosine— Changes  in 
Gelatine  Negatives  — Chromotype  — Photometric 
Apparatus— Gaillaiid  Competition — Preservation  of 
Hypo- Bath. 

Gelatine  Plates  Treated  with  Eosine. — As  the  last  meeting 
of  the  Photographic  Society  of  France  were  presented  in 
the  names  of  AIM.  Clayton  and  Tailfer,  two  photographs 
of  the  same  piece  of  material  striped  with  deep  blue,  light 
yellow,  orange,  and  violet.  The  ordinary  photographic 
impression  of  such  a stuff  would  give  the  effect  of  the  blue 
being  paler  than  the  light  yellow,  and  violet  lighter  than 
the  orange.  One  of  these  two  prints  from  an  ordinary 
gelatino-bromide  plate  gives  this  effect.  The  other 
photograph  from  a specially  prepared  plate  gives  the  true 
relative  luminosity  of  the  colours  ; that  is  to  say,  the 
yellow,  a hue  more  luminous  and  lighter  in  tone  to  the  eye 
than  deep  blue,  is  rendered  by  a tone  conforming  to  this 
effect.  It  is  the  same  with  the  orange  and  deep  violet. 
The  reagent  employed  by  MM.  Clayton  and  Tailfer  to 
modify  the  nature  of  the  sensitive  film  is  eosine,  a sub- 
stance already  indicated  with  this  intent  in  1876,  in  the 
Photographic  News,  by  Major  Waterhouse.  AI.  Sarrault 
has  actually  used  it  on  collodion  plates  ; but  the  inventors 
named  above,  in  applying  it  to  gelatine  plates,  have  had 
recourse  to  ammonia  as  a solvent  for  the  eosine.  To  the 
emlusion  1 per  cent,  of  this  solution  is  added,  and  after- 
wards proceed  in  the  usual  way.  With  plates  already 
coated,  the  solution  must  be  mixed  with  alcohol,  and  the 
liquid  spread  over  the  surface  of  the  plate,  and  afterwards 
washed  in  water.  It  is  to  be  hoped  that  these  plates  will 
come  into  general  use,  as  the  important  result  obtained 
gives  a truer  reproduction  of  the  relative  luminosity  of 
various  colours.  The  error  will  thus  be  avoided,  in  our 
present  sensitive  films,  of  treating  light  yellow,  red,  and 
green,  as  if  of  darker  tone  than  in  reality.  The  re- 
production of  pictures  will  gain  much  by  this,  and  poly- 
chromatic applications  of  photography  will  be  also 
considerably  improved. 

Alteration  of  Gelatine  Negatives. — Just  now  one  is  much 
pre-occupied  by  the  changes  taking  place  in  gelatine  nega- 
tives. Serious  disasters  have  been  caused  in  several 
studios.  Careful  washing  of  the  negatives  must  be  insisted 
upon,  terminating  with  an  immersion  in  a ten  per  cent, 
chrome-alum  bath,  and  a final  rinsing  in  water.  It  is  said 
that  by  avoiding  bichloride  of  mercury  for  intensifying,  the 
source  of  destruction  of  negatives  will  be  removed.  The 
application  of  normal  collodion  as  a varnish  is  preferable  to 
all  others  for  protecting  negatives  from  damp.  Without 
such  precautions,  negatives  are  likely  to  become  spoilt, 
and  the  process  employed  is  made  to  bear  the  blame  ; but 
before  judging  hastily,  see  that  not  a point  has  been 
neglected  in  washing,  &c. 

Chromotype. — Chromotype,  now  in  high  favour  in  Eng- 
land, has  begun  to  make  considerable  progress  in  France. 
The  following  is  a simple  method  of  making  chromo- 
phototypes. The  paper  used  is  that  known  as  white  quad- 
rille, manufactured  by  Angerer  and  Gdschl,  of  Vienna,  and 
Gillot  or  Michalet,  of  Paris.  On  this  paper  are  traced  as 
many  phototype  prints  of  the  subject  determined  upon  as 
there  are  to  be  colours  in  the  chromo-phototype.  These 
tracings  are  a means  of  having  the  exact  reproduction  of 
the  subject,  and  an  indication  of  the  shading.  Each  tracing 
is  worked  with  the  pencil  or  brush  just  as  upon  lithographic 
stones  in  the  execution  of  a chromo-lithograph.  By  this 
means  each  monochrome  is  obtained  corresponding  to  one 
of  the  colours  to  be  used.  When  the  designer's  work  is 
finished,  it  is  reproduced  in  the  camera,  and  the  negatives 
serve  as  typographic  negatives,  the  superposition  of  which, 
when  printing,  gives  the  desired  effect.  Every  chromo- 
lithographic  designer  may  by  this  process,  and  without  any 
difficulty,  be  able  to  work  chromotype.  Instead  of  using 
white  quadrille  paper,  a grained  paper  may  be  employed,  i f 


these  designs  are  meant  to  serve  as  engraving  plates  in 
chalk  for  ceramic  photography,  the  process  is  exactly  the 
same,  only  positives  are  taken  from  each  negative,  and  give 
an  inverse  effect  upon  plates  of  bitumenized  zinc,  and  chalk 
engravings  capable  of  being  printed  with  special  inks  are 
obtained. 

Photometer.— I have  just  had  constructed  a photometric 
apparatus  for  measuring  the  intensity  of  light  at  different 
depths  of  the  sea,  rivers,  lakes,  &c.  It  consists  merely  of 
a disc  round  which  gelatiuo-bromide  paper  is  rolled. 
The  disc  is  fitted  vertically  in  a case  having  a rectangular 
opening  at  the  top,  The  disc  is  mounted  on  a horizontal 
axis  around  which  it  turns,  the  movement  being  given  by 
an  electric  current  as  used  for  electric  bells.  Each  contact 
produces  a slight  rotatory  movement  of  the  disc,  and 
brings  under  the  opening  a fresh  portion  of  paper.  The 
opening  is  covered  by  a small  shutter,  acting  simul- 
taneously with  the  disc,  closing  automatically.  The 
whole  is  enclosed  in  a glass  case,  hermetically  sealed, 
allowing  only  the  conducting  wires  tied  to  the  suspending 
cord  to  pass  through.  Suitable  weights  are  attached 
below  the  apparatus.  The  suspension  cord  bears  metrical 
divisions,  so  as  to  indicate  successively  the  various  depths 
at  which  experiments  are  made.  A commutator  placed  at 
the  post  of  observation  permits  of  the  working  of  the 
apparatus  under  water  at  all  depths.  The  paper  band  is 
afterwards  developed,  and  it  only  remains  to  compare  the 
various  tones  with  a gradulated  scale  like  our  photometer. 

Gaillard  Competition. — The  Photographic  Society  of 
France  finds  itself  for  the  third  time  bound  to  declare  the 
Gaillard  prize  insufficiently  competed  for ; it  is  therefore 
not  awarded.  It  is  to  be  hoped  that  this  will  not  prevent 
researches  from  being  made  to  solve  the  problem  of  sensi- 
tive pellicle  films.  What  has  been  previously  stated  about 
Thiebaut’s  reversible  pellicle  paper  process  that  it  is  not 
far  from  reaching  the  desired  aim.  Leon  Vidal. 


ARTISTIC  PRINTING. 

BY  R.  OFFORD. 

It  has  often  been  advanced  by  some  of  those  who  possess, 
or  claim  to  possess,  the  true  spirit  of  artistic  taste,  that  one 
element  of  decided  failure  in  the  purity  of  artistic  effect  in 
photographic  portraiture,  is  to  be  found  in  the — to  them — 
painfully  clear-cut  sharpness,  so  dear  to  the  majority  of 
photographers. 

Without  entering  into  the  merits  of  the  point  in  question, 
it  may  possibly  meet  the  case  of  some  who  have  accepted 
the  idea  as  an  axiom  in  art,  to  point  out  a simple  plan  of 
avoiding  the  effect  so  condemned.  Years  ago,  several  elabo- 
rate contrivances  were  designed  in  the  way  of  printing- 
frames  for  this  purpose,  involving  some  extra  expense  in 
their  purchase,  and  trouble  in  their  use.  The  plan  now 
proposed  and  tried  is  simplicity  itself,  necessitating  only  the 
possession  of  some  thin  sheets  of  gelatine,  or,  better  still,  of 
those  so-called  “ivory”  leaves  used  in  the  production  of 
Christmas  cards,  and  sold  for  decorating  with  oil  colours. 
They  are  gelatine,  matt  one  side  and  bright  the  other,  and 
are  obtainable  at  almost  any  stationer’s.  The  mode  of  pro- 
cedure is  similar  to  that  employed  in  the  printing  of  fancy 
borders,  &c.,  with  paper  negatives.  The  head  and  bust 
should  be  sharp  all  over.  The  sensitized  paper  is  fastened 
to  one  end  of  the  negative  by  a strip  of  gummed  paper,  and 
the  printing  commenced  in  the  usual  way.  When  about 
one-third  or  half  done,  the  frame  is  opened,  and  the  strip  of 
gelatine  introduced  between  the  negative  and  print.  The 
matt  surface  increases  the  effect  if  placed  against  the  nega- 
tive, so  that  its  position  is  a matter  of  taste.  The  frame  is 
then  closed  again,  and  the  printing  finished.  By  varying 
the  times  of  the  two  exposures,  varied  results  can  be  obtained, 
and  the  gelatine  can  be  removed  and  replaced  again  as 
seems  necessary. 

In  cameo  vignettes,  it  is  certainly  a relief  to  do  away 
with  the  sharply-defined  oval  line  of  disc,  and  at  the  same 


252 


THE  PHOTOGRAPHIC  NEWS. 


[ArBiL  20,  1883. 


time  avoid  the  peculiar  blur  which  tesults  from  putting  the 
disc  outside  the  tinting  glass,  iustead  of  inside.  There  are 
many  other  uses  to  which  this  material  can  be  applied,  not 
the  least  important  of  which  depends  upon  the  ease  with 
which  the  matt  side  takes  pencil  or  crayon.  These  will 
suggest  themselves.  This  plan  is  most  applicable  to  heads 
of  one  inch  and  over. 

A propos  of  vignette3,  auy  one  who  has  carefully 
tried  the  various  schemes  for  producing  softness  with 
ease  and  certainty,  must  undoubtedly  give  the  prefer- 
ence to  the  plain  mask  and  the  turntable.  It  may  not 
be  generally  kuown  that  one  of  the  handiest  substances 
out  of  which  vignetting  masks  of  this  description  can  be 
made  is  thin  sheet-lead,  about  the  guage  of  a thin  visiting 
card,  easily  moulded  to  and  secured  to  the  frame,  readily 
cut  to  right  size  of  opening,  and  as  readily  adjusted  to 
proper  distance  from  negative.  They  are  weather-proof, 
and,  when  worn  out  or  injured,  are  still  “ marketable  resi- 
dues.” 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  XIX.— Optics — Concluded. 

Rapidity  of  Lenses. — The  rapidity  of  a lens,  or,  in  other 
words,  the  exposure  required  with  it,  depends,  first,  upon 
the  amount  of  light  it  transmits  ; and  secondly,  on  the 
size  or  area  of  the  image  formed.  Since  the  area  of  circles 
increases  as  the  square  of  their  diameters,  it  follows,  that 
the  rapidity  of  a lens  increases  as  the  square  of  the  iliameter 
of  its  working  aperture.  Again,  the  size  of  the  image  (its 
diameter)  increases  in  the  same  proportion  as  its  distance 
from  the  lens  increases,  or,  what  is  almost  the  same  thing, 
the  focal  length  of  the  lens  ; and  as  the  area  of  the  image 
is  proportional  to  the  square  of  its  diameter,  it  follows, 
that  the  rapidity  of  lenses  diminish  as  the  squares  of  their 
focal  length.  From  the  opposite  effects  thus  produced  by 
increasing  the  aperture  and  focal  length  of  lenses,  as  long 
as  their  apertures  and  focal  length  bear  a constant  propor- 
tion to  each  other,  they  remain  of  the  same  rapidity. 
While,  then,  the  proportions  vary,  the  relative  exposures 
required  are  obtained  by  squaring  the  numbers  represent- 
ing these  proportions,  the  rule  being  as  follows  : To  find 
the  relative  exposures  for  different  lenses,  divide  their  focal 
lengths  by  their  apertures,  and  square  their  quotients.  The 
number  thus  obtained  represents  the  relative  exposure. 

Example. — I have  two  lenses,  one  of  twelve-inch  focus, 
and  another  of  eight-inch  focus,  and  I have  to  make  a copy 
of  a map  of  exactly  equal  size.  I find  that  with  the  first 
lens  I have  to  use  a diaphragm  having  an  aperture  of  a 
quarter-inch  diameter  to  get  good  definition  ; and  with 
the  other  a diaphragm  having  an  aperture  of  three-tenths 
inch  diameter,  give  the  relative  exposures  necessary  : 


12+4  = 12X1= 

:48 

or 

12+4=12+--25=1200 

+ 25  = 48 

and 

8 + x,0  = 8X  V,  = 80  + 

3=20-6, 

or 

S +-,);=  8 + •3=80  + 

3=20-6. 

48  sqnared=48  x48 

=2304. 

26-6  squared=26-6X26-6=707. 

Ans.  2304  and  707  represent  the  relative  exposures. 

Working  Aperture. — In  the  case  of  lenses  with  a stop  in 
front,  the  working  aperture  is  represented  by  the  diameter 
of  the  stop  ; but  in  compound  lenses,  with  a stop  between, 
this  is  not  so.  To  find  the  working  aperture  in  the  latter 
case,  focus  a distant  object  on  the  ground  glass,  then  re- 
place the  ground  glass  with  a piece  of  cardboard  having 
a small  hole  in  the  centre,  and  place  a candle  close  outside 
this  hole ; the  diameter  of  the  illuminated  circle  seen  on 
the  front  of  the  lens  is  its  working  aperture. 

The  rapidity  of  lenses  is  also  influenced  by  the  trans- 
parency and  colour  of  the  glass,  a very  appreciable  quan- 


tity of  actinic  light  being  absorbed  by  the  best  of  them, 
and  by  the  number  of  glasses  formiug  the  lens,  more  or 
less  reflection  occurring  at  each  surface. 

Enlarging  and  Reducing. — To  fiud  the  required  distances 
for  any  proportioual  size  of  object  and  image,  and  for  any 
focus  of  lens — 

Rule. — Add  the  required  proportion  together,  multiply 
by  the  focal  length  of  the  lens,  and  divide  the  product  by 
the  required  proportions  separately.  The  quotient  gives 
the  relative  distances  of  object  and  image. 

Example. — What  are  the  distances  from  the  optical 
centre  of  the  lens  of  the  object  and  image  respectively  for 
a carte  picture  to  be  enlarged  four  times,  the  focal  length 
of  lens  being  six  inches!1  The  proportions  are  1 to  4. 

1 +4=5,  5XG  = 30 
30+1=30,  and  30  + 4=7-5. 

Ans.  Object  To  inches,  and  image  30  inches. 


VIEW-METER  AND  CAMERA  DIRECTOR. 

BY  THOMAS  H.  W.  KNOLLES.* 

The  small  things  which  I shall  have  the  pleasure  of  showing 
you  to-night  were  made  to  supply  a want  I very  much  felt  in 
taking  instantaneous  views  at  sea,  and  also  to  save  the  trouble 
of  setting  up  the  camera  until  the  proper  position  for  it  was 
decided  upon. 

As  an  amateur,  I find  the  greatest  drawback  to  the  practice  of 
photography  is  the  crowd  that  collects  the  moment  a camera 
appears,  and  to  avoid  this  as  much  as  possible  I use  the  view- 
meter,  which  you  see  is  marked  for  the  different  size  plates  and 


Sketch  of  view  meter,  half  size.  A,  piece  of  sheet  brass  with  a s icket  and 
screw  to  hold  11,  the  bar  of  wood  or  ivory,  on  the  four  sides  of  whioh  are 
marked  the  foci  of  various  lenses. 

Ien3es  I use.  The  size  of  the  meter  is  one  of  taste  or  fancy. 
Mine  was  regulated  by  the  material  I had  at  hand,  and  I wished 
it  small,  that  it  might  go  into  my  waistcoat  pocket.  You  all,  I 


* A,  lens  ; B,  camera ; C,  screw  of  rising  front ; D,  sheet  brass  with  slot 
for  C ; E,  brass  tube  ; F,  rising  rod  j G,  director. 

have  no  doubt,  know  how  to  regulate  the  size,  or  should  anyone 
not  know,  perhaps  I may  say  the  simplest  way  is  to  draw  a line, 
say  A B,  equal  in  length  to  the  size  of  plate.  Take  the  centre 

* Read  before  the  Edinburgh  Photo  hie  Society. 


Aran-  20,  1883. J 


THE  PHOTOGRAPHIC  NEWS: 


253 


of  this,  and  draw  another  perpendicular  to  it,  and  equal  in 
length  to  the  focus  of  the  lens  to  a poiut,  say  C ; join  C A C B. 
Now  you  can  select  any  size  on  this  for  your  meter  ; the  length 
of  focus  bar  will  also  be  measured  from  the  samo  point.  For 
the  height  of  the  meter  measure  off  from  centre  of  A B,  the 
half  width  of  plate,  and  join  these  points  with  C as  before. 

I have  had  no  experience  with  doublet  or  wide  angle  lenses, 
but  for  rapid  rectilinear  or  triplex  now  get  pretty  correct  results. 
By  adjusting  the  opening  to  the  mark  corresponding  to  the  size 
of  the  plate  and  lens  intended  to  be  used,  and  holding  the  meter 
so  that  the  end  of  the  bar  just  touches  the  cheek,  you  see  at  once 
the  exact  amount  of  subject,  that  will  come  on  the  plate.  There 
are,  as  you  know,  very  many  forms  of  these  meters,  from  the 
well  got  up  articles  with  eye-pieces  to  be  had  of  photographic 
dealers,  down  to  the  simple  piece  of  string  with  knots  in  it  which 
I saw  mentioned  the  other  day  ; still  I venture  to  think  this 
little  thing  is  as  simple  as  any,  and  most  accurate.  In  the  centre 
of  it,  on  the  lower  edge,  you  will  notice  a triangular  piece  ; this 
is  to  assist  me  in  determining  the  centre  of  the  picture,  and  to 
be  a guide  in  using  the  next  instrument  which  I will  bring  to 
your  notice — viz , the  camera  director,  which  consists  of  four 
parts : 1st,  a brass  plate  to  attach  it  to  the  camera  ; 2od,  a piece 
of  brass  tube  to  carry  the  rising  rod ; 3rd,  the  rising  rod  ; and 
4th,  the  director,  which  I may  say,  had  better  be  made  of  some 
white  metal,  being  more  easily  seen  than  simple  brass.  The 
parts  fold  so  as  to  be  easily  carried  in  the  pocket. 

Now  I am  fully  aware  there  are  many  appliances  for  ascertain- 
ing the  position  of  the  object  on  the  plate  ; yet  they  all  more  or 
less  entail  much  extra  weight  and  bulk,  while  this  little  thing 
only  weighs  one  ounce,  and  is  not  bulky.  One  of  its  advantages 
is,  that  it  allows  you  to  cover  up  your  camera  if  there  is  a bright 
sun,  and  at  the  same  time  you  get  a true  guide  to  the  object  you 
wish  to  take.  For  some  time  I only  used  a hinged  arm  ou  the 
focussiag  frame  ; this  was  no  use  when  the  cunera  was  covered, 
as  it  ought  to  be,  and  the  result  was  I often  got  the  subject  too 
high  or  too  low,  which  spoiled  the  picture.  To  use  the  director, 
I attach  it  to  the  camera  by  the  screw  of  therising  front.  If  you 
use  a drop  shutter,  as  I do,  raise  the  risiug  rod  till  it  clears  the 
top  of  the  shutter  when  set,  an  l turning  the  camera  to  any  ob- 
ject, observe  what  is  in  the  position  on  the  glass  you  would  wish 
your  subject  to  be  in.  Point  the  director  to  this,  aud  screw  up 
firmly,  and  it  is  ready.  If  you  are  using  a large  camera  on  a 
stand,  set  it  up  with  two  legs  in  front  of  you,  the  third  leg 
directly  towards  you  ; and  as  the  ship  or  moving  object  comes 
on,  by  moving  the  leg  next  you  a trifle  to  or  from  you,  the  director 
can  be  got  exactly  in  position,  and  at  the  same  time  the  level, 
as  far  as  horizon  goes,  not  altered.  The  small  views  I now  show 
you  were  taken  without  a stand,  the  top  of  my  walking-stick  (a 
common  one)  doing  duty  for  one.  I never  looked  through 
the  camera  after  once  setting  the  director,  the  meter  being  my 
guide  in  all  cases. 


PHOTO-ETCHINGS  AND  PHOTO-ELECTROTYPES 
FOR  POTTERS’  USE. 

Deai:  Sir, — Mr.  Emery’s  note  in  the  Photographic 
News,  vol.  xxvi.,  page  761,  on  “Methods  of  Transferring 
Vitrifiable  Prints  to  Pottery,’’  brought  to  my  notice  his 
previous  suggestions,  published  at  page  612,  “ Decoration 
of  Pottery  by  Photography,”  which  had  previously  escaped 
my  attention,  otherwise  1 should  have  written  before  now 
on  the  subject,  as  Mr.  Emery  describes  methods  employed 
by  Mr.  Scamoni  as  far  back  as  1874.  In  that  year,  Air. 
Seamoni  used  several  of  his  helio-engraved  plates  for  making 
transfers  upon  stove  tiles,  which,  however,  was  no  easy 
task,  owing  to  the  glazed  surface  presenting  no  bite  or  hold 
for  the  ink ; ordinary  litho-transfer  paper  was  used,  and  in 
the  washing  off  the  coating  used  in  the  preparation  of  the 
same,  it  was  found  that  the  tine  lines  were  removed  at  the 
same  time,  as  they  did  not  have  sufficient  affinity  for  the 
vitrifiable  colour.  After  a few  experiments,  however,  this 
difficulty  was  overcome  by  the  use  of  a suitable  substra- 
tum, and  the  finest  hair  lines  in  a bust  portrait  after 
“Dow  ’ were  successfully  reproduced. 

Of  course  the  transfers  were  burnt-in  at  the  potteries, 
vndit  was  during  a visit  to  Mr.  Kharlamoff's  establishment 


in  this  city,  that  we  saw  some  plaster  moulds,  with  out- 
lines upon  them  in  relief,  for  making  terra-cotta  vases 
which  were  to  receive  a transparent  over-glaze.  At  once 
the  idea  occurred  to  U3  that  similar  moulds  could  bo  made 
either  by  the  aid  of  the  swell  process,  or  from  a washed  re- 
lief,if  a positive  was  used ; and  naturally  euough  we  spoke  of 
saturating  the  casts  with  paraffin  or  wax,  or  coating  them 
with  varnish  to  make  them  more  durable  ; but  Mr.  Khar- 
lamoff  explained  to  us  that  which  I have  no  doubt  did  not 
strike  many  of  your  subscribers  while  reading  Mr.  Emery’s 
paper,  viz.,  that  it  was  the  porosity  of  the  plaster,  and  its 
property  of  absorbing  moisture  quickly,  that  caused  its  em- 
ployment, as  the  wet  clay  adheres  very  tenaciously  to  any 
homogenous  surface ; but  directly  the  plaster  had  absorbed 
a portion  of  the  water  contained  in  the  clay  used,  the  im- 
pressed form  left  the  mould  easily,  and  that  as  soon  as  the 
plaster  became  saturated  with  moisture  it  was  necessary  to 
replace  it  by  another  mould  while  that  was  being  dried. 

(Jur  first  experiments  were  with  some  reproductions  of 
those  excellent  drawings  of  animals  contained  in  Vere 
Forster’s  drawing  copybooks,  which,  being  executed  in 
bold  lines,  lent  themselves  admirably,  and,  moreover,  were 
very  fitting  subjects  for  stove  tiles,  beer  mugs,  spill-holders, 
&c. 

For  transferring,  Mr.  Emery  says  that  one  must  be  sure 
to  obtain  the  lines  deep.  I imagine  that  it  is  not  altogether 
depth,  but  “ bite”  or  grain  in  the  lines  that  is  necessary,  as 
some  helio-engraving  processes  give  very  smooth  surfaces 
where  broad  bold  lines  are  reproduced. 

Several  means  of  producing  grain  in  helio-engravings  are 
given  by  Mr.  Scanoni  in  his  “ Hand-Book  of  Helio- 
Engraving,”  but  in  theGerman  language,  which,  by-the-bye, 
is  greatly  to  be  deplored,  as  a very  small  amount  of  its 
valuable  contents  has  foun  1 its  way  into  English  photo- 
graphic literature. 

I would  warn  experimenters  to  have  their  plates  steel 
surfaced  before  submitting  them  to  the  hands  of  the  printer, 
if  for  press  printing,  as  galvanic  deposits  are  far  from  being 
so  durable  as  hammered  copper  ; and  enamel  glass,  how- 
ever finely  levigated,  wears  a plate  out  much  sooner  than 
ordinary  printers’  ink. 

We  have  only  had  one  opportunity  of  trying  to  transfer 
to  stoneware  biscuit,  and  then  we  were  induced  to  use  a 
mixture  of  glycerine  and  honey  instead  of  oil,  to  allow  of 
the  piece  being  fired  direct  instead  of  first  puttiug  them  in 
the  “ harden  kiln  ; ” the  prints  were  pulled  on  Iudia-paper, 
and  transferred  while  damp,  but  did  not  fulfil  our  wishes. 

The  modes  of  press  and  bat-printing,  described  by  Mr. 
Emery,  are  more  fully  treated  in  Dr.  Ure’s  Dictionary, 
articles  “ Porcelain  and  Pottery  ; ” and  a good  printing  oil 
for  pottery  may  be  found  in  Spon’s  “ Workshop  Recipes,” 
by  those  who  would  not  like  their  plates  to  go  into  other 
hands. 

The  adaptation  of  the  Woodbury  process  to  the  decora- 
tion of  glass  was  experimented  on  by  a gentleman  who, 
I believe,  was  the  late  M.  Poitevin,  at  the  ateliers  of  Messrs. 
Goupil,  at  Asnicres,  in  the  early  part  of  1870  ; honey,  sugar, 
dextrine,  and  some  other  substances  were  employed:  but 
with  what  results  I am  not  able  to  state,  as  1 merely  assisted 
in  makiug  ready  the  moulds.  Perhaps  Mr.  G.  Smith  could 
tell  us  more  about  them,  as  he  took  a very  active  part  in  the 
Woodburytype  department  of  that  establishment  at  the 
time.  C.T.  Ciiesterman, 

Assist.  Helio- Engraver,  State  Paper  JDep.,  St.  Pctcrstmrg/i. 


MIGNON  MOUNTS. 

Dear  Sir, — I see  several  enquiries  about  the  small 
mounts  for  mignon  portraits. 

We  have  been  making  them  for  some  time  in  various 
styles,  so  that  from  anyone  who  wishes  for  them  I shall 
be  happy  to  receive  orders. 

There  is  no  occasion  to  go  to  Paris  for  mounts  in  these 
days.  I think  we  can  produce  them  of  quite  equal  quality, 
and  at  a lower  price. — Yours  truly,  C.  E.  Elliott. 


254 


THE  PHOTOGRAPHIC  NEWS. 


[Arm  20,  1883, 


freezings  of  ^ocutiw. 

Edinburgh  Photographic  Society. 

The  sixth  ordinary  meeting  of  the  Society  for  the  current 
session  was  held  in  5,  St.  Andrew  Square,  on  the  evening  of 
Wednesday,  4th  April,  Mr.  A.  Craig-Chiustie,  F.L.S.,  vice- 
president,  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  approved, 
Messrs.  Alfred  C.  Hooker  and  Thomas  Swanston  were 
unanimously  elected  ordinary  members  of  the  Society. 

Mr.  Wm.  Forqan  then  described  very  fully,  with  illustrative 
experiments,  the  best  way  of  securing  a dead  black  surface  on 
optical  brass  work  (see  page  247) . 

Mr.  Thomas  H.  W.  Knolles  exhibited  and  described  two 
appliances  he  had  invented  for  securing  moving  objects  in  the 
camera,  without  the  necessity  of  resorting  to  an  inspection  of 
the  focussing  screen,  and  for  finding  the  position  in  which  to 
place  the  camera  without  resorting  to  the  usual  experimental 
inspection  of  the  image  on  the  ground  glass  (see  page  252). 

Mr.  A.  Mathison  considered  the  “ director  ” quite  as 
valuable  as  a “detector-camera.”  He  had  bad  an  opportunity 
of  using  the  arrangement  exhibited  by  Mr.  Knolles,  and  found 
it  possessed  all  the  merits  claimed  for  it,  and  being  not  more 
than  one  ounce  in  weight,  and  easily  carried  in  the  waistcoat 
pocket,  possessed  advantages  over  the  detector-camera,  which 
with  him  the  simple  apparatus  had  entirely  supplanted 

Mr.  Tamkin  thought  the  director  might  be  of  use  in  the 
studio. 

Mr.  Turnbull  believed  that  a lens-finder  would  be  of  greater 
value  in  the  studio,  where  weight  and  bulk  were  immaterial ; but 
for  out-door  work  the  invention  of  Mr.  Knolles  was  unquestion- 
ably superior.  To  indicate  the  usefulness  of  the  “view-finder,” 
he  mentioned  that  a gentleman  bad  called  to  know  if  a certain 
lens  was  capable  of  taking  a certain  building  within  a limited 
space.  Mr  Turnbull  simply  gave  him  a view-finder  adjusted  to 
the  lens  in  question,  and  asked  the  gentleman  to  go  to  a building 
of  similar  dimensions  at  the  limit  of  distance  necessary,  and 
inspect  how  much  of  the  building  was  visible.  By  this  simple 
means  the  gentleman  had  arrived  at  a demonstration  to  his 
inquiry. 

The  following  question  was  found  in  the  box — “ Do  gelatine 
dry  plates  deteriorate  in  sensitiveness  by  age  ?” 

Mr.  W.  T.  Bashford  said  that  in  his  experience  some  makes 
of  plates  certainly  became  less  sensitive  by  keeping.  Some 
which  originally  were  so  sensitive  that  it  was  impossible  to 
develop  them  into  bright  crisp  negatives,  were,  after  being  kept 
some  time,  all  that  could  be  desired  ; while  others,  that  were  fine 
when  first  received,  became  exceedingly  slow,  and  liable  to 
produce  hard  images ; yet  the  plates  were  kept  under  the  most 
favourable  conditions  for  stability. 

Mr.  Crook  e had  noticed  an  iridescent  colouring  round  the 
edges  of  some  plates  after  having  been  on  hand  some  time,  and 
wherever  this  occurred  the  image  was  very  unsati- factory. 

Mr.  Tamkin  had  found  plates  positively  improved  when  kept 
a long  time. 

Mr.  Turnbull  was  quite  familiar  with  the  defect  alluded  to 
by  Mr.  Crooke,  and  stated  it  was  due  to  impure  air  having  access 
to  the  plates — probably  sulphuretted  hydrogen  was  the  chief 
cause.  The  defect  was  chiefly  noticed  in  those  plates  packed 
with  folded  cardboard  at  the  edges  to  keep  them  apart,  the 
space  thus  formed  allowing  a film  of  air  to  intervene,  which,  if 
impure,  was  sure  to  affect  the  plates  disadvantageously.  He 
had  noticed  this  peculiarity  develop  throughout  the  entire 
surface  of  plates  within  twenty-four  hours.  He  did  not  think 
that  plates  did  deteriorate  to  the  extent  mentioned  by  Mr. 
Bashford,  though  he  was  aware  that  some  plates  did  not  keep  so 
well  as  others  ; he  had  noticed  that  some  certainly  improved, 
especially  in  regard  to  frilliug. 

Mr.  Alex.  Mathison  considered  that  the  deterioration  in 
plates  was  certainly  established  in  regard  to  some  makes.  He 
thought  the  defect  arose  chiefly  through  improper  packing,  or 
from  being  packed  before  thorough  desiccation. 

The  Chairman  fancied  the  discussion  had  not  thrown  all  the 
possible  light  on  what  was  evidently  a dark  subject,  but  con- 
sidered that  much  must  depend  on  the  store-rooms,  the  presence 
of  gases  from  combustion,  or  sewage,  and  it  was  very  important 
that  these  deleterious  influences  should  be  absolutely  prevented 
from  affecting  the  plates,  by  excluding  them  from  apartments  in 
which  plates  are  stored. 


Another  question  was  concerning  the  simplest  means  for 
producing  photo  micrographs.  This  elicited  a discussion,  which 
eventually  terminated  in  Messrs.  Forgan  and  Mathison  under- 
taking to  bring  the  matter  forward  at  the  next  ordinary  meeting, 
by  which  time  they  hoped  to  prepare  specimens,  and  demonstrate 
their  mode  of  work. 

Mr.  Crooke  exhibited  some  interesting  lantern  transparencies, 
which  were  much  admired. 

The  first  out-door  meeting  for  the  season  was  held  on  Friday, 
6th  April,  at  Falkland,  a small  town  twenty-five  miles  north  of 
Edinburgh.  The  weather  was  exceptionally  fine.  Lunchebn  was 
hastily  partaken  of  at  the  hotel,  where  a fine  view  of  the  old 
palace  could  be  obtained,  and  the  light  beiug  just  about 
right,  no  time  was  lost  in  bringing  a battery  of  cameras, 
such  as  the  old  place  had  never  seen  before,  to  bear  on  this  the 
principal  subject  for  the  day  ; and  a very  fine  subject  it  is,  both 
as  a picture,  and  likewise  for  its  many  associations  with  events 
recorded  in  Scottish  history.  The  old  structure  is  a mixture  of 
Gothic,  Baronial,  and  Palladian  architecture,  which  makes  it  of 
much  interest  to  the  antiquarian  as  well  as  the  photographer, 
and  it  is  remarked  by  architects  how  admirably  the  various 
styles  are  made  to  harmonize.  A goodly  number  of  plates 
having  been  exposed  from  different  positions,  the  party  resolved 
to  visit  Falkland  House,  it  being  a fine  modern  structure.  Only 
a few  plates  were  exposed,  but  a number  of  beautiful  peacocks 
tempted  one  of  the  youngest  members  to  try  a couple  of  plates 
on  them.  A fine  dell  and  waterfall  were  next  visited,  but  the 
light  being  dead  against  the  subject,  the  members,  with  two 
exceptions,  reserved  their  plates  for  some  of  the  quaint  old 
thatched  houses  which  still  survive  in  this  district.  About  four 
o’clock  the  members  met  at  the  hotel,  where  tea  was  quickly 
despatched,  to  allow  of  a plate  to  be  exposed  on  the  interior  of 
the  palace  before  the  conveyance  started  to  catch  the  5.30  train 
for  Edinburgh.  It  is  needless  to  say  every  one  was  greatly 
pleased  with  the  day’s  outing. 


Nf.wcastle-on-Tyne  and  Northern  Counties’  Photographic 
Association. 

Tue  ordinary  monthly  meeting  of  this  Association  was  held  in 
the  Patents  Room  of  the  Literary  and  Philosophical  Society’s 
Institute,  on  Tuesday,  the  10th  instant,  Colonel  Sheepee, 
President,  in  the  chair. 

The  minutes  of  the  last  ordinary  meeting  having  been  con- 
firmed, Mr.  James  Edwards  was  nominated  for  membership,  and 
Mr.  Gibson  was  elected  a member  of  the  Association. 

The  Secretary  stated,  in  reply  to  a question  by  Mr.  Galloway, 
that  the  presentation  prints  were  expected  daily. 

Some  excellent  photographs  were  presented  to  the  Association 
by  Mr.  Galloway,  and  the  Chairman  proposed  a vote  of  thanks 
to  that  gentleman,  which  was  carried. 

The  meeting  then  adjourned  to  the  adjoining  lecture  theatre 
of  the  Institute,  when  the  Rev.  T.  F.  Hardwicu,  M.A.  (briefly 
introduced  by  the  Chairman),  read  a communication  “ On  the 
Lime  Light  ” (see  page  245),  before  a numerous  audience.  The 
paper  was  received  with  many  marks  of  interest  and  approval. 
At  its  conclusion, — 

The  Chairman  moved  a hearty  vote  of  thanks  to  the  lecturer, 
which  was  accorded  with  acclamation.  He  (the  Chairmau) 
invited  discussion,  and  no  remarks  being  made  by  the  audience, — 

The  Rev.  F.  F.  Hardwicu  said  he  had  received  two  or  three 
notes  from  friends  at  a distance,  from  which  the  following  are 
extracts  : — 

From  E.  G.  Wood: — It  would  ill  become  me  to  take  exception  to 
your  observations  about  ihe  precise  angle  of  incidence  that  will  give 
the  best  results.  I am  quite  sure  that,  so  far  as  present  knowledge 
goes,  there  is  room  for  a fairly-large  difference  in  the  details  of  such 
arrangements  ; and  until  we  have  found  out  the  precise  values  of  the 
shape  and  size  of  the  chambers  holding  the  gas  to  be  employed,  and 
the  amount  of  velocity  of  the  gas  when  in  use,  as  well  as  the  absolute 
effects  of  the  shape  and  dimension  of  the  aperture  of  the  jet,  1 hardly 
prefer  anything  that  approaches  to  an  axiom.  There  is  an  aspect 
of  the  ease  that  perhaps  has  not  had  suflicient  attention — that  is,  the 
part  that  the  velocity  of  the  gas  at  the  point  of  ignition  plays  in  tho 
production  of  the  light.  Then  there  is  the  question  as  to  the  bear- 
ing of  a larger  or  smaller  area  of  ignition  on  the  definition  of  the 
picture,  all  other  things  being  equal.  It  was  the  late  Professor 
Daniell  who  first  proposed  to  use  concentric  tubes  for  the  jet.  He 
was  led  to  this,  I believe,  from  the  absolute  perilousness  of  Dr. 
Clarke'  copper  box  containing  the  two  gases  compressed  into  it,  and 
the  unhandy  and  imperfect  attempt  to  improve  upon  it  by  the  water 
chamber  and  the  asbestos  and  wire  gauze.  Eaward  Marmaduke 


April  20,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


255 


Clark  adopted  as  his  oxy hydrogen  jets  Professor  Daniell’s  jet,  and 
fixed  over  the  ends  of  the  tubes  a small  chamber  prolonged  into  the 
usual  jet.  In  this  way  he  provided  the  mixing  chamber,  and  the 
gases  emerged  as  mixed  gases  from  the  point  of  the  jet. 

From  Messrs.  Jtr.  II.  Oakley  and  Co.: — The  snapping  you  speak 
of  is  very  objectionable  to  an  audience,  and  I think  it  could  be 
remedied  by  filing  away  a little  of  the  slot  in  the  plug  of  the  dis- 
solving tap,  so  as  to  turn  the  oxygen  completely  off,  leaving  the 
hydrogen  slightly  on.  In  doing  this  you  may  find  it  necessary  to 
cut  away  a trifle  of  the  “ stop  ” or  of  the  “ shell  ” at  the  point  where 
it  touches  the  stop  to  make  the  plug  turn  a li'tle  further  round. 

From  Mr.  IP.  Broughton  : — I can  add  but,  little  to  y.iur  very 
explicit  directions  for  the  working  of  my  ethoxo  light.  You  say  the 
light  is  suitable  for  audiences  of  200  persons ; but  1 have  shown  it  to 
an  audience  of  over  2,000,  using  a twelve-feet  screen.  It  was  ad- 
mitted to  be  the  best  light  they  had  seen,  and  was  mistaken  by  some 
for  the  electric  light  in  consequence  of  its  extreme  whiteness.  I 
have  made  some  capital  transparency  plates  from  a formula  which 
recently  appeared  of  gelatino-bromo-iodide.  They  give  bare  glass 
in  the  shadows,  and  are  very  slow,  averaging  about  ninety  seconds 
at  a distance  of  twelve  inches  from  a gas  flame.  The  pumice  chamber 
is  by  far  the  safest  arrangement  with  the  ethoxo  gas.  Accidents 
have  occurred  without  it,  and  will  occur  again.  The  ether  volatilises 
better  at  high  temperatures  ; hence  the  necessity,  if  it  be  under 
50°  Fahr.,  of  placing  the  tank  in  a bucket  of  warm  water,  thus 
making  it  much  easier  and  safer  to  work.  I have  no  doubt  that  the 
pumice  as  I use  it,  namely,  in  the  mixing  chamber  of  the  mixed  jet, 
performs  another  useful  function — the  thorough  combination  of  the 
two  gases.  I would  suggest,  if  a back  pressure  valve  be  used,  that 
instead  of  oiled  silk  as  in  Chadwick’s  valve,  the  d'aphgram  should 
be  made  of  silk  coated  with  a mixture  of  glycerine,  gelatine,  and 
chrome  alum,  or  potash — bichromate  glycerine  to  make  it  pliable, 
and  the  salts  to  render  the  film  insoluble.  The  ether  ought  always 
to  be  tested  before  exhibiting.  My  method  is  as  follows  : — -Into  a 
glass  tube  graduated  with  u centimetres,  I place  first  100  centi- 
metres of  water,  and  then  100  of  ether.  The  tube  is  now  well  corked 
and  agitated,  taking  care  to  keep  the  finger  tight  on  the  cork. 
With  ether  of  sp.  gr.  ’720  the  water  absorbs  about  10  per  cent,  of 
ether,  and  ditto  of  '730  about  20  per  cent.  The  ether  will  be  found 
floating  on  the  top  of  the  water.  I use  methylated  ether.  My 
reason  for  mentioning  this  is,  that  quite  recently  1 had  supplied  to 
me,  in  mistake,  spirit  of  ether,  and  which  was  only  detected  by  testing 
it ; there  was  no  separation  of  ether  when  mixed  with  water.  I 
should  also  advise  the  emptying  of  the  tank  altogether  when  it  has 
been  used  (say)  half-a-dozen  times,  as  the  action  of  oxygen  on  the 
ether  has  a tendency  to  turn  it  acid.  The  best  light  is  got  by  pres- 
sure and  small  aperture  ; but  size  of  aperture  makes  no  difference  in 
dissolving,  provided  sufficient  hydrogen  be  left  on.  The  poppings 
out  and  sinail  explosions  in  other  burners  are,  as  a rule,  due  to  this 
cause,  namely,  insufficient  hydrogen  to  drive  out  the  oxygen  before 
the  gases  become  explosive.  I always  use  the  mixed  jet,  finding  it 
brighter,  more  economical,  and  safer. 

Mr.  Hardwicu:  I am  afraid  it  will  hardly  be  safe  to 
recommend  dipping  the  ether  tank  in  warm  water,  because  some 
persons  may  not  be  aware  that  ether  boils  at  a little  over  90° 
Fahr.  ; but  if  warm  water  be  used,  a thermometer  should 
certainly  be  dipped  in  it  to  ascertain  its  recent  temperature. 
My  own  experience  of  the  ethoxo  light  has  been  at  comparatively 
low  pressure,  because  when  I lecture  in  a very  large  room  I 
usually  find  gas  laid  on.  High  pressure  may  give  more  light, 
but  it  requires  greater  care  on  the  part  of  the  operator  to 
prevent  accident.  With  reference  to  Messrs.  Oakley  and  Co.’s 
letter,  I have  altered  my  dissolver  as  they  suggest,  filing  away 
the  hydrogen  slot  until  I found  by  suction  that  a little  of  the 
hydrogen  passed  after  the  oxygen  had  ceased.  I have  not  since 
had  an  opportunity  of  trying  the  dissolver ; but,  if  I have 
carried  the  correction  too  far  for  the  oxyhydrogen  process,  I can 
easily  cut  away  a little  of  the  oxygen  slot  until  I have  hit  the 
right  point.  The  dissolving  tap  which  I use  has  large  and  free 
passages  for  the  two  gases,  and  I find  it  is  both  more  air-tight 
and  more  free  to  move  when  I put  in  the  plug  just  as  it  is,  and 
do  not  rub  it  with  oil,  hog’s  lard,  or  burnt  iudia-rubber.  Mr. 
Wood  speaks  of  a large  area  of  ignition  being  likely  to  give  a less 
sharply-defined  picture.  Such  iu  theory  is  no  doubt  the  case, 
but  practically  we  do  not  find  any  complaint  made  of  a want  of 
sharpness  in  pictures  shown  by  the  blow-through  jet.  I have 
seen  the  original  jet  of  the  late  Professor  Daniell,  of  King’s 
College.  It  is  not  of  the  exact  form  which  we  now  consider  to 
give  the  best  light  ; but  Mr.  Wood  is  right  in  saying  that  the 
honour  of  the  invention  of  the  blow-through  jet  belongs  to  him, 
and  that  all  those  which  have  since  appeared  are  but  modifi- 
cations. In  my  own  opinion  the  most  simple  and  economical 
“interchangeable  jet”  is  an  old  form  which  has  been  in  the 
market  for  many  years,  slightly  altered.  It  consists  of  a 
circular  plate  of  brass  about  an  inch  in  diameter,  with  three 
loose  cups  of  two  inches  high  screwing  down  upon  it  with  a 


leather  washer,  the  oxygen  brass  pipe  entering  the  circular  plate 
in  the  middle,  and  the  hydrogen  on  one  side.  In  using  the  jet 
for  the  blow-through,  you  screw  on  a small  oxygen  tip,  with  an 
aperture  of  one-twentieth  of  an  inch,  and  a quarter  of  an  inch 
shorter  in  length  than  the  outside  hydrogen  cap,  which  has  an 
aperture  of  one-eighth  of  an  inch.  Be  careful  to  ascertain  by 
means  of  a needle  that  the  stream  of  oxygen  blows  exactly 
through  the  centre  of  the  hydrogen  hole.  For  the  mixed  gases 
you  take  off  the  inside  oxygen  tip,  and  use  only  cap  No.  2,  with 
an  aperture  of  one-twentieth  of  au  inch ; and  for  the  ethoxo 
light  you  employ  No.  3,  having  an  aperture  of  one-twenty-fifth 
or  one  thirtieth  of  an  inch.  The  inside  of  the  caps  should  be 
sufficiently  hollowed  out  to  hold  one  and  a-half  drachm  of  water, 
otherwise  you  will  be  annoyed  by  a roaring  noise  in  the  oxy- 
hydrogen burner  when  the  gases  are  not  quite  pure.  The  lime 
should  be  upright,  turning  from  the  back  of  the  lantern,  and 
sliding  along  the  horizontal  brass  tubes  as  they  lie  side  by  side. 
An  angle  of  30°  to  35°  will  be  sufficient  iu  the  general  way  to 
prevent  a shadow  being  thrown  on  the  upper  part  of  the  screen. 

An  exhibition  of  lantern  slides  then  took  place.  Slides  were 
lent  for  this  occasion  by  Messrs.  Hardwich,  I’Ansou,  Stuart, 
Mounsey,  Blyth,  Kimmish,  Mawson  and  Swan,  and  Morgan 
and  Templeton.  Mr.  Allison,  of  Monkwearmouth,  kindly  lent 
his  lantern  and  screen,  and  gave  his  valuable  assistance. 

The  Chairman  proposed  a vote  of  thanks  to  these  gentlemen, 
which  was  carried  unanimously,  and  the  meeting  terminated. 
About  six  hundred  persons  were  present. 


Sheffield  Photographic  Society. 

The  seventh  ordinary  meeting  of  this  Society  for  the  present 
year  was  held  on  Tuesday  evening,  April  2nd.  Mr.  J.  D.  Leader, 
F.S.A.,  and  subsequently  the  President,  Dr.  Morton,  occupied 
the  chair. 

Minutes  of  preceding  meeting  were  read  and  confirmed.  Mr. 
W.  Bark  was  elected  a member.  It  was  arranged  that  the  first 
excursion  should  be  to  Hardwick  Hall  on  the  25  th  inst. 

Mr.  Foxon  exhibited  several  effective  views  printed  from 
gelatine  negatives  produced  by  contact  with  a positive,  secured 
in  a similar  manner  from  the  original,  which  was  very  thin,  but 
full  of  detail. 

Dr.  Morton  observed  that  it  «vas  satisfactory  to  know  that  a 
secondary  gelatine  negative  could  by  careful  development  be 
made  denser  and  better  than  the  first  one  by  adopting  a process 
not  unknown  to  collodion  workers,  and  would  no  doubt  prove  a 
superior  plan  to  the  ordinary  intensification  of  a thin  plate. 

On  the  motion  of  Mr.  Hatfield,  it  was  decided  to  purchase 
apparatus  for  class  demonstrations,  and  to  test  value  of  different 
developers,  &c. 

Mr.  Leaman  showed  some  good  examples  of  instantaneous 
work.  Other  contributions  were  handed  round,  and  discussion 
followed. 


Photographic  Society  .of  Ireland. 

The  usual  monthly  meeting  of  the  above  was  held  in  the  Royal 
College  of  Science,  Stephens  Green,  on  Friday,  13th  inst.,  Mr. 
George  Mansfield  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed, 

The  Chairman  called  upon  Mr.  Conan  to  demonstrate  the 
Platinotype  method  of  printing. 

In  the  course  of  his  remarks,  Mr.  Conan  drew  attention  to 
the  advantages  to  be  derived  from  the  absolute  permanency  of 
the  finished  prints  ; he  also  exhibited  a collection  of  prints  on 
fabrics  kindly  sent  over  by  the  Platinotype  Company,  as  well  as 
several  specimens  on  paper,  some  of  which  he  developed  before 
the  audience.  There  was  a well  sustained  discussion. 

Mr.  J.  V.  Robinson  exhibited  several  specimens  of  photo- 
filigrane,  and  a new  single  dark  slide. 

The  Society’s  new  albums  were  also  laid  on  the  tables  for 
inspection.  The  next  meeting  is  intended  to  be  held  Friday, 
May  11th. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  at  Mason’s  Hall  Tavern,  on  Thursday,  the 
12th  inst.,  Mr.  W.  E.  Cooke  occupied  the  chair. 

Mr.  A.  Haddon  showed  some  negatives  on  plates  prepared 
according  to  Mr.  Burton’s  formulas  ; exposure  four  seconds 
stop,  ; Debenham’s  system.  They  were  very  clear  in  th 
shadows,  and  full  of  sparkle. 


256 


THE  PHOTOGRAPHIC  NEWS. 


[Aran,  20,  1883. 


Mr.  Wellington  also  showed  plates  prepared  by  the  same 
method. 

Mr.  Debenham  thought  the  best  test  would  be  to  prepare 
plates  from  the  same  emulsion — half  of  it  washed,  the  other  left 
in,  and  expose  on  the  same  subject  (a  portrait  would  be  best), 
and  compare  results. 

Mr.  Cowan  showed  plates  exposed  on  the  same  subject,  using 
stops  of  the  same  area,  circular,  vertical,  and  horizontal  forms  ; 
the  results  were  much  in  favour  of  the  circular  form.  An  inte- 
resting discussion  on  portrait  lenses  ensued. 


SLalfc  iu  Stubio. 

The  late  Mr.  Charles  Waldack. — We  regret  to  hear,  by 
a communication  from  Mrs.  Waldack,  of  Cinncinati,  that  this 
gentleman  died  on  the  last  day  of  last.  year.  Mr.  Waldack’s 
name  is  so  well  known  to  the  older  readers  of  this  paper,  that  we 
regret  exceedingly  so  long  a time  has  elapsed  before  making 
mention  of  the  melancholy  circumstance  of  his  death.  Two 
years  ago  he  journeyed  to  Belgium — his  birthplace— in  the  vain 
hope  of  recovering  his  health  ; but  although  he  partially  rallied, 
the  result,  unfortunately,  was  not  permanent,  and  he  expired  at 
Ghent,  at  the  age  of  53.  He  was  an  old  school-mate  of  the  late 
Dr.  Van  Monckhoven,  and  shared  with  the  latter  a deep  know 
ledge,  both  practical  and  theoretical,  of  photography.  Mrs- 
Charles  Waldack,  we  see,  still  carries  on  the  business  of  a photo- 
graphic studio  at  Cincinnati,  and,  in  fact,  her  husband  inhabitated 
the  States  for  more  than  twenty  years. 

Cold  Water  for  the  Out-door  Worker.— American 
photographers — who,  by-the-bye,  are  far  more  troubled  with 
hot  weather  difficulties  than  ourselves — have  just  realised  that 
the  deep  water  of  a lake  is  considerably  colder  than  the  surface 
stratum.  When  the  out-door  worker  desires  to  have  a supply 
of  cold  water,  he  can  always  obtain  it  if  he  is  near  a lake  or  other 
deep  water  ; a stone  or  tin  bottle  being  filled  with  surface  water 
and  lowered  by  means  of  a cord,  and  after  a short  time  it  is 
drawn  up  considerably  cooled.  Milk  thus  lowered  to  a depth  of 
thirty  feet  was  found  to  remain  good  for  five  days. 

Forestry. — With  the  commencement,  in  May,  of  its  next 
volume,  The  Journal  of  Forestry,  still  conducted  by  Mr.  F.  G. 
Heath,  author  of  “ Autumnal  Leaves  ” and  editor  of  Gilpin’s 
“ Forest  Scenery,”  will  take  a “ new  departure.”  Under  the 
altered  title  of  “ Forestry — a Magazine  for  the  Country,”  it  will 
be  enlarged  in  size  and  still  further  popularized.  The  May  part 
will  include  a descriptive  article  by  Mr.  Richard  Jefferies,  en- 
titled ■'  The  Contents  of  Ten  Acres,”  and  “ A Forgotten  President 
of  Agriculture,”  by  Mr.  R.  A.  KiDglake. 

Suicide  by  Cyanide. — At  a late  hour  on  Friday  last,  the 
body  of  a man  about  forty  years  of  age  was  discovered  by  a 
constable  on  the  east  side  of  Cal  ton  Hill,  near  Edinburgh. 
An  envelope  was  found  in  one  of  his  pockets,  with  the  words 
written  on  it  in  pencil : “ Have  no  work,  no  money,  no  friends, 
and  no  place  to  sleep  in  tonight. — W.  Dickson,  Photographer, 
April  12,  1833.”  A small  bottle  was  lying  near  the  body,  con- 
taining a poisonous  liquid.  Deceased  was  identified  to-day  as 
a photographer  recently  residing  at  Broughty  Ferry,  near 
Dundee. 

The  Photographic  Club.— The  subject  for  discussion  at  the 
next  meeting  of  this  Club,  Wednesday,  April  25th,  will  be  “ On 
the  Preparation  of  Lantern  Slides.”  This  being  the  last  Wednes- 
day in  the  month,  it  will  be  devoted  to  the  lantern.  After  this, 
the  regular  lantern  nights  will  be  discontinued  for  the  summer 
months.  Visitors  are  invited  to  attend,  and  bring  slides  or 
objects  of  interest  to  be  shown  in  the  lantern. 


CorrfSffon&fntg. 

***  We  cannot  undertake  to  return  rejected  communications. 

A.  Borland. — You  will  find  full  information  in  a leader  which  will 
appear  next  week.  Yours  is  superior  to  any  film  method  with 
which  we  are  familiar. 

Gitjlio  Rossi. — 1.  Write  to  Mr.  S.  Fry,  Photographer,  Surbiton, 
England,  for  particulars  respecting  the  Eastman  machine;  but 
we  do  not  think  it  is  patented  in  Italy.  2.  If  yon  will  sends 
letter  to  our  office,  we  will  forward  it  to  Mr.  Plener. 


Forrester. — 1.  Those  referred  to  are  rather  improvements  on  the 
existing  type  of  objective,  than  absolutely  new  instruments;  and 
we  believe  that  the  first  mentioned  optician  has  had  them  in  the 
market  for  some  months.  2.  It  will  shortly  be  published,  and  it 
is  an  enlargement  of  the  first  edition. 

C.  F.  J. — The  process  is  by  no  means  a new  one,  and  was  fully 
described  in  the  second  volume  of  the  Photographic  News. 

J.  A.  (Cork), — Wo  imagine  it  arises  from  foreign  matter  in  the 
paper.  Compare  another  sample  with  your  present  stock. 

W.  E.  B.  — Quite  true;  and  if  you  wish  to  preserve  the  glaze,  you 
must  not  moisten  the  back  after  the  removal  of  the  print  from  the 
glass.  Sometimes  enamelled  prints  are  attached  to  the  mounts  by 
the  mere  edgjs  ; but  this  method  is  not  always  satisfactory  ; the 
best  method  being  to  squeegee  several  thicknesses  of  gelatinised 
aper  on  the  back  of  the  print,  while  it  remains  on  the  glass — a 
ind  of  cardboard  being  thus  built  up.  In  such  a case  it  is  well 
to  print  a border,  and  any  inscription  which  may  be  required  from 
a second  negative,  as  it  seldom  looks  well  for  a picture  to  com- 
pletely cover  the  mount. 

Opal. — We  believe  you  will  obtain  good  work  from  any  of  the  firms 
you  mention,  but  we  cannot  recommend  one  in  particular. 

C.  A.  Hayme. — 1.  Slightly  damp  the  back  of  the  paper  before 
floating  it  on  the  second  bath.  2.  Shake  the  solution  with  a little 
kaolin,  and  filter. 

C.  It.  T.  (Cambridge). — Commerical  iodide  of  potassium  very 
frequently  contains  caibonate  of  potassium,  and  as  this  salt  is 
insoluble  in  alcohol,  it  is  eesy  to  account  for  the  phenomenon. 
Iodide  of  potassium  which  is  very  white  and  is  crystallised  in  large 
or  well-defined  cubes  should  be  looked  upon  with  suspicion. 
The  pure  salt  readily  decomposes,  Iodine  being  liberated  ; heDce  it 
is  generally  somewhat  brown  when  purchased. 

Resinous. — 1.  Use  a light-coloured  ordinary  lac;  the  bleached 
material  is  seldom  satisfactory.  2.  Because  the  alcohol  used  in 
making  the  yarnish  is  too  strong.  To  three-fourths  of  the  total 
add  water,  a few  drops  at  a time,  until  a slight  turbidity  remains 
after  shaking  ; then  add  the  remaining  third. 

R.  Embdbn. — 1.  The  sample  you  send  has  been  sized  with  gelatine, 
and  we  imagine  it  to  be  an  esparto-grass  paper.  2.  No  ; it  is 
better  to  use  a special  transfer  ink,  such  as  can  be  obtained  from 
any  dealer  in  lithographic  materials. 

D.  C.  (Tenbury). — 1.  Not  of  much  importance  udIcss  work  is  to  be 
done  on  uneven  ground,  suen  as  the  side  of  a hill.  2.  We  will 
make  enquiries,  and  if  the  required  information  is  obtained,  we 
will  write.  3.  All  details  will  be  found  in  “ The  Studios  of 
Europe.” 

Contractor. — Your  best  plan  will  be  to  communicate  with  a local 
photographer. 

T.  Chester. — Nitrate  of  silver  does  not  darken  under  the  action  of 
light,  unless  some  reducing  agent  is  present. 

J.  Clark. — Ordinary  spring  water  invariably  contains  traces  of 
soluble  chlorides ; hence  the  turbidity  which  results  on  adding 
nitrate  of  silver.  If  you  collect  rain-water,  after  sufficient  has 
fallen  to  wash  the  tiles  clean,  it  will  answer  your  purpose  very 
well. 

T.  Wilson. — “ Black-lead,”  or  graphite,  is  a special  modification 
of  carbon,  but  contains  no  lead.  In  nature,  it  is  associated  with 
iron,  silica,  clay,  and  other  impurities ; the  proportion  of  t’ese 
varies  much,  and  determines  the  commercial  value  of  the  article. 

J.  T.  X. — It  would  occupy  too  much  space ; see  the  Year-Book. 

J.  Bach. — We  do  not  remember. 

L.  Edwards. — 1.  It  is  due  to  the  action  of  damp.  It  is  a good 
lan  to  wrap  them  in  tinfoil  or  very  thin  sheet  lead.  2.  The 
ypo.  has  not  been  effectually  washed  out. 

Bath. — It  has  become  highly  charged  with  alcohol  and  ether. 
Pour  it  into  a clean  flat  dish,  and  allow  it  to  remain  in  a moder- 
ately warm  place  for  a day  or  two,  after  which  dilute  it  to  a little 
less  than  its  original  bulk. 

Printer.— No  wonder  you  failed,  as  the  sensitive  tissue  gradually 
becomes  insoluble,  just  as  if  it  had  been  exposed  to  light.  Car- 
bon tissue  should  generally  be  used  within  three  or  four  days  of 
the  time  it  is  sensitized. 


PHOTOGRAPHS  REGISTERED. 

Mr.  F.  S.  Ssf.d  (Hereford) -Photo,  of  Old  Vest  Hanging  over  Chair,  &c. 
Mr.  Ryl*s  (Burslem)— 2 Photos,  of  Joseph  Harkness. 

Mr.  IIann.ui  (Shrewsbury)— 2 Photos,  of  Rev.  C.  Garrett. 

Messrs.  Smalley  Bros. "(phetwood)— Photos,  of  The  Library,  Kossal; 

Thornton  Church  ; The  Baths,  Rossal ; The  Mount,  Fleetwood . 

Mr.  J.  Batiman  (Canterbury) — 2 Photos,  of  Archbibhop  Benson  and 
Group  of  Bishops. 

Mr.  Anckorn  (Ai  broatb,  N.B.) — Photo,  of  Key.  D.  Galbreath. 

Mr.  II.  Hedges  (Lytham) — Photo,  of  Painting  of  Fox  Terriers. 

Mr.  A.  J.  Sykes  (Lindley) — Photo,  of  the  late  Mr.  J.  Moody. 

Messrs.  G.  and  R.  Lavis  (Eastbourne) — 2 Photos,  of  Mrs.  Beal. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVII. 


— April  27,  1883. 


/fry** 

CONTENTS. 


\yi>r*o*  -*i^y 

The  Eclipse  of  Mav  15,  18S2  ^ latent  Intelligence 

Laryngeal  Photography  258  '<  T1S,  ” How  No.  1 was  T 

Typographic  Blocks  from  Ordinary  Negatives 258 

Comparing  the  Sensitiveness  of  Different  Plates 2C0 

The  Causes  of  the  Discolouration  of  Iodised  Collodion,  and  its 

Intensity-giving  Properties  261 

By-the-Bye.— Fancy  Card  Mounts  261 

Gelatine  e.  Collodion.  By  Charles  Ehrmann 263 

Notes 263 


PAOK 

265 

Taken.”  By  Henry  Dixon 236 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 267 

The  Eclipse  Expedition.  By  C.  Bay  Woods 268 

Correspondence  260 

Proceedings  of  Societies 270 

Talk  in  the  Studio 272 

To  Correspondents 272 


THE  ECLIPSE  OF  MAY  15,  1882. 

It  is  now  more  than  a year  since  the  public  were  kept 
alive  as  to  the  fact  that  a total  eclipse  was  to  be  visible  in 
Egypt  on  the  15th  of  last  May,  and  that  astronomers 
from  France,  Italy,  and  England  were  to  be  sent  to  observe 
it.  The  questions,  amongst  others,  to  be  solved  during 
such  phenomena,  are  those  relating  to  the  constitution  and 
origin  of  thebright  prominences  which  reach  above  the  solar 
photosphere,  and  also  to  fathom  the  limits  of  the  corona, 
halo,  or  glory  which  surrounds  the  sun,  which  can  only 
be  seen  when  the  fiery  disc  itself  is  cut  off  by  the  inter- 
position of  the  moon  as  a screen.  Siuce  this  screen  is 
beyond  our  atmosphere,  direct  solar  rays  cannot  get  dis- 
persed in  it.  Thus  we  are  allowed  to  see  with  facility  this 
comparatively  faint  light,  which  at  ordinary  times  is  im- 
possible owing  to  the  glare  of  ordinary  skylight.  Hence 
it  is  that  astronomers  have  taken  advantage  of  every  pos- 
sible opportunity  to  observe  an  eclipse,  and  from  1865  have 
used  photography  as  an  aid.  The  advent  of  gelatine 
plates,  amongst  other  things,  has  rendered  it  imperative 
to  continue  these  observations  ; and  though  some  have 
asserted  that  eclipses  are  played  out,  yet  it  is  evident  from 
the  summary  below  of  a paper  read  by  Dr.  Schuster  and 
Captain  Abney  at  the  Royal  Society  in  April,  that  this  is 
far  from  the  case. 

They  confined  themselves  to  describing  the  results  ob- 
tained by  means  of  photography.  The  instruments  used 
were  as  follows  : — An  ordinary  camera  with  a lens  of  4-inch 
aperture,  and  5 feet  3 focal  length  ; a prismatic  camera  — 
that  is,  a camera  with  a prism  in  front  of  the  lens,  or,  in 
other  words,  a spectroscope  without  a collimator.  The 
refracting  angle  of  the  prism,  which  had  a 3-inch  square 
face,  was  60°,  and  a photographic  spectroscopic  with  one 
prism  having  a refracting  angle  of  62°,  and  a length  of 
collimator  and  camera  of  9 inches. 

Three  photographs  of  the  corona,  having  exposures  of 
three,  eleven,  and  twenty-three  seconds  respectively,  were 
obtained  with  the  first  instrument.  The  photographs  show 
the  prominences  very  well,  and  confirm  the  distinction 
which  has  teen  made  between  the  inner  and  outer  corona. 
The  photographic  impression  of  one  of  the  rifts  or  streamers 
which  are  so  markedly  seen  iu  nearly  all  coronas,  reached 
to  a distance  of  14  solar  diameter  away  from  the  sun's  limb, 
and  as  regards  form  and  general  appearance,  the  most 
remaikable  point  is  the  curvature  of  these  rays,  and  the 
structural  detail  visible  in  one  streamer  and  overlapped 
by  another. 

I he  comet  which  was  seen  close  to  the  sun,  which  drew 
such  attention  at  the  time  of  the  eclipse,  is  also  sharply  de- 
fined on  all  the  plates,  and  it  seems  to  have  had  a per- 
ceptible motion  even  during  the  one  minute’s  duration  of 
the  eclipse,  judging  by  its  measures  from  the  moon's 


centre,  taken  from  the  three  photographs.  The  comet 
was  christened  Tewfik  by  the  assembled  astronomers, 
after  the  Khedive,  whose  guests  they  were  during  their 
sojourn  in  Egypt.  With  the  prismatic  camera,  which  gave 
rings  of  prominences  corresponding  to  the  different  rays 
which  they  emitted,  some  remarkable  results  have  also  been 
obtained.  Amongst  other  things,  it  was  proved  that  some 
prominences  were  hotter  than  others,  and  that  some  had 
lines  below  the  red,  for  the  plates  used  with  this  instrument 
were  sensitive  to  this  region,  and  had  been  specially  pre- 
pared by  Captain  Abney  for  it.  Another  point  which  this 
photograph  settles  is,  that  the  layer  of  heated  vapour  in 
proximity  to  the  sun’s  limb  is  made  up  of  some  stuff 
which  radiates  a ray  in  the  green  and  a ray  in  the  orange, 
known  respectively  as  1474  and  D3 ; the  latter  is  much 
fainter  than  the  former.  An  instantaneous  photograph, 
taken  with  this  prismatic  camera  five  seconds  after  totality 
was  over,  also  gives  the  prominences,  showing  that  sun- 
light had  not  then  overpowered  the  prominence  light. 

A photograph  taken  with  the  spectroscopic  camera  has, 
perhaps,  yielded  the  most  valuable  results.  The  corona 
seems  to  have  a continuous  spectrum  near  the  sun,  and 
beyond  that  the  spectrum  is  resolved  into  lines,  not 
coinciding  with  the  prominence  lines,  but  totally  distinct. 
Formerly  but  one  line,  1474,  above  alluded  to,  was 
known  as  a coronal  line ; but  from  the  photograph, 
measures  of  thirty-one  lines  have  been  obtained  from 
the  green  to  the  ultra  violet  of  the  spectrum.  Thollon 
noted  several  in  the  violet,  but  was  unable  to  fix  their 
wave  length,  showing  the  great  value  a photograph  has 
over  eye  observations  when  time  is  limited.  The  photo- 
graph also  shows  that  the  outer  corona  shines  partially 
with  reflected  light,  as  the  ordinary  solar  spectrum  was 
photographed  in  the  violet  (to  which  region  the  plates  were 
most  sensitive)  very  faintly,  aud  nearly  a sun’s  diameter 
distant  from  the  moon’s  edge.  It  was  pointed  out  that 
the  prominence  spectrum  of  the  sun  corresponds  very 
closely  with  the  spectra  of  Borne  of  the  stars  photographed 
by  Dr.  Huggins,  and  this,  perhaps,  opens  out  a new  vista 
of  research.  It  should  be  remarked  that  twenty-nine 
prominence  lines  have  been  photographed,  including  all 
the  hydrogen  lines  known  from  the  red  to  the  ultra 
violet,  and  many  of  the  calcium  lines.  That  calcium  is 
strongly  existent  in  the  solar  photosphere  is  shown  by  the 
fact  that  the  calcium  lines  were  so  strong  that  they 
illuminated  the  atmosphere  between  the  dark  moon  and  the 
observers,  as  the  calcium  bright  lines  are  seen  to  extend 
across  the  otherwise  black  spectrum  of  the  moon.  This 
was  shown  in  the  photograph  taken  with  the  ordinary 
spectroscopic  camera,  where  the  image  of  the  dark  moou 
and  the  corona  was  cast  by  a lens  ou  the  slit,  and  a disc 
of  the  image  passed  through  the  prisms  as  in  the  accom- 
panying figure.  It  is  evident  that  if  there  were  no  light  on 
the  moon’s  image,  the  spectrum  between  a aud  b would 


258 


THE  PHOTOGRAPHIC  NEWS. 


[April  27,  1883. 


be  nil ; as  it  was,  it  was  traversed  by  bright  lines  most 
markedly  by  the  H and  K lines  in  the  violet.  The  results 
are  a triumph  for  photography  and  for  solar  physics,  and 


we  may  hope  that  Mr.  Woods  and  Mr.  Lawrence,  who  have 
gone  out  to  Caroline  Island  in  the  Pacific,  will  be  enabled 
to  bring  back  photographs  which  will  extend  the  results 
already  obtained.  Now  that  gelatine  plates  and  plates 
sensitive  to  ordinarily  non-actinic  rays  are  to  be  used, 
there  seems  to  be  no  limit  as  to  what  may  be  obtained  in 
an  eclipse  which  lasts  seven  minutes,  seeing  what  has  been 
got  in  one  which  lasted  only  seventy  seconds.  Every  day 
brings  us  fresh  evidence  that  men  of  science  must  be 
photographers  ; or,  at  all  events,  employ  those  who  are,  to 
assist  them. 

o 

LARYNGEAL  PHOTOGRAPHY. 

The  very  considerable  success  which  has  attended  recent 
efforts  as  regards  the  production  of  photographs  of  the 
vocal  organs,  has  served  to  invest  several  of  the  older  ex- 
periments in  this  direction  with  some  degree  of  interest. 
Czermak,  whose  photographs  were  referred  to  in  our  issue 
of  a fortnight  ago,  used  a camera  provided  with  four  simi- 
lar portrait  lenses,  each  being  so  adjusted  that  its  axis 
should  be  directed  towards  a point  situated  at  the  required 
distance  in  front  of  the  camera.  The  dark  slide  bad  been 
originally  constructed  to  hold  four  plates,  but  in  working, 
only  three  were  employed,  the  fourth  being  replaced  by  a 
ground  glass.  In  order  to  make  this  ground  glass  service- 
able as  a focussing  screen,  portions  of  the  front  and  back 
of  the  dark  slide  were  cut  away.  The  camera,  as  thus  modi- 


fied, forms  an  extremely  convenient  instrument  for  laryn- 
geal work,  as  the  fiuding  of  the  proper  position  of  the 
instrument,  and  of  the  correct  focus,  can  be  followed  up  by 
immediate  exposure.  Czermak  used  the  so-called  “ Lieber- 
kiihn”  reflector  in  front  of  the  camera,  in  order  to  ensure 
the  approximate  parallelism  of  the  illuminating  rays  (direct 
sunlight,  and  of  the  axial  lines  of  the  objectives.) 

Dr.  Stein,  a medical  man  residing  at  Frankfurt,  took  up 
the  subject  at  a somewhat  later  date,  and  made  use  of  the 
extremely  simple  arrangement  represented  by  the  sub- 
joined engraving. 

I he  larvngoseopic  mirror,  s,  is  held  in  position  by  the 
patient,  the  tongue  btiug  held  down  by  a string.  Ttu 
camera  used  is  the  “ Heliopictor  ” of  Dr.  Stein,  this 


apparatus  having  been  already  described  in  the  Photo- 
graphic News,  and  a mirror,  c,  serves  to  enable  the  patient 


to  see  when  he  has  placed  the  laryngeal  reflector  in  the 
correct  position  ; while  a larger  mirror,  C,  serves  to  direct 
a beam  of  sunlight  on  the  vocal  organs. 


TYPOGRAPHIC  BLOCKS  FROM  ORDINARY 
NEGATIVES. 

Many  persons  suppose  that  the  ideal  of  perfection  in  photo- 
mechanical printing  consists  in  taking  impressions  from  a 
typographic  block,  in  which  the  shading  of  the  negative  is 
translated  iuto  some  kind  of  a graiu  or  stipple.  Now,  as  a 
matter  of  fact,  for  one  typographic  print  of  the  kind  now 
referred  to,  ten  or  a dozen  tint  or  stipple  lithographs  are 
met  with  ; while  collotypes,  in  which  the  grain  is  exiremely 
tine,  are  much  more  common  than  either  of  the  before- 
mentioned  classes  of  print. 

Tint  or  stipple  typographic  blocks  are  by  no  means  diffi- 
cult to  make,  and  the  reason  why  they  are  not  gene- 
rally used,  arises  principally  from  the  circumstance  that 
when  the  grain  is  fine  enough  to  give  minute  detail,  it  be- 
comes quite  impracticable  to  print  from  the  block,  unless  by 
expending  au  amount  of  time  altogether  disproportionate 
to  the  value  of  the  results.  Every  kind  of  fatty  ink 
pl  o ograpb — in  which  the  gradations  are  represented  by  a 
grain  or  stipple,  can  be  translerred  to  a zinc  plate  and  faith- 
fully etched  into  relief  by  the  chemigraphic  method  ; but 
ordinary  collotypic  pictures  are  so  finely  stippled  that  the 
resulting  typographic  block  is  altogether  valueless,  as  print- 
ing from  it  would  be  a far  more  troublesome  aud  expensive 
operation  than  taking  copies  from  the  original  collotype 
plate. 

The  Raul  Pretsch  process  for  producing  typographic 
blocks  is  one  which  has  been  more  or  less  in  use  during 
nearly  thirty  years,  and  a Pretsch  block  may  be  shortly 
described  as  a stereotypic  cast  of  an  over-exposed  collo- 
typic plate.  The  grain  may  be  fine  or  coarse,  according 
to  circumstances  ; hut  it  is  far  easier  to  produce  blocks  with 
an  extremely  fine  grain  and  exquisite  detail,  than  a grain 
so  coarse  and  open  as  to  satisfy  the  requirements  of  the 
typographic  printer.  We  believe  that  the  makers  of 
Pretsch  blocks,  now  carrying  on  business,  may  be  reckoned 
up  on  the  fingers  of  one  hand,  and  only  one  of  these  is 
located  in  London.  The  greater  part  of  the  Pretsch  blocks 
which  we  have  seen,  are  so  finely  granulated  that,  if 
primed  in  an  ordinary  newspaper,  or  even  in  our  own 
columns,  they  would  give  no  picture  wha'ever,  but  only  a 
uniform  patch  of  black.  Hand  printing  from  a Pretsch 
block  is  generally  far  more  expensive  than  lithographic 
printing,  collotypic  printing,  or  even  taking  impressions 
from  a finely-engraved  iiitaylio  plate.  Still  the  Pretsch 
process  can  be  so  carried  out  as  to  give  a fairly  open 


Apbil  27,  1883.| 


THE  PHOTOGRAPHIC  NEWS. 


259 


grain,  and  we  hope  to  present  our  readers  with  a specimen 
before  long. 

Fatty  ink  photographs  with  a tolerably  open  and  free 
grain— indeed,  just  such  productions  as  Mr.  Sprague’s  “ ink 
photo,”  which  forms  our  supplement  this  week — are  by  no 
means  new ; as  we  have  before  us  a work  published  at 
Paris  in  1855  which  is  illustrated  by  a stippled  photo- 
lithograph as  nearly  as  possible  identical  in  appearance 


with  the  Sprague  “ ink  photo  ” of  to-day.  Long  numbers 
of  such  productions  can  be  easily  printed  by  means  of  a 
lithographic  press  or  machine  ; but  we  imagine  that  if  the 
picture  of  Mr.  Dixon’s  lion  were  transferred  to  zinc  and 
etched  in  relief  by  the  chemigraphic  method,  printing  from 
the  block  would  be  a much  more  expensive  process  than 
that  adopted,  and  that  the  results  would  be  considerably 
inferior.  If  it  be  desired  to  produce  an  ink  photograph 


THE  OLD  CHURCH  OF  ST.  NICHOLAS,  AT  CHISWICK. 

A Photographic  Etching,  from  a Transfer  by  the  method  of  E.  I.  Aster,  of  Amsterdam. 


which  will  yield  a block  suitable  for  ordinary  commercial 
printing,  a method  must  be  adopted  which  yields  a coarser 
and  more  open  grain  ; and  it  is  interesting  to  kuow  that 
almost  any  degree  of  coarseness  or  fineness  may  be 
obtained  by  an  extremely  easy  method,  aud  one  which 
requires  but  few  appliances  beyond  those  to  be  found  in 
every  photographic  establishment. 

We  refer  to  the  starch  method  of  Asser,  a process  which 
is  now  over  twenty  years  old  ; and  the  accompanying 
illustration  is  from  a zincograpbic  relief  block,  obtained  by 
putting  down  the  Asser  transfer  on  a zinc  plate,  and  etching 
the  metal  into  relief  by  the  chemigraphic  method,  which 
will  be  found  described  in  detail  in  our  last  volume, 
p.p.  673,  690,  706,  738,  770. 


The  following  description  of  the  method  by  which  we 
! made  the  transfer,  and  put  it  down  on  the  zinc  plate,  will 
doubtless  be  of  interest  to  our  readers.  A sheet  of  unsized 
paper — white  blotting  paper,  in  fact — was  laid  on  a slab  of 
plate  glass,  and  dabbed  over  with  a thin  starch  paste,  a 
soft  sponge  being  used  for  the  purpose,  and  care  taken 
to  only  apply  so  much  starch  paste  as  would  fairly  sink 
into  the  texture  of  the  paper. 

The  sheet  was  next  dried,  after  which  it  was  sensitized 
by  being  floated  (starched  side  downwards)  for  five 
minutes  on  a five  per  cent,  solution  of  potassium  bichro- 
mate, and  it  was  hung  up  to  dry  in  a moderately  warm 
room.  When  dry,  it  was  exposed  under  an  ordinary  nega- 
tive for  about  two-thirds  of  the  time  which  would  have 


260 


THE  PHOTOGRAPHIC  NEWS. 


[Aritii,  27,  1883. 


been  required  to  obtain  a silver  print,  after  which  the 
print— now  of  a light  brown  colour — was  soaked  in  water 
until  all  traces  of  unaltered  bichromate  were  removed. 
The  wet  print  was  now  partially  dried  by  means  of  blot- 
ting-paper, and  then  exposed  to  the  air  until  dry,  after 
which  it  was  laid  between  sheets  of  ordinary  white  paper, 
and  well  ironed  with  an  ordinary  flat  iron,  heated  to  about 
150°  Centigrade ; the  object  of  this  proceeding  being  to 
harden  the  altered  starch,  and  to  enable  it  to  hold  the 
fatty  ink  firmly. 

The  sheet  was  next  moistened,  laid  on  a sheet  of  damp 
blotting-paper,  and  inked  by  a velvet  roller  charged  with 
rather  thin  lithographic  transfer  ink.  This  ink  adhered  to 
the  exposed  portions,  which  refused  to  take  up  water,  as  a 
kind  of  granular  deposit,  leaving  the  thorough  damp  por- 
tions of  the  paper  clear  and  white.  The  stippled  ink 
picture  thus  obtained  was  then  laid  on  a cleaned  zinc 
plate,  and  etched  into  relief  just  in  the  manner  which 
we  have  already  detailed  in  our  last  volume.  We  pre- 
pared two  blocks  of  the  same  subject,  that  which  we 
now  place  before  our  readers,  and  one  on  about  double 
scale.  Either  block  could  be  printed  from  in  any 
ordinary  newspaper  ; and  there  would  be  no  difficulty  in 
making  them  up  to  three  feet  square,  and  in  six  or 
seven  hours  after  the  receipt  of  the  negative.  We  cannot 
print  the  larger  example  in  the  Photographic  News,  but 
our  readers  will  understand  that  the  same  grain  would 
show  to  much  greater  advantage  in  the  case  of  a large 
picture. 

We  shall  shortly  publish  further  particulars  as  to  the 
Asser  process,  and  other  methods  by  which  stipple  photo- 
typic  blocks  may  be  made. 

St  Nicholas’  Church,  Chiswick,  the  subject  of  ouretching, 
is  now  no  more ; the  whole  of  the  original  structure,  except- 
ing the  tower,  having  been  demolished  to  make  place  for 
a new  building,  which  is  to  be  erected  at  the  expense  of 
Mr.  Henry  Smith,  a resident  in  the  neighbourhood.  The 
tower  is  nearly  five  hundred  years  old. 


COMPARING  THE  SENSITIVENESS  OF 
DIFFERENT  PLATES. 

That  there  should  be  a difficulty  in  naming  a number 
which  shall  precisely  denominate  how  much  more  sensitive 
gelatine  plates  are  than  wet  collodion  plates  is  not  un- 
natural, seeing  that  the  sensitiveness  of  each  varies  much  ; 
but  it  would  at  first  appear  somewhat  strange  that  there 
should  be  difficulty  in  stating,  with  any  degree  of  certainty, 
how  much  one  gelatine  plate  is  more  or  less  sensitive 
than  another.  Yet  such  is  the  fact.  Give  to  each  of  half- 
a-dozen  photographers  samples  of  plates  coated  with  two 
different  emulsions,  end  ask  them  to  tell  what  is  the  differ- 
ence between  the  sensitiveness  of  the  one  and  the  other, 
it  will  be  found  that  opinions  differing  vastly  will  pro- 
bably be  given.  Quite  likely  several  will  say  one  sample  is 
the  more  sensitive,  whilst  the  rest  will  give  the  palm  to 
the  other.  Even  if  they  are  all  agreed  as  to  which  is  the 
more  rapid  plate,  it  is  far  from  likely  that  they  will  agree 
as  to  what  figure  represents  the  ratio  of  sensitiveness 
between  the  one  and  the  other. 

This  difference  of  opinion  is  so  far  from  uncommon — in 
fact,  is  a thing  of  such  everyday  occurrence— that  it  is 
worth  while  enquiring  somewhat  iuto  the  cause  of  if. 

The  reason  which  will  first  suggest  itself  to  the  minds 
of  many  is,  that  different  plates  show  the  maximum  of 
sensitiveness  to  rays  of  different  refrangibility  ; in  fact, 
that  it  is  because  the  tests  of  sensitiveness  are  made  in 
different  colours  of  light,  more  favourable  in  certain  cases 
to  one  plate  than  to  another,  that  the  difference  of  results 
arises.  That  this  has  something  to  do  with  the  matter 
we  have  no  doubt,  but  we  believe  it  has  less  than  is  sup- 
posed. True,  the  ratio  between  the  sensitiveness  of  one 
plate  and  another  may  be  somewhat  different  in  a brilliant 
white  light  and  in  that  of  a day  if  yellow  fog ; but  the 


difference  will  be  altogether  too  small  to  account  for  the 
very  great  difference  of  opinion  which  exists. 

We  believe  we  state  the  true  reason  when  we  say  that, 
except  in  a few  cases,  there  is  no  common  denominator 
whertby  to  compare  plates;  that,  in  fact,  to  try  to  tell 
how  much  more  sensitive  one  plate  is  than  another,  fre- 
quently is  as  difficult — or  rather,  we  should  say,  as  impossi- 
ble— as  to  say  how  much  more  bright  a blue  light  is  than 
a red  one  ; or,  to  throw  the  matter  into  a strong  light  by 
taking  an  extreme  case,  to  say  how  much  stronger  the 
sound  of  a certain  bell  is  than  the  light  of  a certain  lamp. 
We  shall  try  to  explain  our  meaning  clearly  by  taking 
practical  examples. 

There  are  in  general  use  two  ways  of  comparing  the 
sensitiveness  of  plates.  The  one  is  by  the  use  of  the  sen- 
sitometer,  and  is  the  most  common  in  this  country.  The 
other,  which  is  used  by  Dr.  Eder,  and  would  appear  to  be 
in  the  most  general  use  on  the  Continent,  is  by  giving  test 
exposures  in  the  camera  till  a negative  is  obtained  on  each 
of  the  samples  of  plates  to  be  tested,  as  nearly  as  possible 
similar  to  what  is  got  on  the  others.  The  sensitiveness  is 
then  said  to  be  in  the  inverse  ratio  to  the  exposure  found 
necessary. 

We  shall  first  consider  the  sensitometer  method,  and  take 
an  example. 

Let  us  suppose  that  we  use  a gas  light  to  expose  by, 
and  that  we  wish  to  compare  the  sensitiveness  of  a wet 
plate  and  of  a gelatine  plate  of  moderate  sensitiveness. 
We  expose  each  for  the  same  length  of  time,  and  on  deve- 
lopment we  get  the  figure  10  with  the  wet  plate,  the  figure 
20  with  the  dry.  Now  what  conclusion  do  we  draw?  If 
we  follow  the  regular  sensitometer  method  our  conclusion 
is,  that  the  dry  plate  is  sixteen  times  more  sensitive  than 
the  wet  one,  and,  consequently,  that  an  exposure  of  six- 
teen in  the  case  of  the  wet  plate  will  give  exactly  the  same 
result  as  an  exposure  of  one  in  the  case  of  the  dry.  Let 
us  try  the  result  of  exposing  the  wet  plate  under  the  sensi- 
tometer tablet  sixteen  times  as  long  n*  both  were  exposed 
before,  and  see  if  we  get  a result  similar  to  what  we  got 
before  on  the  dry  plate.  We  shall  probably  find  that  we 
get  the  figure  20,  and  so  far  the  results  are  similar  ; but  let 
us  now  intensify  our  wet  plate  to  such  an  extent  that  the 
first  figures  are  of  about  the  same  density  as  are  the  first 
figures  of  the  dry  plate,  and  compare  the  general  appear- 
ance. We  shall  find  that  although  the  same  last  figure  is 
visible  in  each  case,  the  general  appearance  of  the  one  is 
totally  different  from  that  of  the  other.  In  the  case  of  the 
wet  plate  there  is  a rapidly  rising  scale  of  density  in  the 
last  figures;  in  the  case  of  the  dry  plate  there  is  a long 
series  of  figures  in  which  there  is  a gradual  increase  of 
density  between  one  and  the  other. 

Now  let  us  expose  a wet  and  a dry  plate  in  the  camera, 
giving  exposure  of  sixteen  to  one.  We  shall  find  that  we 
get  negatives  totally  different,  and  that  the  wet  plate  nega- 
tive would  be  pronounced  far  more  fully  exposed  than  the 
others. 

By  giving  a somewhat  shorter  exposure  to  the  wet  plate 
(say  one-eighth  of  what  we  gave  the  dry)  we  get  nega- 
tives somewhat  more  similar;  but  let  us  vary  the  exposure 
as  we  may,  we  cannot  get  precisely  similar  results  on  the 
wet  and  on  the  dry  plate.  In  fact,  the  curves  of  sensitive- 
ness are  different  in  the  different  plates,  and  there  is  no 
common  denominator.  Probably  we  shall  arrive  most 
neatly'  at  a just  comparison  if  we  expose  both  till  we  get 
what  is  somewhat  indefinitely  described  as  a “ well-exposed 
negative.” 

This  difference  in  the  curve  of  sensitiveness,  which  is  so 
marked  in  comparing  a wet  and  a dry  plate,  also  exists  in 
the  case  of  different  dry  plate3,  although  to  a somewhat 
less  degree.  It  is  particularly  noticeable  when  we  attempt 
to  compare  plates  of  very  different  degrees  of  sensitiveness. 

Good  commercial  dry  plates  give  on  the  standard  sensi- 
tometer figures  varying  from  15  to  20.  Very  often  a plate 
of  very  fair  sensitiveness  will  be  found  not  to  give  more 


April  27,  1883.] 


THE  PHOTOGRAPHIC  HEWS. 


261 


than  15.  it  is  possible  to  get  plates  which  will  give  25  on  the 
sensitoineter.  We  have  not  been  so  fortunate  as  to  dis- 
cover any  formula  whereby  we  can  get  this  figure  with 
certainty,  but  we  have  occasionally  got  plates  showing  it — 
possibly  more  by  good  luck  than  good  guidance.  These 
plates  would,  according  to  the  rule  for  the  use  of  the 
sensitometer,  be  16  times  more  rapid  than  those  giving  the 
figure  15,  and  it  is  probable  that  the  platesgiving  15  would 
require  about  16  times  the  normal  exposure  to  give  25. 
If,  however,  we  give  in  the  camera  exposures  with  the 
rapider  plates,  only  one-sixteenth  of  what  will  give  a good 
result  with  the  others,  we  shall  be  very  far  from  obtaining 
what  we  would  describe  as  a well  exposed  negative.  We 
should  probably  find  that  it  would  be  necessary  to  give  an 
exposure  with  the  rapid  plates  of  one-fourth  what  is 
required  with  the  slower  ones.  Even  then,  aud  in  fact, 
under  any  circumstauces,  we  shall  not  get  exactly 
similar  negatives  with  the  one  plate  as  with  the  other. 
In  fact,  as  before,  we  have  no  common  denominator. 
It  would  nevertheless  be  far  more  nearly  correct  to 
represent  the  difference  between  the  one  and  the  other 
by  four  than  by  sixteen. 

We  may  therefore  say  that  something  much  nearer  to  a 
fair  comparison  between  one  plate  and  another  is  to  be 
had  by  giving  camera  exposures  than  by  the  use  of  the 
sensitometer ; if  in  the  latter  case,  we  make  judgment 
from  the  last  figure  only.  It  is,  however,  possible,  with  a 
little  practice,  to  make  the  judgment  as  nearly  as  it  is 
possible  to  make  it.  by  comparing  the  general  appearance 
of  plates  exposed  under  the  sensitometer  tablets,  and  it 
certainly  is  far  easier  to  do  so  than  to  make  exposures  in 
the  camera. 


THE  CAUSES  OF  THE  DISCOLOURATION  OF 
IODISED  COLLODION,  AND  ITS  INTENSITY- 
GIVING PROPERTIES. 

In  a recent  issue  of  the  News,  Mr.  Kay  directed  attention 
to  this  question,  giving  it  as  his  opinion  that  the  brown 
colour  of  old  collodion  is  due  to  acidity.  There  is  very 
little  doubt,  however,  that  the  reaction  whereby  iodine  is 
liberated  is  not  quite  so  simple  as  our  correspondent 
implied. 

In  order  to  thoroughly  understand  the  subject,  it  is 
necessary  to  examine  the  properties  of  the  constituents  of 
collodion,  including  the  composition  of  pyroxyliue.  Gun- 
cotton is  formed  by  the  action  of  nitric  acid  in  the  presence 
of  sulphuric  acid  ou  cellulose  of  some  form  or  other.  The 
following  equation  represents  the  conversion  of  Cellulose 
into  soluble  guu-cotton,  the  formula  for  the  former  com- 
pound being  trebled  : — 

C18H,1(0H)90,+8HN0,  = C1SHJ*(N03)807+8H20 

Water  is  added  to  the  nitrating  mixture  to  preveut  the 
formation  of  gun-cotton,  while  sulphuric  acid  is  used  to 
prevent  the  solution  of  the  cotton  in  the  acid  liquor. 

According  to  the  proportion  of  water  present  in  the 
nitrating  liquid,  so  are  compounds  containing  different 
quantities  of  nitrogen  oxide  formed  ; thus,  the  stronger 
the  acid  the  higher  the  state  of  nitration,  as  may  be  seen 
from  the  following  list : — 


to  oxide  of  nitrogen)  are  given  off,  rendering  the  sample 
useless  for  photographic  purposes.  The  exact  products  of 
decomposition  have  not  yet  been  determined  beyond  the 
identification  of  oxalic  acid,  but  it  is  possible  that  one  or 
other  of  the  latter  compounds  in  the  above  list,  containing 
less  oxide  of  nitrogen,  may  be  formed. 

Iodised  collodion  is  a solution  of  pyroxyline  and  soluble 
iodides  in  a mixture  of  ether  and  alcohol.  If  an  alcholic 
solution  of  ammonium  iodide  be  placed  in  the  sunshine 
for  a few  hours,  the  liquid  will  be  tinted  yellow  ; again,  if 
ordinary  commercial  ether  be  added  to  a colourless  alcoholic 
solution  of  a soluble  iodide,  a slight  yellow  colouration 
will  be  produced,  due  to  some  impurity  in  the  ether. 

Although  the  above  facts  account  to  a certain  extent  for 
the  discolouration  of  collodion,  it  is  more  likely  that  it  is 
chiefly  caused  by  the  presence  of  nitrous  ether  and  other 
similar  compounds  formed  by  the  gradual  decomposition  of 
the  pyroxyline.  As  has  already  been  pointed  out,  the  latter 
compound,  when  kept  for  some  time  in  a moist  state, 
decomposes,  producing  red  fumes  of  oxides  of  nitrogen. 
It  is  well  known  that  nitrites  liberate  iodine  from  its  com- 
bined state.  The  Rev.  Mr.  Hardwich — the  greatest 
authority  on  collodion  and  its  allied  compounds — main- 
tains that  the  good  qualities  of  collodion  iodised  for  some 
length  of  time  is  due  not  so  much  to  the  presence  of  free 
iodine  as  to  the  secondary  products  formed  by  the  decom- 
position of  pyroxyline.  If  tiucture  of  iodine  be  added  to  a 
freshly  iodised  collodion,  although  the  latter  is  much  im- 
proved, it  is  not  possible  to  obtain  the  same  density  in  wet 
plate  negatives  as  when  a long  kept  iodised  solution  is  em- 
ployed. When  the  halogen  is  liberated  from  an  alkaline 
iodide,  au  equivalent  amouut  of  alkali  is  produced,  and 
reacts  upon  the  pyroxyliue,  forming,  amongst  other  com- 
pounds, a substance  very  similar  to  saccharic  acid,  and 
supposed  to  be  the  agent  which  has  the  “ intensity-giving  ” 
property  only  met  with  in  an  old  iodized  solution.  Acting 
on  the  above  theory,  Mr.  Hardwich  experimented  with 
glycyrrhizin  (a  saccharine  substance  obtained  from  the  ex- 
tract of  liquorice-root,  and  similar  in  properties  to 
saccharic  acid),  a very  small  proportion  of  which,  added 
to  a freshly  iodised  collodion,  had  all  the  intensity-giving 
properties  of  an  ordinary  mixture  iodised  for  some  time 
previously. 

We  are  thus  justified  in  asserting  that  the  discolouration 
of  an  old  iodised  collodion  and  its  intensity-giving 
properties  are  due  to  four  different  causes  : — 

1.  The  liberation  of  iodiue  from  the  action  of  light  in 
the  presence  of  alcohol  on  the  soluble  iodides. 

2.  The  contact  of  iodides  with  some  impurity  in  the 
ether. 

3.  The  action  of  nitrates,  produced  by  the  decomposition 
of  pyroxyline,  on  soluble  iodides. 

4.  Iu  addition  to  the  liberation  of  iodine,  the  intensity- 
giving  propei ty  is  produced  by  the  formation  of  a com- 
pound similar  to  saccharic  acid,  which  is  formed  iu  the 
decomposition  of  iodised  collodion. 

o - - 


Nitrating 

liquid 

RNOj-fH.SO. 
HNOj-fH  S04  + 13H20 
HN03-j-H2S04-|-2H20 
HN03+ILS04+2^H  0 


Compound  produced  by  tlic  action’. of 
the  acid  mixture  on  cellulose. 


CisH22(  , 
C,»H23(N03)708 
C18H.4(N03)609 


(N03)906 

(N03)s07 


The  first  compound  on  the  list,  CI8H21(NU3)9Oc,  is  ordin- 
ary guu-cottou,  while  the  second,  C18H,2(NO3)s07,  is  the 
substance  usually  employed  in  photography. 

Although  pyroxyline  contaius  less  nitrogen  oxide  thau 
gun-cotton,  the  latter  is  more  stable,  as  every  manufac- 
turer of  collodion  is  aware  that  by  keeping  the  soluble 
cotton  for  some  months  in  a moist  state,  red  fumes  (due 


FANCY  CARD  MOUNTS. 

The  card  mounts  we  employ  for  small  portraits  have  passed 
through  many  changes,  for  it  is  naturally  the  aim  of  photo- 
graphers to  impart  to  these  such  freshness  and  Dovelty  as 
will  make  them  attractive  to  the  public.  In  the  case  of 
carte-de-visite  pictures,  we  began  with  a white  mount  ; 
then  came  the  tinted  card,  then  gilt  edges  were  added,  and 
afterwards  rounded  corners  came  into  fashion  ; a change 
was  then  effected  by  having  recourse  to  a fancy  border  pro- 
duced by  double  printing  ; while  the  most  recent  form  of 
mount,  as  everybody  kuows,  is  a card  of  enamelled  black 
with  a bevelled  gold  border. 

We  generally  get  our  ideas  about  new  card  mounts  from 


262 


THE  PHOTOGRAPHIC  NEWS. 


[Apbil  27,  1883. 


Paris.  They  are  made  there  in  large  quantities,  and  hence 
we  have  looked  abroad  rather  than  at  home  for  the  changes 
in  form  or  appearance  that  have  come  to  us  one  after 
another.  But  there  seems  no  reason  why  photographers 
should  not  themselves  control  fashion  and  design  in  matters 
of  this  kind,  at  any  rate  to  some  extent,  and  if  we  may 
judge  by  some  experimental  examples  we  have  recently 
seen  of  card  mounts  made  in  the  studio,  the  affair  should 
not  be  so  difficult,  after  all.  Good  designs  are  of  course 
scarce,  but  the  photographer’s  requirements  are  so  simple, 
that  he  has  taste  enough  to  furnish  them  for  himself  should 
he  deem  it  worth  while  to  study  the  matter. 

The  making  of  card  mounts  is  closely  connected  with 
the  bookbinder’s  art,  and  if  we  study  the  latter’s  work,  it 
is  not  difficult  to  pick  up  a wrinkle  or  two  of  value. 
Some  years  ago,  it  was  the  fashion  to  use  a figured  pattern 
cloth  for  binding  books.  The  book  cloth  was  embossed 
with  all  sorts  of  scrolls  and  fancy  patterns  which  made 
elegant  enough  binding ; now,  however,  bookbinders  have 
taken  to  a so-called  satin  surface,  the  cloth  being  seamed 
with  very  fine  lines,  and  the  ornamentation  in  the  binding 
produced  by  the  use  of  blocks.  The  blocking  is  done  in 
a press,  and  the  lines  of  the  block  may  be  impressed  in 
black  or  other  pigments  according  to  taste.  The  impress 
of  the  block  gives  quite  another  aspect  to  the  cloth,  and  the 


most  fanciful  designs  are  obtained  with  the  exercise  of  a 
little  taste. 

The  bookbinder’s  press  is  an  expensive  apparatus,  and 
so  are  his  blocks,  for  it  is  necessary  to  employ  great  pres- 
sure in  the  work  ; but  if  the  photographer  were  desirous 
of  ornamenting  his  card  mounts  after  the  same  fashion,  he 
need  go  to  very  little  expense  over  the  business.  The 
roller  press  that  he  uses  for  rolling  and  burnishing  supplies 
the  pressure  needful,  and  blocks  of  paper,  card,  or  tin  are 
all  he  would  require.  He  would  purchase  plain  card 
mounts,  black  or  tinted,  and  impress  them,  or  even  gild 
them,  as  fancy  dictated. 

The  first  of  our  experimental  cards  is  a very  simple  affair, 
but  still  decidedly  effective.  It  is  a vignetted  bust  por- 
trait, mounted  simply  on  a tinted  card.  The  block  in  this 
case  consists  of  a piece  of  coarse  sand-paper  ; it  is  trimmed 
with  square  corners,  and  is  precisely  the  same  size  as  the 
albumeuized  paper  upon  the  card,  but  out  of  the  centre  is 
cut  an  oval  of  the  size  of  the  vignette.  As  soon  as  the 
print  has  been  mounted  and  rolled,  and  while  the  albumen- 
ized  paper  is  yet  slightly  damp  from  mouuting,  the  sand- 
paper block  is  put  face  downwards  on  the  portrait,  and 
passed  through  the  press.  The  result  is  that  the 
portrait  itself  remains  smooth  and  clear,  but,  instead  of 
being  surrounded  by  a bare  waste  of  white,  it  is  enclosed 


requires  a little  skill  in  manipulating,  and  is  not,  of  course, 
inexpensive  ; but  some  very  effective  results  may  be  secured 
with  its  aid.  Dutch  metal,  bronze  powder,  and  compounds 
of  tin  must  be  eschewed,  as  most  photographers  know,  since 
they  give  rise  by  decomposition  to  black  and  yellow  spots  on 
the  print,  which  are  very  unsightly.  Only  guinea  gold 
leaf  should  be  employed,  if  gilding  is  resorted  to  by  photo- 
graphers. But  this  can  be  made  to  give  some  charming 
effects  in  skilful  hands.  For  wedding  parties,  dinner 
menus,  and  even  in  the  case  where  showy  mounts  are 
desirable,  gold  leaf  may  be  well  employed.  The  difficulty 
is  to  apply  a coating  of  gold  size  evenly  upon  the  mounted 


in  a rugged  oval  that  is  both  pleasing  and 
artistic.  Coarse  or  fine  sand-paper,  glass- 
paper,  or,  indeed,  any  hard  uneven  sur- 
face of  similar  nature,  may  be  employed 
for  the  same  purpose,  coarse  designs 
usually  giving  the  most  pleasing  results. 

It  would  be  just  as  easy  to  supply 
twenty  portraits  with  different  blocks,  as 
to  produce  them  all  of  the  same  pattern, 
when  once  the  photographer  has  a supply 
of  these  simple  tools.  The  glass  square 
used  for  cutting  the  albumenized  paper 
serves  in  the  same  way  to  cut  the  sand- 
paper block,  and  any  suitable  oval  may 
be  used  for  the  opening.  If  necessary,  the 
paper  or  cloth  block  may  be  backed  with 
a sheet  of  metal  when  passed  through  the 
press,  but  this  is  rarely  required. 

In  a similar  way,  square  blocks — or 
rather,  oblong  blocks— may  be  made  with 
the  same  rugged  material,  and  in  this 
manner  the  margins  of  the  card  impressed 
after  the  print  is  mounted. 

Next  comes  the  use  of  gold  leaf,  which 


and  in  the  story  books  issued  by  Marcus  Ward  and  others 
In  this  case  the  outline  of  the  portrait  had  been  picked  out 
with  gold  size  by  the  aid  of  a retouching  brush,  and  the 
whole  of  the  albumenized  paper  not  covered  with  the  pic- 
ture also  covered  with  the  size ; gold  leaf  was  then  gently 
pressed  over  the  surface,  and  after  a lapse  of  some  little 
time  the  superfluous  gold  removed  with  a soft  tuft  of  clean 
eotton-wool.  A most  curious  effect  of  relief  is  secured  by 
this  gold  background,  the  portrait  standing  out  as  if  it  had 
been  deeply  embossed. 

Doubtless  the  best  plan  of  applying  the  gold  size  evenly 
is  to  pass  the  prints  through  a lithographic  press,  the  gold 


photograph  ; but  this,  after  a little  practice,  may  be  over-  size  being  applied  by  roller  to  the  stone,  and  then  printed 
come,  if  the  gold  size  is  too  thin,  it  runs  ; if  too  thick,  off  on  the  card  mount.  Then  the  gold  leaf,  when  applied, 
the  gold  leaf  cakes  on  it,  and  a yellowish  brown  stain  adheres  evenly,  and  the  outline  is  sharp  and  cleaD.  With 
results.  A delicate  vignette  of  a lady,  if  surrounded  by  a his  rolling-press,  however,  the  photographer  could  doubt- 
sharply-cut  oval  of  gold,  looks  quite  Madonna-like,  the  less  contrive  a make-shift  arrangement  whereby  the  gold 
effect  being  still  further  enhanced  if  only  the  albumenized  size  could  be  printed  off  on  his  cards  without  much 
paper  is  gilded,  and  the  deep  black  mount  still  forms  the  difficulty ; or,  by  using  a surface  of  leather,  or  other 
margin  of  the  print.  A square  band,  or  oval  band,  of  gold  similar  material,  for  printing  block,  it  might  be  possible 
around  the  portrait,  is  also,  in  many  cases,  an  agreeable  to  apply  the  gold  size  to  the  card  in  this  fashion.  But 


addition,  and  in  one  portrait  we  have  seen  the  whole 
background  was  gold  leaf;  that  is  to  say,  the  features 
were  in  a setting  of  gold  exactly  in  the  same  way  as  the 
quaint  figurss  one  sees  on  some  of  the  Christmas  cards 


this  is  a detail  that,  in  any  case, 
clever  mounter  very  much. 


would  not  trouble  a 


Next  week  we  commence  a series  of  sketches  under  the 


Apkil  27,  1883. J 


THE  PHOTOGRAPHIC  NEWS 


263 


title  of  “ Half-a-Dozen  Portraits.”  To  obtain  these  por- 
traits we  shall  sit  in  the  ordinary  way,  at  six  different 
studios  in  London,  and  our  experiences,  as  oue  of  the 
public,  will  be  freely  set  down.  Studio  I.  will  be 
“ Photographers  to  the  Royal  Family.” 


GELATINE  VERSUS  COLLODION. 

BY  CHARLES  EHRMANN.* 

At  our  last  meeting  Mr.  Coonley,  the  Ctiairman  of  the  Literary 
Committee  of  this  Association,  introduced  to  you  for  discussion 
an  extraordinarily  interesting  subject — “ A Defence  of  Collo- 
dion ” (see  page  190). 

Collodion  has  never  been  assailed,  therefore  there  is  no  need 
to  defend  it.  The  intolerance  and  prejudice  with  which  this  so- 
called  defence  was  conducted,  took  all  the  friends  and  advocates 
of  the  gelatine  process  by  surprise,  and,  unprepared  as  they 
were,  a few  random  shots  were  fired  at  the  enemy  before  he  left 
the  field.  Those  present  were  invited  to  continue  the  argument, 
and  thoroughly  ventilate  the  matter  to  the  end.  I,  for  one,  will 
endeavour  to  respond  to  the  call  to  the  best  of  my  ability,  and, 
with  the  same  enthusiasm  for  the  gelatine  process  Mr.  Coonley 
has  for  collodion,  I will  try  to  return  shot  for  shot,  and,  taking 
pattern  from  the  enemy,  will  attack  his  very  weakest  point  first. 

At  the  very  outset  Mr.  Coonley  leaves  his  lines,  becomes 
aggressive,  and  assumes  the  offensive.  He  virtually  says  of 
members  of  our  profession  : “ They  only  look  at  the  surface  of  a 
new  process,  and  do  not  go  down  to  its  foundation.  They  only 
take  a superficial  view,  whereas  a thorough  go  down-to-the-root- 
and-bottom  investigation  is  necessary  to  lead  to  a correct  and 
sound  judgment.”  That  Mr.  Coonley  has  not  done  so,  so  far  as 
the  process  in  question  is  concerned,  he  acknowledges,  for  further 
on  he  says  that  he  thinks  himself  able,  and  has  sufficient  confi- 
dence to  believe  that  by  study,  attention,  and  diligence,  he  could 
soon  become  an  expert,  and  produce  as  good  work  as  under  pre- 
sent circumstances  can  be  obtained  by  gelatine.  If  he  has  to 
learn  the  practice  of  the  process,  he  has  shown  that  he,  with 
other  members  of  our  profession,  has  taken  only  a superficial 
view  of  it,  and  pronounces  herewith  judgment  upon  himself 
before  the  public  forum. 

What  troubles  Mr.  Coonley  very  much  is  the  fact  that  bromo- 
gelatine  plates  have  become  an  article  of  commerce.  He  fears 
the  use  of  plates  that  do  not  give  the  desired  result,  and  would 
rather  use  compounds  of  his  own  make.  The  operator  in  a 
gallery  of  any  importance  or  magnitude  is  generally  considered 
competent  enough  to  select  or  reject  chemicals,  &c.  Is  it  strange 
or  extraordinary  to  buy  ready-made  plates  ? Whoever  has 
objected  to  the  buying  of  salted,  albumenized,  or  even  silvered 
paper,  ready-made  silver  baths,  or  collodion  for  portraits,  out-door 
work,  copies,  &c  ? Collodions  have  been  sold  under  the  auspices 
of  every  operator  who  has  been  fortunate  enough  to  obtain  a 
situation  in  an  important  house,  from  Elbert  Anderson,  to  Tom, 
Dick,  and  Harry.  We  in  America  have  a choice  of  dry  plates. 
There  are  many  very  good  brands  in  the  market,  enough  to 
suit  the  most  fastidious  operator  ; and  if  at  last  one  comes  for- 
ward who  cannot  be  suited,  why,  he  can  make  emulsion  for 
himself.  There  is  no  difficulty.  Our  British  colleagues  have 
generously  given  to  the  world  the  results  of  their  labours,  so 
that  there  can  hardly  be  a failure  if  we  attempt  to  make  our  own 
plates. 

Comparing  collodion  with  gelatine,  he  calls  the  latter  uncer- 
tain, treacherous,  and  unreliable.  The  gelatine  base  is,  in  his 
opinion,  unstable  and  untenable.  Now  let  us  look  a little  more 
closely  at  the  matter,  and  talk  about  things  which  we  know,  and 
not  which  we  suppose,  believe,  or  have  an  opinion  or  prejudice 
against. 

Collodion,  a solution  of  pyroxyline  in  ether  and  alcohol,  carries, 
in  the  process  called  after  itself,  the  haloids  necessary  to  form 
the  sensitive  silver  salts.  By  coating  the  plate,  and  immersing  it 
in  the  silver  bath,  the  ether  and  alcohol  are  evaporated  and 
washed  away.  After  the  solvents  have  been  removed,  the 
carrier  remains  the  same  as  it  was  before— pyroxyline.  Its  only 
function  is  to  keep  the  haloids  in  a finely-divided  state,  prepara- 
tory to  the  action  of  light  and  the  developer.  The  same  thing 
can  be  said  of  gelatine.  It  does  not  act  chemically  at  any  time 
of  its  employment  for  emulsion  making,  but  duriug  emulsifica- 
tion, merely  in  a physical  way,  promotes  the  more  perfect  arrange- 
ment of  the  molecular  grouping  of  the  haloids.  You  know  I am 

* A reply  to  Mr.  Coonley’i  “Defenoeof  Collodion,”  Bead  before  the 
Association  of  Operative  Photographers. 


a very  old  hand  at  photographic  operations,  and,  as  I have  made 
photographs  before  collodion  was  known,  I believe  I am  compe- 
tent enough  to  compare  some  of  the  present  gelatine  troubles 
with  the  ancient  collodion  difficulties. 

Before  we  coated  our  glass  plates  with  a substratum  of  albu- 
men, the  collodion  coating  washed  away  under  the  tap,  or  cracked 
off  when  dry.  The  frill  and  pucker  in  gelatine  plates  often 
remind  me  of  that.  In  the  first  two  or  three  years,  we  never 
were  able  to  control  the  intensity  of  our  negatives,  and  had  to 
strengthen  them  with  mercury,  sulphurous  acid,  Schlippe’s  salt, 
and  as  many  other  things  as  are  now  recommended  in  the  gela- 
tine process,  and  with  the  same  effects. 

Po-sibly  manv  of  you  remember  when  everyone  had  to 
make  his  own  gun-cotton,  pyrogallic  acid,  albumen  paper,  and 
bath  dishes.  An  opera'or  who  did  not  make  his  own  pyroxyline 
was  considered  as  much  of  a heretic  as  Mr.  Coonley  now  con- 
siders the  man  who  purchases  plate3  from  a manufacturer. 

It  was  further  intimated  that  collodion  could  be  worked 
equally  well  in  all  temperatures  and  climates.  Now  I ask  you, 
did  it  ever  occur  to  you  that  your  chemicals  worked  differently 
on  the  4th  of  July  than  they  did  on  Christmas  Day  ? Tempe- 
rature exercises  an  influence  on  all  chemical  action. 

No  more  doubt  exists  as  to  the  stability  of  gelatine  plates 
than  those  taken  with  collodion.  Mr.  Coonley’s  opinion  is  that 
it  is  an  exceptional  case  when  a gelatine  plate  retains  it« 
qualities  for  a lengthened  period,  and  that  only  very  few  good 
ones  will  be  found  in  a lot  after  a length  of  time.  Now  let  us 
assume  that  out  of  a hundred  negatives  made,  there  is  only  one 
that  remains  good  and  retains  all  the  qualities  it  had  when  first 
made.  Is  that  a proof  against  the  process  ? I say  most 
emphatically,  no.  This  solitary  negative  is  the  only  one  that 
had  received  proper  treatment,  the  others  being  either  insuffi- 
ciently washed,  fixed,  or  otherwise  clumsily  handled.  If  one 
g >od  and  lasting  negative  is  obtained,  there  is  no  reason  why 
the  same  cannot  be  done  ad  lib. 

I show  you  here  a number  of  negatives  with  the  date  of  their 
making  attached  to  them  : you  will  see  that  some  of  them  are 
twenty  months  old,  and,  as  you  observe,  the  prints  made  from 
them  have  retained  all  theii  qualities.  As  Mr.  Coonley  concedes 
that  if  a negative  stands  a year  it  will  stand  a great  deal  longer, 
what  more  is  needed  ? Proprietors  of  photographic  galleries 
need  not  be  afraid  of  gelatine  negatives,  viewing  them  from  a 
commercial  standpoint.  On  good  plates,  with  careful  timing, 
proper  development,  fixing,  and  washing,  as  good  and  even  better 
negatives  can  be  made  than  by  any  other  method. 

The  gelatine  process,  as  applied  to  portraiture,  landscapes, 
reproductions,  and  scientific  purposes,  is  fairly  established 
through  the  extraordinary  results  ootained  by  it.  It  has 
wrought  a wonderful  and  widespread  revolution  in  the  field  of 
photography.  Through  its  aid  we  have  been  able  to  penetrate  the 
red  and  orange  rays  of  the  spectrum,  to  fix  the  spectroscopic 
lines  of  the  most  remote  heavenly  bodies,  fix  motion  visioly  upon 
a plate,  and  show  the  most  astonishing  results  in  almost  every 
direction.  And  last,  but  not  least,  through  the  introduction  of 
the  new  process  the  working  photographer’s  mind  has  been  led 
to  seek  a better  goal,  photographic  societies  have  been  formed 
everywhere,  an  instructive  literature  has  found  its  way  among 
us,  the  thirst  for  knowledge  of  auxiliary  sciences — physics,  optics, 
chemistry,  &c. — is  growing  extensively,  and  a desire  to  learn  is 
manifest  amongst  thousands.  Verily  a new  era  has  opened  for 
photography. 


llfltts. 

Our  picture  of  “No.  1,”  we  are  sure,  will  be  welcome. 
Those  who  feel  interested  to  know  “ how  No.  1 was  taken  ” 
will  find  details  in  another  column. 


We  do  not  know  if  Mr.  T.  J.  Dixon  claims  to  be  photo- 
grapher to  the  Royal  Family  by  right  of  his  wonderful 
picture  of  the  Monarch  of  the  Forest,  but  in  any  case  one 
would  have  thought  his  lion  couchant  was  sufficiently 
well  known  to  have  secured  him  some  recognition  when  the 
picture  is  reproduced.  We  quite  agree  with  Nature,  which 
published  a wood-cut  of  it  last  week,  that  it  may  be  regarded 


264 


THE  PHOTOGRAPHIC  NEWS. 


[Ai>kil  27,  1883. 


as  oue  of  the  “ triumphs  of  photography,  valuable  both  to 
art  and  science,  for  the  photograph  exhibits  all  the 
characteristic  details  of  the  lion  at  rest.”  But  we  disagree 
in-fotothat  “ the  illustration  tells  its  own  story.”  It  does  not 
tell,  for  instance,  any  more  than  the  letterpress,  who  was 
the  photographer,  and  to  whose  skill  and  cunning,  there- 
fore, the  picture  is  due.  We  hope  Nature  will  say  some- 
thing about  this  in  its  next  issue ; and  it  might  add,  too, 
that  the  picture  is  not  a specimen  of  “ instantaneous 
photography  ” at  all,  as  the  description  makes  it  out. 

Photographers  in  this  country  will  be  glad  to  hear  that 
Herr  Fritz  Luckardt,  of  Vienna,  has  been  honoured  with  the 
title  of  Professor  by  the  Dnke  of  Saxe-Meninigen,  in  recog- 
nition of  his  artistic  efiorts  in  the  domain  of  photography. 

Liquid  oxygen  is  likely  to  become  an  ordinary  laboratory 
agent,  if  not  an  article  of  commerce,  for  M.  Wroblewski 
has  now  discovered  a much  more  easy  method  of  production 
than  that  at  first  employed.  He  employs  extreme  cold  in 
conjunction  with  high  pressure  in  order  to  turn  the  gas  into 
a liquid.  M.  Wroblewski  found  that  by  boiling  ethylene, 
not  at  the  ordinary  atmospheric  pressure,  but  in  a vacuum, 
he  can  attain  a temperature  as  low  as  — 136°  C.,  and  this 
suffices  for  his  purpose. 

Sulphide  of  carbon  and  alcohol  congeal  at  this  low 
temperature,  and  both  oxygen  and  nitrogen  become  liquid. 
On  the  9th  inst.,  in  three  experiments,  liquid  oxygen  was 
successfully  produced,  respectively  at  — 131°6C.  tempera- 
ture, and  at  a pressure  of  26  J atmospheres,  at — 133Q4C.  and 
24£  atmospheres,  and  — 135°8C.  and  22£  atmospheres.  The 
liquid  oxygen  was  transparent  and  colourless,  and  in  this 
respect,  therefore,  different  to  ozone,  which  is  intensely  blue. 
Liquid  nitrogen  presents  the  same  appearance ; while  alcohol 
at  — 130°C.  is  frozen  into  a white  solid,  and  at  — 129°C.  is  a 
viscous  liquid. 


This  is  interesting  to  photographers.  In  connection 
with  the  photo-chemical  action  of  ferric  oxalate,  says 
Engineer , M.  Victor  Jodin  has  observed  that  when  162 
parts  of  perchloride  of  iron  and  63  parts  of  oxalic  acid  are 
dissolved  in  a litre  of  water,  and  exposed  to  sunlight, 
carbonic  acid  is  set  free,  sufficient  to  supply  the  require- 
ments of  plants  enclosed  in  a vessel  with  it.  The  absorp- 
tion and  decomposition  of  the  carbonic  acid  by  the  plant 
is  a second  photo-chemical  action,  for  sunlight  is  required 
to  aid  this  also. 


A little  while  ago  we  promised  in  these  columns  to  de- 
scribe a few  London  studios  “from  the  front.”  That 
promise  we  are  about  to  redeem.  Next  week  we  shall  give 
the  first  of  “ Half-a-dozen  Portraits ; ” they  will  be  sketches 
written  after  as  many  visits  to  studios  in  London  where 
we  have  sat  for  a portrait  as  one  of  the  public.  Obviously, 
the  only  value  these  sketches  can  have  will  depend  upon 
two  things  : that  we  are  unknown  at  the  time  of  our  visit, 
and  that  we  pay  our  way  like  any  other  ordinary  mortal. 

The  studios  we  shall  describe  will  range  from  those  that 


exact  a guinea  fee,  to  others  satisfied  with  the  modest 
payment  of  five  shillings.  Although  we  shall  omit  the 
actual  name  of  the  firm,  its  standing  will  be  indicated 
pretty  well  by  its  locality.  AVo  scarcely  expect  to  find  the 
same  rosy  tint  shining  over  all  things,  as  in  the  case  of 
“The  Photographic  Studios  of  Europe,”  but  we  still  hope 
our  experiences  will  be  of  value  and  interest  to  working 
photographers.  AVe  shall  be  frank  of  speech,  freely  dis- 
cussing such  things  that  are  praiseworthy,  as  well  as  those 
that  are  open  to  criticism. 

There  is  abundant  scope  for  such  work  as  the  City  and 
Guilds  Institute  for  the  Advancement  of  Technical  Educa- 
tion has  been  established  to  perform.  The  Institute,  how- 
ever, carries  out  the  traditions  of  its  origin,  for,  while 
considerably  increasing  its  managerial  expenses,  it  has 
resolved  to  economise  as  regards  fees  to  the  examiners, 
the  minimum  honorarium  being  fixed  at  £b  5s.  in 
future,  instead  of  „£10  10s.  as  formerly.  AVe  know  of  one 
examiner  who  has  declined  to  act  on  these  terms,  and 
fancy  that  something  like  a general  “strike”  is  contem- 
plated. 


The  board  of  one  of  the  largest  iron  and  steel  companies 
in  the  kingdom  is  making  arrangements  for  presenting  each 
shareholder  with  a photographic  album  illustrating  its 
works  and  property.  The  pictures  will  be  about  12  by  15 
inches,  and  printed  by  a permanent  method — probably 
collotype — while  a few  pages  of  explanatory  letter-press 
will  be  added.  Public  companies,  especially  when  the 
works  are  at  a distance  from  the  financial  centre,  might 
well  adopt  a similar  plan.  An  album  could  be  issued 
each  year. 

The  St.  Louis  Photographer , now  carried  on  by  Mrs.  J.  H. 
Fitzgibbon,  is  doing  very  well  under  the  new  regime. 
Among  other  things,  it  contains  some  capital  “ Notes,” 
taken  for  the  most  part  from  our  pages.  As  we  have  said 
before,  we  like  to  be  quoted,  but  we  like  still  better  to  have 
the  quotations  acknowledged. 


AVe  suppose  we  shall  never  get  two  people  to  agree  as  to 
what  is  a novelty.  On  Tuesday  last  a retouching  desk  was 
shown  at  the  Photographic  Society,  the  exhibitor  spending 
some  minutes  in  minutely  describing  its  various  points  of 
originality.  Yet  one  gentleman  remarked  that,  although 
he  had  not  seen  very  many  retouching-desks,  he  had  never 
seen  one  unlike  that  exhibited.  This,  however,  was  better 
than  another  observation,  which,  if  we  remember  it  aright, 
was  to  the  effect  that  the  speaker  had  never  seen  anything 
like  it  before  in  his  life,  and,  what  was  more,  he  wouldn't 
so  much  mind  if  he  never  saw  anything  like  it  again. 


Mrs.  Burnaby’s  book  about  tho  health-resorts  of  Switzer- 
land has  been  announced  as  illustrated  by  photography. 
Such  is  not  the  case  ; the  pictures  will  be  ordinary  wood- 
cuts  taken  from  photographs,  which  naturally  makes  all  the 
difference. 


It  may  be  mentioned,  in  addition  to  what  we  announced 


April  27,  1883. J 


THE  PHOTOGRAPHIC  HEWS. 


265 


last  week  in  reference  to  Mr.  Muybridge’s  book,  “ The  Atti- 
tudes of  Man,  the  Horse,  and  other  Animals  in  Motion,” 
that  the  work  only  will  be  undertaken  if  not  less  than  200 
subscriptions  of  100  dollars  each  be  forthcoming.  The  pro- 
posed volume  will  contain  100  permanent  photographs,  ten 
inches  by  eight,  and  selected  by  subscribers  from  the  entire 
series  to  be  made  for  the  purpose.  An  interesting  corollary 
on  what  Mr.  Muybridge  has  already  done  will  be  a series  of 
pictures  showing  the  attitudes  of  moving  animals  as  they 
have  been  represented  by  ancient  and  modern  artists. 


The  Daily  Chronicle  has  thought  it  of  interest  to  announce 
“by  telegraph  ” that  a Bristol  firm  of  photographers  has 
succeeded  in  photographing  the  “ Flying  Dutchman”  while 
going  at  express  speed.  The  Daily  Chronicle  evidently  docs 
not  know  that  two  years  ago  a photograph  of  this  train  was 
shown  at  the  Pall  Mall  Exhibition  by  Major  Brownrigg. 
Since  then  Messrs.  Marsh  have  also  secured  similar  pictures. 
As  a matter  of  tact,  it  is  no  great  feat  to  photograph  a train 
in  motion  “ end  on  ; ” to  photograph  it  “ broadside,”  to 
use  a nautical  term,  is  quite  another  matter.  Have  our 
Bristol  friends  accomplished  the  last  named,  and  have  they 
made  a picture  of  it  ? 

Who  is  the  possessor  of  the  copyright  in  an  ordinary 
portrait  negative,  the  sitter  paying  the  photographer  in  the 
usual  way  ? It  is  surprising  how  few  photographers  can 
answer  this  question  off-hand,  and  how  much  ignorance 
there  is  on  the  subject.  Within  the  last  few  days  the  point 
has  been  the  subject  of  a practical  issue,  and,  if  the  informa- 
tion which  reaches  us  be  correct,  the  photographer  has  cer- 
tainly come  off  second  best.  An  individual  whose  sobri- 
quet has  lately  been  in  everybody’s  mouth,  having  been 
identified,  his  portrait  immediately  became  of  public  interest 
This  portrait  appeared  in  most  of  the  illustrated  papers  ; in 
two  cases,  a photographer,  who  happened  to  have  a negative 
of  the  individual  in  question,  obtained  payment  for  per- 
mitting the  proprietors  to  make  use  of  his  “copyright” 
photograph.  But  in  another  instance,  where  a claim  was 
made,  the  photographer’s  pretensions  were  repudiated  on 
the  grounds  : firstly,  that  the  artist  had  never  seen  the 
photograph  in  question  ; and  secondly, 'that  the  photo- 
grapher possessed  no  copyright. 


It  is  quite  clear  thrt  in  the  absence  of  any  direct  permis- 
sion from  the  sitter,  the  photographer  neither  possessed  anv 
copyright  in  the  photograph,  nor  had  any  power  to  sell 
prints  from  the  negative.  Mr.  Capinger,  in  his  exhaustive 
treatise  on  the  law  of  copyright,  puts  this  point  beyond  the 
possibility  of  a doubt.  Ho  says : “ As  to  photographs, 
the  copyright  in  non-commissioned  works  belongs  to  the 
photographer ; if  reserved  in  writing,  in  commissioned 
works,  the  negative  and  the  glass  on  which  it  is,  is  usually 
considered  to  belong  to  the  photographer,  while  the  copy- 
right belongs  to  the  person  who  gives  the  commission.”  In 
this  case  the  work  was  a “ commissioned  ” one — that  is  to 
say,  the  sitter  paid  so  much  for  the  taking  of  the  portrait 
and  a certain  number  of  prints  ; therefore,  unless  he  gave 
perpfission  to  the  photographer  to  publish — a very  unlikely 


thing,  since  publicity  in  the  peculiar  circumstances  of  the 
case  was  fatal — the  photographer  had  no  right  to  dispose  of 
the  picture  to  the  proprietors  of  the  illustrated  papers,  and 
it  is  a question  whether  those  who  made  a payment  for  the 
alleged  “ right,”  could  not  demand  their  money  back. 


Another  curious  point  also  arises  out  of  the  matter.  The 
original  negative  contained  the  portraits  of  two  figures. 
In  the  print  that  is  offered  for  sale,  one  of  these  figures 
has  been  stopped  out,  leaving  the  features  of  the  one  who 
has  excited  public  curiosity.  The  point  is  that,  although 
this  individual,  who  is  so  much  “ wanted”  by  the  police 
cannot  move  in  the  matter,  his  companion  might.  The 
copyright  of  a picture  is  not  vested  in  a portion  of  it,  but 
in  the  whole ; and  it  may  be  that  each  of  these  two  per- 
sons, whose  portraits  appear  on  the  negative,  could  sue  the 
photographer  for  an  infringement  of  his  rights.  Alto- 
gether— unless,  as  we  have  said,  he  is  armed  with  the 
direct  permission  of  the  sitter — the  photographer  cannot 
be  congratulated  on  a perfectly  safe  position. 


Although  the  reproduction  of  negatives  by  the  aid  of 
carbon  tissue  is  frequently  resorted  to,  photographers  are 
not  of  one  mind  as  to  the  best  way  of  doing  it.  Mr.  Henry 
Dixon,  in  showing  us  some  fine  pictures  from  his  “ Old 
London”  series  the  other  day,  told  us  his  subjects  were  so 
varied  that  lens  and  plate  had  constantly  to  be  varied,  and, 
therefore,  reproduction  was  with  him  a necessity,  if  he 
wanted  uniformity  in  his  series.  His  plan  is  to  make  a collo- 
dion transparency,  and  then  to  take  a carbon  negative,  fn>m 
which  he  prints.  Mr.  Dixon  has  a predilection  f«r  carbon 
negatives,  especially  when  printing  in  carbon  ; they  are 
prepared  with  “special  transparency  ” tissue,  and  not  one 
in  twenty  requires  intensification  with  permanganate  solu- 
tion. 


Another  point  in  manipulation  from  Mr.  Dixon’s  studio. 
In  order  that  his  gelatine  plates  may  be  well  fixed,  he  em- 
ploys three  hyposulphite  baths  one  after  another,  one  of 
them  being  made  fresh  every  day.  The  subsequent  washing 
of  the  plates  is  no  less  energetically  undertaken,  the  film  not 
unfrequently  being  left  in  water  for  a night.  Such  a 
thorough  course  of  treatment  would  surprise  your  rapid 
worker  who  boasts  he  can  fix,  wash,  and  dry,  in  half-an- 
hour. 


latent  Jntfllignue. 

Application  for  Letters  Patent. 

1960.  George  Robey,  of  5,  Chancery  Lane,  in  the  county  of 
Middlesex,  for  an  invention  of  “ Improvements  in  enamelling 
water-colour  or  oil  photographs.” — Dated  18th  April,  1883. 

Grants  of  Provisional  Protection. 

1650.  Richard  Reynolds  and  Frederick  Woodward  Bran- 
son, of  the  firm  of  Reynolds  and  Branson,  of  Leeds,  in  the 
county  of  York,  for  an  invention  of  “ Improvements  in  photo- 
graphic ‘shutters’  for  instantaneous  photography.” — Dated 
2nd  April,  1883. 

Patent  Filed. 

508G.  Richard  Brown,  and  Robert  William  Barnes,  and 
Joseph  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  Photographers,  for  an  invention  of  “ Improvements 


266 


THE  PHOTOGRAPHIC  NEWS. 


[April  27,  1883 


in  and  relating  to  the  production  of  printing  surfaces  from 
gelatine  reliefs.” — Dated  ‘25th  October.  1882. 

Our  invention  relates  to  certain  improvements  on  what  is 
known  as  the  Woodbury  process,  namely,  that  process  by  which 
impressions  of  the  gelatine  reliefs  are  by  pressure  produced  on 
lead  surfaces.  Previous  to  our  invention  it  has  been  the  practice 
to  produce  impressions  from  gelatine  reliefs  on  lead  plates 
brought  to  a true  and  even  surface  by  placing  such  reliefs 
between  the  lead  plate  and  a steel  face  plate,  and  applying 
hydraulic  pressure  in  a suitable  press,  by  which  the  impression 
of  the  gelati  e relief  was  reproduced  or  impressed  upon  the 
lead  plate,  such  lead  plate,  after  trimming,  serving  as  the  plate 
or  type  for  printing  from.  The  use  of  the  hydraulic  press  as  a 
means  of  producing  these  printing  plates  or  types  renders  the 
process  expensive,  and  limits  materially  the  dimensions  of  the 
plates,  and  necessitates  each  plate  having  perfectly  true  level  and 
even  suriaces,  insomuch  as  it  is  necessary  that  the  pressure  which 
prints  the  impression  from  the  gelatine  relief  on  to  the  lead  plate 
should  be  evenly  applied  over  the  whole  surface  of  such  lead 
plate  simultaneously. 

According  to  our  method  of  producing  impressions  on  lead 
plates  or  sheets  from  gelatine  reliefs,  we  take  a plate  or  sheet 
of  lead,  and  place  above  and  beneath  it  sheets  of  steel,  and  out- 
side these  sheets  of  steel  we  place  above  and  beneath  other  sheets 
of  cardboard,  so  that  the  lower  sheet  is  cardboard  or  other  like 
material  to  give  elastic  pressure  ; the  next  is  steel ; then  comes 
the  lead  sheet  or  plate  ; over  this  is  the  second  sheet  of  steel ; 
and  lastly,  the  second  sheet  of  cardboard  or  its  equivalent. 
Having  arranged  the  sheets  as  above,  we  then  pass  them  between 
an  adjustable  spring  roller  press,  until  the  lead  plate  is  reduced 
to  the  limit  of  adjustment  or  sett  of  the  roller  press.  By  thus 
reducing  the  lead  plate  it  is  brought  to  a true,  even,  and  proper 
surface  and  thickness  for  receiving  the  impression  from  the 
gelatine  relief. 

To  impress  the  gelatine  relief  upon  the  sheet  or  plate  of  lead 
prepared  as  above,  we  use  a gelatine  relief  obtained  in  the  man- 
ner well  known  and  in  use,  which  we  place  between  the  lower  or 
the  upper  sheet  of  steel,  and  the  lead  plate  or  sheet,  and  pass  the 
thus  packed  sheets  through  the  roller  press,  having  the  same  sett 
as  used  in  producing  the  lead  plate,  with  the  result  that  the 
addition  of  the  gelatine  relief  causes  an  impression  to  be  produced 
upon  the  lead  plate,  which  serves  as  the  type  for  printing  from 
with  gelatinous  inks  or  the  like. 

When  it  is  desired  to  print  with  greasy  or  fatty  inks,  we  use  a 
grained  surface  which  we  obtain  by  placing  a gauze  or  perforated 
sheet  between  a positive  and  the  gelatine  sheet  to  receive  the 
print  or  relief.  This  causes  the  gelatine  relief  to  have  a grained 
surface,  and  such  grained  surface  is  transferred  to  the  lead  plate 
or  sheet  in  going  through  the  roller  press. 

As  another  method  of  obtaining  a grained  surface,  we  grain  or 
rough  the  type  surface,  obtained  as  above  by  placing  upon  the 
imprint  or  face  of  the  lead  type  a graiuing  or  roughening 
medium,  such  as  a sheet  of  fine  wire  guaze,  muslin  soaked  in 
glue  and  dried,  sand  paper,  or  the  like.  Upon  the  back  of  the 
graining  or  roughening  medium  we  place  a layer  of  soft  material 
such  as  cloth,  and,  together  with  the  sheet  and  cardboard  sheets 
as  above  described,  we  pass  them  through  the  roller  press  under 
a light  pressure,  but  with  the  same  sett  as  when  impressing  the 
gelatine  relief,  thus  effecting  a graining,  roughening,  or  abrasion 
of  the  surface,  so  producing  a surface  suitable  for  using  fatty  or 
greasy  printing  ink  to  print  with.  We  claim — 

1st.  The  mode,  substantially  herein  described,  of  producing 
printing  surfaces  for  printing  from,  in  processes  in  which  are 
employed  gelatinous  ink,  which  mode  consists  in  imparting  to 
lead  or  soft  metal  plates  a true  and  even  surface  by  roller 
pressure,  and  impressing  into  such  prepared  lead  or  soft  metal 
plate  a gelatine  relief  by  roller  pressure  in  the  manner  set  forth. 

2nd.  The  mode,  substantially  herein  described,  of  producing 
printing  surfaces  for  printing  from,  in  processes  in  which  are 
employed  greasy  or  fatty  ink,  which  mode  consists  of  imparting 
to  lead  or  soft  metal  plates  a true  surface  and  thickness  by  roller 
or  other  pressure,  and  impressing  into  such  prepared  lead  or  soft 
metal  plate  a grained  gelatine  relief  or  a graining  medium  by  the 
means  set  forth. 

3rd.  The  use,  in  connection  with  the  process  herein  described, 
of  the  steel  or  equivalent  metal  sheets,  and  the  card-board  or 
equivalent  elastic  sheets  substantially  as  herein  set  forth. 

Patent  Granted  in  America. 

275,073.  G.  Frank  E.  Pearsall,  of  Brooklyn,  N.Y.,  for  “A 
folding  photographic  camera.” — Application  filed  29th  Sep- 
tember, 1882.  No  model. 


“ HOW  No.  1 WAS  TAKEN.” 

BY  HENRY  DIXON. 

Not  “ No.  1 ” Fenian,  nor  number  one  as  being  the  first 
animal  photographed  by  T.  J.  Dixon  ; not  even  because  it 
is  the  best,  but  because,  having  “taken  ” the  public,  it  has 
found  its  way  to  the  top  of  a long  list  of  animal  studies. 

Although  no  detective  was  employed,  it  was  taken  bv  the 
aid  of  a tinder.  By-tbe-bye,  I think  policemen  call  “ finders  ” 
raouchers,  and  in  one  of  Dickens’s  works,  a Miss  Moucher 
did  good  service  that  way,  but  she  did  not  help  take  a lion, 
only  a jackal.  The  tinder  ust-d  to  take  No.  1 was  simply  a 
duplicate  lens — or  rather,  I should  say,  a lens  of  same  focus, 
•or  a similar  lens  I can’t  find — to  focus  by,  and  so  have  the 
lens  that  does  the  woik  ready  with  best  possible  plate  in  its 
place  behind. 

Well,  everything  teady,  and  his  majesty  in  front  looking 
very  glum,  wait  awhile;  expression  improves.  “ Please  keep 
whiskers  still  — head  slightly  more  to  the  left — steady  I” 
No.  His  majesty  looks  as  if  he  quite  understands  what  you 
wish  him  to  do,  but  he  gives  his  head  a slight  toss  with  a 
tumed-up-nose  expression,  and  seems  to  say,  “ You  have  not 
got  me  yet,”  and  takes  a gentle  walk  to  another  part  of  his 
recreation  ground.  Try  again,  follow  him  up,  get  every- 
thing ready  to  pull  the  shutter  spring.  He  looks  interested, 
and  altogether  first  rate — now  then  ! No.  His  interest  is  in 
the  lens,  and  just  as  you  do  pull  the  string,  he  rises  an  1 
approaches  so  rapidly  that  you  have  just  time  to  back  the 
instrument  out  of  reach  of  his  mouth,  and  so  save  your  lens 
from  a ruinous  scrunch. 

At  last  the  chance  comes.  The  string  is  pulled,  and  held 
with  bated  breath  for  such  portion  of  a second  as  his  majesty 
condescends  to  remain  still.  At  the  first  imaginary  sign  of 
movement  the  string  is  released,  and  a spring  stops  the  ex- 
posure (in  this  case  about  £ of  a second).  Then  more  plates 
and  attempts  at  other  animals,  for  his  majesty  is  tired  and 
restless,  so  no  more  is  to  be  got  from  him. 

The  lens  with  which  No.  1 and  all  the  other  published 
Dixon  Series  of  Animal  Studies  were  taken  was  not  by  any 
modern  celebrated  manufacturer,  but  by  Mr.  Slater,  one  of 
the  early  makers,  who  lived  behind  a very  large  telescope 
in  the  Euston  lload,  near  where  the  Midlaud  Railway 
terminus  is  now.  He  made  it  for  a C.D.V.  lens  at  least 
twenty  years  ago,  and  it  has  been  tested  against  baby  lenses, 
carte  lenses,  and  others  by  best  makers,  and  it  is  better  than 
any  for  the  special  purpose. 

The  direct  negative  of  No.  1 was  small  for  C.D.V.  The 
camera  is  arranged  for  two  exposures  on  half-plate,  and  small 
figures  are  preferred  for  enlarging,  because  the  perspective 
is  not  exaggerated.  Of  course  out  of  many  exposures  there 
are  only  a very  few  so  perfect  as  to  bear  enlarging  to  any 
extent,  but  when  the  small  one  is  perfect,  almost  anything 
can  be  done. 

The  “ Dixon”  way  of  enlarging  these  studies  is  to  make 
a collodion  transparency  in  the  camera,  direct  to  the  size 
required,  if  uot  quite  pleased  with  it,  do  another  and 
another  till  the  best  possible  result  is  gained— the  trans- 
parency to  look  more  brilliant  than  you  wish  the  finished 
print  to  be.  Then  take  a carbon  print  on  special  trans- 
parency tissue,  develop  on  glass,  and  there  is  your 
finished  large  negative.  Should  this  come  to  grief,  you  can 
make  as  many  more  as  you  please  while  you  preserve  your 
transparency. 

Enlargements  produced  this  way  give  prints  with  better 
and  richer  depths  in  the  shadows,  especially  for  carbon 
printing  (all  the  14  by  10  studies  are  printed  in  carbou), 
than  if  done  any  other  way,  because  the  carbon  negative  is  in 
intaglio,  and  while  the  tissue  in  printing  this  is  pressed  closely 
to  the  high  lights,  so  securing  extreme  sharpness,  it  gets 
less  and  less  closely  pressed  as  it  covers  the  deep  shadows, 
and  so  the  light  gets  somewhat  diffused  there,  and  over-rides 
any  roughness  or  woolliness  in  the  enlargement  of  original 
film. 

The  amount  of  enlargement  capable  of  being  produced 
by  this  method  is  astonishing.  In  one  case,  a small  origi- 


April  27,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


267 


nal  of  a tiger,  the  figure  being  of  au  inch  long, 
enlarged  to  ten  inches  long,  and  does  not  look  like  an  en- 
largement— and  yet  with  no  touching  of  any  kind.  From 
small  negatives,  2J  inches  long,  two  enlargements  30  inches 
long  were  exhibited  in  1880,  and  attracted  considerable 
attention.  Of  course  this  method  of  enlarging  involves 
much  greater  cost  of  material  and  time,  but  when  best 
results  are  wanted,  I think  it  is  the  way. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  IX. — Preparation  of  Stone  or  Zinc  for 
Transfers. 

Having  obtained  the  transfer  print,  it  has  next  to  be  trans- 
ferred— i.  e.,  laid  on  a cleau  and  properly  prepared  litho- 
graphic stone  or  zinc  plate — and  passed  through  the  press 
so  that  the  fatty  ink  forming  the  design  may  attach  itself 
to  the  stone  or  zinc,  and  be  capable  of  giving  copies  by  the 
usual  methods  of  lithographic  or  zincographic  printing. 

As  regards  the  choice  of  stone  or  zinc.  For  ordinary 
work  it  is  a matter  of  indifference  which  is  used,  but  for  fine 
work  stone  is  generally  preferred.  It  is  said  that  a polished 
stone  will  take  finer  work  than  a grained  zinc  plate  ; but  a 
polished  zinc  plate  will  take  finer  work  than  a polished 
stone,  and  the  finest  touches,  which  would  be  etched  away  on 
stone,  will  print  up  on  zinc.  For  large  work,  zinc  has  un- 
doubtedly advantages  over  stone  ; it  is  lighter  and  more 
easily  carried  about,  takes  far  less  room  in  storage,  is  free 
from  all  liability  to  the  disastrous  breakages  in  printing 
that  sometimes  occur  with  stone,  and  is  cheaper.  On  this 
account  it  has  been  exclusively  adopted  at  the  Ordnance 
Survey  Office,  Southampton,  and  there  the  saving  on  a 
large  double  elephant  plate,  43  by  28£  inches,  is  estimated 
as  follows: — The  thickness  of  the  zinc  is  of  an  inch,  its 
weight  60  lbs.,  which  is  easily  carried  by  one  man,  and  it 
costs  16  shillings  ; while  a lithographic  stone  of  the  same 
size  is  4J  inches  thick,  weighs  450  lbs.,  requiting  four  men 
to  lift  it,  and  costs  £7. 

On  the  other  hand,  the  metal  surface  of  the  zinc  plate  is 
less  porous  than  the  stone,  so  that  the  fatty  transfer  ink  or 
crayon  does  not  penetrate  it  so  well  as  it  does  stone,  and 
therefore  the  printing  is  more  liable  to  accident,  and  re- 
quires more  skill  on  the  part  of  the  printer.  The  surface  of 
the  zinc  is  also  very  readily  oxidised  in  moist  air.  It  has 
also  been  found  by  some  less  easy  to  make  corrections  than 
on  stone.  Practically,  we  find  few  difficulties  either  in 
printing  or  correcting,  though  our  printers  and  draughtsmen 
are  all  natives  ; and  it  is,  I believe,  to  a great  extent  a 
matter  of  habit  and  training,  and  with  care  and  practice,  as 
good  work  may  be  pulled  from  zinc  as  from  stone.  Whether 
stone  or  zinc  be  used,  it  is  necessary  to  prepare  the  surface 
to  receive  the  transfers. 

Preparation  of  Lithographic  Stones. — The  stones  most 
suitable  for  lithography  are  cut  from  a very  compact  homo- 
geneous limestone,  chiefly  found  in  certain  quarries  in 
Bavaria,  though  good  stone  is  also  found  in  some  parts  of 
France,  and  to  a less  extent  in  other  countries.  They  vary 
in  colour  from  a light  cream,  drab,  or  steel  grey,  to  darker 
shades  of  the  same  colours.  The  lighter  tinted  stones  are 
softer  than  the  darker,  and  the  grey  are  harder  than  the 
cream  coloured.  The  best  stones  are  of  an  uniform  even 
texture  throughout,  free  from  veins  and  light  spots,  and 
such  stones  only  should  be  chosen  for  delicate  work,  where 
uniformity  of  grain  and  freedom  from  spots  is  of  consequence, 
because  the  spots,  being  softer  and  chalky,  are  etched  more 
vigorously,  and  produce  unevenness  in  the  impression.  For 
the  same  reason,  stones  showing  veins,  spots,  and  marbled 
markings  should  be  rejected  for  working  the  direct  processes 
of  photo-lithography. 

As  purchased  from  the  dealers,  the  stones  are  in  slabs  of 
different  Bizes,  the  thickness  varying  with  the  size  from 


about  If  to  4 or  5 inches.  These  stones  are  generally 
backed  with  another  stone  or  slate  of  the  same  size,  by 
running  a layer  of  plaster  of  Paris  between.  Whether 
single  or  double,  the  upper  and  lower  surfaces  should  be  as 
nearly  as  possible  parallel,  so  that  the  stone  may  be  of  even 
thickness  throughout,  and  not  require  backing  and  adjust- 
ing before  passing  through  the  press. 

Before  a stone  is  brought  into  use,  it  is  necessary  to  grind 
its  surface  perfectly  level,  in  order  that  in  passing  through 
the  press,  the  pressure  of  the  scraper  may  be  exerted 
equally  all  over.  Old  stones  which  have  been  used  before, 
and  may  have  had  a drawing  on  them  for  some  time,  will 
require  to  be  ground  to  remove  all  traces  of  greasiness,  which 
often  penetrates  further  than  might  be  expected,  and,  if 
left,  is  liable  to  cause  parts  of  the  old  work  to  reappear,  and 
spoil  the  new.  After  grinding,  the  stones  are  either  polished 
for  line  work,  or  grained  for  chalk  or  half-tone  work. 

The  grinding  is  done  either  with  an  iron  tool  called  a 
levigator,  especially  made  for  the  purpose,  or  by  grinding 
two  stones  together.  The  stone  to  be  ground  is  laid  flat  over 
the  graining  trough,  and  well  sprinkled  over  with  silver 
sand  and  water.  Another  stone  is  laid  over  it,  and,  being 
held  by  opposite  corners,  is  kept  in  constant  motion  up  and 
down  and  across  in  small  circles  passing  equally  and 
alternately  over  the  edges  and  centre  of  the  lower  stone. 
The  upper  stone  must  not  be  allowed  to  rest  for  a moment 
in  one  place,  otherwise  it  may  adhere  to  the  lower,  and  be 
difficult  to  separate.  The  sand  and  water  are  renewed 
from  time  to  time  as  the  working  becomes  difficult. 
During  the  grinding,  care  must  be  taken  to  preserve  the 
level  of  the  atones,  and  this  must  be  constantly  tested 
with  a straightedge,  the  upper  stone  being  worked  so  as  to 
correct  any  inequality.  It  is  sometimes  advisable  to  change 
the  position  of  the  stones,  making  the  lower  one  the  upper 
one. 

When  ground  to  a sufficient  depth  and  quite  level,  the 
stone  is  thoroughly  well  washed,  surface  and  sides,  60  as  to 
remove  all  traces  of  sand  and  grit  which  might  scratch  the 
surface  during  the  polishing.  The  edges  of  the  stone  are 
rounded  off  with  a rasp,  followed  by  a fine  file,  for  about 
half  an  inch  all  round,  and  finished  off  with  pieces  of 
pumice  and  snake  stone  specially  kept  for  the  purpose. 

For  grinding  large  stones,  the  levigator  is  more  con- 
venient. They  are  to  be  obtained  at  the  dealers.  In  large 
establishments  stone  grinding  machines  are  used. 

The  polishing  is  done  with  pumice  stone.  A large  piece 
of  soft,  light,  close-grained  pumice  stone  is  taken,  and  a 
flat  place  having  been  filed  at  right  angles  to  the  fibre,  or 
worked  down  on  the  side  of  the  stone,  it  is  rubbed  with 
water  firmly  backwards  and  forwards  over  the  stone  from 
end  to  end,  or  across  if  the  stone  be  large,  till  all  traces  of 
grain  or  sand-holes  have  disappeared.  From  time  to  time 
the  pumice  must  be  dipped  in  water  to  remove  the  small 
detached  fragments  which  will  form. 

The  polishing  is  finished  off  with  a piece  of  snake  stone, 
called  also  “ water  of  Ayr  ” stone,  about  two  inches  square 
and  six  inches  long,  u«ed  in  the  same  way  as  the  pumice, 
with  water ; but  instead  of  keeping  a flat  face,  a kind  of 
rocking  motion  is  applied  in  using  it,  so  as  to  form  a curved 
rubbing  surface,  which  cuts  more  quickly.  More  water  is 
required  in  using  the  snake  stone  than  is  necessary  with 
pumice. 

The  above  treatment  will  answer  for  all  ordinary  purposes, 
but  if  a very  fine  polish  is  required,  it  may  be  given  with  a 
woollen  pad  and  very  finely  powdered  pumice  stone. 

A well  polished  stone,  suitable  for  fine  work,  should  show 
no  scratches  or  sand-holes  when  examined  with  an  ordinary 
reading  glass. 

After  polishing,  the  stone  must  be  very  thoroughly 
washed,  and  dried  carefully,  so  as  to  prevent  dust  or  grit 
settling  on  it,  and  is  then  ready  to  receive  the  transfer. 

For  chalk  drawing  or  half-tone  work,  the  surface  of  the 
stone  must  be  broken  up  into  a regular  “ grain  ” of  minute 
points,  more  or  less  fine  according  to  the  character  of  the 
aubject.  For  this  class  of  subject,  a stone  of  the  best  quality 


268 


THE  PHOTOGRAPHIC  HEWS. 


Apbil  27,  1883. 


and  of  a light  colour  should  be  selected.  It  is  ground  as 
already  described,  and  any  deep  scratches  taken  out  with 
pumice  stone.  It  is  then  sprinkled  over  with  fine  yellow 
graining  sand,  sifted  through  a sieve  having  100  or  120 
holes  to  the  inch,  or  finer,  according  to  the  grain  required. 
A little  water  is  added,  and  the  surface  is  ground  with  a 
small  piece  of  stone  of  the  same  description  as  the  one  to  be 
grained,  and  having  its  edges  and  corners  well  rounded  off. 
This  is  moved  in  small  circles  regularly  up  and  down  all 
over  the  stone,  adding  water  and  sand  from  time  to  time  as 
may  be  necessary.  The  extent  to  which  the  sand  should  be 
worn  in  finishing  off  requires  6omo  little  experience;  if  too 
fresh,  the  grain  will  be  coarse  and  sharp,  while  if  worn  too 
much,  the  grain  will  be  flat  and  dull.  A well  grained  stone 
should  have  an  even  vellum-like  texture  all  over,  and  be 
quite  free  from  scratches. 

When  the  graining  is  considered  sufficient,  the  stone  is 
well  washed  in  clean  water  with  a spouge,  60  as  to  remove 
all  traces  of  sand,  the  superfluous  moisture  is  squeegeed  off, 
and  the  stone  left  to  dry.  Care  must  be  taken  not  to  ht 
dust  aud  grit  settle  on  it. 

The  treatment  of  stones  which  have  been  used  is  the 
same  as  for  new  stones,  the  grinding  having  to  be  repeated 
for  the  reason  before  stated.  In  common  writing  work, 
when  only  a few  impressious  are  required,  it  will  be  suffi- 
cient to  give  a good  rubbing  with  pumice,  followed  by 
snake  stone.  The  stone  is  then  well  washed,  dried,  and  is 
ready  for  another  transfer. 

For  fuller  details  on  this  subject,  the  reader  may  be 
referred  to  W.  D.  Richmond's  excellent  “ Grammar  of 
Lithography,”  published  by  Wyman  and  Co.,  from  which 
much  of  the  above  sketch  has  been  taken. 

To  be  Continued. 


THE  ECLIPSE  EXPEDITION. 

BY  C.  BAY  WOODS. 

Posted  at  Guayaquil,  Saturday,  March.  Mill,  1883. 
We  are  now  rapidly  making  our  way  down  the  coast  of 
Peru.  Up  to  the  present  time,  the  Pacific  Ocean  has 
amply  deserved  its  name,  so  far  as  our  brief  experience 
goes,  and  I am  taking  advantage  of  our  smooth  passage  to 
resume  my  account  of  our  journey,  first  proceeding  to 
give  you  all  the  information  I am  able  concerning  the 
Eclipse  parties  themselves. 

In  attempting  to  convey  matters  to  your  readers  with 
which  we  are  nut  immediately  concerned,  a difficulty  arises. 
Confined  within  the  comparatively  narrow  limits  of  a 
steamer,  and  only  planting  our  feet  on  terra  firma  for  few 
and  short  intervals,  the  Dews  that  reaches  us  is  of  a sparse 
and  doubtful  quality.  A few  telegrams  on  political 
matters,  occasionally  an  absurd  canard,  a few  local  items 
at  the  places  we  stop  at — that  is  all.  Travelling  with  all 
the  speed  we  can,  the  latest  home  newspapers  we  see  are 
those  we  brought  out  with  us.  As  to  questions  bearing 
on  the  work  we  have  in  hand,  the  knowledge  we  pick  up 
on  the  way  is  small,  and  so  far  as  some  expeditions  are 
concerned,  you  probably  already  possess  information  which 
will  not  reach  our  ears  till  all  parties  find  themselves  at 
their  destination.  Lest  your  information,  however,  should 
not  be  in  advance  of  ours,  I can  at  least  repeat  what  1 
have  heard,  craving  the  indulgence  of  your  readers  to  over- 
look those  items  which  may  be  stale  news,  and  to  pardon 
any  little  inaccuracy  that  may  creep  in. 

When  we  reached  Panama,  we  made  enquiries  for  the 
Eclaireux,  the  French  man-of-war  that  is  to  take  out  our 
French  and  Italian  friends;  but  found  it  was  not  expected 
till  the  25th,  about  the  date  we  expect  to  leave  Callao.  It 
is  to  take  out  a party  under  M.  Janssen,  with  Professor 
Tacchini,  of  Italy,  aud  another  Italian  gentleman.  M. 
Janssen  will,  doubtless,  do  some  photographic  work,  on 
the  nature  of  which  I should  scarcely  like  to  make  a 
statement ; but  if  I might  hazard  a guess,  I should  think 
he  would  have  a shot  for  intra-Mercurial  planets,  and 


endeavour,  by  taking  a number  of  photographs  of  the 
corona,  to  ascertain  if  any  change  took  place  in  the  nature 
and  form  of  the  streamers  during  the  five  minutes  or  more 
at  disposal. 

Prof.  Tacchini  will  probably,  as  in  Egypt,  give  atten- 
tion to  the  red  end  of  the  spectrum,  taking  particular 
note  of  the  red  hydrogen  protuberances.  We  have  also 
heard,  but  do  not  know  how  far  the  news  is  correct,  that 
two  Austrian  observers  are  going  out  also,  but  have  not 
heard  their  names.  It  is  also  said  that  Mr.  Ilanyard  will 
accompany  the  French  party — at  least,  he  stated  his  inten- 
tion to  do  so  a few  months  back.  On  this  point,  at  least, 
your  information  will  be  more  reliable  than  ours.  It  is 
greatly  to  be  regretted  that  we  do  not  seem  likely  to  meet 
Messieurs  Thollon  and  Trepied,  the  French  astronomers, 
who  did  such  able  work  during  the  last  eclipse.  As  some 
of  your  readers  may  remember,  in  addition  to  fixing 
definitely  the  position  of  a very  important  coronal  line, 
they  found  evidence  indicating  an  atmosphere  to  the  moon. 
Recollecting  that  at  the  time  of  an  eclipse  the  sun 
would  have  been  shining  for  some  time  on  that  portion 
of  the  moon  turned  from  us,  that  the  heat  of  that  surface 
would  give  opportunity  for  the  vaporization  of  a small  por- 
tionof  the  moon  atmosphere  that  had  condensed— if  indeed, 
as  is  likely,  it  ever  possessed  any — a very  good  opportunity 
is  presented  to  detect  it  by  the  spectroscopic  method. 
Eye  observations  are  probably  the  best  mean3  of  detecting 
it,  and  it  will  be  a great  pity  if  this  subject  is  overlooked, 
as  it  bids  fair  to  be. 

As  to  the  work  of  the  American  party,  I can  give  you 
more  precise  information,  we  being  at  present  in  theircom- 
pany,  and  they  having  kindly  furnished  me  with  a general 
outline  of  their  programme.  Their  party  consists  of  six, 
and,  without  endangering  the  quality  of  their  work  by  en- 
deavouring to  cover  too  much  ground,  cr  by  undesirable 
complication,  they  have  arrauged  that  each  member  shall 
have  as  much  to  do  as  he  can  safely  do  thoroughly  and  well. 

The  chief  of  their  party  i3  Professor  E.  S.  ilolden,  the 
director  of  Washburn  Observatory.  He  is  thesuccessor  of 
Professor  Watson,  and  is  naturally  desirous — in  fact,  rightly 
considers  it  his  duty — to  follow  up  the  work  of  his  able  pre- 
decessor. Leverrier,  the  famous  mathematician,  discovered 
a disturbance  in  the  orbit  of  Mercury,  the  nearest  known 
planet  to  the  sun,  which  could  not  be  accounted  for  by  the 
influence  of  other  known  bodies,  and  he  put  it  down  to 
some  body  circulating  between  Mercury  and  the  sun.  The 
disturbance  of  Mercury’s  orbit  has,  since  Leverrier’s  time, 
been  confirmed,  and  it  is  a matter  of  very  great  interest  to 
discover  the  body  or  bodies  influencing  it.  A young  French 
astronomer — Lescarbault — claimed  to  have  seen  it,  giving 
a rough  estimate  of  what  seemed  to  be  its  size  and  dis- 
tance from  the  sun.  Whether  what  he  saw  was  really  the 
body  in  question  is  extremely  doubtful ; assuming  that 
such  was  not  the  case,  it  does  not  vitiate  the  probability  of 
the  existence  of  the  body.  During  what  is  spoken  of  as 
the  American  Eclipse  of  1878,  a search  was  made  for  this 
planet — Vulcan,  as  it  had  been  named — and  Professor  Wat- 
son saw  an  object  which  he  regarded  as  an  intra-Mercurial 
planet. 

Immediately  after  his  observations  were  made,  they 
raised  an  animated  discussion,  aud  in  spite  the  known 
ability  of  Professor  Watson  to  grapple  with  the  matter, 
the  question  still  remains  an  open  one.  In  a six-inch  tele- 
scope, magnifying  forty-five  times,  aud  giving  a field  of 
one  degree,  or,  as  a photographer  might  express  it,  giving 
a field  equal  to  that  of  a lens  of  one  aegree  angular  aper- 
ture, he  will  sweep  the  heavens  to  a certain  distance  round 
the  sun  within  the  limits  of  which  Vulcan  might  appear. 
For  this  purpose  he  has  prepared  a map  of  the  stars  in  the 
neighbourhood  of  the  sun  of  May  Gth,  of  which  a copy  is 
before  me  while  1 write,  and  from  it  I see  that  there  is  one 
little  group  of  stars  very  near  the  sun  which  ought  to  ap- 
pear on  the  plates  we  propose  to  use  for  the  outer  corona, 
and  which  will  thus  serve  for  a photometer,  giving  us  some 
idea  of  the  brightness  of  the  sun’s  appendages.  We  our- 


Arm,  27,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


269 


selves  also  propose  pointing  an  ordinary  camera  to  the  sun, 
to  see  if  any  strange  bodies  in  addition  to  the  stars  make 
their  presence  known  on  the  plate. 

Dr.  C.  S.  Hastings,  Professor  of  Physics  in  John 
Hopkins  University,  proposes  to  use  a six-inch  telescope 
made  by  himself,  and  two  prisms,  in  order  to  examine  the 
spectrum  of  the  corona.  The  two  prisms  will  be  so  placed 
as  to  take  in  the  spectrum  of  the  corona  on  two  opposite 
sides  of  the  moon,  the  one  spectrum  being  right  over  the 
other.  By  this  means  he  will  be  able  to  compare  the 
nature  of  the  light  from  the  two  different  parts,  and  note 
any  differences.  Moreover,  he  will  look  carefully  fer  any 
signs  of  dark  lines  in  the  corona.  The  presence  or 
absence  of  dark  lines  is  one  of  the  moot  questions  in 
eclipse  work.  Since  some  of  the  coronal  light  is  polaiized, 
the  inference  is  that  part  of  it  is  light  reflected  from  the 
body  of  the  sun.  The  tendency  of  the  Egyptian  photo- 
graphs is  to  show  that  the  corona  shines  chiefly  through 
its  own  light.  Nous  verrons. 

The  onerous  and  honourable  duty  of  observing  the 
reversion  spectrum,  or,  as  your  readers  will  better  under- 
stand, the  “ flash/’  that  sudden  change  of  dark  lines  to 
bright  lines  as  the  moon  is  just  about  to  complete 
covering  the  sun’s  disc,  is  delegated  to  C.  If.  Rockwell, 
Esq.,  of  Tarry  town,  New  York  ; to  whom,  by  the  way,  no 
small  amount  of  the  credit  of  organising  the  American 
Expedition  i3  due.  He  will  use  a four-inch  telescope  made 
by  Professor  Hastings,  and  a spectroscope  of  high  dis- 
persive power.  His  chief  work  comes,  therefore,  at  begin- 
ning and  end  of  totality.  Lieutenant  Brown,  of  the 
United  States  Navy,  will  examine  the  light  of  the  corona 
by  means  of  an  integrating  spectroscope — that  is  to  say, 
it  will  have  no  lens  to  throw  an  image  on  the  slit,  and 
thus  localize  the  light,  but  will  be  simply  pointed  towards 
the  sun,  taking  in  the  light  from  all  parts  of  the  corona 
and  prominences,  and  giving  its  mixed  spectrum.  Mr. 
Upton,  of  the  United  States  Signal  Service,  will  examine 
the  corona  and  prominences  with  a telescope  having  a 
prism  in  front  of  the  object  glass,  corresponding,  in  fact, 
to  our  prismatic  camera.  The  spectrum  will  be  of  the 
same  nature  as  that  given  by  a spectroscope  in  which  the 
line  si  it  is  replaced  by  a ring  slit,  and  therefore  will  con- 
sist of  a series  of  rings.  In  this  case,  however,  there  is  no 
necessity  for  the  ring  slit,  as  the  corona  itself,  with  the 
moon’s  black  disc  in  the  ceutre,  answers  the  same  purpose. 
Mr.  Preston,  of  the  United  States  Coast  Survey,  has  been 
told  off  to  observe  the  contacts  in  a 3i-ioch  Clark  tele- 
scope. When  he  has  observed  the  second  contact  (the 
second  contact  is  the  one  just  at  commencement  of  totality) 
he  will  step  to  a four-inch  comet-seeker  (do  not  be  puzzled 
by  this  phrase  ; it  only  means  a telescope  that  can  be 
easily  and  quickly  pointed  to  different  parts  of  the  heavens), 
to  which  a polariscope  will  be  attached.  A naval  officer 
will  point  this  to  different  parts  of  the  corona,  the  places 
being  arranged  beforehand,  but  to  be  unknown  to  the 
observer. 

A United  States  Naval  officer  will,  in  all  probability, 
take  charge  of  our  photo-heliograph  and  corona  camera, 
thus  permitting  Mr.  Lawrence  and  myself  to  devote  our 
whole  attention  to  three  or  four  instrument  s each,  and  to 
obtain  a glimpse  of  the  sun’s  surrouudings  during  totality. 
Another  officer  will  call  time  in  the  same  way  that  was 
adopted  in  Egypt,  using  the  clock  Mr.  J.  Y.  Buchanan 
took  out  with  him  on  that  occasion.  Another  officer  will 
examine  the  corona  through  the  3J-inch  Clark  telescope 
that  Mr.  Preston  use3  for  observing  the  contacts,  and  will 
sketch  down  its  main  features. 

I think  you  will  admit  that  the  allied  forces  are  planuitig 
a most  formidable  attack,  and  deserve  to  meet  with  a glori- 
ous and  successful  termination  to  their  campaign.  The 
only  matter  that  disquiets  us  is  the  weather  chance. 
Unless  storm  or  cloud  come  to  the  aid  of  the  realms  of 
darkness  and  ignorance,  our  combined  artillery  cannot 
fail  to  break  down  some  of  the  ramparts,  and  let  in  a flood 


of  light  on  vexed  questions  of  solar  physics,  even  if  we 
do  not  take  the  citadel  by  storm. 

We  are,  as  you  are  aware,  in  hopes  of  taking  up  our 
position  on  Caroline  Island,  but  in  event  of  the  French 
observers  being  there  before  us,  we  shall  consider  it  our 
duty  to  go  to  Flint  Island,  thus  dininishing  the  chances  of 
total  failure  through  local  weather,  &c.  At  Flint  Island, 
though  the  totality  is  a trifle  longer,  this  advantage  is 
more  than  counter-balanced  by  the  greater  difficulty  in 
landing  heavy  articles.  We  shall  make  our  way,  therefore, 
with  all  speed,  to  the  first-named  place. 

And  now,  having  giveu  you  all  the  latest  intelligence,  I 
think  I may  conscientiously  resume  my  account  of  the 
journey.  (7o  le  continued.) 

©omsponimue. 

PHOTOGRAPHY  AND  MAP-MAKING. 

Dear  Sir,  — I noticed  your  remarks  about  “Photography 
and  Map-Making”  in  the  News,  which  I read  with 
much  interest.  But  it  seemed  to  me  that  you  did  not  make 
it  quite  clear  that  the  great  advance  the  Austrians  have 
made  in  the  publication  of  their  engraved  maps  is  duo  to 
the  fact  that  they  have  entirely  superseded  hand-ergraving 
by  helio-gravure , not  photo-lithography  ; they  have  suc- 
ceeded in  getting  over  the  difficulty  of  drawing  the  originals 
for  reduction  by  photography,  so  that  the  engraved  sheets 
produced  by  helio-gravure  are  exactly  in  the  same  style  as 
the  hand-engraved  ones  were.  It  took  a long  time  and  a 
good  deal  of  trouble  to  get  this  done ; but  now  the  draughts- 
men have  attained  such  skill  in  drawing  the  original  maps 
so  as  to  reproduce  the  special  style  of  the  hand-engraved 
maps  of  the  same  series,  that  it  is  hard  to  distinguish 
between  the  sheets  engraved  by  hand  or  reproduced  by 
helio-gravure. 

The  engraving  of  the  ordnance  sheets  at  Southampton  is 
very  much  finer  and  more  finished  than  is  the  case  with 
the  Austrian  engraved  maps,  and  it  would  be  much  more 
difficult  to  get  drawings  made  that  would  satisfactorily  re- 
produce in  helio-gravure  all  the  delicacy  of  the  hand- 
engraved  maps.  We  have  the  same  difficulty  here,  though 
the  engraving  of  our  atlas  of  India  is  not  so  delicate  or 
detailed  as  that  of  the  orduance  maps. 

When  I was  last  in  Vienna,  I paid  more  special  attention 
to  helio-gravure,  and  did  not  see  so  much  of  the  photo- 
lithography ; but  from  what  I recollect  of  it,  1 don’t  think 
it  was  altogether  good  enough  to  replace  engraving. — 
Faithfully  yours,  J.  WATERHOUSE,  Major,  B.S.C. 

Calcutta. 


HARDWICII  ON  THE  LIME  LIGHT. 

Dear  Sir, — I observe  that  the  Rev.  T.  F.  Hardwieb,  M.A., 
in  the  paper  read  before  the  Newcastle-on-Tyne  Photo- 
graphic Association,  notices  a blow-through  jet  (apparently 
lately)  patented  by  Mr.  E.  G.  Wood,  consisting  of  a domo 
arrangement,  in  which  the  two  gases  are  mixed,  to  a certain 
extent,  before  issuing  from  outside  aperture.  I have  not  yet 
had  the  opportunity  of  seeing  Mr.  Wood’s  uew  jet,  and  until 
1 got  my  News  of  the  20th  inst.  had  not  heard  or  read  any- 
thing about  it.  But  not  being  satisfied  with  the  common 
blow-thiough  jet,  I in  December  last  constructed  one  which 
appears  to  be  on  a similar  principle  to  the  one  mentioned  by 
Mr.  Haidwich  (except  the  screws  for  adjusting  oxy.  tube), 
and  of  which  the  rough  eketch  will  give  some  idea.  I 
have  used  it  many  times  since,  before  audiences  numbering 
from  200  to  800,  in  churches  and  halls  in  Edinburgh  and 
Leith.  It  has  given  me  great  satisfaction,  and  several 
gentlemen  interested  in  these  matters  consider  it  good. 

At  the  time  I mi'de  it  I thought  of  giving  my  brethren 
(if  i may  presume  so  much)  through  the  News,  from  which 
I have  got  many  tips,  the  benefit  of  the  simple  idea,  as  it 
might  be  new  to  some  ; but  I considered  it  would-be  better 
to  have  something  to  say  about  it  from  experience.  It  is  a 


270 


THE  PHOTOGRAPHIC  NEWS.  [Aprix  27,  1883. 


simple  construction  as  I made  it,  but,  everythin?  considered, 
I like  it  best  of  the  three  kinds  I h«ve  used  this  season. 

My  intention,  before  r<  ading  the  description  of  the  one 
patented  by  Mr.  Wood,  was  to  photograph  the  one  I made, 
and  send  a copy  with  sketch  and  description.  In  making 
it,  I used  quarter-inch  tube,  and  connected  the  two  tubes 
like  a y upside  down,  as  in  sketch  ; but  before  soldering 
them  together,  I soldered  into  the  oxy-tube  a piece  of  smaller 


tube  with  aperture  of  ^ in.,  so  that  it  would  reach  to  about 
j in.  from  large  aperture,  which  is  fully  an  ^ in.  in  diameter. 
I hammered  down  outside  edge  of  hydro,  tube  to  turn 
inwards,  so  that  the  gases  might  mix,  thus  forming  a dome. 
Kf  l believe  you  will  see  a striking  likeness  between  the  two 
jets,  in  effect  at  least ; and  it  might  be  as  well  to  notice  if  the 
patent  for  this  arrangement  was  applied  for  previous  to 
December  of  1882,  or  even  January  of  1883,  so  that  those 
who,  like  the  writer,  sometimes  construct  and  use  pieces  of 
apparatus  which  tbev  never  think  of  protecting,  may  not  run 
themselves  into  a difficulty. — Yours,  John  Whyte. 

HYPOSULPHITE  OF  SODA  IN  PAPER. 

Dear  Sir, — In  the  Photographic  News,  dated  March 
22nd,  we  read  the  following  : — “ Much  of  the  rapid  fading 
so  common  in  the  present  day  is  rather  due  to  the  presence 
of  sodium  hyposulphite  in  the  mounts,  than  to  deficient 
washing  of  the  prints,  although  both  causes  contribute 
to  the  general  result.”  This  is  a truthful  and  important 
statement,  which  will  be  endorsed  by  most  photographers. 
I heard,  when  in  India  recently,  many  complaints  ot  the 
instability  of  silver  prints,  and  saw  numbers  of  photo- 
graphs in  different  stages  of  hypo  disease.  One  frame 
containing  family  portraits  hanging  on  the  wall  especially 
attracted  my  attention  ; some  of  these  originally  good 
samples  of  the  art  were  deformed  by  crops  of  the  well- 
known  mildew-like  spots  ; others,  the  colour  of  bad  iuk  or 
iron  mould  ; and  not  a few  were  but  ghosts  of  their  former 
selves — in  fact,  one  or  two  faces  had  almost  disappeared. 

The  climate  of  India  has,  doubtless,  iu  addition,  a 
pernicious  effect — extremes  of  heat,  damp,  strong  sunlight — 
and  in  localities  the  sea  air  exercises  a solvent  action. 
But  the  presence  of  hyposulphite  in  ordinary  paper  has 
a bearing  beyond  the  mounting  of  photographs.  It  is 
open  to  a more  serious  accusation,  viz.,  the  injury  done  to 
gelatine-bromide  plates,  both  exposed  and  un-exposed  ; for 
example,  Itook  out  some  clean  white  blotting-paper  to  pack 
my  plates  after  exposure,  and  usually  I insert  a narrow  edge 
or  slip  only  between  margins  of  plates  to  prevent  vibration, 
and  then  wrap  up  in  the  paper  they  are  sent  out  with,  and 
return  to  cardbook ; but  in  some  cases,  inadvertently, 
rather  more  paper  overlapped  the  gelatine  surface,  and  I 
found  on  developing  a marked  deficiency  of  detail  in  that 
part— a corrosion  or  reduction  corresponding  to  the  size 
and  shape  of  the  contact  with  blotting-paper.  I have 
since  tested  the  paper  by  iodide  of  starch  solution,  and  find 
that  hyposulphite  of  soda  is  present  in  considerable  quan- 
tity. Again,  some  plates  brought  home  unused  were  ex- 
posed the  other  day,  and  I found  on  these,  after  develop- 
ment, a distinct  line  of  fading  along  the  edge  where  the 
paper  intervened.  These  plates  were  supplied  from  a well- 
known  firm,  and  the  paper  apparently  clean  fine  cartridge. 
This  was  subjected  to  similar  test,  and  gave  evidence  of 
hyposulphite,  but  in  smaller  proportion.  What  must  be 


the  effect  of  impure  paper  spread  over  the  whole  sensitive 
film  ? Simply  ruinous.  The  wisdom  of  placing  even  tissue 
paper  between  plates  is  doubtful,  as  the  material  is  absorb- 
ent. However,  there  can  be  no  objection  to  chemically 
pure  paper  confined  to  edge  or  quarter-inch  magin,  which 
would  be  sufficient  to  prevent  contact  and  friction. 
Grooved  boxes  have  disadvantages,  and  not  the  least  is 
the  bulk  they  take  in  one's  kit.  The  subject  of  packing 
gelatine  plates  evidently  requires  further  consideration. — 
I am,  yours  faithfully,  Thomas  H.  Morton,  M.D. 


HwMbmgs  oi 

Photographic  Society  of  Great  Britain. 

A meeting  was  held  on  Tuesday,  the  24th,  Mr.  H.  Baden 
Pritchard  in  the  chair. 

Mr.  Sands  exhibited/his  “ Gun  Camera,”  an  apparatus  for 
securing  photographs  of  rapidly  moving  objects.  It  is  provided 
with  a gun-stock,  and  front  and  back  sights,  so  as  to  be  capable 


of  being  “ aimed  ” with  precision.  A little  stud  in  front  permits 
the  adjustment  of  focus — approximately  only,  of  course — prior  to 
raising  the  gun  camera  to  the  shoulder.  Eighteen  plates  may 
be  put  into  the  apparatus,  the  plates  being  small  discs  of  glass 
about  the  size  of  an  ordinary  eye-glass.  Behind  the  tube  con- 
taining the  lens,  there  is  a large  disc  plate,  bearing  three  brass 
cylinders.  One  contains  the  unexposed  plates,  the  other  is  to 
receive  them  as  they  are  exposed,  and  the  third  is  an  inter- 
mediate receptacle,  and  is,  indeed,  the  back  of  the  actual  camera, 
for  it  is  always  iu  position  when  the  exposure  takes  place.  Each 
sensitive  plate  is  borne  in  a rim  or  frame  to  prevent  the  sur- 
faces touching— looking  like  rimmed  eye-glasses — and  they  are 
kept  pressed  forward  by  a spiral  spring  behind.  The  working 
of  the  apparatus  may  be  imagined.  The  cylinder  containing  the 
plates  is  turned,  so  that  one  plate  enters  the  tube,  behind  the 
lens ; the  intermediate  cylinder  then  takes  the  place  of  the 
plate  cylinder,  and  after  exposure,  which  is  accomplished  by  a 
revolving  shutter,  the  plate  is  received  into  cylinder  No.  3. 

Mr.  Sebastian  Davis  thought  that,  among  other  things,  an 
arrangement  of  the  sort,  only  less  obtrusive,  might  be  employed 
in  photographing  refractory  criminals. 

The  Chairman  remarked  that  cases  of  refractory  criminals 
were  not  so  frequent  as  supposed.  He  had  some  experience  both 
of  Millbauk  and  Pentonvillle,  and  not  one  prisoner  in  five  hun- 
dred refused  to  be  photographed.  The  fact  wa3  that  every 
prisoner  was  accorded  certain  privileges,  but  only  if  he  fulfilled 
the  prison  regulations,  and  to  be  photographed  was  one  of  these. 

Mr.  Cowan  exhibited  some  emulsion  plates  prepared  according 
to  Dr.  Van  Monckhoven’s  process  as  described  in  the  Year- 
Book  of  Photography  for  1880.  He  referred  to  the  circum- 
stance that  an  emulsion  prepared  by  Monckhoven’s  ammonia 
process  might  have  its  sensitiveness  very  considerably  increased 
by  being  re-melted,  provided  that  some  ammonia  remained.  An 
emulsion  which  had  been  partially  washed  was  cautiously  re- 
melted,  the  temperature  being,  iu  all  probability,  not  over  90”F., 
and  it  was  found  to  be  nearly  eight  times  as  sensitive  as  formerly. 
He  thought  that  the  activity  of  ammonia  as  an  exalter  of  sensi- 
tiveness was  very  much  greater  when  the  “ decomposition  salts  ” 
were  either  partially  or  entirely  removed.  A very  convenient 
method  of  washing  small  quantities  of  emulsion  was  then  de- 
scribed. A plate  is  levelled  and  a sheet  of  paper  is  laid  on  it, 
the  edges  of  the  paper  being  turned  up  so  as  to  convert  it  into  a 
dish,  after  which  enough  emulsion  to  form  a layer  about  an 
eighth  of  an  inch  deap  is  poured  in.  When  the  emulsion  has 


April  27,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


271 


get,  the  coated  paper  is  soaked  in  an  ordinary  dipping  bath. 
He  left  it  in  the  water  for  twenty-four  hours,  but  Mr.  W . Bedford 
thought  five  hours  would  have  been  sufficient. 

Mr.  Davis  had  found  that  in  making  small  quantities  of 
emulsion,  say  five  or  six  ounces,  a gallon  stoneware  bottle  with  a 
flat  side  (like  the  ordinary  warm  water  bottle)  to  be  excellent  for 
washing.  The  emulsion  was  permitted  to  set  upon  the  flat 
surface,  and  then  the  bottle  filled  with  wa'er,  corked,  and  rested 
flat  side  uppermost.  In  twenty-four  hours  the  emulsion  was 
completely  washed  with  two  or  three  changes  of  water. 

Mr.  Ashman  had  used  a Winchester  quart  as  a washing  bottle 
in  the  same  way,  but  could  not  get  a rapid  emulsion  by  such 
means. 

Mr.  Bedford,  on  the  subject  of  re-warming  washed  emulsion, 
said,  if  it  was  heated,  without  containing  any  soluble  bromide, 
green  fog  inevitably  resulted. 

Mr.W.  B.  Debenham  bore  similar  testimony.  A temperature 
of  160°  to  180°  F.  in  re-warming  produced  dense  fog,  beyond 
the  reach  of  doctoring  by  bichromate  of  potash. 

Mr.  Ackland  said  fog  ensued  as  low  as  120°F. 

Captain  Abney  exhibited  two  samples  of  gelatine  in  sealed 
tubes.  In  both  of  them  fungi  had  made  their  appearance, 
although  in  No.  1 tube  to  a more  marked  degree  than  in  No.  2. 
Both  tubes  had  been  heated  to  a temperature  of  200°F.,  but 
No.  1 tube,  which  showed  most  fungi,  had  only  been  heated  once, 
while  No.  2 had  received  three  heatings. 

The  Chairman  asked  if  Captain  Abney  had  examined  the 
fungi  of  the  two  tubes  under  a microscope.  Captain  Abney  had 
not  done  so,  but  had  employed  a magnifier. 

Mr.  Davis  referred  to  Pasteur’s  and  Tyndall’s  experiments 
on  the  development  of  germs. 

Mr.  Coles  exhibited  a retouching  desk. 

Mr.  Sands  exhibited  a form  of  shutter  he  had  recently  con- 
structed. It  was  very  simple,  merely  consisting  in  drawing 
down  a screen,  and  allowing  it  to  rise  again.  In  this  way  the 
foreground  was  exposed  duriug  the  whole  time  the  shutter  was 
open,  while  the  sky  only  received  exposure  at  the  moment  the 
screen  was  pulled  down  to  its  full  extent,  and  before  it  began  to 
rise  again. 

The  meeting  was  then  adjourned  till  Tuesday,  the  8th  May. 


Bolton  Photographic  Society. 

The  second  annual  open  meeting  of  this  Society  was  held  on 
Tuesday  evening,  in  the  Baths  Assembly  Room,  which  was 
thronged  by  a large  and  appreciative  gathering  of  the  elite  of  the 
town,  who  seemed  to  thoroughly  enjoy  the  arrangements  made 
for  their  enjoyment. 

The  exhibits  of  photographs  and  photographic  apparatus  were 
of  the  most  interesting  description,  and  spoke  volumes  of  the 
progress  made  by  members  of  the  Society. 

The  principal  contributors  were  Messrs.  J.  R.  Bridson,  J.  P. 
(one  of  the  vice-presidents),  T.  Parkinson,  R.  Harwood, 
Councillor  J.  W.  Hawsksvvorth  (secretary),  J.  C.  Sewell.  J.  Ash- 
worth, and  John  Taylor,  and  in  some  cases  the  work  was  of  the 
highest  class.  A collection  of  pictures  lent  by  the  Autotype 
Company,  London,  was  a source  of  great  attraction,  the  subjects 
being  well  chosen,  and  the  delicate  finish  admirable. 

Mr.  Banks  exhibited  a number  of  Hunter  and  Sand’s  cameras 
with  instantaneous  shutters  of  the  most  ingenious  description, 
and  the  same  gentleman  had  also  on  view  a small  dynamo  made 
at  his  own  works  from  his  own  drawings  for  the  purpose  of 
electrical  experiments  in  the  Board  School  Science  Classes.  The 
dynamo  was  used  several  times  duriug  the  evening,  furnishing 
electricity  for  a number  of  Swan’s  iucandescent  lamps,  which 
were  tested  with  the  greatest  success.  The  microscopes, 
stereoscopes,  &c.,  which  were  also  on  view  on  Mr.  Banks’s  table, 
were  freely  examined,  and  appeared  to  afford  much  pleasure. 

The  musical  portiou  of  the  programme,  which  was  in  the 
hands  of  Messrs.  Warburton,  Houghton,  Howarth,  and  Walls 
(Mr.  G.  Halli.vell  presiding  at  the  piauo),  was  very  goo<l,  the 
quartettes,  solos,  &c.,  beiug  rendered  with  taste  and  precision. 

Not  the  least  pleasing  part  of  the  evening’s  proceedings  was 
the  exhibition  of  views  which  had  been  taken  by  the  members, 
and  which  were  thrown  on  to  a large  sheet  by  a pair  of  dissolv- 
ing view  lanterns  of  great  power,  a description  of  each  beiug 
given  by  Mr.  J.  H.  Galloway. 

During  an  interval  in  the  proceedings  the  Secretary  (Mr. 
Hawkswortb)  rea  l the  annual  report,  which  showed  the  Society 
to  be  in  a flourishing  condition. 

Mr.  John  Hick,  J.P.  (the  President),  then  delivered  a brief 
but  interesting  address  on  the  objects  of  the  Society,  and  on  the 


progress  which  had  been  made  by  the  art  since  he,  in  1842,  was 
elected  one  of  the  first  members  of  the  first  Photographic  Society 
in  England.  He  referred  to  the  elevating  character  of  the  art 
as  pursued  by  amateurs,  and  contended  that  it  tended  to  make 
all  its  devotees  artists  in  the  truest  sense  of  the  word.  Having 
spoken  of  the  peculiar  opportuneness  of  each  of  the  great  inven- 
tions which  duriug  the  niueteenth  century  have  given  such  a 
stimulus  to  civilisation,  he  dealt  with  the  many  important  uses 
to  which  photography  was  now  applied  in  the  various  construc- 
tive branches  of  trade,  and  concluded  by  wishing  the  Society 
every  success,  and  by  hopiug  that  the  number  of  its  members 
would  greatly  increase. 

The  proceedings  terminated  with  a cordial  vote  of  thanks  to 
the  President  and  all  who  had  assisted  in  the  evening’s  enter- 
taiment,  which  was  carried  on  the  motion  of  the  Rev.  R.  Best, 
seconded  by  the  Rev.  J.  W,  Cundey  (Head  Master  of  the  Bolton 
Chruch  Institute). 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  Thursday,  the  19th  inst.,  Mr.  A.  Cowan 
in  the  chair, 

Mr.  Henderson  exhibited  a lamp  introduced  by  Marion  and  Co. 
for  the  developing  room  ; the  glass  was  flashed  with  ruby  on 
one  side,  and  yellow  on  the  other.  He  also  showed  a cut-glass 
developing  tray  from  the  same  firm,  the  bottom  of  which  was 
provided  with  two  ridges  to  prevent  the  plate  adhering. 

The  following  questions  from  the  box  were  then  discussed — 
viz  : 1 . “ Is  there  anything  gained  by  adding  a small  quantity 
of  common  salt  to  the  last  washing  water  but  one  before  toning 
prints  ? ” 2.  “ Is  bromide  of  silver  soluble  in  excess  of  bromide, 

and  if  so,  to  what  extent  ? ” 3.  “ Is  anything  gained,  in  such  a 

climate  as  ours,  by  fuming  sensitized  paper  before  printing  ?” 

In  discussing  the  first  question,  Mr.  Debenham  said  he  was  of 
opiuion  that  common  salt  converted  the  silver  iuto  chloride,  and 
also  allowed  a better  chance  of  judging  the  colour. 

Mr.  Brown  could  judge  better  by  looking  through. 

Mr.  Henderson  thought  it  better  to  add  the  salt  to  the  toning 
bath,  instead  of  using  it  separately. 

Mr.  Tolly  thought  a grain  of  chloride  of  gold  to  a sheet  of 
paper  too  much  to  use. 

With  reference  to  the  second  question,  Mr.  Henderson  said 
it  was  the  opinion  of  Mr.  Dawson,  of  Brighton,  that  he  could 
obtain  a very  finely-divided  bromide  of  silver  by  dissolving  it  in 
bromide  of  potassium,  and  then  precipitating  by  the  addition  of 
water  ; the  bromide  of  silver  was  found,  from  the  experiments, 
to  be  more  soluble  in  a hot  solution  than  in  a cold  one. 

Mr.  Tully  said  he  never  found  any  advantage  in  using 
ammonia. 

Mr.  Henderson  preferred  to  enlarge  from  a print  on  fumed 
paper,  as  less  grain  showed. 

Mr.  Brown  thought  it  best,  when  copying  silver  prints,  to 
under-expose  in  the  open  air. 

Mr.  Cowan  thought  a slow  gelatine  plate  gave  better  trans- 
parencies than  wet  collodion. 

Mr.  Debenham  preferred  wet  collodion. 


Manchester  Photographic  Society. 

The  monthly  meeting  was  held  on  Thursday,  the  12th  inst., 
Mr.  John  Pollitt  in  the  chair. 

Mr.  A.  Brothers  said  that  anyone  wishing  to  make  photo- 
graphs of  microscopic  objects  with  apparatus  not  specially  con- 
structed for  the  purpose  would  require  a microscope  and  a 
bellows  camera  with  portrait  lens,  and  showed,  by  a sketch  on  the 
olack  board,  how  the  microscope  and  camera  should  be  arranged. 
The  microscope,  object,  condensing  lens,  and  light  being  placed 
in  the  usual  way,  the  camera  and  lens  should  be  arranged  on  a 
line  with  the  microscope,  the  portrait  lens  being  close  up  to  the 
eyepiece  of  the  microscope,  when  the  object,  after  careful 
adjustment,  will  be  seen  on  the  ground  glass  of  the  camera, 
enlarged  in  proportion  to  the  power  of  the  microscope  and  the 
length  t.o  which  the  camera  may  be  drawn  out.  Allowance 
must  be  made  in  the  usual  way  for  the  difference  between  the 
visual  and  actinic  foci  of  the  object  glass,  and  a very  powerful 
light  will  be  required.  He  had  obtained  photographs  of  the 
moon  with  a Barlow  lens  which  gave  the  image  enlarged  about 
one  diameter,  and  this  succeeded  fairly  with  the  full  moon  ; but 
he  considered  that,  owing  to  the  feeble  light  of  the  moon,  no 
advantage  would  be  gained  by  attempting  a greater  enlargement 
direct.  The  case  of  photographing  the  sun  was  different,  and 
pictures  had  been  made  on  a large  scale  by  M.  Janssen,  at 
Minden,  in  France,  with  great  success. 


272 


THE  PHOTOGRAPHIC  HEWS. 


[April  27,  1883. 


Mr.  H.  Smith  showed  a camera  slide  and  camera  stand  of  his 
own  making.  The  slide  is  constructed  so  as  to  allow  a carrier, 
containing  two  plates  placed  back  to  back,  to  be  inserted.  Any 
number  of  carriers  might  be  used,  and,  by  means  of  a bag,  the 
plates  changed  when  out  in  the  field. 

It  was  suggested  that  a changing-box  made  with  grooves 
for  these  carriers  to  fit  in  would  act  with  greater  certaiuty  than 
having  to  transfer  the  glass  plates  only,  as  in  the  present  form  of 
changing-boxes. 

Mr.  A.  Coventry  exhibited  a new  drying-box  he  had  made, 
and  referring  to  one  he  had  shown  previously,  in  which  the  air 
travelled  over  the  plates  one  after  the  other,  explained  that  the 
top  ones  were  very  much  longer  in  drying,  which  he  found 
objectionable.  In  the  new  box — which  contains  fourteen  shelves 
capable  of  holding  fifty-six  quarter-plates,  or  fourteen  of  9 by  7 
inches — the  opening  at  the  bottom  for  admission  of  air,  and  the 
outlet  at  the  top,  are  about  equal.  At  the  .back  of  each  shelf  is 
an  opening  one-fourteenth  of  these.  On  the  top  is  a chimney 
five  or  six  feet  high,  with  Bunsen  burner.  The  air  enters,  passes 
over  the  plates  into  a chamber  at  the  back,  and  is  carried  off  by 
the  chimney,  the  result  being  that  the  plate  on  the  top  shelf 
dries  as  quickly  as  the  one  on  the  lowest.  He  had  lately  been 
using  common  soda  with  the  sulphite  developer  with  great  advan- 
tage, as  plates  developed  with  it  were  very  clear  which,  on  using 
ammonia,  would  only  give  gieen  fog. 

Mr.  J.  Schofield  also  said  he  had  had  plates  giving  green  fog 
with  using  ammonia  in  the  developer  ; but  the  same  plates  with 
ferrous  oxalate  were  all  that  could  be  wished. 

Mr.  W.  J.  Chadwick  showed  a camera  and  slides  for  taking 
pictures  3J-  by  3£  for  the  lantern. 

Votes  of  thanks  having  been  passed  to  Mr.  Coventry  and  the 
other  contributors,  the  meeting  was  adjourned  to  May  10th, 
when  Mr.  J.  Dale  will  read  a paper  “ On  the  Recovery  of  the 
Materials  used  in  the  Ferrous  Oxalate  Developer.’’ 


SLaIk  in  tfr*  Stubin. 

South  London  Photographic  Society.— At  the  next 
meeting,  to  be  held  at  the  House  of  the  Society  of  Arts  on 
Thursday,  May  3rd,  at  eight  o’clock,  Mr.  F.  A.  Bridge  will  read 
a short  paper  on  “ Lenses,  Cameras,  and  Stands  for  Small  Work.” 
Mr.  W . Cobb  will  read  a paper  on  “ Photography  from  a 
Balloon.”  The  following,  from  the  question -box  (postponed 
from  last  meeting)  will  also  be  discussed  : “ When  large  pictures 
are  required,  is  it  better  to  take  them  direct,  or  to  take  small 
negatives,  and  then  enlarge  them  ? ” Mr.  E.  W.  Foxlee, 
Mr.  G.  Smith,  Mr.  W.  Brooks,  and  several  other  gentlemen  have 
promised  to  take  part  in  the  discussion. 

Old  London. — The  Society  lor  Photographing  Relics  of  Old 
London  pursues  its  useful  labours,  finding,  as  it  would  seem,  in- 
exhaustible objects  of  interest  in  a city  which  is  popularly  sup- 
posed to  be  somewhat  wanting  in  picturesque  associations.  The 
ninth  year’s  series,  which  is  about  to  be  issued  to  subscribers, 
numbers  no  fewer  than  twelve  large  mounted  permanent  photo- 
graphs,  admirably  executed,  comprising  four  views  of  Lambeth 
Palace,  including  the  Gate  House  and  the  so-called  “ Lollard’s 
Tower.”  The  remainder  are  interesting  specimens  of  domestic 
architecture  in  Aldgate,  St.  Mary-axe,  Cheapside,  Bloomsbury, 
and  Soho,  most  of  which  are  probably  doomed  now  to  disappear. 
Mr.  Henry  Dixon  is  the  skilful  photographer  entrusted  with  the 
work. 

The  Transit  of  Venus  Expedition  to  South  Patagonia. — 
Messrs.  D.  Cussons  and  Co.  forward  us  some  photographs  of  the 
encampment  in  South  Patagonia  of  the  American  observers 
who  were  stationed  there  on  the  Gthj  December  last.  The 
desolation  of  the  region  is  well  summed  up  in  the  statement 
that  “ for  thirty  miles  round  there  was  not  herbage  enough  to 
feed  a goat.” 

Safe  Photography. — A correspondent  is  good  enough  to  send 
us  a collection  of  pictures  printed  in  platinotype,  depicting  a 
series  of  Messrs.  Chubb  and  Co.’s  iron  safes.  This  firm,  it  appears, 
like  many  others  nowadays,  largely  employs  photography  for 
describing  their  wares. 

At  the  Metropolitan  County  Court  of  Westminster,  the  case  of 
Taylor  y.  Corbel  1 was  heard  before  Mr.  Judge  B i v ley , in  which 
the  plaintiffs,  a firm  of  photographers  in  Regent  Street, 'sued  the 
defendant,  one  of  their  travellers,  to  recover  the  sum  of  fourteen 
shillings  odd,  being  for  the  balance  of  an  account  for  some 
portraits  which  tlie.defendant  had  obtained  and  had  been  paid 
for.^Mr.  W hitten,  in  the  employ  of  the  plaintiffs,  proved  the  order 


for  the  pictures,  and  produced  a letter  in  court  from  the  defen- 
dant, in  which  the  defendant  had  sent  two  different  sums  of 
twf  nty-five  shillings  each  of  the  original  account,  but  denied  any 
further  liability,  as  he  had  paid  the  balance  to  the  plaintiffs’ 
clerk.  The  defendant  said  he  worked  on  commission  for  the 
plaintiffs,  and  had,  after  deducting  his  commission,  paid  the 
plaintiffs’  clerk  everything  that  was  due.  He  was  not  able  to 
produce  the  clerk,  as  he  had  left  plaintiffs’  employ.  At  this 
stage  of  the  case  the  learned  judge  said,  that  in  the  absence  of 
the  clerk  the  plaintiffs’  books  could  not  be  considered  evidence  of 
a debt;  he  should  therefore  nonsuit  the  plaintiffs  in  common 
law,  leaving  them  the  option  of  bringing  a second  action  against 
the  defendant  if  they  could  find  their  clerk  who  had  received 
the  money,  or  adduced  any  further  evidence. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
May  2nd,  the  discussion  will  be  “ On  Focussing.” 


Wo  &0rr£S80n&iBts. 

***  We  cannot  undertake  to  return  rejected  communications. 

A.  H.  L. — 1.  We  should  recommend  you  to  have  as  many  dark 
slides  as  will  suffice  for  your  day’s  work.  2.  The  first  mentioned. 
3.  Enough  to  make  it  just  faintly  acid,  say  two  to  four  drops 
with  each  ounce  of  solution.  4.  A mixture  of  one  part  of  strong 
nitric  acid  with  three  parts  of  hydrochloric.  5.  Any  maker  of 
photographic  apparatus  would  construct  it  for  you. 

Eyesight. — 1.  The  lamp  cannot  be  improved,  but  you  will  find  it 
an  advantage  to  work  with  closed  eyes,  excepting  when  you  have 
actual  occasion  to  observe.  2.  We  have  used  them,  and  found 
them  satisfactory ; but  we  have  not  any  doubt  that  many  others 
might  be  used  with  equal  advantage. 

A.  G.  B. — The  iron  is  converted  into  the  condition  of  a ferric  salt. 
Do  not  tinker  with  it,  but  throw  it  away  and  make  a fresh  solution. 

Opal. — If  the  plates  aro  gelaliuo-bromide,  there  is  no  silver  to 
recover;  but  if  you  refer  to  the  collodion  process,  it  will  be  suffi- 
cient to  allow  the  waste  liquors  to  flow  into  any  convenient 
receptacle,  and  tho  silver  will  be  completely  deposited  in  a few 
days. 

A.  Singer. — The  context  indicates  that  it  is,  as  you  suppose,  a 
misprint.  Reverse  the  order  as  far  as  that  particular  sentence  is 
concerned. 

A.  Borland. — We  have  sent  it  to  our  wood  engraver,  and  he  will 
report  next  week 

Holcombe. — 1.  We  will  endeavour  to  obtain  tho  particulars  you 
refer  to.  2.  It  is  in  German,  and  we  are  quite  sure  that  there  is  no 
translation  ; neither  is  there  likely  to  be  one.  2.  The  old  plate 
process  is  still  in  general  use. 

Hanco. — It  is  probably  the  pyroxlin  that  is  wrong;  try  another 
sample — one  which  feels  more  rotten  when  pulled  with  the  fingers. 

J.  B. — 1.  Immerse  both  print  and  glass  in  a bath  of  weak  gelatine 
solution,  draw  them  out  together,  and  bring  them  fairly  into  con- 
tact by  stroking  downwards  with  a squeegee.  The  squeegee 
consists  of  a strip  of  tolerably  stiff  india-rubber  mounted  in  a 
groove,  planed  in  a wooden  rule,  so  that  the  rubber  projects  to 
the  extent  of  about  one-fourth  of  an  inch.  2.  No,  it  is  the  most 
suitable  medium,  as  far  as  our  own  experience  goes. 

One  in  Trouble. — 1.  The  publisher  is  Mr.  E.  L.  Wilson,  912, 
Chestnut  Street,  Philadelphia;  but  as  it  will  bo  some  weeks 
before|you  can  obtaiu  a number,  we  shall  have  pleasure  in  posting 
you  one  if  you  will  forward  your  address.  2.  We  imagine  tho 
chances  are  about  equal  in  both  countries.  3.  There  is  no  such 
book,  but  articles  on  the  subject  have  appeared  in  the  Photo- 
graphic News  from  time  to  time. 

McDonald.— 1.  Use  an  extra  thickness  of  ruby  glass.  2.  Hydro- 
fluoric acid  will  dissolve  it  readily. 

Lennox  Browne  and  Emil  Behnke. — Your  communication 
arrived  too  late  for  this  week. 

Canvas. — It  is  not  very  easy,  as  the  greasy  nature  of  the  film 
prevents  aqueous  liquids  flowing  readily.  You  had  better  make 
a fatty  transfer  by  Asser's  method  (see  Leader),  and  impress  it 
on  the  canvas. 

A.  L.  M. — If  for  landscapes  alone,  you  cannot  do  better  than  get 
a simple  view  lens  ; but  if,  on  the  other  hand,  you  wish  to  take 
architectural  subjects  as  well,  you  had  better  obtain  a doublet  of 
the  rectilinear  or  symmetrical  type. 

C.  Talford. — 1.  It  is  extremely  probable  that  you  have  allowed 
the  temperature  to  rise  too  high;  it  is  not  desirable  to  heat  it 
much  above  110°F.  2.  Emery  consists  essentially  of  roughly 
crystallised  alumina,  the  iron  being  of  the  nature  of  an  impurity. 
3.  Dilute  with  ten  times  its  volume  of  water,  and  then  add  about 
an  ounce  of  alcohol  to  each  pint.  4.  Plain  Rives  paper  is  very 
suitable  ; but  if  you  were  about  to  work  on  a larger  scale,  it  would 
answer  your  purpose  to  look  out  for  a cheaper  material. 

Pyro  (Barnes).  — 1.  It  arises  from  the  circumstance  that  a chlor- 
ide of  silver  is  soluble,  to  a notable  extent,  in  a stroDg  solution  of 
an  alkuline  chloride. 


SUPPLEMENT  TO  "THE  PHOTOGRAPHIC  NEWS " 27™ APRIL.  1383 


BY  T J DIXON , COPYRIGHT 


N°  1 


r . . :;y 


THE  PHOTOGRAPHIC  HEWS, 

Vol.  XXVII.  No.  1287. — May  4,  1883. 


CONTENTS. 


PAGK 

A New  Guillotine  Shutter  ‘27*1 

PlOR 

Ihe  Effect  of  the  Temperature  at  which  1'lutes  are  Dried  in 
Modifying  their  Sensitiveness  era 

The  Explosive  Substarcts  Act.  1883  97.1 

The  Studio  Turn-Table....  07'-. 

Half-a-Dozen  Portraits  97  s 

Notes  on  Photography.  By  E.  Howard  Farmer  284 

Astronomical  Photography 284 

Emulsion  Processes  for  Beginners.  By  M.  Lockett 284 

Apparatus  for  Printing  by  tae  Blue  Process.  By  Chaoning 
Whitaker  285 

the  Eclipse  Expedition.  BvCRav  Woods  077 

Correspondence  ‘285 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 
Waterhouse,  B.S.C..  . 07a 

Proceedings  of  Societies 287 

Talk  in  the  Studio 288 

Patent  Intelligence  ya  1 

To  Correspondents 288 

Registrations  288 

A NEW  GUILLOTINE  SHUTTER. 

A shutter,  which  has  recently  been  adopted  in  Austria, 
and  which  is  the  design  of  Herr  Czerui,  of  Vienna, 
deserves  to  have  a few  words  devoted  to  it,  since  it  has 
come  under  the  favourable  notice  of  the  Vienna  Photo- 
graphic Society.  The  instrument,  of  which  we  give  a 


B 


sketch,  is  made  of  ebonite ; and  one  of  the  advantages 
claimed  for  it  is  that  it  acts  more  quickly  than  the  simple 
drop-shutter,  which,  we  believe,  is  usually  associated  in 
this  country  with  the  name  of  Mr.  England. 

. Czerni  shutter  is  not  very  complicated,  although 
it  may  at  first  sight  appear  so.  It  is  set  in  action  by  a 
steel  spring,  and  the  rapidity  of  exposure  claimed  for  it  is 
that  of  3^ of  a second  ; moreover,  wc  are  told,  the  spring, 
when  set  in  action,  being  to  a certain  extent  neutralised 
pother  springs,  there  is  little  or  no  vibration. 

The  action  of  the  shutter  will  be  apparent  from  our 
sketch..  The  falling  portion,  or  shutter  itself,  is  shown  at 
B,  moving  in  grooves  in  the  frame-work,  A A.  The  shutter 
is  pushed  up  by  means  of  the  button,  a,  and  thus  the  steel 
8Pr'Dg,  &,  is  bent.  This  spring  presses  upon  a,  giving  the 
shutter  a downward  pressure.  A little  catch  at  the  side  of 
the  apparatus  at  c holds  the  shutter  in  its  place  when  it  has 
been  slid  upwards;  and  as  soon  as  this  catch,  c,  is  forced 
back  pneumatically,  the  shutter  at  once  rapidly  falls. 

We  may  further  mention  that  the  “ cut-out,”  or  aperture, 
of  the  falling  shutter  is  square,  and  to  prevent  vibration, 
or,  rather,  to  neutralise  it,  two  cheeks  or  projections,  e e, 
are  fitted  on  the  upper  part  of  the  shutter,  and  these,  on 
falling,  press  against  the  spiral  springs,  ff  A pneumatic 
arrangement  of  the  ordinary  nature  is  attached  by  rneaus 
of  a brass  ring,  as  shown  in  the  wood-cut,  g being  the  pear 
to  be  squeezed  by  the  photographer,  and  d the  little 
bellows  that  acts  upon  the  catch,  c.  Altogether  the 
apparatus  will  be  seen  to  be  exceedingly  ingenious,  and 
should  not  be  very  expensive  to  construct, 


THE  EFFECT  OF  T HE  TEMPERATURE  AT  WHICH 

PLATES  ARE  DRIED  IN  MODIFYING  THEIR 
SENSITIVENESS. 

It  has  been  observed  at  various  times  that  some  difference  in 
the  sensitiveness  of  differentplates  prepared  from  the  same 
emulsion  may  arise  from  the  method  employed  in  drying ; 
but  how  great  this  difference  may  be  is,  we  believe,  by  no 
means  generally  known.  Mr.  Warnerke,  a short  time 
since,  somewhat  indefinitely  stated  that  plates  dried  slowly 
were  more  rapid  than  those  dried  rapidly  ; but  no  very 
great  attention  appears  to  have  been  paid  to  his  remarks. 

Some  little  time  ago  our  attention  was  forcibly  drawn  to 
observe  the  matter  in  the  following  manner. 

Weave  in  the  habit,  after  we  have  completed  an  emulsion, 
of  coating  a few  small  trial  plates.  This  we  generally  do 
the  last  thing  at  night,  and,  so  that  the  plates  may  be  dry 
by  next  morning,  we  apply  a somewhat  high  temperature. 
In  coating  afterwards  with  the  bulk  of  the  emulsion  we  use 
a much  lower  temperature,  as  we  are  not  anxious  about 
the  result. 

It  has  always  happened  that  the  last  batch  has  proved 
considerably  more  sensitive  than  the  trial  plates  ; but  this 
we  put  down  to  the  effect  of  the  ripening  of  the  emulsion  ; 
and  it  was  only  when  on  one  occasion  the  we  reversed 
operation  that  we  came  to  see  that  we  had  some  quite 
other  cause  to  take  into  account.  We  had  not  quite  used 
up  a batch  of  emulsion  which  gave  very  rapid  plates,  and 
coated  a few  quarters  with  the  remainder  as  for  trial  plates, 
our  object  being  to  give  them  to  a friend  to  let  him  see 
what  very  quick  plates  we  could  make  ; they  were  dried 
rapidly,  and,  to  our  no  small  surprise,  turned  out  several 
times  less  sensitive  than  the  bulk  of  the  plates  coated 
with  the  same  emulsion. 

Here  was  something  quite  new  to  us.  Our  first  impres- 
sion that  the  emulsion  had  become  slower  appeared  an  un- 
likely one,  and  the  only  other  cause  which  presented  itself 
as  a probable  explanation  was  the  temperature  or  the  speed 
of  drying.  We  determined  to  institute  some  experiments. 
We  need  not  detail  all  of  these,  but  shall  give  such  as  may 
betaken  as  typical. 

We  dried  plates  without  artificial  heat  at  a temperature 
below  50p  F.,  the  time  taken  being  about  forty-eight 
hours.  Others  we  dried  at  the  highest  temperature  short 
of  that  which  would  melt  the  gelatine,  the  time  taken  being 
only  three  to  four  hours.  The  plates  were  tested  side  by 
side  with  a result  both  remarkable  and  (to  us)  unexpected. 

The  plates  dried  slowly,  developed  in  a quarter  of  the 
time  which  those  dried  quickly  took,  and  were  enormously 
more  rapid.  According  to  sensitometer  readings  they 
were  six  times  quicker — by  the  camera  four  times.  The 
difference  in  time  taken  to  develop  was  not  only  due  to 
difference  in  sensitiveness.  When  the  slower  plates  were 


274 


THE  PHOTOGRAPHIC  NEWS. 


exposed  four,  or  even  six  times  as  long  as  the  rapid,  they 
still  developed  more  slowly. 

Here  we  had  a distinct  observation ; but  the  effect  pro- 
duced might  be  due  to  one  or  two  causes.  It  might  be 
due  to  the  difference  in  time  taken  for  drying,  or  to 
difference  in  the  temperature  of  drying. 

To  determine  which  was  the  factor  actually  bringing 
about  the  result,  we  coated  a few  plates,  and  placed  them 
in  a fairly  air-tight  box  with  some  thoroughly  dried 
calcium  chloride,  but  did  not  raise  the  temperature. 
We  do  not  know  exactly  how  long  these  plates 
took  to  dry,  but  as  they  were  coated  over  night,  and 
were  dry  in  the  morning — that  is,  after  ten  hours— it  is 
probable  that  they  took  not  very  much  longer  than  those 
which  were  dried  at  the  high  temperature.  They  were, 
however,  as  sensitive  as  those  which  had  taken  two  days  to 
dry,  and  developed  as  quickly. 

A still  more  remarkable  experiment,  and  which 
completely  corroborates  the  last  in  showing  that  the 
influencing  factor  is  the  temperature,  and  not  the  time  of 
drying,  was  as  follows  ; — 

Several  plates  were  coated  and  left  drying  without 
artificial  heat  for  about  twenty  hours.  At  the  end  of  that 
time,  probably  about  half  the  area  of  each  plate  was  dry, 
a patch  in  the  centre  remaining  wet.  The  temperature 
was  now  very  greatly  raised,  to  somewhat  over  80°  Fab. 
The  plates  on  testing,  when  dry,  all  showed  an  insensitive 
patch  in  the  centre.  This  patch  showed  all  the  character- 
istics of  the  plates,  which  had  been  dried  from  the 
beginning  at  a high  temperature ; that  is,  they  were 
insensitive,  and  beyond  that  took  a very  long  time  to  show 
any  image  at  all,  and  that  although  they  were  the  portions 
of  the  plate  which  had  taken  longest  to  dry. 

This  last  result  somewhat  puzzled  us,  as  we  had  at  times 
before  noticed  that  the  portion  of  a plate  which  had  taken 
longest  to  dry,  even  if  the  temperature  had  been  somewhat 
raised  during  the  process,  was  more  sensitive  than  the 
surrounding  portion.  On  reflection  it  recurred  to  us 
that  these  observations  had  been  made  in  the  case  of  slow 
plates.  On  the  force  of  this,  we  repeated  the  experiments 
which  we  had  just  described  with  a slow  emulsion,  the 
first  having  been  performed  with  a very  rapid  one.  We 
now  found  that  we  got  very  much  less  marked  differences 
in  result.  The  plates  which  were  dried  at  the  highest 
possible  temperature  were  very  little  slower  than  those 
dried  without  artificial  heat. 


[May  4,  1883. 

artificial  heat  at  all,  except  in  very  cold  weather.  There  is 
no  need  for  it  if  a plentiful  current  of  fairly  dry  air  bo 
used.  This  can  only  be  brought  about  by  having  very 
large  air  passages  to  supply  the  necessary  ventilation  to 
the  drying  room  or  cupboard. 


THE  EXPLOSIVE  SUBSTANCES  ACT,  1883. 
The  seizure  of  an  enormous  weight  of  nitro-glycerine  in 
the  heart  of  the  metropolis,  following  quickly  after  the 
Parliament  Street  explosion,  has  thoroughly  aroused  the 
British  public,  and  Londoners  in  particular,  to  an  appre- 
ciation of  the  awful  danger  to  which  we  have  beeu  exposed, 
and  which  is,  let  us  hope,  safely  past.  The  mystery  is 
being  fathomed,  and  evidence  is  being  brought  out,  thanks 
to  the  energy  of  the  police,  which  proves  how  deeply 
rooted  is  this  secret  organization,  which  seems  to  aim  at 
wanton  destruction  of  property,  and  murder  of  innocent 
people.  Meu  who  dabble  in  science  are  often  sneered  at 
by  those  who  do  not  pretend  to  know  anything  about  it, 
and  who  lose  no  opportunity  to  urge  that  their  ignorance 
is  a virtue ; but  how  would  it  have  been  by  this  time  if 
the  Birmingham  police  officer  aud  his  friend  who  saw  the 
tins  of  glycerine  going  into  the  shop  in  Ledsam  Street, 
had  kuown  nothing  of  chemistry  V Probably  thousands 
of  pounds  of  our  property  would  have  been  demolished, 
and,  may  be,  many  lives  lost,  had  these  dynamite  miscreants 
had  the  opportunity  of  distributing  aud  exploding  their 
infernal  luggage.  The  Birmingham  police  officer  has 
stated  that  he  had  been  learning  chemistry  and  photo- 
graphy, and  undoubtedly  but  for  this  fact,  Loudon  would 
have  been  ere  this  star  tie  ! by  the  crash  of  one  of  the  most 
desperate  conspiracies  of  modern  times. 

With  an  unanimity  which  is  quite  assuring,  the  Govern- 
ment have  framed  and  succeeded  iu  passing  through  both 
houses  of  Parliament,  iu  a few  hours,  a measure  of  great 
importance,  more  than  justified,  probably  by  the  exigen- 
cies of  the  times.  The  principal  clauses  of  the  Bill  deal 
with  the  penalty  incurred  by  those  who  dare  to  engage  in 
this  class  of  hazardous  crime,  the  greatest  punishment 
under  the  new  Act  being  penal  servitude  for  life,  and  none 
too  much  either  ; but  the  Bill  deals  with  the  trafficking  in 
or  possession  of  any  of  the  materials  for  making  explosives 
as  well  as  of  explosives  themselves ; and  under  date  of 
the  18th  April,  the  Home  Secretary  has  issued  a “ memo- 
randum’’drawn  up  by  the  chief  inspector  of  explosives, 
and  addressed  to  the  clerks  of  all  local  authorities,  and 
which  was  published  in  the  newspapers  of  the  19th.  The 
essence  of  the  communication  appears  to  lie  in  the  foot- 
note of  which  we  give  a reproduction: — 

“ Memo. — Independently  of  the  purchase  of  explosives 
(such  as  dynamite,  blasting  gelatine,  gnu-cotton,  tonite, 
potentite,  and  detonators),  specially  i dapted  for  blasting, 
and  therefore  generally  available  for  destructive  purposes, 
by  persons  who  may  not  be  reasonably  supposed  to  requiro 
the  same  for  industrial  objects,  suspiciou  should  attach  to 
the  acquisition  in  notable  quantities  of  all  or  any  of  the 
mnteiials  adapted  for  the  making  of  explosives,  when  the 
person  seeking  to  purchase  the  same  is  unknown  to  the 
seller,  or  is  not  kuown  to  require^uch  materials  for  trade  pur- 
poses or  other  legitimate  use.  Among  the  substances  which 
fall  within  this  category,  may  bo  specially  enumerated  the 
following  : nitric  acid,  sulphuric  acid  (especially  in  their 
more  concentrated  foiras),  glycerine,  saltpetre,  Chili  salt- 
petre (nitrate  ol  sodium),  chlorates  (especially  chlorate  of 
potash),  picrates,  picric  acid,  phosphorus,  iodine,  metallic 
mercury,  citrate  of  mercury  (even  iu  comparatively  small 
quantities),  orpimeut.” 

We  give  this  exactly  in  the  form  iu  which  it  has  been 
published,  because  the  moment  we  reail  it,  we  were  struck 
with  the  conviction  that  this  Act  may  prove  exceedingly 
troublesome  to  perfectly  honourable,  upright,  and  righteous 
people.  At  the  present  time  wo  have  somewhere  about  our 


The  conclusion  which  we  draw  from  the  experiments 
described  is,  that  in  the  case  of  very  rapid  emulsions  the 
silver  bromide  is  in  a form  in  which  its  sensitiveness  is 
very  readily  modified  by  pressure,  or  some  such  influence, 
and  that  the  sensitiveness  may  be  altered  to  a very  marked 
degree  by  the  mere  temperature  at  which  drying  of  the 
plates  is  performed.  Between  limits  quite  likely  to  occur 
in  practice — that  is,  between  the  temperatures  of  about 
50“  and  70“  Fah. — we  found  variations  of  sensitiveness 
as  great  as  two  or  three  to  one  produced. 

We  find  also  that  not  only  is  the  sensitiveness  modified, 
but  that  the  quality  of  the  plate  is  changed  ; the  plate 
dried  at  a low  temperature  developing  much  more  rapidly 
than  that  at  a high. 

In  fact,  it  would  appear  that  far  too  little  attention  has 
been  given  to  the  subject  of  drying  plates. 

We  are  given  formulas  which,  we  are  told,  will  give 
plates  of  such  and  such  rapidity,  and  it  is  not  even  taken 
into  account  that  the  process  of  drying  the  plates  may 
produce  as  great  a variation  as  three  to  one. 

In  this  variation  we  undoubtedly  have  some  explanation 
of  the  extraordinarily  different  results  which  different 
experimenters  get  with  the  same  formula. 

Of  course  the  lesson  which  our  experiments  teach  us  is, 
that  the  lower  a temperature  we  can  dry  our  plates  at,  the 
better.  We  may  say,  however,  that  we  did  not  observe 
any  slowing  effect  till  a temperature  of  about  60“  Fah.  was 
reached.  Still,  we  would  say,  to  make  it  a rule  not  to  use 


May  4,  1883.  | 


THE  PHOTOGRAPHIC  HEWS. 


275 


premises  probably  a dozen  Winchesters  of  nitric  acid,  also 
sulphuric  acid  in  “their  more  concentrated  form,”  and  our 
laboratory  shelves  would  disclose  glycerine,  saltpetre, 
citrate  of  soda,  chlorate  of  potash,  and,  in  fact,  nearly  every 
substance  euumeratcd  in  the  memo. 

How  what  are  we  to  do?  Wetremble!  What,  supposing 

all  Scotland  Yard  were  to  make  a raid  upon  us  at . Ok  ! 

wemustnotsay  where  weare.  Well,  how  could  we  prove  that 
we  werelawfully  in  possession  of  thesesubstances  ? However, 
not  to  joke  about  it,  we  fear  the  Act  is  liable  to  fetter  legiti- 
mate trade,  and  binder  experimental  science.  Seeing  that 
we  have  occasion  to  use  about  two  gallons  of  strongest  nitric 
acid  to  set  up  some  48  or  50  cells  of  battery,  it  must  be  no 
wouder  if  our  lingers  bore  the  yellow  stain  that  went  so  far 
to  betray  Whitehead.  Sometimes  a suspicious  spot  i3  to  be 
found  on  our  wearing  apparel,  and  before  now  we  have  had 
a dab  in  each  eye  ! 

Gieat  scares  act  like  powerful  medicines,  to  which  the 


system  can  become  so  accustomed  as  to  be  unaffected  by 
them.  Let  us  hope  the  worst  is  past,  that  the  scare  will 
subside,  and  with  it  the  restrictions  be  relaxed  so  that  the 
march  of  science  may  not  be  hindered.  We  decline  to  dis- 
cuss politics  in  a technical  journal  ; the  Government  have 
got  the  axe  well  at  ..he  trunk  of  the  poisonous  tree  ; let  us 
hope  they  will  be  able  to  grub  up  every  particle  of  its  roots. 


TIIE  STUDIO  TURN -TABLE. 

We  referred  iu  our  issue  of  February  16th  last  to  the 
arrangement  recently  patented  by  Kurtz,  of  Hew  York,  and 
which  may  be  termed  a studio  turn-table. 

It  is  easy  to  imagine  cases  iu  which  considerable 
advantage  may  result  from  the  use  of  such  an  instrument  ; 
but  much  will,  of  course,  depend  on  the  mechanical  excel- 
lence of  the  turning  arrangement. 

The  subjoined  cut  represents  the  turn-table. 


Mr.  Kurtz  says,  in  bis  specification  : — 

This  apparatus  has  reference  to  an  improved  method  of,  and 
apparatus  for,  producing  photographic  images  in  such  a manner 
that  the  fights  and  shadows  are  forced  "to  move  during  exposure, 
over  the  face  of  the  sitter,  without  the  necessity  of  any  change 
in  the  usual  appliances  of  a photographic  studio,  and  by  which 
over-exposed  high-lights  and  under-exposed  shadows  are  entirely 
dispensed  with,  a thoroughly-exposed  negative  made  in  a 
very  short  time  and  without  a reflector,  and  au  artistic  picture 
produced  even  by  inexperienced  operators  with  little  extra 
laoour  and  expense.  This  process  has  the  further  advantage 
that  retouching  is  to  a large  degree  dispensed  with,  owing  to  the 
moving  of  the  shadows  and  high-lights  during  exposure, 
whereby  they  are  made  to  come  out  soft  and  fleshy,  and  in  a 
more  natural  manner.  The  apparatus  consists  of  a method  of 
producing  photographic  images  by  which  the  object  to  be 
photographed  and  the  photographic  apparatus  are  simul- 
taneously moved  during  exposure,  so  that  the  lights  and 
shadows  are  forced  to  pass  over  the  object ; and  it  consists, 
secondly,  of  a movable  platform  supporting  the  object  to  be 
photographed  and  the  camera,  the  said  platform  being  provided 
with  means  for  being  moved  through  a suitable  distance  during 
the  time  of  exposure,  and  with  a rotary  platform  for  turning  the 
sitter  or  object.  By  this  improved  method  and  apparatus  the 
photographic  images  are  produced  by  the  same  appliances  as 
have  been  used  heretofore  either  iu  the  wet  or  dry  process,  with 
this  difference,  that  the  camera  and  sitter  or  other  object  are 
placed  on  a platform  which  is  moved  during  exposure,  so  that 
the  lights  and  shadows  are  forced  to  move  over  the  face  of  the 


sitter,  whereby  a more  artistic  distribution  of  fight  and  shade 
and  a much  better  picture  are  produced.  The  operator  is  by  this 
method  and  apparatus  enabled  to  expose  the  object  first  in  a 
half-light  and  turn  it  then  into  a strong  light,  which  will  give 
him  the  high-lights  last,  so  that  he  becomes  thereby  complete 
master  of  his  light  without  the  trouble  and  delay  of  adjusting 
curtains  and  blinds.  Pictures  can  also  be  taken  in  a shorter 
time,  with  very  little  retouching,  and  furnish  better  portraits, 
which  have  greater  softness  and  rotundity,  and  are  a more 
faithful  reproduction  of  nature,  than  the  pictures  with  strong 
high  lights  and  shadows  obtained  by  the  ordinary  method 
hitherto  in  use. 


IiALF-A-DOZEX  PORTRAITS. 

Studio  I.— “ Photographers  to  the  Royal  Family.” 
“How  will  that  do,  sir?”  says  the  hair-dresser,  with  a 
twist  of  his  brush. 

“Pretty  well,  I think.”  Then,  after  a careful  survey  iu 
the  mirror,  we  add:  “Perhaps  the  moustache  would  be 
better  for  another  twist.  Hot  much — just  a little.  So — 
yes.  that  is  right  now.” 

For  we  are  of!  to  he  photographed,  and  must  be  careful 
of  our  looks.  We  don’t  get  a picture  taken  every  day  of 
our  life,  so  we  ruay  be  pardoned,  perhaps,  for  a little  vanity. 
Besides,  we  are  bound  for  a fashionable  quarter. 

We  pass  along  Cranbourue  Street,  and  call  in  at 
Messrs.  Hunter  and  Sands,  to  purchase  a single  eye-glass. 


276 


THE  PHOTOGRAPHIC  NEWS.  [Mat  4,  1883. 


A single  eye-glass  is  a difficult  thing  to  manage,  if  you  are 
not  used  to  it,  especially  if  it  has  no  rim.  It  fails  to  grip, 
and  slips  out  of  your  eye,  if  you  get  the  least  bit  nervous. 
So,  after  many  hair-breadth  ’scapes  from  destruction  on  the 
part  of  several  round  discs  of  glass  that  the  eye  fails  to 
secure  even  for  a moment,  we  demand  au  apparatus  with  a 
tortoise-shell  frame.  This  is  much  easier  to  manage,  and 
with  it  carefully  balanced  under  the  right  eye-brow, 
we  face  towards  Piccadilly. 

Opposite  the  “ Criterion  ” we  meet  Mr.  Dallmeyer — or, 
rather,  Mr.  Dallmeyer  meets  us,  for  it  is  a little  difficult  to 
see  clearly  just  now.  We  should  like  to  have  passed  on 
unobserved ; but  it  was  not  to  be.  So.  briefly  shaking 
hands,  we  mention  the  important  mission  on  which  we  are 
bound,  and  say  good-bye. 


Here  is  the  studio  we  have  chosen.  There  are  some  capital 
specimens — a very  few,  and  mostly  coloured — below, 
and  having  spent  sufficient  time  in  leisurely  surveying  these, 
we  proceed  to  the  reception  room. 

There  is  certainly  a novel  feeling  about  having  a portrait 
taken;  at  least,  we  find  it  so  at  the  present  moment.  We 
enter  a rather  small  but  well-fitted  office,  in  which  portraits 
of  all  sorts  and  sizes  are  to  be  seen,  and  as  the  gentleman 
who  receives  us  is  rather  shy  about  making  a commencement 
to  the  conversation,  we  proceed  at  once  to  do  so. 

“ I want  a little  portrait  taken.” 

“ Of  yourself?  ” 

“Of  myself.  Cau  you  do  it  at  once ? ” 

“ Yes,  immediately.  A carte  ?”  asks  our  friend. 

We  reply  that  we  should  like  to  see  some  portraits  before 
deciding.  The  specimens  are  very  nicely  arranged  in  series 
over  the  mantelpiece,  and  we  proceed  thither.  This  is  better 
than  producing  a well-thumbed  album,  in  which  the  pictures 
frequently  look  dull  and  dirty,  because  the  leaves  of  the 
album  are  dirty.  Here  all  the  portraits  are  bright  and  fresh, 
and  appear  at  their  best. 

We  examine  the  rows  of  specimens  carefully,  and  find  we 
have  to  do  most  of  the  talking.  As  yet  we  have  heard 
nothing  about  prices,  and  have  seen  no  card  of  terms.  Still, 
we  give  our  friend  credit  for  managing  affairs  very  well  and 
very  quietly.  Perhaps  he  is  a little  too  reticent,  but  that  is 
a fault  on  the  right  side.  At  last  we  question  him  on  the 
subject. 

“ The  vignette  cartes  are  fifteen  shillings  a dozen,”  he  tells 


We  decide,  thereupon,  on  a card  vignette. 

We  are  in  no  hurry,  however,  and  give  another  look  round. 
There  aresomecapital  vignetted  cabinets  displayed.  “What 
is  the  price  of  these  ? ” we  ask. 

“ Ten  for  a guinea,  in  one  position.” 

The  cabinets  represent  very  good  work  indeed,  so  we  re- 
voke our  former  decision,  and  decide  upon  the  latter  form  of 
portrait. 

“ Do  you  supply  a proof  ?”  we  ask. 

“ Oh  yes;  and  if  you  do  not  approve,  we  will  take  vou 
again.” 

We  should  have  liked  to  linger  longer  in  the  room,  and 
sought  some  explanation  about  the  porcelain  and  carbon 
pictures  exhibited,  but  in  the  meantime  our  account  has  been 
made  out,  aud  is  now  presented.  Here  it  is  : 


April  \Zth,  1883. 

No. 


Photo, 


Vignette  Cabinet. 


and  9 copies  £\  1 0 

Post  0 0 6 


.£1  1 6 

(In  ordering  copies,  please  to  quote  the  name  and  number  as  above). 

“ Will  you  be  good  enough  to  give  that  upstairs  to  the 
artist  V ” 

“ Certainly." 

“ lou  can’t  go  too  far,”  he  adds,  jokingly. 


He  was  right  in  his  direction,  for  it  is  rather  a long  way 
upstairs. 

Wo  ascend,  our  piece  of  paper  in  hand.  We  did  not  pay 
when  it  was  handed  to  us,  for  the  simple  reason  that  we 
previously  decided  — and  we  shall  act  in  the  same  way  during 
the  whole  of  this  series — to  defer  payment  until  we  can't 
help  making  it.  A courteous  gentleman  receives  us  at  the 
top  of  the  stairs  at  the  door  of  the  studio,  and,  after  consulting 
the  paper,  begs  us  to  wait  a few  minutes. 

The  studio  is  not  large,  and  it  is  rather  dark  ; that  is  to 
say,  there  is  not  very  much  clear  glass,  and  the  walls  are  of 
a dark  chocolate.  There  is  a parapet  running  outside,  that 
obscures  the  light  for  some  four  or  five  feet,  but  any  defect 
of  this  kind  is  efficiently  remedied  by  the  use  of  a large  sloping 
white  screen  (say  4 feet  6 inches  by  2 feet  6 inches)  that  re- 
flects light  coming  in  from  that  slope  of  the  roof  which  is 
usually  dark.  Our  rough  outline  sketch  will  show  better 
what  we  mean  ; only,  when  we  show  clear  glass,  this  is 


naturally  more  or  less  curtained  accoiding  to  circumstansce 
The  screen,  it  will  be  se>  n,  reflects  light  upon  the  side  0 
the  portrait  nearest  the  glass.  j 

The  camera,  its  lens  deeply  recessed,  is  under  a canopy  of 
hanging  curtains,  and  on  the  camera  stand  are  convenient 
hooks  for  banging  fronts  and  dark  slides,  so  that  they  may 
be  ready  to  hand.  We  have  already  complimented  the 
establishment  upon  its  good  work,  and  we  may  here  say 
that  the  portrait  taken  on  this  occasion  is  a good  one; 
we  shall  now  proceed  to  set  down  its  shortcomings. 

In  the  first  place,  there  was  no  need  to  ascend  so  soon.  It 
was  rather  cold  in  the  studio,  and  we  were  probably  left  ten 
minutes  to  ourselves  ; the  time  would  have  been  much 
pleasanter  spent  downstairs  looking  at  specimens,  and  as 
the  kind  of  portrait  required  had  been  settled,  there  was 
no  reason  why  we  should  have  gone  upstairs  before  the 
plate  was  ready  in  the  dark  slide.  Had  there  been  any 
delay  upstairs,  the  gelatine  plate  would  not  have  been 
spoiled.  You  lose  touch  of  the  visitor  if  he  has  nothing  to 
do  but  wait. 

Shortcoming  No.  2.  There  was  too  much  furniture  in 
the  studio.  Its  limited  dimensions  became  more  limited 
still  in  these  circumstances.  There  were  so  many  chairs, 
tables,  prie-dieus,  knicknacks,  &c.,  standing  about,  that  it 
gave  one  the  impression  of  a room  that  has  been  “turned 
out  by  a busy  housewife;  while  when  it  came  to  posing,  it 
was  really  necessary  to  clear  a space  for  the  sitter. 

Our  photographer  fiiend  now  comes  back  with  his  slide. 
A stool,  or  rather  chair  without  any  back,  is  put  forth  fora 
seat,  and  a lighly-tinted  background  drawn  down.  A much 
better  seat  of  its  kind  is  that  employed  by  Vran  Hoscb,  in 
Paris,  where  we  sat  for  a vignette  last  summer.  This  had 
a small  close-fitting  back  that  afforded  a comfortable  sup- 
port, and  moreover  twisted  on  a pivot  like  a music-stool. 
The  fact  of  its  being  very  solid,  avoided  any  vibration, 
while  at  the  same  time  the  photographer,  if  he  wished  to 
slightly  alter  the  turn  of  your  figure,  could  do  so  in  an  instant 
without  askiug  you  to  shift  your  position.  However,  the 
lack  of  support  to  the  back  in  the  present  case  is  more 
apparent  than  real,  for  we  have  a rest  adjusted  both  to  back 
and  head. 


May  4,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


277 


“ You  aro  a little  too  grave,”  is  the  remark  in  posing.  “ I 
think  we  must  get  a pleasanter  expression  than  that.” 
Perhaps  he  would  be  as  grave  if  he  had  to  carry  so  many 
things  in  his  head.  The  posing  is  done  very  quietly,  and 
with  a good  deal  of  savoir  faire.  The  exposure  is  probably 
ten  seconds,  for  the  light  is  not  exceptionally  good. 

Only  one  plate  is  exposed,  but  then  development  is  pro- 
ceeded with  at  once.  We  are  again  requested  to  wait  a 
few  minutes  to  know  the  result,  and  we  cannot  help  think- 
ing, as  we  are  waiting,  that  perhaps  it  would  be  more 
economical  to  have  made  a second  exposure.  Our  bargain, 
it  is  true,  is  only  for  one  position,  but  then,  as  we  are  to 
be  taken  again  if  we  do  not  approve  the  first  portrait,  the 
taking  in  duplicate  would  be  a sort  of  insurance.  .Many 
people— gentlemen  especially — have  not  the  time  at  their 
disposal  very  often,  for  it  is  only  during  certain  hours,  of 
course,  that  the  studio  can  be  visited,  and  then  if  they  do 
not  like  the  first  portrait,  difficulties  naturally  arise. 
Where  the  portrait  has  been  paid  for,  it  may  be  argued  that 
the  photographer  is  at  any  rate  all  right,  whether  the  sitter 
comes  again  or  not  ; but  this,  after  all,  is  very  short- 
sighted policy,  for  a well-established  studio  desires,  before 
all  things  to  satisfy  its  customers,  with  a view  to  future 
favours,  and  the  best  way  to  give  satisfaction  is  obviously 
to  do  the  work  as  quickly  and  effectively  as  possible. 

The  verdict  is  “ All  right  ! ” so  far  as  development  is 
concerned,  so  we  put  on  our  hat  and  wish  our  upstairs 
friend  “ Good-bye.” 

We  walkslowly  down,  and,  seeing  our  former  acquaint- 
ance at  the  reception  room  door,  we  give  him  a hearty 
“ Good  morning.” 

“ Good  morning,”  is  the  reply.  “ I beg  your  pardon, 
but  may  I ask  you  to  pay  now  ? It  is  usual,  and  besides,” 
he  adds,  with  a good  deal  of  tact,  “ I can  give  you  a dis- 
count— ten  per  cent,  for  cash.” 

We  comply,  and  our  opinion  of  him  as  a business  man 
goes  up  ten  per  cent.,  while  he  makes  the  deduction  from 
our  account  and  receives  the  money ; for  we  began  to 
think  he  would  have  let  us  off  without  paying. 

“ lhank  you  ; I shall  expect  to  send  you  a proof  in  the 
course  of  a week.” 


Next  week  will  be  Studio  II.—  “ In  Baker  Street.” 


THE  ECLIPSE  EXPEDITION.* * 

BY  C.  BAY  WOODS. 

On  rising  the  morning  after  we  left  Barbadoes,  we  found 
ourselves  steering  steadily  westward  and  passing  between 
the  two  islands  of  St.  Vincent  and  St.  Lucia.  St.  Vincent, 
a somewhat  lofty  island,  was  covered  with  trees  and  shrubs, 
giving  one  a longing  to  climb  up  its  well-shaded  hills. 
Santa  Lucia  lay  to  the  north  of  us,  and,  unlike  its  neigh- 
bour, was  rocky,  and  its  vegetation  was  less  luxuriant.  It 
is  chiefly  of  a volcanic  character,  with  many  cones  and 
craters  visible  through  our  field  glassep,  two  tall  cooes 
standing  out  most  prominently  at  one  corner,  nearly  as  steep 
sugar  loaves.  We  attempted  no  photographs,  for,  in  spite 
of  long  focus  lenses,  distant  scenery,  especially  with  a 
smooth  unbroken  foreground  of  water,  gives  but  a flat 
picture.  One  or  two  sketch  books,  however,  were  seen  on 
deck,  such  scenery  beiDg  better  fitted  for  that  branch  of 
art,  by  which  the  eye  and  the  pencil  being  apt  to  exagge- 
rate heights,  and  being  endowed  with  the  faculty  of  putting 
in  effects  which  do  not  exist,  opportunities  may  be  fouud 
for  producing  pretty,  even  if  not  truthful,  results.  When 
night  came  on  I developed  the  two  plates  exposed  at  Bar- 
badoes, on  one  of  which  I obtained  a fair,  though  not  one 
of  the  most  characteristic,  specimens  of  the  bearded  wild 
fig  trees,  from  which  the  island  of  Barbadoes  obtained  its 
name  when  the  Portuguese  visited  it  in  about  a.d.  1600. 

1 wo  days  later  we  reached  Jacmel,  in  Hayti,  and 

• Continued  from  page  2S9. 


anchored  for  one  hour  to  send  cargo  on  shore.  It  was  a 
pretty  little  town,  but  we  did  not  approach  it  sufficiently 
near  for  our  cameras  to  do  justice  to  it,  and  the  rest  of  the 
day  we  employed  in  gazrng  on  the  beautiful  coast  scenery 
of  the  largest  island  in  the  West  Indies.  On  the  8th  of 
March  we  reached  Jamaica,  and  after  passing  Port  Royal, 
entered  Kingston  Harbour.  Drawing  up  alongside  the 
Company’s  wharf,  we  were  soon  met  by  a crowd  of  Degroes 
of  both  sexes,  many  of  the  gentler  sex  being  by  no  means 
averse  to  short  clay  pipes.  Various  relics  of  the  late  fire 
met  our  view — shrivelled  palms  and  blank  walls — but  the 
town  is  rapidly  approaching  complete  recovery,  and  the 
jerry  builder  is  having  a fine  time  of  it.  Though  the  fields 
and  hills  beyond  the  town  looked  attractive  enough,  the 
scene  immediately  at  hand  was  not  too  inviting.  A num- 
ber of  long  sheds,  a few  dirty  shrivelled  palms,  a crowded 
wharf  with  a few  tram  lines,  bales  of  goods,  and  a small 
mountain  of  coal— such  were  the  objects  at  hand,  but  they 
were  good  accessories  for  the  scene  that  was  to  follow. 
Coaliug  commenced,  and,  to  our  astonishment,  we  saw  that 
the  greater  part  of  the  coal-heavers  were  ladies.  Huge 
beams  were  brought  up  and  the  ends  rested  in  the  ship’s 
coal  ports,  and  soon,  long  lines  of  stalwart  men  and  women 
were  running  up  and  down  these  inclined  planes  with 
baskets  of  coal  upon  their  heads.  Their  garments,  clean 
and  white  on  their  arrival,  were  soon  as  black  as  their  faces, 
the  air  was  filled  with  fine  dust,  and  the  gradual  darkening 
of  our  own  faces  soon  decided  us  on  getting  away  from  the 
ship  as  soon  as  we  could.  Yet  not  before  we  made  an  at- 
tempt at  depicting  it.  But  alas ! our  slides  were  filled  with 
slow  plates  for  landscape  work,  the  sky  was  a bit  cloudy, 
and  the  coal  dust  in  the  atmosphere  also  detracted  from  the 
actinic  power  of  the  light.  We  made  two  instantaneous 
shots,  but  the  results  on  development  were  not  remarkably 
brilliant.  There  was  just  enough  on  the  plates  to  prevent 
us  throwing  them  away — just  enough  to  keep  the  scene  in 
our  memory.  Yet,  after  all,  there  are  many  better  nega- 
tives that  I would  sacrifice  in  preference  to  losing  these. 
This  done,  we  went  on  shore,  leaving  our  cameras  behind 
us,  as  we  wished  to  make  a few  visits  and  do  a little  sight- 
seeing first.  Our  business  transacted,  there  was  little 
sight-seeing  to  be  done,  for  the  town  of  Kingston  is  a very 
miserable  sort  of  place.  As  free  from  the  picturesque  as 
Barbadoes,  it  lacks  the  neatness  and  cleanliness  of  that 
town.  It  possesses  no  sanitary  officials,  evidently,  for  there 
is  no  attempt  whatever  at  drainage.  Sewerage  finds  its 
way  into  the  sea  by  means  of  the  gutters,  or  collects  in 
pools  in  the  middle  of  the  street,  offending  the  nostrils 
with  an  odour  worse  than  that  of  many  an  Eastern  city. 
Jamaica  possesses  a good  revenue,  and  that  beiDg  the  case, 
there  is  do  excuse  for  Kingston  being  a disgrace  to  Great 
Britain  and  her  Colonies. 

Making  our  way  out  of  the  town,  we  took  a walk  into  the 
neighbourhood,  and  here  we  were  just  as  much  charmed 
as  we  were  before  disgusted.  The  foliage  was  magnificent. 
Pretty  country  lanes  with  over-hanging  trees,  wild  flowers 
that  were  perfectly  new  to  us,  cactus  hedges,  and  here  and 
there  a graceful  palm.  Brilliantly  coloured  butterflies 
and  dragon  flies,  many  pretty  lizards,  colonies  of  ants, 
none  oi  which  failed  to  interest  us  ; occasionally  little  field 
mice  would  dart  across  the  road,  and  overhead,  near  the 
town,  great  carrion  crows  sailed  graceful  along.  The 
crows  are  protected  by  the  Legislature,  and  it  is  difficult 
to  imagine  what  Kingston  would  do  without  these  able 
scavengers.  As  I have  already  mentioned,  we  had  left  our 
cameras  on  shore,  but  many  pretty  bits  we  fixed  in  our 
mind’s  eye,  and  on  the  way  back  to  the  ship  we  made  arrange- 
ments for  a purely  photographic  excursion  on  the  morrow. 
Directly  after  breakfast,  therefore,  on  the  following  morn- 
ing. we  took  out  our  instruments  and  left  the  ship.  As 
the  vessel  was  to  start  at  two,  and  we  were  expected  to  be 
on  board  at  one  o’clock,  we  hired  a buggy,  and  drove 
round  to  the  places  we  had  visited  on  the  previous  day. 
It  was  a splendid  morning  for  landscape  work.  The 
atmosphere  was  clear,  without  the  glare  that  one  too  often 


278 


THE  PHOTOGRAPHIC  NEWS. 


Mat  4,  1883. 


experiences  in  the  tropics,  and  as  there  were  plenty  of 
clouds,  which  now  aud  again  obscured  the  sun  or  lessened 
the  intensity  of  the  shadows,  we  were  at  no  loss  for  choice 
of  lightiug.  Making  our  way  towards  the  race  course, 
where  many  of  the  poorer  sufferers  from  the  fire  were 
encamped,  Mr.  Lawrance  proceeded  to  photograph  the 
group  of  tents,  with  the  range  of  high  hills  in  the  distance, 
and  I,  making  my  way  across  the  race  course,  photographed 
a typical  little  group  of  West  Indian  villas  aud  the  tropical 
trees  that  overshadowed  them.  This  done,  we  laid  our 
instruments  in  the  b ittom  of  the  vehicle,  and  drove  on  to 
the  half-way  tree  on  the  way  to  the  camp  of  the  native 
soldiery  ; then,  turning  into  a little  country  lane,  proceeded 
slowly  along  it,  exposing  a plate  to  two  at  intervals.  In 
one  of  these  V met  with  a stroke  of  good  luck.  Some 
object  was  needed  to  break  up  the  intense  white  of  the 
road  in  the  foreground,  but  nothing  suitable  being  at  hand, 
I had  drawn  the  slide  and  was  about  to  expose,  when  a 
little  goat,  running  out  of  the  hedge,  stopped  in  the  middle 
of  the  road,  took  up  a suitable  position,  put  himself  in  a 
pretty  attitude,  and  stood  still  without  even  wagging  his 
little  tail  while  I uncovered  the  lens  for  two  seconds.  But 
the  cap  was  no  sooner  on,  than  away  he  went  before  I had 
even  had  time  to  say  “Thank  you!  that  will  do.”  A 
little  later  on,  when  Mr.  Lawrance  was  taking  some  typical 
tropical  foilage  for  which  the  wide-angle  lens  he  had  pro- 
vided himself  with  was  especially  suited,  some  girls,  with 
loads  of  wood  upon  their  heads,  stopped  to  watch  his  move- 
ments. . To  their  delight,  1 pointed  my  camera  towards 
them,  and  a group  of  trees  by  the  road  side  with  its  cactus 
hedges,  and  a few  figures  introduced  into  it,  made  a very 
nice  subject.  But  time  was  now  gettiug  on,  and  we  had 
to  turn  back  towards  the  ship.  My  sixth  and  last  plate  I 
exposed  in  East  Street,  almost  the  only  pre'ty  street  in 
Kingston.  Mr.  Lawrance’s  six  were  not  exhausted,  and 
though  we  passed  many  a subject  which  his  wide-angle 
would  have  done  justice  to,  there  was  no  time  to  stop. 
Some  pretty  scenes  on  the  way  back,  by  the  side  of  a dry 
river  bed,  were  very  attractive,  and  in  three  or  four  months’ 
time,  when  the  water  will  be  there,  will  make  subjects  of 
an  inexhaustible  stock  of  plates.  It  is  doubtful,  however, 
whether  we  return  the  same  way,  or  we  should  be  strongly 
tempted  to  spend  the  day  in  that  part  in  preference  to  an 
excursion  into  the  hills,  for  which  we  had  a longing,  but  on 
this  occasion  had  not  been  able  to  gratify. 

Arrived  on  board,  I charged  the  plates  in  one  of  my 
slides,  and  took  a parting  shot  at  the  wharf  as  the  vessel 
moved  off.  This  and  our  other  plates  we  developed  in  the 
evening.  All  were  successful,  but  1 had  a narrow  escape 
of  losing  some  of  mine.  My  plates  require  no  alum  at 
home,  and  though  I had  hitherto  used  it  on  board,  I did 
not  on  this  occasion,  having  no  solution  made  up.  Test- 
ing the  water  after  development,  I found  it  to  be  80°,  and 
before  my  plates  were  dry,  transparent  spots  appeared, 
due  partly,  I believe,  to  the  temperature  of  the  water,  and 
partly  to  insufficient  washing  out  of  the  hypo.  The  nega- 
tives were  all  so  nice  and  dense,  however,  that  with  one 
exception,  they  were  not  materially  injured.  The  excep- 
tion was  the  first  plate  I exposed,  in  which  a cloud  effect 
that  I had  been  at  some  pains  to  produce  in  the  way  I took 
off  the  cap,  was  done  for.  The  subject  of  the  picture  was 
little  hurt,  fortunately,  and  blocking  the  sky  will  put  it  to 
rights. 

Our  journey  from  Jamaica  to  Colon  was  not  very  com- 
fortable, over  three  hundred  niggers  having  been  taken  on 
board.  Though  they  were  confined  to  the  fore-part  of  the 
vessel,  amongst  the  sheep,  cattle,  and  poultry  pens,  they 
made  our  sleeping  accommodation  very  uncomfortable,  for 
the  hatches  were  closed,  and  they  were  packed  on  top  by 
the  dozen.  In  addition  to  this,  night  was  made  hideous 
by  their  uncouth  noises.  They  were  a motley  crew,  but 
being  packed  like  sardines  in  a box,  there  was  no  stand- 
ing room  for  a camera,  save  on  their  prostrate  forms,  a 
proceeding  which  might  have  been  objected  to.  Arrived 


at  Colon,  a place  distinguished  for  filth,  riot,  and  black- 
guardism, we  stayed  there  till  the  next  morning,  Sunday, 
when  a vessel  from  New  York,  the  Acapulca,  came  in. 
Meetiug  it  at  tlm  wharf,  we  went  on  board,  and,  as  we 
expected,  raett!  ..merican  Eclipse  party. 

Our  journey  across  the  Isthmus  1 must  defer  to  my 
next  communication,  having,  I fear,  already  made  this 
letter  too  loug.  My  letter  from  Callao  will  be  made  up  to 
date,  for  it  is  the  last  t shall  be  able  to  forward  for  some 
time.  A space  of  considerably  over  two  months  from  the 
date  of  this  must  intervene  before  you  can  obtain  any 
further  tidings.  If  1 have  not  already  exhausted  the 
patience  of  your  readers,  I shall  then  be  pleased  to  com- 
municate our  experience  of  life  on  a Coral  Island,  and  the 
scientific  results  of  the  journey. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  IX. — Preparation  of  Stone  or  Zinc  for 
Transfers—  continued. 

Preparation  of  Zinc  Plates. — Ziuc  plates  ready  prepared 
for  zincography  may  be  purchased  from  the  dealers  in 
lithographic  materials,  either  polished  or  grained,  and  fit 
for  use,  from  oue  shilling  to  eighteenpence  a pound;  or 
simply  surfaced  and  ready  for  polishing  or  graiuing,  from 
ten  to  fifteenpence  a pound. 

It  will  generally  be  found  most  convenient  to  purchase 
the  plates  surfaced,  and  polish  or  grain  them  for  one’s 
self,  because  this  is  an  operation  which  will  require  to  be 
repeated  every  time  a job  is  woiked  off,  and  the  plate 
required  for  a new  transfer;  and,  besides,  plates  ready 
grained  will  not  keep  in  good  order  beyond  a week  or  two. 

If,  however,  the  trouble  of  surfacing  is  not  an  object,  it 
is  cheaper  to  purchase  the  plates  in  the  rough  form  from  the 
zinc  works  or  metal  dealer  (the  price  varying  from  2jd.  to 
5d.  per  lb.,  according  to  quality  and  gauge)  and  prepare 
them  throughout  for  one’s  self. 

The  metal  is  so'd  in  largo  sheets  of  different  thicknesses, 
numbered  according  to  a special  guage.  The  gnages  suit- 
able for  zincography  are  from  No.  9 to  18,  or  about  -17  in 
to  -07  icch.  No.  12,  about  l-8th  of  an  inch  iu  thickness, 
is  suitable  for  most  purposes,  though  thinner  plates  are  often 
used  for  large  railway  plans,  &c.  For  the  bitumen  and 
other  direct  processes,  thin  roofing  zinc  may  be  used,  as  it 
can  be  more  easily  pressed  into  close  Contact  with  the  nega- 
tive. The  thin  zinc  sheets  are  also  used  in  machine 
printing. 

The  plates  selected  must  be  well  rolled  zinc  of  good 
quality,  fairly  pure,  and  of  even  composition  an  1 texture. 
Some  prefer  the  best  Silesian  zinc,  others  recommend  the 
quality  known  as  “ best  rolled  Vielle  Montague,"  which  is 
more  expensive.  The  rough  zinc  plates  as  received  from  the 
rolling  mills  are  covered  with  scale,  uneven  iu  surface,  and 
full  of  hollows  and  other  blemishes,  which  render  the  plate 
unfit  for  use  until  one  side  has  been  made  perfectly  smooth. 

The  following  is  the  method  of  preparing:  the  rough 
plates  practised  at  the  Ordnance  Survey  Office,  South- 
ampton, one  of  the  first  homes  of  zinc  printing  in  this 
country. 

The  plates  are  first  cut  into  convenient  sizes  by  making 
a groove  with  a chisel  half  through  the  plate,  along  the 
dividing  lines,  which  should  run  entirely  across  the  plate. 
The  groove  is  brought  just  over  the  edgo  of  a table,  when, 
by  applying  a suddeu  pressure  to  the  part  ovurhaugiug,  the 
plate  will  break  along  the  groove.  The  operation  is  re- 
peated till  the  plates  are  cut  to  the  required  size. 

The  rough  edges  and  corners  are  first,  taken  off  by  damp- 
ing the  plate  down  to  a table,  aud  scraping  the  edges  in 
succession  with  a tool  resembling  a spoke  shave  ; when  the 
sharpness  has  been  taken  off  all  round  the  plate  on  both 
sides,  the  edges  are  smoothed  with  a rasp,  and  the  corners 


May  4,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


279 


are  rounded  off.  The  smoothest  side  of  the  plate  is  now 
selected  and  marked.  The  plate  is  then  heated  in  the  suu 
or  before  a fire,  to  render  the  metal  more  pliable,  and  is 
passed,  smooth  side  uppermost,  three  or  tour  times  through 
a copper  plate  press,  with  full  pressure,  till  the  surface  is 
fairly  even,  which  may  be  tested  by  drawing  a few  pencil 
lines  on  the  plate  with  a soft  pencil.  If  these  lines  show 
well  on  a sheet  of  paper  laid  on  the  plate,  and  passed 
through  the  press,  the  plate  is  sufficiently  level.  During 
this  rolling  process  the  plate  becomes  bent,  and  must  be 
straightened  again  by  rolling  the  plate  once  or  twice  with 
the  best  side  downwards,  using  lighter  pressure. 

The  next  thing  is  to  remove  all  scale  and  oxide.  The 
plate  is  placed  face  upwards  on  a table,  and  the  surface  is 
scraped  with  a scraping  tool  evenly  all  over  in  parallel 
lines,  till  all  the  inequalities  have  been  taken  off,  and  the 
surface  appears  tolerably  smooth  and  bright  all  over.  The 
scraping  tool  used  at  Southampton  is  made  by  taking  a 
razor,  breaking  off  the  tang,  inserting  the  blade  into  a 
grooved  wooden  handle,  and  then,  holding  it  vertically, 
grinding  down  the  edge  on  an  oil-stone,  so  that  it  may  be 
flattened  and  formed  into  two  scraping  edges,  as  shown  in 
fig.  1.  The  tool  is  held  with  both  hands,  thumbs  in  front, 
pointing  up. 


A plain  blade  ground  and  fixed  in  a haudle  (as  in  fig.  2) 
answers  very  well.  Richmond  recommends  the  use  of  an 
old  smoothing  plane  the  face  of  which  has  been  somewhat 
romoved  at  its  front  part,  so  as  to  bring  tho  knife  more 
upright.  The  knife  must  be  ground  at  a very  obtuse  angle, 
so  as  to  produco  more  of  a scrapiug  than  a direct  cutting 
action.  This  form  of  scraper  has  the  advantage  over  others 
that  the  wood  of  the  plane  prevents  the  knife  sinking  into 
hollow  places. 

The  plate,  being  fairly  smooth  all  over,  is  examined  for 
holes  and  serious  flaws,  which  must  be  hammered  out  or 
“ knocked  up”  in  the  same  way  as  copper  plates  are  pre- 
pared for  correction. 

The  position  of  the  hole  is  marked  on  the  back  of  the 
plate  by  means  of  a pair  of  callipers,  which  may  be  made  ol 
a strip  of -hoop  iron,  with  a hole  about  ^ inch  in  diameter 
at  each  end,  and  doubled  over  so  that  the  holes  correspond 
exactly  one  over  the  other.  One  hole  being  passed  over,  the 
flaw  or  mark  is  made  on  tho  back  of  the  plate  through  the 
other.  The  plate  is  then  laid  face  downwards  on  an 
engraver’s  anvil  which  has  a very  smooth  face  about  4 inches 
diameter,  and  is  fixed  on  a wooden  block  about  2 feet  high, 
and  the  back  is  hammered  at  the  marked  spot  with  an 
engraver’s  hammer  (the  head  of  which  is  flat  at  one  end  and 
round  at  the  other)  until  the  face  is  perfectly  smooth  and 
the  flaw  removed.  When  all  the  holes  have  been  filled  up, 
the  scraping  is  continued  till  the  surface  is  quite  uniform. 

The  plate  is  then  removed  to  the  graining  trough  and 
well  rubbed  down  with  soft  pumice-stone  and  water,  just  in 
the  same  way  as  described  for  stone,  particular  care  being 
taken  to  avoid  deep  scratches  by  constantly  washing  the 
pumice-stone  to  free  it  from  gritty  particles.  When  tbe 
surface  of  the  plate  is  perfectly  even,  and  free  from  furrows 
and  markings  left  by  the  scraper,  it  is  smoothed  by  rubbing 
with  snake-stone  and  water  ; and  if  it  is  to  be  polished,  is 
finally  rubbed  with  a piece  of  the  finest  emery  paper  or 
cloth  applied  on  a wooden  or  cork  rubber.  A high  polish 
may  be  given  with  washed  flour  emery  rubbed  on  with  a 
leather  pad. 

As  a rule,  however,  photo-lithographic  transfers  to  zinc 
are  made  on  plates  with  a finely-grained  surface,  which 


holds  the  ink  and  moisture  better  than  the  polished 
surface,  though  it  is  sometimes  objected  that  the  grain 
breaks  up  fine  work.  In  practice,  we  do  not  find  this,  and 
on  the  contrary,  our  experience  has  repeatedly  shown  that 
transfers  from  fine  copper  plate  engravings  go  down  better 
on  a very  finely  grained  zinc  plate  than  they  do  on  a polished 
stone,  and  yield  better  impressions. 

Zinc  plates  are  grained  much  in  the  same  way  as  stones  ; 
using  soft,  finely-sifted  graining  sand,  and  a round  muller 
made  of  zinc.  The  sand  is  moistened  with  water,  and 
worked  with  the  muller  round  and  round,  with  a slow  con- 
secutive motion  in  small  circles  up  and  down  and  across  the 
plate,  till  the  surface  appears  of  a uniform  dark  grey  tint. 
The  sand  used  for  this  purpose  is  the  soft,  yellow,  loamy 
sand  used  by  brassfounders  for  moulding.  Silver  sand, 
though  suitable  enough  for  stone,  is  too  hard  for  zinc,  and 
liable  to  scratch  the  plate.  The  sand  for  graining  zinc  is 
of  a liner  grain  than  is  used  for  stone,  and  should  be  passed 
through  sieves  varying  in  fineness  from  120  to  160  holes  to 
the  linear  inch,  according  to  the  fineness  of  the  work.  For 
ordinary  open  work,  120  is  a very  good  number  ; for  close 
fine  work,  140  ; and  for  the  very  finest  work  or  half-tones, 
160.  The  sand  can  be  bought  ready  sifted  at  from  two  to 
four  shillings  a gallon. 

The  mullers  used  are  of  different  shapes,  as  shown  iD  figs. 

□ a 

No.  1.  No.  2.  No.  3.  No.  A.  No.  5. 

No.  1 is  a solid  conical  mass  of  zinc,  about  6 inches  high 
and  3 to  4 inches  diameter  at  the  bottom.  No.  2 is  a disc 
of  zinc  4 inches  diameter,  2 inches  thick,  cast  on  an  iron 
handle.  Mo.  3 is  similar  to  the  last,  but  smaller.  To  cast 
them,  a mould  is  made  in  sand,  the  iron  handle  is  suspended 
over  the  centre  of  it  with  a piece  of  string,  the  melted  zinc 
is  then  poured  in,  and,  when  cold,  is  faced  and  turned  iu  a 
lathe.  No.  4 is  a cheap  and  simple  form  which  can  very 
readily  be  made,  and  answers  very  well  for  small  plates.  It 
consists  of  a large  bung  or  conical  piece  of  cork,  on  the  base 
pf  which  a square  piece  of  sheet  zinc,  about  half  an  inch 
larger  all  round,  is  laid  ; the  sides  are  turned  up  and  pressed 
towj^ds  the  cork,  the  corners  being  cut  away,  and  also 
turmKkup  so  as  to  round  off  the  edges.  The  small  solid 
zinc  mullers  No.  5 are  used  for  graining  small  patches  that 
may  remaip  ungrained  after  the  general  graining  of  the 
plate,  owing  to  slight  inequalities  in  its  surface  ; they  are 
also  sometimes  useful  for  re-graining  parts  of  a plate  after 
orrection. 

It  is  important  to  keep  the  edges  of  all  the  above 
mullers  rounded  ofl  with  a rasp  and  tile.  While  graining, 
great  care  must  be  taken  to  avoid  getting  any  grit  on  the 
plate  which  might  cause  scratches.  The  mullers  should  be 
carefully  washed  before  use,  and,  while  iu  use,  should  not  be 
put  down  on  their  faces,  or  where  any  grit  or  dirt  may 
attach  itself  to  them. 

When  the  sand  first  applied  has  become  too  fine,  and  is  of 
a dark  6late  colour,  it  should  b'e  washed  off,  and  fresh  sand 
applied.  In  from  half-an-hour  to  two  hours,  according  to 
the  size  of  the  plate,  it  should  show  an  uniform  grey  tint, 
and  may  be  considered  finished. 

It  is  then  well  washed  with  water  and  a soft  flannel,  kept 
for  the  purpose,  till  all  traces  of  the  sand  are  removed,  and 
is  set  up  on  edge  to  drain.  Zihp  plates  must  be  dried  off 
quickly,  either  by  placing  them  in  the  sun  or  before  a fire. 
If  these  means  are  not  available,  hot  water  may  be  poured 
over  the  back  of  the  plates,  or  pieces  of  waste  paper,  shav- 
ings, &c.,  may  be  lighted  behind  them.  When  dry,  the 
plates  may  be  used  at  once,  or  carefully  stowed  away  in  a 
dry  place  till  wanted.  They  are  in  their  best  condition 
when  first  prepared  ; by  keeping,  they  gradually  deteriorate 


280 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  4;  1883. 


from  oxidation,  and  should  not  be  used  more  than  a fort- 
night after  preparation. 

Grained  plates  must  be  carefully  handled,  and  kept  from 
contact  with  anything  greasy. 

Zinc  plates  may  be  re-giained  and  used  again  and  again, 
without  any  sensible  diminution  in  thickness.  A plate 
with  work  on  it  is  first  washed  with  water  to  remove  gum, 
next  sprinkled  with  turpentine,  and  rubbed  with  a piece 
of  felt  to  remove  the  ink,  and  then  washed  over  with  a strong 
solution  of  crude  potash  or  soda  to  remove  all  traces  of 
grease  left  absorbed  in  the  surface  of  the  plate.  The  plate 
is  well  washed  with  water,  and  a small  quantity  of  acid 
solution  composed  of — 

Sulphuric  acid  ...  ...  ...  1 part 

Muriatic  acid...  ...  ...  ...  1 ,, 

Water 10  parts 

is  rubbed  over  it  quickly  with  a piece  of  felt  or  flannel,  and 
well  washed  off  at  once  with  water.  The  plate  is  then  ready 
for  re-graining  or  polishing. 

We  have  found  that  the  constant  use  of  the  acid  solution 
has  a tendency  to  corrode  the  surface  of  the  plate  unevenly, 
leaving  a rough  surface  full  of  little  holes,  which  break  up 
the  work  and  make  it  rotten.  We  therefore  dispense  with 
its  use. 

{To  be  continued.) 


Bates. 

Mr.  Jabez  Hughes  has  been  commissioned  by  Her  Majesty 
to  prepare  a full-length  life-size  portrait  of  the  late  John 
Brown,  whose  height  was  something  like  six  feet.  The 
finished  picture  must  therefore  measure  between  seven  and 
eight  feet — rather  large  dimensions  for  a carbon  print. 

We  have  received  from  Dr.  Eder  a sample  of  ADgererand 
Goeschl’s  so-called  Korn-papier,  or  “ grain-paper,”  that 
serves  to  produce  the  soft  half-tone  zincoty^es  recently  pro- 
duced by  that  firm.  A sketch  is  made  upon  the  “ grain- 
paper,”  and  this  is  then  pressed  against  a zinc  surface, 
which  latter  is  prepared  as  a printing  block. 

Switzerland  opened  its  National  Exhibition  on  Tuesday 
last  at  Zurich,  the  art  department  including  photo- 
graphic work. 

The  Royal  Academy  is  a little  late  this  year,  as  the  day 
of  opening — the  first  Monday  in  May — falls  on  the  7th  of 
the  month.  We  were  privileged  to  make  a tour  of  inspec- 
tion last  Wednesday,  and  were  pleased  to  find  there  are 
certainly  fewer  bad  pictures  by  the  Academicians  them- 
selves than  usual.  On  the  other  hand,  it  is  very  difficult 
to  pick  out  any  pictures  of  mark.  One  of  the  best  studies 
for  photographers  is  Mr.  F.  Barnard's  “Jury”  (103),  from 
Pilgrim's  Progress,  in  the  first  room.  The  striking  way  in 
which  craft,  hatred,  and  low  cunning  are  depicted  in  the 
features  of  Mr.  Malice,  Mr.  Cruelty,  Mr.  Liar,  and  the 
other  despicable  characters  on  the  jury,  is  simply  appalling 
in  its  reality. 


We  noticed  a marble  bust  by  Mr.  Belt,  “Sir  K.  Ibbet- 
son  ” (1617),  who  seems  to  have  been  admitted  a3  an 
exhibitor  notwithstanding  the  strictures  passed  upon  his 
work  by  members  of  the  Itoyal  Academy,  in  the  famous 


trial  of  Belt  v.  Lawe?.  While  the  bust  proves  that  Mr. 
Belt  can  work  in  marble,  it  is  no  less  a testimony  that  its 
producer  is  certainly  not  a great  sculptor.  Mr.  Lawes, 
the  defendant  in  the  action,  also  sends  a work  “ Caught  ” 
(1639),  which  is  even  less  noteworthy  than  Mr.  Belt’s 
exhibit. 


Mr.  Van  Beers,  who  made  his  mark  last  year  both  in  the 
London  Academy  and  the  Paris  Salon,  does  not  show  any- 
thing this  year.  Mr.  Henry  Moore  has  a large  and  most 
successful  painting  in  “Calm”  (1,444),  which  will  be 
exceedingly  interesting  to  photographers,  if  only  because 
it  shows  how  effectively  a sea-scape  may  be  rendered 
without  having  resort  to  colour.  Mr.  Moore  scarcely 
makes  use  of  anything  but  whites,  blacks,  and  soft  greys, 
and  yet  he  produces  therewith  the  most  delightful  and 
natural  effects.  We  shall  give  our  usual  notice  of  the 
Academy  next  week. 

Herr  Anschutz,  of  Lissa,  has  been  photographing  the 
horse  in  motion.  His  negatives  are  not  taken  so  systemati- 
cally as  those  of  Muybridge,  for  he  secures  single  pictures 
only,  and  not  successive  ones.  On  the  other  hand,  his  photo- 
graphs are  much  more  perfect,  for  they  show  considerable 
detail  in  the  shadows — both  of  horse  and  rider. 


A secret  medium  to  help  in  collotype  or  Lichtdruck  work 
has  made  its  appearance  in  Germany  under  the  name  of 
Polukali.  Its  use  permits  a larger  number  of  prints  to  be 
pulled  from  a plate,  it  is  said.  In  all  likelihood  it  is  one  of 
those  glycerine  mixtures  containing  potash  or  other  salts, 
such  as  are  described  in  “The  Photographic  Studios  of 
Europe  ” as  etching  fluids. 

We  have  still  enquiries  about  the  miguon  card.  We 
cauuot  do  better  than  refer  correspondents  to  our  adver- 
tising columns,  where  they  will  find  many  firms  anxious 
and  ready  to  supply  their  wants.  Mr.  Lambert,  of  Bath, 
also  says  something  on  the  subject  in  another  column  ; he 
has  been  compelled  to  punch  his  mignons  out  of  cartes,  for 
lack  of  proper  mounts. 


Not  long  ago  we  told  our  readers  about  platinotype 
prints  ou  linen,  and  we  then  regarded  them  merely  as 
ornaments;  but  Mr.  F.  W.  Webb,  the  Locomotive 
Superintendent  and  Chief  Mechanical  Engineer  of  the 
railway  works  at  Crewe,  finds  that  they  have  con- 
siderable industrial  value ; and  the  use  of  them  has 
already  put  some  hundreds  of  pounds  into  the  pockets  of 
the  shareholders  of  the  North  Western  Railway  Company. 

Engineers  work  from  drawings  carefully  made  to  scale, 
the  actual  measurement  of  each  detail  being  ordinarily 
marked  on  the  plan  in  inches  or  feet;  and  sometimes 
several  hundred  photographic  copies  of  a plan 
are  required.  These  copies,  if  printed  on  paper,  rapidly 
become  so  far  covered  with  the  oil  and  grime  of  the 
fittiug  shop,  as  to  be  altogether  valueless ; but  if  they 
are  executed  on  linen,  it  is  merely  necessary  to  wash  and 
iron  them.  Hundreds  of  photographs  on  linen,  many 


Mat  4‘,  1883.] 


THE  PHOTOGRAPHIC  JNEWS. 


281 


being  considerably  over  three  feet  square,  may  now  be 
seen  in  the  workshops  under  the  direction  of  Mr.  Webb. 
Mr.  Webb,  however,  does  not  stop  here  ; he  not  only 
decorates  his  dinner  table  with  d'oyleys  bearing  platino- 
type  priuts  of  the  best  scenery  on  his  line,  but  the  same 
subjects  are  imprinted  on  the  blinds  of  some  of  the  first- 
class  carriages. 

A photographic  firm  which  is  generally  recognized  as 
taking  the  lead  as  regards  industrial  aspects  of  photography, 
is  likely  to  set  up  one  or  more  steam  collotypic  machines 
before  long.  The  collotypic  Sclmellpresse  has  long  been 
almost  exclusively  a German  institution,  and  its  introduc- 
tion into  the  neighbourhood  of  London  is  likely  to  inagu- 
rate  a new  phase  in  photographic  industry. 

Some  time  ago  we  remarked  upon  the  observation  of 
M.  Treve  to  the  effect  that  you  can  see  a vertical  object 
better  through  a horizontal  slit,  and  a horizontal  object 
more  sharply  through  a vertical  slit.  Nor  is  this  merely 
an  optical  effect,  for  photography,  in  the  person  of  M. 
Goez,  has  confirmed  M.  Treve.  The  sun,  and  moon,  we 
are  told,  moreover,  are  much  more  clearly  seen  through 
a horizontal  than  through  a vertical  slit,  and  in  fact  all 
kinds  of  light  passing  a horizontal  slit  is  diffused  with 
more  intensity  than  through  a vertical  opening.  The 
matter  is  well  worth  noting  by  photographers. 

There  was  a good  deal  of  correspondence  in  last  week’s 
Nature,  on  the  subject  of  the  Zodiacal  light.  Several 
correspondents  have  seen  a horn  of  light  shooting  up  from 
the  horizon  after  the  sun’s  disc  had  disappeared ; the 
horn,  although  an  appendage  to  the  sun,  being  invisible 
when  the  sun  is  in  the  sky.  This  Zodiacal  light  is  by  no 
means  an  uncommon  phenomenon,  aud  we  successfully 
photographed  it  about  two  months  ago.  Taking  an 
ordinary  photograph  of  the  sun  as  rapidly  as  we  could,  we 
obtained  not  only  the  solar  disc  and  the  usual  broad  halo 
round  it,  but  two  faint,  though  well-defined,  horns  of 
light,  one  on  each  side  of  the  disc,  measuring  in  length 
twice  the  diameter  of  the  sun  itself.  The  development 
was  so  regulated  that  some  light  patches  of  transparent 
cloud  were  preserved  in  the  negative. 

The  solar  eclipse  happens  on  Sunday.  It  does  not  take 
place  till  after  seveu  in  the  evening  at  Greenwich,  so  that 
it  will  be  invisible  in  this  couutry  ; but  at  Caroline  Island 
and  Flint  Island,  to  which  the  observing  expeditions  are 
bound,  totality  will  last  as  long  as  between  five  and  six 
minutes.  Mr.  Ray  Woods,  whose  graphic  letters  in  our 
columns  must  have  an  interest  for  all,  is  in  company  with 
the  American  observers,  and  these  are  making  a race  of  it 
with  the  French  for  choice  of  stations.  Whoever  arrives  on 
the  spot  first  will  secure  Caroline  Island,  this  being  the 
more  pleasant  locality. 

But  neither  Caroline  Island  nor  Flint  Island  are  inhabited. 
They  measure  about  five  miles  across,  aud  are  about  one 
hundred  miles  apart,  lying  in  mid-Pacific.  As  we  have 
already  said,  Caroline  Island  is  alow-lying  strip  of  land 


covered  with  verdure;  but  its  companion  islet  has  very 
little,  if  any  pasturage.  By  occupying  two  stations  at  some 
distance  from  one  another,  there  is  a chance  that,  if  it  is 
cloudy  at  one,  it  may  be  fine  at  the  other.  We  are  not 
likely  to  hear  of  the  success  of  the  expeditions  until  next 
month. 


Photographers  established  at  seaside  watering  places 
are  to  be  envied  in  one  respect  by  their  brethren  who 
are  less  fortunately  situated.  A paper  was  read  at  the 
last  meeting  of  the  Meteorological  Society,  on  the  sun- 
shine records  made  in  the  United  Kingdom  during  the 
years  1881  and  1882,  from  which  it  appears  that  there  is 
more  bright  sunshine  upon  the  coast  than  there  is  inland. 
But  this  conclusion  might  have  been  expected.  All  who 
have  worked  much  at  instantaneous  photography  know  that 
the  most  rapid  results  are  obtainable  at  the  seaside. 


Before  the  Patent  Bill  becomes  law,  it  is  possible  that 
it  will  be  subjected  to  further  modifications.  The  most 
important  provision — viz.,  protection  for  four  years  at  the 
low  fee  of  <£4 — will  be  retained  ; but  it  is  understood  that 
a strenuous  attempt  will  be  made  to  introduce  the  principle 
of  examination  for  novelty.  This  principle,  Mr.  Chamber- 
lain,  in  moving  the  second  reading  of  the  Bill,  declared 
he  could  not  accept,  and  most  authorities  on  the  subject 
must  agree  with  him. 


So  far  as  photographic  patents  are  concerned,  the 
majority  of  them  so  closely  approach  something  which  has 
been  invented  previously,  that  the  “ novelty  ” would  be 
difficult  to  establish.  At  the  same  time,  a slight  modifica- 
tion of  the  same  machine  often  makes  all  the  difference 
between  uselessness  and  practical  value ; and  if  absolute 
“novelty”  is  to  be  insisted  upon,  it  will  be  no  easy 
matter  to  obtain  a patent  at  all.  It  is  scarcely  likely  that 
those  who  favour  the  principle  of  examination  will  succeed 
in  hampering  the  Bill  with  it. 


Hadnot  our  sensitivesilver  plates  demonstrated  theexist- 
ence  of  ultra-violet  rays  invisible  to  ordinary  eyesight,  it 
is  possible  that  the  fact  could  have  been  established  by 
means  of  the  dapldna  or  water -flea.  Sir  John  Lubbock 
has  for  some  time  past  been  experimenting  with  this  inte- 
resting little  creature,  aud  has  made  it  certain  that  at  the 
violet  end  of  the  spectrum,  the  eyes  of  the  daphina  are 
affected  by  light  which  we  were  unable  to  perceive.  At 
the  last  meeting  of  the  Linuean  Society,  these  experiments 
were  detailed,  the  experimenter  further  showing  that  the 
daphina  was  able  to  distinguish  yellow  or  green,  and  pre- 
ferred both  to  white  light. 


Mr.  Cowan  always  makes  it  a practice  to  wet  his  plates 
thoroughly  before  development.  The  action  of  the  developer 
is  then  not  only  more  regular,  but  there  is  no  likelihood  of 
patches  or  staining,  which  comes  from  long  contact  with 
pyrogallol.  W etted  plates  will  develop  with  such  regularity 
and  uniformity,  that  the  process  almost  becomes  a mechani- 
cal one,  Mr.  Cowan  avows. 


282 


THE  PHOTOGRAPHIC  NEWS. 


[Mvy  4,  1883. 


The  goose  has  surely  not  received  the  honour  from  photo' 
graphers  which  is  due  to  it.  Turning  over  the  pages  of  the 
Photographic  Record,  a long-forgotten  journal,  published  in 
1856,  we  come  across  the  following  : “ Success  is  sure  to  at- 
tend anyone  practising  this  process  (albumen).  The  albu- 
men of  a duck’s  egg  is  more  sensitive  than  that  of  a hen,  and 
from  an  experiment  of  to-day,  I am  about  certain  that  of  a 
goose  is  more  sensitive  than  either.”  What  have  the  ex- 
perimenters of  the  albumen  plate  days  to  say  to  this  ? 


Datent  Jntdligm*. 

Patent  Sealed. 

5283.  William  Kennedy,  of  Glasgow,  in  the  county  of  Lanark, 
North  Britain,  for  an  invention  of  “ Improvements  iu  trans- 
lucent plates  or  sheets  for  use  as  substitutes  for  glass  in  roof 
lights  and  otherwise.” — Dated  6th  November,  1882. 

Patent  Void  through  Non-payment  of  Duties. 
1543.  Benjamin  Joseph  Edwards,  of  6,  The  Grove,  Hackney, 
in  the  county  of  Middlesex,  for  au  invention  of  “ Improve- 
ments in  packing  photographic  plates,  and  in  appliances  to  be 
used  in  such  packing.’’  —Dated  15th  April,  1880. 

This  invention  relates  to  an  improved  method  of  packing 
photographic  plates,  and  to  improved  appliances  for  protecting 
the  films  upon  such  plates  from  light  and  injury,  and  preserving 
the  plates  themselves  from  breakage.  In  order  to  carry  out  my 
invention,  I make  a rectangular  box  of  cardboard,  pasteboard, 
wood,  or  other  suitable  material,  of  sufficient  capacity  to  contain 
the  plates,  and  to  two  of  the  sides  of  the  interior  _ of  the  box  I 
attach  or  adjust  pieces  of  paper  or  other  suitable  flexible 
material,  folded  or  corrugated,  so  as  to  form  ridges  projecting 
internally  from  the  two  sides  of  the  box,  and  I make  these  pro- 
jections or  ridges  of  a convenient  depth,  and  of  any  suitable 
width  apart  in  proportion  to  the  thickness  of  the  glass  plates, 
the  number  of  such  ridges  or  grooves  being  made  to  correspond 
with  the  number  of  plates  the  box  is  designed  to  coutain.  In 
order  to  use  the  box  for  packing  photographic  plates,  I 
slide  the  plates  separately  into  the  box,  in  such  manner  that 
each  of  the  two  ends  of  the  plate  passes  into  one  of  the 
grooves  formed  by  the  folded  or  corrugated  paper  attached 
or  adjusted  to  the  sides  of  the  box,  the  ridges  or  tongues  of  the 
folded  paper  projecting  between  the  plates,  and  keeping  them 
slightly  apart,  so  as  to  prevent  injury  to  the  films  upon  such 
plates  by  abrasion  or  contact  with  each  other  ; and  I close  the 
box  with  a suitable  cover  or  lid,  which  I make  to  slide  on,  so  as 
to  exclude  light  and  air,  or  the  lid  may  be  attached  to  the  box 
by  hinges  in  the  ordinary  manner.  Sometimes  I make  the 
grooves  or  corrugations  of  sufficient  width  to  carry  two  plates 
in  each  groove,  the  plates  being  placed  back  to  back  to  avoid 
injury  to  their  prepared  surfaces.  The  ridges  or  grooves  above 
described  serve  not  only  to  separate  the  plates  and  keep  them 
from  contact  with  each  other,  but  the  tongues  or  ridges  being 
made  of  a yielding  or  flexible  material  also  tend  to  prevent 
breakage  of  the  plates  themselves.  Also  this  method  of  packing 
will  allow  one  or  more  of  the  plates  to  be  removed  or  replaced 
without  injuring  or  disturbing  others  that  may  remain  in  the 
box.  . 

Patents  Granted  in  Belgium. 

60,684.  J.  Allgeyer  and  C.  Bolhoevener,  of  Munich,  for 
“ l’hototypography.” — Dated  8th  March,  1883.  French 
Patent,  3rd  March,  1883. 

60,787.  E.  M.  L.  J.  Roselle,  of  Brussels,  for  “ Photographic 
apparatus  for  the  field.” — Dated  17th  March,  1883. 

Patents  Granted  in  France. 

151,583.  Bretange,  for  “ A photographic  apparatus.”  — 
Dated  16th  October.  1882.  Class  17. 

151,644.  Loire,  for  “ A dark  chamber  called  ‘technograph.’” 
— Dated  18th  October,  1882.  Class  12. 

151,849.  Chesnay,  for  “Applying  electric  light  to  photo- 
graphy.”— Dated  31st  October,  1882.  Class  17. 

Certificate  of  Addition. 

146,702.  Olive,  for  “ A funeral  mount  for  photographs.” — 
Dated  16th  October,  1882.  Class  20. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  VIII. 

Fixing  the  print  is  that  part  of  the  process  by  which  the 
sensitive  salts  remaining  in  the  paper  after  toning  are  dis- 
solved out,  leaving  the  image  composed  of  metallic  silver, 
upon  which  is  deposited  a thin  layer  of  metallic  gold.  The 
most  suitable  agent  we  are  aquainted  with  for  dissolving 
these  chloride  salts,  and  the  one  universally  employed  for 
the  purpose,  is  sodium  thiosulphate  (Na2S203),  known 
among  photographers  a3  “hypo.”  As  a fixing  agent  this 
substance  is  largely  used,  more  especially  since  the  intro- 
duction of  gelatino-bromide  films,  and  it  has  the  recom- 
mendation of  bciDg  one  of  the  most  useful,  and  positively 
the  most  destructive, of  chemicals  found  in  the  photographic 
laboratory.  To  be  forewarned  is  to  be  forearmed  ; there- 
fore, with  such  a character,  the  student  will  be  most  care- 
ful not  to  spill  any  about  the  floor,  to  be  afterwards  kicked 
up  iu  the  form  of  dust,  drop  a portion  into  any  other  solu- 
tion, or  wipe  his  hands  on  the  towel  while  fixing,  without 
having  previously  washed  them.  Innumerable  failures 
are  often  traced  to  a little  laxity  in  the  above  respect. 

The  quantity  of  solution  to  be  made  up  must  be  decided 
by  the  amount  of  work  in  haud.  Small  batches  consisting 
of  only  a couple  of  dozen  prints  of  small  6ize  can  be  fixed 
in  a pint  of  solution  ; but  for  quantities  of  ten  or  fifteen 
sheets,  a bath  containing  at  least  three  gallons  should  be 
used.  Considering  the  destructive  nature  of  this  salt  when 
in  contamination  with  an  unfixed  print,  or  slight  traces 
of  it  finding  its  way  into  the  toning  bath,  we  recommend 
the  fixing  solution  to  be  prepared  some  time  previously  in 
another  apartment,  and  it  will  be  well  to  perform  the 
operation  of  fixing  the  prints  there  as  well.  The  pro- 
portion of  crystal  to  water  should  be  about  1 to  5.  When 
small  quantities  are  employed,  it  is  usual  to  make  it  fresh 
every  day,  and  slightly  alkaline,  by  means  of  ammonic 
hydrate  (NH4()Il),  thus  preventing  the  liberation  of 
sulphurous  acid,  the  presence  of  which  would  inevitably 
cause  the  prints  to  fade.  After  the  bath  has  been  used 
once  for  prints,  it  need  not  be  thrown  away  because  it  is 
inexpensive ; it  will  answer  quite  as  well  for  fixing 
gelatino-bromi  Jo  films  as  freshly- prepared,  and  should  be 
eventually  treated  with  liver  of  sulphur  to  recover  the 
silver. 

Opinions  differ  regarding  the  use  of  a fixing  solution 
more  than  once  —and,  as  we  have  pointed  out,  for  small 
quantities,  once  only  should  be  the  rule.  When  large 
quantities  of,  say,  four  or  five  gallons  are  used  to  fix  as 
many  hundred  prints,  the  solution  may  be  employed  at 
least  three  successive  days,  provided  it  be  strengthened 
each  day,  and  kept  slightly  alkaline. 

To  make  a small  quantity,  dissolve  sodium  thiosulphate 
4 ounces,  in  warm  water  20  ounces.  When  cold  add 
ammonic  hydrate,  5 minims.  A wide-mouth  bottle  will  be 
a useful  vessel  to  keep  for  this  quantity  of  bath. 

Fixing. — Pour  the  fixiDg  solution  into  a deep  flat  dish, 
having  the  toned  and  washed  prints  iu  a vessel  of  water 
near  at  band  ; transfer  the  prints,  one  by  one,  from  the 
vessel  of  water  to  the  fixing  bath  iu  the  following  manner. 
With  the  right  hand  withdraw  a print  from  the  water, 
dropping  it  into  the  fixing  solution.  With  the  left  hand 
press  it  face  downwards,  continuing  the  operation  until 
all  the  prints  are  added.  Let  the  vessel  used  for  washing 
be  put  in  its  place  before  the  right  hand  be  allowed  to 
touch  the  fixing  solution.  By  a strict  observance  of  this 
rule,  another  cause  of  failure  is  removed,  if  many  prints 
are  to  be  treated  it  is  better  for  one  person  to  drop  the 
prints  into  the  solution,  while  another  separates  them. 

It  is  quite  as  important  to  agitate  the  prints  during  fixa- 
tion as  when  toning,  otherwise  stains,  and  eventually 
ellow  patches,  will  result.  To  prevent  such  an  occurrence, 
eep  turning  the  prints  one  by  one  face  upwards  ; repeat 
by  turning  them  all  face  downwards,  and  continue  turning 


May  4,  1883  J 


THE  PHOTOGRAPHIC  NEWS. 


283 


for  the  space  of  fifteen  minutes  from  the  time  the  last  print 
was  added  from  the  washing  water. 

The  prints,  if  treated  as  we  have  described,  will  be 
thoroughly  fixed,  and  if  examined  by  transmitted  light 
will  appear  clear  in  the  white  portions,  and  a general  tone 
through  the  shadows.  Collect  the  prints  in  bulk,  drain  off 
the  superfluous  liquid  as  much  as  possible,  and  separate 
them  in  a vessel  of  clean  water.  At  least  four  changes  of 
water  should  now  be  given,  separating  the  prints  each 
time.  They  should  be  next  placed  separately  on  a sheet  of 
plate  glass,  or  a flat  porcelain  dish,  and  pressed  wich  a 
sponge  to  remove  as  much  of  the  water  from  them  as 
possible,  after  which  they  may  be  put  in  the  washing 
apparatus. 

Washing  Appliances. — Photographers  are  more  divided 
in  opinion  as  to  which  is  really  the  best  mode  of  washing 
their  prints  after  Gxiug,  thau  might  be  expected  ; each  one 
avers  his  method  to  be  correct  both  in  principle  and  prac- 
tice. Doubtless  this  arises  in  some  measure  through  indi- 
vidual circumstances,  among  them  being  water  supply, 
quantity  of  work,  and  inventive  capacity.  To  mention 
the  scores  of  contrivances  we  have  seen  would  be  more 
likely  to  confuse  than  to  teach  ; therefore  we  will  mention 
two  only  to  illustrate  rapid  and  slow  washing  respectively. 
The  first  of  these  is  Mr.  Marshall  Wane’s  rapid  cylindrical 
washer,  described  in  “ Studios  of  Europe,’’  pp.  189-190, 
and  shown  in  fig.  1.  The  outside  cylinder,  A,  is  simply  a 


Fig.  1. 

casing  of  tin  to  keep  in  the  water  ; the  inside  cylinder  B, 
that  revolves,  is  a few  inches  smaller  than  the  exterior 
one,  and  it  is  simply  a frame-work  covered  with  twine 
netting.  The  prints  are  laid  on  this  netting  in  the  act  of 
washing,  the  water  being  supplied  by  small  holes  pierced 
in  tubes  passing  through  the  drum.  Prints  washed  by 
means  of  this  arrangement  for  twenty  minutes,  after  the 
previous  treatment  of  four  changes  of  water  and  pressing 
with  the  sponge,  are  not  found  to  contain  any  trace  of 
the  fixing  salt.  The  other  form  is  a simple  aDd  effective 
arrangement  intended  for  slower  washing  and  larger 
quantities.  We  believe  they  are  manufactured  by  Doulton 
and  Co.,,  Lambeth,  from  the  design  of  Mr.  W.  Pitcher 

(fig  2). 

A,  water  supply.  B,  zinc  cover  to  fit  over  C,  perforated 
with  fine  holes,  to  allow  the  water  to  stream  all  over  the 
surface  of  the  prints.  C,  deep  glazed  earthenware  vessel 
for  the  reception  of  the  prints,  a number  of  fine  holes  being 
made  in  the  bottom  for  the  water  to  pass  through. 
D,  outer  vessel,  of  the  same  material,  fitted  with  syphon 
(S),  to  permit  the  wash-water  being  removed  from  the 
bottom  at  regular  intervals,  dependant  upon  the  rate  of 
supply.  Three  or  four  hours’  washing  with  such  an 


arrangement  will  be  found  ample  for  the  removal  of 
the  last  traces  of  the  salts  retained  in  the  pores  of  the 
paper  after  fixation.  That  is  more  than  can  be  said  of  the 
custom  of  soaking  prints  a dozen  or  more  hours  in  water, 


with  one  or  two  changes  at  the  commencement,  and  as 
many  at  the  finish  of  the  soaking. 

Hypo  Eliminators. — To  prevent  the  tedious  operation  of 
washing,  it  has  been  suggested  to  change  the  chemical 
composition  of  the  salts  left  in  the  paper  after  fixing,  and 
thereby  destroy  the  property  they  possess  in  such  a high 
degree  of  rendering  the  print  evanescent.  It  has  been 
shown  by  many  chemists  that  this  result  may  in  a measure 
be  attained  by  immersing  the  print,  after  fixing,  in  a 
dilute  solution  of  either  lead  nitrate,  or  acetate  barium 
nitrate,  eau  de  javelin,  or  common  potash  alum.  As  these 
eliminators  are  not  so  much  in  favour  with  every-day 
practitioners  as  they  are  with  the  experimental  portion 
of  the  community,  we  will  merely  indicate  the  method 
of  employing  them,  thereby  opening  up  a field  of  further 
research  for  the  student  if  he  desires  to  avail  himself 
of  it. 

The  lead  solution  is  made  by  dissolving  one  ounce  of 
lead  citrate  or  acetate  in  eight  ounces  of  warm  dis- 
tilled water — two  ounces  of  the  above  solution  to  each 
gallon  of  soft  water  will  be  found  to  be  a workable  pro- 
portion. A stronger  solution  will  change  the  tone  to  a 
cold  slatey  colour,  and  a weaker  one  will  not  bring  about 
the  required  decomposition.  That  such  has  taken  place 
may  be  known  by  the  solution  becoming  cloudy. 

The  prints  should  be  immersed  in  the  bath  for  the  space 
of  five  minutes,  keeping  them  constantly  moved  about  as 
in  toning  and  fixing.  At  the  end  of  the  time  stated, 
remove  them  to  a vessel  of  clean  cold  water,  give  them 
three  changes  in  all,  separating  each  time,  when  they  will 
be  ready  for  drying  and  mounting.  Barium  nitrate 
(BaNo32)  is  used  by  adding  two  ounces  of  a saturated  solu- 
tion of  the  salt  to  each  gallon  of  water.  Use  the  same  as 
lead  nitrate,  or  acetate. 

Eau  de  javelle  is  made  by  boiliug  a mixture  of  dry 
chloride  of  lime  and  carbonate  of  potash  in  water.  With 
three  quarts  of  water  mix  half-a-pound  of  dry  chloride  of 
lime,  dissolve  one  pound  of  carbonate  of  potash  in  one 
quart  of  water  ; mix  the  solutions,  boil  for  fifteen  minutes, 
and  when  cool,  filter  for  use.  Four  ounces  of  the  above 
solution  to  each  gallon  of  water,  will  be  a very  good 
strength  to  use  ; treat  in  the  same  manner  as  lead  nitrate, 
or  acetate. 

Alum- — Make  a saturated  solution  of  ordinary  potash 
alum ; of  this  use  four  ounces  per  gallon  of  water  allow 
the  prints  to  be  moved  about  for  ten  minutes,  then  wash 
in  several  changes  of  water.  Trints  treated  this  way  require 
to  be  soaked  in  water  much  longer  both  before  and  after 
the  immersion  in  the  alum  bath  than  by  either  of  the 
other  methods. 


284 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  4,  1883. 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  XX. — Platinotype  Printing. 

This  process  was  invented,  and  has  been  perfected,  by 
Mr.  Willis. 

Suitable  paper  is  sensitized  with  the  following  mixture : — 

Ferric  oxalate  (Fe2  (Ci04)3)  60  grains 

Potassic  chloro-platinite  (2KCl,PtCl2)  ...  60  „ 

Water 1 ounce 

The  materials  are  mixed  immediately  before  use,  and 
spread  over  the  paper,  which  is  then  dried  with  the  aid  of 
heat,  and  is  ready  for  printing.  To  preserve  the  sensitive 
paper,  it  is  absolutely  necessary  that  it  should  be  kept 
dry,  and  for  this  purpose  tin  cases  containing  asbestos 
saturated  with  anhydrous  chloride  of  calcium  are  employed; 
it  is,  however,  better  to  use  it  as  soon  after  sensitizing  as 
possible.  The  time  occupied  in  printing  is  about  one- 
third  that  taken  with  silver  ; the  time  of  exposure  can  be 
judged  either  by  lookiug  at  the  print  when  the  image  is 
seen  of  a brown  colour  on  a yellow  ground,  or  with  an 
actinometer  ; if  the  printing  be  continued  too  long  the 
brown  colour  lightens  again  from  reverse  action  (solariza- 
tion).  To  keep  the  paper  thoroughly  dry  whilst  printing, 
vulcanized  gutta-percha  pads  are  used,  and,  after  printing, 
the  prints  are  placed  at  once  into  a calcium  tube.  The 
best  results  are  obtained  with  negatives  having  a full 
scale  of  gradation,  from  opaque  high  lights  to  bare  glass 
shadows.  The  action  of  light  is  to  reduce  the  ferric- 
oxalate  on  the  paper  to  the  ferrous  condition,  the  platinum 
salt  undergoing  no  visible  change. 

To  obtain  the  platiuum  image,  the  following  solution  is 
made  : — 

Fotassium  oxalate  (K2(C204)  ...  120  grains 

Water  ...  ...  ...  ...  1 ounce 

Acidified  with  oxalic  acid. 

Thi3  is  placed  in  an  enamelled  iron  dish,  aud  heated  with 
a gas  burner  to  about  180°  or  200°  F.  (nearly  boiling)  ; 
the  exposed  prints  are  then  slowly  draw'n  through  the  hot 
solution,  sensitized  side  downwards.  To  facilitate  this,  the 
paper  may  conveniently  be  held  at  two  ends,  and  weighted 
between  with  a thick  glass  rod  ; the  development  takes 
place,  and  is  completed  almost  immediately  the  paper 
touches  the  liquid,  the  reaction  being  as  follows  : — 

3(2KCl,PtClsH-6Fe(C204)=3Pt+2Fe!(C204)3+Fe2Cl6+6KCl 
The  action  does  not  occur  so  long  as  the  salts  are  in  the 
dry  condition  ; but  immediately  the  print  is  immersed  in 
the  oxalate  of  potash,  the  ferrous  oxalate  is  dissolved,  and 
at  once  reduces  the  platinum  salt  with  which  it  is  in  con- 
tact. After  development,  the  prints  are  washed  (not  fixed) 
in  water  acidulated  with  hydrochloric  acid,  until  every 
trace  of  colour  due  to  iron  is  gone,  then  in  water,  and 
finally  placed  between  clean  blotting-paper  to  dry. 

Over-exposed  prints  can  be  cured  to  some  extent  by 
using  a colder  developing  bath,  and  under-exposed  prints 
by  using  a hotter  bath.  Taper  which  has  deteriorated  by 
damp,  or  by  being  kept  too  long,  is  useless,  and  cannot  be 
restored.  Platinotype  prints  are  probably  as  permanent, 
if  not  more  so,  than  those  produced  by  any  process  known 
with  the  same  basis.  Prints  on  wood,  silk,  and  other 
fabrics,  can  also  be  obtained. 

To  work  the  process,  a licence  and  the  requisite  mate- 
rials must  be  obtained  from  the  Platinotype  Co.  Whether 
from  a theoretical  or  a practical  point  of  view,  or  from  the 
results  obtainable,  Platinotype  is  the  most  perfect  of  pro- 
cesses, and  should  be  familiar  to  every  photographer  who 
loves  his  art. 


ASTRONOMICAL  PHOTOGRAPHY. 

Mr.  Edward  C.  Pickering,  the  Director  of  the  Harvard 
College  Observatory,  thus  writes  in  Nature  : — The  important  part 
that  photography  is  likely  to  play  in  astronomy  renders  it 
desirable  that  an  opportunity  should  be  afforded  to  astronomers 


to  acquaint  themselves  with  the  improvements  continually  made 
in  this  branch  of  their  science.  This  could  best  be  done  by  the 
establishment  at  convenient  places  of  collections,  designed  to 
exhibit  the  progress  of  photography  as  applied  to  astronomical 
observations. 

The  Harvard  College  Observatory  has  some  special  advantages 
for  forming  such  a collection,  since  it  already  possesses  many 
of  the  early  and  historically  important  specimens  which  would 
naturally  form  part  of  the  series.  Among  these  may  be 
mentioned  four  series  of  Daguerreotypes  and  photographs  of 
various  celestial  objects  taken  at  this  Observatory.  These 
series  were  respectively  undertaken  in  1850,  1857,  1869,  and 
1882. 

At  present,  the  astronomers  of  the  United  States  have  no 
ready  means  of  comparing  their  own  photographic  work  with 
that  done  in  Europe,  or  even  with  that  of  their  own  country- 
men. The  proposed  collection  of  photographs,  so  far  it  could  be 
rendered  complete,  would  greatly  reduce  the  difficulty. 

It  is  therefore  desired  to  form,  at  the  Harvard  College 
Observatory,  a collection  of  all  photographs  of  the  heavenly 
bodies  and  of  their  spectra  which  can  be  obtained  for  the 
purpose  ; and  it  is  hoped  that  both  European  and  American 
astronomers  will  contribute  specimens  to  this  collection. 
Original  negatives  would  be  particularly  valuable.  It  may 
happen  that  some  such  negatives,  having  slight  imperfections 
which  would  limit  their  value  for  purposes  of  engraving,  could 
be  spared  for  a collection,  and  would  be  as  important  (considered 
as  astronomical  observations)  as  others  photographically  more 
perfect.  In  some  cases,  astronomers  may  be  willing  to  deposit 
negatives  taken  for  a special  purpose,  and  no  longer  required  for 
study,  in  a collection  where  they  would  retain  a permanent 
value  as  parts  of  an  historical  series.  Where  photography  is 
regularly  employed  in  a continuous  series  of  observations,  it  is 
obvious  that  specimen  negatives  only  can  be  spared  for  a 
collection.  But  in  such  cases  it  is  hoped  that  some  duplicates 
may  be  available,  and  that  occasional  negatives  may  hereafter  be 
taken  for  the  purpose  of  being  added  to  the  collection,  to  exhibit 
recent  improvements  or  striking  phenomena. 

When  negatives  cannot  be  furnished,  glass  positives,  taken  if 
possible  by  direct  printing,  would  be  very  useful.  If  these  also 
are  not  procurable,  photographic  prints  or  engravings  would  be 
desirable. 

In  connection  with  the  photographs  themselves,  copies  of 
memoirs  or  communications  relating  to  the  specimens  sent,  or 
to  the  general  subject  of  astronomical  photography,  would  form 
an  interesting  supplement  to  the  collection.  A part  of  the 
contemplated  scheme  will  involve  the  preparation  of  a complete 
bibliography  of  the  subject,  including  a list  of  unpublished 
photographs  not  hitherto  mentioned  in  works  to  w'hich  reference 
may  be  made. 

The  expense  which  may  be  incurred  by  contributors  to  the 
collection  in  the  prepartion  and  transmission  of  specimens  will 
be  gladly  repaid  by  the  Harvard  College  Observatory  when 
desired. 


EMULSION  PROCESSES  FOR  BEGINNERS. 

BY  M.  LOCKETT.* 

In  accordance  with  a request  that  I should  give  an  account  of 
my  experiences  with  emulsions,  I will  now  do  so,  hoping  that  I 
may  be  of  some  little  benefit  to  others  who  may  wish  to  follow 
in  the  same  line  ; but  at  the  same  time,  I must  say  that  I have 
nothing  new  to  briug  forward,  no  new  process,  or  anything  more 
than  has  been  already  published.  What  I have  most  to  impress 
on  your  minds  is  the  necessity  for  being  careful  tn  the  manner  of 
doing  it,  remembering  that  “ what  is  worth  doing  at  all,  is  worth 
doing  well  ; ” and  that  in  matters  photographic  we  must  not 
depend  too  much  on  rule-of-thumb,  or  we  must  not  expect  much 
success  to  attend  our  labours  ; and  more  especially  in  the  com- 
mencement of  the  process — the  preparation  of  the  plates — which 
I have  to  my  cost  found  out  not  once,  nor  half-a-dozen  times. 

In  the  first  place,  as  collodion  emulsions  are  not  in  great  use 
now,  I shall  only  just  touch  on  the  way  in  which  I succeeded 
best — I believe,  that  of  Colonel  Stuart  Wortley.  I dissolve  the 
pyroxyline  and  salts  in  ether  and  alcohol  in  proper  proportion 
for  the  required  quantity,  and  pour  out  to  set,  not  too  much, 
but  enough  to  cut  up  into  small  pieces  ; these  I put  into  a bottle 
to  cover  with  an  acid  solution  of  AgN03,  80  grains  to  1 ounce 
water  for  two  hours,  afterwards  drain,  and  wash  in  water  by 
placing  them  on  a piece  of  muslin  stretched  over  a paraffin  lamp 

4 Read  before  the  North  Staffordshire  Photographic  Association. 


May  4,  1883. J 


THE  PHOTOGRAPHIC  NEWS 


285 


chimney,  and  pouring  water  thereon  for  an  hour ; afterwards 
dry  on  blotting-paper.  Re-dissolve  in  ether  and  alcohol,  and 
coat  plates,  afterwards  dusing  them  with  a “ preservative.” 

As  regards  gelatine,  I believe  that  no  process  beats  that  of 
Mr.  Beunett — that  is,  the  long  emulsilication  process — but  owing 
to  uncertainty  of  the  gelatine  keeping  good  for  so  long  a time,  I 
have  now  discontinued  that  process,  and  stick  to  boiling.  The 
ammonia  process  I have  not  tried,  as  my  plates  are  equal  to  any 
procurable,  and  that  with  less  trouble  and  almost  certainty  of 
result,  so  I will  give  you  my  manner  of  working. 

In  the  first  place,  all  utensils  are  made  as  clean  as  possible.  A 
large  saucepan  is  filled  with  water,  20  grains  of  gelatine  put 
into  a bottle  with  ri  or  7 ounces  of  water,  and  112  grains  AmBr, 
6 grains  Ivl,  and  4 grains  AmCl  ; 2 drops  acid,  hydrochloric  ; 
heat  the  water  in  the  saucepan,  place  in  it  the  bottle  until  gela- 
tine is  dissolved,  coat,  and  add  by  red  light  200  grains  AgN03 
in  crystals,  and  shake  until  dissolved,  which  may  be  known  by 
the  sound.  I put  this  in  a dark  place  until  convenient  for  boil- 
ing ; I have  kept  emulsion  in  this  state  for  three  weeks  without 
experiencing  any  ill  effects. 

The  boiling  is  done  by  placing  the  bottle  uncorked  in  a covered 
saucepan  containing  water,  which  is  brought  to  boiling  point  if 
kept  there  for  sixty  minutes,  shaking  occasionally  ; when  cold, 
the  full  quantity  of  gelatine  is  added,  viz.,  20  grains  ppr  ounce, 
stirring  well  up  from  the  bottom,  and  pouring  into  a dish  to  set. 
When  cold,  squeegee  the  emulsion  (after  being  scraped  up  from 
the  bottom  of  dish  with  a card)  through  muslin  into  a solution 
of  bichromate  of  potash,  stir  it  up  with  a strip  of  glass,  and  leave 
for  half-an-hour  or  more  ; then  place  in  a sieve  and  drain  well, 
afterwards  well  wash  in  running  water  for  an  hour,  drain,  melt 
again,  and  make  up  to  10  ounces.  I found  the  addition  of  alcohol 
unnecessary,  except  when  I wish  to  keep  the  emulsion,  when  I 
cover  it  with  methylated  spirit. 

The  plates  are  cleaned,  and  a substratum  of  sodic  silicate-solu- 
tion in  water  J per  cent,  applied  with  a sponge,  and  allowed 
spontaneously  to  dry.  I find  an  effectual  cure  for  frilling,  aud 
at  the  same  time  it  renders  the  operation  of  coating  more  easy, 
allowing  the  emulsion  to  flow  like  collodion  without  the  use  of 
spirit.  The  emulsion  is  warmed,  and  passed  through  four 
thicknesses  of  flannel  into  a jug  ; again  pour  upon  the  plates  as 
with  collodion,  but  only  slightly  drain,  and  then  place  upon  cold 
glass  plates  to  set,  which  they  do  in  ten  minutes.  Afterwards 
placed  upon  racks  in  a well-ventilated  drying  cupboard,  the  door 
of  which  is  not  opened  until  they  are  judged  to  be  quite  dry,  or 
marks  will  occur  in  them.  These  plates  I find  give  thin  images 
unless  plenty  of  bromide  be  used.  The  best  proportion  is  : — 
ammonia,  4 ; ammonia  bromide,  3 ; pyro,  2 per  ounce  of  water. 
But  I think  that  if  anyone  give  the  common  carbonate  of  soda  a 
trial,  he  will  prefer  it  to  ammonia.  Use  a saturated  solution, 
with  which,  and  1 grain  pyro  aud  3 ammonia  bromide,  I get 
denser  and  brighter  negatives  than  with  2 grains  pyro  and 
ammonia. 


APPARATUS  FOR  PRINTING  BY  TIIE  BLUE 
PROCESS. 

BY  CHANNING  WHITAKER.* 

The  blue  process  is  well  known  to  the  members  of  the  Society, 
and  I need  not  take  time  to  describe  it ; but  with  the  ordinary 
blue  process  printing-frame  the  results  are  sometimes  unsatisfactory, 
and  now  that  the  process  has  come  to  be  so  commonly  used  I 
have  thought  that  an  account  of  an  inexpensive  but  efficient 
printing-frame  would  be  of  interest.  The  essential  parts  of  the 
apparatus  are  its  frame,  its  glass,  its  pad  or  cushion,  iis  clamps, 
and  the  mechanism  by  which  the  surface  of  the  glass  can  easily 
be  made  to  take  a position  that  is  square  with  the  direction  of 
the  sun’s  rays. 

The  Blue  Process  Printing  Frame  in  common  use — Its  Defects. — 
The  pad  of  the  apparatus  in  common  use  consists  of  several 
thicknesses  of  blanketing  stretched  upon  a back-board.  The 
sensitized  paper  and  the  negative  are  placed  between  the  pad  and 
the  plate  glass,  and  the  whole  is  squeezed  together  by  pressure 
applied  at  the  periphery  of  the  glass  and  of  the  back-board. 
Both  the  glass  and  the  back-board  spring  under  the  pressure, 
and  it  results  that  the  sensitized  paper  is  not  so  severely  pressed 
against  the  negative  near  the  centre  of  the  glass  as  it  is  near  the 
edges.  If  at  any  point  the  sensitized  paper  is  not  pressed  hard  up 
against  the  negative,  a bluish  tinge  will  appear  where  a white 
line  or  surface  was  expected.  With  an  efficient  printing-frame 
and  suitable  negatives,  these  blue  lines  will  never  appear ; and  it 

* Read  before  the  Boston  Society  of  Civil  Engineers. 


was  to  prevent  the  production  of  defective  work  that  I undertook 
to  improve  the  pad  of  the  printing- frame. 

The  Printing -Frame  used  in  ordinary  Photography. — Very 
naturally,  I first  examined  the  printing-fra  e used  in  ordinary 
photography.  This  frame  is  extremely  simple,  and  is  very  well 
adapted  to  its  use.  It  is,  undoubtedly,  the  best  frame  for  blue 
process  printing,  when  the  area  of  the  glass  is  rot  too  lar^e.  The 
glass  is  set  in  an  ordinary  wooden  frame,  while  the  back-board 
is  stiff  and  divided  into  two  parts.  A flat,  bow-shaped  spring  is 
attached  by  a pivot  to  the  centre  of  each  half  of  the  back-board. 
The  two  halves  of  the  back-board  are  hinged  together  by  ordinary 
butts.  Four  lugs  are  fastened  to  the  back  of  the  frame,  and, 
when  the  back-board  is  placed  in  position,  the  springs  may  be 
swung  around,  parallel  to  the  line  of  the  hinges, and  pressed  under 
the  lugs,  so  that  the  back  of  the  back-board  is  pressed  most 
severely  at  the  centre  of  each  half,  while  the  glass  is  prevented 
from  springing  away  from  the  back-board  by  the  resistance  of 


the  frame  at  its  edges.  Unless  the  frame  is  remarkably  stiff,  i 
will  resist  the  springing  of  the  glass  more  perfectly  in  the  neigh- 
bourhood of  the  lugs  than  elsewhere.  It  will  now  be  seen  that,  on 
account  of  the  manner  in  which  the  pressure  is  applied,  the  back- 
board  tends  to  become  convex  toward  the  glass,  while  the  adjacent 
surface  of  the  glass  tends  to  become  concave  toward  the  back- 
board  ; and  that,  with  such  a frame,  the  pressure  upon  all  parts 
of  the  sensitized  paper  is  more  nearly  uniform  than  when  the 
pressure  is  applied  in  the  manner  before  described.  With  a small 
frame  of  this  description,  a piece  of  ordinary  cotton  flannel  is  used 
between  the  back-board  and  the  sensitized  paper,  and,  with  larger 
sizes,  one  or  more  thicknesses  of  elastic  woollen  blanket  are  sub- 
stituted for  the  cotton  flannel.  There  is  an  advantage  in  having 
a hinged  back-board  like  that  which  has  been  described,  because, 
when  the  operator  thinks  that  the  exposure  to  sunlight  has  been 
sufficiently  prelonged,  he  can  turn  down  either  half  of  the  back 
and  examine  the  sepsitized  paper,  to  see  if  the  process  has  been 
carried  far  enough.  If  it  has  not,  the  back-board  can  be  replaced, 
and  the  exposure  continued,  without  any  displacement  of  the  sen- 
sitized paper  with  respect  to  the  negative.  This  is  an  important 
advantage. 

To  be  Continued. 


flDomspon&fiia. 

PRETSCH  BLOCKS. 

Dear  Sir, — In  your  article  “ Typographic  Blocks  from 
Ordinary  Negatives,”  you  speak  of  Pretsch  blocks, 
and  mention  that  there  is  only  one  person  locati  d in  Lon- 
don who  makes  such  blocks.  I should  be  glad  to  know  bis 
name  and  to  see  his  work.  The  so-called  Pretsch  process 


286 


THE  PHOTOGRAPHIC  NEWS. 


[May  4,  1883. 


has  long  since  been  public  property,  and  has  been  experi- 
mented on,  and  re-patented  over  and  over  again,  not  only  in 
this  country,  but  on  the  Continent  and  in  America. 

The  writer  of  the  article  must  excuse  me  if  I say  he  does 
not  know  what  a so-called  Pretsch  block  is.  When  I was 
connected  with  the  Photo-Gal vanographic  Company — the 
proprietors  of  the  Pretsch  patent — we  endeavoured  to  pro- 
duce blocks  in  copper  by  the  under-described  method. 
Pretsch  claimed  afterwards  as  his  process  what  he  had  not 
worked  out  himself.  He  D,  however,  welcome  to  it,  for  it 
was  both  expensive  and  impracticable.  In  the  first  place,  the 
patent  mixture — or,  to  use  the  modern  term,  emulsion — con- 
sisting of  gelatine  (but  preferably  good  Scotch  glue),  bichro- 
mate ot  potash,  nitrate  of  silver,  and  iodide  of  potassium 
were  spread  upon  a glass  plate  and  allowed  to  dry  in  the 
dark  ; a paper  print  or  a collodion  or  albumeu  transparency 
was  then  put  in  contact  and  exposed  to  light ; when  suffi- 
ciently exposed,  the  plate  was  immersed  in  water  of  ordinary 
temperature  for  about  one  or  two  minutes,  which  produced  a 
raised  image  where  protected  from  the  light;  it  was  then 
flooded  with  alcohol  and  treated  with  tannin  solution,  and 
then  washed  ; the  plate  was  now  put  away  to  dry  : when 
dry,  it  was  moulded  with  the  gutta-percha  composition 
which  I had  invented,  and  which  alone  enabled  the  Pretsch 
patent  to  be  worked. 

The  mould  was  nextelectrotyped,  remaining  in  the  battery 
several  days.  The  result  was  a thickish  plate  of  copper, 
with  a raised  image,  but  with  a general  vermicular  form  of 
grain,  except  where  the  light  hid  acted  to  destroy  the 
detail  in  the  fiuer  parts.  In  this  condition  it  was  incapable 
of  yielding  solid  impression  for  the  deep  shadows.  The 
plate  was,  in  fact,  the  matrix  for  the  copper  plate  intaglio , 
which  was  the  main  subject  of  the  Pretsch  patent.  This 
matrix,  however,  was  taken  to  Mr.  Ilawkins,  of  Hatton 
Garden,  who  was  then  the  only  person  in  London  working 
a modification  of  Palmer’s  Gly pbographic  process  for  pro- 
ducing raised  block  for  li  tter-press  priuting.  Mr.  Ilawkius 
produced  the  block  from  the  plate  given  to  him,  and  was 
also  able  to  do  so  from  our  copper  plate  intaglio.  He  kept 
this  method  to  himself.  No  one  in  London  was  more 
capable  than  he  for  working  the  tiling  practically  ; but  the 
net  result  was  “ great  cry  and  little  wool  ” — a vast  expense, 
and  something  very  “so-so  ” to  look  at. 

I feailesslv  assert  that  it  is  impossible  to  produce  by  the 
so-called  Pretsch  process  blocks  equal  even  to  the  specimen — 
“St.  Nicholas  Church  at  Chiswick — ” which  illustrates  the 
article  in  your  paper.  It  would  be  mock-modesty  in  me  to 
pretend  that  I cannot  beat,  and  have  not  beaten,  that  result  by 
“ Dallastiut,”  which  is  capable  of  being  worked  as  it  is,  aud 
has  been  both  at  hand-press  and  machine.  I can  produce 
either  a flue  or  a coarse  grain  at  will  ; and  with  all  due 
deference  to  the  writer  of  the  article,  I would  inform  him 
that,  so  far  from  his  statement  being  correct  that  “ it  is  far 
easier  to  produce  blocks  with  an  extremely  fine-grain  and 
exquisite  detail  ” than  coarser  and  open  grain,  the  reverse  is 
the  fact. 

The  real  cause  why  tint  blocks  are  not  more  generally 
used  in  our  periodicals  is  the  pig-headedness  of  the  British 
typographic _ printer,  who  will  cling  to  his  “ blanket.” 
That  article  is  “ matter  in  the  wrong  place  ’’  for  good  typo- 
graphy— a curse,  and  not  a blessing.  For  copper  plate 
printing,  it  is  in  its  right  place — a blessing,  and  not  a curse. 

The  Americans  have  been  boasting  over  us  that  they  have 
what  we  have  lost — the  art  of  typographic  piloting.  Until 
we  get  back  to  the  good  traditions  of  English  printing,  aud 
use  “ hard  impression,”  not  heavy  impression,  Mr.  British 
Printer,  the  American  boast  has  some  foundation — as  witness 
the  Century  and  Harper's. — I am,  dear  sir,  yours  truly, 

12,  Crane  Court,  Fleet  Street.  1).  C.  Dallas. 

[I he  strained  views  of  Mr.  Dallas  regarding  the  Pretsch 
process  are  fully  embodied  iu  some  five  or  six  long  letters, 
occupying  in  the  aggregate  about  ten  columns,  wbicb 
appear  iu  our  volume  for  1870.  We  shall  be  pleased  to 
print  one  of  Mr.  Dallas’  blocks  in  the  News  if  he  will  select 
a suitable  one. — Ed.  P.N.] 


WASHING  GELATINE  PLATES. 


Dear  Sir,  — In  the  Photographic  News  of  last  Friday, 
you  say,  iu  speaking  of  Mr.  Dixon’s  studio,  that  “the 
subsequent  washing  is  no  less  energetically  undertaken, 
the  film  not  unfrequently  being  left  in  water  for  a night.” 

In  washing  gelatine  negatives,  as  in  other  things,  there 
is  a golden  mean  ; and  when  a inan  telffi  me  that  all  his 
plates  have  clear  circular  spots  on  them,  and  he  is  sure 
that  it  is  not  from  insufficient  washing,  for  he  left  them  in 
running  water  from  Saturday  night  to  Thursday  morning, 
I am  inclined  to  think  that  the  washing  was  done  “not 
wisely,  but  too  well.”  But,  on  the  other  hand,  I do  not 
think  one  night’s  washing  is  too  much.  After  six  hours’ 
careful  washing  (where  the  plate  is  moved  about  occa- 
sionally), I fail  to  find  any  trace  of  hypo  with  the  ordinary 
dark-room  tests ; but  it  is  so  methodical,  and  so  easy 
always  to  wash  your  plate  all  night,  th  .t  I don’t  see  why 
it  should  not  be  done.  Iu  hot  July  nights,  when  tap 
water  is  over  G0°  F.,  it  is  well  to  beware  ; but  during  the 
greater  part  of  the  year  the  negative  will  not  suffer  in  the 
slightest  degree  from  a prolonged  washing  of  from  twelve 
to  eighteen  hours,  and  it  is  much  more  likely  to  be  perma- 
nent. 

If  there  is  an  objection  to  leaving  the  water  running  all 
night,  soaking  the  plate  in  a dish  of  water  will  be  found  to 
do  almost  as  much  good,  if  it  is  followed  by  a brisk  wash- 
ing under  a tap  for  a few  minutes.  Edwin  Dodds. 


SENSITIVENESS  OF  FOREIGN  AND  ENGLISH 
PLATES. 

Sir, — I beg  to  enclose  a few  notes  of  my  experiences  with 
different  commercial  gelatine  plates  obtained  during  the 
coarse  of  the  past  nine  months,  which  may,  perhaps,  prove 
of  some  service  to  those  who,  like  myself,  have  suffered  from 
want  of  some  precise  statement  of  the  rapidity  on  the  partof 
the  manufacturers,  and  may  induce  otheis  who  have  made 
similar  experiments  to  give  us  the  benefit  of  their  experience. 

During  a stay  on  the  Continent  in  last  autumn  aud  this 
spring,  having  exhausted  my  supply  of  English  plates,  with 
whose  peculiarities  as  regards  exposure,  development,  &c.,  I 
had  become  pretty  well  acquainted,  I was  obliged  to  fall 
back  upon  those  of  local  manufacture,  aud  bad  the  disap- 
pointment of  losing  several  negatives  taken  upon  them, 
through  insufficient  exposure,  though  I had  given  them  half 
as  long  agaiu  an  exposure  as  I was  in  the  habit  of  giving 
my  English  plates.  On  ray  return  to  England,  I procured 
a sensitometer,  and  occupied  some  spare  hours  in  testing  the 
remainder  of  the  plates  with  some  of  English  makers  which 
I happened  to  have  also  by  me.  The  foreigu  ones,  made  by 
Garcin  of  Lyons,  Dorval,  and  Van  Monckhoven,  gave  sensi- 
tometer numbers  of  12,  14,  aud  14  respectively,  while  the 
English  makers  gave  16,  20,  and  22  respectively. 

According  to  Warneike’s  ecale,  the  relative  rapidities  of 
thtse  plat  s would  be  : — 


Dorval  aud  Monckhoven  are  1J  times  as  rapid  as  Garcin’ 
English  maker,  No.  1 3 ,,  ,,  ,, 

,,  No.  2 9,,  ,,  ,, 

,,  No.  3 16  ,,  ,,  i, 


All  were  developed  with  the  same  solution,  afresh  quantity 
being  used  for  each  plate  containing  : — 


Pyro  

Sulphite  of  soda  

Bromide  of  ammonium 
Solution  of  ammonia  (1  in  3) 
Water 


..  3 grains 


..  20  minims 
..  2 ounces 


So  far  as  I am  aware,  tne  only  makers  who  have  adopted 
Warnerke’s  scale  are  Mr.  J.  Cadett  and  Professor 
Stebbing  ; others,  using  some  scale  of  their  own,  which  has 
no  ascertainable  relation  to  the  standard  one,  mark  their 
plates  as  “ 10,  20,  40,  or  CO  times  wet  collodion  ; " while  a 
large  number  abstain  altogether  from  committing  them- 
selves to  any  statement  of  rapidity.  As  there  are  more 
than  fifty  brands  of  dry  plates  advertised  iu  the  photo- 


Mat  4,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


287 


graphic  journals  and  almauacs,  the  prices  of  which  vary 
from  Is.  Gd.  to  3s.  per  dozen  quarter  plates,  it  is  easy  to 
understand  how  much  some  ofKcial  statement  of  their 
relative  rapidities  would  aid  the  begiutier.  Should  any 
other  engagements  allow  me,  I hope  at  some  future  time 
to  continue  further  experiments  in  this  direction  ; in  the 
meantime,  others  who  no  doubt  have  made  similar  trials 
may  aid  us  by  contributing  their  results. 

Rapidity  is  of  course  only  one  of  the  requisites  of  a 
good  plate,  adequate  density,  freedom  from  spots,  fog. 
flaws  in  the  coaling,  frilling,  and  imperfections  in  the  glass, 
requiring  also  to  be  considered  in  arriving  at  an  estimate 
of  its  real  value.  Should  the  reluctance  of  manufacturers 
to  adopt  a defiuite  standard  still  persist,  possibly  some  club 
or  association,  or  perhaps  the  aggregate  of  separate  investi- 
gators, may  be  iuduced  to  take  up  the  investigation,  and 
to  publish  the  result  for  the  benefit  of  their  less  fortunate 
brethren. — I am,  yours,  &c.,  G.  C.  Henderson,  M.D. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  on  April  26th,  Mr.  W.  E.  Debenham  in  the 

chair, 

Mr.  Brown  showed  a reversed  negative  on  a gelatine  plate, 
which  he  obtained  as  follows : the  plate  being  under-exposed, 
and  the  image  coming  up  very  slowly  iu  the  developer  (ferrous 
oxalate)  a few  drops  of  an  old  hypo  bath  were  added,  and  the 
result  was  that  the  negative  was  of  a claret  colour. 

Mr.  Cowan  had  made  some  experiments  as  to  the  extent  to 
which  bromide  of  silver  was  soluble  in  bromide  of  potassium, 
and  found  it  to  be  about  1 in  33  ; this  result  he  arrived  at  by 
the  following  experiment : — 12  grains  of  bromide  of  silver  were 
added  to  1|  ounce  of  water,  and  bromide  potassium  added  till 
the  solution  was  perfectly  clear. 

Mr.  Brown  had  dissolved  15  grains  in  about  200  graius  of 
bromide  ammouium  and  as  little  water  as  possible  ; on  boiling 
tbe  solution  it  appeared  to  be  more  soluble  iu  ammonium 
bromide  ; he  had  evaporated  the  solution,  obtained  what  would 
seem  to  be  the  double  salt  of  silver  and  ammonium  with  an 
excess  of  bromide  ; the  salt,  a sample  of  which  he  passed  round, 
was  a pure  white  when  first  obtained,  but  darkened  in  the  light. 

Mr.  Cowan  said  in  some  recent  experiments  it  was  necessary 
to  wash  a small  quantity  of  emulsion  very  rapidly  ; and  it  having 
been  suggested  by  Mr.  Baden  Pritchard  to  use  linen  for  tbe 
purpose,  he  had  stretched  a piece  of  muslin  over  a glass  plate, 
and  poured  the  emulsion  over  it;  when  wet,  the  whole  was 
stripped  from  the  glass,  and  could  then  be  washed  very  rapidly. 

Mr.  Coles  showed  a retouching  desk. 

Mr.  Cowan  showed  several  negatives  on  plates  coated  with 
emulsion  prepared  by  Dr.  Mouckhoveu’s  ammonia  formula  as 
published  in  1879  ; for  some  of  the  plates,  the  emulsion  was 
only  slightly  washed  after  being  kept  for  about  an  hour  at  a 
temperature  of  90°  ; the  remainder  of  the  emulsion  was  then 
re-melted,  and,  after  washing  for  twenty-four  hours,  other  plates 
were  coated,  these  last  being  about  eight  times  more  sensitive 
than  the  others. 


Liverpool  Amateur  Photographic  Association. 

The  monthly  meeting  was  held  on  the  26th  ult.,  Mr.  B.  Booth - 
uovr  in  the  chair. 

After  the  usual  preliminary  business  had  been  transacted,  the 
following  gentlemen  were  elected  members  ol  the  Association  : 
— Messrs.  J.  Karp,  W.  Raws,  R.  L.  Rees,  and  T.  Robertson. 

The  Chairman  announced  the  donation  of  some  books  to  the 
library  by  Mr.  H.  Wharmby,  and  said  that  the  Librarian  would 
be  happy  to  receive  further  donations  from  members  eager  to 
emulate  Mr.  Wharmby’s  excellent  example. 

lhe  Hon.  Secretary  read  a communication  from  the  Secre- 
taries of  the  Associated  Soiree  Committee,  requesting  the  elec- 
tion of  delegates  to  represent  the  Association  in  making  the 
arrangements  for  the  seventh  soiree. 

The  Rev.  H.  J.  Palmer,  Mr.  J.  II.  T.  Ellerbeck,  and  Mr.  E. 
Roberts  were  elected  as  representatives  of  the  Association. 

On  the  motion  of  the  Chairman  it  was  resolved,  on  behalf  of 
the  Association,  to  renew  its  annual  donation  to  the  guarantee 
fund  of  the  associated  soiree. 


The  Rev.  II.  J.  Palmer  then  brought  forward  the  subject  of 
the  hospitable  invitation,  giveu  by  Mr.  L.  Hughes  at  the  last 
meeting  of  the  members,  to  spend  a photographic  day  in  Con- 
way. After  some  discussion  it  was  decided  to  fix  upon  Satur- 
day, June  9th,  as  the  date  of  the  excursion,  and  the  Secretary 
was  requested  to  communicate  with  Mr.  Hughes  and  ascertain 
if  the  day  chosen  would  be  a convenient  one  for  him. 

The  Chairman  called  attention  to  the  two  cameras  upon  the 
table.  The  new  sciopticon  camera,  exhibited  by  Mr.  Wood,  was 
remarkable  for  the  cleverness  of  the  arrangement  whereby  the 
back  could  be  made  to  swing  in  any  direction,  for  its  size  and 
compactness,  and  for  its  extraordinary  and  very  useful  length  of 
focus.  Mr.  Beer’s  10  by  8 mcritoire  seemed  to  leave  nothing  to 
desire  as  regards  lightness,  strength,  and  price. 

Mr.  W.  H.  Kirkby  made  some  remarks  on  the  importance  of 
Mr.  Wharmby’s  recent  question  on  the  subject  of  the  hypo 
bath,  and  said  that,  in  his  experience,  whereas  prints  must  have 
of  necessity  a fresh  fixing  bath  for  each  bitch,  gelatine  plates 
might  be  fixed  in  any  number,  and  in  repeated  batches  iu  the 
hypo,  so  long  as  the  solution  did  not  become  saturated  with 
sulphide  of  silver. 

The  Rev.  H.  J.  Palmer  called  attention  to  two  very  useful 
photographic  appliances — Mr.  Openshaw’s  pocket  book  for 
registering  exposures,  and  some  American  mounting  cards,  to  be 
obtained  at  Mr.  J.  J.  Atkinson’s.  He  (Mr.  Palmer)  had  recently 
been  victimised  into  the  promise  of  a large  contribution  of  prints 
to  a bazaar,  and  it  would  have  been  an  impossibility,  in  the 
pressure  of  other  duties,  to  have  mounted  the  prints  in  th 
ordinary  way.  The  mounts  in  question  contained  the  adhesive 
substance  upon  their  surface,  and  all  that  was  necessary  to  be 
done  was  merely  to  take  the  print  from  the  last  washing  water, 
place  it  upon  the  prepared  card,  and  throw  it  down  to  dry.  In 
his  experience  the  result  was  better,  on  the  whole,  than  in  the 
case  of  prints  which  had  been  dried,  covered  with  adhesive 
matter,  and  then  placed  on  ordinary  mounts,  while  the  saving  of 
time  and  trouble  was  very  considerable. 

Mr.  L.  Hughes  had  promised  to  deliver  a paper  on  “ Micro- 
photography,"  and  as  this  had  been  announced  on  tbe  circulars, 
the  attendance  of  members  interested  in  this  subject  was  large. 
From  some  unexplained  cause,  however,  Mr.  Hughes  did  not 
arrive,  and  the  consequent  disappointment  was  considerable. 

Dr.  Kenyon  exhibited  some  12  by  10  prints  of  views  taken 
recently  by  bimself  during  the  ascent  of  Cader  Idris.  lie  said 
that  it  was  quite  possible,  by  taking  the  last  train  to  Corwen  and 
sleeping  there,  and  then  the  first  train  on  the  following  day  to 
Dolgelly,  to  ascend  Cader,  spend  a photographic  day  among  it3 
lakes  and  precipices,  and  return  to  Liverpool  in  the  evening. 

Mr.  A.  W.  Beer  proposed  an  excursion  to  Plumley  and 
Knutsford  for  the  18th  of  May  ; and  having,  at  the  request  of 
the  Chairman,  undertaken  to  conduct  the  members  to  the  most 
favourable  points  in  the  neighbourhood  for  photographic  work, 
the  Secretary  was  requested  to  mike  the  necessary  announce- 
ments. Cordial  thanks  were  accorded  to  Mr.  Beer. 

Mr.  Ellerbuck  exhibited  some  very  fine  prints  of  negatives 
on  Edwards’s  plates,  and  the  meeting  was  adjourned  to  the  last 
Thursday  in  May. 


North  Staffordshire  Photographic  Association. 

A meeting  was  held  at  the  Town  Hall,  Hanley,  on  Wednesday, 
April  25th,  1883,  Mr.  Charles  Alfieiu  in  the  chair. 

The  Chairman  expressed  the  pleasure  it  gave  him  to  see  a 
society  revived  which  in  this  district  had,  years  ago,  had  a pros- 
perous existence.  He  hoped  that  the  North  Staffordshire  Photo- 
graphic Association  would  be  as  much  to  the  front  as  any  similar 
Society. 

Sir.  Lockett  then  read  a paper  on  “ Emulsion  Processes  for 
Beginners  ” (see  page  284). 

In  reply  to  Mr.  H.  Gover,  Mr.  Lockett  said  he  did  not  find  the 
bichromate  exert  a slowing  action,  provided  that  the  emulsion 
were  well  washed.  He  found  no  comparison  between  an  emul- 
sion treated  with  bichromate  and  one  not  so  treated. 

Mr.  Pother  inquired  whether  such  a small  percentage  of 
silicate  of  soda  gave  a perfectly  safe  substratum. 

Mr.  Lockett  had  found  it,  provided  the  plates  were  cleaned 
well,  better  than  any  albumen  or  gelatine  substra*um. 

A vote  of  thanks  having  been  passed  to  Mr.  Lockett, 

Mr.  F.  J.  Emery  said  that  it  gave  him  great  pleasure  to  become 
a member  of  a society  which  he  hoped  would  do  a public  service 
by  securing  photographic  representations  of  curious  archselogical 
relics,  some  of  which  were  now  passing  away,  but  for  which  no 
shire  was  more  celebrated  than  the  county  of  Stafford. 


288 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  4,  1883, 


It  was  resolved  that  a question-box  be  introduced  at  the 
monthly  meetings,  and  on  Mr.  Emery’s  proposition  agreed  that 
three  vice-presidents  be  elected  from  among  the  members,  who 
should  represent  the  towns  of  Burslem,  Hanley,  and  Stoke- upon- 
Trent,  and  that  at  these  towns  meetings  in  turn  be  held  ; the 
next  to  be  at  Burslem. 


tklfc  in  Stubio. 

Photographic  Society  of  Great  Britain.— The  next 
meeting  of  this  Society  will  take  place  on  Tuesday  next,  May  8, 
at  eight  o'clock,  at  the  Gallery,  5a,  Pall  Mall  East  (the  Summer 
Exhibition  of  the  Royal  Society  of  Painters  in  Water  Colours 
being  on  view),  when  a paper  on  “ Photography  in  Relation  to 
Colour  ” will  be  read  by  Mr.  J.  R.  Sawyer. 

Nitro-Glycerine  Factory  in  a Studio.— A Northampton 
correspondent  says  : — “ It  appears  that  in  consequence  of  infor- 
mation received  by  the  police  as  to  the  suspicious  movements  and 
demeanour  of  the  tenant  of  7,  Aberdeen  Terrace,  St.  James’s 
End,  Northampton,  the  premises  were  entered.  Oils  and  various 
compounds  were  found  spilt  about  the  floor,  and  there  were 
other  indications  that  the  place  had  been  used  for  the  illicit 
manufacture  of  explosives.  The  letting  of  the  house  is  in  the 
hands  of  Messrs.  Barber  and  Son,  house  agents,  and  it  was  hired 
last  Easter  by  a man  described  as  of  Yankee  appearance.  No 
furniture  has  since  been  taken  into  the  place,  and  the  windows, 
front  and  back,  were  painted,  so  that  no  prying  eyes  could  see 
what  was  goiDg  on  within.  Outside  an  announcement  was  posted 
to  the  effect  that  photographs  were  taken,  but  no  photographic 
business  appears  to  have  been  transacted.  A few  days  ago  a 
railway  van  arrived  with  a box,  and  it  was  then  observed  that 
the  American-lookiDg  tenant  appeared  to  be  busily  at  work  in 
the  kitchen,  where  a fire  was  burning.  Subsequently  a man 
called  and  took  away  two  heavy  boxes.  When  the  house  was 
entered  no  cne  was  fouud  inside,  and  as  no  arrests  have  yet  been 
made,  it  is  supposed  the  mysterious  tenant  has  managed  to  get 
clear  away.” 

DEATn  of  Mr.  C.  J.  Collins.— We  receive,  from  Mr.  T. 
Fall,  of  Baker  Street,  intimation  of  the  death,  on  May  2nd,  of 
Mr.  C.  J.  Collins,  who,  during  the  past  three  or  four  years,  had 
chiefly  devoted  his  time  and  energies  to  the  management  of  the 
Co-operative  Stores,  in  Charterhouse  Square.  Mr.  Collins  had 
been  suffering  more  or  less  for  some  months  past  from  nervous 
depression  and  general  prostration,  but  his  death  occurred  more 
suddenly  than  had  been  expected.  The  funeral  will  take  place 
at  Willesden  Cemetery  on  Monday  next,  at  2-80. 

A Pistolgraph. — Not  many  days  ago  a handsome  young 
lady  entered  the  studio  of  one  of  the  leading  photographers  in 
Madrid,  to  have  her  likeness  taken.  After  placing  the  lady  in 
position  the  artist  busied  himself  with  the  camera.  When  all 
was  in  readiness  for  the  operation,  what  was  his  amazement  to 
find,  on  glancing  round,  that  his  fair  customer  was  holding  a 
pistol  to  her  temple  ! “ AVhat  are  you  doing  ? ” he  excitedly 

cried  ; “ you  will  ruin  my  business,  besides  spoiling  your  pretty 
face.”  Calmly  smiling,  the  lady  replied;  “I  have  not  the 
remotest  idea  of  committing  such  a piece  of  barbarity,  but  I 
may  as  well  tell  you  that  my  sweetheart  has  deserted  me,  and 
I want  to  send  him  my  likeness  in  this  position,  intimating  to 
him  at  the  same  time  that  I shall  pull  the  trigger  if  he  does  not 
return  to  me  at  once.”  The  photographer  had  no  difficulty  in 
complying  with  the  lady’s  wishes,  and  a few  weeks  afterwards  he 
had  the  satisfaction  of  taking  the  portraits  of  a young  married 
couple,  though  without  the  revolver,  which  the  husband 
had  probably  placed  out  of  harm’s  reach. — El  Afundo  Pintoresco. 

The  geological  Report  of  the  State  of  Kentucky  is  to  be  illus- 
trated by  a series  of  collotypic  prints,  which  have  just  been 
issued  from  the  establishment  of  Klauber.  The  work,  when 
issued,  will  form  a valuable  record,  as  the  characteristics  of  rocks, 
fossils,  and  various  geological  formations,  are  depicted  with 
remarkable  clearness  and  minute  detail. 

Photographic  Club. — The  subject  for  discussion  at  the  next 
meeting  of  this  Club  on  May  9lh,  will  be  “ Instantaneous 
Shutter  or  Exposer.” 


Comsgcn&fttta. 

***  We  cannot  undertake  to  return  rejected  communications. 
South  Devon. — Write  to  Mr.  Dixon,  The  Photographic  Studio, 
Albany  Street,  S.W, 


A.  Borland. — In  the  first  place,  the  film  on  the  face  of  the  wood 
is  too  thick,  and  curls  on  application  of  the  graver  ; in  the  next 
place,  the  ground  should  be  white.  Even  were  these  defects 
remedied,  the  photograph  would  demand  the  services  of  a 
skilled  engraver,  an  ordinary  workman  requiring  lines  and 
shading  for  his  guidance.  If  you  communicate  with  our  en- 
graver (Mr.  White,  14,  Carthusian  Street,  Aldersgate  Street, 

E.O.)  he  will  forward  you  a piece  of  wood  prepared  for  the 
photograph  ; on  its  return  to  him,  he  will  experiment  upon  it. 

G.  F.  Webber. — Although  a modern  photographic  lens  by  one  of 
the  first-class  makers  will  often  fetch  something  near  the  actual 
selling  price  at  such  a sale  as  you  refer  to,  there  is  nothing 
unusual  in  such  an  instrument  being  disposed  of  for  one -fourth 
or  even  less.  We  have  not  the  slightest  doubt  that  the  makers 
Will  immediately  give  you  all  the  information  you  require. 
2.  This  is  of  course  the  main  circumstance  which  influences  the 
second-hand  price. 

W.  P. — Try  Skilbeck,  in  Thames  Street. 

C.  F.  Bailey. — A mixture  of  starch  paste  and  fine  lamp  black 
answers  very  well ; apply  it  with  a piece  of  fine  sponge.  Before 
applying  it  to  the  metal,  it  is  as  well  to  etch  or  roughen  the  surface 
withnitrb  acid,  and  wash  thoroughly. 

G.  Foster. — 1.  Apply  strong  nitric  acid,  and  allow  it  to  remain 
on  for  some  days,  or  grind  with  very  fine  emery  (flour  emery)  and 
water.  2.  Fine  cambric  or  muslin.  3.  From  14  to  20  ounces. 
4.  No  absolute  figure  can  be  given,  but  30  may  be  taken  as  an 
approximate. 

Carte  Mionon.- — Mr.  II.  Lambert,  of  Bath,  sends  us  some  two 
dozen  samples  of  very  effective  work  in  this  line.  He  says : — “ As 
I found  the  public  has  taken  to  them  I could  not  stop  for  wholesale 
houses  for  the  carte,  but  am  glad  to  find  dealers  are  now  pushing 
them  on.  As  soon  as  I get  soma  from  them,  I will  send  you  some 
fresh  subjects.  I find  them  very  much  liked  by  the  public,  and 
I think  if  every  photographer  introduced  them,  they  would  have 
the  same  run  as  carte-de-visite  when  first  introduced.” 

F.  Gommp. — As  nitrate  of  silver  does  not  blacken  when  exposed  to 
light,  it  is  evident  that  some  impurity  is  present.  Perhaps  the 
sample  has  been  exposed  to  dust,  or  has  been  in  conta:t  with 
paper. 

Amateur. — Use  a stronger  bath  for  sensitising. 

Veuax. — I.  If  the  corrugations  are  fine,  dirt  lodges  between  them, 
and  a very  considerable  loss  of  light  is  the  necessity  consequence. 
2.  There  is  no  “best,”  as  all  depends  on  the  sitter  and  the  kind  of 
effect  desired.  3.  Yes. 

G.  M. — 1.  Ordinary  sheet  glass  ; but  select  a sample  rather  having 
a bluish  than  a yellow  cast.  It  is  an  excellent  plan  to  test  various 
samples  of  glass  against  each  other,  by  laying  them  on  a sheet  of 
sensitive  paper  and  exposing  to  light.  2.  It  is  difficult  to  say, 
unless  through  a triend.  3.  Captain  Abney’s  “ Instruction,” 
published  at  our  office.  4.  Up  to  about  12  by  lo,  the  former  ; in 
the  case  of  larger  pictures,  tbe  latter  method. 

James  Parkinson. — 1.  If  you  can  whitewash  the  high  wall  it 
will  make  a very  great  difference  as  regards  the  amount  of  light. 
2.  It  is  desirable  to  make  the  dark  room  somewhat  larger  than 
you  propose.  A mere  cupboard  served  very  well  in  the  old  days 
of  collodion,  but  will  hardly  do  now-a-days.  Yout  design 
appears  generally  good. 

Wanting  to  Know. — The  specimens  are  very  good,  and  we 
should  think  that  you  would  have  no  difficulty  in  obtaining  the 
kind  of  situation  you  desire. 

Rufus. — Finely-powdered  nitrate  of  barium,  1 ounce ; warm 
water,  16  ounces.  When  dissolved,  stir  in  1£  ounces  of  pul- 
verised protosulphate  of  iron.  After  no  more  granules  of  iron 
salt  remain,  filter  the  liquid,  and  add  1 ounce  of  alcohol  and  40 
minims  of  nitric  acid.  Do  not  expose  the  fluid  to  the  air  more 
than  is  necessary. 

William  Gerste'r. — 1.  The  locality  is  so  unsuitable  as  to  render 
it  very  undesirable  to  erect  the  studio  as  you  propose.  It  would, 
perhaps,  be  better  to  construct  some  kind  of  a portable  studio. 
2.  The  surface  gradually  becomes  corroded  by  the  action  of 
moisture  and  other  agencies.  3.  No.  4.  A leader  on  the  subject 
will  apptar  in  the  course  of  a few  weeks. 

No.  393. — 1.  The  fatty  matter  would  doubtless  become  partially 
saponified,  but  not  sufficiently,  unless  at  a much  higher  tempera- 
ture. 2.  Use  a solution  of  one  part  of  caustic  potash  in  sir  of 
water.  3.  Chrome  alum  is  to  be  preferred,  except  in  those  rare 
cases  when  extreme  whiteness  is  a main  consideration.  4.  Boil 
one  part  of  wnite  wax  with  ono  and  a-half  parts  of  pearlash 
(potassium  carbonate)  and  ten  parts  of  water. 

***  Several  matters  of  secondary  interest  are  unavoidably  omitted, 
owing  to  pressure  on  our  space. 


PHOTOGRAPHS  REGISTERED. 

Mr.  W.  F.  Hodges  (Birmingham)— Photo,  of  Whitehead’s  Nitro-Glycerine 
Manufactory. 

Mr.  RaymosdJLyndk  (Edgwarc  Road)— Photo,  of  Zelie  Lynde. 

Messrs.  L.  Weston  and  Son  (Dover)— Photo,  of  Town  Hall  and  Maison 
Dieu,  Dover. 


THE  PHOTOGRAPHIC  HEWS. 


Vol.  XXVIL  No.  1288.-- May  11,  1883. 

— r~ 


w C ?e..  s 

CONTENTS. 


w. 


PAGE 

Tnc  Royal  Academy 2rq 

Antiseptic  Substances  9on 

Lantern  Slides  93) 

riot 

Notes  on  Photography.  By  E.  Howard  Farmer  298 

Photography  of  the  Vocal  Organs  in  the  Act  of  Singing.  By 

The  Eclipse  Expedition.  By  C.  Ray  Woods 939 

Balloon  Photography.  By  W.  Cobb  93a 

Lenses, Cameras,  & Stands  forSmall  Work.  By  E.  A.  Bridge  29 1 

On  the  Action  of  Haloids  in  Gelatine.  By  J.  Barker  300 

Correspondence  301 

Proceedings  of  Societies  301 

Patent  Intelligence  237 

To  Correspondents 304 

THE  ROYAL  ACADEMY. 

Our  sketch  of  the  Academy  must  perforce  be  but  a 
cursory  one.  A collection  that  numbers  no  less  than 
1,693  exhibits  cannot  be  fairly  mentioned,  let  alone  criti- 
cised, within  the  limits  of  any  space  we  could  devote  to  the 
subject  in  this  journal,  and  therefore  we  shall  follow  the 
plan  we  instituted  a few  years  ago,  of  mentioning  those 
pictures  only  that  are  especially  attractive  from  a photo- 
graphic stand-point.  From  portraiture,  landscape,  and 
story-telling  pictures,  much  may  be  learned  by  the  photo- 
grapher, if  he  will  but  turn  attention  to  such  paintings  that 
have  an  affinity  with  the  work  he  can  himself  produce  with 
his  camera.  In  portraiture,  for  instance,  there  is  the  study 
of  pose  ; in  landscape,  the  study  of  composition,  of  light  and 
shade,  and  of  contrast  between  bold  foreground  and  hazy 
distance,  and  how  effect  and  harmony  are  produced  ; while, 
in  looking  at  story-telling  pictures,  he  may  specially  note 
those  within  the  capacity  of  the  camera,  witli  a view  to 
exercising  his  own  talents  in  compositions  of  like  character. 

There  are  several  examples  of  happy  quiet  posiDg  in 
portraiture.  Mr.  Wells’  portrait  of  “ Mrs.  Arthur  Street  ” 
(375),  and  “ Portrait  of  a Lady  ” (259),  by  Mr.  N.  H.  J. 
Baird,  are  well  worth  looking  at.  Mr.  Frank  Iloll's  por- 
trait of  John  Bright  (278)  is  another;  and  so  is  Mr.  Ouless’ 
portrait  of  the  Bishop  of  Norwich  (476).  But  the  best  are 
Mr.  Holl’s  Lord  Winmarleigh  (514),  a half-front  sitting 
portrait,  the  head  thrown  back,  the  hands  interlaced,  and 
one  arm  round  the  top  angle  of  a square-backed  chair,  the 
position  denoting  much  firmness  and  force  ; and  Mr.  G. 
King’s  portrait  of  William  Glover  (877),  a three-quarter 
standing  portrait  ; the  model  is  turned  slightly  from  the 
spectator,  dressed  in  a loose  shooting  jacket,  the  further 
hand  loosely  dropped  into  the  coat  pocket,  the  nearer  arm 
bent  at  the  elbow  across  the  body,  a cigarette  between  the 
fingers.  A portrait  of  Professor  Huxley  (334),  by  Mr.  J. 
Collier,  is  redeemed  by  the  forcible  expression  of  the  Pro- 
fessor, which  is  wonderfully  well  rendered,  for  the  pose  is 
most  conventional,  Huxley  standing  at  a table  with  three 
books  piled  up  to  support  bis  arm  ; if  three  were  not  high 
enough,  of  course  four  would  have  been  used.  A portrait 
of  the  good  old-fashioned  type  is  that  of  General  Willis  at 
Kasaassin  (679) ; here  we  see  the  military  hero  in  stern  and 
striking  attitude  looking  “ off,”  as  actors  say,  while  a raging 
battle  is  going  on  behind  him,  a further  proof  of  his  utter 
disregard  of  circumstances  being  afforded  by  the  fact  that 
he  carries  his  white  helmet  in  hand,  notwithstanding  the 
glare  of  a tropical  sun;  but  for  these  incongruities  the 
painting  is  really  a fine  one,  by  Mr.  J.  H.  Walker. 

Of  warnings  to  the  photographer  as  to  what  to  avoid  in 
portraiture  there  are,  as  usual,  many  examples.  Look  at 
Mr.  C.  Johnson’s  picture  of  the  Mayor  of  Bootle  (320),  for 
instance,  which  represents  a very  beautiful  gentleman 


indeed.  Stout  of  habit  and  florid  of  complexion,  he  has 
arrayed  himself  in  gown  and  chain  of  office,  and  sitting 
down  plump  in  the  corporation  chair,  one  hand  resting  on 
each  side  of  him,  he  seems  to  be  saying  : “ There,  now,  what 
do  you  think  cf  this?”  Another  scarcely  less  vulgar  ex- 
hibition is  the  “ Senior  Past  Master  and  Father  of  the  Court 
of  the  Worshipful  Company  of  Butchers”  (87),  by  Mr.  C. 
G.  Munton,  a pose  very  much  after  the  same  fashion.  In 
Mr.  J.  H.  Walker’s  Sir  Ashley  Eden  (390),  we  have  the 
conventional  arm-on-a-pedestal-scroll-in-the-hand  style  of 
picture,  the  hair  brushed  well  back,  and  the  countenance 
very  stern,  to  show  us  what  a terribly  great  man  the  original 
really  is.  Strange  to  say,  Mr.  Herkomtr,  who  has  earned 
a great  name  by  the  pathos  and  feeling  he  puts  into  his 
pictures,  has  gone  all  to  pieces  over  portraiture  ; his  Hans 
Richter  (369),  showing  us  the  full  face  of  a fair-bearded 
man  looking  slightly  upward,  much  as  if  he  were  a saint, 
strikes  one  simply  as  a picture  of  insufferable  conceit.  His 
Sir  Richard  Cross  (523)  is  better,  but  gives  an  impression 
of  weakness ; the  pose  and  expression  of  Mr.  Samuelson 
(759)  is  also  very  bad ; the  model  is  sitting  still,  with 
bated  breadth,  looking  at  nothing,  while  he  is  being 
painted. 

Mr.  Briton  Riviere,  we  think,  makes  most  mark  this 
year.  He  is  always  graphic,  and  frequently  exhibits  both 
humour  and  pathos  in  his  work.  Two  of  his  pictures  are 
especially  attractive  ; “ Giants  at  Play”  (694)  shows  us 
three  hulking  labourers  not  lazy,  but  evidently  thoroughly 
tired  out  hy  sheer  hard  work,  resting  in  a picturesque 
group,  and  amusing  themselves  with  a tiny  white  blear-eyed 
terrier,  whose  excitement  over  a bundle  of  feathers  held  at 
the  end  of  a bit  of  string  affords  considerable  merriment  to 
the  heavy-limbed  giants.  “Old  Playfellows”  (392)  is  a 
no  less  masterly  production,  representing  a sick  boy 
propped  up  in  an  arm-chair  with  cushions  and  blankets, 
whose  wan  face  looks  down  on  a Spitz  dog,  who,  with  arched 
back  and  roguish  look,  puts  one  paw  on  the  boy’s  knee, 
wistfully  hoping  of  a gambol  together.  Mr.  Marks  has,  as 
usual,  several  quaint  bits  in  his  own  peculiar  vein  : the 
Professor  (493),  one  of  the  old  school,  who  stands  before 
a lecture  table  laden  with  old  bones  and  fossils,  and  whose 
physiognomy  partakes  a good  deal  of  the  craniums  around 
him,  is  a capital  picture  ; and  so,  too,  is  the  bothered  old 
gentlemau  searching  in  drawer  and  cabinet,  “ Where  is  it  ? ” 
(43),  and  “The  Old  Clock,”  an  antiquated  time-piece 
standing  in  the  hall,  that  is  being  set  right  by  the  old- 
fashioned  clockmaker  in  his  long  brown  coat,  who  consults 
a fat  watch  from  his  fob  for  the  purpose. 

The  beggar  (1,457),  by  Carlo  Randanini,  is  a capital 
study  that  might  be  well  followed  in  photography ; a 
grizzled  old  man  sitting  down,  one  arm  clasping  his  tattered 
garments,  the  other  holding  forth  his  hat  for  charity. 
Another  simple  and  effective  study  is  “ What  of  the  War  ? ” 


290 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  11,  1883. 


(20G),  by  Mr.  P.  W.  Steer  : an  old  fellow  standing,  front- 
ing the  spectator,  and  unfolding  a newspaper  at  arms’ 
length,  looks  down  upon  it,  in  its  half-opened  state,  and 
tries  to  get  a quick  glance  at  the  news.  Not  very  far  off 
this  is  a very  funny  picture  called  “Honeymooning  in 
Switzerland”  (345),  by  Mr.  Frith,  iu  which  we  see  a 
youthful  couple  ascending  a narrow  path  beeide  a preci- 
pice, the  gentleman  walking  with  bi3  arm  protectingly 
thrown  round  the  lady’s  neck,  who  is  being  carried  up 
the  mountain  in  a chaise  a porteurs  ; but  the  bridegroom, 
for  all  his  loving  care,  keeps  on  the  inside  of  the  path,  and 
puts  his  wife  between  himself  and  the  abyss. 

A fine  Scotch  landscape,  “ A Quiet  Noon  ” (86),  by 
Mr.  Peter  Graham,  is  likely  to  be  admired  by  all  lovers 
of  field  and  fell ; and  another,  “ Ben  Eay  ” (398),  by  Mr. 
H.  W.  B.  Davies,  is  not  less  pleasing ; the  rough  moor- 
land, the  golden  bracken,  thejheaven-blue  pools,  and  rough 
Highland  cattle  in  this  latter,  are  finely  painted.  Mr. 
McWhirter,  in  Nature’s  Mirror  (448),  shows  us  a sweet 
back-water,  where  the  yellow  water-lilies  grow,  and  silvery 
birch  stems  and  twining  greenery  deck  the  grassy  banks. 
“ Autumn  Morning,”  by  Vicat  Cole,  is  also  a ravishing 
little  picture,  where  the  golden  brown  of  autumn  is  made 
to  contrast  with  the  blue  mist  that  hangs  over  our  wood- 
land in  the  fall ; there  is  the  limpid  stream  with  its  sedgy 
banks  and  yellow  rushes,  while  a picturesque  old  punt  adds 
further  strength  to  the  foreground.  “ At  the  Head  of  Glen 
Lynn  ” (433),  by  Mr.  J.  C.  Adams,  is  another  sylvan 
dell,  but  of  a different  character,  the  principal  feature 
here  being  some  moss-grown  boulders  on  the  fore- 
shore of  a mountain  torrent  that  is  overhung  with  fresh 
greenery.  Windsor  (297)  is  another  fine  piece  of  work 
by  Vicat  Cole,  the  magnificent  pile  of  castellated  tene- 
ments rising  high  above  the  broad  sweep  of  river.  In 
“The  First  Frost”  (621),  by  Mr.  A.  Parsons,  we  have 
autumn  once  more  in  all  its  richness  of  colour,  though 
the  presence  of  a solitary  female  figure,  and  some  whip- 
like branches  bereft  of  leaves  that  hang  over  a silent  pool, 
foretell  something  of  melancholy  in  the  fall  of  the  leaf. 
Once  more  the  story  is  told,  aud  told  very  sweetly,  too, 
in  “An  Autumn  Evening”  (1,471),  a mellow  landscape, 
full  of  ripe  colouring,  by  Mr.  B.  W Leader. 

Now  and  again,  and  among  the  water-colours  par- 
ticularly, the  aid  of  photography  peeps  forth  unmistakably 
both  in  posing  of  figures,  and  in  still  life.  In  some  cases, 
too,  marked  photographic  faults  may  be  observed,  as  in 
the  case  of  one  village  scene,  where  a wide-angle  lens  has 
obviously  been  used,  with  the  result  that  the  breadth  of 
the  road  is  so  exaggerated  that  it  absorbs  all  the  fore- 
ground. In  another  foreground,  there  is  a very  good  illus- 
tration of  what  a swing-back  can  do,  and  what  it  cannot 
do.  But  our  work  here  is  criticism  rather  than  detection, 
and  with  these  few  observations  we  bring  to  a close  our 
glance  at  the  Academy  of  1883. 


ANTISEPTIC  SUBSTANCES. 

Until  the  gelatino-bromide  process  came  into  general  use, 
the  general  photographer  had  but  little  to  do  with  such 
organic  bodies  as  are  subject  to  rapid  putrescence.  Albu- 
men is  certainly  very  liable  to  decomposition,  but,  as  a rule, 
it  is  salted  and  dried  before  it  comes  into  the  hands  of  the 
photographic  practitiouer.  Things  are  altogether  different 
in  the  present  day,  and  any  advance  in  our  knowledge  re- 
garding the  action  of  antiseptics  becomes  of  especial  im- 
portance from  a photographic  point  of  view. 

Miquelhas  recently  published  a memoir  on  antiseptic 
substances  aud  their  action,  and  his  results  will  be  studied 
with  interest  by  all  gelatino-bromide  workers. 

Antiseptic  bodies  are  roughly  classified  as  follows  : — 
1st.  “Generally  antiseptic”  bodies,  of  which  from 
•01  grammes  to  -10  gramme  suffices  to  preserve  one  litre  ot 
broth  from  putrefaction.  This  class  includes  peroxide  of 
hydrogen  and  bichloride  of  mercury.  2nd  class.  “Very 


powerful  antiseptics,”  or  bodies  of  which  from  TO  gramme 
to  1.0  gramme  is  required  to  preserve  one  litre  of  broth. 
Iodine,  chloride  of  gold,  tetrachloride  of  platinum,  hydro- 
cyanic (prussic)  acid,  and  bromine  come  under  this  heading. 
3rd  class.  “ Powerful  antiseptics,”  of  which  from  10  to  5-0 
grammes  is  required.  Chloroform,  potassium  bichromate, 
ammonia,  thymol,  phenol,  permanganate  of  potassium, 
nitrate  of  lead,  alum.  4th  class.  “ Moderately  antiseptic 
bodies,”  from  5 to  20  grammes  beiug  required.  Hydro- 
bromate  of  quinine,  white  arsenic,  sulphate  of  strychnia, 
boric  acid,  arseniteof  soda,  hydrate  of  chloral,  salicylate  of 
soda,  caustic  soda.  5th  class.  “Slightly  antiseptic  sub- 
stances,” from  20  to  100  grammes  being  required  to  preserve 
the  litre  of  broth.  Borate  of  soda,  hydrochlorate  of  morphia, 
alcohol.  6th  class,  or  “Very  slightly  antiseptic  sub- 
stances,” includes  those  bodies,  of  which  from  100  grammes 
to  300  grammes  are  required;  and  under  this  heading 
M.  Miquel  mentions  iodide  of  potassium,  commonfsalt, 
glycerine,  ammonium  sulphate,  aud  sodium  hyposulphite. 
Substances  such  as  sugar,  which  must  be  present  in  a much 
larger  proportion  in  order  to  exercise  a preservative  action, 
are  placed  outside  the  category  of  antiseptics. 

Bacterial  germs  and  adult  bacteria  were  added  to  broth, 
and  it  was  found  by  experiment  that  the  following  quan- 
tities of  the  various  antiseptic  substances  added  to  one 
litre  served  to  prevent  the  rejuvenescence  of  the  bacterial 


organisms. 

Class  1. 

Peroxide  of  hydrogen 

•05  gramme 

Bichloride  of  mercury 

•07 

99 

Class  2. 

Iodine 

0-25  gramme 

Chloride  of  gold  

0-25 

9j 

• Tetrachloride  of  platinum  .. 

0 30 

If 

Hydrocyanic  acid  

. 0-40 

9 9 

Bromine  

. 0-60 

9> 

Class  3. 

Chloroform  TO  to  2 0 

Potassium  bichromate 

..  1-2 

99 

Ammonia  ... 

..  1-4 

9| 

Thymol  ... 

..  2-0 

99 

Phenol  ... 

..  3-2 

99 

Permanganate  of  potassium 

..  3-5 

99 

Nitrate  of  lead... 

..  3-6 

99 

Alum  

..  4-5 

99 

Class  4. 

nydrobromate  of  quinine  .. 

. 5-5 

grammes 

White  arsenic  

. 60 

99 

Sulphate  of  strychnia 

. 70 

99 

Boric  acid  

7-5 

99 

Arsenite  of  sodium 

. 90 

99 

Hydrate  of  chloral  ... 

. 9-3 

99 

Salicylate  of  soda  

100 

99 

Caustic  soda 

. 180 

99 

Class  5. 

Borate  of  soda 

. 700 

grammes 

Hydrochlorate  of  morphia  .. 

. 75-0 

99 

Alcohol  

. 95  0 

99 

Class  6. 

Iodide  of  potassium 

. 150-0 

grammes 

Common  salt 

. 165-0 

99 

Glyceriue  

. 225  0 

99 

Sulphate  of  ammonia 

. 250-0 

99 

Hyposulphite  ot  soda 

. 275  0 

99 

Some  sodium  salts — as,  for  example,  the  sulphate — are  re- 
markably inefficient,  a dose  of  500  grammes  being  in- 
sufficient to  prevent  the  germination  of  the  bacteria.  It 
may  perhaps  be  fairly  assumed  that  the  broth  fairly  corre- 
sponds with  a weak  gelatinous  solution  as  regards  its 
capability  of  supporting  bacterial  life  ; still  it  would  be 
interesting  to  repeat  M.  Miquel’s  experiments  with  a 
solution  of  gelatine  iu  place  of  the  broth. 


Mat  11,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


291 


LANTERN  SLIDES. 

Second  Article. 

As  an  almost  invariable  rule,  slides  are  made  by  reduciug 
the  size  of  the  picture  from  a negative.  The  exceptions 
to  this  rule  are  where  negatives  are  taken  on  plates  3}  by 
8$,  or  by  3|,  or  where  the  negatives  are  even  smaller 
than  lantern  slides,  such  as  the  pistol  or  revolver  pictures 
now  becoming  popular,  iu  which  case,  of  course,  enlarge- 
ment would  have  to  take  place ; but  this  is  of  rare 
occurrence. 

The  professional  lantern -slide  maker  has  all  sorts  of  jobs 
to  do,  from  reducing  large  negatives  to  lantern  slide  size, 
even  unto  having  to  copy  wood-cuts  or  pen  and  ink  sketches 
of  such  subjects  as  are  not  readily  photographable.  It  will, 
however,  be  generally  found  that  the  work  lies  in  the  pro- 
duction of  a reduced  picture.  No  matter  what  the 
original  may  be — whether  it  be  a large  negative,  or  a paper 
or  glass  positive,  or  a wood- cut,  or  yet  a sketch  or  draw- 
ing— the  camera  must  bo  brought  into  play.  We  had 
better  take  a typical  case,  and  elaborate  this,  which  will 
carry  our  meaning  with  clearness  and  iustructioD.  Sup- 
pose we  have  by  us  a number  of  good  negatives  of  such  a 
size,  say  8J  by  6£,  and  we  desire  to  produce  slides  there- 
from ; our  first  requirement  will  be  a quarter-plate  camera, 
which  nearly  every  photographer  possesses,  or  which  is 
obtainable  for  a very  few  shillings,  lens  and  all,  from  the 
dealers  in  second-hand  apparatus.  An  ordinary  quarter- 
plate  portrait  lens  will  sutliee,  b"t  we  strongly  advise  to 
stop  it  down  to  about  J-  or  thereabouts,  iu  order  to 
get  good  definition.  In  our  own  practice,  we  generally 
employ  a portable  symmetrical  of  4 inches  focus.  Now, 
bearing  in  mind  that  the  slides  when  finished  must  be 
3}  by  3{,  and  that  the  clear  shown  is  a trifle  under  3 by  3, 
we  have  to  consider  how  we  are  to  reduce  8.J  by  G J to  3 by  3. 
As  the  boys  at  school  would  say  of  long  division,  “ it  won’t 
go  ; ” the  8£  may  be  reduced  to  3,  but  the  6£  will  certainly 
not  make  more  than  2J,  so  that  the  clear  of  our  slide  will 
be  3 by  2|.  From  this  it  is  evident  that  if  we  want  a clear 
square  picture,  something  will  have  to  be  sacrificed,  and  wC 
must  content  ourselves  with  reducing  G1  by  Gi  to  lantern 
slide  size,  or  we  must  put  up  with  an  oblong  picture. 

There  are  even  worse  sizes  than  8£  by  Gi — for  instance, 
7|  by  5,  will  only  reduce  to  the  proportion  of  3 by  2,  a 
most  ungainly  size  for  the  clear  of  a lantern  slide  ; or  we 
must  ignore  an  inch  and  a quarter  at  either  side  of  the 
negative,  and  merely  photograph  the  middle — that  is  to 
say,  5 by  5— and  reduce  that  to  3 by  3.  Other  sizes,  such 
as  7$  by  4£  or  8 by  5,  are  still  worse,  and  whilst  they  are 
admittedly  excellent  landscape  sizes,  they  are  very  awk- 
ward for  reducing  to  lantern  size. 

It  must  not  be  supposed  that  all  this  preliminary  con- 
sideration is  of  no  importance  ; a little  reflection  will  show 
that  it  is  of  great  consequence,  for  all  our  optical  arrange- 
ments hinge  upon  the  conditions  we  have  just  put  before 
our  readers.  Few  workers  care  to  copy  merely  the  middles 
of  their  negatives,  for  probably  the  balance  of  the  picture 
is  not  preserved  unless  the  whole  of  the  negative  be  in- 
cluded, and  this  is  but  reasonable,  because  if  the  photo- 
grapher has  had  his  wits  about  him,  he  has  taken  good 
care  that  the  whole  of  his  plate  (if  its  length  was  even 
double  the  width)  would  be  filled  with  properly-balanced 
subject.  It  therefore  resolves  itself  into  a question  of 
whether  the  whole  of  a negative  shall  be  included  in  the 
reduction,  and  thereby  give  us  an  oblong  positive,  or 
whether  we  shall  make  at  square  slide,  and  omit  some  of  the 
subject  in  the  negative.  Upon  artistic  grounds,  we  incline 
to  the  former,  and  for  the  reasons  just  stated,  i.e.,  that  in 
all  probability  the  negative  is  full  of  proper  subject,  which 
preserves  its  true  balance  as  a picture.  The  public  have 
become  so  accustomed  to  the  square,  or  rounded  corner,  or 
circular  form  of  mask  used  to  determine  the  dimensions  of 
slides,  that  any  innovation  in  shape  meets  with  severe 
criticism,  yet  we  do  not  see  why  the  oblong  or  elliptic  mask 


should  not  fiud  favour.  As  already  stated,  it  is  simply 
necessary  to  decide  whether  to  use  only  the  middle  of  the 
negative  (a  length  equal  to  the  breadth),  or  to  mask  of  a 
shape,  showing  (say)  3 by  2,  or  yet  by  compromising 
matters,  aud  showing  3 by  2£. 

Under  the  head  of  “ methods,”  we  have  placed  first  in 
order  the  process  of  photographing  the  negative  in  the 
camera  on  collodion  or  collodion  emulsion.  It  is  not  every 
one  who  possesses  a copying  camera  ; such  an  instrument 
as  will  go  out  from  a few  inches  to  several  feet,  and  enable 
one  to  reduce  a 12  by  10  negative  down  to  lantern  size. 
A well-made  camera,  such  as  is  to  be  seen  in  many  large 
establishments  where  diverse  work  is  done,  will  cost  many 
pounds.  It  is,  moreover,  rather  a bulky  article,  and  fre- 
quently needs  a room,  such  as  is  available  in  an  ordinary 
house,  all  to  itself.  Of  course  such  au  instrument  would 
answer  admirably  for  slide  making,  but  we  doubt  very 
much  whether  the  majority  of  amateurs  would  not  rather 
prefer  a handy  arrangement,  such  as  we  here  figure. 


Following  up  the  typical  case  we  instanced  at  the  beginning 
of  this  chapter,  and  supposing  we  have  a lot  of  negatives 
of,  say,  8J  by  GI  or  7^  by  5,  or  any  other  familiar  size,  then 
the  difficulties  vanish,  or  are  reduced  to  a minimum,  for 
we  have  but  to  make  a slight  calculation,  basing  our 
figures  upon  the  optical  instruments  in  our  possession, 
and  taking  into  consideration  the  size  of  the  negative  we 
want  to  make  a lantern  slide  from.  Suppose,  again, 
that  our  stock  of  negatives  is  of  7^  by  5,  and, 
bearing  in  mind  what  we  have  remarked  about  the  relativo 
advantages  or  disadvantages  of  reproducing  the  positive 
in  proportionate  form,  the  most  suitable  lens  to  employ, 
and  the  apparatus  actually  at  hand,  we  must  see  how  we 
can  combine  these  for  greatest  efficiency.  The  sketch 
shows  an  arrangement  of  a quarter-plate  camera,  furnished 
with  a lens,  as  stated,  a portable  symmetrical  of  4 inches 
focus— such  a piece  of  apparatus  as  may  frequently  be 
found  in  the  outfit  of  the  intelligent  amateur.  Now,  all 
that  is  required  iu  addition  is  a light  conical  box  fitting 
loosely  over  the  camera,  and  of  such  a length  as  will  place 
the  negative  at  the  requisite  distance  from  the  lens.  The 
largest  end  of  this  conical  box  must  be  furnished  with 
grooves  into  which  one  of  the  dark  slides  of  our  71  by  5 
camera  will  run,  and  should  be  a pretty  good  fit,  so  as  to 
throw  all  light  through  the  negative,  allowing  none  to 
enter  elsewhere.  This  conical  box  can  be  very  cheaply 
made  of  wood,  or  zinc,  or  tin,  blackened  inside,  and  it  and 
the  small  camera  fixed  on  to  one  board  which  will  carry 
the  lot. 

When  once  the  scale  of  reduction  is  settled  upon,  and  the 
focus  found,  everything  may  remain  in  situ,  for  by  this 
arrangemeut  every  negative  will  be  in  correct  focus  in  the 
small  camera.  The  measurements  of  distances  we  find 
actually  to  be  required  to  reduce  a 71  by  5 negative  down 
to  3£  by  2^  by  means  of  a 4-inch  focus  portable  symme- 
trical, are,  13  inches  from  negative  to  lens,  and  inches 
from  lens  to  sensitive  plate  ; in  both  instances  measuring 
to  the  rotating  stop. 

Whilst  the  negative  end  of  the  conical  box  must  be  made 
light-tight  in  relation  to  the  slide  carrying  the  negative,  no 
such  precaution  is  necessary  at  the  smaller  end  of  the  cone  ; 
indeed,  it  may  be  made  large  enough  for  the  small  camera 
to  slide  right  within  it,  for  iu  practice  merely  covering  over 
the  junction  with  the  focussing  cloth  is  quite  enough  to 
prevent  stray  light  entering,  the  results  not  beiDg  iu  any 


292 


THE  PHOTOGRAPHIC  NEWS, 


[Mat  11,  1883. 


way  marred  if  a strong  light  come3  through  the  negative. 
By  reducing  to  3£  by  2£  we  are  able  to  cutaway  an  eighth 
of  an  inch  at  each"  end  of  the  transparency— no  great  loss — 
whilst  we  can  retain  the  full  width  of  2^  inches.  In 
practice,  it  will  be  found  most  convenient  to  make  the 
transparencies  upon  glass  4J  by  3^,  afterwards  cutting  the 
picture  down  to  3£,  thus  being  able  to  cut  all  the  excess 
off  one  end  of  the  picture,  or  a bit  off  either  end,  according 
to  which  appears  most  advantageous  or  prudent,  for  some- 
times one  end  of  a negative  may  be  in  bad  focus  or  embrace 
some  object  which  may  very  properly  be  left  out  of  our 
lantern  slide. 

Assuming  the  conical  extension  to  have  been  made,  we 
take  it  and  fix  it  neatly  and  firmly  on  to  a piece  of  board 
about  two  feet  long,  so  that  the  negative  end  shall  be  at 
right  angles  with  the  baseboard  ; this,  of  course,  will  throw 
the  smaller  end  of  the  cone  somewhat  above  the  board, 
where  it  must  be  fixed  with  a simple  chock  of  wood,  on 
edge,  and  a screw  or  two  will  make  the  whole  firm.  Take 
a negative  and  place  it  in  one  of  the  dark  slides,  upside 
down,  and  film  side  towards  the  lens  ; push  the  slide  into 
the  groove  of  the  conical  extension,  and  draw  both  the 
shutters.  This  allows  daylight  to  pass  through  the  negative 
only.  Then  take  the  little  camera  and  rack  it  out  to  about 
6|  inches  ; approach  it  towards  the  small  end  of  cone,  and 
lo'ok  for  the  picture.  As  soon  as  the  focu3  is  got,  the 
camera  should  be  supported  in  such  a position  as  will  place 
the  lens  on  the  axis  of  the  centre  of  the  negative,  which 
any  one  may  do  with  a few  simple  tools,  a few  pieces  of 
wood,  and  a few  screws.  Thus  the  camera  and  the  nega- 
tive are  all  upon  one  base,  and  the  whole  affair  can  then 
be  tilted  to  such  an  angle  as  will  clear  all  chimney  pots  or 
other  obstructions,  the  light  entering  the  negative  being 
from  the  sky  or  clouds,  which  would  be  completely  out  of 
focus.  A north  or  north-east  sky  is  the  best  to  work 
upon,  unless  the  operator  possesses  premises  where  he 
could  work  all  round  the  horizon,  according  to  the  time  of 
day. 

Some  workers  prefer  to  keep  the  apparatus  quite  hori- 
zontal, and  throw  the  light  through  the  negative  by  re- 
flection from  off  a piece  of  silvered  looking-glass  ; but  in 
addition  to  the  extra  cost  and  bulk  of  such  an  arrangement, 
we  find  that  it  is  liable  to  cast  unequal  illumination  upon 
the  negative,  is  liable  to  injury  by  rain  falling  on  it,  and 
has  constantly  to  be  kept  cleaD.  Nothing  is  much  cheaper 
than  the  direct  light  of  the  sky,  and  for  our  purpose  in 
this  respect  we  believe  that  nothing  can  equal  a well-lit 
north-eastern  sky. 

It  is  a very  great  convenience  to  have  this  piece  of 
apparatus  always  ready  for  work.  Its  compactness  is  in 
its  favour  in  this  direction,  which  would  not  be  the  case 
if  it  was  as  big  as  a four-post  bedstead.  There  are  no 
reasons  why  the  operator  should  not  fit  up  this  apparatus 
in  the  dark-room  itself,  a hole  of  the  exact  size  being 
made  in  the  screen  which  blocks  up  his  window,  and  the 
whole  operation  might  then  be  performed  in  the  one  room  ; 
otherwise  the  camera  needs  to  be  in  a room  adjoining  the 
dark-room. 


THE  ECLIPSE  EXPEDITION. 

BY  C.  BAY  WOODS. 

Monday,  March  19 tli,  1883. 

We  are  now  nearly  towards  the  end  of  the  first  part  of 
our  journey,  and  to-morrow  shall  be  in  Callao.  Several 
days  will  be  spent  in  preparations  for  a few  weeks’  sojourn 
on  what  is  at  present  a desert  island,  and  then  we  shall  be 
on  board  the  vessel  of  our  American  friends.  Though  our 
journey  down  the  South  American  coast  has  been  some- 
what uneventful,  it  has  been  by  no  means  without  interest, 

photographic  and  otherwise.  For  instance ; but  stay, 

the  last  intelligence  (?)  you  received  from  me  only  took 
our  journey  as  far  as  Colon  ; and  as  I am  industriously 
tryiug  to  give  you  the  history  of  a scientific  expedition, 
even  to  matters  relating  to  incidents  of  ordinary  travel,  I 


must  go  back  to  the  point  at  which  I left  off.  After 
transacting  such  affairs  as  required  attention  in  Colon, 
receiving  the  greatest  consideration  and  assistance  from 
the  agents  of  the  Royal  Mail  Company  and  from  the 
British  consuls  on  the  Isthmus,  our  instruments  were  got 
safely  under  way  for  transmission  to  Panama  by  rail. 
There  was  little  to  attract  us  in  Colon.  It  is  a most 
unhealthy  place,  and  no  wonder,  when  some  of  the  houses 
are  built  on  piles  over  stagnant  water,  when  a few  tons 
of  rubbish  would  leave  them  high  and  dry.  We  were  by 
no  means  sorry  when  we  found  ourselves  in  the  train  start- 
ing on  the  journey  ; and  the  American  style  of  travelling 
in  long  open  cars,  while  it  has  its  disadvantages,  is,  on  the 
whole,  very  comfortable.  Before  we  had  proceeded  many 
miles  we  found  ourselves  traversing  a narrow  space  cut 
through  the  thick  vegetation  that  covers  the  Isthmus.  A 
moist,  rauk  smell — which  at  home  would  conjure  up 
thoughts  of  bog  and  fen,  but  which,  out  here,  brought  only 
visions  of  miasma  — saluted  our  olfactory  organs  ; but  our 
sense  of  sight  suggested  totally  different  ideas.  It  seemed 
strange  that  that  herald  of  civilization— steam— should  be 
brought  so  closely  into  contact  with  tropical  marsh  and 
jungle;  and  at  times  it  was  difficult  to  realize,  with  that 
tangled  mass  of  tree  and  shrub  before  us,  that  we  were  on 
what  is  becoming  a highway  of  commerce.  The  line  of 
cars  wending  its  way  along  the  road  through  this  close  and 
luxuriant  vegetation  seemed  singularly  out  of  place  ; and 
at  times  one  was  inclined  to  feel  aggrieved  for  its  intrusion 
on  the  domain  of  palm  and  fern.  Occasionally  we  would 
emerge  into  an  open  space,  and  see  the  river,  with  here 
and  there  a long  canoe,  and  a few  thatched  huts  along  its 
banks,  with  their  Indian,  negro,  or  half-caste  owners 
standing  at  the  doorways  watching  the  train  go  past. 

All  this  and  more  we  could  observe  at  leisure,  for  the 
speed  at  which  the  train  moved  seldom  exceeded  ten  or 
twelve  miles  an  hour.  At  one  time  we  would  be  rattling 
over  a bridge,  the  cleanness  and  brightness  of  its  paint  look- 
ing almost  unnatural  to  the  dweller  in  the  great  city  of  fog 
and  smoke ; at  another  time  the  train  wound  its  «ay  like 
a long  serpent  round  a hill  and  up  a steep  incline,  the 
valley  below  us,  and  the  neighbouring  thickly  wooded  hills, 
seeming,  through  the  clearness  of  the  atmosphere,  close  at 
hand.  Once  or  twice  a stoppage  was  made,  seldom,  however, 
at  an  interesting  poiut — on  one  occasion  in  the  midst  of 
a small  village  where  the  different  types  of  many  a nation- 
ality furnished  an  interesting  study  to  the  eye  and  the  mind, 
possibly  to  the  camera,  could  that  at  the  time  have  been 
brought  into  use.  As  we  approached  nearer  to  Panama, 
signs  of  life  and  habitations  became  more  frequent.  In 
addition  to  the  thatched  houses,  were  paioted  wooden  struc- 
tures reared  by  the  Canal  Company  at  the  different  bases  of 
its  operations.  Sometimes  a whole  tract  of  land  was  cleared 
of  its  vegetation  by  axe  and  fire,  laying  bare  the  general 
character  of  the  scenery.  Train  lines,  rows  of  trucks — some 
empty,  and  others  laden  with  tools  and  engineering  plant — 
appeared,  and  for  some  considerable  distance  where  the  rail- 
road and  the  future  canal  were  to  run  side  by  side,  little  flags 
at  frequent  intervals  marked  out  the  path  of  the  projected 
water-way.  Canal  labourers,  hired  in  large  numbers  by  the 
Company,  were  seen  busy  at  their  different  employments, 
and,  in  places,  excavations  had  already  been  commenced. 
Near  our  journey’s  end,  a moderately  high  hill,  somewhat 
resembling  Primrose  llill  in  shape  (I  trust  Columbia  will 
pardon  the  comparisoo)  from  the  point  at  which  we  first  saw 
it,  appeared,  and  skirting  round  it  for  a short  distance  the 
train  came  to  a standstill ; we  were  at  Panama.  Picking 
our  way  up  the  narrow  streets,  we  reached  the  hotel.  The 
only  hotel  that  was  good  for  much  has  been  bought  as  offices 
for  the  Canal  Company.  Very  inferior  accommodation  was 
all  we  could  obtain,  but  getting  the  best  we  could,  we  sat 
down  to  a pretentious  but  poor  repast,  took  a walk  through 
the  town  (it  was  then  dusk),  and  at  last,  tired  with  the  ride 
and  the  heat  of  the  day,  retired  for  the  night.  Next  morn- 
ing we  were  somewhat  at  a loss  what  to  do.  There  seemed 
little  work  for  our  cameras  in  the  town,  the  day  was  cloudy, 


Mat  11,  1883.] 


THE  EHOtOGitAtHlC  NEWS. 


293 


and  we  had  to  see  our  instruments  carefully  embarked  in  the 
afternooD.  But  a new  pleasure  awaited  us.  An  officer  of 
the  vessel  that  was  tobe  our  abode  for  the  next  eight  or  nine 
days,  and  a naturalist  sent  out  by  the  Smithsonian  Institute 
of  America  to  collect  specimensof  fish,  as-ked  us  to  accompany 
them  on  a fishing  excursion.  Wc  went,  and  enjoyed  one  o( 
the  latest  expedients  in  science — fishing  with  dynamite. 
It  was  exciting  wotk,  and  we  had  capital  sport ; a boatful  of 
fioh  for  consumption  on  board,  and  inauy  new  ami  rare 
species  for  our  new  scientific  friend,  rowarded  our,  perhaps  1 
should  sjy  their,  efforts. 

We  called  at  several  ports  down  thecoaat,  without  having 
the  opportunity  to  go  on  shore,  till  we  reached  Guayaquil, 
where,  with  a few  plates,  we  spent  a few  hours.  The  inhabi- 
tants knew  what  a camera  was,  but  were  rather  astonished  at 
the  sight  of  Englishmen  carrying  those  implements,  ai.d  we 
had  to  put  up  with  the  inconvenience  of  being  accompanied 
by  a “ tail  ” of  boys,  many  of  them  in  only  a half-clothed 
state.  While  standiog  with  a curious  crowd  of  all  ages 
around  us  as  wo  exposed  a plate  on  the  Cathedral,  the  canon 
of  that  edifice  espied  us,  and  made  a very  friendly  offer  to 
take  us  to  the  roof  of  his  dwolling,  the  highest  in  the  town. 
Need  Isay  the  offer  was  accepted  ? And  not|the  least  pleasing 
memory  of  the  place  was  our  kindly  reception  by  this  priest, 
who  had  even  put  himself  a little  out  of  the  way,  for  he  was 
just  about  to  go  to  mass.  He  resided  in  a pretty  street,  of 
which  I took  a photograph.  But  the  most  characteristic  and 
striking  feature  of  the  place  was  the  donkeys,  the  most  civi- 
lized donkeys,  I should  think,  on  the  face  of  the  sun,  for  nearly 
every  representative  of  that  useful  race  had  his  fore-legs  in- 
cased in  a pair  of  trousers,  possibly  with  a view  to  keep  off 
flies.  In  some  cases  their  garments  were  little  better  than 
wrappings  round  the  legs,  but  most  of  them  wore  articles 
which,  in  vulgar  slaug,  would  be  called  “ bags,”  made  ol 
canvas.  One  favoured  animal  gloried  in  the  possession  of  a 
pair  of  pantaloons  of  scarlet  flannel  that  would  have  done 
credit  to  a London  tailor.  They  all  looked  excessively  comic, 
and  I was  most  anxious  to  secure  a photograph  of  them. 
This  was  not  an  easy  task,  for  their  drivers  would  not  stop, 
and  instantaneous  photographs  at  close  quarters,  when 
animals  are  moving  very  fast,  are  seldom  happy.  I was  pre- 
paring to  take  my  camera  in  my  hand  and  try  a snap  shot, 
when  happily  the  crowd  that  accompanied  us  entered  into  the 
joke,  and  secured  two  of  them.  It  had  tobe  hurried  work,  but 
the  animals  were  focussed,  the  slide  put  in,  the  cap  oft  and 
on  in  less  time  than  it  takes  to  write  about,  but  the  result 
was  very  satisfactory.  There  are  the  street  corner  and  the 
shops  in  the  background,  with  the  donkeys  occupying  the 
prominent  position  in  all  the  pride  and  glory  of  canvas 
breeches.  So  accustomed,  however,  does  one  get  to  a sight, 
even  if  only  common  in  one  place,  that  at  last,  whea  an  un- 
clothed donkey  crossed  our  path  he  scarcely  looked  decent, 
and  we  turned  our  eyes  the  other  way. 

At  one  more  port  only  did  we  stop,  and  that  was  Payta. 
The  heat  and  glare  of  the  place,  with  its  sandhills, 
reminded  me  forcibly  of  Egypt.  There  is  a little  legend 
connected  with  this  place  that  may  iuterest  artistic  minds. 
Water  is  very  scarce,  and  has  to  be  fetched  from  a dis 
tance,  a whole  day  being  occupied  in  getting  it.  In  or 
near  the  town  there  is  not  one  green  tree  to  relieve  the 
glare  of  the  sultry  streets ; but  one  memorable  day,  a 
disciple  of  the  brush  visiting  the  place,  had  compassion  on 
the  inhabitants,  and  painted  a tree  on  a flat  white  wall. 
To  this  tree  the  simple  villagers  used  to  repair  on  hot  days 
and  rest  under  its  shade  (1)  Their  happiness,  however,  was 
but  brief-lived,  for  the  donkeys  nibbled  all  the  paint  away. 
I have  also  heard  a touching  anecdote  concerning  a young 
lady  who  was  imprudent  enough  to  go  on  shore  in  a green 
dress.  Taking  her  to  be  something  good  to  eat,  the  donkeys 
gathered  round  in  crowds,  and  it  took  the  united  force  of 
the  inhabitants  and  the  Chilian  garrison  to  prevent  a 
heart-rending  scene. 

May  22nd,  1883. 

We  have  now  been  nearly  two  days  in  Callao.  Yester- 


day I accompanied  ray  camera  (I  thusly  express  it,  as 
your  readers  will  probably  think  the  camera  is  the  more 
important  object)  to  Lima,  and  exposed  a few  plates  there. 
There  are  very  few  noteworthy  buildings  in  Lima,  except 
the  cathedral  and  churches,  the  latter  swarming.  I was 
able  to  go  up  into  the  lofty  tower  of  one  of  the  churches, 
and  get  a bird’s  eye  view.  I also  visited  a photographer 
in  a big  way  of  business,  who  kindly  showed  me  over  his 
establishment;  he  turns  out  very  good  work,  and  possesses 
a stock  of  nearly  sixty  thousand  negatives  of  various 
kinds. 

We  leave  in  the  Hartford  this  afternoon,  and  this  series 
of  letters  must,  for  a time,  come  to  an  end.  The  writing 
of  them  has  afforded  me  much  pleasure,  and  if  they  have 
not  bored  your  readers,  I shall  be  happy  to  resume  them 
at  the  earliest  opportunity. 

PS. — If  1 have  not  already  mentioned  it,  I may  state 
that  we  expect  to  return  via  Honolulu,  San  Francisco, 
aud  New  York. 


BALLOON  PHOTOGRAPHY. 

BY  W.  COBB.* 

Human  nature  is  a curious  compound,  and  the  very  widely 
different  opinion  with  regard  to  it  which  exists  between  different 
people  proves  the  fact,  some  seeming  to  make  it  the  business  of 
their  life  to  decry  it  and  discount  at  the  lowest  possible  rate, 
whilst  others  can  hardly  realize  the  possibility  of  its  being  capable 
of  committing  a wrong. 

It  is  sometimes  difficult  to  arrive  at  a satisfactory  conclusion, 
even  by  the  most  complete  system  of  analysis,  as  to  what  may  be 
the  precise  motive  which  actuates  a person  to  engage  in  a more 
than  ordinarily  perilous  undertaking,  involving  danger  to  life  and 
limb,  with  the  view  of  attaining  a certain  object.  It  is,  I imagine, 
quite  within  the  bounds  of  possibility  that  the  motive  power 
may  be  an  inherent  love  of  adventure,  having  no  ulterior  motive 
in  view  whatever,  or  it  may  be  an  acquired  love  of  notoriety, 
with  an  incessant  craving  to  be  an  object  of  public  attention  ; 
but  we  must  in  all  charity  believe  that  in  some  cases  at  least  it 
is  a laudable  desire  to  achieve  the  objects  aimed  at  in  order  that 
a certain  section  of  the  community  or  humanity  generally  may  be 
benefitted  thereby.  Now,  as  I do  not  intend  to  submit  myself 
to  a rigid  cross-examination  as  to  why  I assayed  another  aerial 
voyage  on  Easter  Monday,  I will  ask  you  to  be  charitable 
enough,  just  for  the  present  at  least,  to  believe  that  it  was  in  the 
interest  of  science  generally  and  photography  in  particular  ; and 
with  this  comfortable  feeling  between  us  being  established,  I will 
at  once  proceed  to  give  you  a brief  outline  of  what  took  place  on 
that  occasion. 

Now  I must  ask  you  to  banish  the  idea  from  your  minds  that 
this  is  to  be  a paper  of  instruction.  Indeed,  the  subject  hardly 
admits  of  that ; if  it  is  to  be  anything  at  all,  it  must  be  amusing 
rather  than  instructive.  Brighton  is,  perhaps,  one  of  the  last 
places  in  the  world  which  I should  choose  where  to  spend  a 
happy  day,  and  it  certainly  was  not  rendered  any  more  attrac- 
tive (to  me  at  least)  by  the  teeming  multitudes  by  which  it  was 
thronged  on  Easter  Monday  ; but  having  some  time  previously 
accepted  an  invitation  from  Mr.  Henderson,  who,  conjointly  with 
the  Illustrated  London  News  Company,  had  chartered  a balloon 
for  the  special  occasion,  thither  I went  on  the  Friday  previ- 
ously in  company  with  that  gentleman,  each  of  us  having  pro- 
vided himself  with  a small  camera,  and  some  very  carefully 
prepared  extra  rapid  leucino-bromo-iodo-ammonio-gelatine 
plates,  with  the  view  of  obtaining,  if  possible,  some  balloonatic 
photographs,  from  whatever  height  it  might  please  the  wind,  the 
aeronaut,  and  the  ropes,  to  allow  us  to  ascend  ; for  it  was  to  be 
a captive  ascent. 

I will  not  attempt  to  bore  you  with  a recital  of  the  numerous 
incidents  which  the  soon-to-be-besieged  town,  with  its  many 
thousands  of  visitors  ; considering  the  enormous  influx 
of  visitors,  we  were  fortunate  in  being  very  comfortably, 
although  sparingly  accommodated,  at  a boarding-house 
in  the  most  fashionable  part  of  the  town.  I say  sparingly, 
inasmuch  as  we  had  to  content  ourselves  with  a double  bed-room 
between  us.  The  aeronaut,  Mr.  Simmons,  also  occupied  an 
apartment  in  the  same  house,  and  in  immediate  proximity  to 
our  own  ; and  as  volunteering  was,  of  course,  to  be  the  order  of 
the  day,  we  volunteered  to  render  him  what  assistance  we  could 

* Read  before  the  South  London  Photographic  8ociety, 


291 


THE  PH0T0G1UPHIC  NEWS. 


[May  11,  1883. 


during  the  inflation  of  the  balloon.  This  was  accepted  with 
“ Good  night ! Six  o’clock  in  the  morning— sharp,  mind  ! ” So 
we  retired  to  rest.  Sleep,  however,  fled  from  mine  eyes,  for  the 
wind,  always  to  me  a disturbing  element,  blew  with  increasing 
violence  until  the  small  hours  of  the  morning,  and  rocked  my 
imaginings  with  such  realistic  forms,  as  to  produce  in  my  mind 
anything  but  soothing  effects. 

I fancied  myself  just  about  to  ascend  in  a balloon  with 
the  elements  assuming  a most  threatening  attitude  ; and  he  who 
was  to  be  my  companion,  besides  being  ponderous  in  proportion, 
was  excitable  in  temperament,  and  oftentimes  intoxicated  with 
his  own  ardent  love  of  experiment ; and  the  knife  which  I knew 
he  carried  with  him  would,  I felt  sure,  in  a case  of  emergency, 
be  put  into  immediate  requisition  by  cutting  away  this  or  that 
rope,  or  making  a hole  in  the  side  of  the  car,  with  the  idea  of 
changing  the  course  of  the  inflated  monster,  which  might  prove 
the  vehicle  for  our  destruction.  Shall  I run  the  risk  of  humilia- 
tion and  back  out  ? Although  conscious  of  these  thoughts  passing 
through  my  mind,  it  must  have  been  that  nature  had  so  far 
given  way  as  to  be  gently  letting  me  glide  away  into  dreamland, 
but  I was  suddenly  brought  back  to  full  consciousness  by  a 
bouncing  noise  on  the  floor  of  the  room.  My  companion  I knew 
had  been  sleeping,  for  I had  had  an  unmistakable  evidence  of  the 
fact ; but  I also  felt  sure  that  some  disturbing  influence  was  at 
work,  and  that  his  slumbers  were  not  peaceful.  It  was  he  who 
had  suddenly  sprang  out  of  bed,  and,  to  quote  Artemus  Ward, 
“ he  lit  a light,”  and,  whilst  feeling  for  something  in  his  pocket, 
he  turned  his  eyes  towards  me.  He  thought  I slept,  but  I saw 
enough  to  convince  me  that  something  was  troubling  him.  He 
then  took  a chair,  sat  himself  down  by  the  washing  table,  and 
commenced  rapidly  writing  away  upon  the  marble  top,  and 
audibly  mutteiing,  “ Hundreds  of  thousands — all  bosh  ! ” I 
then  said  “ Mr.  H.  ! ” “ Oh ! Cobb,”  he  replied,  “ I thought  you 
were  asleep ; I wanted  some  writing  paper.  However,  this’ll  do.” 
“ What  on  earth’s  the  matter  ? ” said  I.  “ Oh  ! ” he  replied,  “ I 
was  bothered  in  my  sleep  about  what  So-and-so  told  us  to-day. 
Let  me  see — 800,000  negatives  in  twenty  years  makes  over  a 
hundred  a day.  Now  what  do  you  think  of  it  ? The  photo- 
graphers of  Brighton  should  be  millionaires  at  that  rate. 
Ha  ! ha  ! I’m  satisfied  ; I shall  sleep  now.” 

Six  o’clock  in  the  morning  brought  Mr.  Simmons  with  a rat- 
a-tat-tat  at  our  door,  with  the  remark:  “Henderson,  you  and 
Cobb  need  not  come  to  the  gas  works,  I think,  till  9 o’clock  ; it’s 
snowing  hard,  and  a bitter  cold  morning.  A poor  look  out  for  a 
balloon  ascent.  Let’s  hope  it  will  change  soon.”  Now  I assure 
you  there  never  was  in  this  world  a more  genuine  volunteer  than 
was  I at  that  moment,  for  I volunteered  ( mentally,  of  course) 
the  most  hearty  approval  and  earnest  thanks  for  this  very  agree- 
able change  in  the  programme.  At  9 o’clock  there  were  signs  of 
an  improvement  in  the  state  of  the  weather,  and  the  operation 
of  inflating  forthwith  commenced.  Mr.  Simmons  had  been 
fortunate  to  secure  the  co-operation  of  the  Royal  Naval  Brigade, 
under  the  command  of  Captaiu  Fry,  of  the  well-known  firm  of 
photographers  at  Brighton,  and  to  whom  I had  the  pleasure  of 
being  introduced.  Punctual  to  the  moment  previously  arranged, 
they  appeared,  and  this  gave  the  scene  a very  animated,  and  I 
may  also  say  important,  aspect.  And  one  could  not  but  remark 
how  complete  was  the  discipline,  and  yet  what  thorough  good 
feeling  existed  between  commander  and  those  under  his  charge. 
The  work  of  inflating  has  now  been  going  on  some  three  or  four 
hours,  during  which  time  the  sun  has  thrown  aside  the  leaden 
looking  toga  which  had  concealed  his  face,  and  is  now  smiling 
approvingly  on.  Orders  are  given  to  attach  the  car,  a photo- 
graph is  taken  by  Mr.  Spinks,  a photographer  at  Brighton,  and 
all  is  ready  for  the  start.  The  first  thing  to  be  done  is  for  the 
balloon  to  be  conducted  “ over  the  garden  wall,”  or  rather  the 
gas-yard  wall ; this  being  skilfully  done  by  the  Royal  Naval 
Brigade.  Here  a little  incident  occurred  of  a rather  ludicrous 
nature.  During  the  adjustment  of  the  ballast  by  Mr.  Simmons’s 
assistant,  who  was  being  towed  along  in  the  car  for  that  purpose, 
the  balloon,  as  if  conscious  of  the  diversion  it  caused  to  its 
followers,  performed  several  rapid  ups  and  downs,  just  bumping 
the  ground,  and  then  darting  up  again  with  the  swiftness  of  an 
eagle.  During  one  of  these  descents,  a rustic,  who  presumably  was 
not  watching  it  at  the  moment,  was  suddenly  pounced  upon  with 
sufficient  force  to  knock  his  hat  over  his  eyes,  and  himself  laid 
sprawling  upon  the  ground.  Fortunately  he  was  not  hurt,  tut  the 
effect  was  droll  in  the  extreme  to  see  him  striving  to  release  his 
head  from  the  tight  grasp  of  his  now  battered  best  holiday  hat, 
and  muttering  sundry  imprecations  upon  that  “ darned  thing 
of  a balloon.” 


After  a brisk  walk  across  the  downs  for  about  half  a mile,  the 
balloon  being  still  in  the  custody  of  the  Blue  Jackets,  a halt  was 
called,  and  we — i.  e.,  Mr.  H.  and  I — prepared  to  make  the  first 
ascent  ; but  the  wind,  which  had  been  steadily  rising  during  the 
last  hour,  was  evidently  causing  Mr.  Simmons  some  anxiety, 
whose  sympathies  w 1 - doubtless  divided  between  the  safety  of 
his  balloon  audits  occupants  ; however,  amidst  the  cheers  of  the 
crowd  which  had  gradually  collected,  we  took  our — no,  not  seats — 
places  in  the  car,  which  seemed  to  me  little  more  than  double 
the  size  of  a baker’s  basket,  and  in  that,  besides  ourselves,  had  to 
be  stowed  away  ten  bags  of  ballast.  I won’t  say  it  was 
through  selfishness,  or  that  it  could  have  been  otherwise  arranged, 
but  my  companion  certainly  had  the  lion’s  share  of  the  accommo- 
dation, and  I am  almost  afraid  that  the  wish  took  possession  of 
me  that  he  had  had  it  all. 

Before  we  had  time  to  arrange  our  cameras  we  had  reached  the 
length  of  tether,  then  immediately  began  a very  rapid  descent, 
and  before  the  order  to  heave  out  ballast  could  be  executed  we 
had  bumped,  but  fortunately  not  a hard  one,  or  I might  possibly, 
beneath  the  Jumboic  weight  of  Mr.  Henderson  been  made  to 
represent  the  now  fashionable  colour  of  ladies’  attire — crushed 
strawberries — and  during  the  next  quarter  of  an-hour  our  plates 
were  all  shot  off. 

I think  it  will  be  admitted  that  although  the  results  we  ob- 
tained may  lack  pictorial  interest,  they  are  nevertheless  far  in 
advance  of  anything  which  has  been  previously  done  from  a 
balloon,  and  are  quite  sufficient  proof  in  themselves  that,  under 
anything  like  favourable  circumstances,  balloon  photography  is 
not  only  practicable,  but  comparatively  easy.  It  is,  moreover,  a 
settled  conviction  in  my  own  mind  that  notwithstanding  gyration, 
it  is  far  more  easy  to  photograph  from  a free  balloon  than  from  one 
which  is  captive.  The  pitching  and  tossing  of  the  car  in  which  we 
conducted  our  manipulations  on  Easter  Monday  will  not  soon  be 
forgotten  by  us,  and  I,  for  one,  have  fully  made  up  my  mind 
never  again  to  attempt  them  under  similar  circumstances. 

It  was  in  one  respect  a source  of  regret  that  we  expended  our 
force  so  rapidly,  as,  contrary  to  our  expectations,  and  certainly 
against  our  inclinations,  we  were  compelled  to  remain  aloft  much 
longer  than  we  had  anticipated,  in  consequence  of  our  signals 
not  being  understood  below.  Being  several  miles  distant  from 
where  the  forces  were  concentrating,  every  ten  minutes’  sailing 
in  that  direction  made  more  desirable  sport  for  our  guns  ; but 
having  no  ammunition  left,  we  had  nothing  to  do  but  reconnoitre. 

Now  I cannot  help  thinking  that  if  ever  aerial  navigation  is  to 
become  of  any  practical  value,  it  must  be  in  connection  with 
photography,  and  although  until  some  system  shall  have  been 
discovered  which  shall  render  the  course  and  speed  of  the  balloon 
amenable  to  the  skill  of  the  aeronaut,  it  must  of  necessity  be 
attended  with  more  than  ordinary  danger.  And  even  then, 
probably,  the  danger  will  not  be  averted,  for  I hold  it  to  be  a 
well  substantiated  fact,  that  the  higher  we  rise  in  the  scale  of 
civilization,  and  the  more  we  add  to  our  scientific  resources,  tho 
greater  and  the  more  numerous  are  the  dangers  with  which  we 
surround  ourselves.  After  all,  it  is  a gratifying  fact  that  in 
whatever  direction  science  advances,  the  value  of  photography 
asserts  itself.  And  it  may  be  truly  said  that — 

“ Undaunted  by  the  intricacies  of  Nature’s  laws. 

It  solves  the  subtle  mysteries  of  effects  and  cause. 

In  every  phase  of  science  it  registers  its  part. 

And  tutors  well  the  genius  in  the  high  domains  of  art. 

It  traverses  the  hidden  paths  of  boundless  space, 

And  holds  the  planetary  systems  in  its  own  embrace  ; 

Brings  the  invisible  to  light,  and  gives  the  lie 
To  falsity  of  teachings  and  perverted  theory. 

No  limner’s  pencil,  though  with  mystic  sympathies  arrayed 
Which  flashing  inspiration  summons  to  its  aid. 

Can  prove  so  much,  or  such  unerring  truths  supply 
As  this  noble  and  ennobling  art,  photography.” 


LENSES,  CAMERAS,  AND  STANDS  FOR  SMALL  WORK. 

BY  F.  A.  BRIDGE.* 

A question  often  asked  is,  “ What  is  the  best  outfit  for  taking 
quarter  plates  ? ” and  although  on  matters  of  detail  possibly  many 
may  differ,  there  can  be  little  doubt  that  with  a camera 
expanding  from  2J  to  11  or  12  inches  by  Meagher  or  Hare, 
three  or  four  lenses  of  various  focal  lengths  by  Ross  and  Dall- 
meyer,  and  a light  firm  stand,  the  most  fastidious  ought  to  be 
satisfied.  Of  course  a lens  might  be  provided  for  every  inch  the 
camera  will  expand  ; but  this  might  be  looked  upon  by  many 
as  not  only  luxurious,  but  unnecessary.  As  the  title  of  my  short 

• Read  before  the  South  London  Photographic  Society. 


May  11,  1883.| 


THE  PHOTOGRAPHIC  NEWS. 


295 


paper  runs,  “Lenses,  Cameras,  and  Stands  for  Small  Work,’’ 
we  will  begin  with  the  lenses. 

Now  I must  confess  that  for  out-door  work  I have  a great 
partiality  for  two  families  of  lenses,  viz.,  the  portable  symme- 
trical of  Ross,  and  the  rapid  rectilinear  of  Dallmeyer.  I am 
quite  aware  of  the  advantages  of  what  are  called  single  lenses, 
and  for  some  subjects  they  undoubtedly  have  many  desirable 
qualities.  The  two  kiuds  of  lenses  I have  mentioned  have 
always  given  me  unqualified  satisfaction,  and,  as  I do  not  happen 
to  have  much  experience  with  single  lenses,  I will  leave  others  to 
speak  in  their  favour  if  they  thiuk  I have  not  given  them  all 
the  glory  they  deserve.  One  little  advantage  is  worth  noting  : 
as  you  all  probably  know,  the  first  five  or  six  portable  symrne- 
tricals,  and  the  first  three  R.  R..  can  be  used  in  the  same  flange. 
Many  persons,  however,  object  to  the  expense  of  an  outfit  such  as 
I have  spoken  of,  and  mainly  for  their  benefit  I have  tried  a few 
experiments.  Through  the  kindness  of  several  manufacturers 
and  friends,  a variety  of  apparatus  has  been  placed  at  my  dis- 
posal, and  I may  as  well  at  once  show  you  the  results  of  my 
labour. 


Now  I have  already  mentioned  several  manufacturers  by  name, 
and  before  I get  to  the  end,  I may  also  make  some  quotations 
from  price  lists.  This  may  seem,  perhaps,  a mild  form  of  adver- 
tising ; but,  as  I have  no  possible  interest  in  the  sale  of  the 
articles  I shall  allude  to,  I trust  you  will  exonerate  me  from  any 
bias  on  this  score. 

I thought  that  if  I took  some  pictures  with  a variety  of  lenses 
with  the  same  exposures,  the  same  development,  and  of  the 
same  subject,  from  the  same  standpoint,  a good  idea  might  be 
formed  of  the  capacity  of  several  instruments,  some  of  which  many 
of  us  only  know  by  name.  I originally  intended  to  select  some 
pretty  spot  worthy  of  the  occasion,  but  the  difficulty  of  fronts, 
flanges,  and  dark  slides  being  very  nearly  but  not  quite  the  same 
size,  proved  so  annoying,  and  tbe  time  at  my  disposal  so  limited, 
I was  obliged  to  content  myself  with  a view  of  some  houses  and 
gardens  from  the  back  of  my  studio.  This  may  be  equally 
effective,  but,  of  course,  there  is  a little  too  much  of  what  is  ofteu 
cahed  Pantile  Park  to  be  picturesque.  The  pictures  I show 
you  were  taken  by  ten  lense3,  varying  in  focus  from  2i  to  about 
7 inches.  The  exposure  was  one  second. 

At  first  I thought  I would  mount  the  prints  according  to 
value  of  the  lenses,  which  extends  from  £l  10s.  to  5s.,  but  at 
last  decided  to  arrange  them  according  to  their  focal  lengths 
No.  1 Ross  stereo,  doublet  j 2 — P.A.C.S.A/s  true  view; 
3— Ross  No.  1 portable  symmetrical ; 4— Lancaster’s  wide  angle 
view  lens;  5— Dallmeyer’s  new  R.R.  for  lantern  slides;  6 — 
Lancaster  instantaneous  lens ; 7 — Lancaster  merveilleux  ; 

8— Lancaster  meritoire ; 9— Dallmeyer  5 by  4 R.R.  ; 

10— Imitation  Dallmeyer  R.R.  I unfortunately  used  a box  of 
slow  plates  1 have  had  by  me  about  twelve  mouths,  and  that  have 
evidently  not  improved  by  keeping.  The  result  photographically, 
therefore,  is  a long  way  from  what  I could  wish.  At  any  rate, 
they  will,  to  a tolerably  fair  extent,  show  the  speed  and  definition, 
and  I thiuk  you  will  agree  that  although  the  best  lesults  are  of 
course  obtained  with  the  best  instruments,  still  you  will  see  that 
is  quite  possible  to  get  fairly  good  pictures  with  lenses  costing 
only  a few  shillings.  Had  time  allowed,  I should  have  liked  to 
have  gone  over  the  ground  again  with  some  good  plates  ; but  I 
could  not  begin  until  I had  obtained  all  the  lenses,  and  this  I 
was  unable  to  do  until  Tuesday  last.  The  prints  might  also  have 
been  better  if  more  time  had  been  available. 

I shall  be  very  pleased  to  show  any  of  these  lenses  after  the 
meeting,  if  any  members  wish  to  examine  them.  Among  them 
I have  Dallmeyer’s  new  R.R.  for  lantern  slides,  a very  welcome 
addition. 

We  will  now  go  to  cameras.  The  best  I am  acquainted  with 
(although  in  this  form  a little  heavier  than  some)  has  just  been 
made  for  me  by  Mr.  G.  Hare.  It  has  alibis  recently-introduced 
improvements,  will  focus  from  21  to  12  inches,  and  is  the  most 
perfect  camera  I ever  saw  ; the  workmanship  aud  finish  could 
not  certainly  be  surpassed.  1 have  also  here  a quarter-plate 
wmera  with  extending  front  by  Meagher,  kindly  lent  by  Mr. 
wnson.  This  camera  has  many  advantages  which  will  at  once 
oe  apparent  to  you ; and  I need  scarcely  say  that,  like  all  Mr. 
Meagher  s work,  is  of  the  best  quality. 

After  this— to  those  “going  in  ” for  lantern  slide  negatives— 

shown  tMr'  fbraith's  ,new  camera  for  3«l  by  3j  plates.  It  was 
shown  to  a few  members  at  our  last  meeting,  but  time  did  not 
allow  of  much  attention  being  given  to  it.  It  has  a long  range 

weighs8™  ' ^“S^y-way  ” back,  and,  with  four  double  slides, 
weighs  very  little  indeed. 


There  are,  of  course,  many  others  in  the  market.  I am, 
however,  only  able  to  introduce  to  you  three  or  four  by  Messrs. 
Lancaster  and  Co.,  of  Birmingham  ; and  when  we  consider  the 
marvellously  low  price  at  which  they  are  advertised,  the  only 
wonder  is,  that  such  excellent  work  can  be  supplied  for  the 
money.  These  have  been  on  the  tables  of  many  societies  in 
Londou,  and  many  may  be  already  familiar  with  them  ; if  not,  I 
shall  be  happy  to  explain  them  further  after  the  meeting.  The 
pictures  marked  6,  7,  and  8,  were  taken  with  these  instruments. 

Whether  a quarter-plate  camera  should  or  should  not  have  a 
swing-back,  may  be  a question  of  opinion.  To  my  mind,  a 
swing-back  is  as  necessary  to  a small  camera  as  to  a large  one.  To 
the  uninitiated,  a swing-back  may  also  prove  a draw-back.  I 
remember  hearing  of  a gentleman  who  began  with  a rigid  camera 
and  succeeded  pretty  well ; when  he  “ went  in  ” for  a swing- 
back  camera,  however,  his  troubles  commenced,  and  he  could 
not  then  get  one  picture  sharp  out  of  a dozen.  Whether  this 
was  the  fault  of  the  camera  or  operator,  we  need  not  stay  to 
enquire.  With  many,  the  idea  seems  to  be  that  swing-backs 
are  like  friends — it  is  no  use  having  them  if  you  don’t  use  them— 
and  this  may  account  for  many  eccentricities  we  see  in  pictures. 

To  those  who  wish  to  use  square  plates  in  quarter-plate 
cameras,  I would  recommend  the  following  little  “ dodge.” 
Get  a piece  of  thin  zinc  and  bend  it  thus  : — ■ I— 

This  will  not  only  prevent  the  plate  slipping  out  of  the  centre, 
but  also  act  as  a spring  to  keep  it  close  to  the  rabbet.  If  pre- 
ferred, it  may  be  made  thus  ; — 1 I ' n or  one  piece  may 

be  bent  so  as  to  hold  the  two  plates.  | 1 — — f~*1  With 

this  arrangement,  and  a lantern  slide  mask  on  the  focussing 
screeD,  there  is  no  gain  in  using  quarter-plates. 

Now  with  regard  to  stands,  I do  not  very  much  mind  what 
kind  of  stand  I use,  so  long  as  it  is  rigid,  and  high.  Many 
persons  say,  “ Oh,  that  s quite  tall  enough  for  a small  camera  1 ” 
but  that  is  not  my  opinion ; as  a matter  of  fact,  the  smaller  the 
camera  the  higher  should  be  the  stand.  I have  a preference  for 
a stand  that  does  not  fold  ; but  if  you  can  get  a good  folding 
stand,  it  has  its  advantages.  I've  only  one  objection  to  sliding 
legs,  aud  that  is,  they  slide  very  often  when  you  don’t  want 
them  to  do  so.  Besides  the  excellent  stands  belonging  to  these 
cameras  of  Messrs.  Lancaster  and  Co.,  I have  four  others  ; 
viz.,  Mr.  G.  Smith  s “ Brattice,”  two  by  Mr.  Wilson,  and  one  by 
Mr.  Hussey,  Junr. 

\\  ith  regard  to  the  ‘ Brattice,’’  I must  say  it  is  one  of  the 
firmest  I ever  tried.  Mr.  Smith  says  it  will  bear  the  weight  of 
any  ordinary  camera  ; but  perhaps  he  is  not  aware  that  the  little 
parcel  I have  stood  on  it  weighs  fifty-six  pounds — viz.,  an 
ordinary  half  hundredweight. 

Mr..  W ilson  s stands  I will  ask  him  to  explain,  as  he  is  better 
acquainted  with  their  merits  than  I am.  Mr.  Hussey’s,  you  will 
see,  is  like  a theodolite  stand.  1 expected  to  have  been  able  to 
have  shown  you  two  others  designed  by  one  of  our  members 
wborn  I regret  to  say  died  rather  suddenly  yesterday  morning — 
Mr.  Collins,  of  the  Photo.  Artists’  Co-operative  Stores.  One  of 
them  was  very  light  and  effective.  It  is  useless,  however,  my 
alluding  to  them  without  being  able  to  show  them  ; and  I am 
sure  all  our  members  will  regret  with  me  the  cause  which  places 
it  out  of  my  power  to  do  this. 

Before  I finish,  I would  just  say  that  the  easiest  way  always 
to  remember  your  camera  screw,  is  to  attach  it  by  a piece  of 
chain  to  the  tripod.  The  screws  to  all  my  cameras  are  the  same 
size,  and  I have  one  attached  to  each  out -door  stand. 

I will  not  take  up  your  time  by  saying  anything  about  shutters, 
as  it  was  not  included  in  my  title.  I cannot  hope  to  have  told 
many  of  you  anything  new  ; but  if  I have  only  given  a useful 
hint  to  a few,  the  paper  will  have  gained  the  object  for  which  it 
was  written. 

1 have  to  thank  Messrs.  Dallmeyer,  Ross,  Lancaster,  Hare, 
Hussey,  bmith,  and  AVilson,  for  kindly  helping  me  by  lending 
their  apparatus,  and  will  now  make  room  for  my  friend 
Mr.  Cobb. 


We  may  remind  our  readers  that  applications  for  space  at 
the  forthcoming  Exhibition  in  Brussels  must  bo  made 
before  the  end  of  this  month  ; the  exhibits  themselves  need 
not  be  forwarded  before  the  20th  July. 


296 


THE  PHOTOGRAPHIC  HEWS. 


Mat  ll,  1683. 


The  annual  Exhibition  at  Pall  Mall  will  open  this  year 
on  Saturday,  the  6th  October. 

“On  Photographic  Action  Studied  Spectroscopically,”  is 
the  title  of  a lecture  which  Captain  Abney  will  deliver 
before  the  Chemical  Society  on  the  17th  inst. 

In  the  discussion  on  photographing  colours  which  followed 
Mr.  Sawyer’s  paper  on  Tuesday  night  at  the  Photographic 
Society,  Mr.  Warnerke  maintained  that  bromide  of  sodium 
employed  in  collodion  emulsion  yielded  a silver  salt  most 
sensitive  to  non-actinic  colours,  such  as  orange  and  yellow. 

Mr.  Blanchard,  in  the  same  discussion,  took  the  oppor- 
tunity of  drawing  attention  to  the  fact  that  he  had  always 
found  raw  sienna  the  most  difficult  of  all  pigments  to 
render  by  photography.  Wherever  a painting  was  touched 
with  this  pigment,  nothing  but  black  appeared  in  the  photo- 
graph. Therefore,  all  who  produce  paintings  with  a view 
to  their  reproduction  by  photography,  should  beware  of 
raw  sienna. 

A telegram  from  Callao  says  that  portion  of  South 
America  was  overcast  on  Sunday  last,  the  day  of  the  Eclipse. 
It  is  fortunate,  therefore,  that  our  observing  expedition 
took  the  precaution  of  going  a thousand  miles  or  so  further 
east. 


Mr.  Ray  Woods  and  the  American  party  hoped  to  arrive 
at  their  destination  on  the  25th  April,  some  ten  days,  there- 
fore, before  the  Eclipse,  and  his  interesting  letter  which  we 
print  to-day  was  posted  at  Callao  at  the  moment  of  their 
sailing  from  the  South  American  Continent,  on  the  last 
stage  of  their  journey  out.  Mr.  Woods  has  promised  us  an 
account  of  the  life  of  the  scientific  expedition  on  Caroline 
Island,  which,  presenting  as  it  does  a sort  of  civilised 
Robinson  Crusoe  aspect,  will  doubtless  be  very  entertaining. 
Alter  the  Eclipse,  the  voyagers  go  on  to  Honolulu,  in  the 
Sandwich  Islands,  and  thence  proceed  to  San  Francisco  ; 
but  under  no  circumstances  are  we  likely  to  hear  from  them 
again  until  the  1st  of  June. 

We  said  last  week  that  Caroline  Island  and  Flint  Island, 
in  the  Pacific,  were  uninhabited.  This  is  scarcely  correct, 
at  any  rate,  so  far  as  the  former  is  concerned.  When  Mr. 
Ray  Woods  landed  with  his  companions  and  their  heavy 
cargo  of  cameras,  telescopes,  and  spectroscopes,  it  is  not 
unlikely  that  they  found  human  beings  of  some  sort  to 
welcome  them,  for  in  1871,  when  Caroline  Island  was 
visited,  there  was  one  Englishman  there,  and  a few  Pacific 
islanders. 


A correspondent  is  of  opinion  that  the  invention  of  Mr. 
Kurtz,  described  in  our  issue  of  last  week,  is  but  a round- 
about way  of  effecting  that  which  is  one  of  the  simplest 
things  possible  to  do.  ‘ ‘ Why,  ” he  asks,  “ go  to  the  trouble 
and  expense  of  erecting  cumbrous  machinery,  to  enable 
camera  aud  sitter  to  take  their  walks  abroad,  when  as 
many  moving  lights  and  shadows  as  one  wants  can  be  cast 
over  tho  faco  by  a screen  held  by  an  assistant,  aud  gently 
agitated  during  exposure  ? ” 


The  Times  is  good  enough  to  say,  when  criticisiug  Mr. 
Gregory’s  picture  of  “ Piccadilly  ” in  the  Royal  Academy, 
that  “in  such  a picture  everything,  absolutely  everything, 
depends  on  the  ex  ■ ition.  It  would  be  easy  to  make  it 
vulgar  ; it  would  be  easy  to  make  it  look  like  a photo- 
graph. Mr.  Gregory  has  done  neither.”  It  is  a pity  the 
Times  did  not  explain  what  it  meant,  when  it  virtually 
asserted,  of  a scene  of  busy  street  life,  that  not  to  be  like  a 
photograph  was  a point  in  its  favour.  If  there  is  one 
thing  in  which  the  photographer  has  the  advantage  of  the 
artist,  it  is  his  power  of  being  able  to  seize  nature  “as  it 
flies.”  But  this  evidently  is  not  what  the  critic  was  thiuking 
about,  as  he  further  pronounces  a certain  “ bit  of  red”  to 
be  “ simply  everything  to  the  picture.”  So  far  as  “ bits  of 
red”  are  concerned,  the  photographer  must  of  course  hide 
his  diminished  head. 

At  last  we  have  an  instance  of  an  English  painter  of  the 
first  rank  employing  photography  as  a means  of  vulgarising 
his  work.  The  “ Music  Lesson  ” of  Sir  Frederick  Leighton 
is  to  be  reproduced  by  photo-gravure.  We  shall  not  have 
to  wait  long  now  before  we  can  purchase  photographic 
impressions  of  the  Royal  Academy  pictures,  just  as  in  Paris 
you  can  buy  photographs  of  the  current  pictures  of  the 
Salon. 


Eight  thousand  franc3  (£320)  have  now  been  collected 
for  the  monument  to  Poitevin,  and  this  sum  is  still  likely 
to  be  considerably  increased.  The  municipalities  of  Chalon- 
sur-Saone  and  Sarthe  have  contributed  towards  the  object. 


Tho  story  of  the  attempt  to  extract  blackmail  from  a 
curate,  which  we  reproduced  a few  weeks  ago,  appears  to 
have  had  a parallel  in  America.  Miss  Mary  Anderson,  who 
will  occupy  the  Lyceum  while  Mr.  Irving  is  in  America, 
was  recently  surprised  unpleasantly  by  the  receipt  of  a 
photograph,  in  which  she  was  represented  as  being  kissed 
by  some  unknown  individual,  and  was  informed  unless  she 
“ paid  up,”  copies  of  the  photographs  would  be  distributed 
wholesale.  Miss  Anderson  was,  however,  not  to  be 
frightened,  aud  instead  of  putting  down  her  money,  deter- 
mined to  put  down  the  libeller,  and  undertook — what  an 
American  paper  commenting  upon  the  incident  has  called — 
“ the  unpleasant  duty  of  punishing  the  blackmailers.” 

At  present  this  method  of  annoyance  has  not  become  so 
general  in  England  as  to  require  special  legislation,  but  in 
America  it  would  almost  seem  to  be  no  novelty  when  we  find 
a New  York  paper  asserting  that  “ we  need  a law  classing 
the  forging  of  photographs  with  the  forging  of  signatures, 
and  punishing  it  with  at  least  as  much  severity  as  that 
with  which  the  latter  crime  is  punished.”  Whether  the 
exact  copy  of  one  person’s  face,  together  with  an  exact  copy 
of  some  other  person’s  body — the  plan  adopted  in|this  case — 
can  be  exactly  termed  a forgery,  may  be  questioned ; but 
there  can  be  no  doubt  that  the  impression  intended  to  be 
conveyed  is  wholly  false  and  libellous,  and  the  perpetrator 
ought  certainly  to  be  severely  punished. 

Those  who  care  to  puzzle  over  problems  may  feel  iute- 


Mat  11,  1883. 1 


THE  PH0T0G11ATHIC  NEWS. 


297 


rested  in  answering  the  following  question  which  has  been 
raised.  A.  has  his  photograph  taken,  and  dies  ; 13.  after- 
wards takes  it  to  C.  to  copy  and  enlarge.  13.  then  sells  a 
lot  of  these  enlargements  with  C.’s  name  on  them,  but  uot 
the  word  “ copyright.”  D.  buys  one  of  these,  and  has  it 
copied  small  by  E. ; D.  then  offers  these  for  sale  cheaper 
than  C.’s  copies.  Is  this  illegal,  and,  if  so,  who  is  culpable  ? 
The  querist  evidently  loses  sight  of  the  fact  that  an  infringe- 
ment of  the  Copyright  Act  consists  not  so  much  in  copying 
as  in  selling  copies  of  a copyright  picture.  If  E.  is  paid 
by  1).  to  copy  the  photograph  iu  question,  he  would  find  it 
difficult  to  evade  being  made  liable. 

To  “ travel  on  commission  ” in  coals  or  wine  used  to 
be  the  last  refuge  of  individuals  out  of  a situation.  It 
may  be  questioned  whether  travelling  on  commission  for 
the  purpose  of  getting  persons  to  join  photographic  clubs 
does  not  now  occupy  that  proud  position.  Anyway, 
“ travelling  ” of  this  kind  means  much  hard  work,  and  not, 
even  when  the  commissionis  aliberalone,  an  over-abundant 
remuneration.  Disputes  in  accounts  are  of  common 
occurrence,  and  unless  a rigid  system  be  adopted,  the 
employer  has  to  trust  a good  deal  to  his  traveller,  who,  if 
he  is  at  all  inclined  to  take  advantage  of  his  position,  can 
do  so  without  much  trouble.  It  may  not  be  generally 
known  that  travellers  “ on  commission  ” cannot  be  prose- 
cuted in  cases  where  it  is  alleged  they  have  appropriated 
the  money  of  their  employers.  In  law,  a traveller  on 
commission  is  not  a servant,  and  therefore  any  money  not 
handed  over  can  only  be  obtained  by  a civil  process  ; in 
other  words,  the  sum  owing  becomes  a debt.  Many  firms 
whose  business  is  conducted  by  means  of  travellers — 
Messrs.  Kelly,  for  instance,  of  Directory  fame— pay  their 
travellers  a nominal  salary,  say  a shilling  a week,  in  addi- 
tion to  the  commission,  aud  thus  the  traveller  becomes  a 
servant,  and  can  be  criminally  prosecuted,  if  need  be. 
Photographers  who  do  much  iu  club  portraits  might  find 
it  to  their  advantage  to  adopt  this  plan. 

The  Brighton  Town  Council  are  much  concerned  at  the 
fact  that  photographers  pursue  their  calling  on  the  beach  on 
Sundays,  and  the  police  this  week  have  been  instructed  to 
put  a stop  to  the  practice.  What  a comfort  it  is  that  the 
“ Merry  Monarch  ” was  moved  to  give  his  sanction  to  the 
now  notorious  “ Sunday  Act,”  without  which  the  worthy 
councillors  would  be  helpless ! 


As  to  the  expediency  of  photography  on  Sunday  we  do 
not  offer  an  opinion.  Each  man  must  judge  for  himself; 
but  certain  it  is  that  without  his  Sunday  sitter,  the  cheap 
photographer  would  soon  have  to  shut  up  his  studio.  The 
photographer  who  practises  his  calling  on  Sunday,  photo- 
graphing on  the  Brighton  beach,  so  long  as  he  conducts  him- 
self with  propriety,  cannot  be  worse,  from  a common  sense 
point  of  view,  than  the  Brighton  fly  driver  or  the  Brighton 
boatman,  both  of  whom  usually  do  a thriving  business  on 
the  Sabbath. 


A dozen  carte  portraits  pinned  up  iu  a shop  window  is 
the  leading  feature  of  Mr.  Walter  Goodman’s  “ Print- 


seller,”  the  variety  of  tone?,  tints,  and  styles  which 
one  would  expect  to  meet  with  in  a dozen  photo- 
graphs taken  at  random,  being  cleverly  imitated;  and, 
moreover,  one  of  the  pictures  is  made  to  show  decided 
signs  of  fading.  A few  quaint  articles  of  pottery,  old  en- 
graviugs,  one  or  two  books,  and  the  head  of  the  print-seller 
himself,  make  up  the  rest  of  the  picture.  The  whole  of 
the  execution  is  so  minutely  realistic  as  to  recall 
Coleridge’s  idea  that  “a  picture  may  be  regarded  a3  an 
intermediate  something  between  a thought  and  a thing.” 

A new  method  of  producing  invisible  ink  has  been  dis- 
covered by  Ilerr  C.  Widemann.  It  is  made  by  mixing 
*ogether — 

Linseed  oil 1 part 

Liquor  ammonia  ...  ...  ...  20  paits 

Water  ...  ...100  „ 

The  mixture  is  well  shaken  before  the  pen  is  dipped 
into  it,  as  otherwise  the  little  oil  which  separates  causes  an 
oily  mark  on  the  paper.  To  render  the  writing  legible,  the 
paper  is  dipped  into  water,  the  characters  again  disappear- 
ing when  the  paper  dries. 


The  success  of  the  electric  lamps  in  the  Savoy  Theatre  is 
now  beyond  a doubt ; and  the  question  is  under  discussion 
whether,  beyond  other  obvious  advantages,  it  does  not 
present  that  of  economy.  The  theatre  has  been  open  for 
eighteen  months,  and  while  many  of  the  lamps  have  shown 
a longevity  of  several  thousand  hours,  another  not  less 
important  feature  is  that  the  gilding  and  decorations  of  the 
house  appear  still  fresh  and  new,  so  that  a renovation  of  the 
auditorium  is  postponed  indefinitely.  Mr.  Henry  Irving 
desires  the  electric  light  to  be  fitt-d  to  the  Lyceum  at  an 
early  date  ; and  the  Swan  Company  have  a contract  to 
supply  a thousand  of  their  lights  to  the  National  Theatre 
at  Pesth. 


patent  Intelligent. 

Application  for  Letters  Patent. 

2316.  Benjamin  Joseph  Barnakd  Mills,  of  the  firm  of  Harris 
and  Mills,  of  23,  Southampton  Buildmgs,  in  the  county  of 
Middlesex,  Patent  Agent,  for  an  invention  of  “ A new  mode  of 
and  apparatus  for  packing  and  preserving  sensitive  plates.” — A 
communication  to  him  from  abroad  by  Antoine  Lumi6re,  of 
Rue  St.  Victor,  Monplaisir,  Lyons,  in  the  republic  of  France. 
- Dated  7th  May,  1383. 

Grants  of  Provisional  Protection. 

1787.  Lucy  Wise,  of  Clifton,  near  the  city  and  county  of  Bristol, 
for  an  invention  of  “Improvements  in  receptacles  or  albums 
for  rendering  them  capable  of  containing  crystoleum  paint- 
ings.”— Dated  9th  April,  1883. 

1870.  William  Lloyd  Wise,  of  46,  Lincoln’s  Inu  Fields,  in  the 
county  of  Middlesex,  for  an  invention  of  “ Improvements  in 
and  pertaining  to  apparatus  for  utilizing  solar  heat.” — A com- 
munication from  La  Society  Centrale  pour  l’Utilisation  de  la 
Chaleur  Solaire  (Brevets  Mouchot  et  Abel  Pifre),  of  Paris, 
France. — Dated  12th  April,  1883. 

1960.  George  Robey,  of  5,  Chancery  Lane,  in  the  county  of 
Middlesex,  for  an  invention  of  “ Improvements  in  enamelling 
water  colour  or  oil  photographs.” — Dated  18th  April,  1883. 

Patent  Void  through  Non-payment  of  Duties. 

1747-  Henry  Vander  Weyde,  of  Kensington,  in  the  county  of 
Middlesex,  for  an  invention  of  “An  improvement  in  photo, 
graphy  and  apparatus  used  therein.” — Dated  25th  April,  1876, 


298 


THE  PHOTOGRAPHIC  NEWS. 


[May  11,  1883. 


It  is  well  known  that  portrait  photography  depends  for  the 
artistic  excellence  of  its  results  mainly  upon  the  power,  breadth, 
and  direction  of  the  light  by  which  the  sitter  is  illuminated.  It 
has  been  found  by  practice  that  the  hardest  and  least  suitable 
light  for  the  purposes  of  portrait  photography  is  light  coming 
from  a point,  such  as  artificial  light,  or  direct  sunlight,  or  day- 
light coming  through  a window,  as  the  shadows  in  all  these  cases 
are  hard  and  sharply  defined.  It  is  also  found  that  ordinary 
daylight  coming  through  a broad  window  or  skylight,  as  used  at 
present  by  photographers,  produces  softer  effects,  while  very 
broad  white  sunlit  clouds  throw  a light  possessing  superior  actinic 
power  and  softness  combined.  The  object  of  my  invention  is  to 
enable  the  same  results  to  be  attained  with  a dull  grey,  red,  or 
blue  sky  as  with  broad  white  sunlit  clouds,  and  I attain  this  end 
by  rendering  the  daylight  both  stronger  and  softer,  as  hereafter 
described.  The  invention  is  also  applicable  for  rendering 
artificial  light  artistically  desirable  for  the  purpose  of  portrait 
photography.  For  this  purpose  I provide  within  the  photo- 
grapher’s studio  or  room,  in  which  the  photograph  is  to  be  taken, 
a large  lens  placed  between  the  source  of  light  and  the  object 
or  sitter  to  be  photographed.  The  lens  I prefer  to  employ  is  a 
Fresnel  annular  lens  of  about  five  feet  diameter,  such  as  is  used 
in  revolving  lighthouses  ; but  other  kinds  of  lenses  might  be  used, 
such  as  a water  lens,  variously  constructed.  In  any  case  the 
form  of  the  lens  must  be  such  as  to  render  convergent  the  rays 
of  light  entering  through  the  wiudow,  skylight,  or  other  opening 
opposite  which  the  lens  is  placed  or  reflected  from  a mirror  or 
other  reflecting  surface  illuminated  by  daylight  or  artificial  light, 
and  used  in  combination  with  the  len3.  The  effect  of  these 
converging  rays  falling  upon  a person  placed  within  their  focus 
is  twofold,  viz.,  a great  increase  in  the  whiteness  or  actinic 
power  of  the  light  by  reason  of  the  rays  being  concentrated 
towards  a focus,  and  greater  softness  in  the  effects  produced  by 
reason  of  the  light  falling  at  varying  angles  upon,  and  thus 
embracing,  so  to  speak,  the  sitter.  This  soft  and  brilliant  light 
composed  of  converging  rays  has  never  before  been  used  for  the 
purposes  of  photography.  The  light  being  condensed  or  con- 
centrated as  above  described,  the  great  objections  ( i.e .,  hardness 
and  want  of  actinic  power,  owing  to  the  divergence  of  the  rays) 
to  artificial  light,  such  as  the  electric  or  magnesium  light  for 
photographic  purposes,  are  obviated  by  my  invention,  the  result 
being  more  delicate  and  softer  modelling  and  shorter  exposure. 
Artificial  light  thus  becomes  henceforth  a practical  and  desirable 
means  of  illumination  in  portrait  photography. 

Having  described  the  nature  of  the  said  invention,  Jand  the 
manner  of  performing  the  same,  I declare  that  what  I claim  as 
the  invention  to  be  protected  by  the  herein -before  in  part  re- 
cited Letters  Patent  is, — 

Istly.  The  application  and  employment  in  portrait  photo 
graphy  of  a lens,  as  described,  for  concentrating  the  light  by 
which  the  sitter  is  illuminated  during  exposure,  as  and  for  the 
purpose  herein  set  forth. 

2ndly.  The  employment  in  combination  of  a lens  and  reflector, 
substantially  as  described,  for  concentrating  the  light,  whether 
natural  or  artificial,  by  which  the  sitter  is  illuminated  in  the 
process  of  photography,  as  set  forth. 

Patent  Granted  in  Germany. 

22,244.  G.  Meisesbach.  of  Munich,  for  “ Obtaining  photographic 
plates  for  high  relief  and  sunk  negatives.” — Dated  9th  May 
1882.  Class  57. 

Patents  Granted  in  Italy. 

J.  Chaine,  A.  Durand,  and  Sallonier  de  Chaligny,  of  Lyons, 
for  “ Coloured  photographs  called  ‘ photonature.’  ’’—Dated  3rd 
November,  1882. 

F.  C.  Neuber,  of  Hamburg  (Germany),  for  “ Mounts  for  trans 
parent  photographs.”— Dated  25th  November,  1882. 

Certificate  of  Addition. 

H.  Pniurri,  of  Hamburg  (Germany),  for  “ Reproducing  draw 
ings,  wood-cuts,  &c.,  on  metal  by  photography.” — Dated  ’ 

September,  1882. 


NOTES  ON  PHOTOGRAPHY. 

BY  E.  HOWARD  FARMER. 

Lecture  XXI. — The  Carbon  Process.* 

Mungo  Ponton  noticed  that  bichromate  of  potash  spread 
upon  paper,  and  dried,  turned  brown  on  exposure  to  light, 
and  did  not  then  dissolve  out  in  water.  E.  Becquerel 


• Read  “ A Treatise  on  Photography,”  page  160. 


celebrated  French  chemist,  further  found  that  this 
browning  and  subsequent  insolubility  are  intimately  con- 
nected with  the  siziug  on  the  coated  paper.  These  two 
facts  constitute  the  foundation  of  the  carbon  process. 

Porous  paper  is  first  coated  with  a mixture  such  as  the 
following : — 

Nelson's  flake  gelatine  ...  ...  4 ounces 

Sugar  ...  ...  ...  ...  £ ounce 

Glycerine 1 to  2 ounces 

Water  1 pint 

with  which  is  thoroughly  incorporated  some  finely-ground 
pigment  of  a suitable  colour  ; it  is  then  dried  in  a warm 
room,  and  preserved  for  use.  Such  paper  is  known  in 
commerce  as  carbon  tissue. 

To  sensitize  this  paper  a solution  is  made  of — 

Potassium  bichromate  1 ounce 

Water  ...  30  to  100  ounces 

The  exact  strength  of  the  solution  is  regulated  by  the 
weather  and  the  kind  of  negatives  used.  In  hot  weather 
the  solution  is  made  weak,  and  in  cold  weather  strong  ; 
also,  for  hard  negatives,  a strong  bath  is  employed,  and 
for  soft  negatives  a weak  bath.  The  tissue  is  immersed 
in  this  for  one  or  two  minutes,  and  then  again  dried. 
White  light  can  be  employed  while  the  sensitized  tissue  is 
wet,  as  it  is  then  insensitive  ; but  as  soon  as  it  begins  to 
get  dry,  white  light  must  be  carefully  excluded.  Also  very 
great  care  is  required  in  drying,  the  sensitiveness  and 
quality  of  the  tissue  very  much  depending  on  this 
operation. 

In  printing,  a black  edging  is  given  to  the  negative,  and 
gutta-percha  pad  employed  to  keep  the  tissue  dry  ; and 
as  no  image  is  seen  on  the  exposed  print  (due  to  the  pig- 
ment), au  actinometer  must  be  used  to  judge  the  right 
exposure.  During  exposure  the  light  renders  the  gelatine 
iusoluble  (by  oxidising  it  at  the  expense  of  the  bichro- 
mate), and  if  the  print  is  then  placed  in  warm  water,  the 
unoxidized  (soluble)  gelatine  dissolves  off,  leaving  an 
image  consisting  of  the  insoluble  gelatine  and  its  imprisoned 
pigment  on  the  paper.  By  this  method  of  procedure, 
however,  the  half-tones  are  not  rendered,  and  for  this 
reason  : in  the  shadows  of  the  negative  the  light  gets  freely 
through,  and  renders  the  chromated  film  underneath 
insoluble  through  its  whole  thickness,  while  in  the  lights 
none  gets  through,  and  the  film  remains  soluble,  and,  on 
development,  blacks  and  whites  are  produced  as  they 
should  be  ; but,  in  the  half-tones,  a varying  amount  of 
light  gets  through,  and  this  renders  the  chromated  film 
insoluble  through  corresponding  degrees  of  its  thickness, 
thus  the  bottom  of  the  film,  or  the  portion  which  holds  it 
to  the  paper,  remains  soluble,  and,  on  development,  dis- 
solves, carrying  away  with  it  the  half-tones.  To  remedy 
this,  two  methods,  known  respectively  as  single  and  double 
transfer,  are  employed.  In  single  transfer,  paper  is  coated 
with  gelatine  and  chrome  alum,  and  dried,  so  as  bo  obtain 
an  insoluble  surface.  A piece  of  this,  somewhat  larger 
than  the  exposed  print,  is  taken,  and,  together  with  the 
print,  immersed  in  cold  water  until  the  latter  softens  or 
begins  to  curl ; the  two  are  then  placed  face  to  face,  taken 
out,  and  thoroughly  squeegeed  together  ; on  now  placing 
them  in  water  at  from  100  to  120s’  F.,  the  first  support  of 
the  film  can  be  pulled  off,  and  the  picture  developed  from 
the  back,  leaving  the  half-tones  intact;  the  picture  is  then 
placed  iu  alum  for  a short  time,  washed,  and  dried.  If  a 
picture  on  opal  glass  is  required,  the  print  is  squeegeed, 
and  developed  directly  upon  it.  The  objection  to  this 
method  is  that  a reversed  negative  is  required. 

In  double  transfer  the  print  is  squeegeed,  and  developed 
on  a temporary  support,  either  rigid  or  flexible,  and  when 
dry  a piece  of  transfer  paper  as  before,  but  smaller, 
squeegeed  to  the  back,  allowed  to  dry,  aud  the  picture 
stripped  off. 

’lhe  important  fact  was  noticed  by  Captain  Abney,  that 
after  exposure  the  change  which  had  been  produced  by 
light  was  continued  in  the  dark,  so  that  pictures  can  be 


th 


Mat  11,  1883.] 


THE  PHOTOGRAPHIC  HEWS, 


299 


partly  printed  in  the  light,  aud  allowed  to  remain  in  the 
dark  for  a few  hours,  when,  on  development,  they  will  be 
the  same  as  if  they  were  fully  exposed. 

Woodbury  Process. 

In  this  process  a thick  film  of  gelatine  and  bichromate  of 
potash  is  prepared  on  one  of  collodion,  and  exposed  behind 
a negative,  collodion  side  next  the  image  ; to  prevent 
blurring,  parallel  rays  of  light  are  employed.  On  deve- 
lopment in  warm  water,  an  image  inconsiderable  relief  is 
obtained ; this,  when  dry,  is  placed  over  a perfectly  flat 
metal  plate,  another  plate  of  pure  lead  placed  on  the  top, 
and,  by  means  of  au  hydraulic  press,  the  whole  subjected 
to  a pressure  of  about  fifty  tone.  The  metal  relief  thus 
procured  is  placed  in  a frame,  a mixture  of  gelatine  and 
pigment  poured  over  it,  aud  a sheet  of  paper  of  even  tex- 
ture placed  on  the  top.  A hinged  slab  of  perfectly  flat 
glass  is  then  brought  down  on  it,  and  the  excess  of  fluid 
squeegeed  out.  When  the  gelatine  has  set,  the  glass  is 
raised,  and  the  paper  bearing  the  picture  taken  out.  It  is 
finally  immersed  in  alum,  washed,  aud  dried. 


PHOTOGRAPHY  OF  THE  VOCAL  ORGANS  IN  THE  ACT 
OF  SINGING. 

BY  JAMBS  CADETT.* 

Before  commencing  my  paper,  I must  apologise  for  leaving  the 
Society  in  the  lurch  at  the  last  ordinary  meeting.  Being  un- 
avoidably obliged  to  postpone  my  paper  at  the  eleventh  hour,  I 
have,  at  the  wish  of  the  Secretary,  been  allowed  to  bring  it 
forward  to-night. 

My  paper  will,  no  doubt,  to  many  seem  rather  superfluous  after 
the  clear  and  concise  lecture  on  the  same  subject  given  by 
Mr.  Wood,  last  Friday,  before  the.  South  London  Photographic 
Society  ; and,  had  not  my  promise  been  given,  I would  not  have 
presumed  to  bring  the  same  subject  before  your  notice  this 
evening. 

I may  mention  that  my  paper  will,  practically  speaking,  be  a 
description  of  some  experiments  carried  on  lately  at  the  labora- 
tory of  the  Society  of  Arts  by  five  gentlemen  — Herr  Emil 
Behnke,  Dr.  Lennox  Browne,  Mr.  H.  T.  Wood,  Mr.  J.  J. 
Ackworth,  and  myself. 

Laryngeal  photography  is  by  no  means  of  recent  date.  As 
far  back  as  1860,  attempts  were  made  by  Professor  Johan 
Czermak,  of  Prague,  and  his  results  laid  before  the  Academy  of 
Sciences  in  Vienna.  I had  no  opportunity,  however,  of  seeing 
what  he  had  done  until  last  Wednesday,  when  I came  across  a 
collotype  print  from  one  of  his  negatives,  in  Dr.  Stein’s  work  on 
“ Light,”  kindly  lent  to  me  by  Mr.  Leon  Warnerke.  I have  made 
a transparency  from  this  print,  which  I will  presently  place  iu  the 
lantern.  I must  say  that,  considering  that  the  advantages  of 
gelatine  plates  were  “ non  est  ” at  the  time  Professor  Czermak 
made  his  experiments,  his  results  were  very  good  indeed.  The 
description  of  his  apparatus  shows  that  he  thoroughly  understood 
the  difficulties  he  had  to  encounter.  It  is  a pity  that  we  did 
not  6ee  Dr.  Stein’s  book  before,  as  we  should  have  saved  our- 
selves the  trouble  of  inventing  a great  deal  of  the  apparatus  we 
have  had  to  use.  I consider,  in  fact,  that  Professor  Czermak  has 
knocked  a few  feathers  out  of  our  caps,  as  far  as  originality  is 
concerned,  and  therefore  we  are  simply  improvers  on  bis  .work. 

At  our  first  meeting  Herr  Behnke  gave  us  to  understand  that 
he  was  desirous  of  obtaining  photographs  of  the  vocal  organs  of 
two  kinds — viz.,  those  showing  the  position  of  the  soft  palate 
when  singing  notes  of  different  pitch,  and  tones  vocal  and 
nasal ; next,  photographs  showing  the  larynx.  In  this  case  a 
small  mirror  has  to  be  placed  at  the  back  of  the  mouth,  as  Herr 
Behnke  has  just  explained.  I need  scarcely  say  that  photo- 
graphs showing  the  larynx  present  far  greater  difficulty  than 
those  merely  showing  the  various  positions  of  the  soft  palate, 
which  simply  require  the  interior  of  the  mouth  to  be  carefully 
illuminated  in  order  to  succeed.  I may  mention  that  at  our 
first  experiments  we  simply  used  two  large  round  flasks,  filled 
with  a solution  of  alum,  to  absorb  heat,  and  then  used  them  as 
condensers  for  two  electric  lights,  in  this  way  throwing  two 
cones  of  light  into  Herr  Behnke’s  mouth.  This  method,  though 
fairly  successful,  was  abandoned  for  the  method  we  now  use, 
and  which  I will  presently  explain.  When  we  come  to  photo- 
graphing the  larynx,  we  are  under  very  different  conditions  than 

• Read  before  tb*  otographic  Society  of  Great  Britain. 


when  photographing  the  soft  palate.  Merely  illuminating  the 
mouth  does  not  necessarily  illuminate  the  larynx,  even  though 
a mirror  be  placed  at  the  back  of  the  mouth.  Now,  if  we 
think  for  a moment  of  the  part  which  the  little  mirror  has  to 
play,  it  is  easy  to  understand  this. 

The  liille  mirror  has  not  only  to  bring  the  hidden  parts  into 
view,  but  to  illuminate  them  as  well.  I need  not  tell  any  one  here 
that  light,  under  ordinary  circumstances,  travels  in  straight 
lines  ; it  follows,  therefore,  from  this  fact,  that  the  axis  of 
illumination  must  be  practically  the  same  as  that  of  observa- 
tion ; or,  to  put  it  more  plainly,  we  must  illuminate  and  observe 
in  the  same  line.  I might  put  the  point  more  plainly  still,  and 
I hope  I shall  be  forgiven  for  mentioning  so  simple  a matter, 
but  there  may  be  some  of  our  visitors  who  are  not  scientific. 
Two  or  more  persons  may  be  looking  at  the  same  time  at  a 
small  piece  of  glass  in  the  sunshine,  and  only  one  person  receive 
the  dazzling  rays  in  his  eyes  ; the  others  do  not  perceive  the 
rays,  though  they  see  the  glass,  because  they  are  not  in  the 
angle  of  reflection  ; similarly,  the  little  mirror  at  the  back  of  the 
mouth  must  be  arranged  so  as  to  reflect  the  light  on  to  the 
larynx.  Now,  as  the  mirror  is  in  a certain  position,  and  the 
angles  of  incidence  and  reflection  the  same,  it  is  clear  that  the 
reflection  back  of  the  illuminated  larynx  to  the  observer  must 
be  in  the  same  line  as  that  of  illumination.  Now,  were  I not 
to  qualify  this  statement  somewhat,  I am  afraid  that  any  users 
of  the  laryngoscope  present  this  evening  would  tell  me  that  I 
was  wrong.  They  would  say  that  they  do  not  always,  by  any 
means,  make  the  axis  of  illumination  aud  observation  the  same. 
I will,  therefore,  presently  endeavour  to  explain  how  far  devia- 
tion from  the  above  statement  may  be  practicable.  Hitherto  I 
have  supposed  that  we  have  taken  a point  to  be  photographed 
— that  the  little  mirror  at  the  back  of  the  throat  is  a mere 
point,  and  that  we  are  dealing  with  a single  ray  of  light  (if  it 
be  possible  to  conceive  one).  Mere  theory  of  broad  princi- 
ple need  not  trouble  itself  about  practical  difficulties.  Of  course 
it  would  be  practically  impossible  to  see  or  photograph 
any  part  of  the  larynx,  under  the  conditions  I have  just 
mentioned.  We  should  either  have  to  look  through  the  source 
of  light,  or  the  light  would  have  to  go  through  our  heads. 
Mere  theory  of  principle  would  not  take  into  consideration  that 
any  person’s  head  would  be  too  thick  for  the  ray  of  light  to  pass 
through  it  ; that  is,  of  course,  the  fault  of  practice,  and  practice 
necessitates  new  conditions  and  also  new  theories.  The  most 
perfect  instrument  (optically  considered)  for  seeing  the  larynx 
is  the  ordinary  laryngoscope  as  used  by  surgeons  [slide  shown~\. 
In  this  case  the  axis  of  illumination  is  practically  the  same  as 
that  of  observation.  The  rays  of  light  are  received  in  the  con- 
cave mirror,  and  thrown  in  a focus  on  to  the  little  mirror  at  the 
back  of  the  mouth,  which  is  adjusted  in  position  until  the  larynx 
is  seen  by  the  observer  through  the  small  hole  in  the  centro  of 
the  concave  mirror.  The  conditions  here  are  very  perfect  indeed, 
as,  when  the  larynx  is  well  illuminated  by  the  little  mirror,  it  is 
in  the  best  position  for  showing  the  image  of  the  larynx  to  the 
observer.  When  we  come  to  photographing  the  larynx,  instead 
of  simply  looking  at  it,  the  conditions  under  which  we  have  to 
work  are  materially  altered.  In  the  first  place,  the  camera  can- 
not adjust  the  little  mirror  ; it  must,  therefore,  be  adjusted  by 
the  person  whose  larynx  is  being  photographed,  for  the  simple 
reason  that  the  cameia  now  takes  the  place  of  the  observer  in 
the  former  case.  The  person  operated  on  cannot  see  to  adjust 
the  little  mirror  by  looking  into  the  illuminating  mirror,  even 
though  it  have  a flat  surface,  and  not  concave,  because  it  cannot 
make  the  necessary  angle  with  his  eye  ; he  must,  therefore,  have 
a separate  mirror.  It  is  here  then  that  a deviation  takes  place 
between  the  axis  of  illumination  and  of  observation. 

Here  we  see  [slide  shown  and  described ] how  an  arrangement 
is  effected,  so  as  to  permit  the  person  operated  on  to  hold  the 
little  mirror  himself  ; and  it  is  clear  that  some  modification  of 
this  arrangement  must  be  used  when  photography  is  employed. 
It  will  be  seen  that  there  is  considerable  difference  between  the 
line  made  by  the  mirror,  in  which  the  person  operated  on  sees 
himself,  and  the  lines  made  by  the  point  of  observation  and  the 
direction  of  illumination.  Now  the  effect  of  this  deviation  is  as 
follows: — Let  the  line  a (fig.  1)  show  the  axis  of  illumination, 
the  point  b a part  of  the  larynx,  e,  the  mirror  in  the  mouth ; 
then  the  effect  of  moving  the  camera  or  point  of  observation  to 
the  right  or  left  of  the  line  a is  to  displace  the  appearance  of  the 
part  we  wish  to  see  or  photograph  from  its  proper  place  on  the 
mirror  c.  If  we  go  on  moving  the  point  of  observation,  we  soon 
get  to  a position  where  the  part  of  the  larynx  disappears  at  the 
edge  of  the  mirror.  The  limit  of  the  angle  of  movement 


300 


'THE  PHOTOGRAPHIC  HEWS.  [Hat  11,  1883. 


depends  on.  the  size  of  the  mirror  and  its  distance  from  the 
larynx  In*t'ie  slide  before  V"U  (fio\  11  Uhave  shown  the  limit 


Fig.  1. 

of  angular  movement  relatively  to  the  size  shown  of  the 
mirror ; it  is  assumed  that  a point  in  the  larynx  is  reflected 
from  the  centre  of  the  mirror  when  observed  along  the  line  ; — 
at  the  lines  d and  c the  point  in  question  would  just  disappear 
off  the  edge  of  the  mirror.  Now  as,  in  practice,  we  do  not  deal 
with  a point,  but  with  a considerable  surface,  it  is  clearly 
obvious,  without  any  further  explanation,  that  the  limit  of 
angular  movement  is  in  practice  very  much  less  than  shown  in 
fig.  1. 

The  apparatus  we  have  recently  used  consists  mainly  of  the 
arrangement  shown  in  fig.  2 [ the  apparatus  itself  was  shown  and 
explained  during  the  reading  o f the  paper"]  ; l the  position  of  the 


fig,  2, 


electric  light  (about  10,000  candle-power)  ; w,  a water-chamber 
through  which  a current  of  water  is  constantly  flowing  during 
the  use  of  the  light,  in  order  to  absorb  as  much  as  possible  of 
the  heat-rays,  and  to  keep  the  condenser  cool  ; e,  a condenser, 
six  inches  diameter,  consisting  of  two  plano-convex  lenses  ; m is 
a mirror  with  a plane  surface,  and  a hole  cut  in  the  centre  ; v, 
a laryngoscopic  mirror  for  placing  at  the  back  of  the  mouth  ; 
the  lens  of  the  camera  has  a shutter  at  s,  on  which  is  a small 
plane  mirror  in  which  the  person  operated  on  can  see  to  adjust 
the  mirror  v in  its  proper  position,  it,  of  course,  being 
necessary  to  look  through  the  hole  in  the  mirror  in 
order  to  do  so  ; the  lens  at  s should,  of  course,  be  of  the  single- 
objective  type,  so  that  the  diaphragm  can  be  near  to  the  hole  in 
the  mirror  m,  thus  enabling  the  hole  to  be  as  small  as  possible. 
This  is  of  importance,  so  as  not  to  lose  too  much  light.  I may 
mention  that  at  our  early  experiments  we  did  not  have  our 
apparatus  quite  so  perfect  as  above  described,  as  we  could  not 
get  our  arrangements  completed  in  time  for  the  appointed  days 
for  experiment ; and,  indeed,  some  fairly  good  results  were 
obtained  by  placing  the  mirror  tn  a little  above  the  lens  at  s 
(this  being,  of  course,  before  the  hole  was  made  in  m),  and 


using  lenses  of  the  rapid  rectilinear  kind.  Our  exposures 
averaged  about  1 second.  I have  no  doubt  but  that  our  results 
would  have  been  much  better  had  the  exposures  been  very 
much  shorter,  but,  with  the  plates  at  our  disposal  at  the  time, 


J-iy.  o. 


ehorter  exposures  could  not  very  easily  be  made.  Some  may 
ask  why  portrait  lenses  were  not  employed ; but,  though  they 
answer  fairly  well  for  photographs  of  the  soft  palate  only,  they 
do  not  give  sufficient  depth  of  focus  for  photographing  the 
larynx.  It  does  not  do  to  gain  relative  depth  of  focus  by 
placing  the  camera  further  from  the  observer,  as,  after  a certain 
distance,  it  is  difficult  for  the  observer  or  person  operated  on  to 
see  to  adjust  the  laryngoscopic  mirror,  at  v,  in  the  mirror  at  s. 
It  must  be  borne  in  mind  that  the  apparent  distance  at  which  v 
is  seeu  in  s is,  of  course,  twice  the  distance  from  v to  s. 


ON  THE  ACTION  OF  HALOIDS  IN  GELATINE. 

BY  J.  BARKER..* 

Noticing  a very  important  communication  upon  “ Iodide  of 
Silver  in  the  Emulsion,”  by  Herr  Schumann,  and  having  expe- 
rimented upon  the  same  subject  myself,  although  in  a different 
manner,  it  occurred  to  me  that  a brief  paper  upon  the  same 
might  be  acceptable  to  our  members. 

Now,  it  seems  to  have  been  taken  for  granted  that,  so  long  as 
any  bromide,  iodide,  or  chloride  of  silver  was  present  in  the  film, 
it  was  a matter  of  indifference  how  those  salts  were  formed. 
Many  workers,  in  order  to  be  sure  that  chloride  and  iodide  of 
silver  were  in  the  film,  have  made  separate  emulsions  of  the 
bromide,  iodide,  and  chloride  of  silver,  and  then  mixed  them  as 
required.  This  is,  in  my  opinion,  a mistake,  as,  given  the  first 
as  a normal  emulsion,  the  addition  of  the  second  shows  it,  and 
has  an  injurious  action  upon  the  undeveloped  image,  giving  rise 
to  the  opinion  that  bromo-iodide  plates  will  not  keep.  This 
mixture  of  the  two  separately -formed  silver  salts  will  thus 
explain  the  discrepancy  in  the  results  obtained  by  different 
workers,  as  iodide  of  silver  has  an  inherent  tendency,  after 
exposure  to  light,  to  return  to  its  normal  state  when  again  in 
darkness,  though  slight  moisture  certainly  seems  to  be  necessary 
for  the  complete  action. 

As  regards  the  third  (chloride),  the  addition  of  this  gives  a 
tendency  to  fog  or  slight  deposit  upon  the  shadows,  and  a thin- 
ness of  image  in  consequence  of  its  being  dissolved  by  the  fixing 
solution.  Moreover,  it  does  not  increase  the  rapidity  except  to 
the  violet  ray.  But  when  these  three  salts  are  formed  in  the 
gelatine  emulsion  at  once  in  correct  proportions,  the  action  is 
very  different,  a complicated  salt  being  formed  in  combination 
with  the  organic  matter,  which  does  not  fog,  has  no  injurious 
action  upon  the  latent  image,  and  is  much  more  rapid  than 
either  salt  alone. 

As  it  is  now  generally  acknowledged  that  an  emulsion  con- 
taining bromide,  chloride,  and  iodide  of  silver  in  combination  is 
more  sensitive  than  an  emulsion  containing  either  sort  alone,  I 
have  further  to  add  to  my  former  statement  that  if  fluoride  and 
cyanide  of  silver  be  also  introduced,  so  that  the  emulsion  contains 
the  fine  salts  in  certain  proportions,  it  is  my  experience  that  a 
still  more  sensitive  emulsion  will  result,  which  will  also  be  free 
from  opaque  spots,  and  give  brilliant  clear  negatives.  Not  only 
is  this  the  case,  but  that  different  compounds  are  formed  accord- 
ing to  whether  the  haloid,  the  silver,  or  the  organic  matter  be 
in  excess ; for  it  must  be  borne  in  mind  that  most  forms  of 


Head  before  the  London  and  Provincial  Photographic  Association. 


Mat  11,  1883. J 


THE  PHOTOGRAPHIC  NEWS: 


301 


organic  matter  are  rendered  sensitive  to  light  by  contact  with 
the  vapour  of  either  of  the  halogens  or  with  nitrate  of  silver, 
whilst,  on  the  other  hand,  the  pure  haloid  salts  of  silver  are 
practically  insensitive  until  organic  matter  enters  into  combina- 
tion with  them. 

There  certainly  appears  to  be  a much  more  complex  action 
during  the  formation  of  the  emulsion  than  the  mere  uniting  of 
bromine,  chlorine,  or  iodine,  as  the  case  may  be,  with  silver,  and 
also  at  the  development  and  impact  of  light,  which  a mere  con- 
version of  the  bromide  and  iodide  into  sub-bromide  and  sub- 
iodide and  free  bromine  and  iodine  does  not  satisfactorily  explain. 
Pure  AgBr  is  virtually  insensitive  to  light,  and  so,  practically, 
is  a mixture  of  pure  Agl  with  pure  AgBr  ; but  it  seems  that  if 
the  bromo-iodide  of  silver  be  formed  at  once  in  suitable  propor- 
tions, a double  salt  is  formed  which  is  decidedly  susceptible  to 
light.  Although  certain  other  forms  of  matter  appear  to  accele- 
rate or  increase  this  action,  it  is  the  nitrogen  compounds  which 
are  the  true  sensitisers,  and  that  impart  to  the  haloids  sufficient 
sensitiveness  to  make  photography  a useful  science. 

With  reference  to  the  Editor’s  remarks  re  a scientific  basis  for 
photography,  it  is,  perhaps,  in  the  recollection  of  the  members 
that  some  three  years  since  I called  attention  to  the  necessity 
for  the  same,  and,  as  a starting-point,  laid  down  a thesis  which, 
so  far  as  I am  aware,  no  one  has  yet  disputed. 


GDnmsptj&ftta. 

PHOTOGRAPHY  AND  FENIANISM. 

Dear  Sir, — It  may  interest  your  readers  ta  know  that 
photography  is  now  suspected  of  being  connected  with  the 
Fenians.  Rather  an  interesting  event  took  place  this  week. 

I have  been  taking  a new  place,  and  building  out  at  the 
back  to  extend  the  manufacture  of  our  gelatine  dry  plates  ; 
and  on  the  top  of  one  of  the  buildings  I have  had  a curiously 
made  ventilator  placed,  which  must  have  excited  the  sus- 

Eicion  of  some  of  the  neighbours  ; it  could  not  be  for  smoke, 
jing  made  of  wood,  hence  it  must  be  for  something 
diabolical.  The  consequence  was  that  a man  knocked  at 
the  door  and  enquired  for  some  name  not  living  there.  lie 
made  a few  more  enquiries,  and  went  away. 

Shortly  after  that  another  rat-tat,  and  a gentleman  intro- 
duced himself  for  some  other  purpose.  My  assistant  had 
got  wind  who  these  visitors  were,  and  so  he  treated  the 
second  gentleman  very  courteously,  entered  freely  into  con- 
versation with  him,  and  thought  he  might  as  well  have  a 
little  fun.  At  last  the  visitor  took  papers  from  his  pocket, 
which  were  none  other  than  Great  Scotland  Yard  official 
papers  ; so  my  assistant  told  him  that  of  course  as  ho  wished 
to  see  the  mysteries,  if  he  would  be  careful  he  would  take 
him  through  ; and,  consequently,  took  him  first  into  the 
laboratory,  and  after  quietly  gettiug  him  through  several 
doors,  closed  them,  and  told  him  to  be  veiy  careful  how  he 
trod,  as  something  might  go  oft. 

The  gentleman  wished  for  a light,  but  that  could  not  be 
allowed,  and  he  asked  to  be  got  out  of  the  place  as  quickly 
as  possible. 

I little  thought  I should  ever  be  mixed  up  with  the 
Fenians  after  keeping  on  a steady  course  for  nearly  thirty 
years  in  the  City  of  London.  All  phot  jgraph  :rs  in  future 
must  be  careful  how  they  block  up  lights  or  make  dark- 
rooms, or  they  may  get  into  trouble. — Yours  truly, 

C.  E.  Elliott. 


ELIMINATION  OF  HYPO  FROM  GELATINE  NEGA- 
TIVES, AND  INTENSIFICATION  WITH  SILVER. 

Dear  Sir, — The  thousands  of  once  valuable  negatives 
now  utterly  useless  through  the  presence  of  hypo  left  in  the 
film,  must  be  my  excuse  for  troubling  you  with  this  com- 
munication, in  which  I have  nothing  new  to  make  knowu. 
Still  I believe  that  in  calling  the  attention  of  the  profession 
and  amateur  photographers  to  one  or  two  old  things,  I shall 
at  least  be  doing  some  one  a service. 


One  of  the  most  severe  tests  for  hypo  in  the  gelatine  film 
is  silver.  Take  a negative  after  several  hours’  washing,  and 
apply  the  old  pyro  silver  intensifier,  and  the  result  will  be 
red  6tains.  Take  another,  and  after  fixing,  place  it  in  the 
alum  bath  for  a few  minutes  ; now  rinse  well  in  rain-water, 
and  place  it  in  the  following  for  fifteen  minutes  : — 

Stock  Solution. 

Acetate  of  lead  ...  ...  I ounce 

Hot  distilled  or  rain-water  ...  ...  4 ounces 

Put  one  drachm  of  the  above  stock  solution  in  twenty  ounces 
of  rain-water.  After  fifteen  minutes’  immersion  in  this  bath 
the  negative  must  be  well  rinsed  in  rain-water,  and  after- 
wards under  the  tap. 

Now  take  pyro  and  silver,  same  proportions  as  for  collo- 
dion negatives,  and  flow  over  while  the  negative  i3  wet,  and 
you  will  find  that  you  have  a beautiful  intensifier,  which 
may  be  used  either  generally  or  locally,  and  also  a permanent 
negative. 

When  it  is  necessaiy  to  intensify  a negative,  the  operation 
should  be  performed  in  the  daik  room,  and  the  negative 
should  be  again  fixed  and  treated  with  alum  and  lead,  and 
washed  as  before.  Thomas  Baynton. 


STANDARD  OF  SENSITIVENESS. 

Dear  Sir, — Dr.  Henderson,  in  the  last  number  of  the 
News,  states  the  desirability  of  manufacturers  of  dry  plates 
adopting  the  same  standard  of  sensitiveness,  and  says 
that  only  two  makers — Mr.  J.  Cadett,  and  Professor 
Stebbing — had  adopted  Warnerke’s  scale.  Will  you  permit 
me  to  say  all  packets  of  plates  seut  out  by  me,  since  my  com- 
mencement, have  been  so  marked,  and  a formula  enclosed, 
the  calculations  being  made  by  the  Warnerke  scale  relative 
to  a wet  p late. — Yours  truly,  J.  D.  England. 


§ wrings  of  Socufu*. 

Photographic  Society  of  Great  Britain. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held  at 
5a,  Pall  Mall  East,  on  Tuesday  evening,  the  8th  inst.,  Captain 
Abney,  F.R.S.,  vice-president,  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed, 

Mr.  B.  II.  Buxton  was  elected  a member  of  the  Society. 

The  Chairman  read  a telegram  received  from  Mr.  James 
Slaisher,  F.  R.S.,  the  president  of  the  Society,  regretting  his 
inability  to  be  present  at  the  meeting  through  indisposition,  and 
he  (the  Chairman)  expressed  his  conviction  that  all  the  members 
would  share  the  regret  which  he  himself  felt  at  the  President’s 
absence,  remarking  that  it  was  the  first  time  duriug  nearly  four 
years  that  Mr.  Glaisher  had  not  been  with  them. 

Mr.  J.  R.  Sawyer  then  read  a paper  entitled  “Photography 
in  Relation  to  Colour,”  in  which  he  commenced  by  saying  he  was 
not  sanguine  enough  to  imagine  there  was  much  which  was  new 
in  his  paper  to  an  audience  so  thoroughly  well  up  in  all  branches 
of  photographic  art  as  were  his  hearers,  and  that  the  novelty 
would  arise  more  from  the  point  of  view  from  which  he  regarded 
his  subject.  The  position  of  photography,  he  said,  was  a little 
difficult  to  define,  being  allied  on  the  one  hand  to  science,  and 
ou  the  other  to  art ; and,  on  analysing  its  operations,  it  was 
found  that  anyone  could  scarcely  take  high  rank  as  a photo- 
grapher without  possessing  artistic  faculty  and  the  knowledge 
requisite  to  see  the  operations  by  which  a photographer  works. 
His  object  was  to  bring  before  their  notice  the  weak  points  in 
the  reproduction  by  photography  of  the  ordinary  colours  seen 
and  used  in  every-day  fife,  with  a view  to  discovering  that  kind 
of  chemical  sensitive  surface  which  will  give  in  monotone  the 
same  results  of  power,  depth,  and  brilliancy  that  they  present  to 
the  naked  eye.  Probably,  he  said,  it  is  generally  supposed  that 
it  will  never  be  possible  to  photograph  in  colours  ; but  the 
question  arose,  Could  they  present  in  monotone  the  effect  of 
coloured  surfaces  in  the  same  manner  as  they  appear  to  the 
naked  eye  \ Mr.  Sawyer  then  exhibited  a screen  of  colour 


302 


THE  PHOTOGRAPHIC  NEWS. 


[May  11,  1883. 


bands  imposed  upon  black  velvet,  and  arranged  upon  a convex 
surface  in  the  same  order  as  they  appear  iu  the  solar  spectrum, 
which  he  had  photographed  in  such  a manner  as  to  give  the 
relative  value  of  each  colour  in  light  and  in  shade  ; and  he  dis- 
tributed amongst  the  members  copies  of  a photographic  chart 
by  the  collotype  process,  illustrating  the  results  of  his  experi- 
ments with  wet  collodion  and  gelatine  plates  respectively.  One 
point  on  which  he  sought  information  was  as  to  the  relative 
sensibility  of  iodide  and  bromide  with  respect  to  colour.  From 
the  results  of  his  experiments,  be  was  of  opinion  that  no  modifi- 
cation of  the  collodion  process  would  give  the  brilliancy  and 
softness  of  a gelatine  plate.  Mr.  Sawyer  then  called  attention 
to  a difficult  colour  subject  which  he  had  been  working  upon, 
an  oleograph  representing  the  interior  of  a village  school,  and 
which  he  had  chosen  for  its  very  unlikely  capabilities  for  photo- 
graphic rendering.  This  he  had  photographed  with  collodion 
wet  plates,  and  also  with  gelatine  dry  plates  ; the  former  with 
thirty  minutes’  exposure,  the  latter  ninety  seconds,  and  he  handed 
round  for  inspection  the  negatives,  calling  attention  to  the  abso- 
lute invisibility  of  the  deeper  portions  in  the  collodion  negative, 
while  quite  apparent  in  the  gelatine  one  ; also  to  the  fact  that 
in  the  collodion  plate  the  black  board  came  out  lighter  than 
the  schoolmaster’s  coat  of  light  green,  whilst  in  the  gelatine 
plate  the  proper  gradations  were  observed.  He  remarked  that 
there  was  much  more  softness  in  the  dry  plate,  and  there  could 
be  no  doubt  that  gelatine  plates  provide  the  best  means  of  photo- 
graphing colours,  and  concluded  by  expressing  his  conviction 
that  a discussion  of  the  subject  amongst  the  members  would 
be  a valuable  contribution  to  the  proceedings  of  the  Society. 

Mr.  Leon  Warnerke  thought  Mr.  Sawyer’s  paper  was  an 
exceedingly  valuable  one.  One  point  which  would  be  patent  to 
everyone  was  that  the  colours  were  arranged  semi-circularly, 
giving  the  screen  the  appearance  of  a cylinder,  and  in  the  gela- 
tine plate  they  would  notice  that  the  lice  forming  the  cylinder 
was  unbroken.  It  would  also  be  observed  that  there  were  two 
salts  used,  iodide  and  bromide.  Some  seven  or  eight  years  ag  o 
he  had  made  some  very  careful  experiments  with  regard  to  the 
action  of  different  bromides  in  collodion  emulsion,  and  had  been 
struck  by  the  influence  of  different  salts  in  the  representation 
of  colour.  He  had  found  that  different  bromides  used  in  exactly 
the  same  proportion  produced  marked  differences,  and  the  non- 
actinic  yellow,  orange,  &c.,  was  best  represented  by  using  sodium 
bromide,  which  he  had  found  to  be  the  most  sensitive  with  these 
non-actinic  colours. 

Mr.  \V.  Bedford  thought  it  was  necessary  to  bear  in  mind 
which  gave  the  best  gradations,  wet  or  dry  plates.  In  examining 
Mr.  Sawyer’s  chart,  he  noticed  there  was  a much  better  grada- 
tion of  shades  in  the  dry  plates,  but  the  gradation  of  lights  was 
better  in  the  wet  plates ; what  was  required,  he  thought,  was  a 
combination  of  the  two,  and  he  believed  his  would  serve  to 
explain  some  of  the  different  results  produced  on  dry  plates  in 
photographing  landscapes,  in  which  it  was  most  important  to 
get  gradations  of  lights  as  well  as  shades. 

Mr.  Debenham  held  that  the  colour  gradations  of  iodide  and 
bromide  of  silver  had  been  very  much  exaggerated.  He  thought 
the  gradations  of  tone  in  the  different  examples  with  respect  to 
each  individual  colour  was  not  the  same.  This  might  be  caused 
by  the  negative  itself  being  exposed  under  brighter  conditions 
of  light  in  the  one  case  than  in  the  other,  thus  giving  greater 
rotundity  of  cylinder. 

Mr.  Payne  Jennings  thought  everyone  would  admit,  looking 
at  the  colours  as  a whole,  that  the  gelatine  plate  only  had  the 
advantage  in  point  of  rapidity,  and  that  the  wet  collodion  plate 
gave  decidedly  finer  results. 

Captain  Abney  drew  attention  to  the  pale  yellow  colour  in 
the  screen,  which  gave  a blacker  band  iu  the  chart  in  nearly 
every  case,  and  also  remarked  that  the  orange  came  out  lighter 
than  might  be  expected,  the  reason  of  which,  he  thought,  was 
that  it  was  a dye  which  is  fluorescent,  and  these  rays  made  the 
colour  photographable,  which  otherwise  it  would  not  be.  The 
same  observation  would  apply  to  the  scarlet.  With  regard  to 
what  Mr.  Warnerke  had  said  about  the  different  bromides,  he 
thought  the  great  distinction  between  them  lay  in  the  fact  as 
to  whether  the  bromide  was  fo.med  from  a monotonic  or  a 
diatomic  metal.  With  regard  to  gradation  in  the  high  lights, 
he  was  of  opinion  that  with  gelatine  plates  gradations  were  to 
be  got  which  were  not  obtainable  with  wet  plates. 

Mr.  V.  Blanchard  suggested  that,  in  making  further  experi- 
ments, Mr.  Sawyer  should  try  the  extremely  strong  baths  used 
by  the  Americans,  and  thought  he  would  find  a difference  iu  the 
scale  of  gradations. 


Mr.  Sawyer,  in  response  to  an  invitation  from  the  Chairman 
to  offer  some  remarks  on  the  discussion  which  had  taken  place, 
said  that  with  regard  to  bromide  of  sodium,  as  mentioned  by  Mr. 
Warnerke,  he  had  not  tried  it,  but  should  have  much  pleasure  in 
doing  so.  He  was  certainly  astonished  at  the  behaviour  of  am- 
monium iodide,  and  thought  he  would  yet  be  able  to  demonstrate 
that  it  will  produce  as  good  an  effect  as  a wet  plate  with  any 
combination  whatever.  He  thanked  the  meeting  for  the  patience 
with  which  they  had  listened  to  his  paper,  and  hoped  the  subject 
would  be  taken  up. 

The  Chairman  called  for  a vote  of  thanks  to  Mr.  Sawyer, 
which  was  carried  with  acclamation. 

It  was  announced  that  the  Society’s  exhibition  of  pictures  will 
open  with  a soil  ce  on  Saturday,  October  Gth,  further  details  of 
which  will  be  announced  next  month ; also  that  the  next 
technical  meeting  will  take  place  on  22nd  inst. 

The  meeting  was  then  adjourned  till  Tuesday,  12th  of  June. 


South  London  Photographic  Society. 

The  ordinary  monthly  meeting  of  the  above  Society  was  held  in 
the  House  of  the  Society  of  Arts,  John  Street,  Adelphi,  W.C., 
on  Thursday  evening,  the  3rd  inst.,  the  Rev.  F.  F.  Statham, 
M.A.,  President,  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed, 

Mr.  John  H.  Knight,  proposed  by  Mr.  F.  A.  Bridge,  and 
seconded  by  Mr.  Harman,  was  elected  a member  of  the  Society. 

The  Chairman  announced  that  for  the  artistic  competitions 
this  month  only  three  examples  had  again  been  sent  in,  all  of 
which  were  in  competition  for  the  “landscape  subject,’’  “A 
Shady  Nook,”  no  one  having  attempted  the  “figure”  competi- 
tion of  “ Dignity  and  Impudence.” 

The  members  then  adjudged  the  relative  merits  of  these  three 
pictures  in  the  usual  way,  and  Mr.  E.  Dunmore  was  announced 
as  the  successful  competitor  for  the  month. 

The  subjects  for  the  present  month's  competition  were  then 
balloted  for,  with  the  following  results  : — Landscape,  “ Au  Open 
View  with  Good  Clouds  ” ; and  Figure,  “ Cattle.” 

The  Chairman  said  it  had  heen  suggested  that  members 
should  bear  in  mind,  when  proposing  subjects  for  each  month’s 
competition,  the  appropriateness  of  the  season  to  the  subject 
proposed,  and  cited  as  an  illustration  of  the  unsuitability  of  some 
of  the  proposals  drawn  from  the  hat,  an  instance  in  one  of  the 
early  months  of  this  year,  where  “ Cattle  in  Water”  had  been 
suggested  as  the  landscape  subject  at  a time  when  the  weather 
was  so  cold  that  it  was  scarcely  likely  that  cattle  would  be 
accommodating  enough  to  stand  in  the  water  for  the  benefit  of 
a photographer.  He  announced  that  the  pleasant  duty  now 
devolved  upon  him  of  presenting  the  silver  medal  of  the  Society 
to  the  successful  competitor  in  last  year's  artistic  competitions, 
Mr.  E.  Dunmore.  In  handing  to  that  gentleman  the  medal,  he 
remarked  that  this  was  the  second  year  in  which  Mr.  Dunmore 
had  gained  it,  and  he  thought  it  had  been  well  earned  and 
deserved. 

Mr.  Dunmore  briefly  thanked  the  Chairman  for  his  remarks, 
and  said  that  perhaps  if  more  of  the  members  had  exerted  them- 
selves to  compete,  someone  would  have  been  found  more  worthy 
than  himself  to  receive  the  medal. 

The  Society’s  diplomas  were  also  presented  to  the  following 
gentlemen  whose  pictures  had  been  adjudged  to  possess  the 
greatest  merit  amongst  those  sent  in  for  competition  this 
year: — Mr.  W.  Cobb,  “The  Gardener”;  Mr.  John  Nesbit, 
11 A Rural  Spot  ” ; and  Mr.  W.  Brooks,  “ Sunshine.” 

Mr.  F.  A.  Bridge  then  read  a paper,  entitled  “ Lenses,  Cameras, 
and  Stands  for  Small  Work  ” (see  page  294),  in  which  he  com- 
menced by  expressing  a partiality  for  two  “ families  ”of  lenses, 
viz.,  Ross’s  portable  symmetrical,  and  Dallmeyer’s  rapid  recti- 
linear, and  pointed  out  that  the  first  five  or  six  of  the  former  and 
the  first  three  of  the  latter  could  be  used  with  the  same  flange. 
With  a view,  however,  of  showing  what  might  be  done  with  less 
expensive  instruments  than  the  above,  he  passed  round  for 
inspection  a frame  of  prints  taken  by  cheaper  lenses  varying  in 
prices  from  £i  10s.  to  5s.,  and  with  focal  lengths  varying  from 
2£  to  7 iuches,  which  he  thought  would  show  the  possibility  of 
getting  fairly  good  pictures  even  with  lenses  costing  only  a few 
shillings.  With  regard  to  cameras,  he  (Mr.  Bridge)  showed  one 
made  for  him  by  Mr.  G.  Hare,  with  swing-back  and  focussing 
capacity  from  21  to  12  inches,  which  he  considered  the  most 
perfect  he  ever  saw.  He  also  showed  a new  quarter-plate  camera 
with  extending  front  hy  Meagher,  a lantern  slide  camera  by 
Smith  for  3J  by  3^  plates,  with  a “ swiug-any-way  ” back  and 


Hat  11,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


303 


long  range  focus,  and  three  or  four  by  Messrs.  Lancaster,  of  Bir- 
mingham. He  considered  a swing-back  as  necessary  to  a quarter 
plate  camera  as  to  a longer  one.  With  respect  to  stands,  he 
did  not  cire  much  what  kind  he  used,  if  rigid  and  high,  and  he 
thought  the  smaller  the  camera,  the  higher  should  be  the  stands  ; 
he  preferred  a non-folding  stand,  and  his  only  objection  to  those 
with  sliding  legs  was  that  they  sometimes  slide  when  you  do  not 
want  them  to.  He  exhibited  besides,  two  or  three  stands  by  Lan- 
caster, Mr.  G.  Smith’s  Brattice  ” stand  (on  which  he  placed  a 
56  lb.  weight  to  show  its  strength),  two  by  Mr.  Wilson,  and  one  of 
Mr.  C.  Hussey  Jun.’s,  like  a theodolite  stand.  He  had  hoped  to 
have  been  able  to  show  two  others  designed  by  Mr.  Cullius,  of  the 
Photographic  Artists’ Co-operative  Stores,  but  he  felt  quite  sure 
all  the  members  would  regret  to  hear  that  Mr.  Collins  died 
suddenly  on  the  previous  morning,  which  put  it  out  of  his  power 
to  exhibit  these.  In  concluding  his  paper,  he  (Mr.  Bridge)  showed 
an  easy  way  for  photographers  always  to  remember  their  camera 
screw,  by  attaching  it  by  a piece  of  chain  to  the  tripod.  The 
screws  of  his  cameras  were  all  of  the  same  size,  and  he  had  one 
attached  to  each  outdoor  stand. 

The  Chairman,  in  proposing  a vote  of  thanks  to  Mr.  Bridge, 
expressed  his  pleasure  at  hearing  another  paper  read  of  a 
character  with  which  they  had  been  familiar  in  the  earlier  stages 
of  the  Soeiety,  viz.,  those  which  brought  before  them  the  practical 
experience  of  its  members. 

The  vote  of  thanks  having  been  accorded, 

Mr.  Leon  Warnerke  thought  the  cameras  shown  possessed 
some  considerable  advantages  over  mo3t  others.  Alluding  to  Mr. 
Bridge  having  said  he  used  screws  of  the  same  thread  to  all  his 
cameras,  he  thought  photographers  should  agitate  to  induce  all 
manufacturers  of  cameras  to  make  their  screws  and  fl  mge3  of  the 
same  size. 

Mr.  W.  Brooks  expressed  a preference  for  three  families  of 
lenses;  Ross  Portable  Symmetrical,  Dallmeyer’s  Wide-angle 
Landscape,  and  Dallmeyer’s  Rapid  Rectilinear.  With  regard  to 
swing-backs,  he  agreed  with  Mr.  Bridge,  that  all  cameras, 
whether  large  or  small,  ought  to  have  them.  Amongst  stands, 
he  preferred  straight-legged  one3,  not  folding,  and  siid  he  had 
never  possessed  a sliding  stand  but  what  got  out  of  order  with 
the  slightest  damp. 

Mr.  W.  Cobb  then  read  a paper  entitled  “ Balloon  Photography  ’’ 
(see  page  293),  in  which  he  gave  a very  humorous  account  of  an 
ascent  made  by  Mr.  A.  L.  Hendsrson  and  himself  in  a captive 
balloon  on  Easter  Monday  at  Brighton,  for  the  purpose  of  exposing 
a few  plates.  Mr.  Cobb  thought  that  although  the  results  they 
had  obtained  might  not  be  all  that  could  be  desired  as  pictures, 
they  were  still  in  advance  of  anything  which  had  hitherto  been 
done  from  a balloon,  and  that  they  afforded  ample  proof  of  what 
might  be  done  under  anything  like  favourable  conditions.  He 
thought  balloon  photography  was  not  only  practicable,  but  com- 
paratively easy.  He  felt  assured  in  his  own  mind  that,  notwith- 
standing gyration,  it  is  easier  to  photograph  from  a free  balloon 
than  a captive  one,  on  account  of  the  pitchiug  and  tossing  of  the 
latter.  He  could  not  help  thinking  that  if  ever  aerial  navigation 
was  to  become  of  any  practical  value,  it  must  be  in  connection 
with  photography. 

Mr.  Lefevue,  President  of  the  Balloon  Society,  said  he  had  had 
a number  of  balloon  photographs  sent  to  him  from  the  French 
Academy  and  the  Berlin  Aerouauting  Society,  which  were  very 
indifferent,  and  not  to  be  compared  with  those  taken  by  Messrs. 
Cobb  and  Henderson.  The  most  successful  balloon  photograph 
which  he  had  ever  seen,  and  which  he  now  handed  round  for 
inspection,  was  taken  by  Mr.  Shadbolt,  an  amateur,  and  he 
believed  a member  of  the  South  London  Photographic  Society. 
The  photograph  was  a very  accurate  one.  He  was  glad  to  state 
that  aeronauts  were  coming  back  to  the  old  hot-air  balloons, 
which  he  believed  to  be  capable  of  being  kept  much  steadier  and 
more  under  control,  and  therefore  better  adapted  for  purposes  in 
connection  with  photography.  Mr.  Lefevre  was  of  opinion  that 
photographers  might  with  advantage  turn  their  attention  to 
electricity  in  connection  with  ballooning.  He  also  referred  to  the 
great  strides  which  were  being  made  iu  ballooning  everywhere, 
especially  in  France,  and  expressed  his  opinion  that  ten  years 
hence  aerial  navigation  would  be  an  accomplished  success. 
Referring  to  a remark  of  Mr.  Cobb’s  to  the  effect  that  iu  his 
opinion  the  only  practical  value  of  aerial  navigation  would  be 
arrived  at  in  connection  with  photography,  Mr.  Lefevre  thought 
that  this  would  prove  to  be  incorrect,  and  ho  believed  that  it 
would  become  of  inestimable  value  in  other  directions. 

Mr.  Simmons  thought  Mr.  Cobb’s  pictures  taken  from  the 
balloon  were  the  most  successful  of  any  hitherto  produced, 


because  the  most  distinct  ; and  he  drew  attention  to  the  fact 
that  even  the  strands  of  the  rope  could  be  traced  in  the  picture, 
right  down  to  the  ground,  which,  he  thought,  proved  that  there 
was  nodifliculty  in  focussing.  He  quite  agreed  with  Mr.  Lefevre 
in  regard  to  the  hot-air  balloon  being  preferable  to  the  gas 
balloon,  and  he  had  himself  advocated  its  use  as  far  back  as 
1874.  It  could  be  inflated  anywhere,  and  at  about  one-tenth 
part  of  the  cost  of  gas.  He  thought  that  if  a balloon  could 
attain  an  altitude  of  1,000  feet,  that  was  quite  sufficient  for  all 
general  purposes,  such  as  reconnoitring,  &c.,  and  the  hot-air 
balloon  could  easily  do  that  and  remain  aloft  for  an  hour  with- 
out replenishing  the  fire.  He  knew  of  an  instance  in  which  one 
had  remained  up  for  an  hour  and  a half.  This  he  considered  to 
be  a very  great  advantage  over  the  use  of  gas  for  inflating  the 
balloon,  a process  attended  with  so  much  more  difficulty,  and 
which  in  lonely  and  desolate  places  was  sometimes  impossible. 

Mr.  A.  L.  Henderson  exhibited  and  described  Mr.  Walter  B. 
Woodbury’s  apparatus  for  taking  photographs  by  means  of  a 
captive  balloon,  the  operator  remaining  on  the  ground.  This 
consisted  of  a small  balloon  to  which  the  camera  was  hung  in 
place  of  the  car  ; a small  battery  was  attached  to  the  camera, 
and  the  exposures  were  made  by  means  of  an  electric  current 
sent  up  along  a cord  from  the  ground. 

The  Chairman  thought  that  the  great  difficulty  to  contend 
with  in  connection  with  balloon  photography  was  the  gyration. 
He  was  glad  to  hear  of  the  employment  of  asbestos  for  the  con- 
struction of  hot-air  balloons,  as  this  did  away  with  the  great 
danger  which  had  previously  been  attendant  upon  ascents  made 
in  them.  He  was  sure  that  the  members  must  all  feel  much 
gratification  at  the  communications  made  to  them  by  Messrs. 
Lefevre,  Simmonds,  Cobb,  and  Henderson,  and  he  called  for  a 
cordial  vote  of  thanks  to  these  gentlemen.  This  was  heartily 
accorded,  and  the  meeting  was  then  adjourned. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  on  Thursday,  the  3rd  inst.,  Mr.  A.  Haddon  in 
the  chair,  Mr.  Wellington,  having  exhibited  a dark  slide  for 
gelatine  plates,  the  slides  of  which  were  of  vulcanite,  some  dis- 
cussion ensued  as  to  the  light-resisting  properties  of  vulcanite, 
the  opinion  of  the  meeting  appearing  to  be  that  it  was  safe 
enough  for  ordinary  purposes. 

Mr.  Golding  said  he  had  made  several  envelope  slides  after 
the  pattern  of  that  sent  to  the  Association  by  Mr.  Beach,  and 
found  them  useful.  He  made  them  from  glazed  millboard  that 
had  been  used  by  printers,  and  therefore  needed  no  “ blacking  ; ” 
he  had  used  some  twenty-five  or  thirty  plates  in  one,  and  could 
detect  no  signs  of  wear,  and  thought  they  could  readily  be  made 
and  sold  at  about  threepence  each. 

Mr.  Barker  then  read  a paper  “ On  the  Action  of  Haloids  in 
Gelatine  ” (see  page  300). 

On  the  proposition  of  Mr.  Brown,  it  was  resolved  that  the 
discussion  on  the  paper  should  be  taken  on  the  17th  inst.,  so 
that  the  members  might  have  an  opportunity  of  studying  it  when 
it  appealed  in  the  journals. 

The  following  questions  from  the  box  were  read  : — 1.  “ Having 
only  three  dark  slides,  and  wanting  to  expose  a dozen  or  more 
plates,  what  is  the  most  convenient  way  of  changing  the  plates 
out-of-doors  ? The  weight  of  the  arrangement  must  not  be  too 
great.”  2.  “ How  should  the  plates  be  packed  for  convenience 
of  changing  ? ” 

Mr.  Debenha.m  used  a dozen-plate  box,  and  changed  his  plates 
in  a bag  constructed  of  three  thicknesses  of  black  calico,  or  in  a 
perfectly  dark  place,  pieces  of  paper  being  placed  on  the  back  of 
the  plates,  and  removed  when  they  were  placed  in  the  slide. 

M r.  Coles  thought  black  shoddy  cheaper  than  twill,  and  one 
thickness  only  would  be  necessary. 

Objection  was  taken  to  shoddy  on  account  of  its  weight. 

Mr.  Golding  showed  a chloride  plate  exposed  in  the  camera 
for  ten  minutes,  using  a lens  of  6-inch  focal  aperture,  or  1 x. 

It  was  resolved  that  a letter  of  condolence,  signed  by  the 
Chairman,  should  be  sent  to  the  widow  of  the  late  Mr.  C.  G. 
Collins. 


Halifax  Photographic  Club. 

The  usual  monthly  meeting  was  held  at  the  Courier  Office, 
Major  Holroyde  in  the  chair. 

The  minutes  of  last  meeting  were  passed,  and  the  Secretary 
read  a letter  from  Mr.  F.  Smith,  who,  owing  to  indisposition, 
was  unable  to  read  a paper  on  his  tour  to  Austria,  illustrated  by 
photographs. 


304 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  11,  1883, 


The  President  then  read  a long  letter  from  Captain  F. 
Turton,  who  thanked  the  members  for  taking  the  subject  of  dry 
plates  in  hand. 

It  was  then  decided  that  the  next  out-door  excursion  should 
be  to  Bolton  Abbey  and  Woods  on  the  25th  June,  the  photo- 
graphs taken  to  be  exhibited  at  following  meeting.  Messrs. 
Birtwhistle,  Mossman,  Caw,  and  the  Secretary  were  appointed  to 
see  the  arrangements  carried  out. 

o 

SUtlk  in  tfre  StubiB. 

Infringement  of  Copyright. — Nottage  and  Another  v . J.  H. 
Jackson. — The  plaintiffs  in  tnis  case  carried  on  business  as  photo- 
graphers in  Regent  Street  and  in  Cheapside,  under  the  style  of 
The  London  Stereoscopic  Company,  and  the  defendant  sold 
photographs  in  the  neighbourhood  of  Leeds.  The  plaintiffs  were 
proprietors  of  photographs  of  the  Earl  of  Derby  and  the  Aus- 
tralian cricketers  of  1882,  and  they  sued  for  penalties  in  conse- 
quence of  the  infringementof  the  copyright  in  these  pictures,  and 
also  for  an  injunction  to  restrain  further  infringement.  Mr. 
Petheram,  Q.C.,  and  Mr.  Shortt  were  for  the  plaintiffs  ; and  Mr. 
Crump  for  the  defendant.  A number  of  witnesses  were  called  for 
the  plaintiffs  to  make  out  their  case.  For  the  defendant  it  was 
contended  that  the  plaintiffs  had  not  proved  their  authorship,  and 
that  the  registration  was  defective  ; that  it  had  not  been  shown 
that  the  defendant  had  printed  any  copies  of  a copyright  picture, 
or  that  he  had  sold  any  with  the  knowledge  that  they  had  been 
improperly  made,  or  that  he  knew  of  the  registration  or  of  the 
existence  of  copyright.  Mr.  J ustice  Field  in  the  end  held  that 
the  plaintiffs  had  not  made  out  their  case  as  to  the  photograph 
of  Lord  Derby  ; but  as  to  the  picture  of  the  Australian 
cricketers  he  should  give  judgment  for  the  plaintiffs,  but  ulti- 
mately the  case  was  reserved  for  further  consideration. 

Tub  late  Mr.  C.  G.  Collins. — We  were  present  at  the 
funeral  of  the  late  Mr.  C.  G.  Collins,  which  took  place  at 
Paddington  Cemetery,  Willesden  Lane,  on  Monday  afternoon. 
Notwithstanding  the  showery  weather,  the  definite  notice  printed 
in  last  Friday’s  News  brought  a great  many  well-known  mem- 
bers of  the  profession  together  to  pay  a last  tribute  of  respect 
to  the  deceased  gentleman.  Among  the  societies  represented 
were  the  Photographic  Society  of  Great  Britain,  South  London, 
Photographers’  Benevolent,  Photographic  Club,  London  and 
Provincial  Photographic  Association,  besides  a goodly  sprinkling 
of  the  trade  generally.  Among  others  present  we  noticed  the 
following  : — Messrs.  W.  Cobb,  C.  G.  Cutchey,  B.  J.  Edwards, 
F.  Fall,  H.  Harland,  A.  L.  Henderson,  P.  Mawdsley,  T.  Reynolds, 
M.  Ashman,  Leon  Warnerke,  and  Captain  Kerr. 

The  Balloon  Society. — A “balloon  garden  party  and 
promenade  concert  ” took  place  on  Saturday  afternoon  at  Lillie 
Bridge  Grounds,  Brompton,  under  the  auspices  of  the  Balloon 
Society  of  Great  Britain,  of  which  Mr.  W.  H.  Lefevre,  C.E.,  is 
president.  The  weather  being  favourable,  there  was  a numerous 
assemblage.  During  the  afternoon  a balloon  ascent  was  made 
from  the  grounds  by  Mr.  Dale,  accompanied  by  Mr.  C.  V.  Shad- 
bolt,  of  Chislehurst,  and  another  gentleman.  Mr.  Shadbolt 
intended  to  make  some  experiments  iu  instantaneous  photo- 
graphy of  the  earth’s  surface  from  the  balloon  sailing  high  in 
air,  but  we  understand  that  nothing  in  any  way  superior  to 
previous  results  was  obtained.  Several  small  balloons,  made  of 
oiled  paper  and  filled  with  gas,  were  sent  adrift,  each  having 
attached  a post  card  containing  a request  that  the  finder  would 
.forward  the  car4  to  the  offices  of  the  Balloon  Society,  with 
information  as  to  the  place  and  time  of  finding. 

Ballooning. — Captain  Morton,  the  well-known  aeronaut,  will 
ascend  from  Lillie  Bridge  grounds  on  Whit  Monday,  and  from 
Dudley  Castle  on  Whit  Tuesday  and  Wednesday,  in  the  superb 
balloon  built  by  him  for  the  proprietors  of  the  Pictorial  World. 

The  International  Fisheries  Exhibition. — It  would  pro- 
bably be  difficult  to  find  a building  worse  adapted  for  the  pur- 
poses of  an  International  Exhibition  than  the  maze  of  galleries, 
passages,  and  room-like  expansions  which  characterise  the  build- 
ings at  South  Kensington.  To  just  run  over  the  grouud  for  a 
preliminary  glance  is  altogether  out  of  the  question,  uuless  the 
sight  seer  is  blest  with  a topographical  instinct  of  no  mean  order. 
We  looked  in  on  Monday  last  and  gathered  some  idea  of  the 
magnitude  of  the  preparations  which  have  been  made.  It  is 
difficult  to  find  any  considerable  portion  of  the  world  not  repre- 
sented, even  Robinson  Crusoe’s  Island  furnishing  its  quota  in  the 
shape  of  lobsters,  preserved  shell  fish,  and  dried  fish,  somewhat 


resembling  leather.  In  the  machinery  hall  we  notice  a good  deal 
which  appears  to  have  but  a remote  relation  to  fishing,  as,  for 
example,  a printing  machine  all  ready  geared  to  an  Otto  gas 
engine.  Perhaps  this  is  to  print  a “ Fisheries  Exhibition 
Gazette,”  or  some  similar  publication.  We  lingered  some  little 
while  in  the  portions  allotted  to  Norway  and  Sweden,  several 
women  in  the  picturesque  national  costumes  being  busily  en- 
gaged in  arranging  and  cleaning  various  specimens.  Some  very 
finely  stoppered  jars,  over  four  feet  high  and  ten  inches  in 
diameter  at  the  mouth,  certainly  interested  us  more  than  the 
contents.  We  noticed  a set  of  some  twenty  large  and  well- 
executed  photographs  illustrating  the  works  and  portraying  the 
work  people  of  Nydalen’s  Cotton  Works,  Christiania.  A some- 
what more  extensive  series  gives  us  an  insight  into  the  work  of 
the  Portland  Packing  Company,  Portland  (Maine)  ; while  Chile 
also  sends  good  photographic  illustrations  of  fish  and  fisheries. 

Storage  of  Oxygen  in  Zinc  Gas-Holders. — Our  readers 
will  remember  that  several  accidents  have  arisen  from  this 
practice,  hydrogen  being  liberated,  and  forming  an  explosive 
mixture  with  the  oxygen.  Loewe  finds  that  if  a small  bag 
containing  slacked  lime  is  kept  suspended  in  the  gas,  there  is 
no  danger  of  accident,  as  the  lime  absorbs  those  traces  of  acid 
which  act  on  the  metal. 

A Photo-Electric  Battery.  — Borgmann  constructs  a 
battery  by  placing  a number  of  (J -tubes  in  a black  box  having 
removable  sides,  and  fills  the  tubes  with  a 2 per  cent,  solution 
of  sulphuric  acid,  the  light  being  excluded.  Silver  plates, 
iodised  on  the  surface  by  electrolytic  means,  are  immersed  in 
the  acid.  On  exposure  to  light,  an  electric  current  is  set  up. 

The  Photographic  Club. — At  the  next  meeting  of  this 
Club,  May  16th,  the  subject  for  discussion  will  be,  “On  the 
Means  of  Drying  Gelatine  Plates.” 


®0rr£8g0a0£nts. 

***  We  cannot  undertake  to  return  rejected  communications. 

H.  Spink. — We  are  making  experiments  in  this  direction,  and  hope 
to  describe  a practicable  method  before  long. 

G.  M. — Under  the  circumstances,  we  think  you  would  do  well  to 
construct  it  with  an  East  light,  as  the  other  alternative  would 
certainly  give  rise  to  greater  inconvenience.  2.  Do  not  use 
ground  glass,  as  it  readily  takes  up  dirt,  and  is  very  difficult  to 
clean;  but  glaze  with  clear  glass,  and  cover  with  tissue  paper, 
this  being  either  attached  directly  to  the  glass,  or  stretched  on 
light  moveable  frames. 

Geo.  Shaw. — Mr.  Ashmau’s  articles  on  the  crystoleum  process 
will  be  found  in  the  following  numbers : 1249,  1252,  1264. 

Wm.  Ward. — 1.  A very  small  quantity  is  applied  with  a piece  of 
flannel  to  the  surface  of  the  print,  and  all  excess  is  removed  by  a 
second  rubber  ot  the  same  material ; after  which  the  print  is 
burnished  or  rolled.  2.  Use  white  wax. 

F.  T.  G.--Try  another  sample  of  paper,  as  it  is  probably  due  to  tho 
use  of  stale  albumen. 

C.  W. — There  seems  a difficulty  in  arriving  at  a definite  conclusion 
on  this  point.  We  have  had  pictures  which  faded  in  a few  weeks, 
while  others,  apparently  intensified  in  precisely  tho  same  manner, 
are  now  as  good  as  ever. 

Auto. — One  of  the  following,  as  used  by  Mr.  Cowan,  should 
answer — 

No.  1. 

Hydrochloric  acid  1 ounce 

Water  20  ounces 

Add  solution  of  chrome  alum  if  there  is  any  tendency  towards 
frilling. 

No.  2. 

Hydrochloric  acid  1 ounce 

Perchloride  of  iron  ...  i ounce 

Water  ...  80  ounces 

R.  W. — l.  A trace  of  a greasy  scum  is  present,  and  you  can  only 
discover  its  origin  by  carefully  reviewing  each  stop  of  your  work. 
2.  The  plates  gave  very  good  negatives  ; but,  as  you  say,  they  are 
not  very  rapid. 

L.  R.  D.— Nos.  1283,  1282,  1281,  1278,  1276,  1274,  1273. 

Printing  Frame. — Moisten  the  tip  of  tho  finger  with  a trace  of 
oil  of  turpentine,  and  work  it  on  the  surface  of  tho  varnish  until 
the  required  tooth  or  roughness  is  obtained. 

Arthur  and  J.  W.  S. — Try  Home  and  Thornthwaite,  Strand. 

P.  S.  (Hoxton). — Sulphur  melts  at  about  115°,  and  answers  the 
purpose  admirably.  You  must  take  care  not  to  overheat  it,  or  it 
will  become  thick  and  viscous. 

Chas.  B. . — One  part  of  rubber  to  twenty  of  benzole. 

%*  Studio  No.  2 of  “ Half-a-dozen  Portraits,’’  Lesson  No.  9, 
several  answers,  and  other  important  matters  remain  over  for 
want  of  space. 


THE  PHOTOGRAPHIC  NEWS, 


Packing  Dry  Plates  30.) 

A New  Shutter.  By  Mr.  Cowan  305 

Wide-Angle  Lenses  ’ ’’’]  300 

Half-a-Dozen  Portraits  307 

French  Correspondence.  By  Leon  Vidai  . 308 

Sociability  in  Photographic  Societies.  By  Lyddcll  Sawyer  309 

Micro-Photography.  By  William  Forgan 310 

Notes 3J2 

Patent  Intelligence  .."'.I"!""”"!"”"!!!”""”!”  311 

Twelve  Elemmtary  Lessons  on  Silver  Printing 3H 


PAOK 

Relative  Action  of  Cirbonates  and  Ammonias  with  Pyrogallol 

Developers.  By  Lyddell  Sawyer 31 G 

Sunshine  and  the  Barometer.  By  Captain  Abney,  R.K..F.R.S.  317 

Recovering  Silver  from  Waste  Gelatine  Emulsion  Plates  or 

Paper.  By  J.  Pike  317 

Correspondence  318 

Proceedings  of  Societies; 318 

Talk  in  the  Studio 319 

To  Correspondents 320 

Photographs  Registerel  320 


PACKING  DRY  PLATES. 


The  packing  of  dry  plates,  especially  for  travelling,  is  a 
subject  of  the  greatest  importance.  Most  photographers 
wisely  employ  a wicker  box  or  hamper  for  the  outer  en- 
closure of  plates  and  apparatus,  and  this  strong  and  yield- 
ing package  may  well  be  recommended  to  all  who  desire  to 
reduce  breakages  to  a minimum  en  voyage.  Our  friend 
Major  Gordon,  of  Dinan,  an  able  amateur,  very  aptly  makes 
use  of  a roomy  fishing  basket,  so  that  when  off  with  his 
photographic  materiel  and  folded  stand,  it  looks  very  much 
as  if,  with  rod  and  line,  he  is  going  to  do  battle  with  the 
lusty  trout  ; his  photographic  apparatus  is  never  more 
bulky  nor  unwieldy  than  an  outfit  for  a fishing  excursion. 

Recently  we  described  in  these  columns  a packing  box 
by  Herr  Schwarz,  and  we  refer  to  it  once  more,  because  we 
have  now  the  testimony  of  two  thoroughly  practical 
authorities  on  its  value.  A theoretical  design  is  one  thing, 
and  an  apparatus  of  proved  worth  is  another,  as  everybody 
in  general,  and  photographers  in  particular,  know  very 
well.  Mr.  Cowan  was  one  of  the  first  iu  this  country  to 
take  up  Herr  Schwarz’s  design — we  may  mention  that 
our  Berlin  contemporary,  the  Afittheilungen,  had  already 
spoken  highly  of  it— and  now  Mr.  T.  G.  Whaite,  a well- 
known  medallist,  writes  to  us  likewise  confirming  the  value 
of  this  particular  mode  of  packing.  We  cannot  do  better 
than  give  an  extract  from  Mr.  Whaite’s  letter  to  us  ; he 
says : - 


“I  have  just  returned  from  a seven  weeks’  tramp  in 
Normaudy,  Brittany,  and  the  South  of  France.  I took 
with  me  twenty-four  dozen  7£  plates,  in  addition  to  my 
colour-box,  &c.,  and  I want  to  draw  your  attention  to 
the  value  of  a form  of  packing-box  for  plates,  recommended 
to  me  by  Mr.  Cowan.  The  twenty-four  dozen  were 
packed  in  eight  boxes  of  three  dozen  each,  then  placed 
on  end  in  a strong  hamper  with  stout  handles,  iron  rod 
with  lock,  and  legibly  labelled — ‘ Fragile.’ 

“ I saw  it  several  times  tumbled  out  of  the  vacs,  for  it 
was  rather  heavy,  just  about  as  much  as  one  could  lift, 
1 have  now  got  it  home,  and  examined  the  plates,  and 
have  not  had  one  plate  in  twenty-four  dozen  brokeD. 
iou  will  understand  each  plate  had  only  its  own  weight 
to  bear,  which  is  an  important  item. 

• made  of  light  wood  ; at  each  corner,  of  one- 

eighth  of  an  inch  from  the  end,  is  a small  post,  and  the 
glass  is  placed  between  these,  a narrow  strip  of  card- 
board being  between  the  face  of  each.  A sliding  lid 
pasted  over  with  paper,  and  the  box  stood  on  end  in  the 
namper,  are  the  other  precautions  to  be  adopted.  The 
p a es  are  easily  repacked  after  exposure  with  the  same 
b*0ard-  rhose  who  b»y  P^tes  know  how  trouble- 
sent  oirwithpCs.With  the8ma11  pieces  ofcrimPed  PaPei 


“ I think  Mr.  Cowan  told  me  the  box  was  suggested  by 
a German  photographer,  Herr  Schwarz  by  name.  No 
better  testimony  to  its  value  can  be  required  than  this 
seven  weeks’  knocking  about  on  the  Continent,  and  in  so 
many  different  towns,  without  the  slightest  breakage.” 
That  our  readers  may  understand  more  clearly  Herr 
Schwarz’s  mode  of  packing,  we  here  reproduce  the  sketch 
of  it.  k k represents  the  box  as  we  look  down  into  it, 


I- 


with  the  cover  removed.  The  plate,  P,  is  represented  by 
dotted  lines.  Four  wooden  uprights — Mr.  Whaite,  for  want 
of  a better  name,  calls  them  posts — are  at  each  corner  of 
the  box,  marked  v v v v,  and  serve  to  wedge  the  plate  in 
position.  The  plates  are  simply  laid  flat  in  the  box,  and 
separated  by  strips  of  card,  a a,  one  at  each  end.  The 
uprights,  v v v v,  keep  the  strips  of  card  in  their  places. 

We  may  further  remark,  in  addition  to  what  Mr.  Whaite 
says,  that  the  simplification  of  Mr.  Cowan,  to  which  we 
recently  alluded  iu  our  “ Notes,”  is  a very  desirable  one. 
By  its  means,  all  the  plates  are  facing  one  way — so  that 
in  taking  out  there  can  be  no  mistake  about  back  and  front 
— and  half  the  number  of  strips  of  card  are  saved.  Mr. 
Cowan  merely  packs  his  plates  all  face  downwards,  and 
inserts  between  each  but  one  strip  of  board,  this  strip  being 
put  alternately  to  the  light  and  left  of  the  box,  as  the 
packing  goes  on. 


A NEW  SHUTTER  BY  MR.  COWAN. 

There  can  be  no  doubt  as  to  the  advantages  of  placing  a 
shutter  close  to  the  plate,  rather  than  near  the  lens  ; and 
the  considerable  space  ordinarily  occupied  by  a shutter  so 
placed,  is  reduced  to  a minimum  by  an  ingenious  arrange- 
ment due  to  Mr.  Cowan. 

The  shutter,  A,  which  may  be  made  of  hard  wood  or 
ebonite,  can  slide  freely  in  grooves,  and  is  slotted  out 
between  B and  B.  A disc,  C,  carries  a pin,  G,  this  pin 
working  freely  in  the  slot,  BB  ; and  it  will  be  readily  under- 
stood that  each  complete  revolution  of  the  disc  will  cause 
the  shutter  to  open  and  shut.  Mr.  Cowan  first  tried  to 


306 


THE  PHOTOGRAPHIC  NEWS. 


May*  18,  1883. 


actuate  his  shutter  by  a single  elastic  band,  one  end  being 
attached  to  a central  knob  fixed  to  the  disc,  and  the  other 
end  to  a pin  at  D ; but  he  found  that  the  one-sided  drag 


A is  a plain  wooden  shutter  with  a slot  or  groove,  BB;  C is  a disc, 
working  on  a centre,  F,  and  fixed  in  it  is  a pin,  G,  working  in  the  slot,  B B ; 
D is  an  india  rubber  .hand  fixed  over  a pin  at  D,  and  over  another  at  F. 

offered  a considerable  hindrance  to  the  free  motion  of  the 
disc  ; but  when  another  band  was  attached  to  an  opposite 
point  of  the  knob  and  to  a pin  near  E,  all  worked  easily 
and  freely.  An  ordinary  stop  and  release  working  on  the 
edge  of  the  disc  serves  for  governing  the  shutter,  the 
speed  being  regulated  by  the  tension  of  the  bands.  Mr. 
Cowan’s  shutter  should  be  fitted  in  the  camera  immediately 
in  front  of  the  dark  slide,  and  the  projecting  part  (con 
taining  the  disc)  should  be  directed  downwards,  as  under 
these  circumstances  the  slight  inequality  of  exposure  over 
the  various  parts  of  the  plate  tends  to  give  a somewhat 
more  prolonged  exposure  to  the  foreground  than  to  the  sky. 

Mr.  Cowan’s  shutter  can  easily  be  made  so  as  to 
cover  an  area  no  larger  than  that  of  the  dark  slide  when 
the  flap  is  drawn,  and  in  this  respect  offers  many  advan- 
tages over  the  simple  drop  shutter,  which  would,  under 
ordinary  circumstances,  cover  nearly  double  the  area  of 
the  new  shutter. 


WIDE-ANGLE  LENSES. 

What  is  the  property  which  constitutes  a lens  a “wide- 
angle”  oneV  This  appears  a simple  question.  “Why, 
the  property  of  including  a wide-angle!  ” nine  out  of  ten 
will  say  ; and  this  is  certainly  true.  Yet,  on  enquiry,  we 
find  that  many  have  not  a thorough  understanding  of  the 
matter,  but  imagine  that  a wide-angle  lens  will,  on  a given 
plate,  take  in  more  subject  than  will  a narrow  angle  lens 
of  the  same  focal  length.  This  is  not  correct,  for  it  must 
be  understood  that,  barring  the  slight  real  distortion  given 
by  single  lenses,  any  lens  gives,  as  far  as  size  and  outline 
of  the  image  are  concerned,  exactly  the  same  effect  as  any 
other  lens  of  the  same  focal  length. 

What  constitutes  a lens  a wide-angle  one  is  its  property 
of  bringing  to  focus  in  the  same  plane  as  the  central 
pencils  focus  at,  oblique  pencils  which,  with  a narrow- 
angle  lens,  would  either  focus  in  a plane  farther  forward, 
or  would  be  actually  cwt  off  by  the  lens  mount,  or  tube 
In  fact,  the  two  qualities  necessary  for  a wide-angle  lens 
are,  first,  that  the  general  form  of  the  instrument  should 
be  such  that  marginal  rays  shall  not  be  cut  off  by  the  len3 
mount ; and  second,  that  there  shall  be  flatness  of  field. 
If  we  leave  out  of  the  question  that  of  pencils  of  light 
beiug  actually  stopped  by  the  brass-work  of  the  instru- 
ment, a lens  of  flat  field  and  a wide-angle  lens  mean  the 
same  thing.  A lens  is  only  “ wide-angle"  in  that  it  will 
allow,  with  any  given  focus,  the  use  of  a larger  plate  than 


will  a narrow-angle  one,  or,  what  follows  from  this,  in  that 
it  allows  with  a given  plate  the  use  of  a shorter  focus  than 
will  a narrow-angle  lens,  and  gives  definition  to  the  corners 
of  the  plate.  There  is,  however,  not  wisting  about  of  the 
pencils  of  light  to  take  in  a great  amount  of  subject,  as 
many  appear  to  suppose. 

We  often  hear  of  the  distortion  produced  by  the  use  of 
wide-angle  leases.  Most  are  aware,  however,  that  this  dis- 
tortion i3  not  real,  and  that,  if  the  picture  which  exhibits 
it  be  looked  at  from  a certain  point,  it  entirely  disappears, 
the  fact  being,  however,  that  this  point  is  one  from  which 
no  one  would  ever  think  of  looking  at  the  picture,  inasmuch 
as  it  is  so  near  that  the  whole  subject  cannot  he  seen  at 
one  time.  Still,  if  we  are  able  to  focus  our  eye  at  all  to  so 
short  a distance,  we  shall  find  that  by  looking  at  a picture 
taken  by  a wide-angle  lens,  from  a point  corresponding  to 
the  equivalent  focus  of  the  lens  with  which  it  was  taken, 
we  cause  the  appearance  of  distortion  to  vanish  from  that 
small  central  portion  of  the  picture  which  our  angle  of 
vision  does  include. 

To  prove  that  there  is  no  real  distortion,  we  need  only 
photograph  any  object  all  in  one  plane  at  right  angles  to 
the  axis  of  the  lens.  The  best  thing  of  all  is  a sheet  of 
paper  stretched  on  a drawing  board,  and  having  straight 
intersecting  lines  drawn  on  it.  However  wide  an  angle  be 
included  in  copying  this,  the  lines  will  bo  brought  out 
straight,  and  will  retain  the  same  proportionate  distance 
from  each  other.  We  are,  of  course,  at  present  leaving 
out  of  consideration  the  distortion  peculiar  to  siugle  lenses. 

There  is  one  appearance  produced  by  wide-angle  lenses 
which  it  is  at  first  difficult  to  believe  is  not  actual  distortion. 
If  a set  of  spheres — croquet  balls,  or  anything  of  the  kind  will 
do  well — be  placed  on  a table  in  a straight  line,  so  that, 
when  photographed  with  a wide-angle  lens  the  extreme 
ends  of  the  row  will  come  on  the  extreme  ends  of  the  plate, 
a photograph  of  them  will  show  a most  peculiar  appearance. 
The  central  balls  will  be  represented  by  circles,  but  the 
extreme  end  ones  will  be  shown  as  ellipses,  having  their 
major  diameter  passing  through  the  centre  of  the  plate,  or, 
more  strictly  speaking,  through  the  axis  of  the  lens.  Cer- 
tainly this  would  appear  to  be  a case  of  very  genuiue  distor- 
tion ; still,  it  is  not.  If,  in  looking  at  the  photograph  of 
the  row  of  spheres,  the  eye  be  placed  at  the  point  indicated 
before — that  is,  atone  corresponding  to  the  equivalent  focus 
of  the  lens  used — the  image  on  the  retina  produced  by  the 
oval  representation  of  the  balls  will  be  the  same  as  that 
produced  by  the  balls  themselves.  It  is  only  when  we  move 
our  eye  farther  away  that  a false  effect  is  produced. 

The  same  apparent  distortion  will  be  seen  in  a photograph 
of  a row  of  columns  or  cylindrical  bodies,  as  in  that  of  the 
spheres.  Those  near  the  end  of  the  row  will  be  represented 
as  thicker  than  those  near  the  centre. 

Although,  as  we  say,  these  effects  cannot  be  classed  as  true 
distortion,  they  practically  militate  against  a photograph  as 
a picture  quite  as  much  as  if  they  could,  this  being,  as  we 
explained,  because  it  is  impossible  to  look  at  the  whole 
picture  from  a point  sufficiently  near. 

Another  defect  exhibited  by  wide  angle  lenses  is  their 
property  of  giving  much  less  light  to  the  edge  of  the  plate 
than  to  the  centre.  This  falling  oft  of  light  increases  in  a 
very  rapid  ratio,  and  produces  a very  disagreeable  effect 
when  it  exceeds  a ceitain  amount.  It  is  quite  true  that  a 
slight  falling  off  of  light  towards  the  edges  of  a picture 
produces  an  artistic  effect,  but  with  an  angle  anything  in 
excess  of  60°,  this  falliug  off  becomes  too  great.  It  is  the 
only  thing  which  makes  it  undesirable  to  use  a wide-aDgle 
in  copyiug.  lu  this  case,  the  object  to  he  photographed 
being  all  in  one  plane,  there  is  no  chauce  of  distortion,  either 
real  or  apparent,  making  itself  evident.  As  far  as  form  is 
concerned,  a precisely  similar  image  is  given  by  a wide- 
angle  aud  a narrow  angle,  that  is  by  a short  focus  or  a long 
focus  leus.  In  the  former  case,  however,  there  will  be  a 
most  noticeable  falling  oft' of  light  at  the  edges  of  the  plate, 
in  the  latter  not. 


May  18,  1883.  J 


THE  PHOTOGRAPHIC  NEWS. 


307 


It  will  be  seen  that  we  deprecate  the  nse  of  a wide-angle 
in  all  cases  except  those  where  it  is  impossible  to  avoid  it. 
And  here  we  do  not  refer  only  to  the  excessively  wide-angle 
which  certain  lenses  give,  but  to  angles  which  are  quite 
commonly  in  nse. 

When  pictures,  photographic  or  otherwise,  are  hung  on 
the  walls  of  a room  for  exhibition,  it  will  be  noticed  that 
most  people  look  at  them  from  a considerable  distance. 
They  look  more  closely  at  the  smaller  than  at  the  larger 
pictures ; but  in  most  cases  the  observer,  to  get  a good  view 
of  a picture  as  a whole,  places  himself  at  a distance  from  it 
equal  to  several  times  the  length  of  the  picture.  Now  the 
nearer  in  photography  we  can  come  in  the  focal  length  of 
the  lens  we  use  to  the  mean  distance  from  which  the  picture 
will  bo  looked  at,  the  more  true  will  our  picture  be.  Of 
course,  wo  know  that  it  is  very  frequently  impossible 
to  get  far  enough  away  from  the  subject  to  accomplish 
this  ; but  even  in  such  cases  as  we  can,  we  seldom  have 
the  appliances  for  doing  so.  We  have  so  much  got  into 
the  habit  of  taking  advantage  of  the  wonderful  powers 
which  wide-angle  lenses  give  us,  that  not  only  do  we  not 
carry  with  us  lenses  of  great  focal  length,  but  our  cameras, 
as  a rule,  do  not  open  to  a length  very  much  greater  than 
that  of  the  plate  which  is  to  be  used.  Every  camera  ought 
to  open  to  a length  two  to  three  times  that  of  the  largest 
plate  which  it  will  carry,  and  we  ought  to  have  at  least 
one  lens  which  has  a focal  length  about  as  great. 
This  i3  often  to  be  found  in  one  of  the  combinations  of  a 
rapid  symmetrical  or  rectilinear.  Thus,  for  a 12  by  10 
plate  we  U3e  a rapid  lens  of  about  16  inches  focus.  One 
combination  of  this  lens  will  give  us  a focal  length  of  about 
32  inches,  and  will  be  found  invaluable  for  rendering  such 
objects  as  we  can  get  far  enough  away  from.  ' 

Sufficient  advantage  is  not  always  taken  of  the  fact  that 
one  of  the  combinations  of  a rectilinear  or  symmetrical  lens 
may  be  used  as  a long  focus  single  lens,  thus  practically 
giving  us  an  additional  instrument.  For  example,  if  we 
are  working  plates  12  by  10,  and  we  possess  such  a lens 
of  10  inches  and  another  of  16-inch  focus,  we  may  use 
these  as  10-incb,  16-inch,  20-inch,  or  32-inch  lenses, 
thus  giving  us  a very  great  range  indeed. 


IIALF-A-DOZEN  PORTRAITS. 

II. — In  Baker  Street. 

We  know  a good  many  studios  in  Baker  Street,  and  a good 
many  studios  know  us.  So  it  is  necessary  to  “ dissemble  ” 
a little  if  we  desire  to  be  treated  as  one  of  the  public,  no 
more  and  no  less.  Accordingly  we  again  take  shelter 
behind  our  single  eye-glass,  and,  in  the  rash  hops  we  may 
be  taken  for  one  of  the  Masher  family,  boldly  march  to  the 
assault. 

It  is  surprising  how  small  things  will  disconcert  the 
most  resolute  mind.  The  handle  was  off  one  of  the  doors 
downstairs,  and  the  effect  of  the  square  bit  of  iron  pro- 
jecting upon  a black  kid  glove  was  so  disastrous  that  our 
advance  well-nigh  turned  into  a retreat.  Emulating, 
however,  as  well  as  we  can,  the  example  of  that  Spartan 
youth  who  displayed  such  a lack  of  interest  while  a fox 
gnawed  at  his  vitals,  we  strip  off  the  maimed  hand — 
that  is,  the  glove  —and  proceed  upstairs  to  the  reception 
room. 

“Is  it  too  late  for  a portrait?  ” It  is  a little  after  three 
when  we  enter. 

“No,  it  is  a very  nice  light,’’  answers  the  presiding  lady. 

It  is  a delightful  apartment  we  enter — large,  comfortable, 
and  elegantly  furnished.  It  is  more  drawing-room  than 
reception-room,  for  the  pictures  displayed  ate  not  obtru- 
sive, and  there  are  not  too  many  of  them.  A cheerful 
fire  burns  in  the  grate,  for  it  is  not  warm  weather,  and 
the  soft,  luxurious  sofas  and  easy-chairs  give  an  air  of 
comfort  and  homeliness  that  puts  the  visitor  at  once  on 
good  terms  with  himself. 


We  are  undecided  about  the  choice  of  a carte  or  cabinet, 
the  price,  we  are  told,  being  eighteen  of  the  former  or  six 
of  the  latter  for  a guinea. 

“ The  cabinet  makes  the  nicer  picture,”  the  lady  assures 
us,  so  we  naturally  choose  a cabinet. 

“ We  give  two  positions  for  a guinea,  so  you  can  have 
one  portrait  standing  and  one  sitting  if  you  desire.”  A 
very  good  arrangement,  for  it  not  only  gives  the  model  two 
chances  of  pleasing  himself,  but  the  photographer  himself 
gets  also  two  chances  of  success. 

But  all  this  time  we  see  no  card  of  terms.  There  are 
other  pretty  pictures  about,  and  perhaps  if  we  had  time  to 
study  them,  and  quietly  to  find  out  the  prices  for  ourselves 
— which  we  could  do  with  a card  in  our  hand — we  might 
be  tempted  to  look  at  something  else.  In  fact,  to  tell  the 
truth,  the  cartes  and  cabinets  are  the  least  attractive  of 
all,  for  these  are  contained  in  a well-worn  album,  while 
the  other  pictures  are  set  out  on  table  and  sideboard  in  a 
very  taking  and  attractive  manner.  We  take  a rapid 
glance  at  these,  while  notice  is  conveyed  to  the  studio  by 
speaking-tube  of  our  coming. 

“ Will  you  walk  this  way?  ” says  our  lady  friend. 

We  pass  through  a second  drawing  room,  also  elegantly 
furnished,  and  climbing  a few  stairs,  are  ushered  into  a fine 
and  spacious  studio. 

There  is  plenty  of  light  here.  It  is  a lofty  apartment 
with  an  iron  ribbed  roof,  perhaps  forty  feet  long  and 
eighteen  feet  high.  One  slope  of  the  roof  is  perfectly  black, 
but  as  the  apartment  is  so  spacious,  there  is  still  plenty  of 
light.  Again,  on  the  light  side,  there  is  a high  skirting- 
board — it  comes  up  five  feet  from  the  floor — and  for  this 
it  behoves  the  model  not  to  sit  too  close  to  that  side  of  the 
studio.  Most  of  the  accessories  are  of  a very  dark  slate 
colour — almost  black,  they  seem— but  fortunately  the 
amount  of  light  at  disposal  is  very  great.  A large  white 
sloping  screen  is  here  employed,  as  in  the  first  studio  we 
visited,  put  close  up  to  the  model,  but  it  is  placed  on  our 
dark  side,  so  that  this  may  not  appear  too  much  in  shadow. 

But  we  are  progressing  too  fast.  There  is  a fault  upon 
which  we  wish  to  dwell  with  some  emphasis,  especially  as 
we  have  reason  to  believe  most  studios,  even  of  the  first- 
class,  err  in  the  same  direction.  It  is  this.  When  we  have 
paid  our  visits,  as  set  down  in  “The  Photographic  Studios 
of  Europe,”  one  main  attraction  of  the  best  establishments 
has  been  the  excellent  and  well-appointed  dressing-rooms 
for  sitters.  Why  are  we  not  asked  into  one  of  these? 
Why,  if  they  exist — and  we  know  very  well  that  they  do 
exist  both  in  studio  No.  1 and  studio  No.  2 — are  we  not 
invited  therein  to  arrange  our  toilet?  Yet  no;  we  are 
simply  referred  to  a dusty  corner  in  the  studio  where,  upon 
some  untidy  accessory,  lies  a brush  and  comb.  Is  not  this 
rather  below  the  dignity  of  a high-class  establishment?  It 
may  be  argued  that  a gentleman,  as  a rule,  does  not  wish  to 
arrange  his  toilet.  V ery  likely,  is  our  reply  ; but  at  any  rate 
give  him  the  chance.  The  object  surely  is  that  the  sitter 
shall  see,  when  he  is  asked  to  pay  a tolerable  fee,  that  he 
has  plenty  of  return  for  his  money.  Were  he  shown  into 
a dressing-room,  and  shown  out  again,  he  would  be  favour- 
ably impressed  that  every  attention  was  paid  him.  He 
certainly  would  be  infinitely  more  pleased  than  when 
simply  referred  to  a neglected  brush  andcomb  lyiog  about 
in  the  studio.  It  may  be  simply  an  oversight,  a lack  of 
discipline  in  the  establishment  ; but  in  our  opinion,  when 
dressing-rooms  do  exist,  it  is  the  most  shortsighted  policy 
in  the  world  not  to  pass  the  compliment  on  a gentleman- 
sitter.  You  have  been  at  great  pains  to  impress  him 
favourably  all  along,  and  then  you  go  and  jeopardise  that 
impression  by  one  thoughtless  act.  That  the  dressing  room 
occupies  a little  of  the  time  that  is  otherwise  spent  in 
waiting  in  the  studio  is  another  scarcely  less  important 
reason  for  asking  a sitter  to  step  into  it. 

And  now  to  be  good-humoured  once  more.  The  assis- 
tant makes  his  appearance  with  his  dark-slide  under  his 
arm,  and  our  morose  reflections  are  cut  short,  lie  is 


308 


THE  PHOTOGRAPHIC  NEWS. 


[May  18,  1883. 


pleasant,  ready-witted,  and  poses  with  a good  deal  of 
taste  and  decision.  He  is  a little  grieved  when,  in  reply  to 
his  query,  we  say  we  do  not  care  how  we  are  taken.  He 
speaks  as  if  he  thought  we  might,  at  any  rate,  take  some 
interest  in  the  matter. 

“I  suppose  you  want  the  best  portrait  I can  give 
you?”  he  at  last  says  kindly  and  decisively,  in  order  to 
please  us. 

This  portrait  is  not  going  to  be  a vignette  (for  the 
moment  we  had  forgotten  what  was  the  particular  style  of 
picture  we  had  chosen),  and  a couch  is  wheeled  up  to  lean 
against.  It  is  very  quickly  and  skilfully  managed.  No 
head-rest  is  adjusted,  and  in  four  seconds  the  exposure  is 
complete. 

“ Now  we  will  try  a sitting  pose,  if  you  please,”  says  the 
assistant  briskly  to  his  morose  sitter.  We  should  have 
mentioned,  by  the  way,  that  there  are  very  few  screens  in 
the  studio,  and  beyond  adjusting  the  white  one  we  have 
mentioned,  the  lighting  was  not  disturbed  in  the  least  by 
our  artist  friend.  The  illumiuation  was  so  good,  aud  yet 
so  subdued,  in  the  lofty  apartment,  that  very  little  modifi- 
cation was  probably  necessary.  The  camera  itself  stood 
under  a canopy  structure  similar  to  that  in  Mr.  Barraud’s 
studio,  which  we  recently  sketched  in  these  columns, 
measuring  probably  seven  feet  long,  and  six  feet  high. 

The  sitting  portrait  is  as  quickly  posed  as  the  other. 
“ I would  keep  the  eye-glass  up  this  time,  if  you  usually 
wear  it,”  says  our  photographer  friend,  pausing  for  a 
careful  look.  At  which  challenge,  we  are  bound  to  main- 
tain the  instrument  in  position  at  any  sacrifice  of  personal 
comfort. 

“Ah!  now  you  are  frowning;  pray  don't  do  that.” 

But  it  is  only  by  frowning  that  we  can  keep  up  the  eye- 
glass at  all ; however,  we  try  to  smile  with  the  top  part 
of  the  face,  and  satisfy  the  exigencies  of  the  situation  in 
this  way.  Every  moment  the  wretched  glass  seems  to  be 
slipping  down,  but  fortunately  it  is  only  imagination.  In 
fact,  the  pose  is  a great  triumph,  for  we  managed  to  show 
our  teeth  during  the  difficult  ordeal,  and  if  this  isn’t 
smiling,  we  should  like  to  know  what  is. 

No  head-rest  is  used  in  either  portrait — the  first  time 
we  have  ever  been  taken  in  a studio  without  one.  “ I 
generally  can  guage  my  sitters,”  says  our  friend  ; “ and  if 
I think  they  can  sit  steadily  I do  not  trouble  them.  You 
see  we  have  a new  process  now,  and  the  exposure  is  very 
short.”  We  mentally  thauk  our  friend  for  his  confidence, 
and  devoutly  hope  it  may  not  be  misplaced. 

As  he  had  secured  two  portraits,  there  was  every  chance 
of  one  being  successful ; but  it  is  a moot  question  in  studio 
work  whether  development  should  not  be  undertaken  at 
once.  We  hope  photographers  appreciate  sufficiently  the 
inconvenience  to  sitters  of  having  to  come  a second  time. 
For  ourselves,  we  should  consider  it  a very  great  tax  on 
our  time  ; and,  therefore,  unless  plates  are  developed  with 
great  certainty,  a peep  at  the  result  before  the  sitter  leaves 
the  premises  is  very  desirable. 

Our  way  back  lay  through  the  reception  room,  and  there 
we  found  the  lady  with  her  book  before  her  ready  to  enter 
the  terms  of  our  order;  for,  so  far  this  had  not  been  noted. 
A name — not  our  own,  obviously— was  given,  and  an 
address  to  which  the  portraits  should  be  sent. 

“ Will  you  pay  for  them  now  ? ” she  asks,  in  business-like 
fashion,  taking  up  an  invoice,  and  filling  it  in. 

There  was  apparently  nothing  else  to  do,  so  we  produced 
our  guinea  and  received  a receipted  account. 

Before  leaving,  we  walked  round  the  room  to  look  at  the 
other  specimens.  A fine  portrait,  termed  Boudoir  Panel, 
three  for  three  guineas,  was  exceedingly  taking,  and  some 
charmingly  coloured  carbon  prints  on  porcelain  were 
attractive,  also  panel  size,  the  charge  being  £4  4s. 

“ They  are  quite  permanent,  are  they  not  ? ” we  ask. 

“ Yes,  perfectly  so.” 

“ But  paper  prints — I mean  albumenized  prints — are 
not,  are  they  ? " 


“No,  not  altogether ; but  if  kept  carefully  they  will  last 
a long  time.  Damp  is  their  great  enemy.” 

We  should  not  have  set  down  here  this  last  silly  ques- 
tion of  ours,  but  for  the  excellent  reply  it  received.  Damp 
certainly  is  the  greatest  enemy  that  albumenized  prints 
have,  and  it  would  be  well  if  this  were  better  impressed 
upon  the  public,  aye,  and  upon  photographers  too.  There 
is  an  old  alchemist’s  proverb  in  Latiu,  to  the  effect  that 
chemical  agents  do  not  act  except  in  the  presence  of  water. 
This,  of  course,  is  not  strictly  correct,  but  it  is  very  near 
the  truth,  for  all  that ; and  Dr.  Vogel  and  others  have 
repeatedly  shown  that  hyposulphite  may  exist  both  in  print 
and  mount,  and  yet,  if  kept  dry,  they  are  without  injurious 
action  upon  the  photograph  ; while,  on  the  other  hand,  a 
well-produced  print  soon  perishes  under  the  united  action 
of  moisture  and  air. 

“There  is  nothing  more  I can  show  you?  ” 

Our  moralising  is  evidently  misunderstood  ; the  lady 
possibly  thinks,  as  we  remain  standing  before  an  ex- 
quisitely-finished picture  in  water  colours,  that  we  cannot 
make  up  our  mind  to  choose  that  style  at  thirty  guineas, 
or  something  more  expensive.  We  wake  up  at  once. 

“Thauk  you,  no,  not  this  morning  ; ’’  and,  performing 
our  best  bow,  we  make  our  exit  into  Baker  Street. 


Next  week  will  appear  Studio  III.  — “ In  Cheapside.” 


FRENCH  CORRESPONDENCE. 

Action  of  Cyanide  of  Potassium  on  Gelatine  Plates — 
Use  of  one  Developer  with  the  Sensitometer — Pre- 
servinq  Pellicle  or  Sensitive  Paper  Flat  — Enjalbert’s 
Photo-Revolver  — M.  Londe’s  Electro-Medical  Appa- 
ratus— Cherry  Fabric  and  Gelatine  Plates. 

Action  of  Cyanide  of  Potassium  on  Gelatine  Plates. — It 
may  be  startling  to  some  of  our  readers  to  hear  of  cyanide 
being  used  for  fixing  gelatine  plates,  as  it  has  been  previously 
stated  that  immersion  of  plates  in  a strong  solution  caused 
frilling,  i have,  however,  experimented  with  gelatino- 
bromide  plates,  exposed  and  otherwise,  by  putting  them  in 
a solution  of  cyanide  of  potassium,  and  in  both  cases  the 
bromide  of  silver  was  entirely  dissolved,  without  any  frilling, 
or  the  gelatine  being  attacked  in  the  slightest  degree.  The 
plates  employed  were  very  subject  to  frilling.  The  cyanide 
bath  was  rather  alkaline  than  neutral.  It  will  be  interesting 
to  know  to  what  cause  this  action  may  be  attributed. 

Developer  to  be  used  with  the  Sensitometer. — It  is  interesting 
to  note  how  Warnerke’s  sensitometer  enters  more  and  more 
largely  into  the  practice  of  photographic  science.  Dr.  Eder 
has  published  his  comparative  experiments  with  the  sensi- 
tometer. Mr.  Henderson  has  done  the  same  in  the  last 
number  of  the  Photographic  News,  and  so  have  many 
others.  Unfortunately,  the  mode  of  developing  has  been 
carried  on  differently  by  the  various  experimentalists,  and  it 
seems  desirable  that  one  formula  should  be  followed.  I 
proposed  this  at  the  last  meeting  of  the  Photographic  Society 
of  France,  but  my  interlocutors  refused  to  admit  the  value  of 
the  sensitomer.  The  chief  point  amongst  them  is  to  discover 
more,  but  that  does  not  suffice,  for  while  thesr  gentlemen 
may  be  searching  by  patient  and  serious  worK  to 
invent  something  better,  Mr.  Warnerke’s  sensitometer 
is  sufficiently  complete  to  fulfil  its  purpose.  Objections 
have  been  published,  and  victoriously  opposed,  by  Messrs. 
Brigbtman  aud  Arnold  Spiller.  However,  to  return  to  the 
subject.  1 shall  address  myself  either  to  Dr.  Eder  or  Mr. 
Warmrke,  because  their  Dames  are  authoritative,  and  pro- 
pose the  use  of  a suitable  developer.  Without  it,  mistakes 
are  likely  to  occur  on  comparing  the  varied  degrees  of  sensi- 
tiveness, causing  the  services  rendered  by  this  excellent 
little  apparatus  to  be  less  complete.  Dr.  Eder  rightly 
remarks  that  wet  collodion  plates  should  not  be  directly 
compared  in  the  sensitometer  with  gelatine,  the  relative 
gensitivenees  of  phosphorescent  light  being  different  to  solar 


Mat  18,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


309 


light.  He  has  also  stated  that  a gelatine  plate  registers 
almost  tbesame,  whether  exposed  to  solar  or  phosphorescent 
rays  ; and  a gelatine  plate  of  equal  sensitiveness  to  one  of 
wet  collodion  registers  ten  degrees  less  in  the  sensitometer. 
The  different  action  of  these  two  sources  of  light  for  one 
actinometric  degree  recalls  to  mind  my  observations  pub- 
lished nearly  two  years  ago,  on  the  great  difference  existing 
between  the  action  of  solar  rays,  and  thoso  from  a candle, 
showing  the  same  deviation  in  my  selenium  photometer, 
although  impressing  the  same  sensitive  film  in  different 
ways.  The  solar  rays  acted  from  eight  to  ten  times  more 
energetically  than  those  from  the  candle  during  an  equal 
exposure,  the  deviations  of  the  magnetic  needle  being  the 
same.  This  fact,  which  is  easily  explained,  serves  to  show 
how  the  same  light  acts  in  different  ways  upon  plates 
differently  prepared. 

Method  oj  Keeping  the  Surface  of  Pellicles  Flat. — This  is  a 
little  wrinkle  which  may  be  of  some  use.  It  is  my  own.  and 
is  given  with  a freedom  only  equal  to  its  simplicity. 
Various  substances  have  been  suggested  as  supports  for 
pellicles  aud  sensitive  papers  ofStebbing,  Th'coaut,  Morgan, 
&c.,  either  glass,  gelatine,  pitcb,  or  combinations  of  paper 
and  gelatine.  I have  used  a mixture  of  wax  and  pitch 
lightly  spread  over  thin  sheets  of  ebonite.  Since  then,  it 
entered  my  head  that  the  preparation  sold  by  chemists 
under  the  name  of  diachylon,  the  surface  of  which  is  sticky 
and  adhesive,  would  be  of  use.  A trial  has  been  successfully 
made.  Thin  pellicle  frames  may  be  made  consisting  of 
ebonite  covered  with  a film  of  diachylon.  The  pellicle 
paper  will  adhere  under  suitable  pressure,  the  face  being 
covered  with  a sheet  of  black  Bristol  board.  It  seems  a 
practical  way  of  using  pellicles,'  until  now  so  difficult  to 
manipulate.  Perhaps  this  method  may  be  applied  to  emul- 
sion to  dispense  with  glass. 

Enjalhert's  Plwto-Revolver. — M.  Enjalbert,  whose  name  is 
more  particularly  known  as  the  inventor  of  ingenious  appa- 
ratus, has  presented  to  the  Photographic  Society  of  France 
this  photo-revolver.  The  receptacle  D contains  ten  sensitive 


Fig.  1.  Fig.  2. 

plates,  which  by  the  action  of  the  trigger  are  lodged  by  turn 
in  a box  by  the  side  of  that  containing  the  unexposed  plates. 
The  motion  of  the  trigger  causes  the  shutter  in  front  to  act, 
which  is  capable  of  being  regulated  in  rapidity.  On  pulling 
the  trigger,  the  receptacle  l)  makes  one  complete  revolution, 
and  is  capable  of  making  ten  successively  for  the  ten  plates, 
which  are  square  sided  two  centimetres  long.  Aim  is  taken 
by  keeping  point  A in  position  in  front  of  the  knob  placed 
at  the  end  of  the  barrel.  For  enlarging  these  minute  pic- 
tures, M.  Enjalbert  has  had  an  apparatus  constructed  as 
shown  in  figure  2.  The  barrel  or  lens  of  revolver  U is  fixed 
in  front  of  the  condensing  lens  R,  and  the  whole  is  placed  in 
a camera  ; the  negative  slide  is  at  T.  Nothing  can  be  more 
simple.  The  whole  thing  is  well  conceived,  aud  the  little 
negatives  thus  taken  instantaneously,  of  course,  are  little 
gems.  . We  can  only  find  one  fault  with  this  pretty  appa- 
ratus, in  its  bright  nickel  case,  but  it  is  a grave  one — that 
is,  that  it  takes  the  form  of  fire-arms. 

M.  Londe's  Electro -Medical  Apparatus. — M.  Londe  has 
Presented  an  electro-medical  photographic  apparatus  for 
reproducing  successive  views  of  the  same  subject  in  motion 
at  regular  intervals,  the  length  of  exposure  of  which  may 
be  regulated.  His  camera  bears  in  front  a cluster  of  twelve 


*enses  at  equal  distances  apart.  The  shutter  a disc 
having  but  one  aperture  passing  successively  behind  each 
lens,  and  works  by  clockwork.  To  regulate  the  intervals,  a 
metronome  is  used,  the  oscillating  pendulum  of  which  bears 
two  arms  plunging  alternately  into  a cup  of  mercury. 
Each  oscillation  is  more  or  less  frequent,  according  as  the 
pendulum  is  farther  from  or  nearer  to  the  seat  of  oscillation. 
The  same  plate  receives  the  twelve  impressions.  It  is  very 
ingenious,  and,  with  an  apparatus  of  such  precision,  one  may 
ariive  at  important  results  with  patients,  so  as  to  have 
symptomatological  results  to  help  medicine  and  physiology 
on  many  points. 

Reports  on  Cherry  Fabric  and  Gelatine  Plates. — The  com- 
mission of  samples  of  the  Photographic  Society  of  France 
reports  that  the  anti-actinic  tissue  known  as  cherry  fabric 
gives  excellent  results,  provided  it  be  used  of  double  thick- 
ness. The  same  commission  has  exposed  with  great  success 
gelatine  plates  kept  for  five  years.  They  acted  just  like 
those  recently  prepared.  Leon  Vidal. 


SOCIABILITY  IN  PHOTOGRAPHIC  SOCIETIES. 

BY  LYDDELL  SAWYER.* 

The  best  means  of  diffusing  a more  fraternal  feeling  amongst  the 
individual  members  of  photographic  societies  appears  to  be  a 
question  but  little  appreciated  in  distinction  to  the  greatness  of 
its  importance ; yet  it  is  one  that  we  must  govern  or  later  submit 
to  our  consideration,  if  we  intend  our  Association  to  further 
expand  in  strength  and  consequence. 

In  the  first  place,  the  fact  does  not  seem  to  be  sufficiently 
recognized  in  societies  generally  that  we  are  human  beings— 
animals  whose  incliuations  invariably  in  the  end  overcome  the 
dictates  of  reason.  It  is  seldom  that  we  do  not  eventually  find 
ourselves  adopting  that  course  most  exactly  pleasing  to  our  carnal 
desires,  even  when  this  is  at  variance  to  the  sterner  resolves 
connected  with  matters  of  monetary  business  ; therefore  is  it 
any  wonder,  in  association  with  an  institution  where  inclination 
is  the  principal  guide,  and  recreation  to  a great  extent  the 
object  sought  after,  to  find  a decade  in  the  attendance  propor- 
tionate to  the  paling  ol  the  interest  ? 

In  short,  if  members  become  lax  in  tendering  their  pre- 
sence at  the  periodicial  meetings,  depend  upon  it  there  is  a reason 
for  it  beyond  the  mere  lassitude  or  inertness  of  the  members’ 
disposition,  and  I am  not  sure  that  these  reasons  leave  the 
management  quite  free  from  at  least  indirect  blame.  Members 
will  attend  if  the  mental  food  is  at  once  nourishing  and  pleasing 
to  the  palate  ; that  it  is  their  desire  to  be  present  is  evidenced 
by  the  disbursement  of  their  annual  subscription,  and  if  there 
Ls  an  inclination  to  falling  off  in  attendance,  the  purveyors  may 
certaiuly  conclude  that  the  fare  is  in  some  respect  unpalatable. 

I do  not  in  the  slightest  degree  desire  to  censure  our  working 
officials,  or  to  insinuate  any  sinking  ship  ” tendencies  to  our 
Association  ; on  the  contrary,  its  success,  all  things  considered, 
is  to  me  somewhat  astonishing.  It  is  doubtless,  in  a measure,  due 
to  the  great  energy  of  our  secretaries — late  and  present— and 
one  or  two  of  our  councii.  But  still  it  seems  to  me  that  there 
are  many  palpable  reasons  why  the  anxiety  of  the  average 
member  to  attend  regular  meetings  should  be  likely  to  fail 
him.  In  the  first  place,  a month  is  too  great  a lapse  of  time  to 
expect  interest  to  be  kept  awake  in  any  ordinary  matter,  without 
some  intermediate  renewal.  We  have  proof  of  this  ebbing  energy, 
due  to  the  distant  periods  of  successive  meetings,  in  the  fact  of 
members  every  now  and  again  actually  forgetting  that  a meeting 
is  due  to  be  held  until  the  date  is  past. 

This  is,  however,  a minor  objection  compared  with  the 
unfavourable  effects  resulting  from  the  extremely  formal 
character  of  our  proceedings  and  surroundings.  We  must  all 
revere  formality,  routine,  and  ceremony  in  their  proper  places. 
It  is  easy  to  understand  that  au  army  may  be  turned  into  a 
rabble  by  lacking  observation  of  these  essentials,  and  nothing 
can  be  more  unsatisfactory  than  a gathering  of  people  where 
everybody  should  have  their  unlimited  say.  But  still  there  is 
such  a thing  as  red  tape.”  Formalities  are  commendable  so 
far  as  they  produce  judicious  effects  in  keeping  with  the 
necessity  of  their  application  ; but  if  the  aim  is  to  invite  dis- 
cussion, and  an  amount  of  silent  stiffness  is  produced  in  a 

Read  before  the  Newca«lle-en-Tyne  and  Northern  Counties  Photo- 
graphic Association. 


310 


THE  PHOTOGRAPHIC  NEWS. 


[May  18,  1883. 


majority  of  the  members  instead,  then  I take  it  that  they  may 
be  safely  set  down  as  misapplied. 

It  is  truly  a gratification  to  note  the  goodly  array  of  gifted 
professors,  doctors,  and  other  men  of  high  scientific  standing 
enrolled  in  our  members’  lists,  and  we  may  find  further  room  to 
feel  proud  for  knowing  that  we  are  so  closely  encompassed  withiu 
the  sheltering  wings  of  the  College  of  Science  ; yet  we  have  a 
prior  claim  on  our  consideration  and  pride  to  all  this — that  is, 
in  the  advancing  and  fostering  of  our  great  art  science,  photo- 
graphy itself.  Of  course,  these  matters  and  feelings  might  in 
reason  be  considered  to  nourish  each  other  ; and  they  doubtless 
would  do  so  under  certain  guidances,  and  if  they  could  be  more 
closely  coupled  with  social  fraternity  and  intercourse. 

That  we  have  not  yet  reached  this  Utopian  state  of  things, 
however,  is  evidenced  by  several  suggestive  facts  which  cannot 
now  be  shelved  on  the  plea  of  the  youth  of  our  assemblies. 

One  of  our  members— the  contrary  to  a silent  man,  by  the 
way — assured  me  that  he  had  been  nine  months  connected  with 
the  Society  before  he  interchanged  beyond  the  barest  greetings 
with  a soul.  When  our  inestimable  Secretary  was  nominated 
for  the  post  which  he  now  so  ably  fills,  I believe  I am  right  in 
stating  that  even  his  name  was  unknown  to  most  of  us,  although 
he  had  aho  been  in  regular  attendance  for  some  long  period 
previously.  On  asking  a practical  photographer,  whose  name 
is  on  our  books,  why  he  did  not  attend  more  regularly,  his 
rejoinder  was,  “that  business  itself  proved  dry  enough,  without 
undergoing  a repetition  of  the  dose  at  our  meetings.”  I asked 
another  young  fellow,  who  had  been  here  on  several  occasions, 
why  he  did  not  join  us,  and  his  literal  answer  was  : “ Oh  ! it’s 
too  stiff  for  me  ; one’s  frightened  to  open  one’s  mouth ! ” 

These  items  speak  for  themselves  ; it  may  be  that  the  last  two 
of  them,  more  than  inuendoes,  are  not  altogether  deserved  ; but 
a celebrated  painter  and  lecturer  on  art  matters  suggests,  in  ad- 
dressing his  students,  that  if  a portrait  is  executed  and  even  an 
illiterate  person,  in  criticising  it,  were  to  exclaim,  “ Ah  ! dear  man, 
I see  he  takes  snuff!  ” then  the  lecturer  would  consider  it  quite 
time  for  the  artist  to  look  to  the  actual  extent  of  the  shadow 
under  the  nasal  organ.  And  we  may  equally  let  the  same 
gentle  admonition  strike  home  with  regard  to  the  smudge  on 
that  facial  lineament  of  our  Association. 

It  has  been  contended  that  each  member  has  every  liberty  of 
speaking  to  the  rest  of  the  body  individually  or  collectively  ; yet 
the  stubborn  fact  remains,  that  the  opportunity  is  not  taken 
advantage  of — in  spite,  too,  of  the  natural  weakness  we  almost 
universally  have  to  hear  our  own  voices. 

The  fault  of  the  present  arrangement  is,  that  it  does  not 
encourage  immunity  from  the  heavy  bondage  of  our  own  innate 
bashfulness ; hence  many  interesting  ideas  and  discussions  lie 
buried, 

“ And  let  concealment,  like  a worm  i’  the  bud, 

Feed  on  their  damask  cheek.” 

Now,  there  seems  to  me  to  be  a very  comparatively  easy 
means  of  combating  with  this  lack  of  interest,  general  un- 
sociability, and  shyness,  which  I am  striving  to  show  is  the  com- 
bined outcome  of  the  long  intervals  between  our  gatherings,  and 
their  formal  character. 

I would  suggest  that  we  have  what  I may  term  a club  con- 
nected with  the  society — not  as  altogether  an  offshoot  of  the 
more  austere  Association,  but  rather  to  be  as  special  gatherings 
of  avowedly  the  same  body. 

These  meetings  might  be  held  on  the  alternate  fortnights, 
intermediate  to  the  present  recognized  monthly  attendances ; 
and  the  rendezvous  might  be  in  a large  room  of  some  respectable 
hotel,  where  we  could  be  preferably  seated  face  to  face. 

The  club  might  be  most  harmoniously  managed  by  the  same 
council  as  the  Association,  seeing  that  the  present  duties  of  these 
gentlemen  are  far  from  ardent ; but  an  extra  secretary  might  be 
appointed,  as  one  could  not  be  well  expected  to  attend  to  the 
double  duties  which  fall  so  specially  heavy  in  this  particular 
office. 

The  business  of  the  meetings  might  principally  consist  of 
(1)  free  discussions  on  technical  matters,  special  encouragement 
being  given  to  the  recountal  of  every-day  phenomena  and 
practical  observations,  even  when  these  are  of  a supposed  trivial 
character ; (2)  short  papers  on  matters  of  common  interest,  that 
may  be  handed  in  on  the  night  without  previous  notification  and 
ceremony ; (3)  some  attention  might  be  bestowed  to  the 
chemical  action  as  well  as  to  the  practical  effects  connected  with 
processes  in  ordinary  use.  This  last  item  I take  to  be  very 
recommendable,  as  the  knowledge  of  the  average  photographer 
is,  in  this  direction,  particularly  hazy. 


This  business  might  continue  to  something  like  half-past  nine 
o'clock,  after  which  formalities  might  cease,  a change  of  chairman 
be  optionally  effected,  refreshments  be  allowed,  and  the  meeting 
generally  to  partake  of  that  amount  of  sociability  with  which  the 
feelings  of  the  members  should  care  to  judiciously  invest  it. 

I have  heard  that  some  of  our  members  would  raise  their 
voices  against  this  proposed  state  of  things,  maybe,  as  derogatory 
to  the  dignity  of  the  Society.  The  project  has  not  yet  beheld 
the  light  of  the  world  that  could  not  be  objected  to  in  some 
particular,  real  or  imaginary  ; and  I think  the  demurral  would 
partake  of  the  latter  character  in  the  present  case.  But  do  let 
us,  at  least,  be  common-sensed  in  the  matter  ; so  long  as  we  can 
calmly  meet  at  dinner-parties  for  the  absolutely  set  purpose  of 
eating  and  drinking,  I fail  to  see  what  reasonable  exception  can 
be  taken  to  our  socially  cultivating  the  friendship  of  each  other 
as  brethren  for  half-au-hour  or  so,  “When  the  Day’s  Work  is 
Done.”  If  the  trust  was  abused — which,  looking  upon  my 
confreres  as  gentlemen,  I should  feel  it  an  insult  to  suspect — 
then  it  is  the  member,  and  not  the  system,  deserving  censure. 

There  still  appears  to  me  to  be  an  expedient  as  simple  as  it  is 
efficient  by  which  any  of  these  particular  gentlemen  may  avoid 
personal  pollution — that  is,  for  them  to  quietly  evaporate  on  the 
tail  of  the  mechanical  discussion  ; or  we  might  meet  in  Lock- 
hart’s Cocoa  Rooms,  as  far  as  I individually  desire,  either 
hotel  accommodation,  or  the  presence  of  alcohol  for  inward 
application.  I only  feel  inclined  to  withdraw  the  cork  of  strange 
restraint,  and  allow  the  sparkling  nectar  of  practical  experience  to 
bubble  forth  that  we  may  all  drink. 

I think  it  almost  impossible  to  estimate  the  benefit  that  would 
attend  the  organizing  and  judicious  managing  of  a satellite-like 
club,  such  as  I alluded  to.  While  it  would  be  pleasant  in  itself 
alone,  its  discussions  would  raise  subjects  and  educate  speakers 
for  the  more  stately  meetings,  and  our  members  would  become 
more  familiar,  more  interested,  and  subsequently  more  energetic, 
for  reasons  that  I have  already  endeavoured  to  enumerate. 

Furthermore,  this  means  would  undoubtedly  develop  the  in- 
teresting idea  of  out-door  social  meetings  to  a satisfactory  issue, 
instead  of  the  non-successes  which,  I fear,  we  cannot  deny  their 
having  hitherto  been  in  our  hands. 

I have  had  some  considerable  experience  in  the  arranging  of 
picnics  of  one  description  and  another,  and  I have  always  found 
persons  of  confined  occupation  look  upon  holidays  as  periods  of  too 
sacred  importance  to  be  expended  where  there  existed  a wisp  of 
the  trammels  of  stiffness  or  coldness  abiding. 

I would  strongly  advise,  too,  that  special  social  meetings  be 
well  countenanced,  and,  without  going  to  the  extent  of  invest- 
ing them  with  the  importance  of  recognised  exhibitions,  yet 
they  might  be  held  in  some  suitable  hall  or  room  where  the 
photographic  productions  of  members  might  be  hung,  and  thus 
impart  some  additional  interest  to  the  proceedings,  whilst  it 
would  also  be  an  incentive  to  artists  to  work. 

They  should  also  assume  the  form  of  conversazione  or  soiree,  in 
my  opinion,  and  not  dinners,  such  as  we  regaled  ourselves  with 
at  our  last  annual  gathering.  Apart  from  this  having  strongly 
the  same  taint  of  formality,  I hold  that  it  is  inconsistent  in 
principle,  soeing  that  it  practically  debars  ladies  from  partici- 
pating in  the  entertainment,  at  the  same  time  as  we  acknow- 
ledge and  are  prepared  to  accept  them  as  members  of  the 
Association.  It  seems  to  me  that  the  inconsistency  exists  pretty 
much  the  same  whether  or  not  we  have  lady-members  enrolled 
in  our  books  at  the  time.  Besides,  as  I heard  a gentloman 
remark  while  the  question  of  the  form  of  entertainment  was 
under  discussion  : “ Many  of  the  wives  of  practical  photo- 
graphers take  almost  as  much  interest  in  matters  photographic 
as  their  ‘ lords  of  creation,’  and  it  is  surely,  at  least,  ungallant 
to  exclude  thorn  from  its  more  gonial  phases.” 

I have  left  much  unsaid,  and  probably,  in  some  cases,  stated 
more  than  is  altogether  acceptable  in  this  matter;  but,  at  all 
events,  I hope  I have  opened  a discussion  that  will  result  in 
increased  welfare  to  our  Association. 


MICRO-PHOTOGRAPHY. 

nr  WILLIAM  F0H0AN.* 

Thf.  production  of  photographs  of  microscope  objects  may  be 
taken  to  be  the  most  difficult  subject  which  a photographer  can 
attempt,  and  yet  at  the  same  time  one  of  the  simplest.  It  is 
simple  in  this  respect,  that  when  the  object  to  be  photographed 

• Read  before  the  Edinburgh  Photographic  Society, 


May  18,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


311 


has  been  properly  prepared,  and  the  apparatus  all  in  order,  the 
mere  taking  of  the  photograph  is  as  easy  and  simple  as  taking 
that  of  any  other  negative.  The  difficulty— what  there  is  of 
difficulty — consists  in  the  proper  arrangement  of  the  apparatus, 
the  selection  of  a carefully  mounted  object,  the  proper  arrange- 
ment of  the  light,  the  selection  of  the  proper  objective  to  be 
used,  and,  what  is  of  more  consequence  perhaps  than  all  the 
rest,  obtaining  a sharp  and  fine  focus  upon  the  screen  of  the 
camera. 

It  will  be  well  to  go  over  these  details  as  they  are  mentioned 
above,  and  when  they  have  been  considered  seriatim,  followed 
by  the  practical  exhibition  of  the  apparatus  and  the  taking  of  a 
negative,  there  cannot  be  much  difficulty  in  understanding  what 
is  necessary  to  be  done  and  how  to  do  it. 

The  best  way  to  proceed  is  to  get  a straight  flat  pine  board 
about  the  width  of  the  camera  to  be  used,  and  at  the  one  end  of 
it  to  fix  the  camera  at  such  a height  that  the  tube  of  the  micro- 
scope to  be  employed,  which  is  fixed  at  the  other  end,  shall 
project  into  the  front  of  the  camera  as  near  as  may  be  opposite 
to  the  centre  of  the  focussing-screen.  This  may  be  done,  as  you 
can  see,  on  the  board  on  the  table  by  placing  pieces  of  wood 
below  the  camera  transverse  to  the  length  o;  the  board,  and 
fixing  the  camera  firmly  on  these  by  a screw  fi  ^m  beneath.  Any 
camera  will  serve  the  purpose,  either  short  or  long.  The  micro- 
scope is  fixed  to  the  board  in  front  of  the  camera,  and  with  the 
eye-piece  taken  out  the  tube  is  put  about  an  inch  inside  the 
camera,  in  the  hole  into  which  the  camera  lens  is  usually 
screwed. 

The  tube  of  the  microscope  requires  to  have  placed  inside  it 
either  a diaphragm  at  the  end  next  the  camera,  to  cut  off  any 
false  light  which  would  be  reflected  from  the  side  of  the  tube,  or, 
what  serves  the  purpose  equally  well,  a piece  of  stiff  paper 
blackened  with  lampblack  and  lacquer,  wrapped  round  like  a 
tube  and  pushed  into  the  tube  of  the  microscope,  such  as  I show 
you  now. 

The  microscope  may  be  a very  simple  one  if  only  low  powers 
are  used,  but  it  is  essential  that  it  should  be  made  to  incline. 
It  is  also  necessary,  if  good  results  are  to  be  expected,  that  the 
very  best  lenses  should  be  used.  You  will  notice  that  the  one 
on  the  table  is  a very  simple  instrument,  but  very  steady.  It 
has  no  fine  adjustment.  Indeed,  that  is  not  necessary  with  all 
powers  less  than  a half-inch  object  glass.  You  will  see  that  the 
eye-piece  is  taken  out  ; with  the  eye-piece  a much  larger  image 
is  obtained,  but  at  a considerable  sacrifice  in  the  definition  and 
much  loss  of  light,  the  light  having  other  four  surfaces  iu  the 
eye-piece  to  pass  through.  The  object  glass  in  the  microscope 
on  the  table  is  a two-inch  by  Mr.  Wray,  and  you  can  see  the 
object  on  the  camera  focussing-screen  has  an  abundance  of  light, 
and  would  allow  a quick  exposure.  The  lamp  is  placed  a little 
to  the  left  hand  side  of  the  mirror  of  the  microscope,  and  the 
light  is  thrown  upon  the  object  by  inclining  the  mirror.  With 
such  an  object  glass  as  a two-inch  of  this  kind  no  condenser  or 
any  other  apparatus  is  required.  The  mirror  used  is  simply  a 
flat  piece  of  silver,  and  not  particularly  well  polished,  and  yet 
there  is  plenty  of  light.  The  piece  of  silver  was  originally  a 
florin.  It  is  necessary  to  point  out  here  that  very  much  depends 
upon  the  way  in  which  the  object  is  lighted.  In  almost  every 
published  description  I have  seen  of  methods  of  taking  micro- 
photographs,  one  is  told  to  use  a large  bull’s-eye  condenser  to 
make  the  rays  parallel,  and  then  another  one  is  interposed  to 
bring  them  to  a focus  on  the  object.  Now  I would  ask,  does 
any  microscopist,  when  sitting  quietly  examining  objects  with 
his  microscope,  ever  throw  such  a quantity  of  light  on  any 
object  ! Why,  in  every  case  we  modify  the  light,  and  try  to 
examine  the  object  with  as  little  of  it  as  possible.  The  sensitive 
plate  in  the  camera  should  be  treated  in  the  same  way  as  we 
use  our  own  eyes.  Give  the  plate  the  necessary  quantity  of 
light,  but  no  more.  Too  much  light,  every  one  who  can  use  a 
microscope  knows,  drowns  out  the  details  of  an  object.  These 
remarks  are,  of  course,  not  applicable  to  the  higher  powers  of 
the  microscope,  where  the  lenses  are  so  small  that  it  is  absolutely 
necessary  to  employ  the  strongest  possible  light. 

The  object  to  be  photographed  should  be  carefully  and  cleanly 
mounted.  Every  particle  of  dirt  in  the  preparation  is,  of  course, 
magnified  as  well  as  the  object,  and  clean  slides  should  always  be 
chosen.  The  object  should  be  as  transparent  as  possible,  and 
have  no  colour  impervious  to  light.  A great  many  preparations 
in  Canada  balsam  are  of  a deep  brown  colour,  and,  of  course, 
when  these  are  photographed,  nothing  but  an  outline  of  the 
object  is  obtained. 


The  objective  to  be  employed  should  with  low  powers  be  such 
as  to  include  the  whole  of  the  object  in  the  field.  An  object 
glass  of  about  two  inches  solar  focus  is  about  the  best  for  photo- 
graphing sections  of  wood,  whole  insects,  &c.  Mr.  Wray  makes 
a very  perfect  single  lens  of  that  kind  at  the  price  of  17s.  It  is 
one  of  the  very  best  I have  seen.  It  has  a wide  aperture,  and 
gives  a great  deal  of  light,  with  a very  flat  field.  The  apparatus 
with  a lens  of  this  kind  is  not  expensive.  Almost  every  object, 
however,  requires  one  particular  object  glass  to  bring  out  its 
beauties,  and  although  a single  low  power  glsss  may  do  very 
well  to  begin  with,  a larger  number  is  required  as  you  proceed 
to  work  upon  finer  objects,  which  require  glasses  of  greater 
separating  power.  A good  deal  has  been  said  and  written  as  to 
object  glasses  requii  iag  correction  so  as  to  make  the  chemical 
and  visual  foci  coincide.  I believe  it  will  be  found  that  in  a 
great  many  object  glasses  they  are  coincident,  or  nearly  so.  When 
they  are  not  coincident,  they  may  be  made  so  by  fitting  in  behind 
the  object  glass  an  ordinary  spectacle  lens  of  from  5 to  10  inches 
focus.  Experiment  only  can  tell  which  is  the  correct  one  to  use. 
But  if  it  can  be  dispensed  with,  so  much  the  better,  as  it  intro- 
duces another  element -for  destroying  the  perfection  of  the 
image. 

The  most  particular  care  is  necessary  in  order  to  get  a sharp 
image  on  the  focussing-screen.  This  is  a more  difficult  matter 
than  is  generally  supposed,  and  the  evidence  of  this  is  the 
extreme  rarity  of  very  good  photographs  of  microscope  objects. 
One  hardly  ever  sees  a good  micro-photograph,  at  least  one 
which  satisfies  the  eye  of  a trained  microscopist.  Whatever  be 
the  cause,  whether  there  has  been  a want  of  attention  in  the 
sharp  focussing,  a want  of  correct  register  in  the  camera,  a want 
of  coincidence  in  the  visual  and  actinic  foci  of  the  objective 
employed,  or  an  error  in  lighting  the  object,  micro-photographs, 
as  a rule,  are  not  good.  Some  give  nothing  but  outline  and  a 
black  patch.  Take,  for  instance,  photographs  of  parasites  ; some 
give  a little  detail,  but  only  hint  at  the  beauty  which  lies  in  the 
object,  such  as  photographs  of  the  proboscis  of  the  blow-fly  ; 
others,  such  as  photos  of  the  coarser  striated  diatomace®, 
certainly  give  the  details  pretty  well,  but  when  minutely 
examined  it  is  seen  that  there  is  a great  want  of  sharpness.  Of 
course,  all  defects  in  the  manipulation  may  be  remedied,  but 
the  utmost  care  is  requisite  to  produce  good  work.  The 
ordinary  camera  focussing-screen  is  too  coarsely  ground,  and 
should  be  substituted  by  something  very  much  finer.  Various 
substitutes  have  been  proposed  for  ground  glass.  I find  that 
the  best  I can  get  is  an  ordinary  quarter-plate  covered  with  a 
very  thin  film  of  wax. 

Some  operators  use  a very  long  camera,  so  as  to  obtain  an 
image  at  once  of  the  proper  size  for  a transparency.  By  this 
means  the  intensity  of  the  light  on  the  sensitive  plate  is  very 
much  weakened,  and  the  exposure  required  much  longer.  I 
prefer  a short  camera  and  a smaller  image,  which  is  better 
lighted  and  requires  a shorter  exposure.  This  is  no  drawback, 
because  if  one  gets  a good  negative,  the  necessary  size  for  a 
transparency  can  be  readily  got  when  copying. 

I need  not  enter  upon  the  kind  of  sensitive  film  to  be  employed. 
That  is  a matter  of  taste  and  convenience. 

Micro-photography  has  always  been  the  hobby  of  a select  few. 
Microscopes  are  plentiful  nowadays,  but  photography  and  micro- 
scopy do  not  seem  to  take  kindly  to  each  other,  else  we  should 
have  very  much  more  about  it  in  the  literature  of  these  subjects. 
It  requires  great  and  lengthened  experience  to  become  an  ac- 
complished microscopist,  but  the  photographic  art  is  much  more 
easily  acquired.  I have  shown  you  that  simple  apparatus,  if 
good,  may  produce  excellent  results  with  the  lower  powers.  The 
higher  powers  of  the  microscope  when  used  in  photography  re- 
quire special  apparatus  which  none  of  the  members  of  this 
Society,  so  far  as  I know,  possess.  With  very  high  powers  a 
heliostat  is  necessary.  Colonel  Dr.  Woodward,  of  the  United 
States  Medical  Museum,  has  produced  accurate  and  fine  photo- 
graphs of  Amphipleura  pcllucida,  showing  the  striation,  the  lines 
on  which  are  only  the  100,000  of  an  inch  apart.  These  are  feats 
of  manipulation,  however,  which  none  of  us  can  expect  to  rival. 
But  they  should  make  us  do  our  very  best  with  the  apparatus 
we  have  got,  and  it  will  be  a great  end  gained,  if,  after  what  you 
have  heard  and  seen  to-night,  however  imperfectly  performed 
our  efforts  have  been,  a number  of  the  members  of  this  Society 
who  have  microscopes,  and  are  skilled  in  photography,  should 
take  kindly  to  the  subject,  and  be  able  to  show  at  our  meetings 
in  the  beginning  of  next  session  a plentiful  supply  of  good  lan- 
tern transparencies  of  microscopic  objects,  so  as  to  enable  the 
Society  to  devote  a special  evening  to  their  exhibition. 


312 


THE  PHOTOGRAPHIC  NEWS. 


[Hat  18,  1883. 


Itofcs. 

Mr.  Walter  Woodbury  has  gone  to  Brussels  to  start  his 
Stannotype  process. 

Mr.  VV.  J.  Chadwick  has  resigned  the  appointment  of 
honorary  secretary  to  the  Manchester  Photographic 
Society. 

The  Berlin  Retouching  School,  and  the  Leipsic 
Retouching  School,  both  appear  to  be  flourishing ; the 
latter  has  recently  moved  to  more  extensive  premises. 

The  British  Association  holds  its  meeting  this  year  at 
Southampton,  on  September  9th  ; the  president-elect  is 
Professor  Cayley,  of  Cambridge. 


Next  year,  if  all  goes  well,  the  Association  will  meet  at 
Montreal ; at  any  rate,  upwards  of  four  hundred  members 
have  announced  their  intention  of  being  present,  if  the 
meeting  comes  off  on  the  other  side  of  the  Atlantic, 


“ All  is  fish  that  comes  to  the  net,”  has  been  the  motto 
of  the  directors  of  the  Fisheries  Exhibition,  who  have  thus 
run  the  risk  of  making  an  exceedingly  interesting  collection 
appear  ridiculous  occasionally.  Here  is  a lot  of  “ odd  fish  ” 
that  we  saw  among  other  things  last  Saturday  during  a 
stroll  round  the  place  after  it  had  been  officially  opened. 
Lancaster  rifles,  colours  and  varnishes,  umbrellas  and  sticks, 
Browning’s  patent  stone  solution  and  indestructible  paint, 
Busch’s  gas  governors,  saving  30  per  cent,  of  gas,  we  are 
assured,  electric  light  machinery,  and  a curious  collection 
of  bottled  snakes. 


There  may  be  an  excuse,  possibly,  to  include  such  things 
as  ovens  and  kitcheners,  as  these  are  useful  for  the  cooking 
of  fish,  and  Nestle’s  milk  food  might  be  swallowed  by 
fishermen,  no  doubt,  just  as  well  as  by  anybody  else;  but 
what  possible  connection  have  bedsteads,  opera  glasses, 
chimney  cowls,  fireworks,  gas  burner,  magnetic  brushes, 
artificial  manure,  gongs  and  bells,  pottery,  organs,  luminous 
paint,  the  British  and  Foreign  Bible  Society,  Crosse  and 
Blackwell’s  pickles,  clocks,  glass  chandeliers,  the  Stereo- 
scopic Company’s  photographs,  trephonde  (a  new  substitute 
for  leather),  decanters  and  wineglasses,  compressed  vegetables, 
&c.,  with  fish  or  the  fisheries?  One  naturally  asks  in  these 
circumstances,  why  is  there  not  a fish  torpedo  ? And  yet  the 
Executive  Committee  have  an  eye  for  the  fitness  of  things, 
else  they  would  not  have  engaged  the  band  of  the  Royal 
Marines  to  entertain  visitors  to  the  Exhibition. 


ilerr  lianfstaengl,  of  Munich,  has  just  built  a new 
studio,  destined  chiefly,  we  presume,  for  copying  pictures. 
It  is  constructed  of  wood,  and  is  something  in  the  form  of 
a tunnel  without  any  glass  sides.  Underneath  the  centre 
of  the  studio  is  a pivot,  by  means  of  which  the  structure 
may  be  revolved.  Wheels  support  each  extremity  of  the 
studio,  and  these  move  on  a circular  railway,  very  much, 
we  suppose,  after  the  manner  of  Augerer’s  copying  plat- 


form, that  we  described  in  “ The  Photographic  Studios  of 
Europe.”  The  mobility  of  the  studio  is  of  course  to  ensure 
the  most  favourable  lighting,  the  photographer  judging  of 
the  effect  when  focussing,  aud  while  the  structure  is  being 
revolved. 


“Too  photographic  to  be  anything  but  tedious.”  The 
reviewer  who,  writing  in  the  Athenceum,  uses  the  above 
oracular  phrase  in  reference  to  Mr.  Jefferies’  pleasantly 
written  “Nature  near  London,”  has  certainly  struck  out  a 
new  path  in  literary  criticism.  Does  he  really  mean  the 
result  is  “anything  but  tedious  ”?  In  any  case,  one  thing 
is  certain  : our  reviewer  is  “ too  literary  to  be  anything  but 
clear.” 


To  dissolve  out  the  silver  bromide  from  waste  emulsion 
or  defective  plates  by  soaking  in  an  old  fixing  bath,  and  to 
precipitate  by  means  of  sulphide  of  potassium,  seems  a 
remarkably  ea0y  and  simple  proceeding  when  compared 
with  the  troublesome  and  complex  methods  which  have 
been  devised  for  destroying  the  gelatine,  and  we  fancy  Mr. 
Pike’s  suggestion  will  be  welcome  to  many  readers.  The 
sulphide  of  silver  may  either  be  reduced  by  fusion  with 
carbonate  of  soda,  or  sent  to  a refiner.  Those  who  adopt 
the  latter  course  should  remember  that  the  sulphide  con- 
sists of  108  parts  of  silver  united  with  16  of  sulphur,  and 
to  obtain  a precipitated  sulphide  with  as  much  as  10  per 
cent,  of  impurity  would  be  the  result  of  very  careless 
manipulation  indeed. 

In  the  Zeitung,  Herr  J.  Kopecky  suggests  the  use  of  oil 
of  turpentine — or,  rather,  its  vapour — for  reducing  over- 
printed photographs.  The  print,  taken  straight  from  the 
printing-frame,  is  pinned  loosely  against  a sheet  of  card, 
and  placed  face  downwards  over  a dish  containing  turpen- 
tine, so  that  the  front  of  the  print  is  within  an  inch  of  the 
surface  of  the  liquid.  From  one  to  two  hours  suffices  to 
weaken  the  print,  we  are  assured,  if  the  oil  happens  to  be 
fresh,  and  vapourises  readily. 


We  tried  the  experiment  ourselves,  but  with  questionable 
success.  Half  of  an  over- printed  picture  was  exposed  to 
turpentine  vapour  for  two  hours,  and  then  compared  with 
the  other  half  that  had  been  put  away  in  the  dark.  There 
certainly  was  a lightening  in  the  half-tones,  but  not  much. 
The  explanation,  we  presume,  is  that  ozone  is  given  off  by 
the  turpentine,  which  oxidises  some  of  the  silver  that  has  been 
reduced  ; albumenized  paper  that  has  been  blushed  becomes 
in  this  way  white  again.  Perhaps  some  use  might  be  made 
of  ozone  is  this  fashion  to  whiten  discoloured  sensitized 
paper ; but  the  use  of  bromine  vapour  would  be  far  better. 

According  to  the  Weekly  Despatch,  a photographer 
divided  the  honours  with  the  Archbishop  of  Canterbury,  at 
the  opening  of  the  Fisheries  Exhibition,  during  the  period 
following  the  presentation  of  the  address  to  the  Prince  of 
Wales,  and  his  reply.  Our  contemporary  observes  that  the 
effect  of  the  short  prayer  of  the  Archbishop  of  Canter- 
bury, to  those  who  attached  any  importance  to  it,  must 
have  been  somewhat  marred  by  the  very  obtrusive  energy 


May  18,  1883  ] 


THE  PHOTOGRAPHIC  NEWS. 


313 


with  which  a photographer,  conveniently  mounted  on  a 
scaffold,  set  himself  to  the  task  of  photographing  the 
Royal  and  aristocratic  party  in  its  devotional  attitude. 
One  would  like  to  know  in  what  way  this  unfortunate 
photographer,  who  so  engrossed  the  attention  of  the 
reporter,  manifested  his  “ very  obtrusive  energy.”  Did 
he  flourish  the  focussing  cloth,  after  the  manner  of  a bull- 
fighter when  waving  his  red  cloak,  or  did  he  cause  his  legs 
— his  camera  legs,  we  mean— to  perform  eccentric  and 
irreverent  antics  during  the  prayer  of  his  grace  the  Arch- 
bishop? If  the  truth  be  told,  all  that  this  much  libelled 
operator  did,  was,  in  all  probability,  to  hasten  his  operations, 
well  knowing  that  if  the  assemblage  kept  still  for  any 
time,  it  would  be  when  they  were  supposed  to  be  saying 
their  prayers.  In  the  bad  light  of  Saturday,  time  was  of 
considerable  importance. 


When  the  sunshine  records  of  London  are  compared 
with  those  of  New  York,  it  would  almost  seem  as  if 
photography  had  but  a poor  chance  in  the  former  city, 
compared  with  the  latter.  Dr.  Daniel  Draper,  director  of 
the  New  York  Meteorological  Society,  in  his  report  for 
1882,  says  that  during  the  last  six  years,  out  of  a possible 
4,450  hours  of  sunshine,  New  York  has  received  an  aver- 
age of  2,917.  The  average  of  sunshine  hours  at  Greenwich 
during  the  same  period  is  not  given ; but  when,  in  1879, 
out  of  a possible  4,447,  it  only  got  977,  while  at  New  York 
in  the  same  year  there  were  3,101  out  of  a possible  4,449, 
some  little  notion  may  be  formed  of  the  limited  materials 
with  which  London  photographers  have  to  work. 


In  a recent  number  we  drew  attention  to  the  fact  that 
the  daphnia,  or  water-flea,  had,  according  to  Sir  John  Lub- 
bock, the  power  of  perceiving  the  ultra  violet  rays  in  the 
spectrum.  It  now  appears,  from  some  experiments  of  M. 
do  Chardonnet,  that  under  certain  conditions  the  human 
eye  has  the  same  power.  Two  persons  from  whose  eyes 
the  crystalline  lens  had  been  extracted  were  placed  behind 
a glass  coated  with  silver,  before  which  an  electric  arc 
burned.  The  observers  had  no  previous  knowledge  of 
the  form  and  constitution  of  the  arc,  but  from  the  descrip- 
tions they  gave  it  was  evident  that  the  retina  was  affected 
by  the  ultra  violet  rays.  M.  de  Chardonnet  gathers  from 
this  that  while  these  rays  can  penetrate  the  cornea  and 
vitreous  humour,  they  are  intercepted  by  the  crystalline 
lens.  It  is  needless  to  add  that  the  persons  who  determined 
this  point  were  not  victims  of  vivisection,  but,  from  some 
disease  in  the  eye,  had  been  compelled  to  undergo  the 
operation  of  having  the  crystalline  lens  removed. 


Will  Sir  Edward  Watkin,  or  some  other  railway 
magnate,  kindly  introduce  a bill  into  Parliament  for  the 
benefit  of  the  photographic  profession  ? All  that  is 
necessary  to  do  is  to  take  a leaf  from  the  book  of  our 
Continental  neighbours,  and  insist  that  all  railway  season 
ticket-holders  shall  have  their  photographs  taken,  and  a 
copy  pasted  inside  their  passes.  This  condition  is  required 
from  all  who  have  been  furnished  by  the  Committee  of  the 
Amsterdam  Exhibition  with  free  passes  over  the  Dutch 


railways ; while  the  Baltic  Railway  Company  have  gone 
still  further,  and  issue  season  tickets  for  the  summer 
months  to  and  from  St.  Petersburg  only  on  the  condition 
that,  in  addition  to  the  photograph  on  the  pass,  each 
applicant  shall  furnish  the  Company  with  two  carte-de- 
visite  portraits. 


Chardonnet’s  experiments  on  the  nature  of  such  light  as 
is  reflected  from  solid  bodies  should  be  considered  by  those 
who  wish  to  draw  conclusions  from  Mr.  J.  R.  Sawyer's 
recent  paper  on  “ Photography  iu  Relation  to  Colour.” 
Chardonnet  finds,  as  we  have  already  pointed  out  to  our 
readers  (see  p.  98  of  present  vol.),  that  green  leaves,  Prussian 
blue,  charcoal,  gold,  hcematite,  mercury,  and  many  other 
bodies,  reflect  precisely  the  same  rays ; but  the  relative 
proportion  of  these  differs,  their  ratio  determining  what 
Chardonnet  terms  the  actinic  colour  of  the  reflecting  surface. 

Until  the  publication  of  Chardonnet’s  investigations,  it 
was  difficult  to  understand  the  facility  with  which  the 
carneia  can  depict  the  minutest  detail  of  deep  red  or 
orange  drapery. 

There  are  always  two  ways  of  looking  at  a thing.  The 
other  day  a photographer  told  us  that  the  reason  why  there 
is  so  little  anxiety  manifest  on  the  subject  of  protecting 
photographic  copyright  is,  because,  in  several  instances, 
photographers  gain  more  by  non-protection.  In  other  words, 
the  fines  they  recover  from  piracies  are  too  good  to  lose. 


It  is  a pity  scientific  men  are  not  always  chosen  for 
scientific  Government  appointments.  Instead  of  this,  we 
get  people  having  interest  and  ornament  securing  the 
best  appointments,  who  turn  then  for  their  scientific  know- 
ledge to  professional  gentlemen  acting  as  subordinates. 
And  yet  the  whole  raison  d'etre  of  the  appointment  may 
depeud  upon  possession  of  chemical  or  other  scientific 
knowledge.  Why  should  not  Government,  then,  go  direct 
to  the  source,  and  let  those  who  supply  the  information 
enjoy  both  the  honour  and  emoluments  that  attach  to  it? 


Even  those  who  have  but  a smattering  knowledge  of 
chemistry  know  that  the  analysis  of  water  is  one  of  the 
most  abstruse  and  delicate  of  laboratory  operations, 
only  to  be  undertaken  by  the  most  experienced  ; and  yet 
the  Water  Examiner,  under  the  Metropolis  Water  Act,  is 
Colonel  Bolton,  a very  capable  officer,  no  doubt,  but  not  a 
trained  chemist.  Again,  the  Inspector  of  Explosives  at 
the  Home  Office  is  Colonel  Majendie,  R.  A.,  a most  efficient 
artillerist,  we  dare  swear,  but  quite  dependent  for  all  his 
chemical  knowledge  upon  professional  chemists.  Beyond 
the  unfairness  towards  scientific  men  in  making  appoint- 
ments of  this  kind,  there  is,  moreover,  the  occasional  risk 
of  such  officials  publicly  betraying  ignorance  upon  matters 
on  which  they  should  be  conversant,  as  evidenced  last  week 
at  Bow  Street,  when  the  prisoner  Whitehead  drew  from 
the  Government  Inspector  of  Explosives  that  he  knew 
nothing  “ personally  ” of  the  practical  preparation  of  nitro- 
glycerine, an  explosive  which,  of  all  others,  he  should 
surely  know  something  about  just  now. 


314 


THE  PHOTOGRAPHIC  NEWS. 


[May  18,  1883. 


‘fntcnt  Intelligence. 

Application  for  Letters  Patent. 

2323.  Josiah  Adams  the  younger,  of  Liverpool,  in  the  county  of 
Lancaster,  for  an  invention  of  “Improvements  in  the  manu- 
facture of  coloured  photographic  pictures.” — Dated  8th  May, 
1883. 

Patent  Void  through  Non-payment  of  Duties. 
1839.  Joseph  Julios  Sachs,  of  Manchester,  in  the  county  of 
Lancaster,  for  an  invention  of  “ Improvements  in  the  manu- 
facture of  rollers  for  printing,  dyeing,  embossing,  and  other 
like  purposes.” — Dated  5th  May,  1880. 

Patent  Granted  in  Germany. 

22,421.  F.  Stolze,  of  Berlin,  for  “Photographic  vignette  masks 
obtained  on  diaphanous  paper  by  means  of  fat  ink.” — Dated 
1 1th  November,  1882.  Class  57. 

Vignette  masks  are  printed  in  fatty  ink  on  transparent  paper, 
either  the  collotypic  or  the  lithographic  method  being  used. 

Patents  Granted  in  America. 

276,311.  William  H.  Walker,  of  Rochester,  N.Y.,  assignor  to 
William  H.  Walker  and  Co.,  of  the  same  place,  for  “ A photo- 
graphic camera.” — Application  filed  16th  June,  1882.  No 
model. 

276,433.  Wm.  McCaine,  of  St.  Paul,  Minn.,  assignor  to  Helen 
J.  McCaine,  of  the  same  place,  for  “ A process  of  treating 
pyroxyline  compounds.” — Application  filed  11th  September, 
1882.  Specimens. 

276,455.  George  S.  North,  of  South  Norwalk,  Conn.,  for  “A 
photographic  camera.” — Application  filed  24th  February,  1883. 
No  model. 

Specifications  Published  during  the  Week. 

4562.  L.  H.  Philippi,  for  “Producing  relievos  with  equally 
deepened  excavations.” 

My  invention  relates  to  improvements  in  relievos  which  are 
produced  by  etching,  and  the  object  of  my  improvements  is  to 
etch  the  figures  of  such  relievos  to  an  uniform  and  equal  depth. 
To  attain  this  object  I cover  a plate  made  of  any  suitable 
material  that  will  not  be  affected  or  corroded  by  the  etching  acid, 
with  a layer  of  the  material  to  be  etched.  I thereby  observe 
that  such  layer  is  spread  equally  over  the  above  non-corrosive 
base-plate  and  of  an  uniform  thickness.  Then  I cover  the  layer 
with  a protecting  couch  of  etching-varnish,  gelatine,  printing-ink, 
&c.,  which  is  afterwards  removed  at  all  the  places  where  the 
layer  is  to  be  etched  in  order  to  produce  the  design  on  the  plate. 
The  design  may  be  transferred  on  such  protecting  couch  by 
several  means : when  the  protecting  layer  consists  of  etching 
varnish,  it  is  to  be  scraped  off  on  the  places  to  be  etched  ; when 
chronatized  gelatine  is  employed,  the  places  to  be  deepened  are 
to  be  covered  against  the  influence  of  light,  and  the  gelatine  then 
washed  out ; instead  of  chromatized  gelatine,  also  a solution  of 
asphaltum  may  be  used,  and  the  photograph  produced  thereon ; 
or  the  design  may  be  printed  on  the  layer  by  employing  a very 
consistent  printing  printing  ink.  When  a plate  thus  prepared  is 
exposed  to  the  etching  acid,  the  upper  layer  will  be  eaten  away 
at  all  the  points  that  are  not  covered  by  the  protecting  couch, 
but  the  excavations  thus  produced  cannot  go  further  down,  or 
penetrate  further  than  to  the  non-corrosive  base. 

460S.  J.  Mayer,  for  “ Apparatus  for  obtaining  artificial  light.” 
Relates  to  mode  of  producing  the  lime  light,  but  it  is  difficult 
to  single  out  any  novel  points.  The  apparatus  somewhat 
resembles  that  of  Khotinsky  (see  page  31).  The  jet  is 
vertical,  the  flame  being  directed  upwards,  and  a cylinder  of 
lime  is  held  in  a kind  of  clip,  the  flame  thus  impinging  on  the 
end  of  the  lime. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  IX. — Mounting,  Mounts,  and  Mountants. 

Mounting  — Partly  through  photographic  paper  not  beiDg 
Btout  enough  to  withstand  the  wear  most  photographs  are 
subjected  to,  and  for  other  reasons,  it  has  been  found 


advantageous  in  the  majority  of  cases  to  attach  them 
to  some  kind  of  support  which  shall  confer  the  desired 
strength,  at  the  same  time  enhancing  their  value  as  works 
of  art ; such  a process  is  termed  mounting. 

There  are  several  systems  of  mounting  in  vogue  among 
photographers,  but  they  may  be  all  classed  under  two 
headings,  and  for  convenience  we  will  call  them  the  dry 
and  wet  methods.  The  first-named  of  these  consists  in 
drying  the  photograph  (an  operation  to  be  mentioned 
hereafter),  applying  some  such  substance  as  good  starch 
paste  in  a manner  calculated  to  give  an  even  surface  free 
from  grit,  hard  clots,  hairs,  8cc.,  and  either  attach  it  to  the 
cardboard  or  other  support  immediately,  or  permit  it  to  dry 
spontaneously,  attaching  it  to  the  mount  at  any  time  after- 
wards that  may  be  convenient.  If  the  amateur  desires  the 
latter  plan,  he  must  proceed  as  follows  : — Pass  a wet  sponge 
twice  over  the  cardboard  mount  where  the  photo- 
graph is  to  rest ; place  the  print  in  the  required  position, 
and  press  it  gently  to  ensure  its  retaining  that  position. 
Having  done  so,  pass  them  both  through  a rolling  press, 
which  completes  the  operation.  The  photograph  should 
be  uppermost,  and  the  operation  performed  quickly,  to 
prevent  auy  chance  of  tearing  under  the  roller  ; one 
advantage  this  system  has  over  others  being  that  no  un- 
equal stretching  takes  place  in  the  print. 

The  second,  or  what  we  will  term  the  wet  system,  may 
be  briefly  stated  thus:— Each  print  should  be  placed 
separately,  face  downwards,  on  a clean  wet  linen  cloth, 
the  superfluous  water  being  blotted  off  by  the  same ; 
then  the  mounting  substance  applied  to  the  backs  of  as 
many  as  can  be  conveniently  managed— say  three  or  four — 
after  which  they  are  placed  in  the  desired  position  on  the 
mount,  and  pressed  down  by  means  of  a paper-knife  and 
sheet  of  white  paper ; the  operation  being  repeated  so  long 
as  any  prints  remain  on  the  cloth.  Whenever  possible, 
we  advise  two  persons  to  perform  the  operation,  one  to 
apply  the  mountant,  and  the  other  to  attach  the  print  to 
its  support ; it  will  not  only  make  the  work  more  agree- 
able, but  it  will  reduce  the  chances  of  the  albumenized 
surface  being  touched  with  some  of  the  mountant,  provided 
both  persons  are  equally  careful.  Should  such  a mistake 
occur,  the  excess  must  be  removed  immediately  by  means 
of  a wet  sponge,  as  it  may  interfere  with  the  after-opera- 
tion of  burnishing,  &c. 

Another  plan  is  to  transfer  the  print  from  the  final 
washing  water  to  a glass  plate,  albumen  side  being  down- 
wards (as  many  as  fifty,  or  more,  may  lie  on  the  top  of 
each  other  without  danger) ; drain  for  a few  minutes  ; the 
top  print  may  then  be  brushed  all  over  the  back  with  some 
of  the  mountant,  lifted  by  a corner,  and  placed  in  its 
proper  position  on  the  mount.  It  should  then  be  well 
rubbed  down  with  the  paper-knife  until  even — a piece  of 
writing  paper  placed  between  the  photograph  and  knife 
during  the  rubbing  prevents  scratches  or  tears— apply 
some  of  the  mountant  to  the  next,  and  repeat  until  all 
are  finished.  This  will  be  found  a very  convenient  mode 
when  only  a few  dozen  are  to  be  mounted. 

Besides  the  term  “mounting,”  we  use  the  words 
“ mount  ” and  “ mountants.” 

Mounts. — There  are  several  kinds  of  mounts.  For 
instance,  the  C.D.V.,  or  cabinet  mount,  which  allows  only  a 
small  proportion  of  margin  to  be  seen  beyoud  the  edges  of 
the  photographs  ; also  the  India-tinted,  and  other  flat 
mounts,  in  two  colours.  The  photograph  is  mounted  in 
the  centre,  surrounded  by  an  inch  or  two  of  pale  buff  or 
neutral  colour ; outside  this  tint  a grey  or  white  margin 
surrounds  the  whole.  There  are  also  plain,  imitation  flock, 
and  cut-out  mounts,  besides  many  others ; but  we  have 
named  enough  for  illustration.  All  the  mounts  we  have 
mentioned,  except  cut-out  mounts,  are  intended  to  receive 
the  photograph  on  the  surface.  They  should  be  so 
attached  that  no  air  spaces  can  be  observed  when  examiued ; 
neither  can  ridges  or  lumps  of  any  kind  be  permitted,  or 
traces  of  the  mountant  be  seen  on  the  surface  or  margin. 


May  18,  1883. J 


THE  PHOTOGRAPHIC  NEWS! 


315 


Cut-out  mounts,  oval,  dome,  and  other  shapes,  are  often 
cut  out  of  thick  cardboard,  and  the  photograph  is  glued,  or 
otherwise  fastened,  at  the  back,  thereby  giving  a pleasing 
effect  to  large  pictures.  The  photograph  must  be 
previously  mounted  on  cardboard,  rolled  or  burnished  ; 
in  fact,  finished  before  it  is  thus  attached  to  the  cut-out 
mount. 

Mountants. — For  various  reasons  it  is  probable  that  no 
better  mountant  is  used  for  attaching  photographs  to 
substauces  such  as  cardboard  than  a good  starch  paste, 
made  in  the  usual  mauuer  for  laundry  work,  viz.,  mixing 
Glenfield’s,  or  any  other  good  class  of  starch,  with  a little 
cold  water  until  a very  stiff  paste  is  obtained;  then  add 
boiling  water  (stirring  vigorously)  until  a clear  paste 
results.  Should  the  paste  not  be  of  a good  consistency — 
viz.,  rather  limpid — discard  it,  and  make  fresh,  using  a 
little  less  cold  water  to  mix  the  starch  ; and  be  sure  the 
heated  water  to  be  added  is  at  a temperature  of  212'i  F. 

Two  ounces  of  dextrine  mixed  with  half-a-pint  of  cold 
water,  and  added  to  the  above  starch  paste  in  equal  pro- 
portions, the  mixture  being  heated  on  a water  or  steam 
bath  to  212°  F.,  is  said  to  make  a very  strong  and  useful 
mountant  for  photographs  ; it  is  an  excellent  adhesive,  is 
not  easily  affected  by  moisture,  and  more  useful  for  mount- 
ing photographs  in  scrap  books  than  starch  alone.  Next 
in  order  of  merit  is  thin  glue,  to  which  should  be  added  a 
small  proportion  of  an  antiseptic,  such  as  salicylic  acid. 
Many  large  firms  of  photographers  have  not  used  any 
other  mountant  for  years. 

Gelatine  is  much  used  for  the  purpose  in  America,  but 
it  is  open  to  an  objection  that  glue  is  not  freed  from,  viz., 
the  proportion  of  gelatine  or  glue  to  water  must  be  suffici- 
ent to  obtain  a strong  jelly  when  cold,  therefore  it  must 
be  liquefied  on  a water  bath  each  time  it  is  required  for 
use,  and  the  oftener  it  is  heated,  the  more  will  it  lose  its 
adhesiveness.  But  this  is  not  the  chief  obstacle.  Gelatine 
is  more  or  less  affected  by  the  atmosphere,  and  from  its 
nature  absorbs  a great  deal  of  moisture  ; it  is  highly 
probable  that  much  of  the  fading  of  silver  prints  experi- 
enced of  late  years,  whiie  much  older  prints  are  unimpaired, 
may  be  due  to  the  use  of  gelatine  or  glue  without  an  auti- 
septic  as  a mountant. 

Drying  Prints. — If  we  desire  to  dry  prints  of  large  size, 
it  is  advisable  to  dry  them  as  flat  as  possible,  and  thereby 
avoid  cracks  and  tears.  Blot  off  the  superfluous  water  by 
means  of  the  linen  cloth  previously  recommended.  Place 
two  prints  of  the  same  size  back  to  back,  and  suspend  by 
two  American  clips  in  the  drying  room  ; but  not  from  the 
clips  used  for  the  sheets  of  sensitized  paper.  When  they 
curl  at  the  lower  corners,  reverse  them  —that  is  to  say, 
turn  them  upside  down,  but  still  back  to  back  ; when 
taken  down,  they  will  be  flat  enough  for  most  purposes. 
Prints  of  small  size  may  be  suspended  in  strings  of  two  or 
three  dozen,  one  below  another  like  steps,  and  when  nearly 
dry,  they  will  drop  off ; if  they  are  collected  and  placed 
face  downward  under  a weight,  they  will  become  flat  and 
remain  so. 

Now  let  us  suppose  that  the  prints  are  of  cabinet  size, 
to  be  mounted  on  ordinary  cabinet  mounts,  not  reduced  to 
the  required  size  before  toning,  and  we  have  decided  to 
cut  them  by  means  of  the  glass-shape  and  sharp  knife,  as 
described  in  a former  lesson  ; under  these  circumstances 
the  prints  must  be  dry,  and  the  cutting-shape  held  down 
firmly  on  the  print  to  obtain  the  best  results.  To  mount 
them,  place  six,  albumenized  side  downwards,  on  a clean 
linen  cloth,  pass  a brush  well  charged  with  starch  paste 
over  each,  separately,  working  from  end  to  end,  and  from 
side  to  side,  being  careful  not  to  get  any  starch  under- 
neath, or  leave  any  lumps  or  extraneous  pieces  on  the 
print;  have  ready  at  hand  a pile  of  mounts,  some  sheets 
of  clean  paper,  a paper-knife,  and  a damp  sponge.  With 
the  paper-knife  raise  the  first  starched  print  from  the  cloth , 
adjust  it  over,  but  not  touching  the  mount,  until  the 
margin  appears  equal  along  the  top  and  two  sides ; now 


lower  the  top  edge  on  the  mount,  and  gradually  the 
remainder.  If  this  has  been  successfully  accomplished, 
which  may  be  seen  at  a glance,  cover  with  white  paper, 
and  rub  the  print  well  down  all  over  with  the  paper-knife. 
Should  any  of  the  mountant  be  squeezed  out  at  the  edges 
it  should  be  removed  with  the  sponge.  When  the  whole 
of  the  prints  have  been  mounted,  place  them,  face  down- 
wards, on  a clean  surface  in  a current  of  air ; they  do 
not  alter  in  shape  so  muck  this  way  as  when  left  to  dry 
face  upwards.  To  prevent  the  photographs  from  curling 
inwards,  Mr.  C.  Keuchel  constructs  grooved  wooden  slabs 
or  strips  of  moulding  having  a section,  as  shown  in  fig.  1., 


2£|N- 


Fig.  l. 

each  slab  being  a trifle  over  two  feet  in  length.  The 
mounts  are  pushed  into  this  grooving,  six,  end  to  end,  so 
that  they  become  arched.  After  mounting  they  are  again 
slid  into  the  grooving,  and  allowed  to  remain  until  dry. 
When  the  prints  are  nearly  dry,  they  are  in  the  best  condi- 
tion for  rolling,  an  operation  we  will  briefly  describe, 
since,  for  large  pictures,  at  least,  the  rolling-press  is  a 
necessity.  The  subjoined  figure,  as  will  at  once  be  seen, 
represents  a rolling-press,  the  moveable  bed  being  of 
polished  steel,  and  the  pressure,  which  is  capable  of  acting 
on  the  print  by  means  of  the  roller  and  steel  bed,  is  regulated 


Tig.  2. 

by  the  adjusting  screws  at  the  top.  Brush  the  surface 
of  the  print — also  the  polished  steel  plate — with  a camel- 
hair  brush,  or  rub  with  an  old  silk  handkerchief, 
to  remove  particles  of  dust  or  paper ; place  the  print, 
albumen  side  in  contact  with  the  steel  plate,  and  pass 
it  through  the  press  twice,  which  flattens  the  pic- 
ture, and  produces  an  even  and  polished  surface. 
By  heating  the  plate  a more  brilliant  surface  will 
result.  Rolling  presses  are  manufactured  for  both  cold 
and  hot  rolling,  and  can  be  procured  at  any  of  the 
stock  houses.  Where  rolling  is  not  permissible,  as  in  the 
case  of  scrap-books,  a good  plan  is  to  attach  the  print  in 
the  usual  way  to  the  leaf  of  the  book,  damp  the  back  of 
the  leaf  slightly  with  a sponge,  and  set  aside  to  dry, 
placing  a piece  of  stout  cardbord  on  each  side  of  the  leaf. 
A strong  paste  should  be  used,  such  as  the  following,  and 
when  dry  the  surface  can  be  very  much  improved  by 
passing  a warm  iron  over  it,  substituting  plate  glass  for 
the  cardboard  beneath  : — 

Best  Bermuda  arrowroot, 

Kingsford's  Oswego  corn- 
flour   

Water  ' 28 

Nelson’s  No.  2 gelatine  ...  160  grains 

Methylated  spirit  2 ounces 

Carbolic  acid  12  drops 


or"! 


3J  ounces 


316 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  18,  1883. 


Mix  the  arrowroot  and  a small  quantity  of  the  water  to  the 
consistency  of  cream,  then  add  the  remainder  of  the  water 
and  the  gelatine  a little  at  a time ; boil  on  a water  bath  for 
fire  minutes,  stirring  the  whole  time,  and  allow  to  cool ; 
before  quite  cold,  add  the  spirit  and  carbolic  acid.  This 
mixture  will  keep  a long  time  if  well  corked. 

Another : — 

Dextrine  1 ounce 

Water  1 ,, 

Methylated  spirit 2 ounces 

Mix  the  spirit  and  water,  stir  in  the  dry  dextrine,  until  a 
smooth  paste  is  obtained ; heat  on  a water  bath  until  a 
clear  brown  solution  results. 


RELATIVE  ACTION  OF  CARBONATES  AND  AMMONIAS 
WITH  PYROGALLOL  DEVELOPERS. 

Bt  LYDDELL  SAWYER.* 

Up  to  the  present  time,  with  one  or  two  exceptions,  ammonia 
seems  to  be  the  only  accelerator  accepted  to  act  in  conjunction 
with  pyrogallol  for  the  reduction  of  images  formed  on  gelatino- 
bromide  of  silver  films,  though  I am  somewhat  at  a loss  to 
understand  why  this  alkali  should  have  had  the  almost 
sole  preference  for  so  long  a period. 

I may  state  that,  after  about  a month’s  practical  every-day 
working,  using  disodic  carbonate  side  by  side  with  ammonia,  I find 
two  advantages  in  working  the  former,  which  appear  to  me  to  be 
of  great  importance — namely  (1),  increased  rapidity  of  exposure; 
and  (2)  more  force  in  the  minor  lights  and  general  middle  grade 
of  the  image,  where  unquestionably  the  weakness  of  bromide  of 
silver  lies,  when  distinguished  from  collodio-iodide  films. 

With  regard  to  reduction  of  exposures,  if  the  action  of  the 
alkali  ceased  when  it  had  rendered  the  pyrogallol  alkaline,  then 
we  might  be  right  in  supposing  the  work  of  each  accelerator  as 
equal ; but  it  is  found  that  these  substances  do  further  chemical 
work. 

Another  cause  of  the  increased  energy,  which  may  be  con- 
sidered as  beyond  conjecture,  is  that  carbouate  of  soda  may  be 
used  without  any  restrainer,  yet  it  being  of  sufficient  strength 
to  give  full  density  to  the  image  without  fogging. 

I believe  that  the  extra  strength  of  middle  gradation  produced 
with  carbonate  is  due  to  physical  causes,  this  developer  appear- 
ing to  give  brighter  pictures  by  producing  the  image  more 
directly  on  the  surface  of  the  film,  instead  of  being  imbedded  so 
far  into  the  gelatine,  and  some  of  the  more  tender  details  depreci- 
ating in  power  from  lateral  and  angular  placement. 

Most  of  the  images  which  I have  developed,  while  possessing 
sufficient  density,  have  yet  in  their  unfixed  state  shown  little  or 
nothing  from  the  back  of  the  plate  ; what  small  amount  was 
visible  being  sometimes  of  actually  a positive  character,  through 
the  unaltered  bromide  film,  forming  the  shadows,  being  tinged 
darker  with  the  absorbed  oxide  stain ; while  the  reduced  portions, 
representing  the  top  lights,  had  resisted  the  stain  more,  and  thus 
appeared  white  from  the  back. 

The  fact  of  the  deposit  being  comparatively  on  the  surface  of 
the  film  would  suggest  the  possibility  of  using  thinner  coatings 
of  emulsion,  although  that  is  a project  which  I have  little  sym- 
pathy with,  my  impression  being  that  our  negatives  are  greatly 
impoverished  by  the  present  thinnesss  of  commercial  films. 

I have  noticed  that  when  using  the  caibonate  accelerator,  the 
image  seems  to  develop  all  its  details  first,  and  their  intensity  to 
gradually  accumulate  afterwards.  When  contrasted  with  the 
ammonia  treatment,  this  effect  is  very  noticeable,  and  it  must  be 
more  advantageous  in  bringing  up  the  minor  lights  in  their  true 
relationship  than  with  ammonia.  It  has  some  appearance,  too, 
suggestive  of  the  intensity  being  gained  rather  from  the  solution 
than  the  film,  as  though  some  of  the  silver  bromide  was  dissolved, 
and  then  deposited  by  the  power  of  crystalline  attraction,  as  in 
the  collodion  wet  process. 

There  seems  to  be  total  immunity  from  green  fog  with  the 
use  of  the  carbonate  developer,  even  when  in  its  most  concen- 
trated form  ; although  grey  fog,  due  to  the  metallic  reduction 
of  the  silver  throughout  the  film,  may  be  readily  produced,  in 
strong  solutions  especially,  when  the  carbonate  is  in  proportion- 
ate excess  to  the  pyrogallol. 

I find  disodic  carbonate  to  be  soluble  in  about  its  own  weight 

• Read  before  the  Newcastle-on-T yne  and  Northern  Counties’  Photo- 
graphic Association. 


of  boiling  water,  and  in  about  twice  its  weight  of  cold  water, 
using  fluid  measurement  for  the  water.  This  latter  combination 
is  equal  to  fifty  per  cent,  of  soda,  and  I have  found  it  possible  to 
develop  images  with  this  actual  saturated  strength ; a matter 
which  appears  surprising  to  me  when  it  is  remembered  that  very 
little  more  than  one  per  cent,  of  ammonia  can  be  ordinarily  used, 
and  even  that  has  to  be  restrained  with  bromide.  The  new 
quarter  plates  here  shown  are  developed  with  this  excessively 
strong,  unrestrained  mixture,  and,  while  they  are  palpably  fogged, 
yet  it  may  be  acknowledged  that  their  printing  qualities  are 
surprisingly  good. 

I have  obtained  negatives  quite  free  from  fog  with  1 to  4,  or 
twenty-five  per  cent,  carbonate  solution  ; while  again  in  other 
cases,  I have  found  films  heavily  veiled  with  this  same  strength. 
Indeed,  there  are  some  fluctuating  influences  connected  with  the 
process  that  I am  not  in  a position  so  far  to  account  for.  As, 
for  instance,  in  the  yellow  discolouration  of  the  film  from  oxide 
staining,  I have  found  the  resulting  image  in  one  case  perfectly 
clear  from  those  effects,  and  in  the  next  plate,  with  the  same 
strength  and  conditions  of  the  developing  solution,  this  film  has 
been  sufficiently  impregnated  with  the  discolouration  to  form  a 
positive  image  on  the  back  of  the  plate,  as  I before  mentioned. 
Then,  when  the  stain  has  been  removed  after  fixing,  as  it  can  be 
with  the  ordinary  alum  or  acid  treatment,  the  discolouration  has 
again  occurred,  in  a lighter  form,  even  during  the  subsequent 
washing  necessary  to  remove  the  decolourizing  agent.  I suspect 
that  the  different  thicknesses  of  the  gelatine  films  have  much  to 
do  with  the  cause  of  this  variation,  the  thinner  films  encourag- 
ing the  staining  effects. 

I can  discover  very  little  difference  of  rapidity  between  1 to  4 
and  1 to  10  strength  of  carbonate  in  solution  ; while  with  the 
latter  proportion  immunity  from  fog  is  easily  obtained  under 
reasonable  circumstances. 

All  things  considered,  I have  little  hesitation  in  recommending 
the  following  formula  for  simplicity,  efficiency,  and  cheapness 

Make  a saturated  solution  of  ordinary  washing  soda  by  simply 
throwing  an  excess  of  the  crystals  into  a jar  of  hot  water,  and 
stirring  well  ; when  cold,  this  will  yield  a stock  solution  in  the 
proportion  of  two  of  water  to  one  of  soda. 

For  developing,  use— 

Saturated  solution  of  carbonate  of  soda  ...  1 part 

Water  5 parts 


And  to  each  ounce  of  this  diluted  solution  add  20  minims  of  a 
ten  per  cent,  alcoholic  solution  of  pyrogallol,  immediately  before 
using.  This  gives  disodic  carbonate  forty  grains,  and  pyrogallol 
two  grains,  to  the  ounce. 

By  the  way,  I cannot  too  thoroughly  express  the  advantage  I 
think  there  is  in  quoting  formula  whenever  possible,  as  in  the 
proportion  of  the  substance  in  question  to  the  ounce  of  the 
vehicle  or  solvent,  or  else  to  quote  it  as  so  much  per  cent.  It  is 
so  comprehensive,  the  proportion  is  so  easily  grasped  by  com- 
parison with  other  familiar  compounds  of  recognised  strength  ; 
and  in  this  particular,  it  contrasts  very  favourably  with  the 
variable  quantities  of  substances  often  quoted,  the  force  of  their 
relative  strength  being  oft-times  lost  in  ordinary  reading, 
through  the  difficulty  of  readily  comparing  the  proportions. 

But  to  return  to  the  matter  of  developing.  In  addition  to 
the  normal  proportion  above  recommended,  the  judicious  use  of 
the  concentrated  solution  of  carbonate  of  soda  is  an  important 
auxiliary  in  cases  of  under-exposure  ; a (say)  twenty  per  cent, 
solution  of  soluble  bromide  should  also  be  kept  at  hand,  and  a 
few  drops  added  on  the  first  indication  of  the  image  developing 
too  rapidly. 

I heard  lately  of  one  photographer  trying  carbonate  of  soda  in 
his  developer,  and  then  giving  it  up  because,  although  the 
result  was  good,  it  took  some  three  hours  to  develop  the  negative. 
I cannot  imagine  what  he  had  been  doing,  as  in  my  little  experi- 
ence I find  the  time  of  developing  with  ammonia  and  the  car- 
bonate very  much  the  same ; in  the  latter  case,  probably  a little 
longer  period  being  necessary  to  obtain  the  requisite  density. 

In  conclusion,  I may  state  that  the  two  cabinet  negatives 
which  I have  with  me  were  developed,  one  with  carbonate,  and 
the  other  with  ammonia,  all  else  being  equal.  It  may  be 
noticed  that  the  carbonate  developed  plate  shows  a decided 
increase  of  detail  over  that  treated  with  ammonia.  They  were 
exposed  for  only  one  second  in  a not  very  quick  working  studio 
at  about  half  past  four  o’clock  on  an  April  afternoon,  with  an 


f 

intensity  ratio  of 
that  1 regard  as  very 


a state  of  affairs,  in  respect  to  rapidity  j 
satisfactory. 


May  18,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


317 


SUNSHINE  AND  THE  BAROMETER. 

BY  CAPTAIN  ABNEY,  R.E.,  F.E.S.* 

It  is  specially  interesting  to  landscape  photographers  to  get  an 
insight  into  the  probable  kind  of  light  they  may  encounter  when 
in  the  field  ; and  although  forecasting  is  uncertain,  yet  there  is 
always  a balance  in  favour  of  it,  if  the  proper  causes  are  taken 
into  consideration.  There  seems  to  be  a great  argument  iu 
favour  of  the  fact  that  the  probable  amount  of  sunshine  varies 
with  the  height  of  the  barometer,  and  this  has  long  been 
recognised  by  the  manner  in  which  our  so-called  weather-glasses 
are  marked.  At  30'5  in.  they  read,  set  fair ; at  30  in.,  fair  ; at 


29'5,  change  ; at  29  in.,  rain  ; and  at  28'5  in.,  much  rain.  It 
may  be  almost  predicated  that  the  more  free  from  cloud  («.#., 
the  more  sunshine  there  is)  the  fairer  the  weather  appears,  and 
so  we  may  look  upon  the  weather-glass  indications  as  30'5  in. 
sky  clear,  30  in.  few  clouds,  29  in.  average  number  of  clouds, 
29‘0  cloudy,  28‘5  very  cloudy.  This  is  as  Mr.  Whipple  classifies 
them  in  a communication  to  the  Meteorological  Society  in  1879» 
In  it  he  dismisses  the  effect  of  the  height  of  the  barometer  on 
the  amount  of  sunshine,  and  comes  to  a conclusion  which  for 
Kew  in  the  years  1877,  1878,  shows  that  readings  of  the 
barometer  as  regards  amount  of  sunshine  are  most  misleading. 

In  the  following  diagram  the  strong  curue  will  show  the 


average  amount  of  sunshine  with  the  barometer  at  different 
heights  ; that  is,  the  total  amount  of  sunshine  which  was  noted, 
compared  with  the  total  amount  possible.  The  chain  dotted 
curve  shows  the  amount  of  cloud  noted  at  Kew,  and  the  one  is 
almost  directly  comparable  with  the  other.  It  must  be 
recollected  that  the  cloud  measures  are  taken  by  the  compu- 
tation of  an  observer,  while  the  sunshine-records  are  written  by 
the  sun  itself.  It  will  thus  be  seen  that  at  Kew  for  those  two 
ears  the  maximum  sunshine  appears  when  the  barometer  has  a 
eight  of  about  30'15  in.,  and  that  when  higher  the  cloud-mist 
returned,  tiil  at  30'6  in.  the  sun  shone  no  more  than  when  the 
mercury  stood  at  29  2 in.  In  London  and  neighbourhood,  if 
this  record  is  any  guide,  the  weather  may  be  expected  to  be 
most  favourable  for  landscape  work  when  the  barometer  is  at 
about  30  in.,  as  then  there  should  be  a proper  proportion  of 
cloud  and  sunshine  to  give  those  effects  of  light  and  shade 
which  photography  can  render  so  well.  When  the  sky  is 
perfectly  cloudless,  a photograph  is  not  so  rich  in  gradation 
as  when  there  are  white  fleecy  clouds  about,  which  act  as 
reflectors  to  light  up  the  cloud -shadows. 

Now  this  is  the  effect  at  Kew,  which  in  Mr.  Whipple’s 
remarks  will  not  necessarily  apply  to  other  places,  for  un- 
doubtedly the  merest  change  in  direction  at  about  80'3  in.  is  in 
a measure  to  be  attributed  to  the  haze  and  cloud  which  at  Kew 
accompany  the  east  wind  so  frequently  prevalent  during  periods 
of  high  barometer  pressure  or  acute  cyclones. 

It  would  be  well  that  the  series  of  observations  now  taken  in 
other  parts  of  the  c rnntry  should  be  tabulated  iu  the  above  way, 
in  order  to  see  at  what  height  of  the  baiometer  the  return  of 
cloud  may  generally  be  expected. 

One  thing  is  quite  evident— that  the  beautiful  symmetry  of 
the  marking  of  the  supposed  weather  at  over  J in.  on  the 


• The  Photographic  Journal. 


barometer  is  fallacious  for  above  30’5  in.,  supposing  the  sun  was 
always  shining  when  it  was  above  that  height. 


RECOVERING  SILVER  FROM  WASTE  GELATINE 
EMULSION  PLATES  OR  PAPER. 

BY  J.  PIKE.* 

The  subject  matter  of  this  paper  was  written  some  months  ago, 
but  publication  was  deferred  because  I had  at  the  time  some 
thought  of  turning  my  idea  to  business  account.  From  one 
cause  or  another — pressure  of  other  matters  and  so  on — nothing 
was  done  in  this  way.  About  three  weeks  ago,  however,  I 
noticed  in  one  of  the  photographic  journals  a statement  to  the 
effect  that  a German  chemist  practised  a certain  method  so 
nearly  akin  to  my  own  that  I decided  to  bring  the  subject  before 
this  Association  in  the  form  of  a short  paper,  and  at  as  early  a 
date  as  possible. 

I found  myself  some  six  or  eight  months  ago,  after  a variety 
! of  experiments  with  gelatine  emulsion  making,  with  some  accu- 
mulations of  waste.  Even  the  most  experienced  manufacturer  of 
gelatine  dry  plates  must  have  occasionally  a bad  lot,  and  the 
question  is  forced  upon  one — What  is  to  be  done  with  it  ? And 
not  only  waste  emulsions,  but  waste  plates.  Now,  I do  not  wish 
anyone  to  suppose  I was  guilty  of  such  an  absurdity  as  to  coat 
plates  with  an  emulsion  I knew  to  be  bad.  Such  was  not  the 
case.  The  fact  is,  my  drying  cupboard  was  faulty,  and  I had 
occasionally  batches  of  plates  altogether  unreliable  from  the  fact 
that  desiccation  proceeded  so  unevenly  as  to  make  the  plates 
practically  useless.  I suppose  in  the  ordinary  way  these  would 
be  cleaned  oft’  and  the  silver  bromide  allowed  to  run  down  the 

* Read  before  the  Ne^eastle-on-Tyne  and  Northern  Counties’  Photo- 
graphic Association. 


318 


THE  PHOTOGRAPHIC  HEWS. 


[May  18,  1883. 


sink.  The  usual  methods  then  recommended  for  the  recovery 
of  silver  residues  did  not  appear  to  make  any  allowance  for 
waste  plates,  and  the  practice  advocated  of  boiling  the  waste 
emulsion  with  the  acids  left  in  pyroxyline  manufacture  or  with 
sulphuric  acid  was  not  one  I cared  to  adopt. 

The  plan  I pursued  then  and  have  followed  since  with  success 
is  briefly  as  follows,  and  the  operations  are  all  such  as  you  are 
familiar  with  Supposing  that  you  have  a pint  or  so  of  fogged 
or  defective  emulsion  ; melt  this,  and  pour  into  one  or  two 
shallow  porcelain  dishes.  Allow  it  to  set,  and  then  pour  on  a 
solution  of  hyposulphite  of  soda  (four  ounces  to  the  pint), 
sufficient  to  cover.  In  a short  time  the  film,  previously  opaque, 
will  be  found  quite  clear  and  transparent ; the  film  has  become, 
in  fact,  what  photographers  call  “fixed.”  The  hypo,  solution 
has  dissolved  out  all  the  bromide,  iodide,  or  chloride  of  silver  in 
the  emulsion.  The  waste  plates  are  treated  much  in  the  same 
way.  I have  a box  capable  of  holding  about  two  dozen  plates. 

I fill  it,  and  pour  on  sufficient  hypo  solution  to  cover.  Very 
soon  the  plates  are  all  quite  clear,  and  they  may  then  be  re- 
moved and  cleaned  ; if  not  allowed  to  dry,  they  will  be  cleaned 
very  easily.  It  is  quite  unnecessary  to  throw  away  any  particle 
of  emulsion  or  any  piece  of  coated  glass  or  paper.  All  articles, 
such  as  bottles,  dishes,  funnels,  &c. . used  in  the  process  of 
manipulation,  are  easily  and  rapid. y cleaned  with  warm  hypo 
solution,  and  I can  say  that  if  done  soon  after  use,  the  effect  is 
magical.  Any  amateur  who  makes  his  own  plates  will  know 
and  appreciate  the  value  of  all  this. 

All  these  hypo  solutions  and  washings  are  mixed  together 
in  a large  bottle,  and  a sufficient  quantity  of  a solution  of 
ammonium  sulphide  or  potassium  sulphide  is  added  to  cause  the 
whole  to  smell  strongly  : precipitation  of  the  silver  as  sulphide  pro- 
ceeds  at  once,  and  when  quite  settled  at  the  bottom  of  the  vessel,  the 
supernatant  fluid  may  be  poured  off,  but  not  necessarily  thrown 
away.  The  remaining  thick  liquid  should  be  poured  into  a filter, 
the  precipitate  drained,  washed,  and  dried,  and  it  may  now  be 
mixed  with  half  its  weight  of  carbonate  of  soda  and  fused  in  a 
crucible.  If  sufficient  heat  be  applied,  a button  of  silver  will  be 
the  result ; if  not,  the  silver  will  be  found  as  oxide  contaminated 
with  soda.  The  brownish-coloured  mass  may  be  powdered, 
washed  with  water  to  free  it  from  soda  salt,  and  dissolved  in 
dilute  nitric  acid.  This  solution  is  boiled  to  get  rid  of  excess  of 
acid,  and  then  allowed  to  cool  and  crystallise.  Personally,  I 
prefer  to  keep  the  nitrate  of  silver  in  solution,  test  with  the 
argentometer  for  strength,  then  convert  into  bromide  with 
ammonium  bromide,  and  emulsify, 

It  has  been  suggested  to  me  that  the  gelatine  recovered  from 
the  waste  emulsion  is  not  worth  saving.  I do  not  agree  with 
this.  If  properly  treated  I see  no  reason  why,  provided  the 
sample  be  a good  one,  it  may  not  be  used  for  a fresh  batch  ; if 
not,  there  are  other  uses  to  which  it  could  be  put. 

Those  who  may  object  to  a few  even  simple  operations  may 
keep  their  silver  waste  as  sulphide  until  they  have  sufficient  to 
send  to  a refiner.  In  any  case  I consider,  as  matters  are,  the 
waste  of  even  a single  plate  inexcusable. 

Other  solutions  used  in  the  various  processes  of  our  art  are 
also  worth  saving.  For  instance,  the  waste  pyrogallic  developer, 
to  which  a small  quantity  of  saturated  sulphate  of  iron  solution 
has  been  added,  makes  a capital  writing  ink,  as  the  fact  that  this 
paper  is  written  with  such  ink  proves.  It  may  be  a little  thin, 
but  that  is  a fault  easily  remedied. 


STANDARD  OF  SENSITIVENESS. 

Sie, — In  your  impression  of  the  11th,  a letter  appears 
signed  “ J.  D.  England,”  in  which  he  says  he  sends  out  his 
gelatine  plates,  marking  the  sensitiveness  by  Warnerke’s 
scale  relative  to  a wet  plate.  I am  at  a loss  to  understand 
why  wet  plates  should  be  taken  as  a standard.  I have  heard 
Mr.  Warnerke  say  that  with  some  wet  plates  he  could  not 
obtain  a register  at  all,  while  in  another  case  he  obtained 
10  on  his  sensitometer.  I think  it  is  high  time  to  drop  the 
wet  plate  standard.  I am  one  of  the  few  who  can  make 
comparisons  lor  speed  and  quality,  as  I have  not  discarded 
the  bath. — Yours  respectfully,  A.  L.  Henderson. 


Drflttebinga  of  Sornlus. 

Newcastle-on-Tyne  and  Northern  Counties’  Photographic 
Association. 

The  ordinary  monthly  meeting  was  held  on  the  8th  instant,  in 
the  College  of  Physical  Science,  Newcastle-on-Tyne,  Colonel 
Sheppee  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
passed,  Messrs.  E.  B.  Mounsey  and  James  Edwards  were  elected 
members. 

The  Secretary  read  a report  from  the  Council,  as  follows  : — 

“ Special  Council  meeting,  held  on  Thursday,  the  27th  April,  in 
the  County  Hotel,  Newcastle,  at  7.15  p.m. — present,  Mr.  Payne 
(in  the  chair),  Messrs.  Downey,  Dodds,  Laws,  and  Pike — to 
consider  the  questions  of  out-door  meetings  and  the  exhibition. 
The  Secretary  proposed  that  there  be  four  out-door  meetings, 
held  on  the  second  Tuesday  in  each  month,  with  the  exception 
of  August,  in  the  ordinary  way.  This  proposal  met  with 
general  approval,  and,  after  discussion,  it  was  resolved  to  suggest 
as  places  of  meeting  respectively,  Marsden,  Chollerford,  Riding 
Mill,  and  Durham.  It  was  unanimously  resolved,  subject  to  the 
approval  of  the  Association,  that  an  exhibition  be  held  this 
year  in  the  autumn,  and  that  a sub- committee  be  appointed  at 
the  next  general  meeting  to  arrange  all  particulars.  Mr. 
Payne  suggested,  with  reference  to  such  proposed  exhibition, 
that  a silver  medal  be  given  for  the  best  set  of  three  seascapes 
or  landscapes,  restricted  to  members  of  the  Association,  a 
bronze  medal  for  the  second,  and  three  certificates  of  honour  ; a 
gold  medal  for  open  competition  for  the  best  picture  on  exhibi- 
tion, and  a bronze  medal  for  the  second  ; a silver  medal  for  the 
best  figure  study,  open  competition,  and  a bronze  medal  for  the 
second.” 

A discussion  followed  as  to  the  out-door  meetings,  and  it  was 
finally  decided  thas  four  beheld  on  the  third  Wednesday  in  June, 
July,  August,  and  September,  the  places  being  selected  as  above. 

With  regard  to  the  exhibition  : Mr.  Auty  proposed  and  Mr. 
Gibson  seconded  that  a medal  be  given  for  the  best  picture 
taken  at  one  or  other  of  the  out-door  meetings.  This,  on  being 
put  to  the  meeting,  was  carried. 

Mr.  Dodds  authorised  the  Secietary  to  announce  that  a medal 
would  be  provided  for  this  purpose. 

Mr.  Lyddell  Sawyer  read  a paper  on  “ Sociability  in  Photo- 
graphic Meetings  ” (see  page  309). 

The  Secretary  read  a paper  on  “A  Simple  Method  of 
Recovering  Silver  from  Waste  Gelatine  Emulsion  Plates  or 
Paper’’  (see  page  317). 

Remarks  were  offered  by  the  Chairman,  Mr.  Downey,  Mr. 
Sawyer,  and  Mr.  Dodds,  to  which  the  Secretary  replied. 

Mr.  Lyddell  Sawyer  then  read  a paper  on  “ The  Relative 
Action  of  Carbonate  of  Ammonia  in  Conjunction  with  Pyrogallol 
Developers  ” (see  page  316). 

A conversation  took  place  in  which  Mr.  Galloway  and  the 
Chairman  took  part. 

The  Chairman  proposed  and  Mr.  Readhead  seconded  a vote 
of  thanks  to  Mr.  L.  Sawyer  and  Mr.  Pike,  which  was  carried. 

A very  fine  photograph  was  presented  by  Messrs.  Mawson  and 
Swan,  others  by  Mr.  Campbell  Swinton  and  Mr.  Templeton,  and 
thanks  were  duly  given  to  these  gentlemen. 

The  following  members  were  nominated  and  appointed  to 
serve  on  the  sub-committee  : — The  President,  Prof.  Herschel, 
Prof.  Bedson,  Messrs.  Gibson,  Laws,  Sawyer,  Downey,  Dodds, 
J.  W.  Robinson,  Schumann,  and  the  Secretary,  with  power  to 
add  to  their  number. 

The  meeting  was  then  adjourned. 

London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  the  10th  inst.,  Mr.  Golding  in  the 
chair, 

Mr.  Cowan  exhibited  a model  of  a shutter  to  work  at  the 
back  of  the  camera  immediately  in  front  of  the  plate  ; the 
shutter  was  devised  with  a view  to  give  the  foreground  double 
the  exposure  received  by  the  sky,  and  opened  from  and  closed 
to  the  top  of  the  camera;  the  shutter  slided  down  and  up  in  a 
frame  by  means  of  a crank  working  in  a horizontal  cut  in  tho 
shutter,  and  was  released  by  a spring. 

Messrs.  Wellington  and  Neate  showed  a very  rapid  shutter 
devised  by  themselves. 

The  Chairman  said  that  in  using  a drop  shutter  if  a -)-  was 


Mat  18,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


319 


focussed  and  the  shutter  released  slowly,  the  -)-  would  be 
distinctly  seen  to  move  on  the  focussing  screen. 

The  Chairman  showed  a reversed  negative ; it  was  exposed 
for  a negative  but  slightly  under-exposed,  developed  as  a positive ; 
it  was  kept  for  some  considerable  time  in  the  developer  (pyro. 
and  ammonium)  ; he  also  showed  two  fine  transparencies  on 
plates  coated  with  a barium  chloride  emulsion  developed  with 
ferro-citro  oxalate. 

Mr.  H.  Jones,  of  Adelaide,  was  introduced  to  the  meeting,  and 
gave  a few  remarks  upon  the  progress  of  the  art  in  the  Autipodes. 


Edinburgh  Photographic  Society. 

The  seventh  ordinary  meeting  of  the  current  session  was  held 
in  5,  St.  Andrew  Square,  on  the  evening  of  2nd  of  May,  Mr.  A. 
Craio-Chuistie,  F.L.S,,  in  the  chair. 

The  minutes  of  the  last  meeting  having  been  approved  and 
signed,  the  following  gentlemen  were  unanimously  elected  ordin- 
ary members  of  the  Society  : — Messrs.  Alexander  Matheson,M.  A., 
W.S.,  Stock,  and  Irving. 

The  Secretary  read  (1),  a communication  from  the  Photo- 
graphic Association  of  America,  announcing  that  their  annual 
convention  will  be  held  at  Indianapolis  during  the  second  week 
in  August,  and  inviting  exhibits  from  the  Society  as  a body,  or 
from  its  individual  members  ; and  (2),  a communication  from 
the  promoters  of  the  Industrial  and  Loan  Exhibition,  to  be  held 
in  July,  at  Dalbeattie,  also  requesting  contributions.  Full 
details  and  instructions  regarding  both  exhibitions  were  laid  on 
the  table  for  the  information  of  members. 

Intimation  was  given  that  Lanark  had  been  selected  for  the 
next  outdoor  meeting  ; members  wishing  to  join  the  excursion 
are  requested  to  send  in  their  names  at  once  to  the  secretary. 

Mr.  William  Foroan  read  a paper  on  “ Photo-micrography  ” 
(p.  210),  which  he  illustrated  by  various  apparatus.  One  of  the 
most  ingenious  arrangements  was  a complete  photographic  en- 
larging apparatus,  so  contrived  and  rigidly  adjusted  that  the 
whole,  including  the  lamp,  was  handed  round  that  each  one 
present  could  see  the  exquisite  details  of  a beautifully  stained 
section  of  “ Traveller’s  Joy,”  and  other  preparations. 

Dr.  Thomson,  R.N , next  exhibited  and  explained  very  fully 
his  apparatus  for  the  production  of  photo  micrographs,  directing 
particular  attention  to  the  immense  importance  of  adjusting  the 
illumination  to  the  special  requirements  of  each  object.  As  one 
example,  he  showed  that  the  characteristics  of  Flmra  sigma 
angulatum  were  best  brought  out  by  an  oblique  light.  lie 
directed  attention  to  the  fact  that  in  the  cheaper  microscopes 
the  eye-piece  was  far  more  likely  to  be  faulty  than  the  object- 
glass,  and  this  was  one  more  reason  for  urging  the  use  of  the 
simple  microscope,  rather  than  the  compound  ( i.e.,  the  object- 
glass  without  the  eye-piece).  He  also  found  the  employment  of 
diaphragms  between  the  object-glass  and  the  sensitive  plate 
was  of  great  advantage,  as  they  prevented  the  action  of  reflected 
light  from  the  interior  walls  of  the  camera,  and  thus  the  image 
was  better  defined.  Dr.  Thomson  also  showed  by  demonstration 
that  the  paraboloid  illuminator  was  of  immense  advantage  in 
bringing  out  the  beauties  of  very  transpareut  objects — showing 
them  on  a dark  backgrouud. 

Mr.  Alexander  Mathison  next  exhibited  his  method  of  pro- 
ducing lantern  slides  from  microscopic  preparations,  and,  con- 
trary to  the  directions  of  Mr.  Forgan  and  Dr.  Thomson,  he 
preferred  to  employ  the  eye-piece,  as  he  thus  secured  the  nega- 
tive of  full  size.  He  also  stated  that  with  the  lenses  he 
employed,  he  could  not  find  any  falling  off  in  definition  by  so 
doing.  He  passed  round  a number  of  transparencies  in  support 
of  his  views. 

In  reply  to  a question  by  Mr.  Wm.  Hume,  Mr.  Forgan  said 
that  the  use  of  the  tube  of  the  microscope  was  of  no  advantage  ; 
the  object-glass  alone  was  necessary,  if  it  were  provided  with  a 
suitable  adapter  for  fixing  to  the  camera  front. 

Mr.  Garner  passed  round  two  large  carbon  prints  from  the 
same  object,  one  being  produced  by  means  of  the  microscopic 
object-glass,  the  other  by  an  ordinary  photographic  short- 
focussed  rectilinear  lens.  The  piint  by  the  latter  was  uni- 
versally admitted  as  better  than  the  other,  and  for  sections  of 
wood,  and  other  relatively  large  objects,  such  a lens  might  be 
employed  with  advantage. 

At  the  conclusion,  a general  desire  was  expressed  that  at  the 
next  meeting  of  the  Society,  part  of  the  time  should  be  taken  up 
by  a lantern  exhibition  of  a number  of  photo-micrographs. 

Votes  of  thanks  to  Messrs.  Forgan,  Thomson,  and  MathisoD, 
for  the  great  trouble  they  had  taken,  and  for  their  very  interest- 


ing and  instructive  communications,  and  to  the  Chairman, 
brought  the  proceedings  to  a close. 


Sheffield  Photographic  Society. 

The  ordinary  meeting  was  held  at  Freemason’s  Hall  on  May  1st, 
T.  H.  Morton,  M.D.,  presiding.  Minutes  were  read  and  con- 
firmed. 

Mr.  J.  Taylor,  hon.  sec.,  referred  to  the  excursion  to 
Hardwick  Hall  and  Bolsover,  April  25th.  The  Society  was 
favoured  with  delightful  weather  on  that  occasion.  Mr.  Leader 
had  obtained  permission  to  photograph  all  objects  of  interest  at 
both  historic  places,  consequently  the  members  were  actively 
employed  all  day.  Negatives  aud  prints  exhibited  proved  the 
first  excursion  to  be  an  unqualified  success. 

The  subject  of  developers  and  development  of  gelatine  plates 
was  discussed. 

Dr.  Morton  said  he  invariably  used  the  alkaline  process,  the 
proportions  for  8|  by  61  plates  being  : — 

Pyro  C grains 

Ammonium  bromide  2 ,, 

Strong  liq.  ammonia  8 drops 

Water  ...  ...  ...  ...  ...  4 ounces 

He  preferred  freshly  dissolved  pyro.  for  each  plate,  and  the  usual 
alum  solution  before  fixing.  The  formula  was  modified  accord- 
ing to  the  exposure  given. 

Mr.  Hatfield  succeeded  with  a preparation  containing  : — 

Sodium  sulphite...  £ ounce 

Citric  acid  J drachm 

Potassium  bromide  2 drachms 

Strong  liq.  ammonia ...  G ,, 

Water  ...  ...  ...  ...  to  80  ounces 

Pyro  2 grains  was  dissolved  in  2|  ounces  of  the  solution,  and 
sufficient  used  to  cover  plate. 

Mr.  Rawson  had  tried  this  method,  but  found  the  stock  solu- 
tion deteriorated  or  lost  strength  by  keeping.  He  had  returned 
to  Wratten’s  directions. 

Mr.  Gilley  suggested  the  following : — Sodium  carbonate 
(washing  soda',  1 pound  to  the  gallon  of  water,  and  2 grains  of 
pyro.  to  the  ounce.  A weak  solution  of  oxalic  acid  for  clearing 
away  stains. 

Mr.  Seaman  secured  very  good  results  by  developing  with  a 
mixture  of  equal  parts  of  the  following  solutions,  viz. 


No.  1. 


Pyrogallic  acid  ... 
Citric  acid 
Water  

Potassium  bromide 
Strong  liq.  ammonia 
Water  


No.  2. 


1 drachm 
10  grains 
, 20  ounces 

1 drachm 
34  drachms 
20  ounces 


Mr.  Dakin  usually  worked  Swan's  formula. 

Mr.  Yates  and  other  members  joined  in  the  discussion. 

A vote  of  thanks  was  given  to  Mr.  Leader,  and  Messrs.  T. 
Firth  and  Seaman,  for  making  excursion  arrangements. 


Stalk  in  tbt  StuHu. 


James  Young,  of  Glasgow.— Dr.  James  Young  died  on  Sun- 
day night,  at  his  residence  at  Kelly,  near  Glasgow,  in  the  71st 
year  of  his  age.  He  was  the  first  to  develop  the  manufacture  of 
illuminating  oil  from  coal,  and  did  more  to  produce  a cheap  light 
in  the  shape  of  Young’s  paraffin  oil  than  any  man  in  the  country. 
An  expedition  was  sent  out  by  him  to  Africa  to  seek  his  friend 
Dr.  Livingstone.  Dr.  Young  did  much  to  promote  chemical 
research,  aud  contributed  largely  towards  the  Andersonian  Insti- 
tute, where  he  commenced  hi3  career  as  laboratory-boy  ; he  has . 
left  great  wealth. 

Mb.  W.  N.  Hartley  and  Mr.  Adeney  on  Spectral 
Photography. — Great  care  was  exercised  in  taking  the  photo- 
graphs, lest  any  irregularity  in  the  surface  of  the  plates  should 
lead  to  inaccurate  measurements.  Gelatine  films  on  specially 
selected  patent  plate  glass  were  used,  and  such  a precaution  is 
quite  necessary.  The  photographs  were  not  varnished.  A 


320 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  18,  1883. 


certain  number  of  lines  measured  by  previous  observers  have 
been  compared  with  the  new  measurements.  Taking  the 
numbers  given  by  Thale'n,  Lecoq  de  Boisbaudran,  and  Cornu 
for  150  lines  in  the  spectra  of  magnesium,  zinc,  cadmium,  alu- 
minium, indium,  thallium,  iron,  &c.,  a close  agreement  with 
their  measurements  affords  satisfactory  evidence  of  the  accuracy 
of  these  determinations.  Besides  the  wave-length,  a very  care- 
ful description  of  the  appearance  of  each  line  is  given,  together 
with  its  linear  measurement  indicating  its  position  on  a series  of 
photographs  obtained  with  the  prism  spectroscope,  which  series 
of  photographs  is  presented  with  the  paper.  A distinction  is 
drawn  between  those  lines  determined  directly  with  the  grating, 
and  others  too  faint  to  be  seen  on  diffraction  photographs,  which 
were  measured  by  the  aid  of  the  prism  spectroscope,  and  an 
interpolation  curve  9|  metres  in  length.  The  total  number  of 
lines  measured  and  described  is  2,247,  namely  : — Magnesium,  42  ; 
zinc,  151;  cadmium,  141  ; aluminium,  30;  indium,  104  ; thal- 
lium, 70  ; copper,  164  ; silver,  124;  mercury,  80;  carbon,  20  ; 
tin,  129  ; lead,  86  ; tellurium,  322  ; arsenic,  112;  antimony,  211 ; 
bismuth,  156  ; air,  215  ; and  iron,  150.  A series  of  eighteen 
enlarged  photographs,  36  inches  in  length,  were  produced. 
The  authors  describe  also  a method  of  taking  photographs  of 
diffraction  spectra  produced  by  a small  Rutherford  speculum 
ruled  with  17,460  lines  to  the  inch.  The  lines  in  the  spectra 
were  accurately  measured  by  the  aid  of  a microscope  magnifying 
25  diameters,  and  a dividing  engine.  The  length  of  the  spectra 
which  were  taken  on  three  different  plates  was  14  to  15  inches, 
and  the  measurements  were  accurate  to  the  ^-u\>5th  of  an  inch. 
From  these  measurements  the  wave-lengths  of  the  lines  were 
calculated.  The  spectra  include  lines  with  wave-lengths  4,674 
and  2,024.  They  were  produced  by  electric  sparks  condensed  by 
a pane  of  glass  coated  with  tin-foil. 

Wooden  Taps. — All  wooden  taps  u;ed  for  chemical  purposes 
may  be  well  preserved  by  plunging  them  into  a bath  of  pure 
paraffin  heated  to  110®  or  120®  C.  This  temperature  must  be 
kept  up  as  long  as  we  perceive  any  air-bubbles  arising  from  the 
wood.  The  bath  is  then,  and  then  only,  allowed  to  cool 
gradually,  and  the  taps  are  taken  out  just  as  the  paraffin  is  about 
to  solidify.  The  excess  of  paraffin  which  still  adheres  to  the 
outside  is  rapidly  wiped  off  with  a cloth,  and  the  tap  is  finally 
subjected  to  an  energetic  friction  with  the  same  cloth. 
After  this  treatment  an  ordinary  wooden  tap,  which,  generally 
speaking,  is  soon  unfit  for  use,  may  be  preserved  for  a 
considerable  length  of  time,  and  will  be  found  to  resist  the 
corrosive  action  of  dilute  acids  perfectly.  Mauy  other  objects 
in  daily  use  in  the  pharmaceutical  laboratory  may  be  advan- 
tageously treated  in  the  same  manner,  and  so  preserved  for  a 
long  time  from  the  effects  of  corrosive  liquids,  damp,  or 
oxidation. — Burgoyne's  Monthly  Magazine. 

Luminosity  of  Flams. — Recent  experiments  made  by  Dr. 
W.  Siemens  fend  to  disprove  the  old  notion  as  to  luminosity 
being  due  to  solid  particles  heated  to  a temperature  of  incan- 
descence. The  author  demonstrates  that  the  heat-rays  emitted 
from  hot  gases  are  very  small  in  number  as  compared  with 
those  emitted  from  equally  hot  solid  bodies.  Obseivations  on 
the  behaviour  of  flames  themselves  prove  equally  that  the 
luminosity  of  flames  is  not  due  to  the  incandescence  of  the 
products  of  combustion.  If  the  gases  to  be  burnt  are  more 
quickly  mixed,  the  flame  becomes  shorter,  since  the  process  of 
combustion  is  accelerated,  and  hotter,  since  less  cold  air  is 
mixed  with  the  burning  gas.  The  same  phenomenon  occurs 
if  the  gases  are  strongly  heated  before  they  are  burnt;  but 
since  the  ascending  products  of  combustion  are  maintained  for 
a short  time  only  at  the  temporal ure  of  the  flame,  the  above 
phenomenon  would  be  reversed  were  the  gases  self-luminous. 
The  luminous  part  of  the  flame  is  separated  by  a line  of  demar- 
cation from  the  products  of  combustion,  and  is  coincident  with 
the  termination  of  chemical  action,  which  is  probably  the  cause 
of  the  emitted  light.  If  it  be  assumed  that  the  gas  molecules 
are  surrounded  with  an  envelope  of  ether,  then  a chemical  com- 
bination between  two  or  more  of  these  molecules  will  cause  a 
vibration  of  the  ether  particles,  which  becomes  the  starting- 
point  of  the  light  and  heat  waves.  The  luminosity  of  gases 
when  an  electric  current  is  passed  through  them  can  be  ex- 
plained in  a similar  manner,  and  the  author  has  already 
observed  that  all  gases  are  conductors  of  electricity  when  their 
point  of  so-called  polarisation  maximum  has  been  reached. — 
Journal  of  the  Chemical  Society. 

Photographic  Club. — The  subject  for  discussion  at  the  next 
meeting  of  this  Club,  May  23,  will  be  “On  the  Means  of  Drying 
Qelatine  Films.” 


$0  &0ma&0tt&£tttS. 

***  We  cannot  undertake  to  return  rejected  communications. 

J.  Thoens. — After  sensitising,  draw  the  paper  once  or  twice  through 
distilled  water  conta:ned  in  a flat  dish  ; but  the  washing  must 
not  be  so  complete  as  to  remove  the  whole  of  the  free  nitrate. 
Taper  thus  prepared  will  keep  several  months  if  well  dried  and 
preserved  in  a portfolio  between  sheets  of  blotting-paper  which 
have  been  saturated  with  a weak  solution  of  carbonate  of  soda,  and 
dried.  The  sensitive  paper  must  be  fumed  with  ammonia  before 
use. 

W.  Reynolds. — We  have  still  copies  of  No.  1286,  with  which  Mr. 
Dixon’s  lion  picture  is  issued.  You  can  have  a copv  by  post  for 
3R 

H.  Spink. — Some  scum-like  substance,  perhaps  of  a fatty  nature, 
has  found  its  way  into  the  emulsion,  perhaps  from  the  use  of  an 
imperfectly  clarified  sample  of  gelatine.  The  chemical  reduction 
is  a result  of  the  long-continued  action  of  the  impurities  referred 
to.  We  have  sometimes  found  it  advantageous  to  draw  off  the 
lower  strata  by  means  of  a syphon. 

W.  H.  P. — 1.  It  makes  no  difference  so  long  as  none  is  reflected 
from  any  substance  within  range  of  the  lens.  2.  Yes,  the  best 
results  may  be  obtained  in  this  manner.  Thank  you  for  your 
friendly  sentiments ; we  shall  bo  always  pleased  to  give  or  obtain 
any  information  in  our  power. 

S.  Horton. — It  probably  needs  drying.  Bake  it  in  an  oven  till  it 
no  longer  parts  with  any  moisture,  and  repeat  this  operation 
whenever  the  chloride  of  calcium  shows  signs  of  dampness. 

Wm.  Dunnington. — It  is  due  to  the  partial  separation  from  the 
glass,  and  if  you  saturate  the  paper  more  thoroughly  with  the 
paste  or  the  gelatine,  so  as  to  thoroughly  fill  the  pores,  it  will  not 
occur. 

Alfred  Levy. — Write  to  the  Scovill  Photographic  Company, 
New  York. 

J.  H. — Thanks,  it  is  a very  clever  idea. 

A.  Bath. — It  is  probable  that  the  prints  to  which  you  refer  are 
enamelled  with  collodion.  Coat  a plate  with  either  plain  or  iodised 
collodion,  and  soak  in  water  till  all  appearance  of  greasiness  dis- 
appears. Plate  and  print  being  now  immersed  in  a warm  solution 
of  gelatine,  containing  about  5 per  cent.,  the  picture  is  laid  face 
downwards  on  the  collodionised  glass,  and  contact  is  established 
by  means  of  a squeegee.  When  dry,  the  print  can  be  readily 
detached  if  one  corner  is  lifted  with  the  point  of  a penknife. 

E.  H.  F.— Thanks  for  your  note. 

W.  W.  Winter. — Write  to  Mr.  A.  L.  Henderson,  The  Studio, 
King  William  Street,  London  Bridge. 

A.  B. — It  is  difficult  to  say  with  certainty,  as  there  may  be  several 
patents  covering  the  several  mechanical  movements  involved. 
Hope. — No  conveniences  as  to  actual  working  arrangements  can 
compensate  for  the  fact  of  the  studio  being  in  a bad  locality  ; and, 
judging  only  from  the  particulars  which  you  give,  we  would 
advise  you  to  have  nothing  to  do  with  it. 

P.  I.  Milsom. — The  bubbles  consist  principally  of  carbonic  acid 
gas,  and  they  usually  form  in  water  recently  drawn  fiom  a 
moderately  deep  well.  You  should  brush  them  from  the  surface 
of  the  paper  occasionally,  as  they  may  hinder  the  free  circulation 
of  the  fluid. 

Bristol. — Under  the  circumstances,  it  is  better  to  use  fine  pumice 
poivder.  Sift  it  through  the  finest  muslin,  and  rub  it  on  the 
varnished  surface  with  the  tip  of  the  finger. 

C.  L. — Not  so,  as  it  tends  to  become  lighter  in  colour  when  ex- 
posed to  a strong  light;  but  if  stowed  away  in  a dark  place  it 
gradually  darkens. 

Printer. — 1.  Indian  ink  is  usually  added,  but  not  much;  about 
thirty  grains  of  the  dry  ink  to  each  pound  of  mixture.  2.  Bi- 
chromate of  ammonia  is  to  be  preferred,  as  it  is  not  so  liable  lo 
crystallise  in  the  film  ; and  we  fancy  that  it  is  easier  to  obtain 
details  in  the  deep  shades,  than  when  the  potassium  salt  is  em- 
ployed. 3.  The  splitting  oft’  of  the  film  probably  re*u!ts  from 
the  drying  having  been  effected  at  too  high  a temperature  ; do 
not  let  the  heat  rise  above  40®  Centigrade.  An  addition  of 
glycerine  is  hardly  to  be  recommended. 

Printer. — 1.  The  sample  of  paper  is  quite  unfit  for  use,  as  the 
albumen  has  undergone  decomposition.  2.  Thin  glue  is  a very 
convenient  material.  3.  It  is  not  a process  which  can  be  worked 
satisfactorily  at  odd  times  ; and  if  you  go  in  for  it,  you  must  make 
up  your  mind  for  constant  and  hard  work.  Still,  you  will  be  well 
repaid  if  you  persevere. 


PHOTOGRAPHS  REGISTERED. 

Mr.  D.  Whyte  (Inverness}— Photo,  of  Lady  Florence  Dixie. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVII.  No.  1290. — May  25,  1883. 


•'VjNfcllb  , 


- CONTENTS. 

Photographic  Action  Studied  from  a Spectroscopic  Point  of 

View  ? j-,,  aoi 

On  the  Suitability  of  Gelatino-Bromide  Plates  for  Rembrandt 

Effects  ~321 

Half-a-Dozen  Portraits  322 

French  Correspondence.  By  Leon  Vidal 324 

What  is  a Restrainer  ? By  A.  L.  Henderson  324 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 325 

On  Transparencies  by  the  Carbon  Process.  By  Edward 
Brightman  320 


PACK 

Notes 328 

Patent  Intelligence  330 

Twelve  Elementary  Lessons  on  Silver  Printing  330 

American  Photography  “ As  it  Was.”  By  W.  M.  Ashman  ...332 
Apparatus  for.Printing  by  the  Blue  Process.  By  Channing 

Whitaker  333 

Correspondence  334 

Proceedings  of  Societies  335 

Talk  in  the  Studio 330 

To  Correspondents 330- 

Photographs  Registered  330 


PHOTOGRAPHIC  ACTION  STUDIED  FROM  A 
SPECTROGRAPHIC  POINT  OF  VIEW. 

A DISCOURSE  delivered  by  Captain  Abney  before  the 
Chemical  Society  on  the  17th  instant  served  to  give  the 
members  a general  idea  of  the  direction  in  which  the 
Captain  has  been  working  of  late. 

The  lecturer  expressed  regret  that  a larger  proportion 
3f  chemists  do  not  take  sufficient  interest  in  photography 
to  make  themselves  become  photographers,  even  if  on  a 
very  modest  scale ; but,  at  the  same  time,  it  is  desir- 
able that  photographers  should  become  chemists.  The 
difference  between  chemical  and  the  so-called  physical 
development  was  first  explained,  after  which  physical 
development  was  illustrated,  by  exposing  a sheet  of  iodide 
paper,  and  developing  au  image  by  means  of  gallic  acid 
and  nitrate  of  silver,  and  it  was  shown  how  the  deposited 
silver  might  be  dissolved  off  by  means  of  nitric  acid, 
eaving  the  film  much  in  the  same  condition  as  originally. 
No  effect  of  light  could  be  traced  unless  a sensitizer — that 
sto  say,  some  substance  capable  of  taking  up  the  liberated 
aalogen — was  also  present,  and  the  sensitizer  might — at 
iny  rate,  from  a theoretical  point  of  view — be  either  an 
irganic  compound  or  an  inorganic  body,  mercury  vapour 
laving  acted  as  a sensitizer  in  one  instance.  A tube  con- 
aining  dry  and  pure  chloride  of  silver,  which  had  been 
'requently  exposed  to  the  light,  was  shown,  the  salt  being 
still  quite  white. 

Chemical  Development — to  use  the  ordinary  term— was 
iext  practically  illustrated,  the  citro-oxalate  of  iron 
ieveloper  being  used  ; and  it  was  pointed  out  that  in  this 
sase  the  silver  forming  the  image  was  that  originally  in 
;he  film,  while  treatment  with  nitric  acid  would  leave  the 
Slim  denuded  of  a considerable  proportion  of  its  original 
haloid  salt. 

Energic  diagrams,  showing  the  photographic  action  of 
;he  solar  spectrum,  and  of  that  of  the  positive  pole  of  the 
dectric  arc  respectively,  were  projected  on  the  screen,  and 
the  uniformity  of  the  latter  was  certainly  such  as  to  suggest 
ts  superiority  for  adoption  in  photographic  investigation. 
The  Rowland  concave  diffraction  grating  was  referred  to 
as  a valuable  aid  in  spectro graphic  research  ; but  they  are 
mbjeci  to  variation,  one  grating  giving  but  little  ultra 
riolet,  while  another  was  deficient  in  ultra  red,  and  it  is 
requently  necessary  to  select  one  for  the  special  work  to 
Je  done. 

The  absorbtive  powers  of  bromide,  iodide,  aud  chloride 
ilms  were  next  made  visible  by  means  of  the  optical  lan- 
;ern,  and  it  was  clearly  shown  how  silver  iodide  tends  to 
mt  off  the  violet ; bromide  the  blue  aud  violet,  while 
-hloride  cuts  off  considerably  less  of  the  spectrum.  Most 
vork  is  done  by  light  on  the  bromide;  the  iodide  comes 
iext ; while  in  the  case  of  chloride  least  work  is  done.  This 


condition  of  things  was  well  illustrated  by  photographing 
a spectrum  on  each  one  of  these  haloid  salts,  the  bromide 
giving  a very  prolonged  image,  while  the  iodide  was  about 
one-third  shorter,  and  the  chloride  was  about  one-fourth  the 
length  of  the  bromide  spectrum.  N ot  only  is  the  comparative 
insensitiveness  of  chloride  notable,  but  the  difficulties  of 
properly  restraining  it  during  development  are  consider- 
able. The  influence  of  sensitizers  was  demonstrated  by 
partially  treating  a bromo-iodide  film  with  a solution  of 
sodium  sulphite  and  exposing;  while  the  action  of  certain 
colouring  substances  as  sensitisers  was  alluded  to.  De- 
sensitizers, such  as  oxidising  or  haloidising  agents,  were 
then  discussed,  and  it  was  shown  that  no  image  could  be 
impressed  when  these  were  present  insufficient  force ; aud 
the  practical  value  of  the  bichromate  process  as  a remover 
of  fog  was  elucidated  by  the  exhibition  of  numerous  in- 
teresting specimens. 


ON  THE  SUITABILITY  OF  GELATINO-BROMIDE 
PLATES  FOR  REMBRANDT  EFFECTS. 

Some  years  have  elapsed  since  the  photographic  fraternity 
were  made  familiar  with  what  seemed  to  some  an  innova- 
tion in  the  mode  of  lighting  a portrait  model.  Dogmatic 
writers  went  beyond  calling  the  new  system  by  such  mild 
terms  as  inartistic,  unreal,  &c.,  and  even  went  so  far  as  pro- 
nouncing the  effects  produced  to  be  diabolical.  So  loud 
was  the  denunciation,  that,  had  it  not  been  for  the  opposing 
forces  brought  to  bear  by  those  who  were  more  capable  of 
judging  the  possibilities  and  advantages  to  be  derived  by 
the  change,  it  is  somewhat  doubtful  if  the  public  would 
have  been  the  happy  possessors  of  so  many  examples  as  now. 
Fortunately,  the  adverse  opinions  then  expressed  were  not 
heeded,  for  several  well-known  portraitists  gave  the  subject 
thoir  especial  attention,  with  the  result  that  a great  advance 
was  made,  and  fully  appreciated  by  the  public ; to  wit : 
higher  prices  were  charged  and  obtained  easily  ; the  number 
of  patrons  increased  ; higher  salaries  were  paid  to  the  staff  ; 
congratulatory  communications  instead  of  derogatory  weie 
addressed  to  the  principal  by  his  clients,  thereby  raising 
the  status  of  portrait  photography  at  least  one  step  higher 
on  the  pinnacle  of  fame. 

Among  those  who  built  up  a lasting  reputation  for  the 
delicacy  of  modelling  rendered  in  the  production  of  large 
heads,  may  be  mentioned  the  late  Oliver  Sarony,  of  Scar- 
borough. Cabinet  heads  photographed  in  the  Rembi aadt 
style  by  this  talented  artist  have  found  their  way  into  all 
civilized  parts  of  the  universe. 

Mr.  Fergus,  of  Largs,  Scotland,  for  some  time  devoted  a 
great  deal  of  attention  to  this  style  of  lighting,  and  so  great 
was  his  success  in  obtaining  Rembrandt  effects,  that  Mr. 
Baden  Pritchard  deemed  the  studio  at  Largs  of  sufficient  im- 
portance to  describe  it  first  among  his  Scotch  studios.  He 


322 


rHE  PHOTOGRAPHIC  NEWS. 


[May  25,  1883. 


says : “ But  if  the  journey  was  sure  to  be  a long  one,  it 
was  equally  certain  that  we  must  not  attempt  to  sketch  the 
studios  of  Scotland  without  including  in  the  number  Mr. 
Fergus’  establishment.  Nay,  so  highly  esteemed  is  Mr. 
Fergus’  name  by  one  and  all  in  North  Britain,  that  it  is 
but  a matter  of  course  that  in  attempting  to  describe  Scotch 
studios,  a sketch  of  his  must  of  necessity  come  first.” 

Another  celebrated  Scotch  photographer,  Mr.  dohn 
Henderson,  of  Perth,  has  shown  great  energy  in  the  same 
direction.  So  great  was  his  desire  to  elucidate  every  fact  to- 
wards obtaining  any  degree  of  light  and  shade  on  bis  model, 
and  just  at  the  particular  point  he  chose,  that  he  constructed 
an  experimental  studio  at  a considerable  cost.  Every  part 
except  the  floor  was  glazed  with  ground  glass,  and  fitted 
inside  with  small  wooden  shutters — said  shutters  not  being 
more  than  twelve  inches  square,  and  hinged  to  open  inwards. 
It  will  be  seen  that,  by  starting  with  all  the  shutters  closed, 
the  sitter  would  be  almost  in  darkness  ; but  by  opening  these 
doors  one  by  one,  the  operator  has  the  light  perfectly  under 
his  control  ; any  amount  can  be  admitted,  and  almost  any 
effect  may  be  produced.  A great  number  of  appliances  have 
from  time  to  time  been  designed  for  the  better  production 
of  these  pictures,  and,  as  the  result  of  many  years’  practice, 
the  writer  believes  an  arrangement  somewhat  similar  to  that 
exhibited  in  the  accompanying  wood-cut  will  be  found  the 
cheapest  in  construction  and  the  most  effective. 


A,  light  background,  stretched  on  a wooden  frame  measur- 
ing 7 feet  high  by  5 feet  in  width. 

B,  background  on  roller  consisting  of  black  velvet  or  dull 
black  cloth,  indispensable  for  vignetting  in  the  camera  on  a 
black  ground,  or  when  great  contrast  is  desired  in  the  treat- 
ment of  large  heads,  &c. 

C C,  side  leaves  7 feet  by  5 feet,  fitted  with  blinds  (not 
shown  in  the  sketch);  the  leaves  are  hinged  to  the  back 
frame,  to  permit  adjustment  at  any  augle  with  the  back- 
ground, a matter  of  importance  when  determining  the 
amount  of  light  to  be  admitted  on  the  subject  from  one  side, 
and  shutting  it  off  completely  from  the  other,  or  using  it 
as  a reflector,  as  the  case  may  require.  Castors  are  provided 
to  facilitate  locomotion.  When  notin  use,  it  can  be  folded, 
thereby  occupying  very  little  room. 

Should  the  top  light  prove  too  strong,  it  can  be  filtered 
through  a screen  of  light  material,  such  as  very  common 
alpaca  stretched  over  a wooden  frame  about  3 feet  square, 
retaining  it  in  the  required  position  by  any  convenient 
means  (an  old  head-rest  will  do). 

Owing  to  the  dark  backgrounds  often  employed  for  these 
pictures,  together  with  a considerable  diminution  in  the 
quantity  of  light  admitted  into  the  atelier,  the  length  of  ex- 
posure becomes  necessarily  lengthened,  causing  many  failures 
from  under-exposure  and  movement  when  working  wet  plates 
—this  being  the  process  by  which  the  majority  of  Rembrandt 
effects  have  been  produced. 


The  great  struggle  after  drop-shutter  exposures  in  the 
studio,  and  the  indifferent  films  employed  when  gelatino- 
bromide  plates  were  first  adopted  by  the  portraitist,  were  not 
conducive  to  high-class  Rembrandt  effects ; therefore,  no 
doubt,  the  results  obtained  by  many  skilled  operators  were 
so  disappointing  that  they  ceased  for  a time  to  produce  this 
class  of  photogiaph. 

In  this  shoit  article  I wish  to  point  out  that  instead  of  the 
dry  plate  being  inferior  for  this  class  of  work,  it  is  vastly 
superior.  Firstly,  on  account  of  its  extreme  rapidity,  thereby 
reducing  the  chances  of  movement  to  a nominal  value  ; 
secondly,  the  deep  shadows  about  the  eyes  and  chin,  or  on  the 
shaded  side  of  the  hair  and  drapery,  which  many  photo- 
graphers reproduced  as  intense  ihadow  with  a wet  collodion 
plate,  may  now,  with  a properly  timed  exposure  on  a dry 
plate,  be  rendered  with  proportionate  blendingof  detail,  from 
the  strongest  light  down  to  the  deepest  black,  with  only  a 
very  slight  increase  in  the  exposure  over  that  required  for 
ordinary  work.  Thirdly,  we  may  consider  the  difference 
in  the  two  modes  of  development.  Every  worker  of 
wet  collodion  plates  must  have  noticed  the  affinity  which 
exists  between  the  most  exposed  portion  of  a plate,  and  the 
reduced  metallic  silver  in  the  process  of  development,  especi- 
ally when  large  masses  of  deep  black — such,  for  instance,  as 
velvet — are  being  treated  ; the  depositing  silver  seems  to 
ignore  these  deep  shadows,  and  exert  all  its  energy,  or  pile 
up  layer  after  layer  on  the  strongly-lit  portions.  This 
effect  is  excessively  noticeable  when  developing  this  class  of 
picture,  the  result  being  very  dense  whites  where  half-tones 
should  pervade,  thereby  necessitating,  as  above-mentioned, 
prolonged  exposure  to  overcome  the  difficulty. 

Gelatino-bromide  plates  developed  by  means  of  alkaline 
pyrogallol  do  not  act  in  the  manner  above  quoted  ; there  is 
not  a large  excess  of  free  silver  floating  about  in  the  deve- 
loping solution  ready  to  attach  itself  anywhere,  whether 
one  desires  it  or  not.  The  action  must  of  necessity  be  regu- 
lar, for  with  a properly  timed  exposure,  the  relationship 
existing  oetween  the  alkali  aud  pyrogallol  can  alone  deter- 
mine the  degree  of  density  or  otherwise. 

For  the  reasons  above  given,  there  can  be  very  little  doubt 
that  a heavier  class  of  lighting  is  admissable  with  gelatino- 
bromide  plates  in  portraiture,  than  we  have  been  familiar 
with  of  late  years  with  collodion  plates,  and  I atn  fully  con- 
vinced that  a little  consideration  of  this  subject  by  our 
practical  portraitists  wiil  lead  them  to  resuscitate  a seemingly 
half-defunct  mode  of  lighting;  or,  at  all  events,  induce 
them  to  infuse  more  shadow  generally  in  their  productions. 


IIALF-A-DOZEN  PORTRAITS. 

III.— In  Chkapside. 

The  bustling  City  is  not  predisposing  to  quiet  portraitur  c 
The  jostling,  elbowing,  hurrying,  scurrying,  rushing, 
rubbing,  chattering,  clattering,  multitude  in  Cheapside  on 
a busy  morning,  is  about  the  worst  preparation  oue  can 
have  before  sitting  for  a picture  ; for  in  the  City  one 
rapidly  acquires  City  manners,  and  we  soon  find  ourselves 
walking  as  briskly  as  the  best  of  them,  and  hurrying  along 
as  if  a rise  in  Spauish  Fours,  or  a downfall  of  Peruvians, 
and  not  simply  the  taking  of  a photograph,  were  upper- 
most in  mind  and  memory.  In  fact,  on  turning  sharply 
into  the  studio,  we  are  almost  breathless,  and  in  business 
tones  demand  if  we  can  be  taken  immediately. 

The  clerk  at  the  desk  is  quite  equal  to  the  occasion.  1 1 o 
has  his  books  and  papers  before  him,  and  is  ready  to  fill 
in  an  order  before  we  can  give  it  him. 

“ What  sort  of  a portrait?”  he  asks,  with  pen  iu  air. 

“ A small  one  will  do.” 

“ Do  you  mean  for  a locket?  ” 

“ No,  an  ordinary  carte-de-visite.” 

“ Ten  shillings,  if  you  please.  Name  and  address  ? ” 

So  rapidly  does  he  proceed,  that  it  reminds  you  of  the 
Civil  Service  Stores,  where  you  have  to  describe  what  you 


Mav  25,  1883. J 


THE  PHOTOGRAPHIC  NEWS: 


323 


want,  pay  for  it,  and  give  your  name  and  number,  before 
even  looking  at  your  purchase. 

But  before  we  can  supply  the  information  he  wants,  a 
violent  fit  of  sneeziug  comes  on,  and  our  handkerchief  is 
in  constant  requisition.  The  truth  is,  the  manager,  a 
portly  gentleman,  whom  we  know,  and  to  whom  we  are 
known,  is  looking  on  within  ear-shot. 

An  address  is  eventually  given,  and  a name ; but  the 
clerk  is  particular  ; he  wants  initials  as  well. 

He  is  so  quick  in  questioning,  too,  that  we  actually  do 
give  the  right  initials ; we  can’t  help  ourselves. 

We  receive  two  pieces  of  paper,  one  of  them  a receipt, 
and  one  of  them  a direction  to  the  artist,  and  are  invited 
to  walk  upstairs. 

You  will  have  your  portraits  in  a week,”  he  adds. 

“ Do  you  supply  a proof  ? ” 

*'  No,  we  don't  find  it  necessary,”  he  replies  briskly. 

Do  any  of  our  readers  remember  Le  Roi  Candaule. 
When,  in  that  funny  French  farce,  an  old  gentleman 
visiting  the  theatre — for  the  scene  is  the  corridor  of  a 
theatre — finds  the  place  he  has  booked,  already  taken  and 
occupied  by  another  party,  he  repairs  to  the  box-keeper, 
and  mildly  explains  his  situation  iu  the  blandest  of  tones. 
To  his  inexplicable  surprise,  the  official  opens  upon  him 
the  flood-gates  of  wrath ; in  violent  tones  of  upbraiding 
he  is  informed  that  the  matter  is  an  error,  and  an  error, 
too,  which  “ arrives  ’’  very  frequently.  The  benevolent  old 
gentleman  is  naturally  taken  aback,  aud  in  an  apolegetic 
aside  to  the  audience,  quaintly  explains  how  he  was  under 
the  impression  that  the  matter  affected  himself,  rather  than 
the  box-keeper.  Somehow  this  scene  occurs  to  us  as  we 
walk  upstairs,  for  it  is  the  sitter  usually  that  finds  a proof 
“necessary.”  There  is  plenty  of  time  to  think,  too,  for  it  is 
rather  a long  way  up  ; fortunately,  there  are  pictures  on 
every  landing,  so  that  the  progress  is  au  interesting  one. 
But  what  makes  us  suddenly  produce  our  handkerchief 
again  and  vigorously  apply  it?  There  is  an  open  door, 
and  over  it  the  name  of  a gentleman  but  too  familiar  with 
our  person  and  appearance.  We  pass  by  safely,  and  go 
on  mounting. 

“ Reception  Room,”  is  now  seen  on  the  right,  so  we 

pass  in. 

“ Will  you  go  straight  up  into  the  studio.  There  is 
nobody  there.” 

We  go  up.  “ Ladies  Room  ” and  “ Gentleman’s  Room  ” 
appear  right  and  left;  we  enter  the  latter,  and  finding  it 
nicely  arranged,  pause  for  a few  moments  to  set  the  cravat 
straight,  to  pull  out  our  white  wristbands  to  their  lull 
extent,  and  make  a general  survev.  Then  we  proceed. 

“You  have  come  too  high,  sir,”  says  the  artist  upstairs; 
“ the  room  below,  if  you  please.” 

We  follow  instructions,  and  enter  a secoud  reception 
room.  Here  a gentleman  looks  at  the  paper  we  carry,  and 
sounds  a little  gong.  “ Will  you  take  a seat,  sir?” 

We  sit  down  and  wait.  Then  we  wander  about  the  room, 
and  look  at  the  pictures  on  the  walls.  There  are  some  excel- 
lent examples  of  carbon  printing,  and  also  several  highly- 
finished  portraits  in  colour,  very  delicate  and  charming  in 
their  way.  There  are  several  good  enlargements,  too,  speci- 
mens of  encaustic  photography,  and  indeed  examples  of 
every  branch  of  the  art.  There  is  a little  notice  also,  some- 
thing to  the  effect  that  sitters  for  a carte-de-visite  are  per- 
mitted three  positions,  of  which  proofs  are  submitted,  and 
then  from  the  poae  selected  the  required  copies  are  printed. 
We  may  mention  here,  in  parenthesis,  that  as  a matter  ol 
fact,  we  were  only  taken  in  one  position,  and  although  we 
are  quite  willing  to  bear  testimony  to  the  excellence  of  the 
portraits  actually  supplied,  still  this  notice  about  “ proofs” 
and  “positions  ” is  a little  misleading. 

l’robably  we  should  never  have  seen  it,  had  we  not  been 
kept  waiting  so  long.  We  look  at  the  time,  and  find  that 
just  five-and-twenty  minutes  have  elapsed  since  we  entered 
the  establishment  so  briskly,  and  were  assured  by  the  busy 
clerk  we  could  be  taken  forthwith.  Somebody,  too,  has  been 


peering  at  us  though  the  half-open  door  for  some  minutes 
past,  and  this,  perhaps,  adds  to  our  discomforture. 

“ Suspicion  always  haunts  the  guilty  mind.” 

But  he  is  only  an  individual  bent  on  the  same  errand  as 
ourselves,  it  turns  out,  for  he,  too,  exhibits  a paper  to  the 
custodian  here,  who,  as  before,  makes  a sharp  sound  on  the 
gong.  The  last  comer  is  evidently  some  City  official,  for 
he  has  on  that  white  swallow-tail  collar  peculiar  to  barris- 
ters, and  carries  in  his  hand  a soft  and  bulky  bag,  in  which 
there  is  evidently  a gown  of  office.  He  looks  so  important, 
and  makes  such  an  impression  on  his  entrance,  that  we 
begin  to  fear  our  humble  demand  for  a carte  will  be  passed 
over,  and  we  shall  lose  our  turn.  So  we  adopt  a City 
demeanour  once  more,  and  speak  out  boldly. 

Watch  in  hand,  we  say,  “It  is  exactly  lialf-an-hour 
since  an  assurance  was  given  downstairs  that  we  could  be 
taken  at  once ; pray  be  good  enough  to  see  if  we  can  be 
photographed  or  not.” 

Our  friend  good-naturedly  proceeds  to  the  studio,  and, 
speedily  returning,  asks  us  to  step  up.  It  is  a small  apart- 
ment, but  most  effectively  lighted.  Illumination  comes  in 
from  both  sides  of  the  sitter— plenty  of  it — only  there  is, 
of  course,  a light  side  and  subdued  side.  In  fact,  we  do 
not  remember  to  have  seen  any  studio  with  more  light 
around  the  sitter.  Still,  the  illumination  is  only  confined 
to  the  sitter  ; along  two-thirds  of  the  studio  runs  a hanging 
canopy,  and  under  this,  deeply  recessed,  is  the  camera. 
The  canopy  comes  up  to  within  a few  feet  of  the  model, 
resembling  quite  a tunnel  in  the  well-lighted  apartment. 
Thus  all  the  advantages  of  brilliant  illumination  are 
secured,  and  yet  the  camera  is  most  efficiently  shaded. 

The  artist  here  is  very  careful  and  very  pleasant ; and 
here  we  may  remark  that,  in  all  three  studios  we  have 
visited  so  far,  although  in  no  case  was  it  a member  of  the 
firm  who  posed  and  lighted,  this  was  done  with  the  utmost 
attention  and  forethought.  As  we  have  said,  but  one 
position  only  was  secured  ; but  so  considerate  and  so 
painstaking  was  the  artist  in  securing  this  one  pose,  that, 
but  for  the  notice  downstairs,  every  visitor  could  not  fail 
to  be  thoroughly  content.  An  exposure  of  two  or  three 
seconds  suffices,  our  artist-friend  placing  a head-rest  behind, 
“ to  feel,  if  you  like.”  As  we  have  said,  only  a single  plate 
is  exposed,  and  this  is  not  developed  until  after  our 
departure,  a somewhat  unwise  proceeding,  we  cannot  but 
think,  in  these  days  of  gelatine,  for,  as  we  have  before 
remarked,  however  inconvenient  it  may  be  for  the  photo- 
grapher to  give  his  customer  a second  sitting,  this  is  as 
nothing  compared  to  the  inconvenience  to  most  gentlemen- 
sitters  who  have  to  make  a second  appointment. 

In  fact,  our  sojourn  in  the  studio  is  not  only  of  the 
briefest,  but,  after  the  tedious  waiting  undergone,  it  seems 
to  us  as  if  we  are  packed  off  with  little  ceremony.  It  is 
the  “ one  half-pennyworth  of  bread  to  this  intolerable  deal 
of  sack  ” that  one  resents.  We  repeat,  the  portrait  taken 
is  decidedly  good  ; but  that  does  not  efface  the  somewhat 
unceremonious  manner  of  treating  us.  A customer  who 
only  spends  ten  shillings,  while  another  spends  ten  pounds, 
likes  nevertheless  to  feel  that  he  is  not  under  an  obligation. 

We  meet  the  City  official  on  the  stairs  ; he  has  not  had 
courage  yet  to  don  his  grandeur,  but  brings  it  up  over  his 
arm.  Perhaps  our  visit  has  been  cut  short  to  make  way 
for  him.  He  is  received  with  some  ceremony,  and  the 
sound  of  laughing  and  joking  reaches  us  as  we  go  our 
way. 

Blowing  our  nose  a good  deal  on  the  way  down  and  in 
our  progress  across  the  shop,  we  reach  Cheapside  once 
more.  Our  visit  has  taken  nearly  fifty  minutes,  aud  we 
cannot  help  thinking  that  had  we  been  a stock-broker  or 
a banker’s  clerk,  or  a City  solicitor,  or  a commission 
agent,  or,  indeed,  anything  “ in  the  City,”  our  time  might 
have  been  better  economised  in  the  establishment.  As  it 
is,  our  minutes  are  pretty  valuable,  for  we  want  to  visit 
another  studio  and  have  a second  portrait  taken  before 
noon. 


324 


THE  PHOTOGRAPHIC  NEWS.  [May  25,  1883. 


“ Hi ! hi ! Hansom — the  Strand.” 


Next  week  we  shall  describe  Studio  IV. — “ In  the 
Strand,” 


FRENCH  CORRESPONDENCE. 

Instantaneous  Shutters. — Since  the  last  meeting  of  the 
Photographic  Society  of  France,  one  of  the  members  ex- 
pressed a desire  to  see  a fixed  standard  adopted  in  instan- 
taneous photography,  which  can  only  have  reference  to  a 
determined  unit  of  time.  This  unit  of  time  is  the  second, 
all  instantaneous  pictures  being  calculated  by  the  fractions 
of  a second.  The  want  of  a standard  is  therefore  not  felt, 
for  the  unit  of  time  adopted  exists ; but  what  is  more 
often  required  is  that  the  rapidity  of  shutters  may  be 
graduated,  so  that  the  operator  may  always  know  the 
duration  of  the  luminous  action.  There  are  several  shutters 
made  with  the  view  of  registering  exactly  chronometric 
observations,  such  as  that  invented  by  M.-Paul  Boca,  but 
the  greater  number  do  not  give  the  exposure.  With 
regard  to  a drop-shutter,  it  is  easy  to  arrange  if  the  slide 
acts  simply  by  gravitation,  without  resorting  to  acceleration 
or  retardation  of  the  fall.  In  this  case  one  may  readily 
determine  the  duration  of  the  fall,  knowing  that  the  space 
passed  through  during  the  first  second  is  sixteen  feet, 
about  4-9  metres.  If  the  objective  has  an  aperture  of  30 
millimetres,  the  number  of  times  4,900  is  contained  in  30 
has  only  to  be  calculated — that  is,  163  times,  showing 
that  the  time  the  fall  occupies  over  the  aperture,  equal  to 
the  diameter  of  the  lens,  is  TiT  part  of  a second.  8hould 
the  lens  have  an  opening  double  the  size,  viz , 60  milli- 
metres, the  duration  of  the  fall  will  be  twice  as  long,  there- 
fore, -j-fa  of  a second.  It  will  be  seen  that  we  neglect  the 
increasing  speed  of  the  drop,  which  in  such  a short  passage 
cannot  make  an  appreciable  difference,  whether  at  the 
beginning  or  end  of  a fall.  This  movement  is  uniformly 
accelerated  in  such  a way  that  the  spaces  passed  through 
in  equal  spaces  of  time  are  equal  to  the  first  interval 
multiplied  by  the  square  of  the  time  expressed  in  seconds. 
At  the  end  of  the  fall  the  slide  has  consequently  acquired 
a greater  speed  than  that  which  it  had  at  starting,  but  the 
acceleration  in  such  short  intervals  may  be  neglected,  and 
the  first  statement  that  the  period  of  a second  elapses  with 
a fall  of  4-9  metres  may  be  held  to.  This  admitted,  and 
neglecting  further  the  feeble  retardation  which  the  fric- 
tion of  the  slide  in  the  grooves  might  cause,  it  seems 
quite  an  easy  task  to  graduate  all  drop-shutters  where 
the  slide  falls  by  the  direct  action  of  gravitation.  Should 
the  aperture  of  the  shutter  equal  that  of  the  diameter  of 
the  lens,  the  exposure  may  be  reckoned  by  dividing  4,900 
by  this  diameter.  But  if  the  opening  be  modified  by  the 
help  of  a movable  part,  as  in  most  drop-shutters,  the 
length  of  exposure  must  be  calculated  according  to  the 
aperture.  To  put  it  simply,  suppose  the  opening  is  re- 
duced to  one-lialf  of  its  full  diameter,  the  speed  of  the  fall 
will  not  be  less,  but  during  that  time  it  will  pass  over  one 
half  of  the  luminous  rays.  The  number  4,900  must  there- 
fore be  divided  by  15,  as  being  half  of  30,  which  gives 
326,  the  term  of  exposure  with  aperture  half  closed. 

If  it  is  desired  to  retard  the  action,  or  in  other  words  to 
expose  for  a longer  time,  the  height  of  the  opening  may 
be  doubly  or  trebly  increased,  and  the  fall  calculated  in 
the  same  ratio.  To  give  a still  longer  exposure,  recourse 
must  be  had  to  a weight  counterpoising  that  of  the  moving 
slide.  In  such  a case  the  retardation  will  be  in  propor- 
tion to  the  counterpoising  force,  and  to  avoid  calculations 
in  the  exposure  it  would  be  best  to  use  a dial  divided  in 
icc  seconds,  of  which  we  have  spoken  previously. 

After  conscientiously  studying  the  numerous  shutters 
which  have  been  invented  since  gelatino-bromide  plates 
necessitated  rapid  exposures,  1 have  returned  to  the 
simple  drop  shutter  -worked  pneumatically,  as  beiug  the 
best  and  most  convenient.  This  apparatus  has  all  the 


good  qualities  of  a chronometric  shutter  if  graduated  as  I 
have  indicated. 

I have  omitted  to  take  account  of  the  acceleration 
acquired  at  the  conclusion  of  the  fall ; but  it  is  well  to 
remark  that  there  are  reflected  rays  from  the  earth,  which 
exercise  less  influence  than  those  from  the  sky.  The  con- 
trary action  ought  to  take  place,  and  for  the  purpose  of 
correcting  this  a slight  retardation  by  friction  of  the  slide 
in  the  grooves  during  the  second  half  of  its  passage  should 
be  aimed  at.  In  conclusion,  I specially  recommend  the 
use  of  a drop  shutter  with  pneumatic  action  and  gradua- 
tions, so  that  the  operator  may  always  know  the  length  of 
exposure.  It  is  still  to  be  desired  that  improvements  may 
be  made  by  which  the  foreground  may  receive  longer 
exposure  than  the  horizon  and  sky.  Lkon  Vidal. 


WHAT  IS  A RESTRAINER  ? 

BY  A.  L.  HENDERSON.*' 

Most  of  us  know  the  usual  interpretation  of  the  word 
“ restrainer,”  but  with  regard  to  its  meaning  in  the  development 
of  an  image,  that  is  an  entirely  different  thing.  The  effects  of 
restrainers  are  at  least  threefold: — 1.  One  that  will  arrest  the 
development  at  any  stage.  2.  One  that  will  only  delay  it. 
3.  One  that  affects  the  exposure;  that  is  to  say,  if  a plate  be 
over-exposed,  by  the  judicious  use  of  a restrainer  the  mistake  is 
corrected.  I will  not  attempt  to  go  iuto  the  chemistry  of 
the  matter,  but  will  leave  it  in  other  and  more  capable  hands. 

In  wet-plate  photography,  in  most  works  on  the  art,  we  are 
told  that  a weak  developer  will  give  a hard  picture,  and  if  a soft 
negative  be  required,  a stronger  reducer  would  produce  the  re- 
quired result.  Now,  in  my  experience,  it  is  quite  the  opposite, 
and  iu  the  gelatine  process  there  is  no  exception  to  this  principle. 
I often  wonder  why  a large  proportion  of  the  accelerator  (am- 
monia) is  recommended,  and  a correspondingly  large  amount  of 
bromide.  Why,  in  the  name  of  common  sense,  use  ammonia  so 
freely  to  require  also  the  free  U3e  of  bromide  ? I know  several 
photographers  who  use  something  like  half-a-grain  of  pyro  solu- 
tion per  ounce,  aud  a proportionately  small  quantity  of  ammonia, 
and  the  development  is  fully  under  control,  and  beautiful  nega- 
tives are  the  result.  I believe  that  the  plate  is  yet  to  be  made 
and  the  developer  found  that  will  develop  completely  with  one 
solution  requiring  no  restrainer,  the  retarding  action  being  re- 
gulated by  the  strength  of  the  developer.  I have  made  many 
experiments  in  this  direction.  I am  not  going  to  detail  my 
failures,  but  only  a few  of  my  successes.  The  most  powerful 
restrainer  or  arrester  I have  met  with  is  boracicacid.  A drop  or 
two  of  a saturated  solution  instantly  stops  development,  and  a 
very  large  amount  of  ammonia  will  be  required  before  the  re- 
developing action  is  set  up.  1 have  already  published  the  fact 
that  nearly  all  neutral  salts  act  as  restrainers.  Boracic  acid  is  a 
valuable  antiseptic.  It  has  been  found  when  injected  into  the 
arteries  of  animals  that  decomposition  is  prevented. 

Perhaps  some  of  the  members  of  this  Association  will  be  able 
to  explain  why  some  plates  require  eight  times  as  much  bromide 
in  the  developer  as  others.  I have  tested  some  plates,  and  found 
a small  quantity  of  free  bromide  in  the  emulsion,  and  in  this 
case  very  little  bromide  may  be  used  in  the  developer. 

I do  not  know  who  first  recommended  spices  in  emulsion  as 
antiseptics.  It  is  well  known  that  in  the  process  of  preserving 
mummies  spices  play  an  important  part.  One  professional 
plate-maker  uses  cinnamon  as  an  antiseptic.  I know  of  no  more 
valuable  preservative  for  emulsion  than  benzoic  acid.  I cannot 
say  how  long  an  emulsion  containing  it  will  keep,  but  I believe 
indefinitely.  It  imparts  a quality  other  than  a preservative.  It 
is  not  very  soluble — about  1 in  200  cold  — and  if  a larger  pro- 
portion be  dissolved  in  a'cohol  and  mixed  with  the  emulsion,  it 
will  form  a precipitate  iu  itself,  and  plates  so  treated  develop 
and  fix  more  rapidly  than  others.  This  is  owing,  I believe,  to 
the  benzoic  acid  dissolving,  and  leaving  the  gelatine  more  porous. 
Emulsion  so  made  may  be  developed  without  bromide,  giving 
dense,  clear  negatives. 

Another  restrainer  for  the  developer  is  formic  acid.  Five  to 
ten  drops  to  each  ounce  of  solution  works  beautifully. 

One  word  more.  Bromide  in  the  developer  does  not  tend  to 
give  density,  but  quite  the  contrary  ; yet  a professional  photo- 
grapher, who  should  know  better,  lately  criticised  an  over- 


• Kead  before  the  London  and  Provincial  Photographi  Association. 


THE  PHOTOGRAPHIC  HEWS. 


325 


May  25,  1883.  / 


exposed  negative  by  saying  that  it  required  more  bromide,  when, 
iu  reality,  the  quantity  used  was  very  much  in  excess — some- 
thing like  two  grains  to  the  ounce.  What  the  plate  in  question 
required  was  less  bromide  and  more  pyro. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  X.— Principles  of  Lithography,  and 
Materials  Required. 

We  now  enter  upon  the  purely  lithographic  part  of  our  sub- 
ject, and  though  it  is  beyond  the  scope  of  the  present 
papers  to  go  fully  into  the  details  of  lithographic  printing, 
which  forms  quite  an  art  in  itself,  and  can  only  be  properly 
learnt  by  long  experience,  we  propose  to  give  a short 
notice  of  the  theory  and  practice  of  lithography  sufficient 
to  give  an  idea  of  the  methods  employed.  For  those  who 
wish  for  further  information,  we  may  refer  to  Richmond’s 
“Grammar”  (already  noticed),  to  Roret’s  Manuel  de 
V Imprimeur  Lithographe,  and  to  the  very  practical  series  of 
articles  by  Mr.  T.  Bolas,  published  some  four  years  ago. 

Lithography  and  zincography  both  depend  on  the  same 
principle  of  the  mutual  repulsion  of  grease  and  water,  and 
on  the  fact  that  though  the  surface  of  the  stone  or  metal 
plate  will  readily  absorb  either  grease  or  water,  it  will  not 
take  both  in  the  same  place.  Thus,  if  a stone  or  zinc  plate 
be  wetted,  and  a roller  charged  with  printers’  ink  be 
passed  over  it,  none  of  the  ink  will  adhere  to  the  wetted 
surface,  though  it  will  on  the  dry ; and,  on  the  other  hand, 
if  a stone  or  plate  be  touched,  however  slightly,  with  any 
greasy  substance,  and  then  wetted,  it  will  be  found  that  the 
greasy  parts  will  repel  the  moisture,  but  will  readily  take 
up  printing  ink  from  a roller  passed  over  them. 

Greasy  matter  not  only  adheres  very  firmly  to  the  stone, 
but  has  a powerful  tendency  to  spread  itself  in  all  direc- 
tions, through  its  porous  substance,  and  if  this  tendency 
were  not  counteracted  by  filling  the  pores  of  the  stone 
with  some  other  material  such  as  gum,  which  is  imperme- 
able to  and  non-absorbent  of  grease,  the  fatty  principle 
of  the  ink,  forming  the  lines  of  the  photo-transfer  print  or 
other  design  on  the  stone,  would  gradually  spread,  and  on 
applying  printing  ink,  the  lines  would  appear  widened, 
and  the  whole  design  blurred  and  heavy.  It  is  the  prac- 
tice, therefore,  after  making  the  transfer,  to  etch  the  stone 
and  make  it  ready  for  printing  by  applying  weak  acid  and 
gum-water,  either  singly  or  together.  The  acid  opens  and 
prepares  the  pores  of  the  stone,  so  that  the  gum  enters 
more  readily  into  intimate  combination  with  it,  and  acts 
more  effectively  in  confining  the  greasy  ink  in  its  own 
proper  bounds.  This  combination  is  so  complete  that  no 
amount  of  mere  washing  with  plain  water  will  remove  the 
gummy  coating;  and  if  a stone  once  properly  gummed 
be  allowed  to  dry,  and  an  inked  roller  passed  over  it,  the 
ink  deposited  may  be  all  removed  by  washing  with  wet 
sponge,  or  even  by  passing  the  sponge  over  the  inked 
part,  and  then  working  the  roller  over  it  smartly.  Con- 
sequently, before  any  additions  or  corrections  can  be 
made  on  a gummed  stone,  all  traces  of  gum  must  be  removed 
by  washing  with  clean  water,  and  then  treating  the  parts 
with  weak  acid,  so  that  they  may  regain  the  faculty  of 
absorbing  the  fatty  matter  of  the  ink.  The  gummy  coat- 
ing also  retains  the  moisture  on  the  surface  of  the  stone. 

With  zinc  plates  the  principle  is  exactly  the  same,  though 
the  metal  is  not  so  absorbent  as  the  stone,  and,  instead  of 
nitric  acid,  a mixture  of  phosphoric  and  gallo-tannic  acids 
is  used  with  the  gum,  which  lorms  an  insoluble  and  perma- 
nent grease — resisting  coating  to  the  plates  in  the  parts 
untouched  by  the  greasy  transfer  ink. 

Lithographic  or  zincographic  piinting  consists,  therefore, 
of  alternately  moistening  the  white  and  gummed  parts  of 
the  stone  or  plate  forming  the  ground  of  the  picture,  aud  re- 
newing the  printing  ink  on  the  black  or  coloured  parts 


forming  the  image,  in  proportion  as  it  is  taken  off  by  the 
paper  at  each  impression. 

Simple  as  this  may  seem,  success  depends  upon  a number 
of  variable  conditions  connected  with  the  state  of  the  print- 
ing rollers,  ink,  temperature,  &c,,  which  require  considerable 
experience  and  skill  to  master.  These  conditions  will  be 
treated  of  in  their  proper  places. 

Lithographic  Materials,  etc. 

For  transferring  and  printing,  a certain  amount  of  litho- 
graphic outflt  and  materials  will  be  required,  the  extent  of 
which  will  of  course  depend  on  the  amount  of  work  to  be 
done.  For  small  work  or  amateurs’  use,  convenient  sized 
presses,  with  all  necessary  materials  and  instructions  for 
their  use,  can  be  obtained  from  Messrs.  Waterlow  and  Co., 
and  the  dealers  in  lithographic  presses  and  materials.  A 
large  number  of  portable  lithographic  presses  of  various 
kinds  are  manufactured  in  Paris.  One  of  the  best  and 
most  suitable  for  zinc,  stone,  or  collotype  printing  is  the 
phototypic  press  made  by  Poirier,  122,  Faubourg,  St. 
Martin,  which  is  so  well  constructed  that  glass  plates  of  any 
thickness  may  be  passed  through  it  without  breaking. 
For  larger  work,  proper  lithographic  presses  and  the  other 
appliances  of  a printing  office  will  be  necessary,  and  are  all 
obtainable  at  the  dealers. 

The  following  is  a list  of  the  most  necessary  articles  : — 

Lithographic  press , complete  with  scraper  and  tympan 
leather. 

For  zinc  printing  a wooden  block,  about  three  inches 
thick,  will  be  required  to  support  the  plates.  This  must  be 
carefully  made  so  that  it  may  be  of  equal  thickness  through- 
out, and  not  liable  to  warp.  A lithographic  stone  or  a slab 
of  slate  is  sometimes  used  instead  of  the  wooden  block. 

Stones  or  zinc  plates  as  required. 

Trolly  for  moving  stones. 

Mill-hoards  or  elastic  bedding  made  of  felt  or  kamptulicon, 
&c.,  to  place  below  the  stone. 

Glazed  boards,  made  from  well-rolled  six-sheet  cardboard, 
and  used  as  backing  sheets  over  the  printing  paper  in  order 
to  protect  the  printing  paper  and  outer  edges  of  the  stone 
from  any  dirt  or  grease  which  might  be  communicated  to 
them  from  the  tympan  leather,  and  also  to  protect  the  tym- 
pan leather  from  any  traces  of  printing  ink  which  might  be 
left  on  the  edges  of  the  stone.  Their  elasticity  also  helps 
the  printing. 

Inking  table,  with  inking  slab,  made  of  marble  or  stone. 
These  are  sometimes  made  of  iron,  but  are  better  made  of 
wood,  so  that  the  under  part  may  form  a cupboard,  in  which 
ink,  rollers,  &c.,  may  be  kept  and  preserved  from  dust. 

In  king  rollers,  with  leather  handles. 

Midler,  for  grinding  ink — usually  made  of  marble. 

Palette  knife,  seven  to  nine  inches  long,  for  mixing  ink 
and  applying  it  to  the  rollers,  &c. 

Kitchen  knife,  with  blunt  edge  for  scraping  rollers.  A 
glazier’s  putty  knife  is  sometimes  recommended  for  thir 
purpose. 

Sponges. — Of  these,  several  will  be  required,  two  or  thu 
of  medium  size,  and  grain  for  washing  the  stones,  damping 
paper,  &c.,  and  small  fine  ones  for  applying  gum  and  acid. 
New  sponges  must  b<?  carefully  freed  from  sand  and  shelly 
grit  by  beating  and  soaking  in  weak  hydrochloric  acid. 
Care  must  be  taken  to  keep  sponges  clean,  and  in  good 
order  while  in  use. 

Camel's  hair  brush,  about  4 inches  wide,  for  applying  etch- 
ing solution  to  zinc  plates. 

Damping  cloth,  for  moistening  the  stone  or  plate  after 
each  impression.  This  is  best  made  from  old  linen,  sheet- 
ing, &c.,  and  should  be  soft  and  free  from  fluff  when  wetted. 

It  is  folded  so  as  to  form  a pad  rather  larger  than  the  hand. 
In  India  we  use  a soft,  thin,  country-made,  cotton  cloth. 

Squeegee,  made  of  a slip  of  vulcanised  .india-rubber,  set 
in  a wooden  handle'  is  recommended  by  Richmond  for  re- 
moving moisture  from  stones  or  plates. 

Blotting  paper. 


326 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  25,  1883. 


Transfer  aud  re-transfer  papers,  for  additions  and  re- 
transfers. 

Thin  proof  paper , for  taking  the  first-proof  impressions. 

Plate  paper , for  fine  printing,  and  making  a damping- 
book. 

Printing  papers,  thick  and  thin,  of  various  kinds,  accord- 
ing to  the  nature  and  size  of  the  work. 

Lithographic  writing  ink,  pens,  brushes,  erasers,  drawing 
materials,  and  instruments,  will  be  required  for  corrections. 

Printing  ink,  black  or  coloured  as  required  (see  below). 

Re-transfer  ink,  for  inking-in  photo-transfer  prints,  and 
making  transfers  from  plate  or  stone.  Ordinary  printing- 
ink  for  letter-press,  which  contains  soap,  is  sometimes  suit- 
able for  this  purpose. 

Lithographic  varnish,  thick,  middle,  and  thin,  for  prepar- 
ing or  thinning  printing-ink  (see  below). 

Gum-arabic,  for  “ gumming,”  i.c.,  preparing  the  stone 
for  printing  (see  below). 


Glycerine  is  a useful  addition  to  the  damping  water  in 
hot  weather. 

Nutgalls  and  phosphoric  acids,  added  to  the  etching  solu- 
I tion  for  zinc  printing. 

Turpentine,  for  washing  off  transfer  ink,  thinning  trans- 
fer ink  ; cleaning  rollers,  inking  slabs,  &c.,  &c. 

Muriatic  aud  sulphuric  acids,  for  cleaning  zinc  plates. 

Nitric  acid,  for  etching,  preparing  zinc  plates  for  correc- 
tion, &c. 

Olive  oil  is  useful  sometimes  for  thinning  ink,  and  work- 
ing up  a weak  subject.  It  may  also  be  mixed  with  the 
turpentine  for  washing  off  transfer  ink. 

Lubricating  oil,  for  oiling  presses,  &c. 

Tallow  aud  blacklead,  for  preparing  tympan  leathers. 

The  only  items  that  require  particular  notice  are  tho 
press,  rollers,  printing  ink,  gum,  and  papers. 

Press. — The  form  of  press  generally  used  in  England  is 
shown  in  the  figure,  and  consists  of  the  following  part6 : 


A.  A,  A.  Side  framings  held  together  by 

B.  B.  Cross-frames,  and 

C.  The  cross-head,  through  which  passes 

D.  The  pressure  screw,  attached  to 

E.  The  scraper  box. 

F.  The  tympan  frame,  hinged  to 

G.  The  bed,  or  carriage,  which  supports  the  stone,  and 
runs  in  grooves  on  the  side  framings.  In  some  forms  of 
press  the  bed  runt  upon 

H.  Friction  rollers. 

I.  The  cylinder  spindle,  to  which  is  attached 

J.  The  handle,  of  which  there  are  two  in  large  presses. 

K.  The  lever  and  handle  attached  to  a shaft,  carrying  at 
each  end  an  eccentric  or  earn,  by  which  tho  cylinder  is 
raised,  and  the  bed  pressed  closely  up  against  the  scraper, 
the  amount  of  pressure  being  regulated  by  the  pressure 
screw,  G 

Th e Tympan,  or  outer  covering  of  the  press  bed  and  stone, 
serves  to  protect  the  paper  from  the  direct  actiou  of  the 
scraper,  and  is  usually  made  of  fine  calfskin  leather,  pre- 
pared and  rolled  specially  for  this  purpose,  so  as  to  be  soft, 
and  of  fairly  uniform  thickness.  Thin  sheets  of  zinc  (or, 
better,  brass)  are  also  used  for  this  purpose. 

Leather  tympans  are  prepared  by  rubbing  them  over  on 
the  side  where  the  scraper  comes  with  a little  gum  water, 
then  dusting  over  blacklead,  and  when  dry  rubbing  tallow 
or  lard  well  in  till  the  ooating  is  thoroughly  smooth. 


Metal  tympans  need  only  be  oiled  from  time  to  time,  and 
when  using  them  the  scraper  should  be  covered  with  a piece 
of  leather  stretched  on  to  it  from  end  to  end. 

New  leather  tympans  must  be  passed  a few  times  through 
the  press,  over  a full-sized  stone,  and  the  slack  caused  by 
stretching,  tightened  up  each  time  with  the  screws  at  the 
end  of  the  tympan  frame,  till  it  works  through  without  any 
further  stretching. 

(To  be  continued.) 


ON  TRANSPARENCIES  BY  THE  CARBON  PROCESS. 

BY  EDWARD  BRIGHT.MAN.* 

The  production  of  lantern  slides  and  other  transparencies  by  the 
carbon  process  is  one  of  the  most  interesting  and,  at  the  same 
time,  the  most  neglected  branches  of  photography.  This  neglect 
certainly  does  not  arise  from  any  defects  or  want  of  excellence  in 
the  results  obtainable  by  this  process,  for  good  transparencies  in 
carbon  are  certainly  superior  to  those  produced  by  any  other 
process,  with  the  single  exception  of  those  on  albumen.  The 
fine  transparencies  by  Ferrier  on  albumen  are  certainly  un- 
surpassed, but  the  difficulties  and  complications,  together  with 
the  extreme  care  necessary  in  working  the  albumen  process,  are 
such  as  to  prevent  it  ever  obtaining  general  popularity  : on  the 
other  hand,  the  carbon  process  by  single  transfer  is  so  exceedingly 

• llcad  before  the  Bristol  and  West  of  England  Amateur  Photographic 
Association. 


Mat  25,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


327 


simple  that  it  has  always  been  a matter  of  surprise  to  myself 
tha  it  is  not  more  widely  practised. 

There  appears  to  be  a widespread  and  general  opinion  that  the 
carbon  process  is  troublesome  and  complicated,  arising,  I think, 
from  the  fact  that  in  its  early  days  the  process  as  intro- 
duced and  first  worked  by  Mr.  J.  W.  Swan,  of  Newcastle,  was 
somewhat  difficult,  complicated,  and  troublesome,  and  needing 
screw  presses,  rollers,  and  other  apparatus  not  usually  found  in 
the  kit  of  photographic  amateurs. 

In  order  to  show  the  difference  between  the  complications  of 
the  past  and  the  simplicity  of  the  present  process,  I cannot  do 
better  than  give  a brief  history  of  carbon  printing  from  its 
infancy  down  to  the  present  time,  showing  the  difficulties  first 
encountered  in  working  the  process,  and  the  gradual  steps  by 
which  it  has  arrived  at  its  present  perfection  and  simplicity. 

In  the  year  1838  Mongo  Ponton  observed  that  a sheet  of 
paper  soaked  in  a solution  of  bichromate  of  potassium  turned 
brown  when  exposed  to  the  action  of  sunlight,  and  that  paper 
so  prepared,  when  exposed  to  the  sun’s  rays  under  an  engraving, 
yielded  a reversed  or  negative  copy  of  the  engraving ; and 
further,  that  this  copy  could  be  fixed  by  simple  immersion  in 
water  till  the  unaltered  or  soluble  portion  of  the  chromate  was 
dissolved  out. 

Becquerel  in  1840  discovered  that  the  action  of  light  on  the 
prepared  paper  was  due  to  the  presence  of  size  used  in  the 
manufacture  or  dressing  of  the  paper  ; he  also  obtained  purple 
impressions  by  coating  paper  with  starch  and  bichromate  of 
potasssium,  and  subsequently  subjecting  the  image  to  the  action 
of  a solution  of  iodine,  the  iodine  combining  with  the  starch, 
and  giving  an  impression  in  the  well-known  purplish  blue  colour 
characteristic  of  the  combination  of  starch  and  iodine  ; this 
colour  is,  however,  so  extremely  fugitive  that  pictures  so  pro- 
duced would  necessarily  fade  in  a very  short  time,  and  thus  be 
of  no  practical  value. 

Fox  Talbot,  in  his  researches,  discovered  that  mixtures  of 
bichromate  of  potassium  and  gelatine  were  rendered  insoluble 
by  exposure  to  light.  He  coated  copper  plates  with  a mixture  of 
gelatine  and  bichromate  of  potassium,  and,  after  drying,  exposed 
them  under  a positive  ; the  parts  shielded  from  light  remained 
soluble,  and  the  unprotected  parts  became  insoluble.  After 
washing  away  the  soluble  portions  of  the  film,  the  plates  were 
dried,  and  the  image  etched  or  eaten  in  with  a solution  of 
perchloride  of  iron.  In  this  discovery  may  be  said  to  lie  the 
germ  of  all  the  photo-engraving  processes. 

The  credit  of  having  discovered  the  groundwork  of  photo- 
lithography is  due  to  Poitevin,  a French  chemist.  He  coated 
paper  with  gelatine,  albumen,  and  bichromate  of  potassium,  and, 
after  drying,  exposed  to  sunlight  under  a negative,  and  then 
applied  ordinary  printers’  ink  to  the  surface,  which  adhered  only 
to  the  insoluble  parts,  and,  after  washing  in  water,  a positive 
impression  was  the  result. 

Poitevin  also  appears  to  have  suggested  that  which  is  the  basis 
of  the  carbon  process  proper,  which  consists  in  adding  finely- 
powdered  carbon  or  other  colouring  matter  to  a mixture  of 
gelatine  and  bichromate  of  potass,  and  applying  to  paper,  which, 
after  exposure  to  light,  is  washed  with  warm  water ; the 
unaltered  gelatine  dissolves  out  in  the  water,  and  the  portion 
acted  upon  by  light,  being  insoluble,  remains  on  the  paper, 
forming  the  picture. 

Poiteviu’s  suggested  process  appears  to  have  been  worked  by 
Pouncy  and  Sutton  ; but  all  the  results  were  unsatisfactory, 
in  consequence  of  the  impossibility  of  obtaining  half-tones. 
Subjects  in  stipple,  or  in  line,  as  engravings,  were  perfectly 
rendered  ; but  photographs  proper,  with  gradation  and  half- 
tone, could  not  be  satisfactorily  produced.  The  Abbe  de 
Laborde,  and  Blair,  explained  the  cause  of  these  unsatisfactory 
results.  They  showed  that  tho  sensitive  film  first  became 
insoluble  on  the  surface  exposed  to  light,  and  the  portions 
partially  acted  upon,  and  forming  the  half-tones  of  the  picture, 
rested  upon  a soluble  substratum,  which,  being  removed  in  the 
washing,  caused  the  half-tones  to  be  undermined,  and  thus, 
losing  their  hold  on  the  paper,  would  be  carried  away. 

This  can,  I think,  be  more  clearly  shown  by  means  of  a 


diagram.  Let  1 represent  the  paper,  2 the  gelatine  film,  the 
upper  dark  portion  of  which  has  become  insoluble  by  tho  action 


of  light,  which  penetrates  to  a greater  depth  in  those  parts  where 
the  transparency  of  the  negative  has  been  the  greatest,  as  at 
A A,  forming  the  shadows,  and  to  a lesser  depth  in  the  other 
portions  forming  the  half  tones.  Now  it  is  evident  that  the 
unaltered  gelatine,  B B,  will  be  washed  away  in  development,  and 
the  half  tones  above,  being  unsupported  by  the  paper,  will  be 
more  or  less  carried  away  during  the  washing. 

It  would  naturally  suggest  itself  that  a way  out  of  this 
difficulty  would  be  to  print  from  the  back  of  the  paper ; thus, 
getting  the  half  tones  in  actual  contact  with  the  paper,  they 
could  not  be  undermined  and  carried  away  in  the  washing. 
In  practice,  however,  several  difficulties  occur  which  render 
printing  from  the  back  of  the  paper  objectionable : first,  a 
reversed  image  is  the  result ; secondly,  the  grain  or  texture  of  the 
paper  and  its  defects  are  reproduced  in  the  print ; and  thirdly, 
the  yellow  colour  imparted  to  the  paper  by  the  bichromate 
solution  renders  the  printing  very  slow,  and  necessitates  a very 
prolonged  exposure  to  produce  a print ; this  yellow  tint  eventually 
darkens  to  a brown,  and  prevents  further  action  of  the  light,  so 
that  even  with  the  longest  exposure,  deep  shadows  and  force 
are  not  obtainable. 

The  obvious  way  out  of  these  difficulties  would  be  to  print 
from  the  front,  and  attach  the  film  to  a temporary  support,  and 
then  dissolve  the  unaltered  gelatine  from  the  back.  Fargier,  a 
Frenchman,  patented  a process  for  so  doing  in  1860.  The  ex- 
posed film  was  coated  with  a thick  collodion,  dried,  and  then 
immersed  in  warm  water ; the  gelatine  at  the  back  dissolved, 
the  paper  becoming  detached,  and  the  pigment  washed  away  in 
those  portions  unacted  upon  hy  light,  leaving  the  positive  image 
supported  upon  the  film  of  collodion,  which  was  then  re-trans- 
ferred to  a piece  of  paper.  This  process  was,  however,  tedious 
and  uncertain,  owing  to  the  difficulty  of  manipnlating  the  deli- 
cate film  of  collodion.  Any  wet  plate  worker  who  has  had  the 
misfortune  of  getting  a collodion  negative  detached  from  the 
glass  in  washing  will  readily  understand  the  difficulty  en- 
countered, especially  when  we  take  into  consideration  the  pro- 
longed washing  in  warm  water  necessary  for  the  proper  develop- 
ment of  the  picture. 

The  first  really  practical  and  successful  carbon  process  was 
worked  by  Mr.  Swan,  of  Newcastle.  He  introduced  the  material, 
now  generally  known  as  carbon  tissue,  by  the  aid  of  machinery. 
Bands  of  paper  were  coated  with  a compound  of  gelatine,  sugar, 
and  colouring  matter ; made  sensitive,  either  at  the  time  of 
preparation  or  afterwards,  by  means  of  bichromate  of  potass 
and  ammonia.  The  sensitive  tissue  was  exposed  as  usual  under 
a negative,  and  was  then  passed  through  rollers,  and  stuck,  face 
down,  by  means  of  a solution  of  india-rubber,  to  a sheet  of  paper, 
either  as  a temporary  or  permanent  support.  Then,  by  immer- 
sion in  warm  water,  the  original  paper  backing  came  away,  and 
the  image  developed  by  the  continued  action  of  the  warm  water. 
If  left  cemented  to  the  paper  by  the  india-rubber,  it  constituted 
what  is  known  as  a carbon  picture  by  the  single  transfer  process. 

The  picture  thus  obtained  would  necessarily  be  a reversed  one, 
a second  transfer,  or  what  is  known  as  the  double  transfer 
process,  being  necessary  to  obtain  a re-reversal  of  the  image  ; 
for  this  purpose  the  picture  was  again  stuck  face  down  upon  a 
second  sheet  of  paper  by  means  of  gelatine,  and  the  temporary 
support  to  which  it  was  previously  attached  by  india-rubber 
was  then  removed  by  means  of  benzole  or  other  india-rubber 
solvent,  leaving  the  picture  permanently  attached  to  paper  by 
the  gelatine,  which  was  subsequently  rendered  insoluble  by  the 
action  of  alum.  The  pictures  thus  produced  left  nothing  to  be 
desired  as  far  as  the  results  obtained ; but  the  use  of  india- 
rubber  solutions,  and  the  dissolving  away  of  the  temporary 

upport  by  means  of  benzole,  was  both  troublesome  and  dis- 
agreeable, in  consequence  of  the  noxious  fumes  of  the  benzole 
or  other  hydro-carbon  used  as  a solvent. 

The  next  step  in  advance  was  made  by  Johnson,  who  discovered 
the  fact  that  carbon  tissue  soaked  for  a short  time  in  water  will, 
without  the  use  of  any  adhesive  medium,  adhere  to  any  non- 
porous  or  waterproof  surface  such  as  glass,  waxed  or  water- 
proof paper,  and  sheet  metal.  This  discovery  vastly  simplified  the 
carbon  process,  without  in  any  way  sacrificing  the  excellence  of 
the  results  obtainable  by  Swan’s  more  complicated  method  of 
working. 

In  practice  the  exposed  tissue  is  damped  in  water  and  made 
to  adhere  to  the  glass  or  other  surface  by  slight  pressure  ; under 
the  action  of  warm  water  the  gelatine  is  softened,  the  paper  is 
detatched,  and  the  unaltered  gelatine  removed  by  continued 
washing  in  warm  water  ; the  portion  of  the  gelatine  acted  upon 
by  light,  being  insoluble,  remains  firmly  adhering  to  the  glass  or 


328 


THE  PHOTOGRAPHIC  NEWS. 


Mir  25,  1883. 


other  surface,  forming  the  picture.  The  image  is  necessarily  a 
reversed  one,  but  if  on  glass  is  of  course  corrected  by  viewing 
the  picture  through  the  glass,  and  as  such  is  a transparency  by 
the  single  transfer  process.  I will  now  give  a practical  demon- 
stration of  the  method  of  working  by  transferring  to  glass  and 
developing  a few  transparencies,  and  at  our  next  meeting  pro- 
pose to  give  full  details  of  both  the  single  and  double  transfer 
processes. 


At  the  lust  meeting  of  the  Astronomical  Society, 
Hr.  Schuster  gave  an  account  of  his  observations  of  the 
total  solar  eclipse  of  May,  1882.  The  plates  employed 
were  prepared  by  Captain  Abney,  and  were  sensitive  in 
the  ultra-red  as  well  as  in  the  ultra-violet  region.  Then 
photographs  of  the  corona  were  obtained,  proving  that  the 
rays  of  the  corona  are  partially  transparent,  and  could  be 
traced  through  one  another. 


“ If  1 were  to  photograph  a set  of  coloured  ribbons  by 
the  two  methods,  wet  and  dry,  what  difference  should  I 
observe  ?"  asked  a student.  “No  difference  at  all,”  was 
the  reply,  “ except  in  the  time  of  exposure ; but  why  do 
you  ask  ? ” “ It  is  an  examination  question,”  said  the  first 
speaker.  “ That  alters  the  case,”  we  said ; “ you  must 
say  that  the  gelatino-broraide  plate  will  be  more  sensitive 
to  the  orange,  yellow,  and  the  green  rays,  than  the 
collodion  plate.” 


Examination  photography  is  something  like  examination 
chemistry.  “ Cau  you  demonstrate  that  an  increase  of 
weight  always  attends  combustion?”  was  asked  at  Ken- 
sington recently.  The  student  responded  : “ Certainly 
noc,  as  the  products  of  combustion  always  weigh  precisely 
the  same  as  the  bodies  entering  into  combination.”  The 
examiner  frowned  slightly  for  an  instant;  the  frown 
relaxed  into  a smile,  and  he  noted  down  full  marks. 


The  highly  complex  chemical  equations  with  which 
some  photographic  writers  delight  to  garnish  their  papers 
do  not  possess  very  much  interest  for  the  general  reader, 
even  assuming  the  equations  to  be  correct ; but  ordinarily 
the  so-called  equations  are  such  as  might  occasion  a 
smile  to  appear  on  the  face  of  a chemist. 


Mr.  Philipps,  of  Shooter's  Hill,  an  ardent  amateur,  has 
shown  us  a characteristic  picture  of  “The  Bull,”  the  old 
hostelry  now  no  more,  that  used  to  occupy  a position  on 
the  very  top  of  the  hill  over  which  travellers  passed  for 
generations,  along  the  old  Dover  Road,  on  their  way  to 
the  Continent.  Lawrence  Sterne  posted  by  here  on  his 
“ Sentimental  Journey,”  and  Charles  Uickens  began  his 
“Tale  of  Two  Cities”  at  the  foot  of  the  historical  mound. 
This  connection  with  Dickens  reminds  us  that  other  relics 
of  the  great  novelist  are  fast  fading  away,  and  unless  com- 
pelled to  leave  their  shadows  behind  them — on  a sensitive 
plate— we  shall  soon  be  without  many  of  the  interesting 
illustrations  that  have  euhauced  the  writings  of  the  English 
humourist. 


Why  should  not  a band  of  amateurs  take  upon  them- 
selves the  task  of  making  photographic  sketches  of  the 
spots  made  dear  to  us  by  Charles  Dickens?  If  the  under- 
taking is  not  within  the  scope  of  any  existing  club  or 
society,  it  would  be  easy  to  form  an  association  of  gentle- 
men round  and  about  the  Home  Counties,  ready  aud  willing 
to  perform  the  duty.  A score  of  active  men,  each  con- 
tributing five  pictures  apiece,  would  make  up  between  them 
a goodly  volume  illustrative  of  Dickens’  works.  All  that 
is  necessary  is  to  form  a small  executive  committee  to  decide 
upon  the  size  of  the  plates,  and,  if  need  be,  issue  instruc- 
tions as  to  the  objects  to  be  photographed,  to  make  a 
selection  of  the  pictures,  and  to  effect  exchanges.  If  care 
aud  good  taste  were  exercised  in  securing  the  pictures,  the 
result  indeed  might  be  a valuable  one  from  a commercial 
point  of  view. 

Some  of  the  photographs  would  be  easily  determined. 
“The  Angel  at  Bury,”  where  Sam  Weller  interviewed 
Job  in  his  mulberry  suit ; “ The  White  Ilorse  at  Ipswich,” 
where  Mr.  Pickwick  had  his  adventure  with  the  lady  iu 
yellow  curl  papers;  “The  Bull  at  Rochester,”  where  Mr. 
Winkle  and  Alfred  Jingle  attended  the  ball ; “ The  Leather 
Bottle  at  Cobham,”  where  Mr.  Tupman  retired  after  his 
love  adventure, — here  are  a few  illustrations  from  Pick- 
wick that  would  be  well  worth  some  trouble  to  secure. 
“ The  Saracen’s  Head”  has  disappeared,  it  is  true,  and  Snow 
Hill,  too,  upon  which  it  stood ; while  the  “ George  and 
Vulture,”  iu  Lombard  Street,  is  no  longer  the  “ tavern  ” of 
Mr.  Pickwick’s  knowledge ; but  Perker’s  office  in  Gray’s 
Inu,  and  Lant  Street,  Borough,  where  Bob  Sawyer  dwelt, 
are  still  to  be  found  by  any  painstakiug  explorer,  and 
would  furnish,  with  many  other  spots,  interesting  subjects 
to  the  amateur  photographer. 


Mr.  R.  Offord,  of  Maidenhead,  sends  us  a charming 
specimen  of  the  Mignon  card.  The  portrait  is  printed 
within  an  elegant  diamoud-shaped  space,  with  a slightly 
tinted  grouud ; this  ground  has  been  made  rugged  by 
passing  the  mounted  picture  through  the  rolling-press  iu 
contact  with  a piece  of  sand-paper,  having  a diamond 
opening,  after  the  manner  recently  described  iu  these 
columns.  The  effect  of  the  little  picture  is  not  only 
pleasing,  but  decidedly  novel. 


The  very  latest  novelty  in  photography  is  a new  method 
of  exhibiting  large  pictures ; twelve  by  ten  is  the  size  of 
those  which  have  come  under  our  notice.  The  photo- 
graphs are  framed  iu  plush  borders  of  the  usual  aesthetic 
decayed  moss  tint,  and  manufactured  in  such  a way  as  to 
allow  two  small  silk  curtains  to  be  stretched  each  side  from 
the  top  to  the  bottom  of  the  picture.  The  curtains,  which 
slide  backwards  and’  forwards,  can  be  opened  either  to 
allow  only  the  face  to  be  seen,  or,  if  the  spectator  so  wishes 
it,  the  whole  of  the  picture.  We  do  not  know  that,  artisti- 
cally, anything  is  gained  by  this  method  ; in  fact,  it  does 
not  amount  to  much  more  than  a conceit,  but,  if  it  takes 
}he  public  fancy,  no  harm  will  be  done.  Some  of  the  West 
End  dealers  are  at  auyrate  trying  to  make  the  curtained 
pictures  fashionable. 


Mat  25,  1883. ) 


THE  PHOTOGRAPHIC  NEWS. 


329 


Mrs.  Carlyle’s  letters  abound  iu  interesting  preferences 
to  photography.  “ Blessed  be  the  inventor  of  photo- 
graphy,” she  says,  writiug  in  1859,  the  time  of  the  glass 
“ positive.”  “ I set  him  above  even  the  inventor  of 
chloroform  ! It  has  given  more  positive  pleasure  to  poor 
suffering  humanity  than  anything  that  has  ‘ cast  up  ’ in  my 
time,  or  is  like  to  — this  art,  by  which  even  the  ‘ poor  ’ can 
possess  themselves  of  tolerable  likenesses  of  their  absent 
dear  oue3.”  Six  years  later,  she  says  of  a photograph  of  a 
middle-aged  lady : ;t  Photography  is  apt  to  be  cruel  to 
women  out  of  their  teens,”  a criticism  which  is  perfectly 
true  when  the  lady  happens  to  be,  as  she  was,  in  this  case, 
past  middle  age,  and  unmarried.  Amusing  and  shrewd 
are  her  remarks  concerning  the  exhibition  in  shop- 
windows  of  her  own  photograph.  “ But  the  greatest 
testimony  to  your  fame  seems  to  mo  to  be  the  fact  of  my 
photograph — the  whole  three,  two  of  them  very  ugly — 
stuck  up  in  Macmichael’s  window.  Did  you  ever  hear 
anything  so  preposterous  in  you  life  ? Aud  what  imperti- 
nence on  the  part  of . ! He  must  have  sent  my  three 

along  with  your  nine  to  the  wholesale  man  in  Soho 
Square  without  leave  asked.  But  it  proves  the  interest  or 
curiosity  you  excite ; for  being  neither  a ‘ distinguished 
authoress,’  nor  a ‘ celebrated  murderess,’  nor  an  actress, 
nor  a * Skittles  ’ (the  four  classes  of  women  promoted  to 
the  shop-windows),  it  can  only  be  as  Mrs.  Carlyle  that 
they  offer  me  for  sale.” 


Professor  Holden,  in  his  “ Monograph  ou  the  Central 
Parts  of  the  Nebula  of  Orion,”  just  published  as  an 
appendix  to  the  “ Washington  Observations  ” for  1878, 
makes  a suggestive  observation  relative  to  the  respective 
value  of  photographs  and  drawings  of  astral  phenomena. 
While  admitting  it  is  too  soon  to  give  a final  discussion  of 
the  photographic  results  attained  by  Dr.  Draper,  he  points 
out  that,  on  comparing  Dr.  Draper’s  photograph  of  the 
nebula  with  Bond's  drawing — which  is  the  most  accurate 
representation  of  a single  celestial  object  which  has  been 
made  by  the  old  methods — the  photograph  will  be  found 
for  nearly  every  purpose  incomparably  better  than  the 
drawing.  Yet  the  photograph  was  made  in  137  minutes, 
while  the  labour  of  observing  for  the  drawing  extended 
over  years. 

In  the  Illustrated  London  News  we  find  sketches  taken 
at  the  opening  of  the  Fisheries  Exhibition.  Among  them 
we  find  a drawing  of  a camera  of  novel  design,  manned  by 
two  photographers.  One  is  busily  engaged  under  the 
focussing  screen,  while  the  other  appears  to  be  timing  the 
exposure  by  his  watch.  Every  artist  would  do  well  to 
learn  a little  about  photography. 

The  statement  recently  made  by  a contemporary  that 
homing  pigeons  may  be  trained  to  fly  with  absolute  cer- 
tainty, seeing  that  they  carried  into  Baris  no  less  than 
fifty  thousand  photographic  despatches  during* the  siege, 
requires  some  little  qualification.  It  is  no  doubt  true 
that  the  number  of  messages  delivered  by  the  winged 
messengers  amounted  to  this  large  number ; but  the 
wonderful  result  was  due  rather  to  the  indefatigable  exer- 


tions of  M.  Dagron  and  his  officials,  who  managed  the  aeria  j 
post,  than  to  the  infallibility  of  tbe  pigeons.  If  we  turn 
to  M.  Dagron’s  own  account— for  it  is  to  him  that  the  pro- 
duction of  the  micro-photographic  films  was  due — we  find 
that  “ with  the  exception  of  a few  of  the  pellicles,  which 
were  not  repeated  more  than  six  times,  from  the  fact  that 
they  arrived  aud  were  acknowledged  by  balloon  promptly, 
the  greater  number  of  the  dispatches  were  multiplied  as 
many  as  twenty  times,  and  some  even  were  repeated 
thirty-five  and  thirty-eight  times.” 


So  that  in  order  to  get  the  50,000  messages  into  Baris, 
as  a rule,  twenty  photographic  copies  of  it  were  sent  off  by 
pigeon,  from  which  it  may  be  inferred  that,  generally 
speaking,  only  one  messenger  in  a score  Hew  to  its  destina- 
tion. We  are  far  from  wishing  to  underrate  the  mar- 
vellous results  of  la  poste  oerienne,  but  it  was  only  by 
energetically  sending  off  film  after  film  in  this  way  that 
success  was  secured ; and,  indeed,  the  fifty  thousand 
messages  delivered  scarcely  represent  half  those  sent  off, 
since  the  total  of  these  was  115,000.  Still,  so  well  was  the 
photography  done,  and  so  light  were  the  films,  that,  not- 
withstanding the  fact  that  every  message  was  readable  when 
projected  from  a lautern,  M.  Dagron  tells  us  that  the  total 
number  of  messages  upon  film,  made  during  the  investment 
of  Baris,  “ only  weighed  in  all  two  grammes,  and  one  pigeon 
could  have  easily  carried  the  lot  in  a quill  tube  attached 
to  its  tail.” 


It  is  sad  when  your  photograph  does  not  represent  you 
as  what  you  imagine  you  are  or  ought  to  be.  His  Majesty 
of  Bavaria  is  iu  this  predicament  just  now.  He  is  getting 
very  stout,  and  his  recent  photographs  have  revealed  to 
him  the  painful  fact.  So  much  has  he  taken  his  increasing 
rotundity  to  heart,  that  all  bis  last  taken  photographs  have 
been  extensively  retouched  to  conceal  his  tendency  to 
corpulency. 


King  Louis  is  nothing  if  noteccentric,  and  if  he  goes  ou 
increasing  in  size  we  should  not  be  surprised  at  hearing  he 
had  adopted  the  device  of  the  New  Englander  who  wanted 
to  create  a favourable  impression  by  means  of  his  photo- 
graph. Goiug  with  a lady  into  the  studio  of  a Vermont 
photographer,  he  explained  that  he  had  just  been 
hitched,”  and  that  he  wanted  a picture  of  himself  and 
wife  to  send  to  the  latter’s  friends,  who  were  rather  “ high- 
toned  ’ people  in  the  States.  Just  as  the  arrangements 
were  completed  preparatory  to  exposing  the  plate,  the 
gentleman  took  the  photographer  aside,  and  asked  him  to 
‘‘  stand  in  ” with  the  biide  instead  of  himself.  His  wife’s 
friends  had  never  seen  him,  and  he  felt  pretty  sure  that  if 
he  sent  down  his  own  portrait  they  would  take  him  for  a 
petty  larceny  thief,  and  be  “ dead  agin  ” him.  The  photo- 
grapher, on  the  contrary,  had  the  appearance  of  a solid 
capitalist,  and  was  endowed  with  a pair  of  whiskers  which 
would  be  sure  to  catch  them,  and  create  harmony  in  the 
family  circle.  It  is  to  be  regretted  that  at  this  point  the 
original  chronicler  of  our  story  stops  short,  as  chroniclers 
of  good  stories  generally  do  when  you  want  to  know  what 
comes  next. 


330 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  25,  1883. 


This  reminds  one  of  the  ingenious  device  of  the  Irish 
girl,  who  told  her  forbidden  lover  she  was  longing  to 
possess  his  portrait,  and  intended  to  have  it.  “ But  how 
ifyour  friends  see  it?”  inquired  he.  “ Ah,  but  I'll  tell 
the  artist  not  to  make  it  like  you,  so  they  won’t  know  it.” 


fatfiit  Jntdligttta. 

Application  for  Letters  Patent. 

2495.  John  Imray,  of  28,  Southampton  Buildings,  Chancery 
Lane,  in  the  county  of  Middlesex,  for  an  invention  of  “ Im- 
provements in  the  manufacture  and  treatment  of  photographic 
paper.” — A communication  to  him  from  abroad  by  Charles 
Cros  and  Auguste  Vergeraud,  both  of  Paris,  in  the  republic  of 
France. — Dated  18th  May,  1883. 

Patent  Sealed. 

1608.  Raphael  Hunter  Brandon,  of  1,  Rue  Laffitte,  Paris,  in 
the  republic  of  France,  Engineer  and  Patent  Agent,  for  an  in- 
vention of  “ Improvements  in  the  formation  of  geiatino- bromide 
film  paper  for  photographic  negatives.” — A communication  to 
him  by  Alphonse  Charles  Auguste  Thiebaut,  Photographer,  of 
1,  Rue  Laffitte,  Paris,  France. — Dated  30th  March,  1883. 

Patents  Granted  in  Austria-Hungary. 

J . J.  D.  Hutinet  and  P.  E.  Lamy,  of  Paris,  for  “Obtaining 
photographic  paper  of  chloro- bromide  or  lodo-gelatine.”  —Dated 
22nd  September,  1882. 

J.  Plener,  of  Paris,  for  “ Photographic  emulsions.” — Dated  7th 
September,  1882. 

Specification  Published  during  the  Week. 

467L  C.  P.  Evans,  for  “ Photography.” 

This  invention  consists  in  photographing  the  object  or  person 
direct  on  to  a bust  or  image  composed  of  glass,  china,  earthen- 
ware, or  of  papier-mache  or  similar  substance  prepared  with  a 
white  surface,  by  placing  the  bust  or  image  within  the  camera, 
or  photographing  apparatus,  instead  of  the  negative  plate,  having 
previously  prepared  the  bust  or  image  to  receive  the  photograph. 
The  bust  or  image  is  held  from  the  top  of  the  camera  upon  a 
sliding  cover,  so  that  its  position  can  be  adjusted,  and,  at  the 
same  time,  the  camera  kept  closed,  and  an  adjusting  screw  is 
also  attached  to  the  bust  or  image,  so  as  to  raise  or  lower  it  in 
order  to  set  it  into  the  exact  position  required. — Provisional  Pro- 
tection only. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 


lesson  X.— Burnishing,  Enamelling,  etc. 

In  the  last  lesson  we  mentioned  that  the  object  of  rolling 
is  to  produce  an  even  and  polished  surface  on  the  photo- 
graph. The  burnisher  acts  in  a somewhat  similar  manner 
to  the  hot  rolling  press,  but  in  skilled  hands  it  is  capable 
of  producing  a more  brilliant  surface  and  better  tones. 


Fig.  1. 

The  principle  of  the  burnisher  differs  only  from  the  hot 
rolling  press,  iuasmuch  as  the  print  is  dragged,  by  a 
roughened  roller  over  a highly  polished  aud  hardened  steel 
bar,  which  is  stationary  and  heated,  instead  of  passing 


between  two  polished  steel  rollers,  or  a steel  bed  and  rollers, 
as  in  fig.  1.  Fig.  2 is  a sketch  of  an  ordinary  burnisher. 


Fig.  2. 


To  ensure  success  with  the  burnisher  it  is  necessary  to 
lubricate  the  photograph,  and  there  are  several  ways 
of  doing  this ; perhaps  the  highest  degree  of  polish 
is  obtaiued  with  curd  soap  rubbed  on  in  the  dry  state  by 
means  of  a flannel  pad.  Some  operators  prefer  using  an 
alcoholic  solution  of  soap  made  by  dissolving  sixty  grains 
of  curd  soap  in  a small  quantity  of  water,  adding  methy- 
lated spirit  to  make  twenty  ounces.  Moisten  a tuft  of 
eotton-wool  with  the  soap  spirit,  and  rub  the  surface  of 
the  photograph  on  every  part;  five  minutes  afterwards  it 
may  be  passed  through  the  hot  burnisher,  care  being 
exercised  not  to  scorch  the  photograph,  or  make  a halt 
while  it  is  passing  over  the  heated  bar.  Care  is  also 
necessary  to  prevent  particles  of  dust  entering  between 
the  bar  and  the  photograph,  as  scratches  would  be  pro- 
duced on  the  subsequent  prints  ; should  this  happen,  the 
burnishing  tool  should  be  rubbed  on  an  oil  stone,  with  a 
little  powdered  emery,  finishing  on  an  emery  knifeboard 
to  bring  up  the  polish.  As  many  persons  object  to  using 
soap  in  any  form  on  the  photograph,  they  will  find  a very 
good  substitute  in  wax.  The  following  has  been  lately 
recommended  at  one  of  the  photographic  societies,  and  we 
have  found  that  it  answers  well : — 


Benzoline  spirit  1 pint 

Paraffin  wax 20  grains 

AmoDg  other  modes  of  obtaining  glazed  surfaces  on 
photographs  besides  rolling  and  burnishing,  so-called 
enamelling  must  be  mentioned,  the  finished  result  giving 
a very  fine  glaze,  as  highly  polished  as  a glass  plate.  The 
process  consists  in  placing  the  albumenized  surface  of  a 
photograph,  in  a moist  condition,  in  contact  with  a 
polished  glass  plate  which  has  received  a coating  of 
normal  collodion  and  a somewhat  dilute  solution  of  gela- 
tine ; when  dry  the  print  will  drop  off.  For  the  informa- 
tion of  those  of  our  readers  who  have  never  tried  the 
process  we  will  describe  the  operations: — 

Transparent  gelatine  1 ounce 

Water  8 ounces 

soak  one  hour,  then  add — 

Glycerine  ...  10  drops 

heat  on  a water  bath  until  the  gelatine  is  dissolved,  filter 
while  hot. 

Normal  Collodion. 

l’yroxyline 2 drachms 

Methylated  ether 8 ounces 

Methylated  alcohol  2 „ 

These  proportions  may  be  altered  to  suit  the  cotton  used. 
Mount  the  photographs  by  means  of  gelatine,  as  above,  on 
thin  cardboard ; what  is  known  as  Bristol  board  being 
very  suitable.  When  quite  dry,  touch  out  any  white  spots 
which  may  be  caused  by  dust  during  printing,  or  faults  in 
the  negative,  afterwards  placing  them  in  a dish  of  cold 
water  to  soften  the  board.  This  will  take  place  in  about  ten 
minutes  more  or  less.  The  prints  should  remain  until  quite 


'May  25,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


331 


soft,  as  success  depends  in  a great  measure  on  their  pliability 
at  this  stage.  The  time  that  elapses  while  the  mounted 
prints  are  drying  may  be  occupied  in  preparing  the  plates. 
Patent  plate  free  from  imperfections  should  be  cleaned 
with  dilute  nitric  acid,  well  washed,  and  polished  with 
tripoli,  or  any  of  the  substances  usually  employed  for  plate 
cleaning ; powdered  French  chalk  ( talc)  is  dusted  on  the  sur- 
face, and  removed  with  the  polishing  cloth.  Pass  a camel- 
hair  brush  over  the  plates  to  remove  any  particles  of  dust, 
then  coat  them  with  normal  collodion  in  the  same  manner 
as  coating  a wet  plate  or  varnishing  a negative  ; when  set, 
rear  on  end  to  dry.  A number  of  plates  may  be  coated, 
as  they  will  be  none  the  worse  for  keeping.  We  will  sup- 
pose the  mounted  photographs  have  been  soaked  as  directed, 
and  are  soft ; remove  them  from  the  dish  of  water  to  a clean 
damp  cloth  ; blot  off  the  excess  of  water,  and  leave  them 
in  the  cloth  until  they  are  required  for  the  next  operation. 

The  gelatine  should  be  re -melted  in  a flat  porcelain  dish 
over  a water  bath  ; into  the  solution  immerse  one  of  the 
dry  collodion  plates,  and  one  of  the  photographs  from  the 
damp  cloth.  To  bring  these  two  into  perfect  contact 
requires  a little  skill  and  practice.  From  our  description, 
however,  it  should  not  be  found  at  all  difficult.  With 
the  left  hand  hold  the  plate,  collodion  side  uppermost,  just 
under  the  surface  of  the  solution  ; with  the  right  hand 
lower  the  print  gradually  on  to  the  plate,  commencing  at 
the  bottom  and  working  upwards.  The  top  of  the  print 
should  be  held  outwards,  so  as  to  form  a slight  curve  ; by 


this  means  it  will  be  easy  to  see  the  air-bells  gradually 
pushed  out  as  the  two  surfaces  come  in  contact.  Having 
accomplished  this  satisfactorily,  lay  the  plate  down  on 
the  bench,  and  well  squeegee  the  back  of  the  photograph 
to  remove  any  excess  of  gelatine  and  air  imprisoned  in  the 
paper.  When  all  the  prints  have  been  squeegeed  down  on 
their  respective  plates,  place  them  in  a current  of  dry  air, 
and  leave  them  for  twelve  hours  ; at  the  end  of  that  period 
the  prints  will  probably  have  dropped  off  the  plates;  if 
not,  they  will  come  away  quite  easily  if  the  point  of  a 
penknife  is  passed  round  the  outer  edges  to  give  them  a 
start.  It  is  not  usual  for  photographers  to  deliver  these 
so-called  enamelled  photographs  to  their  clients  in  this 
condition;  they  are  generally  stamped  up  by  an  embossing 
press.  The  margin,  after  being  reduced  to  the  required 
size  (prints  intended  for  enamelling  need  not  be  cut 
until  after  they  leave  the  glass  plate),  is  fastened  with 
glue  to  an  ordinary  thick  card  mount.  When  cabinet  or 
larger  sizes  are  produced,  the  air  space  between  the  em- 
bossing and  the  ordinary  mount  should  be  filled  with 
cotton  wool  padding,  to  prevent  the  centre  falling  in  by 
reason  of  changes  in  the  atmosphere.  It  will  be  seen  that 
the  highest  degree  of  finish  can  be  obtained  by  this 
method.  Pictures  printed  as  cameo  vignettes,  medallions, 
and  cushion-shapes  with  printed-in  margin,  as  described 
in  a former  lesson,  are  particularly  suited  to  this  class  of 
work.  Fig.  3 is  a sketch  of  an  embossing  press.  The 
print  is  adjusted  so  that  when  the  pressure  is  exerted  the 


Fig.  3. 


metal  die  fits  exactly  over  the  mask  line  selected  in 
printing  ; that  is  to  say,  an  oval  used  in  printing  should 
be  of  the  same  dimensions  as  the  die  of  the  embossing 
press.  Do  not  apply  too  much  pressure,  and  immediately 
remove  the  print,  for  unless  the  cardboard  be  of  unusually 
good  quality,  it  will  in  all  probability  burst.  Many  in- 
experienced persons  fall  into  error  iu  this  particular,  and 
throw  the  blame  on  the  press  or  the  cardboard.  To  avoid 
such  failures,  allow  the  print  to  remain  under  less  pres- 
sure for  a longer  period,  say  one  or  two  minutes. 

Before  quitting  the  subject  of  enamelling,  it  will  be  well 
to  give  directions  for  removing  the  white  and  other  spots 
caused  by  dust  in  printing  and  imperfections  in  the  nega- 
tive. Water  colours  may  be  used  for  the  purpose,  pro- 
vided the  medium  cannot  be  easily  removed  by  water. 
Such  a substance  we  have  iu  spike  oil  of  lavender.  For 
white  spots,  mix  India  ink,  Indian  red,  and  neutral  tint 
with  spike  oil  of  lavender  to  the  consistency  of  cream ; 
test  it  for  shade  of  colour  by  touching  out  a white  spot. 
Use  a sable  brush  with  good  point.  Let  the  brush  be 
charged  freely  with  colour,  and  then  worked  nearly  dry  on 
the  palette  ; by  adopting  this  measure,  the  beginner  will 
soon  be  able  to  touch  prints  successfully,  an  achievement 
he  would  not  attain  if  the  brush  were  loaded  with  colour. 
In  the  latter  case,  he  would  take  out  a white  spot,  aud  put 
in  a black  one— a circumstance  sometimes  met  with 
among  professional  spotters.  If  the  colour  is  the  same 
shade  as  the  photograph,  then  proceed  to  remove  all  the 


white  spots,  levelling  them  carefully  into  the  surrounding 
parts.  Dark  spots  may  be  lightened  with  Chinese  or 
zinc  white  and  Indian  red  mixed  with  spike  oil  as  before. 
All  the  working  up  that  is  intended  to  be  put  on  the  print 
should  be  doue  after  mounting,  and  before  soaking  in  the 
vessel  of  cold  water  Another  vehicle  is  sometimes  used  for 
mixing  the  colours,  viz.,  gelatine  containing  a small  pro- 
portion of  chrome  alum  to  render  it  insoluble.  There  are 
other  methods  of  obtaining  enamelled  surfaces,  differing 
from  the  foregoing,  inasmuch  as  the  vehicle  gelatine  is 
dispensed  with  in  one,  and  both  gelatine  and  collodion  in 
another.  In  the  former  case,  the  glass  plate  is  coated  with 
wax  in  one  of  its  solvents  (either  benzoline  spirit,  or 
methylated  ether  will  do),  over  this  the  plate  receives  a 
film  of  plain  collodion  in  which  the  solvents  are  about 
equally  proportioned.  Thus : — 

Fyroxyline  (Hopkin  and  Williams)  \ ounce 
Methylated  alcohol  ...  ...  10  ounces 

„ ether 10  ,, 

Castor  oil 20  drops 

Moisten  the  cotton  with  2 ounces  of  alcohol,  then  add  the 
ether.  Finally  add  the  remaining  8 ounces  of  alcohol 
in  which  the  castor  oil  has  been  previously  dissolved. 
When  set,  it  should  be  washed  in  cold  water  until,  when 
water  is  poured  on,  streaks  and  greasy  lines  have  dis- 
appeared. 

Unmounted  prints  previously  soaked  in  water  are  to  be 


,332 


THE  PHOTOGRAPHIC  NEWS. 


[Mat  25,  1883. 


placed  wet,  in  contact  with  the  plate,  in  the  same  manner 
as  described  above,  water  being  the  vehicle  this  time 
instead  of  gelatine.  Upon  examining  the  front,  no  email 
spots  should  be  visible,  said  spots  being  air-bubbles. 
Cover  the  back  with  two  thickuesses  of  note-paper,  or 
one  of  American  cloth ; squeegee  thoroughly  and  set 
aside  to  dry.  The  other  plan,  which  dispenses  with  both 
collodion  and  gelatine,  has  ooly  been  recently  brought 
under  the  notice  of  one  of  the  photographic  societies,  and 
therefore  may  be  new  to  many  besides  beginners. 

The  glass  plate  is  well  polished  with  tripoli  or  one  of 
the  usual  plate-cleaning  substances.  It  is  then  dusted  all 
over  with  finely-powdered  French  chalk,  the  talc  being 
formed  into  a pad  with  flannel,  which  should  be  used  to 
do  the  polishing  ; the  plate  should  then  be  immersed  in  a 
vessel  of  water.  A well  soaked  print,  placed  in  contact 
with  the  plate  as  previously  described,  will  adhere  so  long 
as  moisture  be  present ; when  dry,  which  will  happen  in 
the  course  of  au  hour  in  a warm  room,  the  print  will  drop 
off.  Prints  treated  with  collodion  alone  may  have  mounts 
attached  to  them  by  means  of  either  starch,  glue,  or  gela- 
tine, by  brushing  the  mountant  od  the  mount  aud  print, 
and  when  rubbed  down  in  contact,  put  under  pressure  for 
an  hour.  But  when  neither  collodion  nor  gelatine  is  used, 
as  in  the  last  method,  the  plate  requires  to  be  coated  with 
some  suitable  substance  on  the  talc,  to  prevent  the  print 
sticking  fast  to  the  glass.  If  it  be  desired  to  attach  a 
mount,  the  alcoholic  soap  solution  used  for  burnishing  will 
be  found  to  answer  the  purpose  effectually,  preventing  the 
mountant  permeating  through  to  the  glass,  or,  rather, 
holding  on  to  it. 


AMERICAN  PHOTOGRAPHY  •‘AS  IT  WAS.” 

BY  W.  M.  ASHMAN. 

Following  in  the  track  of  our  English  editors,  in  their 
efforts  to  make  us  acquainted  with  all  that  is  desirable  for 
us  to  know  concerning  other  people’s  studios,  and  their 
manner  of  conducting  them,  . I find  Brother  Jonathan  has 
commenced  his  series,  and  has  already  reached  the  magnifi- 
cent proportion  of  palaces,  not  studios — oh,  no  ! Probably 
those  of  us  who  went  to  school,  were  taught  that  America  is 
a large  country,  and  those  who  did  not  have  the  opportunity 
may  have  heard  so  since ; but  everybody  does  know  that 
Uncle  Sam  is  a party  of  immense  resource,  and  capable  of 
big  things,  therefore  we  need  not  exhibit  wonder  and 
astonishment  if  the  little  studio  “out  on  the  lot  ”of  yester- 
day has  been  enlarged  to  palatial  proportions  to-day. 

John  Bull  is  dull,  no  doubt,  as  the  Americans  aver,  for 
did  he  not  take  forty  winks  or  more  before  he  could  trust 
himself  to  travel  over  his  railroads  in  a Pullman's  luxuriant 
palace  car  ? But,  being  convinced  that  the  adoption  of  the 
said  luxuriance  is  both  practical  and  profitable,  he  will  not 
fail  to  do  the  thing  thoroughly.  The  question  of  English 
photographers  building  palatial  studios  in  order  to  keep 
level  with  their  American  brethren  seems  less  hopeful,  for 
the  simple  reason  that  English  photographers  are  not 
enterprising,  as  a rule,  and  do  not  care  to  embark  their 
capital  in  a speculation  which  does  not  show  on  the  surface 
a good  return  for  the  outlay.  When  America  exports 
palace  studios  in  the  same  manner  as  she  does  her  palace 
cars,  England  may  wake  up  to  different  views  on  the  sub- 
ject ; and  Mr.  Photographer’s  clients  may  demand  the  new 
order  of  things,  or  depart  for  America  by  the  next  boat  to 
get  photographed.  But,  dear  reader,  let  me  tell  you  that  all 
the  studios  in  America  are  not  palaces;  neither  is  wealth 
so  superabundant  in  that  couutry  as  to  warrant  their  erection. 
No  doubt  we  shall  have  an  opportunity  of  reading  the 
accounts  of  these  fine  studios,  so,  with  the  Editor’s  per- 
mission, I will  relate  how  an  American  studio  might  have 
been  described  a little  while  ago. 

Says  the  Democratic  Star  and  Independent : — “ We  hear 
on  reliable  authority  that  John  S.  A.  Shadowcatcher  and 
Uyru6  S.  Fixodit,  late  of  Paris,  New  York,  and  of  world- 


wide reputation,  have  taken  that  magnificent  one-storey 
frame  building  lately  erected  along  the  City  front,  where 
they  intend — when  the  necessary  alterations  have  been  com- 
pleted— running  the  premises  as  a photographic  gallery. 
We  are  sure  our  citizens  will  patronize  the  new-comers  when 
we  say  that  no  better  picture-makers  can  be  found.  We 
wish  them  success.  As  a guarantee  of  their  stability,  we 
might  add  that  they  are  advertising  in  our  columns,  and 
have  paid  six  months’ subscriptions  in  advance.  Without 
going  into  the  manner  of  construction,  frame  buildings 
are  admirably  suited  for  conversion  into  business  premises  ; 
they  can  be  knocked  about  as  much  as  a dry  goods  packing 
case,  and  yet  be  as  serviceable  as  ever  ; therefore,  to  start  a 
new  photographic  gallery  in  one  of  them  is  not  difficult,  for 
it  only  becomes  necessary  to  knock  away  the  weather-board- 
ing from  the  6ide  or  end,  and  carry  out  a frame  extension 
ad  libitum.  A glazed  window  sash — or  light,  as  it  is  called  by 
American  photographers — measuring  from  ten  to  fifteen  feet 
square,  is  fixed  at  an  angle  of  60  degrees  from  the  perpen- 
dicular, aud  the  favourite  aspect  is  due  north;  the  lower 
portion  of  the  frame- work  or  skylight  does  not  descend  to  the 
floor,  but  usually  terminates  from  eighteen  to  twenty-four 
inches  above  it.” 

Messrs.  Shadowcatcher  and  Fixedit  carried  on  business  in 
this  locality  for  six  months,  during  which  time  they  photo- 
graphed one  Chinaman,  three  coloured  folks,  and  a red 
Indian,  besides  a few  emigrant  farmers  from  the  interior. 
They  occupied  their  spare  time  very  pleasantly,  though. 

Mr.  S.  was  a man  who  had  a passion  for  fishing ; so,  fish 
being  very  plentiful  all  round  the  coasts  of  America,  and 
in  this  case  very  easy  to  get  at,  whenever  the  tide  was 
up,  Mr.  S.  used  to  drop  his  line  through  the  seams  of  the 
floor,  and  haul  up  the  fish.  In  course  of  time  this  inno- 
cent amusement  became  tedious,  and  the  two  renowned 
photographers  thought  it  would  be  a good  idea  to  take  a 
part  of  their  studio  to  the  farmers,  as  the  farmers  were  not 
in  a hurry  to  come  to  them.  With  this  project  in  view, 
the  partners  constructed  a portable  studio,  and,  with  a light 
spring-waggon  and  pair  of  horses,  made  direct  for  the 
prairies,  leaving  the  local  dentist  in  charge  of  the  pre- 
mises, with  instructions  to  officiate  during  their  absence. 
It  is  needless  to  say  that  this  was  too  much  for  the  inhabi- 
tants ; they  could  not  stand  dentistry  and  photography 
combined  under  one  roof,  and  performed  by  the  same  opera- 
tor, too.  The  result  was,  that  no  photographs  were  required. 
In  less  than  a fortnight  from  the  start,  the  partners  were 
doing  a good  stroke  among  the  farmers  some  fifty  miles 
from  home.  Where  money  was  scarce,  live  sheep  and  other 
barter  was  accepted,  until  all  the  nitrate  of  silver  was  used 
up.  To  replenish  his  store,  Mr.  S.  saddled  his  horse  and 
went  shopping,  while  F.  beguiled  the  interval  with  shooting. 
After  an  absence  of  three  weeks,  F.  deemed  it  time  to  go 
shopping  too.  Arrived  at  the  end  of  his  fifty  miles,  he 
found  S.  just  thinking  of  setting  out,  with  some  old  scrap 
silver  he  had  obtained  from  the  local  watch  and  clock 
store,  and  a supply  of  concentrated  nitric  acid,  this  being 
the  nearest  approach  to  nitrate  of  silver  within  a hundred 
and  fifty  miles — so  he  said.  Perhaps  ho  had  been  at  his  old 
game  of  fishing  again,  but  would  not  own  up. 

Twenty-four  hours’  rest,  and  the  silver  dissolved,  saw  a 
fresh  start  in  a drenching  rain.  When  some  fifteen  miles 
on  tho  road,  packages  were  untied,  and  transferred  to 
pockets,  for  the  greater  convenience  of  the  riders,  among 
them  being  a two-pound  bottle  of  concentrated  nitric  acid  ; 
this,  for  safety,  F.  elected  to  carry  in  the  breast  pocket  of 
his  overcoat,  forgetting  for  the  moment  he  was  seated  in  a 
Mexican  saddle;  but  a few  minutes  later  he  suddenly 
remembered  it,  as,  facing  the  storm  of  wind  and  drenching 
rain,  the  two  friends  urged  their  steeds  furiously  over  the 
prairie.  Some  unlucky  chance  caused  the  pommel  of  the 
saddle  and  the  bottom  of  the  nitric  acid  bottle  to  meet  in 
desperate  combat;  fortunately  for  both  horse  and  rider,  tho 
rain  continued  with  unabated  energy,  and  the  pools  of 
water  in  the  road  became  for  once  of  great  service.  In  this 


Mat  25,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


333 


miserable  plight,  Messrs.  Shadowcatcher  and  Fixedit  des- 
pairingly returned  to  town,  the  latter’s  garments  being 
pretty  much  of  an  Indian  pattern,  as  far  83  symmetry  of 
cut.  Perhaps  the  worst  part  was  the  pantaloons  ; all  that 
was  left  of  them  hung  leisurely  down  the  back  of  bis  legs, 
and  the  greatest  comfort  to  him  was  the  knowledge  that  the 
first  store  on  entering  the  town  was  for  the  sale  of  ready- 
made clothing. 


APPARATUS  FOR  PRINTING  BY  THE  BLUE 
PROCESS. 

BY  CHANNIXO  WHITAKER.* 

An  Efficient  Blue  Process  Frame , for  Printing  from  Large 
Negatives,  or  for  Printing  Simultaneously  from  many  Small 
Ones. — In  order  to  be  efficient,  such  a frame  must  be  capable  of 
keeping  the  sensitized  paper  everywhere  tightly  pressed  against 
the  negative.  Again,  such  a frame,  being  la>ge,  is  necessarily 
somewhat  heavy.  It  should  be  so  mounted  that  it  can  be 
handled  with  ease  ; and,  in  order  that  it  may  print  quickly,  it 
should  be  so  arranged  that  it  can  be  turned  without  delay,  at  any 
time,  into  a position  that  is  square  with  the  direction  of  the  sun’s 
rays. 

Undoubtedly,  if  a sufficiently  thick  plate  of  glass  should  be  used, 
the  ordinary  photographic  printing-frames  would  answer  the  pur- 
pose, whatever  the  size  ; but  very  thick  plate  glass  is  both  heavy 
and  expensive.  Commercial  plate  glass  varies  in  thickness  from 
one-fourth  to  three-eighths  of  an  inch,  and  the  thicker  plates  are 
rather  rare.  A large  plate  of  it  is  easily  broken  by  a slight  uni- 
formly distributed  pressure.  But  the  pressure  that  is  required  for 
the  blue  process  printing,  although  slight,  is  much  greater  than  is 
used  in  the  ordinary  photographic  process.  For  the  sensitized 
paper  that  is  used  in  the  blue  process  printing  is,  comparatively, 
very  thick  and  stiff,  and  it  may  cockle  more  or  less  ; while  the 
paper  that  is  used  in  ordinary  photography  is  thin  and  dees  not 
cockle.  Now,  it  is  easy  to  see  that  a pressure  severe  enough  to 
flatten  all  cock’es  must  be  had  at  every  part  of  the  sensitized 
paper,  and  that,  if  the  eompara'ively  thin,  inexpensive,  light 
weight,  commercial  plate  glass  is  to  be  used,  it  is  desirable  to 
have  a pressure  nowhere  much  greater  than  is  needed  for  that 
purpose,  lest  the  fragile  glass  should  be  fractured  by  it.  In  each 
of  my  large  frames  1 use  the  commercial  plate  glass;  instead  of 
the  cushion  of  cotton  flannel,  or  of  flannel,  I use  a cushion  filled 
with  air  of  sufficiently  high  pressure  to  flatten  all  cockles,  and 
to  press  all  parts  of  the  sensitized  paper  closely  against  the  nega- 
tive ; and  instead  of  the  liiuged  back-board  I use  a back-board 
made  in  one  piece  and  clamped  to  the  frame  of  the  glass  at  its 
edges.  Connected  with  the  cushion  is  a pressure  gauge,  and 
a tube  with  a cock,  for  charging  the  cushion  with  air  from  the 
lungs.  Experience  shows  what  pressure  is  necessary  with  any 
given  paper,  and  the  gauge  enables  one  to  know  that  the  pres- 
sure is  neither  deficient  nor  in  excess  of  that  which  is  safe  for 
the  glass. 

The  Construction  of  the  Air-Cushion. — The  expense  of  such 


an  air-cushion  seemed  at  first  likely  to  prevent  its  being  used  ; 
but  a method  of  construction  suggested  itself,  the  expense  of 

• Continued  from  page  285. 


which  proved  to  be  very  slight.  The  wooden  back-board,  as 
constructed,  is  made  in  one  piece  containing  no  wide  cracks. 
It  has  laid  upon  it  some  thick  brown  Manilla  paper,  the  upper 
surface  of  which  has  been  previously  shellacked  to  make  it  en- 
tirely air-tight.  Upon  this  shellacked  surface  is  laid  a single 
thickness  of  thin  paper  of  any  kind ; even  newspaper  will  answer. 
Its  object  is  simply  to  prevent  the  sheet  rubber,  which  forms  the 


STRAP  IRON  — 
RUBBER  GASKET 


-■‘-COTTON  FLANNEL 
(THINNEST  PURE 
/IRUBBER 
«^THIN  PAPER 
V/SHELLACKED 
MANILLA  PAPER 


^ j ; 

SECTION  AT  CC. 

top  of  the  air-cushion,  from  sticking  to  the  shellacked  paper. 
The  heat  of  the  sun  is  often  sufficient  to  bring  the  shellac  to  a 
sticky  state.  It  would  probably  answer  as  well  to  shellac  the 
under  side  of  the  paper,  and  to  use  but  one  sheet,  but  I have  not 
tried  this  plan.  Around  the  periphery  of  the  pad  there  is  laid 
a piece  of  rubber  gasket  about  one  and  a-half  inches  wide,  and 
about  one-eighth  of  an  inch  thick.  In  order  that  the  gasket  may 
not  be  too  expensive,  it  is  cut  from  two  strips  about  three  inches 
wide.  One  of  them  is  as  long  as  the  outside  length  of  the  frame, 
and  the  other  is  as  long  as  the  outside  width  of  the  frame.  Each 
of  these  strips  is  cut  into  two  L-shaped  pieces,  an  inch  and  a-half 
in  width,  with  the  shorter  leg  of  each  L three  inches  long.  When 
the  four  pieces  are  put  together,  a scarf  joint  is  made  near  each 
corner,  having  an  inch  and  one-half  lap.  It  is  somewhat  difficult 
to  cut  such  a scarf  joint  as  perfectly  as  one  would  wish,  and  it  is 
best  to  use  rubber  cement  at  the  joint.  Over  the  gasket  is  laid  a 
sheet  of  the  thinnest  grade  of  what  is  called  pure  rubber  or  elastic 
gum.  Above  this,  and  over  the  gasket,  is  placed  a single  thick- 
ness of  cotton  cloth,  of  the  same  dimensions  as  the  gasket,  and 
yet  above  this  are  strips  of  ordinary  strap  iron,  an  inch  and  a half 
wide  and  nearly  one-eighth  of  an  inch  thick.  These  strips  are 
filed  square  at  the  ends  and  butt  against  each  other  at  right  angles. 
As  the  edges  of  the  strips  aie  slightly  rounded,  they  are  filed 
away  sufficiently  to  form  good  joints  wherever  the  others  butt 
against  them.  The  whole  comt  illation  is  bound  together  by 
ordinary  stove  bolts  one-quarter  of  an  inch  in  diameter,  placed 
near  the  centre  of  the  width  of  iron  strips,  and  at  a distance  apart 
of  about  two  and  one-half  inches.  Their  heads  are  countersunk 
into  the  strap  iron.  In  making  the  holes  for  the  stove  bolts 
through  the  thin  rubber,  care  should  be  taken  to  make  them  suf- 
ficiently large  to  enable  the  bolt  to  pass  through  without  touch- 
ing the  rubber,  otherwise  the  rubber  may  cling  to  the  bolts,  and, 
if  they  are  turned  in  their  holes,  the  rubber  may  be  torn  near  the 
bolts,  and  made  to  leak.  A rough  washer,  under  each  nut,  pre- 
vents it  from  cutting  into  the  back-board.  For  the  purpose  of 
introducing  air  to,  or  removing  air  from,  the  pad,  a three-eighths 
of  an  inch  lock  nut  nipple  is  introduced  through  the  back  board, 
and  shellacked  paper,  and  its  thin  paper  covering.  Without  the 
back-board  a T connects  with  the  nipple.  One  of  its  branches 
leads,  by  a rubber  tube,  to  the  pressure  gauge,  which  is  a U-tube 
of  glass  containing  mercury.  The  other  branch  has  upon  it  an 
ordinary  plug  cock,  and,  beyond  this,  a rubber  tube  terminating 
in  a glass  mouth-piece.  When  it  is  desired  to  inflate  the 
air-cushion,  it  is  only  necessary  to  blow  into  the  mouth- 
piece. A pressure  of  one  inch  of  mercury  is  sufficient 
for  any  work  that  I have  yet  undertaken.  With  particularly 
good  paper,  a lower  pressure  is  sufficient.  Upon  the  top  of  the 
pad  is  laid  a piece  of  common  cotton  flannel  with  the  nap  out- 
ward, and  with  its  edges  tacked  along  the  under-edge  of  the 
back-board.  The  cotton  flannel  is  not  drawn  tight  across  the  top 
of  the  pad.  The  reasou  for  employing  a cotton  flannel  covering 
is  this:  when  the  sheet  rubber  has  been  exposed  for  a few  days 
to  the  strong  sunlight,  it  loses  its  strength  and  becomes  worthless. 
The  cotton  flannel  is  a protection  against  the  destruction  of  the 
rubber  by  the  sunlight.  I first  observed  this  destruction  while 
experimenting  with  a cheap  and  convenient  form  of  gauge.  I 
used,  as  an  inexpensive  gauge,  an  ordinary  tiy  balloon,  and  I 
could  tell,  with  sufficient  accuracy,  how  much  pressure  I had 
applied,  by  the  swelling  of  the  balloon.  This  balloon  ruptured 
from  some  unknown  cause,  and  I made  a substitute  for  it  out  of 
a round  sheet  of  thin  flat  rubber,  gathered  all  around  the  circum- 


334 


THE  PHOTOGRAPHIC  NEWS. 


[May  25,  1883. 


ference.  I made  holes  about  one-quarter  of  an  inch  apart,  and, 
passing  a string  in  and  out,  drew  it  tight  upon  the  outside  of  a 
piece  of  three-eighths  of  an  inch  pipe  ; I then  wound  a string 
tightly  over  the  rubber,  on  the  pipe,  and  found  the  whole  to  be 
air-tight.  This  served  me  for  some  time  ; but  one  day,  on  apply- 
ing the  pressure,  I found  a hole  in  the  balloon,  which  looked  as 
if  it  had  been  cut  with  a very  sharp  knife.  That  it  had  been  so 
cut  was  not  to  be  imagined,  and  on  further  examination  I found 
that  the  fracture  had  occurred  at  a line  which  separated  a surface 
in  the  strong  sunlight  from  a surface  in  the  shade,  at  a fold  in  the 
rubber.  1 saw  that  all  of  the  rubber  which  had  been  continuously 
exposed  to  the  intense  sunlight  had  changed  colour  and  had  be- 
come whiter  than  before,  and  that  that  portion  of  the  balloon  bad 
lost  its  strength.  I then  returned  to  the  use  of  the  mercury 
gauge,  and  took  the  precaution  to  cover  my  pad  with  cotton 
flannel,  as  a protection  from  the  light  and  from  other  sources  of 
destruction.  This  pad  is  upon  the  roof  of  the  Institute,  and  is 
exposed  to  all  weathers.  As  a protection  from  the  rain  and  snow, 
the  whole  is  covered  again  with  a rubber  blanket.  It  has  with- 
stood the  exposure  perfectly  well  for  a year,  without  injury.  The 
gauge,  made  from  flat  rubber,  is  altogether  so  cheap  and  so  con- 
venient that  I am  now  experimenting  with  one  of  this  description 
having  a black  cloth  covering  upon  the  outside.  The  balloon  is 
of  spherical  shape,  the  black  cloth  covering  is  of  cylindrical  shape, 
and  1 hope  that  this  device  will  serve  every  necessary  purpose. 
A sectional  view  of  the  air-cushion  is  offered  as  a part  of  this 
communication. 

The  Frame  which  contains  the  Plate  Glass  is  made  of  thick 
board  or  plank,  with  the  broad  side  of  the  board  at  right  angles 
to  the  surface  of  the  glass.  A rabbet  is  made  for  the  reception  of 
the  glass,  and  four  strips  of  strap  iron,  overlapping  both  the  glass 
and  the  wood,  and  screwed  to  the  wood,  keep  the  glass  in  position. 
Strips  of  rubber  are  interposed  between  the  glass  and  the  wood 
and  between  the  glass  and  the  iron.  The  frame  is  hinged  to  the 
back-board  by  separable  hinges,  so  that  the  glass  can  be  unhinged 
from  the  pad  without  removing  the  screws.  Hooks,  such  as  are 
used  for  foundry  flasks,  connect  the  frame  with  the  pad  upon  the 
opposite  side.  A frame  made  in  this  manner  is  very  stiff  and 
springs  but  little,  and  its  depth  serves  an  excellent  purpose.  The 
air-cushion  and  the  frame  are  so  mounted  that  they  can  be  easily 
turned  to  make  the  surface  of  the  glass  square  with  the  direction 
of  the  sun’s  rays.  It  is  necessary  to  have  a tell-tale  connected 
with  the  apparatus,  which  will  show  when  the  surface  of  the  glass 
has  been  thus  adjusted.  The  shadow  of  the  deep  frame  is  an  in- 
expensive tell-tale,  and  enables  the  operator  to  know  when  the 
adjustment  is  right.  I have  now  described,  in  detail,  the  construc- 
tion of  the  air-cushion  with  its  back-board,  as  well  as  that  of  the 
frame  which  holds  the  plate  glass,  and  1 think  it  will  be  evident 
that  the  first  cost  of  the  meterials  of  which  they  are  made  is  com- 
paratively little,  and  that  the  workmanship  required  to  produce 
it  is  reduced  to  a minimum.  It  will  also,  I think,  be  evident 
that  a uniform  pressure,  of  any  desired  intensity,  can  be  had  all 
over  the  surface  of  the  sensitized  paper  for  the  purpose  of  securing 
perfect  contact  between  it  and  the  negative.  The  blue  copies 
that  are  taken  with  this  apparatus  are  entirely  free  from  blue  lines 
when  the  negatives,  chemicals,  and  paper  are  good. 

{To  be  Continued.) 


tarfsjTflu&nitt. 

THE  GREEN  TREES  AT  PAYTA. 

Dear  Sir, — Mr.  Wood’s  anecdote  about  a certain  white 
wall,  and  a compassionate  artist’s  work  thereon,  may,  of 
course,  be  regarded  as  a very  good  joke,  and  possibly 
rumour  may  transform  it  into  a legend ; but  let  the 
ignorant  natives  of  Northern  Peru  be  ever  so  superstitious, 
they  would  scarcely  convert  what  I know  to  have  been  a 
painted  fence  into  a legend  in  less  than  twenty  years. 

About  a dozen  years  ago,  I was  in  Payta  for  a few  weeks, 
aud  had  an  opportunity  of  visiting  this  supposed  tree. 
Payta  is  an  old  Spanish  seaport  in  Northern  Peru,  less 
than  300  miles  south  of  the  Equator.  The  houses  are 
built  of  bamboo,  raw  hide,  and  mud  ; therefore,  being  of 
sand,  situated  on  sand,  surrounded  by  a series  of  sand- 
hills, and  not  a vestige  of  shelter  from  the  scorching 
sun,  as  neither  grass,  shrubs,  nor  vegetation  of  any  sort 
grows  in  or  near  the  place  : anything  looking  like  foliage 


must  necessarily  be  a treat  to  the  optics.  The  inhabitants 
live  principally  upon  fish  caught  in  the  vicinity,  and  fruit 
brought  down  from  Ecuador ; these  commodities  may  be 
obtained  at  marvellously  low  prices,  and  a good  stroke  of 
business  is  generally  done  with  the  mail  and  other 
steamers  which  call  there  for  coal  and  water. 

But  how  is  it  they  call  for  water,  seeing  it  is  such  a 
scarce  article?  A few  miles  along  the  shore  the  Steamship 
Company  erected  large  woiks  for  condensing  the  sea-water, 
to  enable  them  to  keep  their  ocean-going  steamers  supplied 
with  fresh  water,  and  from  this  establishment  all  the  fresh 
water  used  in  the  town  was  obtained,  there  being  no  other. 
The  Company’s  premises,  consisting  of  such  a valuable  pro- 
perty as  fresh  water,  was  enclosed  by  means  of  a high  fence. 
It  being  customary  to  whiten  all  the  houses  in  Payta,  to 
keep  them  cooler,  this  fence  was  whitened  as  well  ; but 
the  glare  of  light  was  so  great,  that  the  manager  caused 
green  trees  to  be  painted  all  round  the  fencing.  As  this 
fence  occupied  a considerable  length  of  the  foreshore,  it  is 
quite  easy  to  imagiue  what  the  effect  would  be  from  a 
distance.  Passengers  arriving  in  the  harbour  from  the 
Equator  lost  no  time  in  getting  ashore,  so  that  they  could 
take  a stretch  out  to  these  attractive-looking  trees,  much 
to  the  amusement  of  the  natives  who  were  on  the  landing- 
stage  with  their  donkeys  ready  to  take  the  traveller  for  a 
ride  out  in  the  country  proper. 

By  a curious  coincidence  these  trees  never  looked  more 
than  a couple  of  miles  distant  along  the  shore  ; but  after 
resolutely  tramping  over  pebbles  for  an  hour  or  more  the 
town  looked  very  much  the  nearer  of  the  two  ; while  the 
intensely  scorching  sun  generally  determined  a right- 
about-face and  quick-march  for  the  narrow  and  crooked 
streets  of  mud  huts,  where  luscious  bananas,  pine-apples, 
and  oranges,  &c.,  can  be  obtained  for  a mere  trifle. 

Among  this  mixed  community  of  Peruvians,  Indians, 
Mexicans,  Spaniards,  Chilians,  &c.,  1 found  an  American, 
who,  when  at  liberty,  kept  the  principal  hotel ; but  for  no 
greater  sin  than  placing  a notice-board  on  a sand-hill, 
cautioning  visitors  not  to  break  down  the  shrubs  (which 
was  regarded  as  a practical  joke),  the  authorities  directed 
the  gendarmes  to  remove  him  to  the  prison,  where  he 
remained  incarcerated  for  four  weeks  with  some  forty 
other  prisoners  of  all  races  in  one  huge  cell,  without  being 
charged  with  auy  offence.  At  the  end  of  this  period  his 
family  paid  a sum  of  money  which  put  matters  straight 
for  a while,  enabling  him  to^esume  his  duties  at  the  hotel 
until  the  authorities  arrested  him  again. 

Photography  was  represented  by  a Frenchman  who,  if 
not  a landscapist  of  the  first  order,  was  essentially  an 
out-door  photographer,  for  all  his  photographs  were  pro- 
duced in  the  back-yard.  As  the  floor  was  neither  carpeted 
nor  boarded,  the  sand  made  it  pleasant  to  walk  upon, 
whilst  the  mud  walls  surrounding  this,  as  in  all  other 
yards  in  Payta,  screened  off  a deal  of  direct  sunshine  ; so 
with  very  meagre  accessories  the  photographer  was  enabled 
to  satisfy  the  demands  of  his  clients. 

Considering  that  local  wines  may  be  purchased  for  about 
the  same  price  as  fresh  water,  which,  being  condensed,  is 
always  more  or  less  brackish,  the  Frenchman’s  productions 
were  as  creditable  as  could  be  expected,  and  he  expressed 
himself  to  me  as  being  quite  satisfied  with  Payta  as  a field 
for  his  labours. — Yours  respectfully, 

One  who  has  been  there. 


PACKING  PLATES  FOR  TRAVELLING. 

Dear  Sir, — Your  article  on  the  above  in  this  week’s 
News  induces  me  to  suggest  to  my  co-amateurs  a plan  for 
carrying  exposed  plates  when  travelling,  which  I found 
most  effective  on  the  Continent  last  year.  I had  made 
zinc  boxes  similar  to  the  card-board  ones  in  which  makers 
pack  their  plates.  In  each  I put  a square  of  Turkey-red 
twill,  which  was  folded  over  the  plates  when  transferred 
from  the  dark  slides  ; in  this  manner  my  plates  reached 
home  without  any  damage  from  either  fracture  or  fog. 


Mat  25,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


335 


Such  boxes,  made  to  hold,  a dozen  each,  can  easily  be  dis  - 
tributed  amongst  our  clothes  in  a portmanteau,  and  do 
not  appear  to  arouse  the  suspicions  of  the  Customs  authori- 
ties. Moreover,  by  substituting  a sheet  of  india-rubber 
for  the  twill,  a very  tolerable  developing  tray  is  made 
with  either  top  or  bottom. 

I trust  I may  be  pardoned  for  again  alluding  to  this 
arrangement,  which  was  accidentally  mentioned  in  a paper 
of  mine  in  last  year’s  volume  of  the  News. — Yours  truly, 

Greenwood  Pim,  M.A. 


ot  Sonttus. 

Photographic  Society  of  Great  Britain. 

A meeting  was  held  on  Tuesday  evening,  the  22nd  inst.,  Mr.  J. 
Spiller  in  the  chair. 

After  some  formal  business,  a question  was  read,  askiug  for 
the  experience  of  members  as  to  any  difference  between  the 
behaviour  of  potassium  bromide  and  ammonium  bromide,  when 
used  as  a restraining  addition  to  the  developer. 

Mr.  Sebastian  Davis  referred  to  experiments  of  his  which 
tended  to  prove  that  chemically  equivalent  proportions  of  the 
two  salts  weie  equal  as  regards  restraining  power.  Thus,  98 
parts  of  ammonium  bromide  restrained  as  effectually  as  1 19  parts 
potassium  bromide ; and  as  these  quantities  contain  the  same 
amount  of  bromine,  one  might  perhaps  be  justified  in  looking  on 
the  bromine  as  the  actively  restraining  constituent. 

Mr.  W.  K.  Burton  alluded  to  the  fact  that  a very  large  pro- 
portion of  neutral  saPs  exercise  a notable  restraining  action  ; and 
he  observed  that  it  is  interesting  to  note  how  surprisingly  equal 
a large  proportion  of  these  are  in  their  action.  It  is  quite  possi- 
ble that  these  cases  may  depend  on  the  general  law  that  “ reaction 
tension  ’’  between  substances  is  lowered  in  the  presence  of  inert 
bodies. 

Mr.  Jabez  Hughes  referred  to  the  proposal  to  use  free  iodine 
as  a restrainer. 

Mr.  Davis  pointed  out  the  circumstance  that  iodine  and  solu- 
ble iodides  might  be  regarded  rather  as  destroyers  of  the  photo- 
graphic image,  than  as  restrainers ; and  it  was  pointed  out  that 
iodine,  when  freshly  added  to  an  alkaline  liquid,  probably  takes 
the  form  of  a hypo-iodite,  a solution  analogous  to  the  so-called 
“ chloride  of  lime  ” being  produced. 

The  discussion  now  merged  into  some  points  in  connection 
with  the  carbonate  of  soda  developer,  aDd  Mr.  Cowan  said  that 
by  reducing  the  amount  of  ammonia  he  could  realise  all  the 
advantages  of  the  soda  process ; and,  moreover,  he  could 
satisfactorily  develop  any  ordinary  plate  without  using  a 
restrainer. 

Mr.  Hughes  then  drew  a parallel  between  the  old  iron 
developer  as  restrained  by  means  of  acetic  acid,  and  the 
alkaline  developer  restrained  by  a bromide. 

Mr.  Davis,  in  pointing  out  the  essential  differences  between 
these  methods  of  developing,  referred  to  the  good  service 
which  Major  Bussell  had  done  to  photography  by  the  introduc- 
tion of  alkaline  development. 

The  Chairman  alluded  to  the  specific  action  of  an  alkaline 
iodide  on  the  silver  salt,  tending  to  form  iodide  of  silver  in  the 
film,  and  an  alkaline  bromide  in  solution  ; this  reaction  actually 
changing  the  whole  character  of  the  plate. 

The  discussion  being  closed,  it  was  announced  from  the  chair 
that  on  Saturday,  Juue  16th,  an  attempt  would  be  made  to 
photograph  one  of  the  Dene  holes  at  Grays,  and  it  became 
desirable  to  consider  what  means  of  artificial  illumination  would 
be  most  likely  to  prove  useful.  Various  means — such  as  the 
electric  light,  magnesium  (either  in  the  air  or  in  oxygen), lime 
light,  and  paraffin — were  suggested,  and  Mr.  W.  E.  Debenham 
detailed  his  experience  in  photographing  a Cornish  mine  by  the 
light  of  burning  magnesium 

Mr.  Cowan's  new  shutter,  which  has  already  been  described 
in  the  News  (p.  305)  of  last  week's  issue,  was  then  passed  round 

and  explained. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  the  17th  inst.,  Mr.  A.  L.  Henderson 
occupied  the  chair. 

The  question  adjourned  from  last  meeting,  viz.,  “ Can  any 


member  explain  the  chemistry  of  bromides  as  a restrainer  ? ’’  was 
brought  forward  for  discussion,  and  the  Chairman  read  a paper 
(see  page  324). 

In  the  discussion  which  ensued,  Mr.  Cowan  said  he  agreed 
with  Mr.  Henderson’s  remarks  as  to  cutting  down  the  ammonia 
in  the  developer ; and  in  reply  to  Mr.  Debenham,  he  said  the 
development  wa3  not  slowed  thereby ; the  negatives  did  not 
look  well,  but  gave  better  prints — that  is,  brighter  shadows. 
He  found  that  if  (say)  two  minims  ammonia  were  used  all  at 
once,  then  the  plate  developed  up  thin  and  useless  ; but  if  the 
same  quantity  was  used,  ^-miuim  at  a time,  good  results  were 
obtained. 

The  Chairman  showed  two  negatives  of  active  life,  one  taken 
with  a commercial  shutter,  the  other  with  the  drop-shutter  he 
used  for  last  year's  Derby  pictures,  with  an  extra  band  added  to 
quicken  the  speed,  this  latter  giving  the  best  results ; but  as 
different  lenses  were  used,  this  was  not  regarded  as  a fair  test. 
It  was  remarked  that  in  these  negatives  the  bottom  parts  of 
wheels  in  motion  were  sharper  than  the  top  ; and 

Mr.  Brown  said  it  was  a fact  that  the  top  of  a cart-wheel 'moved 
quicker  than  the  bottom. 

Mr.  Harrison  explained  at  some  length  the  reason  why  this 
was  so. 

The  following  was  next  discussed  : “ What  is  the  best  method 
to  recover  silver  from  waste  emulsion  and  washings  ? ” 

Mr.  Debenham’s  plan  was  to  put  the  waste  into  a large  boiler, 
and  concentrate  by  boiling,  then  send  to  be  reduced. 

Mr.  Cowan  boiled  with  caustic  potash,  about  i lb.  to  a gallon, 
for  half-an-hour  ; then  left  all  night,  and  in  the  morning  it  was 
quite  limpid,  and  the  top  solution  could  be  poured  off;  by  this 
means  he  recovered  about  90  per  cent. 

Mr.  Haddon  suggested  a mixture  of  hydrochloric  and  sul- 
phuric acids,  which  destroyed  the  setting  powers  of  the  gelatine, 
and  reduced  to  bromide  of  silver. 

Mr.  Prestwich  had  tried  mixing  with  sawdust  ; but,  when 
drying,  found  the  silver  evaporated,  and  deposited  on  everything, 
and  but  very  little  was  obtained,  and  he  suggested  adding  the 
flux  previous  to  evaporating  down. 

Mr.  Golding  said  that  oxalic  acid  would  take  bromide  of 
silver  down  in  its  original  condition,  and  that  it  could  be  used 
again. 

A discussion  then  took  place  as  to  the  desirability  of  having  a 
competition  for  speed  and  quality  in  gelatine  plates. 

It  was  decided  that  there  should  be  a contest,  open  to  all,  but 
that  only  the  name  of  the  successful  competitor  should  be 
announced.  The  consideration  of  the  complete  rules  to  be 
observed  in  the  competition  was  deferred  till  the  next  meeting. 
Gentlemen  wishing  to  compete  are  requested  to  forward  their 
names  to  the  Hon.  Secretary  of  the  Association,  Mr.  C.  Bennell 
Cutchey,  62,  Gracechurch  Street,  E.C. 


Bristol  and  West  of  England  Amateur  Photographic 
Association. 

The  ordinary  monthly  meeting  was  held  at  the  studio  on 
Wednesday,  April  25th,  Colonel  Playfair  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  confirmed, 
the  Chairman  called  on  Mr.  E.  Brightman  to  read  the  first  portion 
of  a paper  on  “ Transparencies  by  the  Carbon  Process”  (p.  326), 
at  the  close  of  which, 

The  Chairman  stated  that  he  had  been  till  then  quite  ignorant 
of  the  practical  working  of  the  process,  and  had  felt  great 
pleasure  in  listening  to  Mr.  Brightman’s  interesting  remarks,  and 
watching  what  appeared  to  him  to  be  the  very  simple  modus 
operandi  of  the  process. 

Mr.  H.  A.  H.  Daniel  said  he  had  done  a few  large  trans- 
parencies by  the  process,  and  regretted  that  want  of  time  pre- 
vented him  from  practising  it  so  much  as  he  should  like  to  ; he 
warned  those  present  against  using  oil  stoves  for  drying  the 
tissue,  as  he  had  had  a quantity  rendered  insoluble  by  so  doing 
a few  years  ago.  The  vapour  from  a petroleum  stove  seemed  to 
have  a peculiar  effect  on  the  tissue  which  nothing  could  remedy. 

Mr.  E.  Brightman,  iD  leply  to  enquiries,  stated  that  the 
semi  opaque  margin  of  the  picture  was  caused  by  what  was 
called  the  “ safe-edge  ; ” a semi-transparent  mask  being  placed 
around  the  edge  ol  the  negative  to  give  the  tissue  a safe  holding, 
though  being  only  partially  dissolved  all  round. 

Mr.  Stephens  asked  whether  it  was  not  very  difficult  to 
acquire  the  requisite  experience  for  successful  printing,  as 
regards  the  depth  necessaryu 

Mr.  Brightman  replied  that  by  classifying  one’s  negatives, 


336 


THE  PHOTOGRAPHIC  NEWS. 


[Mir  25,  1883. 


ami  carefully  using  the  actinometer,  certainty  was  easily  attain- 
able. 

During  the  evening  some  albums  of  very  fine  specimens 
of  carbon  printing,  kindly  lent  by  the  Autotype  Company,  were 
exhibited. 

On  the  motion  of  the  Chairman,  a vote  of  thanks  to  Mr. 
Brightman  for  his  interesting  paper  and  experiments,  and  a 
similar  vote  to  the  Autotype  Company  for  kindly  lending  the 
fine  collection  of  prints  shown,  were  accorded. 


North  Staffordshire  Photografhic  Association. 

A meeting  of  this  Society  was  held  on  Saturday  evening, 
May  19th,  at  the  Wedgwood  Institute,  Mr.  A.  Humboldt 
Sexton,  F.C.S.,  President,  in  the  chair. 

After  some  discussion  it  was  resolved  to  hold  two  exhibitions 
of  members’  work  during  the  year  ; one  to  be  an  exhibition  taken 
from  the  work  of  the  present  summer,  the  other  to  be  held  some 
time  in  the  winter,  and  to  partake  of  the  nature  of  a lantern 
entertainment.  It  was  also  agreed  that  a few  summer  excur- 
sions be  organised. 

It  was  announced  that  at  the  next  meeting,  to  be  held  in 
about  a fortnight  at  the  Town  Hall,  Hanley,  a paper  upon 
“ Various  Modes  of  Development”  would  be  read  by  the  Secre- 
tary. 

Mr.  Blackshaw  having  been  elected  a member,  the  meeting  was 
adjourned. 


The  Postal  Photographic  Society. 

A committee  meeting  was  held  11th  May,  at  the  President’s 
house.  The  following,  amongst  other  business,  was  transacted, 
the  minutes  of  the  preceding  meeting  having  been  read  and  con- 
firmed. 

1.  The  votes  upon  Competition  No.  1 were  laid  before  the 
meeting,  and  the  following  were  declared  to  be  the  wiuners : — 
Class  1.  Landscape — 1st  prize,  J.  W.  Leigh,  Manchester,  with 
36  votes ; 2nd  prize,  H.  H.  Cunningham,  15  votes.  Class  2. 
Portraits — W.  Withall,  49  votes.  Class  3.  The  set  subject  — 
A.  Watkins,  Hereford,  36  votes. 

2.  The  accounts  were  submitted  to  the  meeting,  showing  a 
balance  in  hand  of  £9  3s.  3d. 

3.  The  prints  sent  for  competition  No.  2 were  brought  before 
the  meeting,  aud  after  they  had  been  inspected,  the  Committee 
awarded  the  prizes  in  value.  Class  1.  Landscape  or  view — 1st, 
15s.;  2nd,  10s.  Class  2.  Portrait,  figure,  or  group— 1st,  15s.; 
2nd,  10s.  Class  3.  Set  subject  (a  winter  subject)  — One 
prize,  7s.  6d. 

4.  The  thanks  of  the  Society  were  ordered  to  be  sent  to  the 
two  members  who  had  offered  prizes  in  encouragement  of  special 
subjects,  to  be  competed  for  in  June;  and  the  Society  adopted 
the  proposal,  and  added  a second  prize  of  5s.  in  each  class,  as 
defined  by  the  givers.  1st.  Landscape — 5 by  4 up  to  10  by  8 ; 
2nd.  Portrait  of  member,  taken  by  himself  (not  to  be  printed  in 
Platinotype) ; 3rd.  The  best  architectural  subject  (to  be  com- 
peted for  under  the  Society’s  rules). 

5.  Resolved  that  for  the  future  no  member  be  allowed  to 
exhibit  more  than  three  pictures  in  each  class  for  competition, 
and  that  all  members  be  requested  to  use  mounts  as  light  in 
weight  as  possible,  and  not  larger  than  “ half-royal.” 

6.  That  some  special  slips  be  printed  for  the  use  of  members 
in  noting  competition  prints. 

7.  That  the  general  meeting  be  held  Saturday,  16th  June,  at 
3 o’clock,  and  a committee  meeting  the  same  day  at  2'30,  both 
at  the  Hon.  Sec.’s address. 

8.  That  a date  be  fixed  at  the  next  meeting  for  sending  in 
prints  intended  to  be  exhibited  at  the  Photographic  Society’s 
Exhibition  in  Pall  Mall.  Everything  below  half-plates  to  be  ex- 
cluded, but  otherwise  members  may  send  what  they  like  as  to 
size  or  subject.  That  at  the  same  time  a competition  in  two  set 
subjects  be  invited  as  follows: — The  best  study  of  an  old  house 
or  cottage  ; the  best  marine,  lake,  or  river  view. 

9.  That  the  Committee  decline  for  the  future  to  assign  any 
print  in  the  competitions  to  any  particular  class,  preferring  to 
leave  it  to  the  members  themselves,  in  giving  their  vote,  to  decide 
whether  the  picture  properly  comes  within  the  class  in  which  it 
is  placed  by  the  exhibitor. 

10.  That  on  account  of  the  great  increase  in  the  amount  of 
secretarial  work,  the  office  of  the  hon.  secretary  and  the  hon. 
treasurer  be  divided,  and  that  W.  M.  Baylis  be  appointed 
hon.  treasurer,  and,  on  the  motion  of  W.  Withall,  that  a small 
gratuity  should  be  named  at  each  meeting  to  be  given  to  Mr. 


Cunningham’s  clerk,  and  for  his  services  up  to  the  present  the 
meeting  award  him  the  sum  of  five  shillings. 

The  Committee  learned  with  pleasure  that  the  Society  was 
prospering,  and  now  numbered  between  fifty  and  sixty  members. 
After  having  inspected  some  specimens  of  platinotype  in  the 
new  sepia  tint,  and  learning  details  from  W.  Withall  and  the 
Hon.  Secretary,  the  meeting  dissolved. 


Mk  in  tfre 

Photographing  the  Derby.— Mr.  Henderson  and  Mr.  Cobb 
made  another  attempt  at  photographing  the  Derby  on  Wednes- 
day, the  conditions  as  to  light  being  much  more  favourable  than 
last  year  ; and  we  are  pleased  to  be  able  to  state  that  the  results 
are  highly  satisfactory. 

Photographic  Club.— At  the  meeting  of  this  Club,  May  30th, 
the  discussion  will  be  on  “ Estimating  the  Duration  of  Short 
Exposures.”  Mr.  Warnerke  has  kindly  promised  to  bring  his 
test  apparatus,  by  which  members  will  be  able  to  ascertain  the 
exact  speed  of  their  instantaneous  shutters.  Those  desirous  of 
taking  advantage  of  this  opportunity  must  bring  their  cameras, 
lenses,  and  plates. 


$0  (ZomsBoubents. 

F.  W.  W. — Thanks ; we  shall  be  glad  to  have  full  particulars. 

G.  I.  B.  A. — We  do  not  imagine  that  there  is  any  patent  covering 
it,  as  it  is  merely  an  effect  of  double  printing. 

K. — We  would  suggestthat  it  would,  perhaps,  be  easier  for  you  to 
fill  spare  time  by  photographing  objects  of  local  interest,  and  by 
supplying  these  to  stationers  nt  such  prices  as  to  afford  them  a 
large  profit.  You  would  thus  induce  them  to  push  the  sale  ef 
the  pictures,  which  should,  of  course,  bear  your  own  name  and 
address. 

W.  Gaddman. — Try  Marion,  of  Soho  Square. 

B.  Richards. — Obtain  another  sample  of  paper. 

E.  E.  M. — See  answer  to  A.  Bath  in  our  issue  of  last  week. 

Stereo. — 1.  Yes,  divided  and  reversed.  2.  Either  by  the  carbon 
process,  or,  better  still,  on  gelatino-ehloride  plates. 

D.  Ireland. — It  is  extremely  difficult  to  form  a reliable  judgment 
in  such  cases  as  you  refer  to,  but  we  are  inclined  to  think  that 
the  plate  sent  has  been  damaged  by  contact  with  foreign  matter 
subsequently  to  the  coating ; but  whether  before  or  after  exposure, 
we  cannot  conjecture. 

Novice. — 1 and  2.  It  probably  is  due  to  the  reflection  of  light  from 
either  the  edges  of  the  lens,  or  the  mount.  Direct  your  lens 
towards  a brightly-lighted  object,  and  look  through  it  carefully, 
altering  its  position  from  time  to  time.  This  should  give  you  an 
indication  which  will  enable  you  to  discover  the  cause.  3.  We 
notice  none,  and  in  ordinary  cases  it  is  so  slight  as  to  be  quite  un- 
important, unless  the  picture  is  taken  at  close  quarters.  4.  Only 
better  when  wide-angle  pictures  are  actually  required.  5.  No,  not 
for  pure  landscape  work.  6.  It  renders  the  camera  unsuited  for 
stereoscopic  work,  ns  there  is  not  room  enough  for  the  double 
front.  7.  An  ordinary  quarter-plate  (so-called)  pocket  camera. 
8.  It  would  be  better  to  obtain  one  (the  wide-angle)  considerably 
shorter  (say  half  or  two-thirds),  and  the  other  a trifle  longer  (say 
one-third  more).  We  shall  always  bo  pleased  to  hear  from  you, 
and  to  give  you  any  assistance  in  our  power. 

Greaves. — Marine  glue  is  best;  but  ordinary  shoemaker’s  wax 
makes  a fair  substitute.  The  glass  should  be  thoroughly  and 
uniformly  warmed. 

Shields. — 1.  The  water  contains  a large  proportion  of  soluble 
chlorides.  2.  Avoid  nllowing  them  to  remain  at  rest  for  too  long 
a time.  3.  It  should  disappear  during  the  process  of  fixing. 

J.  Hami-ton. — 1.  It  is  hardly  advisable,  as  organic  impurities 
which  are  present  in  the  kaolin  often  make  matters  worse.  2. 
The  printing  bath  is  a much  less  delicate  preparation,  and 
ordinary  commercial  kaolin  generally  answers  fairly  well. 

A.  G.  B. — 1.  Those  you  mention  are  fairly  good ; but,  of  course, 
you  must  not  expect  to  obtain  results  equal  to  those  obtained  with 
more  cumbrous  and  expensive  apparatus.  2.  We  will  try  nnd 
obtain  full  information.  3.  Rather  more  expensive  and  trouble- 
some ; but  the  results  are  far  superior  and  more  permanent. 

Lightly. — 1.  Change  their  position  from  time  to  time.  2.  A pale 
buff  colour  answers  well  in  ordinary  cases.  3.  Certainly,  but  you 
should  obtain  the  permission  in  wriiing. 

J.  H.  G. — Reduce  tho  strength  a trifle. 

A.  L.  M. — You  had  better  obtain  “ Ileliographie,”  by  Professor 
Husnik.  It  is  published  by  Hartleben,  of  Liepzig.  Any  foreign 
bookseller  will  obtain  it  for  five  or  six  shillings. 

E.  H.  Farmer. — Thanks  for  your  note. 

Shah  Khan. — Write  to  the  Secretary,  22,  Albemarle  Street. 


THE  PHOTOGRAPHIC  HEWS 


VOL.  XXVII.  No.  1291. — June  1,  1883. 


CONTENTS. 


PAGV. 

“ Ready-Sensitized ” Paper  \...  337 

Typographic  Engravings  on  Copper 338 

Half-a-Dozcn  Portraits  . 338  r. 

Russian  Correspondence 339 

From  Deptford  to  West  Moulsey  Direct.  By  Cecil  V.  Shadbolt  340 

Hot  Weather  Development,  lly  Samuel  Fry 341 

On  the  Production  of  Photographic  Portraits  for  Colouring. 

By  Cliff 341 

Emulsion  Washing.  By  Otto  Pfenninger  342 

Notes  „ 343 


PAGE 

, Patent  Intelligence  345 

Twelve  Elenv  ntarv  Lessons  on  Silver  Printing 340 

City  ahd  Guilds  of  London  Institution  348 

Printing  by  the  Blue  Process.  By  Channing  Whitaker  34!) 

Photography  in  Relation  to  Colour.  By  J.  R.  Sawyer 349 

Correspondence  351 

Proceedings  of  Societies  351 

Talk  in  the  Studio 351 

To  Correspondents 352 

The^Every-Day  Formulary  352 


“READY-SENSITIZED  " PAPER. 

Printing,  Toning,  and  Fixing. 

What  is  commonly  entitled  “ready-sensitized”  albumen- 
ized  paper  i3  coming  more  and  more  into  general  use. 
When  first  introduced,  it  was  used  exclusively  by  ama- 
teurs, and  was  looked  upon  with  the  greatest  contempt 
by  the  profession — and,  indeed,  there  was  at  that  time  some 
reason  for  this.  The  results  obtained  from  it  were  much 
inferior  to  prints  from  paper  prepared  in  the  ordinary  way, 
and,  moreover,  the  price  paid  was  almost  prohibitory  for 
work  on  any  large  scale. 

Now,  things  are  quite  different.  In  spite  of  the  fact  that 
some  professional  photographers  affect  to  scoff  at  ready- 
sensitized  paper,  there  are  other  professionals  who  use  it. 
and  use  it  in  large  quantities.  The  results  to  be  obtained 
from  at  least  certain  brands  are  quite  equal  to  what  can  be 
had  from  paper  sensitized  as  it  is  used,  granted,  of  course, 
the  necessary  experience,  while  the  price  is  very  little  in 
advance  of  that  at  which  paper  can  be  sensitized  at  home. 

A few  remarks  on  printing,  toning,  and  fixing  of  ready- 
sensitized  paper  will  not  be  out  of  place.  As  the  qualities 
of  different  brands  vary  considerably,  our  remarks  may 
not  be  found  applicable  to  all.  They  apply,  however,  to 
those  brands  which  have  worked  best  of  the  many  that 
we  have  tried. 

First,  as  regards  printing.  It  is  usual  to  place  ordinary 
paper  in  the  frames  before  it  is  quite  dry,  and  if  the  print- 
ing takes  at  all  a long  time,  there  is  a liability  to  slight 
blurring  from  the  continuance  of  the  drying  in  the  frame, 
and  the  consequent  contraction  of  the  paper.  Ready- 
sensitized  paper  may  be  used  quite  dry.  The  printing 
proceeds  much  as  with  ordinary  paper,  but  takes  some- 
what less  time.  The  colour  is  also  somewhat  different. 
The  printing  does  not  require  to  be  carried  quite  so  far  as 
with  ordinary  paper,  as  there  is  less  loss  of  colour  iD  the 
toning  and  fixing  baths. 

The  question  of  the  best  toning  bath  to  use,  and  the 
much-vexed  one  of  complete  or  slight  washing  before 
toning,  have  Dext  to  be  taken  into  consideration. 

To  take  the  latter  first,  after  considerable  experiment, 
we  have  concluded  that  a comparatively  thorough  washing 
before  toning  gives  the  best  results.  It  is  quite  true  that 
toning  will  take  place  much  more  rapidly  if  a considerable 
amount  of  free  nitrate  of  silver  is  left  in  the  paper,  but 
the  final  results  are,  in  our  opinion,  much  inferior  to  those 
produced  when  a thorough  washing  is  resorted  to. 

ihe  following  experiment  is  instructive.  A suitable 
negative  is  selected,  one  giviug  a print  with  plenty  of 
detail  and  contrast ; two  prints  are  taken  from  this  ; one 
is  washed  thoroughly — that  is,  till  it  no  longer  causes  any 
cloudiness  to  the  water — the  other  is  but  slightly  washed. 
Both  are  now  placed  in  the  toning  bath.  The  last- 


mentioned  will  tone  much  the  faster  of  the  two — will,  in 
fact,  probably  have  reached  a warm  tint  before  the  other 
shows  any  change  at  all.  When  it  has  come  thus  far,  it  is 
removed  from  the  solution,  and  we  wait  till  the  other  print 
assumes  somewhat  the  same  tone,  which  will  take  a con- 
siderable time.  After  sufficient  washing,  both  are  placed 
in  the  fixing  solution;  and  now  let  us  note  the  different 
manner  in  which  the  two  are  acted  upon.  The  print 
which  was  thoroughly  washed  shows  scarcely  any  change 
of  colour,  whilst  the  other  fades  into  a sickly  yellow.  It 
is  true  that  it  will  somewhat  recover  its  colour  after  a few 
minutes  of  fixing ; but  it  will  never  equal  the  first.  We 
may  vary  the  experiment  by  allowing  the  slightly-washed 
print  to  tone  to  a deeper  colour  than  the  other,  aDd  hereby 
we  may  get  as  great  depth  of  tone  in  the  one  case  as  in  the 
other,  but  never,  in  our  experience,  as  pleasing  a colour. 
Besides,  even  if  we  could,  it  is  most  objectionable  to  have 
to  allow  in  toning  for  a loss  of  colour  which  is  afterwards 
to  take  place.  As  regards  toning  bath  to  use,  of  the  many 
which  we  have  tried  we  prefer  two — namely,  the  well- 
known  acetate  bath,  and  the  borax  bath. 

The  latter  has  the  advantage  that  it  does  not  require  to 
be  mixed  several  days  before  use,  as  does  the  former.  As 
it  may  not  be  known  to  all  our  readers,  we  give  the  manner 
of  mixing  it.  We  take  90  grains  of  borax  for  every  sheet 
of  paper  which  is  to  be  used,  and  dissolve  in  it  a few  ounces 
of  warm  water  ; to  this  we  add  1 grain  of  gold  chloride — 
this  latter  being  for  the  sake  of  convenience  kept  in  tho 
form  of  a stock  solution  of  any  strength  we  please  to 
adopt ; it  is  common  to  make  it  up  a grain  of  the  gold 
salt  to  a drachm  of  water.  We  next  dilute  the  bath  with 
water  to  whatever  extent  we  please.  Ihe  more  dilute 
it  is,  of  course  the  slower  it  tones.  We  consider  that 
the  best  results  are  got  from  a bath  which  takes  about 
fifteen  or  twenty  minutes  to  bring  about  the  desired 
change  of  colour.  If  the  prints  have  been  but  slightly 
washed,  this  will  be  effected  by  a bath  containing  1 grain 
of  gold  chloride  to  16  ounces  of  water.  If  they  have  been 
thoroughly  washed,  as  we  advise,  the  streogth  will  require 
to  be  greater  than  this.  One  grain  of  the  gold  salt  to  10 
or  12  ounces  of  water  will  be  found  a good  strength.  The 
amount  of  washing  which  we  recommend  is  such  that  the 
washing  water  has  ceased  to  be  at  all  perceptibly  milky, 
unless  special  means  be  taken  to  examine  it.  The  last 
trace  of  the  free  nitrate  will  not  even  then  be  gone,  and  it 
appears  undesirable  to  get  rid  of  this  trace.  The  existence 
of  it  may  be  proved,  even  after  very  prolonged  washing,  by 
comparing  in  glass  tubes  a long  column  of  the  washing 
water  with  tap  water. 

The  fixing  bath  should  not  be  too  strong;  two  ounces 
of  hyposulphite  of  soda  to  each  pint  is  sufficient,  it  is  well 
to  render  the  solution  slightly  alkaline  by  placing  iD  it  a 
small  piece  of  washing  soda.  With  a weak  bath  like  this  a 


338 


THE  PHOTOGRAPHIC  NEWS. 


[June  1,  1883. 


sojourn  of  twenty  minutes  is  necessary  to  complete  fixing  ; 
but  less  degradation  of  tone  appears  to  take  place  in  fixing 
for  a long  time  with  a weak  bath,  than  in  rapid  fixing  with 
a strong  bath. 

During  the  whole  of  these  operations,  it  would  appear 
to  be  even  more  essential,  in  the  case  of  ready-sensitized 
than  that  of  ordinary  paper,  to  be  careful  that  the  prints 
are  not  allowed  to  stick  together  in  masses.  This  is 
especially  necessary  during  the  first  washing  before  toning. 
If  the  prints  be  allowed  to  remain  at  this  stage  even  for  a 
minute  or  two  without  constant  motion,  the  whites  will 
be  degraded,  and  the  defect  will  not  be  removed  in  the 
fixing  bath. 

With  regard  to  washing  after  fixing,  we  have  now  for 
more  than  two  years  used  alum  as  a hyposulphite  elimi- 
nator, and  its  action  appears  to  be  most  satisfactory.  We 
proceed  as  follows.  Fixing  is  performed  in  a large  flat 
dish.  When  fixing  is  complete,  the  hypo  solution  is  poured 
off.  The  dish  containing  the  prints,  and  also  a second,  are 
filled  up  with  water.  The  prints  are  now  removed,  one  by 
one,  from  the  first  dish  into  the  second.  The  water  is 
poured  off  the  prints,  and  also  from  the  first  dish.  Both 
dishes  are  then  refilled  with  clean  water,  and  the  trans- 
ference of  the  prints  from  one  dish  to  the  other  is  repeated. 
The  whole  operation  is  performed  five  or  six  times,  when 
the  prints  will  be  sufficiently  free  from  hypo  to  apply  the 
alum.  This  is  done  by  placing  them  for  a quarter  of  an 
hour  in  a bath  composed  of  equal  parts  of  a saturated 
solution  of  alum  and  of  water.  They  are  kept  moving  in 
this  for  a quarter-of-an-hour,  and  are  again  washed  by 
changing  from  one  dish  to  another  as  described  before. 


TYPOGRAPHIC  ENGRAVINGS  ON  COPPER. 
Although  zinc  is  the  metal  which  is  generally — indeed,  all 
but  universally — used  for  making  phototypic  etchings  of 
line  subjects,  copper  is  occasionally  employed;  and  as  it 
presents  distinct  advantages  in  the  case  of  certain  classes  of 
work,  we  may  refer  in  detail  to  some  points  in  connection 
with  this  subject. 

It  not  unfrequently  happens  that  zinc  plates  are  unsound 
in  texture  or  scaling,  so  that  some  of  the  iines  actually  drop 
off  as  the  etching  proceeds;  and  it  is  often  extremely  diffi- 
cult to  detect  the  umsoundness  of  a plate,  even  by  a minute 
inspection.  In  addition  to  this,  it  must  be  borne  in  mind 
that  zinc  is  a soft  metal,  and  not  very  well  calculated  to 
resist  the  wear  and  tear  consequent  upon  the  printing  of 
long  numbers.  An  unsound  copper  plate  is,  on  the  other 
hand,  not  very  frequently  met  with  among  the  surfaced 
plates  sold  for  use  by  the  engraver;  while,  if  one  should  be 
faulty,  there  is  but  little  difficulty  in  finding  the  defect  before 
work  is  done  on  the  plate.  As  copper  is  somewhat  too  com- 
pact a metal  to  lend  itself  readily  to  treatment  by  the  ordi- 
nary lithographic  method,  the  bitumen  method  is  generally 
adopted  when  copper  is  made  use  of;  and  the  subjects 
which  are  best  adapted  for  reproduction  are  those  in  which 
the  main  part  consists  of  fine  lines  closely  packed  together; 
and  in  such  instances  it  is  possible  to  obtain  results  which 
far  surpass  similar  engravings  executed  upon  zinc. 

As  we  quite  recently  (p.  770  of  our  volume  for  1882)  gave 
full  working  directions  for  the  asphalt  process  of  chemi- 
graphic  engraving,  it  is  quite  unnecessary  to  enter  into  full 
details,  it  being  quite  sufficient  to  indicate  those  special 
points  which  may  arise  when  copper  is  substituted  for  zinc. 
It  is  best  to  begin  with  such  copper  plates  as  those  which 
are  ordinarily  sold  for  the  use  of  the  engraver,  the  opera- 
tion of  roughing  out  the  metal  plates  being  very  laborious 
and  inconvenient  to  those  who  are  not  accustomed  to  the 
work.  The  first  matter  is  to  6crub  the  surfaced  side  of  the 
plate  with  a solution  of  caustic  soda  or  potash,  rinse  the 
alkali  off,  and  wipe  with  a clean  cloth.  It  is  as  well  to  now 
pass  lightly  over  the  surface  with  No.  000  emery  paper  ; 
this  being  a close  hard  paper  covered  with  emery  so  fine  as 
rather  to  polish  than  scratch.  It  can  be  obtained  at  any 


watch-makers'  material  stores.  All  details  given  on  p.  770, 
vol.  xxvi.,  as  to  the  preparation  of  the  asphalt  solution,  the 
coating,  exposure,  and  the  development  of  the  bitumen  image, 
are  now  to  be  followed,  down  to  the  point  where  the  back 
and  edges  of  the  plate  are  covered  with  a resist  of  shellac 
varnish. 

Nitric  acid  is  of  but  little  use  for  etching  copper,  and  the 
mordant  which  we  recommend  is  a solution  formed  by  dis- 
solving six  ounces  of  perchloride  of  iron  in  one  pint  of 
water.  It  will  be  found  that  this  solution  acts  with  great 
rapidity  and  with  lemarkably  little  tendency  to  undercut 
the  lines.  The  length  of  time  during  which  the  mordant 
must  act  will  depend  on  circumstances;  but  generally  it  is 
safe  to  etch  to  a depth  equal  to  one  and  a-half  times  the 
width  of  the  lines,  provided  that  the  dish  in  which  the 
etching  is  performed  is  kept  constantly  rocking.  Even  in 
the  case  of  coarse  work,  the  first  etching  will  seldom  extend 
over  more  than  eight  or  nine  minutes  ; while  two,  three,  or 
even  one  minute  may  suffice  in  some  instances.  Generally 
speaking,  the  first  etching  is  all  that  is  required,  the  whites 
being  deepened  by  means  of  the  ordinary  engraver’s  tools. 
It  is,  however,  easy  to  etch  out  the  whites  by  means  of  the 
perchloride  of  iron  solution  : those  parts  which  require  pro- 
tection being  painted  over  with  a moderately  strong  solution 
of  shellac  in  alcohol. 

Some  of  the  finest  work  in  the  engraving  department  of 
the  Bank  of  France  is  performed  by  a photo-etching  process 
practically  identical  with  that  which  we  now  describe. 


IIALF-A-DOZEN  PORTRAITS. 

IY. — In  the  Strand. 

This  is  quite  a modest  studio.  We  pick  it  out  of  several 
such  in  the  neighbourhood,  for  it  is  high  time  we  left  gran- 
deur on  one  side,  and  turned  to  a small  establishment,  to 
study  photographic  portraiture  under  its  simpler  aspect. 
We  know  nothing  of  the  studio’s  history,  and  of  its  exist- 
ence we  were  unaware  three  months  ago.  But  the  specimens 
at  the  door  are  c:editable,  and  so,  without  more  ado,  wo 
mount  the  stairs  to  seek  out  the  photographer. 

Our  advent  sets  the  inhabitants  of  the  higher  regions  in 
a flutter.  Although  eleven  o’clock  has  long  struck,  the 
arrival  of  a visitor  appears  to  be  altogether  unexpected.  Our 
progress  is  barred  more  than  once  by  fugitives  escaping  from 
one  room  to  another ; and  yet,  when  we  reach  the  top,  all 
have  disappeared,  and  there  is  no  one  to  answer  enquiries. 
Even  when  a young  man  does  steal  forth,  he  seems  afraid 
to  speak,  but  indicates  with  an  energetic  finger  the  room  we 
are  to  enter. 

It  is  a little  parlour,  comfortably  and  well  furnished,  and 
containing  a piano.  But  as  there  are  no  specimens  about, 
we  begin  to  think  the  object  of  our  visit  has  been  mistaken  ; 
our  photographer  perhaps  believes  it  is  a “ morning  call  ” 
we  wish  to  pay,  and  not  a professional  visit.  We  put  over- 
coat and  hat  upon  the  music  stool,  and  quietly  abide  the 
consequences. 

We  have  not  long  to  wait.  Our  photographer  hastily 
makes  his  appearance  with  profuse  apologies.  He  speaks 
rapidly,  presumes  we  wish  for  a portrait,  and,  setting  an 
oblong  box  down  on  the  table,  discharges  its  contents  upon 
the  cloth.  “ Cartes  are  five  shillings  a dozen,”  he  says  ; 
and  these  larger  heads  are  seven  shillings  and  sixpence  ; wo 
send  you  a proof,  and  if  you  don’t  like  it,  we  will  take  you 
again." 

We  pick  several  out  of  the  heap,  and  examine  critically. 
There  is  excellent  work  among  them,  and  a few  are  very 
good  pictures  indeed.  But — and  we  shall  speak  plaiuly,  for 
tbo  benefit  of  other  6tudios  besides  No.  IV. — the  best  of  por- 
traits could  not  fail  to  look  inferior  under  the  circumstances. 
Imagine  mounts  that  have  been  fingered  scores  and  scores  of 
times,  prints  that  have  been  exposed  evidently  for  months  in 
6how-cases,  and  got  discoloured  by  age;  and  imagine,  too, 
such  things  being  exhibited  to  a sitter  in  this  slipshod 


THE  PHOTOGRAPHIC  NEWS. 


339 


June  1,  1883.] 


fashion.  Surely,  if  it  is  worth  while  producing  a good  por- 
trait— and  we  may  here  say  that  our  visit  resulted  in  a very 
fair  picture  indeed,  tastefully  mounted,  and  very  different 
from  the  soiled  pictures  ia  tho  specimen  box — it  is  well 
worth  while  also  to  exhibit  work  properly.  This  is  not  a 
question  of  expense ; and  we  should  be.  the  last  to  expect 
thesame  fine  surroundings,  mounts,  easels,  and  frames  that 
one  sees  in  Baker  Street  or  Bond  Street.  It  is  a mere  matter 
of  system  and  order  combined  with  good  taste.  There  is  no 
reason  on  earth  why  the  prints,  either  in  simple  frames  or 
without  them,  should  not  have  been  standing  on  the  table 
ready  for  inspection  at  the  time  of  our  entrance  ; and  if 
they  had  been  thus  set  out,  there  would  have  been  no 
necessity  for  fingering  them  at  all.  In  any  case,  the  produc- 
tion of  a higgeldy  piggeldy  mass  of  soiled  photographs  in 
this  fashion  would  be  enough  to  cause  many  a would-be 
sitter  to  postpone  his  visit  till  another  day. 

One  other  point.  The  lack  of  preparation,  and  hurry  and 
excuses  with  which  we  were  met,  are  apt  to  beget  a want  of 
confidence  on  the  part  of  a visitor,  lie  begins  to  think  he 
must  be  the  first  that  has  ever  wandered  up  that  staircase  ; 
if  it  is  a sound  place  of  business,  why  is  there  not  more 
show  of  business  and  a greater  look  of  stability  ? Strangers 
are  naturally  suspicious,  and  they  are  quick  at  noticing  little 
things,  if  those  little  things  appear  to  tell  them  anything. 

Meanwhile  we  decide  on  our  picture,  ami  ask  if  it  can  be 
taken  at  once.  Our  energetic  friend  replies  he  will  be 
ready  as  soon  as  we  are,  and  hastens  away  to  make  prepara- 
tion. Somehow,  there  are  plenty  of  people  about  the  place 
now  ; it  is  like  birds  coming  back  to  their  nest  alter  being 
disturbed. 

“ Ready,  sir!  ” cries  our  friend,  from  without.  We  follow 
the  voice  as  well  as  we  can.  Instinct  leads  us  into  the  front, 
where  we  find  the  studio.  It  is  a small  one,  scarcely  twenty 
feet  in  length,  and  ia  indeed  simply  a room  with  papered 
walls  and  whitewashed  ceiling,  with  a very  large  casement 
sloping  upwards.  Just  in  front  of  the  broad  casement  is  a 
shelf  or  table,  which  makes  a handy  place  for  printing 
frames.  A lot  of  vignetted  pictures  are  in  course  of  printing, 
under  the  “ nouveau  degradateur,”  as  a simple  and 
apparently  effective  little  shading  arrangement  is  termed  ; 
still,  unbounded  confidence  is  evidently  not  felt  for  the 
“ degradateur,''  for  there  were  several  serrated  card  shields 
in  U6e  as  well. 

“ Would  you  like  a light  background  or  a dark  one?” 
says  our  friend,  with  every  disposition  to  oblige. 

The  question  is  a staggaring  one  to  a non-professional 
sitter,  and  we  laughingly  express  our  inability  to  choose. 
He  pulls  down  a dark  one  decisively,  aud  so  cuts  off  any 
aimless  suggestion  on  our  part,  in  case  we  might  propose 
“half-and-half.” 

It  would  have  been  better  had  there  been  a shade  or 
canopy  over  the  lens,  and  if  our  friend  reads  this  criticism,  we 
think  he  will  do  well  to  adopt  such  protection,  for  the  white- 
washed ceiling  above  necessarily  reflects  rays  into  his 
camera.  The  result  of  this  reflection  is  very  evident  in  the 
prints  he  sends  us.  His  apparatus,  otherwise,  is  not  to  be 
found  fault  with  ; the  accessories  are  good  and  substantial, 
and  we  notice  the  name  of  Meagher  on  several  well-built 
cameras. 

“ I will  tell  you  when  I expose,  remember,  so  you  need 
not  trouble.”  He  places  a small  photograph  on  a stand 
some  distance  off  to  our  right  to  look  at,  and  focusses. 
Further — a very  good  idea — he  puts  a soft  cushion  behind 
us  on  the  chair,  to  support,  not  the  shoulders,  but  the  lower 
part  of  the  back. 

“ Now  please  look  at  me,”  he  says. 

We  mildly  suggest  that  we  can’t  look  at  the  small  photo- 
graph and  the  camera  at  the  same  time. 

“ I beg  your  pardon ; well,  never  mind  the  photograph  : 
look  at  the  camera.” 

We  do  ; and  then  our  friend  goes  behind  and  adjusts  the 
headrest. 

At  that  moment  the  whole  vibration  from  the 


Strand  below  enters  the  back  of  the  head  and  proceeds  down 
the  spine  ; instead  of  maintaining  the  head  quiet,  the  rest 
seems  all  at  once  to  set  it  shaking.  We  can  feel  one  omnibus 
race  past  the  other,  and  count  the  Bickford’s  vaus  as  they 
go  by — at  least,  so  we  imagine.  But  as  our  picture  turns 
out  sharp  enough,  there  is  doubtless  more  of  fancy  than  of 
(act  in  tho  phenomenon. 

It  is  an  exposure  of  but  five  or  six  seconds,  but  our  photo- 
grapher gravely  times  it  with  his  watch.  Then,  withdrawing 
the  dark  slide,  he  says: 

“ Now,  if  you  will  wait  a mioute,  1’il  show  you  what  the 
portrait  is  like.” 

There  is  much  that  is  pleasant  and  taking  in  our  photo- 
grapher ; despite  the  first  unpromising  appearances,  we  are 
rapidly  beginning  to  like  him. 

He  is  some  time  in  his  laboratory — a little  piece  cut  off 
from  the  studio — and  we  havo  plenty  of  time  to  look  about 
us.  Two  young  assistants  busy  themselves  with  the  print- 
ing, and  come  and  go,  changing  the  frames.  A lady  looks 
in  now  and  then,  and  proceeding  to  the  little  parlour, 
evidently  busies  herself  in  putting  out  the  specimens.  Why 
was  she  not  there  before  ? 

“ I shan’t  be  long,”  cries  a voice  from  the  laboratory  ; 
“ I am  only  developing.” 

‘ Pyro  or  oxalate?  ” we  feel  inclined  to  ask  ; but  we  keep 
silence. 

“ Now  it  will  look  very  funny  to  you,”  6ays  our  friend, 
issuing  forth,”  “but  you  will  be  able  to  see  something.” 

He  wisely  briugs  out  a white  porcelain  slab,  which  he 
holds  at  an  angle  under  the  negative,  the  better  to  judge  of 
its  quality. 

“ The  details  are  very  nice,”  he  says,  looking  at  our  face 
admiringly  (he  calls  them  “detai's,”  but  ho  means  the 
crows’-feet  under  our  eyes). 

It  is  decidedly  a good  negative,  and  we  say  so.  We  ask 
when  we  can  see  a proof. 

“ In  two  or  three  days  ; or,  if  you  are  passing  to-morrow 
and  call  in,  I can  show  you  a print.  But  I will  post  you 
one  if  you  will  give  me  your  address.” 

We  repair  to  the  little  parlour,  and  our  friend,  taking 
down  a ledger,  proceeds  to  write  an  address  we  give  him. 

“ Will  you  have  a dozen  prints?”  he  asks. 

“Yes.” 

“ And  will  you  pay  for  all  of  them  now  ? ” 

“ Yes.” 

Probably  this  had  been  decided  for  us  already  ; but 
whether  or  no,  the  matter  was  put  forward  very  well. 

Already  the  little  parlour,  as  we  are  about  to  leave  it, 
has  put  on  a better  appearance.  The  heap  of  cartes  and 
cabinets  from  the  box  has  been  arranged  in  something  like 
order,  but  they  are  still  a disreputable  lot,  and  there 
is  not  much  to  make  of  them.  A few  little  pine-wood 
stands,  or  an  album — we  don’t  like  albums,  but  they  are 
better  than  nothing — would  have  set  off  the  pictures,  and 
put  things  ship-shape  ; while  in  arranging  them,  the  dirty 
and  discoloured  portraits  would  have  been  sorted  from  the 
rest.  This  lack  of  tact  is  the  more  to  be  deprecated,  since 
otherwise  there  is  much  to  praise  in  the  modest  little 
studio,  our  photographer’s  unassuming  and  obliging  manner 
being  not  the  least  of  these. 


Next  week  will  appear  Studio  V. — “ With  a Business 
Firm.” 


RUSSIAN  CORRESPONDENCE. 

Russian  Poly  technical  Society. 

At  a recent  meeting  of  the  V.  Section  of  the  Imperial 
Russiau  Polytechnical  Society,  Mr.  D.  Ezoutchevski 
exhibited  a very  ingenious  ebonite  shutter  of  his  own  con- 
struction, fitted  with  a spiral  spring  instead  of  the 
eccentric  generally  adopted,  which  could  be  adjusted  for 
different  exposures,  and  in  case  of  accident  could  be  easily 
replaced  by  a spare  one  in  less  than  a minute.  To  adapt 


noisy 


340 


THE  PHOTOGRAPHIC  NEWS. 


it  for  use  with  a pneumatic  ball,  the  inventor  had  tried 
several  contrivances,  but  found  that  the  most  simple  one 
was  a “ Dellalier’s  ” core,  working  lightly  in  a tube,  so 
that  it  would  strike  the  kuob  that  released  the  spring 
when  pressure  was  applied  to  the  ball. 

At  the  same  meeting,  he  communicated  the  results  of 
his  endeavours  to  construct  efficient  working  cameras  for 
tourist  photographers  ; one,  a pocket  camera,  for  use 
without  a stand,  and  a travelling  camera  that  should  con- 
tain a large  number  of  plates  in  the  least  possible  compass, 
with  facilities  for  changing  them  in  broad  daylight. 

Mr.  Ezoutchevski  explained  that  in  practice  there  were 
certain  defects  in  the  “ Academy”  type  of  camera.  In  the 
first  place,  they  only  give  sketches  for  the  artist,  and  not 
photographs  in  the  true  sense  of  the  word,  as  the 
endeavour  to  produce  them  at  a moderate  price  had 
affected  the  choice  of  sufficiently  coincident  lenses  ; and, 
as  regards  the  capabilities  of  the  apparatus,  the  employ- 
ment of  two  lenses  of  different  foci  was  self-apparent. 
Further,  the  means  of  focussing — ie..  without  rack-and- 
pinion,  and  the  absence  of  a magnifying  glass  for  focussing 
with,  so  necessary  where  the  resulting  pictures  are  intended 
for  enlargement — did  not,  of  course,  enhance  their  merits. 

With  a view  of  overcoming  this  difficulty  of  having  to 
obtain  for  each  apparatus  two  similar  lenses  possessing  the 
same  relative  value,  Mr.  Ezoutchevski  has  invented  a 
new  system  of  portable  camera,  with  only  one  lens,  and 
fitted  with  an  internal  instantaneous  shutter,  to  which  is 
fastened  a reflector,  which  throws  the  image  on  to  the 
ground  glass,  so  that  the  exposure  can  be  made  at  the  most 
opportune  moment  (as  the  image  is  always  in  view)  by 
merely  pressing  a knob  at  the  side  of  the  camera. 

The  apparatus  for  lenses  in  rigid  mounts  differ  slightly 
from  those  intended  for  lenses  with  rack-and-pinion  move- 
ment. 

For  the  travelling  camera,  Mr.  Ezoutchevski  has 
modified  his  camera,  which  received  Honorable  Mention 
at  the  Geographical  Exhibition  at  Venice.  Separate  boxes 
are  made,  carrying  twenty  quarter-plates,  which  cau  be 
fitted  to  the  camera,  and  be  replaced  by  others  (containing 
the  same  number  of  plates)  without  having  recourse  to  a 
dark-room.  From  this  it  will  be  seeu  that  the  difficulty 
of  changing  plates  on  the  road  is  entirely  surmounted. 

Such  a camera,  fitted  with  a Ross  lens,  twenty  5 by  4 
plates,  a magnifying  glass  for  focussing,  a view-meter,  and 
an  instantaneous  shutter,  weighs  less  than  five  pounds  ; it 
does  not  necessitate  the  head  being  covered  while  focussing ; 
it  permits  the  image  being  viewed  through  the  iconometer 
at  the  top  of  the  cameras,  and  focussed  perfectly  sharp  by 
means  of  the  magnifying  glass. 

Patents  are  being  taken  out  for  the  above  articles ; in 
the  meantime,  however,  they  are  being  made  in  quantity 
at  the  new  Russian  Manufactory  of  Photographic  Appa- 
ratus in  Moscow. 

The  same  evening,  Mr.  Uegoe,  photographer  toll.  I.M. 
Horse-breeding  Establishments,  exhibited  his  improved 
Sciopticon  Lamp.  It  is  simply  a piece  of  £in,  brass  tubing 
soldered  at  one  end,  with  a very  fine  slit  made  along  it 
corresponding  in  length  to  the  width  of  the  lamp  wick 
commencing  at  the  closed  end.  This  tube  is  soldered  to 
the  lamp  in  such  a position  that  the  slit  comes  exactly  in 
the  middle  and  under  the  two  wicks,  the  other  end 
protruding  a little  over  the  back  of  the  lamp,  so  that  it 
can  be  connected  with  suitable  tubing  to  a bag  of  oxygen 
gas  under  pressure.  The  chimney  of  the  Sciopticon  must 
be  made  to  draw  out  a little  higher  than  usual,  so  as  to 
ensure  a good  draught ; and  the  best  rock  oil  (paraffin) 
used  in  the  lamp,  so  as  to  ensure  perfect  immunity  from 
danger.  Mr.  Uegoe  said  that  he  had  used  this  light  for 
enlargements  and  demonstrations  in  different  parts  of  the 
Empire  for  over  five  years,  without  any  mishap  whatever. 

H.  I.  M.  has  just  conferred  the  order  of  St  Anne, 
third  class,  upon  Mr.  G.  Scamoni,  Superintendent  of  the 
Ilelio-engraving  Section  of  the  Russian  State  Paper 
Department,  C.  T.  C. 


FROM  DEPTFORD  TO  WEST  MOULSEY  DIRECT. 
Being  the  Account  of  an  Aerial  Trip  in  the  Balloon  “ Sun- 
beam ” on  Whit  Tuesday  last. 

BY  CECIL  V.  SHADBOLT. 

“ I don’t  think  I shall  put  in  an  appearance  quite  so  early 
to-morrow,”  were  almost  my  parting  wTords  to  Mr.  William 
Dale  on  the  evening  of  Whit  Monday,  after  a glorious 
voyage  and  safe  descent  at  Brentwood,  in  Essex  ; and  ac- 
cordingly it  was  getting  on  for  half-past  five  o’clock  on  the 
following  afternoon  when  I entered  the  gates  of  Sayes 
Court  Grounds,  at  Deptford,  to  find  the  above-mentioned 
gentleman  busy  over  the  inflation  of  the  “ Sunbeam,”  a fine 
new  balloon  of  elegant  shape,  aud  made  of  very  light 
material,  each  gore  being  no  less  than  seventy  feet  in 
length. 

The  inflation  having  been  completed,  at  about  6-15  p.m. 
we  took  our  places  in  the  car,  a commodious  basket  five 
feet  long,  three  feet  wide,  and  about  three  feet  deep.  “ Try 
the  balance,”  said  Mr.  Dale.  “Does  she  lift?”  “Yes, 
too  light.”  “ In  with  another  bag  of  ballast — how  now  ? ’’ 
“ Still  light ! ” “ Here,  empty  out  half  of  that  other  bag, 
and  give  me  in  the  remainder.  That’s  beautiful,  steady 
now — let  go  ! ” 

How  I delight  to  hear  these  two  last  words ! They  tell  of 
coming  calm  after  the  storm,  and  are  no  sooner  uttered 
than  a dozen  strong  hands  arc  released  from  the  car,  and 
in  a few  moments  we  have  the  satisfaction  of  seeing  the 
noisy  crowd— which  had  been  pressing  around  on  all  sides 
— gradually  recede  to  a more  respectable  distance  as  the 
“ Sunbeam  ” rises  majestically  into  the  air.  The  musical 
strains  of  “ Up  in  a Balloon,  Boys,”  become  more  and  more 
faint  as  we  are  borne  aloft,  and  soon  we  are  far  above  the 
bustle  and  clamour  of  the  busy  scene  beneath,  gratified  to 
feel  that  neither  letters  nor  telegrams,  however  urgent, 
can  now  disturb  our  meditations,  as  from  our  high  perch 
we  gaze  with  enchantment  upon  the  vast  extent  of  landscape 
which  presents  itself  to  our  view  in  all  directions.  Some 
1,500  feet  below  lies  a marvellous  network  of  railways 
such  as  I have  never  witnessed  on  any  previous  occasion. 
One  gets  quite  bewildered  in  the  vain  attempt  to  trace 
them  ; and  the  fact  that  each  has  its  own  particular  mission 
to  fulfil,  and  that  the  little  moving  objects  which  appear  like 
caterpillars  slowly  threading  their  way  hither  and  thither 
in  various  directions  along  their  courses  are,  in  reality, 
trains  freighted  with  human  lives  as  valuable  as  our  own, 
is  one  difficult  to  realize.  But  our  course  lies  upwards  and 
onwards,  and  as  we  pass  over  Dulwich,  frequent  consulta- 
tions of  the  barometer  reveal  to  us  the  fact  that  we  are 
steadily  balanced  in  space  at  an  altitude  of  2,100  feet,  about 
the  highest  attained  on  this  journey. 

The  “ Sunbeam  ” is  certaiuly  behaving  admirably,  very 
differently  to  what  she  had  done  ten  days  previously,  when 
on  her  first  voyage  she  carried  us  rapidly  into  the  clouds, 
then  through  them  into  the  sunshine  above  to  a height  of 
7,450  feet,  and  having  half  suffocated  us  with  gas,  descended 
with  a speed  which  necessitated  our  parting  with  all  the 
ballast  we  had  in  the  car  in  order  to  check  her  downward 
course.  However,  circumstances  are  different  now,  and 
here  we  are,  a crew  of  four  all  told — Messrs.  W.  daggers 
and  II.  Burney,  who  are  making  their  first  ascent  to  the 
upper  regions  on  this  occasion,  Mr.  Dale  and  myself — en- 
joying the  scenery  with  comfort  and  ease  from  a more 
convenient  elevation. 

How  beautifully  the  towers  of  the  Crystal  Palace  stand 
out  down  there  in  the  lovely  blue  haze  which  hangs  over 
the  landscape!  But  we  cannot  linger;  our  course  as 
shown  by  the  compass  is  S.S.W.,  and  we  soon  find  our- 
selves over  Wimbledon  Common.  Shortly  afterwards,  the 
river  Thames  comes  into  sight,  which,  after  consulting  the 
map  and  taking  our  bearings,  1 give  my  fellow-travellers 
to  understand  we  are  about  to  cross  straight  over  Kings- 
ton, and  as  we  are  going  direct  for  Moulsey,  we  shall  just 
nicely  have  a station  to  return  from  if  we  make  that  place 
our  landing-point.  Mr.  Dale  agrees,  and  brings  the 


Juke  1,  1883.J 


THE  PHOTOGRAPHIC  NEWS 


341 


balloon  down  to  a lower  altitude  as  we  pass  over  Kingston. 
We  continue  sinking  as  we  approach  Hampton  Court,  the 
maze  of  which  appears  as  on  a plan  beneath  our  feet. 

Crowds  of  people  line  the  streets  in  all  directions,  and 
accord  us  a hearty  welcome  as  we  glide  slowly  over  their 
heads ; but  the  balloon  is  falling  too  rapidly,  and  must  be 
raised  if  we  are  to  clear  the  town  without  mishap  ; so  while 
Mr.  Dale  stands  by  in  readiness  to  open  the  valve  as  soon 
as  the  proper  time  for  so  doing  shall  arrive,  at  his  request 
I take  up  a bag  of  sand,  and  pour  half  the  contents  thereof 
over  the  side  of  the  car,  upon  the  heads  of  whoever  may 
happen  to  be  beneath,  little  thinking,  as  I do  so,  that  on 
calling  in  at  a dairy  for  a draught  of  milk  on  returning 
through  the  town,  I shall  be  accosted  by  the  young 
woman  in  charge  with  the  remark,  “ I think  you  must  be 
the  gentleman  who  had  the  pleasure  of  dropping  saud  into 
my  eye  just  now!”  Meanwhile,  Mr.  Burney,  who  is 
watching  the  barometer,  assures  us  that  the  balloon  has 
taken  an  upward  turn,  and  so  we  cease  throwing  out 
ballast ; and  having  cleared  the  village,  make  preparations 
for  the  descent. 

“That  will  be  our  held,”  says  Mr.  Dale,  painting  to  a 
nice  open  space  not  far  distant,  a3  he  tug3  away  at  the 
valve-line,  I bending  over  the  side  of  the  car,  and  watch- 
ing for  the  rope  which  hangs  beneath  us  to  touch  the 
ground,  that  being  the  signal  for  letting  go  the  anchor. 
It  is  a question  whether  we  shall  be  sufficiently  low  to 
catch  the  hedge  we  hope  to ; but  seeing  the  rope  just  graze 
the  top  of  it,  “ Over  now  ! — quick ! — you  have  it ! ” I cry 

“Just  missed!”  the  latter  remark  following  the  fall 

of  the  grapnel.  But  no  matter,  its  pointed  flukes  soon 
take  hold  of  the  turf,  and  in  a few  moments  more  our 
journey  is  brought  to  a successful  termination. 

There  is  no  lack  of  willing  hands  to  render  us  the  neces- 
sary assistance  for  emptying  the  balloon  of  its  gas,  and 
packing  it  into  the  car  we  have  lately  quitted  ; and  a short 
time  afterwards,  the  “Sunbeam,"  having  been  hoisted 
into  a cart,  is  jogging  along  merrily  to  the  Hampton  Court 
station. 

Judging  from  the  amusing  remarks  which  frequently 
reach  the  ears  of  an  aeronaut  as  he  descends  to  the  ground, 
it  would  appear  that  a certain  air  of  the  mysterious 
attaches  itself  to  his  personage.  “ They  be  the  ones!” 
“ Wonder  how  they  liked  it!  ” “ Guess  they  found  it  pretty 
cold  up  there ! ” “ Heard  him  say  we  looked  like  emmets  ! ” 
&c.,  are  specimens  of  what  he  often  hears ; and  the 
curiosity  of  the  good  people  of  Moulsey  certainly  proved 
no  exception  to  this  rule,  though,  from  the  kindly  recep- 
tion accorded  us,  we  all  agreed,  when  seated  in  the  train 
on  our  way  home,  that  if  ever  our  flight  lay  across  the 
same  district  again,  we  could  wish  for  no  better  place  at 
which  to  effect  our  descent. 


HOT  WEATHER  DEVELOPMENT. 


BY  SAMUEL  FRY. 

Each  year,  on  the  recurrence  of  warm  weather,  a cry  of  dis- 
tress goes  up  from  a number  of  gelatine  plate-workers  that 
they  get  green  fog,  and,  of  course,  it  is  the  fault  of  the 
plates.  All  makers  alike  arc  blamed.  That  this  is  caused  by 
development  alone,  and  not  from  faulty  plates,  is  shown  by 
the  fact  that  plates  of  known  good  quality,  giving  excellent 
results  in  cool  weather,  have  been  found  to  yield  inferior 
negatives  in  hot  weather.  The  manner  of  development, 
then,  is  the  cause. 

It  will  be  remembered  by  collodion  workers  that  during 
summer,  disturbances  to  their  work  of  a very  similar  kind 
occurred  from  the  same  cause.  Now,  we  may  bear  in  mind 
that  sodic  sulphite  was  introduced  as  a complete  remedy  for 
green  fog ; but  wide  divergencies  of  opinion  were  expressed, 
some  even  going  so  far  as  to  say  it  produced  green  fog,  whilst 

others  found  it  gri< ^ ‘L-  J - 1 rr"  ■ 

seems  to  have  arisen 
the  manner  of  using 


svousiy  siowea  tne  development.  This 
from  want  of  complete  examination  into 
it — in  fact,  the  real  clue  was  missed.  The 


following  method  of  mixing  pyro  and  sodic  sulphite  give8 
even  more  developing  energy  than  without  sulphite,  and 
yields,  to  a certainty,  negatives  of  the  exact  oxalate  or  wet 
collodion  colour,  whose  printing  power  can  be  exactly 
judged,  and  has  the  advantage  of  being  similar  to  the  re- 
touching pencil.  Make  a saturated  solution  of  sodic  sulphite 
by  pouring  on  the  crystals  boiling  water,  and  adding  to  each 
pint  1 dram  of  acid  citric ; when  lukewarm,  pour  15  ounces 
of  this  on  an  ounce  of  pyro — this  is  the  usual  stock  solution, 
to  be  mixed  with  water  1 to  15  lor  use.  For  the  bromide 
and  ammouia,  the  same  I have  before  given  in  these  columns 
may  be  used,  viz.  : — 


Bromide  am. 
Ammonia  ... 
Water 


...  300  grains 
...  2 ounces 


...  12 


u 


so  that  for  use  take  (say)  4 ounces  water,  and  pour  in 
2 drams  of  each  stock  solution,  and  develop  with  it.  It  of 
course  remains  clear  and  bright,  and  the  negatives  are  of 
excellent  colour.  It  may  be  noted  that  by  this  system,  on 
looking  down  on  the  finished  negative,  it  often  has  a rusty 
iridescent  look  ; but  on  looking  through,  is  quite  clear. 


ON  THE  PRODUCTION  OF  PHOTOGRAPHIC 
PORTRAITS  FOR  COLOURING. 

BY  CLIFF. 

“ I wi8H  that  your  photographers  would  pay  a little  more 
heed  to  the  kind  of  prints  you  send  us  to  paint.”  This  was 
thespeech  with  which  I was  greeted  a few  days  since  by  an 
old  friend  of  mine,  and  a well  known  colourist  to  the  pro- 
fession. Knowing  his  nature,  I thought  it  might  be  to  the 
interests  of  the  profession  if  I drew  from  him  a few  remaiks 
as  to  the  quality  of  prints  he  and  his  fellow-artists  con- 
sidered most  suitable  for  working  upon.  I therefore  re- 
marked, that  he  was  an  inveterate  grumbler,  and  was 
growling  for  mere  growling  sake. 

“I  tell  you  what,”  said  he;  “supposing  I give  you  an 
artist’s  idea  on  the  subject ; will  you,  on  your  part,  endeavour 
to  bring  them  before  your  photographic  brethren  ? ” 

I replied  that  I would  willingly  do  so,  and  h9  then 
commenced. 

“ Most  photographers  send  us  a washed-out  print,  under 
the  impression  that  we  prefer  it ; the  impression  is  a wrong 
one,  for  what  we  mostly  prefer  is  one  printed  just  to  the 
right  depth  for  a plain  print,  neither  darker  or  lighter.” 

“ Are  you  referring  to  enlargements  or  direct  prints?  ” I 
queried. 

“ Direct  prints,”  he  replied;  “ and,  what  is  worse,  is  the 
fact  that  only  about  50  per  cent,  of  our  clients  send  us  a 
guide  at  all  when  a direct  print  is  in  the  question,  and  yet 
they  expect  us  to  keep  the  likeness,  or  otherwise  to  alter  the 
picture  after  inspection  without  any  extra  charge.  Those 
who  do  send  guides,  only  send  one ; whereas  to  ensure  the 
best  result  they  should  send  us  two,  one  printed  for  the 
light,  and  one  for  the  shadows." 

“ Do  you  prefer  a soft  picture  or  not  ? ” I again  queried, 
and  was  met  with  the  reply  that  as  a rule  artists  preferred 
what  a photographer  would  call  a hard  one  ; that  is,  with 
pure  whites  in  the  face. 

“ We  can  put  in  the  half-tones  much  better  on  a picture 
of  that  class,”  he  continued,  “ than  on  a soft  one,  and  if  the 
protrait  is  larger  than  a cabinet,  a carbon  print  is  far 
preferable  to  a silver  one,  for  if  silver  be  the  basis  of  the 
print,  we  should  prefer  it  on  plain  paper  to  albumenized.” 

“ With  regard  to  retouching  the  negative  ? ” suggested  1. 

“That,”  responded  my  friend,  “ is  so  much  labour  for  less 
than  naught,  for  we  much  prefer  an  untouched  print,  as  it 
is  a great  deal  easier  for  us  to  soften  the  lines  than  to  have 
to  put  them  in,  as  in  many  cases  we  have  to  do  owing  to  the 
lack  of  anatomical  knowledge  on  the  part  of  the  majority  of 
retouchers.  It  is  very  rarely  that  we  get  a decently  vignetted 
print  sent  us  to  colour,  as  it  seems  to  be  thought  that  any 
defect  in  vignetting  can  easily  be  made  up  by  us.  Why,  in 


342 


THE  PHOTOGRAPHIC  NEWS. 


[June  1,  1883. 


the  name  of  Cremation,  do  not  your  printers  take  a little 
pains  in  producing  the  most  artistic  style  of  portraiture? 
A well  vignetted  picture  is  beautiful,  but  a badly  vignetted 
one  pains  the  eye  to  look  at  it,  even  though  the  photograph 
otherwise  be  of  the  highest  degree  of  excellence.  I should 
much  prefer,  especially  in  large  work,  that  the  background 
be  quite  obliterated  by  paint  on  the  negative,  then  we  could 
put  in  a soft  transparent  one  ourselves,  which  is  otherwise 
almost  an  impossibility.  One  great  point  to  which  I should 
like  you  to  draw  the  photographers’  attention  is,  that  they 
send  us  photographs  in  which  the  hair  is  nearly  black,  and 
tell  us  to  paint  it  golden  ; to  meet  their  requirements  entails 
the  use  of  colours  which  are  not  suitable,  whereas  by 
lightening  the  hair  in  the  pi  int  this  could  easily  be  avoided. 
The  same  remark  applies  to  officers’  uniform  coats.  These 
would  be  much  better  painted  entirely  out  in  the  negative, 
so  as  to  be  white  in  the  resulting  prints  ; much  better  work 
could  then  be  put  upon  them.” 

“Any  more  faults  to  find?”  I asked. 

“ Heaps,”  he  replied  ; “ and  one  of  the  principal  ones  is 
the  insufficiency  of  the  directions  sent  with  pictures.  Here 
is  one  sent  me  a week  ago : — 


Complexion 

Eyes 

Hair 

Dress 


fair 

blue 

brown 

blue 


and  that  is  what  is  considered  by  most  as  quite  sufficient. 
How  am  I to  know  what  shade  of  blue  to  paint  the  eyes  or 
the  dress,  or  if  both  are  the  same  shade?  And  the  hair — am 
I to  paint  it  light  brown,  dark  brown,  or  something  inter- 
mediate? In  all  cases  the  shade  should  be  given  as  well  as 
the  colour,  and  five  shades  should  be  imagined  of  each 
colour  thus  : very  light,  light,  medinm,  dark,  very  dark  ; 
then  we  should  know  how  to  proceed.  Where  it  is  possible 
to  let  us  have  a piece  of  the  hair  or  of  the  dress  material,  it 
is  advisable  to  do  so,  and  in  mo3t  cases  they  may  be  had  for 
the  asking.  In  the  event  of  a fancy  costume,  it  is  advisable 
for  the  photographer,  if  it  at  all  lies  inthe  range  of  possibility, 
to  obtain  the  loan  of  the  costume  itself  for  the  artist’s  use, 
or  at  any  rate  to  arrange  that  he  may  see  it  for  himself. 


EMULSION  WASHING. 

BY  OTTO  TFENNINOBB. 

During  the  last  two  years,  I have  piepared  above  180 
different  kinds  of  brom-silver  gelatine  emulsion,  and 
after  many  difficulties  have  at  last  arrived  at  a sure 
method,  and  shall  try  to  give  you  my  experience  in  the 
matter  in  a practical  way,  without  theorising.  I know  that 
in  your  columns  there  are  already  published  several  different 
systems ; but,  I think,  I may  be  able  to  give  some- 
thing new  on  the  subject.  I find  the  following  articles 
necessary  to  prepare  these  plates  ; — A boiling  pot  30  centi- 
metres high  and  80  across,  with  a lid  with  double  folds 


to  close  light-tight,  and  a curved  pipe  to  let  out  the 
vaporous  products.  The  under  part  of  the  pot  fits  in  a 
chimney  or  stove,  so  that  by  standing  a lamp  under  it,  the 
pot  may  be  kept  warm. 

A thermometer  graduated  to  100  c. 


Three  ordinary  white  milk-cups,  to  contain  about  1J  litre, 
each  one  having  its  exact  weight  engraved  on  it. 


A spoon  made  of  horn,  25  centimetres  long. 

Coarse  canvas  61  c.  square. 

A flat  dish  24  by  30  c. 

Fine  muslin  70  c.  square. 

A wash  basin  35  to  40  c.  diameter,  and  15  to  20  c.  deep. 

Different  pipettes  holding  6,  7,  12,  15,  18,  &c.,  c.  of 
liquid  ; the  mouth  should  be  large  and  short,  and  the 
opening  nearly  as  large  as  the  pipe,  which  is  a little  longer 
than  the  plate  to  be  prepared  ; the  belly  is  short  and  thick. 

An  ordinary  glazed  pot,  to  hold  two  litres,  to  prepare 
the  emulsion  in. 

Two  dropping  bottles  of  the  following  shape,  containing 
about  350  grains. 


Tho  different  standard  solutions  for  preparing  emulsion 
are  : — 

Solution  W. — Filtered  distilled  water,  with  one  drop  of 
carbolic  acid  to  every  litre  of  water. 


Solution  B. — Bromide  of  ammonia  .. 

. 88  grammes 

Bromide  of  potassium  ... 

, 86 

II 

Iodide  of  potassium 

. 4 

II 

Chloride  of  sodium 

. 20 

»l 

Filtered  distilled  water  .. 

. 850 

>1 

Solution  A. — Strong  ammonia... 

. 2 

II 

Water  

. 50 

Emulsion  Formula. 

Soft  gelatine  

. 20  grammes 

Stock  solution  W... 

. 300 

II 

Nitrate  of  silver  (fused)  ... 

. 50 

II 

Stock  solution  W 

. 300 

II 

Stock  solution  B ... 

. 260 

II 

Acetic  acid 

. 14  drops 

Solution  A... 

. 50 

grammes 

Hard  gelatine  

. 30 

ii 

'lo  prepare  the  emulsion. — Take  the  boiliDg  pot  and  warm 
the  water  to  50°,  aud  put  the  three  first  solutions  of  the  emul- 
sion formula  in  it,  so  as  to  warm  them ; the  nitrate  and  the 
brom-salt  solution  should  be  in  two  dropping  bottles, 
and  the  gelatine  solution  in  the  glazed  pot.  When  the  con- 
tents have  the  given  temperature,  proceed  to  mix  the  solu- 
tion with  the  horn  spoon,  well  stir  the  gelatine  solution,  to 
which  you  have  put  14  drops  of  acetic  acid,  and  let  first 
drop  in  about  the  tenth  part  of  the  silver  nitrate  solution, 
and  your  assistant  can  now  come  and  drop  in  tho  bromide 
solution  ; always  keep  it  well  stirred  ; in  this  way,  all  the 
silver  solution  will,  when  the  emulsion  is  nearly  mixed,  be 
changed  to  bromide  of  silver,  and  tho  excess  of  bromide  will 
only  then  come  into  account. 

I found  that  this  way  of  mixing  does  no  harm  to  the  gelatine 
solution  ; on  the  contrary,  I found  that  the  gelatine  gets 
hardened,  and  plates  prepared  with  it  never  frilled,  and 
also  that  the  resulting  emulsion  is  always  the  same,  and  very 
regular,  and  the  negative  very  soft  and  easy  to  develop. 
After  the  mixing  is  over,  regulate  the  temperature  to  40° 
Celsius,  and  add  50  grammes  of  stock  solution  A ; after 
this,  digest  for  seven  to  twelve  hours  at  the  given  tempera- 
ture, and  stir  tho  emulsion  every  hall  hour  without  fail ; a 


June  1,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


343 


quarter  of  au-liour  before  the  digestion  is  over,  put  30  grains 
of  hard  gelatine  to  it,  and  then  put  it  in  the  flat  dish.  After 
standing  twelve  hours  to  cool,  pass  it  through  the  canvas 
into  the  muslin,  which  is  spread  over  the  flat  wash-basin 
containing  water.  The  squeezing  operation  should  be  done 
under  the  water.  Then  take  the  muslin  with  the  emulsion 
substance,  holding  it  by  the  four  corners,  out  of  the  water 
(which  will  contain  no  particles  of  emulsion  worth  saving), 
and  hold  it  under  a water  tap  for  a quarter  of  an  hour,  taking 
care  that  the  water  is  well  spread  all  over  the  emulsion  ; 
after  hang  it  up  to  drain  for  half  an  hour,  and  then  put  the 
substance  in  the  marked  milk-cup,  and  add  to  it  stock 
solution  W,  until  the  contents  weigh  1,400  grains,  as  the 
drained  emulsion  will  only  weigh  about  900  to  1,000  grains. 
Now  warm  it  in  warm  water  of  40Q  for  an  hour,  and  keep  the 
water  the  same  ; then  filter  through  fine  linen  of  three 
thicknesses  into  another  white  milk-cup ; in  this  way  you 
always  know  the  exact  strength  of  the  emulsion,  and  can 
exactly  calculate  how  much  you  may  spread  over  a plate. 
For  example,  over  a half  plate,  13  by  18  c.,  take  a pipette 
holding  7 grm. ; this  pipette  is  also  very  useful  to  help  in 
flowing  the  emulsion  all  over. 

To  test  the  emulsion  as  to  its  goodness,  take  a little  of 
it  in  a testing-glass  aud  put  a small  quantity  of  tannic 
acid  solution  to  it,  and  if  the  substance  should  turn 
coloured,  especially  when  it  becomes  a deep  red  colour, 
you  may  be  sure  that  the  emulsion  is  over-boiled,  and  the 
plate  prepared  with  such  an  emulsion  will  veil.  In 
summer  time,  or  when  the  weather  is  warm,  keep  your 
liquid  emulsion,  for  spreading  over  the  plates,  at  a tempe- 
rature not  higher  than  30°  (dissolving  degree,  40°  C.), 
because  the  liquid  matter  would  take  too  long  a time  to 
set,  and  so  the  brom-silver  particles  would  fall  in  the 
substratum  nearest  to  the  plate,  and  the  surface  would 
show  a glazed  appearance ; in  this  state,  the  plates  take  a 
much  longer  time  to  develop,  and  the  image  would  have  a 
flat  appearance,  and  be  thin  and  poor.  In  the  contrary 
case,  it  will  develop  very  easily,  and  in  full  strength,  and 
the  unfixed  negative  shows  on  the  glass  side  only  very 
little,  whereas  the  other  sort  shows  the  image  already 
when  the  picture  is  only  half  developed ; and  when  fully 
developed,  it  is  equally  distinguishable  on  either  side,  and 
such  plates  must  be  treated  with  the  developer  a much 
longer  time,  to  get  strength. 

The  cloths  dirtied  by  the  emulsion  are  to  be  well 
washed  in  several  different  quantities  of  hot  water,  and 
may  then  be  kept  in  water  containing  a few  drops  of 
carbolic  acid.  This  is  much  better  than  drying  them  after 
use  ; before  using  them,  wash  them  again. 

This  1,400  grins,  of  emulsion  is  the  given  quantity  for 
200  half-plates,  or  four  and  a half  square  metre. 

For  drying  the  plates,  I have  had  in  use  for  the  last 
two  years  a drying-cupboard  of  my  own  idea,  aud  am  so 
pleased  with  it  that  I think  it  may  be  useful  to  others  ; 
the  only  fault  it  has,  is,  it  takes  up  much  room.  It  is  a 


plate-glass,  F ; G is  a lid,  that  can  be  lifted  up  or  closed 
air-tight  over  the  levelling  stand,  so  that  the  air  which 
comes  from  the  opening  below,  may  pass  over  the  plates, 
and  is  obliged  to  go  through  the  chimney,  K ; the  open- 
ing must  be  four  or  five  times  as  wide  as  the  opening  at 
K,  so  as  to  give  time  for  the  air  to  absorb  the  moisture. 
To  make  a current  of  air,  it  is  useful  to  put  a lamp  in  the 
chimney,  and  at  the  same  time  you  can  turn  the  light 
through  a window  of  red  glass,  to  good  account.  The 
table  is  about  4 meters  long,  one  metre  wide,  and  one 
foot  in  height. 

Gelatine  dry  plates  require,  iu  such  a cupboard,  fifteen 
to  twenty  hours  to  get  dry.  After  this  you  may  stand 
them  up  on  shelves  to  allow  them  to  dry  also  on  the  other 
side. 

The  glass  which  I use  for  dry  plates  is  washed  with  water 
acidulated  by  nitricacid,  and  then  swilled  under  a clear  water 
tap  ; the  finishing  is  given  with  distilled  water,  containing 
a few  drops  of  carbolic  acid.  For  developing  the  plates,  I 
always  use  pyrogallic  acid,  ammonia,  brom-salt,  and  ordi- 
nary water,  and  can  employ  the  developer  for  six  to  eight 
plates.  It  keeps  perfectly  for  three  hours  by  refreshing  it 
with  a very  little  ammonia  bromide  solution.  For  washing 
the  negatives,  I may  strongly  recommend  running  water, 
instead  of  washing  in  dishes.  For  varnishing,  I can  give 
you  a very  good  protector,  on  which  you  can  retouch  very 
easily ; the  only  fault  it  has  being  its  dearness.  In  200 
grm.  of  chloroform  2 grms.  of  oidinary  gutta-percha  (cut 
tine)  are  dissolved,  then  put  to  it  200  grm.  of  ether  and 
35  grm.  of  gum-dammar.  Filter  before  use. 

This  is  a short  account  of  my  experience  ; I know  it  is 
not  all  new,  but  still  I hope  that  this  way  of  overcoming 
the  frilling  of  plates  is  worth  a trial.  First,  I used  to  put 
a little  nitrate  of  silver  to  the  finished  emulsion,  but  found 
out  that  the  plate  became  completely  spoiled  a month  after. 

o 

To-day  is  the  last  date  for  making  application  for  space 
at  the  Brussels  Photographic  Exhibition  ; the  secretary  is 
M.  Geruzet,  27,  Rue  de  l’Ecuyer,  Brussels. 


The  German  Photographic  Society  meet  in  conclave  this 
year  at  Coblence,  on  the  22nd,  23rd,  and  24th  of  August. 
Visitors  are  welcome. 


We  are  happy  to  present  our  readers  this  week  with  the 
City  and  Guilds  Institute  examination  questions  in  photo- 
graphy. 

M.  Walery,  of  Paris,  whose  name  is  familiar  as  a 
portraitist  of  high  rank,  especially  upon  enamel,  has 
opened  a studio  in  Conduit  Street. 


Mr.  Thomas  J.  Pearsall,  whose  death  occurred  on  the 
25th  inst.,  belonged  to  the  old  world  of  chemists.  He  was 
an  original  Fellow  of  the  Chemical  Society,  and  a Fellow  of 
the  Royal  Society  of  Edinburgh.  Not  only  did  he  claim 
respect  as  whilom  an  assistant  of  Faraday,  but  long  .before 
then  he  aided  Brande,  when  the  latter  was  professor  of 
chemistry  at  the  Royal  Institution.  It  was,  however,  in 
connection  with  the  London  Mechanics’  Institution  that  Mr. 
Pearsall  was  best  known,  and  where,  indeed,  the  greater  part 
of  his  life  was  spent.  Of  late  years  he  interested  himself 
much  in  photography  ; and  his  quaint  familiar  figure,  his 


344 


THE  PH0T0G11APH1C  NEWS. 


[June  1,  1883. 


homely  appearance,  and  earnest  enthusiasm,  will  long  be 
missed  in  London  photographic  gatherings. 

Switzerland  is  showing  some  energy  is  respect  to  photo- 
graphic gatherings.  An  “ Allgemeiner  Schweizeriechen 
Gehilfenbund  ” has  been  formed  in  Zurich,  a society  to 
which  all  assistants  in  Switzerland  are  eligible. 

Balloon-photography  is  now  so  much  the  order  of  the  day 
that  any  contribution  to  balloon  literature  is  welcome. 
Photographers  desirous  of  attempting  such  work  will  learn 
much  about  aerial  voyaging  in  the  interesting  little  paper 
we  publish  to-day  from  the  pen  of  Mr.  Cecil  Shadbolt,  who, 
at  any  rate  in  this  country,  can  claim  to  have  taken  the  best 
balloon  photograph. 

The  patent  recently  taken  out  in  the  names  of  Captains 
Elsdale  and  Templar,  for  photo-balloon  apparatus,  to  which 
we  recently  alluded  in  our  patent  column,  has  reference  to 
free  ascents,  and  is  therefore  unlike  Mr.  Woodbury's  plan, 
which  consists  in  employing  a tethered  balloon.  The 
latter’s  ingenious  plan,  as  our  readers  are  aware,  is  to  send 
up  a small  balloon  with  camera  attached,  which  camera  is 
manipulated  by  means  of  electric  wires  from  the  ground. 
Four  plates  are  arranged  on  the  faces  of  a cube  contained 
at  the  back  of  the  camera,  and  this  cube  is  revolved — to 
bring  a fresh  plate  into  position — also  by  means  of  an  elec- 
tric current  from  below. 


Captain  Elsdale’s  patent  deals  also  with  small  balloons, 
and  is  in  accord  with  Mr.  Woodbury’s  in  so  far  as  no 
aeronaut  is  required.  We  believe  the  apparatus  is  intended 
especially  for  making  reconnoissances  of  a beleaguered  town. 
The  camera,  which  works  automatically — being  set  “to 
expose  ’’  at  some  definite  period  after  rising — is  attached  to 
a balloon,  which  floats  over  the  enemy's  position,  and 
descending,  after  its  transit,  falls  again  into  the  hands  of 
the  beleaguering  force,  who  thus  secure  photographs  ot  the 
fortified  towD.  We  hear  that  several  trials  have  already 
been  made  by  Captain  Elsdale,  who  has  secured  some 
successful  pictures  by  this  clever  and  novel  plan  of 
working. 


“The  Twentieth  Century,”  announced  to  appear  by 
Messrs.  Brown,  Barnes,  and  Bell,  is  likely  to  create  a sensa- 
tion if  it  but  half  fulfils  the  promises  of  its  prospectus. 
Similar  in  general  character  to  the  Illustrated  London  News 
and  the  Graphic,  it  is  to  be  illustrated  throughout  by 
photo-mechanical  printing.  The  publication  will  not  be 
for  sale,  but  is  intended  to  show  what  illustrated  newspapers 
of  the  next  century  will  be  like.  .Portraits,  instantaneous 
views,  landscapes,  and,  indeed,  every  class  of  photograph,  is 
to  be  represented  in  the  pages  of  the  forthcoming  journal, 
which  is  to  employ  neither  the  draughtsman  nor  engraver 
on  its  staff.  Already  fifty  appropriate  subjects  have  been 
chosen  for  the  first  number  ; there  only  remains  now  to 
publish  it. 


We  alluded  some  few  weeks  ago  to  the  use  of  Platino- 
fcype  photographs  as  pictorial  advertisements  by  the  North 


Western  Railway  Company,  and  we  now  hear  that  the 
“ Eastbourne  Season  Extension  Committee  v has  autho- 
rized an  expenditure  of  nearly  £200  for  photographs. 
These  will  be  exhibited  in  various  places  of  public  resort 
throughout  the  country. 


The  photographic  records  of  the  barometer,  thermometer, 
&c.,  produced  at  Kew,  to  which  we  have  many  times  alluded 
in  these  columns,  are  to  be  put  to  a new  use.  Mr.  G.  M. 
Whipple,  the  energetic  director  of  the  Establishment,  hopes 
to  be  able  to  read  between  the  lines  of  these  records,  by 
obtaining  average  photographic  readings,  proceeding  some- 
what after  the  manner  adopted  by  Mr.  Francis  Galton,  in 
producing  composite  portraits.  In  fact,  Mr.  Galton’s  plan 
of  producing  a portrait  of  an  average  individual  from  the 
photographs  of  many,  has  suggested  the  idea  to  the  Director 
of  Kew  Observatory.  So  that  it  is  not  impossible  we  shall 
have  photography  not  only  recording  definite  facts  in 
meteorology,  but  averaging  them  afterwards. 


“ Welsh  hats  lent  to  visitors,”  we  saw  posted  up  last  week 
in  Aberystwyth,  in  a photographic  window,  as  an  incentive 
to  come  and  be  taken  ; and  very  likely  we  should  have 
responded  to  the  invitation,  only  that  we  remembered,  just 
in  the  nick  of  time,  that  “ hats  ” do  not  belong  to  the  cos- 
tume of  the  un-fair  sex  in  Wales,  but  are  borne  by  their 
better-halves. 


The  presents  made  to  the  newly-crowned  Czar  on  Monday 
last  took  the  form,  in  many  cases,  of  photographic  albums, 
which  contained  the  features  of  subjects  from  all  parts  of 
his  widely-spread  domain. 


Mr.  Ashman's  mock  description  of  an  American  studio  in 
“ American  Photography  ‘ As  it  Was,’”  which  appeared  in 
our  issue  of  last  week,  recalls  to  our  recollection  a few  of  the 
advertisements  which  used  to  appear  in  tho  American 
journals  five-and-thirty  years  ago.  For  instance,  J.  D. 
Wells,  Daguerrean  Artist,  of  Northampton,  Mass.,  announces 
“likenesses  taken  by  a skylight  connected  with  a beautiful 
side-light.”  Insley,  of  311,  Broadway,  informs  the  public 
that  “ this  one  new  sky-light  gallery  is  located  on  the 
second  floor  at  the  above  number  ; every  real  improvement 
is  taken  advantage  of,  and,  aided  by  scientific  and  gentle- 
manly assistants,  we  trust  our  pictures  cannot  be  excelled.” 
S.  J.  Thompson,  of  Albany,  New  York,  has  “one  of  the 
best  sky-lights  in  the  United  States.”  “ A new  and  improved 
sky-light  enables  the  proprietor  of  the  Van  Loan  Gallery, 
Philadelphia,  to  take  pictures  at  times  when  they  cannot  be 
had  at  other  places.”  The  photographer  in  those  days  was 
very  modest.  He  scarcely  dared  to  call  himself  an  artist, 
and  was  contented  with  being  “ gentlemanly  and  scientific.” 
As  for  tho  modern  refinement  of  “ studio,”  it  was  not  to  be 
thought  of,  and  to  be  the  possessor  of  a “ sky-light  ” was  all 
he  could  dream  of. 


Professor  Boltzman  has  designed  a plan  for  photographing 
the  different  vibrations  of  various  sounds.  Upon  a round 
disk  of  thin  metal  is  fixed  perpendicularly  a thin  sheet  of 


June  1,  1883.] 


Tim;PHOTOGEAPHICjNEWS. 


345 


platinum.  Close  to  the  latter  is  fixed  a second  sheet  in 
such  a way  as  to  leave  a small  passage  between  them  ; this 
passage  is  illuminated  by  rays  concentrated  upon  it  by  a 
converging  lens.  After  traversing  the  passage  or  slit,  the 
breadth  of  which  varies  with  the  vibrations  produced,  the 
light  rays  pass  to  a photographic  film  and  impress  it. 
This  photographic  film  is,  however,  moving  rapidly  in  a 
perpendicular  direction  to  the  luminous  line  traced  by  the 
slit  between  the  two  plates,  and  thus  a photograph  of 
curves  is  produced  corresponding  to  the  sounds  produced. 
In  the  case  of  vowels,  the  curves  are  very  simple,  but  the 
consonants  give  complicated  figures  resembling  those 
Koenig  has  obtained  in  his  well-known  flame  experiments. 


The  New  York  Herald  has  been  reviewing  the  list  of 
suicides  in  New  York  during  the  last  fifteen  years.  The 
Herald  observes  that  “ Photographers  with  plenty  of 
deadly  compounds  at  hand  rarely  avail  themselves  of  these 
poisons,  but  prefer  some  other  mode  of  death.”  We  are 
not  sure  whether  this  fact  gratifies  us,  or  the  reverse. 
The  point,  perhaps,  is  not  worth  discussing  ; but  we  fancy 
that  in  England  photographers  with  suicidal  mania  have  a 
proper  pride  in  their  profession,  and  usually  select  cyanide 
of  potassium. 


Do  members  of  the  House  of  Commons  amuse  them- 
selves in  their  spare  hours  by  having  their  portrait  s taken  ? 
We  ask  the  question  because,  on  nearly  every  afternoon 
this  week,  a camera  has  been  planted  on  the  terrace  facing 
the  ruin,  in  the  shadow  of  one  of  the  buttresses,  and  oppo- 
site the  lens  an  undoubted  photographic  background  and 
chair.  On  Monday  the  passengers  on  board  the  steamers 
took  the  liveliest  interest  in  the  arrangements ; but  the 
photographer  apparently  timed  the  operation  of  posing  and 
exposing  when  the  boats  were  not  passing.  At  least,  this 
was  the  conjecture  of  the  disappointed  spectators  who 
would  have  liked  to  have  “assisted”  in  taking  the  por- 
traits of  Lord  Randolph  Churchill  or  Mr.  Biggar. 


The  Swing  is  a capital  studio  accessory,  because  the 
posing  is  always  so  natural ; but  it  requires  to  be  properly 
hung.  The  ropes  should  be  short,  to  lessen  vibration,  and 
stout,  go  as  to  permit  of  being  firmly  clasped ; the  seat 
should  be  large  and  comfortable  (there  is  no  need  to 
show  it),  and  it  must  not  be  too  near  the  ground. 
Then,  if  the  lady  is  shown  in  the  act  of  starting  the  swing, 
pressing  back  with  one  or  both  feet,  she  obtains  a firm 
position,  for  she  is  almost  standing  upright. 


There  is  no  difficulty  in  remaining  quite  still  in  this 
position  for  three  or  four  seconds,  or  even  longer;  and  with 
a young  and  merry  model,  the  face  may  be  pressed  against 
one  of  the  ropes,  adding  much  to  the  piquancy  of  the  pose, 
while  ensuring  greater  steadiness.  The  position  of  the 
hands  at  once  ceases  to  be  a problem  in  a swing  picture, 
for  they  always  clasp  the  ropes  gracefully  and  naturally  ; 
while  there  is  the  advantage  of  showing  a pretty  focq 
into  the  bargain,  without  any  attempt  at  display. 


The  mounting  of  photographs  on  thick  boards  with  no 
margin  but  the  gilt  bevelled  edge  ought,  to  some  extent,  to 
solve  the  difficulty  which  exists  as  to  the  sale  of  landscapes. 
In  the  old  days  it  used  to  be  the  fashion  to  surround  the 
photograph  with  an  inordinate  quantity  of  India  tint  and 
white  cardboard,  the  rule,  apparently,  being  that  the 
smaller  the  photograph,  the  more  liberal  must  be  the  supply 
of  margin.  The  consequeuce  was  that,  to  keep  them,  one 
had  either  to  go  to  the  expense  of  framing,  or  had  to  be 
encumbered  with  huge  folios.  In  the  first  case,  the  frames 
sprawled  over  the  walls,  taking  up  far  more  space  than 
they  were  worth  ; and  in  the  second,  the  white  margins 
got  dirty  and  dog’s-eared  from  handling.  No  wonder 
there  ceased  to  be  any  market  for  landscape  photographs. 
The  method  of  mounting  without  a margin  seems,  how- 
ever, to  obviate  the  drawbacks  we  have  mentioned. 
Photographs  so  mounted  can  be  framed  inexpensively,  or 
the  frame  and  glass  can  be  dispensed  with  altogether;  they 
can  be  kept  in  a drawer  without  the  risk  of  the  corners 
turning  up  ; and  last,  and  not  least,  they  can  be  handled 
without  fear  of  soiling.  It  would  be  a good  thing  if  the 
public  taste  were  to  set  in  in  favour  of  this  branch  of 
photography. 


latent  Intelligent. 

Grant  of  Provisional  Protection. 

393.  Alfred  James  Beer,  of  the  city  of  Canterbury,  for  an 
invention  of  “ Improved  photometer.” — Dated  24th  January, 
1883. 

Patents  Granted  in  Austria-Hungary. 

M.  Kolischer,  of  Vienna,  for  “ Revolving  photographs,  adver- 
tisements, or  luminous  pictures.” — Dated  2nd  October,  1882. 

Specifications  Published  during  the  Week. 
4651.  J.  Y-  Mel. eli. an,  for  “ Artificial  light  apparatus  for  photo- 
graphing, &o.” 

This  invention  has  for  its  object  the  construction  of  improved 
and  convenient  apparatus  specially  designed  for  the  application 
in  photography  of  the  intense  light  obtainable  by  burning  mag- 
nesium in  oxygen,  the  apparatus  being,  however,  also  advan- 
tageously applicable  for  other  purposes.  In  one  modification  of 
the  improved  apparatus,  there  is  a glass  globe  made  with  a 
stoppered  opening  at  its  top,  and  having  its  bottom  connected 
by  two  pipes  or  passages  fitted  with  stopcocks  to  a vessel  of 
cylindrical  or  other  suitable  form,  which  serves  as  a reservoir  for 
the  oxygen,  and  is  placed  in  any  convenient  position  at  a lower 
level  than  the  glass  globe.  The  reservoir  is  fitted  with  a stop- 
cock at  its  bottom  end  for  discharging  water,  and  with  another 
stopcock  for  the  admission  of  the  oxygen  from  any  convenient 
generator  or  source.  One  of  the  two  pipes  connecting  the  reser- 
voir to  the  glass  globe  extends  to  the  lower  part  of  the  reservoir, 
the  other  reaching  the  top  only.  The  reservoir  having  been 
charged  with  oxygen,  the  glass  globe  is  filled  with  water,  and  its 
top  opening  being  closed,  the  stopcocks  of  the  connecting  pipes 
are  opened.  The  water  in  the  globe  then  passes  into  the  reser- 
voir, and  its  place  is  taken  by  oxygen,  after  which  the  stop- 
cocks are  closed.  When  using  the  apparatus,  a suitable  length 
of  magnesium  wire  or  ribbon  is  ignited,  and  introduced  into  the 
globe  through  the  opening  at  the  top.  One  filling  of  the  globe 
with  oxygen  will  serve  for  burning  two  or  more  pieces  of  mag- 
nesium in  succession. — Provisional  Protection  only. 

4747.  F.  J.  Emery,  for  “Photographic  engraving.” 

My  invention  refers  to  an  improvement  on  the  Heliographic 
method  of  engraving  of  Niepce.  This  process  of  Niepce  consists, 
as  is  well  known,  in  coating  a metallic  plate  or  surface  with  a 
thin  film  of  bitumen,  exposing  this  to  light  under  a transparency 
for  a sufficient  time,  then  dissolving  away  the  protected  parts 
(that  is,  those  portions  which  have  been  screened  by  the  opaque 
portions  of  the  transparency)  by  suitable  solvents,  and  etching  by 
well-known  methods.  My  improvement  consists  in  the  use  of  a 


346 


THE  PHOTOGRAPHIC  NEWS. 


[June  1,  1883. 


fatty  or  waxy  image  which  I transfer  to  the  surface  of  the  bitu- 
menised  metal,  and  I find  that  the  fatty  image  not  only  protects 
the  bitumen  film  from  light,  but  also  exercises  a softening  action 
on  the  aforesaid  bitumen  film,  so  that  the  development  or  dis- 
solving away  of  the  unaltered  bitumen  can  be  effected  with 
greater  facility  than  when  a chemically  inactive  transparency  is 
made  use  of.  The  practical  result  of  this  is  to  reduce  the  ex- 
posure required.  The  fatty  image,  which  serves  to  protect  the 
bitumen  film  from  the  action  of  the  light,  and  at  the  same  time 
to  soften  those  portions  of  the  film  on  which  it  rests,  may  be 
either  transferred  to  the  bitumen  surface  just  as  a typographic, 
lithographic,  or  plate  impression  is  ordinarily  transferred  to  a 
stone,  or  it  may  have  been  originally  printed  or  written  on  a 
transparent  substance,  such  as  tracing  paper,  talc,  or  sheet  gela- 
tine. In  these  latter  cases  the  image  side  should  be  laid  next 
the  bitumen  film,  so  that  the  softening  action  already  referred 
to  may  take  place.  In  some  cases  I produce  the  fatty  original 
direct  on  the  bituminised  plate  by  writing  or  drawing  with  a 
fatty  ink  or  material.  Any  fatty  material  which  contains  a 
tolerably  opaque  pigment  may  be  used,  but  I prefer  to  use  the 
ordinary  colour  as  used  by  potters  in  printing  from  their  copper 
plates.  I ordinarily  take  impressions  on  the  usual  potter’s  tranfer 
or  tissue  paper,  and  transfer  this  to  the  bitumenised  metal,  just 
as  I would  transfer  it  to  a piece  of  pottery,  after  which  I remove 
the  paper  basis  in  either  one  of  the  usual  ways  well-known  to 
potters,  so  as  to  leave  nothing  but  the  dense  fatty  image  on  the 
bitumen  surface  ; I then  expose  it  to  light  fora  sufficient  time  to 
render  the  bitumen  insoluble  where  not  covered  by  the  fatty 
image,  after  which  I treat  with  oil  of  turpentine,  benzole,  or 
other  similar  solvents,  until  the  fatty  image  and  the  underlying 
portions  of  bitumen  are  removed,  after  which  I etch  till  the  re- 
quired depth  is  attained.  Having  now  described  the  nature  of 
my  invention,  I would  have  it  understood  that  I claim  as  novel 
and  original  the  use  of  a fatty  image  as  a resist  against  the 
action  of  the  light,  and  as  a simultaneous  softener  of  the  bitumen 
film  substantially  as  herein  described. — Provis.  Protection  only. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 

PRINTING. 

Lesson  XI. 

Spoiling. — By  this  term  we  do  not  mean  that  spots, 
black  or  otherwise,  are  to  replace  the  white  ones,  so  often 
occasioned  in  the  preparation  of  silver  prints — the  causes 
of  which  are  varied — but  the  removal,  by  means  of  water- 
colour, of  all  objectionable  spots,  lines,  patches,  and  other 
inequalities. 

The  operation  may  take  place  either  before  or  after 
rolling,  if  that  mode  of  finishing  be  adopted ; but  many 
persons  prefer  to  do  the  spotting  first,  in  order  that,  when 
finished,  the  surface  shall  be  equal,  or,  in  other  words,  the 
dull  marks  caused  by  the  spotting-out  brush  will  not  show. 
The  same  may  be  said  in  the  case  of  burnishing  ; but  if 
the  burnisher  is  used  very  hot,  the  touching  colour  will 
become  a shade  warmer  than  the  photograph,  necessi- 
tating its  removal.  As  the  print  in  such  a case  would 
require  re-spotting  on  the  burnished  surface  with  a suit- 
able colour,  to  match  the  colour  of  the  photograph,  and 
containing  more  gum,  obviously,  the  time  occupied  in  the 
first  work  would  be  wasted;  therefore  one  or  two 
trials  may  be  made  to  indicate  the  shade  of  colour 
necessary  to  match  prints  of  any  particular  tone.  More- 
over, it  will  be  found  easier  to  touch  out  a spot  on 
an  unrolled  print,  on  account  of  the  surface  being  more 
spongey.  The  colours  employed  are  the  same  as  those  we 
mentioned  in  the  last  Lesson — viz.,  Indian  ink,  Indian  red, 
and  neutral  tint,  mixed  with  dilute  gum  water  or  albumen 
until  the  desired  tint  is  obtained.  Ivory  black  may  be 
added  if  desired.  For  warm-toned  photographs  Indian 
red  will  predominate,  whereas  blue  or  grey-toned  photo- 
graphs require  a larger  proportion  of  neutral  tint.  The 
lakes,  although  useful  for  obtaining  exact  shades,  are  not 
sufficiently  permanent,  therefore  do  not  use  them ; all 
that  is  necessary  can  be  easily  done  by  means  of  the  above 
mixture.  Commence  by  lightly  stippling  out  a white  spot 
in  the  half-tint,  using  only  the  point  of  a small  sable  pencil 


charged  as  previously  described  for  the  purpose.  When 
fiuished,  it  should  be  difficult  to  detect  where  the  spot  ex- 
isted ; but  if  it  is  visible,  and  just  a trifle  lighter,  it  may 
be  remedied  by  one  or  two  light  touches  of  the  brush, 
after  jtaking  up  the  smallest  possible  quantity  of  colour 
from  the  palette.  On  the  contrary,  if  the  spot  is  easily 
discerned  by  being  darker  than  the  surrounding  portion, 
remove  it  entirely,  and  start  afresh.  Patience  is  absolutely 
necessary  if  one  wishes  to  spot  prints  well,  for  it  is  cer- 
tainly a tedious  operation ; therefore,  we  say,  persevere 
with  the  first  spot  until  perfection  has  been  attained,  then 
all  the  others  will  become  easier. 

Next  to  spots,  it  may  be  necessary  to  subdue  a too 
prominent  light,  which  we  will  call  a patch  ; when  small, 
stipple  in  with  the  point  of  a brush  slightly  charged 
with  colour;  but  when  the  patch  to  be  worked  on  is  large, 
cross  hatching  will  be  found  quicker  and  better.  Charge 
the  brush  well  with  colour,  and  make  short  strokes  in  the 
same  manner  as  the  down  strokes  of  a pen,  commencing 
at  the  top  with  three  short  strokes,  crossing  them 
with  two  in  the  opposite  direction.  Proceed  in  this  way 
until  the  pat^h  has  been  covered  ; when  dry,  stipple  lightly 
between  the  short  strokes  by  means  of  a fine-pointed  brush 
containing  very  little  colour,  until  the  whole  is  perfectly 
levelled.  Black  spots  may  be  covered  with  Chinese  white 
slightly  toned  down  with  a little  of  the  ordinary  touching 
colour.  Working  up  to  almost  any  extent  may  be  per- 
formed by  persons  possessing  the  necessary  taste  and  skill. 
Shadows  can  be  strengthened  with  neutral  tint,  or  ivory 
black  mixed  with  gum  ; lights  may  be  worked  over  with 
Chinese  white,  the  middle  tints  stippled  with  ordinary 
touching-out  colour,  and  where  needed,  such  as  the  shadows 
in  the  face,  a mixture  of  black  and  white.  Whether  spotting 
is  done  before  or  after  rolling  or  burnishing,  an  encaustic 
paste  is  useful  to  have  ready,  for  several  reasons  ; dull  spots 
caused  by  extra  touching,  or  by  finger  marks,  may  be  easily 
removed,  the  surface  becoming  brighter  than  with 
burnishing  alone.  What  is  of  greater  importance,  how- 
ever, is  the  permanence  it  is  said  to  confer.  Many  persons 
claim  that,  when  the  pores  of  the  paper  are  filled  with  wax, 
the  photograph  is  protected,  to  a large  extent,  from  atmos- 
pheric influences.  Besides  polishing  photographs,  it  will 
polish  the  apparatus,  if  applied  with  a little  friction. 

Encaustic  paste  is  essentially  bees’-wax  reduced  to  a 
paste  with  one  of  its  solvents,  such  as  turpentine,  and 
however  much  it  may  savour  of  furniture  cleaning,  it  will 
be  found  quite  as  useful  for  putting  a fine  polish  on  a 
photograph,  let  it  be  new  or  old.  An  excellent  paste  may  be 
made  as  directed  in  our  Everyday  Formulary , i.e  : — 


White  wax  ...  1 ounce 

Turpentine  5 ounces 

Dissolved  by  gently  heating  over  a water  bath ; when 
cold,  it  is  ready  for  use.  If  the  smell  of  turpentine  is 
objectionable,  one  ounce  of  spike  oil  of  lavender  may  be 
substituted  for  a similar  quantity  of  turpentine:  the  result 
will  be  the  same.  Apply  the  paste  to  the  photograph  by 
means  of  a small  piece  of  flannel,  rubbing  it  lengthways, 
but  all  over ; then  work  in  a circular  direction,  using  the 
same  flannel,  until  the  wax  appears  to  be  all  rubbed  into 
the  print.  Make  a pad  of  clean  flannel,  and  lay  on  the 
friction  for  a few  seconds,  working  as  before  in  a circular 
direction  ; if  you  get  tired,  don’t  make  a halt  on  the  print, 
or  it  may  cause  a mark ; if  the  polish  is  not  satisfactory, 
apply  more  wax,  and  repeat  the  operation,  finishing  off  with 
a clean  piece  of  old  cambric. 

Everyone  has  heard  of  Adam-Salomon,  the  great  master 
in  portrait  photography,  and  who  has  not  heard  of  his 
celebrated  encaustic  paste  ? In  case  there  be  such,  wc  will 
give  the  formula  for  their  benefit : — 


Pure  virgin  wax 
Gum  elemi 

Benzole  

Essence  of  lavender 
Spike  oil  of  lavender 


..  500  parts 
..  10  „ 

..  200  „ 

..  800  „ 


JVxe  1,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


347 


Melt  on  a water  batb,  mixing  thoroughly,  and  strain 
through  muslin  ; or  the  gum  elemi  may  be  dissolved  in 
the  solvents,  and  the  melted  wax  added  after  filtration  ; to 
make  it  thinner,  add  a little  more  essence  of  lavender. 

Retouching. — In  introducing  this  subject  into  our  Twelve 
Lessons,  we  must  necessarily  do  so  in  a mere  cursory 
manner,  because  to  elucidate  every  point  would  occupy 
several  pages  of  matter,  which  may  be  of  interest  to  only  a 
few  ; therefore,  beyond  a mere  outline  of  this  important 
branch  of  photography,  we  shall  say  but  little,  as  past 
issues  of  the  Photographic  News  and  i ear-Books  will 
give  all  the  information  required,  and  our  publishers  issue 
a special  work  on  the  subject. 

When  a negative  is  finished,  it  is  seldom  in  a fit  state 
for  printing ; transparent  spots  require  filling  up  to  the 
same  density  as  the  surrounding  parts,  clouds  need 
strengthening,  water-falls  or  waves  are  not  vivid  enough, 
foliage  is  imperfect,  the  modelling  in  the  flesh  parts  of 
portrait  negatives  is  too  abrupt  ; these,  and  many  other 
defects  likely  to  mar  the  beauty  of  the  resulting  print, 
may  be  corrected  by  skilful  retouching.  Since  the  univer- 
sal adoption  of  gelatino-bromide  plates  these  defects  are, 
in  a measure,  not  so  glaring  as  they  were  formerly  ; but 
we  have  to  contend  with  some  of  them  even  now,  but  in  a 
less  aggravated  form.  Graphite,  commonly  but  wrongly 
named  black-lead,  is  the  agent  universally  employed  to 
overcome  many  of  the  difficulties,  and  by  its  judicious  use 
very  fine  results  are  obtained. 

To  facilitate  the  work  of  retouching,  a suitable  frame  or 


desk  will  be  required  (see  fig.  1).  The  lower  portion  of 
the  desk  consists  of  a case  into  which  a drawer  is  made  to 
slide,  the  said  drawer  being  used  to  store  pencils,  brushes, 
colours,  &c. ; on  the  top  of  the  case  a mirror  is  fitted,  and 
at  one  end  the  middle  portion  is  hinged,  thus  forming, 
when  supported  by  struts  at  the  back,  a convenient  table, 
on  which  the  negative  may  rest  during  the  operation  of 
retouching.  At  the  top  of  this  middle  section  is  hinged 
another  of  equal  size,  for  the  purpose  of  shutting  off  the 
top  light ; black  twill  curtains  (not  shown  in  the  fig.) 
depend  from  this  portion,  so  that,  when  working,  all  light 
is  cut  off  from  the  operator  except  that  which  passes 
through  the  negative.  The  desk  should  be  placed  facing 
a window  ; the  reflector,  which  may  be  of  white  card- 
board, should  be  placed  at  right  angles  to  the  source  of 
light.  As  the  upper  and  lower  portions  of  the  frame  are 
hinged,  the  angle  at  which  the  negative  rests  while  being 
worked  upon  should  be  arranged  to  suit  the  comfort  of 
the  operator. 

En  passant , we  may  remark  that,  cramped,  leaning  forward 
ositions  adopted  by  some  retouchers  tend  rather  to 
eteriorate  health  than  promote  it ; therefore,  bearing  this 
important  fact  in  mind,  the  learner  will  do  well  to  train 
himself  to  work  in  an  upright  position.  The  desk  shown 
in  fig.  2 is  for  day  or  evening  working  ; when  used  in  day- 
light the  lamp  is  removed.  The  light  emitted  from 


the  lamp  should  be  diffused  through  the  medium  of 
an  opal  or  ground  glass  chimney,  there  being  many  suit- 
able patterns  in  the  market.  Until  persons  become 
thoroughly  trained  to  the  art  of  retouching,  their  eyes  are 
often  much  distressed  with  the  strong  light ; blue  or  green 


glass  placed  between  the  negative  and  the  source  of  light, 
i.e.,  under  the  negative,  will  be  found  to  improve  matters 
very  much.  A ready  means  of  obtaining  coloured  glass 
is  by  dissolving  a packet  of  Sand’s  penny  aniline  dyes  in 
two  ounces  of  plaiu  collodion,  or  negative  varnish.  Coat 
the  piece  of  glass  as  in  varnishing,  dry,  using  very  little 
heat ; the  finest  result  is  obtained  when  the  dye  is  dis- 
solved in  collodion,  but  the  most  durable  when  dissolved  in 
spirit  varnish,  the  glass  plate  being  coated  with  plain  collo- 
dion previous  to  coating  with  dye.  Another  help  to  the 
sight,  from  which  great  comfort  is  often  derived,  is  to  cut 
a small  oval  opening  in  a piece  of  brown  paper,  of  such  a 
size  that  every  part  of  the  negative  is  covered  up  except 
the  portion  being  worked  upon  ; the  amount  of  light 
through  such  an  opening,  previously  filtered  through  blue 
glass,  will  not  be  found  to  distress  the  eyes  very  much. 
Besides  a retouching  frame,  the  following  articles  will  be 
needed  : — Finely  powdered  graphite  (such  as  electrotypers 
use  will  be  found  the  best)  ; an  artist’s  stump,  for  applying 
the  graphite  over  large  surfaces  that  may  require  it ; an 
assortment  of  drawing  pencils — best  quality,  soft,  medium, 
hard,  and  very  hard,  a few  finely  pointed  ; sable  brushes, 
small  size ; a few  cakes  of  water  colours,  among  them 
being  Prussian  blue,  Indian  ink,  vermilion,  Chinese  white, 
and  carmine  ; a bottle  of  gum  water  containing  three  drops 
of  glycerine  per  ounce,  a little  gum  being  added  to  the 
colour  when  it  is  desired  to  stipple  on  the  varnish  ; a 
bottle  of  medium,  for  use  when  the  varnish  refuses  to  take 
the  pencil,  the  medium  consisting  of  half-an-ounce  of 
gum  resin  dissolved  in  two  ounces  of  turpentine.  To  U3e 
it,  moisten  a piece  of  rag  with  the  medium,  and, 
when  nearly  dry,  pass  it  over  the  parts  of  the  negative 
required.  This  medium  is  also  useful  in  removing  the 
marks  of  the  pencil  when  the  retouching  has  been 
imperfectly  done,  at  the  same  time  leaving  a good  sur- 
face for  the  new  work  to  be  laid  on.  Some  persons  use 
an  abrading  medium,  such  as  cuttle-fish  bone,  powdered 
resin,  alone  and  with  dextrine,  fine  emery,  putty  powder, 
and  other  cutting  substances,  the  object  being  to  obtain 
a matt  surface  presenting  a good  tooth  or  bite  to  the 
pencil.  The  mode  of  application  is  to  take  a little  of  the 
dry  powder  on  the  finger,  and  rub  the  part  to  be  re- 
touched with  the  powder  in  a circular  motion  until  a 
matt  surface  results.  Work  put  on  this  matt  surface 
cannot  be  removed  so  easily  as  with  the  resin  and  turpen- 
tine, which  we  recommend  to  the  learner  in  preference  to 
the  others.  We  will  attempt  the  correction  of  the  defects 
in  the  order  enumerated  above. 

Transparent  Spots. — When  these  are  small,  and  the  nega- 
tive has  been  varnished,  they  may  be  filled  up  with  a hard 


348 


THE  PHOTOGRAPHIC  NEWS. 


[June  1,  1883. 


pencil,  HI1H,  having  a good  point.  When  the  varnish 
refuses  the  pencil,  resort  to  a touch  of  medium,  and  try 
the  pencil  again  ; large  spots  can  be  filled  up  more  easily 
with  water  colour,  using  carmine  or  vermilion,  until  the 
density  of  the  surrounding  part  is  attained. 

Skies. — When  clouds  require  strengthening  it  can  be 
done  on  the  varnish,  using  the  stump  and  powdered 
graphite.  When  more  work  is  needed  than  cau  be  done 
with  the  stump,  Indian  ink  rubbed  up  with  gum  water, 
and  applied  with  the  brush,  will  answer,  or  the  back  of  the 
plate  may  be  coated  with  equal  parts  of  gold  size  and 
turpentine,  and,  when  nearly  dry,  stump  the  portions 
necessary  with  graphite.  The  highest  lights,  when  not 
strong  enough,  in  studies  of  waves,  waterfalls,  sails,  &c., 
may  be  improved  by  the  same  means. 

Foliage. — When  negatives  of  foliage  lack  sufficient 
detail,  it  may  be  supplied  in  a measure  by  marking  it  in 
with  a soft  pencil,  such  as  13  B.  Shadows  which  print  too 
darkly  are  better  treated  as  recommended  in  Lesson  V., 
by  being  protected  during  printing. 

Portraits. — Modelling  the  flesh  portions  in  portrait 
negatives  will  require  a good  deal  of  skill  to  obtain  the 
best  results ; and,  when  the  negative  is  of  value,  it  will  be 
better  to  put  it  in  the  hands  of  a professional  retoucher, 
than  to  run  the  risk  of  spoiling  it  by  inexperience. 

Before  commencing  the  negative,  a silver  print  should 
be  taken  off,  and  any  shadows  or  marks  that  may  be 
considered  objectionable  noted,  after  the  negative  has  been 
spotted  ; if  any  spots  exist,  proceed  to  remove  or  soften  the 
shadows  noted,  commencing  always  at  the  top  of  the  fore- 
head, aDd  work  gradually  downwards,  using  a finely 
pointed  pencil  for  the  purpose.  As  it  is  not  possible  to 
name  any  particular  pencil,  it  will  be  better  to  try  one  of 
medium  hardness,  such  as  II  H ; and  if  that  does  not  suit 
the  varnish,  try  another.  The  same  remark  applies  also  to 
negatives  worked  on  retouching  medium.  Do  not  dig  holes 
in  the  film,  but  let  the  touch  be  as  light  as  the  unaccus- 
tomed hand  will  permit.  Make  the  strokes  short,  and  in 
one  direction  throughout ; any  corrections  can  be  made  by 
filling  up  afterwards ; but  be  very  careful  only  to  remove 
the  shadows  and  other  markings  noted  before  commencing ; 
also  not  to  work  the  pencil  or  medium  up  in  lumps.  When 
one  uniform  touch  has  been  maintained  throughout, 
without  destroying  the  force  of  the  lights  or  half-tones, 
simply  raising  them  a degree,  at  the  same  time  removing 
the  objectionable  parts,  another  print  may  be  taken  and 
compared  with  the  first,  after  which  any  necessary  altera- 
tions may  be  made ; the  other  flesh  parts,  viz.,  arm3, 
hands,  &c.,  are  treated  in  a similar  mauner  to  the  face. 
From  under-exposure  detail  is  often  wanting  in  the  hair 
and  draperies ; this  may  be  supplied  in  the  same  manner 
as  suggested  when  dealing  with  foliage.  Lace  usually 
requires  strengthening  in  the  lights,  and  for  this  purpose 
the  pattern  should  be  traced  either  with  a soft  pencil  or  a 
brush  charged  with  Chinese  white.  As  the  student  pro- 
gresses in  the  art  of  retouching,  he  will  be  better  able 
to  appreciate  the  points  we  have  brought  under  his 
notice,  and  no  doubt  he  will  discover  many  other  points 
not  enumerated  here,  where  judicious  touches  of  the 
brush  or  pencil  will  considerably  add  to  the  artistic  merit 
of  his  negatives. 

In  Lesson  XU.  we  shall  deal  with  the  subject  of 
residues ; also  an  accurate  method  of  ascertaining  the 
amount  of  nitrate  of  silver  contained  in  the  sensitizing 
solution  or  any  other  bath  containing  silver  nitrate. 


CITY  AND  GUILDS  OF  LONDON  INSTITUTION. 
Tub  Technological  Examinations  for  1883,  in  connection 
with  the  above  College,  took  place  on  the  evening  of  Wed- 
nesday, the  30th  ultimo. 

We  are  pleased  to  announce  that  the  number  of  students 
who  took  part  in  this  year's  photographic  section  is  con- 
siderably larger  than  at  any  of  the  previous  examinations. 


This  fact  goes  a long  way  towards  proving  that  working 
photographers  are  ready  to  avail  themselves  of  opportunities 
to  improve  their  knowledge,  when  such  are  placed  within 
their  reach. 

The  examination  consists  of  two  grades,  Ordinary  and 
Honours,  certificates  (first  and  second  class)  being  awarded 
in  each  grade. 

Prizes. 

Honours. — 1st  priz3,  £5  and  Silver  Medal ; 2nd  prize,  £2 
and  Bronze  Medal. 

Ordinary. — 1st  prize,  £3  and  a Silver  Medal  ; 2nd  prize, 
£3  and  Bionze  Medal  ; 3rd  prize,  £2  and  Bronze  Medal  ; 
4th  prize,  £1  and  Bronze  Medal  ; 5th  prize,  Bronze  Medal. 

The  following  questions  were  given  by  the  examiner: — 
Ordinary,  or  Pass  Grade. 

1.  Suppose  the  ground  glass  focussing  screen  of  your  camera 
to  be  broken,  bow  can  you  make  a temporary  substitute  for  it '! 

2.  In  the  wet  process,  where  a collodion  is  too  strongly 
iodized,  what  results  are  observed  on  the  plate,  (1)  after  its 
withdrawal  from  the  bath,  (2)  after  development  ? How  should 
you  correct  the  collodion  ? 

3.  Describe  a method  of  ascertaining  the  strength  of  the  silver 
sensitizing  bath  more  accurately  than  by  the  argentometer,  and 
point  out  the  defects  of  this  instrument. 

4.  After  developing  a gelatine  plate  with  ferrous  oxalate,  and 
after  fixing  and  drying,  there  may  be  an  opalescent  appearance 
in  the  shadows.  To  what  is  this  usually  due,  and  how  should 
you  avoid  its  appearance  ? Is  the  same  defect  apparent  in 
collodion  plates  developed  by  the  same  developer  ? 

5.  A camera  has  a rising  front  and  a vertical  swing  back  ; how 
should  you  use  both  when  focussing  a near  architectural 
subject  ? 

6.  Under  what  circumstances  is  fuming  sensitized  paper  with 
ammonia  advisable,  and  for  what  reasons  ? Give  the  chemical 
reactions  as  far  as  you  know  them. 

7.  Describe  in  detail  the  manipulations  of  the  carbon  process, 
from  the  placing  of  the  tissue  on  the  negative  to  the  finished 
print. 

8.  How  should  you  test  a solution  of  ferrous  oxalate  in 
potassium  oxalate  for  acidity  or  alkalinity  ! How  should  you 
correct  it  if  alkaline  ? 

9.  After  silver  prints  have  been  washing  some  hours,  it  is 
desired  to  test  the  water  for  sodium  hyposulphite  : describe  the 
method  you  would  adopt. 

10.  How  many  grains  of  silver  nitrate  will  it  require  to  form 
the  maximum  quantity  of  silver  bromide,  by  precipitating  25 
gaains  of  zinc  bromide. 

Supposing  Ag  = 108 
Br  = 80 
Zn  = 65-2 
N = 14 
0 = 16 

11.  What  is  the  action  of  nitric  acid  on  metallic  silver, 
bromide  of  silver,  carbonate  of  silver,  chloride  of  silver,  oxalate 
of  silver,  and  give  the  chemical  reactions  as  far  as  you  can. 

Honoubs  Grade. 

1.  Give  the  theery  of  vignetting,  when  it  is  done  by  means  of 
an  aperture  in  a card. 

1.  State  the  theoretical  imperfections  of  a pinhole  when  using 
it  instead  of  a leDS  in  the  camera  for  producing  a picture.  State 
the  practical  advantages  and  disadvantages. 

3.  In  ordinary  alkaline  development  we  have  pyrogallic  acid, 
an  alkaline  bromide,  and  an  alkali  used.  State  the  function 
which  each  plays  in  development,  and  give  your  reasons  for  and 
against  the  use  of  sulphite  of  soda  with  them,  describing,  as  far 
as  you  know,  the  theory  of  its  use. 

4.  What  ink  should  you  use  in  making  a transfer  by  photo- 
graphy for  stone,  and  give  the  reasons  for  your  preference  ! 
Describe  a method  of  photo-lithography,  as  far  as  the  preparation 
of  a transfer  is  concerned,  and  state  the  reason  of  each  opera- 
tion. 

6.  In  preparing  transparencies  for  the  lantern,  what  method 
should  you  use  when  the  original  negatives  are  larger  than 
J-plate  size.  Describe  a toning  bath  for  the  positives,  if  you 
employ  a process  in  which  toning  can  be  used. 

6 . Describe  in  general  terms  the  construction  of  an  ordinary 
portrait  lens,  and  give  the  reasons  which  have  governed  its  form 
and  size- 


THE  PHOTOGRAPHIC  NEWS. 


349 


•Tone  1,  1883.] 


7.  Discuss  the  practical  an<l  theoretic  advantages  or  disadvan 
tages  of  the  ordinary  printing  process  over  the  process  known  as 
collodio- chloride . 

8.  What  are  the  essentials  of  a good  drying  box  for  gelatine 
plates,  or  if  no  box  be  used,  give  the  conditions  most  favourable 
for  drying  these  plates. 

9.  What  is  the  chemical  reaction  between  the  ferrous-oxalate 
developer  and  hyposulphite  of  soda. 

10.  Describe  the  method  of  intensifying  a negative  with  bro- 
mide of  copper  and  silver  nitrate,  or  with  a uranium  salt,  give 
the  formula)  you  would  use,  and  show  the  chemical  reactions  that 
take  place.  To  what  kind  of  negatives  are  these  intensifiers 
adapted  ? Give  the  reason  for  your  answer. 

11.  A spectrum  is  thrown  on  paper  prepared  with  the  following 
substances  : — 

(i.)  Silver  bromo-iodide  (washed). 

(ii.)  Silver  chloride. 

(iii.)  Silver  citro-chloride. 

(iv.)  Bichromated  gelatine. 

Give  a diagram  of  the  effects  of  prolonged  action  of  light  on  each. 
Make  any  practical  deductions  from  the  results  shown. 


APPARATUS  FOR  PRINTING  BY  THE  BLUE 
PROCESS. 

BY  CHANNING  WHITAKER. * 

The  Mechanism  for  Adjusting  the  Surface  of  the  Glass  until 
it  shall  be  perpendicular  to  the  Direction  of  the  Sun's  Bags. — 1 
have  found  many  uses  for  the  blu  • copying  process  in  connection 
with  the  work  of  instruction  at  the  Massachusetts  Institute  of 
Technology.  Notes  printed  by  it  are  far  better  and  less  costly 
than  those  printed  by  papyrograph.  I will  not  detain  you  now 
with  an  account  of  the  uses  that  I have  made  of  it.  1 will  merely 
say  that  more  than  a year  ago  I found  that  my  frame,  which  has  a 
glass  3 feet  by  4 feet,  was  wholly  inadequate  to  the  work  in  hand, 
and  I tried  to  increase  the  production  from  it  by  diminishing  the 
time  of  printing.  The  glass  of  this  frame  was  horizontal,  except 
when  one  of  its  ends  was  tilted  off  from  the  slides  which  guided 
it  when  pushed  out  of  the  window  ; and  I knew  that  it  took  three 
or  four  times  as  long  to  print  when  the  sun  was  low  as  it  did  when 
the  sun  was  near  the  meridian.  I made  plans  for  mounting  this 
frame  upon  a single  axis,  about  which  it  could  be  turned  after  it 
had  been  pushed  through  the  window,  but  I saw  that  no  move- 
ment about  a single  axis  would  give  a satisfactory  adjustment  for 
all  times  of  the  year,  and  I considered  what  arrangement  of  two 
axes  would  permit  a rapid  and  perfect  adjustment,  at  all  times, 
with  the  least  trouble  to  the  operator.  It  was  evident  that 
when  the  sun  was  in  the  equatorial  plane,  the  surface  of  the 
glass  should  contain  a line  which  was  parallel  to  the  axis  of 
the  earth  ; and  further,  that  if  such  a glass  was  firmly  attached 
to  an  axis  which  was  parallel  to  that  of  the  earth,  it  would  ful- 
fil the  desired  purpose.  For  the  glass,  being  once  in  adjust- 
ment, is  only  thrown  out  of  position  by  the  rotation  of  the  earth ; 
and  if  the  glass  is  rotated  sufficiently  about  its  own  axis,  in  a 
direction  opposite  to  that  of  the  earth,  it  will  retain  its  ad- 
justment. In  order  to  have  the  adjustment  equally  good  when 
the  sun  was  either  north  or  south  of  the  equatorial  plane,  it  was 
sufficient  to  mount  a secondary  axis  upon  the  primary  one  and 
at  right  angles  to  it.  About  this  the  glass  could  be  turned 
through  an  angle  of  23 JQ,  either  way,  from  the  position  which  it 
should  have  when  the  sun  was  in  the  equatorial  plane. 

The  Construction  of  the  Adjusting  Mechanism. — I desired  to 
have  the  mechanism  as  compact  and  inexpensive  as  possible,  and 
to  have  the  frame  well  balanced  about  the  primary  axis,  in  every 
position.  I also  desired  to  have  a rotation  of  nearly  180°  about 
the  principal  axis.  The  plan  adopted  will  be  most  easily  under- 
stood by  referring  to  the  drawing  which  illustrates  it.  The  axes  are 
composed  chiefly  of  wood.  They  are  built  up  from  strips  which 
are  3 inches  by  inch,  and  from  small  pieces  of  2 inch  plank. 

They  are  stiffly  braced.  A pair  of  ordinary  hinges  permit  the 
secondary  rotation  to  occur,  while  a pair  of  cast-iron  dowel  pins, 
with  their  sockets,  such  as  are  used  in  foundry  flasks,  serve  as 
pivots  during  the  primary  rotation. 

The  Adjustments. — The  adjustment  about  the  secondary  axis 
does  not  need  to  be  made  more  frequently  than  once  a week,  or 
once  a fortnight.  In  order  to  prevent  rotation  about  this  axis 
when  in  adjustment,  two  cords  lead  from  points  which  are 
beneath  the  back-board,  and  as  far  removed  from  the  secondary 

• Continued  from  page  334, 


axis  as  is  convenient.  Each  cord  passes  forward  and  backward 
through  four  parallel  holes  in  a wooden  block,  which  is  attached 
to  the  primary  axis.  The  cords  can  be  easily  slipped  in  the 
holes  by  pulling  their  loops,  but  the  friction  is  so  great  that  they 
cannot  be  slipped  by  pulling  at  either  end.  It  takes  about  twice 
as  long  to  make  the  adjustment  as  would  be  necessary  if  a more 
expensive  device  had  been  used  ; but  this  device  is  at  once  so 
cheap,  so  secure,  and  has  so  seldom  to  be  used,  that  it  was 
thought  to  be  the  best  adapted  for  the  purpose.  To  prevent 
rotation  from  occurring  about  the  primary  axis  when  it  is  not 
desired,  a bar,  parallel  to  the  secondary  axis,  is  attached  by  its 
middle  point  to  the  primary  axis  near  one  end.  A cord  passes 
from  either  end  of  this  bar  through  cam-shaped  clamps,  which 
were  originally  designed  for  clamping  the  cords  of  curtains  with 
spring  fixtures.  These  clamps  are  cheap.  They  are  easily  and 
quickly  adjusted,  and  are  very  secure. 

The  whole  apparatus  can  be  located  upon  the  roof  of  a building, 
or,  if  convenient,  it  can  be  mounted  upon  slides,  and  pushed 
through  an  open  window  when  it  is  to  be  exposed  to  the  light. 
If  it  is  to  be  used  upon  a roof,  a small  hut,  or  shelter  of  some 
sort,  near  by,  is  a great  convenience  to  the  operator,  particularly 
in  winter. 

(To  be  continued.) 


PHOTOGRAPHY  IN  RELATION  TO  COLOUR. 

BY  J.  R.  SAWYER.* 

In  the  observations  that  I venture  to  place  before  you  this  even- 
ing, I am  not  sanguine  enough  to  imagine  that  there  is  much  of 
what  is  absolutely  new  to  communicate  to  an  audience  so 
thoroughly  well  up  in  almost  all  branches  of  the  photographic  art 
as  the  members  of  the  parent  Society. 

Whatever  of  novelty  may  exist,  will  arise  more  from  the  point 
of  view  I take  of  the  subject,  and  from  the  practical  bearing  it 
has  upon  the  principles  and  practice  of  photography.  The  posi- 
tion of  photography  is  a little  difficult  to  define  : it  is  allied  on 
the  one  hand  to  science,  on  the  other  to  art,  without  exactly 
belonging  to  either.  If  we  analyse  its  operations,  we  find  that 
a man  can  scarcely  take  a high  rank  as  a photographer  unless  he 
possesses  a considerable  amount  of  the  artistic  faculty  ; whilst  it 
is  equally  certain  that  no  amount  of  artistic  faculty  will  compen- 
sate for  a lack  of  knowledge  to  comprehend,  and  of  power  to  use, 
the  tools  with  which  the  photographer  works. 

But,  putting  aside  for  the  present  the  means  employed  to  pro- 
duce photographs,  let  us  concentrate  our  attention  upon  what  it 
is  that  photography  undertakes  to  do  for  us.  Photography  will 
furnish  transcripts  in  mon  chrome  of  works  of  nature,  works  of 
art,  and  illustrations  of  the  thousand-and-one  things  and  incidents, 
commonplace  or  otherwise,  that  interest  us. 

Were  these  objects  so  represented  monochromatic,  the  work  of 
the  photographer,  both  in  its  artistic  and  scientific  character, 
would  be  rendered  much  less  difficult  ; but  this  is  eminently  not 
the  case.  Nature  does  not  employ  monochrome ; myriads  of  re- 
flecting surfaces,  of  different  capacities  and  textures,  present  to 
oar  senses  an  infinity  of  colour-gradations  changed  and  modified 
by  play  of  light  and  shadow  ; and  it  is  of  as  much  importance  to 
have  the  power  to  re-produce  this  shifting  phantasmagoria  as  it  is 
to  have  the  power  to  recognise  the  artistic  capabilities  of  its  com- 
binations. 

Many  valuable  papers  have  been  read  before  you,  giving  the 
behaviour  of  different  kinds  of  sensitive  surfaces  when  subjected 
to  the  solar  beam  as  dialysed  by  the  spectroscope  ; my  object, 
this  evening,  is  to  bring  before  you  quite  a different  set  of 
observations.  The  practical  photographer  has  to  do,  as  a rule, 
with  surfaces  that  reflect  colour  ; and  it  is  important  to  know 
in  what  manner  the  usual  and  ordinary  colours  seen  and  used  by 
us  every  day,  and  observed  by  us  in  the  colouring  of  natural 
objects — I say  it  is  important  that  the  action  of  those  usual  and 
ordinary  colours  should  be  clearly  understood,  and  whatever 
weak  points  may  appear  in  their  reproduction  duly  noted  with 
a view  to  discovering  that  kind  of  chemical  sensitive  surface 
which  will  give  in  monochrome  the  same  relations  of  power, 
depth,  and  brilliancy  that  the  colours  themselves  afford  to  the 
optic  nerve  of  the  eye. 

Upon  this  occasion  a comparison  of  the  photographs  you  hold 
in  your  hands  with  the  colour-subject  before  you  will  enable 
you  to  take  stock  of  the  actual  position  of  photography  with 
respect  to  the  reproduction  of  colour,  and  quite  accidentally  it  has 

‘ Read  before  the  Photographic  Society  of  Great  Britain. 


350 


THE  PHOTOGRAPHIC  HEWS. 


[June  1,  1883. 


happened  as  being  extremely  relevant  to  the  subject,  that  I have 
the  honour  to  read  this  paper  before  you  when  your  walls  are 
covered  with  the  admirable  exhibition  of  works  of  art,  trans- 
cripts in  colour  that  we  have  the  privilege  of  seeing  around  us, 
and  that  we  shall  doubtless  have  the  pleasure  of  inspecting  at 
the  close  of  our  labours  this  evening. 

First,  let  me  direct  your  attention  to  the  screen  of  coloured 
bands  imposed  upon  black  velvet,  and  arranged  upon  a convex 
surface  ; this  arrangement  has  been  photographed  with  a side 
light  in  such  a manner  as  to  give  you  the  relative  value  of  each 
colour  in  light  and  in  shadow.  The  upper  group  of  nine  colours 
— violet,  indigo,  blue,  green,  yellow,  orange,  red,  ruby,  and 
crimson — follow  in  the  same  order  that  they  appear  in  the  solar 
spectrum  : they  are  not  intended  as  reproductions  of  the  colours 
of  the  spectrum,  but  simply  as  the  ordinary  colours  produced  in 
a commercial  way  for  actual  use  in  the  costumes  and  decora- 
tions worn  in  every-day  life.  My  arrangement,  then,  for  the 
present  paper  is  to  show  you  bands  of  commercial  colours  so  dis- 
posed as  to  follow  each  other  in  a certain  sequence,  and  capable 
of  being  photographed  in  light  and  shade  with  bands  of  black 
and  white  as  standards  of  comparison. 

The  charts  present  this  arrangement  photographed  in  five 
different  ways,  three  being  from  wet-plate  negatives,  the 
remaining  two  from  dry-plate  negatives.  One  of  the  points 
I wished  for  information  upon  was  the  relative  sensibility 
of  iodide  and  bromide  of  silver  with  respect  to  colour.  The 
photograph  A was  made  with  eight  grains  of  ammonium 
iodide  to  each  ounce  of  collodion.  B had  four  grains  each  of 
ammonium-iodide  and  bromide  to  each  ounce.  D had  six  grains 
of  ammonium-iodide  and  two  grains  of  ammonium-bromide  to 
each  ounce.  The  photograph  C was  made  with  a gelatine  dry 
plate  containing  bromide  of  silver,  with  a trace  of  iodide,  and 
stained  to  a very  decided  tint  with  eosin.  The  photograph  E 
was  made  with  a gelatine  dry  plate  exactly  the  same  as  C,  but 
without  the  addition  of  eosin. 

Let  us  first  of  all  consider  the  relative  sensibility  of  the  collo- 
dion plates  compared  with  the  gelatine  plates.  The  collodion 
negatives  had  all  the  same  time  of  exposure,  namely,  twelve 
minutes,  with  a rapid  rectilinear  11-inch  equivalent  focus,  f-inch 
stop,  in  a room  lighted  by  a large  window,  and  developed  with 
protosulphate  of  iron  in  the  usual  way  ; the  two  dry  plates  had 
forty-five  seconds’  exposure  under  the  same  conditions. 

Considering  that  it  has  been  generally  understood  that  bromide 
of  silver  is  more  sensitive  than  iodide  of  silver  to  colour  radia- 
tions, especially  the  greens,  I was  not  prepared  to  find  that  the 
collodion  containing  no  bromide  gave  a very  good  and  harmonious 
presentment  of  all  the  colours  (photograph  A),  and  that  the 
photograph  containing  but  two  of  bromide  to  six  of  iodide  (photo- 
graph D),  gave  in  all  respects  a much  better  screen  than  photo- 
graph B,  containing  equal  parts  of  bromide  and  iodide.  I had 
better  here  explain  that  the  collodion  in  all  cases  was  made 
sensitive,  and  used  the  same  day.  I was  quite  aware  that  a 
collodion  highly  charged  with  bromide  required  theoretically  a 
stronger  nitrate  bath,  but  I endeavoured  to  compensate  for  this 
by  keeping  the  plates  with  more  bromide  in  them  a longer  time 
in  the  nitrate  of  silver.  It  is  possible  that  a stronger  bath  may 
so  change  the  molecular  arrangement  of  the  bromide  of  silver  as 
to  make  it  more  harmonious  in  its  representation  of  colour ; but 
this  has  to  be  worked  out. 

Let  us  now  go  through  the  representations  of  the  colours 
themselves  as  given  in  the  photographs.  I am  afraid  we  cannot 
avoid  a certain  sense  of  defeat  when  we  see  what  an  amazing 
difference  there  is  in  the  effect  of  these  colours  upon  the  best  of 
our  sensitive  surfaces,  in  comparison  with  the  effect  of  the  same 
colours  upon  the  retina  of  the  human  eye.  Viewing,  as  we  do, 
these  colours  by  artificial  light,  we  do  not  get  their  full  value, 
but  enough  remains  for  us  to  make  it  only  too  obvious  how  very 
far  we  are  from  a true  representation  of  coloured  surfaces  by 
photographic  means. 

Let  me  direct  your  attention  to  the  first  two  colours — the 
violet  and  indigo.  There  is  not  much  difference  in  their  photo- 
graphic values  : in  A they  are  about  equal ; in  B the  indigo  is 
slightly  the  lighter  of  the  two,  and  the  same  in  C,  D,  and  E. 
Next  comes  the  blue— No.  3 on  the  scale:  it  is  much  lighter 
than  the  other  two,  but  note  how  abruptly  it  falls  off  in  shadow 
in  A and  B ; it  is  better  in  D,  and  very  good  in  C,  and  perfect 
in  gradation  in  E.  Now  we  come  to  the  green — No.  4 : this  is 
least  satisfactory  in  D,  very  even,  but  very  dark,  in  B,  very  good 
in  A,  and  admirably  rendered  in  E.  Yellow,  No.  5,  is  the  next 
in  order  : it  is  presented  by  all  the  photographs  as  if  it  were  the 
lowest  tone  of  colour  in  the  series  ; but  see  on  the  actual  colour- 


screen  how  brilliant  it  is,  eclipses  in  force  all  the  other  colours, 
whilst  its  effect  on  our  sensitive  surfaces  is  less  than  any  other. 

The  behaviour  of  the  next  colour — the  orange,  No.  6 — 
surprised  me  very  much.  I am  aware  that  it  is  not  a true  orange  ; 
but  it  is  the  colour  called  orange,  and  the  best  I could  get  ; to 
the  eye  this  appears  of  a much  lower  tone  than  the  yellow — 
lower  in  tone  even  than  the  red  ; but  its  actual  value  to  the 
sensitive  plate  is  much  greater  than  the  yellow— nearly  equal  to 
the  indigo.  The  red,  No.  7,  and  the  ruby,  No.  8,  are  about 
equal  in  value  all  through  the  five  charts,  the  crimson  being  a 
little  the  more  energetic  of  the  two  ; whilst  the  ruby,  No.  8,  is 
slightly  more  powerful  than  No.  7.  The  next  is  a band  of  white 
introduced  as  a standard  of  comparison. 

The  lower  group  consists  of  seven  colours,  put  together  in  no 
particular  order,  but  selected  because  they  were  different  to 
those  in  the  upper  section,  being  less  positive  in  their  colouring, 
whilst  they  are  all  such  as  enter  into  articles  of  every-day  use. 
First  we  have  No.  10,  light  blue  ; this  comes  out  with  a very 
energetic  action,  surpassing  the  darker  shade,  No.  3,  as  one 
would  naturally  expect : the  grey,  No.  13,  next  to  it,  is  about 
equal  to  the  orange  No.  6,  although  the  colouring  power,  so  far 
as  the  eye  is  concerned,  is  far  smaller  ; but  the  pink,  No.  12,  is 
the  most  energetic  of  the  whole  range,  surpassing  even  the  light 
blue,  No.  10.  The  remaining  four— light  brown,  medium 
brown,  dark  brown,  and  dark  green,  Nos.  13,  14,  15,  and  16 — 
are  quite  startling  examples : they  all  come  out  pretty  much 
alike  ; but  note  the  differences  in  the  actual  colours  themselves 
— differences  much  more  apparent  by  day  than  by  artificial 
light:  here  we  have  a light  brown,  No.  13,  coming  out  just 
about  the  some  tint  as  the  dark  green,  No.  16,  and  presenting 
scarcely  any  difference  to  the  representations  of  its  neighbours, 
the  medium  and  dark  browns. 

We  have  now  gone  through  our  photographed  representations 
of  the  sixteen  coloured  bands  ; wre  have  seen  that  those  colours 
which  appear  very  bright  to  our  eyes  have  very  little  effect  upon 
our  sensitive  surfaces ; and  were  pictures  painted  in  colours  such 
as  these,  did  we  find  in  natural  objects  colours  such  as  these, 
then  indeed  our  task  of  reproducing  satisfactorily  objects  in 
colour  would  appear  to  be  almost  hopeless.  Fortunately  the 
wonderful  old  Dame  Nature  goes  to  work  differently  ; she 
softens  and  harmonizes  her  tints  in  wonderful  gradation  ; has 
effects  of  atmosphere,  of  distance,  tricks  of  light  and  shade, 
which  delight  the  eye  that  has  the  power  of  noting  them,  and 
this  it  is  that  induces  a certain  harmony  and  consistency  in  our 
photographic  transcripts.  This  wonderful  teaching  of  Nature  is 
not  without  its  effect  upon  her  special  pupils,  the  artists,  who 
essay  to  reproduce  and  poetise  her  varying  aspects  ; consequently 
the  pictures  that  we  essay  to  copy  have  a certain  degree  of  modu- 
lation in  colour  that  makes  them  not  impossible. 

There  have  lately  been  produced  some  very  fine  reproductions 
of  the  splendid  collection  of  pictures  in  the  Hermitage  of  St. 
Petersburg  ; it  has  been  stated  that  their  merit  is  due  to  some 
secret  process,  involving  an  alteration  or  addition  or  some  modi- 
fication of  the  collodion  process  ; but  I am  quite  unable  to 
believe  that  any  modification  of  the  collodion  process  will  give 
the  delicacy  and  softness  of  a dry  plate,  to  say  nothing  of  the 
enormous  gain  in  sensibility  in  the  employment  of  the  latter  ; 
these  splendid  results  from  the  Hermitage  pictures  are  due,  in 
my  opinion,  either  to  an  uncommon  adaptability  of  certain  of 
these  pictures  to  the  photographic  process,  or  to  a very  carefully 
considered  method  of  making  the  negatives  and  working  them  up 
by  the  hands  of  a skilled  artist.  That  this  is  practicable  with  a 
dry  plate  is  very  evident  to  all  who  have  employed  the  gelatine 
process  to  any  extent.  Let  a negative  be  taken,  fully-exposed — 
over-exposed,  if  you  will — exposed  for  the  deepest  shadows ; let 
the  plate  be  developed  in  such  a way  that  it  comes  out  thin  and 
comparatively  weak  all  over,  so  that,  when  printed,  it  is  a nega- 
tive in  half-tone.  Now  it  is  easy  to  6ee  how  a skilled  hand  can 
work  upon  this,  putting  in  lights,  strengthening  shadows,  raising 
the  tone  of  colours  that  have  not  made  their  adequate  repre- 
sentation ; and  undoubtedly  all  this  can  be  done,  aud  will  be 
done,  and  it  is  perfectly  easy  and  possible,  so  long  as  you  get  the 
right  sort  of  foundation  to  work  upon. 

Permit  me  a few  words  more  to  call  your  attention  to  a diffi- 
cult colour-subject  that  I have  bepn  experimenting  upon  : it  is, 
as  you  see,  an  interior — a village  school.  The  patron  has  come 
down,  and  is  putting  a few  questions  to  a nonplussed  youth, 
whose  robust  build  proclaims  that  his  physical  qualities  pre- 
dominate over  his  intellectual  ones.  He  hangs  down  his  head, 
totally  oblivious  that  the  schoolmaster  is  telegraphing  the  answer 
to  the  question  by  holding  up  two  fingers  and  a thumb  behind 


June  1,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


351 


the  back  of  the  examiner ; and  the  embarassed  boy  is  equally  deaf 
to  the  friendly  tip  that  is  being  whispered  to  him  by  one  of  his 
comrades  seated  behind  him.  This  1 photographed  with  collo- 
dion, and  also  with  a dry  plate  ; the  former  had  thirty  minutes’ 
exposure,  the  latter  ninety  seconds  ; they  give,  I believe,  respec- 
tively, the  best  results  that  can  be  obtained.  You  will  notice  how 
muchof  the  definition  in  shadow  is  invisible  in  the  collodion  nega- 
tive, whilst  very  well  rendered  in  the  gelatine  one.  I have  pro- 
vided a few  prints  from  each  negative,  those  from  the  collodion 
negative  being  marked  C,  the  others  D P.  Observe  in  C that  the 
black  board  on  the  right  of  the  picture  has  come  out  lighter  than 
the  schoolmaster’s  coat,  which  is  a dark  green  ; you  find  that  in 
those  marked  D P the  proper  relations  are  observed.  Note  that 
in  D P the  articles  of  crockery  to  the  right  of  the  window,  near 
the  ceiling,  are  brought  out,  the  rafters  are  shown,  the  clock  is 
quite  distinct,  all  these  points  being  lost  or  nearly  invisible  in 
the  proofs  marked  C.  There  is  also  much  more  gradation  and 
softness  in  the  half-tones  in  the  D P proofs,  and  the  quality 
altogether  seems  to  indicate  that  the  gelatine  bromide  plate  is 
the  most  efficient  means  of  photographing  paintings  known  at 
the  present  moment.  In  conclusion,  I may  say  that  the  making 
of  the  various  experiments  necessary  to  enable  me  to  read  my 
paper  before  you  this  evening  has  interested  me  very  much.  I 
hope  to  be  able  to  satisfy  myself  still  further  upon  sundry 
matters  upon  which  I am  in  doubt ; and  I feel  sure  that,  from 
the  large  practical  experience,  and  the  scientific  knowledge 
possessed  by  many  of  ray  audience,  a discussion  upon  photo- 
graphy in  relation  to  colours  will  bring  out  many  valuable 
suggestions,  throw  light  upon  many  moot  points,  and  be  a valu- 
able contribution  to  the  proceedings  of  this  Society. 


Ccmspottirmc. 

THE  POSTAL  PHOTO.  SOCIETY. 

Sir, — Some  misapprehension  seems  to  have  been  caused 
by  the  wording  of  the  report  of  the  committee  meeting  of 
this  Society  as  sent  to  you  and  published  last  week  in 
reference  to  platinotypc  printing.  There  is  no  disposition 
on  the  part  of  this  Society  to  put  those  printing  in  platino- 
type  at  any  disadvantage  ; but  in  this  particular  instance 
the  member  who  offered  a prize  for  a portrait  of  a member 
*'  taken  by  himself,”  made  it  a condition  that  it  was  to  be 
printed  in  some  other  way,  and  the  committee  did  not 
thmk  that  on  this  ground  so  generous  an  offer  should  be 
refused.  As  a matter  of  fact,  many  members  print  in 
platinotype,  while  others  use  carbon  and  silver. — Yours 
obediently,  H.  H.  Cunningham,  Hon.  Sec. 


0f  Sorutus. 

London  and  Provincial  Photographic  Association. 

A meeting  of  this  Society  was  held  on  May  24th,  Mr.  A.  L. 
Haddon  in  the  chair. 

The  minutes  of  previous  meeting  were  read,  but  not  confirmed. 

In  a discussion  arising  out  of  the  minutes,  Mr.  W.  Coles  asked 
if  Mr.  A.  Cowan  had  not  found  that  plates  developed  without 
restrainer  showed  a little  more  detail  than  when  bromide  was 
used  with  the  ammonia,  as  in  that  case  that  mode  of  develop- 
ment would  be  useful  where  sufficient  exposure  could  not  be 
given,  as  sometimes  happened  when  sitters  came  in  late  in  the 
day. 

Mr.  Cowan  thought  there  was  a slight  gain  in  detail  when  no 
restrainer  was  used. 

The  Chairman  said  that  when  no  bromide  was  employed,  green 
fog  did  not  make  its  appearance  on  a plate  which  would  show  it 
when  bromide  was  present. 

Mr.  A.  J.  Brown  said  that  was  so,  but  it  was  on  account  of 
the  shorter  development,  because  the  colour  only  came  on 
during  the  latter  part  of  the  time  the  plate  was  in  the  developer 
when  trying  to  bring  up  detail. 

The  Chairman  read  a question  : “ Has  anyone  present 
succeeded  in  getting  rid  of  the  yellow  colour  negatives  assume 
when  developed  with  soda  instead  of  ammonia  ? ” In  his  experi- 
ence, when  acid  had  been  used  after  washing  to  remove  the  acid, 
the  yellow  colour  made  its  appearance  again. 


Mr.  A.  L.  Henderson  said  that  plates  seemed  to  go  more 
yellow  with  prolonged  washing,  and  he  had  noticed  sometimes 
that  negatives  which,  on  development,  seemed  scarcely  dense 
enough,  appeared  long  after  washing  to  have  gained  in  density 
owing  to  the  yellow  colour  which  they  assumed  being  more 
uon-actinic.  He  attributed  it  to  the  lime  in  the  water. 

Mr.  — Harrison  showed  an  arrangement  which  he  had  em- 
ployed eight  years  ago  for  taking  small  photographs  similar  to 
those  called  Midget  or  Mignons,  introduced  as  a novelty.  In  the 
centre  of  the  back  of  a small  camera  was  an  opening  not  quite 
one-fourth  the  size  of  a j -plate  ; the  plate-holder  was  made  to 
slide  horizontally  and  vertically  over  the  flat  surface,  so  as  to 
give  four  exposures  on  one  plate,  and  was  kept  close  to  the  back 
of  camera  by  a very  simple  contrivance,  a flat  box  being  pivoted 
at  the  top  of  the  camera  back  ; this  was  drawn  across  the  slide, 
and  secured  at  bottom. 

Mr.  W.  E.  Debenham  said  that  a similar  size  of  print  was  in 
use  before  the  introduction  of  the  carte -de-visite,  many  years 
ago. 

A Member  thought  the  introduction  of  these  small  sizes  a 
retrograde  movement,  as  we  had  just  succeeded  in  educating  the 
public  up  to  the  appreciation  of  large  portraits. 

Mr.  J.  Wellington  brought  some  photographs  taken  with 
the  shutter  shown  by  him  and  Mr.  E.  J.  Golding  at  a previous 
meeting. 

Mr.  Cobb  showed  a large  print  of  the  grand  stand  and  occu- 
pants, from  negatives  taken  at  the  Derby  on  Wednesday. 

The  following  rules  as  to  the  competition  with  dry  plates  were 
agreed  to  : — 

That  the  competition  shall  be  for  speed  and  quality  in  gelatin  e 
emulsion  plates,  and  shall  be  open  to  all.  Each  competitor  is  to 
supply  six  plates  of  his  own  manufacture,  of  the  size  by  4|. 
Every  plate  is  to  be  marked  with  the  competitor’s  private  mark, 
and  enclosed  in  an  envelope  bearing  the  same  mark,  so  legibly 
inscribed  as  to  be  readily  visible  in  the  dark-room.  The  plates 
are  to  be  delivered  to  the  curator  accompanied  by  an  additional 
envelope  bearing  the  same  private  mark,  and  containing  the 
competitor's  name  and  address,  together  with  a statement  of  the 
general  principles — such  as  boiling,  use  of  ammonia,  or  precipita- 
tion— upon  which  the  emulsion  has  been  made.  Formula)  may 
be  given  or  not  at  the  competitor’s  option.  The  curator  shall 
retain  one  plate  of  each  make,  and  shall  deliver  the  remaining 
five  to  a member  of  the  Association,  to  be  chosen  for  the  purpose 
of  exposure.  Each  plate  is  to  be  exposed  in  four  divisions.  The 
exposures  to  be  in  the  ratio  of  one,  two,  four,  and  eight.  One 
plate  of  each  make  so  exposed  shall  be  developed  by  the  member 
making  the  exposure,  one  of  each  by  the  curator,  and  the  re- 
maining three  shall  be  returned  to  the  competitor  to  be  deve- 
loped by  himself.  The  plates  developed  by  the  member  exposing 
and  by  the  curator  shall  be  delivered — together  with  those  deve- 
loped by  the  competitors,  and  any  prints  therefrom,  which  prints 
must  be  made  from  the  plates  direct  without  any  touching  upon 
or  masking  of  the  negatives — to  the  three  judges  who  shall  be 
appointed  at  a future  meeting.  The  envelope  marked  with  the 
private  mark  corresponding  with  that  upon  the  plate  considered 
to  excel  the  others  shall  be  given  to  the  chairman  of  the  meeting, 
who  shall  read  out  the  name  of  the  successful  competitor.  The 
other  envelopes  containing  names  shall  be  destroyed  by  the 
curator.  The  private  mark  to  be  used  shall  consist  of  four 
Roman  letters,  not  in  alphabetic  sequence,  direct  or  inverted 
and  not  forming  any  word.  * 

o — 

in  i\t  StuM0. 

Photographic  Society  of  Great  Britain.— At  the  next 
meeting  a paper  will  be  read,  “ On  a New  Unit  of  Light  in  Con- 
nection with  Sensitometry,”  by  Mr.  J.  B.  Spurge. 

South  London  Photographic  Society. — At  the  next  meet- 
ing, to  be  held  at  the  House  of  the  Society  of  Arts,  on  Thurs- 
day, June  7th,  at  eight  o’clock,  the  following,  from  the  question- 
box  (postponed  from  last  meeting),  will  be  discussed  : “ When 
large  pictures  are  required,  is  it  better  to  take  them  direct,  or  to 
take  small  negatives,  and  enlarge  them  ? ” Messrs.  E.  W.  Fox- 
lee,  G.  Smith,  W.  Brooks,  and  several  other  gentlemen,  have 
promised  to  take  part  in  the  discussion. 

The  late  Thomas  J.  Pearsall,  F.R.S.E.,  F.C.S.,  &c We 

regret  to  announce  the  death  of  Mr.  Pearsall.  He  expired  on 
Friday  morning,  the  25th  inst.,  and  was  buried  at  Finchley 
Cemetery  on  Wednesday  last.  At  the  time  of  his  death,  Mr. 
Pearsall  was  librarian  to  the  Photographic  Club,  the  welfare  of 


352 


THE  PHOTO  GRAPHIC  NEWS. 


[June  1,  1883 


which  occupied  the  last  few  years  of  his  life,  lie  was  princi- 
pally identified  with  the  London  Mechanics’  Institution,  where 
his  face  was  familiar  to  all  the  regular  attendants  of  that  Insti- 
tution. In  earlier  times  he  occupied  the  post  of  assistant  at  the 
Royal  Institution,  and  had  the  honour  of  aiding  both  Brande 
and  Faraday  in  their  work. 

Albumenized  Paper. — “ Three  factories  in  the  United  States,” 
says  the  Scientific  American , “ consume  nearly  two  million  eggs 
a year,  in  making  the  peculiar  kind  of  paper  used  by  photo- 
graphers known  as  albumen  paper.’  ’ 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
June  6,  the  subject  of  discussion  will  be  “ On  Out-door  Por- 
traiture.” 


^0  H/omspottfonts. 

Copyright. — 1.  There  is  no  legal  obligation  to  put  “ registered  ” 
on  the  photograph ; but  the  circumstance  of  not  doing  so  will 
often  cause  a magistrate  to  take  an  unfavourable  view  of  an  other- 
wise good  case.  2.  As  nearly  as  possible  the  same  thing. 

O.  T. — 1.  Probably  from  the  adhesion  of  air-bub'oles  to  tho  paper 
during  the  process  of  sensitizing.  2.  We  are  inclined  to  think 
they  are  iron  stains ; possibly  the  wet  paper  may  have  come  in 
contact  with  iron  or  tin  plate. 

Punch. — Write  to  Messrs.  Siemens,  Bros.,  12,  Queen  Anne’s 
Gate,  Westminster,  or  to  the  Edison  Lighting  Company,  Holbom 
Viaduct,  London. 

E.  J.  Ellery”. — He  would  probably  tell  you  to  pack  them  more 
carefully.  Instances  in  which  well-packed  photographs  are 
injured  during  postal  transmission  are  extremely  rare. 

Triton. — If  you  are  “ quite  sure,”  what  is  the  use  of  our  saying 
another  word  ? 

T.  T. — 1.  “ Hardly  ever.”  2.  Captain  Abney’s  “ Instruction  ” is 
your  best  book,  published  at  this  office. 

W.  T.  Gordon. — The  Photographic  Society  was  formed  in 
January,  1853. 

Emma. — See  answer  to  T.  T.  ; also  “ Silver  Printing  ” by  Robin- 
son and  Abney. 

H.  Spink. — 1.  We  think  the  original  suggestion  is  likely  to 
explain  the  true  cause,  and  the  circumstance  of  the  markings  con- 
stantly appearing  in  the  same  place  seems  to  confirm  this  view. 
2.  Although  we  do  not  know  of  one  at  present,  we  will  make 
enquiries. 

C.  Hawkins  (Bath). — This  correspondent  has  forwarded  a speci- 
men of  his  Bijou  note  paper.  The  address  occupies  the  usual 
place,  while  on  the  other  side  is  a small  oval  portrait  surrounded 
by  a gilt  wreath. 

W.  H.  C.  Stiefel. — As  the  cotton  dissolves,  we  may  assume  that 
either  you  used  acids  which  were  too  weak,  or  that  the  cotton  was 
damp.  The  sulphuric  acid  should  be  the  ordinary  strong  acid  of 
commerce  ; and  the  nitric  acid  should  possess  a specific  gravity 
not  lower  than  1‘45,  or  the  quantity  of  water  must  be  somewhat 
reduced.  The  quantity  of  mixed  acids  referred  to  will  serve  to 
efficiently  nitrate  150  grains  of  cotton.  2.  From  35  to  40  grains 
of  nitrate  of  silver  to  each  ounce  of  water.  3.  The  first  formula 
on  p.  199.  4.  Alcohol  of  96  per  cent,  will  answer  very  well. 

J.  Kay. — We  have  a letter  awaiting  you  at  our  office.  Please 
forward  address. 

L.  Burel. — 1.  The  sample  of  paper  which  you  sent  consists  princi- 
pally of  wood  pulp,  and  we  have  little  doubt  that  it  will  gradually 
darken  upon  exposure  to  light.  2.  It  is  easily  decomposed,  even 
by  very  weak  acids,  and  if  not  properly  protected  against  the 
action  of  tho  air,  it  will  become  useless.  3.  Bichromate  of  potash 
is  not  to  be  recommended  for  the  purpose,  as  it  is  extremely 
poisonous.  4.  A moderate  course  is  best,  as  otherwise  the  fibrous 
material  is  itself  attacked,  and  much  mischief  may  result. 

B.  C.  L. — 1.  Not  unless  a considerable  excess  of  acetic  acid  is  pre- 
sent. 2.  Make  a solution  of  masticated  india-rubber  in  benzole, 
this  solution  being  a little  more  viscous  than  ordinary  collodion. 
Coat  the  negative  with  this,  and  when  dry,  apply  collodion  in  the 
usual  way,  after  which  the  rubber  solution  and  collodion  are  to 
be  poured  on  alternately  until  a sufficient  thickness  is  built  up. 

Beginner. — 1.  Look  well  to  your  camera,  dark  slides,  and  lens 
mounts,  with  a view  of  ascertaining  whether  any  light  enters 
through  previously  unobserved  openings.  2.  Use  about  half  the 
quantity  of  ammonia. 

Nitrate.  — 1.  Water  obtained  by  the  condensation  of  the  waste 
steam  of  an  engine  is  generally  unfit  for  t’e  purpose,  as  it  con- 
tains certain  volatile  oily  products.  2.  A much  weaker  developer 
will  suit  your  work  better;  but  you  must  considerably  increase 
the  time  of  exposure.  3.  It  is  practically  insoluble  in  water,  but 
_ appreciably  soluble  in  a solution  of  common  salt. 

Irancis  Pollard. — We  know  of  nothing  of  the  kind  at  Basel ; 
but  a school  exists  at  Salzburg.  Write  to  the  Herr  Director, 
Photographisches  Unterichts- Atelier,  Salzburg. 

***  Erratum. — In  our  issue  of  May  18,  by  a stupid  slip  of  the 
pen,  we  give  Southampton  as  the  next  meeting  place  of  the  British 
Association  ; of  course  it  should  have  been  Southport. 


THE  EVERY-DAY  FORMULARY. 

Tiif.  Gei.atino-Bromide  Process. 

Emulsion.— A— Nit.  silver  100  grains,  (list,  water  2 oz.  B— Bromide 
potassium  83  grains, Nelson’s  No.  1 gelatine  20  grains,  di-t.  water  H oz..  a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C— JU  dide 
potassium  8 grains,  dist.  water  J oz.  D— Hard  gelatine  120  grains,  water 
several  oz.  When  the  gelatine  is'thoroughly  soaked,  let  all  possible  water  be 
poured  off  D.  A and  B are  now  heated  to  about  120°  Fahr.,  after  which  B 
is  gradually  added  to  A with  corstant  agitation ; C is  then  added.  Heat  in 
water  hath  for  half  an  hour,  and  stir  in  D.  After  washingadd  ( oz.  alcohol. 

Pyro.  Developer.— No.  1— Strong  liq.  ammonia  11  oz.,  bromide  potas- 
sium 24U  grains,  water  80  oz.  No.  2— Pyro.  30  grains,  water  10  oz.  In  case 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
and  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing. — Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Kdwaras  makes  this  sherry  coloured  with  perchloridc  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  by 
soaking  in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  rinsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts!  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Backing  Sheets.— A chromographic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shitting  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  back  of  glass  plate. 

Tiif.  Wet  Collodion  Process. 

The  Nitrate  Bath.  — Water  14  oz.,  nit.  silver  1 oz.,  nitric  acid  1 drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  1-oz.,  liquid  ammonia  |-oz. 

Film-removing  Pickle  for  Old  Plates.  -Water  1 pint,  sulphuric 

acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  6 pints  of  water,  and  1 dr. 
liq.  amrnon. 

Negative  Collodion  for  Iron  Development.— A'eohol  1 pint, 

pyroxv  line  of  suitable  quality  250  grains,  sh-ke  well  and  add  ether  2 pints. 
Iodise  this  by  mixing  with  one-third  of  its  volume  of  alcohol  J pint,  iod. 
amnion.  80  grains,  iod.  cadm.  80  grains,  brom.  ammon.40  grains. 

Normal  Iron  Developer.— Water  10  oz., proto-sulphate  iron  J oz., 
glacial  acetic  acid  4 oz.,  alcohol  | oz.  The  amount  of  proto-sulphate 
iron  may  he  diminished  to  j oz.  when  full  contrasts  arc  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  he  reduced  to  j oz. ; hut  when  bath  is  old  more  is  wanted. 

Intensifying  Solution.— Water  6 cz„  citric  acid  75  grains,  pyro.  30 
grains,  w hen  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Dead  Intensification.— Alfa r neg.  washing,  immerse  in  dist.  water 
100  parts,  red  pruss.  potash  0 parts,  and  nit . lead  4 parts.  When  it  is  yellowish 
w i ite  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution.— 1.  Potass,  cyanide  200grains,  water  10  oz.  2.  Sat. 
sol.  of  sod!  hypo. 

Varnish.— Shellac  2 oz.,  sar.darac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  16  oz. 

Printing  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 

ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution. — Nit.  silver  50  grs.,  water  1 oz.,  sod.  earh.  J gr. 

Acetate  Toning  Bath. — Chi  gold  1 gr  , acot.  soda  20  gTs.,  waters  oz. 

Lime  do.— Chi.  gold  1 gr.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do. — Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath. -Sodium  hypo.  4 oz..  water  1 pint,  liq.  ammon.  30  drops. 

Reducer  for  Deep  Prints.— Cyan,  potass.  5 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Encaustic  Paste. — Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  lj  oz., 
water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion.— Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

Mountant. — 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

Collotypic  Substratum. — Soluble  glass  3 parts,  white  of  egg  7 parts, 
water  10  parts. 

Collotypic  Sensitive  Coating.— Bichromate  potash  J oz.,  gela- 
tine 2J  oz.,  water  22  oz. 

Collotypic  Etching  Fluid.— Glycerine  150  parts,  ammonia 50 parts, 

saltpetre  S parts,  water  25  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  albumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  forraper. 

Cyanotype  Printing.— Water  1 oz.,  red  prussiatc  of  potash  (ferri- 
cyamdc:  1 dr.,  ammonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

Various. 

Luckardt’s  Retouching  Varnish.— Alcohol  300  parts,  sandarac 
5P  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnish. — Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 
benzole  80  to  100  parts. 

Encaustic  Paste. — Best  white  wax,  in  shreds.  1 oz  , turpentine  5oz. ; 
dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  flannel. 

Ferrotypes. 

Collodion.— Ammonium  iodide  35  grains,  cadmium  iodide  25  grains, 
cadmium  bromide  20  grains,  pyroxyline  70  grains,  alcohol  5 oz.,  other  5 oz. 

Bath.— Silver  nitrate  1 oz.,  water  10  oz.,  nitric  acid  1 drop. 

Developer. — Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 oz.,  water  16 oz, 

Pixing  and  Varnish.— Same  as  wet  collodion  process. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVI L No.  1292. — June  8,  1883. 


fr  V ' v 'f . . 

Il,  i fit 

v CONTENTS. 


Science  at  the  Fisheries  Exhibition 35;_ 

Camera  Vignettes,  or  Cartes  Russes 354 

The  Alteration  of  Paper  when  Exposed  to  Light 354 

The  Postal  Photographic  Society 355 

Half-a-Dozen  Portraits  355 

Mountains  in  Photography.  By  M.  Burton  257 

French  Correspondence.  By  Leon  Vidal 358 

Apparatus  for  Printing  by  the  Blue  Process.  By  Channing 

Whitaker  353 

Notes 360 

Patent  Intelligence  362 


'r&y  paor 

twelve  Elementary  Lessons  on  Silver  Printing 362 

A Day  in  Mid-Cheshire  with  the  Liverpool  Amateur  Photo- 
graphic Association.  By  A.  W.  Beer 361 

Extract  from  the  Report  of  the  Astronomer-Royal  to  the  Board 

of  Visitors  of  the  Royal  Observatory,  Greenwich  364 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 365 

Correspondence  . 366 

Proceedings  of  Societies 367 

Talk  in  the  Studio 367 

To  Correspondents 368 


SCIENCE  AT  THE  FISHERIES  EXHIBITION. 
Those  interested  in  microscopical  science  will  find  at 
any  rate  one  remarkable  series  of  exhibits  worthy  of  their 
attention.  ^ Mr.  Thomas  Bolton,  naturalist,  of  Birmingham, 
at  Stand  756  in  the  Western  Arcade,  shows  a most  valuable 
collection  of  living  organisms,  both  marine  and  fresh-water, 
in  a series  of  microscopes,  which  will  set  many  a micro- 
photographer longing  to  depict.  In  the  first,  we  see  a 
young  salmon  just  hatched  from  the  egg ; but  still  carrying 
its  provender  in  the  form  of  an  umbilical  sack  of  yolk  on 
which  it  thrives  for  six  or  seven  weeks  till  it  is  able  to  take 
in  sufficient  food  by  its  mouth.  The  three  lobes  of  the 
heart  are  distinctly  seen  in  rhythmical  contraction,  pump- 
ing the  brilliant  red  blood  characteristic  of  the  salmonidse 
through  the  various  intricacies  of  the  capillaries  from  the 
arteries  into  the  veins,  which  in  the  microscope  are 
mapped  out  like  a complete  system  of  river  draught. 

In  another  microscope  we  see  a cluster  of  perch  spawn  ; 
in  the  field  of  view  are  seen  four  or  five  eggs,  each  of  which 
has  its  coating  or  shell  pierced  by  immumerable  pin-like 
orifices,  by  which  it  is  presumed  the  contained  ova  breathes, 
or  is  aerated  by  a gradual  interchange  of  water.  luside 
each  egg  is  seen  the  minute  fish  semi-developed  with  its 
large  eyes,  aud  uuder  the  neck  careful  examination  will 
reveal  the  expansion  and  contraction  of  the  lobes  of  the 
heart ; but  as  in  this  class  of  fish  the  blood  is  quite  colour- 
less, its  movements  are  not  so  clearly  seen  as  that  in 
salmon,  and  to  see  the  circulation  of  the  blood  requires 
most  careful  illumination.  It  is  curious  to  see  the 
occasional  wriggling  of  the  young  fish  inside  the  egg  in  its 
struggle  to  get  free  to  commence  independent  life. 

In  one  of  Mr,  Bolton’s  aquaria,  he  points  out  some 
young  salmon  infested  with  parasites  ( argulus  Jacaceus ), 
a little  shield-shaped  animal  allied  to  the  crabs  and  lobsters. 
One  of  these  parasites  has  been  taken  off  the  young 
salmon  and  placed  under  a microscope,  which  reveals  in 
this  pretty  little  eulogmoslracan  some  of  the  wonderful 
adaptations  of  nature.  The  argulu3  is  perfectly  trans- 
ient, like  a piece  of  animated  glass.  On  each  side  of  its 
ead  is  a many-faceated  eye,  and  below  each  eye  are 
elaborated  suckers  by  which  it  attaches  itself  to  the  fish  ; 
but  in  addition,  it  is  armed  with  a variety  of  yellowish 
horny  hooks  on  its  legs.  No  wonder  that  the  fish  have 
much  trouble  to  rub  such  unwelcome  visitors  from  their 
backs.  Between  the  two  eyes  is  seen  in  active  movement 
a protrusive  mouth,  out  of  which,  every  now  and  then,  it 
darts  a beautifully  pointed  lancet  used  by  this  formidable 
blood-sucker  to  pierce  the  skin  of  the  fish.  The  internal 
anatomy  of  the  argulus  is  laid  out  in  the  microscope  like  a 
diagram  before  you,  and  you  see  its  blood  coursing  in 
streams  through  its  limbs  and  gills. 

After  we  had  taken  a few  minutes’  look  at  these  wonders 


Mr.  Bolton re-ad justed  the  microscope  toa higher  power, and 
now  around  the  head  of  this  parasite  we  see  attached,  by 
minute  pedicles,  numerous  bell  animalcules  ( vorticella ),  all  in 
active  life.  One  individual,  with  its  pedicle  stretched  out 
quite  straight,  has  a bell-shaped  body  surrounded  at  the 
edge  of  the  bell  with  a wreath  of  little  hairs  or  cilia  all  lash- 
ing the  water  in  good  rythmical  style,  producing  a regular 
vortex  or  whirlpool  amongst  the  floating  microscopical  atoms 
in  the  water,  drawing  in  a good  supply  of  food  to  its  mouth. 
Suddenly,  however,  like  a flash  of  lightning,  it  is  with- 
drawn, and  the  vorticella  is  changed  from  a bell-shape  to  a 
spherical  form,  and  its  previously  straight  pedicle  is  now 
coiled  up  like  a spiral  spring,  which  may  be  watched 
gradually  unwinding,  and  allowing  the  animal  to  stretch 
out  again  after  its  food,  till  again  withdrawn  on  the 
approach  of  danger,  or  possibly  of  unpalatable  food.  Care- 
ful examination  reveals  quite  a cloud  of  these  (shall  we 
say?)  parasitical  animals  attached  to  this  parasite  of  the  fish. 
They  are  not,  however, true  parasites,  but  are  only  attached, 
and  make  use  of  the  argulus  to  carry  them  to  their  food, 
and  are  spoken  of  by  naturalists  as  commensals. 

In  another  microscope  are  shown  the  always  popular 
Volvox  Globator,  which  has,  in  its  time,  been  bandied 
about  from  the  animal  to  the  vegetable  kingdom,  until 
its  real  nature  was  known.  It  is  now  set  down  as  one  of 
the  confervoid  alga.  In  the  microscope  it  may  be  observed 
rolling  through  the  water  in  pretty  much  the  same  manner 
that  a balloon  makes  its  way  across  the  sky  on  a still  day. 
Only  a low  optical  power  is  required  to  cover  all  the  objects 
that  we  saw  in  the  Volvox,  one  of  the  prettiest  objects  it 
is  possible  to  imagine.  It  is  a globe  of  the  most  delicate 
green  colour,  formed  of  a transparent  membrane,  which  is 
marked  with  a net-work  of  fine  lines  ornamented  with 
darker  green  spots,  just  where  the  lines  cross.  What  is 
more  singular  is  the  manner  in  which  the  Volvox  reproduce 
themselves.  Within  each  globe  may  be  seen  smaller  globes 
fashioned  precisely  like  the  parent.  Even  within  these 
enclosed  young,  not  unfrequently,  you  may  perceive  a 
third  generation  in  embryo. 

Another  instructive  exhibit  is  the  circulation  of  the  sap 
in  a plant  (Nitella  translucus) ; the  green  granules  are  seen 
streaming  along  in  the  cell  of  the  plant  like  a river. 

Canoclutus  Volvox  is  also  shown.  It  is  one  of  the  most 
charming  of  the  very  interesting  group  of  Rotifer  or  Wheel 
animalcules.  The  clusters  are  distinctly  visible  to  the 
naked  eye,  swimming  slowly  along,  ascending  or  descend- 
ing, by  the  motion  of  the  powerful  cilia  that  surround  the 
head.  Each  cluster  consists  of  many  individuals  united 
by  the  extremity  of  the  foot,  and  radiating  from  a common 
centre  in  every  direction. 

Amongst  Mr.  Bolton’s  exhibits  of  window  aquaria  in 
the  same  collection  (intended  for  keeping  a reserve  of 
microscopical  organisms),  is  one  containing  that  interesting 


354 


THE  PHOTOGRAPHIC  NEWS. 


[Joke  8,  1883. 


fresh-water  jelly  fish  which  most  unaccountably  turned 
up  in  the  Victoria  Regia  tank  in  the  Royal  Bota- 
nical Gardens,  Regent’s  Park,  in  1879,  and  which  in  many 
ways  has  been  a puzzle  to  naturalists,  who  so  far  have  failed 
to  follow  up  its  life  history,  although  watched  with  very 
keen  interest.  Tnis  makes  a most  charming  object  in  the 
microscope,  as  it  slowly  swims  about  by  the  alternate  ex- 
pansion and  contraction  of  its  transparent  umbrella-like 
body,  from  the  edge  of  which  stand  up  a bristling  array  of 
tentacles,  each  one  armed  with  innumerable  stinging  organs 
ready  on  the  approach  of  its  intended  prey  (the  water  flea) 
to  be  darted  out  and  exert  their  benumbing  power  ; and  it 
is  possible  for  the  student  to  see  the  mouth  pushed  out  to 
engulf  the  prey,  which  is  passed  on  to  the  elastic  stomach 
to  be  digested.  A higher  power  of  the  microscope  reveals 
the  series  of  brilliant  eye  spots  and  hearing  organs  around 
the  edge  of  the  umbrella  at  the  origin  of  the  larger 
tentacles,  and  the  large  ovaries  with  their  clusters  of  ova. 

Mr.  Bolton  has  just  added  to  his  exhibit  the  nest  of  the 
little  stickleback  ( (jasleroslent ).  Here  the  male  fish,  who 
has  built  the  nest,  may  be  seen  in  diligent  attendance, 
hovering  over  the  mouth  of  the  nest,  fanning  with  its  fins 
and  tails  so  as  to  force  a current  of  water  down  upon  it  to 
aerate  the  numerous  eggs,  which  he  has,  with  many 
manoeuvres,  persuaded  the  female  fish  to  lay  in  her  nest. 
Later  on,  as  the  eggs  come  to  maturity,  he  will  watch  over 
them  to  protect  them,  and  as  they  burst  out  of  the  egg,  and 
any  of  them  are  disposed  to  wander  out  prematurely,  he 
may  be  noticed  to  carefully  draw  in  a straggler  into  his 
mouth,  bring  it  back,  and  gently  puff  it  back  into  the  nest. 
The  curious  natural  history  of  this  nest-building  fish  is 
well  worthy  of  study. 

Mr.  Bolton  exhibits  on  the  wall  a series  of  portfolios  of 
drawings,  being  a selection  from  the  drawings  and 
description  of  various  organisms  he  has  already  sent  out 
to  the  leading  naturalists  al!  over  the  United  Kingdom,  and 
most  of  the  biological  classes  in  the  universities  and 
science  schools. 

He  also  makes  a fine  exhibit  of  mounted  seaweed  at  his 
stand  (804)  in  the  North  Eastern  Quadrant. 

Mr.  Bolton  has  this  week  been  exhibiting  some  young 
smelt  in  the  microscope,  which  are  fifteen  days  old. 
These  fish  were  hatched  by  Sir  James  Ramsay  Gibson 
Maitland,  Bart.,  at  his  piscicultural  establishment  in 
llowieton.  They  were  forty-two  days  in  the  water,  being 
at  a temperature  of  45°,  being  the  first  successful  attempt 
at  their  artificial  cultivation  in  this  country.  He  has  also 
shown  the  spawn  of  the  cuttle-fish,  of  the  sea-lemon,  and 
of  the  periwinkle. 


CAMERA  VIGNETTES,  OR  CARTES  RUSSES. 
The  majority  of  those  practising  the  art-science  of  photo- 
graphy as  a profession  are,  no  doubt,  fully  conversant 
with  the  various  methods  of  producing  that  most  artistic 
form  of  portrait  known  as  the  “ Camera  Vignette,”  or 
Carte  Russe,  a3  our  Paris  friends  term  it  ; but  there  may 
be  a small  minority  to  whom  the  description  of  a simple 
and  effective  plan  of  operations  may  prove  acceptable.  If 
it  were  possible  to  suggest  any  addition  to  the  practical  re- 
marks in  a recent  number  on  “Rembrandt  Effects,”  the 
idea  of  vignetting  the  said  Rembrandt  portrait  might,  per- 
haps, bear  consideration  as  a modification  capable  of 
enhancing  the  effect. 

The  exposure  necessary  for  the  one  is  sufficient  for  the 
other,  if  properly  arranged.  The  background  must  not 
merely  be  of  black  cloth,  but  be  well  in  shadow,  or  the 
slight  over-exposure  necessary  to  bring  out  the  details  of 
shadows  will  inevitably  cause  a deposit  on  those  parts 
which  should  be  transparent.  Foggy  emulsion  is  no  use 
for  this  work,  and  any  developer  which  tends  to  diminish 
the  cleanness  of  the  plate  is  to  be  carefully  avoided,  unless 
the  alum  and  hydrochloric  bath  will  set  things  right 
again.  In  an  ordinary  Rembrandt  negative  this  is  not  of 


so  much  importance  ; but  when  all  the  plate,  except  the 
head  and  bust  and  that  part  immediately  round  these,  re- 
ceives no  light  at  all  upon  it,  the  effect  of  a halo  is  produced 
unless  these  precautions  are  taken,  l’yro  stains  must  of 
course  be  removed. 

Given,  then,  a bl  k background  well  shaded  by  head- 
screens  or  otherwise,  and  the  figure  suitably  lighted  at  a 
distance  of  some  three  or  four  feet  in  front  thereof,  let  it 
be  supposed  that  the  resulting  picture  is  to  be  a one-iuch 
bead  and  bust,  and  the  lens,  say,  a 2B,  the  method  of 
procedure  will  be  as  follows:— A light  box,  made  most 
easily  of  cardboard  covered  with  brown  paper  by  means  of 
paste,  aud  lined  with  thin  black  tissue  paper  (or  painted 
inside  with  lamp-black  mixed  with  a little  of  the  paste  and 
water),  is  constructed  to  go  over  the  end  of  an  ordinary 
camera,  and  project  at  least  sixteen  inches  in  front  of  the 
lens. 

It  should  either  be  arranged  to  slide  over  the  camera  to 
reduce  the  distance,  when  necessary,  to  ten  or  twelve  inches, 
or  the  front  of  it  must  be  moveable  in  the  box  itself  to 
answer  the  same  purpose.  The  front  of  box,  whether  fixed 
or  movable,  must  be  provided  with  an  oval  aperture 
about  five  inches  by  three  inches  wide,  and  an  ordiuary 
vignetting  mask  with  deeply-serrated  lower  edge,  some- 
what smaller  than  the  hole  in  the  box,  should  be  cut  out  of 
a strip  of  dead-black  paper,  and  arranged  to  fit  over  the 
hole  and  adjusted  to  right  position.  This  is  easily  managed 
by  pasting  a piece  of  paper  with  a hole  thereiu  by  its  side 
edges  only  to  the  end  of  the  box.  This  will  leave  a space 
for  the  paper  vignettes  to  be  slipped  through  and  be 
adjusted  aright. 

As  most  cameras  are  fitted  with  a large  movable  screen 
projecting  in  front  and  rear,  it  is  scarcely  necessary  to  fit 
loose  on  to  camera  with  more  than  ordinary  accuracy,  in 
order  to  exclude  light ; but  the  inside  must  be  dead-black. 
The  distance  of  vignettes  from  lens  is  determined  by  size 
of  figure  required,  and  by  the  focal  length  of  lens.  That 
indicated  is  for  the  lens  named.  The  shape  of  vignettes 
should  be  like  those  used  in  printing  or  enlarging. 

Those  who  prefer  it  can  place  the  mask  inside  the  camera 
between  lens  and  plate,  with  smaller  vignette  upside  down, 
and  arranged  to  move  to  and  from  lens  as  required  ; this 
does  away,  of  course,  with  the  box  outside.  This  plan  Dot 
only  increases  the  length  of  exposure  considerably,  but  is 
in  the  way  of  most  of  the  better  forms  of  inside  shutters 
used  now  with  quick  plates.  There  is  also  more  trouble 
in  adjusting  it,  the  ground  glass  requiring  frequently  re- 
moving for  the  purpose.  In  the  former  arrangement  some 
shutter  is  evidently  needed,  either  inside,  behind  lens,  or 
in  the  box  in  front,  as  the  cap  cannot  be  reached.  This 
can  readily  be  contrived  by  anyone. 

Should  halation  be  manifest  with  some  plates,  it  is  well 
to  adopt  the  suggestion  made  in  these  columns  of  applying 
a piece  of  black  velvet,  wrung  out  of  glycerine,  to  the  back 
of  plates. 


THE  ALTERATION  OF  PATER  WHEN  EXPOSED 
TO  LIGHT. 

As  paper  forms  the  usual  basis  on  which  finished  photo- 
graphic pictures  are  produced,  it  becomes  of  primary 
importance  to  consider  how  far  any  chauges  of  this 
material  are  likely  to  affect  the  permanence  of  the  photo- 
graphic image  ; and  a darkening  of  the  basis  on  which  the 
picture  has  been  made  is  certainly  as  effective  in  obliterat- 
ing the  subject  as  a lowering  of  the  depth  of  the  photo- 
graphic shadings  themselves.  Few  of  the  cheaper 
varieties  of  commercial  paper  are  unaffected  by  exposure 
to  light,  those  tinted  with  organic  colouring  matters  often 
becoming  lighter ; while  many  white  samples  gradually 
darken  until  a deep  russet  brown  tint  is  arrived  at. 

It  may,  however,  be  safely  assumed  that  a white  paper 
manufactured  from  pure  rag-pulp  will  not  darken  to  an 
appreciable  extent ; while  cheaper  papers,  into  the  com- 


THE  PHOTOGRAPHIC  NEWS. 


355 


Junk  8,  1883.] 


position  of  which  esparto  or  wood  pulp  enters,  are 
frequently  liable  to  become  seriously  affected  by  the  action 
of  light.  It  need  scarcely  be  mentioned  that  the  most 
satisfactory  method  of  testing  the  capability  of  any  sample 
of  paper  to  resist  the  action  of  light  is  to  mask  a specimen, 
and  to  expose  it  for  a sufficient  number  of  months  to  the 
best  light  which  may  be  available  ; but  as  this  course  only 
gives  an  indication  of  value  after  the  lapse  of  a consider- 
able time,  it  is  important  to  be  able  to  arrive  at  some  kind 
of  a conclusion  rapidly.  As  regards  colouring  matters 
with  which  paper  may  be  tinted,  we  may  remark  that  most 
of  those  which  are  rapidly  destroyed  by  light  are  also  de- 
composed quickly  by  the  action  of  a weak  solution  of 
bleaching  powder  (the  so-called  chloride  of  lime).  It  may 
consequently  be  considered  that  any  tint  which  rapidly 
disappears  when  the  sample  of  paper  is  moistened  with  a 
solution  obtained  by  stirring  up  a couple  of  ounces  of  com- 
mercial bleaching  powder  with  a pint  of  water  and  filtering, 
is  likely  to  be  fugitive. 

Thoroughly  purified  vegetable  fibre,  or  cellulose,  from 
whatever  source  it  may  have  been  obtained,  is  so  little 
subject  to  darken  under  the  action  of  light  as  to  be  well 
adapted  to  serve  as  a basis  for  the  photographic  picture  ; 
and  although  it  is  possible  to  so  perfectly  free  esparto  or 
wood  pulp  from  the  incrusting  matters  as  to  make 
these  thoroughly  reliable,  this  is  seldom  done  in 
actual  practice. 

A rough  test  for  that  incrusting  matter  which,  is  especi- 
ally liable  to  darken  is  afforded  by  immersing  a strip  of 
the  paper  in  strong  sulphuric  acid,  it  being  assumed  that 
no  darkening  will  take  place  if  the  fibre  has  been 
thoroughly  purified.  This  test  is,  however,  liable  to  mis- 
lead, and,  although  useful  in  some  cases,  should  always  be 
supplemented  by  the  aniline  test,  which  depends  on  the 
circumstance  that  aniline  salts  possess  the  property  of 
reacting  upon  the  incrusting  matter  of  pine  wood,  a bright 
yellow  compound  being  formed.  It  is  convenient  to  use  a 
solution  prepared  by  agitating  two  ounces  of  commercial 
aniline  with  a pint  of  water  and  three  ounces  of  hydro- 
chloric acid.  Strips  of  white  paper  immersed  in  this 
solution  for  a second,  aud  then  exposed  to  the  air,  retain 
their  whiteness,  provided  that  perfectly  purified  cellulose 
has  been  used  in  the  manufacture,  but  very  soon  take  a 
bright  yellow  tint  if  any  of  the  incrusting  matter  of  pine 
wood  is  present. 

Mr.  C.  F.  Cross,  in  a paper  recently  communicated  to 
the  Society  of  Arts,  points  out  the  extreme  difficulty  of 
thoroughly  purifying  the  ligneous  fibre,  and  he  points  out 
the  value  of  a neutral  sulphite  as  a test  for  perfect  purifi- 
cation, this  reagent  being  applied  to  the  pulp  immediately 
after  chlorination,  a magenta  tint  being  developed  if  the 
purification  is  incomplete.  This  method  of  testing  is  not, 
however,  easily  available  for  a photographer  who  wishes 
to  test  any  samples  of  paper  which  may  be  presented  to 
him. 

While  treating  of  paper,  we  may  mention  that  resin- 
ned papers  often — or,  indeed,  generally— exhibit  an  acid 
reaction,  and  it  appears  that  this  acid  reaction  arises  from 
the  U3e  of  aluminium  sulphate  for  fixing  the  size. 


THE  POSTAL  PHOTOGRAPHIC  SOCIETY. 

Tins  Society,  open  to  all  bona-fide  amateurs  within  the 
range  of  the  penny  post,  has  now  been  established  on  a 
firm  basis.  A fortnight  since  we  published  some  interest- 
ing details  of  the  progress  of  the  Society,  which  now 
musters  upwards  of  sixty  members,  among  whom,  as  the 
albums  of  the  Society  show,  there  are  many  very  capable 
photographers. 

The  true  test  of  a man's  work  is  to  compare  it  with  the 
work  of  other  men  ; and  so,  by  placing  photographs  side 
by  side,  you  get  a very  good  idea  of  their  comparative 
merits.  This  the  Postal  Society  does.  The  pictures  sent 
in  to  the  Honorary  Secretary  (Mr.  H.  H.  Cunningham,  of 


7,  Fig  Tree  Court,  Temple)  are  carefully  mounted  in 
suitable  albums,  and  these  then  sent  round  to  members 
for  their  inspection.  Not  only  this,  but  the  members 
are  their  own  critics,  and  become  their  own  judges  in 
awarding  the  prizes.  This  is  a very  satisfactory  plan  of 
proceeding,  and  it  is  managed,  as  the  Secretary  explains, 
in  the  manner  following  : — 

“1.  It  is  obviously  easier  to  compare  landscape  with 
landscape,  than  with  portrait  or  r/enre  subject.  We  there- 
fore divide  all  pictures  upon  which  members  are  to  express 
their  views  in  the  form  of  votes — i.e.,  competition  pictures 
— into  classes,  view  or  landscape,  portrait  or  group  figure, 
and  set  subject — all  being  kept  distinct. 

“ The  merit  of  any  picture  depends,  firstly,  on  its 
technical  execution,  and,  secondly,  on  its  pictorial  or 
artistic  qualites. 

“In  photography  the  technical  execution  is  further 
divisible  into  the  quality  of  the  negative  and  that  of  the 
print. 

“ We  therefore  get  the  three  qualities,  viz.,  of  the  (a) 
negative,  ( b ) the  print,  (c)  the  pictorial.  Any  one  of 
these  may  be  obviously  present  in  the  absence  of  one  or 
both  of  the  others. 

“ The  members  are  told  to  look  at  the  landscapes  ; then 
to  pick  out  the  one  which  they  think  is  the  best  negative, 
and,  having  found  it,  put  a cross  in  the  column  for  nega- 
tive, under  the  name  of  the  exhibitor ; and  where  several 
pictures  are  shown  by  one  exhibitor,  to  put  the  number  of 
the  picture  also. 

“ Next  to  see  which  is  the  best  as  a specimen  of  printing, 
and  treat  that  the  same  way — by  voting  for  it. 

“ And  then  look  again  for  the  one  which  seems  to  be  the 
best  as  a pictorial  composition,  and  vote  for  that  in  the 
same  way.  This  exhausts  the  three  votes  for  landscapes  : 
and  the  portrait  and  set  subjects  are  treated  the 
same  way,  except  that  the  latter,  being  more  especially 
intended  to  encourage  the  artistic  side  of  photography, 
greater  weight  is  given  to  pictorial  than  technical,  two 
votes  being  allowed  for  pictorial,  and  one  for  technical 
qualities,  not  distinguishing  negative  from  print  in  this 
case. 

“ It  is  further  incumbent,  so  that  all  may  compete  on 
equal  terms,  that  exhibitors  should  state  on  one  of  the 
forms  provided  full  particulars  of  conditions  under  which 
the  picture  was  produced ; and  where  double  printing, 
retouching,  or  other  artifice  has  been  had  recourse 
to,  these  must  also  be  stated ; these  things  are  not 
excluded  (the  object  being,  by  all  means  available, 
to  make  pictures),  but  so  that  members  may  know 
what  they  are  voting  for,  details  of  this  kind  must  be 
given.” 

We  have  had  the  pleasure  of  looking  through  the  albums 
of  the  Society,  and  must  compliment  its  members  on  a 
marked  improvement  during  the  present  year ; in  fact,  the 
books  contain  pictures  equal  to  the  best  exhibited  year  by 
year  at  the  Pall  Mall  Exhibition.  The  members,  whether 
they  live  far  or  near— one  of  them,  we  hear,  resides  in 
the  wilds  of  Northern  Sutherlandshire — all  are  bound 
together  by  the  Postal  Union,  and  thus  the  Society, 
although  its  members  are  more  scattered  than  in  any  other 
body,  participates  in  all  benefits  and  are  as  coginsant  of 
one  author’s  works  as  if  they  all  resided  under  one  roof. 
The  criticisms  and  notes  recorded  in  the  volumes  of 
photographs  form  most  interesting  reading,  and  are  a 
capital  substitute  for  the  meeticgs  of  ordinary  societies. 


HALF-A-DOZEN  PORTRAITS. 

No.  V.— With  a Business  Firm. 

It  is  a business  establishment,  as  we  find  out  to  our  cost. 

We  have  been  searching  for  a studio  where  seven  shillings 
and  sixpence  is  the  regulation  charge  for  a dozen  cartes* 
and  this  is  it.  In  a busy  and  fashionable  thoroughfare) 


356 


THE  PHOTOGRAPHIC  HEWS.  [June  8,  1883. 


where  it  cannot  well  escape  the  notice  of  the  passer-by, 
the  establishment  has  a very  fine  site  indeed.  Nor  are  the 
reception  rooms  less  imposing  because  the  charge  adver- 
tised is  a reasonable  one.  A grand  double  drawing-room, 
handsomely  furnished,  with  a large  display  of  coloured 
work,  awaits  the  visitor  on  the  first  floor,  which  he  enters 
straightway,  for  the  doors  are  opened  wide  to  admit  him. 

We  make  known  our  modest  request  for  a dozen  card 
portraits  to  the  lady  in  charge,  who  receives  the  order 
with  the  best  grace. 

“ Will  you  say  which  style  you  prefer?”  she  asks,  turn- 
ing over  several  frames  of  cartes.  “ Like  these  ? ” 

“Yes,  those  will  do  very  well.” 

“ Or  these?  Some  people  prefer  this  class  of  portrait.” 
We  mark  our  approval;  but  yet  more  specimens  are 
forthcoming.  “ These  last  are  very  pleasing.” 

“ They  certainly  are  ; yes,  those  are,  perhaps,  the  best.” 
“You  said  a dozen,  I think?”  says  our  lady-friend, 
noting  the  order,  and,  as  she  does  so,  remarks:  “Would 
you  like  to  look  round  at  some  of  the  other  pictures  ? ” 
We  take  the  hint,  and  while  the  lady  is  busy  at  her 
desk,  stroll  round  the  room.  The  first  object,  framed  and 
glazed,  that  we  see,  is  not  a portrait,  but  a huge  notice  to 
the  effect  that  the  terms  are  Cash,  a capital  idea  in  itself, 
only  expressed,  maybe,  a little  too  loudly.  There  arc  good 
enlargements  displayed,  and  a large  number  of  coloured 
portraits,  in  smart  gilt  frames,  but  rather  too  florid  to  suit 
some  tastes. 

“ They  will  tone  down  a little  by  age,”  is  the  lady’s 
remark,  for  we  have  given  expression  to  this  last  idea. 

“No  doubt.” 

“ But  they  are  much  admired  as  they  are — they  are  so 
soft  and  delicate.” 

“No  doubt,  no  doubt;  only,”  we  say,  jokingly,  “they 
are  possibly  a little  too  nice — what  artists  sometimes  call 
painted  with  scented  soap.” 

“ Ah  ! these  uncoloured  enlargements  are  more  to  your 
taste,  I dare  say ; they  are  also  quite  permanent,”  says 
our  friend,  referring  to  some  fine  Autotype  enlargements. 

“Yes,  they  are  very  good  ; but  for  to-day  the  small 
portraits  will  suffice,  thank  you.” 

“ Very  good,  sir  ; here  is  the  account — ten  and  sixpence, 
if  you  please.” 

Ten  and  sixpence  ! There  might  have  been  an  exclama- 
tion here,  and  a demand  on  our  part  for  some  explanation, 
were  we  really  one  of  the  public.  But  an  instant’s  thought 
brings  about  the  solution  of  the  problem  without  any 
further  ado.  We  see  at  once  what  we  have  been  doing. 
We  have  inadvertently  chosen  a bust  portrait ; the  full- 
length  cartes  were  doubtless  seven  shillings  and  sixpence, 
but  those  with  larger  heads  are,  we  suppose,  half-a-guinea. 

We  pay  our  money,  but  scarcely  think  we  have  been 
fairly  treated  ; and  then  make  our  way  upstairs.  We  are 
told  to  go  to  the  top,  and  all  the  way  up  there  is  a succes- 
sion of  amusing  and  most  effective  pictures.  There  are 
doors  right  and  left,  each  bearing  in  boldly  painted  charac- 
ters the  branch  of  work  carried  on  therein.  At  last,  there 
is  no  further  progress  to  be  made.  Closed  doors  are  on 
every  hand,  and  no  signs  of  a studio  apparent. 

There  is,  however,  a direction  painted  ou  the  wall,  so  we 
take  it,  and  tentatively  open  one  of  the  doors.  A young 
lady  is  busy  painting  small  portraits  at  a table  in  the  middle 
of  the  room,  so  we  beg  pardon,  and  are  about  to  retire,  when 
she  invites  our  entrance. 

“ This  is  the  way  to  the  studio,”  she  says. 

“ Thank  you.” 

“No,  not  up  there.  Will  you  allow  me  to  see  your 

paper  ? ” 

The  fact  is,  we  were  making  off  upstairs  to  where  the  glass 
room  was  evidently  situated.  But,  as  requested,  we  take 
our  paper  to  the  young  lady’s  table,  and  present  it. 

“ I see  ; a dozen  cartes.” 

“ Yes.” 

“ Would  you  like  auy  of  them  coloured  ? ” 


Of  course  we  would,  if  wo  could  only  afford  the  expense  ; 
as  it  is,  we  decline  the  temptation. 

“Perhaps  if  you  had  one  coloured  just  to  see  how  you 
like  them,”  says  the  young  lady  persuasively,  and  holding 
fast  to  the  paper. 

“What  would  th"‘  cost?”  is  our  cautious  remaik. 

“Only  half-a-cie.  u.” 

AVe  resist  no  longer.  To  think  of  the  delight  of  friends 
when  they  should  behold  our  sallow  features  endowed  with 
a delicate  salmon  pink  complexion  is  too  much,  and  we 
close  with  the  proposition. 

“ Will  you  pay  now  ? ” 

“Certainly.”  Where  was  our  resolution  not  to  spend 
more  than  seven  shillings  and  sixpence  on  a portrait, 
and  to  carry  out  which,  we  had  especially  selected  this 
studio?  Thirteen  shillings  were  now  disbursed,  and  we  were 
not  yet  clear  of  the  establishment.  Truly,  man  proposes, 
but  woman  disposes. 

The  young  lady  asks  a few  particulars  about  name  and 
address,  all  of  which,  we  regret  to  say,  she  will  find  fictitious. 
But  she  must  not  complain,  since  she  herself  was  practising 
a little  innocent  deceit  while  asking  about  our  family 
matters.  At  hand  was  a form  evidently  meant  for  the 
colourist,  with  blank  spaces  after  the  words  hair——,  com- 
plexion  , eyes , &c.,  and  upon  this  form  she  slyly 

entered  such  information  as  she  rapidly  gleaned  from  a 
survey  of  our  features,  as  we  stood  there  at  the  table,  and 
replied  to  her  queries. 

“ What  a dreadful  day  Monday  was!  ” she  remarks. 

“ It  was  a dreadful  day.” 

“ Quite  winter  over  again.” 

“ Quite.” 

“ Will  you  kindly  walk  up  into  the  studio  now  ” — a 
gong  had  sounded— “and  give  this  paper  above?" 

“ Certainly.” 

A flight  of  stairs  led  to  the  studio.  The  little  room  we 
had  just  left  was  something  of  a “come-down”  from  the 
grandeur  of  the  reception  room,  and  the  change  from 
luxury  to  economy  was  still  more  marked  on  entering  the 
studio.  There  might  have  been  what  was  necessary  in  the 
bare  room  ; there  was  certainly  nothing  de  trop. 

“ Please  to  arrange  your  hair,  sir,”  is  the  rather  brusque 
remark  of  the  artist  upstairs. 

It  is  not  his  fault,  of  course,  that  this  happens  to  be  the 
sixth  request  within  a fortnight  made  to  us  touching  our 
hair,  and  therefore,  it  is  not  fair  that  he  should  feel  the 
effects  of  any  resentment  in  our  bieast.  But  for  the  moment 
we  really  do  feel  tempted  to  get  out  of  temper,  and  to 
avow  with  some  vehemence  that  our  coiffure  is  certainly  as 
tidy  as  his,  anyway,  and  that  wo  wish  he  would  leave  our 
hair  alone. 

One  may  not  expect  to  be  shown  into  a dressing  room 
when  cards  are  quoted  at  seven  shillings  and  sixpence  ; but 
since,  through  no  fault  of  our  own,  we  have  been  mulcted  of 
thirteen  shillings,  something  more  than  a bracket  with  an 
untidy  brush  and  comb  upon  it  may  be  anticipated. 
However,  on  reflection,  we  remember  that  neither  Piccadilly 
nor  Baker  Street  provided  us  with  anything  more,  so  we 
cannot  grumble.  We  approach  the  mirror,  adjust  the  locks 
over  the  noble  brow  for  the  hall-dozenth  time,  and  inspect 
our  features  in  the  glass  with  as  much  curiosity  as  if  we 
had  never  seen  them  before. 

VVesitdown.  Is  that  a faint  odour  of  collodion  that 
reaches  us,  or  is  it  only  fancy?  In  any  case,  the  fancy  has 
never  come  over  us  before  during  the  present  round  of  visits. 
We  are  focussed— the  assistant  might  be  provided  with  a 
canopy  with  advantage,  we  note — and  then  a second  assis- 
tant brings  in  the  slide. 

“ You  may  wink  your  eyes,  but  don't  take  them  oft  the 
picture,”  says  our  friend,  in  allusion  to  a small  photograph 
on  a stand  he  has  set  up  near  at  hand.” 

“ Steady,  please.-’ 

We  remain  steady,  but  such  a long  time  that  we  decide 
upon  countiug  the  seconds  during  the  next  exposure. 


Juxe  8,  1883.J 


THE  PHOTOGRAPHIC  NEWS 


357 


This  we  do;  the  time  is  twenty-seven  seconds.  We 
begin  to  think  that  the  smell  of  wet  collodion  was  not  fancy, 
after  all. 

It  is  rather  cold  in  the  studio,  and  the  bareness  of  the 
apartment  adds,  no  doubt,  to  the  feeling  of  inhospi- 
tality, while  we  wait,  on  the  invitation  of  the  assistant,  to 
see  how  the  plates  turn  out.  But,  uncomfortable  as  the 
feeling  is,  we  feel  that  we  are  better  off  here  than  downstairs 
in  the  grand  reception  room,  where  there  might,  perhaps,  be 
further  inducements  to  part  with  our  money.  So  we  tarry 
without  complaining. 

“ Thank  you,  the  plates  will  do  very  well.  We  will  send 
you  a proof  in  about  a week." 

We  go  downstairs,  wishing  the  colouring  young  lady  good 
morning.  The  reception  room  doors  are  still  wide  open  as 
we  pass  them,  but  we  have  a predilection  for  the  open  air, 
and  so  we  walk  out  as  soon  as  we  can. 


Next  week  will  appear  No.  VI.,  “An  Electric  Light 
Portrait." 


MOUNTAINS  IN  PHOTOGRAPHY. 

BY  M.  BURTOX. 

“ Why  do  photographs  never  give  an  idea  of  the  height  of 
mountains  V”  is  a very  frequent  question  from  the  un- 
initiated. One  indignant  photographer  answers,  “Because 
artists  have  corrupted  the  eye  of  the  public  by  representing 
them  two  or  three  times  their  real  height."  But  certainly 
this  is  an  exaggeration  of  the  power  of  painters  to  educate 
the  public  eye,  for,  so  far  as  my  own  experience  goes,  the 
ordinary  man  judges  pictures  by  their  likeness  to  what  he 
knows  of  nature,  though  he  may  not  have  seen  anything 
more  of  a mountain  than  Hampstead  Hill ; besides,  the 
best  artists  do  not  exaggerate  mountains  when  they  give 
them  a principal  place  in  their  pictures,  though  they  may 
often  paint  a distant  hill  that  ought,  if  measured  trigono- 
metrically, to  be  the  size  of  a pin’s  head,  as  big  as  a 
button,  more  by  accident  than  for  the  sake  of  effect. 

Before  proceeding  to  real  enquiry  on  the  subject,  I 
should  like  to  limit  the  first  popular  statement  that  photo- 
graphs always  make  mountains  look  too  small.  I have 
seen  photographs  which  gave  mountains  a3  much  of  their 
true  grandeur  as  any  simple  pictorial  representation  does, 
but  these  were  either  subjects  in  which  nature  had  offered 
such  a singularly  perfect  piece  of  composition  (technically 
so  called)  as  one  caunot  often  expect  to  meet  with,  or  in 
which  the  mountains  were  very  subordinate  to  the  fore- 
ground, showing  a little  more  than  a faint  line  in  the  sky. 

These  exceptional  successes  most  distinctly  show  us  the 
way  by  which  general  success  may  be  attained.  The  im- 
pression of  the  height  of  mountains  does  not  depend  upon 
the  angle  they  subtend  to  the  eye,  or  a mole-hill  would 
often  literally  look  larger ; it  depends  upon  the  appear- 
ance of  distance,  and  this  is  attained  by  perspective,  linear 
or  serial.  Linear  perspective  is  that  which  can  be  carried 
out  by  mere  lines,  without  any  shading  whatever,  and  can 
therefore  be  more  than  realized  by  photography.  It  gives 
impressions  of  distance  by  the  well-known  perspective  law 
of  converging  lines,  and  if  a familiar  object  occurs,  the 
mind  unconsciously  performs  the  calculation,  that  as  the 
size  of  a house  near  the  eye  is  to  that  of  one  just  within 
the  range  of  vision,  so  must  the  mountain,  if  it  could  be 
seen  near,  be  to  its  faint  image  in  the  distance.  In  the 
same  way,  a river  winding  up  a valley,  or  a long  succession 
of  hills,  gives  an  irresistible  impression  of  distance,  how- 
ever slight  or  imperfect  the  representation  of  them  may 
be.  In  the  rare  cases  in  which  landscapes  are  represeuted 
in  mere  outline,  linear  perspective  is  taken  full  advantage 
of,  even  if  the  circumstauces  of  the  individual  scene  have 
to  be  entirely  altered  for  the  purpose.  But  the  photo- 
grapher is  condemned  to  accuracy,  and  the  instances  in 
which  nature  manages  his  composition  perfectly  for  him 


are  so  rare,  that  if  he  had  to  limit  himself  to  them,  he 
would  do  better  to  devote  his  camera  to  other  subjects. 

It  must  be  borne  in  mind  that  unfamiliar  objects  will 
not  have  at  all  the  same  effect  in  perspective  as  familiar 
ones.  Even  when  looking  at  a real  scene,  people  often 
mistake  woods  for  clumps  of  furze,  or  boulders  for  gravel, 
and  diminish  their  distauce  accordingly.  This  is  the 
reason  for  often  introducing  a human  figure  in  pictures 
where  it  is  positively  repugnant ; it  gives  a distinct 
measure  of  size. 

Aerial  perspective  is  a power  much  less  generally 
acknowledged  than  linear  perspective.  It  is  much  less 
systematic— indeed,  it  is  impossible  to  give  rules  for  it — but 
it  is  very  much  used  by  artists,  especially  by  those  who 
depict  mountains.  It  really  consists  in  the  modification  of 
light  and  shade  produced  by  the  atmosphere,  and  should  be 
carefully  distinguished  from  colour,  though  it  seldom  is. 
As  a rule,  all  shadows  become  less  deep  and  distinct  as  they 
retreat  from  the  eye,  but  the  extent  to  which  they  do  so 
depends  entirely  upon  the  state  of  the  atmosphere  ; and 
the  same  influences  which  modify  light  and  shade  frequently 
modify  colour  also,  thus  giving  rise  to  the  popular 
impression  that  the  effect  of  distance  is  due  to  colour, 
especially  that  it  is  due  to  blue. 

Photographers  who  accept  this  view  must  resign  them- 
selves to  not  photographing  mountains  till  colour  photo- 
graphs can  be  obtained  ; but  it  is  a pity  they  should  do  so. 
It  is  true  that  blue  is  generally  the  colour  found  in  greatest 
strength  and  purity  in  a distant  landscape,  especially  in 
that  clear  state  of  the  air  which  allows  us  to  see  really 
distant  objects  ; but  by  sunset  light  the  extreme  distance 
is  often  of  a crimson  or  yellow  colour,  witho  't  a shade  of 
blue  in  it ; yet  it  does  not  look  near.  On  the  other  hand, 
an  artist  will  paint  a blue  bell  in  the  immediate  foreground 
with  the  very  same  colours  as  he  used  for  his  remote 
horizon,  yet  it  does  not  look  distant.  It  is  quite  common, 
in  clear  grey  weather,  to  see  very  distant  objects  much 
the  colour  of  a platinum  print.  This  aspect  of  nature  is 
not  popular  amongst  painters. 

Not  only  pictures,  but  mountains  themselves,  depend 
largely  for  their  effect  on  accidents  of  atmosphere.  I 
believe,  indeed,  that  the  reputation  of  our  Scotch  and 
Welsh  hills  is  due  almost  entirely  to  the  thick  and  varying 
atmosphere  which  makes  them  look  distant,  and  therefore 
high.  It  is  true  that  they  do  occasionally  shine  out  in 
extreme  clearness,  but  the  natives  are  too  well  trained  by 
the  frequent  mist  to  do  anything  but  rejoice  in  seeing  their 
giants  distinctly  for  once ; and  strangers  who  see  them 
under  these  rare  circumstances  generally  think  them  very 
small.  In  the  same  way  Scotch  people  who  are  touring  in 
less  misty  lands  sometimes  say,  what  is  the  good  of  know- 
ing that  mountains  are  high,  if  they  look  like  stone  walls 
at  one’s  side?  So  far  as  I know,  no  other  hills  of  their  size 
have  such  a varying  atmosphere,  and  consequently  such  a 
mountainous  effect,  as  the  Scotch  Highlands. 

But  if  the  representation  of  mountains  depends  upon 
light  and  shade,  in  which  photography  has  pre-eminent 
powers,  why  does  it  not  succeed  with  it  ? 

As  I have  said,  it  does  sometimes  succeed  iu  giving  a 
great  impressiou  of  atmosphere,  but  in  these  cases  the 
mountains  occupy  a very  insignificant  place  in  the 
picture.  They  have,  in  fact,  just  as  much  importance  as 
mountains  really  have  to  the  eye  when  it  is  fixed  on  a 
village  some  distance  in  front  of  them,  without  the  imagina- 
tion giving  quite  so  much  help  as  it  does  when  one  is 
actually  in  the  neighbourhood  of  a great  mountain. 

Where  photography  does  not,  as  a rule,  succeed,  is  in 
representing  mountains  in  the  middle  distance  as  the 
principal  object  in  the  picture,  and  this  I take  to  be  due 
to  the  impossibility  of  much  “composition,"  and  to  the 
invariable  practice  of  photographing  them  iu  very  clear 
weather.  Painters  rarely  represent  mountains  in  their 
very  clearest  aspect,  and  when  they  do,  either  sacrifice  the 
appearance  of  height  to  some  other  charm,  or  make  use 


358 


THE  PHOTOGRAPHIC  NEWS. 


[June  8,  1883. 


of  linear  perspective  to  a degree  that  is  almost  beyond 
the  power  of  the  pencil,  not  to  speak  of  the  difficulties 
with  which  a photographer  has  to  contend  in  any  departure 
from  exact  portraiture  of  nature.  There  are  very  strong 
objections,  on  the  ground  of  truth,  to  any  alteration  of 
permanent  natural  features ; besides  which,  such  attempts 
generally  result,  at  the  best,  in  showing  the  distance  as 
a set  of  perpendicular  plains.  The  real  remedy  is  to  be 
sought  in  the  use  of  atmospheric  effects.  Photographing 
objects  under  any  degree  of  mist  is  accompanied  with 
great  difficulties ; but,  when  the  mist  is  slight  enough,  the 
effect  is  sometimes  very  pleasing.  The  processes  by  which 
painters  procure  their  aerial  perspective  are  often  more 
mechanical  than  many  of  those  used  by  accomplished 
photographers.  One  of  the  commonest  ways  of  painting 
a distance  in  oils  is,  to  work-in  all  the  features  of  it  as 
strongly  as  they  would  appear  on  the  clearest  day,  or 
even  more  so,  and  then  scumble  or  cover  it  with  a thin, 
semi-transparent  coat  of  the  colour  of  the  desired  mist. 

The  washing  of  skies  and  distances  common  amongst 
landscape  painters  is  a similar  mechanical  process. 

Could  not  something  of  this  kind  be  effected  in  photo- 
graphy, either  in  retouching  or  printing?  It  would,  no 
doubt,  be  hard  for  a photographer  to  sacrifice  that  per- 
fection of  detail  wuich  is  the  glory  of  his  art ; but  the 
miuutise,  though  veiled,  need  not  be  lost. 


FRENCH  CORRESPONDENCE. 

Eosine  Plates — M.  Lugardon’s  Instantaneous  Pictures — 

Drop-Shutter  in  Simple  and  Double  Lenses— M. 

Carlo  Relvas’  Developer — Photo-typographic  Prints 

— M.  Lisbonne’s  Emulsion. 

Eosine  Plates. — Having  received  from  MM.  Clayton  and 
Tailfer  some  of  their  plates  prepared  with  eosine,  I have 
made  some  conclusive  experiments  with  them,  by  exposing 
to  the  action  of  coloured  rays,  both  in  the  camera  and  by 
contact.  A Newton’s  disc  was  reproduced  by  an  ordinary 
gelatine  plate,  and  oue  specially  prepared  simultaneously, 
and  the  results  were  totally  different.  In  the  first  plate 
only  three  rings  appear  luminous,  while  the  fourothers  were 
of  sombre  tone.  The  luminous  bands  were  violet,  indigo, 
and  blue.  But  the  reproduction  by  the  eosine  plate  showed 
not  only  these  three  luminous  rings,  but  also  the  green  and 
yellow,  and  the  orange  slightly'.  In  short,  the  isochro- 
matism was  almost  perfect,  with  the  exception  of  the  red. 
There  seem  to  be  a series  of  interesting  studies  to  be  worked 
out  on  these  lines,  and  by  the  help  of  certain  combinations 
of  coloured  screens,  and  preparations  analogous  to  eosione, 
perhaps  perfect  isochromatism  may  result ; that  is  to  say, 
an  exact  reproduction  of  different  colours  according  to  their 
relative  value  and  tone.  Such  experiments  might,  perhaps, 
command  the  attention  of  Mr.  Sawyer,  whoso  work  on 
“ Photography  in  Relation  to  Colour  ” I have  read  with 
interest.  It  may  be  argued  that  this  is  not  a new  discovery, 
but  it  must  be  confessed  that  MM.  Clayton  and  Tailfer 
render  good  service  to  photographic  art  by  experimenting 
on  the  various  properties  of  eosine — properties  not  dis- 
covered by  them,  but  of  which  they  were  the  first  to 
recognise  the  nse. 

M.  Lugardori s Instantaneous  Pictures. — M.  Lugardou,  of 
Geneva,  whose  pictures  of  animals  in  motion  we  have  spoken 
of  in  terms  of  high  praise,  has  told  us  that  he  is  very  satis- 
fied with  the  developing  process  of  MM.  Wild  and  Goerlitz, 
which  permits  the  development  to  be  prolonged  to  half-an- 
hour  or  longer,  and  gives  greater  detail  than  the  other.  This 
process  consists  in  the  introduction  of  the  tincture  of  iodine, 
instead  of  bromide  of  potassium,  into  the  oxalic  liquid.  One 
part  of  iodiue  is  dissolved  in  200  of  alcohol  to  which  200 
parts  of  water  are  afterwards  added.  From  five  to  ten  drops 
of  this  tincture  are  required  for  fifty  c.c.  of  oxalic  developer. 

I he  shutter  employed  by  M.  Lugaidou  is  by  Thury  and 
Amey.  It  is  composed  of  two  slides,  each  having  a circular 


opening,  and  working  in  opposite  directions.  The  opening 
and  closing,  therefore,  both  take  place  at  the  centre  of  the 
lens.  This  shutter  is  fitted  exactly  in  the  place  of  the 
diaphragm,  between  the  two  lenses  ; it  is  set  to  work  by 
pneumatic  action.  Its  average  rapidity  is  of  a second. 

Position  oj  the  Drop-Shutter. — Apropos  of  shutteis  opening 
at  the  ceutre,  it  is  interesting  to  note  that  the  best  position 
for  them  is  where  the  diaphragms  are  placed,  in  either 
single  or  double  objectives.  In  the  case  of  the  simple 
drop-shutter,  it  never  prevents  all  the  reflected  rays  from 
penetrating  the  sensitive  plate  ; it  only  obscures  them  more 
or  less  as  the  opening  is  smaller  or  larger.  In  a word,  the 
image  may  be  seen  entire  on  the  ground  glass  while  work- 
ing the  apparatus  slowly.  This  action  is  not  seen  if  the 
shutter  occupies  a place  immediately  behind  or  in  front  of 
the  leDs. 

M.  C.  Relva's  Developer. — M.  Carlo  Relvas,  the  eminent 
Portuguese  amateur,  indicates  his  method  of  development 
as  follows  : — He  begins  with  an  old  ferrous-oxalate  bath, 
then  puts  the  plates  in  a new  bath,  and  finally  returns  to 
the  old.  By  this  means  he  says  that  he  obtains  much 
more  vigour,  and  the  development  is  better  graduated. 

Photo- Typographic  Prints. — M.  Rousselon  continues  his 
researches  in  photo-typography  by  his  special  process.  I 
have  seen  some  very  fine  results,  only  one  wonders  how 
such  typographic  blocks  will  print,  unless  satin  paper, 
or  paper  printed  on  one  side  only,  be  used,  although  in 
this  matter  we  are  able  to  state  that  considerable  progress 
has  been  made.  Herr  Meisenbach,  of  Munich,  has  produced 
some  excellent  prints  by  a process  similar  to  that  of  Mr. 
Ives,  of  New  York,  but  the  results  are  better  and  clearer. 
The  use  of  tinted  paper  is  very  ingenious.  These  blocks 
are  easier  to  print  than  M.  Rousselon’s,  but  the  latter  have 
the  advantage  of  showing  no  streaks.  Photo-typography 
is  in  a very  good  state  for  further  improvement. 

Leon  Vidal. 


APPARATUS  FOR  PRINTING  BY  THE  BLUE 
PROCESS. 

BY  CHANNING  WHITAKER.* 

An  Inexpensive  Drying  Case  for  Use  in  Coating  the  Taper. — 
When  the  apparatus  is  in  continuous  use,  time  may  be  saved  by 
having  a convenient  arrangement  for  drying  the  sheets  that  have 
been  coated  with  the  sensitizing  liquid.  I have  made  an  inex- 
pensive drying  case,  which  serves  the  purpose  very  well.  It  con- 
sists simply  of  a light-tight  rectangular  case  of  drawers.  There 
are  twenty-five  drawers  in  all.  They  are  constructed  in  an  in- 
expensive manner,  and  are  the  only  parts  of  the  case  that  are 
worth  describing.  They  are  very  shallow,  being  but  If  inches 
deep,  and  as  it  appeared  that  the  principal  expense  would  be  for 
the  materials  of  which  the  bottoms  of  the  drawers  should  be  com- 
posed, it  was  decided  to  make  the  bottoms  of  cotton  cloth. 
This  cloth  is  stretched  upon  a frame,  the  dimensions  of  which 
are  greater  than  that  of  the  paper  to  be  dried.  The  stock  of 
which  the  frame  is  made  of  is  pine,  If  inches  wide,  and  three- 
eighths  of  an  inch  thick.  The  corners  are  simply  mitred 
together  and  attached  to  each  other  by  means  of  the  wire  staples 
that  are  commonly  used  for  fastening  together  pages  of  manu- 
script, and  which  are  called  “ novelty  staples.”  Eight  staples 
are  used  at  each  mitre,  four  above  and  four  below  the  joint. 
Two  of  the  staples,  at  the  top  and  near  the  ends  of  the  joint,  are 
set  square  across  it,  and  two  others,  at  the  top  and  near  the 
middle  of  the  joint,  are  placed  diagonally  across  it.  The  staples 
at  the  bottom  are  similarly  placed.  The  joint  is  quite  firm  and 
strong,  and  is  likely  to  hold  for  an  indefinite  period  with  fair 
usage.  The  cloth,  stretched  upon  the  frame,  is  fastened  to  it  by 
means  of  similar  staples.  A dark-coloured  cloth  not  transparent 
to  light  is  to  be  preferred.  A strip  of  pine,  If  A inches  wide,  and 
three-eighths  of  an  inch  thick,  forms  the  vertical  front  of  the 
drawer,  and  prevents  the  admission  of  much  light  from  the  front 
while  the  sheet  is  drying.  Two  triangular  knee- pieces,  three- 
quarters  of  an  inch  thick,  serve  to  connect  the  front  board  with 
the  frame,  and  four  small  screws  with  a few  brads  are  used  in 
attaching  them.  The  lower  edge  of  the  front  board  drops  one- 


* Continued  from  page  319. 


June  8,  1883.] 


THE  PHOTOGRAPHIC  HEWS. 


359 


quarter  of  an  inch  below  the  bottom  of  the  drawer.  My  case 
stands  in  a poorly-lighted  room,  and  paper  dried  in  this  case  and 
removed  to  a portfolio  as  soon  as  it  is  dry  does  not  seem  to  be 
injured  by  the  light  that  reaches  it.  With  the  case  in  a well- 
lighted  room,  I should  prefer  to  have  outer  doors  to  the  case, 
made  of  ordinary  board  six  or  eight  inches  wide,  hinged  to  one 
end,  and  arranged  to  swing  horizontally  across  the  front  of  the 
case.  These  would  more  completely  prevent  the  admission  of 
light.  The  opening  of  any  one  of  the  doors  would  allow  three 
or  four  of  the  drawers  to  be  filled,  while  the  rest  of  the  case 
would  be  comparatively  dark  at  tbs  same  time.* 

The  Portfolio  for  Protecting  the  Sensitized  Paper  from  Exposure 
to  Light. — The  sensitized  paper  is  very  well  protected  from  ex- 
posure to  light,  if  kept  in  a portfolio  or  book,  the  brown  paper 
leaves  of  which  are  considerably  larger  than  the  sensitized  sheets. 
The  sheets  may  be  returned  to  such  a book  after  exposure,  and 
washed  at  the  convenience  of  the  operator.  They  can  be  washed 
more  quickly  and  perfectly  if  ttco  water-tanks  are  provided  in 
which  to  wash  them.  A few  minutes’  soaking  will  remove  nearly 
all  of  the  sensitizing  preparation  which  has  not  been  fixed  by  the 
exposure.  If  the  soaking  is  too  long  continued  in  water  that  is 
much  discoloured  by  the  sensitizing  preparation,  the  sheets 
become  saturated  with  the  diluted  preparation,  and  they  may 
become  slightly  coloured  by  after  exposure.  If  the  first  soaking 
is  not  too  long  continued,  and  if  the  sheets  are  transferred  at 
once  to  a second  bath  of  clean  water,  which  is  kept  slowly 
changing  from  an  open  faucet,  they  may  remain  there  until  the 
soluble  chemicals  have  been  entirely  extracted,  and  there  will  be 
no  risk  of  staining  by  after-exposure.  Washing  in  two  tanks  is 
of  more  consequence  when  the  ground  is  white  and  the  lines 
blue,  than  when  the  ground  is  blue  and  the  lines  white. 

The  Grades  of  Paper  that  are  well  adapted  for  lilac  Process 
lVork. — I have  tested  many  grades  of  paper,  to  ascertain  if  they 
were  well  adapted  for  blue  process  work.  Some  grades  of 
brown  Manilla  are  very  good  ; others  have  little  specks  embedded 
in  their  surfaces  which  refuse  to  take  on  a blue  tint ; still  others, 
when  printed  upon,  have  white  lines  that  are  wider  than  the 
corresponding  black  lines  of  the  negative.  The  blue  obtained 
upon  bond  paper  appears  to  be  particularly  rich,  and  the  whites 
remain  pure  ; but  bond  paper  cockles  badly,  and  the  cockles  re- 
main in  the  finished  print.  Weston’s  linen  record  is  an  excellent 
paper.  It  is  strong,  cockles  but  little,  and  dries  very  smooth. 
A paper  that  is  used  by  Allen  and  Rowell,  for  carbon  printing, 
is  comparatively  cheap,  and  is  an  excellent  paper.  It  is  not  so 
stiff  as  the  linen  record,  and  the  whites  are  quite  as  pure.  It 
does  not  cockle,  neither  does  it  curl  while  being  sensitized.  It 
comes  in  one  hundred  pound  rolls,  and  is  about  thirty  inches 
wide.  The  best  papers  are  those  that  are  prepared  for  photo- 
graphic work.  The  plain  Saxe  and  the  plain  .Rives  both  give 
excellent  results.  Blue  lines  on  a pure  white  ground  can  be  ob- 
tained on  these  papers,  from  photographic  negatives,  without 
difficulty.  None  of  the  hard  papers  of  good  grade  require  the 
use  of  gum  in  the  sensitizing  liquid.  The  liquid  penetrates  the 
more  porous  papers  too  far  when  gum  is  not  used,  and  without 
it  good  whites  are  seldom  obtained  upon  porous  paper. 

The  Best  Chemicals  for  this  Work  are  the  reenjstallized  red 
prussiate  of  potash  and  citrate  of  iron  and  ammonia.  If  the  red 
prussiate  has  not  been  recrystallized,  the  whites  will  be  un- 
satisfactory, and  the  samples  of  citrates  of  iron  and  ammonia 
which  have  come  to  us  from  other  chemists  than  those  named, 
have  all  proved  unreliable  for  this  purpose. 

The  Sensitizing  Liquid. — Its  Proportions. — The  blue  process 
was  originally  introduced  from  France,  by  the  late  Mr.  A.  L. 
Holley.  I was  indebted  to  Mr.  P.  Barnes,  who  was  with  Mr. 
Holley  at  the  time,  for  an  early  account  cf  it,  and  I had  the  first 
blue  process  machine  that  was  in  use  in  New  England.  Since 
1875,  instruction  in  the  use  of  the  blue  process  has  been  given 
to  the  students  of  mechanical  engineering  of  the  Massachusetts 
Institute  of  Technology,  and  they  have  caused  its  introduction 
into  many  draughting  offices.  The  proportions  of  the  sensitizing 
liquid,  as  originally  given  me  by  Mr.  Barnes,  were  as  follows 

Red  prussiate  of  potash  ...  8 parts 

Citrate  of  iron  and  ammonia  8 „ 

Gum-arabic 1 part 

Water  ...  ...  ...  ...  ...  80  parts 

* 8ince  this  paper  was  re  id,  I have  seen  in  the  office  of  the  City  Engi- 
neer, of  Boston,  a drying  case  which  is  similar  it  some  respects  to  the  one 
that  I have  devised.  It  Inis  been  longer  in  use  than  my  own.  The  drawers 
are  simply  Iheordinary  mosquito  netting  frames  covered  with  cotton  ne  ting. 
They  have  no  fronts,  hut  a door  covers  the  front  of  the  case,  and  shuts  out 
the  light. 


Results  of  Experiments. — In  our  use,  it  first  appeared  that  the 
gum  might  be  omitted  from  the  preparation  when  sufficiently 
hard  papers  were  used.  Next,  that  a preparation  containing 

Red  prussiate  of  potash  ...  2 parts 

Citrate  of  iron  and  amtnoni  i 3 „ 

Water  20  „ 

printed  more  rapidly.  This  preparation  I continue  to  use  when 
much  time  may  elapse  between  sensitizing  and  printing  ; but, 
when  the  paper  is  to  be  printed  immediately  after  sensitizing,  I 
use  a larger  proportion  of  citrate  of  iron  and  ammonia.  Before 
arriving  at  the  conclusion  that  these  proportions  were  the  best 
to  be  used,  I made  a series  of  purely  empirical  experiments, 
beginning  with  the  proportion  : 

Red  prussiate  of  potash 10  parts 

Citrate  of  iron  and  ammonia  ...  ...  1 part 

Water  ...  ...  ...  ...  ...  50  parts 

aud  ending  with  the  proportions  : 

Red  prussiate  of  potash 1 part 

Citrate  of  iron  an  1 ammonia  ...  ...  10  parts 

Water  50  „ 

I found  the  best  plan  for  conducting  these  experiments  to  be  : 
to  coat  a sheet  of  the  paper  with  a given  mixture  ; to  cut  the 
sheet  into  strips  before  exposure  ; to  expose  all  the  strips  of  the 
sheet,  at  the  same  time,  to  the  direct  sunlight  without  an  inter- 
vening negative  ; aud  to  withdraw  them,  one  after  another,  at 
stated  intervals.  I found  that  with  each  mixture  there  was  a 
time  of  exposure  which  would  produce  the  deepest  blue,  that 
with  over-exposure  the  blue  gradually  turned  grey,  and  that  if  a 
curve  should  be  plotted,  the  abscissas  of  which  should  represent 
the  time  of  exposure,  and  the  ordinates  of  which  should  repre- 
sent the  intensity  of  the  blue,  the  curves  drawn  would  have 
approximately  an  elliptical  form,  so  that  if  one  knew  the  exact 
time  of  exposure  which  would  give  the  best  result  with  any 
mixture,  one  might  deviate  two  or  three  minutes  either  way  from 
that  time  without  producing  a noticeable  result.  I have  found 
that  with  the  same  paper,  the  same  blue  results  with  any  good  pro- 
portions of  the  chemicals  named,  provided  a sufficient  weight  of 
both  chemicals  is  applied  to  the  surface  ; that  an  excess  of  the  red 
prussiate  of  potash  renders  the  preparation  less  sensitive  to  light, 
and  very  much  lengthens  the  necessary  time  of  exposure ; that 
the  piints  are  finer  with  some  excess  of  the  red  prussiate  ; that 
an  excess  of  the  citrate  of  iron  and  ammonia  hastens  the  time 
of  printing  materially  ; that  a greater  excess  of  the  citrate 
causes  the  whites  to  become  badly  stained  by  the  iron,  while  a 
still  greater  excess  of  the  citrate  in  a concentrated  solution 
causes  the  sensitized  paper  to  change  without  exposure  to  light, 
and  to  produce  a redder  blue  or  purple,  which  does  not  adhere  to 
the  paper,  but  may  be  washed  off  with  a sponge.  I have  found 
that  the  cheapest  method  of  reproducing  inked  drawings  thathave 
been  made  on  thick  paper  is  not  to  trace  them,  but  to  print  the 
blue3  from  a photographic  glass  negative  ; and  also,  that  the  dry 
plate  process  is  well  adapted  to  such  work  in  offices,  when  one 
has  become  sufficiently  experienced.  Printed  matter  can  also 
most  easily  and  inexpensively  be  reproduced  by  the  same 
means,  when  a small  issue  is  required  on  each  successive  year. 
For  the  reproduction  of  manuscript  by  the  blue  process,  the  best 
plan  that  I have  found  has  been  to  write  the  manuscript  upon 
the  thinnest  blue-tinted  French  notepaper,  with  black  opaque 
ink — the  stylographic  ink  is  very  good — aud,  afterward,  to  dip 
the  paper  into  melted  paraffin,  and  to  dry  the  paper  at  the 
melting  temperature.  This  operation,  if  cheaply  done,  requires 
special  apparatus.  For  positive  printing  from  the  glass  negative, 
I use  a multiple  frame,  by  the  aid  of  which  I can  print  from 
sixteen  negatives  at  the  same  time  upon  a single  sheet  of  paper. 
This  frame  is  interchangeable  with  the  one  that  contains  the 
plate  glass.  The  negatives  are  so  arranged  in  the  frame  that  the 
sheets  can  be  cut  and  bound,  as  in  the  ordinary  process  of  book- 
binding. The  time  required  for  exposure,  when  printing  from 
glass  negatives,  varies  with  the  negative  ; and,  in  order  to  secure 
satisfactory  results  with  the  multiple  frame,  it  is  necessary  to 
stop  the  exposure  of  some,  while  the  exposure  of  others  is  con- 
tinued. I insert  wooden  or  cloth  stoppers  into  the  frame  for  the 
purpose  of  stopping  the  exposure  of  certain  negatives.  When 
paraffined  manuscript  is  to  be  printed  from,  I find  it  convenient 
to  have  it  written  on  sheets  of  small  size,  and  -to  have  these 
mounted  upon  an  opaque  frame  of  brown  Manilla  paper,  printing 
sixteen  or  more  at  a time,  depending  upon  the  size  of  the 
printing-frame.  Many  small  tracings  may  be  similarly  mounted 
upon  a brown  paper  multiple  frame,  and  may  be  printed  together 
upon  a single  sheet. 


360 


THE  PHOTOGRAPHIC  NEWS 


[Jm?E  8,  1883. 


H0tes. 

M.  Leon  Vidal,  who  has  for  some  time  past  given 
lectures  on  the  subject  of  ceramic  photography  to  those 
interested  in  the  Limoges  enamel  industry  and  others,  is 
now  to  undertake  a course  of  public  instruction  on  the 
application  of  photographic  print' ng  to  fabrics. 


Mr.  Brownrigg  has  just  returned  from  a most  success- 
ful little  tour  in  Italy,  bringing  with  him  a series  of  delight- 
ful sketches  from  the  sunny  south.  He  is  good  enough  to 
promise  us  some  account  of  his  travels  with  the  camera,  so 
that  those  bent  on  a summer’s  outing  this  year  may  learn 
by  his  experiences. 


By  the  way,  he  quotes  a strange  notice  made  by  a 
Rheims  photographer,  who  announces  in  three  languages 
his  readiness  to  do  work  for  patrons  ; the  English  version 
runs  thus : — “ Children  instantly  executed  here  at  all 
hours  of  the  day.’’ 

M.  Janssen,  in  his  last  memoir,  aptly  sums  up  the  aid 
photography  is  likely  to  lend  in  future  to  science,  by  say- 
ing that  “ la  plaque  photographique  sera  bientot  la 
veritable  retine  du  savant.” 


The  Prince  of  Wales  has  nominated  Messrs.  Reichard 
and  Lindner,  of  Berlin,  “ Court  Photographers  ” to  His 
Royal  Highness. 


Florence  has  now  a photographic  journal.  It  is  the 
Camera  Oscura  of  Professor  L.  Borlinetto,  which  at  one 
time  used  to  date  from  Brindisi. 


Our  American  cousins  rarely  do  things  by  halves.  The 
National  Photographic  Association  of  America  has  invited 
our  colleague,  Dr.  Vogel,  of  Berlin,  to  their  Congress  at 
Milwaukee  next  August,  and  the  principal  of  the  New 
North  Pacific  line  has  begged  his  acceptance  of  a free 
ticket  from  Hamburg  to  San  Francisco  and  back.  In  these 
circumstances,  it  is  not  surprising  that  the  learned  Doctor 
accepts  the  invitation,  so  that  the  Mittheilungen  will  lose  its 
editor-in-chief  for  a couple  of  months  this  summer. 

Another  word  on  matters  American  while  we  are  about  it. 
A circular  comes  to  us  anent  the  prices  of  dry  plates  in  the 
States,  telling  us  that  five  manufacturers  have  established  a 
uniform  list  of  charges,  and  further,  that  “ Carbutt,  of 
Philadelphia,  and  Neidhardt,  of  Chicago,  approve  their 
action.  The  smaller  makers  are  supposed  to  be  in  harmony 
with  the  proceedings,  and,  it  is  thought,  will  adopt  this  list.” 
W e should  so  much  like  to  know  what  all  this  means,  and, 
like  Rosa  Dartle,  earnestly  entreat  somebody  to  give  us  an 
explanation.  Does  it  mean  a “ ring,”  for  instance  ? 

Dr.  Liesegang’s  name  is  usually  associated  with  the 
Archiv ; but  he  tells  us  in  the  last  issue  of  that  journal 
that  he  was  the  originator  of  the  Moniteur  de  la  Photo- 
graphic, twenty-three  years  ago. 


Identification  by  photographs  is  all  very  well,  but  when 
a witness  swears  to  a lady  she  saw  casually  ten  years  ago  by 
a photograph  recently  taken — as  was  the  case  in  the  Law 
Courts  last  week — one  cannot  help  thinking  that  a heated 
imagination  is  outrunning  discretion. 

In  the  Wochenblalt  we  see  that  attention  is  called  to  the 
serious  losses  incurred  by  the  faulty  packing  of  photo- 
graphic requisites  in  general,  and  dry  plates  in  particular. 
Certainly  manufacturers  who  expect  plates  to  travel  un- 
broken by  rail  and  steamer  should  take  special  pains  to 
pack  firmly  and  securely.  So  far  as  we  are  aware,  the  best 
exterior  package  for  dry  plates  is  a wicker  hamper,  and 
the  best  interior  one,  the  box  suggested  by  Herr  Schwarz, 
which  we  have  sketched  and  described  in  these  columns. 

Vanity  Fair  states  that  at  a fancy  dress  ball,  given  last 
week  at  the  Kensington  Town  Hall,  several  of  the  groups 
were  photographed  by  means  of  the  electric  light.  If 
electricity  continues  the  rapid  strides  it  has  hitherto  made, 
the  occupation  of  the  luxographic  light  will  be  gone.  For 
the  last  two  winters  it  has  been  the  “correct  thing ” at 
fancy  dress  balls  of  any  pretensions  to  have  a photographer 
in  attendance,  who  has  rigged  up  an  impromptu  studio  in 
au  adjoining  room,  and,  by  the  help  of  the  luxographic 
light,  taken  the  portraits  of  the  ladies  and  gentlemen  who 
wished  to  preserve  a souvenir  of  their  appearance. 

Apropos  of  fancy  dresses,  an  enterprising  photographer, 
not  a hundred  miles  from  the  Tottenham  Court  Road, 
makes  an  announcement  somewhat  to  this  effect : “ Ladies 
who  wish  to  be  taken  in  fancy  costume  are  informed  that 
dresses  are  kept  on  the  premises.” 


The  copying  of  drawings  and  designs  by  the  ferro- 
prussiato  method  has  become  so  important  that  the  firm  of 
Schleicher  and  Schiill,  of  Duren,  Rhenish  Prussia,  are  pro- 
ducing a paper  specially  adapted  to  the  process.  The  paper 
usually  employed  by  draughtsmen  is  too  opaque  to  use  as  a 
cliche,  and  therefore  a mote  transparent  material  is  very 
desirable.  It  is  a paper  of  this  sort,  sufficiently  stout  for 
ordinary  drawing  purposes,  and  yet  transparent  enough  for 
printing  through  photographically  by  the  blue  process,  that 
Messrs.  Schleicher  and  Schiill  are  manufacturing. 

The  present  Astronomer-Royal  presented  his  first  yearly 
report  last  Saturday.  Now  that  India  has  joined  hands 
with  Greenwich  in  taking  daily  photographs  of  th9  sun, 
rarely  a day  passes  that  a picture  of  the  luminary  is  not 
secured.  At  Greenwich  it  was  fouud  possible  to  secure 
photographs  of  the  sun  on  200  days  during  the  year,  and 
only  seven  of  these  pictures  show  the  sun  to  be  spotless. 
The  number  and  size  of  the  spots  increased  up  to  the  date 
of  the  appearance  of  the  great  spot  in  November,  since  when 
the  surface  of  the  sun  has  been  more  quiescent. 


The  Astronomer-Royal  speaks  also  of  the  photographic 
records  of  the  magnetic  needle,  and  tells  us  that  Mr. 
Morgan’s  argentic  gelalino-bromide  paper,  which  has  been 
adopted  since  June  last  at  the  Ecyal  Observatory,  has  led 


Juxe  8,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


361 


to  a marked  improvement  in  the  rogiaters.  The  great  sensi- 
tiveness of  the  Morgan  paper,  as  compared  to  the  old  iodide 
paper,  permits  the  making  of  much  more  extensive  and 
elaborate  records,  while  its  development  is  simpler,  and 
more  under  control. 


It  would  be  a sad  day  for  photographers  if  what  is  called 
“ rational  dress  ” came  into  fashion.  Photography  has  an 
ugly  knack  of  revealing  the  weak  pointc,  artistically  con- 
sidered, of  costume  ; and  the  dread  garment  of  Mrs.  E.  M. 
King,  which  is  nothing  more  nor  less  than  the  Bloomer 
pantalette,  hideous  as  it  is  in  itself,  would  look  positively 
appalling  when  photographed.  In  fact,  if  anything  could 
kill  the  monstrosity,  it  would  be  photography. 


The  statue  of  the  Iron  Duke,  now  that  one  can  approach 
it  closely,  is  a dreadful  looking  object ; but  some  allowance 
must  be  made  for  the  fact  that  it  was  never  intended  to  be 
gazed  at  from  the  level  of  the  eye.  How  an  object  can  be 
distorted  when  examined  from  a wrong  point  of  view,  was 
forcibly  brought  to  our  notice  when  examining  a short  time 
ago  a series  of  photographs  of  the  figures  in  the  west  front 
of  Wells  Cathedral.  The  photographs  were  taken  years 
since,  when  the  building  was  being  restored,  the  camera 
being  planted  on  the  staging,  and  of  course  immediately 
opposite  the  figures.  The  resulting  pictures  were  most 
absurd  and  untrue,  from  the  fact  that  the  sculptor  had 
meant  the  figures  to  be  seen  from  the  ground,  and  had 
purposely  shortened  every  horizontal  line,  and  had  elon- 
gated every  vertical  one.  Thus  the  legs,  from  the  knees 
downward,  were,  in  the  photographs,  out  of  all  proportion, 
as  also  were  the  arms  from  the  shoulders  to  the  bend  of  the 
elbow  ; yet,  when  seen  from  below,  every  line  fell  in  its 
proper  place.  In  such  an  instance  as  this,  the  artist  has 
the  advantage  of  the  photographer,  who  cannot  correct 
what  he  knows  to  be  wrong. 


In  Herr  Otto  Pfenniger’s  interesting  paper  on  “Wash- 
ing Emulsion,”  which  we  published  last  week,  there  is  a 
calculation  that  may  well  be  noted.  It  relates  to  the 
amount  of  emulsion  necessary  for  coating  a given  area. 
According  to  our  Swiss  correspondent,  it  takes  a little  over 
three  pounds  of  emulsion  to  coat  200  half-plates. 


M.  Marey,  of  the  Institute  of  France,  is  successfully 
continuing  his  experiments  of  photographing  animals  in 
motion.  His  camera,  our  readers  are  aware,  is  arranged 
so  as  to  make  rapid  intermittent  exposures,  sometimes  a 
period  of  a tenth  part  of  a second,  aud  sometimes  but  the 
hundredth  part  of  a second,  intervening  between  the 
securing  of  the  images.  So  that  an  animal  in  motion, 
photographed  in  M.  Marey’s  camera,  is  shown  by  a series 
of  pictures,  each  one  differing  from  the  other,  aud  repre- 
senting its  mode  of  progress. 


The  best  results  obtained  by  M.  Marey,  and  which  he 
has  just  submitted  to  the  Academy  of  Sciences,  represent 


the  flight  of  a pigeon,  for  it  is  to  the  movement  of  birds 
that  the  eminent  physicist  has  been  directing  his  attention 
more  especially.  These  photographs  analyse  the  flight  of  a 
pigeon  most  accurately.  They  demonstrate,  in  a word,  the 
positions  assumed  by  the  flying  bird  during  successive 
tenths  of  a second,  a3  also  the  curve  traced  by  the  tip  of 
the  wing  when  in  action. 


On  the  conclusion  of  our  “ Ilalf-a-Dozen  Portraits,”  we 
shall  redeem  the  promise  given  last  autumn  to  guide  our 
readers  over  some  of  the  best  known  European  passes 
across  which  the  camera  may  be  carried  with  advantage 
by  the  tourist  photographer.  The  Stelvio,  the  Simplon, 
the  Spliigen,  the  Maloja,  the  Kirkstone,  High  Cup  Nick 
(Yorkshire),  &c.,  over  which  we  have  tramped  with  the 
knapsack,  will  receive  attention. 


As  every  tourist  photographer  knows,  there  is  no  more 
charming  souvenir  of  a summer’s  outing,  especially  upon 
foreign  soil,  than  pictures  taken  by  yourself  on  a tour.  The 
photographs  you  purchase,  let  them  be  ten  times  as  good  as 
your  own,  are  another  matter  altogether.  The  bought 
picture  is  not  taken  from  the  point  of  view  at  which  you 
stood  and  admired  the  scene,  and  for  this  reason  is  some- 
times scarcely  to  be  recognised.  Your  own  photograph,  on 
the  other  hand,  calls  up  at  once  not  only  the  object  in  all 
its  vivid  details,  but  not  uufrequeutly  a little  history,  too, 
that  you  remember  well  as  you  gaze  at  the  tiny  print.  In  a 
word,  your  own  photograph  is  often  a pleasant  relic  of  a 
pleasant  holiday. 


Up  to  the  present,  the  season  has  been  anything  but  a 
prosperous  one  to  photographers  at  the  West  End. 
Usually  the  six  months  after  the  opening  of  Parliament, 
when  “ everybody  ” is  in  town,  form  a period  of  much 
hard  work  to  the  fashionable  photographer,  to  which, 
however,  he  does  not  object.  But  business  has  never  been 
known  to  be  worse  than  it  is  just  now.  Nor  is  the  reason 
far  to  seek.  The  “ Upper  Ten  ” have  been  iufected  with 
a holy  horror  of  dynamite,  to  the  effect,  at  least,  of  leaving 
their  families  in  very  many  instances  in  the  country  house 
instead  of  bringing  them  to  town.  The  society  journals 
note  the  outcome  of  the  scare  in  the  limited  number  of 
balls  aud  receptions  which  have  taken  place,  and  others 
besides  photographers  have  doubtless  suffered.  It  is  to  bo 
hoped  that  for  the  next  three  months  a better  feeling  will 
prevail,  and  that  photographers  will  more  than  regain  their 
lost  ground. 


A relativoof  Mrs.  Partington  thinks  we  ought  to  mention, 
for  the  benefit  of  the  uuinitiated.  that  “ photo-relief”  has  no 
connection  with  the  Charity  Organisation  Society ; that 
when  there  is  printed  on  a carte  portrait  that  the  negative  is 
“ preserved,”  there  is  no  question  of  Messrs.  Crosse  and 
Blackwell’s  handiwork  ; and  finally,  when  firms  advertise 
themselves  as  “the  largest  photographers”  in  the  world, 
it  does  not  follow  that,  like  the  giantess  Marian,  they  are 
“still  growing.” 


362 


THE  PHOTOGRAPHIC  NEWS. 


[June  8,  1883. 


patent  Intelligent. 

Application  for  Letters  Patent. 

2677.  Alexander  Melvill  Clark,  of  the  firm  of  A.  M.  and 
W.  Clark,  of  53,  Chancery  Lane,  in  the  county  of  Middlesex, 
Fellow  of  the  Institute  of  Patent  Agents,  for  an  invention  of 
“ Improi  ements  in  and  in  apparatus  for  changing  and  storing 
photographers’  backgrounds  and  other  movable  scenery.” — A 
communication  to  him  from  abroad  by  William  Evans  Lindop, 
of  St.  Thomas,  in  the  province  of  Ontario  and  dominion  of 
Canada. — Dated  30th  May,  1883. 

Patents  Granted  in  Austria-Hungary. 

M.  Jaffe,  of  Vienna,  for  “Obtaining  semi-tinted  plates  of  old 
manuscripts  for  printing-presses.” — Dated  23rd  December, 
1882. 

Patents  Granted  in  Germany. 

22,568.  R.  T.  Wall,  of  Longfleet  (England),  for  “ Improvements 
in  photography.” — Dated  2nd  September,  1882.  Class  57. 
22,679.  F.  Neuber,  of  Hamburg,  for  “An  adjustable  light- 
frame  for  transparent  photographs.” — Dated  14th  November, 
1882.  Class  34. 

22,675.  J.  Chaise,  A.  Durand,  and  S.  De  Chaligny,  of  Lyons, 
for  “Coloured  photographs.” — Dated  2nd  November,  1882. 
Class  57. 

Specifications  Published  during  the  Week. 

4954.  J.  Templer,  for  “ Utilizing  balloons  for  photography,  &c.” 
— A communication  from  H.  Elsdale.  This  specification  was 
published  on  page  250  of  our  present  volume. 

4749.  J.  H.  Johnson,  for  ‘‘Zinc  plates  or  blocks  for  printing, 
&c.” — A communication  from  J.  A.  Silvestre. 

This  invention  relates  to  improvements  in  the  preparation  of 
zinc  plates  or  blocks,  for  printing,  gilding,  decorating,  and  otber 
purposes,  and  it  consists  in  plating  or  coveting  the  surface  of 
such  plates  or  blocks  with  a coating  of  nickel  after  the  design  or 
drawing  has  been  engraved  on  the  said  plates  as  herinafter 
described.  The  employment  of  zinc  plates  for  etching  by 
photographic,  paneiconographic  processes  by  transfer  presents 
serious  disadvantages.  I n many  cases  it  is  impossible  to  employ 
this  metal  in  gilding ; it  is  too  soft  or  yielding,  and  in  typography 
it  is  objectionable  on  account  of  its  coarseness,  which  renders 
the  lines  harsh,  whilst  the  number  of  copies  that  can  be  printed 
from  one  plate  is  relatively  small.  In  line  engiaving  it  is 
absolutely  impossible  to  use  zinc,  its  softness  and  porosity 
rendering  it  incapable  of  taking  the  degree  of  polish  that  is 
essential  in  the  mode  of  printing  necessary  for  this  class  of 
engraving.  Attempts  have  been  made  to  obviate  these 
disadvantages  by  nickel  plating  the  zinc  plates  before  engraving 
thereon,  but  no  practical  success  has  been  attained  by  these 
means  ; the  strong  acid  required  to  dissolve  the  nickel  being 
liable  to  very  rapidly  destroy  the  other  parts  of  the  work 
directly  it  worked  through  the  thin  layer  of  nickel  and  come 
into  contact  with  the  zinc  underneath  the  latter.  According  to 
this  invention,  however,  the  desired  result  is  attained  by  first 
engraving  the  zinc  plates  or  blocks  by  any  suitable  means,  and 
then  nickel  plating  the  engraved  plates  or  blocks,  thus  im- 
parting to  the  engraving  the  strength  and  hardness  of  the  nickel, 
which  is  deposited  in  a thin  layer  upon  its  surface. — Provisional 
Protection  only. 


TWELVE  ELEMENTARY  LESSONS  ON  SILVER 
PRINTING. 

Lesson  XII. 

Residues. — To  the  amateur,  who,  more  frequently  than 
not,  uses  only  limited  quantities  of  material,  it  is  not  so 
much  a matter  of  importance  whether  he  recovers  seventy- 
five  per  cent,  of  the  silver  used,  or  not ; but  the  pro- 
fessional, who  deals  with  hundredweights,  takes  care  that 
the  precious  metal  does  not  return  to  mother  earth  again 
if  he  can  prevent  it,  and  therefore  adopts  various  methods, 
more  or  less  complicated,  to  secure  that  end.  With  these 
complications  we  do  not  propose  to  deal,  beyond  stating 
a means  by  which  silver  and  gold  may  be  recovered  ; but 
rather  advise  all  those  who  have  not  time  and  the  con- 
venience at  their  disposal,  to  collect  the  residues  from  the 
first  washing  waters,  gold  toning,  and  fixing  baths 
respectively,  and  forward  on  to  the  refiners. 


At  the  commencement  of  this  series  we  printed  a sketch 
of  a suitable  printing  bench  (see  fig.  1,  Lesson  I.)  The 
section  F is  designed  for  the  reception  of  cuttings  from 
sensitized  paper,  waste  prints,  and  blotting-paper  which 
has  been  used  for  soaking  up  any  nitrate  of  silver  solution 
that  may  have  been  spilt,  also  old  filtering  papers  that 
have  done  service  for  silver  solutions  ; these  should  be 
burnt  in  an  ordinary  shut-up  stove  which  has  been  pre- 
viously freed  from  cinders,  fine  dust,  aud  ashes,  &c.  Very 
little  should  be  burnt  each  time  if  the  draught  of  the 
stove  is  great,  because,  by  creating  a fierce  fire,  a loss  of 
silver  will  be  sustained,  on  account  of  paper  containing 
silver  passing  up  the  chimney.  When  small  quantities  are 
to  be  burnt,  an  ordinary  flower-pot  may  be  filled  with 
paper  cuttings,  and  ignited  from  the  top ; the  fire  will 
slowly  consume  the  whole  of  the  paper  if  the  pot  is  placed 
in  a good  current  of  air.  When  the  paper  is  all  consumed, 
and  the  stove  or  other  contrivance  has  become  cold,  the 
ashes  may  be  collected,  either  for  further  treatment  at 
home,  or  to  be  disposed  of  to  the  dealers  in  photo- 
graphic residues,  who  have  every  facility  at  their  command 
for  the  economic  recovery  of  the  metals  contained  thereiu. 

The  further  treatment  of  the  paper  ashes  consists  in 
mixing  them  with  one-fourth  their  weight  of  sodium 
carbonate,  and  heating  up  in  a crucible ; after  the  moisture 
has  been  driven  off,  the  crucible  should  be  removed  from 
the  fire,  and  one-fourth  part  of  potassic  nitrate  (nitre) 
added,  together  with  a small  lump  of  sodic  biborate 
(borax)  ; heat  again,  and  the  silver  will  run  down  to  the 
bottom  of  the  crucible.  Supposing  only  papers  which 
have  been  used  for  silver  solutions  have  been  treated, 
the  metal  button  at  the  bottom  of  the  crucible  will  consist 
of  pure  metallic  silver,  which  only  requires  dissolving  in 
strong  nitric  acid,  and  evaporating,  to  obtain  crystals  of 
silver  nitrate  pure  enough  for  further  use.  The  details 
of  this  latter  process  will  be  found  very  fully  described 
on  page  586  and  587  of  our  last  volume,  “ Lessons  in 
Photographic  Chemistry.”  Referring  to  Lesson  VII.  of 
the  present  series,  it  will  be  remembered  that  we  advised 
the  collection  iu  a suitable  jar  of  the  washing  waters 
used  for  soaking  the  prints  previously  to  toning  them, 
also  the  rinsing  waters  from  cleansing  the  sensitiziug 
dish  and  silver  bottles.  This  water  being  the  most 
valuable  of  any  of  the  residues,  care  should  be  taken  to 
save  it,  and,  having  saved  it,  to  extract  all  the  silver 
from  it. 

Among  photographers  it  is  customary  to  add  sodium 
chloride  to  the  vessel  containing  these  washing  waters,  and 
after  allowing  twenty-four  hours  for  the  precipitate  to 
subside,  the  supernatant  liquid  is  poured  or  drawn  off  to 
make  room  for  the  next  lot  of  washings  (see  fig.  1).  The 


Fig.  1. 


action  which  takes  place  is  simply  this : the  water  may 
be  considered  to  contain  silver  carbonate,  silver  nitrate, 
aud  silver  chloride  ; the  two  former,  when  acted  upon  by 
sodium  chloride,  form  sodium  carbonate  and  nitrate 
(soluble  in  water),  and  silver  chloride  (insoluble  in  water), 
which,  being  a heavy  flocculent  precipitate,  falls  to  the 
bottom  of  the  vessel  and  remains  there.  If  too  much 
sodium  chloride  is  added,  a portion  of  the  silver  chloride 
formed  will  be  re  dissolved  ; aud  if  an  insufficient  quantity 


June  8,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS. 


363 


has  been  used,  some  of  the  silver  will  remain  unconverted, 
and  will  be  poured  off  with  the  supernataut  liquid  and 
lost.  Hydrochloric  acid  is  a much  better  agent  to  employ, 
because  it  it  not  open  to  the  same  objections  that  sodium 
chloride  is.  One  fluid  ounce  per  two  gallons  of  wash 
water  will  deposit  the  whole  of  the  silver  as  chloride  in 
twenty-four  hours,  or  in  much  less  time  if  the  operation 
is  carried  on  in  daylight.  The  solution  will  not  become 
perfectly  bright ; when  it  is  moderately  clear,  it  may  be 
drawn  off  so  as  not  to  disturb  the  sediment,  after  which 
more  washing  waters  may  be  added,  the  same  operation 
being  repeated  each  day  until  a sufficient  quantity  of  chlo- 
ride has  accumulated  to  warraut  the  trouble  of  reducing. 
The  simplest  plan  of  treating  the  chloride  is  to  collect  it 
on  a filter  (an  old  soft  felt  hat  answers  perfectly),  and 
dry  it  in  an  oven.  The  substance  will  look  more  like  mud 
than  the  beautiful  white  flocculeut  precipitate  familiar  to 
students  of  chemistry.  It  is  now  ready  for  the  refiner,  or 
may  be  put  into  the  crucible  with  one-half  its  weight  of  a 
mixture  of  potassium  and  sodium  carbonates,  together  with 
borax  as  previously  described,  and  subjected  to  the  furnace 
for  the  space  of  twenty  to  thirty  minutes  to  obtain  a button 
of  pure  metallic  silver ; or  the  dry  chloride  may  be  raised 
to  red  heat,  and  when  cool,  a small  quantity  of  dilute  sul- 
phuric acid  (1-6)  may  be  added.  Cover  the  top  with 
granulated  zinc,  and  leave  it  for  half-an-hour ; at  the  end 
of  that  time  the  metallic  silver  will  be  found  at  the  bottom. 
Wash  well  with  warm  hydrochloric  acid  and  water,  for 
the  purpose  of  dissolving  any  fiue  particles  of  metallic 
ziuc  which  may  have  become  attached  to  the  button  ot 
silver;  then  convert  into  silver  nitrate  crystals  by  uieau3 
of  strong  nitric  acid. 

Gold. — Old  toning  baths  should  be  kept  separately  when 
they  are  to  be  operated  upon  at  home.  The  gold  may  be 
recovered  by  adding  five  ounces  of  a 20-grain  solution  of 
ferrous  sulphate  (sulphate  of  iron)  per  quart  of  waste 
solution.  Gold  will  be  deposited  in  the  metallic  state,  and 
only  requires  washing  on  a filter  with  hot  water  until  all 
traces  of  iron  are  washed  away,  which  can  be  ascertained 
by  testing  the  water  for  iron  with  barium  chloride  solu- 
tion ; pour  on  strong  nitric  acid,  to  dissolve  any  silver  that 
may  be  present ; filially,  wash  with  hydrochloric  acid,  and 
dissolve  in  the  usual  solvent — nitro-hydrochloric  acid — 
viz.,  one  part  of  nitric  acid  to  three  parts  of  hydrochloric. 
When  the  residues  are  to  be  sent  to  the  refiner,  all  waste 
gold  solutions  may  be  added  to  the  print  washings,  taking 
the  precaution  to  add  some  ferrous  sulphate  after  each 
addition.  It  does  not  interfere  with  the  recovery  of  the 
silver  chloride  ; the  refiner  separates  the  gold  from  the 
silver,  and  allows  the  value  for  each. 

Hypo.—'L'he  fixing  bath  usually  contains  enough  silver 
to  make  it  desirable  to  extract  the  same  before  throwing 
it  away.  Two  methods  are  most  frequently  employed : 
one  of  these  is  to  suspend  sheets  of  zinc  in  a large  tub  or 
other  vessel  containing  the  old  baths,  leaving  them  until 
all  the  silver  is  deposited  on  the  zinc ; and  the  other  is  to 
add  so-called  liver  of  sulphur.  A saturated  solution  of 
sulphuret  of  potassium  should  be  poured  into  the  old  hypo, 
fixing  baths,  keeping  the  same  as  far  away  from  the  dwell- 
ings as  possible,  on  account  of  the  disagreeable  smell  of 
hydrogen  sulphide  evolved.  Gold  or  silver  residues  of  any 
kind  may  be  added  to  the  vessel  containing  the  sulphuret. 
It  will  all  go  down  as  a sulphide,  and  may  be  forwarded 
to  the  refiner. 

Test  for  Silver. — Procure  two  graduated  tubes  and  a 
suitable  stand  (see  fig.  2).  These  may  be  obtained  of 
any  dealers  in  chemical  apparatus,  graduated  for  grains  or 
grammes ; but  there  does  not  appear  to  be  sufficient 
demand  to  iuduce  the  manufacturers  to  graduate  them 
for  ounces  and  drachms;  the  calculation  is  so  simple  when 
we  consider  100  cubic  centimetres  represent  1,700  minims, 
that  no  inconvenience  is  felt. 

Make  up  a stock  silver  solution  for  standardizing,  also  a 
stock  solution  of  the  re-agent  to  be  employed.  The  most 


perfect  re-agent,  probably,  is  thio-cyanate  of  ammonium 
(NII4CNS)  used  at  decinormal  strength.  Given  two 
staudard  solutions  composed  ot  17  grammes  of  silver  nitrate 
per  litre  of  distilled  water,  and  another  solution  composed 
of  ammonium  thio-cyanate  7-6  grammes  (dry  crystals)  per 
litre  of  water,  we  have  two  solutions  capable,  when 
mixed,  of  bringing  about  a perfect  reaction ; or,  using  volume 
for  volume,  they  are  of  the  same  value.  Acid  solutions  of 
silver  may  be  tested,  and  the  result  of  the  determination 


shows  no  apparent  difference  than  when  they  are  tested 
neutral.  Potassium  thio-cyanate  (KCNS)  9-7  grammes  dis- 
solved in  one  litre  of  water  has  the  same  value  as  the  fore- 
going solution.  An  easy  way  to  calculate  how  many 
grains  per  fluid  ounce  are  contained  in  any  solution  known 
to  consist  of  so  many  grammes  per  litre,  is  to  multiply  the 
number  of  grammes  by  70,  the  result  being  so  many  grains 
per  gallon  ; dividing  by  160  gives  the  number  of  grains  per 
ounce,  thus  : AgNOa  17  grammes  per  litre. 

17 

70 


160\  1190  /7.7tf  grains  per  ounce. 

) 1120  V 


70 

For  all  practical  purposes  we  may  call  it  7J  grains  per 
ounce. 

The  practical  application  is  as  follows  : — Fill  one  burette 
to  the  top  gradation  marked  0,  with  the  sensitizing  bath. 
Fill  the  second  burette  also  to  0,  with  the  re-agent,  which 
we  will  term  “ thio,”  by  means  of  a pipette ; deliver  a 
quantity  equal  to  5 cubic  centimetres  of  the  colour  indi- 
cator (described  in  detail  below)  into  a clean  beaker ; also 
a similar  quantity  of  dilute  nitric  acid  (1-5).  Into 
this  run  the  silver  until  the  bead  reaches  5.  Add 
“thio”  from  the  other  burette  cautiously,  shaking 
gently  after  each  addition  until  the  red  colour  dis- 
appears. More  “thio”  is  now  added,  and  the  operation 
of  gently  shakiug  repeated.  When  the  precipitate  is  no 
longer  grey,  but  the  liquid  retains  a pale  reddish  tinge,  the 
reaction  is  complete.  Note  carefully  how  much  has  been 
used,  because  the  number  of  cubic  centimetres  required  to 
bring  about  the  reaction  will  indicate  the  amount  of  silver 
present. 

Thus : 1 cubic  centimetre  of  the  re-agent  = -017  of 
silver  nitrate,  or  -0108  of  actual  silver  ; therefore,  if  20  c.c.’s 
have  been  required,  the  sensitizing  solution  is  four  times 
stronger  than  the  standaid  silver — i.e.,  each  ounce  would 
contain  30  grains  of  silver  nitrate. 

Although  the  metric  system  is  undoubtedly  the  best,  it 
does  not  follow  that  every  one  cares  to  adopt  it ; for  the 
use  of  those  who  prefer  English  weights,  we  will  give  the 


364 


fHE  PHOTOGRAPHIC  HEWS. 


[Juxe  8,  1883. 


weights  in  grains,  having  the  same  molecular  value  as  the 
grammes  above  quoted ; and  for  information  respecting 
other  weights  we  refer  our  readers  to  pages  206  and  207 
of  this  year’s  issue  of  the  Year-Book,  under  the  heading — 
“Tables  for  the  Conversion  of  Grammes,  Ounces,  and 
Grains.” 

Standard  Silver  Solution. 

Silver  nitrate  262-353  grains 

Distilled  water  ...  17,000  minims 

Standard  Thio-cyanate  Solutions. 

Ammonia  thio-cyanate 117  280  grains 

Distilled  water  17,000  minims 


or, 

Potassium  thio-cyanate 149  693  grains 

Distilled  water  17,000  minims 

The  indicator  used  is  ammonia  ferric  alum,  ten  per  cent, 
solution.  The  object  of  using  the  indicator  is  to  obtain  a 
decided  colour  the  moment  the  reaction  is  complete.  One 
drop  of  the  silver  solution  is  sufficient  to  destroy  the 
colour,  and  a similar  quantity  of  the  reagent  will  cause  it 
to  return ; hence  the  extreme  accuracy  of  this  method 
beyond  all  others. 

Ammonia  ferric  alum  is  made  a3  follows In  an 
evaporating  dish  place  55  grammes  of  ferrous  sulphate, 
10  grammes  of  concentrated  sulphuric  acid,  and  7 grammes 
of  nitric  acid  sp.  gr.  1-4  ; heat  the  mixture  on  a sand-bath, 
constantly  stirring  until  it  assumes  a pastey  consistency, 
and  the  red  fumes,  consisting  of  oxides  of  nitrogen,  cease 
to  be  given  off ; remove  from  the  sand-bath,  and  carefully 
add  about  60  cub.  ceuts.  of  dilute  sulphuric  acid  (1  part  of 
acid  to  10  parts  of  water),  warm  until  dissolved,  then  add 
13  grammes  of  ammonium  sulphate;  when  dissolved, 
filter  the  solution,  and  set  aside  to  crystallize.  The 
crystals,  which  separate  out,  have  the  following  formu’te  : — 
(NH4)2S01Fe;!(S0J)3+240II:! 


A DAY  IN  MID-CHESHIRE  WITH  THE  LIVERPOOL 
AMATEUR  PHOTOGRAPHIC  ASSOCIATION. 

Tabrey  Hale,  Holford  Hale,  Pkover,  and  Knutsford. 

BY  A.  W.  BEER.* 

Any  account  of  the  last  out-door  meeting  of  the  Liverpool 
Amateur  Photographic  Association  must  of  necessity  be  short, 
and  to  a certain  extent  unsatisfactory.  If  photographic  results 
are  the  only  purpose  of  our  excursions,  we  must  admit  that  we 
might  have  done  better  ; but  if  social  enjoyment  and  a day  in 
the  country  count  for  anything,  we  had  a good  time. 

It  was  possible  to  find  suitable  subjects  for  the  day’s  work, 
both  valuable,  interesting,  and  picturesque.  It  was  also  within 
easy  compass  to  make  the  requisite  arrangements  for  reaching 
them,  and  likewise  for  “ feeding  internal  fires  ; ” but  it  was  just 
a point  beyond  the  powers  of  the  nominal  guide  for  the  day  to 
turn  the  sun  fromh  is  course,  or  to  still  the  relentless  wind  ; and 
in  those  two  items  we  have  the  cause  of  any  ill  success. 

Leaving  Liverpool  Central  Station  at  9.30,  we  reached  Knuts- 
ford about  11.0  ; and,  as  we  were  several  members  short  of  the 


cameras  were  at  work,  and  Lord  de  Tabley’s  favourite  model 
cottage  (as  we  were  informed)  made  one  of  the  bright  spots  of 
the  day’s  work. 

We  shortly  reached  Tabley  Old  Hall  and  Church,  standing 
upon  an  island  in  the  mere — an  old  embattled  Elizabethan  brick 
house  with  stone  terrace,  and  a black  and  white  timbered  in- 
terior of  porch  or  hall,  showing  traces  of  a still  older  erection. 
The  interior  of  hall  contains  a most  curious  fireplace,  with  solid 
antique  lanterns  and  stands  of  armour.  Here  we  find  not  only 
far  too  much  wind,  but  also  the  sun  on  the  wrong  side  of  the 
house ; consequently  but  few  plates  were  exposed,  and  these  with 
varying  success.  But  here,  I am  afraid,  certain  gastronomic 
claims  interfered  considerably  with  the  enjoymeut  of  the  beauties 
of  Tabley,  and  long  desires  became  directed  to  a certain  snug 
little  hostelry  where  it  had  been  decided  that  a frugal  lunch 
should  be  despatched.  Leaving  the  Old  Hall  and  the  woodland 
glades  surrounding  it  shining  in  all  their  beauty  in  the  mid-day 
sun,  we  drive  back  to  our  country  inn,  and  there,  while  discuss- 
ing the  Cheshire  and  quaffing  (good  old  word  that!)  the 
“ October,”  we  were  joined  by  another  member,  who  had  been 
indulging  in  the  solitary  game  of  hunting  the  hounds  and  ran 
them  to  earth,  as  mentioned. 

Thus  recruited,  we  were  soon  en  route  again,  this  time  for 
Halford  Hall,  an  old  manor  house  of  the  Cholmondeley’s,  about 
a mile  and  a-half  further  on  the  high  road.  This  picturesque 
old  pile  is  now  used  as  a farm,  as  are  many  of  the  old  Cheshire 
halls,  and  is  considered  one  of  the  four  finest  specimens  of  old 
timber  manor  houses  in  Cheshire.  The  other  three  I take  to  be 
Carden,  Moreton,  and  Bramhall. 

The  portion  at  present  remaining  encloses  a courtyard  on  two 
sides,  one  side  of  which  has  its  upper  storey  supportod  on  wooden 
pillars,  this  arrangement  being  somewhat  unique.  This 
interesting  and  antique  house  is  completely  surrounded  by  a 
moat,  now  dry,  and  used  as  an  orchard,  crossed  by  the  stone 
bridge  with  recess  and  stone  seats,  shown  in  the  photograph. 
Again  we  found  the  sun  right  in  the  eye  of  the  camera,  and, 
although  plates  were  exposed  as  a matter  of  duty,  no  great 
success  was  anticipated. 

Again  we  collect  and  move  on  our  pilgrimage,  aiming  for  the 
old-world  village  of  Peover  Inferior,  and  drive  straight  to  the 
church.  This  is  an  almost  unique  specimen  of  timber  and  plaster 
churches,  with  stone  tower,  date  1582.  The  church  has  been 
carefully  restored,  and  has  certainly  lost  nothing  by  the  proceed- 
ing, contrary  to  many  so-called  “ restorations.”  Here,  fortu- 
nately, the  light  was  right,  and  the  wind  which,  according  to 
Southey,  “had  blown  a gale  all  day,  at  evening  it  had  died 
away,”  and  the  camera  found  full  occupation.  Regret  was 
expressed  that,  owing  to  the  lateness  of  the  afternoon  and  the 
weak  light  from  the  small  windows,  no  photograph  could  be 
secured  of  the  beautiful  and  interesting  interior  of  the  church, 
with  its  carved  black  oak  pillars,  pulpit,  and  sides,  all  dressed  in 
flowers  and  garlands.  The  day  being  now  well  advanced,  it  was 
agreed  to  forego  visiting  the  Elizabethan  Hall  at  Great  Peover, 
and  to  drive  back  past  cosy  farm-houses  aud  orchards  loaded  with 
bloom,  through  the  radiating  avenues  of  Toft  Park,  direct  to 
Knutsford. 

After  a tea  of  country  fare  in  country  style,  we  had  a “ shot  ” 
at  the  old  “ Rose  and  Crown  Inn,”  in  the  main  street  of  the 
town.  Then,  packing  our  traps  in  excursion  style,  we  strolled 
down  to  the  station,  comfortably  catching  our  train  to  reach 
Liverpool  about  9.15  p.m. 


number  who  had  announced  their  intention  to  be  present,  we 
decided  to  exchange  the  comfortless  ’bus  provided  for  a more 
luxurious  open  barouche. 

The  unpromising  morning  doubtless  deterred  one  or  two  from 
joining  the  excursion,  but  as  we  drove  out  of  Knutsford  across 
the  common,  the  sun  shone  brightly  at  intervals,  and  our  drive 
to  Tabley  Old  Hall  was  unusually  pleasant.  On  leaving  Kuuts- 
ford  we  soon  arrived  at  an  old  country  lane  shaded  by  high 
hedges  and  overhanging  trees,  with  glimpses  of  park-like  land 
between,  passing  here  and  there  whitewashed  thatched  cottages 
perfectly  smothered  by  their  bloom  of  the  fruit  trees  in  their 
surrounding  orchards,  giving  promise  of  many  pretty  pictures 
had  the  “ atmospheric  air”  been  more  favourable.  Still,  along 
the  quiet  and  shady  lanes,  the  banks  carpeted  with  primroses 
and  wild  flowers,  aud  the  plantations  beyond  blue  with  wild 
hyaciuths,  until  a turn  of  the  lane  brings  us  before  another 
cottage  so  picturesque  and  fascinating  to  the  artistic  eye,  that 
all  hands  dismount  to  reconnoitre.  Soon  the  majority  of 


EXTRACT  FROM  THE  REPORT  OF  THE  ASTRONOMER- 
ROYAL  TO  THE  BOARD  OF  VISITORS  OF  THE  ROYAL 
OBSERVATORY,  GREENWICH.* 

The  period  to  which  the  present  Report  refers  comprises  the 
twelve  months  ending  1883,  May  20. 

Spectroscopic  and  Photographic  Observations.  — The  spectro- 
scopic observations  during  the  past  twelve  months  have  been 
somewhat  restricted  through  the  pressure  of  the  photographic 
reductions  at  a time  of  maximum  of  sun-spot  frequency.  The 
solar  prominences  have  been  observed  with  the  half-prism 
spectrosaope  on  eight  days,  and  four  sun-spots  have  been 
examined  on  eight  days  with  reference  to  the  broadening  of 
lines  iu  their  spectra.  The  spectrum  of  the  great  spot  of  1882, 
November  12-25,  showed  some  remarkable  reversals  of  the  lines 
of  hydrogen  and  sodium,  and  an  extraordinary  displacement  of 
the  F line. 


* Bead  before  the  Liverpool  Amateur  Photographic  Association. 


Real  at  the  Annual  Visitation  of  the  Hoyal  Observatory,  1SS3,  June  2, 


June  8,  1883.  | 


THE  PHOTOGHATHIC  NEWS. 


365 


As  regards  the  determination  of  motions  of  stars  in  the  line  of 
Bight,  142  measures  have  been  made  of  the  displacement  of  the 
F line  in  the  spectra  of  23  stars,  and  2G  measures  of  the  5,  line 
in  9 stars.  The  observations  of  Sirius  during  the  past  winter 
tend  on  the  whole  to  confirm  the  impression  that  the  rate  of 
recession  of  this  star  has  diminished  progressively  since  1877, 
and  that  the  motion  is  now  on  the  point  of  being  converted  into 
one  of  appioach. 

The  spectrum  of  comet  a 1882  was  examined  on  three  nights, 
that  of  the  great  comet  b 1882  on  three  nights,  and  that  of 
comet  a 1883  on  one  night.  The  spectrum  of  the  first-named 
object  showed  the  yellow  sodium  lines  with  great  brilliancy  just 
before  perihelion  passage.  The  spectrum  of  the  aurora  of  1882, 
November  1 7,  was  also  examined. 

The  spectroscopic  observations  of  all  kinds  have  been  com- 
pletely reduced  to  1883,  May  20. 

In  the  year  ending  1883,  May  20,  photographs  of  the  sun  have 
been  taken  on  200  days,  and  of  these  339  have  been  selected  for 
preservation.  There  were  7 days  on  which  the  sun’s  disk  was 
observed  to  be  free  from  spots.  The  number  and  size  of  spots 
and  facul®  continued  to  increase  in  a marked  way  till  last 
November,  when  a group  of  spots  of  very  unusual  size  appeared. 
Since  that  date,  however,  the  sun  has  become  more  quiescent. 

Since  the  beginning  of  December,  gelatine  dry-plates  have 
been  used  instead  of  the  old  wet-plate  process.  They  are  more 
convenient  in  use,  and  appear  to  give  as  good  average  results. 
The  photographs  on  a scale  of  eight  inches  to  the  sun’s  diameter 
recently  obtained  in  India,  under  the  auspices  of  the  Solar 
Physics  Committee,  are  so  successful  that  the  committee  have 
recommended  the  general  adoption  of  this  scale,  and  I propose, 
as  soon  as  we  have  a spare  photoheliograph  returned  from  the 
Eclipse  Exhibition,  to  have  it  altered  in  the  same  manner  as  the 
Indian  photoheliograpb,  so  as  to  obtain  eight-inch  photographs 
of  the  sun  instead  of  four-inch. 

It  was  suggested  in  the  last  Report  that  the  measurement  of 
such  of  the  Indian  and  other  photographs  as  were  required  to 
fill  up  gaps  in  the  Greenwich  series  might  with  advantage  be 
undertaken  here.  This  proposal  has  now  been  carried  out,  and 
111  photographs  for  the  period  from  1881,  December  22,  to 
1882,  October  19,  have  been  received  from  the  Solar  Physics  Com- 
mittee, so  that  a record  of  the  condition  of  the  sun  on  279  out 
of  the  302  days  in  that  interval  is  now  presented.  From  1882, 
October  20,  eight-inch  photographs  were  taken  in  India,  and  for 
the  measurement  of  these,  a special  micrometer  has  been  ordered 
of  Messrs.  Troughtonand  Simms  by  the  Solar  Physics  Committee. 

As  regards  the  photographic  reductions : 

The  photographs  have  been  measured  in 
duplicate,  and  the  measures  entered  to 
Radii  of  the  sun,  corrections  for  zero  of 
position-circle,  and  heliographic  ele- 
menss,  have  been  computed  to. . . 

Distances  from  the  sun’s  centre  and  posi- 
tion-angles of  spots  and  facuhe,  cor- 
rected for  distortion  and  refraction, 

have  been  formed  to  

lleliographic  longitudes  and  latitudes  of 

spots  have  been  computed  to 

The  areas  of  spots  and  facuhe  have  been 
completely  reduced,  so  as  to  exhibit 
areas  in  millionths  of  the  sun’s  visible 
surface,  to  


1883  April  3 
April  3 

March  9 
March  9 

March  9 


All  the  photographs  received  from  the  Solar  Physics  Com- 
mittee have  been  measured  in  duplicate,  and  the  measures  have 
been  completely  reduced  so  as  to  exhibit  heliographic  longitudes 
and  latitudes  of  spots,  and  areas  of  spots  and  facula:,  from  1881 
December  22,  to  1882  October  19,  the  end  of  the  series  of  four- 
inch  photographs. 

Magnctical  Observations. — The  course  of  observation  continues 
the  same  as  in  former  years,  changes  in  the  maguetic  declination, 
horizontal  force,  and  vertical  force  being  continuously  recorded 
by  photography  with  the  three  magnetometers,  whilst  absolute 
values  of  magnetic  declination,  dip,  and  horizontal  force  are 
found  by  eye  observation.  Earth-currents  in  two  difictions 
nearly  at  right  angles  to  each  other  are  also  photographically 
registered. 

A great  improvement  has  been  made  in  the  photographic 
registration  by  the  substitution  in  June  last  of  Morgan  and 
Kidd’s  argentic-gelatino-bromide  paper  with  ferrous  oxalate 
development  for  the  old  photographic  process.  The  greatly  in- 
creased sensitiveness  of  the  new  photographic  paper  allows  of  a 


great  reduction  in  the  effective  surface  of  the  concave  mirrors 
carried  by  the  magnets  and  in  the  size  of  the  gas  flames.  Much 
greater  sharpness  in  the  photographic  trace  is  thus  secured,  and 
there  is  no  trouble  from  discoloration.  The  saving  in  gas  and 
in  Computer’s  time  in  preparing  and  developing  sheets  probably 
makes  up  for  the  increased  cost  of  the  paper,  which  is  rather 
expensive. 

The  number  of  hours  of  bright  sunshine  recorded  by 
Campbell’s  sunshine  instrument  during  1882  was  1,245,  which  is 
more  than  40  hours  above  the  average  of  the  five  preceding 
years. 

The  rainfall  in  1882  was  25  2 inches,  being  very  slightly  above 
the  average. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor -General  of  India. 

Chapter  X.— Principles  of  Lithography,  and 
Materials  Required, — continued. 

Scraper.—  These  are  made  of  boxwood  (in  France  pear 
wood  is  preferred)  and  are  from  three  to  four  inches  wide, 
| of  an  inch  thick,  and,  as  a rule,  should  be  of  about  the 
same  length  as  the  width  of  the  stone  or  plate  they  are  used 
with.  The  lower  part  of  the  scraper  is  of  a V-shape  rounded 
off',  and  about  § of  an  inch  wide  at  the  bottom.  Care  should 
be  taken  that  the  scraper  is  not  warped  ; that  there  are  no 
knots  along  or  near  the  edge  ; and  that  the  latter  is  perfectly 
even  all  along,  and  not  nicked  or  uneven  in  parte.  It  must 
be  tested  from  time  to  time  with  a straightedge,  and  any 
inequalities  removed  with  a fine  file  or  glass  paper. 

Hollers. — The  rollers  used  in  lithography  consist  of  a 
wooden  cylinder  or  block  between  three  or  four  inches  in 
diameter,  and  eleven  to  fourteen  inches  in  length,  with  a 
projecting  tapering  wooden  handle  at  each  end  along  the 
axis.  The  block  is  covered  with  one  or  two  thickuesses  of 
flannel,  and  outside  that  with  what  is  called  the  skin , 
made  of  the  best  calf-skin  leather,  carefully  sewn  into  a tube, 
which  is  tightly  drawn  over  the  flannel,  and  the  ends  drawn 
together  with  string.  For  ordinary  black  work  a “grain  ” 
roller  is  used,  with  the  rough  or  flesh  side  of  the  leather 
outward  ; but  for  the  colour  work,  a roller  with  the  smooth 
side  of  the  leather  outwards  is  most  suitable. 

In  purchasing  a roller,  care  must  be  taken  to  see  that  the 
skin  is  unilorm  in  thickness,  and  of  a fine  close  grain  and 
firm  texture  all  over,  not  soft  and  spongy. 

The  projecting  ends  of  the  roller  are  provided  with  loose 
covers,  called  roller  handles,  made  of  stout  leather  cut  and 
moulded  while  wet  to  fit  the  tapering  shape  of  the  wooden 
projections.  These  handles  save  the  hands  from  the  friction 
of  the  wood,  and  facilitate  the  working  of  the  roller,  the 
tightness  or  looseness  of  the  grip  being  modified  according 
to  the  amount  of  pressure  required. 

Before  a leather  roller  can  be  used,  it  must  undergo  a 
somewhat  lengthy  preparation,  in  order  that  the  leather 
may  be  saturated  with  some  non-drying  fatty  substance,  so 
as  to  prevent  too  great  an  absorption  of  the  quick-drying 
varnish  contained  in  the  printing  ink,  which  would  soon 
make  tho  roller  hard  and  useless.  It  also  prevents  the  6atu  • 
ration  of  the  leather  with  moisture  taken  up  from  the  stone. 

The  roller,  being  warmed  before  a fire  till  quite  dry,  is 
rubbed  while  warm  with  tallow  or  lard  ; then  rolled  in 
middle  or  strong  l:tho  varnish,  and  left  till  next  day,  when 
the  varnish  is  scraped  off  with  a blunt  table  knife,  taking 
care  not  to  injure  the  leather,  and  then  well  rolled  up  again 
in  the  varnish.  This  operation  is  rtpeated  every  day  or 
two  fora  week,  when,  if  the  leather  is  pretty  well  saturated 
and  soft,  it  may  be  rolled  up  in  printing  ink  in  the  same 
way,  and  at  the  end  of  about  ten  days  or  a foitnight  will 
be  fit  for  use  on  common  strong  open  line  work.  By  use, 
the  quality  of  a roller  improves  up  to  a certain  point, 
and  an  experienced  lithographer  will  keep  two  or  three 
rollers  by  him  of  different  ages  to  suit  different  classes  of 


366 


THE  PHOTOGRAPHIC  NEWS. 


[June  8,  1883. 


•work— the  new  ones  being  used  for  ordinary  line  work, 
and  the  older  for  delicate  line  and  chalk  work. 

A hard  new  roller  will  take  off  ink  rather  than  give  it,  and 
should,  therefore,  be  kept  for  subjects  likely  to  clog  up. 
The  same  roller  when  older  will  answer  for  chalk  work,  in 
which  it  is  not  a question  of  laying  a tint  on  the  stone, 
but  rather  of  establishing  a contact  betweeu  the  different 
points  of  the  drawing  on  the  stone  and  the  ink  covering 
the  roller.  As  soon  as  the  roller  is  old  and  saturated  with 
ink,  so  that  it  cannot  take  up  the  excess  of  ink  from  the 
drawing,  it  is  only  fit  for  pen-work,  where  its  action  i3 
confined  to  colouring  the  lines  of  the  drawing  uniformly, 
without  dirtying  them  or  blocking  them  up. 

A soft  roller,  made  with  two  (or  at  most  three)  folds  of 
flannel,  should  be  kept  for  delicate  pen-work  as  long  as 
the  skin  retains  its  property  of  attracting  ink.  When  it 
has  become  smooth  it  may  be  used  for  worn-out  stones  or 
common  work,  or  as  a cleaning  roller  in  printing  engraved 
stones. 

It  should  be  borne  in  mind  that  the  less  tendency  the 
roller  has  to  part  with  its  ink  the  greater  will  be  the 
purity  and  brilliancy  of  the  impressions. 

Care  should  be  taken  to  keep  rollers  clean,  and  ink 
must  never  be  allowed  to  dry  on  them,  being  removed  at 
the  end  of  the  day’s  work  by  scraping  with  a blunt 
knife,  resting  one  end  of  the  roller  on  a table,  and  scraping 
upwards  from  below.  Colour  rollers  should  be  washed  in 
turpentine  every  evening;  when  in  use,  they  must  not  be 
scraped.  Before  rollers  are  put  away  for  any  time,  they 
should  be  rubbed  over  with  tallow,  which  is  removed 
again,  before  the  roller  is  used,  by  scraping,  and  washing 
with  turpentine. 

As  the  preparation  of  a roller  takes  some  time,  it  is 
sometimes  convenient  to  buy  those  sold  as  in  use  or  work- 
ing order , but  in  doing  this  caution  must  be  exercised,  as 
such  rollers  may  be,  on  the  one  hand,  new  rollers  merely 
rolled  up  in  black  ink,  or,  on  the  other,  old  rollers  of  which 
the  skins  are  worn  and  thin  in  parts,  and  hard  with  dried 
ink,  or  else  so  sodden  with  ink  aud  varnish  that  they  have 
lost  all  grain,  elasticity,  and  power  of  picking  up  ink  from 
the  stone. 

We  have  been  rather  full  in  these  remarks  about  rollers, 
because  the  whole  success  of  the  printing  operations  is 
chiefly  dependent  upon  their  good  quality  and  manage- 
ment. With  careful  rolling-in  a skilled  printer  may  work 
up  a passable  result  from  a poor  transfer,  while  by  bad 
management  the  most  perfect  transfer  may  be  irremediably 
ruined. 

Within  the  last  few  years,  rollers  made  of  india-rubber 
have  been  introduced  for  lithographic  printing.  These 
rollers,  known  in  the  trade  as  “ Lanham's  Patent  Victory 
lloller,”  are  of  the  same  form  as  the  usual  hand  rollers, 
but,  in  place  of  the  flannel  and  skin,  there  is  a coating 
about  a quarter-of-an-iuch  thick  of  soft  red  vulcanised 
india-rubber,  worked  on  a lathe  to  a true  surface.  These 
rollers  are  always  ready  for  use,  and  are  easily  cleaned 
with  turpentine.  We  have  found  them  particularly  well 
adapted  for  zinc  printing,  and  they  are  also  useful  in  print 
ing  collotypes.  They  have,  however,  the  defect  of  losing 
their  grain,  and  becoming  too  smooth  and  glossy,  so  that 
they  do  not  feed  the  ink  well. 

Ink. — The  black  ink  used  for  lithographic  and  zinco- 
graphic  printing  is  a mixture  of  fine  lampblack,  with 
varnish  made  by  heating  linseed  oil  till  it  burns.  This 
varnish  is  prepared  of  various  consistencies — thin,  middle, 
and  strong— according  to  the  length  of  time  the  burning  has 
been  allowed  to  continue.  The  ink  as  sold  is  mixed  and 
ground  by  machinery,  and  is  put  up  in  tins  in  the  form  of 
a very  stiff  paste.  It  is  of  different  qualities,  ranging  in 
price  from  14s.  to  4s.  a pound. 

The  beat  is  the  French  chalk  ink,  made  of  the  stiff est 
varnish  and  finest  black — it  is  used  for  first-class  chalk 
work.  For  most  purposes  of  the  photo-lithographer,  the 
medium  qualities  of  stiff  and  fine  inks,  from  10s.  to  6s. 
a pound,  are  well  suited. 


Before  the  ink  as  purchased  can  be  used  for  printing,  it 
requires  further  reducing  with  varnish,  the  consistence  and 
quality  of  which  will  vary  according  as  the  nature  of  the 
work  requires  a stiff  or  soft  ink.  For  chalk  or  other  high- 
class  delicate  work,  strong  varnish  is  generally  used  ; for 
all  ordinary  purposes,  middle  or  thin  ; and  for  colour-work 
and  tinting,  thin  alone. 

A small  quantity  of  the  ink  is  taken  out  of  .the  tin  with 
a strong  knife  (not  a palette  knife),  and,  a little  varnish 
being  added,  is  worked  upon  the  inking  slab  with  a palette 
knife,  thoroughly  incorporating  the  two  together,  and 
adding  varnish,  if  necessary,  till  a homogenous  mixture  is 
formed,  which  should  just  run  slowly  off  the  knife  when 
held  in  an  inclined  position.  The  mixed  ink  is  generally 
placed  at  one  corner  of  the  slab,  on  the  side  away  from 
the  printer. 

( To  be  Continued.) 

o 

tarfspontoiitt. 

THE  NEXT  SOIREE  OF  THE  PHOTOGRAPHIC 
SOCIETY. 

Sin, — On  the  occasion  of  the  next  soiree,  in  October, 
might  I suggest  that,  in  order  to  create  a little  diversion, 
and  to  infuse  some  life  into  the  meeting,  a space  might  be 
left,  so  as  to  enable  the — shall  I say  more  frivolous  ? — 
visitors,  of  both  sexes,  to  enjoy  a little  dancing?  The 
hire  of  a piano  would  be  a mere  trifle,  and  both  pianists 
and  violinists  could  easily  be  got  from  among  the  members’ 
families. 

Discussions  on  art,  and  on  the  respective  merits  of  dry 
plates  and  collodion,  are  doubtless  extremely  important; 
but  I fear  that  some — of  the  ladies,  at  least — do  not  take 
that  engrossing  iuterest  in  these  matters  which  they 
should,  aud  therefore  it  is  that,  in  deference  to  them,  I 
make  the  above  suggestion. 

The  centre  table  is  always  occupied  with  apparatus,  &c., 
which  are  of  little  iuterest  to  the  majority  of  the  visitors, 
and  which  can,  moreover,  be  better  studied  in  the  day- 
time. 

Unfortunately,  the  day  selected  for  the  soiree  has 
hitherto  been  Saturday.  I do  not  see  why  the  day  should 
not  be  either  the  Friday  preceding,  or  the  Monday 
following. 

But,  at  all  events,  whether  the  day  is  altered  or  not,  I 
hope  some  alteration  will  be  made  in  the  dreary  nature  of 
the  meeting.  If  some  leading  member  of  the  Society 
would  take  the  initiative,  and  form  a committee  of  (say) 
six,  who  might  act  as  stewards  on  the  occasion,  it  could  be 
easily  managed,  and  would  be  certaiu  to  prove  a success. 
— Your  obedient  servant,  A.  Z. 


FIRE  INSURANCE. — READY-SENSITIZED 
PAPER. 

Deak  Sik, — Your  remarks  on  fire  insurance,  some  time 
since,  when  you  called  attention  to  the  diminution  of  risk 
where  collodion  is  no  longer  used,  have  saved  me  nine 
shillings  this  year,  for  on  receiving  notice  from  the 
Company’s  agent  that  my  premium  was  due,  instead  of 
sending  him  a guinea  as  usual,  I wrote  a note  informing 
him  of  the  change  in  my  working,  and  declining  to  renew 
the  insurance  at  the  high  rate  charged,  and  in  a few  days 
received  a reply  offering  to  take  the  risk  at  12s. 

In  your  article  on  the  use  of  ready-sensitized  paper,  you 
speak  of  the  acetate  bath  requiring  a few  days  to  ripen  ; 
but  if  the  acetate  of  soda  and  the  gold  are  boiled  for  a 
minute  in  about  an  ounce  of  water  to  each  grain  of  gold, 
and  then  diluted  with  ten  ounces  of  cold  water  to  each 
grain,  it  cau  be  used  at  once  ; also,  after  the  dilution,  we 
like  the  addition  of  five  drops  of  a saturated  solution  of 
washing  soda  to  each  grain  of  gold,  as  it  gives  cooler 
half-tones,  while  the  shadows  remain  warm.  We  make  a 


June  8,  1883.  | 


THE  PH0T0G1UPHIC  NEWS. 


367 


new  bath  every  time  of  toning,  as  it  is  then  always  the 
same,  aud  it  does  not  appear  to  improve  by  keeping. — 
I remain,  yours  truly,  E.  Williams. 


BRISTOL  (TRIENNIAL)  INTERNATIONAL 
PHOTOGRAPHIC  EXHIBITION. 

Heap.  Sir, — Will  you  kindly  make  it  known,  that  in 
accordance  with  the  decision  arrived  at  uearly  three  years 
ago,  the  above  Exhibition  will  be  a triennial  event.  This 
is  the  year  for  again  holding  it,  and  prize  lists  may  now  be 
had  ; the  general  arrangements  being  already  in  hand. 

We  have  not  only  been  promised,  but  have  evidence 
of  a large  number  of  entries,  and  we  anticipate  an  Exhibi- 
tion equally  successful  with  the  last. 

I write  this,  as  it  may  be  well  that,  in  the  face  of 
suggestions  for  exhibitions  elsewhere,  it  should  be 
generally  known  that  the  Bristol  Exhibition  takes  place  in 
December  next,  for  I think  all  Secretaries  are  agreed 
that  many  exhibitions  in  the  same  year  are  not  desirable. 
— Yours  faithfully,  H.  A.  Hood  Daniel,  Hon.  Sec. 


Drocjee&mgs  oi  Sffrielirs, 

Liverpool  Amateur  Photographic  Association. 

The  usual  monthly  meeting  of  this  Society  was  held  on  Thurs- 
day, the  31st  ult.,  af  the  Free  Library,  Mr.  B.  Boothroyd, 
President,  in  the  chair. 

The  minutes  of  the  April  meeting  having  been  read  and  con- 
firmed, 

Mr.  J.  H.  T.  Ellkkbeck  explained  that  the  pictures  shown 
by  him  at  the  last  meeting  were  not  by  himself,  but  by  Mr.  B. 
J.  Edwards,  the  maker  of  the  plates,  and  were  taken  with  that 
gentleman’s  own  shutter. 

The  Chairman  announced  that  the  invitation  to  the  members 
of  the  Association  by  Mr.  L.  Hughes,  to  spend  a day  at  Conway, 
had  been  accepted  for  Monday,  June  18th  ; but  that  the 
Council  had  decided  not  to  allow  Mr.  Hughes  to  bear  the  ex- 
pense of  the  transit  of  the  members  to  Conway. 

Mr.  G.  F.  Chantrell  was  elected  a member  of  the  Associa- 
tion. 

Mr.  Ellerbeck  (who  was  good  enough  to  act  for  the  Hon. 
Secretary  in  his  absence  through  indisposition)  read  a letter  from 
Mr.  Craddock,  kindly  enclosing  for  the  Society’s  album  some 
pictures  from  paper  negatives  of  thirty  years  ago.  Prints  from 
these  negatives  had  been  exhibited  in  the  Great  Exhibition  of 
1851,  and  had  attracted  the  notice  of  the  late  Prince  Consort, 
who  had  written  to  Mr.  Craddock  for  copies.  The  prints  were 
very  fine  specimens  of  landscape  and  architectural  photography, 
and,  apart  from  their  own  intrinsic  excellence,  were  remarkable 
from  the  fact  that  they  had  not  been  toned,  but  merely  fixed 
and  washed.  The  tone,  notwithstanding,  was  an  exceedingly 
good  one,  consisting  of  a rich  warm  brown.  Cordial  thanks  were 
accorded  to  Mr.  Craddock  for  his  interesting  communication, 
and  for  his  valuable  contribution  to  the  Society’s  album. 

Mr.  A.  W.  Beer  then  read  a communication  on  the  subject  of 
the  Association’s  May  excursion  to  Knutsford  aud  neighbour- 
hood (see  page  364).  Prints  from  negatives  taken  on  this  occa- 
sion were  exhibited  by  Messrs.  Tyrer,  Ellerbeck,  Beer,  and 
Rutter. 

Dr.  Kenyon  exhibited  Boca’s  chronometric  shutter,  and  made 
some  remarks  explanatory  of  its  action,  speaking  in  terms  of 
commendation  of  its  accuracy  of  exposure. 

Mr.  W.  H.  Kirkby  thought  that  its  action  would  involve 
vibration  of  the  lens  at  the  moment  of  its  greatest  opening. 

Dr.  Kenyon  said  that  nothing  of  the  kind  occurred  in 
practice. 

The  following  exhibits  were  also  made:— By  Mr.  Rutter: 
negatives  on  Pumphrey’s  films,  with  prints  from  them.  Mr. 
Ellerbeck  : Smith’s  brattice  stand,  which,  in  its  combination  of 
exceeding  lightness  with  perfect  firmness,  was  much  admired. 
Mr.  Twigg : two  fine  enlargements  in  carbon,  by  the  Autotype 
Company,  of  one  of  last  year's  prize  pictures  by  him,  of  a view 
at  Coniston,  and  one  of  Pull’s  Ferry,  Norwich,  also  hy  himself. 
Mr.  Tyrer  : beautiful  plantinotypo  prints  on  the  textile  fabric 
recently  introduced  by  the  Platinotype  Company.  Mr.  Dodd, 


Middlesborough  : several  prints  from  negatives  taken  on  plates 
of  his  own  manufacture.  The  Chairman  : a Harvey’s  drop  and 
flap  (Phoenix  shutter)  made  on  Mr.  Roberts’s  principle.  Mr. 
Ellerbeck:  a so  called  “detective”  camera,  working  in  an 
ordinary  courier  bag,  with  an  exposure  of  one-fiftieth  of  a second, 
this  being  made  by  lifting  up  for  a moment  the  flap  of  bag  and 
by  a spring  letting  off  the  shutter.  To  regulate  the  focus,  to  the 
pinion  of  lens  was  attached  a needle  which  pointed  to  a dial 
having  a record  of  distance,  which  has  to  be  judged  by  the 
operator.  Several  street  figure  studies,  &c.,  were  passed  round 
illustrating  its  purpose. 

A cordial  vote  of  thanks  was  passed  to  Messrs.  Coltart,  Beer, 
and  Kenyon,  also  to  others  who  had  exhibited,  and  the  meeting 
was  adjourned. 


Bristol  and  West  of  England  Amateur  Photographic 
Association. 

The  ordinary  monthly  meeting  was  held  at  the  Studio,  on 
Wednesday,  23rd  May,  Mr.  J.  Davey  in  the  chair. 

A letter  of  absence  having  been  read  from  the  Honorary 
Secretary,  and  the  minutes  having  been  confirmed, 

The  Chairman  called  upon  Mr.  Brightman  to  read  the  second 
part  of  his  paper,  “ The  Carbon  Printing  Process.” 

Mr.  Davey  enquired  what  was  the  so-called  “safe  edge,”  and 
its  object  in  carbon  printing. 

Mr.  Brightman  explained  that  the  safe  edge  consisted  of  four 
narrow  strips  of  semi-transparent  paper  pasted  on  the  edges  of 
the  negative,  its  object  being  to  prevent  a thick  film  of  gelatine 
at  the  edges  of  the  print,  it  being  found  in  practice  that  a dense 
deposit  of  the  insoluble  gelatine  at  the  edges  is  liable  to  induce 
frilling  of  the  film  ; with  a thin  border  the  tendency  to  frill  is 
avoided. 

In  reply  to  an  enquiry  by  Mr.  Davey  as  to  whether  any  pre- 
paration was  used  to  cause  the  film  to  adhere  to  the  glass  in 
transferring, 

Mr.  Brightman  replied  that  the  film,  when  moistened,  would 
adhere  to  any  non -porous  substance  by  atmospheric  pressure,  on 
the  same  principle  as  the  leather  sucker  used  as  a toy  by  school- 
boys ; but  in  some  cases,  with  tissue,  in  which  a difficulty  was 
found  in  securing  perfect  adherence,  the  glass  plates  might  be 
previously  coated  with  a thin  film  of  gelatine,  rendered  insolu- 
ble by  chrome  alum. 

Mr.  Brightman’s  paper  was  listened  to  with  evident  interest, 
and  a vote  of  thanks  was  unanimously  passed  to  that  gentleman. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  the  31st  ult.,  Mr.  J.  Trail  Taylor 
(the  Chairman)  alluded  to  the  loss  art  aud  science  generally  had 
sustained  by  the  death  of  Mr.  S.  J.  Pearsall. 

Mr.  Henderson  showed  prints  and  enlargements  of  the  Derby 
negatives. 

The  Chairman  showed  a tripod  head  devised  by  the  Scovill 
Manufacturing  Company,  to  allow  the  camera  to  be  reversed 
from  a horizontal  to  a vertical  position  without  unscrewing  ; the 
head  was  hinged  so  that  the  camera  could  be  folded  down 
against  the  side  of  the  stand ; and  he  said  that  in  the  original 
the  head  consisted  of  two  plates,  so  that  the  camera  could  be 
turned  without  moving  the  stand. 

Mr.  Henderson  suggested  the  use  of  a base-board,  on  which 
the  camera  could  slide  in  /\-shaped  grooves,  the  catches  being 
hinged,  so  that  when  the  camera  was  wanted  to  be  reversed,  it 
would  only  be  necessary  to  run  it  to  the  end  of  the  board,  and 
turn  it  over.  He  further  said  that  about  1865,  Mr.  Hislop  de- 
vised a camera-stand  for  photographing  objects  below  the  level 
of  the  camera  ; it  was  hinged  so  that  the  camera  would  be  turned 
right  over,  resting  against  the  stand,  and  the  lens  pointing 
directly  downwards. 


Mk  in  t[n  StuiriB. 

Photographic  Society  of  Great  Britain.— The  last  meet* 
ing  of  this  Society  for  the  present  session  will  be  held  on 
Tuesday  next,  June  12th,  at  8 o’clock,  in  the  Gallery,  5a,  Pall 
Mall  East,  when  papers  will  be  read  by  Mr.  J.  Spiller,  F.C.S., 
“ Collodion  and  Pyroxyline  : the  Question  of  Permanence  ; ” 
and  by  Captain  Abney,  R.E.,  F.R.S.,  ‘‘The  Effect  of  Pressure 


368 


THE  PHOTOGRAPHIC  NEWS. 


[June  8,  1883. 


on  Sensitive  Salts  of  Silver.”  Also  communications  from 
Messrs.  J.  B.  Spurge  and  J.  R.  Sawyer. 

Messrs.  W.  and  D.  Downey  were  honoured  with  sittings  on 
Saturday  last  by  H.R.H.  the  Piincess  of  Wales  and  her  family. 
Messrs.  Downey  inform  us  that  they  were  successful  in  securing 
some  capital  panel  portraits,  and  also  several  cabinet  groups  of 
their  illustrious  visitors,  who  were  accompanied  by  Her  Serene 
Highness  the  Princess  of  Saxe  Meuingen,  of  whom  some  excellent 
portraits  were  also  secured. 

Fire  at  Derby. — A destructive  fire  occurred  this  week  on 
the  premises  of  Mr.  W.  Winter,  photographer,  &c.,  Station 
Street,  and  before  it  could  be  extinguished  the  back  part  of  the 
premises  was  gutted,  considerable  damage  being  done.  But  for 
the  timely  arrival  of  the  various  fire-brigades,  it  is  likely  the 
fire  would  have  extended  to  a large  block  of  dwellings,  which 
was  separated  by  a few  yards  only  from  the  scene  of  the  con- 
flagration. 

Mr.  Seymour  Hayden  on  Art  and  Manufacture. — In  what, 
then,  it  may  be  asked,  does  an  art  differ  from  a manufacture  ? 
An  art  differs  from  a manufacture  in  this,  that,  though  it 
depends  on  agencies  of  a material  kind  for  its  outward 
expression,  still  those  agencies,  like  the  brush  of  the  painter,  are 
of  a simple  kind,  and  are  wholly  directed  by  an  impulse  which 
has  its  seat  and  centre  in  the  brain  of  the  artist.  Invest  anyone 
of  those  simple  agencies — the  brush  of  the  painter,  the  pencil  of 
the  designer,  the  chisel  of  the  sculptor,  the  needle  of  the  etcher, 
the  knife  of  the  surgeon,  the  pen  of  the  poet— invest,  I say, 
anyone  of  these  simple  agents  with  any  of  the  properties  of  the 
machine — render  them,  that  is  to  say,  in  any  degree  automatic, 
so  as  to  make  unnecessary  and  place  in  abeyance  the  brain 
impulse  just  spoken  of — and  you  will  have,  as  a result  of  such 
agency,  not  an  art,  but  a manufacture.  Or,  it  may  be,  by  a sort 
of  marriage  of  the  two  conditions,  there  may  result  something 
which  is  less  than  an  art  and  more  than  a manufacture— that 
thing  of  modern  birth,  in  short,  which  has  come  to  be  called  an 
“ art  manufacture.”  I see  no  objection  to  this  term,  since,  by 
the  infusion  of  an  art  element  into  it,  even  a tombstone  may  be 
made  a work  of  art,  as  in  the  time  of  the  Romans,  and  a pot  au 
feu,  as  in  that  of  the  Etruscans.  — From  a paper  read  before  the 
Society  of  Arts. 

Electric  Lighting  Thirty-one  Years  Ago. — The  following 
paragraph,  which  went  the  round  of  the  papers  in  1852,  is  cut 
from  The  Home  Companion  of  September  25th  in  that  year.  It 
bears  a remarkable  resemblance  to  the  newspaper  paragraphs  of 
the  present  day. — The  Electrical  Light. — We  have  not  heard 
much  of  late  about  the  electric  light  in  the  metropolis  : why  it 
has  gone  to  the  country  we  do  not  know,  unless  it  be  merely  as 
a novelty  ; we  observe,  however,  that  it  is  at  present  being 
exhibited  at  Liverpool,  where  there  is  perhaps  a somewhat  better 
or  opener  field  than  in  the  narrow  river  of  the  metropolis,  for 
the  extension  of  its  uses  in  connection  with  shipping.  “ The 
light,”  says  a Liverpool  paper,  “ was  exhibited  from  the  tower 
at  the  north  end  of  the  Prince's  Dock  shortly  after  the  mail 
steam-ship  Africa  entered  the  river.  It  was  exceedingly 
brilliant,  and  could  be  distinguished  at  a great  distance.”  The 
experiment  was  considered  decidedly  successful.  The  inventor 
has  obtained  the  permission  of  the  Dock  Committee  to  test  the 
advantages  of  his  light  by  showing  it  at  the  landing-stage,  or 
other  suitable  position  along  the  line  of  the  docks.  With  steadi- 
ness of  lustre,  the  power  of  the  electric  light  would  be  invaluable 
as  a guide  to  sailors. 

Action  of  Potash  on  Albumen,  by  G.  S.  Johnson.— The 
author  is  of  opinion  that  potassium  tetrathionate,  and  not  sul- 
phide, is  formed  when  albumen  is  boiled  with  potash.  He  has 
observed  that  lead  sulphide  is  always  formed  when  white  of  egg, 
filtered  or  otherwise,  or  pure  albumen,  is  boiled  with  lead  hydrate 
dissolved  in  dilute  potash  ; also  when  fresh  white  of  egg  is  boiled 
for  a short  time,  cooled,  and  tested  with  lead  acetate,  a red 
colour  is  produced  which  might  be  mistaken  for  sulphide.  When, 
however,  white  of  egg  filtered  through  charcoal,  or  pure  albu- 
min, is  boiled  with  potash  solution  (sp.  gr.  1 -08)  alone,  no  indi- 
cation of  sulphide  is  obtained  with  lead  acetate,  and,  if  the 
boiling  has  been  prolonged,  no  sulphide  is  formed,  even  on  boil- 
ing in  the  presence  of  lead.  The  author  objects  to  this  result 
being  attributed  to  the  oxidation  of  sulphide  formed  in  the  first 
instance  ; firstly,  because  the  same  result  (the  non-appearance 
of  sulphide  after  prolonged  boiling  of  albumen  with  dilute  potash) 
was  obtained  in  an  experiment  conducted  in  an  atmosphere  of 
pure  hydrogen  ; secondly,  because  a solution  of  albumen  after 
being  boiled  with  potash  until  it  gave  no  indication  of  sulphide, 
and  then  mixed  with  concentrated  potash  (sp.  gr.  1'3)  and  again 


boiled,  yielded  an  abundance  of  sulphide.  These  phenomena 
are  acconnted  for  by  the  author’s  hypothesis  of  the  formation  of 
tetrathionate.  This  salt  yields  no  sulphide  when  boiled  with 
dilute  potash,  but  yields  large  quantities  with  concentrated 
potash. — Journal  of  the  Chemical  Society. 

Purification  of  Contaminated  Waters.— J.  Kdnig  has 
devised  an  efficient  method  of  purifying  water  from  organic  im- 
purities. It  consists  in  causing  the  water  to  flow  on  to  wire- 
netting placed  at  such  an  angle  that  the  water  flows  over  the 
meshes,  thus  exposing  a large  surface  to  the  air.  Thus  the 
water  becomes  thoroughly  saturated  with  oxygen,  and  sulphu- 
retted hydrogen,  &c.,  is  completely  oxidised.  For  every  6 to  7 
litres  water  which  passes  per  minute,  50  cm.  of  netting  is 
requisite. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
June  13th,  the  subject  for  discussion  will  be  “On  Out-door 
Portraiture,”  adjourned  from  the  last  meeting. 


*#*  We  cannot  undertake  to  return  rejected  communications. 

J.  Hampton. — 1.  It  is  probable  that  the  addition  of  a few  drops 
of  water  to  each  ounce  of  t lie  collodion  will  serve  to  partially  pre- 
vent it ; but,  at  tho  same  time,  you  should  take  care  to  drain  your 
plates  thoroughly.  See  that  your  slide  is  clean,  and  thoroughly 
free  from  dust ; you  would  do  well  to  wipe  it  out  with  damp 
blotting-paper  immediately  before  use,  also  to  place  a sheet  of 
moist  blotting-paper  at  the  back  of  the  plate.  2.  It  is  better  to 
let  a little  run  off,  in  such  a case,  as  more  silver  is  present  than  is 
actually  required  to  form  the  image. 

W.  P. — The  case  is  a little  difficult;  but  we  are  under  the  impres- 
sion that  printers  usually  protect  themselves  by  a special  proviso 
that  they  are  not  to  be  held  responsible  for  any  damage  to  the 
negatives  in  their  possession. 

W.  Gaddman. — No  further  description  has  reached  this  country, 
but  there  should  be  no  difficulty  in  designing  an  efficient  apparatus 
from  the  account  given. 

II.  Lambert  (Bath). — Thanks  for  the  specimens  of  Carte  Mignon 
and  Promenade  Mignon  portraits.  The  general  style  and  get-up 
is  a decided  improvement  on  those  previously  sent,  and  we  think, 
with  you,  that  these  styles  are  likely  to  become  very  popular. 

A.  Sf.lby. — A six-inch  stove-pipe  should  be  ample,  but  much 
depends  on  the  locality.  Of  course  you  must  provide  baffle- 
plates,  in  order  to  prevent  ingress  of  light. 

C.  T.  L. — 1.  It  is  certainly  so  at  present,  but  what  remedy  can  you 
suggest?  2.  Not  unless  the  w ’ole  system  undergoes  a change. 

G.  G. — Tho  subscription  to  the  Postal  Photographic  Society  is 
five  shillings,  and  the  entrance  fee  half-a-crown.  Write  to  Mr. 
II.  II.  Cunningham,  7,  Fig  Tree  Court,  Temple. 

E.  E.  M. — The  thorough  waxing  of  the  glass  is  essential,  and  this 
can  only  be  effected  by  well  warming  the  glass,  and  repeatedly 
rubbing  it  with  a flannel  well  charged  with  wax.  The  excess 
should  not  be  very  thoroughly  polished  off  until  the  glass  has  been 
used  a few  times.  Use  pure  yellow  wax. 

Alpha. — 1.  Perhaps  there  was  an  undue  proportion  of  acid  in  the 
salt.  Neutralise  with  a few  grains  of  precipitated  chalk.  2.  A 
saturated  solution.  3.  We  have  obtained  an  excellent  article  from 
the  firm  you  mention,  but  the  price  was  somewhat  higher.  4.  A 
few  sheets  of  newspaper  laid  on  the  fl  tor,  so  as  to  reflect  light  on 
the  dark  drapery,  will  serve  your  purpose  admirably.  5.  Act  as 
already  suggested.  6.  Thanks  for  your  kind  suggestion. 

T.  Oliver. — 1.  The  mucilage  will  become  acid  in  a short  timo,  and 
it  is  certainly  not  desirable  to  use  it  wh?n  in  this  condition. 
2.  The  addition  of  borax  is  not  likely  to  do  any  harm,  but  we 
fail  to  see  any  probable  advantage.  3.  It  was  printed  by  the 
collotype  process;  but  it  is  our  impression  that  the  nuinbei  issued 
was  not  large.  4.  No ; yon  had  better  write  to  Mr.  Woodbury. 

Tyi*o. — 1.  Tho  Pretsch  process  would  suit  your  purpose  very  well, 
and  wo  hope  shortly  to  publish  some  particulars  concerning  it. 

K.  W.  (Bradford). — Double  the  quantity  of  acetic  acid. 

A.  A.  B.— The  high  temperature  would  be  quite  sufficient  to 
account  for  it. 

New  Subscriber. — 1.  Tho  numbers  are  out  of  print.  Do  you 
require  special  information  on  any  one  point  ? 2.  It  is  published 
by  Wyman,  Great  Queen  Street. 

One  in  Trouble. — Judging  from  what  you  say,  we  gather  that 
there  is  but  little  hope  of  restoring  the  negatives  to  a useful 
condition.  Perhaps,  however,  the  following  will  be  the  best 
course  : — First,  secure  as  good  a copy  as  you  can  ; next,  remove 
the  varnish  by  repeated  ablutions  with  warm  alcohol ; and,  finally, 
soak  in  a ten-grain  solution  of  cyanide.  Of  course  a thorough 
washing  must  follow. 


THE  PHOTOGRAPHIC  HEWS 

/' T I - \ 

Vot.  XXYI1.  No.  1293. — June  15,  1883. 


CONTENTS. 


PAGK 

Abney’s  Experiments  on  the  Effects  of  Pressure  on  Sensitive 

Compounds  309 

Inequality  of  Illumination  of  the  Image  Given  by  Different 

Lenses  370 

A Multiplex  Camera  Back  370 

Gelatine  reraut  Collodion  371 

A Perfectly  Non-Aetimc  Colour.  By  A.  Percy  Smith,  F.C.S., 

F.I.C 371 

Half-a-Dozen  Portraits  372 

News  from  the  Eclipse  Party 373 

Review  371 


PAO* 

French  Correspondence.  By  Leon  Vidal 374 

Notes  on  the  Development  of  Gelatine  Plates.  By  W.  B. 

Allison  373 

Notes 373 

Patent  Intelligence  378 

A Tour  in  Kent.  By  Photo-Cyclist 379 

Bristol  International  Photographic  Exhibition  (Triennial) 380 

Correspondence  380 

Proceedings  of  Societies  381 

Talk  in  the  Studio 384 

To  Correspondents 381 


ABNEY’S  EXPERIMENTS  ON  THE  EFFECTS  OF 
PRESSURE  ON  SENSITIVE  COMPOUNDS. 

I The  results  obtained  by  Captain  Abney,  aud  communi- 
cated by  him  to  the  Photographic  Society  of  Great  Britain 
on  Tuesday  last,  possess  unusual  interest  on  theoretical 

1 grounds;  and,  indeed,  also  from  a practical  point  of  view. 

, Captain  Abney  finds  that  when  a gelatino-brotnide  film  is 
rubbed  by  a hard  body — as,  for  example,  a glass  rod  — 
each  line  of  friction  comes  up  in  development,  just  as  if  the 
film  had  been  exposed  to  light  at  the  points  of  contact. 
The  similarity  of  the  results  produced  by  friction  on  the 
one  hand,  and  exposure  to  light  on  the  other  hand,  holds 
good  so  far  that  an  oxidising  agent,  such  as  bichromate  of 
potassium,  serves  to  destroy  the  latent  image  in  either 
case. 

While  Captain  Abney  wa3  reading  his  paper,  it  struck 
us  that  the  results  might  in  reality  be  due  to  the  action  of 
light,  as  a phosphorescent  light  is  well  known  to  be 
generated  when  two  white  pebbles  or  other  silicious 
bodies  are  rubbed  against  each  other,  and  many  organic 
bodies,  sued  as  loaf  sugar  or  gelatine,  become  phosphor- 
escent when  rubbed  ; this  phenomenon  being  easily 
demonstrated  in  a dark  room.  In  the  first  place,  we 
proceeded  to  repeat  Captain  Abney's  experiment,  and  we 
found  the  results  to  be  precisely  as  be  describes,  every 
line  traced  on  the  film  with  a glass  rod  coming  out  dis- 
tinctly under  the  action  of  the  developer.  In  order  to 
obtain  as  full  a realisation  of  the  effect  of  pressure  as 
possible,  we  continued  to  rub  a portion  of  the  film  side  of 
a plate  until  a considerable  patch — perhaps  half-an-inch 
by  two  inches— was  thoroughly  covered  with  the  friction- 
lines, and  on  development  this  patch  came  out  nearly  black 
and  opaque.  When,  however,  the  back  of  the  plate  was 
inspected,  we  noticed  that  lightening  of  the  general  tint  or 
incipient  reversal  which  is  almost  always  to  be  noticed 
when  a plate  is  partially  exposed  to  light ; and  this  circum- 
stance served  to  confirm  our  view  that  light,  and  not 
pressure,  had  been  the  active  agent.  It  need  scarcely  be 
said  that  the  pressure  on  both  sides  of  the  film  during 
friction  with  a glass  rod  would  be  practically  equal,  as  the 
rigidity  of  the  film  must  be  regarded  as  being  so  small  as 
to  have  no  influence  worth  mentioning  ; and  if  the  change 
in  the  condition  of  the  bromide  had  really  been  brought 
about  by  pressure,  one  would  expect  to  find  a dark  image 
developed  all  through  the  film.  During  the  time  we 
were  occupied  in  rubbing  the  film  with  the  glass  rod, 
traces  of  light  were  visible  ; but  this  could  only  be  seen 
after  the  eye  had  become  thoroughly  accustomed  to  the 
darkness.  Assuming  our  phosphorescent  theory  to  be 
true,  it  should  certainly  be  practicable  to  impress  the  film 
by  friction  on  the  reverse  side  of  the  glass,  and  the 
experiment  was  accordingly  made.  A very  much  brighter 


phosphorescent  light  was  visible  in  this  case,  and,  after  a 
few  strokes,  the  plate  was  developed ; but  no  effect  was 
traceable  on  the  film.  Knowing,  however,  that  phosphor- 
escent light  does  affect  the  sensitive  gelatino-bromide  film, 
we  repeated  the  experiment,  rubbing  vigorously  for  nearly 
half-an-bour.  In  this  case,  a distinct  effect  was  traceable, 
although  considerably  less  than  could  have  been  produced 
in  a few  seconds  by  direct  friction  on  the  film.  In  a 
similar  way,  we  rubbed  the  back  of  a plate  with  a piece 
of  gelatine,  and  found  that  the  light  developed  was  sufficient 
to  affect  the  film. 

Some  substances  which  phosphoresce  energetically 
when  rubbed — such  as  fluorspar,  mother-of-pearl,  and 
gypsum — were  next  employed  instead  of  the  glass  rod, 
and  the  effect  on  the  film  was  found  to  be  proportionately 
greater. 

It  is  quite  possible  that  friction  or  pressure,  as  well  as 
light,  may  be  efficient  in  producing  the  effect  described  by 
Abney,  but  our  experiments  seem  to  point  clearly  to  the 
circumstance  that  the  result  is  due,  at  any  rate  partially, 
to  the  action  of  light.  The  circumstance  that  so  enor- 
mous a difference  exists  between  the  action  when  the 
film  itself  is  rubbed,  and  when  the  back  of  the  glass  is 
subjected  to  friction,  seems  at  first  sight  rather  to  indicate 
an  essential  difference  between  the  two  cases ; but  it  is 
quite  possible  that  the  molecular  impulses  which  consti- 
tute light  may  affect  the  bromide  much  more  powerfully 
when  they  originate  in  the  sensitive  film  itself  ; the  light 
being  in  this  case  comparable  to  an  element  in  a nascent 
or  active  condition. 

Our  readers  will  remember  that  Mr.  A.  L.  Henderson 
added  phosphorescent  sulphide  of  calcium  to  a gelatine 
emulsion,  and  found  that  the  sensitiveness  of  the  prepara- 
tion was  so  much  increased  as  to  render  it  almost — if  not 
quite — impracticable  to  work  with  the  mixture.  It  is 
possible  that  in  this  case  the  sulphide  may  have  absorbed 
the  light  during  exposure,  and  transmitted  the  impulse  to 
the  bromide  in  such  a manner  as  to  enormously  increase 
the  practical  efficiency  of  the  original  radiations.  The 
persistency  with  which  phosphorescent  bodies  retain 
traces  of  light  is  surprising,  sulphide  of  calcium 
having  been  known  to  shine  in  the  dark  two  months 
after  exposure ; and,  indeed,  after  being  kept  in  the  dark 
for  two  years,  a sample  was  found  to  evolve  light  when 
heated  to  150°  Centigrade.  We  would,  therefore,  suggest 
that  any  persons  making  experiments  on  the  addition  of 
the  sulphide  to  emulsion,  should  heat  it  to  redness,  and 
allow  it  to  cool  in  absolute  darkness  before  using  it. 
When  the  sulphide  is  thus  exhausted  of  light,  it  will  be 
found  to  be  recharged,  up  to  a certain  point,  even  by  the 
red  light  of  the  developing  room. 

It  may  be  mentioned  that  light  may  be  driven  from 
most  phosphorescent  bodies  by  heating  them  and  cooling 


370 


THE  HOTOGKAPHIC  NEWS. 


[June  15,  1883. 


in  darkness.  Silicious  pebbles  or  glass  so  treated  either 
phosphoresce  very  little  on  friction,  or  not  at  all. 

It  is  to  be  hoped  that  Captain  Abney  will  continue  the 
interesting  investigation  which  he  has  now  commenced, 
and  we  shall  look  forward  with  interest  for  the  further  re- 
sults of  his  labours. 


INEQUALITY  OF  ILLUMINATION  OF  THE  IMAGE 
GIVEN  BY  DIFFERENT  LENSES. 

The  falling  off  of  brilliancy  of  illumination  from  the 
centre  to  the  edges  and  corners  of  an  image  given  by  a 
lens  is  a well  known  phenomenon,  and  one  practically  in- 
separable from  the  use  of  any  kind  of  lens  at  present 
known.  It  is  not  particularly  noticeable  until  a certain 
angle  is  passed,  and  when  but  slight  is,  from  an  artistic 
point  of  view,  by  no  means  always  objectionable.  It  is 
when  we  come  to  the  wide-angles  too  much  resorted  to  in 
these  days  that  the  appearance  becomes  obtrusively 
objectionable. 

The  cause  of  the  falling  off  is  not  far  to  seek,  although 
all  the  factors  making  it  up  are  probably  not  generally 
understood.  In  all  lenses  the  light  has  to  pass  at  some 
part  of  its  course  through  a circular  opening  forming  a 
stop  or  diaphragm.  We  all  know  that  when  we  look  at 
such  an  opening  from  straight  in  front  of  it,  the  appear- 
ance is  that  of  a circle.  The  opening  shows  of  its  true 
form.  When,  however,  we  look  at  it  obliquely,  it  has  the 
appearance  of  an  ellipse,  or  what  is  commonly  but  im- 
properly termed  an  oval,  and  allows  less  light  to  pass 
through  it  to  our  eye.  Here  we  have  the  first  cause  of 
falling  off.  The  light  reaching  the  edges  of  the  plate  has 
to  pass  obliquely  through  the  diaphragm,  and  is  conse- 
quently reduced  in  quantity. 

The  next  cause  has  even  more  influence  in  causing  in- 
equality of  illumination.  It  is  well  known  that  increase  in 
focal  length  of  a lens,  unless  accompanied  by  a corres- 
ponding increase  in  diameter  of  aperture,  results  In 
decrease  of  illumination  ; and  that  this  decrease  is  as  the 
square  of  the  increase  of  focal  length — that  is  to  say,  the 
effect  of  doubling  the  focal  length  is  to  reduce  the  light 
to  a quarter  of  what  it  was.  Tripling  the  focal  length 
reduces  it  to  one-ninth,  and  so  on. 

It  is  quite  easily  seen  that  the  edges,  and  stilt  more  the 
corners  of  the  plate,  are  further  from  the  lens  than  the 
centre,  and  that,  in  fact,  the  lens  is  a longer  focus  one  for 
the  edges  than  for  the  centre.  This  is  the  chief  cause  of 
falling  off  of  illumination,  but  there  is  still  one  more. 
The  pencils  of  light  reaching  the  plate  even  at  this  greater 
distance  from  the  lens  do  not  strike  it  perpendicularly,  but 
obliquely.  It  is  well  known  that  any  source  of  illumination 
acting  on  a surface  oblique  to  the  direction  of  rays  from  it, 
lights  such  surface  less  brightly  than  if  it  be  at  right  angles 
to  the  direction  of  the  rays. 

Here  we  have  enumerated  three  causes  of  falling  off  of 
illumination,  and  it  must  be  recollected  that  these  are  not 
to  be  added,  but  to  be  multiplied  by  one  another,  to  give 
the  gross  amount  of  falling  off. 

The  result  is  easily  stated  mathematically,  and  is3o  done 
by  saying  that  the  light  at  any  point  differs  from  that  at 
the  centre  of  the  plate  as  the  fourth  power  of  the  cosine  of 
the  angle  contained  between  the  axis  of  the  pencil  of  light 
reaching  that  point  and  the  axis  of  the  lens  differs  from  one. 
The  practical  outcome  of  this  rule  is  very  easily  reached. 
If  we  want  to  discover  with  any  lens  how  much  less  light 
there  will  be  at  the  corners  of  the  plate  used  with  it  than 
at  the  centre,  we  have  only  to  ascertain  the  angle  included, 
which  is  most  easily  done  by  drawing  a very  simple  geo- 
metric figure  ; to  take  half  that  angle,  look  up  its  cosine  in 
any  set  of  trigonometrical  tables,  and  multiply  it  by  itself 
three  times.  The  result  will  be  a fraction  stating  the  light 
at  the  corner  of  the  plate  in  terms  of  that  at  the  centre. 
It  will  be  found  that  with  the  very  wide  angles  given  by 
some  of  our  modern  lenses  the  falling  off  is  excessive.  The 


widest  angle  lens  with  which  we  are  acquainted  includes, 
from  corner  to  corner  of  the  largest  plate  which  it  covers, 
an  angle  of  about  100°.  In  such  a case  the  light  at  the 
corners  is  only  about  one-sixth  of  that  at  the  centre  of  the 
plate.  This  is  a falling  off  indeed,  but  fortunately  we  do 
not  often  require  to  use  so  wide  angles.  Even  with  such 
angles  as  are  quite  commonly  in  use,  however,  there  may 
be  only  one-half  as  much  light  at  the  corners  of  the  plate 
as  at  the  centre. 

So  far  we  have  considered  only  such  loss  of  light  as  is 
caused  by  the  obliquity  of  the  ray  passing  through  the  stop, 
the  lengthening  of  the  focus,  and  the  obliquity  of  the 
impact  of  light  on  the  plate. 

It  is  evident,  however,  that  in  a certain  class  of  lenses, 
there  is  another  and  far  greater  cause  of  unequal  illumina- 
tion. We  refer  to  that  class  of  lens  in  which  there  are  two 
combinations,  and  in  which  there  is  no  stop  smaller,  or,  at 
any  rate,  much  smaller,  than  the  lenses.  It  includes  por- 
trait lenses,  group  lenses,  and  “ rapid  ” lenses.  In  all  of 
these  the  light  has  to  pass  through  what  practically  is  a 
tube.  It  is  quite  evident  that  in  such  a case  the  light, 
passing  obliquely,  is  greatly  reduced  as  compared  with 
that  which  passes  straight  through,  and  consequently  in 
such  lenses,  used  full  aperture,  there  is  much  greater  in- 
equality than  in  other  lenses.  A mathematical  expression 
might  be  given  for  this,  but  it  would  be  complicated.  It 
is  evident  that  the  further  apart  the  combinations  are — in 
other  words,  the  longer  is  the  tube — the  greater  is  the 
falling  off ; indeed,  so  great  is  it  that  it  would  be  only 
possible  to  use  such  lenses,  full  aperture,  through  a very 
limited  angle,  even  were  they  capable  of  defining  through 
the  greatest  which  will  permit  of  the  passage  of  any  light. 

The  portrait  lens  would  be  the  greatest  sinner  in  this 
respect ; but  fortunately  it  is  not  desirable  in  the  case  of 
portraits  to  include  any  but  a very  narrow  angle. 

It  is  evident  that  a stop  introduced  between  the  lenses 
at  once  reduces  the  inequality  through  a certain  angle, 
although  it  will  be  found  that  it  causes  the  falling  off  where 
it  does  take  place  to  bo  more  abrupt  than  it  would  be  with 
the  lens  used  full  aperture. 

The  single  lens  used  with  a diaphragm  or  stop  in  front 
of  it  is  the  one  which  gives  the  most  equal  illumination  of 
any  through  the  angle  which  it  will  cover.  It  will  be  seen 
that  the  light  passing  through  the  stop  suffers  diminution 
exactly  as  explained  above.  The  very  cause,  however, 
which  is  the  case  of  this  lens,  gives  rise  to  distortion, 
makes  the  diminution  of  light  from  the  other  causes 
slightly  less  than  it  would  otherwise  be.  The  pencils  of 
light  are,  as  we  know,  bent  slightly  inwards.  They  are 
consequently  not  quite  so  long  as  if  they  followed  a direct 
course,  and,  moreover,  they  do  not  strike  the  plate  quite  so 
obliquely. 

The  lenses  next  in  order  are  those  of  two  combinations 
close  together,  and  used  with  a stop,  always  small, 
between  them.  The  diminution  in  this  case  follows 
precisely  the  mathematical  law  given  above. 


A MULTIPLEX  CAMERA  BACK. 

An  adaptation  of  the  principle  of  the  well-known  revolving 
album  to  the  dry-plate  camera  is  not  altogether  a novelty  ; 
indeed,  we  believe  au  apparatus  of  this  kind  was  first  con- 
structed as  a container  for  dry  plates.  Messrs.  Hare  and 
Dale,  of  Ludgate  Hill,  have,  however,  recently  devised  a 
modified  apparatus  founded  on  the  revolving  album,  which 
promises  to  be  of  considerable  practical  utility  to  the  dry- 
plate  worker.  The  right-hand  figure  gives  some  notion 
of  the  relative  size  of  the  camera  and  a multiplex  back  for 
thirteen  plates : while  the  left-hand  figure  shows  the  back 
on  a larger  scale. 

The  multiplex  back  is  charged  by  putting  a plate  into 
each  one  of  the  inner  frames,  and  arranging  them  in 
proper  order.  All  that  is  required  to  bring  the  plates 


THE  PHOTOGRAPHIC  NEWS. 


June  15,  i 883. J 


successively  into  position  for  exposure,  is  to  turn  the  back 
once  over,  wheu  the  inner  frames  shift  by  the  action  of 
gravity  alone.  Clamping  screws  are  provided  for  fixing 


the  frames  when  required,  and  there  is  a window  through 
which  the  photographer  can  always  see  which  frame  is  in 
position,  and  a tablet  attached  to  the  apparatus  serves  for 
noting  down  particulars  regarding  exposure. 

By  the  use  of  carriers  similar  to  the  ordinary  inner 
frames  of  the  dark  slide,  small  plates  may  be  taken  out  to- 
gether with  large  ones  ; and  it  is  quite  easy  to  bring  any 
individual  plate  into  position  for  exposure. 


GELATINE  VERSUS  COLLODION. 

Collodion  has  so  few  out-spoken  supporters  just  now, 
that  it  is  a novelty  to  find  a firm  voice  expounding  its  value, 
as  does  Mr.  J.  F.  Coonley  in  the  hast  number  of  Anthony's 
Bulletin.  Mr.  Coonley  is  the  president  of  the  New  York 
Association  of  Operative  Photographers,  and  in  every 
sense  a practical  and  competent  judge  ; it  is  for  this  reason 
that  some  weight  should  be  attached  to  his  words.  He 
says: — Of  portraits  on  dry  plates,  I see  no  advance  in 
quality  from  those  made  when  the  gelatine  boom  was  first 
inaugurated  in  this  country  ; but  on  the  other  hand,  those 
who  were  making  fine  pictures  with  collodion  and  have 
adopted  dry  plates,  I think,  have  retrograded,  and  are 
taking  a back  track.  I don’t  know  a single  exception 
where  this  statement  will  not  hold  good.  The  remark 
made  by  a celebrated  photographer  of  this  city — now  using 
dry  plates — in  answer  to  a question  as  to  the  comparative 
quality  of  dry  and  wet  plate  work,  admitted  his  results 
were  not  so  good  as  when  he  was  working  with  collodion, 
but  that  he  used  them  for  the  reason  that  he  could  make 
more  of  it.  That  acknowledgment,  perhaps,  furnishes  the 
key  to  open  the  cocoanut.  If  this  gentleman  deliberately 
sacrifices  the  quality  of  his  productions  for  the  avowed 
purpose  of  making  more  in  quantity,  at  the  same  time 
claiming  and  desiring  to  be  considered  one  of  the  shining 
lights  in  his  art,  it  seems  to  me  a flagrant  prostitution  of 
his  talent  and  capabilities,  or  else  he  has  grown  indifferent, 
and  lost  his  ambition,  and  will  not  make  any  effort  to 
maintain  the  reputation  he  so  deservedly  established.  It 
is  not  a very  encouraging  trait  in  any  person’s  nature 
possessing  talent,  who  deliberately  allows  the  quality  of 
his  productions  to  become  lower  and  lower  for  the  osten- 
sible purpose  of  producing  more  in  quantity  ; even  in  this 
respect  I think  he  would  be  sadly  at  fault.  If  all  plates 
were  developed  as  soon  as  exposed — as  they  should  be  to 
know  what  we  have  as  a result — and  with  a proper  system, 
I believe  it  would  be  found  that  more  negatives  could  be 
made  during  the  usual  working  hours  in  the  light  on  collo- 
dion plates,  than  can  possibly  be  produced  where  dry  plates 
are  employed. 

If  only  the  exposures  are  made  and  the  plates  are  left  to 


37 1 


some  future  time  for  development,  and  also  the  finding  of 
imperfections,  movements  and  failures,  1 presume  more 
exposures  might  be  made  on  dry  plates  than  negatives  on 
wet  ones  in  the  same  time,  but  that  seems  to  be  a very  un- 
certain way  of  making  pictures,  and  not  at  all  satisfactory, 
particularly  if  the  subject  has  been  at  much  trouble  to 
dress  and  prepare  for  the  sitting,  and  caDnot  very  well 
come  again,  or  if  he  is  about  to  leave  for  a foreign  country 
or  a distant  part  of  this  one,  which  is  a circumstance  of  very 
frequent  occurrence.  In  cases  of  this  kind,  failures  which 
must  frequently  happen  amount  to  far  more  than  any 
money  value,  or  the  disappointments  sure  to  follow.  These 
things  go  to  the  foundation  of  the  person’s  reputation, 
whoever  he  may  be,  that  resorts  to  such  uncertain  and  un- 
reliable methods.  Confidence  in  him  is  weakened,  and  in 
a short  time  entirely  gone  ; he  not  only  loses  patronage, 
but  likewise  the  influence  of  his  patrons.  One  of  the 
strong  points  made  to  the  photographic  proprietors  by  the 
dry  plate  makers  and  dealers  at  the  start  was  the  ease  and 
rapidity  with  which  they  could  be  worked  ; no  trouble  ; 
anyone  could  work  them  ; no  skilled  or  experienced  help 
need  be  employed  ; reduction  of  expenses ; finer  effects, 
because  more  rapid,  besides  many  more  enticing  promises. 
Has  any  one  of  them  been  attained,  with  the  single  excep- 
tion of  rapidity  in  exposing?  If  so,  I would  be  obliged  to 
the  party  who  will  tell  which  one. 

Perhaps  no  greater  mistake  is  made  by  the  majority  of 
people  than  when  they  imagine  the  quality  of  a photo- 
graph is  entirely  due  to  the  skill  of  the  operator  or  man 
who  makes  the  negative.  To  obtain  the  best  pictures 
possible  in  portraiture,  a happy  combination  of  talent  must 
come  into  play  ; the  positionist  and  the  operator  must 
both  be  thoroughly  posted  in  their  departments,  and 
know  the  light  they  are  usiDg,  keep  close  watch  of  its 
various  changes,  use  the  best  of  judgment  as  to  its  quality, 
and  know  how  to  get  the  very  best  effects  possible  with  ic, 
and  the  appliances  they  have  at  command.  As  all  pictures 
are  a combination  of  effects,  those  the  most  skilled  in  pro- 
ducing them  will  always  be  in  the  front  ranks.  The  most 
skilful  operator  cannot  make  a fine  picture  from  a badly- 
posed  and  badly-lit  subject.  His  chemical  effects  may  be 
perfect,  still  the  want  of  skill  in  posing  and  lighting 
neutralizes  his  work,  and  the  picture  is  not  good.  On 
the  other  hand,  a positionist  may  be  an  expert  in  his 
department,  but  if  the  operator  does  not  give  expression 
to  his  ideas,  his  taste  and  skill  go  for  nothing.  It  requires 
a happy  combination  of  the  two  elements  or  kinds  of 
talent  to  produce  the  best  and  most  uniform  results.  They 
must  be  exercised  together  in  accord  and  harmony.  With 
a combination  of  this  kind,  both  being  thoroughly  ambiti- 
ous to  excel,  and  having  a love  for  their  work,  they  are 
sure  to  make  themselves  known  by  their  productions. 
These  must  be  men  who  will  not  sacrifice  quality  for 
quantity,  or  anything  else,  and  who  will  not  consider  any 
labour  too  great  to  attain  the  desired  end. 

-o- 

A PERFECTLY  NON-ACTINIC  COLOUR. 

BY  A.  PERCY  SMITH,  F.C.S.,  F.I.C. 

When  potassium  nitrite  is  added  to  a solution  ot  meta- 
phenylene  diamine  hydrosulphate,  a deep  chocolate-red 
precipitate  is  produced.  This,  when  filtered  off  and  dis- 
solved in  alcohol,  gives  a red  solution  which  transmits  only 
the  red  rays. 

For  the  purpose  of  producing  this  colouration  it  is  not 
necessary  to  prepare  absolutely  pure  metaphenyline 
diamine  ; the  following  process  will  suffice.  Take  of 

Nordhausen  sulphuric  acid  ...  ...  5 parts 

Strongest  nitric  acid 5 „ 

Ordinary  nitro-benzol  1 ,, 

Place  in  a flask,  agitate,  boil,  allow  to  stand  till  cold,  pour 


372 


THE  PHOTOGRAPHIC  HEWS 


into  much  water,  allow  to  stand  to  deposit,  filter,  wash  the 
precipitate  with  cold  water,  then  with  a little  cold  alcohol 
(to  remove  undecomposed  nitro-benzol).  Crystallize  from 
hot  alcohol. 

The  crystals  which  separate  from  the  alcohol  consist 
mainly  of  meta-diuitro-benzene,  and  yield  metaphenylene 
diamine  on  reduction  with  nascent  hydrogen.  To  effect 
this,  add  iron  filings  and  hydrochloric  acid,  and  put  in  warm 
place  for  an  hour  or  two.  Filter,  nearly  neutralize  the 
solution  with  potassium  hydrate,  leaving  a slight  amount 
of  free  acid.  This  will  precipitate  the  greater  part  of  the 
iron.  Heat  and  filter.  Acidify  the  filtrate  with  sulphuric 
acid,  and  add  a concentrated  solution  of  potassium  nitrite, 
which  throws  down  a heavy  precipitate.  Filter,  aud  dis- 
solve the  precipitate  in  alcohol.  Filter  if  necessary.  The 
evaporation  of  the  alcohol  leaves  the  colouring  matter  in 
the  solid  state  in  the  form  of  green  crystals.  The  solution 
may  be  used  to  dye  fabric,  or  to  colour  shellac  varnish  for 
painting  on  glass. 


liALF-A-UOZEN  PORTRAITS 
No.  VI. — In  an  Electric  Studio. 

We  approach  the  description  of  this  studio  with  consider- 
able pleasure,  for,  with  the  best  will  in  the  world  to  be 
critical,  we  have  only  words  of  praise  to  bestow.  VVe  have 
simply  left  it  to  the  last,  because  our  visit  happened  to  be 
paid  on  the  last  day  of  our  round  of  inspection,  and  farther 
than  to  say  that  its  whereabouts  is  not  distant  from  the  Great 
Western  Station,  we  shall  not  particularise.  As  in  the  case 
of  the  other  five  studios,  we  were  able  to  keep  our  person- 
ality a close  secret,  and  although  in  this  instance  we  were 
favoured  by  a chat  with  the  principal,  whose  features  were 
known  to  us,  the  first  intimation  of  our  visit  he  will  learn 
through  these  columns. 

“ Please  walk  in,”  says  a glass  door. 

We  follow  the  silent  injunction. 

A young  lady  who  is  busy  colouring  in  a corner  of  the 
reception  room  bids  us  welcome. 

A cough — somehow  we  generally  get  troubled  with  an 
uneasy  little  cough  at  our  entrance — and  then  we  put 
forward  the  stereotyped  phrase:  “I  want  a small  portrait 
takeD.” 

“Certainly;  what  size  do  you  wish?  These  are  cartes, 
you  see,  and  these  are  cabinets.  The  cabinets  are  very 
nice.” 

The  young  lady  is  quite  right, — the  cabinets  are  very  nice. 

While  we  are  considering,  she  tells  us  something  about 
prices  ; they  are  from  half-a-guinea  upwards. 

“ These  are  electric  light  photographs — these ; and  we 
consider  the  shadows  are  not  so  heavy  ; I think  you  will  be 
best  pleased  with  them.” 

They  are  very  soft  and  pleasing.  “ What  is  the  price  V ” 
we  ask. 

“ The  plain  cards  fifteen  shillings  a dozen,  and  the  larger 
heads  a guinea.  The  cabinets  are  two  guineas  and  a half.” 

“ Ah  ! that  is  rather  too  much  ; we  will  say  a guinea's 
worth,  if  you  please.” 

“ You  are  quite  sure?”  says  the  young  lady  persuasively. 

But  for  the  serious  business  in  hand,  we  might  have 
strayed  along  “ the  primrose  path,”  and  become  lavish  ; 
but  our  decision  is  final,  and  our  companion  has  the  good 
sense  to  see  it. 

“ You  will  find  the  electric  light  less  trying  to  sit  under,” 
she  adds,  as  she  makes  out  our  account. 

“Really?” 

“ Yes ; at  least,  so  I have  been  told.  I have  not  sat 
myself.  What  name,  if  you  please?" 

“ Blancke.” 

“ Yes,  sir.  By  the  way,  we  took  a Major  Blancke’s  po  - 
trait  the  other  day  ; I do  not  know  if  you  know  him." 

“ Major  Blancke  ? ” we  say,  considering. 

“Yes;  a major  just  returned  from  India,  or  just  going 
oat  there.” 


[June  15,  1883. 


“ Majors  do  do  that  sort  of  thing  a good  deal,”  we  say,  as 
an  attempt  to  be  funny. 

The  portraits  here  are  in  leather  specimen  cases — one  of 
the  best  ways  of  displaying  them — but  on  the  table  is  also 
a little  sloping  stack  of  pictures,  each  fitted  into  a wooden 
frame,  and  all  hinged  together,  so  to  speak,  in  one  case,  so 
that  they  can  be  turned  over  like  the  leaves  of  a book.  In 
this  way  the  pictures  keep  perfectly  clean,  and  the  wood  or 
wood-like  frames  to  them  are  always  presentable. 

It  is  a pleasant  room  in  which  we  are,  and  we  take  a 
chair  at  the  table  and  proceed  to  look  over  Punch  very 
intently.  Our  principal  reason  for  doing  so  is  because  a 
gentleman  has  entered,  whom  we  strongly  suspect  to  be  the 
head  of  the  firm.  It  may  be  well,  we  think,  not  to  treat  him 
to  too  full  a view  to  begin  with.  Meanwhile  the  youug  lady 
is  very  kind  ; seeing  the  interest  we  take  in  comic  literature 
she  provides  us  with  a further  store  of  it. 

“ You  said  a dozen  pictures  at  a guinea,  I believe  ? ” 

“ Yes,”  we  reply,  still  vastly  interested  in  one  of  Teniel’s 
cartoons. 

“Then  you  will  find  that  right,  I think;  one  guinea.” 
And  she  puts  a little  yellow  piece  of  paper  in  front  of  us. 

“ Ah  ! do  you  wish  me  to  pay  now  ? ” 

“ If  you  please/’ 

We  are  considerably  relieved,  when  we  are  presently  in- 
vited into  the  6tudio,  to  find  it  is  not  the  principal,  but  an 
assistant,  who  summons  us. 

lie  precedes  us  into  a well-fitted  dressing  room,  and  asking 
us  to  follow,  when  we  have  arranged  our  toilet,  he  descends 
half-a-dozen  steps  into  the  studio.  Everything  is  here  as  it 
should  be  ; it  is  the  first  time  that  we  have  been  actually 
“ asked  ” to  enter  a dressing-room,  and  if  photographers 
only  knew  how  much  such  an  attention  is  valued,  they  would 
be  very  careful  about  paying  it. 

Making  our  toilet,  or  rather  practising  an  “ expression, ” 
before  the  glass  is  not  so  easy  just  now.  We  want  to  get 
bold  of  a face  that  won’t  be  recognised.  An  air,  tres  froid, 
as  the  French  call  it,  is  usually  safest  under  the  circumstances, 
and  this  we  adopt  as  we  gravely  go  downstairs. 

“ Will  you  be  good  enough  to  come  up  to  the  window  ? ” 
is  the  first  somewhat  abrupt  question  of  the  assistant.  “ I 
want  to  look  at  your  face.”  He  draws  the  curtain  back  to 
let  in  full  daylight,  and  then  gazes  steadily  at  us. 

A less  hardened  criminal  might  have  been  inclined  to 
delare  himself  and  confess  all,  but  we  stand  the  searching 
test  without  flinching.  “ I think  the  right  side  of  your  face 
is  the  best,”  he  says  at  last.  The  fact  is  that  as  we  are  to  be 
taken  by  the  electric  light,  it  is  desirable  to  elect  the  best 
side  of  the  face,  before  shutting  out  daylight  and  posing. 

We  sit  down  and  begin  to  get  comfortable  again.  Horror ! 
here  comes  the  principal  himself.  Nor  is  this  the  worst  of 
it ; he,  too,  begins  a systematic  search  of  our  face. 

“ Why  ! aren’t  you  the ?”  we  think  he  is  going  to 

say  ; but  fortunately  he  doesn’t.  Instead,  he  questions 
whether  the  best  side  of  our  face  has  been  chosen.  It  is  a 
relief  to  find  the  only  result  of  his  coming  is  to  change  the 
view  of  the  face. 

This  is  done  in  a very  simple  manner.  The  electric  light 
on  a huge  stand — like  a migbtv  camera  stand — stands  mid- 
way in  the  studio,  so  that  its  large  umbrella  reflector  can  be 
inclined  either  half-right  or  half-left.  Therefore,  the  sitter, 
in  order  to  change  the  aspect  of  his  portrait,  has  merely  to 
walk  over  to  the  other  side-wall  of  the  studio  ; in  the  one 
case  he  has  the  electric  light  on  his  left,  in  the  other  on  his 
right. 

The  direct  rays,  as  every  photographer  knows,  are  not  used 
in  photographic  portraiture  by  the  electric  light,  these 
being  intercepted  and  thrown  back  into  the  white  umbrella- 
shaped miiror ; and  moreover,  as  the  head  is  turned  from  the 
source  of  light,  there  is  certainly  no  distress  felt,  after  the 
first  sudden  appearance  of  the  light  has  been  got  over. 
With  an  exposure  of  some  six  or  seven  seconds  the  first 
i portrait  is  taken,  and  then  a change  of  position  is  decided 
| upon. 


373 


Jcne  15,  1883.  | THE  PHOTOGRAPHIC  NEWS. 


“Do  you  generally  wear  your  eye-glass  up?  ’’  we  are 
asked. 

“ Generally.”  We  might  have  added,  with  truth,  that 
we  felt  safer  with  it. 

“Ah  ! then  we  will  take  one  picture  with  the  glass,  aud 
one  without.  Have  you  ever  been  taken  profile?  ” 

“You  mean  a sideways  sort  of  portrait,”  we  venture, 
innocently. 

“ Yes.’’ 

We  are  bound  to  admit  that  we  have  been  taken  that  way, 
but  nevertheless  should  very  much  like  to  be  taken  again. 
So  we  are  posed  in  profile,  and  a second  picture  secured,  the 
head-rest  being  used  in  both  instances.  We  should  have 
mentioned,  by  the  way,  that  when  the  electric  light  was 
turned  on,  every  curtain  in  the  studio  was  drawn,  and  the 
apartment,  if  not  in  perfect  darkness,  was  so  effectively  cut 
oft  from  daylight,  that  the  latter  could  bave  no  influence  on 
the  portrait.  We  may  mention,  too,  that  the  umbrella- 
reflector,  instead  of  loosely  banging  aslant  with  its  axis  in  a 
line  with  the  sitter’s  head,  as  in  most  electric  studios,  was 
fixed  to  the  stand  at  right  angles  to  the  latter  in  the  way 
indicated  in  our  sketch.  Of  course,  it  could  be  moved  up 


and  down,  right  or  left,  but  it  is  always  on  a firm  basis. 
And  we  may  here  remark  that  as  the  results  appear  quite 
equal  to  other  electric  portraits  we  have  seen,  this  simple 
plan  has  much  to  recommend  it. 

“ I will  trouble  you  to  wait  five  minutes,”  says  our  friend 
the  principal.  “We  like  to  be  quite  sure  about  the  results 
before  our  sitters  depart.”  And  in  the  meantime,  he  holds 
a friendly  chat  about  his  electric  light  and  its  details,  which, 
whether  valuable  or  not,  we  do  not,  naturally,  feel  ourselves, 
under  the  circumstances,  justified  in  talking  about. 

The  assistant  brings  up  the  portrait  presently,  and  wc  all 
criticise.  The  principal  suggests  a softening  of  the  con- 
tracted eye-brow  which  holds  the  eye-glass.  “ But  we 
mustu’t  do  too  much,  or  it  will  give  you  something  of  a 
foppish  appearance,”  he  explains,  jokingly.  (And  has  it 
come  to  this?  Joke  or  no  joke,  we  don’t  like  being  set  down 
as  foppish.  We  can  conscientiously  say  that  having  moved 
now  for  some  time  among  the  upper  circles  of  Castle  Street, 
Holborn,  E.C.,  no  such  phrase  has  ever  before  been  made  in 
connection  with  our  personal  appearance.) 

“ We  shall  send  you  some  proofs  in  a couple  of  days,  sir  ; 
but  please  to  note  that  they  will  only  be  rough  and  untoned 
prints,  just  to  indicate  position  and  expression.  Thank 
you,  good  afternoon.” 

“ Good  afternoon Foppish,  bah  ! ” 


NEWS  FROM  THE  ECLIPSE  PARTY.* 

News  from  the  eclipse  party  has  at  length  arrived.  As  we 
state!  in  our  article  published  on  the  4th  of  May,  the  American 

* Timet. 


ship  of  war,  instead  of  returning  to  Callao  as  was  at  first 
anticipated,  called  at  the  Sandwich  Islands,  and  there  is  little 
doubt  that  the  English  party  made  the  voyage  thence  in  one  of 
the  Pacific  mail  steamers. 

A telegram  coming  through  Reuter’s  Agency  informs  us 
generally  of  the  successs  of  the  observation.  The  weather 
seems  to  have  been  everything  that  could  be  desired,  and 
although  the  observations  were  necessarily  made  from  the 
lowest  possible  level,  the  extension  of  the  corona  was  quite  as 
great  as  was  expected  at  this  period  of  maximum  solar  activity. 
Further,  we  learn  that  the  light  during  totality  was  quite  equal 
iu  intensity  to  that  of  the  full  moon.  This  is  another  indication 
of  the  exceptional  brightness  of  the  corona,  because  in  this 
eclipse,  which  was  one  of  exceptional  duration — and  that  is  why 
such  strenuous  efforts  were  made  to  observe  it — the  lower  and 
more  brilliantly  illuminated  portions  of  the  sun’s  atmosphere 
being  more  than  usually  veiled  by  the  dark  body  of  the  moon 
during  the  middle  of  totality,  the  illumination  of  the  air  by 
these  portions  of  the  sun  was  less  than  is  ordinarily  the  case. 
Unfortunately,  the  telegram  may  be  read  both  ways  touching 
the  intra-Mercurial  planet  observations.  We  take  it,  however, 
to  mean  that  no  intra-Mercurial  planet  was  seen  by  M.  Palisa, 
who  would  probably  give  his  chief  attention  to  that  point.  It  is 
satisfactory  to  learn  that  good  photographs  of  the  corona  were 
obtained  both  by  Dr.  Janssen  and  the  English  observers.  We 
may  expect  that  the  French  photographs  of  the  corona  will 
surpass  in  beauty  and  detail  anything  which  has  yet  been 
secured  during  eclipse  observation.  It  is  good  news,  too,  to 
learn  that  for  the  first  time  in  the  history  of  eclipses  the 
momentary  flash  of  bright  lines,  seen  just  before  the  beginning 
and  immediately  after  the  end  of  totality,  has  been  photographed. 
Reverting  for  a moment  to  our  previous  article,  we  would 
remind  our  readers  that  this  end  has  been  attained  by  the  use 
of  a slowly  decending  plate  actuated  by  clock-work,  which  since 
the  flash  has  actually  been  photographed,  will  give  its  complete 
history,  and  enable  us  to  determine  the  exact  order  in  which 
the  lines  appeared  and  re-appeared  before  and  after  totality. 

The  telegram  sent  by  the  English  observers,  Messrs.  Lawrance 
and  Woods,  to  the  Science  and  Art  Department  supplies  further 
particulars  as  to  the  results  of  the  various  attempts  at  recording 
the  history  of  the  eclipse.  The  first  instrument  on  the  official 
list  is  a Rutherford  grating  with  17,000  lines  to  the  inch,  which 
was  used  in  conjunction  with  an  equatorial  telescope  of  six  inches 
aperture.  The  grating  was  so  arranged  that  photographs  of  the 
green  part  of  the  first  order  spectrum  on  the  one  side  and  the 
same  part  of  the  second  order  spectrum  on  the  other  side  should 
be  attempted.  This  would  give  the  region  near  F one  of  the 
chief  solar  lines  in  the  blue-green  parts  of  the  spectrum  ; but, 
although  the  photographs  were  actually  obtained,  the  observers 
do  not  seem  to  be  very  proud  of  them. 

The  next  instrument  is  a Dent’s  prism  of  60°,  mounted  on 
a six-inch  equatotial  of  very  short  focus.  The  object  in  view 
in  employing  a short  focus  was  to  obtain  a very  small  and  in- 
tensely bright  image  of  the  corona,  while  the  use  of  the  prism 
of  60°,  giving  as  small  a dispersion  as  possible,  still  allowed  a 
really  useful  amount  to  be  secured.  This  instrument  succeeded 
well.  We  do  not  know  the  number  of  photographs  obtained  by 
it,  but  if  the  instructions  were  carried  out  to  the  letter,  seventeen 
should  have  been  obtained. 

We  come  next  to  the  instrument  by  means  of  which  the 
photograph  of  the  flash  of  bright  lines  to  which  we  have  referred 
was  obtained.  This  on  the  official  list  is  called  the  “ integrating 
Hilder.”  It  is  a sprectroscope  armed  with  a collimator  of  very 
great  focal  length,  and  directed  merely  to  the  sun’s  place,  no 
image  of  the  sun  or  corona,  therefore,  falling  on  its  slit  as  is 
usually  the  case.  The  light  from  all  the  regions  near  the  sun 
is  mingled  together,  a photograph  of  the  spectrum  of  this  mix- 
ture being  the  special  aim  of  the  instrument.  Messrs.  Lawrance 
and  Woods  are  evidently  satisfied  with  the  work  in  this  direc- 
tion, the  code  word  they  use  indicating  that  they  consider  the 
results  to  be  good  ones.  The  moving  plate  with  which  the 
instrument  is  fitted  was  exposed  two  minutes  before,  and  with- 
drawn from  exposure  two  seconds  after,  totality.  Knowing, 
therefore,  as  we  do,  that  one  flash  was  photographed,  we  may 
reasonably  hope  that  this  was  the  case  also  with  the  other,  and 
as  the  instructions  were  to  allow  the  plate  to  fall  through  one 
inch  in  eight  minutes,  we  may  also  expect  to  get  a comparison 
between  the  flash  before,  and  the  flash  after,  totality. 

The  slit  spectroscope  armed  with  two  prisms,  which  was  used 
by  Captain  Abney  for  the  observations  made  last  year  iu  Egypt, 
was  utilised  also  on  this  occasion  with  good  results.  Only  on$ 


374 


THE  PHOTOGRAPHIC  HEWS. 


[June  15,  1883. 


photograph  was  looked  for  from  this  instrument,  one  which 
would  be  exposed  from  the  beginning  until  the  end  of  totality. 

The  prismatic  camera,  the  instrument  on  the  model  of  that 
used  first  in  the  eclipse  of  1875,  in  which  the  corona  forms  its 
own  slit,  for  some  reason  or  other,  does  not  appear  to  have  been 
so  successful  in  this  eclipse,  although  it  was  tolerably  so  in  that 
of  last  year. 

The  attempt  which  has  been  least  successful  is  that  in  which 
Professor  Rowland’s  grating  was  used  as  a prismatic  camera, 
similar  to  that  to  which  we  have  just  referred.  It  was  hoped  to 
obtain  a photograph  of  the  blue  end,  both  in  the  first  and  in  the 
second  order  spectrum,  but  the  results  obtained  are  ciphered  as 
bad.  Seeing  that  Dr.  Janssen  was  successful  in  his  attempt  to 
obtain  large-scale  photographs  of  the  corona,  we  need  not  regret 
bo  much  that  our  attempt  to  photograph  it  on  a scale  of  four 
inches  to  the  sun’s  diameter  was  unsuccessful. 

The  small  photo -heliograph  that  was  employed  to  such  good 
purpose  in  Egypt  last  year,  has  again  given  excellent  results, 
which  will  be  of  the  highest  importance,  as  they  will  have  been 
carefully  executed,  and  the  American  party  have  taken  no 
photographs  themselves  on  the  present  occasion. 

The  English  observers  telegraph  that  the  lines  obtained  in  the 
spectrum  of  the  corona  by  these  various  methods  are  chiefly 
those  of  hydrogen.  This,  of  course,  does  not  apply  to  the  flash 
we  have  spoken  of.  They  add  that  the  prominences  were  almost 
absent.  This  is  an  extremely  important  fact,  because  it  shows 
what  entire  justification  there  was  for  the  prediction  made  for 
the  present  eclipse  after  that  of  1878,  observed  in  the  United 
States.  That  eclipse  occurred  at  a minimum  sun-spot  period, 
and  the  hydrogen  lines  were  then  seen  only  with  difficulty, 
while  the  continuous  spectrum  of  the  corona  was  more  or  less 
brilliant.  In  the  present  eclipse  the  hydrogen  lines  were  well 
seen  with  a very  brilliant  corona,  as  was  anticipated  would  be 
the  case  at  a period  of  sun-spot  maximum.  This,  perhaps,  may 
explain  the  apparent  absence  of  the  prominences,  because 
practically  the  lower  part  of  the  corona  was  itself  made  up  of 
them. 

We  have  not,  of  course,  any  detailed  information  with  regard 
to  the  results  achieved  by  the  other  parties,  but  when  our  own 
two  English  observers  have  obtained  such  a rich  harvest  we  are 
justified  in  concluding  that  the  work  of  the  American  and 
French  parties  has  been  equally  fruitful.  In  that  case,  the 
trouble  which  has  been  taken  to  secure  the  observation  of  this 
eclipse,  which  took  place  at  a greater  distance  from  home  than 
any  previously  observed,  will  have  been  entirely  justified. 

As  we  have  said,  the  results  of  the  other  parties  will  take  some 
timo  to  reach  us,  but  at  least  we  may  be  6ure  of  this — that  the 
Americans,  with  their  large  experience  of  eclipses  and  their 
trained  observers,  will  have  much  that  is  new  and  important  to 
add  to  the  results  which  our  own  English  party  has  achieved. 


merits  the  attention  of  those  who  are  interested  in  photo- 
graphy upon  the  wood  block,  although,  in  this  case,  the 
perfection  of  the  final  result,  of  course,  depends  upon 
the  skilled  hand  of  the  engraver,  who  follows  with  his  tool 
the  lines  placed  by  photography  upon  the  box-wood. 

Among  the  illustrations  which  cannot  be  set  up  with 
the  letter-press,  and  of  which  there  is  a collection  of  separate 
plates,  are  those  by  collotype,  photo-lithography,  and 
indented  line  (resembling  copperplate).  An  example  of 
the  latter,  p.s  a copy  of  an  engraving,  seems  to  be  as  near 
perfection  as  possible.  One  of  the  collotype  prints  is  a re- 
presentation of  the  work  rooms  of  Herr  Albert,  at  Munich, 
and  is  the  same  that  was  presented  with  the  Photographic 
News  No.  616,  June  24tb,  1870.  When  we  visited  the 
establishment  of  Herr  Albert  in  1877  some  changes  had 
been  introduced  into  the  building,  on  the  doors  of  which 
the  label  “"Verbotener  Eingang  ” showed  us  that  we  were 
especially  privileged.  Steam  presses  had  been  brought  to 
bear,  and  we  saw  an  order  for  seven  thousand  prints  executed 
at  the  rate  of  a thousand  a day,  and  this  without  inter- 
fering with  the  work  which  was  going  at  the  hand-presses, 
these  being  reserved  for  work  in  which  the  highest  quality, 
rather  than  speed  of  production,  was  aimed  at.  A description 
of  th is  pioneer  collotype  establishment  be  will  found  in  Mr. 
H.  Baden  Pritchard’s  “ Studios  of  Europe.”  Other  speci- 
mens of  collotype  processes  are  plates  illustrating  physio- 
logical subjects,  by  Brauneck  and  Maier,  of  Mavence,  and  an 
astronomical  plate,  forming  the  frontispiece,  by  Struraper  of 
Hamburg.  Both  of  these  are  exceedingly  fine. 

The  application  of  photography  to  physiological  and 
general  scientific  investigation  forms  a very  noteworthy 
portion  of  the  work.  There  is  a full  description,  made 
clearer  by  wood-cuts,  showing  the  instrument  employed, 
and  the  results  obtained,  when  photographing  the  waves 
caused  by  sound,  with  the  character  of  which  our  readers 
will  be  tolerably  familiar.  Sphygmographic  curves  are 
also  described,  as  well  as  the  manner  of  applying  the 
sphygmograph  to  the  pulse,  lungs,  and  heart. 

A special  chapter  is  devoted  to  instruments  for  examin- 
ing the  ear,  eye,  and  throat,  and  the  manner  of  using 
photography  in  connection  with  these  appliances  is  also 
shown  ; but  it  is,  of  course,  impossible,  in  a short  notice, 
to  even  refer  to  all  the  points  of  interest  in  a carefully 
got-up  work  of  nearly  four  hundred  pages,  and  we  lay 
down  the  volume,  warmly  recommending  it  to  our  readers. 


Das  Licht  im  Dienste  Wissenschaftlicher  Forschitng. 
llandbuch  der  Anwendung  des  Lichtes  und  der  Photo- 
graphic in  der  Natur-  und  Heilkunde,  &c.  By  Dr. 
Stein,  of  Frankfurt.  ( Leipsig : Otto  Spamer). 

“ Light  in  the  service  of  scientific  investigation,”  is  the 
well  chosen  title  of  a work  which,  whilst  it  includes 
photography,  and,  indeed,  has  the  greater  portion  of  its 
pages  devoted  to  photographic  processes  and  applications, 
has  a far  wider  scope,  and  treats  of  subjects  well  calculated 
to  excite  the  interest  and  attention  of  those — and  we 
believe  their  number  is  not  few  amongst  photographers — 
who  find  pleasure  in  following  the  results  of  scientific 
research  so  far  as  they  are  made  clearly  intelligible. 

A point  worthy  of  particular  recognition  in  the  volume 
before  us,  is  the  manner  in  which  the  various  printing- 
ink  photographic  processes  are  illustrated  by  specimens. 
Examplesof  the  high-relief  engraving  processes  of  l’oitevin 
and  Baldus  are  set  up  with  the  type,  and  the  beauty  of  the 
result, especially  in  a copy  by  the  Poitevin method,  of  apen- 
and-iuk  drawing,  is  so  striking,  that  one  can  only  wonder 
that  these  processes  have  not  been  more  generally  adopted. 
An  engraviug  after  Albert  Diirer,  transferred  to  the  wood- 
block by  Leth's  method,  the  formula  for  which  is  given, 


FRENCH  CORRESPONDENCE. 

Tinted  and  Quadrille  Papers — Non-Fixing  ofGei.atine 

Plates — M.  Lisbonne’s  Emulsion. 

Application  of  Tinted  and  Quadrille  lepers. — Quadrille 
(cross-lined  writing  paper)  and  tinted  papers  are  employed 
with  great  success  by  all  those  who  have  to  do  with  photo- 
typographic  reproduction,  and  transforming  ordinary  photo- 
graphic prints  into  typographic  negatives,  as  Ives,  Petit, 
Meisenbach,  &c.  As  to  Gillot,  Angerer  and  Goschl,  &c., 
they  use  these  papers  for  original  designs  to  be  reproduced 
by  typographic  engraving.  For  my  own  part,  I advise  the 
use  of  a phototypic  tracing  on  white  quadrille  paper,  so  that 
the  aitist  may  have  the  shading  and  outline  both  under  his 
eyes  at  the  same  time.  A special  pencil  has  then  only  to 
be  employed  to  give  vigour.  This  suggestion  is  the  object 
of  a special  work  of  mine  to  appear  soon,  entitled  “ Manuel 
de  dessin  a la  plume  et  au  crayon  en  vue  de  la  transfor- 
mation immediate  en  cliche  typographique,”  and  will  be 
published  by  Gauthier- V’illars. 

Non-Fixing  for  Gelatine  Plates. — M.  Davanne  has  been 
following  M.  de  la  Ferronnays’  formula  for  fixing  for  the 
purpose  of  its  practical  verification.  A gelatino-bromide 
plate  has  been  left  for  forty-eight  hours  in  a hypo  bath 
saturated  with  bromide  of  silver,  alum,  &c.,  and  after  its 
immersion  it  was  as  rich  in  bromide  of  silver  as  before.  The 
duration  of  the  fixing  action  is  limited  by  its  saturation. 


June  15,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


875 


M.  Lisbonne's  Emulsion. — M.  Lisbonne  has  worked  out  a 
theory  of  emulsification  which  leads  him  to  maintain  that 
the  maximum  of  sensitiveness  is  attained  by  the  presence  of 
neutral  bromide  of  silver.  In  the  preparation  of  emulsion, 
therefore,  the  aim  is  to  eliminate  the  bromo-hydric  acid. 
When  acid,  the  emulsion  is  only  slightly  sensitive,  when 
neutral  it  is  at  ite  maximum  of  sensitiveness  ; if  alkaline  it 
fogs.  The  bromo-hydric  acid  must  be  neutralised  by 
ammonia,  and  at  the  same  time  transformation  into  au 
alkaline  bromide  is  to  be  avoided.  M.  Lisbonne  is,  perhaps, 
in  the  right,  and  what  is  certainly  true  is,  that  up  till 
now  the  question  of  gelatino-bromide  has  not  been  brought 
up  to  a satisfactory  point  of  scientific  precision. 

Leon  Vidal. 

o 

NOTES  ON  THE  DEVELOPMENT  OF  GELATINE 
PLATES. 

BY  W.  B.  ALLISON.* 

This  subject  will  doubtless  be  already  well  understood  by  the 
majority  of  those  present,  but  perhaps  a fewremaiks  based  upon 
my  own  personal  experience  may  not  be  amiss. 

In  the  first  place,  taking  the  developer  most  used  hereabouts, 
and  with  which  you  all  are  familiar,  viz  , alkaline  pyrogallic, 
composed  of  pyrogallic  acid  or  “ pyrogallol,”  and  ammonia,  a 
suitable  proportion  of  some  soluble  bromide  being  added  as  a 
restrainer.  It  is  useless  my  giving  a formula  for  a developer  so 
well  known,  and  which,  moreover,  requires  modification  to  suit 
idiosyncrasies  of  various  kinds  of  dry  plates,  a plate  coated 
with  an  emulsion  containing  a large  proportion  of  gelatine  to 
haloids  of  silver  requiring  considerably  less  restrainer  than  one 
in  which  the  emulsion  does  not  contain  so  much  gelatine.  Some 
commercial  plates  you  will  find  are  coated  so  thickly  with  gela- 
tine that  scarcely  any  bromide  is  required  in  the  developer, 
whilst  others  are  just  the  reverse. 

This  developer  is,  on  the  whole,  the  most  useful  one,  as  it 
allows  such  a great  latitude  in  exposing  the  plate,  and  in  deve- 
loping ; by  ringing  the  changes  upon  the  fore-mentioned  chemicals 
you  can  suit  its  necessary  requirements.  An  over-exposed  plate 
may  be  successfully  developed  by  using  at  first  the  usual  quantity 
of  pyro  in  conjunction  with  a small  quantity  of  ammonia,  Ac., 
or,  if  known  to  be  much  over-exposed,  it  may  still  be  successfully 
developed  by  adding  a small  proportion  of  citrate  of  soda  to  the 
developer,  which  is  a powerful  restrainer. 

The  yellow  stain  generally  caused  by  alkaline  pyro  is  best  re- 
moved by  soaking  the  plate  in  chrome  alum  solution  for  a con- 
siderable time. 

Additions,  such  as  glycerine,  sugar,  sulphite  of  soda,  have  been 
used  by  some  in  this  developer,  but  for  my  own  part  I can  see  no 
great  advantage  to  accrue  from  their  use. 

Glycerine  I have  found  to  be  a wonderful  aid  to  the  formation 
of  most  obstinate  air-bubbles,  and  also  film  staining,  besides 
slowing  the  action  of  the  developer.  If  the  pyro  must  be  used 
from  a solution,  make  the  same  in  water  only,  so  much  to  the 
dram  or  ounce,  before  commencing  development.  Use  a good 
plate,  and  plain  alkaline  development  will  suit  it,  aDd  yourself. 
I will  say  nothing  as  to  sulphite  of  soda  in  the  developer,  except 
that  once  when  using  it  I obtained  the  most  remarkable  specimen 
of  greyish-green  fog  that  has  ever  been  my  lot  to  see  ; of  course 
that  may  have  been  my  own  fault. 

Common  washing  soda  has  been  recommended  by  some  in 
preference  to  ammonia  in  the  pyro  developer.  It  gives  yellowish 
images  ; in  my  opinion,  it  has  no  advantage  over  ammonia. 

The  ferrous  oxalate  developer  is  the  one  which  should  find  a 
place  in  the  portrait  studio  ; it  is  easy  to  prepare,  and  one  lot 
will  develop  a whole  day’s  negatives,  the  cost  not  exceeding  that 
of  pyrogallic. 

Make  a saturated  solution  of  green  copperas  in  hot  water  ; when 
cool,  bottle  it  off,  adding  to  each  bottleful  a drop  or  two  of  oil  of 
vitriol.  Dissolve  some  oxalic  acid  in  the  same  way,  so  that 
when  cool  the  acid  slightly  crystallizes  out.  Add  to  the  solu- 
tion as  much  common  commercial  carbonate  of  potash  as  will 
almost  neutralise  it  (known  by  slightly  reddening  blue  test 
paper). 

To  use  new,  three  parts  of  the  latter  solution,  with  one  of  the 
former,  pouring  the  potash  solution  into  the  iron  solution.  This 
will  form  a bright  red  solution,  and  if  an  approximately  correct 

• Read  before  the  North  Staffordshire  Photographic  Association. 


exposure  has  been  given  to  the  plates,  this  will  develop 
many  consecutively  ; should  the  images  come  out  too  flat,  use 
four  or  five  parts  potash  solution  to  one  of  iron  ditto.  No  bro- 
mide will  be  required,  as  the  sulphate  of  potash  found  in  mixing 
the  two  solutions  acts  as  a restrainer  in  a slight  degree. 

I have  sometimes  found  that  the  addition  of  hyposulphite 
soda  to  this  developer  to  force  up  a picture,  and  has  caused  a 
deposit  of  the  ferrous  oxalate  salt  upon  the  plate,  like  fine  sand, 
and  spoiling  the  negative.  I do  not  propose  going  into  the  respec- 
tive merits  of  pyrogallol  and  ferrous  oxalate  as  developers,  having 
done  equally  well  with  either ; but  on  account  of  the  latitude  in 
exposure  pyro  gives,  I usually  adopt  it  for  landscape,  and  also 
microscopical  work  ; plenty  of  latitude  is  allowable  with  ferrous 
oxalate,  but  this  having  been  once  mixed  I prefer  to  use  it  upon 
plates  the  exposure  of  which  I am  pretty  certain  about. 

I show  ferrous  oxalate  and  citro-oxalate  negatives,  the  latter 
being  developed  by  a mixture  of  oxalate  and  citrate  of  potash 
and  ferrous  sulphate.  Other  organic  salts  of  iron,  as  the  boro- 
tartrate,  &c.,  possess  developing  powers,  but  not  to  compare  with 
the  above  in  efficiency  or  cheapness.  I show  two  plates  deve- 
loped by  hydroquinone.  No.  1 had  two  grains  hydroquinone, 
and  one  minim  ammonia.  No.  2,  two  grains  hydro-quinone,  and 
two  minims  ammonia,  and  no  restrainer.  This  is  an  excellent 
developer.  The  plate  requires  a shorter  exposure  than  usual,  and 
the  image  comes  up  well,  and  free  from  stain.  The  present  price 
of  hydroquinone  as  compared  to  pyrogallol  unfortunately  pre- 
cludes its  general  adoption  as  a developer. 


Botis. 

Our  Elementary  Lessons  on  Optics,  which  we  announced 
three  months  ago,  to  be  written  by  Captain  Abney,  will 
commence  next  week  in  these  columns. 


The  beautiful  photo-engraving  process  of  Herr  Klic,  of 
Vienna,  of  which  we  gave  an  example  in  the  Year-Book 
for  1882,  has  been  purchased,  so  far  as  Great  Britain  is 
concerned,  by  Messrs.  T.  and  R.  Annan,  of  Glasgow. 

Our  readers  will  be  interested  in  Ur.  Vogel’s  collodio- 
gelatine  emulsion  patent,  which  appears  in  another 
column. 


All  will  rejoice  to  hear  that  the  visit  of  our  courageous 
observers  to  far-off  Caroline  island  has  not  been  in  vain. 
In  another  column  will  be  found  details  of  the  work 
accomplished  by  Messrs.  Woods  and  Lawrance  and  their 
brethren,  and  a fortnight  hence  we  hope  to  place  before 
our  readers  a further  letter  from  Mr.  Woods,  who  has 
promised  to  send  early  accounts  of  all  their  doings  on  this 
tiny  islet  in  the  Mid-Pacific.  The  sky  was  “ beautifully 
clear  at  the  time  ” of  the  sun  being  eclipsed,  and  luminous 
rays  could  be  seen  darting  out  from  behind  the  black  disc 
of  moon  to  a distance  equal  to  twice  the  diameter  of  the 
sun  ; and  as  this  phenomenon  lasted  for  well  nigh  six 
minutes,  no  wonder  the  photographs  of  the  corona  were 
successful. 


Mr.  H.  P.  Robinson’s  charming  picture,  “ Wayside 
Gossip,”  forms  the  presentation  print  of  the  Photo- 
graphic Society  this  year,  all  members  of  which  should 
apply  at  once  for  copies.  The  picture  is  printed  in  carbon. 

A characteristic  specimen  of  the  Ives’  photo-block  en- 
graving process  may  be  seen  on  page  59  of  the  current 
number  of  “ Harper,”  an  Indian  vase  being  reproduced 


376 


THE  PHOTOGRAPHIC  NEWS. 


[June  15,  1883 


with  a delicacy  and  vigour  which  contrast  favourably 
with  a wood  engraving  on  the  opposite  page.  A touch  of 
shading,  by  way  of  background,  has  been  executed  by  the 
graver,  but  the  picture  itself  appears  to  be  absolutely  un- 
touched. 


“Owing  to  the  invention  of  Colonel  Coster,  the  late 
Director-General  of  the  Ordnance  Survey,  of  photo- 
zincography, the  production  of  six-inch  maps  would  be 
very  much  accelerated,  and  a saving  of  £100,000  made  in 
their  cost."  We  take  this  curious  statement  from  Lord 
Sudeley's  speech  in  the  House  of  Lords  ou  Tuesday  even- 
ing. Who  is  Colonel  Coster,  and  how  has  he  saved 
£100,000,  we  would  ask? 


The  Athenasum  comments  regretfully  on  the  fire  at  the 
Photo-chromo-lithograpbic  Establishment  of  Mr.  William 
Griggs,  of  Elm  House,  Peckham  Rye.  Mr.  Griggs,  says 
our  contemporary,  “ has  succeeded  in  carrying  the  art  of 
photo-chromo-lithography  to  the  highest  perfection  it  has 
yet  attained  in  this  country,  and  until  he  has  again  organ- 
ised his  establishment,  any  high  class  work  of  the  kind 
that  is  required  will  have  to  be  sent  to  Paris.”  The 
praise  of  the  Athenceum  is  fully  deserved.  The  persever- 
ance, skill,  and  care  of  Mr.  Griggs  are  well  shown  in  his 
reproduction  of  the  Shakespeare  Quarto,  an  undertaking 
which  all  Shakesperian  students  appreciated  intensely, 
since  it  placed  within  their  reach  an  absolute  facsimile  at 
an  absurdly  cheap  price.  Mr.  Griggs’  establishment  at 
Elm  House  was  a model  of  neatness,  cleanliness,  and 
excellent  arrangement.  Judging  from  the  exterior,  how- 
ever, anything  less  like  a business  house  it  was  impossible 
to  imagine.  Elm  Grove  itself  is  a relic  of  the  days  when 
Pecknam  itself  was  in  the  couutry — quiet,  retired,  and 
with  the  houses  half  hidden  by  the  foliage  of  fine  old  trees. 
In  this  shady  retreat,  the  house  of  Mr.  Griggs  was  a land- 
mark, as  much  from  the  picturesqueness  of  its  architec- 
ture, as  from  the  neatness  and  taste  with  which  it  was 
kept.  Unfortunately,  not  only  has  the  studio  been  des- 
troyed, but  the  house  also,  Mr.  Griggs  losing  quite  £2,000 
more  than  will  be  covered  by  the  insurance. 


The  point  of  Mr.  Spider’s  paper,  which  he  read  on 
Tuesday  night  to  the  Photographic  Society,  was  that  well- 
prepared  and  well-washed  gun-cotton  may  be  deemed  a 
stable  compound  if  stored  away  where  the  air  can  get  to 
it.  Put  into  a hermetically-sealed  bottle,  where  it  is 
occasionally  subject  to  sunlight,  on  the  other  hand,  gun- 
cotton emits  acid  fumes,  which  soon  lead  to  its  decompo- 
sition. Mr.  Spiller,  who  speaks  after  keeping  samples  for 
twenty  years,  recommends  in  any  case  that  escape  should 
be  provided  for  any  acid  fumes  that  may  be  generated, 
and  this  may  be  done  by  a system  of  loose  packing. 

We  ourselves  have  seen  several  samples  of  fuming 
photographic  gun-cotton,  the  result  of  keeping  the  material 
in  ordinary  stoppered  bottles  exposed  to  light.  The  action 
of  light  and  summer  heat  are  usually  sufficient  to  start  red 
vapour  in  these  circumstances,  even  in  the  case  of  well- 
prepared  gun-cotton.  Our  plau  is  to  throw  such  pyroxy- 


line  iuto  water  and  to  return  it  to  the  bottle  in  this  soaked 
condition  ; dryiug  is  easily  effected  in  a few  hours  in  a 
warm  room  by  blotting  off,  and  pulling  the  tufts  out  loosely. 

Mr.  Brownrigg  was  telling  us  the  other  day  that  when, 
during  his  recent  tour  in  Italy,  he  begged  assistance  and 
dark-room  shelter  at  any  foreign  studio — at  Naja’s,  in 
Venice,  for  instance — he  always  found  a ready  disposition 
to  oblige.  Introducing  himself  in  a few  words  was  quite 
sufficient,  and  the  circumstance  of  his  beiug  a foreigner 
added  to  the  warmth  of  welcome. 


It  was  a good  idea  to  nominate  Mr.  Justice  Grove  as 
one  of  the  judges  on  the  nitro-glycerine  trial.  Questions 
of  a chemical  nature  were  sure  to  crop  up,  and  only  a 
judge  versed  in  science  could  deal  with  them  satisfactorily. 
Grove’s  battery  is  still  a household  word  among  us, 
although  it  is  many  years  now  since  this  valuable  pile  was 
brought  forward  by  the  scientific  lawyer,  whose  works  ou 
physics  may  be  said  to  be  classic. 


Mr.  Justice  Grove  is,  in  fact,  the  only  scientific  lawyer 
of  standing  that  we  have.  The  late  Sir  John  Holker  used 
to  say  he  knew  something  of  chemistry  and  a little  about 
law.  Unfortunately,  he  died  within  a few  months  of  his 
elevation  to  the  Bench.  We  have  plenty  of  barristers 
learned  on  the  question  of  patents  and  mechanical  inven- 
tions ; but  lawyers  who  are  trained  chemists  are  few  and 
far  between. 


An  aeronautical  exhibition  is  now  open  in  Paris  at  the 
Trocadcro.  At  its  close,  on  the  18th  of  this  month,  the 
monument  to  the  brothers  Montgolfier,  the  first  to  travel 
in  the  air,  will  be  inaugurated.  The  Montgolfiers,  it  will 
be  remembered,  employed  hot  air  balloons  in  their  serial 
voyages,  the  first  of  which  was  undertaken  exactly  a 
century  ago— viz.,  on  the  5th  of  June,  1783. 


We  see  that  by  Art.  458,  of  a Royal  warrant  issued  this 
month,  the  Military  Staff  at  Chatham  includes  an 
“ Instructor  in  Photography  and  Electric  Telegraphy,”  at 
£700  per  annum,  and  an  “ Assistant  Instructor  in  Photo- 
graphy and  Electric  Telegraphy,”  at  £350  per  annum. 
The  former  appointment  is  usually  held  by  a major,  and 
the  latter  by  a lieutenant  of  Royal  Engineers. 


Many  photographers  employ  a rubber  stamp  for  imprint- 
ing the  backs  of  mounts,  and  in  these  circumstances  a good 
ink  is  very  essential.  Here  is  the  recipe  for  making  one, 
quoted  from  the  Engineer,  and  said  to  yield  an  excellent 
ink  which,  while  not  drying  on  the  pad,  will  yet  not  readily 
smear  when  impressed  upon  paper  : 

Aniline  red  (violet)  180  grains 

Distilled  water  ...  ...  ...  2 ounces 

Glycerine 1 tea-spoonful 

Treacle  ] » 

The  crystals  of  aniline  are  powdered  and  dissolved  in  the 
boiling  distilled  water,  and  the  other  ingredients  then 
added. 


Ju.ve  15,  1883  f 


THE  PHOTOGRAPHIC  NEWS.  377 


The  St.  James's  Gazette  has  but  a poor  opinion  of  photo- 
graphy as  a means  of  assisting  the  artist  in  etching  or 
painting  a portrait.  Speaking  of  an  etching,  by  Mr.  C.  O. 
Murray,  of  Dr.  John  Brown,  we  are  told  that  “ in  spite  of 
its  being  a compilation  from  photographs,”  the  picture  “ is 
a capital  likeness,  and  sufficiently  pleasing  as  a work  of 
art.1'  One  thing,  the  Gazette  itself  is  not  called  upon  to 
produce  portraits,  and  therefore  the  opinion  it  expresses 
does  not  involve  much  responsibility  ; only  we  should  like 
our  contemporary  to  tell  us  what  sculptors,  portrait 
painters,  and  other  artists  want  with  a photograph,  if  it  is 
not  to  assist  them  at  their  work. 


Water  companies  differ  as  to  their  ideas  of  the  quantity 
of  water  consumed  by  photographers,  and  as  there  appears 
to  be  no  uniform  rule  of  charge,  it  is  possible  that  the 
inspector  of  the  district  is  the  real  arbitrator.  Anyway, 
a sharp  photographer  of  our  acquaintance  thought  so,  and 
when  recently  something  was  wrong  with  the  supply, 
necessitating  a visit  of  this  authority  to  the  premises,  the 
photographer,  by  asking  him  to  sit  for  his  portrait  without 
charge,  so  gained  his  favour,  that  he  allowed  a pipe  of 
larger  diameter  to  be  put  in,  by  which  the  photographer 
gained  a double  supply  at  no  extra  charge.  As  the  house 
was  supplied  on  the  constant  service  system,  the  difference 
was  something  important. 


Herr  lvopske  gives  some  details  in  the  last  number  ofthe 
Mittheilungen  of  his  Retouching  School  recently  established 
at  Berlin.  The  School  accommodates  ten  students,  the  fee 
being  fifty  marks,  or  shillings,  per  month  for  two  hours’ 
instruction  every  day.  Herr  Kopska  has  the  rank  of 
Academical  Painter  in  Berlin,  and  his  course  includes 
thorough  art  instruction,  as  well  as  positive  and  negative 
retouching.  “ The  Persian  Prince,  who  was  here  some  two 
years  ago,  received  his  instruction  in  retouching  from  me,’’ 
says  Herr  Kopske,  proudly  ; but  this  does  not  mean  that  he 
takes  only  princes  as  pupils  ; he  admits  photographers  as 
well. 


Periodicals  illustrated  by  photography  not  being  portraits, 
have  somehow  never  succeeded.  There  have  been  two 
attempts  made  in  this  country  (we  refer  only  to  those  which 
absolutely  came  before  the  public),  one  the  Photographic  Art 
Annual,  started  in  1858,  and  the  Photographic  Art  Journal, 
which  appeared  in  1870.  The  Photographic  Art  Annual 
changed  its  name  to  the  Photographic  Art  Journal  after  the 
first  number.  Eight  parts  were  published  monthly — there 
was  an  interregnum  of  three  months  between  the  seventh 
and  eighth — and  it  then  ceased  to  exist.  The  photographs 
with  which  it  was  illustrated  have  now  a curious  old  world 
look  about  them.  They  were  printed  on  plain  paper, 
apparently  from  paper  negatives,  and  show  little  signs  of 
fading.  The  Photographic  Art  Journal  of  twelve  years  later 
was  a much  more  ambitious  effort,  and  the  illustrations  were 
printed  in  carbon.  It  had,  however,  even  less  success  than 
its  predecessor,  for  four  numbers  only  were  issued.  Thes0 
journals  were  certainly  very  much  before  their  time,  for 


even  now,  with  improved  appliances  and  with  an  increased 
interest  in  photography  on  the  part  of  the  public,  it  is 
doubtful  whether  a general  photographic  publication  would 

pay- 


It  sounds  odd,  by  the  way,  to  read  in  the  first  of  the  two 
journals  we  have  mentioned  the  following:  “Proposals 

will  shortly  be  issued  for  the  formation  of  a new  Photo- 
graphic Society  to  be  composed  exclusively  of  scientific  and 
attistic  photographers  who  will  unite  their  efforts  for  a 
vigorous  pursuit  of  the  philosophy  of  the  art,  and  oppose  the 
quackery  that  is  fast  creeping  in.  Such  a Society  is  really 
needed.  The  Photographic  Society  of  London  has  failed 
iu  accomplishing  the  end  for  which  its  original  promoters 
established  it,  and  all  hopes  of  its  ever  effecting  any  real  good 
are  abandoned.”  It  is  always  unsafe  to  prophesy  unless  you 
know.  The  Photographic  Society  has  survived  fora  quarter 
of  a century  after  this  prediction,  and  certainly  holds  as 
good  a position  as  ever  it  did. 


View  meters  and  aiming-sights  are  again  being  talked 
about.  Mr.  Harvey  Barton’s  view-meter,  which  has  been 
described  in  these  columns,  is  one  of  the  simplest  forms  ; 
but  the  modification  of  it  we  now  show  is  still  better.  A, 
the  foresight — that  is,  to  frame  the  view  chosen — slides  to 
and  fro  on  the  bar,  B ; while  C,  through  which  the  eye  looks, 


is  fixed  or  hinged  at  the  end  of  the  bar.  This  instrument 
may  be  constructed  of  metal,  wood,  or  even  cardboard,  the 
photographer  marking  upon  the  bar,  B,  certain  lines  to 
correspond  with  the  lenses  in  his  possession.  He  tries  his 
lenses  practically,  and  sees  what  each  ot  them  will  do,  and 
the  results  he  marks  on  the  scale.  Then,  when  he  has  to 
take  a view,  he  simply  looks  at  it  through  his  view-meter, 
and  chooses  the  lens  indicated  on  the  scale. 


As  an  aiming-sight  or  finder,  either  a second  lens 
and  camera  may  be  used,  or  a simple  foresight  and 
back-sight.  These  latter  are  most  conveniently  fixed 
to  the  side  of  the  camera,  the  back-sight  having  an  eye- 
hole similar  to  that  in  C,  in  ihe  previous  sketch,  while 
the  foresight  may  be  a round  opening  rather  larger,  with  a 
cross  of  wire  in  the  centre.  Supposing  the  camera  to  be 
ready  for  exposure,  and  the  photographer  is  waiting,  per- 
haps, a coming  vessel,  which  is  to  form  the  centre  of  his 
picture,  he  simply  tarries  until  the  approaching  craft  is 
seen  to  be  covered  by  the  cross  of  the  foresight.  He  at 
once  makes  his  exposure,  being  quite  sure  that  whatever 
is  in  the  line  of  sight,  is  at  the  same  moment  in  the  centre 
of  his  plate. 


378 


fHE  PHOTOGRAPHIC  NEWS. 


[jcNE  15,  1883. 


patent  Jtttelligmt. 

Application  for  Letters  Patent. 

2799.  Joseph  Julius  Sachs,  of  Gray’s  Inn  Road,  in  the  coanly 
of  Middlesex,  for  an  invention  of  “ Improvements  in  appa- 
ratus to  be  used  in  the  preparation  of  metal  surfaces  for  etch- 
ing, engraving,  and  similar  purposes.” — Dated  5th  June,  1883. 

Grant  of  Provisional  Protection. 

2323.  Josiah  Adams,  the  younger,  of  Liverpool,  in  the  county 
of  Lancaster,  for  an  invention  of  “ Improvements  in  the  manu- 
facture of  coloured  photographic  pictures.” — Dated  8th  May, 
1883. 

Patent  Void  through  Non-payment  of  Duties. 
2162.  Edwin  Ambrose  Bridges,  of  the  firm  of  Brydgesand  Co., 
Engineers  and  Patent  Agents,  73,  Koeniggraetzer-Strasse, 
Berlin,  in  the  empire  of  Germany,  for  an  invention  of  “ Im- 
provements in  the  preparation  or  production  of  photographic 
emulsions.” — A communication  to  him  by  Professor  Doctor 
Hermann  Wilhelm  Vogel,  of  the  city  of  Berlin  aforesaid. — 
Dated  27th  May,  1880. 

This  invention  relates  to  the  preparation,  production,  or 
manufacture  of  photographic  emulsions.  The  gelatine  dry  plates 
hitherto  in  use  are  extremely  sensitive,  and  are  produced  by 
pouring  an  emulsion  consisting  of  an  aqueous  solution  of  gela- 
tine containing  bromide  of  silver  over  the  plates,  and  allowing 
the  same  to  dry.  This  aqueous  bromide  of  silver  gelatine  emul- 
sion possesses  the  disadvantages  that  it  decomposes  very  rapidly, 
dries  very  slowly  when  distributed  over  the  plates,  intensifies 
and  washes  with  difficulty,  and  easily  frills  on  the  plate.  After 
many  experiments,  I have  succeeded  in  overcoming  these  dis- 
advantages by  an  entirely  new  process  hitherto  unknown  in 
photography,  for  which  purpose  I use  gelatine  containing  bro- 
mide of  silver  (or  chloride  of  silver  and  iodide  of  silver,  or  a 
mixture  of  the  same)  in  combination  with  pyroxyline.  No 
means  of  combining  gelatine  or  gelatine  emulsion  with  a solu- 
tion of  pyroxyline  ( i . e.,  collodion)  so  as  to  form  a homogeneous 
fluid  has  been  known  up  to  the  present  time.  If  common 
collodion  is  added  to  the  ordinary  gelatine  emulsion  the  dissolved 
matter  will  be  precipitated  in  flakes.  I have  now  succeeded  in 
obtaining  a perfect  homogenoeus  mixture  by  using  a solvent 
which  will  dissolve  both  substances,  bromide  of  silver,  gelatine, 
and  pyroxyline.  Such  solvents  are  the  various  organic  acids  ; 
namely,  the  inferior  members  of  the  fatty  acids,  such  as  formic 
acid,  acetic  acid,  propionic  acid,  &c.,  and  their  derivatives  or 
mixtures  of  the  same,  alone  or  with  methylated  spirit,  ethyl- 
alcohol,  &c.  I found  that  gelatine  bromide  of  silver  dissolved  in 
these  solvents  without  precipitating  the  salts  of  silver  contained 
in  the  same,  and  that,  contrary  to  all  previous  experience,  the 
photographic  properties  of  these  salts  were  not  essentially 
changed  by  the  presence  of  the  acids ; that  the  properties  of  the 
gelatine  emulsion  in  the  solution  were  improved,  so  that  it  no 
longer  possessed  the  disadvantages  of  the  aqueous  emulsion,  as 
mentioned  above ; and  that  its  properties  are  still  further  im- 
proved by  the  combination  with  pyroxiline. 

To  produce  the  combination  afore-named,  I use  the  following 
four  various  methods  : — 

1.  I first  produce  a gelatine  emulsion  according  to  the  custom- 
ary process,  which  is  then  dried  by  means  of  cold  or  warm  air, 
or  other  means  for  extracting  the  water.  This  dry  bromide  of 
silver  gelatiue  (which  can  also  contain  iodide  of  silver  and  chlo- 
ride of  silver)  I then  dissolve  warm  in  one  of  the  above- 
mentioned  acids,  using  three  to  ten  times  as  much  or  even  more 
acid.  The  quautity  of  acid  to  be  used  depends  on  the  solvency 
of  the  gelatine,  and  must  be  tried  for  each  kind.  This  acidulous 
emulsion  is  now  used  alone  after  having  been  diluted  with 
alcohol  to  the  required  consistency,  or  can  be  mixed  with 
pyroxyline.  The  pyroxyline  is  dissolved  in  acetic  acid,  a like 
acid,  or  a mixture  of  such  acid  with  alcohol.  The  most  appro- 
priate quantity  of  pyroxyline  is  about  one  per  cent,  of  the 
quantity  of  acidulous  emulsion  employed. 

Instead  of  this  process  the  following  method  can  be  used: — 

2.  Pyroxyline  is  dissolved  in  one  of  the  fatty  acids,  for 
instance,  formic  acid  or  acetic  acid,  or  a mixture  of  such  acid, 
per  se,  or  with  alcohol  or  other  solvent  which  will  dissolve  both 
gelatine  and  pyroxyline.  For  easily  soluble  pyroxyline,  alcohol, 
or  methylated  spirit,  or  a mixture  of  the  same,  can  be  used  as  sol- 
vent. The  proportions  can  be  varied  in  many  different  ways,  so 
that  the  following  formula  serves  simply  as  an  example,  id  est : 


Pyroxyline  ...  ...  ...  ...  2 grammes 

Acetic  acid  50  „ 

Alcohol  50  „ 

The  collodion  produced  by  this  process  is  mixed  with  about 
an  equal  quantity  of  acidulous  emulsion,  as  above  described. 
The  gelatine  emulsion  collodion  produced  can  be  slightly  warmed 
and  applied  like  ordinary  collodion  to  glass  plates,  paper,  &c., 
and  exposed  to  the  light  either  in  a moist  or  dry  condition.  A 
similar  mixture  can  be  prepared  as  follows  : — 

3.  A collodion  emulsion  is  prepared  according  to  the  custom- 
ary formula  and  precipitated  as  usual  by  water  ; or  the  emulsion 
is  allowed  to  dry  up,  then  washed,  and  the  dry  matter  dissolved 
in  one  of  the  above-mentioned  acids  or  mixtures  of  the  same  with 
alcohol.  Gelatine,  either  alone  or  after  being  dissolved  in  one  of 
the  solvents  mentioned  above,  is  now  added  to  the  collodion 
preparation.  The  proportions  can  be  varied  in  the  like  degree 
as  in  the  preparation  of  the  ordinary  collodion  emulsion.  The 
following  is,  for  instance,  one  of  the  various  proportions  of  the 
mixture: — 7 grammes  of  the  precipitated  pyroxyline  containing 
bromide  of  silver  are  dissolved  in  150  grammes  alcohol  and  90 
grammes  acetic  acid,  then  2 grammes  gelatine  are  dissolved  in 
20  grammes  acetic  acid  and  added  to  the  same.  Another  process 
for  producing  a similar  mixture  is  : — 

4.  Dissolve  gelatine  and  pyroxyline  in  one  of  the  above- 
mentioned  solvents,  or  dissolve  them  separately,  and  then  mix 
the  solutions.  Finely-powdered  bromide  of  silver  prepared  in 
the  customary  manner,  or  any  one  of  the  silver  haloid  salts,  or  a 
mixture  of  the  same,  is  now  added  to  the  gelatine  collodion 
solution  ; or  the  silver  haloid  salts  are  produced  in  the  gelatine 
collodion  solution  through  double  decomposition.  These  pro- 
portions can  also  be  varied  in  different  ways. 

Having  now  described  my  said  invention,  and  the  manner  of 
carrying  the  same  into  effect,  what  1 claim  and  desire  to  secure 
by  Letters  Patent  is, — 

First.  The  manufacture,  preparation,  or  production  of  a 
durable  gelatine  emulsion  by  dissolving  gelatine  containing  silver 
holoid  salt  in  one  of  the  solvents  mentioned  in  the  foregoing 
Specification. 

Second.  The  mixing  or  the  combination  of  gelatine  emulsion 
and  collodion,  substantially  as  described  in  the  foregoing  Speci- 
fication under  parts  1 and  2. 

Third.  The  combination  or  the  mixing  of  a collodion  emulsion 
with  gelatine,  substantially  as  described  in  the  foregoing  Specifi- 
cation under  part  3. 

Fourth.  The  preparation  or  production  of  a silver  haloid  salt 
emulsion  by  distributing  silver  haloid  salts  in  (or  mixing  such 
salts  with)  a gelatine  collodion  emulsion,  substantially  as  de- 
scribed in  the  foregoing  Specification  under  part  4. 

Fifth.  The  application  or  employment  of  the  combination  of 
gelatine  and  collodion,  or  gelatine  and  pyroxline,  for  the  prepara- 
tion of  emulsions,  substantially  as  and  for  the  purposes  set  forth 
in  the  foregoing  Specification. 

Sixth.  The  use,  application,  or  employment  of  the  afore- 
mentioned emulsions  for  covering  surfaces  for  photographic 
purposes,  such  as  photographic  plates,  papers,  &c.,  substantially 
as  set  forth  in  the  foregoing  Specification. 

2249.  Bolesla6  de  Dutkiewicz,  Artist,  and  Anatole  Edward 
Decoufle,  Proprietor,  both  of  the  city  of  Paris,  in  the  re- 
public of  France,  for  an  invention  of  “ An  improved  process 
of  painting  on  cloth,  photographs,  engravings,  and  prints.” — 
Dated  2nd  June,  1880. 

This  invention  consists  of  a new-  mode  of  painting  photographs 
on  cloth,  which  are  quite  equal  to  the  finest  oil  paintings,  with 
the  advantage  that  the  likeness  is  perfect,  the  outlines  being  the 
result  of  photography.  This  novel  method  of  painting,  that  we 
have  denominated  11  lineography,”  has  also  the  following 
advantages  : it  accelerates  the  artist’s  work,  itiis  accessible  to  all 
on  account  of  its  cheapness,  and  it  preserves  its  artistic  character. 
And  in  order  that  our  said  invention  may  be  clearly  understood, 
we  shall  now  proceed  more  fully  to  describe  the  same,  and  for 
that  purpose  divide  the  mode  of  procedure  into  four  distinct  and 
principal  parts  : — 1st,  the  preparation  of  the  cloth  ; 2nd,  the 
painting  of  the  photograph  ; 3rd,  the  sizing  of  the  painted  cloth 
over  another  supporting  cloth  ; and  4th,  the  finishing  or 
retouching  of  the  painting. 

1st.  Preparation  of  the  Cloth. — As  far  as  is  practicable,  we 
choose  a very  fine  cloth,  and  it  is  on  this  fine  cloth,  of  which 
the  grain  is  made  still  smoother  by  passing  it  one  or  more  times 
between  pressing  and  smoothing  cylinders,  that  we  fix  the 
photographic  proof  of  the  picture  or  likeness  that  we  have  to 


June  15,  1883.  J 


THE  PHOTOGRAPHIC  NEWS: 


379 


paint.  The  photographic  proof  on  cloth  having  been  stretched 
on  a frame,  we  varnish  it  with  a mixture  made  with, — 

Copal  varnish  ...  ...  ...  70  per  cent. 

Rectified  turpentine  essence  ...  30  ,,  ,, 

This  mixture,  before  being  spread  on  the  cloth,  must  be  warmed 
at  a temperature  of  about  50  to  55  degrees  Centigrade.  The 
object  of  this  operation  is  to  give  the  cloth-  transparency  and 
solidity.  If  deemed  advisable,  the  mixture  may  be  modified  in 
its  parts,  and  be  rendered  more  active  by  the  use  of  French 
varnish. 

2nd.  The  Painting  of  the  Photograph. — After  the  cloth  has 
been  varnished  as  described,  it  must  be  left  to  dry  for  five  or  six 
hours  in  a drying  place  at  a mild  temperature  of  about  25“  to 
40° ; we  then  paint  it  cross  grain  with  oil  colour.  A short 
practice  will  soon  show  how  to  apply  the  paints  so  that  they 
appear  very  bright  on  the  outline,  and  so  that  a person  not 
previously  acquainted  with  the  process  may  be  deceived. 

3rd.  The  Sizing  of  the  Painted  Cloth  over  another  Support- 
ing Cloth. — This  is  effected  after  the  painted  cloth  has  been 
taken  out  of  its  frame,  by  employing  as  glue  a copal  varnish, 
which  must  be  spread  on  one  or  the  other  cloth,  and  then  this 
double  cloth  is  submitted  to  a pressure  of  about  600  kilogrammes, 
after  which  operation  these  two  cloths  form  but  one.  The 
pressure  must  be  maintained  twelve  hours,  and  then  the  cloth  is 
stretched  on  a frame  as  would  be  the  case  for  an  ordinary  oil 
picture,  when  it  is  left  to  dry  in  this  manner  for  about  twelve 
hours  more. 

4th.  The  Finishing  or  Retouching  of  the  Painting. — Finally, 
the  work  has  only  to  be  retouched  on  the  cloth  itself  in  order 
to  strengthen  or  soften  some  part  or  other — that  is  to  say,  in 
order  to  make  it  the  most  perfect  likeness,  and  give  it  a perfect 
finish. 

Having  now  described  and  particularly  ascertained  the  nature 
of  our  said  invention,  and  the  manner  in  which  tbe  same  is  or 
may  be  used  or  carried  into  effect,  we  would  observe,  in  conclu- 
sion, that  what  we  consider  to  be  novel  and  original,  and  there- 
fore claim  as  our  property,  is, — 

First.  The  preparation  of  the  cloth  on  which  the  photo- 
graphic proof  is  obtained  by  means  of  a hot  mixture  of  copal 
varnish  and  turpentine  essence,  as  hereinbefore  described,  for 
the  purpose  of  obtaining  the  transparency  and  firmness  of  the 
cloth. 

Second.  The  peculiar  mode  of  disposing  the  oil  paints  cross 
gram,  after  having  previously  taken  care  to  dry  the  varnished 
cloth. 

Third.  The  application  and  sizing  of  the  painted  cloth  over  a 
second  and  stronger  one,  in  using  for  the  purpose  a copal  var- 
nish as  glue,  and  a press  which  effects  an  intimate  adhesion  of 
both,  so  that  they  form  but  one. 

Fourth.  The  cloth,  having  been  conveniently  pressed  and 
warmed,  is  placed  on  a frame  in  the  usual  way  and  retouched  ; 
the  picture  being  artistically  painted  is  now  complete  and  perfect. 

We  reserve  to  ourselves  all  equivalent  modifications  in  the 
execution  of  our  invention,  which  practice  may  induce,  either  in 
the  varnish,  or  in  any  other  part  of  our  new  mode  of  producing 
oil  paintings. 

Patents  Granted  in  France. 

152,091.  Cros  and  Vergeraud,  of  Paris,  for  “ Paper  for  obtain- 
ing positive  proofs  of  tracings,  &c.,  made  on  transparent  sub- 
stances.”— Dated  14th  November,  1882.  Class  17. 


A TOUR  IN  KENT. 

BY  PHOTO-CYCLIST. 

Mant  amateurs  living  in  or  near  London,  who  are  only 
able  to  spare  a whole  day  or  two  for  photography  during 
the  summer,  are  then  often  at  a loss  to  know  where  to  take 
their  cameras.  The  county  of  Kent  affords  many  inte- 
resting objects  ; rural  villages,  old-fasbioned  half-timbered 
cottages,  rivulets,  and  some  splendid  landscapes  abound 
when  once  clear  of  London  smoke. 

The  possession  of  a tricycle  is  an  immense  boon  to  the 
amateur  photographer  in  such  circumstances,  and  I advise 
anyone  who  desires  a single  day’s  outing,  and  who  does 
not  already  possess  a three-wheeler,  to  hire  one  for  the 
occasion  (there  are  several  well-known  firms  in  the  city 
and  elsewhere  who  let  them  out  on  hire).  In  the  one 


day’s  tour  I am  about  to  describe,  I was  riding  a bicycle, 
accompanied  by  two  friends  (lady  and  gentleman)  on  a 
sociable  tricycle,  who  had  charge  of  my  traps. 

Starting  from  Farningham,  on  the  high  road  from 
London  to  Maidstone,  and  about  seventeen  from  London 
Bridge  (which  distance  may  easily  be  got  over  before  break- 
fast, i.  e.,  in  about  three  hours),  the  first  object  that  pre- 
sents itself  is  the  splendid  chestnut  tree  standing  on  the 
bank  of  Darent  trout  stream,  opposite  the  “ Lion  ” Hotel. 
This,  with  the  arches  of  the  old  bridge  still  standing,  makes 
(from  the  market  field)  a capital  picture.  Eynsford 
Bridge,  with  some  old  cottages  about  a mile  off  the  main 
road,  is  worth  attention.  The  ruins  of  the  castle  here, 
from  the  west  side  of  the  stream,  is  an  interesting  subject 
for  a negative. 

On  the  road  to  Wrotham  several  good  landscape  views 
are  to  be  had,  and  at  the  top  of  Wrotham  Hill  a most 
magnificent  prospect  over  the  surrounding  picturesque 
country  is  obtained,  but  is  much  too  extensive  for  a single 
photograph.  On  descending  the  hill  into  Wrothan  village 
the  church,  with  its  fine  interior,  will  require  two  plates, 
and  a good  view  of  the  street  may  be  got  from  about  the 
centre  of  the  village.  At  Mrotham  Heath  some  excellent 
negatives  may  be  had,  particularly  the  old  cottage  (at  what 
was  originally  the  toll-gate),  with  the  Scotch  and  larch  firs 
on  each  side  of  the  road.  A little  farther  on,  it  is  better 
to  leave  the  high  road  on  the  right,  and  cross  Addington 
Bark  (the  seat  of  Sir  S.  H.  Waterlow,  Bart.)  to  Addington 
Village,  where  at  least  three  good  negatives  ought  to  be 
obtained ; the  church  here  is  a very  interesting  and  ancient 
building.  From  Addington  toBirley,  through  Ryash,  the 
photographer  should  not  be  idle.  At  Birley,  the  chief 
object  of  interest  is  the  church,  with  a rustic  cottage  close 
by,  used,  I believe,  as  the  village  school. 

To  reach  the  main  toad  again  Leybourne  is  passed  ; the 
ruins  of  the  old  castle  here  and  the  church,  with  its  circu- 
lar churchyard,  are  worth  a plate  each,  and  two  others 
may  advantageously  be  exposed  before  crossing  the  high 
road  to  arrive  at  West  Mailing,  at  which  place,  aftera  rest 
and  a feed,  at  least  half-a-dozen  plates  will  be  required. 
The  Abbey  is  the  principal  object  of  interest,  permission 
being  readily  granted  to  enter  the  grounds,  where  a good 
view  of  the  ruins  is  to  be  obtained.  In  the  street,  again, 
two  capital  views  are  to  be  obtained,  one  especially,  with 
an  archway  in  the  wall  of  the  Abbey  grounds,  through 
which  a stream  of  water  gushes,  forming  a fine  cascade, 
should  not  be  passed  by.  St.  Leonard’s  Tower,  about  a 
mile  further  on,  is  also  worth  a visit. 

The  next  village  on  the  main  road  is  Uitton  ; three  plates 
may  with  advantage  be  exposed  here  (views  of  the  street 
and  mill  with  stream).  Aylesford  (on  the  river  Medway  to 
the  left  of  the  high  road  to  Maidstone)  is  deserving  of 
more  than  a passing  visit ; iu  fact,  I should  advise  the 
tourist  to  spend  the  rest  of  his  time  here  (that  is,  if  he  is 
only  out  for  one  day),  for  leaving  London  at  about 
six  o’clock  in  the  morning  it  would  now  be  between  two 
and  three  o’clock,  distance  about  thirty-six  miles.  The 
bridge  at  Aylesford  from  the  west  side  of  the  river,  showing 
the  church  and  cottages  in  the  background,  makes  a good 
picture  ; besidesjwhich,  several  other  splendid  views  are  to 
be  obtained  from  the  banks  of  the  Medway. 

Leaving  Aylesford  about  three  p.m.  (or  half  past)  the 
tricycling  photographer  ought  to  be  back  in  London  soon 
after  eight  o’olock,  of  course  keeping  to  the  main  road 
(distance  about  thirty-three  miles),  and  exposing  no  plates 
on  the  homeward  journey. 

A capital  circular  tour  may  also  be  made  from  London, 
passing  through  the  following  places  : Bromley,  Farnboro’, 
Green  Street  Green,  Halstead,  Dunton  Green,  Sevenoaks, 
then  up  the  Darenth  Valley,  through  Otford,  Shoreham, 
Eynesford,  Farningham,  Horton  Kirby,  and  Darenth  to 
Hartford,  and  from  thence  back  to  London  via  Bexley 
Heath,  Shooter’s  Hill,  &c. ; in  fact,  with  a good  supply  of 
plates,  a whole  day  may  with  advantage  be  spent  in  the 


380 


[June  15,  1883. 


THE  PHOTOGRAPHIC  NEWS. 


Darenth  Valley  alone — Shoreham,  Eynsford,  and  Faruing- 
ham  being  especially  worthy  of  notice.  I simply  write 
the  above  for  the  benefit  of  those  amateurs  who  rarely  use 
their  cameras  except  during  their  usual  ten  days’  holiday 
in  Scotland,  Wales,  or  on  the  Continent,  and  who  think 
that  the  country  near  home  is  not  worth  exploring.  To  such, 
I say,  obtain  a tricycle  for  a single  day,  and  ride  into  Kent, 
to  some  of  the  places  I have  mentioned,  and  if  he  is 
fortunate  enough  to  be  favoured  with  fine  weather,  he  will 
not  forget  the  outing.  It  seems  to  me  that  the  tricycle  is 
likely  to  be  of  much  more  use  to  the  photographer  than 
anyone  else,  and  1 have  often  wondered  why  it  and  the 
camera  have  not  been  more  frequently  associated.  True  the 
improved  tricycle  has  only  been  in  general  use  a year  or 
two,  yet  assuredly,  before  another  season  closes,  a large 
number  of  amateur  photographers  will  have  discovered 
what  a great  help  the  tricycle  is  to  them. 


BRISTOL  INTERNATIONAL  PHOTOGRAPHIC 
EXHIBITION  (TRIENNAL). 

The  Council  of  the  Bristol  and  West  of  England  Amateur  Photo- 
graphic Association  beg  to  announce  that  the  Triennial  Interna- 
tional Exhibition  of  Photographs,  Photographic  Apparatus,  and 
Appliances,  to  be  held  in  the  Galleries  of  the  Academy  of  Arts, 
Queen’s  Road,  Clifton,  Bristol,  will  be  opened  on  Monday,  17th 
December,  1883,  continuing  open  till  Monday,  14th  January, 
1884. 

Apart  from  photographs  for  competition,  the  Council  will 
esteem  it  a favour  if  those  who  have  any  interesting  examples  of 
the  history  and  progress  of  photography  will  kindly  lend  them 
for  exhibition. 

All  pictures,  'apparatus,  and  contributions  of  any  kind  will  be 
insured  at  the  expense  of  the  Association. 

Especial  care  will  be  bestowed  on  the  hanging,  so  that  all  pic- 
tures shall,  as  far  as  possible,  be  done  justice  to,  to  facilitate 
which,  the  whole  of  the  extensive  galleries  above  referred  to  have 
been  retained. 

Conditions. 

There  will  be  an  intrance  fee  of  five  shillings,  to  be  paid  by 
each  exhibitor  in  competition  whose  exhibits  cover  less  than 
20  square  feet,  and  ten  shillings  by  those  whose  exhibits  cover 
more  than  20  square  feet. 

All  pictures  for  exhibition  (except  as  below  stated)  must  be 
sent  mounted  and  framed,  with  the  artist’s  name,  address,  and 
price  (if  for  sale)  on  the  back  ; the  titles  of  the  subjects  and  pro- 
cess by  which  produced  may  be  neatly  affixed  to  the  front  of  the 
pictures.  On  no  consideration  will  the  name  or  address  of  the 
artist  be  permitted  on  the  front,  as  such  will  appear  in  the 
Catalogue  ; and  no  pictures  in  Oxford  frames  will  be  admitted. 

Pictures  from  India  and  the  Colonies  may  be  sent  by  post, 
unmounted,  and  the  Council  will  undertake  to  have  them 
mounted  at  the  cost  of  the  exhibitor,  such  expenses  to  be 
deducted  from  the  proceeds  of  the  sale  of  the  pictures.  Never- 
theless, where  possible,  the  Council  would  recommend  exhibitors 
sending  their  pictures  ready  framed,  according  to  their  own 
tastes.  All  unmounted  pictures  must  be  delivered  by  November  Is!. 
The  most  direct  route  from  America  is  from  New  York  by  the 
“ Great  Western  Steamship  Line  ” direct  to  Bristol,  with  which 
Company  special  rates  for  exhibitors’  packages  have  been 
made. 

The  Council  undertake  to  unpack,  re-pack,  and  return  all 
exhibits  remaining  unsold  ; all  carriage  must  be  prepaid  by  the 
exhibitor.  Every  care  will  be  taken  of  the  exhibits,  but  at  the 
same  time  the  Council  will  not  hold  themseves  liable  for  any 
untoward  accident  that  may  occur,  with  the  exception  of  loss  by 
fire,  which  is  specially  provided  for. 

The  Council,  while  undertaking  the  sale  of  exhibited  pictures 
at  the  usual  commission  of  10  per  cent.,  will  not  undertake  to 
sell  further  copies. 

Photographs  coloured  by  hand  will  be  excluded  from  competi- 
tion. 

The  Hanging  Committee  will  reserve  the  power  of  rejecting 
any  pictures. 

Each  exhibitor  must  fill  up  the  annexed  Form  A,  and  forward 
it  to  the  Hon.  Sec.  not  later  than  November  Is!. 

All  pictures  intended  for  exhibition  must  be  sent  carriage 


paid,  to  arrive  not  later  than  December  Is!,  addressed  - Inter- 
national Photographic  Exhibition,  Academy  of  Arts,  Clifton, 
Bristol. 

The  following  is  a list  of  medals  which  will  be  awarded  for  the 
best  and  second  best  pictures  in  the  various  classes,  and  to  be 
decided  on  the  opinions  of  five  gentlemen — being  two  eminent 
painters,  and  three  well-known  photographers,  three  of  the  judges 
being  outside  the  Association. 

1.  A gold  medal  for  the  picture  or  series  of  pictures  which,  in 
the  opinion  of  the  judges,  possesses  the  highest  degree  of  merit, 
irrespective  of  size  or  subject. 

2.  One  silver  and  one  bronze  medal  for  the  best  and  second 
best  landscape  or  series  of  landscapes  of  8£  by  6 \ or  under. 

3.  One  silver  and  one  bronze  medal  for  the  best  and  second 
best  landscape  or  series  of  landscapes  above  8i  by  6£. 

4.  A silver  medal  for  the  best  instantaneous  picture  or  series 
of  pictures  of  land  or  seascapes. 

5.  A silver  medal  for  the  best  interior  or  set  ies  of  interiors. 

6.  One  silver  aud  one  bronze  medal  for  the  best  and  second 
best  portrait  or  series  of  portraits  of  81  by  6J  or  under. 

7.  One  silver  and  one  bronze  medal  for  the  best  and  second 
best  portrait  or  series  of  portraits  above  8£  by  6A. 

8.  One  silver  and  one  bronze  medal  for  the  best  and  second 
best  genre  picture. 

9.  A silver  medal  for  the  best  enlargement  of  any  subject  and 
by  any  process,  provided  it  be  the  work  of  the  exhibitor. 

10.  A silver  medal  for  the  best  enlargement  of  any  subject  and 
by  any  process,  provided  both  the  original  negative  and  enlarge- 
ment be  entirely  the  work  of  the  exhibitor. 

11.  A bronze  medal  for  the  best  transparency  or  series  of 
transparencies. 

12.  A bronze  medal  for  the  best  ceramic  photograph  or  series 
of  photographs  entirely  the  work  of  the  exhibitor. 

13.  Four  bronze  medals,  to  be  awarded  according  to  the  dis- 
cretion of  the  judges,  for  improved  apparatus,  materials,  pro- 
cesses, or  other  meritorious  productions. 

All  communications  must  be  addressed  to  the  Honorary 
Secretary,  II.  A.  Hood  Daniel,  Avonmead,  Leigh  Road,  CliftoD, 
Bristol. 


tertsgmi&ftta. 

THE  BRUSSELS  EXHIBITION. 

Df.au  Sir, — In  consequence  of  many  demands  from 
exhibitors,  the  Committee  has  decided  to  postpone  the 
date  of  inscription  until  the  1st  of  July  (latest  date).  The 
Municipal  Board  of  Brussels  has  granted  several  medals 
for  the  different  contests,  and  until  now,  the  number  of 
exhibitors  is  already  larger  than  at  our  first  exhibition. 
Very  likely  the  King  and  Queen  will  open  the  Exhibition. 
Altogether,  it  seems  to  promise  a great  success.  Will  you 
be  so  kind  as  to  inform  the  readers  of  the  PHOTOGRAPHIC 
News  of  the  change  of  date,  in  next  week’s  issue? — Yours 
very  truly,  Hector  Colard. 

By  Order  of  the  Committee. 


PORTRAITS  AT  FANCY  BALLS. 

Sir, — In  your  last  number  you  quote  from  Vanity  Fair, 
that  “ at  a Fancy  Dress  Ball  at  Kensington  Town  Hall, 
several  of  the  groups  were  photographed  by  means  of  the 
electric  light ; and  if  electricity  continues  the  rapid  strides 
it  has  hitherto  made,  the  occupation  of  the  Luxogtaph 
light  will  be  gone.”  Now  the  fact  is,  that  the  said  groups, 
and  single  figures  also,  were  being  photographed  during 
the  whole  of  the  evening  by  the  Luxograph  light,  and  not 
by  the  electric  light  at  all. 

Reporters’  accounts  in  the  newspapers  of  subjects  which 
they  do  not  understand  are  often  untrustworthy,  and  in 
this  instance  the  reverse  of  truth  ; but  having  been  quoted 
in  the  Photographic  News,  is  calculated  to  do  us  injury, 
as  your  readers  would  assume  it  to  be  true.  We  hope, 
therefore,  you  will  ^ud  space  to  insert  this,  and  oblige, 
yours  obediently,  The  LcxooRArnic  Company. 


June  15,  1883.  I 


THE  THOTOGKAPHIC  HEWS. 


381 


DrncM&ings  at  tomtit*. 

Photographic  Society  of  Great  Britain. 

The  last  ordinary  monthly  meeting;  of  the  above  Society  for  the 
present  session  was  held  at  5a,  Pall  Mall  East,  on  Tuesday 
evening,  the  12th  inst.,  Mr.  James  Glaisher,  F.R.S.,  President, 
in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  Messrs.  H.  C.  Common,  proposed  by  Captain  Abney, 
and  W.  P.  Purdy,  proposed  by  Mr.  C.  Sands,  were  elected 
members  of  the  Society. 

The  President  read  a paragraph  from  one  of  the  evening 
papers,  announcing  that  the  Eclipse  of  the  6th  ult.  had  been 
successfully  observed  by  the  English  party,  and  perfectly  detail- 
ing the  operations  of  the  French  and  American  expeditions. 

After  a few  remarks  from  Mr.  Jabez  Hughes, 

Captain  Abney  gave  a brief  description  of  the  instruments  em- 
ployed, and  the  class  of  work  which  was  the  object  of  Messrs. 
Woods  and  Lawrance’s  expedition.  He  likewise  referred  in 
eulogistic  terms  to  Mr.  'Vood’s  high  qualifications  for  the  task  he 
had  undertaken. 

Mr.  John  Stiller  then  read  a paper  entitled,  “ Collodion  and 
Pyroxyline  : the  Question  of  Permanence,”  and  commenced  by 
stating  that  he  had  recently  found  a box  containing  a number 
of  samples  of  pyroxyline  which  had  been  prepared  as  far  back  as 
twenty -one  years  ago.  These  consisted  of  samples  of  highly- 
explosive  gun-cotton,  and  also  pyroxyline  for  collodion  purposes. 
He  had  been  surprised  to  find  that  so  little  decomposition  had 
occurred  during  the  lengthened  period  they  had  been  kept ; 
though  most  of  the  samples  were  decidedly  acid,  there  was  very 
little  sign  of  destructive  decomposition  The  explosive  samples 
had  generally  retained  their  properties  best,  though  a sample  of 
Dr.  Liesegang’s  papyroxyline,  beyond  a slight  acidity,  remained 
entirely  unchanged,  and  retained  its  complete  solubility  in  ether 
and  alcohol.  One  or  two  samples  exhibited  traces  of  free  sul- 
phuric acid,  but  in  no  case,  on  drenching  the  pyroxline  in  water, 
was  any  trace  of  oxalic  acid  found  as  a result  of  decomposition 
A sample  of  the  explosive  gun-cotton  saturated  with  chlorate  of 
potash  was  apparently  entirely  unchanged.  He  then  proceeded 
to  ignite  several  of  the  samples,  in  order  to  show  their  varying 
degrees  of  explosiveness. 

Mr.  Blanchard  stated  that  he  had  some  samples  fourteen 
years  old,  which  had  been  simply  kept  in  a drawer,  and  when  he 
had  occasion  to  dissolve  them,  he  found  them  to  be  perfectly 
soluble.  Some  time  back  he  had  come  to  the  conclusion,  con- 
jointly with  Colonel  Wortley,  that  it  was  necessary  these  samples 
should  be  kept  exposed  to  the  atmosphere.  So  far  as  he  could 
remember,  they  were  made  by  the  formula  recommended  by 
Dr.  Liesegang  in  1869,  a large  proportion  of  water  being  used, 
and  the  samples  prepared  at  about  a temperature  of  100°,  and 
exposed  to  the  combined  acids  for  about  ten  hours. 

Mr.  T.  Sebastian  Davis  said  that  a short  time  ago  he  had 
destroyed  some  specimens,  and  out  of  some  ten  or  twelve  samples 
he  had  not  found  one  decomposed  ; but  in  one  instance  a certain 
quantity  of  the  nitrous  fumes  had  been  liberated  in  the  bottle. 
He  had  reason  to  believe  that  this  had  been  manufactured  with 
the  largest  quantity  of  water  that  could  be  added  compatible 
with  the  preparation  of  the  cotton  itself. 

Colonel  Wortley  remarked  that  he  had  seen  last  year  several 
samples,  both  cotton  and  paper,  put  away  since  1867,  which 
were  certainly  as  good  as  when  made.  He  thought  it  most 
important  that  the  washing  should  be  very  thorough ; in  fact, 
he  had  designed  a trough  for  washing,  terminating  at  a point  at 
the  bottom,  in  which  he  had  washed  for  ten,  fifteen,  or  twenty 
hours,  and  he  found  that  the  better  the  pyroxyline  was  washed, 
the  better  it  kept. 

Mr.  Jabez  Hughes  thought  that  perhaps  this  subject  would 
have  been  more  interesting  ten  years  ago;  but  he  thought  all 
who  had  had  any  experience  of  this  matter  could  bear  testimony 
in  support  of  the  views  expressed  by  the  gentlemen  who  had 
already  spoken.  Only  the  other  day  he  had  destroyed  a sample 
given  him  by  Mr.  H.  Baden  Pritchard,  and  found  it  as  explosive 
as  when  made.  He  was  of  opinion  that  when  carefully  corked 
up,  theie  was  always  a serious  decompositiou  of  the  pyroxyline, 
even  when  carefully  washed.  He  was  in  the  habit  of  consuming 
a great  quantity  of  pyroxyline,  but  never  had  any  trouble  with 


it,  because  he  always  gave  it  as  free  access  to  the  air  as 
possible. 

The  Chairman  thought  that  the  confirmation  wThich  had  been 
given  of  Mr.  Spiller’s  remark  led  one  to  suppose  that  the  col- 
lodion film  might  be  as  permanent  as  gelatine. 

Captain  Abney  then  read  a paper  entitled,  “ The  Effect  of 
Pressure  on  Sensitive  Salts  of  Silver,”  in  which  he  said  that, 
having  employed  cardboard  masks  to  place  between  his  gelatine 
plates  for  packing,  he  had  noticed  that  when  the  plates  were  of 
thick  glass  and  fair  size,  there  was  considerable  pressure  on  the 
film  of  the  bottom  plates,  and  that  on  exposure,  there  was  the 
mark  of  the  mask  on  the  bottom  plates,  while  in  those  at  the 
top  it  was  entirely  absent.  This  had  led  him  to  experiment  by 
applying  direct  pressure  to  the  films  with  the  point  of  a glass 
rod,  and  he  passed  round  several  examples  of  plates  which  had 
been  written  on  in  that  manner,  showing  that  upon  develop- 
ment a reduction  of  silver  occurred  in  the  same  manner  as  if  the 
plate  had  been  exposed  to  light ; in  fact,  the  effect  of  pressure 
was  identical  with  that  of  light. 

Mr.  Leon  Warnerke  said  that,  in  speaking  on  this  question, 
he  felt  every  confidence.  As  far  back  as  two  years  ago  he  had 
read  a paper  on  this  subject,  and  had  shown  experiments  which 
led  him  to  the  conclusion  that  pressure  in  salts  of  silver  destroys 
the  sensitiveness.  In  order  to  find  whether  the  action  was  pro- 
duced by  mechanical  or  by  chemical  action,  he  prepared  a plate, 
and  subjected  it  to  pressure  both  before  and  after  exposure,  with 
the  result  that  there  was  a total  destruction  of  the  image. 

Mr.  W.  England  thought  the  markings  in  packing  the  plates, 
referred  to  by  Captain  Abney,  were  due  to  some  imperfection  in 
the  cardboard. 

Mr.  Jabez  Hughes  thought  that  these  markings  might  be 
simply  due  to  molecular  action,  and  were  only  a new  form  of 
what  were  known  some  years  back  as  Moser’s  images,  in  which 
the  simple  contact  between  two  materials  remaining  long 
together,  apparently  produced  the  same  effect  as  light. 

Captain  Abney  wished  to  ask  Mr.  Warnerke  the  circumstances 
under  which  he  got  his  results.  With  regard  to  what  Mr. 
Hughes  had  said,  he  considered  that  the  result  of  pressure  on 
gelatine  plates  or  other  surfaces  was  not  explained  by  molecular 
action  ; it  must  be  remembered  that  whenever  there  was  pres- 
sure, there  was  electrical  action. 

Mr.  J.  B.  Spurge  next  read  a paper  entitled  “A  New  Unit 
of  Light  in  Connection  with  the  Sensitometer.”  After  com- 
menting on  the  difficulties  in  connection  with  the  establishment 
of  a standard  light  for  sensitometrical  purposes,  he  stated  that 
he  had  adopted  a flame  of  ordinary  gas  passing  through  an 
orifice  of  fixed  size,  and  burning  under  constant  pressure.  He 
proceeded  by  means  of  tables  and  illustrations  exhibited  by  the 
aid  of  the  laDtern  to  demonstrate  the  working  of  his  method, 
but,  as  his  remarks  and  calculations  are  of  too  elaborate  a nature 
to  be  intelligible  without  the  full  text  of  the  paper,  we  refrain 
from  giving  any  abstract,  and  defer  its  publication  until  the 
appearance  of  the  official  organ  of  the  Society.  In  consequence 
of  the  lateness  of  the  hour  and  the  elaborate  character  of  the 
paper,  the  discussion  was  posponed. 

Mr.  J.  R.  Sawyer  next  read  a paper  on  “ The  Copying  of 
Works  of  Art  in  Colour  by  Photography,”  which  was  a supple- 
ment to  his  previous  communication.  He  exhibited  an  enlarge- 
ment of  a negative  he  had  taken  of  a common  chromo-lithograph, 
and  proceeded  to  demonstrate  the  difference  in  the  value  of 
colours  as  seen  by  the  eye.  and  as  represented  by  photography. 
He  observed  that  the  whole  point  of  his  subject  lay  in  the 
question  as  to  whether  such  monochrome  reproduction  as  they 
were  at  present  capable  of  was,  oi  was  not,  a true  representation 
of  colour,  and  he  thought  it  was  their  business,  if  they  attempted 
to  reproduce  pictures  at  all,  to  do  it  in  such  a manner  as  not  to 
be  at  the  mercy,  as  it  were,  of  the  actinic  power  of  certain 
colours  on  sensitive  surfaces. 

Mr.  Norman  Macbeth,  R.S.A.,  expressed  the  great  pleasure 
it  afforded  him  to  be  present  and  to  listen  to  gentlemen  of  whom 
he  had  so  often  heard,  and  observed,  with  reference  to  the  sub- 
ject of  Mr.  Sawyer’s  paper,  that  he  thought  it  would  always  be 
a matter  of  considerable  difficulty  to  get  anything  like  a true 
representation  of  colour  by  means  of  photography. 

Votes  of  thanks  having  been  accorded  to  Messrs.  Spiller, 
Abney,  Spurge,  and  Sawyer, 

It  was  announced  that  the  Exhibition  of  the  Society  would 
open  on  Monday,  8th  October,  and  close  on  Thursday,  15th 
November,  and  also  that  the  soiree  would  take  place  on  Saturday, 
6th  October. 


382 


THE  ^PHOTOGRAPHIC  NEWS. 


[June  15,  1883. 


The  next  social  meeting  of  the  Society  will  be  held  on 
Tuesday,  June  26th,  and  during  the  whole  of  the  recess  will 
take  place  on  the  fourth  Tuesday  in  each  mouth. 

The  meeting  was  then  adjourned. 


South  London  Photographic  Society. 

The  last  ordinary  monthly  meeting  of  the  above  Society  for  the 
present  session  was  held  on  Thursday  evening,  the  7th  inst.,  at 
the  House  of  the  Society  of  Arts,  John  Street,  Adelphi,  the  Rev. 
F.  F.  Statham,  M.A.,  president,  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  the  subjects  for  the  artistic  competitions  for  June, 
July,  August,  and  September,  were  balloted  for  in  the  usual 
way,  with  the  following  result : — 

June — Landscape  : “ A country  road  with  a finger-post ; ’’ 
Figure : “ Falstaff.”  July — Landscape  : “ Landscape  with  merry- 
making; ” Figure:  “Fisher-folk.”  August — Landscape:  “A 
good  place  for  a rest;”  Figure  : “ Moving  figures.”  Septem- 
ber-Landscape : “A  river  view;”  Figure:  “The  milk- 

maid.” 

The  Chairman  hoped  that  as  photographers  would  have  a little 
more  leisure  during  the  approaching  holiday  months,  the  com- 
petitions would  be  keener  than  they  had  been  latterly.  For 
the  past  month  only  two  examples  had  been  sent  in,  one  for 
the  landscape,  and  one  for  the  figure  competition  respectively, 
which  at  any  rate  would  spare  them  the  trouble  of  adjudging 
the  merits  of  the  pictures  ; and  Messrs.  Dunmore  and  Mawdesley 
were  announced  as  the  successful  competitors,  the  former  with 
“ Cattle,”  and  the  latter,  “ A landscape  with  clouds.”  He  (the 
Chairman)  then  presented  Mr.  Dunmore  with  the  Society’s 
diploma  for  his  picture  for  the  April  competition,  remarking,  at 
the  same  time,  that  that  gentleman  was  deserving  of  all  credit  and 
encouragement,  he  having  been  the  originator  of  these  competi- 
tions, and  was  now  the  most  persevering  amongst  the  competi- 
tors. It  was  with  the  deepest  regret  he  had  to  announce  that 
since  their  last  meeting  one  of  their  members  had  been  taken 
from  them,  Mr.  J.  T.  Pearsall,  who  had  been  connected  with 
the  Society  for  many  years,  and  frequently  took  part  in  their 
discussions.  He  was  quite  sure  that  they  would  all  be  much 
grieved  to  miss  his  face  amongst  them,  and  he  (the  Chairman) 
proposed  that  a letter  be  written  by  the  Secretary  to  the  rela- 
tives of  the  deceased  gentleman,  expressing  their  universal 
sorrow  at  his  demise.  It  was  also  announced  that  the  present 
was  the  occasion  upon  which  it  was  usual  to  decide  upon  the 
places  at  which  the  Society  should  meet  during  the  vacation ; 
they  had  already  had  many  veiy  pleasant  meetings  in  the 
country,  a spot  generally  being  selected  where  they  could  have 
some  tea,  and  wander  about  the  country.  It  had  been  proposed 
in  committee,  that  their  6rst  meeting  this  year  should  be  held 
on  Saturday,  28th  July,  at  the  “ Bull  and  Bush,”  Hampstead; 
and  the  question  had  also  arisen  whether  they  should  have  a 
second  meetiug,  for  which  the  last  Saturday  in  August  had  been 
suggested,  the  venue  being  Hampton  Court,  provided  the  first 
meeting  should  prove  a success.  After  some  discussion,  the 
above  dates  and  places  of  meeting  were  agreed  upon. 

Mr.  G.  Smith  then  opened  a discussion  entitled  “ When  large 
pictures  are  required,  is  it  better  to  take  them  direct,  or  to  take 
small  negatives  and  enlarge  them  ? ” He  commenced  by  re- 
marking that  if  enlargements  from  small  pictures  were  satisfac- 
tory, maDy  people  would  not  take  the  trouble  of  carrying  the 
apparatus  necessary  for  the  production  of  large  pictures.  He 
had  noticed  some  time  ago,  at  a meeting  of  photographers,  Mr. 
Valentine,  of  Dundee,  had  shown  some  photographs,  challenging 
photographers  present  to  distinguish  between  the  originals  and 
the  enlargements.  He  (Mr.  Smith)  thought  there  could  be  no 
doubt  that  enlargements  had  been  produced  which  would  satisfy 
anybody  ; still  there  was  frequently  a very  great  loss  of  sharpness 
in  the  enlargement,  and  he  supposed  the  real  question  was  to 
find  out  how  that  loss  arose.  He  thought  there  were  two  causes  : 
first  original  small  negative  was  not  sharp  enough,  and  still  more 
frequently  there  was  a great  loss  of  sharpness  in  the  enlarging. 
He  was  of  opinion  that  photographers  did  not  know  sufficient 
about  enlarging,  nor  of  taking  small  negatives.  He  found  that 
the  focussing  screen,  as  ordinarily  used,  was  not  good  enough, 
but  that  to  take  a piece  of  plain,  clear  glass  with  marks  scratched 
on  it,  and  put  it  in  place  of  the  focussing  screen,  was  a good 
plan.  One  thing,  at  any  rate,  was  certain,  that  in  this  way  he 
could  focus  with  the  stop  he  was  goiDg  to  use.  He  was  aware 


that,  theoretically,  putting  a small  stop  into  a lens  ought  not  to 
alter  the  focus,  but  certainly  in  practice  it  did  happen  that  a 
material  change  took  place  upon  inserting  a small  stop  alter 
focussiug  with  a large  one.  There  was  an  error  somewhere  to 
be  sought  after.  He  believed  the  solution  of  the  difficulty  would 
be  in  using  a different  arrangement  for  focussing.  He  found 
that  by  taking  a four-inch  lens,  with  a clear  glass  screen,  and 
using  a powerful  magnifier,  he  could  distinctly  focus  the  small 
veins  of  the  leaves  of  trees  thirty  yards  off.  Everybody,  he 
said,  must  have  noticed  how  few  negatives  were  really  sharp, 
and  of  course  if  they  appear  coarse  through  a magnifier,  they 
must  of  necessity  look  so  when  enlarged.  With  regard  to 
enlargement  with  imperfect  lighting,  he  was  of  opinion  that 
there  must  necessarily  be  a loss  of  sharpness.  He  then  exhibited 
a focussing  screen  of  clear  glass  he  had  been  using  lately,  with 
small  scratches  on  the  glass.  His  first  experiment  had  been 
made  with  some  newspaper  cuttings,  and  he  found  that  when 
using  the  ordinary  ground  glass  screen  he  detected  a difference 
of  locus  between  the  middle  stop  and  the  next  one,  but  when 
using  the  clear  glass  screen  and  an  eyepiece,  he  could  bring 
everything  into  focus.  He  found  it  necessary  to  have  some  sort 
of  a pattern  upon  the  clear  glass  screen  upon  which  to  rest  the 
eye  ; he  had  first  used  a piece  of  muslin,  which  answered  much 
better  than  a simple  scratch  ; afterwards  he  ruled  the  scratches 
as  shown  in  the  screen  he  passed  rourid,  and  the  arrangement  he 
found  to  answer  all  right. 

The  Chairman  asked  what  were  the  smallest  negatives  used* 
and  to  what  extreme  limits  had  they  been  enlarged.  He 
remarked  that  many  of  the  enlargements  to  be  seen  in  shop 
windows  had  the  appearance  of  being  looked  at  through  a 
magnifying-glass,  whilst  others  were  perfectly  free  from  this 
magnified  effect. 

Mr.  Smith  thought  this  was  decidedly  the  fault  of  the  nega- 
tive in  the  first  instance,  the  markings  being  coarse  ; or  it  might 
occur  from  want  of  care  in  making  the  enlargement  itself. 

The  Chairman  said  he  was  glad  to  see  present  amongst  them 
Mr.  J.  T.  Taylor,  who  was  over  on  a visit  from  New  York,  and 
he  would  be  happy  to  hear  that  gentleman  offer  some  remarks 
on  the  subject.  He  believed  that  he  remembered  having  heard 
Mr.  Taylor  assert  upon  one  occasion  that  the  very  smallest 
negatives  sufficed  for  any  practicable  size  of  enlargement. 

Mr.  J.  T.  Taylor  would  like  to  say  something  on  the  subject, 
but  was  afraid,  in  doing  so,  his  remarks  would  clash  with  those  of 
his  friend  Mr.  Smith.  He  was  not  aware  by  what  means  Mr. 
Valentine’s  pictures,  to  which  Mr.  Smith  had  referred,  were 
produced,  but  he  must  say  they  were  certainly  very  fine  and 
sharp,  and  that  there  was  no  apparent  difference  between  the 
pictures  taken  direct  and  those  obtained  by  enlargement.  With 
regard  to  focussing  on  a plain  glass,  that  would  do  very  well 
when  using  a compound  microscope,  but  he  was  of  opinion  that 
it  ceased  to  be  praticable  when  using  a single  eye-piece. 

Mr.  Smith  considered  it  was  a step  in  the  right  direction  to 
focus  your  pictures  as  you  inteud  to  take  them,  and  also  that  in 
every  picture  there  should  be  some  particular  point  to  which  it 
should  be  the  photographer’s  desire  to  attract  the  eye,  and  that 
poiut  should  be  sharper  than  the  rest  of  the  picture.  lu  this 
way  the  eye  would  be  instinctively  drawn  to  that  point. 

Mr.  Taylor  found  it  absolutely  impossible  to  get  perfect 
sharpness  with  anything  weaker  than  a quarter-inch  power. 

Mr.  E.  W.  Foxlee,  referring  to  the  title  of  the  discussion, 
thought  it  was  necessary  first  of  all  to  determine  what  was  to  be 
considered  a large  photograph.  In  taking  a picture  18  by 
24  inches  or  a life-sized  portrait,  he  was  decidedly  of  opinion 
that  the  best  means  of  producing  it  would  be  to  enlarge  ; but  in 
dealing  with  smaller  sizes — say  10  by  8,  either  portrait  or  land- 
scape— then  he  thought  the  best  results  would  be  obtained  by 
taking  it  direct,  and  not  enlarging.  He  had  seen  very  excellent 
enlargements  of  the  latter  size  done  from  small  negatives,  but 
they  were  not  equal  to  direct  photographs.  It  was  possible  to 
produce  very  perfect  12  by  10  or  15  by  12  portraits  direct, 
because  gelatine  plates  enabled  them  to  use  a lens  very  different 
from  the  old  portrait  lens.  He  thought  that  if  it  were  desired 
to  take  enlarged  portraits,  the  original  negative  should  not  be  too 
6mall ; and  with  regard  to  the  medium  on  which  to  take  the 
negative,  thought  it  would  be  found  impossible  with  a small 
negative  to  get  as  fine  a grain  on  a gelatine  as  on  a collodion 
plate. 

Mr.  Smith  said  there  could  be  no  doubt  that  the  rapid  bro- 
mide plates,  as  used  at  present,  were  quite  unfit  for  accurate 


June  15,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


383 


enlargements,  though  he  himself  did  not  like  the  rapid  plates.  , 
He  did  not  think  there  was  any  reason  why  comparatively  rapid 
plates  should  not  be  prepared  without  granularity. 

Mr.  Foxlee  observed  that  the  grain  in  some  of  the  bromide 
plates,  especially  the  rapid  ones,  was  very  coarse  indeed ; of 
course,  the  effect  of  enlarging  a very  coarse  film  (say)  from  4 to 
16  inches,  was  very  different  from  enlarging  an  8 inch  four 
diameters  ; in  the  one  case  the  grain  would  naturally  look  much 
coarser  than  in  the  other. 

Mr.  W.  Bbooks  showed  some  prints  from  negatives,  some 
enlarged  two  diameters,  and  some  four,  in  which  he  did  not 
think  much  falling  off  would  be  found  from  pictures  taken  direct. 
He  quite  agreed  with  Mr.  Foxlee  that  it  was  much  better  to 
enlarge  two  diameters  than  four,  and  he  considered  that  a nega- 
tive taken  on  a slow  gelatine  plate  was  better  for  enlarging  than 
one  taken  on  a rapid  plate.  He  stuck  to  one  process,  the  collo- 
dio-bromide,  and  had  taken  a 36-inch  plate  with  better  results 
than  even  witli  wet  plates. 

Mr.  T.  Bolas  thought  that  for  moderate  sizes  it  was  prefer- 
able to  take  pictures  direct. 

Mr.  Howard  said  it  was  very  seldom  they  had  an  opportunity 
of  seeing  large  photographs  taken  direct,  but  there  was  no 
doubt,  he  thought,  that  in  taking  a large  picture,  provided  the 
subject  admits  of  a long  enough  exposure,  better  results  are 
obtainable  direct  than  by  enlarging.  He  endorsed  Messrs. 
Taylor  and  Foxlee’s  views  as  to  the  advisability  of  using  albumen 
as  a medium. 

Mr.  Foxlee  remarked  that  Mr.  Vernon  Heath's  negatives  were 
all  12  by  10,  and  were  enlarged  about  two-and-a-half  diameters. 
He  thought  if  the  enlargement  were  only  to  be  (say)  12  inches, 
the  better  plan  was  to  make  it  as  a transparency,  and  from  that 
transparency  to  print  the  negative.  This  plan  was  much  used 
for  making  small  enlargements,  and  had  at  one  time  been  sold 
as  a secret  process. 

Mr.  F.  A.  Bridge  exhibited  some  specimens  of  microscopic 
enlargements  of  diseased  brains,  enlarged  from  one  to  two 
thousand  times,  by  Mr.  Ayres. 

The  Chairman  said  Mr.  Howard  had  touched  upon  the  size  of 
the  apparatus  to  be  used.  Some  years  ago  they  had  had  a dis- 
cussion as  to  whether,  by  enlarging  the  camera,  more  correct 
direct  images  could  be  obtained,  and  he  thought  Mr.  Taylor 
had  then  expressed  an  opinion  that  there  was  a limit  to  this, 
and  that  by  going  beyond  a certaiu  point  they  would  only 
magnify  the  defects  of  the  picture.  He  had  seen  in  a notice  of 
the  Sydney  Exhibition,  there  was  one  picture  36  inches  long, 
which  was  asserted  to  have  been  taken  direct. 

Mr.  Tavlor  had  a feeliog  against  taking  very  large  pictures 
direct. 

Mr.  Cobb  was  very  much  surprised  to  find  a feeling  amongst 
photographers  generally  to  run  after  sharpness  and  smoothness, 
he  considered  it  was  highly  desirable  to  obtain  the  correct 
texture  in  their  pictures,  and  never  mind  the  smoothness. 

Mr.  E.  Duxmore  held,  with  Mr.  Foxlee,  that  within  a certain 
size,  direct  pictures  were  certainly  preferable  to  enlargements ; 
he  thought  there  was  a delicacy  about  direct  pictures  which  was 
missing  in  enlargements. 

Mr.  P.  Mawdf.sley  was  glad  to  notice  a very  general  expres- 
sion of  opinion  that  for  plates  10  by  8 or  10  by  12  the  results 
were  superior  when  taken  direct,  to  those  obtained  by  enlarge- 
ment. He  thought  there  were  few  amongst  them  who  desired 
larger  sizes  than  these,  and  he  would  prefer,  in  taking  a moderate 
sized  picture,  to  take  it  direct ; but,  after  all,  he  thought  it  was  a 
matter  of  personal  convenience.  He  agreed  with  Mr.  Cobb  with 
regard  to  the  tendency  towards  working  to  destroy  natural 
effects,  the  result  of  which  was  that  what  should  appear  in  their 
pictures  as  flesh,  resembled  marble. 

Mr.  Smith  said  the  question  at  issue  was,  would  it  be  more 
desirable  in  the  future  to  adhere  to  taking  large  pictures  direct, 
which  seemed  to  be  generally  acknowledged  to  be  the  best,  or  to 
try  after  improvements  in  enlarging  small  ones  ? He  thought 
there  was  room  for  the  latter. 

Mr.  Hallier  thought  that  in  taking  a copy,  even  the  same 
size,  it  could  not  be  equal  to  the  original,  provided,  of  course,  the 
original  negative  were  a perfect  one  ; therefore  it  was  much  less 
likely  that  an  enlarged  copy  would  be  as  good  as  the  original. 

Mr.  Brooks  showed  two  collodio-bromide  negatives  with  the 
same  exposure,  one  developed  with  alkaline-pyro,  and  the  other 
with  ferrous-oxalate,  the  latter  having  the  appearance  of  five  i 
times  the  exposure  of  the  former. 

The  meeting  then  adjourned. 


North  Staffordshire  Photographic  Association. 

A meeting  of  this  Association  was  held  at  the  Town  Hall,  Hanley, 
on  Wednesday  evening,  June  6th.  M.  A.  Humboldt  Sexton 
occupied  the  chair. 

There  was  a good  attendance  of  members,  and  a discussion 
took  place  upon  the  relative  value  of  the  wet  collodion  and  dry 
gelatine  processes  in  weak  light. 

Mr.  Potter  found  a wet  plate  almost  as  sensitive  as  a dry 
one,  and  obtained  better  results  in  a weak  light ; he  preferred 
the  wet  process  for  everything  not  requiring  a short  exposure. 

Mr.  Burgess  concurred  with  Mr.  Potter’s  remarks  ; he  had 
obtained  good  wet  plate  negatives  recently  at  and  after  7 p.m. 

Mr.  Potter,  in  reply  to  a question  from  a member,  found  in 
photographing  interiors  requiring  a prolonged  exposure,  that 
the  great  disadvantage  of  a wet  plate  was  that  the  film  was  apt 
to  dry,  and  cause  “ silver  stains.” 

Mr.  Alfieri  had  found,  in  using  glycerine  as  a hygroscopic, 
that  collodion  films  had  a tendency  to  come  bodily  from  the 
j plate ; he  had  in  some  cases  prevented  this  by  giving  the  plate  a 
preliminary  edging  of  shellac  varnish.  He  had  also  noted,  as  a 
curious  thing  that  in  working  in  the  field,  the  direction  of  the 
wind  interfered  with  the  flowing  of  the  collodion  (notably,  an 
east  wind). 

Mr.  Potter,  for  landscape  work,  much  preferred  wet  collodion, 
and  asked  the  opinion  of  those  present. 

Mr.  Allison  agreed  with  Mr.  Potter. 

Mr.  Alfieri  said  that  if  the  question  had  been  put  to  him  a 
short  time  ago,  he  also  should  have  agreed  with  the  last  speakers  ; 
but  that  now,  although  an  experienced  wet  plate  worker,  he  had 
with  proper  alkaline  development  and  dry  plates  obtained  nega- 
tives so  closely  resembling  those  by  the  collodion  process  that  he 
considered  one  as  good  as  the  othor. 

In  reply  to  a question,  Mr.  Alfieri  said  that  he  used  for  his 
dark  room  window  book-binder’s  cloth  ; he  had  also  found  that  in 
developing  a plate,  if  it  were  left  exposed  to  the  ruby  light 
during  the  whole  time  occupied  in  the  operation,  the  same  would 
be  much  retarded. 

A short  paper  being  read  upon  “ Various  Modes  of  Develop- 
ment,” by  Mr.  Allison  (see  page  375),  the  Chairman  asked 
whether,  pre-supposing  the  use  of  alum,  plates  were  as  liable 
to  frill  under  the  oxalate  as  under  pyrogallic  development. 

Mr.  Allison  had  found  that  plates  liable  to  frilling  were  best 
developed  with  ferrous  oxalate,  after  previously  soaking  them  in 
alum  and  washing ; and,  in  reply  to  another  query,  had  found 
scarcely  any  appreciable  difference,  in  developing  negatives, 
between  the  ferrous  oxalate  and  ferrous  citro-oxalate  developers  ; 
he  thought  that  hydro  quinone  gave  more  detail  than  pyrogallol. 

After  decidiug  to  hold  the  next  meeting  at  Stoke-upon-Trent, 
and  Mr.  Henk  haviug  been  proposed  as  a member,  the  meeting 
was  adjourned. 


Edinburgh  Photographic  Society. 

The  eighth  ordinary  meeting  of  this  Society  was  held  in  5,  St. 
Andrew  Square,  on  the  evening  of  Wednesday,  6th  June,  Mr.  A. 
Craig-Christie,  F.  L.S.,  vice-president,  in  the  chair. 

The  minutes  of  previous  meeting  having  been  approved, 
Messrs.  James  Hay,  James  Cobb,  VV.  G.  Campbell,  L.A.,  W.  J. 
Cockeriue,  A.  Stewart,  David  Watson,  A.  Ayton,  jun.,  and 
Hugh  Brebner  were  unaminously  elected  ordinary  members  of 
the  Society. 

The  evening  was  devoted  to  an  exhibition  of  a large  collection 
of  transparencies  from  micro-photographs.  Mr.  W.  Forgan 
gave  an  interesting  information  as  the  various  objects  appeared 
on  the  screen.  Mr.  J.  M.  Turnbull  successfully  conducted  the 
lantern  manipulations. 

A most  curious  print  from  a negative  by  Mr.  Annan  was 
handed  round,  showing  a double  impression  of  the  same  view,  as 
though  two  lenses  of  differing  foci  had  been  employed.  The 
only  explanation  Mr.  Annan  could  suggest  was  that  by  some 
means  a duplicate  image  had  been  thrown  on  the  plate  from  a 
large  volume  of  steam  not  within  the  angle  of  view.  Another 
plate  taken  under  precisely  similar  circumstances,  except  that 
the  steam  was  absent,  exhibited  no  peculiarity. 

A conversation  took  place  as  to  the  desirability  of  having  an 
annual  trip  and  holiday,  and  it  was  ultimately  decided  to  appoint 
Mr.  M.  Kean,  Mr.  W.  Dougal,  and  Mr.  Wardale  as  a committee, 

! with  power  to  add  to  their  number,  to  find  out  the  general 
| feeling  of  members  in  regard  to  the  matter. 

The  usual  votes  of  thanks  terminated  the  proceedings. 


384 


THE  PHOTOGRAPHIC  NEWS. 


[June  15,  1883. 


London  and  Provincial  Photoqraphic  Association. 

At  the  meeting  held  on  Thursday,  the  7th  of  June,  at  the 
Masons’  Sail  Tavern,  Mr.  C.  H.  Cooke  in  the  chair, 

A question  from  the  box  was  discussed  as  to  the  “ Best  form 
of  lens  with  which  to  take  five -inch  heads  ? ” 

Mr.  Coles  was  in  favour  of  a lens  of  the  rapid  rectilinear  type 
of  a long  focus.  He  also  showed  a negative  to  demonstrate  the 
bad  effects  resulting  from  using  paper  for  packing  plates.  Four 
small  pieces  of  paper  had  been  placed  between  the  plates,  and 
their  position  was  shown  by  a peculiar  mottled  appearance  of 
the  negative  where  they  had  been  in  contact  with  it.  He  also 
showed  two  mounted  prints  (portraits)  illustrative  of  the 
difference  whether  the  paper  was  cut  lengthways  or  across,  if 
the  prints  were  mounted  wet.  If  the  prints  showed  the  face  in 
one  case  was  lengthened,  and  in  the  other  broadened,  then 
neither  could  be  a true  portrait  of  the  sitter. 

The  attention  of  members  was  particularly  called  to  the 
notice  that,  according  to  rules,  the  annual  general  meeting  of 
the  Association  would  take  place  on  the  28th  instant. 


in  tfre  ^tubio. 

Mr.  Bridge’s  Lantern  Readings. — The  lantern  entertain- 
ments of  Mr.  Bridge,  which  have  deservedly  increased  in  popu- 
larity of  late,  are  to  be  strengthened  by  several  new  additions 
this  season;  “A  Tiip  through  Wales,”  “Holland  and  the 
Hollanders,”  “ The  Fisheries  Exhibition,”  “ Castles  and  Abbeys 
of  England,”  and  many  other  subjects  being  announced. 

The  Plaque. — Messrs.  Marion  and  Co.,  of  Soho  Square, 
sends  us  half-a-dozen  choi  ce  cabinet  pictures  in  this  style — an 
antique,  or  Florentine,  or  floral  design,  being  above  and  below 
the  portrait,  which  is  contained  in  a deep  sunken  hollow.  The 
plaque  may  best  be  described  as  the  reverse  of  the  medallion , or 
cameo  style,  for  instead  of  being  bombe,  or  raised  in  the  centre, 
it  is  hollowed  like  a soup-plate.  In  fact,  “ soup-plate  ” format 
would  at  once  be  a more  expressive,  if  more  vulgar  designation. 
Messrs.  Marion  tell  us  that  the  main  difficulty  in  producing 
such  cards — given  the  proper  mounts — is  to  obtain  a press 
giving  a sufficiently  concave  impression  ; but  these  processes  are 
not  in  the  trade.  •*  The  new  introduction  means  extra  business 
all  round,”  say  our  correspondents ; and  we  devoutly  wish 
they  may  prove  in  the  right. 

Royal  Cornwall  Polytechnic  Society. — The  fifty-first 
Annual  Exhibition  will  take  place  at  the  Polytechnic  Hall, 
Falmouth,  the  opening  day  being  Tuesday,  the  1 1th  of  September 
next.  The  following  prizes  are  offered  in  the  Photographic 
Department : — Photographic  Appliances. — Medals  are  offered  for 
improved  Apparatus  and  Appliances,  including  Magic  Lantern 
Apparatus,  &c.  All  exhibits  in  this  department  must  be  accom- 
panied by  a written  explanation  of  their  specialities.  Professional 
Photographers. — Medals  are  offered  by  the  Society  for  meritorious 
productions  in  the  following  subjects:  1,  Landscapes;  2,  Por- 
traits ; 3,  Composition  Pictures ; 4,  Instantaneous  Pictures ; 
6,  Interiors  ; 6,  Transparencies  for  Lantern  or  Window  Decora- 
tion ; 7,  Pictures  by  Improved  Processes ; 8,  Enlargements.  All 
enlargements  for  competition  must  be  the  work  of  the  exhibitor. 
Amateurs. — Medals  are  offered  for  meritorious  productions  in 
this  department.  It  should  be  stated  whether  the  work  is  Pro- 
fessional or  Amateur,  and  the  process  of  production  should  be 
named.  All  works  sent  for  competition  must  have  been  executed 
within  eighteen  months  of  the  date  of  this  Exhibition.  Carte-de- 
visite  portraits  are  excluded  from  exhibition,  except  when  illus- 
trating some  special  process  or  novelty. 

The  Solar  Eclipse. — The  solar  eclipse  on  the  6th  ultimo 
was  very  successfully  observed  by  the  English,  American,  and 
Continental  astronomers  stationed  on  Caroline  Island,  the  sky 
being  beautifully  clear  at  the  time.  The  corona  extended  over 
a distance  of  two  diameters  from  the  sun.  The  light  during 
the  middle  of  totality  was  equal  to  that  of  the  full  moon.  Suc- 
cessful observations  were  made  by  Dr.  Janssen  as  well  as  by 
Professor  Tacchini.  The  intra-Mercurial  planet  Vulcan  was  not 
seen  by  M.  Palisa.  The  D line  of  the  spectrum  was  seen  dark 
in  the  corona  by  Dr.  C.  S.  Hastings.  Good  photographs  of  the 
corona  were  obtained  by  the  English  observers,  as  well  as  by 
M.  Janssen.  The  English  observers  were  also  successful  in 
obtaining  photographs  of  the  flash.  Good  photographs  were 


taken  of  the  coronal  spectrum  in  the  blue  end.  The  health  of 
Messrs.  Lawrance  and  Woods,  the  English  observers,  is  excel- 
lent. 

Photographic  Club. — The  subject  for  discussion  at  the  next 
meeting  of  this  Club,  on  June  20th,  will  be  “ Consideration  of  the 
Merits  of  Various  Landscape  Lenses,  especially  for  Use  with 
Gelatine  Plates  : 1st,  for  slow  work  ; 2nd,  for  rapid  work.” 


$0  Gomgijon&fttts. 


*#*  We  cannot  undertake  to  return  rejected  communications. 

Rembrandt. — The  lighting  of  the  picture  is  very  effective  on  the 
whole,  but  a little  too  much  from  the  top. 

A.  S.  H. — The  best  book  for  youwillbePiquepc  on  “Enamelling 
and  Retouching,”  post  free  2s.  8d.  from  our  Office. 

Ela. — 1.  Seepage  220  of  our  present  volume.  2.  Yes,  certainly ; 
or  it  would  destroy  the  film. 

G.  C. — 1.  It  is  due  to  the  uneven  texture  of  the  paper  ; try 
another  sample.  2.  The  formula  you  quote  is  an  excellent  one, 
and  you  cannot  do  better  than  continue  to  use  it.  We  should 
advise  you,  however,  to  discontinue  the  salt-water  bath. 

King  Lear. — 1.  It  will  answer  fairly  well  in  most  cases,  but  it 
is  not  nearly  so  active.  2.  Do  not  rely  on  any  such  expedient 
for  shortening  the  process,  or  you  will  probably  regret  it. 

C.  F.  D. — 1.  The  exposures  should  be  proportionate  to  the  squares 
of  the  diameters.  2.  They  are  variable  in  different  instruments, 
and  the  only  way  is  to  measure  them  and  calculate  out  the 
result. 

W.  P. — Under  the  circumstances,  taking  them  as  you  now  ex- 
plain them,  we  should  think  that  the  person  who  did  the  mischief 
is  liable  for  the  full  amount  of  the  damage. 

M.  Calander. — 1.  It  is  quite  possible  that  the  whole  of  the  iron 
may  have  become  oxidised,  in  which  case  the  best  way  is  to  throw 
the  solution  away  and  make  a fresh  one. 

Pyiio. — 1.  The  great  point  in  such  a case  is  to  keep  the  image 
well  to  the  surface,  as  if  this  is  not  done  there  is  a very  consider- 
able loss  of  brilliancy.  2.  The  liberation  of  iodine  follows  as  a 
necessary  consequence. 

F.  Groves. — Either  oxide  of  zinc  or  sulphate  of  baryta  is 
ordinarily  used,  white  lead  being  very  rarely  employed. 

Portraitist.— 1.  Why  not  paste  the  tissue  paper  inside  ? 2. 
Scarcely,  as  the  tendency  towards  fog  would  be  enormously  in- 
creased. 3.  It  will  dissolve  readily  enough  in  a mixture  of 
equal  volumes  of  alcohol  and  water.  4.  Not  just  at  present. 
5.  Whitewash  the  wall. 

C.  Davis. — 1.  A description  of  the  process  will  be  found  in  the 
Year-BouK,  and  if  you  should  want  further  information,  write 
to  us.  2.  By  fusion  with  carbonate  of  soda,  or  in  some  cases  a 
mixture  of  the  carbonates  of  soda  and  potash.  3.  There  is 
certainly  an  opening  for  business  in  the  direction  you  refer  to; 
but  the  person  who  first  introduces  a novelty  of  this  character 
very  frequently  loses  money. 

Nitrate. — Add  nitric  acid  drop  by  drop  until  the  turbidity  dis- 
appears. 

G.  V.  P (Cambridge). — The  reproduction  of  old  manuscripts  by  the 
photo-lithographic  process  offers  some  difficulties,  as  the  ink  lines 
are  often  feeble,  while  the  ground  is  frequently  yellow  and 
stained.  Much  more  perfect  results  can  be  obtained  by  the  collo- 
typic  method.  See  the  “ Studios  of  Europe.” 

N.  Chapford.— 1.  It  is  very  doubtful,  as  decomposition  com- 
mences at  a temperature  of  about  70°  Centigrade.  2.  Coat  the 
glass  with  a film  of  thin  collodion. 

F.  S.  Schwabe. — We  imagine  that  several  of  the  well-known 
photo-engraving  processes  might  be  employed  with  advantage  and 
economy.  Obtain  “ Heliographie,”  by  Husnik,  published  by 
Hartleben,  of  Vienna. 


PHOTOGRAPHS  REGISTERED. 

Mr.  W.  O.  Honey  (Devices) — Photos,  of  Mr.  W.  Long,  M.F.;  Mr.  Est- 
court,  M.P. ; and  Officers  of  Royal  Wilts  Yeomanry. 

Mr.  II.  W Bkvan  (Lowestoft) — Photo,  of  South  Lowestoft. 

Mr.  C.  E.  Ahtiii  r (Maryport) — Photo,  of  Constable  A.  Lamont. 

Messrs.  W and  Q.  H.  Sra  tY  (Nottingham)— Photo,  of  Congregational 
College,  Nottingham. 

Mr.  J.  Bi  bgoynk  (Birmingham)— Photos,  of  the  Right  Hon.  John 
Bright,  M.P. 

Mr.  James  Andrews  (Swansea)— Photo,  of  Mr.  C.  R.  M.  Talbot,  M.P. 


THE  PHOTOGRAPHIC  HEWS, 


. 


Vol.  XXVII.  No._L2Q,I. — June  22,  1883 
■ >.  ' 


-tv.';;- 


lO  c/i 

CONTENTS. 

Xbfe  , 

PA  A 

The  Potash  Developer  385 

Photo-Block  Printing  Twenty-Three  Years  Ago 385 

Ederi  s Recent  Work  on  Gelatino-Bromide  387 

By-the-Bye.— Photographers’  Prospects 388 

French  Correspondence.  By  Leon  Vidal 389 

Review  389 

Alkaline  Pyro.  Developer  all  in  One  Solution.  By  G.  Cramer  391 

Notes 392 

Patent  Intelligence  391 


Lessons  in  Optics  for  Photographers.  By  Capt.  W.  de  W. 

Abnev,  RE.,  F.R.S 395 

No  Filtering  for  the  Printing  Bath.  By  R.  H.  Chapman 396 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 397 

Correspondence  397 

Proceedings  of  Societies 398 

Talk  in  the  Studio 399 

To  Correspondents 400 


THE  POTASH  DEVELOPER 
The  pyrogallic  developer  with  ammonia  has  many  impor- 
tant advantages.  More  particularly  is  it  of  value  from 
the  fact  that  it  is  possible  to  impart  to  a negative  by  its 
means  any  desirable  character  or  aspect.  Long  or  short 
exposure  may  equally  be  treated  with  success,  and  in  the 
hands  of  a skilful  photographer  hard  and  soft  negatives 
may  be  produced  at  will. 

On  the  other  hand,  there  is  the  disadvantage,  which  can- 
not be  gainsaid,  that  the  ammouia  employed  in  the  formula 
gradually  alters  in  respect  to  its  specific  gravity,  and  grows 
weaker  in  time.  Moreover,  there  are  certain  emulsion 
plates,  that  one  comes  across  occasionally,  which  refuse  to 
be  developed,  at  any  rate  satisfactorily,  with  ammonia. 
Notably  is  this  the  case  with  emulsion  plates  produced 
by  the  ammonia  method,  which  are  given  to  yielding  fog 
of  different  characters,  and  those  films  frequently  appear 
of  two  colours,  according  as  you  look  at  them  by  trans- 
mitted or  reflected  light. 

For  this  reason  photographic  chemists  cast  about  fora 
substitute  for  ammonia,  and  selected  the  soda  developer. 
A solution  of  soda,  unlike  that  of  ammonia,  is  constant,  and 
often  yields  clear  negatives  in  cases  where  ammonia  gives 
nothing  but  fogged  plates.  Unfortunately,  soda  is  not 
very  soluble  in  water.  Only  16  parts  of  it  dissolve  in 
100  parts  of  water,  and  for  this  reason  it  is  necessary  to 
deal  with  large  quantities  of  solution.  For  instance,  for 
one  ounce  of  developer,  something  like  half  an  ounce  of 
soda  solution  must  be  added. 

In  travelling,  it  is  especially  inconvenient  to  have  to  do 
with  large  quantities  of  liquid,  if  not  in  the  ordinary  studio, 
so  that,  again,  the  soda  developer  is  not  everything  to 
be  wished.  Of  carbonate  of  potash,  on  the  other  hand 
(K2C03),  it  is  possible  to  obtain  a much  more  concentrated 
solution.  Potash  is  six  times  more  soluble  than  soda ; 
therefore,  for  the  travelling  photographer  especially,  a 
developer  made  up  with  carbonate  of  potash  has  many  ad- 
vantages, as  Dr.  Stolze  of  Berlin  has  recently  pointed  out. 

Dr.  Stolze  makes  up  the  following  solutions  for  his  pot- 
ash developer  : — 

A.  — 25  parts  of  sulphite  of  soda  dissolved  in  100  parts 
of  water. 

B.  — 90  parts  of  pure  carbonate  of  potash  in  100  parts  of 
water. 

C.  — 10  parts  of  pyrogallol,  10  parts  of  alcohol,  and  1 
part  of  salicylic  acid,  in  100  parts  of  water. 

Equal  parts  of  solutions  A aud  B are  mixed  together, 
and  labelled  “ Potash  solution,”  while  solution  C receives 
the  label  “ Pyro  solution.’’  In  developing,  one  hundred 
parts  of  water  are  mixed  with  two  parts  of  the  “pyro 
solution,’  and  from  one  to  three  parts  of  the  “ potash 
solution.” 


We  have  obtained  very  good  results  in  working  with 
100  parts  of  water,  2 to  4 parts  of  “ pyro  solution,”  aud 
4 to  5 parts  of  “ potash  solution.”  The  developer  is  about 
as  rapid  as  that  with  ammonia  when  tested  by  the  sensi- 
tometer ; but  in  ordinary  work  with  the  camera,  the  pot- 
ash developer  frequently  appears  to  more  advantage.  The 
reason  of  this  is  to  be  fouud  in  the  fact  that  the  higher 
numbers  on  the  sensitometer  become  very  vigorous. 

The  potash  developer,  we  may  mention,  assumes  a 
reddish-brown  colour  by  contact  with  the  air;  while  the 
ammonia  developer,  as  our  readers  know  very  well,  has  a 
brownish  yellow  tint. 

As  regards  the  colour  of  the  resulting  negative,  this 
depends  upon  the  quantity  of  potash  that  happens  to  be 
in  the  developer.  Equal  parts  of  “ pyro  solution  ” and  of 
“ potash  solution  ” give  a dark  brown  tint ; while  an  excess 
of  potash  yields  negatives  of  a pronounced  olive-green 
character.  The  use  of  an  alum  bath  is  here  very  desirable, 
since  it  removes  this  greenish  hue  entirely,  and  its  action 
will  be  found  to  act  best  if  employed  between  the  opera- 
tions of  developing  and  fixing.  If  you  put  the  plate  into 
the  alum  bath  after  fixing,  the  green  colour,  it  is  true, 
disappears ; but,  strange  to  say,  it  is  not  unlikely  to  make 
its  appearance  again,  by  degrees,  as  the  negative  is  being 
washed. 

For  intensifying  plates  developed  by  means  of  potash, 
Dr.  Eder  recommends  a mixture  of  sulphate  of  iron  and 
alum,  the  solution  to  be  applied  after  fixing.  Immersed 
in  a bath  of  this  description,  the  greenish-brown  parts  of 
the  image  become  of  a dark  brown.  In  a word,  a kind  of 
ink  is  produced  possessed  of  good  covering  properties. 
To  make  use  of  this  intensifier  with  advantage,  the  plate 
should  be  withdrawn  from  the  bath  before  the  whole  of 
the  gelatine  film  has  dissolved.  In  the  case,  however,  of 
badly-washed  emulsion,  or  plates  liable  to  fog,  this  system 
of  intensifying  is  inapplicable,  since  it  only  adds  more 
intensity  to  the  fog. 


BIIOTO-BLOCK  PRINTING  TWENTY-THREE 
YEARS  AGO. 

Much  has  been  said  of  late  concerning  the  advantages  to  be 
realised  by  the  application  of  photography  to  the  require- 
ments of  the  typographic  printer,  and  over  twenty-three 
years  ago,  many  confidently  predicted  that  the  art  of  the 
wood-engraver  was  soou  to  be  altogether  superseded  by 
the  rapid  and  economical  production  of  stipple  or  photo  tint 
blocks  from  negatives  after  nature.  Those  taking  such  an 
optimist  view  generally  fail  to  perceive  the  real  difficulties 
which  have  hitherto  prevented  photo-block  piintiug  from 
competing  to  any  extent  with  wood-engraving  as  a means  of 
illustraiiug  such  papers  as  the  Graphic  or  the  lllux  rated 
London  A lews ; and  as  we  have  no  doubt  that  the  best  way  of 


— 


— 


THE  PHOTOGRAPHIC  NEWS. 


387 


Junb  22,  1883.] 


arriving  at  a satisfactory  conclusion  is  to  boldly  face  the 
difficulties  of  the  position,  the  following  may  be  taken 
as  the  principal  hindrances  which  have  hitherto  re- 
tarded the  advance  of  photographic  block-printing  from 
ordinary  negatives. 

1.  The  considerable  expense  involved  in  producing 
satisfactory  blocks. 

2.  The  circumstance  that  many  blocks  which  have  been 
introduced  into  the  market  have  not  possessed  a sufficiently 
deep  and  decided  grain  to  meet  the  requirements  of  the 
average  typographic  printer. 

3.  No  person  or  firm  has,  up  to  the  present  time,  imported 
any  considerable  amount  of  energy  into  the  photo-tint  block 
industry,  so  as  to  give  customers  a reasonable  hope  of 
obtaining  good  work  with  anything  like  the  certainty  and 
rapidity  of  wood  engraving. 

4.  It  is  very  frequently  impracticable  to  obtain  suitable 
negatives  depicting  events  of  current  interest. 

5.  The  difficulties  of  producing  photo-tint  blocks  increase 
very  considerably  as  the  dimensions  become  greater. 

It  will  be  noticed  that  among  these  hindrances  to  the 
development  of  photo-block  printing,  we  do  not  include  the 
difficulty  of  producing  the  tint  or  stipple  block  itself,  at 
any  rate  when  the  size  is  moderate,  as  there  are  no  diffi- 
culties worth  mentioning  as  regards  the  actual  produc- 
tion of  the  requisite  printing  plates  or  blocks.  Let  us 
look  back  at  the  position  of  affairs  in  1860,  when  Paul 
Pretsch  was  exploiting  his  block  process  in  this  country. 
Although  the  company  was  well  supported  in  the  highest 
quarters — the  Prince  Consort  himself  taking  a deep  interest 
in  the  matter — it  soon  came  to  an  end  ; the  principal  cause 
being  the  personal  enmity  of  several  of  the  working  staff 
towards  the  unfortunate  inventor,  Pretsch.  Under  these 
circumstances  it  is  not  a matter  for  surprise  that  but  few 
pictures  were  published,  and  of  these  the  greater  part  were 
from  intaglio  plates.  One  example  of  the  work  of  Pretsch’s 
Company  was  issued  with  the  Journal  of  the  Photographic 
Society  in  November,  1860,  and  as  this  specimen  is  a 
thoroughly  characteristic  one,  we  endeavoured  to  obtain  the 
original  block,  but  were  unsuccessful.  As,  however,  the  grain 
or  stipple  of  the  photo-engraving  in  question  is  remarkably 
open,  clear,  and  decided,  we  resolved  on  attempting  the 
reproduction  of  the  block  by  the  ordinary  photo-type  or 
zinc  etching  process;  and  for  this  purpose  we  placed  an 
original  print  in  the  bands  of  Mr.  Swain,  of  Farringdon 
Street.  So  perfectly  has  this  gentleman  reproduced  the 
Pretsch  engraving,  that  the  critical  examination  of  an  ex- 
pert is  required  to  trace  any  difference  between  prints  from 
the  original  block,  and  those  from  the  reduplicated  block 
The  subject  matter  of  the  photo-engraving  is  the  Porch  of 
the  Priory  at  Hampstead,  and  it  is  from  a negative  by  the 
late  Mr.  J.  A.  Spencer. 

The  Pretsch  method,  by  which  this  photo-block  was  made, 
is  but  little  practised  in  this  country,  although  it  is 
thoroughly  capable  of  translating  the  gradations  of  tone 
found  in  a negative  into  corresponding  degrees  of  stipple  or 
grain,  this  being,  indeed,  the  first  essential  of  a photo-block 
printing  process.  It  is  our  opinion  that  one  principal  cir- 
cumstance which  has  prevented  the  considerable  industrial 
development  of  the  Pretsch  method  is  because  those  work- 
ing the  method  have  eought  to  produce  an  exquisitely 
fine  grain  rather  than  the  comparatively  coarse  stipple  which 
is  necessary  for  every-day  work  on  the  printing  machine. 
Some  of  our  readers  have  doubtless  admired  the  wonderfully 
minute  detail  which  characterises  that  photo-block  print  of 
the  former  Comic  Opera  at  Vienna,  which  is  issued  with 
Husnik’s  Heliographie  ; but  if  such  a block  were  inserted  in 
our  columns,  it  is  probable  that  no  trace  of  a picture  what- 
ever would  be  presented  to  our  readers,  and  that  a uniform 
rectangular  patch  of  ink  would  alone  be  seen. 

In  looking  at  the  Pretsch-print,  which  we  place  before 
our  readers  to-day,  it  is  easy  to  trace  out  the  wonderful 
serpent-like  or  vermicular  grain  which  characterises  gela- 
tine when  it  reticulates  under  the  joint  action  of  light 


and  an  alkaline  bichromate ; and  it  is  surprising  to  note 
how  this  remarkable  vermiculation  works  itself  into  the 
outlines  of  the  subject,  this  being  specially  noticeable  in 
the  case  of  the  details  of  the  partly  opened  door.  This 
kind  of  automatic  adaptation  of  the  stipple  to  the  outline 
is  characteristic  of  the  Pretsch  method  alone,  and  is  alto- 
gether wantiug  in  a machine-ruling  method,  such  as  that 
of  Ives,  or  a sand  method,  like  that  of  Waterhouse. 

As  we  shall  before  long  give  practical  directions  for 
working  by  the  Pretsch  method,  we  will  merely  indicate 
in  this  place  its  characteristic  features. 

A metal  or  glass  plate  is  levelled,  and  covered  with  a 
layer  of  a gelatinous  solution  made  sensitive  by  means  of 
potassium  bichromate,  and  the  film  is  dried  at  a tempera- 
ture which  is  sufficiently  high  to  give  the  film  the  property 
of  reticulatiug  or  “graining”  when  swelled  by  means  of 
water.  It  is  now  exposed  under  a negative,  and,  after 
exposure,  it  is  soaked  until  the  grain  is  sufficiently  deve- 
loped. An  electrotype,  or  other  cast,  from  this  gelatinous 
surface  forms  the  printing  block. 

It  is  probable  that  the  merits  of  Pretsch  as  a pioneer 
in  photographic  progress  will  not  be  fully  recognized  until 
his  method  has  become  L.r  more  generally  practised  than 
at  present ; but  it  is  gratifying  to  know  that  many  per- 
sons are  now  turning  their  attention  to  the  Pretsch 
process. 

A word  as  regards  retouching,  or  after-working,  as  our 
readers  will  naturally  enquire  how  far  the  block  now 
printed  from  has  been  retouched.  No  new  details  were 
added  by  an  artist,  the  retouching  work  consisting  in 
merely  clearing  out  or  deepening  the  whites,  notably  in 
the  path  and  on  the  pillars  of  the  porch. 


EDER’S  REGENT  WORK  ON  GELATINO-BROMIDE. 


Leaflet  or  Film  Negatives. — Wilde’s  method  of  preparing 
paper  with  vaseline  or  soft  paraffia  wax,  and  then  coating  it 
with  the  sensitive  emulsion,  is  of  considerable  interest. 
Exposure  is  effected  between  glass  plates,  and  the  exposed 
leaflet  is  soaked  in  water  until  it  tends  to  lie  fiat  at  the 
bottom  of  the  dish,  when  the  water  is  poured  off.  Develop- 
ment is  then  effected  with  ferrous  oxalate.  A little  diffi- 
culty occasionally  arises  from  the  circumstance  that  the 
film  curls  up  during  development  ; but  good  negatives  are 
obtained,  and  very  little  grain  is  noticeable.  Sometimes 
it  is  well  to  re-vaseline  the  finished  negative.  Flexible 
emulsion  plates  are  also  made  by  Fickeisen  and  Becker,  of 
Villingen,  and  these  are  so  thin  aud  transparent  that  they 
may  be  exposed  either  from  the  front  or  from  the  back. 

Tincture  of  Iodine  as  a Restrainer. — Wilde  gives  the 
following  as  his  most  recent  mode  of  working  : — 

Solution  No.  1. 

Oxalate  potassium  250  grammes 

Water 1000  „ 

Solution  No.  2. 

Sulphate  of  iron  ...  ...  100  grammes 

Double  sulphate  of  iron  and 

ammonium  ...  ...  ...  150  ,, 

Glycerine  ...  ...  ...  6 ,, 

Water 600  „ 


The  double  sulphate  of  iron  and  ammonium  acts  as  a pre- 
servative. 

Solution  No.  3. 

Sodium  hyposulphite 1 gramme 

Water 200  grammes 


Iodine  ... 
Alcohol 

Citric  acid 
W a ter  ... 
Alcohol 


Solution  No.  4. 


Solution  No.  5. 


1 gramme 
200  grammes 

10  grammes 

50  „ 

50  „ 


388 


rHE  PHOTOGRAPHIC  NEWS. 


[Jcne  22,  1883. 


Solution  No.  G. 

Potassium  bromide  10  grammes 

Water 75  „ 

Alcohol  75  ,, 

A mixture  of  40  c.  c.  of  No.  1 and  10  c.  c.  of  No.  2 is  used 
for  commencing  the  development,  but  if  the  image  comes 
up  very  slowly,  about  10  drops  of  No.  3 are  added.  When 
the  details  are  out,  and  it  is  desirable  to  increase  the  vigour 
of  the  picture,  40  drops  of  No.  4 and  40  drops  of  No.  5 are 
added. 

Graeter's  Experiments  on  Emulsion  Making. — W ith  regard 
to  Eder’s  proposal  to  mix  ripened  emulsion  with  an  un- 
ripened sample,  Graeter  says : — I prefer  to  boil  the  whole 
quantity  of  emulsion,  then  digest  with  ammonia  ; and,  just 
before  it  solidifies,  I add  just  so  much  nitrate  of  silver 
solution  as  will  serve  to  decompose  the  free  bromide  and 
leave  a minute  excess  of  silver.  This  proceeding  lessens 
the  time  required  for  washing,  and  gives  a high  degree  of 
sensitiveness — in  face,  no  less  than  18°  to  20e  Warnerke. 

Soda  Developer  and  Potash  Developer. — These  developers 
are  especially  valuable  in  the  case  of  ammoniacal  emulsion, 
as  they  reduce  the  probability  of  red  fog  to  a minimum. 


Solution  No.  1. 

Crystallised  washing  soda  ... 

...  1 part 

Water...  

...  10  parts 

Solution  No.  2. 

Pyrogallic  acid  

...  1 part 

Water 

...  10  parts 

A normal  developer  is  made  by  mixing  100  c.c.  of  No.  1 
with  6 c.c.  of  No.  2 ; no  bromide  being  required. 

Stolze’s  potash  developer  is  more  convenient  in  actual 
practice,  and  the  photographic  effect  is  almost  identical. 
This  developer  is  prepared  as  follows : — 


Solution  No.  1. 

Water  200  cub.  cents. 

Carbonate  of  potassium  ...  90  grammes 

Sulphite  of  sodium 25  „ 


Solution  No.  2. 


Water  

Citric  acid  

Sulphite  of  sodium  ... 
Tyrogallic  acid 


...  100  cub.  cents. 
...  1J  grammes 


In  ordinary  cases,  a mixture  of  100  cub.  cents,  of  water, 
40  drops  of  No.  1,  and  50  drops  of  No.  2,  is  used,  and 
vigorous  negatives  result ; if,  however,  it  is  wished  to 
obtain  thin  negatives,  the  quantity  of  water  must  be 
doubled.  If  anything,  the  sensitiveness  is  greater  when 
this  developer  is  used  than  when  ordinary  oxalate  deve- 
loper is  employed,  and  the  addition  of  potassium  bromide 
is  not  only  needless,  but  generally  injurious. 


PHOTOGRAPHERS’  PROSPECTS. 

“ The  country  is  over-stocked  with  photographers — there 
are  so  many  who  practise  the  art  as  amateurs — people  are 
getting  tired  of  photographic  portraits — photography  is 
played  out,  and  going  down- hill  every  day.’’  Such  are  a 
few  of  the  arguments  adduced  by  those  who  take  a gloomy 
view  of  matters  photographic.  We  are  not  going  to  say 
the  coutrary  ; we  would  only  remind  those  who  preach  the 
disagreeable  sermon,  that  there  is  nothing  new  in  their 
view  of  things,  and  that  if  photography  is  decaying,  it  is 
the  same  with  every  other  business  and  profession. 
Captain  Marry at’s  heroes  were  constantly  wont  to  remark, 
“The  service  is  goiDg  to  the  devil,  sir! ’’and  no  doubt 
scores  of  naval  officers  before,  as  they  have  done  since, 
said  the  same  thing.  Every  father  knows  that  boys  in  his 


time  were  a very  superior  race  to  what  they  are  now  ; and 
mothers  grieve  to  think  their  daughters  lacking  those 
sterling,  homely  qualities  that  characterised  the  last  gene- 
ration. We  certainly  have  no  intention,  then,  even  if  we 
had  the  desire,  to  combat  any  such  obvious  propositions  ; 
they  are  too  widely  spread  and  recognised  to  be  upset.  All 
we  shall  endeavour  to  do  is  to  show  that  if  photography,  like 
the  naval  service,  is  on  the  way  to  perdition,  it  has  not  yet 
got  there,  and  that,  in  the  meantime,  photographers  have 
no  reason  to  despair  of  their  calling  failing  them  just  now. 

But  surely  everybody  has  been  photographed  and  re- 
photographed by  this  time ; and  further,  is  it  not  a fact 
beyond  dispute  that  camera  pictures  are  despised  by  all 
painters  and  artists  of  recognised  standing  ? What  profit 
or  honour,  then,  can  come  to  those  who  busy  themselves 
with  photography?  This  grumble  No.  2 is,  we  admit,  on 
all  fours  with  grumble  No.  1 ; but  in  spite  of  it,  we  shall 
still  say  our  few  words,  and  take  the  liberty  of  presenting 
another  view  of  the  subject.  Of  one  thing  we  may  be 
quite  sure  : that  when  people  take  the  trouble  to  decry 
anything,  it  is  because  they  believe  in  its  importance.  For 
instance,  it  is  but  natural  that  the  portrait  painter  should 
inveigh  against  photography,  for  if  it  does  not  curtail  his 
commissions,  it  affords  an  easy  means  of  judging  how  far 
his  work  is  good  or  bad.  Therefore,  his  opposition,  when 
it  comes,  should  have  its  true  value  set  upon  it. 

That  there  are  bad  photographs,  inartistic  and  mecha- 
nical to  a degree,  no  photographer  would  wish  to  deny  ; 
but  then  there  are  such  things  as  badly  painted  pictures, 
too,  it  must  be  remembered,  and  it  would  be  just  as  un- 
reasonable to  decry  painters  in  general  by  reason  of  these, 
as  it  is  to  find  fault  with  all  photographers  because  there 
are  undeniable  duffers  in  the  ranks. 

Still,  it  is  a fact  that  photographers  do  hold  much  to  the 
good  opinion  of  painters,  sculptors,  and  other  artists.  Only 
they  expect  too  much  ; they  imagine  painters  to  be  free 
from  all  taint  of  rivalry,  and  to  be  as  no  other  class  of 
human  beings  are.  Photographers  are  not  content  with 
the  proofs  put  before  their  eyes  every  day  that  their  prouder 
brethren  really  do  appreciate  and  value  photography  in 
deed,  if  not  in  word,  but  expect  encouragement  from  a class 
to  whom,  in  a measure,  they  are  in  antagonism.  The  mere 
fact  that  painters  are  among  their  most  generous  patrons 
speaks  more  than  any  words  can  in  favour  of  the  photo- 
grapher’s work.  It  is  not  merely  a question  of  taking  a 
photograph  of  the  painter’s  picture,  when  this  is  finiohed, 
or  of  uis  studio,  when  it  has  beeu  put  into  apple-pie  order 
for  the  purpose.  The  painter  puts  the  photographer  to  do 
yeoman’s  service  in  these  matters,  but  he  also  makes  far 
better  use  of  him  as  well.  Cloud  studies,  pictures  of 
foliage,  seascapes,  rustic  compositions  of  all  kinds,  are 
secured  in  the  camera  as  aids  to  the  painter,  and  thus  he 
is  saved  valuable  time  in  taking  notes  and  sketches  which, 
after  all,  are  not  so  helpful  in  his  work  as  photographs. 
Rejlander  used  to  say  that  the  advent  of  photography  in 
art  might  be  compared  to  the  introduction  of  steam  in 
navigation  ; it  enabled  you  to  reach  the  goal  more  swiftly. 
It  is  the  same  in  another  branch  of  art,  where  photography 
is  growing  every  day  more  important — to  wit,  in  sculpture. 
To  make  a drawing  or  cartoon  of  one’s  subject  was  in  the 
first  place  almost  imperative  in  undertaking  to  produce  a 
bust  or  statue,  but  now  the  camera  steps  in  and  obviates 
most  of  this  preliminary  artistic  work.  As  was  evidenced 
at  a recent  celebiated  trial,  provided  with  a series  of  photo- 
graphic portraits,  well  posed  and  artistically  lighted,  a 
sculptor  can  get  on  with  his  work  almost  without  drawings 
and  personal  sittings. 

If,  then,  in  the  direction  in  which  the  photographer  re- 
ceives, or  is  supposed  to  receive,  most  opposition,  there  is 
still  a greater  demand  than  ever  for  his  work,  matters  can 
hardly  be  so  bid  as  some  would  make  them  out.  Nor  are 
paiuter  and  sculptor  exceptional  in  that  they  are  increasing 
their  demands  upon  photography;  turn  in  whatever  direc- 
tion you  please,  applications  of  the  art  are  growing  more 


June  22,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


389 


widespread.  We  have  shown  repeatedly  how  most  every 
branch  of  science  avails  itself  of  the  camera,  and  how,  too, 
the  sensitive  plate  is  used  in  every  profession  and  calling 
in  the  kingdom.  Engineers  check  their  work  by  photo- 
graphy, lawyers  get  up  evidence  by  its  means,  the  doctor 
studies  disease  through  its  revelations,  the  mathematician 
can  control  his  calculations  ; the  physicist,  the  astronomer, 
the  chemist,  the  biologist,  and  well-nigh  every  student  of 
natural  science,  avails  himself  of  its  aid,  while  the  manu- 
facturer uses  it  to  display  his  patterns,  and  the  very  police- 
man to  entrap  his  victim. 

All  these  applications  may  be  but  of  indirect  advantage 
to  the  professional  photographer,  but  they  are  distinctly 
to  his  benefit,  and  enhance  his  importance.  Still,  there  is 
no  need'to  turn  to  them  in  order  to  convince  the  photo- 
pher  he  needs  support,  and  that  his  calling  is  growing  less 
prosperous.  If  there  are  more  photographers  to-day  than 
ten  years  ago,  there  is  also  a greater  demand  for  their 
services  ; the  public,  no  doubt,  are  growing  more  discrimi- 
nate in  their  taste,  and  are  beginning  to  expect  better  work ; 
but  this  is  a fact  few  will  find  fault  with.  He  who  is  a 
student  of  art  and  a man  of  taste  and  tact  has  to-day  a 
better  chance  of  success  than  at  any  previous  period  in  the 
history  of  the  art. 

To  say  that  people  are  getting  tired  of  photographic 
portraits,  and  that  they  have  been  “over-photographed,” 
is  simply  absurd.  Young  ladies  and  young  gentlemen  who 
are  “ getting  on  ” in  life,  and  who  have  satisfied  every 
friend  and  acquaintance  of  their  circle  with  highly-glazed 
representations  of  the  latest  mode  and  fashion  as  depicted 
by  themselves,  may  declare  that  photographic  portraits  are 
“ but  leather  or  prunello  ” ; but  it  is  very  different  in  the 
everyday  world.  Regarded  as  a remembrance  or  relic,  the 
photographic  portrait  is  priceless.  It  is  the  most  personal 
souvenir  an  absent  friend  can  leave  behind  him,  the 
dearest  treasure  the  mother  can  hold  of  her  dead  boy. 
Art,  or  no  art,  in  the  photograph,  the  husband  clings  to 
the  only  thing  that  recalls  the  features  of  his  beloved  wife  ; 
it  is  her  own  shadow  he  possesses,  and  that  is  something 
to  be  prized,  now  the  cheeks  before  him  glow  no  longer  with 
life  and  health,  and  the  breathing  lips  have  ceased  to 
speak.  There  is  not  only  the  outline  of  mouth  and  nose 
and  eyes  all  faithfully  drawn,  the  arch  of  the  neck,  the 
pose  of  the  head,  the  expression  of  the  face ; all  this  is 
there,  but  much  more.  It  is  the  woman  he  loved  so  well, 
with  all  the  well-known  individualities  about  her,  that 
long-remembered  look  of  the  eyes,  that  pathos  in  the 
parted  lips  ; in  a word,  it  is  his  wife  herself — a personality, 
and  not  a picture. 

In  these  circumstances,  we  may  well  leave  photography 
and  photographic  portraits  to  look  after  themselves.  If 
pne  very  dear  to  us  dies,  and  there  are  but  two  portraits 
in  existence,  the  one  an  elaborate  oil-painting,  the  other  a 
simple  photograph,  which  is  the  more  valued  by  the 
bereaved  ones  'i  Grand  paintings  have  their  place  in  hall 
and  residence,  in  museums,  council  chambers,  and 
galleries  ; the  photograph,  if  its  sphere  is  a humbler  one, 
belongs  to  an  inner  and  closer  domain,  and  is  a household 
treasure  whose  worth  is  not  appraised  by  riches. 


FRENCH  CORRESPONDENCE. 

M.  Lisbonne  on  the  Chemical  Theory  of  Gelatine  Bro- 
mide Emulsion. 

The  formula  usually  employed  is  as  follows  : — 

Water  100  parts 

Bromide  of  ammonium  18  ,, 

Crystallised  nitrate  of  silver  ...  27  ,, 

Gelatine  30  „ 

After  mixing,  bromide  of  silver,  water,  and  nitrate  of  am- 
monia result,  excess  of  bromide  of  ammonium  and  free 
nitric  acid  remaining  in  the  liquor.  This  nitric  acid  is  in 
the  nascent  condition  until  it  disengages  itself  from  its 


combination  with  nitrate  of  silver,  and  then  its  maximum 
of  power  is  reached,  and  as  its  affinity  for  ammonia  is  much 
greater  than  that  of  hydrobromic  acid,  nitrate  of  ammonia 
is  formed,  while  hydrobromic  acid  is  diffused  in  the  liquor 
unless  overpowered  by  the  bromide  of  silver. 

As  bromide  of  silver  is  insoluble  in  cold  water,  it  is  not 
possible  to  test  its  chemically  acid  or  neutral  state  by 
means  of  vegetable  reagents,  as  litmus,  &c. ; it  is,  therefore, 
necessary  to  proceed  otherwise.  Having  cooled  and 
filtered  the  emulsion  as  soon  as  it  is  formed — that  is  to  say, 
without  boiling — wash  it  until  there  remains  no  cloudiness 
from  the  nitrate  of  silver ; more  alkaline  bromide  is  then 
contained  in  excess.  Next  put  it  into  distilled  water  with 
one  or  two  per  cent,  of  ammonia,  and  leave  it  for  about 
twelve  hours,  until  the  red  colour  of  the  bromide  becomes 
bluish.  If  its  apparent  colour  is  greenish,  the  plates 
coated  with  this  emulsion  acquire  an  extraordinary  sensi- 
tiveness which  they  were  far  from  possessing  on  the  pre- 
vious day.  As  to  the  ammonia  and  water,  it  shows  new 
properties  if  there  is  not  too  much  of  it  for  the  emulsion. 
It  is  said  to  cloud  the  nitrate  of  silver  solution,  and,  upon 
examination,  the  precipitate  shows  traces  of  bromide  of 
silver. 

This  delicate  operation  shows  decidedly  that  if  it  be 
formed  of  bromide  of  silver,  it  was  from  the  bromide  of 
ammonium  ; and  if  formed  of  bromide  of  ammonium,  the 
bromide  of  silver  contained  free  hydrobromic  acid.  As  to 
the  bromide  of  silver  itself,  abandoning  the  hydrobromic 
acid  with  which  it  was  associated,  it  becomes  neutral,  and 
therefore  unstable.  It  is  to  this  more  or  less  perfect 
instability,  and  to  the  presence  of  water  in  the  gelatine, 
that  the  distinguishing  qualities  of  gelatine  emulsion  are 
indebted. 

If  the  water  added  to  the  washed  emulsion  contain  too 
much  ammonia,  its  action  excited  under  too  high  a 
temperature,  or  left  for  too  long,  the  ammonia,  by  virtue 
of  its  affinity  for  hydrobromic  acid,  attacks  the  bromide  of 
silver,  forms  bromide  of  ammonium,  and  sets  free  oxide  of 
silver.  This  oxide  of  silver,  inappreciable  to  the  eye,  is 
the  whole  cause  of  fog.  It  is  instantly  reduced  iu  develop- 
ing, while  it  exists  free  in  emulsions. 

After  all  that  has  been  just  said,  it  forms,  in  emulsions 
round  the  neutral  bromide  of  silver,  an  entourage  of  alka- 
line bromide  of  ammonium  and  silver.  No  matter  what 
care  may  be  taken  in  subsequent  washing  of  the  emulsion, 
the  bromide  will  remain  impregnated  with  the  oxide,  and 
the  plates  will  be  fogged.  To  remedy  this  defect,  bichro- 
mate of  potash  is  used  successfully  on  this  account.  If  to 
the  emulsion  containing  bromide  of  ammonium  and  silver 
we  add  bichromate  of  silver,  the  liberated  potash  forces 
the  ammonia  from  the  bromide  of  ammonium,  and  forms 
bromide  of  potassium,  which,  in  its  turn,  attacks  the  bichro- 
mate of  silver,  forms  bromide  of  silver,  and  reconstitutes 
bichromate  of  potash  ; the  oxide  of  silver  being  eliminated, 
the  emulsion  is  no  longer  fogged. 

Such  is  the  abstract  of  a chemical  theory  which  differs 
essentially  from  others  propounded  for  the  same  object. 
It  will  be  deeply  interesting  to  have  these  assertions  of 
M.  Lisbonne  verified.  Leon  Vidal. 


lUbicfo. 

The  ABC  of  Modern  Photography.  By  VV.  K. 
Burton.  Third  edition.  (Piper  and  Carter , 5,  Castle 
Street,  Ilulborn,  E.C.) 

It  is  difficult  for  us  to  speak  a3  we  should  of  this  handy 
little  volume,  now  enlarged  to  121  pages,  since  it  took  its 
rise  under  our  own  auspices  in  these  columns.  Still  we 
may  say  that  in  its  present  form  the  work  is  one  of  the 
most  practical  and  useful  handbooks  of  modern  photo- 
graphy. To  beginners,  especially,  is  Mr.  Burton's  work 
to  be  recommended,  for,  while  he  has  taken  up  the  subject 


390 


THE  PHOTOGRAPHIC  NEWS. 


[June  22,  1883, 


of  gelatine  photography  ab  ovo,  every  word  has  been 
written  since  “ the  new  era,”  and  thus  the  book  is  not 
weighted  with  extraneous  and  obsolete  matter. 

Several  chapters  have  been  added  to  the  present  edition. 
Here  is  what  Mr.  Burton  says  on  the  subject  of  preparing 
glass  plates  and  coating  them  : — 

To  prepare  plates  for  coating,  it  is  necessary,  if  they  have 
been  used  before,  to  remove  the  old  film ; and  whether  they 
have  been  used  or  not,  to  polish  them  on  one  side  to  receive  the 
emulsion. 

To  remove  old  films,  the  plates  are  left  to  soak  for  at  least 
twenty-four  hours  in  a mixture  of  one  part  of  hydrochloric 
acid  to  twenty  parts  of  water.  Any  waste  acid  will  do.  The 
strength  of  the  mixture  is  not  important,  so  long  as  it  is  not  too 
weak,  and  almost  any  acid  will  do  as  well  as  hydrochloric  ; the 
same  acid  bath  will  do  for  a long  time. 

After  the  plates  have  been  the  time  specified  in  the  dilute 
acid,  the  films  may  easily  be  removed  by  the  use  of  warm  water 
and  a scrubbing  brush.  Whitening  is  the  best  material  to  give 
such  a polish  to  the  glass  that  the  emulsion  will  flow  easily  on  it. 
A mixture  of  ordinary  whitening  and  water  to  the  consistency 
of  a thick  cream  is  made.  This  is  thinly  spread  on  one  side  of 
the  glass  with  a cloth,  all  the  plates  to  be  cleaned  being  thus 
smeared,  and  placed  against  the  wall  or  in  racks  to  dry.  When 
the  whitening  has  dried  on  them,  each  plate  is  taken  in  the 
hand.  The  greater  part  of  the  composition  is  removed  by  a very 
slightly  damped  cloth,  and  the  plate  is  rapidly  polished  with  a 
perfectly  clean  and  dry  cloth  ; a beautiful  surface  is  by  this 
means  obtained. 

There  are  several  methods  of  coating  plates  in  common  use. 
The  best  for  those  who  have  the  skill  is  the  method  used  for 
coating  with  collodion,  and  which  we  describe  ; but  we  imagine 
most  of  those  who  have  not  worked  the  wet  process  will  find 
the  plan  which  has  been  used  for  some  time  by  the  writer,  and 
which  is  also  described,  the  most  convenient.  For  the  ordinary 
method,  the  apparatus  necessary  is  as  follows  : — 

A small  tea-pot.  A large  flat  dish  of  the  nature  of  a porcelain 
flat  bath  to  catch  spillings.  A pneumatic  holder  ; this  is  an 
india-rubber  bail  with  sucker  attached,  the  whole  forming  an 
apparatus  whereby  it  is  possible  to  pick  up  a plate. 

In  coating  by  the  ordinary  method,  it  is  advisable  to  have  two 
ruby  lamps,  one  placed  at  the  back  of  the  operating  table,  the 
other  in  front  of  the  operator,  and  above  the  level  of  his  head, 
lie  can  thus  see  the  emulsion  on  the  plate,  both  by  reflected  and 
by  transmitted  light.  The  flat  dish  is  placed  between  the  lower 
light  and  the  operator  ; the  teapot,  full  of  emulsion,  melted,  and 
at  a temperature  of  120°  Fahr.,  or  thereby,  may  be  placed  on 
this  dish  ; and  the  plates,  polished  side  downwards,  are  placed  to 
the  right  of  the  flat  dish. 

The  pneumatic  holder  is  taken  in  the  left  hand,  which  is 
stretched  across  the  flat  dish,  to  take  hold  of  a plate.  The  plate 
is  held  level,  and  a pool  of  emulsion  is  poured  on  to  it,  and 
guided  over  it  exactly  as  was  described  for  varnishing  a plate  in 
Chapter  XIII.,  page  85.  The  only  difference  is  that  more  than 
half  the  plate  is  at  first  covered  with  emulsion,  and  that,  instead 
of  the  plate  being  drained,  it  is  only  slightly  tipped  up,  so  as  to 
let  a little  of  the  emulsion  return  to  the  tea-pot.  After  this  is 
done,  the  plate  is  gently  rocked  for  a few  seconds,  till  we  see  by 
looking  through  it  that  the  coating  has  spread  evenly.  To  tell 
whether  the  plate  has  had  enough  emulsion  left  on  it,  we  look 
through  it,  after  it  has  set,  at  one  of  the  ruby  lights.  If  we  can 
see  the  form  of  the  light  through  the  film,  there  is  not  enough 
emulsion  on  the  plate. 

The  plates,  as  they  are  coated,  are  placed  on  the  levelling  slab 
to  set.  Some  emulsion  is  sure  to  be  spilled  into  the  flat  dish. 
It  is  allowed  to  set,  is  then  scraped  up  with  a strip  of  glass, 
»nd  re-melted.  For  the  method  of  coating  which  we  recom- 
mend to  those  not  skilled  in  the  wet  process,  the  pneumatic 
holder  is  not  required.  It  is  necessary,  however,  to  make  a small 
tripod.  This  is  done  by  glueing  three  somewhat  large-sized  shot 
on  to  a quarter-plate  in  the  form  of  a triangle,  thus, — 

o 

o 


__o 

There  is  also  needed  a glass  rod  about  two  inches  longer  than 
the  width  of  the  plate  to  be  coated,  and  a jam-pot  or  glass 


measure  in  which  to  stand  the  rod.  The  dark-room  lamp  is 
placed  within  a few  inches  of  the  left  hand  end  of  the  levelling 
shelf,  and  to  the  back  of  it.  There  is  to  the  left  of  the  lamp 
room  only  for  the  pile  of  plates,  which,  in  this  case,  have  the 
polished  side  upwards.  The  rod  standing  in  the  jam  pot  is  to 
the  right  of  the  lamp.  The  teapot  with  emulsion  in  it,  as  before, 
is  in  front  of  the  lamp,  and  farther  forward  still,  near  the  front 
edge  of  the  slab,  is  the  small  tripod  mentioned.  A plate  is 
taken  from  the  pile,  and  placed  on  the  tripod. 

A pool  of  emulsion,  about  half  covering  the  plate,  is  poured 
from  the  teapot.  The  glass  rod  is  taken  between  the  fingers  and 
thumb  of  each  hand,  and  dipped  into  the  pool  of  emulsion  right 
across  the  plate.  The  emulsion  will  run  between  the  rod  and 
the  plate  to  each  edge  of  the  latter.  By  a motion  of  the  finger 
and  thumb  of  each  hand,  the  rod  is  lifted  the  smallest  possible 
distance  from  the  plate,  and  is  rapidly  moved  first  to  one  end, 
then  to  the  other,  the  tips  of  the  finger  and  thumb  resting  on 
the  level  table  as  a guide.  This,  if  properly  done,  will  cover  the 
whole  plate  with  emulsion  ; and  if  the  plate  be  small — half -plate 
or  under — it  is  sufficient  to  slide  it  to  the  far  end  of  the  table  to 
set.  If  the  plate  be  large,  the  coating  will  not  be  evenly  spread 
unless  it  i3  lifted,  balanced  on  the  tips  of  the  fingers  of  the  left 
hand,  and  rocked  gently  for  a few  seconds.  By  this  method 
plates  may,  after  a little  practice,  be  coated  with  great  rapidity. 
There  is  no  need  to  wipe  the  rod  each  time  it  is  used. 

As  no  excess  is  poured  off  the  plate  or  spilled  in  this  method, 
it  is  possible,  by  using  a very  small  teapot,  to  keep  a constant 
check  on  the  quantity  of  emulsion  going  on  to  the  plates.  The 
covering  power  of  the  slow  emulsion  will  be  found  somewhat 
greater  than  that  of  the  rapid.  With  each  ounce  of  the  slow 
emulsion,  8 quarter  or  4 half-plates  may  be  coated.  With  the 
rapid,  only  7 quarters  or  3 halves. 

The  plates  will  “ set  ” in  a few  minutes — that  is  to  say,  the 
emulsion  will  stiffen  like  a jelly — and  will  not  run  off  the  glass, 
whatever  position  it  is  placed  in.  They  are  now  transferred  to 
the  drying-box.  When  dry,  they  are  leady  for  use. 

The  drying-box  calls  for  some  description.  There  are  various 
forms  in  use.  They  all  have  in  view  the  inducing  of  a current 
of  air  amongst  the  plates,  generally  by  the  burning  of  a gas  jet 


L 


in  a tube  or  chimney.  The  fault  of  most  is  that  the  air  passages 
are  far  too  contracted.  In  many,  heat  is  applied  to  the  incoming 
air.  This  is  quite  unnecessary,  if  the  air  passages  are  sufficiently 
large  and  are  well  arranged,  and  if  the  box  can  be  placed  in  a 
fairly  dry  place.  It  is,  moreover,  the  greatest  mistake  to  use 
artificial  heat  in  drying  plates,  if  it  can  possibly  be  avoided,  as 
they  are  rendered  distinctly  slower  thereby. 

We  here  illustrate  a form  of  box  which  has  been  in  use  by  the 
writer  for  several  years,  and  has  given  complete  satisfaction.  It 
will  be  seen  that  the  air  enters  at  the  top  of  the  box.  It  is 
drawn  into  an  air  chamber  at  its  lower  portion,  and  hence  passes 
up  the  large  tube  with  a gas  flame  burning  in  it.  This  tube 
must  be  carried  either  into  the  open  air,  or  into  a chimney. 
The  plates  are  placed  in  racks,  which  were  first  designed  by  Mr. 
G.  F.  Williams.  A sketch  of  one  of  these  is  given.  Two  plates 
may  be  placed  back  to  back  in  each  pair  of  notches  if  desired. 
The  racks  can  be  placed  on  the  cross  rods  shown  in  the  box,  the 
height  of  which  may  be  adjusted  to  suit  various  sized  plates. 
Boxes  and  racks  as  described  are  made  by  Messrs.  D.  Gordon 
Laing  and  Son,  2,  Duke  Street,  Adelphi,  London,  W.C. 

The  plates  will  take  from  twelve  to  forty-eight  hours  to  dry, 
according  to  circumstances.  When  dry,  they  may  be  used  at 
once,  or  may  be  packed  for  use  at  any  future  time.  No  limit  is 


391 


June  22,  1883.]  THE  PHOTOGRAPHIC  NEWS. 


as  yet  known  to  the^time  during  which  plates  will  keep  if 


stored  in  perfectly  dry  pure  air.  They  are  very  readily  des- 
troyed, however,  by  damp,  gas  fumes,  &c. 


Plates  may  be  packed  in  opaque  orange  paper,  such  as  is  sold 


by  most  photographic  dealers.  Th 3 piper  use  1 for  the  mikin  <= 


of  “ masks  and  discs  ” is  the  best.  The  plates  may  be  packed  in 
sets  of  four  or  six.  Every  two  plates  are  put  face  to  face,  and 
have  a piece  of  tissue  paper  between  them.  Three  packets  of  4, 
or  two  of  6,  are  then  taken,  and  wrapped  together  in  a thickness 
of  opaque  orange  paper.  Two  wrappings  of  brown  paper  are 
then  put  around  all,  and  the  package  may  be  handled  in  any 
light.  For  amateurs,  who  never  make  a very  large  stock  of  plates, 
the  best  course  is  to  use  grooved  light-tight  boxes.  Such  made 
of  wood  are  very  expensive,  but  paste-board  boxes,  which  are 
very  handy,  are  made  by  Mr.  B.  J.  Edwards,  of  6 and  9,  The 
Grove,  Hackney,  London,  for  storing  his  own  plates  in.  We  do 
not  know  whether  or  not  Mr.  Edwards  supplies  the  market  with 
the  doxes,  but  he  is  generally  willing  to  oblige  amateurs  with  a 
few.  The  grooves  of  these  boxes  are  made  with  paper,  and  some 
little  practice  is  necessary  before  the  plates  can  be  slipped  in  with- 
out tearing  this.  If  a little  patience  be  exerted  at  first,  however, 
all  will  go  well. 


ALKALINE  FYRO. 


DEVELOPER  ALL  IN  ONE  SOLU- 
TION. 

BY  O.  CRAMER. 


Having  perused  with  much  interest  the  articles  appearing  in 
the  photographic  journals  on  the  preserving  influence  of  sulphite 
of  soda  over  pyrogallic  acid,  I will  say  that  my  experiments 
with  it  have  been  so  successful  that  I do  not  hesitate  to  pro- 
nounce it  the  most  reliable  and  finest  developer  that  can  be  used 
for  dry  plates.  I have  combined  all  the  chemicals  in  one  solu- 
tion, which  keeps  well,  and  only  needs  diluting  with  water  to  be 
ready  for  use.  The  diluted  solution  can  be  used  repeatedly. 
It  is  simple,  economical,  and  durable,  and  the  resulting  negatives 
are  extremely  fine  in  colour  and  printing  quality. 

My  formula  is  as  follows  : — 

Stock  Solution. 

Sulphite  of  soda  (crystals)  ...  3 ounces  troy  weight 
Bromide  of  ammonium...  ...  £ ounce  „ „ 

Bromide  of  potassium ounces  „ „ 

Pyrogallic  acid  ...  2"  „ „ „ 

Dissolve  thoroughly  in  pure  rain, 

distilled,  or  ice  water 32  fluid  ounces 

Add  sulphuric  acid  (c.  p.)  (120  minims) 

Finally  strongest  aqua  ammonia  3 fluid  ounces 
Add  water  to  make  up  bulk  to...  40  ounces 

Be  careful  to  measure  the  sulphuric  acid  and  the  aqua  ammonia 
very  exactly,  and  keep  the  latter  in  a cool  place,  well  stoppered, 
so  that  it  will  retain  its  full  strength. 

(Instead  of  three  ounces  of  crystals,  two  ounces  of  granular 
sulphite  of  soda  may  be  substituted  to  produce  the  same  effect). 

The  solution  assumes  a bright  ruby  colour,  and  will  keep  a 
long  time  if  kept  in  a bottle  with  tight-fitting  india-rubber 
stopper. 

Dilute  sufficient  for  one  day’s  use  as  follows  : — 

For  ordinary  purposes,  1 part  to  11  parts  of  water. 

For  very  short  exposures,  use  1 part  with  3 or  6 parts  of  water. 

For  over-exposed  plates,  or  in  all  cases  where  great  intensity 
and  contrast  is  desirable,  1 part  to  20  of  water. 

In  developing  a plate  which  was  over-exposed,  the  shadows 
will  appear  too  soon.  In  this  case  add  as  quickly  as  possible 
more  water  to  retard  the  development,  and  to  produce  more 
intensity. 

If  the  shadows  appear  too  slowly  (from  under-exposure),  add 
more  stock  solution,  as  the  stronger  developer  will  produce  more 
detail  in  the  shadows,  and  less  intensity  in  the  lights.  The 
additional  stock  solution  should  be  poured  in  the  comer  of  the 
developing  dish,  as  it  would  cause  stains  if  applied  directly  to 
the  plate. 

Always  develop  until  the  shadows  have  sufficient  detail. 

Wash  well  before  fixing,  and  prepare  the  fixing  bath  as 
follows : — First  dissolve  a half-pound  of  powdered  alum  in  one- 
third  of  a gallon  of  water  ; then  dissolve  one  pound  of  hypo  in 
two-thirds  of  a gallon  of  water.  After  both  are  dissolved,  pour 
the  alum  solution  in  the  hypo. 

The  alkaline  pyro  and  sulphite  of  soda  developer  can  be  used 
repeatedly  as  long  as  it  remains  clear,  if  the  solution  is  always 
returned  to  the  pouring-bottle,  which  should  be  provided  with  a 
tight -fitting  india-rubber  stopper,  to  prevent  evaporation.  If 
the  mixed  developer  has  been  standing  a while,  shake  before 
using,  and  wait  a few  seconds  until  the  air-bubbles  have  dis« 
appeared.  As  long  as  the  solution  remains  transparent,  it  is  all 
right ; hut  when  it  looks  muddy,  its  use  should  be  discontinued. 


392 


THE  PHOTOGRAPHIC  NEWS. 


[June  22,  1883. 


Writes  Or.  Eder: — “Oar  friend  Plener  has  just  left 
Vienna.  He  .takes  with  him  some  beautiful  pictures  he 
has  secured,  and  some  good  emulsion  he  has  made.  In 
another  three  months  we  shall  probably  hear  more  about 
him  and  his  process.” 

Mr.  N.  K.  Cherrill,  whose  name  is  familiar  to  our  readers, 
has  accepted  the  appointment  of  Paris  manager  to  the  Swan 
Electric  Lamp  Company. 

A lottery  is  to  be  organized  at  the  forthcoming  Brussels 
Exhibition,  the  prizes  being  selected  from  among  the  pic- 
tures and  apparatus  exhibited. 


According  to  the  Chemiker  Zeitung,  chloride  of  silver  is 
rapidly  precipitated  from  dilute  solutions  by  adding  a 
small  quantity  of  chloroform. 


Mr.  G.  W.  Wilson,  of  Aberdeen,  attended  last  week  at 
Balmoral  to  photograph  various  things  in  connection  with 
the  late  John  Brown.  In  one  bedroom  Brown’s  kilt, 
sporran,  &c.,  were  spread  out  on  the  bed,  his  pipe  and 
pouch  were  placed  on  a table,  and  the  room  was  then 
photographed.  So  says  Truth. 

The  camera- ohscura  has  already  been  put  to  good  service 
in  warfare.  Two  years  ago  we  published  in  these  columns 
a description  and  sketch  of  the  defence  of  Venice  with  tor- 
pedoes in  1858,  in  which  our  readers  will  remember  the 
camera-obscura  played  a most  important  part.  In  the  little 
building  was  reflected  the  harbour  of  Venice,  and  marked 
upon  the  table  of  the  camera  was  the  whereabouts  of  each 
torpedo — that  is  to  say,  the  spot  where  it  was  sunk.  The 
image  was  therefore  the  key  of  the  defence,  and  a sentinel 
stationed  inside  the  camera  could,  by  means  of  electric 
wires,  explode  any  particular  torpedo,  should  he  see  the 
image  of  an  enemy’s  vessel  approaching  it. 


Another  scarcely  less  ingenious  application  of  tho  camera- 
obscura  is  made  in  connection  with  the  proving  of  guns  ; 
indeed,  we  are  not  sure  that  one  of  the  Continental  nations 
has  not  had  the  plan  in  operation  some  years.  The  testing 
of  cannon,  especially  with  big  powder  charges  and  heavy  shot, 
is  always  a matter  of  some  risk,  and  those  entrusted  with 
the  responsible  duty  usually  conduct  the  firing  with  elec- 
tric wires,  stationed  the  while  behind  a rampart  or  stoutly- 
built  wall.  But  in  these  circumstances  it  is  difficult  to 
get  a satisfactory  view  of  the  proof  ground  ; a camera- 
obscura,  with  a bomb-proof  roof,  on  the  other  hand,  solves 
the  difficulty  at  once,  for  it  affords  at  one  and  the  same 
time  a safe  shelter,  and  a clear  view  of  the  whole  experi- 
ment. 

It  is  now  a score  of  years  since  Mr.  McKinlay,  then 
1 roof  Master  at  Woolwich,  essayed  to  depict  the  recoil  of 
a gun  when  firing.  An  electric  shutter  was  used,  the  ex- 
posure being  made  on  the  firing  tube  being  blown  from  the 


touch- hole,  or  vent,  of  the  gun.  The  result  was  so  far 
successful  that  it  recorded  the  position  of  the  gun  before 
the  recoil  and  after,  but  the  image  was  too  blurred  to 
permit  of  accurate  measurement.  Mr.  McKinlay  also 
photographed  the  muzzle  of  a gun  at  the  time  of  firing, 
showing  the  stream  of  fire  and  smoke  issuing  forth  ; but, 
naturally  enough,  the  form  of  the  projectile  could  not  be 
made  out. 


The  line  of  business  struck  out  by  the  photographers 
who  photograph  the  “ Hatched,  Matched,  and  Dispatched  ” 
column  of  the  Times,  and  send  a copy  to  the  persons 
interested,  appears  to  be  carried  on  with  great  energy.  A 
correspondent  who  has  just  been  blessed  with  an  increase 
to  his  family,  and  announced  the  fact  to  the  world  through 
the  Times,  says  on  the  evening  of  the  day  in  which  the 
announcement  appeared  he  received  by  post  no  less  than 
six  photographs  nicely  mounted  on  cards  with  gilt  edges, 
the  sender  of  each  requesting  that  sixpence  might  be 
remitted  by  return,  and  notifying  that  copies  could  be  had 
at  the  rate  of  five  shillings  the  dozen.  As  our  corres- 
pondent did  not  like  to  show  undue  preference,  and  as  the 
six  photographs  were  equal  in  merit,  he  did  not  send  the 
sixpence  to  anybody.  Of  course,  it  was  out  of  the  question 
that  he  should  be  put  to  the  trouble  and  expense  of  return- 
ing the  cards,  so  there  they  are  for  the  photographers  to 
fetch  if  they  like.  But,  as  he  sagely  remarks,  the  business 
must  pay  well  to  make  up  for  the  losses  by  non-return  of 
the  sixpences. 

However  pretty — we  use  the  words  advisedly— the 
chrystoleum  process  may  make  portraits  look,  it  seems  to 
be  wholly  unsuitable  for  landscapes.  Many  of  those  so 
coloured  which  are  exhibited  in  the  shop  windows  just 
now  are  absolutely  hideous.  On  the  other  hand,  the 
panel  pictures  of  Scotch  scenery  (signed  “ G.  W.  W.” ) un- 
coloured and  untouched  are  as  beautiful  and  as  natural  as 
the  chrystoleum  pictures  are  vulgar  and  unnatural.  These 
photographs,  especially  those  of  Wick  Harbour,  have  been 
largely  sought  after  by  marine  artists,  who  prize  them 
highly  for  their  truthful  rendering  of  wave  and  sail  form. 


A funny  circular  has  just  been  issued  by  the  Institute 
of  Chemistry.  The  gentlemen  who  resolved  themselves 
into  the  Institute  some  years  ago  are  anxious  to  define 
their  status  before  the  public,  since  the  net,  having  been 
spread  very  wide  at  starting,  there  are  many  within  the 
meshes  whose  claims  to  be  trained  chemists  are  rather 
vague.  All  the  members,  who  made  themselves,  are 
Fellows,  but  those  entering  now  will  be  Associates  only, 
and  the  rank  of  Associates  may  be  gathered  from  the 
announcement  that  “ final  honours  examination  for  the 
degree  of  B.A.  at  the  University  of  Oxford,”  and  “ degree 
examination  for  B.Sc.  in  the  Universities  of  Edinburgh, 
Durham,  or  London,”  will  be  taken  as  sufficient  evidence 
of  fitness  for  the  Institute  in  future.  Naturally  the  ques- 
tion arises : if  Associates  of  the  Institute  are  equal  to 
Bachelors  of  Science  and  of  Bachelors  of  Arts  who  have 
taken  honours  at  Oxford,  how  much  greater  must  be  the 
Fellows  of  the  Institute  1 


June  22,  1883. J 


THE  PHOTOGRAPHIC  NEW 


393 


It  would  be  a pity  to  let  such  a happy  idea  rest ; with  a 
little  ingenuity  it  might  be  developed,  nay  improved  upon, 
in  a hundred  ways  calculated  to  afford  harmless  pleasure. 
All  sorts  of  societies  and  associations  might  be  formed,  the 
members  publishing  the  rank  they  consider  themselves  equal 
to.  Take  the  Photographic  Society,  for  instance:  why 
should  it  not  be  announced  that  in  future  baronets  will 
be  elected  without  ballot  or  scrutiny  ; or  there  is  no  reason, 
indeed, why  present  members  should  not  declare  themselves 
equal  to  a duke  or  ambassador.  In  fact,  the  only  fault  we 
find  with  the  circular  of  the  Institute  of  Chemistry  is,  that 
it  doesn’t  go  far  enough. 


Professor  Pickering’s  paper  on  his  method  for  determining 
the  light  and  colour  of  the  stars  by  photography,  read  at 
the  last  meeting  of  the  ltoyal  Astronomical  Society, 
was  a very  important  one — a combination  of  lenses  giving 
a large  angular  aperture,  and  a field  in  which  there  was  not 
much  sensible  aberration  at  a reasonable  distance  from 
the  centre  of  the  field.  With  this  combination  stare  down  to 
the  fifth  and  sixth  magnitude  left  a trace  on  the  plate.  An 
exposure  ol  ten  seconds  was  made,  during  which  time  the 
earth’s  motion  is  so  small  that  the  images  of  the  stars  only 
appear  as  circular  dots.  The  camera  is  then  covered  up  for 
ten  seconds,  and  another  exposure  of  thirty  seconds  is  made, 
so  that  the  image  of  each  star  is  made  by  a dot  and  a dash. 
As  might  be  expected,  the  colours  of  the  stare  have  much  to 
do  with  the  resulting  photographic  image.  Thus  those  that 
shine  with  a red  light  are  much  more  indistinct  than  those 
which  are  blue.  To  overcome  this  difficulty  Professor 
Pickering  intends  to  utilise  the  fact  of  the  difference  in  the 
length  of  the  focus  for  blue  and  red  rays  in  a non-achromatic 
ray.  He  proposes  to  cut  out  the  centre  of  the  lens  by 
means  of  a prism  of  small  angle,  and  this  will  obtain,  he 
says,  “a  species  of  monochromatic  photograph,  for  it  is 
only  the  light  which  is  brought  to  a point  which  will  be 
intense  enough  to  register  itself  upon  the  plate,  and  so  we 
shall  practically  get  photographs  corresponding  to  different 
colours  for  different  distances  of  the  plate.” 


The  Gas  Institute,  meeting  last  week  at  Sheffield,  had 
the  question  of  a standard  light  before  them.  The  standard 
candle  was  denounced,  as  it  has  been  denounced  many  times 
before,  and  Mr.  Vernon  Harcourt  read  a paper  on  “ The 
Pentane  Standard  and  a^New  Form  of  Photometer.”  He 
argued  that  it  would  be  beneficial  if  the  French  Govern- 
ment could  be  induced  to  join  us  in  investigating  the  ques- 
tion of  the  standard  of  light,  a subject  of  vital  importance  to 
photographers,  we  need  hardly  point  out. 


The  Pentane  Standard,  at  present  under  trial  in  this 
country,  means  the  burning  of  a certain  mixture  of  air  and 
petroleum  vapour,  twenty  parts  of  air  with  seven  parts  of 
vapour.  The  light  given  off  by  a quarter-inch  jet  of  this 
mixture — the  flame  being  about  two-and-a-half  inches  high 
— is  about  equal  to  that  of  a standard  candle,  but  has  the 
advantage  of  affording  a more  constant  illumination,  care 
being  taken  that  the  petroleum  employed  is  that  which 
distils  at  a certain  temperature. 


In  the  Report  of  the  Paris  Observatory  for  the  past  year, 
considerable  stress  is  laid  upon  the  value  of  observing 
stations  at  considerable  altitudes.  It  is  proposed  to 
build  an  astronomical  observatory  on  the  Pic  du  Midi  in 
the  Pyrenees,  at  the  elevation  of  between  eight  and  nine 
thousand  feet.  Here  the  atmosphere  is  so  pure  and  clear 
that  it  is  easy  to  read  at  night  by  the  light  of  the  stars 
alone,  and  of  the  tiny  group  of  stars  known  as  the  Pleiades, 
it  is  possible  to  make  out  fifteen  or  sixteen  with  the  naked 
eye.  We  in  this  country  still  go  plodding  on,  taking 
photographs  of  the  sun  at  murky  Greenwich,  the  solar  orb 
veiled  in  the  mist  and  smoky  vapour  that  comes  over  from 
the  Isle  of  Dogs  opposite.  It  is  true  that  a proposition  has 
been  on  foot  for  some  time  past  to  erect  an  observatory  on 
Ben  Nevis,  but  so  far  the  scheme  has  met  with  scant 
encouragement  from  the  powers  that  be. 

Fortunately,  we  may  now  hope  for  better  things.  This 
opinion  on  the  part  of  French  observers,  as  also  the  circum- 
stance that  Her  Majesty  has  given  £50,  and  the  Prince 
of  Wales  half  that  sum,  towards  the  Ban  Nevis  plan, 
will  certainly  induce  a step  forwards.  A pathway  to  the 
top  of  our  highest  mountain  is  to  be  forthwith  commenced, 
and  let  us  hope  that  before  another  twelvemonth  passes, 
funds  will  be  forthcoming  for  the  erection  of  a substantial 
observatory. 

Mr.  Francis  Galton  has  embodied  in  a volume  entitled 
“Inquiries  into  Human  Faculty  and  its  Development,”  the 
result  of  his  experiments  in  “Composite  Portraiture,”  a 
paper  on  which  subject  he  read  before  the  Photographic 
Society  some  time  ago.  Mr.  Galton  also  repeats  in  this 
volume  his  plea  for  family  registers,  the  weak  point  of 
which  is,  as  the  Pall  Mall  Gazette  points  out,  that  although 
families  might  be  willing  to  record  all  the  good  points  in 
their  own  favour,  it  is  to  be  anticipated  that  they  would 
cook  the  books  on  the  bad  side  of  the  account.  But  a 
photographic  family  register  pure  and  simple  would  be 
scarcely  open  to  this  objection.  The  preservation  of  indi- 
viduality throughout  a succession  of  generations  is  some- 
times very  curious,  and  especially  when,  as  it  sometimes 
does,  appears  to  miss  one  generation  and  re-appear  in  the 
next.  The  singular  resemblance  between  the  very  old  and 
very  young  of  the  same  family  has  often  been  noted  ; but 
what  is  more  singular  still,  is  the  unexpected  resemblance 
which  photography  oftentimes  reveals. 


Skits  on  photographic  subjects  are  not  uncommon  in  the 
German  comic  papers.  In  the  Fliegende  Blatter,  the  other 
day,  a young  lady  was  represented  telling  her  aunt  that 
Herr  Muller,  an  artist,  had  asked  her  for  her  photograph 
to  paint  from.  “ If  you  send  yours,”  replied  the  aunt, 
“ then  mine  must  go  as  well.  It  is  scarcely  proper  that  a 
young  lady’s  photograph  should  go  to  a painter’s  studio 
without  a chaperon ! ” The  fun  in  this  is  peculiarly 
Teutonic.  More  humorous,  to  our  notions,  is  the  story,  also 
in  the  Fliegende  Blatter , of  the  lady  who  took  her  child  to 
be  photographed,  and  on  being  told  by  the  photographer 
that  the  light  was  too  weak,  begged  him  to  try,  as  she 
was  sure  it  must  be  strong  enough  for  such  a little  fellow  ! 


304 


THE  PHOTOGRAPHIC  NEWS. 


[June  22,  1883. 


fattut  JntcUigm*. 

Notices  to  Proceed. 

1380.  Richard  Brown,  and  Robert  William  Barnes,  and 
Joseph  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  for  an  indention  of  “ Improvements  in  and  relating 
to  the  preparation  of  pictures  and  photographs  to  be  used  in 
the  production  of  pictures  by  the  art  of  photography  and 
photo-engraviug,  and  in  the  production  of  gelatine  reliefs  and 
printing  surfaces  therefrom.” — Dated  loth  March,  1883. 

1229.  Alfred  Horace  Dawes,  of  Brook  Cottage,  Windermere, 
in  the  count)7  of  Westmorland,  for  an  invention  of  “ An  im- 
proved process,  system,  or  method  of  producing  permanent 
coloured  photographic  card  pictures.”— Dated  7th  March,  1883. 

Patent  Void  through  Non-payment  of  Duties. 
2301.  William  Phillips  Thompson,  of  the  firm  of  W.  P.  Thomp- 
son and  Co.,  Patent  Agents,  of  6,  Lord  Street,  Liverpool,  in 
the  county  of  Lancaster,  and  323,  High  Holborn,  in  the  county 
of  Middlesex,  Civil  Engineer,  for  an  invention  of  “ Improve- 
ments in  and  relating  to  copying  plans,  drawings,  documents, 
and  other  pictures  or  like  objects  composed  of  black  and  white 
(or  their  equivalent  photographically)  by  photographic  means, 
and  in  compositions  therefor.”— A communication  to  him  from 
abroad  by  Monsieur  Adolphe  Joltraiu,  of  Paris,  in  the  republic 
of  France. — Dated  8th  June,  1880. 

This  invention  consists  in  a new  or  improved  photographic 
process  known  in  France  as  the  ‘ gommo  ferrique  ’ process  for 
directly  reproducing  drawings,  plans,  &c.,  having  nearly  black 
strokes  on  a white  ground  upon  all  kinds  of  surfaces,  paper,  tex- 
tile fabrics,  earthenware,  porcelain,  &c.  My  new  sensitive 
liquid  possesses  the  following  advantages  over  processes  already 
discovered : — It  has  a sensitiveness  requiring  a few  seconds  in 
bright  sunshine,  and  a few  minutes  in  diffused  daylight ; and, 
moreover,  in  the  densest  fog  it  gives  results  much  blacker  than 
negatives,  counter-drawings,  &c.,  peimit  of  obtaining  under  good 
conditions  by  the  ordinary  methods.  The  photographic  paper 
prepared  with  this  liquid  gives  results  of  a degree  of  fineness 
never  hitherto  obtained  ; it  works  with  such  delicacy  that  it 
allows  of  the  reproduction  of  drawings  executed  merely  in 
ordinary  crayon  ; finally,  the  correct  time  of  exposure  in  printing 
can  be  exceeded  by  as  much  again  without  damage  to  the  result, 
and  the  reaction  in  the  developing  baths  takes  place  instan- 
taneously. My  sensitive  liquid  can  be  applied  by  machine  or  by 
hand  over  the  substances  (subjectiles)  to  be  acted  upon,  and  in 
one  coat,  or  several,  according  to  the  nature  of  the  material  to  be 
coated  and  the  intensity  required.  The  gum,  which  it  contains 
in  great  quantity,  plays  a very  important  part  because  of  its 
insolubilizing  properties,  which  preserves  those  portions  which  are 
to  remain  white  when  under  the  action  of  the  developing  bath. 
The  composition  of  the  “ gommo  ferrique  ” sensitive  liquid  is  as 
follows  : — Gum,  25  grammes  ; chloride  of  sodium,  3 grammes  ; 
perchloiide  of  iron  at  45®  Baume,  10  cub.  cents. ; sulphate  of 
peroxide  of  iron,  5 grammes  ; tartaric  acid,  4 grammes  ; water 
to  fill  up  to  100  cub.  cents.  In  the  preceding  mixture  7 cub. 
cents,  of  crystallizable  acetic  acid  (per  100  cub.  cents.)  can  be 
employed  instead  of  the  tartaric  acid.  The  above  quantities  are 
modifiable  to  suit  the  surfaces  to  be  impregnated  with  the  liquid, 
also  according  to  the  state  of  the  atmosphere  and  the  degree  of 
sensitiveness  required.  I discovered  that  the  employment  of 
tartaric  acid  combined  only  with  the  perchloride  of  iron,  and  a 
thickener  was  not  susceptible  enough  to  produce  results  of  any 
utility.  The  addition  of  the  sulphate  of  peroxide  of  iron  totally 
changes  the  properties  of  my  sensitive  liquid.  Tbe  use  of 
chloride  of  sodium  is  optional  ; it  facilitates  the  rapidity  of 
reaction  in  the  developing  bath.  The  developing  bath  can  be 
a solution  more  or  less  concentrated  of  ferrocyanide  ( “ cyanure  ” ) 
of  potassium,  red  or  yellow,  acid  or  alkaline.  The  printing  is 
done  by  the  light  in  the  ordinary  condition,  the  sensitive  paper 
being  placed  behind  the  negative,  counter-drawing,  &c.  ; after  a 
sufficient  exposure  the  proof  is  developed  in  the  developing  bath 
(red  or  yellow)  ptussiate  of  potash.  The  parts  which  have  been 
kept  from  the  light  by  the  lines  take  a dark  green  tint,  whilst  the 
remainder  of  the  sheet  does  not  undergo  any  change.  The 
proof  is  now  washed  with  ordinary  water  to  get  rid  of  the  prus- 
Biate  and  stop  the  re-action,  and  is  then  put  for  several  minutes 
into  an  acidulated  bath  (acetic  hydrochloric,  sulphuric  acid), 
where  matters  injurious  to  bleaching  are  removed,  and  the  lines 
take  a black  shade  approaching  to  indigo.  It  is  again  washed 
with  pure  water,  and  dried.  Having  now  given  the  description 


exactly  as  communicated  to  me  by  my  foreign  correspondent, 
except  the  alteration  of  cyanide  to  ferrocyanide  in  the  last 
paragraph  but  one,  the  former  being  evidently  an  error  of  the 
French  copyist,  I wish  it  to  be  understood  that  what  I believe  to 
be  new,  and  desire  to  claim  under  the  hereinbefore  in  part  recited 
Letters  Patent,  is, — 

1.  The  gum  ferric  solution,  givine  directly  proofs  in  indigo 
black  shade  upon  a white  ground,  containing  two  salts  of  iron, 
tartaric  or  other  similar  acid,  and  an  insolubilizing  material,  such 
as  gum  or  gelatine. 

2.  The  application  of  a developing  solution,  consisting  of  red 
or  yellow  prussiate  of  potash,  or  metallic  solutions,  such  as  salts 
of  silver,  zinc,  and  the  like,  to  a surface  impregnated  with  salts 
of  iron  and  other  chemicals  for  the  purpose  of  making  a dark 
or  blue  black  lined  or  marked  positive  direct  from  an  original 
with  photographically  dark  or  opaque  lined  or  marked  negative. 

3.  The  process  of  photograping  a print  or  other  picture  com- 
posed only  of  black  and  white  or  monochrome  and  white,  in 
which  the  dark  lines  or  marks  of  the  original  are  reproduced 
directly  on  the  copy  as  dark  lines  or  marks  without  the  inter- 
mediation of  a negative,  substantially  as  herein  described. 

The  greater  part  of  this  invention  is  covered  by  a previous 
patent  of  Pellet. 

Patents  Granted  in  France. 

152,139.  Oros,  for  “ A photographic  shutter  with  instantaneous 
action.” — Dated  16th  November,  1882.  Class  17. 

152,615.  Arrocr,  otherwise  Tailfer  and  Clayton,  for  “Em- 
ploying eosine  in  gclatino- bromide  photography.”  Dated  13th 
December,  1882.  Class  17. 

Certificate  #/  Addition. 

105,161.  DEsrAQUis,  for  “Albertype  process.” — Dated  16th 
November,  1882.  Class  17. 

Specifications  Published  during  the  Week. 

5086.  R.  Brown,  R.  W.  Barnes,  and  J.  Bell,  “ Printing  sur- 
faces from  gelatine  reliefs.” — This  specification  was  printed  in 
full  on  page  265  of  the  present  volume. 

5131.  H.  H.  Lake,  fora  “Process  of  and  apparatus  for  producing 
coloured  photographs.” — A communication  from  J.  Chaine, 
A.  Durand,  and  S.  de  Chaligny. 

Heretofore  coloured  photographs  have  been  produced  by  the 
application  of  ordinary  oil  colours  to  the  back  of  the  photograph, 
which  has  been  previously  rendered  transparent  by  any  suitable 
process.  This  application,  thus  effected,  had  the  great  incon- 
venience of  producing  a photographic  picture  which  deteriorated 
very  rapidly,  turned  yellow,  and  upon  which  stains  appeared  by 
reason  of  the  decomposition  of  the  oil  colours.  According  to 
the  present  invention,  I employ  the  same  process  of  direct 
application  of  the  oil  colour  to  the  back  of  the  photograph,  which 
is  first  made  transparent,  but  I render  this  colour  permanent. 
For  this  purpose  1 use  a bath,  a table,  and  an  oven  all  as  herein- 
after described.  These  three  apparatuses  I will  describe  with 
the  different  manipulations  which  are  necessary  from  the  com- 
mencement of  the  use  of  the  bath  to  the  end  of  the  use  of  the 
oven.  The  bath  has  a double  casing,  and  is  arranged  to  have  a 
circulation  of  hot  water,  steam,  or  hot  gas  of  any  kind  around  it, 
which  serves  to  maintain  in  a liquid  state  the  products  designed 
to  fix  the  image  upon  the  photograph,  and  render  the  said  photo- 
graph transparent.  In  order  to  avoid  loss  of  heat,  the  cover  is 
provided  with  a covering  of  felt  or  other  non-conducting 
material  held  in  place  by  an  envelope.  Two  cocks  permit  the 
ingress  and  egress  of  the  hot  water,  steam,  or  gas.  As  above 
stated,  the  object  of  this  bath  is  to  maintain  in  a liquid  state  the 
materials  designed  to  fix  the  image  on  the  photograph,  and  to 
render  the  same  transparent.  After  remaining  a suitable  length 
of  time  in  the  bath,  the  photograph  is  withdrawn,  care  being 
taken  to  pass  it  between  the  curved  wall  of  the  bath,  and  the 
edge  of  the  india-rubber  of  the  cover,  so  as  to  remove  as  much 
much  as  possible  of  the  liquid  with  which  the  photograph 
is  impregnated.  The  photograph  is  then  placed  upon  the  table. 
This  table  is  composed  of  a metallic  case  closed  at  all  parts,  the 
upper  side  of  which  is  horizontal  and  properly  faced,  whilst  the 
bottom  is  inclined  in  order  to  conduct  towards  the  lowest  point 
the  products  of  condensation,  if  the  case  is  heated  by  means  of 
gas  or  steam,  or  the  deposits,  if  it  is  heated  by  hot  water.  Two 
stop-cocks  permit  the  ingress  and  egress  of  the  hot  water,  steam, 
or  hot  gas,  into  and  from  the  case.  When  the  photograph  is 
taken  out  of  the  bath,  it  is  placed  upon  this  table,  which  has  a 
double  bottom  or  casing  for  the  circulation  of  hot  water,  steam, 
or  hot  gas  of  any  kind  around  it,  and  which  is  kept  at  a suit- 
able temperature  to  maintain  in  a liquid  state  the  surplus  liquid 


Joxb  22,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


395 


still  adhering  to  the  photograph  ; the  liquid  is  completely 
removed  by  wiping  off  and  rubbing  the  photograph  either  with 
a cloth  or  with  soft  paper,  and,  after  exposing  it  to  the  air  for 
some  minutes,  the  photograph  is  ready  to  receive  the  paint, 
which  will  give  it  the  required  colours  or  shades.  It  is  at  this 
stage  that  the  use  of  the  complementary  apparatus  called  an 
“ Oven,”  and  hereinafter  described,  becomes  indispensable.  This 
oven  is  constructed  with  double  walls,  and  is  heated  to  a suit- 
able temperature  by  means  of  hot  water,  steam,  or  gas,  and 
permits  the  complete  desiccation  of  the  paint  in  a relatively 
short  time,  and  estanlishes,  by  a slight  fusion,  the  most  intimate 
combination  of  the  paint  and  the  material  of  which  the  photo- 
graph is  composed.  This  oven  is  of  cylindrical  form,  and  has 
two  casings,  and  the  hot  water,  steam,  or  hot  gas  circulates 
between  the  wall  of  the  oven  and  its  first  casing  ; between  the 
first  casing  and  the  second  casing  is  placed  a covering  of  felt  or 
other  non-conducting  material.  At  each  end  are  doors  which 
can  be  opened  or  shut  as  desired,  and  which,  in  order  to  avoid 
loss  of  heat,  are  lined  inside  and  outside  with  non-conducting 
material.  In  the  interior  of  the  oven  are  fixed,  horizontally, 
partitions  of  perforated  sheet  iron,  or  of  wire -gauze  designed  to 
receive  the  photographs  to  be  dried.  In  order  to  extract  the 
volatile  matters  contained  in  the  paint  or  in  the  photograph, 
tubes  are  passed  through  the  upper  part  of  the  two  casings  to 
establish  communication  between  the  interior  of  the  oven  and 
the  external  atmosphere.  In  order  to  cause  a current  of  air  in 
the  interior  of  the  oven,  other  tubes  are  passed  through  the 
lower  part  of  the  two  casings.  If  the  oven  is  heated  by  hot 
water,  the  latter  is  caused  to  enter  at  the  bottom,  and  be  dis- 
charged at  the  top,  by  means  of  pipes  provided  with  stop-cocks, 
and  passes  only  between  the  two  casings.  If  it  is  heated  by 
steam  or  gas,  the  latter  is  introduced  at  the  top,  and  discharged 
at  the  bottom.  In  this  oven  the  photographs  aie  dried,  and,  by 
a sufficient  temperature,  the  material  of  which  they  are  com- 
posed is  softened  to  such  an  extent  that  the  paint  mixes  with  it 
so  intimately  that  the  two  are  entirely  blended  at  the  point  of 
contact.  It  is  this  intimate  combination  produced  by  the  heat 
which  ensues  (after  the  photograph  has  been  a suitable  length 
of  time  in  the  oven)  the  success  of  the  operation,  and  produces 
the  permanency  or  durability  of  the  photograph,  notwithstanding 
variations  of  temperature  and  climate.  It  is  only  necessary  to 
put  it  under  a press  and  finish  it  by  the  ordinary  processes,  I 
can  dispense  with  the  oven,  if  desired,  and  arrange,  within  a 
chamber,  a heating  and  ventilating  apparatus,  by  means  of  which 
the  air  can  be  raised  to  a very  high  temperature.  The  different 
parts  of  the  apparatus  above  described  can  be  made  of  any  suit- 
able material,  and  of  any  desired  form  and  dimensions.  Having 
thus  fully  described  the  said  invention  as  communicated  to  me 
by  my  foreign  correspondents,  and  the  manner  of  performing  the 
same,  I wish  it  understood  that  I claim  : 

First.  The  above  described  improved  method  or  process  con- 
sisting in  the  employment  of  the  bath,  the  table,  and  the  oven, 
with  the  aid  of  heat,  for  the  production  of  coloured  photographs, 
all  substantially  as,  and  for  the  purposes,  set  forth. 

Second.  The  above  described  improved  apparatus  for  the  pro- 
duction of  coloured  photographs,  which  apparatus  consists  of  the 
bath,  the  table,  and  the  oveu,  all  constructed  substantially  as  set 
forth  for  the  purposes  specified. 

Third.  The  employment  of  heat  for  fixing  the  photograph, 
and  rendering  the  oil  colour  permanent  by  a rapid  artificial 
desiccation,  substantially  as  set  forth. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.R.S. 

Lesson  I. 

It  may  be  considered  axiomatic  that  a ray  of  light  travels 
in  a straight  line  when  the  substance  through  which  it 
travels  is  homogeneous — that  is,  does  not  vary  in  density. 
When  the  medium  through  which  it  travels  varies  in 
density,  then  the  ray  will  be  bent  from  its  original  course  ; 
and  even  when  the  medium  is  uniform,  part  of  it  may  still 
be  bent  by  diffraction,  which  will  be  explained  subse- 
quently. It  may  appear  that  1 am  upsetting  all  ideas  of 
geometrical  optics  in  stating  this,  but  it  is  a fact  neverthe- 
less, and  a fact  that  is  usually  ignored  when  treating  of  the 
subject  of  lenses.  The  reader  must  not  go  away  with  the 
idea  that  high  mathematics  are  necessary  to  understand  dif- 


fraction. I hope  to  be  able  to  put  it  in  such  a way  that  a 
beginner  may  grasp  it.  The  simplest  case  of  the  formation 
of  an  image  is  one  in  which  a lens  is  absent,  where  it  is 
formed  by  a pin-hole  in  an  opaque  plate.  The  experiment 
is  worth  trying.  Replace  the  ordinary  lens  of  a camera  by 
a card,  and  with  a pin  prick  a hole  in  it,  and  then  view  the 
image  of  a landscape  on  the  focussing  screen.  No  doubt 
it  will  be  a very  du'l  image,  but  it  will  be  there,  and  be 
tolerably  sharp,  but  not  quite.  Let  us  stop  for  a moment 
to  see  how  the  image  is  formed. 


Fig.  1. 

Suppose  we  examine  a candle  flame,  the  ray  of  light 
coming  from  the  point  of  the  flame  will  pass  through  the 
hole,  and  completely  fill  the  hole,  and  instead  of  a point  of 
light  from  the  tip,  we  shall  have  a disc  of  light,  wider,  of 
course,  than  the  hole.  The  same  happens  when  we  take 
any  other  point  in  the  candle  flame  ; it,  too,  will  be 
represented  by  a circular  disc  of  light.  Now  all  these 
discs  of  light  will  overlap  one  another,  and  we  shall  have 
an  image  of  the  candle  and  its  flame ; but  instead  of  the 
edges  being  sharp,  they  will  be  slightly  fuzzy,  owing  to  the 
overlap  of  these  discs.  The  fuzziness  in  the  first  place  will 
evidently  depend  upon  the  diameter  of  the  pinhole  used, 
but  besides  this,  there  is  another  cause  for  it  in  the  fact 
that  the  rays  striking  the  edge  of  the  hole  are  bent  to  a 
small  extent,  the  amount  of  which  will  be  shown  in  a sub- 
sequent lesson.  I mention  this,  as  it  would  leave  a wrong 
impression  to  state  that  the  diameter  of  the  hole  is  the 
only  cause  of  want  of  sharpness  in  an  image  formed 
by  a pin-hole.  We  shall  see  by-and-bye  that  when  the 
pin-hole  is  large,  this  is  of  very  little  consequence  ; but 
when  it  is  minute,  the  want  of  sharpness  may  be  principally 
due  to  this  bending.  Now  another  point  to  attend  to  in 
this  pin-hole  formed  image  is,  that  it  is  always  in  focus  ; 
that  is  to  say,  that  the  candle  and  the  screen  on  which 
the  image  is  thrown  may  be  shifted  further,  and  that  there 
is  no  very  great  alteration  in  the  sharpness — or,  as  photo- 
graphers say,  the  definition — of  the  image.  A little  thought 
will  show  that  there  is  no  reason  why  it  should  ; more 
particularly  if  the  image  thrown  on  the  screen  be  a land- 
scape, as  then  the  points  of  light  are  so  far  off  that  the 
discs  representing  each  point  of  light  remain  of  very  nearly 
the  same  diameter  at  all  feasible  distances.  When  we 
make  a large  image  by  withdrawing  the  focussing  screen 
a good  distance,  the  sharpness  may  appear  to  gain,  because 
the  discs  of  light  will  become  proportionally  smaller  to 
the  image  which  is  depicted.  Thus,  if  we  had  a flagstaff 
in  the  distance,  which  if  focussed  by  a lens  would  be  shown 
as  of  an  inch  across  at  a distance  of  one  foot  from  the 
lens,  a pin-hole  of  -4\j  cf  an  inch  at  the  same  distance  would 
make  it  appear  ^-0  of  an  inch  broad  on  the  whole.  If,  then, 
the  lens  were  changed,  and  an  image  thrown  on  the  focuss- 
ing screen  at  two  feet  distance,  the  breadth  of  the  flagstaff 
would  naturally  appear  of  an  inch,  and  in  using  the  same 
pin-hole  it  would  be  T's  aud  ^ of  an  inch,  or  of  an  inch. 
In  the  first  case  the  fuzziness  would  extend  half  the  breadth 
of  the  flagstaff,  and  in  the  latter  only  £ the  breadth.  Thus 
there  is  a slight  gain  in  sharpness  by  making  the  distance 
from  the  pin-hole  to  the  focussing  screen  as  large  as  possible. 
The  drawback  to  this  is  of  course  the  great  diminution  in 
light.  Let  us  see  how  this  diminution  arises.  Let  C be  a 
candle-flame,  H a card  with  a hole  in  it,  A and  B two  screens 
on  which  to  receive  the  image,  the  latter  twice  as  far  away 
from  the  hole  as  the  former  ; then  it  is  evident  that  the 
light  passing  through  the  hole  in  each  case  is  always  the 


396 


same,  but  that  the  image  on  B is  twice  as  large  in  every 
direction  as  it  is  on  A,  and  that  the  brightness  of  the  image 
on  A must  be  four  times  that  on  B ; which  brings  us  a 


rule  which  applies  equally  well  to  lenses,  and  should  there- 
fore be  remembered,  viz.,  that  the  brightness  of  an  image 
varies  inversely  as  the  square  of  the  distance  of  the  aperture  (or 
lens ) from  the  focussing  screen.  This  is  an  important  point 
to  bear  in  mind  in  photographic  optics. 

There  is  yet  another  point  to  call  to  mind,  which  is,  that 
the  illumination  of  an  image  varies  according,  as  it  is 
opposite  the  aperture  or  at  one  side. 


Fig.  3. 


Suppose  we  have  two  points  of  light,  A and  A',  of  equal 
brightness,  A being  exactly  opposite  the  aperture  a h,  and 
A'  at  the  same  distance  from  it,  but  on  one  side.  In  the 
first  case,  the  point  of  light  would  show  a light  circle  on 
the  screen  I ; in  the  latter  the  shape  would  be  nearly  the 
same,  but  the  hole  in  the  card  would  practically  be 
diminished,  because  the  light  would  have  to  pass  through 
it  askew,  the  available  aperture  in  the  direction  shown 
being  d e,  which  is  smaller  than  a b,  and  the  same  quantity 
of  rays  would  not  reach  the  screen.  The  diminution  is  evi- 
dently considerable  if  the  light  be  very  aslant  to  the  aper- 
ture. Again,  let  us  suppose  that  the  aperture  in  the  card 
were  movable,  so  as  always  to  present  the  same  size  of 
opening,  and  that  the  image  is  received  on  a flat  screen. 
We  have  then  to  compare  the  image  taken  aslant  as  A' 
with  that  from  A.  The  image  I'  will  be  bigger  than 
1,  because  it  is  further  away  from  the  aperture,  and  the 
lightness  of  the  image  would  on  this  account  also  be 
diminished. 

We  shall  see  later  that  this  applies  not  only  to  pinhole 
images,  but  to  images  formed  by  lenses,  and  has  a practi- 
cal bearing  on  the  brightness  of  image  at  the  centre  and 
margins  of  a photographic  plate,  more  especially  when  a 
wide  angle  lens  is  employed. 

Reflection  of  Light. — When  a beam  of  light  falls  on  a 
surface,  part  of  it  is  sent  back ; part  being  absorbed  in  all 
cases,  and  part  may  be  transmitted.  The  less  light 
absorbed  by  the  substance,  the  smoother  its  surface ; and 
the  more  opaque  it  is,  the  more  perfect  is  it  as  a reflector. 
Polished  silver  reflects  better  than  any  substance  with 
which  we  are  acquainted,  since  the  light  reflected  is  colour- 
less, and  it  will  take  a high  degree  of  polish,  if  we  take 
other  metals  which  appear  coloured,  such  as  gold  or  copper, 
they  naturally  reflect  less  light,  since  the  surface  absorbs 
the  rays  which  are  complementary  to  that  colour.  This 
will  be  more  perfectly  understood  further  on. 


[June  22,  1883. 


Glass  reflects  light  least  when  the  beam  is  perpendicular 
to  the  surface,  and  as  the  angle  of  incidence  (that  is,  the 
angle  at  which  it  falls  measured  from  the  perpendicular  to 
the  surface)  increases,  the  amount  reflected  is  greater,  and 
therefore  less  is  transmitted.  This  points  to  the  fact  that 
in  lenses  the  reflecting  surfaces  should  be  as  few  as  possible, 
and  the  rays  of  light  should  fall  on  those  surfaces  as  direct 
as  possible. 

Experiment  has  show  that  when  a beam  of  light  falls 
upon  a reflecting  surface,  the  angle  of  incidence  is  equal 
to  tie  angle  of  reflection. 

Figs.  4 and  5 will  explain  this!  Fig.  4 shows  the  reflec- 


tion from  a flat  surface,  and  fig.  5 that  from  a sphercial  sur- 
face. R is  a ray  of  light  falling  (the  incident  ray)  on  these 
surfaces,  and  R'  the  reflected  ray.  The  angles  a and  a', 
which  the  incident  and  reflected  rays  make  with  the  per- 
pendicular to  the  surface  where  the  light  stikes,  are  then 
always  equal. 

Suppose  light  coming  in  one  direction  falls  on  an  irregu- 
lar surface  as  shown  in  fig.  6,  it  will  be  seen  that  all  the  rays 


will  not  be  reflected  in  one  direction,  but  will  what  is  called 
scatter  the  light  after  reflection.  The  light  reflected  will, 
however,  be  brightest  in  the  direction  it  would  take  if  the 
surface  were  smooth.  Thus  white  paper,  ground-glass,  and 
dirty  or  dewy  lenses  scatter  light  irregularly ; and  it  is 
evident  that  the  rays  penetrating  through  a dirty  lens  will 
also  be  irregular  in  direction.  If  a clean  lens  gives  a sharp 
image,  it  is  evident  that  the  dirty  one  canuot  do  so.  This, 
perhaps,  will  be  better  understood  when  lenses  are  treated 
of. 


NO  FILTERING  FOR  THE  PRINTING  BATH. 

BY  R.  H.  CHATMAN. 

Now,  do  not  think  me  like  the  printing-bath  when  I express 
myself  surprised  in  finding  that  all  the  presciibed  treatments 
are  encumbered  with  that  tedious  and  somewhat  wasteful  pro- 
cess— filtering.  What  is  more  tiresome  than  to  daily  filter  a 
printing-bath,  especially  when  you  have  once  learned  that  it  is 
wholly  unnecessary  ? 

Why  some  of  the  contributors  on  this  subject  failed  to  make 
mention  of  the  following  seems  very  strange,  as  it  is  old  and  has 
been  in  use  by  many  photographers  of  this  city  for  years.  Make 
your  bath  the  desired  strength,  then  add  some  pulverized  alum, 
say  two  or  three  drachms  to  a half-gallon  bath,  acidify  slightly, 
shake  thoroughly,  let  stand  over  night,  and  by  morning  it  will 
have  settled  entirely  clear,  the  alum  having  carried  down  all 
organic  matter.  Decant  carofully,  and  now  it  is  ready  for 


THE  PHOTOGRAPHIC  NEWS. 


June  22,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


silvering.  As  the  bath  will  take  up  but  very  little  of  the  alum, 
a few  drachms  will  remain  in  saturation  some  length  of  time, 
and  not  until  this  is  taken  up  is  renewal  necessary. 

This  bath  is  self-renovating,  needs  no  tonics  to  settle  its 
stomach,  and  never  fails  to  respond  to  your  call.  Don't  all  try 
it  at  once,  and  bring  on  a corner  in  alum. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  X.— Principles  of  Lithography,  and 
Materials  Required,  —continued. 

The  proper  consistence  of  the  ink  is  a most  important 
point,  and  one  that  requires  considerable  experience  to 
properly  master.  The  softer  and  thinner  the  ink  is,  the 
more  readily  it  will  leave  the  roller  and  deposit  itself  on 
the  lines,  and  the  greater  the  tendency  will  be  for  the  work 
to  clog  up  and  be  too  heavy  by  the  spreading  of  the  lines 
when  passing  through  the  press,  and  also  by  the  too  great 
absorption  of  fatty  matter.  Very  thin  ink  may  form  a 
scum  all  over  the  stone  or  plate,  and  as  such  will  not  have 
sufficient  tenacity  to  clean  up  the  work  as  the  printing 
proceeds  ; each  impression  will  add  to  the  mischief,  so  that 
in  a short  time  the  stone  or  plate  will  be  irretrievably 
ruiDed,  yielding  only  dirty,  smudgy,  unpresentable  prints. 

On  the  other  hand,  if  the  ink  is  too  stiff,  it  leaves  the 
roller  with  difficulty,  and  the  rolling-in  becomes  tedious 
and  fatiguing.  The  ink  also,  having  more  attraction  for 
the  roller  than  for  the  stone,  will  not  be  deposited  in 
proper  quantity  on  the  finer  and  more  delicate  parts  of 
the  work,  and  they  will  be  gradually  worn  out.  Further, 
stiff  ink,  requiring  a long  and  heavy  rolling,  is  apt  to  stand 
in  relief  on  heavy  lines,  and  smash  in  taking  the  impression. 
It  may  also  stick  so  strongly  to  the  surface  of  the  paper 
as  to  tear  it  on  removal. 

Very  fine  close  work,  such  as  the  reproduction  of  a fine 
engraving,  where  it  is  of  importance  to  keep  the  lines 
sharp  and  the  spaces  between  them  open,  will  require  a 
stiffer  and  better  ink  than  open  line  work.  For  proving, 
rather  a stiffer  ink  should  be  used  than  for  printing.  A 
good  ink  should  contain  as  much  colour  as  possible,  com- 
bined with  just  sufficient  varnish  to  make  it  easily  work- 
able, so  that  it  may  yield  a sufficiently  dark  impression 
without  lying  too  thickly  on  the  lines,  possessing  at  the 
same  time  sufficient  tenacity  to  clean  well  off  the  stone 
when  the  roller  is  used  smartly,  without  risk  of  impoverish- 
ing the  fiuer  parts,  or  sticking  to  and  tearing  the  paper. 

It  must  also  be  borne  in  mind  that  temperature  will 
greatly  affect  the  consistency  of  printing-ink  and  varnish, 
the  thin  gaining  in  stiffness  in  winter,  aud the  strong  losing 
it  in  summer.  From  the  above  remarks,  it  will  be  apparent 
that  success  in  lithographic  printing  is  maiuly  dependent 
upon  the  rollers  being  in  proper  condition,  and  skilfully 
used  with  ink  of  suitable  consistence  and  quality. 

Coloured  inks  may  be  bought  ready  ground  and  mixed  ; 
but  they  are  generally  made  up  as  required  by  first  taking 
some  middle  varnish,  aud  working  as  much  powder  colour 
into  it  as  possible  with  the  palette  knife.  The  mixture  is 
then  grouud  with  a inuller,  and  being  gathered  up  again 
with  the  palette  knife,  more  colour  is  added,  aud  the  mix- 
ture is  ground  again,  these  operations  being  repeated  till 
the  ink  is  so  stiff  that  the  face  of  the  muller  will  no  longer 
pass  over  it,  and  the  edge  must  be  used.  The  lighter  the 
tint,  the  more  varnish  is  used;  aud  in  some  cases  flake— or 
better,  zinc  white— are  added  to  give  body  while  reducing 
tint. 

Gum. — This  substance  takes  such  an  important  place  in 
lithographic  operations  that  a few  remarks  are  necessary 
regarding  it.  It  is  used  in  the  form  of  a solution  in  water, 
made  by  putting  a quantity  of  good  gum-arabic,  at 
about  a Is.  or  Is.  6J.  a pound,  into  a suitable 
vessel,  and  covering  it  with  water.  A few  drops  of 


carbolic  acid  may  be  added,  and  the  mixture  stirred 
occasionally  till  all  the  gum  is  dissolved,  forming  a solution 
about  the  thickness  of  syrup  ; it  is  strained  through  a 
cloth,  and  will  then  be  fit  for  use. 

Gum- water  has  a strong  tendency,  especially  in  summer, 
to  become  sour  and  acid,  in  which  state  it  should  not  be 
used,  because  it  acquires  too  strong  an  “ etching  ’’ 
property.  The  addition  of  a little  chalk,  or  lime-water, 
will  keep  it  neutral ; or  some  antiseptic,  such  as  carbolic 
acid,  camphor,  or  thymol,  may  be  used  with  very  good 
effect  in  preventing  it  from  turning  sour. 

As  noticed  before,  the  principal  object  of  the  gum  is  to 
prevent  the  spreading  of  the  ink  forming  the  lines  of  the 
drawing.  It  should,  as  a rule,  be  applied  when  the  stone 
is  dry ; it  then  penetrates  and  holds  better  in  the  pores  of 
the  stone  or  metal,  forming  a close  and  insoluble  combi- 
nation which  cannot  be  washed  away  by  repeated  moisten- 
ing of  the  surface.  It  thus  surrounds  the  lines  of  the 
drawings,  and,  by  its  complete  impermeability  to  greasy 
matter,  preserves  their  purity  by  preventing  them  from 
spreading. 

When  stones  or  plates  are  put  away  after  printing,  or 
even  during  any  short  interruption  of  the  printing  *he 
stone  should  be  washed  over  with  gum.  The  co  ing 
should,  however,  not  be  too  thick,  or  it  will  be  lia  e iu 
warm,  dry  weather  to  scale  off,  and  may  bring  away  por- 
tions of  the  stone  with  it.  It  is  sometimes  recommended 
to  rub  the  stone  over  gently  with  the  hand,  until  the 
gummy  coating  is  dry. 

Gum-arabic  is  often  adulterated  with  cheaper  gums, 
principally  gum  Senegal,  which,  however,  having  much 
the  same  properties  and  perfect  solubility  in  water,  is 
equally  effective ; but  cherry  and  other  similar  common 
gums,  being  insoluble,  are  useless  for  lithography. 

Gummed  stones  or  plates  must  be  kept  in  a dry  place, 
though  not  too  warm,  if  kept  in  a damp  place,  mould  is 
liable  to  form,  causing  spots  which  will  spoil  the^work. 
The  addition  to  the  gum  of  a little  carbolic  acid  or  other 
antiseptic,  as  before  noticed,  helps  to  prevent  this. 

(To  be  continued.) 


&Qxm$onbimt. 

MULTIPLEX  CAMERA  BACK. 

Sir, — In  your  last  number  of  the  Photographic  News, 
you  give  a notice  and  illustration  of  a multiplex  camera 
back,  by  Messrs.  Hare  and  Dale,  Ludgate  Hill,  which  I 
think  in  some  respects  requires  explanation.  In  the  first 
place,  1 was  not  aware  there  was  such  a fitm  as  Messrs.  Hare 
and  Dale.  1 think  it  should  be  11.  and  E.  J.  Dale,  with 
which  firm  I have  no  connection  whatever. 

I should  not  have  noticed  this,  had  not  several  of  my 
friends  and  customers  supposed  I am  the  Hare'jel'erred  to. 
Such  is  not  the  case,  however,  as  I am  still  trading  as  I have 
done  the  past  twenty-seven  years  as  George  Hare.  Further 
in  your  notice  you  uay,  “ An  adaptation  of  the  principle  of 
the  revolving  album  is  not  altogether  a novelty  ; indeed,  wo 
believe  an  apparatus  of  this  kind  was  first  constructed  as  a 
container  of  dry  plates.”  In  this  you  are  quite  correct  : an 
apparatus  of  this  kind  was  c instructed,  aud  the  revolving 
album  was  an  offshoot  fiora  it,  but  it  was  not  design'  d by 
the  Messrs.  Dale,  and  it  is  not  so  certain  and  simple  in  its 
action  as  is  stated  ; it  is  not  quite  easy  to  bring  a plate  iu 
position,  particularly  if  plates  of  differing  rapidity  are  used 
in  the  same  box. — I am,  sir,  yours  respictlully, 

George  Hare. 

[The  designation  “ Hare  and  Dale”  was  taken  from  a 
printed  circular. — Ed.  P.N.] 

\ 

THE  BRUSSELS  EXHIBITION. 

Dear  Sir, — We  beg  to  draw  the  a'  tentiou  of  your  readers 
to  the  following: — For  apparatus,  lenses,  photographic 


398 


THE  PHOTOGRAPHIC  NEWS 


[Jrra  22,  1883. 


materials,  enlargements.  &c.  (everything  concerning  photo- 
graphy), the  Brussels  Photographic  Exhibition  will  afford 
an  excellent  opportunity  to  the  makers  of  these  articles  to 
make  them  kuown  to  the  numerous  amateurs  aud  pro- 
fessionals who  will  pay  a visit  to  the  exhibition.  Prices 
may  be  marked  on  the  exhibits,  and  the  Committee  will 
undertake  to  sell  them  at  the  usual  commission  of  10  per 
cent.  A lottery  will  be  organized  by  the  Committee,  lots 
being  selected  amongst  the  exhibits  (pictures,  apparatus, 
&c.,  iucluded).  If  you  intend  exhibiting,  please  note  the 
following  instructions: — 1.  Demands  for  space  will  be  re- 
ceived until  the  1st  of  July.  2.  A note  should  accom- 
pany them,  including  full  information  about  prices  for 
sale,  and  the  discount  you  would  allow  in  case  of  the 
exhibits  being  bought  for  the  lottery  by  the  Committee. 
3.  The  description,  name,  and  address  should  be  written 
legibly,  in  order  to  avoid  errors  in  making  the  catalogue. 
All  communications  should  be  addressed  to — 

Alfred  Geruzet, 

Secretaire- General,  27'"%  Rue  de  I'Ecuyer,  Brussels. 


Drocttbings  fll  So  cut  iff. 

Halifax  Photographic  Club. 

At  the  monthly  meeting  on  Tuesday  evening,  June  5th,  Major 
Holeoyde  in  the  chair, 

After  passing  the  minutes  of  last  meeting,  Mr.  Keighley 
Walton  was  made  a member  of  the  Club. 

The  President  said  he  had  received  a long  letter  on  “ Photo- 
graphic Experiences”  from  Captain  F.  W.  Turton,  R.N.,  of 
Florence,  accompanied  by  nine  photographic  views  of  that  place, 
8 by  5. 

Mr.  J.  Whitely  proposed,  Mr.  Alderman  J.  Smith  seconded, 
that  the  best  thanks  of  the  Club  be  forwarded  to  Captain  Turton 
for  the  views,  which  are  to  be  placed  in  the  album  of  the  Club. 

The  Rev.  W.  E.  Hancock  than  gave  a very  interesting  and 
humorous  outline  of  a fishing  and  photographic  tour  in  the  West 
of  Ireland,  visiting  Galway,  Connemara,  Loch  Corrib,  Cong,  and 
other  notable  places.  Having  made  several  salmon  and  trout 
expeditions  and  photographic  excursions,  he  showed  some  fine 
negatives  taken  with  his  5 by  4 camera,  principally  taken  with  a 
drop  shutter. 

Mr.  W.  C.  Williams,  in  seconding  a vote  of  thanks  to  Mr. 
Hancocks,  said  he  had  had  brought  home  to  his  mind  many 
episodes  of  his  former  days,  both  in  fishing  and  photographing, 
and  was  very  much  gratified. 

The  Secretary  then  read  over  the  arrangements  for  the 
excursion  on  June  25th  to  Bolton  Abbey  and  Woods  in  Wharf- 
dale.  Each  member  is  expected  to  take  his  camera  ; and  the  nega- 
tives taken,  and  prints  from  them,  are  to  be  exhibited  at  next 
meeting,  August  7tn.  It  was  agreed  that  first  and  second 
diplomas  should  be  given  both  for  technical  excellence  and 
artistic  merit. 

Mr.  Hancock  kindly  offered  during  next  session  to  show  any 
of  the  members’  transparencies  for  the  lantern  with  his  limelight 
apparatus. 

Mr.  Williams,  in  answer  to  a question  by  Mr.  Alderman  J. 
Smith  as  to  his  instantaneous  shutter,  explained  that  he  could 
not  tell  when  he  would  be  able  to  place  it  before  the  members  as 
promised.  Judging  from  results  already  seen  by  the  Club,  the 
shutter  was  undoubtedly  a great  success,  inasmuch  as  foreground, 
subject,  and  magnificent  skies  were  perfectly  rendered  on  the 
same  plate.  Some  three  years  ago  the  matter  of  instantaneous 
shutters  received  much  of  his  attention,  and  the  shutter  in 
question  was  the  result  of  many  experiments,  ana  it  was  so  con- 
structed as  to  open  at  the  centre  of  the  lower  edge  of  the  fore- 
ground, the  whole  of  the  latter  becoming  exposed  ere  the  sky 
portion  was  brought  under  the  influence  of  light  ; the  latter  no 
sooner  became  fully  uncovered  than  the  shutter  again  com- 
menced to  close  on  the  sky  at  the  upper  edge  of  the  plate,  the 
whole  of  the  sky  was  a rain  closed,  while  the  foreground  remained 
under  the  influence  of  light,  and  the  exposure  was  completed  by 
the  shutter  closing  as  it  had  opened  on  the  lower  edge  of  the  fore- 
ground in  the  centre.  There  was  no  check  or  reversing  action  in 
the  movement  from  beginning  to  end,  and  it  was  worked  by  a 
compensating  balance,  aud  not  by  springs,  and  could  be  used 


before  or  behind  the  lens.  One  or  two  shutters  had  since  come 
into  the  market,  which  he  imagined,  from  the  advertisements, 
involved  some  features  of  working  very  similar  to  his,  and  there- 
fore he  feared  the  novelty  of  his  shutter  would,  in  some  measure, 
be  diminished. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  14th  inst.,  Mr.  A.  J.  Brown  in  the  chair, 

Mr.  Cowan  showed  the  results  of  a few  experiments  which  he 
contended  went  to  prove  that  the  usually  accepted  theory  was 
correct  with  regard  to  drop  shutters,  viz.,  that  the  greater 
amount  of  exposure  was  gained  in  a given  amount  of  time  by 
using  the  shutter  close  to  the  plate. 

Mr.  Brown  showed  an  ingeniously  constructed  arrangement, 
by  which  he  was  enabled  to  use  the  same  shutter  either  immedi- 
ately behind  the  lens,  or  in  front  of  the  plate  ; and  he  passed 
round  plates  showing  that  there  was  no  perceptible  difference  in 
the  result,  whichever  way  he  used  the  shutter. 

Mr.  Cowan  explained  that  the  shutter  used  immediately  behind 
the  lens  should  not  be  the  same  as  that  used  close  to  the  plate, 
but  one  having  an  opening  proportionate  to  the  aperture  of 
the  lens. 

Mr.  Coles  thought  Mr.  Brown’s  experiments  only  confirmed 
those  of  Mr.  Cowan. 

Mr.  Dkbenham  remarked  that  there  would  be  no  difference  as 
regarded  the  amount  of  light,  and  the  effect  of  more  or  less  ex- 
posure. The  question  was  whether,  with  a moving  object  in 
the  field,  the  movement  would  affect  its  sharpness  more  in  one 
case  than  the  other.  If  the  aperture  of  the  shutter  was  long, 
there  would  probably  be  no  noticeable  difference ; whilst  if  it 
was  very  short,  although  with  the  shutter  next  the  plate  there 
would  be  greater  sharpness,  yet  as  the  whole  of  the  plates  would 
not  be  exposed  at  one  time,  the  parts  of  the  moving  object 
might  be  represented  at  different  times,  and  a curious  distortion 
result. 

Mr.  Henderson  said  that  having  a batch  of  emulsion  which 
had  “ given  way,”  he  had  melted  it  with  fresh  gelatine,  and  had 
obtained  an  emulsion  much  finer,  both  as  to  speed  and  quality, 
than  the  original ; this  led  him  to  make  further  experiment, 
and  he  found  that  if  he  took  an  emulsion  and  divided  it  into 
two  parts,  allowing  one  part  to  set  rapidly,  and  keeping  the 
remainder  at  a liquid  temperature  ; warmed  up  the  set  portion 
at  a temperature  just  sufficient  to  melt  it,  and  coated  plates 
with  both,  the  emulsions  which  had  been  set  and  re-melted  gave 
much  quicker  results,  and  if  again  set  and  re-melted  the  results 
were  still  quicker.  He  accounts  for  this  by  stating  that  in  his 
opinion  the  contraction  of  the  emulsion  in  cooling  and  subse- 
quent expansion  in  heating  altered  its  condition  ; aud  that  in  an 
emulsion  which  ripened  by  keeping,  the  result  was  obtained  by 
its  beginning  to  decompose,  which  affected  the  bromide  in  a 
similar  manner. 


Postal  Photographic  Society. 

The  annual  general  meeting  was  held  on  June  16th,  Mr.  J. 
Pocock,  the  President,  in  the  chair. 

The  Hon.  Secretary  reported  the  progress  and  doings  of  the 
Society  during  the  past  year. 

The  Hon.  Treasurer  handed  in  the  balance  sheet,  which  was 
duly  accepted  and  passed.  It  showed  a balance  of  £5  19s.  2d.  in 
hand,  the  receipts  for  the  year  including  entrance  fees  and  sub- 
scriptions from  fifty-two  members  (£18).  The  account  was 
signed  by  Messrs.  J,  Pocock  and  Walter  Withall  as  auditors. 

The  officers  then  retired,  as  did  the  three  members  of  the 
committee  in  alphabetical  order,  and  Lieut.  S.  Horton,  R.A.,  who 
asked  to  be  relieved,  as  he  was  likely  to  be  ordered  on  foreign 
service.  The  following  were  elected  to  serve  for  the  year  com- 
mencing July,  1883  : — J.  Pocock,  W.  M.  Baylis,  Walter  Withall, 
H.  Senier,  F.C.S  , London  ; and  Surgeon-Major  Horace  Day, 
M.D.  (Tunbridge),  F.  C.  Cowley  (Brighton).  H.  H.  Cunningham 
and  W.  M.  Baylis  were  re-elected  to  serve  as  hon.  secretary  and 
hon.  treasurer  respectively. 

A letter  was  read  from  Dr.  Maguire  (Holyhead)  pointing  out 
that  the  competitions  would  probably  be  better  supported  if  the 
prizes  were  of  greater  value,  and  suggesting  a contribution  of 
Is.  Gd.  or  28.  6d.  a head  from  all  members  towards  the  formation 
of  a prize  fund. 

The  Hon.  Secretary  said  that  they  had  deprecated  infusing 
a mercenary  spirit,  as  they  had  hoped  the  stimulus  given  by 
makiDgallthe  members  judges  would  sufficiently  keep  the  spirit 


June  22,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


399 


of  competition  alive  ; and  judging  by  the  reports  of  other 
societies’  doings  regarding  competitions,  as  published  in  the 
photographic  papers,  he  thought  their  society  might  congratulate 
itself  upon  the  way  its  members  showed  up.  In  Competition 
No.  3,  although  the  quantity  was  small,  the  quality  was  high. 

Dr.  H.  Day  said  that  although  a spirit  of  the  sort  mentioned 
by  the  hon.  sec.  was  not  one  to  be  encouraged,  yet  a successful 
member  liked  to  keep  some  little  souvenir  of  his  success,  and  he 
thought  that  half-a-guinea  would  hardly  give  him  much  to  put 
in  his  drawing-room,  and  point  to  as  one  of  his  prizes. 

The  Hon.  Sec.  pointed  out  that  when  the  Society  was  started, 
competitions  were  not  contemplated,  and  that  the  scale  of  sub- 
scriptions was  nominal,  and  fixed  with  the  view  of  covering  the 
expenses  only  of  such  things  as  were  included  in  the  original 
rules  ; that  the  competitions  were  started  tentatively,  and  were 
found  to  succeed,  and  had  in  themselves  been  the  means 
of  attracting  several  members  to  the  Society.  If  members 
wanted  better  prizes,  they  must  provide  the  funds  ; it  ought  not 
to  be  left  to  the  gift  of  individuals.  There  were  three  ways,  it 
seemed  to  him,  in  which  this  might  be  done.  1.  Either  by 
raising  the  subsciiptions  all  round  to  10s.  per  annum  (but  with 
this  question  he  would  be  sorry  to  see  a general  meeting  deal, 
without  a notice  to  all  the  members)  ; 2.  By  increasing  the  sub- 
scription for  future  members,  and  leaving  untouched  existing 
subscriptions  ; or  (3)  by  imposing  an  entrance  fee  to  the  competi- 
tions, the  danger  of  this  course  being  that  it  might  deter  many 
from  exhibiting. 

Mr.  Baylis  said  it  was  evident  from  the  balance  sheet  that  if 
the  competitions  were  to  be  continued,  the  necessary  funds  must 
be  forthcoming. 

It  was  then  resolved,  on  the  motion  of  Mr.  Senier,  that  in 
future,  each  member  competing  be  called  on  to  pay  an  entrance 
fee  of  Is.  fid.  in  each  class  in  which  he  exhibits,  to  create  a fund 
for  the  prizes,  and  that  in  the  case  of  pictures  sent  for  the  Pall 
Mall  Exhibition  it  be  2s.  6d.,  and  that  upon  the  question  of 
raising  the  subscriptions,  either  for  present  or  future  members, 
the  Hon.  Sec.  be  empowered  to  ascertain  the  feelings  of  all  the 
members  individually,  by  sending  round  voting  papers  or  a book 
for  their  votes. 

A letter  was  then  read  from  the  Secretary  of  the  Photographic 
Society  of  Great  Britain  as  to  the  sending-in  day  for  the 
Exhibition  in  Pall  Mall.  It  was  decided  that  members  of  this 
Society  desiring  to  submit  their  pictures  to  the  Committee  for 
selection  for  exhibition  there,  must  forward  them  not  later  than 
August  31st,  to  the  Hon.  Sec.  of  the  Postal  Photographic 
Society  ; that  duplicates  be  provided  of  those  selected,  and  that 
the  whole  collection  be  then  circulated  for  comoetition  in  the 
ordinary  way.  There  was  no  restriction  as  to  size  or  subject, 
except  that  all  below  half-plate  were  to  be  excluded  ; that  at  the 
same  time  the  two  set  subjects  (1),  “ Study  of  Old  House  or 
Old  Cottage  ; (2),  Marine  Lake  or  River  View,”  ne  sent  in. 

The  thanks  of  the  Society  were  ordered  to  be  sent  to  the 
rivate  member  who  had  provided  prizes  for  : — 1.  Interior;  2, 
nstantaneous  photography  of  animals,  ships,  or  train  in  motion. 

The  giver  of  prize  to  have  copies  of  the  first  and  second  prize 
photographs  in  each  class,  and  November  1st  was  fixed  as  the 
day  when  these  pictures  were  to  reach  the  Hon.  Sec. 

It  was  resolved,  on  Dr.  Day’s  motion,  to  hold  an  open  air 
meeting  ; the  Committee  were  left  to  appoint  a place  within  easy 
reach  of  London,  and  the  first  Monday  in  August  (Bank 
Holiday)  was  fixed  for  the  day. 

The  proceedings  then  terminated,  and  technical  matters  were 
discussed. 


Bury  Photographic  Club. 

The  first  out-door  meeting  of  the  season  was  held  at  Bolton 
Bridge,  the  journey  being  accomplished  by  train  to  Skipton 
(where  breakfast  was  provided),  and  thence  by  wagonette  to 
Bolton  Bridge,  where  groups  of  the  members  were  taken  by 
Messrs.  Livsey  and  Rishton,  wh  i also  took  photographs  of  the 
monument,  in  form  of  a Runic  cross,  to  Lord  F.  Cavendish,  and 
scenes  along  the  River  Wharfe.  Mr.  Nelson  secured  two  nega- 
tives of  Barden  Tower.  Numerous  other  pictures  taken  in  the 
course  of  the  day  will  serve  to  remind  the  members  of  a most 
enjoyable  excursion. 

At  the  annual  meeting  of  the  Club  held  in  May,  the  following 
gentlemen  were  re-elected  : — 

President— Mr.  E.  W.  Mellor. 

Vice-Presidents — Messrs.  W.  S.  Barlowand  E.  Eccles. 

Treasurer — Mr.  John  Nelson. 


Council — Messrs.  F.  Cooper,  H.  Dearden,  Dr.  Mellor,  J.  J. 
Rishton,  J.  Shaw. 

lion.  Secretary — Mr.  F.  W.  Livsey,  The  Rowlands,  Summer 
Seat,  near  Manchester. 


Dundee  and  East  of  Scotland  Photographic  Association. 
On  June  13th  the  annual  excursion  and  outdoor  meeting  took 
place,  the  locality  chosen  being  Meikleour,  the  beautiful  grounds 
of  which  had  been  kindly  thrown  open  by  the  Dowager- 
Marchioness  of  Lansdowne. 

The  party,  numbering  over  sixty,  including  several  friends 
and  a goodly  sprinkling  of  the  fair  sex,  left  the  West  Station  by 
the  7.45  a.m.  train,  Meikleour  being  reached  shortly  after  ten 
o’clock.  Refreshments  having  been  served,  games  were 
heartily  engaged  in  by  the  younger  portion,  while  the  many 
opportunities  afforded  for  the  use  of  the  camera  by  the 
various  objects  of  interest  in  the  loc  lity  were  diligently  taken 
advantage  of.  The  right  of  fishing  in  the  Tay  having  also  been 
generously  granted,  a few  plied  the  “ gentle  art  ” with  more  or 
less  success.  Dinner  was  served  on  the  green  sward,  and  while 
the  party  were  seated  a photograph  of  the  group  was  taken. 
Sports  were  afterwards  engaged  in,  but  were  unfortunately 
interrupted  by  the  rain,  which  fell  heavily  for  upwards  of  an 
hour,  the  excursionists  being  compelled  to  seek  shelter  within 
the  commodious  coachhouses.  After  the  weather  cleared  up, 
the  servants  on  the  estate  were  grouped  and  photographed,  while 
a couple  of  boats  were  placed  at  the  disposal  of  the  visitors,  who 
enjoyed  a delightful  sail  on  the  river.  After  tea  the  party 
proceeded  to  the  front  of  the  mansion-house,  where  they  were 
tastefully  grouped  and  photographed  from  the  lawn. 

Mr.  Valentine  (one  of  the  Vice-Presidents  of  the  Society),  in 
a few  well-chosen  remarks,  then  moved  a hearty  vote  of  thanks 
to  the  officials  and  Committee  for  their  services  in  arranging  the 
excursion. 

Mr.  Robertson  called  for  three  cheers  on  behalf  of  the 
Marchioness  of  Lansdowne,  to  whose  courtesy  they  were  so 
largely  indebted  for  their  day’s  enjoyment. 

Both  motions  were  received  w.th  acclimation,  the  party  then 
proceeded  to  Cargill  Station,  viewing  on  their  way  the  wonderful 
giant  hedge  and  other  objects  of  inteiest.  A special  train 
conveyed  the  excursionists  to  Perth,  and  Dundee  was  reached 
shortly  before  eight  o’clock.  The  highest  praise  is  due  to  the 
indefatigable  Secretary  of  the  Society,  Mr.  Juhnson,  and  to  Mr. 
Mathieson,  land  steward  on  the  Meikleour  estate,  for  their 
exertions  iu  providing  for  the  comfort  and  eujoyment  of  all. 


in  StuMn. 

An  Improved  Shutter. — Our  readers  will  remember  the 
ingenious  combined  drop  and  flap  shutter  of  Harvey  Reynolds 
and  Co.,  of  Leeds,  which  we  described  some  time  ago  ; but 
several  important  additions  have  recently  been  made  to  the 
instrument.  A coiled  spring,  with  a very  simple  draw-pin 
release,  is  adapted  to  the  axis  of  the  flap,  while  india-rubber 
bands  can  be  so  placed  as  to  accelerate  the  drop  to  almost  any 
required  extent.  These  additions  are  so  arranged  that  the 
shutter  may  be  used  in  its  old  simple  form,  if  required. 

Action  against  a Photographic  Artist. — In  the  Recorder’s 
Court  at  Belfast,  on  Monday,  an  action  was  brought  by  C.  S. 
Thompson,  pawnbroker,  against  Arthur  G.  Mastey,  artist,  for  the 
recovery  of  £6,  on  account  of  the  defendant  having  failed  to 
supply  the  plaintiff  with  two  paintings  for  which  he  had  con- 
tracted. For  the  plaintiff,  the  evidence  went  to  show  that  he 
had  given  an  order  to  defendant’s  canvasser  for  one  portrait  each 
of  his  father  and  mother,  and  twelve  cartes-de-visite  each  of  the 
same,  for  which  he  paid  j£d  by  weekly  instalments.  Mr.  Massey 
afterwards  endeavoured  to  obtain  from  him  the  additional  sum 
of  ten  shillings  for  enamelling.  Plaintiff  believed  that  the 
defendant  had  no  intention  of  finishing  the  portraits.  It  was 
stated  for  the  defence  that  the  plaintiff  was  bound  to  pay  for 
the  enamelling  of  two  dozen  photographs,  and  defendant  refused 
to  go  on  with  the  paintings  until  the  enamelling  of  the  photo- 
graphs was  paid  for,  the  latter  being  almost  fiuish-d,  and  would 
be  delivered  on  payment  of  ten  shillings.  The  Recorder  gave 
a decree  for  £5  10s.,  allowing  10s.  for  the  two  dozen  photo- 
graphs which  the  plaintiff  had  already  received. 


400 


THE  PHOTOGRAPHIC  NEWS. 


[June  22,  1883. 


A Winter  Scene.— King  Frost  had  waved  his  magic  wand 
over  Bampton  Briars.  It  was  as  if  the  old  village  had  been 
crystallized.  The  square  grey  tower  of  the  church,  distinctly 
visible  through  the  bare  twigs  of  elm  and  lime,  glistened  bright 
and  silvery  in  the  white  winter  sunshine,  and  the  thatched  roofs 
of  cottage  and  barn,  no  longer  sombre  slopes  of  brown  and  black, 
seemed  wrought  of  satin  woof.  The  pool  on  the  green  by  the 
blacksmith’s  was  hard  and  black  as  shining  ebony,  and  the  green 
itself  a crisp  carpet  of  matted  silver  blades,  each  tiny  grass- 
point  sparkling  with  a thousand  brilliants.  The  stout  country 
carts,  painted  red  and  blue,  always  to  be  found  by  the  smithy 
door,  appeared  to  more  gorgeous  advantage  than  ever,  and  even 
the  dark  timbers  of  the  forge  supplied  a contrast,  and  added  to 
the  beauty  of  the  frosted  village.  In  the  lanes,  the  hedgerows 
glistened  with  the  cold  lustre  of  ice  crystals.  Every  twig  was  a 
bar  of  frosted  silver.  Spiders  seemed  to  have  spun  white  lace 
of  the  finest  texture,  instead  of  colourless  web,  and  the  trailing 
ivy,  like  the  discontented  pine  tree  in  the  fable,  had  exchanged 
its  green  for  leaves  of  argent  and  alabaster.  Every  shrub  and 
leaflet  had  fringed  itself  with  white,  and  there  was  no  outline  so 
rugged  that  had  not  its  delicate  filagree  of  frost.  The  clear  air 
above,  so  crisp  and  cold  was  it,  as  fairly  to  intoxicate  pedestrian 
or  rider  who  traversed  this  scene  of  enchantment  under  the  pale 
blue  sky.  The  ice-bound  earth  echoed  with  every  footstep, 
and  the  deep  clay  ruts  in  road  and  lane  seemed  moulded  of  iron. 
The  sunbeams,  striking  aslant  the  crystal -bedizened  country, 
dazzling  as  they  shone,  were  powerless  to  dissolve  the  fairy 
splendour  of  the  realms  of  King  Frost.  Daylight  began  to  wane, 
and  the  air  to  strike  more  chill.  Village  urchins,  with  necks 
swathed  in  woollen  comforters,  and  hands  deep  in  breeches 
pockets,  but  for  the  most  part  still  in  smocks,  who  had  made 
the  round  of  the  church  and  outlying  homesteads  to  see  these 
familiar  objects  under  their  new  guise,  returned  ouce  more 
indoors,  where  blazing  fires  and  cheerful  lights  were  more  con- 
genial ; and  elders,  a3  was  their  wont  on  the  first  tidings  of 
winter,  talked  together  in  knots  about  hard  weather  agone  and 
yet  to  come — the  well-remembered  winter  twenty  years  ago, 
when  a dozen  feet  of  snow  lay  close  agaiust  the  blacksmith’s 
forge,  and  no  post  came  to  Bampton  B iars  for  a week,  as  well  as 
that  never-to-be-forgotten  Christmastide  of  ’44,  when  the 
vicarage  was  burnt  to  the  ground  on  the  occasion  of  rejoicings 
consequent  upon  Dr.  Bowles’  induction  to  the  parish,  every  drop 
of  water  far  and  near  being  frozen.  Those  old-fashioned  winters 
never  came  now.  They  had  gone  out  with  the  good  old  stock, 
when  boys  were  content  to  look  to  the  land  like  their  fathers, 
and  not  gad  about  after  education,  and  girls  were  content  to 
appear  in  the  gowns  their  mothers  wore,  and  had  no  hankerings 
after  bonnets  and  ribbons,  and  the  cheap  fallals  of  to-day.— The 
Doctor’s  Daughter,  by  Baden  Pritchard,  in  South  London 
Press. 

Photograph  of  Mr.  Gladstone's  Speech  on  the  Affirma- 
tion Bill. — The  People's  Penny  Paper  (Arbroath)  states  that 
Mr.  W.  J.  Anckorn,  Brothock  Bank,  Arbroath,  has  produced  a 
photographic  “ delineation  ” of  Mr.  Gladstone’s  great  speech  in 
the  House  of  Commons  on  the  Affirmation  Bill.  The  speech 
extends  to  15  pages  of  print.  It  is  reduced  in  the  photograph  to 
7 pages,  the  reading  of  each  measuring  2 inches  by  1.  The 
whole  speech  is  compressed  within  this  space,  and  it  is  quite 
readable.  "I  he  photographs  are  neatly  mounted.  A copy  has 
been  sent  to  Mr.  Gladstone  by  Mr.  Anckorn,  who  has  received 
the  following  acknowledgment  from  the  Prime  Minister's 
Secretary  : — “ Mr.  Gladstone  desires  me  to  acquaint  you  that 
the  copy  of  the  photographed  miniature  edition  of  his  speech 
which  you  have  been  kind  enough  to  send  him  has  duly  come  to 
hand,  and  he  begs  that  you  will  accept  his  thanks  for  your 
courtesy  in  the  matter.  He  is  glad  to  possess  a copy  of  this 
work,  of  which  the  execution  seems  so  creditable.”  • 

An  Old  Story  Retold. — A correspondent  of  Waterbury 
(Conn.)  American,  writing  from  Watertown,  says  that  Mr. 
Benjamin  Marvin,  of  that  town,  in  splitting  a log  of  black 
oak,  observed  a picture  on  the  smooth  grain  in  the  heart 
of  the  tree.  It  is  a landscape,  or  rather  a clump  of  trees,  with 
trunk  and  branches  aud  twigs  as  clearly  defined  as  though  drawn 
with  ink,  or  photographed  by  the  sun’s  rays.  The  trees  form  a 
picture  about  four  inches  square,  showing  like  the  open  leaf  of  a 
book,  and  the  same  on  the  opposite  page.  Mr.  Marvin  says  it 
is  a pretty  good  portraiture  of  the  clump  of  trees  which  he 
felled,  the  picture  appearing  in  the  heart  of  the  largest  one. — 
Scientific  American. 

Photographic  Club. — At  the  next  meeting  of  this  Club,  on 


Wednesday  next,  June  27th,  the  subject  for  discussion  will  be 
“ Consideration  of  Landscape  Lenses,”  adjourned  from  last 
meeting. 


^0  60ms00n&ent*. 

*#*  We  cannot  undertake  to  return  rejected  communications. 

F.  II. — They  are  probably  due  to  minute  metallic  particles  in  the 
paper,  silver  being  liberated  by  the  re-action  of  the  nitrate  upon 
these. 

C.  W.  D.  P. — We  should  recommend  you  to  obtain  a simple  drop 
shutter  with  a pneumatic  release,  and  an  arrangement  by  which 
india-rubber  bands  can  be  so  placed  as  to  give  increased  rapidity. 
When  a very  slow  drop  is  required,  the  shutter  can  be  placed 
obliquely.  2.  We  think  what  you  refer  to  is  too  complex  for 
general  work. 

F.  Hoare. — It  is  probable  that  you  have  not  carried  the  toning 
process  far  enough  ; but  such  changes  in  tint  can  only  be  allowed 
for  by  the  exercise  of  careful  judgment. 

I.  C.  J. — Wo  will  publish  full  working  details  of  a thoroughly  practi- 
cal process  next  week,  and  should  you  experience  any  difficulty, 
we  shall  be  pleased  to  give  you  any  further  help. 

Young  Ignorant. — The  ordinary  Prussian  blue  water-colour, 
worked  up  in  the  usual  way  with  water,  and  applied  with  the  tip 
of  a good  sable  brush. 

E.  Williams. — Thank  you  for  the  pictures;  and  we  shall  value 
those  which  you  propose  to  send. 

Iago. — We  cannot  describe  in  words  the  appearance  of  a fully 
developed  negative.  Either  ask  some  one  to  show  you  some 
negatives,  or  send  us  your  resulrs,  with  a number  attached  to  each 
plate. 

W.  S.  ,C- — Nothing  of  the  kind  is  published  at  present. 

M.  Warren.— 1.  It  may  be  as  you  say,  but  we  considerably  doubt 
it.  Carefully  read  the  article  which  appeared  three  weeks  ago. 
2.  You  seem  to  forget  that  in  all  ordinary  cases  the  glass  is 
covered  with  a thin  film  of  moisture,  and  this  has  doubtless 
determined  the  reaction.  3.  If  you  provide  a screen  to  shade  off 
the  top  light,  the  result  is  likely  to  bo  satisfactory.  4.  Quite  an 
old  notion,  and  certainly  erroneous. 

Chrome. — The  drying  was  effected  at  too  high  a temperature  ; do 
not  let  it  rise  above  140°  F.  As  regards  the  drying-box  itself, 
we  can  hardly  advise  without  having  some  notion  as  to  its  con- 
struction ; but  such  an  one  as  is  usually  employed  for  emulsion 
work  is  not  likely  to  be  suitable. 

Beginner. — We  advise  you  to  make  your  first  attempts  with  a 
portrait  iens.  2.  Yes,  if  it  can  be  easily  softened  by  soaking  in 
warm  water. 

Cartwright. — There  is  no  standard  of  value  to  which  you  can 
refer  in  such  a case,  but  we  imagine  that  any  photographer  resid- 
ing in  the  neighbourhood  could  give  you  some  notion. 

P.  L.  W. — There  is  always  some  loss  of  light  from  absorption,  but 
notwithstanding  this,  you  would  do  well  to  continuo  using  the 
instrument. 

A.  Good. — 1.  Whether  an  actual  and  definite  chemical  compound 
is  formed  or  not,  is  still  an  open  question ; but  it  is  certain  that 
no  kind  of  separation  or  piactical  deterioration  occurs  when  the 
substance  is  thoroughly  washed  with  Warm  water.  2.  Looked  at 
from  a practical  point  of  view,  it  is  at  present  of  but  little  value. 

B.  J.  Jordan.  — Damp  is  the  most  probable  source  of  mischief,  so 
you  had  better  wrap  the  packages  in  tin  or  lead  foil. 

Chas.  Taplin. — Omit  the  oil. 

Blackbromian. — 1.  You  can  obtain  Judea  bitumen  from  any 
dealer  in  photographic  chemicals.  2.  Hardly  steady  and  stout 
enough  for  everyday  work.  3.  Try  once  more,  working  by  the 
same  process,  and  sending  us  the  resulting  picture. 

Robert  M . — 1.  Write  to  the  gentleman  himself.  2.  Sulphur 

is  fur  too  brittle  to  answer  the  purpose  satisfactorily  ; but  you  can 
somewhat  increase  its  toughness  by  incorporating  an  inert 
powder — as  for  example,  bath-brick  dust — with  it.  3.  Either 
next  week  or  the  following  week. 

Adam  Kdlerson. — No  doubt  the  greater  part  of  the  ether  has 
evaporated,  aud  the  rosidue  Consists  principally  of  alcohol.  To 
commence  with,  you  might  add  one-fourth  of  its  bulk,  and  the 
ether  used  should  be  anhydrous. 

L.  Probyn. — Reduce  the  time  of  exposure  considerably  ; perhaps 
one-fourth  will  be  sufficient. 

Retoucher. — 1.  Your  suggestion  appears  to  us  to  be  an  excellent 
one,  and  we  shall  be  glad  to  receive  the  notes  to  which  you  refer. 
2.  W e will  obtain  particulars,  and  forward  them  by  post. 

T.  Slipper. — As  the  salt  is  practically  insoluble  in  uicohol,  we 
imagine  you  must  have  made  a mistake. 

Rex.— 1.  A coating  of  plain  collodion.  2.  Yes.  3.  No  details 
have  been  published  yet,  but  we  shall  take  care  to  give  our  readers 
the  earliest  information. 


THE  PHOTOGRAPHIC  HEWS 


t s; 

Vol.  xxyil.  No.  29,  1883, 

■ — 

cc^rrfcisf'ps. 


PAGE 


PAOS 


The  Quantity  of  Gelatine  in  Emulsions 

Production  of  the  Photographic  Image  on  the  Wood  Block  of 

the  Engraver  

A New  Departure  in  Photo-Mechanical  Printing  

A New  Method  of  Silver  Printing 

Screens  and  Reflectors  in  the  Studio  

The  Glass  Roof 

By-the-Bye.— On  Re-Sitting  

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 

Notes 


401 

402 

402 

403 

404 
403 

406 

407 

408 


Patent  Intelligence  410 

Influence  of  Moisture,  &c.,on  Silver  Prints.  By  W.  M.  Ashman  411 
Fitting  a Number  of  Negatives  in  Same  Solution  of  Hypo.  By 

M.  A.  Davanne 412 

Echoes  from  the  Orient.  By  E.  L.  Wilson  413 

Correspondence  414 

Proceedings  of  Societies  415 

Talk  in  the  Studio 415 

To  Correspondents 416 

The  Every-Day  Formulary  418 

Photographs  Registered  410 


THE  QUANTITY  OF  GELATINE  IN  EMULSIONS. 

In  the  making  of  an  emulsion,  by  whatever  process  we 
resort  to,  a question  to  be  considered  at  every  step  is  what 
proportion  of  gelatine  we  are  to  use.  Indeed,  this  would 
seem  to  be  one  of  the  most  important  questions  in  connec- 
tion with  the  matter. 

There  are  two  distinct  and  separate  matters  to  consider. 
The  first,  what  quantity  of  gelatine  shall  be  used  during 
the  progress  of  the  process  used  for  gaining  sensitiveness  ? 
The  second,  what  proportion  shall  exist,  in  the  final  emul- 
sion, between  gelatine  and  silver  bromide  ? 

In  considering  the  first  question,  it  is  well  to  understand, 
a3  far  as  we  can,  what  is  the  true  function  of  the  gelatine- 
It  appears  to  be  a question,  never  yet  settled,  whether  or 
not  there  is  any  true  chemical  combination  between  the 
gelatine  and  the  silver  salts ; nor  does  this  appear  to  be  a 
question  easily  settled.  Of  course,  if  there  is  such  a com- 
bination, one,  and  in  fact  the  chief,  function  of  the  gela- 
tine is  to  provide  the  material  necessary  to  form  it.  There 
are,  however,  other  functions  of  the  gelatine  which  are 
more  readily  ascertainable,  and  a proper  understanding  of 
which  will  tend  to  success  in  the  working  of  the  emulsion 
process. 

The  first  of  these  is  the  formation  of  a fine  grained 
bromide  in  emulsions;  and  a second  is  the  keeping  of  this 
bromide  in  a fine  state  of  division  whilst  some  process  is 
carried  on  which  will  increase  its  sensitiveness.  It  appears 
uncertain  whether  or  not  sensitiveness  of  the  highest 
degree  is  compatible  with  the  very  fine  state  of  division 
which  is  indicated  by  a red  colour  of  transmitted  light ; 
but  it  is  quite  certain  that  the  highest  sensitiveness  is 
compatible  with  a very  fine  grain  of  bromide  ; in  fact,  that 
any  size  of  particles  beyond  a certain  poiut  results  cer- 
tainly in  a low  degree  of  sensitiveness,  for  the  reason  that 
with  a granular  emulsion  the  developer  reduces  the  silver 
bromide  without  the  assistance  of  light. 

The  stronger  the  gelatine  solution— or  rather,  the  greater 
the  amount  of  gelatine  in  proportion  to  the  silver  bromide 
— the  easier  it  is  to  obtain  a finely- divided  emulsion  at  the 
first  start,  and  the  longer  may  the  sensitizing  process  be 
continued  before  granularity  will  result.  Oa  the  other 
hand,  the  larger  the  proportion  of  gelatine  beyond  a cer- 
tain point,  the  slower  will  be  the  change — whatever  it  be 
— which  causes  sensitiveness.  We  now  see  what  we  have 
to  aim  at  in  proportioning  the  gelatine  to  the  silver  bro- 
mide which  has  to  be  rendered  sensitive  in  its  presence. 
We  have  on  the  one  hand  to  avoid  a proportion  of  gelatine 
so  small  that  granularity  will  ensue  before  the  change  to 
sensitiveness  is  complete  ; on  the  other  hand,  we  have  to 
avoid  a quantity  of  gelatine  so  large  that  the  time  neces- 
sary to  bring  about  this  change  will  be  greatly  prolonged. 

As  to  whether  there  is  any  ultimate  limit  to  sensitive- 


ness or  not,  whether  anything  other  than  the  advent  of  fog 
need  prevent  the  prolonging  of  any  process  causing  sensi- 
tiveness, is  a question  unanswerable  in  the  present  state  of 
our  knowledge.  This,  however,  is  certain  : the  advent  of 
fog  is  practically  our  limit,  and  the  point  of  sensitiveness 
at  which  this  limit  is  reached  may  be  varied  by  compara- 
tively small  changes  in  the  process  worked— amongst 
others,  by  varying  the  proportion  of  gelatine  used. 

The  fog  limit  may  show  itself  in  one  or  two  forms.  We 
may  continue  our  process  till  granularity  is  produced,  and 
this  in  most  cases  is  the  limit,  but  it  is  not  always  so. 

There  are  conditions  under  which  an  exquisitely  sensi- 
tive bromide  may  be  obtained  without  any  tendency  to 
granularity,  in  which  the  process  might  be  long  continued 
without  producing  any  size  of  particle  necessarily  giving 
fog.  In  such  cases  the  fog  limit  shows  itself  in  quite  a 
different  form.  A point  is  reached  beyond  which  the 
plates  produced  appear  to  be  so  sensitive  to  atmospheric 
influences  that  fog  usually  appears  during  drying.  In 
such  a case  the  process  may  be  continued  apparently 
almost  indefinitely  without  a foggy  emulsion,  but  beyond 
a certain  point  will  be  sure  to  give  a foggy  plate.  This 
may  appear  to  involve  a distinction  without  a difference,  but 
it  is  not  so.  Beyond  a certain  point  a plate  coated  with 
the  emulsion,  caused  to  set  quickly,  and  developed  at 
once,  will  show  no  fog.  To  dry  this  plate  without  fog 
making  its  appearance  will  be  a matter  of  great  delicacy. 
Fog  will  in  almost  every  case  show  itself  on  the  surface  of 
the  plate.  The  weather  has  much  to  do  with  the  intensity 
of  this.  In  a windy,  dry,  and  cool  day,  fog  might  be  avoided 
entirely.  In  a damp,  warm  day,  it  will  be  so  dense  as  to 
leave  no  trace  of  a visible  image. 

It  is  evidently  a thing  desirable  to  know  what  are  the 
conditions  necessary  to  obtain  an  emulsion,  the  only  limit 
to  the  sensitiveness  of  which  is  reached  when  plates  are 
produced  of  a nature  so  delicate  that  there  is  difficulty  in 
drying  them. 

In  the  proportion  of  gelatine  used  during  boiling,  the 
chief  factor  of  success  would  appear  to  lie.  VVe  have 
found  a proportion  of  gelatine  somewhat  larger  than  i3 
commonly  advised  useful  at  first,  but  the  thing  most 
ensuring  success  we  have  found  to  be  the  addition,  as  the 
process  continues,  of  small  quantities  of  gelatine. 

At  the  commencement  we  use  a quantity  of  gelatine, 
equal  in  weight  to  a fifth  of  the  silver  nitrate.  As  the  pro- 
cess of  boiling  goes  on,  and  the  viscosity  of  the  gelatine — 
which  is  probably  what  prevents  granularity — is  destroyed, 
we  add  every  half  hour  a quantity  of  gelatine  equal  to  a 
quarter  of  that  used  at  first.  So  far  we  have  found  no 
limit  to  the  length  of  time  during  which  boiling  may  con- 
tinue without  any  appearance  of  granularity,  and  therefore 
without  any  fog  but  such  as  may  result  during  the  drying 
of  plates.  Of  course,  for  practical  purposes,  it  is  necessary 


402 


THE  PHOTOGRAPHIC  NEWS. 


[June  29,  1883, 


to  stop  the  process  before  we  get  emulsion  which  cannot 
be  dried  under  ordinary  conditions. 

We  find  that  when  we  reach  a point  where  dried  plates 
give  22Q  or  23c  Warnerke,  we  have  reached  the  limit  for 
ordinary  circumstances.  With  conditions  of  weather,  &c., 
very  favourable,  we  have  continued  boiling  farther,  and 
have  got  a clear  plate  giving  25°. 

The  next  point  for  consideration  is  the  amount  of  gela- 
tine to  be  added  ultimately  to  our  emulsion. 

When  an  emulsion  of  the  “ delicacy  ” — if  we  may  be 
allowed  the  term — which  we  have  described  is  obtained,  it 
will  be  readily  understood  that  the  more  quickly  drying 
can  be  performed,  the  less  likely  is  fog  to  make  its  appear- 
ance. On  the  other  hand,  we  have  found  that  the  addition 
of  a considerable  quantity  of  gelatine  has  such  a protecting 
influence  on  the  particles  of  silver  bromide,  that  it  more 
than  compensates  for  the  longer  time  of  drying  which  the 
extra  thickness  of  film  involves.  In  other  words,  a more 
sensitive  emulsion  may  in  practice  be  used  if  it  contains  a 
large  proportion  of  gelatine  thau  could  be  if  the  proportion 
were  small.  We  fiud  it  of  advantage  to  add  to  the  emulsion, 
after  boiling,  a quantity  of  gelatine  equal  by  weight  to 
twice  the  silver  nitrate  which  was  used  at  first. 


PRODUCTION  OF  THE  PHOTOGRAPHIC  IMAGE 

ON  THE  WOOD  BLOCK  OF  THE  ENGRAVER. 

Before  the  wood  engraver  actually  commences  his  work  on 
the  boxwood  block,  the  subject  matter  is  drawn  by  an 
artist,  and,  in  all  ordinary  cases,  the  judgment  of  the 
engraver  determines  the  exact  method  in  which  the 
original  shadings  shall  be  translated  into  line  or  stipple. 
It  is  many  years  ago  since  the  first  efforts  were  made  to 
press  photography  into  service  as  a means  of  producing 
guide  pictures  on  the  wood  block ; but  most  of  the  proposed 
methods  failed  to  come  into  general  use  because  the  block 
was  either  spoiled  by  the  action  of  fluids,  or  covered  with  a 
film  calculated  to  interfere  with  the  work  ®f  the  engraver. 
One  of  the  earlier  methods,  however — that  of  Mr.  W. 
Crookes— was  subject  to  neither  of  these  objections ; but, 
unfortunately,  the  surface  remained  sensitive,  so  that  the 
cutting  operations  had  to  be  performed  by  a feebly  actinic 
light.  Mr.  Crookes  merely  rubbed  the  surface  of  the 
block  with  oxalate  of  silver,  and  printed  on  this  directly 
from  the  negative. 

We  have  repeatedly  pointed  out  in  the  Photographic 
News  that  the  only  kind  of  photographic  image  which  is 
entirely  satisfactory  from  a wood  engraver’s  point  of  view 
is  a fatty  image,  somewhat  of  the  nature  of  a photo-litho- 
graphic transfer,  and  we  now  propose  to  give  simple  and 
easy  directions  by  which  any  photographer  may  readily 
make  such  a transfer  for  himself  and  put  it  down  on  the 
wood  block. 

A planished  zinc  or  copper  plate  is  slightly  roughened 
by  means  of  No.  2 emery  cloth,  and  mounted  on 
a levelling  stand  in  a warm  place  ; the  hob  of  an  ordinary 
kitchen  fire-place  answers  very  well  indeed,  but  it  is  neces- 
sary to  place  a screen  so  as  to  protect  the  plate  from  falling 
particles.  When  a thermometer  placed  a couple  of  inches 
over  the  plate  indicates  a temperature  of  100°  to  110°  F., 
all  is  ready  for  pouring  on  the  gelatine  solution,  which  is 
made  as  follows : — 

Coignet’s  “ gold  label  ” gelatine  1 i drachms 

Water 2 ounces 

Dissolve  in  a water  bath,  and  stir  in  powdered  ammonium 
bichromate  10  grains. 

The  solution  should  be  strained  through  muslin,  poured 
on  the  plate,  and  spread  uniformly  by  means  of  a strip  of 
paper  ; this  quantity  of  sensitive  mixture  being  about  that 
required  for  a 0 by  8 plate.  If  the  temperature  rises  too 
high,  there  will  be  a risk  of  the  gelatine  scaling  off  at  the 
edges,  or  blistering  up  during  the  subsequent  operations. 


When  dry,  the  plate  is  exposed  under  a reversed  negative, 
the  exposure  being  a trifle  less  than  that  required  for  pro- 
ducing an  ordinary  silver  print ; and  the  exposure  being 
finished,  the  plate  is  soaked  in  water  for  about  ten  minutes, 
so  as  to  wash  out  the  greater  part  of  the  unaltered  bichro- 
mate ; and  the  superfluous  moisture  should  be  removed  by 
dabbing  with  a piece  of  soft  muslin.  All  is  now  ready 
for  the  application  of  the  printer’s  ink,  and  any  ordinary 
sample  of  letter-press  ink  will  answer  well.  A dabber  is 
made  by  tying  a few  scraps  of  rag  in  a piece  of  muslin, 
and  a little  ink  is  taken  on  the  face  of  this,  and  spread 
evenly  over  a slab  of  metal,  slate,  or  glass.  When  the  ink 
is  sufficiently  diffused,  and  the  amount  remaining  on  the 
dabber  is  not  quite  sufficient  to  make  a patch  of  unbroken 
black  on  a sheet  of  note-paper,  all  is  ready  for  inking  the 
gelatine  film  This  is  an  operation  requiring  some  little 
care  and  judgment;  but  no  real  difficulty  is  likely  to  pre- 
sent itself,  even  to  a person  who  has  never  handled  an 
inking-roller  or  worked  with  printer's  ink.  As  the  image 
becomes  developed — from  the  adhesion  of  the  ink  to  the 
exposed  parts  of  the  film,  and  its  rejection  by  the  unex- 
posed portions — it  will  be  found  that  the  inking  can  be 
very  well  controlled  by  the  amount  of  pressure  with 
which  the  dabber  is  applied ; heavy  pressure  depositing 
much  ink,  and  light  pressure  either  clearing  off,  or  deposit- 
ing, a smaller  quantity. 

When  the  plate  is  properly  inked,  a transfer  must  be 
taken  on  a sheet  of  paper,  and  either  bank-post,  or  the 
ordinary  thin  French  note  paper,  may  be  used  ; but  this 
paper  must,  however,  be  made  moderately  damp  by  being 
allowed  to  remain  for  some  minutes  between  sheets  of 
moist  blotting-paper.  The  damped  paper  is  now  laid  on 
the  inked  plate,  and  contact  is  established  by  careful 
rolling  with  a small  woodeu  cylinder  covered  with  a stout 
india-rubber  tube,  two  or  three  thicknesses  of  thick  paper 
being  interposed  between  the  transfer  and  the  roller. 
Before  stripping  off  the  print  or  transfer,  it  is  well  to 
slightly  sponge  the  back  in  order  to  lessen  the  tendency 
of  the  paper  to  adhere  to  the  gelatinous  film.  The  trans- 
fer is  now  laid  on  the  wood  block,  and  pressed  into  inti- 
mate contact  by  means  of  the  india-rubber  roller,  a couple 
of  thicknesses  of  stout  paper  being  interposed  as  before. 
A final  rub  down  should  be  given  with  the  handle  of  a 
tooth-brush  or  some  similar  hard  body.  When  the  paper 
is  stripped  from  the  block,  the  ink-photograph  will  be 
found  adhering  to  it.  The  above-described  simple  method 
of  transferring  a collotypic  impression  to  the  wood-block 
will,  we  hope,  be  of  service  to  many  of  our  readers. 


A NEW  DEPARTURE  IN  PHOTO-MECHANICAL 
PRINTING. 

When  a collotypic  picture  is  transferred  to  stone  for  litho- 
graphic printing,  or  to  metal  for  etching  into  a typographic 
block,  it  generally  happens  that  the  details  clog  up  con- 
siderably during  the  first  inking,  each  patch  of  fatty  matter 
becoming,  to  all  appearances,  considerably  extended,  and 
the  result  is  a very  notable  deterioration. 

This  arises  from  the  circumstance  that  the  stipple  of  a 
collotypic  print  is  not  sharply  outlined,  a halo  of  fatty 
matter  being  traceable  around  each  granule  of  ink,  and  this 
halo  takes  ink  when  on  the  zinc  or  on  the  stone.  An 
attempt  to  manufacture  photo-typic  blocks  by  producing  a 
high  etching  from  a collotypic  transfer  was  not  com- 
mercially successful,  as  the  blocks  were  far  inferior  to 
those  obtainable  by  the  Pretsch  and  other  methods. 

A recent  discovery  of  Mr.  Swan  gives  us  a practical 
method  of  obtaining  a transfer  with  a grain  so  clearly  and 
sharply  outlined  as  to  print  well  from  a litho  stone,  or  to 
yield  a transfer  capable  of  being  inked  up  on  zinc  or  other 
metal  without  sensible  deterioration  ; and  excellent  typo- 
graphic blocks  can  be  obtained  by  then  etching  the  metal 
plate  into  relief.  We  will,  before  long,  insert  such  a block  in 
our  columns,  so  that  our  readers  may  judge  for  themselves. 


Jtot  29,  1883.] 


THE  PHOTOGRAPHIC  NEWS-' 


403 


Mr.  Swan’s  method,  which  is  not  patented,  consists  in 
inking  the  collotypic  plate  before  soaking  it  in  water,  and 
as  the  gelatine  softens  in  parts,  the  ink  is  removed  by 
dabbing  or  sponging.  Daring  this  operation  it  (the  ink) 
breaks  up  into  a clearly  defined  grain  free  from  the  halo 
to  which  we  have  referred. 

As  Mr.  Swan’s  discovery  appears  to  us  to  be  one  which 
is  calculated  to  very  notably  influence  the  advance  of  photo- 
mechanical printing,  we  will  conclude  this  article  with  a 
summarized  abstract  of  the  method  as  applied  to  typo- 
graphic and  to  lithographic  printing,  in  order  that  those 
who  are  ever  on  the  watch  for  opportunities  of  patenting 
and  monopolising  the  inventions  of  others,  may  not  in  any 
way  be  successful  in  filching  thisimportantdiscovery  from 
the  public. 

We  may  mention  that  quite  two-thirds  of  the  photo- 
graphic patents  which  are  granted  are  for  old  inventions, 
and  we  have  no  sympathy  with  those  patent-sharks  who 
attempt  to  secure  the  inventions  of  others,  and  to  de- 
prive the  public  of  that  which  is  common  property.  We 
hope  that  American  and  Continental  photographic  journals 
will  promptly  reprint  details  of  the  new  method. 

Specification  of  the  new  method  of  applying  photography  to  typo- 
graphic and  lithographic  printing. 

1.  A collotypic  or  “ lichtdruck  ” plate  is  uniformly  inked  with 
a fatty  or  waxy  ink,  immediately  after  exposure,  and  previously 
to  being  soaked  in  water,  and  this  inking  may  be  effected  by 
any  of  the  methods  well  known  to  printers. 

2.  The  plate  is  soaked  in  water  so  as  to  loosen  the  ink  from 
those  parts  of  the  gelatine  which  absorb  water  and  swell.  Dur- 
ing the  soaking,  or  subsequently,  the  superfluous  ink  is  removed 
by  a cloth,  sponge,  dabber,  or  roller. 

3.  When  the  image  appears  satisfactory,  a transfer  is  printed 
from  the  plate. 

4.  For  lithographic  or  zincographic  work,  this  transfer  is  put 
down  on  lithographic  stone  or  zinc,  and  printed  by  well-known 

methods. 

5.  For  typographic  printing,  the  transfer  is  put  down  on  a 
metal  plate  (as,  for  example,  zinc,  type  metal,  or  copper),  and 
etched  into  relief  by  the  well  known  chemigraphic  method. 

6.  In  some  cases  the  transfer  is  retouched  or  worked  up  on 
the  paper,  then  re-photographed,  and  a block  is  made  by  one 
of  the  ordinary  methods. 

7.  It  will  be  understood  that  the  fatty  image  can  be  retouched, 
— either  by  addition  or  subtraction — at  any  stage. 

8.  If  the  soaked  collotypic  plate  is  again  inked  all  over,  and 
re-soaked,  another  transfer  may  be  obtained  by  dabbing  away 
the  ink  as  before,  and  this  kind  of  operation  may  be  repeated  ; 
but  these  subsequent  transfers  are  generally  inferior  to  the  first. 

9.  By  collotypic  plate,  is  to  be  understood  a rigid  or  stiff  sur- 
face coated  with  bichromated  gelatine  by  methods  well  known 
to  experts,  either  with  or  without  such  additions  as  silver  salts, 
chloride  of  calcium,  alcoholic  solutions  of  resinous  bodies,  potas- 
sium or  sodium  iodide,  tannin,  common  alum,  gritty  meterials, 
or  chrome  alum,  all  of  these  being  in  occasional  use  by  collotypic 
printers. 

Wo  have,  from  time  to  time,  alluded  to  cases  in  which 
methods  first  published  in  the  editorial  columns  of  the 
Photographic  News  have  been  appropriated  by  patent- 
hunters,  and  this  circumstance  induces  us  to  very  clearly 
describe  Mr.  Swan’s  new  method  of  making  a fatty  transfer. 


A NEW  METHOD  OF  SILVER  PRINTING. 

A patent  has  recently  been  taken  out  by  M.  Chamussy  for 
producing  photographs  upon  glass  for  transfer  to  paper  or 
otherwise,  which  deserves  to  be  placed  before  our  readers,  if 
only  because  the  inventor  claims  to  be  able  to  produce  his 
pictures,  brilliant  or  matt,  black  or  tinted,  as  he  wishes. 
The  main  point  of  the  novelty,  if  novelty  it  can  be  called, 
is  in  mixing  with  the  albumen,  applied  to  the  glass  surface, 
chlorides  of  different  characters.  However,  it  will  be  best, 
perhaps,  in  describing  the  process,  to  adhere  as  closely  as 
possible  to  the  author’s  description. 

In  the  first  place,  the  glass  upon  which  the  albumeD 


pictures  are  to  be  printed  is  thoroughly  and  most  carefully 
polished,  and  then  coated  with  normal  collodion,  the  latter 
being,  of  course,  quite  pure  and  well  decanted.  Thus 
covered  with  a collodion  film,  the  plates  are  immersed  in  an 
albumen  bath  containing  more  or  less  chloride  according  to 
the  richness  and  density  of  the  albumen,  and  the  required 
vigour  and  depth  of  tone.  The  various  kinds  of  chlorides 
do  not  give  identical  results.  It  is  as  well  to  know  which 
to  use,  according  to  the  different  work  to  be  executed. 

For  brown  blacks,  chloride  of  ammonium  should  be  used. 
Red  and  purple  blacks  are  obtained  from  chloride  of  stron- 
tium. Violet  black  tones  may  be  had  with  chloride  of 
potassium.  Chloride  of  sodium  gives  cold  blue  blacks.  Bi- 
chloride of  mercury,  which  possesses  the  disadvantage  of 
precipitating  part  of  the  albumen,  gives,  however,  metallic 
brown  blacks,  having  great  vigour.  Chlorides  of  zinc  and 
sodium  precipitate  more  albumen,  but  in  certain  cases  the 
rapidity  may  be  increased.  Other  chlorides  may  furnish 
good  results,  but  those  have  been  chosen  which  are  likely  to 
succeed  in  the  greater  number  of  cases. 

The  amount  of  these  different  chlorides  may  vary  from 
one  to  seven  per  cent.  ; under  certain  conditions,  even  eight 
per  cent,  will  be  necessary  with  very  fluid  albumens, 
especially  in  hot  weather ; it  also  depends  largely  on  the 
more  or  less  pure  and  hydrated  states  of  the  chlorides 
themselves. 

The  albumenised  plates  are  drained,  dried  in  a dry  and 
airy  place,  and  may  then  be  packed  up  ready  for  use,  taking 
care  to  preserve  them  from  moisture. 

To  sensitize  these  plates,  they  must  be  immersed  in  a 
silver  bath  varying  from  10  to  25  per  cent.,  according  to  the 
desired  results  ; they  may  remain  from  five  to  twenty  minutes 
in  this  bath;  afterwards,  they  must  be  left  to  drain,  the 
reverso  side  carefully  wiped,  and  again  allowed  to  dry 
thoroughly,  after  which  they  are  put  up  in  boxes  or 
packets. 

The  printing  of  these  prepared  plates  is  effected  in  exactly 
the  same  way  as  albumenized  paper — that  is  to  say,  the 
time  of  exposure  to  light  will  be  about  the  same  ; it  may 
vary  a little  with  the  albumen  and  salts  employed.  The 
plate  is  placed  in  immediate  contact  with  a negative,  backed 
up  with  black  paper  and  a wad  of  felt,  and  exposed  to  sun- 
light under  ground  glass,  allowing  the  rays  to  fall  as  per- 
pendicularly as  possible.  The  process  of  printing  may  be 
watched  by  judging  from  the  back  of  the  plate. 

The  fixing  is  effected  with  cyanide  of  potassium  in  five 
per  cent,  solution  ; it  does  not  take  more  than  half-a- 
minute.  The  last  washing  may  go  on  for  ten  minutes. 
The  prints  once  washed  and  dried,  are  in  a fit  state  for  re- 
touching, if  they  require  it,  allowing  of  finer  working  up 
than  ordinary  albumenised  paper.  If  a copy  is  required 
on  paper  or  any  other  material,  it  should  be  applied 
by  means  of  warm  gelatine.  In  order  to  promote 
speedy  drying,  the  plates  are  turned  over  so  as  to  drain 
off  the  excess  of  gelatine,  and  when  nearly  cold  and  the 
gelatine  is  set,  they  are  immersed  in  an  alcohol  bath 
containing  a little  tannin  for  fifteen  or  twenty  minutes. 

When  the  prints  are  required  on  gelatine  alone,  the  film 
being  made  much  thicker,  they  must  remain  longer  in  the 
tannin  and  alcohol  bath,  which  may  be  replaced  by  dried 
chloride  of  calcium,  sulphate  of  alumina,  or  sulphurous  or 
sulphuric  acid.  When  perfectly  dry,  the  prints  ought  to 
be  permanent. 

To  finish  off  the  pictures,  the  reverse  side  should  be 
rubbed  with  pumice-stone  powder,  more  or  less  fine  accord- 
ing to  the  desired  grain.  The  glass  plates  are  lightly 
rubbed  over  with  a rag  soaked  in  glycerine  and  neat’s-foot  oil 
before  the  above  final  process. 

Sensitive  pellicles  to  be  pulled  off  before  printing  are 
best  made  of  normal  collodion,  containing  a fiftieth  part  of 
castor  oil,  and  half  that  quantity  of  scehne  varnish. 

Another  method  consists  in  covering  the  collodion  film 
with  a weak  alcoholic  solution  of  gelatine  in  the  proportion 
of  one  per  cent,  of  gelatine  and  five  percent,  of  alcohol, 


404 


THE  PHOTOGRAPHIC  NEWS 


and  when  it  is  set,  to  plunge  in  a bath  of  chloride  and 
albumsn. 

By  a modification  of  the  above-mentioned  process,  excel- 
lent positives  or  negatives  may  be  obtained  with  silver  or 
gold  salts,  without  using  chloride  and  albumen. 


SCREENS  AND  REFLECTORS  IN  THE  STUDIO. 
Our  experience  of  photographic  studios  is,  that  photo- 
graphers do  not  trouble  much  about  reflectors.  It  is  only 
in  the  glass  rooms  of  careful,  painstaking  artists  that  one 
sees  any  attempt  to  employ  more  than  a simple  reflecting 
surface  of  calico  or  paper,  or  that  any  endeavour  is  made 
to  try  this  or  that  modification  of  lighting.  Generally 
speaking,  the  model  has  merely  a reflecting  surface  placed 
on  the  shadow  side,  to  equalize  the  lighting  a little,  and  a 
portrait  is  secured  without  more  ado.  But  in  studios  of 
the  first  rank,  such  as  those  of  Angerer  and  Adcle  in 
Vienna,  of  Priimm  and  Schaawiichter  in  Berlin,  of  Benque 
and  Lejeune  of  Paris,  Ganz  and  Geruzet  of  Brussels,  and 
many  of  those  nearer  home,  considerable  attention  is  paid 
to  the  means  of  modifying  the  light  that  plays  upon  the 
sitter’s  dress  and  features,  and  much  ingenuity  is  displayed 
in  the  construction  of  screens  and  reflectors. 

These  may  be  classed  under  two  heads — those  that 
modify  the  light  by  transmission,  and  those  that  reflect  it. 
The  former  are  rarely  found  in  the  studio  of  the  professional 
photographer,  while  they  are  almost  entirely  unknown  in 
the  glass  room  of  the  amateur.  Indeed,  we  may  here 
remark,  in  parentheses,  that  the  reason  why  amateurs  shine 
more  in  the  department  of  landscape  photography  than  in 
portraiture  is  simply  because  they  do  not  take  so  much 
trouble  over  their  work  indoors. 

Many  fine  glass  rooms  we  wot  of,  which  amateurs  have 
designed  and  built  at  considerable  trouble  and  expense, 
are  ^without  the  simplest  means  of  modifying  light,  with 
no  blinds  overhead  to  subdue  top-light,  and  no  reflecting 
screens  below  to  break  up  the  gloom  arising  from  a high 
skirting-board.  It  is,  in  truth,  more  on  account  of  the 
amateur  than  the  professional  photographer  that  wTe  bring 
this  matter  forward  once  more,  and  refer  again  to  the 
assistance  which  competent  photographers  make  use  of  to 
secure  well-lit  portraits. 

One  of  the  best  modifications  of  the  ordinary  reflecting 
screen  is  that  in  use  by  Angerer  of  YTenna.  Its  object  is 
the  lighting  up  of  the  lower  part  of  a lady’s  dress,  which 
not  unfrequently  is  so  enveloped  in  shadow  that  all  detail 
is  lost.  Most  of  our  readers  are  familiar  with  the  form 
of  the  screen  which  we  here  reproduce.  The  stand  should 
be  movable,  so  that  the  photographer  may  place  it  w here 


and  how  he  pleases  in  relation  to  the  sitter.  The  two  re- 
flecting surfaces  are  of  course  movable,  so  as  to  reflect  at 
any  angle  ; and  the  bottom  screen  being  white,  while  the 
upper  one  is  blue,  naturally  enough  the  light  is  better  re- 
flected below.  The  lower  garments  of  a sitter  are  thus 
very  effectively  illumined.  Calico  having  a good  surface 
is  suitable  for  the  construction  of  a screen  of  this  kind,  and 
if  the  top  screen  were  made  blue  on  one  side  and  white  on 
the  other,  it  would  be  possible  to  employ  it  at  any  moment 
as  a white  reflector  pure  and  simple. 


[June  29,  1883. 


Another  effective  screen — this  time  a transparent  one 
for  modifying  light — is  that  of  Herr  Priimm,  of  Berlin. 


It  should  stand  about  six  foot  high,  though  the  stand 
would  be  best  of  a telescopic  nature,  so  that  the  screen 
could  be  adjusted  for  a standing  or  sitting  model.  The 
top  ought  to  measure  about  two  feet  in  diameter,  and  in 
Herr  Priimm’s  case,  we  remember,  it  was  covered  with 
violet  gauze  that  cast  a shadow  about  the  head  of  the  sitter 
without  cutting  off  too  much  light.  The  screen  does  not 
darken  the  tint  of  the  hair,  while  it  throws  sufficient  shade 
over  the  parting  or  premature  baldness  to  prevent  these 
being  exaggerated  in  the  photograph.  It  is,  indeed,  one 
of  the  weak  points  of  photographic  portraiture  that  people 
who  are  getting  “thin  at  the  top,”  appear  thinner  still  in 
their  pictures.  The  light  reflected  from  a bald  head  or 
from  bald  spots  under  the  hair  is  so  bright  that,  unless 
steps  are  taken  to  subdue  it,  the  sitter’s  lack  of  hair  is 
exaggerated.  This  screen  is  not  of  itself  enough  to  arrest 
top-light  in  a studio  glazed  overhead,  and  blinds  are  still 
very  necessary  ; it  is,  in  fact,  merely  a local  screen  to 
modify  local  defects. 

One  of  the  best  translucent  screens  we  know  of,  is  that 
of  Mr.  Slingsby  of  Lincoln.  He  employs  it  in  lien  of 


blinds  against  the  windows  on  the  light  side  of  his  model. 
Light  is  permitted  to  come  through  the  glass  in  plenty, 
and  is  then  modified  just  before  it  gets  to  the  sitter.  Most 
of  our  readers  know  the  shape  of  Mr.  Slingsby’s  screen, 


June  23,  1883. j 


THE  PHOTOGRAPHIC  NEWS. 


405 


which  we  here  reproduce,  lie  works  with  large  squares 
of  bare  glass,  and  then  uses  this  gauze  screen,  which  is 
nothing  more  than  a light  wooden  frame  with  fine  open 
stretched  muslin  over  if.  The  screen  is  not  more  than  three 
feet  broad,  and  follows  the  form  of  the  roof  above  ; that  is 
to  say,  it  consists  of  an  upright  frame  about  eight  feet  in 
height,  and  another  frame  above,  bending  inwards  with 
the  line  of  the  roof,  measuring  another  three  or  four  feet. 
As  screens  of  this  kind  are  very  light  and  movable,  they 
are  easily  adapted  by  the  photographer,  who  places  them 
close  to  or  far  away  from  the  sitter  at  will,  thus  modifying 
the  illumination. 

Mr.  Midwinter,  of  Bristol,  employs  a gauze  or  cambric 
screen,  very  similar  to  that  of  Mr.  Slingsby,  on  the  light 
side  of  his  sitter;  and  on  the  shadow  side  uses,  when 
necessary,  another  screen  of  singularly  ingenious  construc- 
tion. The  latter  is  of  calico,  with  a canopy  at  the  top, 
bending  over  at  right  angles  above  the  sitter,  this  canopy 
beiDg  raised  or  lowered  to  suit  the  height  of  the  sitter. 
The  canopy  is  of  a blue  or  slate  colour,  the  working  of 
the  whole  being  as  follows: — The  structure  consists  of  two 
side  screens,  one  above  the  other,  and  an  over-hanging  or 


head  screen.  Of  the  two  side  screens,  the  lower  one  re- 
mains stationary,  but  the  other  one,  which  overlaps,  may 


be  made  to  rise  to  its  full  extent ; in  our  sketch  it  is  half- 
way up.  The  structure  may,  in  fact,  be  raised  to  8 feet, 
or  lowered  to  4 feet.  The  head-screen  rises  and  falls  with 


llie  side  screen,  and,  provided  with  the  lever  arrangement 
shown  in  the  sketch,  may  be  made  to  assume  any  angle. 
The  lower  cord  raises  or  lowers  the  side  screen,  and  the 
upper  cord  regulates  the  angle  of  the  head  screen  or 
canopy. 

Small  sci'eens  of  a movable  and  handy  nature,  similar  to 
the  one  immediately  preceding,  are  exceedingly  useful  in 
thestudio  for  local  use,  either  to  heighten  the  illumination 
of  a lady’s  head-dress  or  other  portions  of  attire,  or  to  throw 
it  into  the  shade.  In  Adele’s  studio  in  Vienna  we  saw  a 
very  elegant  occasional  screen.  It  was  simply  a sloping 
wooden  frame,  about  five  feet  high,  over  which  was  negli- 
gently thrown  two  pieces  of  gossamer  satin,  one  blue,  the 
other  white.  Either  one  reflecting  surface  or  the  other 
was  employed  near  the  sitter,  the  delicate  silken  sheen  of 
the  glossy  surface — white  or  pale  blue — yielding  a very 
soft  reflection,  while  to  the  spectator  the  pretty  screen, 
with  its  shining  fabric  unstretched,  was  particularly 
pleasing.  Still,  with  all  screens  and  reflectors,  no  matter 
what  their  nature  or  shape,  it  is  necessary  that  they  be 
employed  with  taste  and  discretion ; the  most  skilfully 
contrived  among  them  are  obviously  useless  in  the  hands 
of  the  careless  and  undiscriminating. 


THE  GLASS  ROOF. 

A glass  roof  that  does  not  leak  nor  drop  moisture  is  a bless- 
ing rarely  known  ; and  our  contemporary  the  Ht.  Louis 
Photographer  tells  us  how  it  may  be  assured  by  a few  proper 
precautions. 

First.  We  will  suppose  that  your  light  is  built  with 
sufficient  pitch  to  give  a free  current  to  the  rain  that  falls 
upon  it.  What  is  known  as  a quarter-pitch  will  do,  but  a 
little  more  is  of  course  preferable. 

Second.  We  will  suppose  your  muntens  are  calculated 
for  glass  12  inches  wide  ; 20  by  12  inches,  being  a common 
size  for  glass,  is  perhaps  the  best  size  to  use,  but  the  size 
makes  no  difference  in  the  method  of  preventing  leakage. 
For  illustration,  let  us  suppose  your  glass  to  be  20  by  12  ins. 
Take  your  diamond,  and  cut  a pointed  piece  off  each  corner 
of  one  end  of  your  glass.  Let  this  piece  be  five  inches 
long,  a point  at  one  end,  and  thiee-fourths  of  an  inch  wide 
at  the  other.  This  will  leave  a square  centre  two  inches 
wide  for  the  lower  end  of  the  glass.  As  this  is  of  the 
utmost  importance,  be  careful  that  you  fully  understand  it. 
Take  Col.  Crocket’s  advice  to  the  youth  who  wanted  to 
marry  his  daughter,  and  apply  it  to  this  case : “ Be  sure 
you’re  right,  then  go  ahead.” 

Thirdly,  as  the  parsons  say,  take  strips  of  heavy  tin  one 
inch  long  and  one-fourth  of  an  inch  wide,  and  bend  them 
into  S-shaped  hooks — the  distance  between  the  loops  of  the 
hook  to  be  exactly  oue-quaiter  of  an  inch. 

Having  made  these  preparations,  we  will  now  proceed  to 
lay  the  glass.  Draw  a line  along  the  bottom  piece  of  the 
frame,  at  least  two  inches  from  the  upper  edge  ; on  this 
line,  exactly  midway  between  the  muntens,  drive  a short, 
stout  nail  for  the  lower  glass  to  rest  against.  Lay  the 
centre  piece  of  the  bevelled  end  of  your  glass,  hollow  side 
up,  against  this  nail,  to  prevent  its  slipping  downwards. 
As  the  beauty  of  the  light  depends  on  the  regularity  of  the 
laps,  “ be  sure  you’re  right’’  in  laying  the  first  glass,  and 
securing  it  against  slipping. 

Having  got  the  first  glass  in  position,  place  one  of  the 
tin  hooks  under  each  upper  corner,  resting  on  the  munten, 
and  secure  the  glass  in  position  with  glazier’s  three-cornered 
points.  Next  lay  your  second  glass  in  its  place,  hollow 
side  up,  resting  in  the  hooks  on  the  corners  of  the  first 
glass,  and,  as  in  the  case  of  the  first  glass,  secure  with 
glazier’s  points.  Be  careful  to  drive  a point  directly  over 
the  hook  to  provide  against  the  very  unlikely,  but  possible, 
straightening  out  of  the  tin  hook.  Proceed  in  the  same 
manner  with  each  glass  until  the  sash  is  filled  ; then  apply 

ein  the  usual  manner,  outside  and  inside,  bat  leave  th§ 
clear. 


406 


THE  PHOTOGRAPHIC  NEWS. 


[June  29,  18&3. 


Now  for  the  theory,  as  reduced  to  practice . 

1.  The  shape  of  the  glass  causes  the  raiu  to  run  down 
the  ceutre  of  the  glass,  thereby  keeping  it  away  from  the 
muntens,  and  preventing  leakage  from  without. 

2.  The  tin  hooks  keep  the  glass  apart  just  sufficient  to 
permit  a current  of  air  to  circulate  between  them,  and  thus 
the  collection  of  dust  between  the  lapped  ends  is  reduced  to 
a trifle,  and  the  unseemly  black  bands  which  so  disfigure  our 
sky-light  are  avoided. 

3.  Condensation  of  course  goes  on  just  as  on  other  sky- 
lights, but  by  this  plan  the  vapour  condensed  on  each  light 
is  discharged  on  the  outside  of  the  one  below  it,  passing 
through  the  space  between  the  glass. 

4.  The  lap  of  one-fourth  of  an  inch  at  the  corner  and  one 
inch  in  the  centre  is  just  as  effectual  for  carrying  off  the 
water  as  a lap  of  three  inches,  and  does  not  obscure  the 
light  to  any  appreciable  extent,  and  requires  considerably 
less  glass. 

5.  Capillary  attraction,  which  is  a great  cause  of  leakage, 
is  overcome  by  the  separation  of  the  glass.  Instead  of  the 
rain  backing  up  by  capillary  attraction  and  running  down 
on  the  inside,  it  all  runs  down  the  middle  of  the  glass  out- 
side ; inside  the  condensed  vapour  passes  between  glasses 
and  runs  down  the  outside,  as  already  mentioned. 

Now  you  are  again  thoroughly  instructed,  free  gratis,  in 
the  only  really  reliable  method  of  making  a sky-light  proof 
against  the  annoyance  of  leakage  from  without  or  condensa- 
tion within. 

You  may  make  a glass  roof  water-tight  with  a pitch  of  one 
inch  to  a foot,  but  it  will  not  remain  so.  You  may  give  it 
the  proper  pitch,  and  on  the  latest  patented  plan  cut  your 
glass  diagonal,  and  as  a natural  consequence  the  water  will 
flow  to  and  along  the  munten.  No  glazier  that  ever  lived 
can  make  a roof  safe  for  three  months  by  this  plan  in  a 
country  subject  to  high  winds,  which  spring  the  sash  and 
crack  the  water-washed  putty  loose  in  a tithe  of  the  time 
necessary  to  do  so  where  the  current  flows  down  the  middle 
of  the  glass,  and  the  putty  only  gets  the  water  that  falls  on 
it. 


ON  RE-SITTING. 

“ Re-sitting  is  the  burning  question  with  us  just  now,” 
said  a practical  photographer  the  other  day  ; “ and  it  is  one, 
unfortunately,  for  which  hard-and-fast  rules  can  scarcely 
be  made.”  Our  friend  poured  out  his  greivauces  freely — 
of  course,  solely  from  the  photographer’s  point  of  view  ; 
and  as  we  ourselves  have  recently  enjoyed  the  opportunity 
of  viewing  matters  from  the  side  of  the  public,  we  are 
possibly  io  a better  position  than  many  to  discuss  both 
aspects  of  the  subject. 

Legitimate  re-sitting  is  not  open  to  question.  If  a 
faulty  plate  turns  up,  if  the  head-rest  shows,  or  other 
radical  defect  appears  in  the  picture,  no  photogiapher 
hesitates  about  giving  a re-sitting,  and  that  as  speedily  as 
possible.  But,  as  we  have  recently  pointed  out  in  our 
“ Half-a-dozen  Portraits,”  the  photographer  is  not  the  only 
person  whose  convenience  has  to  be  studied ; there  is  that 
of  the  sitter  as  well.  And  if  he  or  she  happens  to  be  a 
person  of  many  engagements,  a visit  to  the  studio  is  not 
to  be  paid  every  day.  The  photographer— at  any  rate,  in 
some  studios — requires  that  you  shall  attend  between  the 
hours  of  ten  or  eleven,  and  two  or  three  in  the  afternoon, 
and  ic  is  not  always  convenient  to  do  this.  “Time  is 
money,”  is  more  than  an  empty  phrase  with  most  of  us, 
and  in  this  world  of  vanity,  other  things  besides  oppor- 
tunity enter  into  the  subject  of  a visit  to  the  studio.  You 
must  choose  a time  when  you  are  suitably  attired,  and  it  is 
only  those  whose  business  is  pleasure  who  can  freely  make 
engagements  of  this  sort.  So  that  it  is  a matter  of  con- 
siderable importance— in  the  case  of  gentleman  sitters,  at  any 


rate— that  they  sbn  i’d  not  be  troubled  a second  time.  The 
photographer  ou^U.  to  be  pretty  sure  he  has  secured  a 
passable  portrait  before  he  permits  his  customer  to  depart, 
either  taking  the  precaution  to  develop  at  once,  or  to  secure 
a duplicate  picture.  It  is  true,  in  all  but  one  instance, 
this  was  done,  during  our  recent  tour,  and  in  this  single 
instance  the  result,  fortunately,  was  a good  one  ; but  had  it 
been  otherwise,  and  we  had  been  requested  by  that  parti- 
cular studio  to  come  again,  we  should  have  been  consider- 
ably chagrined,  seeing  that  although  but  one  picture  was 
taken  on  that  occasion,  and  not  developed  before  we  left, 
we  were  nevertheless  kept  waiting  a long  time  beforehand, 
losing  many  valuable  minutes.  Our  argument,  like  that  of 
most  people  in  the  city,  would  be  that  we  could  not  afford 
to  lose  another  hour  over  the  matter  for  some  time  to  come, 
and  hence  the  visit  would  be  postponed  sine  die. 

The  time  of  the  sitter,  then,  is  likely  to  be  quite  as 
valuable  to  him  as  it  is  to  the  photographer,  and  this  the 
latter  should  ever  bear  in  mind.  “I  can’t  be  bothered  to 
come  again,  remember,”  is  what  many  a crabbed  old  sitter 
has  doggedly  remarked,  when  such  a contingency  is  hinted 
at.  Mr.  Gladstone,  who  has  been  a great  friend  to  photo- 
graphers in  general,  is  nevertheless  very  exact  as  to  the 
time  he  places  at  their  disposal.  “Just  as  you  like,  just  as 
you  like,”  he  once  said  to  the  photographer  ; “ take  me  as 
you  please  ; only  recollect,  I can  give  youbutfifteen  minutes, 
not  a minute  longer.”  And  the  statesman  allowed  himself 
to  be  posed  in  this  way  and  that,  as  the  photographer 
chose  ; punctually,  however,  when  the  quarter-of-an-hour 
was  up,  he  put  on  his  hat,  and  with  a curt  “ Good  morning ! ” 
walked  straight  out  of  the  studio. 

And  now  to  look  at  the  other  side  of  the  question.  “ As 
to  children's  portraits,”  to  quote  our  friend  once  more, 
“ not  one  picture  in  a hundred  occasions  a re-sit.”  This 
fact  supplies  the  key  to  the  whole  of  “ the  burning  ques- 
tion.” Children  are  not  the  judges  of  their  own  portraits ; 
the  matter  is  left  to  parents  and  elders,  and  thus  a fair 
decision  is  arrived  at.  The  particular  studio  to  which  we 
are  now  referring  is  a middle-class  one,  in  which  the 
charge  for  cartes-de-visite  is  ten  shillings  a dozen,  per- 
mitting two  positions.  Children,  like  everybody  else,  are 
posed  twice  over,  and  the  proofs  are  submitted  in  like 
mauner  for  approval.  But  a child  naturally  has  no  pre- 
dilection for  this  pose  or  that,  and  the  parent,  if  the  little 
one  is  but  done  justice  to,  is  usually  content,  whether  the 
child  stands  or  sits.  With  young  ladies  and  young  gentle- 
men it  is  very  different,  and  these,  after  all,  constitute 
the  principal  visitors  to  the  studio.  The  two-fold  position, 
instead  of  being  a safeguard  or  assurance  against  failure, 
is,  on  the  contrary,  the  weak  point  in  the  photographer's 
armour.  “ I like  this  position,  but  I don't  like  that  one,” 
is  a common  verdict,  and  the  consequence  is  that  the  photo- 
grapher, acting  up  to  his  engagement  to  give  two  positions, 
has,  perforce,  to  grant  a re-sittiDg. 

Or,  again,  since  “ re-sittings  are  given  if  the  first 
pictures  are  not  deemed  satisfactory,"  the  sitter  will 
ingenuously  remark  of  the  proofs,  “ Yes,  I like  them 
pretty  well,  but  still,  I think  I will  have  another  done.” 
It  is,  of  course,  always  in  the  power  of  the  photographer 
peremptorily  to  refuse  to  give  a second  sitting,  but  this 
is  just  where  the  question  “burns.”  When  shall  a re-sit 
be  given,  and  when  shall  it  be  refused  ? Established 
studios  have  a large  clientele , and  acquire  a known  repu- 
tation iu  a district — the  one  we  are  now  alluding  to  has  a 
most  valuable  family  connection — and  thus  it  is  a matter  of 
some  delicacy  to  refuse  a sitter.  A reputation  for  good 
work,  and  a disposition  to  please,  will  surely  bring  together 
a solid  business ; but  a good  deal  of  tact  is  necessary  to 
keep  it  flourishing.  Hence  the  question,  how  far  to  go 
and  no  farther,  is  kept  alive  in  the  matter  of  re-sitting,  to 
the  great  detriment  of  the  photographer’s  peace  of  mind. 

How  our  friend  attempts  to  deal  with  “re-sitting”  we 
may  here  mention,  merely  preluding  that  he  does  not  pre- 
tend to  be  able  to  meet  it  in  all  its  vagaries.  In  «he  first 


Junr  29,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


407 


place,  he  makes  it  a sine  qua  non  that  what  has  been  taken 
at  the  first  sitting  shall  be  destroyed  before  a second  one 
is  given.  This  is  clearly  put  before  the  dissatisfied  sitters, 
and  not  unfrequently  it  brings  them  to  reason.  Those 
who  approve  one  of  the  pictures,  but  disapprove  of  the 
other,  are  at  once  brought  to  bay.  The  good  picture  will 
be  destroyed  along  with  the  bad  one,  if  they  are  retaken. 
But  cannot  the  photographer  wait,  they  ask,  uutil  the 
second  sitting  has  taken  place  ? It  would  be  such  a pity,  if 
the  good  picture  was  destroyed,  when,  after  all,  they  might 
prefer  it,  is  their  argument.  But  this  is  just  the  crucial 
point  of  the  whole  matter  ; if  the  photographer  gave  way, 
he  would  be  permitting  his  sitter  a choice  of  four  positions, 
and  not  two.  So  he  replies,  he  is  very  sorry ; it  doubtless 
would  be  a pity  if,  when  the  negative  is  destroyed,  the 
sitter  should  be  sorry  for  it ; but,  unfortunately,  it  is  a 
stringent  rule  of  the  establishment,  to  which  no  exception 
can  be  made.  The  measure  at  once  upsets  the  calculation 
of  those  who  are  fully  pleased  with  the  first  result,  but,  in 
the  hope  of  securiug  a better,  would  put  the  photographer 
to  unreasonable  trouble.  Three  out  of  four  think  the 
matter  over,  and  in  the  end  are  quite  content  with  the 
picture  that  has  their  approbation. 

Another  not  less  strict  regulation  in  our  friend’s  establish- 
ment is,  that  in  the  event  of  rc-sitting,  the  model  must  be 
dressed  in  precisely  the  same  garments  as  at  first.  “ If  a 
lady  has  changed  her  dress,  then  we  refuse  to  give  a rc-sit,” 
is  our  invariable  custom.  With  lady  sitters,  in  nine  cases 
out  of  ten  where  the  result  does  not  please,  it  is  the  dress, 
and  nothing  else,  that  is  unsatisfactory.  This  may  be 
pointed  out  to  the  sitter,  but  it  is  difficult  to  make  her  admit 
so  much.  The  pattern  or  colour,  the  set  or  folds  of  a gar- 
ment displeases,  and  hence  the  lady  quietly  makes  up  her 
mind  to  have  a re-sitting,  but  in  another  costume.  Such 
an  idea  is  at  once  met  by  the  regulation  that  the  dress  must 
be  precisely  the  same  if  a re-sitting  is  given.  It  is  not  the 
photographer’s  fault  if  the  sitter  is  ill-clad,  and  therefore 
the  loss  should  not  fall  upon  him.  Many  people  wait  for  their 
new  clothes  to  come  home  before  sitting,  and  make  the 
opportunity  of  a fresh  outfit  an  occasion  for  visiting  the 
studio.  This  is  a great  mistake,  for  as  often  as  not,  they  are 
not  used  to  the  new  garments,  and  these  set  stiffly  and 
awkwardly  upon  their  figures.  Moreover,  some  people 
scarcely  know  themselves  in  the  recently-acquired  clothing, 
and  this  is  another  cause  of  dissatisfaction.  In  any  case,  it 
is  a very  good  rule  in  an  establishment  to  make  the  sitter 
alone  responsible  for  costume,  and  this  is  straightway  done 
by  the  regulation  we  have  quoted. 

In  6ome  studios  it  is  the  custom  to  make  a definite  charge 
for  re-sitting,  assuming,  as  a matter  of  course,  that  in  the 
first  portrait  or  first  pair  of  portraits  taken,  every  precaution 
has  been  taken  by  the  photographer  to  assure  a successful 
portrait.  This  is  not  a bad  plan,  especially  in  busy  studios 
where  the  prices  charged  are  moderate.  In  this  case,  the 
charge  for  re-sitting  is  usually  one-third  that  at  first 
demanded,  60  that  the  sitter  at  once  perceives  the  photo- 
grapher cannot  make  a good  thing  out  of  it.  This,  at  any 
rate,  is  one  way  of  setting  at  rest  the  burning  question  that 
troubles  photographers. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor -General  of  India. 

Chapter  X — Principles  of  Lithography,  and 
Materials  Required.— continued. 

Paper. — Care  must  be  exercised  in  the  selection  of 
printing  paper,  because  not  only  does  a good  deal  of  the 
beauty  of  the  impression  depend  upon  the  surface  and 
quality  of  the  paper  used,  but  the  work  on  the  stone  itself 
may  be  injured  by  the  use  of  paper  unsuitable  for  the  pur- 
pose, or  inferior  in  quality. 


Two  classes  of  paper  are  used  for  printing — unsized  and 
sized.  The  former,  called  “ plate  papers,"  give  better 
impressions  than  the  latter,  but  the  readiness  with  which 
they  are  torn,  and  their  inability  to  take  writing  or  colour, 
render  them  unsuitable  for  general  purposes.  They  may 
be  recognised  by  the  peculiarly  harsh  feeling  of  dryness 
they  give  when  applied  to  the  tongue,  owing  to  their 
rapid  absorption  of  the  moisture. 

The  best  papers  for  fine  work  are  India  paper,  plate 
paper,  or  the  softer  and  more  lightly-sized  kinds  of  litho. 
and  ordinary  printing  paper.  The  hard,  highly-sized 
papers,  such  as  bank-post,  ordinary  writing  and  drawing 
papers,  do  not  give  good  impressions.  The  soft  papers 
absorb  the  ink  and  lift  it  off  the  stone,  moulding  them- 
selves round  it,  while  the  hard  ones  refuse  it,  and  have  a 
tendency  to  give  weak  blurred  impressions.  Papers  con- 
taining a quantity  of  alum  in  the  size,  or  showing  an  acid 
reaction  with  a piece  of  moistened  litmus  paper,  should  be 
avoided,  because  the  acid  will  in  time  destroy  the  gummy 
coating. 

For  very  fine  impressions,  enamelled  paper  is  sometimes 
used.  It  may  be  prepared  by  dissolving  4 ounces  of 
Russian  glue  in  3 quarts  of  water,  and  grinding  in  It  lbs. 
of  zinc  white.  The  mixture  is  passed  through  a sieve,  and 
two  coats  of  it  are  applied  to  the  paper  with  a brush. 
When  dry,  the  paper  is  glazed  by  passing  it  through  the 
press  in  contact  with  a polished  stone  or  zinc  plate.  The 
same  paper  is  largely  used  for  collotype  printing,  and  may 
be  purchased  in  the  market. 

Printing  paper  is  usually  slightly  damped,  in  order  that 
it  may  not  require  so  much  pressure  to  bring  it  into  close 
contact  with  the  stone,  and  also  to  render  it  softer  and 
more  absorbent,  so  that,  although  damp,  it  lifts  the  ink 
better  than  dry  paper.  Now,  however,  that  smooth, 
highly-faced  papers  are  readily  procurable,  there  is  not 
the  same  necessity  for  damping  paper  in  order  to  lessen 
pressure,  and  in  many  ways  it  is  an  advantage  to  dispense 
with  the  operation.  Damped  paper  distorts  and  alters  the 
dimensions  of  the  subject  more  or  less  in  drying,  and  if  left 
damped  too  long  before  use,  it  becomes  spotted  and  mil- 
dewed, especially  in  warm  weather.  For  colour  printing, 
it  is  indispensable  to  print  on  dry  paper  in  order  to  pre- 
serve accurate  register  throughout  the  several  printings. 

It  requires  some  little  experience  to  be  able  to  give  paper 
just  the  right  amount  of  dampuess,  because  it  varies  with 
the  degree  of  sizing  and  the  thickness  of  the  sheets. 
The  moisture  can  be  applied  either  by  sponging  the  sheets 
lightly  over  with  water  — this  method  being  specially 
applicable  to  plate  or  unsized  paper — or  by  taking  several 
sheets  together  and  passing  them  through  clean  water 
contained  in  a trough  or  vat.  The  wetted  paper  is  then 
piled  up  evenly  on  a clean  board,  another  board  is  placed 
on  the  top,  and  weighted.  The  pile  is  then  left  for  some 
hours  till  the  moisture  is  evenly  distributed  throughout. 
The  paper  will  then  present  a cockled  appearance,  which 
should  be  removed  by  taking  the  sheets  one  or  two  at  a 
time,  and  piling  them  up  again  one  over  the  other,  but  in 
the  reverse  position  to  what  they  were  at  first,  and  smooth- 
ing them  out  with  the  hand.  They  are  then  put  under  a 
weight  again  until  required.  Paper  is  generally  damped 
in  the  evening  to  be  ready  for  use  next  morning. 

For  proving,  and  getting  the  stone  or  plate  into  working 
order,  an  ordinary  kind  of  thin  printing  paper  is  used,  and 
is  damped  as  above.  It  should  be  smooth  and  free  fiom 
lumps  of  fibre,  &c.,  which  might  injure  the  work. 

For  military  maps  and  other  work  that  is  likely  to  bo 
subjected  to  much  folding  or  rough  usage,  it  is  convenient 
to  print  on  linen  or  calico.  The  best  quality,  known  as 
“ imperial  indestructible  cloth,”  is  manufactured  by 
Winterbottom,  of  Manchester,  and  sold  in  rolls  without 
fold.  Ordinary  long  cloth,  however,  answers  very  well. 
The  cloth  takes  the  ink  well,  and  need  not  be  damped. 
Vellum  or  tracing  cloth  is  not  very  suitable  for  printing, 
the  ink  taking  a very  long  time  to  dry  on  the  unabsorbent 
gummy  coating, 


408 


THE  FHOTOGRAPHIC  NEWS. 


[June  29,  1883. 


Bank  post  paper  is  also  very  useful  for  printing  maps,  &c., 
that  require  constant  folding  and  unfolding,  but  it  is  rather 
too  hard  and  unabsorbent  to  print  well.  The  above  com- 
prise the  principal  points  requiring  the  attention  of  the 
photo-lithographer  ; other  minor  ones  will  be  noticed  in 
due  course.  (To  be  continued.) 


BfltfS. 

The  Year-Book  ok  Photography  for  1883,  of  which 
no  less  than  7,500  copies  were  published,  is  out  of  print. 
Our  edition  next  year  will  be  8,000. 


A feature  of  the  next  Exhibition  in  Pall  Mall  will  be  the 
introduction  of  a lantern  entertainment  or  exhibition  ; aDd 
such  slides  as  the  committee  may  pass  will  be  shown  on 
Monday  evening,  at  about  nine  o’clock. 


A new  Society,  called  the  Coventry  and  Midland  Photo- 
graphic Society,  has  been  formed  at  Coventry. 

The  University  of  Durham  confers  upon  Mr.  J.  W.  Swan 
the  degree  of  M.A.,  honoris  causa,  a dignity  deserved  quite 
as  much  for  his  improvements  in  carbon  printing  as  for 
inventing  the  Swan  Incandescent  Lamp. 


Colonel  Stotherd,  R.E.,  who  some  years  ago  had  charge 
of  the  Military  Photographic  School  at  Chatham,  has  been 
appointed  Director-General  of  the  Ordnance  Survey  at 
Southampton  : photo-zincography  being  extensively  prac- 
tised in  the  production  of  maps  at  Southampton,  Colonel 
Stotherd  is  peculiarly  well  fitted  for  the  appointment. 


The  lens  shade,  which  Mr.  England  was  one  of  the  first 
to  employ,  if  not  to  introduce,  is  scarcely  so  well  known 
as  it  deserves  to  be.  Mr.  England  invariably  employs  it 
for  landscape  work,  and  if  jointed,  as  shown  in  our  pic- 
ture, the  shade  may  be  depressed  in  front  of  the  lens,  to 


cut  off  every  bit  of  glare  on  a sunny  day.  As  the  peak 
of  a cap  shades  its  wearer,  and  permits  him  to  see  more 
clearly,  so  the  lens-shade  allows  the  camera  to  conceive  a 
more  vivid  image.  Such  an  apparatus  fixed  to  the  front 
of  the  camera  is  far  better  than  any  make-shift  arrange- 
ment at  the  moment  of  exposure. 


Last  week  the  officers  of  ll.M.S.  Vernon  carried  out  some 
important  torpedo  experiments  at  Portsmouth,  which  were 
recorded  by  photography.  The  early  submarine  experi- 


ments with  charges  of  gun-cotton,  dynamite,  and  gunpowder 
were  all  photograph  : I,  and  for  this  reason;  the  cone  of 
water  thrown  up,  if  quickly  recorded  in  the  camera,  affords 
a means  of  calculating  how  much  water  has  been  displaced, 
the  height  of  the  cone  and  its  breadth  at  the  base  being 
registered  by  certain  land-marks,  or  rather  water-marks,  in 
the  picture.  And  the  amount  of  water  displaced  is  naturally 
an  indication  of  the  power  of  the  explosive  employed  as 
a torpedo. 


In  the  case  of  plates  which  are.  equally  suited  for  either 
mode  of  development,  Mr.  Warnerke  invariably  obtains  a 
higher  sensitometer  number  by  the  use  of  pvro  developer  ; 
it  being,  of  course,  understood  that  full  gradations  of  half- 
tone are  produced  in  each  case. 


The  movement  in  favour  of  distributing  photographs  of 
good  pictures  among  elementary  schools  as  a means  of 
interesting  children  in  art,  is  a most  excellent  one.  A 
meeting  was  held  last  week  at  the  home  of  Mr.  F.  Storr,  in 
Mecklenburgh  Square,  when  a committee  was  appointed  to 
carry  out  the  object.  As  the  movement  has  the  support  of 
Mr.  Kuskin,  Professor  Colim,  Mr.  Matthew  Arnold,  Mr. 
W.  B.  Richmond,  and  other  well-known  men,  it  comes 
before  the  public  under  good  auspices.  It  is  proposed  to 
purchase  about  a hundred  pictures  (framed)  to  constitute  a 
sample  collection,  and  to  publish  a descriptive  catalogue  for 
circulation  among  managers  of  schools,  masters,  and 
mistresses,  giving  full  particulars  of  the  cost  of  each  picture, 
the  place  where  it  may  be  bought,  and  the  manner  and 
expense  of  framing. 


Apropos,  it  is  singular  that  so  few  of  our  artists  make  use 
of  photography  as  a means  of  reproduction.  Even  those 
who  do  have  their  pictures,  previous  to  exhibition,  photo- 
graphed, impose  a condition  that  the  negative  shall  be 
destroyed  after  the  required  number  of  prints  have  been 
made.  Apparently,  this  objection  does  not  exist  on  the 
Continent,  for  at  the  present  moment,  in  the  windows  of 
some  of  the  London  photographic  dealers,  are  to  be  seen 
photographs  of  the  principal  pictures  in  this  year’s  Salon. 
On  the  other  hand,  such  a thing  as  a photograph  of  a pic- 
ture in  the  Royal  Academy  is  unknown.  We  believe  that 
some  artists  have  a notion  that  the  popularizing  of  a pic- 
tu.o  detracts  from  its  value,  on  the  ground  that  selfish 
buj  ers  are  comforted  by  the  possession  of  something  of 
which  no  other  person  in  the  world  has  a copy.  This  idea 
is  totally  erroneous.  So  far  from  the  value  of  a picture 
being  lessened  by  its  being  photographed,  the  reverse  is 
the  case. 


At  the  last  meeting  of  the  Chemical  Society,  Messrs.  J.  li. 
Gladstone  and  A.  Tribe  detailed  the  result  of  some  experi- 
ments as  to  the  action  of  light  on  sugar.  The  conclusion 
arrived  at  was  that  the  conversion  of  cane  sugar  into  glucose 
was  retarded,  and  took  placo  with  extreme  slowness  when 
the  solution  was  exposed  to  light.  Light  also  seems  to 
partially  arrest  the  development  of  fungoid  growths  in  a 
solution  of  cane  sugar  exposed  to  atmospheric  air. 


June  29,  1883.  | 


THE  PHOTOGRAPHIC ’NEWS. 


409 


Mr.  G.  Lavis,  of  Easlbourno,  sends  us  a portrait  of  the 
Princess  of  Wales,  taken,  we  believe,  by  Bassano  ; a group  of 
the  Prince  and  Princess  of  Wales  and  family,  by  Downey  ; 
and  a portrait  also  or  Lord  Wolseley,  from  the  original  of 
Fradelle,  all  of  which  he  purchased  atone  penny  each  from 
a hawker.  Mr.  Lavis  says  : “ They  were  exhibited  for  sale 
in  the  principal  street  of  our  town,  together  with  copies  of 
pictures  of  most  of  the  leading  houses,  all  the  originals 
being,  I believe,  copyright.” 

“ I suppose  there  is  no  remedy,”  sums  up  Mr.  Lavis. 
We  suppose  not,  nor  will  there  be  any  until  photographers 
choose  to  bestir  themselves.  It  is  only  a question  how  long 
it  will  last ; either  photographers  must  take  up  the  matter, 
or  there  will  be  no  photographers  left  to  take  it  up.  If 
people  can  purchase  portraits  of  celebrities  for  one  penny 
a-piece,  it  is  not  likely  they  will  pay  the  shilling  demanded 
at  shops. 

An  Elementary  Treatise  on  Photographic  Chemistry  for 
sixpence!  We  are  glad  to  announce  that  Mr.  Arnold 
Spider’s  simple  lessons  have  been  issued  in  the  form  of  a 
little  volume,  which  Messrs.  Piper  and  Carter  published 
this  week.  Hereafter  there  should  be  no  excuse  for 
photographer  or  assistant  being  ignoraut  of  the  principles 
of  photographic  chemistry,  since,  with  Mr.  Spider’s 
assistance,  all  can  acquire  the  rudiments  with  a little  study 
and  application. 

The  latest  American  photographic  sensation  is  “ a meaus 
of  tattooing  by  photography,  so  that  photographs  may  be 
transferred  to  the  human  body.”  We  scarcely  imagine 
such  a fashion  can  ever  become  popular.  Certainly  Edwin 
could,  if  he  chose,  wear  the  photograph  of  Angelina  liter- 
ally next  his  heart;  but  how  awkward  it  would  be  if,  after 
all,  he  never  married  Angelina,  but  somebody  else  instead ! 
Is  it  possible  the  ingenious  inventor  contemplates  creating 
a demand  for  photographs  in  tattoo  among  the  South  Sea 
Islanders  '? 


In  a recent  lecture  on  “Military  Ballooning,"  at  the  Royal 
United  Service  Institution,  Lieutenant  Baden  Powell  is 
reported  to  have  told  his  hearers  that  “ small  balloons 
retainod  by  a string  have  been  used  for  taking  plans  of  the 
country  beneath,  by  instantaneous  photography,  an  electric 
wire  connecting  the  apparatus  with  the  ground.”  It  would 
be  interesting  to  know  something  more  of  these  plans  of  the 
country  taken  by  instantaneous  photography  in  this  way. 
The  only  balloon  apparatus,  of  the  nature  specified,  we 
are  aware  of,  is  that  of  Mr.  Walter  Woodbury,  which; 
however,  has  not  been  tested  practically.  Captain 
Elsdale,  R.E.,  we  believe,  has  obtained  some  successful 
little  views  by  means  of  a camera  attached  to  a small 
balloon ; but,  in  this  case,  the  latter  was  free,  and  not 
retained  by  a string. 

We  published  last  week  a photo-print  by  the  old  l’retsch 
process  to  show  that  we  had  not  advanced  much  in  the  pre- 
paration of  typographical  blocks  from  photographs  during 
the  past  twenty  years.  It  i6  apparently  the  same  with 


balloon  photography.  Fifteen  years  ago  we  were  presented 
with  a photograph  of  Boston,  U.S.,  taken  from  a balloon 
during  a fixed  ascent,  the  picture  being  secured  by  the  wet 
process ; that  balloon  picture  we  have  now  had  copied,  so 
that  our  readers  may  judge  for  themselves  about  recent  pro- 
gress in  this  branch  of  the  art.  The  picture  is  a little 
unsharp,  owing  to  the  exposure  not  being  rapid  enough; 
but  if  it  is  not  the  best  balloon  photograph  yet  taken — the 
tine  photographs  of  Nadar  were  secured  some  years  after — 
this  Boston  picture  is  certainly  one  of  the  earliest  specimens 
of  balloon  photography. 


Blisters  in  albumenized  paper  during  washing  are  best 
prevented,  according  to  Herr  Silomon,  of  Dresden,  by 
putting  into  the  first  washing  water— after  the  prints  come 
from  the  fixing  bath — a haudful  of  common  salt  to  every 
dozen  quarts  of  water.  Herr  Silomon,  as  a well-known 
manufacturer  of  albumenized  paper,  speaks  withj  some 
authority,  and  he  says  that  after  years  of  experience,  this 
means  has  never  failed  him,  even  in  the  case  of  very  highly 
albumenized  paper;  neither  does  the  salt  influence  the 
toning.  Dr.  Vogel  also  speaks  well  of  this  method — 
scarcely  new,  perhaps — of  avoiding  blisters,  albeit  not  so 
enthusiastically  as  Herr  Silonlon. 


A solution  of  iodine  in  iodide  of  potassium  is  found 
useful  by  the  photographer  for  many  things,  the  removal 
of  silver  stains  being  one  of  them ; in  Mexico  they  have 
discovered  that  this  same  iodine  solution  is  an  effective 
antidote  against  the  rattlesnake-bite. 


Mr.  Common,  of  Ealing,  who  was  elected  a member  of 
the  Photographic  Society  at  the  last  meeting,  has  made  an 
enlargement  of  his  nebula  of  Orion  photograph,  and 
printed  it  in  Woodburytype,  for  the  purpose  of  presenting 
copies  to  various  scientific  societies.  The  photograph 
was  taken  by  Mr.  Common,  in  January  last,  with  his  great 
three-foot  reflector,  the  exposure  being  thirty-seven 
minutes.  The  photograph  shows  several  features  not 
rendered  in  any  drawing  of  the  nebula,  and  is  therefore  a 
distinct  advance  on  previous  observations. 


A South  London  photographer  adopts  a novel  mode  of 
advertising.  He  employs  a “sandwich-man”  with  two 
cases  of  portraits  hung  over  his  shoulders,  one  on  his  chest 
and  the  other  on  his  back,  to  promenade  np  and  down  the 
principal  thoroughfares.  This  method  may  be  effective, 
but  it  is  scarcely  dignified. 


Our  readers  may  like  to  know  what  sort  of  business 
some  of  the  first-rate  Paris  firms  do.  Ten  years  ago,  one 
of  the  best  establishments  in  the  French  metropolis  made 
four  thousand  pounds  a-year,  and  did  so,  we  are  informed, 
four  years  in  succession  at  least.  Another  studio,  whose 
head  was  absent  during  the  siege  of  Pari3,  received,  on 
return  after  six  months’  absence,  takings  amounting  to 
twelve  hundred  thousand  francs,  or  £4,800 ; and  neither 
of  these  stud  ios  probably  employs  more  than  eight  or  ten 
hands. 


410 


THE  PHOTOGRAPHIC  NEWS. 


[June  29,  1883. 


It  may  be  of  interest,  in  view  of  Mr.  Jabez  llugbes’ 
reference  to  “ Moser's  images ” as  a possible  explanation 
of  the  phenomena  detailed  by  Captain  Abney  in  his  paper 
on  “ The  Effect  of  Pressure  on  Sensitive  Salts  of  Silver,” 
to  recall  some  of  the  experiments  of  Moser  in  support  of 
his  theory.  In  one,  a silver  plate,  having  been  iodised 
during  the  night  and  in  complete  darkness,  an  engraved 
agate  medal  and  a liorn  ring  were  placed  upon  the  plate, 
which  was  afterwards  subjected  to  the  mercurial  vapour, 
when  perfectly  distinct  images  of  the  figures  engraved  on 
the  agate  and  ring  were  developed.  This  experiment  was 
repeated  by  Encke,  the  astrouomer,  in  the  presence  of 
Humboldt,  when  an  ornamental  engraved  plate  was  placed 
upon  a highly-polished  silver  plate,  which  had  not  been 
iodized,  and  left  during  the  space  of  twenty  minutes  ; the 
image  was  but  indistinctly  represented  on  the  plate,  but 
became  more  perfect  by  iodising  the  plate,  and  subjecting 
it  to  mercury.  The  “ discovery,”  however,  which  caused 
the  most  sensation,  was  the  statement  by  Moser  that  the 
same  effect  was  produced  in  complete  darkness  when  the 
objects  were  not  in  contact ; or,  to  use  Moser’s  own  words, 
“ When  two  bodies  are  sufficiently  near  each  other,  they 
impiint  their  images  respectively  one  on  the  other.”  It  is 
rather  singular  that  the  phenomena  which  Moser  announced 
in  1842  as  a new  and  original  discovery,  and  afterwards 
brought  before  the  British  Association  in  1843  by  Pro- 
fessor Benil,  Dr.  J.  W.  Draper  made  public  in  1840,  a fact 
which  the  American  scientist  did  not  fail  to  point  out  to 
the  British  Association. 


Moser  appears  to  have  been  something  of  a fanciful 
philosopher.  He  had,  for  instance,  an  ingenious  theory  of 
the  action  of  mercury;  knowing  that  the  yellow  ray  had  the 
property  of  continuing  the  effect  commenced  by  light  on 
iodide  of  silver,  he  supposed  that  a yellow  latent  light 
was  given  out  by  mercury  when  in  vapour.  It  slightly 
upset  the  theory,  however,  when  Claudet  showed  that  the 
surface  of  the  silver  plate,  when  analysed,  disclosed  the 
presence  of  mercury.  On  this  theory  Mr.  Robert  Hunt 
wrote : “ The  speculations  of  M.  Moser  are  too  purely 
hypothetical  to  be  admitted  in  explanation  of  the  phenomena 
observed.  Indeed,  his  doctrine  of  latent,  or,  as  he  calls  it, 
‘ invisible  light,’  involves  some  absurdities.” 


How  long  are  photographers  usually  in  sending  out 
proofs?  Of  the  six  studios  we  have  recently  visited,  one 
sent  no  proof  at  all,  but  executed  half  the  order  iu  a week ; 
a second  studio  sent  us  a proof  in  four  days,  a third 
(untoned)  in  five  days,  a fourth  in  six  days,  a fifth  in  eight 
days,  and  the  sixth  studio  kept  us  eleven  days  waiting. 


Another  point  in  statistics  may  be  noted  as  the  result  of 
our  visits.  In  all  six  cases  was  payment  demanded  and 
obtained  at  the  time  of  sitting.  In  three  instances  the 
money  was  paid  after  posing,  and  in  the  other  three,  before- 
hand. 


Chloride  of  calcium  as  a means  of  drying  and  absorbing 
moisture  has  been  used  from  the  earliest  days  by  photo- 


graphers. But  it  is  only  comparatively  recently  that  the 
price  of  this  compound  has  become  so  low  that  its  em- 
ployment in  large  quantities  for  common  purposes  has 
been  within  the  reach  of  all  classes.  At  present  this 
useful  desiccating  medium  is  obtainable  wholesale  at  from 
£4  to  £5  a ton,  and  for  this  reason  we  cannot  help  think- 
ing photographers  may  find  a still  wider  application  for 
it.  Calcium  chloride  has  found  a limited  application  in 
the  drying  of  gelatine  plates,  for  one  thing,  and  is  likely 
to  be  more  extensively  used  for  that  purpose  in  future. 


fatent  dutclligma. 

Application  for  Letters  Patent. 

30G2.  Charles  Denton  Abel,  of  28,  Southampton  Buildings, 
Chancery  Lane,  in  the  county  of  Midalesex,  for  an  invention 
of  “ Improvements  in  apparatus  for  producing  intense  white 
light.” — A communication  to  him  from  abroad  by  Charles 
Clamond,  of  Paris,  France. --Dated  20th  June,  1883. 

2G77.  Alexander  Melville  Clark,  of  the  firm  of  A.  M.  and 
W.  Clark,  of  53,  Chancery  Lane,  in  the  county  of  Middlesex, 
Fellow  of  the  Institute  of  Patent  Agents,  for  an  invention  of 
“ Improvements  in  and  in  apparatus  for  changing  and  storing 
photographers’  backgrounds  and  other  movable  scenery.” — 
A communication  to  him  from  abroad  by  William  Evans 
Lindop,  of  St.  Thomas,  in  the  province  of  Ontario  and 
dominion  of  Canada. — Dated  30th  May,  1883. 

2680.  Carl  Daniel  Ekman,  of  Sweden,  but  now  of  571,  Old 
Broad  Street,  in  the  City  of  London,  Chemist,  for  an  invention 
of  “ Improvements  in  the  extraction  of  gelatine,  fat,  and  similar 
substances  from  bones,  hides,  fish,  and  other  animal  matter.” 
Dated  30th  May,  1883. 

Grant  of  Provisional  Protection.  ’ 

2790.  Joseph  Julius  Sachs,  of  Gray’s  Inn  Road,  in  the  county 
of  Middlesex,  for  an  invention  of  “ Improvements  in  appa- 
ratus to  be  used  in  the  preparation  of  metal  surfaces  for  etch- 
ing, engraving,  and  similar  purposes.” — Dated  5th  June,  1883. 

Notices  to  Proceed. 

896.  John  Rudolph  Meiiie,  of  2,  Laurence  Pountney  Hill,  in  the 
city  of  London,  for  an  invention  of  “ Improvements  in  the 
production  of  printing  plates  or  blocks  by  photographic 
means.” — A communication  to  him  from  abroad  by  Julius 
Allgeyer  and  Carl  Bolhoevener,  persons  resident  at  Munich,  in 
the  kingdom  of  Bavaria. — Dated  19th  February,  1883. 

Patents  Granted  in  Belgium. 

61,421.  C.  Cros  and  A.  Veroeraud,  of  Paris,  for  ‘‘Positive 
Paper  for  Photography.” — Dated  19th  May,  1883.— French 
Patent,  14th  November,  1882. 

Patent  Granted  in  Sweden. 

1G5.  O.  W.  Wicklund,  for  “An  instantaneous  emulsion  for 
photography.”— Dated  31st  May,  1882. 

Patents  Granted  in  France. 

Certificate  of  Addition. 

146,702.  Olive,  for  “ Funeral  mounts  for  photographs.”— Dated 
18th  December,  1882.  Class  20. 

Specifications  Published  during  the  Week. 

5283.  W.  Kennedy,  “ Translucent  plates  or  sheets  for  use  as 
substitutes  for  glass  in  roof  lights,  &c.” 

My  said  invention  has  for  its  object  the  production  of  im- 
proved translucent  plates,  or  sheets,  to  be  used  as  substitutes  for 
glass  in  roof-lights  and  otherwise.  My  improved  plates  or  sheets 
will  not  transmit  so  much  light  as  clear  glass,  but  will  allow  as 
much  to  pass  as  will  be  sufficient  for  many  purposes  and  for 
various  situations  ; whilst  they  will  not  be  so  easily  broken  as 
glass,  and  will  be  of  less  weight  than  glass  of  the  thickness  con- 
sidered necessary  for  roof  lights.  My  improved  translucent 
plates  or  sheets  consist  of  perforated  sheet  zinc,  or  of  any  suit- 
able perforated  sheet  metal,  or  of  wire  gauze,  the  openings 
through  which  are  closed  with  gelatine,  varnish,  or  other  suitable 
translucent  substance  or  composition.  Or  sheets  of  paper  or  of 
woven  fabric  may  be  cemented  or  otherwise  attached  to  the  per- 


June  29,  1883.} 


THE  PHOTOGRAPHIC  NEWS. 


4 il 


{orated  metal  or  wire  gauze,  such  paper  or  fabric  being  rendered 
translucent  by  means  of  any  suitable  substance  such  as  gelatine, 
wax,  varnish,  drying  oil,  or  soluble  glass,  before  or  after  being 
attached  to  the  metal.  When  gelatine  or  soluble  glass  is  used 
as  the  translucent  substance,  it  should  be  treated,  when  dry, 
with  an  external  coat  of  varnish  to  protect  it  from  the  action  of 
moisture ; and  iu  the  case  of  gelatine,  a small  proportion  of 
glycerine  may  be  mixed  with  it  to  counteract  its  tendency  to 
shrink.  In  practically  carrying  out  my  invention  according  to 
one  modification,  I first  prepare  the  perforated  zinc  plate  by 
rubbing  both  surfaces  with  a piece  of  sandstone.  I then  apply  a 
coating  of  spirit  varnish,  or  other  hard  clear  varnish,  and  place 
on  the  plate  a sheet  of  thin  tracing  paper  of  the  kind  used  by 
mechanical  draughtsmen,  taking  care  to  stretch  it  evenly  and 
without  wrinkles.  Or  the  paper  may  be  laid  out  smoothly  on  a 
flat  surface,  and  the  varnished  zinc  plate  be  placed  upon  it  and 
be  pressed  to  secure  adhesion  at  all  unperforated  parts.  When 
the  work  is  sufficiently  dry,  a coat  of  varnish  is  put  on  the  outer 
surface  of  the  paper  ; and  if  the  plate  is  desired  to  be  of  special 
strength,  a second  sheet  of  tracing  paper  is  applied  upon  the  first, 
and  is  varnished  on  its  outer  side.  To  render  the  plate  stronger 
and  more  durable,  additional  coats  of  varnish  may  be  applied  on 
both  sides.  According  to  a second  modification,  a sheet  or  plate  of 
zinc  having  perforations,  which  are,  by  preference,  of  the  size 
known  as  ‘ ‘ No  8,”  is  treated  with  a coating  consisting  of  a strong 
solution  of  silicate  of  soda  or  soluble  glass,  so  that  the  solution 
may  fill  the  perforations.  This  may  be  effected  by  placing  the  zinc 
plate  on  a slab  of  plate-glass  placed  horizontally,  or  on  a smoothly 
surfaced  slab  of  slate,  marble,  iron,  or  other  suitable  material  to 
which  the  soluble  glass  will  not  adhere.  One  or  two  coats  of  the 
solution  having  been  applied,  the  slab  is  placed  before  or  beneath 
a fire,  or  heat  is  otherwise  applied  to  dry  the  outer  surface  of  the 
solution,  after  which  the  zinc  plate  is  removed  from  the  slab,  aud 
its  other  surface  is  dried.  When  the  soluble  glass  is  quite  dry, 
both  sides  are  coated  with  copal  varnish  or  other  suitable 
varnish.  The  translucent  substance  may  be  coloured  or  rendered 
ornamental  by  means  of  transparent  colouring  matters.  The 
improved  plates  or  sheets  may  be  used  for  a great  variety  of  pur- 
poses, amongst  which  may  be  mentioned  lanterns,  window- 
screens,  fire  screens,  and  illuminated  advertisements.  Orna- 
mental devices  may  be  applied  by  means  of  thin  coloured  gela- 
tine ; or  the  paper  or  woven  fabric  may,  previously  to  being 
applied  to  the  zinc,  have  coloured  or  other  devices  produced  upon 
it  by  printing  or  otherwise.  Ornamental  devices  may  be  formed 
by  cementing  pieces  of  coloured  glass  upon  the  perforated  metal 
sheet,  or  plate  ; and  when  the  ornamentation  is  effected  in  this 
way,  a sheet  of  thin  paper  or  woven  fabric  may  be  attached  or 
cemented  ever  the  glass,  and  be  varnished  on  the  outer  side. 
Having  thus  particularly  described  my  said  invention,  and  the 
manner  of  performing  the  same,  I have  to  state  that  I do  not 
restrict  myself  to  the  precise  details  herein  described,  but  that 
what  I believe  to  be  novel  and  original,  and  claim  as  the  inven- 
tion secured  to  me  by  and  in  terms  of  the  hereinbefore  in 
part  recited  Letters  Patent,  is  the  combination  of  perforated 
metal  sheets,  or  plates,  with  translucent  paper,  woven  fabric, 
gelatine,  or  other  suitable  translucent  substance,  substantially  in 
the  manner  and  for  the  purposes  hereinbefore  described. 

6324.  A.  J,  Nash,  “ Ornamental  glass.” 

This  invention  refers  to  the  embellishment  of  articles  formed 
of  glass  in  the  following  manner : — I take  a bulb  to  form  (say)  a 
bowl  of  glass,  and  whilst  still  upon  the  blowing  iron,  1 apply  to 
the  surface  finely-divided  metal,  either  obtained  from  thin  plates 
or  from  oxides,  nitrates,  sulphates,  or  in  solution,  or  by  coloured 
sands.  I then  place  the  bulb  in  a matrix  or  mould,  having  some 
ornamental  pattern  upon  it  so  as  to  form  a pattern  in  relief  upon 
the  surface  of  the  metalizcd  glass  ; or  I produce  such  pattern 
by  means  of  rollers  or  any  other  convenient  method  of  obtaining 
a pattern  in  relief  upon  the  surface.  I then  coat  the  bulb  again 
with  glass,  and  complete  the  formation  of  the  article.  Or  in 
some  cases  I may  dispense  with  the  process  of  embossing  the 
pattern  upon  the  bulb,  and,  instead  thereof,  lay  upon  its  surface 
patterns  produced  in  thin  metal,  and  then  cover  with  the  outer 
coat  of  glass  as  before  described  ; thus,  in  either  case  obtaining 
distinctive  metallic  patterns  or  ornamental  designs  under  the 
surface  of  the  glass,  both  the  inner  and  outer  face  of  the  glass 
articles  retaining  their  ordinary  smooth  surface.  Having  thus 
described  the  nature  of  the  said  invention,  and  the  manner  in 
which  the  same  is  carried  into  effect,  I claim  the  improvements 
in  the  ornamentation  of  glass,  as  herein  more  fully  set  forth  and 
specified,  but  I do  not  limit  myself  to  the  precise  details  herein 
set  forth  and  specified. 


INFLUENCE  OF  MOISTURE,  ETC.,  ON  SILVER 
PRINTS. 

BY  W.  M.  ASHMAN. 

It  is  not  my  intention  to  offer  excuses  for  openiug  up  this 
old  and  well-ventilated  subject,  because  I hold  that  it  is  the 
duty  of  every  professional  photographer  who  caters  for  the 
public  to  mention  anything  he  considers  worthy  of  notice 
which  may  tend  to  the  better  preservation  of  silver  prints. 
It  is  a duty  he  owes  to  the  community  at  large.  Since  the 
first  introduction  of  silver  printing,  this  doctrine  has  always 
held  good,  and  whenever  a new  fact  has  been  discovered, 
practical  men  have  investigated  and  published  their  experi- 
ences regarding  it  ; thus  it  is  that  photography  is  enabled 
to  hold  her  position  in  the  front  rank  with  the  sister  sciences. 

Having  such  an  abundance  of  indefatigable  workers  in 
our  ranks,  and  such  excellent  opportunities  afforded  for 
diffusing  the  experience  gained  through  the  medium  of  the 
photographic  press,  it  sometimes,  but  very  rarely,  happens, 
that  points  of  immense  importance  do  not  receive  the  atten- 
tion they  deserve  from  the  great  bulk  of  experimentalists. 
Perhaps  fashion  may  prevail  in  this  as  in  some  other  matters, 
and  rapid  exposures,  with  accessories  thereto,  may  be  the 
burning  question  of  the  hour.  But  I am  wandering  from  the 
subject.  If  my  readers  will  please  refer  to  No.  1281  of 
this  year’s  volume  of  the  Photographic  News,  they  will  find 
an  able  leader,  entitled,  “ Hyposulphite  in  Mounts  and 
Paper.”  The  writer  sets  forth  that  damp  is  the  chief  cause 
of  rapid  fading,  aud  with  this  dictum  I entirely  agree. 
For  some  years  previous  to  the  publication  of  this  article  I 
have  noticed  that  photographs  exhibited  as  specimens  in 
show-cases  ont  of  doors,  also  on  railway  platforms,  station 
walls,  and  places  where  the  sunlight  could  have  but  little 
influence  on  them,  lost  their  brilliancy  in  a very  short  time, 
more  especially  during  the  winter  months.  One  show-case 
1 remember  situated  on  a railway  bridge  among  other 
advertising  boards  required  refilling  about  every  seven  or 
eight  weeks  during  damp  weather,  or  the  reputation  of 
the  firm  would  have  suffered,  seeing  that  thousands  of 
people  passed  these  specimen  photographs  daily.  I 
don't  mean  to  convey  the  impression  that  these 
photographs  had  faded  very  much,  like  some  auctioneers’ 
specimens  of  property  for  sale,  for  they  had  not ; but  the 
critical  eye  might  have  discovered  a degradation  of  the 
whites— or,  in  other  words,  a slight  yellow  tinge  in  the  lights 
— which,  if  allowed  to  remain  a few  weeks  longer,  might  have 
developed  into  yellow  fever,  as  fading  h sometimes  desig- 
nated, thus  corroborating  that  portion  of  the  previous  writer’s 
experience,  where  he  states  that  prints  mounted  on  card- 
board free  from  traces  of  hyposulphite,  and  placed  for  six 
weeks  in  a damp  cellar,  were  found  to  show  only  the  slightest 
indications  of  fading  at  the  end  of  that  period. 

Having  a damp  cellar  at  hand,  I repeated  the  experiments 
detailed  in  the  above-mentioned  number,  and  obtained 
similar  results  in  each  case.  Other  experiments  were  tried, 
wherein  the  mounted  photographs,  previously  soaked  in 
water,  were  packed  away  in  the  cellar,  no  especial  care  being 
taken  to  find  traces  of  hyposulphite  by  any  of  the  usual 
means.  At  the  end  of  two  months  these  photographs  were 
examined,  when  it  was  found  that  very  little  of  the  original 
picture  remained  in  any  of  them;  while  in  some  cases  the 
image  had  completely  vanished,  and  the  mount  was  covered 
with  a fungoid  growth,  the  fibres  of  which  extended  quite 
an  inch  beyond  the  spongy  excrescence.  Ferhaps  this  might 
have  been  expected,  for  we  know  albumenized  paper,  if  stored 
in  a damp  place,  will  in  time  be  covered  with  spots  of 
various  hues,  no  doubt  due  to  decomposition  of  the  size  con- 
tained in  the  paper,  also  the  coating  of  albumen.  Card- 
board and  materials  used  for  mounting  the  photograph 
assist  largely  to  produce  a like  result.  I have  coated  prints 
with  beeswax,  paraffin,  various  gums,  collodion,  and  other 
substances  hitherto  recommeuded  for  the  purpose  of 
rendering  the  paper  more  impervious  to  moisture,  but  they 
do  not  appear  to  fare  any  better  than  prints  not  so  treated. 


412 


THE  PHOTOGRAPHIC  NEWS. 


[June  29,  1883. 


There  is  one  fact  deserving  of  mention,  if  only  to  induce 
photographers  to  examine  more  frequently  the  specimens 
they  set  before  the  public.  About  the  time  these  experiments 
were  undertaken,  some  show-cases  for  out-of-doors  were  re- 
filled. Through  inadvertence,  one  of  them  was  not  properly 
closed,  and  sufficient  rain  found  its  way  inside  to  duly  re- 
cord the  fact  on  a choice  subject  which  happened  to  be  in  the 
way  of  its  descent.  For  more  than  a week  this  state  of 
things  existed,  the  weather  being  showery  in  the  interval ; 
when  a cursory  glance  one  dav  at  this  particular  specimen- 
case  revealed  the  fact  that  a broad  yellow  band  over  an  inch 
in  width  descended  through  the  centre  of  the  picture,  clearly 
indicating  that  something  was  wrong.  U pon  closer  scrutiny, 
other  prints  were  found  to  be  damaged  more  or  less  in  a 
similar  manner.  It  is  needless  to  say  that  such  an  exhibi- 
tion of  one’s  skill  is  not  likely  to  enhance  business. 

The  markings  referred  to  point  to  one  of  two  causes: 
either  the  cardboard  contained  hypochlorites,  or  hyposul- 
phite— perhaps  both — but  in  all  probability  hyposulphite 
alone,  for  upon  removing  the  photographs,  it  was  noticed 
that  water  had  penetrated  through  from  the  back  of  the 
mouQt  in  each  case,  thus  destroying  the  print.  To  prevent 
such  an  occurrence  as  here  related,  mounts  should  always  be 
tested  before  they  are  taken  into  stock ; this  can  be  done 
very  easily  in  the  following  manuer. 

Cut  the  sample  cardboard  into  small  pieces  ; place  a few 
fragments  intotwoseparatevessels — test-tubes  by  preference  ; 
cover  them  with  distilled  water,  and  allow  them  to  soak 
for  an  hour  or  two.  With  a portion  of  the  liquid  from  one 
of  the  tubes,  mix  in  another  tube  with  a small  quantity  of 
boiled  starch  (the  starch  paste  used  for  mounting  will  do). 
When  thoroughly  mixed,  add  a drop  or  two  of  iodine 
tincture,  and  shake  vigorously.  Upon  placing  the  tube 
over  a sheet  of  white  paper,  a pale  blue  tint  will  pervade 
the  mixture;  should  this  colour  disappear,  it  will  indicate 
the  presence  of  hyposulphite,  and  the  mount  will  not  be 
safe  to  use;  but  should  the  colour  be  retained,  no  danger 
is  likely  to  accrue,  so  far  as  minute  traces  of  hyposulphite 
are  concerned.  In  the  case  of  white  or  light  mounts,  it  will 
be  well  to  test  for  chlorides  or  bleaching  agents  which  may 
have  been  used  in  the  manufacture,  and  imperfectly  washed 
out. 

To  a portion  of  the  liquid  in  the  second  tube,  add  a few 
drops  ot  dilute  nitric  acid  until  the  liquid  is  quite  acid, 
using  a clean  test-tube  for  the  experiment.  To  this,  add  a 
crystal  of  silver  nitrate.  If  the  liquid  becomes  cloudy,  a 
precipitate  will  fall  to  the  bottom  of  the  tube,  indicating  the 
presence  of  either  chloride,  cyanide,  bromide,  or  iodide.  If 
the  precipitate  be  white,  chloride  or  cyanide  is  present;  if 
yellowish  or  yellow,  bromide  or  iodide  is  present.  The 
two  latter  are,  however,  not  used  in  the  manufacture  of 
cardboard,  therefore  there  is  no  need  to  test  for  their  pre- 
sence just  now,  as  they  will  be  treated  exhaustively  at  no 
distant  date.  Should  a white  precipitate  be  formed,  add  a 
few  drops  of  liq.  ammonia,  fort.  s.g.  '880,  when,  if  chlo- 
ride of  silver  has  been  formed,  it  will  dissolve,  leaving  the 
liquid  clear  ; but  if  the  liquid  does  not  clear  upon  adding 
a considerable  quantity  of  ammonia,  it  may  be  considered 
that  no  chloride  has  been  soaked  out  of  the  sample  of  card- 
board ; and  the  same  remark  applies  to  the  liquid  remain- 
ing clear  upon  the  addition  of  silver  nitrate.  In  order  to 
verify  the  experiment,  the  remaining  portion  of  the  liquid 
which  has  not  been  experimented  with  may  be  heated  up  in 
a gas  flame  to  concentrate  it.  When  cool,  add  a crystal  of 
potassium  iodide.  If  chlorine  be  present,  the  liquid  will 
become  slightly  reddish,  due  to  the  liberation  of  iodine 
and  formation  of  potassium  chloride. 

Whether  we  are  right  in  assuming  that  damp  and  dele- 
terious substances  are  the  prime  causes  of  such  wholesale 
destruction  of  silver  prints,  has  yet  to  be  proved  ; but  it  is  a 
pretty  generally  admitted  fact  that  prints  of  recent  date 
fade  more  rapidly  than  those  produced  twenty  years  ago. 
But  why  ? No  one  seems  to  be  able  to  show.  Let  us  try 
to  unearth  the  mystery. 


FIXING  A NUMBER  OF  NEGATIVES  IN  SAME 
SOLUTION  OF  HYPO. 

BY  M.  A.  DAVANNE. 


Orn  trial  commission  has  received  from  M.  de  la  Ferronays 
a bottle  of  a solution  of  hyposulphite  of  soda  which,  for 
more  than  a month,  has  served  him  to  fix  a large  number 
of  negatives.  The  negatives  in  question,  and  those  which 
we  present,  appear  excellent,  and  give  good  prints.  They 
are  those  of  which  we  made  the  trial  of  paper  deposited 
two  months  ago  by  M.  Mey. 

The  fixing  bath  sent  by  M.  de  la  Ferronays  has  been 
made  up  as  follows: — 


Water 

Hyposulphite  of  soda 
Alum 


100  c.c. 
15  „ 
4 


Dissolve  while  warm,  and  filter.  It  is  slightly  coloured  by 
traces  of  the  developer,  and  clouded  by  a brownish  deposit 
of  sulphide  of  silver,  which  is  formed  in  the  liquid,  and  falls 
to  the  bottom  of  the  bottle. 

This  liquid  has  fixed,  for  more  than  a month,  a very  con- 
siderable number  of  prints  ; it  still  possesses  its  active 
properties,  for  in  a few  moments  it  dissolved  all  the  bro- 
mide of  silver  which  the  immersed  part  of  the  plate  now 
shown  contained. 

This  does  not,  however,  confirm  the  theory  held  by 
several  that  the  same  hypo  bath  may  be  used  indefinitely. 
For  this  reason  we  made  up  a fifteen  per  cent,  solution  of 
hypo,  and  rapidly  saturated  it  with  bromide  of  silver  ; the 
amount  dissolved  (about  5-52  grammes)  being  equivalent 
to  5 grammes  of  nitrate  of  silver  to  17  of  hyposulphite  of 
soda.  Four  grammes  of  alum  were  added,  and  the  solution 
was  left  for  a time.  A brownish  black  precipitate  of  sul- 
phide of  silver  formed  incessantly.  After  a fortnight  we 
tried  the  effect  of  the  solution  upon  a gelatino-bromide 
plate,  and  after  twelve  hours’  contact,  only  a very  slight 
dissolving  action  was  obtained  at  the  edges;  the  liquid 
was  incapable  of  fixing  a negative.  This  slight  action 
makes  us  think  that  the  first  saturation  was  not  quite 
complete  ; indeed,  by  proceeding  patiently,  it  was  found 
that  the  17  grammes  of  hypo  employed  gradually  dissolved 
an  amount  of  bromide  of  silver  equal  to  about  6 grammes 
of  silver  nitrate. 

The  theory  of  the  action  of  hyposulphite  of  soda  on  silver 
salts,  and  its  limit  of  saturation,  will  be  found  in  the  re- 
searches published  by  MM.  Davanne  and  Girard  on  the 
fixing  of  prints  ; we  find  that  one  part  of  nitrate  of  silver 
requires,  theoretically,  three  parts  of  hyposulphite  of  soda 
to  fix  it. 

Practically,  one  must  allow  for  the  indispensable  excess 
to  compensate  for  the  impurities  of  the  product,  the  tardy 
action  of  a liquid  when  nearly  saturated,  and  the  secondary 
reactions  modifying  or  diminishing  the  soluble  properties 
of  hyposulphite  of  soda. 

We  have  not  to  stop  for  theoretical  questions,  but 
simply  to  state  the  facts  these  theories  explain. 

Taking  up  our  research  upon  the  bath  under  the  above 
conditions,  we  find  that  one  litre  containing  150  grammes 
of  hypo  can  only  fix  the  products  of  53  grammes  of  nitrate 
of  silver ; or,  in  M.  Andra’s  method,  who  prefers  films 
very  rich  in  bromide  of  silver,  we  find  that  the  53  grammes 
of  nitrate  of  silver  serve  to  prepare  about  1,100  c.c.  of 
gelatino-bromide  of  silver,  with  which  about  55  plates 
10  by  8,  or  100  plates  8 by  5,  may  be  coated,  and  we 
are  not  surprised  if  the  hypo  bath  fixes  a great  number  of 
negatives,  especially  if  the  plates  have  not  been  prepared 
with  emulsion  containing  much  silver.  But  does  not  the 
sulphide  of  silver,  which  is  deposited  on  separating  itself 
from  the  solution,  take  part  in  these  primary  proper- 
ties ? We  think  not.  An  accurate  experiment  made  on 
the  lines  laid  down  by  M.  de  la  Ferronays  will  confirm  us 
in  this  respect  in  a month’s  time.  For  the  present,  theo- 
retically we  know  that  the  sulphide  of  silver  is  thrown 
down  from  the  decomposition  of  the  hypo,  and  from  the 


June  29,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS. 


413 


fact  of  this  decomposition,  sulphuric  acid,  sulphurous  acid, 
and  free  sulphur  are  produced  in  the  bath.  This  last  pre- 
cipitates in  its  turn  sulphide  of  silver ; it  passes  through 
a series  of  complex  reactions,  which  explain  the  continual 
deposit  of  sulphide  of  silver,  and  at  the  present  moment 
we  cannot  say  at  what  point  these  successive  decomposi- 
tions stop. 

This  question,  over  which  we  have  spent  too  much  time, 
brings  forth  another  to  be  solved. 

Are  negatives  fixed  under  these  conditions  likely  to 
be  permanent?  If  it  refers  to  prints,  MM.  Davanue  and 
Girard  do  not  hesitate  to  answer  “ No.”  Prints  fixed  in 
a sulphurous  bath  will  very  soon  change,  but  positives 
formed,  not  only  of  silver  but  of  complex  combinations 
coloured  by  light,  are  not  in  the  same  conditions  as  nega- 
tives, the  formation  of  which  is  due  to  the  operation  of  a 
complete  reduction  by  chemical  agents  in  a relatively 
thick  film.  If  the  negatives  have  been  well  washed,  it 
seems  as  if  they  ought  to  resist  it ; the  experience  of 
several  years  has  already  proved  to  us  that  negatives  fixed 
in  a sulphurous  bath  may  remain  without  alteration,  but 
the  future  can  alone  say  how  long. 

M.  de  la  Ferrouav  has  sent  us  the  negatives  in  a kind 
of  portfolio,  to  the  arrangement  of  whi.h  we  call  atten- 
tion; it  may,  indeed,  replace  plate  boxes,  not  only  for 
transport,  but  also  for  storing. 

"As  in  this  report  the  researches  of  MM.  Davanue  and 
Girard  on  prints  have  been  cited,  it  should  be  called  to 
mind  that  in  studying  the  reactions  of  silver  salts  and 
hyposulphite  of  soda,  we  remarked  upon  the  great  sensi- 
tiveness to  light  of  the  double  salt  (NaO,  S-O'),  (AgO, 
S202),  which  is  formed  if  the  silver  salt  is  in  excess  of  the 
hypo.  The  composition  formed  almost  immediately  de- 
composes under  the  influence  of  light,  giving  off  sulphide 
of  silver. 

This  reaction  seems  to  us  to  explaiu  easily  a certain 
cloudiness  of  a yellowish  brown,  which  is  sometimes  formed 
on  negatives,  and  more  particularly  on  those  portions 
where  the  film  is  thickest,  and  which  resists  afterwards 
all  efforts  to  bring  back  the  negative  to  purity.  This  tint 
is,  in  fact,  due  to  sulphide  of  silver. 

Hyposulphite  of  soda  only  gradually  penetrates  gela- 
tine ; when  it  is  saturated  with  silver  in  the  upper  films, 
it  makes  its  way  through  to  the  under  parts  in  the  state  of 
a double  soluble  salt,  having  the  formula  (NaO,S202)' 
(Ag0,S202)  ; but  then  it  comes  in  contact  with  an  excess 
of  bromide  of  silver,  and  becomes  insoluble  in  water, 
likely  to  be  attacked  by  light,  decomposing,  and  giving  up 
sulphide  of  silver,  which  colours  the  part  brown  during 
the  fixing. 

In  working  by  the  aid  of  light  in  as  concentrated  hypo 
as  the  nature  of  gelatine  allows,  by  avoiding  films  too 
thick  this  accident  may  be  obviated. 

We  now  ask  whether  there  are  any  relations  between 
the  sensitiveness  of  this  composition,  its  facility  of  decom- 
position, and  the  increased  rapidity  that  M.  Andra  has 
indicated  when  a small  quantity  of  hypo  is  added  to  the 
developer,  which,  coming  in  contact  with  a great  excess  of 
bromide  of  silver,  would  immediately  leave  a trace  of  this 
changeable  salt  ? 


ECHOES  FROM  THE  ORIENT. 

BY  EDWARD  L.  WILSON.* 

Petra— “ The  Rock  City.” 

From  the  beginning  of  our  journeyings,  it  had  alway  been  our 
Habit  to  rest  on  the  Sabbath  day.  Upon  no  consideration  would 
we  break  this  rule,  except  it  be  that  we  were  in  actual  danger, 
ind  such  an  occurrence  did  not  happen  to  ns  but  once.  But  it 
was  not,  alas  ! always  “ a day  of  rest.”  The  Sunday  at  Akabah 
vas  accompanied  by  a great  deal  more  of  noise  and  confusion 
han  the  peaceful  ones  we  had  at  Mount  Sinai  and  Wady  Feiran  ; 

* Philadelphia  Photographer  ' 


yet  even  that  was  quiet  and  peaceful  compared  with  the  one 
which  we  had  to  endure  in  Petra.  The  children  of  Esau  living 
near  here  did  not  wait  until  the  dawn  of  day  to  make  it  hot  for 
us,  and  to  satisfy  us  that  there  was  no  such  thing  as  “ peace  in 
Petra.” 

We  had  not  been  long  in  their  city  before,  while  looking  upon 
the  facade  of  the  pink  temple  of  the  Kuzneh,  we  heard  the  clash 
of  hoofs  coming  through  the  gorge,  and  immediately  there 
emerged  therefrom  five  young  sheiks  upon  horses,  with  long 
spears  upon  their  shoulders.  From  that  time  the  trouble  began. 
They  were  quickly  followed  by  a gang  of  fellahin,  who  clamoured 
and  fought  with  each  other  for  thepiivilege  of  showing  us  their 
city.  Their  project  was  to  put  through  the  business  of  the  ex- 
hibition in  as  quick  time  as  possible,  to  receive  their  plunder 
from  us,  and  to  hurry  us  out  as  rapidly  as  they  could— before 
the  sun  set.  But  not  so  ours.  We  had  come  to  stay  to  do 
certain  work,  to  make  certain  observations  and  views,  and  did 
not  propose  to  leave  so  suddenly.  Consequently  each  hour  added 
to  the  number  of  claimants  for  baksheesh,  and  to  the  objections 
to  a longer  stay  in  their  midst.  True  sous  of  Esau  they  were, 
and  before  morning  gave  us  distinctly  to  understand  that  we 
need  not  expect  any  “ rest  ” on  the  Sabbath  day.  Three  rock- 
caves  directly  back  of  where  we  encamped  were  occupied,  one 
by  our  camel-drivers,  and  the  others  by  the  Fellahin  of  Petra. 
Their  wrangling  was  continuous,  and  their  howling  purgatorial, 
not  to  say  worse. 

Before  we  got  through  with  them,  exactions  were  made  by 
this  gang  of  robbers  for  barley,  for  horses,  for  segars,  for  gifts  to 
each  blackguard,  for  sheep,  for  a tax  for  each  camel  brought 
with  us,  a share  for  each  fellah  ; five  dollars  for  a dinner  for 
the  lot,  and  two  dollars  for  extra  attendance,  and  another  dollar 
each,  and  fifty  cents  each  ; and  one  dollar  more,  and  then  fifty 
cents  more  for  each  one,  after  each  consultation  between  them. 
And  these  very  men  were  to  be  treated  as  our  “ brother.” 
After  each  payment  of  money,  the  most  fearful  howling  followed 
while  it  was  being  divided  by  the  head  sheik,  Salim.  We  took 
our  papers  and  books  and  fled  to  the  uppermost  tier  of  the 
theatre,  to  get  a little  comfort  away  from  the  noise,  but  we  were 
not  allowed  to  be  alone.  We  were  shadowed  wherever  we  went, 
lest  we  should  set  fire  to  some  of  these  imperishable  temples  or 
carry  them  away  with  us.  We  clambered  to  the  tops  of  some  of 
the  cliffs,  hoping  to  get  away  from  part  of  the  noise,  but  we 
could  hear  the  wrangling  loudly  echoed  wherever  we  went.  What 
we  saw  was  most  dramatic  and  picturesque,  but  it  was  fearful. 

Monday  we  devoted  to  the  inspection  of  the  city  and  to  making 
pictures.  Twelve  men  with  their  horses  accompanied  U3.  We 
retraced  our  steps  through  the  remarkable  gorge  (which  has  no 
equal  in  the  world  as  to  height  or  the  wonderful  rock  formation 
of  it  sides)  to  feel  the  thing  all  over  again.  The  continual  winding, 
the  gaudy  colours,  the  views  up  and  down,  the  light  striking 
here  and  there,  the  clash  of  the  horses’  hoofs  (and  it  seemed  as 
though  the  fellahin  [must  have  hoofs  too),  the  Bedouin  spearmen, 
the  noise  cf  the  waters,  the  display  of  oleanders  through  the 
gorge,  all  made  up  the  wildest,  weirdest,  most  dramatic  scene 
that  one  could  possibly  experience.  We  now  had  a better 
chance  to  see  what  there  was  to  see  than  we  had  on  Saturday 
afternoon,  when  we  arrived.  At  the  very  entrance  of  the  city  is 
a necropolis.  On  the  east  there  are  three  domes  standing,  square 
and  solid,  like  monoliths  [against  the  grey  rocks  and  green 
bushes.  On  the  left  is  a monument  of  singular  formation  and 
construction,  with  four  slender  pyramids  above  it,  and  some 
columns,  all  cleft  out  of  the  rock.  Now  we  passed  under  the 
arch  over  the  entrance  into  the  cleft,  and  again  returned  to  the 
city.  The  great  walled  passage  seemed  to  twist  and  turn  and 
wind  more  singularly  than  before.  Sometimes  the  rocks  nearly 
touched  each  other ; at  other  times  completely  shuttiug  out  the 
light;  and  at  others  they  widened  a little,  or  were  joined  by 
smaller  cliffs  from  either  side.  The  colours  were  all  we  had 
pictured  them,  and  far  more,  and  it  added  to  the  thrilling  effect 
to  have  these  wild  men  along,  though  no  one  thing  was  done  to 
disturb  us.  Here  and  there  we  could  see  the  grey,  kiln-like 
peaks  showing  through  the  gorgeous  fissures,  which  broke  the 
walla  in  places  with  splendid  effect.  The  gorge  was  always 
narrow,  the  stream  running  rapidly  through. 

And  now  we  drove  on,  our  horses  full  of  spirit  and  vim  for  the 
ride.  Presently  we  neared  the  farther  end  of  the  cleft,  whose 
aqueduct  and  depressions  cut  for  statuary,  for  worshipped  figures, 
and  natural  crevices  and  colours,  make  us  look  and  wonder. 
Our  passage  was  now  through  the  stream,  and  now  on  the  pebbly 
bottom,  with  torrent-marks  all  along.  And  all  at  once  we  are 
startled,  as  if  we  had  not  seen  it  before,  by  that  most  lovely 


414 


PHE  PHOTOGRAPHIC  NEWS. 


[June  29,  1883. 


view  in  all  Petra,  a section  of  the  delicate  pink  front  of  the 
Kuznek  through  the  narrow  gorge.  The  contrast  between  the 
deep,  dark  red  of  the  rocks  and  the  lovely  pink  colour  of  the 
temple  was  sublime.  From  what  I had  read  and  the  engraving 
in  David  Roberts’  work,  I thought  the  whole  fa9a.de  was  thus 
to  be  seen,  or  nearly  the  whole  of  it.  But  such  is  not  the  case. 
Not  nearly  so  much  is  seen  as  Mr.  Roberts  represents.  It  is  all 
very  grand  as  it  is,  showing  only  about  one-fourth  from  the  base 
to  the  top  of  the  pediment.  The  pure,  soft  light  from  the  south 
was  now  falling  upon  it,  and  adding  vigour  and  intensity  to  the 
whole  grand  view.  One  moment  there  was  absolute  stillness, 
but  the  sound  of  the  voice,  or  the  dropping  of  a stone,  or  the 
rustle  of  the  oleander  bushes,  even  the  wind  sounds  floating 
through  the  gorge,  could  be  heart  at  a great  distance.  With  our 
guides  sitting  here  upon  their  horses,  their  spears  uplifted,  and 
the  glorious  temple,  whose  history  they  knew  not,  close  at  hand, 
with  the  great  cliffs  behind  them,  there  was  presented  a most 
dramatic  picture.  The  wonderful  interior  of  the  building  was 
visited,  but  it  was  hard  to  realize  that  such  a splendid  structure 
could  have  been  constructed  in  such  a wild  place.  It  is  incom- 
parable— the  only  one  of  its  kind — an  ornament  to  architecture, 
strange  in  conception,  making  one  believe  it  must  have  been  the 
work  of  several  centuries  by  various  artists,  as  is  the  Duomo  at 
Florence.  It  is  in  an  elegant  state  of  preservation,  all  but  the 
figures  which  adorn  the  facade,  whose  outlines  can  only  be 
guessed  at  partly.  It  is  a mystery,  a great  wonder.  Its  situa- 
tion, its  colouring,  its  size,  its  age,  all  make  up  enough  to 
bewilder  and  entangle  a tougher  brain  than  mine.  I made  some 
measurements  to  satisfy  my  curiosity,  and  it  is  larger  than  I 
estimated.  Marks  of  the  quarryman  are  at  each  side  to  the 
very  top,  as  though  depressions  had  been  made  in  the  rock  for 
the  ends  of  the  scaffolding.  There  are  rooms  on  each  side  of  the 
door,  and  passages  to  them.  The  one  at  the  right  leads  to  a 
chamber  twenty -three  by  twenty-eight  feet,  with  a depression 
back  with  stalls,  and  over  the  door  a circular  window  partly 
walled  up.  The  door  is  seven  feet  wide.  At  the  left  side  is 
another  apartment  of  the  same  size.  Roman  eagles,  crouching, 
are  over  each  door.  The  main  chamber  is  forty-feet  square, 
with  a small  cell  or  depression  at  the  rear,  with  others  at  each 
side.  The  front  is  a singular  bit  of  architecture.  It  is  ninety- 
six  feet  wide,  and  the  columns  which  support  the  pediment  are 
five  feet  in  diameter.  They  all  seem  to  be  solid,  and  not  in 
sections.  The  colour  is  chiefly  of  a delicate  pink,  small  parts 
only  being  of  warm  gray  and  a reddish  colour.  It  is  not 
broken  up  in  fantastic  tints  and  waves  of  colour  through  the 
building  itself.  It  was  very  fortunate  for  its  projectors  to  find 
such  a rock  in  such  a place  from  which  to  cleave  this  magnifi- 
cent building.  It  looks  as  clean  and  fresh  as  though  recently  con- 
structed, and  yet  so  old  is  it  that  it  has  no  history.  No  one  can 
tell  why  it  was  erected  or  when.  It  is  a “treasure,”  indeed. 
Whether  built  for  the  worship  of  God,  or  as  a receptacle  for  the 
dead,  no  one  can  tell.  It  is  in  nothing  like  the  Egyptian 
temples,  except  as  to  the  side-rooms  and  depressions  in  the  walls. 
Its  parts  are  sharply,  smoothly  chiselled,  and  its  floral  decora- 
tions are  rich  and  fine. 

I left  it  now,  temporarily,  and  went  in  towards  the  theatre 
through  another  and  wider  cleft.  Between  the  great  walls 
thereof,  I had  my  first  view  of  the  main  street  of  Petra  proper. 
The  great  temples  and  tombs,  cleft  from  the  faces  of  the  cliffs, 
stood  on  the  left  like  steps,  while  a part  of  the  theatre  and  the 
hills  back  thereof  made  up  a real  Petran  scene,  such  as  is  to  be 
had  nowhere  else  in  the  world.  The  theatre  was  a huge  struc- 
ture cut  from  the  solid  rock,  and  all  about  it  were  temples  of 
varied  form  and  size,  whose  fa9*des  were  gaudily  coloured — red, 
blue  and  yellow,  lilac,  white  and  pink.  While  I stood  here  upon 
the  top  row  of  the  theatre,  some  of  the  spearmen  held  a tourna- 
ment for  our  entertainment,  which  made  me  think  of  the  Roman 
gladiatorial  exercises.  The  theatre  is  nearly  three-quarters  of  a 
circle,  of  variegated  colours  ; has  thirty-three  tiers  of  seats  with 
ascending  stairways,  and  is  much  worn  out  of  shape  by  age.  All 
about  us,  on  every  side  now  for  long  distances  beyond,  were 
countless  remains  of  those  wonderful  rock-structures.  Our  tents 
were  pitched  in  the  very  centre  of  the  city,  on  an  elevation,  and 
opposite  us  were  the  principal  buildings  of  the  town  after  the 
Kuznek  and  the  Deir  had  been  considered.  As  we  crept  towards 
our  head-quarters,  we  were  made  well  aware  of  the  fact  that  the 
trouble  still  continued,  and  that  the  chief  office  of  Hades  seemed 
to  be  very  close  by.  We  were  all  the  more  impressed  with  this 
when,  towards  night,  the  cave3  in  which  our  brethren  dwelt  were 
lighted  up  by  fires  of  turf  and  oleander  wood,  adding  greatly  to 
the  dramatic  effect  of  the  whole  scene. 


®0msg0n&ftuc. 

HYDROKIN  ONE  DEVELOPER. 

Sin, — I have  found  the  following  developer  extremely 
useful  in  micro-photographic  work,  as  also  in  cases  of 
under-exposure.  Make  up  stock  solutions  as  follows : — 

A. — Hydrokinone  12  grains 

Alcohol  ...  ...  ...  ...  12  drachms 

This  keeps  fairly  well. 

B.  — Carbonate  of  soda  (washing  soda),  a 10  per  cent, 
aqueous  solution. 

Take  1 drachm  of  A,  and  add  1 ounce  of  water.  Pour 
an  ounce  of  B into  developing  dish,  and  pour  the  diluted 
drachm  of  A into  it.  Place  the  quarter-plate  (to  which 
these  quantities  refer)  in  water  for  a few  seconds,  and  then 
into  the  developer.  The  solution  keeps  clear  till  the 
details  are  out,  and  development  is  complete  in  five 
minutes  at  most.  The  time  varies  with  different  makes 
of  plates,  but  I find  that  full  density  is  obtained  even  with 
micro-photography  in  the  time  specified  when  Nelson’s 
plates  are  used. 

The  negatives  are  free  from  fog,  and  fine  details  come 
up  better  than  with  any  developer  I have  used,  in  what, 
however,  is  a very  limited  photographic  experience. 

The  hydrokinone  was  supplied  to  me  by  Harvey  Reynolds 
and  Co.,  of  Leeds,  at  a price  which  brings  the  developer 
well  within  the  cost  of  the  usual  pyro  plus  bromide  plus 
ammonia  formulae.  The  plate  should  be  treated  to  an  alum 
bath,  and  well  washed  between  fixing  and  development. 

If  preferred,  the  developer  may  be  made  up  by  taking 
1 grain  of  hydrokinone  dissolved  in  1 ounce  water,  in  place 
of  the  alcoholic  solution.  The  crystals  dissolve  rather 
slowly,  and  the  aqueous  solution  rapidly  decomposes. 

H.  Rocklington. 


THE  BRUSSELS  EXHIBITION. 

Dear  Sir, — I see  that  the  date  for  applying  for  space 
has  been  shifted  from  the  1st  June  to  1st  July;  now  this 
latter  period  has  been  reached,  I presume  it  will  be  still 
further  shifted.  As  I,  at  eome  inconvenience,  made  up  my 
mind  to  exhibit  a month  ago,  and  complied  with  the  first 
regulations  issued,  I do  not  think  this  modifying  of  the 
rules  is  quite  fair.  But  this  is  not  all ; if  one  rule  is  thus 
modified,  what  guarantee  havo  we  exhibitors  that  other  rules 
will  not  be  modified  also?  If  the  governing  body  of  the 
Brussels  Exhibition  wish  to  infuse  confidence,  they  will  do 
well  to  stick  hard  and  fast  to  the  rules  they  have  printed 
and  circulated. — Faithfully  yours, 

26 th  June . 1883.  Ax  Intending  Exhibitor. 


COLLODION  VERSUS  DRY  PLATES. 

Sir, — I quite  agree  with  Mr.  Coonley  in  his  remarks  on 
the  above  subject.  Having  had  nearly  twenty  years’ 
experience,  I can  speak  with  “ somewhat  little  authority.” 
I consider  dry  plates  a good  substitute  for  wet  when  one 
has  subjects  to  deal  with  which  either  require  very  long 
or  very  short  exposures ; but,  for  ordinary  photography, 
in  good  weather,  one  can  get  a thing  of  beauty  with  the 
wet  process,  which  it  is  impossible  to  get  with  the  dry ; 
and  until  we  get  something  that  will  give  us  the  quality  of 
the  wet  with  the  advantages  of  the  dry  (for  we  must  own 
the  dry  have  some  advantages),  I shall  continue  to  use  wet 
plates  whenever  circumstances  will  permit. 

I have  come  to  this  decision  after  long  and  patient  trial 
of  the  new  process;  but  when  I look  about  me,  and  miss 
those  fine,  soft,  and  brilliant  pictures  we  used  to  have 
before  the  introduction  of  gelatine  plates,  I determine, 
more  than  ever,  to  stick  to  my  old  friend  CollodioD. 

London , E.  Jenks. 


Juxe  29,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


415 


gMUtbrags  of  Societies. 

Piiotogiiamic  Society  of  Great  Britain. 

N Tuesday  evening  last  the  monthly  social  meeting  was  held  in 
ie  Gallery,  5,  Pall  Mall  East,  Mr.  Sebastian  Davis  in  the 

hair. 

The  standard  flanges  and  camera  screws  which  have  been 
iade  for  the  Society  were  handed  round  for  inspection,  and 
•veral  members  expressed  regret  that  the  standard  camera- 
;rews  had  not  been  made  of  hard  steel  instead  of  brass,  as 
arson 8 bringing  screw-plates  or  taps  for  the  purpose  of  com- 
arison  would  be  very  likely  to  damage  the  soft  metal  standards. 
Mr.  Warnerke  exhibited  a sensitometer  frame  with  some 
seful  modifications.  The  phosphorescent  tablet  was  hinged  to 
le  frame,  and  the  back  shutter  was  so  arranged  as  to  effectually 
revent  light  passing  ; while  a distance-piece,  or  mask,  is  pro- 
ided  for  use  in  testing  wet  plates. 

The  Chairman  alluded  to  the  convenience  which  would  result 
om  having  a much  larger  sensitometer  frame,  so  that  any  plate 
E moderate  dimension  could  be  tested. 

The  conversation  then  drifted  into  a discussion  as  to  the  rela- 
ve sensitiveness  of  wet  collodion  plates  and  dry  plates,  and  Mr. 
7aRNERKe  stated  that  on  one  occasion  he  had  found  a wet  plate 
agister  as  much  as  10°  on  the  sensitomer.  This  was, 
owever,  quite  exceptional,  the  plate  in  question  having  been 
repared  by  Mr.  A.  H.  Henderson,  in  whose  studio  the  exped- 
ient was  made.  Other  wet  collodion  plates  gave  4,  3,  2,  or 
ometimes  nothing  at  all. 

Mr.  England  referred  to  the  difficulty  of  settiog  up  anythiug 
ike  a standard  for  wet  plates,  and  ho  said  that  when  photo- 
raphing  in  Paris,  he  was  not  able  to  keep  a bath  in  really  quick 
forking  order  for  more  than  two  or  three  days. 

Pre-exposure  of  the  plate  was  next  talked  of,  and  Mr.  Deben- 
1AM  said  that  by  pre-exposing  a slow  gelatine  plate,  he  had  been 
ble  to  obtain  a sensitometer  indication  which  corresponded  to 
io  less  than  sixteen  times  the  actual  sensitiveness  ; this  gain 
ras  not,  however,  real,  as  such  a plate  gave  a far  worse  picture 
han  before,  and  the  increase  in  sensitiveness  was  only  apparent, 
le  considered  the  sensitometer  indications  to  be  of  but  little 
alue,  unless  a medium  number  was  taken  as  the  standard  of 
omparison. 

Mr.  Warnerke  referred  to  Levitzsky's  view,  that  a prelimin- 
ry  “ knock  ” was  of  great  value  as  a means  of  shortening  the 
me  of  setting  ; and  he  said  that  this  gentleman  had  found 
lat  an  exposure  of  one  seeond(  followed  by  a rest,  and  a second 
xposure  of  five  or  six  seconds,  was  practically  equal  to  a simple 
xposure  of  ten  seconds. 

Mr.  Ashman  said  that  in  the  case  of  wet  collodion,  at  any  rate, 

, is  far  better  to  give  a supplementary  exposure,  rather  than  a 
re-exposure;  and  by  carefully  adjusting  this  supplementary 
sposure,  it  is  possible  to  reduce  the  exposure  to  one-fourth  or 

ne-fifth. 

The  difficulty  of  comparing  plates  sensitometrically  was  then 
rought  under  consideration,  as  one  cannot  always  eliminate  the 
fects  of  accidental  exposure  ; and  Mr.  Warnerke  said  that  he 
itended  to  add  another  tint  to  his  sensitometer,  this  to  be  a 
andard  by  which  to  judge  of  density  or  quality. 

Mr.  Cowan  exhibited  some  plates  which  tended  to  confirm 
r.  Warnerke’s  view  that  pressure  renders  the  gelatino-bromide 
m less  sensitive,  and  that  the  reductions  which  Captain  Abney 
id  found  to  follow  in  the  track  of  a glass  rod  drawn  over  the 
:!  are  due  to  some  secondary  cause. 


London  and  Provincial  Photographic  Association. 
r the  meeting  held  2lst  inst.,  Mr.  J.  J.  Briggenshaw  in 
;e  chair, 

Mr.  H.  S.  Starnes  said  that,  having  found  great  difficulty  in 
iding  the  relative  difference  of  exposure  required  for  gelatine 
sites,  he  had  calculated  a set  of  tables  for  use  with  the  metro- 
me,  which  he  explained  at  great  length,  and  a discussion 

sued. 

A changing-box,  constructed  on  the  principle  of  the  revolving 
)um,  was  handed  round. 


The  Coventry  and  Midland  Photographic  Society. 

' a meeting  of  gentlemen  held  on  the  20th  inst.,  at  the 
ventry  Dispensary,  it  was  decided  to  form  a society  in 


Coventry,  to  he  called  “The  Coventry  aud  Midland  Photo- 
graphic Society.” 

Mr.  Arthur  E-  Rol!a3on  is  the  Hon.  Secretary  pro  tern. 


Mk  in  tfrt  Slubw. 

Instantaneous  Pictures  of  Animals  in  Motion.— A remark- 
able series  of  pictures  has  been  produced  by  Captain  Francis,  of 
Sydney,  the  results  differing  from  those  of  Muybridge  in  two 
notable  particulars.  In  the  first  place,  the  attitudes  appear 
rather  graceful  than  awkward  to  the  eye;  and  in  the  second, 
the  exposures  have  been  sufficient  to  show  full  modelling  of 
the  animals.  A series  of  pictures  representing  a dog  jumping 
over  a stick  is  especially  noteworthy,  the  exposures  not  having 
exceeded  the  one- thousandth  of  a second. 

Death  of  Mr.  William  Spottiswoode. — Universal  regret 
will  be  experienced  at  the  announcement  of  the  death  of  Mr. 
William  Spottiswoode,  L.L.D.,  F.R.S.,  President  of  the  Royal 
Society,  which  took  place  at  his  house  in  Grosvenor  Place  on 
Wednesday  morning  last,  of  typhoid  fever,  contracted,  it  is 
believed,  during  a visit  in  Italy.  Engaged  in  the  management 
of  the  business  of  the  Queen’s  printer,  he  nevertheless  contri- 
buted to  the  Transactions  of  the  Astronomical,  Royal  Geographi- 
cal, Asiatic,  and  Ethnological  Societies,  and  the  Society  of  Arts, 
of  each  of  which  he  was  a Fellow.  Among  other  of  his  scientific 
publications  may  be  mentioned  his  lectures  on  “ Polarization  of 
Light,”  and  the  “ Electrical  Charge  : its  Form  and  its  Function.’’ 
As  President  of  the  British  Association  for  the  Advancement  of 
Science  in  1878,  Mr.  Spottiswoode  delivered  an  address  on 
Mathematical  ^Science,  which  he  invested  with  aonsiderable  inte- 
rest. Mr.  Spottiswoode  was  born  in  1825,  and  was,  therefore, 
in  his  fifty-ninth  year. 

Cardinal  Newman. — Mr.  Barraud,  of  Oxford  Street,  has  sent 
us  a copy  of  a photograph  he  has  recently  taken  of  Cardinal  New- 
man. It  is  the  only  portrait  his  Eminence  has  sat  for  in  a 
studio,  all  others  having  been  taken  in  his  room.  Mr.  Barraud’s 
work  has  the  double  recommendation  of  being  a faithful  likeness 
and  an  excellent  work  of  art. — The  Times. 

Photographic  Copyright — Nottage  and  Another  v.  J.  H. 
Jackson. — The  plaintiffs  in  this  case  carried  on  the  business  of 
photographers,  under  the  name  of  the  London  Stereoscopic  Com- 
pany, and  the  defendant  sold  photographs  and  other  things  at 
Leeds.  The  action  was  for  penalties  upon  the  allegation  that 
the  defendant  had  infringed  the  plaintiffs’  copyright  in  a photo- 
graph of  the  Earl  of  Derby,  and  another  of  the  Australian 
Cricketers  of  1882,  by  copying  and  selling  the  copies  of  these 
pictures.  They  also  asked  for  an  injunction  to  restrain  the 
defendant  from  doing  these  things  in  future.  The  case  was  tried 
a short  time  ago,  and  it  now  came  on  upon  further  consideration. 
Mr.  Petheram,  Q.C.,  with  him  Mr.  Shortt,  appeared  for  the 
plaintiffs,  and  submitted  that  his  clients  were  entitled  to  six 
penalties  of  £10  each  in  reference  to  the  Australian  Cricketers. 
Mr.  Justice  Field  said  that  he  had  already  ruled  that  there  was 
no  guilty  knowledge  on  the  part  of  the  defendant  as  to  the 
photograph  of  Lord  Derby.  Mr.  Crump,  for  the  defendant,  sub- 
mitted a variety  of  points  to  his  lordship.  He  contended  that 
the  plaintiffs  were  not  authors  of  the  “Australian  Cricketers” 
within  the  meaning  of  the  Act.  It  was  the  person  who  took  the 
pictures  who  was  the  author  ; and  in  this  case  the  author  was 
Mr.  Reynolds.  The  statute  contemplated  a personal  authorship, 
because  the  copyright  was  to  continue  for  a certain  number  of 
years  after  the  author’s  death.  The  statute  required  the  place 
of  abode  of  the  proprietors  of  the  copyright  to  be  registered  ; and 
this,  he  submitted,  meant  the  place  where  the  proprietors  slept. 
In  this  case  the  plaintiffs  had  registered  only  their  business  pre- 
mises, and  where,  of  course,  they  did  not  live  ; and  this,  it  was 
submitted,  was  not  sufficient.  The  case  was  not  concluded  when 
the  Court  rose. 

Muliplex  Camera  Backs. — We  have  received  letters  on  this 
subject  from  Messrs.  H.  aud  E.  J.  Dale  and  from  Mr.  J.  H. 
Hare,  in  which  these  gentlemen  maintain  that  they  are  the 
patentees  of  the  apparatus  described  in  our  columns  a fortnight 
since,  and  to  which  Mr.  George  Hare  referred  in  our  last. 

Fatal  Accident  to  a Photographer. — On  Friday  last,  when 
Mr.  Monk,  photographer,  of  Great  Cambridge  Street,  was  return- 
ing home,  he  fell  over  a piece  of  wire  which  was  stretched  across 
the  footway,  and  the  shock  to  bis  system  was  so  great  that 
he  died  the  same  night.  A verdict  of  accidental  death  was 
returned. 


416  THE  HOTOGRAPHIC  NEWS.  June  29,  1883. 


A Novel  Suggestion. — *<  Would  it  not  be  as  well  for  tbe 
portraits  of  general  managers  of  railways  to  be  published,  so  that 
travellers  might  have  the  pleasure  of  recognising  these 
“worthies,”  and  giving  them  a welcome  cheer  occasionally?” — 
Modern  Society. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
July  4th,  the  subject  for  discussion  will  be  “ Adjourned 
Discussion  upon  the  Most  Rapid  Lenses  for  Instantaneous  Work 
embracing  a certain  Angle.” 


$0  Comspttdtntx. 

***  We  cannot  undertake  to  return  rejected  communications. 

G.  M. — 1.  As  far  as  we  know,  they  are  not  to  be  bought.  2.  Yes. 
3.  The  picture  is  a collotype,  and  if  you  read  our  leader  about 
photography  on  wood  blocks,  you  will  gather  some  general 
notions  regarding  the  method. 

H.  B.  B. — You  will  find  no  remedy  but  changing  your  paper,  as  it 
has  nothing  to  do  either  with  the  albumenizing  or  sensitizing. 

R.  Young. — 1.  You  do  not  say  what  kind  of  a sensitive  film  you 
require ; but  perhaps  the  formula  given  in  our  second  leader  of  this 
week  will  answer  your  purpose.  2.  “ Heliographie,”  by  J.  Husnik, 
published  by  Hartleben,  of  Vienna.  It  costs  about  4s.  or  5s.,  and 
can  be  ordered  of  Triibner,  Ludgate  Hill. 

G.  W.  B. — You  do  not  tell  us  enough  about  it  for  us  to  give  you  an 
opinion.  There  certainly  is  a trace  of  hypo  in  the  card  ; but  as 
the  whole  surface  is  so  well  enamelled  over,  we  imagine  not 
much  mischief  is  likely  to  ensue,  unless  the  pictures  are  exposed 
to  damp.  See  Mr.  Ashman’s  article  in  this  number. 

Cape  of  Good  Hope. — Trade  is  generally  bad  at  present,  and  a 
time  of  depression  always  affects  photographers  considerably. 
Write  to  the  general  agent  for  Cape  Colony. 

A.  Borland. — The  best  description  is  to  be  found  in  Husnik’s 
“Heliographie.”  It  is  published  by  Hartleben,  of  Vienna,  and 
costs  about  4s.  or  5s.  We  shall  give  a detailed  description  of  the 
method  soon. 

Otto  Pfenninger. — The  mercury  has  doubtless  united  with 
sulphur  from  the  gas,  and  we  fancy  from  your  description  that 
you  have  placed  the  regulator  too  near  to  the  source  of  heat.  Of 
course  the  expansion  chamber  must  be  in  the  heated  space,  but 
it  may  be  connected  with  the  regulator  by  any  required  length  of 
tube.  The  compound-bar  principle  is  an  excellent  one,  and  you 
will  probably  obtain  something  of  the  kind  from  any  large  dealer 
in  chemical  apparatus. 

R.  Brown  Smith. — Thank  you  for  the  very  effectively  posed 
character-study.  As  you  ask  us  to  find  a fault,  we  would 
suggest  that  the  face  is  a trifle  dark,  and  the  picture  might  be 
improved  by  being  covered  with  mineral  pape*-  at  the  back  ; after 
which  it  should  be  shaded  with  black  lead  and  a paper  stump. 

J.  C. — We  have  not  the  address,  but  will  endeavour  to  obtain  it. 

A.  G.  B. — We  would  advise  you  to  make  three  light  wooden  frame?, 
and  hinge  them  together  somewhat  after  tbe  fashion  of  an  old- 
fashioned  clothes-horse.  You  must  also  provide  a fourth  frame, 
which  can  be  mounted  over  the  top  so  as  to  carry  a shade  for  the 
head.  For  fixing  the  frames  together,  and  for  attaching  the 
calico,  nothing  is  better  than  ordinary  bradawls.  2.  Use  un- 
bleached or  light  brown  calico. 

F.  Hoare. — It  is  doubtless,  as  we  said,  that  the  toning  has  not  been 
carried  far  enough ; the  real  reason  for  this  being  the  deposition 
of  the  gold  as  a dark  sediment.  Discard  the  old  bath  and  make  up 
a fresh  one. 

Phototype. — There  are  probably  between  twenty  and  thirty  firms 
now  engaged  in  making  phototypic  blocks  from  negatives  after 
nature,  but  only  a small  proportion  of  them  are  located  in  this 
country. 

Silver. — As  the  addition  of  hydrochloric  acid  would  throw  the 
whole  of  the  metal  down  in  the  form  of  chloride,  it  is  easy  to 
understand  the  reason  of  your  failure. 

F.  C.  P. — Although  it  absorbs  a certain  amount  of  moisture  from 
damp  air,  it  would  hardly  rank  as  a deliquescent  salt. 

C.  T.  Potter. — Although  cardboard  is  usually  employed,  there 
appears  to  bo  no  reason  why  your  proposal  should  not  lead  to 
useful  results. 

Alpha. — Write  to  Mr.  W.  Harland  (Secretary)  83,  Hawkesley 
Road,  Stoke  Newington,  London,  N. 


PHOTOGRAPHS  REGISTERED. 

J'r.  A.  Beattie  (Preston)— 3 Photos,  of  Rev.  Father  Walker. 

-Messrs.  Andrews  and  Vn.i.i kbs  (Swansea  and  Newport)— 2 Photos,  of 
tiroups  of  Gentleman  in  uniform  and  in  private  dress. 

^ an^J  CU0owe t A'rl,roat^  N B )— Photos,  of  Keys.  A.  Mill,  W.  Proudfoot, 


THE  EVERY-DAY  FORMULARY. 

The  Gelatino-Bromide  Process. 

Emulsion. — A — Nit.  silver  100  grains,  dist.  water  2 oz.  B — Bromide 
potassium  83  grains,  Nelson’s  No.  1 gelatine  20  grains,  dist.  water  1J  oz.,  a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C— Iodid  e 
potassium  8 grains,  dist.  water  J oz.  D— liard  gelatine  120  grains,  water 
several  oz.  When  the  gelatine  is  thoroughly  soaked,  let  all  possible  water  be 
p lured  off  D.  A and  B are  now  heated  to  about  120?  Fahr.,  after  which  B 
is  gradually  added  to  A with  constant  agitation ; C is  then  added.  Heat  in 
water  bath  for  half  an  hour,  and  stir  in  t) . After  washing  add  | oz.  alcohol. 

Pyro.  Developer.— No.  1— Strong  liq.  ammonia  1J  oz.,  bromide  potas- 
sium 240  grains,  water  80  oz.  No.  2 — Pyro.  30  grains,  water  10  oz.  In  case 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
and  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing. — Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  by 
soakir  g in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  rinsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts!  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Baching  Sheets. — A chromographic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shirting  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  hack  of  glass  plate. 

The  Wet  Collodion  Process. 

The  Nitrate  Bath.  — Water  14  oz.,  nit.  silver  1 oz.,  nitric  acid  1 drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  i-oz.,  liquid  ammonia  J-oz. 

Film -removing  Pickle  for  Old  Plates.— Water  1 pint,  sulphuric 
acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  C pints  of  water,  and  1 dr, 
liq.  ammon. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 

pyroxyline  of  suitable  quality  250  grains,  shake  well  and  add  ether  2 pints. 
Iodize  this  by  mixing  with  one-third  of  its  volume  of  alcohol  J pint,  iod. 
ammon.  80  grains,  iod.  cadm.  80  grains,  brom.  ammon.  40  grains. 

Normal  Iron  Developer.— Water  10  oz., proto-sulphate  iron  J oz., 
glacial  acetic  acid  4 oz.,  alcohol  f oz.  The  amount  of  proto-sulohatc 
iron  may  be  diminished  to  I oz.  when  full  contrasts  are  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  be  reduced  to  ) oz. ; hut  when  bath  is  old  more  is  wanted. 

Intensifying  Solution. — Water  6 oz.,  citric  acid  75  grains,  pyro.  30 
grains.  When  used,  add  a few  drops  of  the  silver  bath  to  e^ch  ounce. 

Dead  Intensification.— After  neg.  washing,  immerse  in  dist.  water 
100  parts,  red  pruss.  potash  6 parts,  and  nit.  lead  4 parts.  When  it  is  yellowish 
white  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution.— 1.  Potass. cyanide 200 grains,  water lOoz.  2.  Sat. 
sol.  of  soa.  hypo. 

Varnish.— Shellac  2 oz.,  sandarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  16  oz. 

Printing  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 
ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution.— Nit.  silver  50 grs.,  water  1 oz.,  sod.  carb.  Jgr. 

Acetate  Toning  Bath.— Chi.  gold  1 gr.,  aeet.  soda  20  grs..  water  8 oz. 

Dime  do.— Chi.  gold  1 gr.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do.— Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath. -Sodium  hypo.  4 oz.,  water  1 pint, liq.  ammon.  30  drops. 

Reducer  for  Deep  Prints.— Cyan,  potass.  6 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Encaustic  Paste.— Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  l(oz., 

water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion. — Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

Mountant.-l.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

Collotypic  Substratum.— Soluble  glass  3 parts,  white  of  egg  7 parts, 
water  10  parts. 

Collotypic  Sensitive  Coating.— Bichromate  potash  J oz.,  gela- 
tine 2.4  oz.,  water  22  oz. 

Collotypic  Etching  Fluid.— Glycerine  150  parts,  ammonia  50  parts, 

saltpetre  5 parts,  water  25  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  albumenizc  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  for  raper. 

Cyanotype  Printing.— Water  1 oz.,  red  prussiate  of  potash  (ferri- 
cyanide)  1 dr.,  ammonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

Various. 

Duckardt’s  Retouching  Varnish.— Alcohol  300  parts,  sandarac 

50  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnish. — Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 
benzole  80  to  100  parts. 

Encaustic  Paste. — Best  white  wax,  in  shreds.  1 oz.,  turpentine  5 oz. ; 
dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  flannel. 

Ferrotypes. 

Collodion. — Ammonium  iodide  35  grains,  cadmium  iodide  25  grains, 
cadmium  bromide  20  grains,  pyroxyline  70  grains,  alcohol  5 oz.,  ether  6 oz. 

Bath.- Silver  nitrate  1 oz.,  water  10  oz.,  nitric  acid  1 drop. 

Developer. — Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 oz.,  water  16 oz. 

Fixing  and  Varnish.— Same  as  wet  collodion  process. 


02 


SUPPLEMENT  TO  "THE  PHOTOqpAPHJ£,-N£WS  ” E9T!<  JUNE  , 1883 

— tXm  «i>nni-  r».i  .. ...  


Ink  photo 


LONDON 


Boston.  U.S. 

FROM  A BALLOON 


o r 
^ i r . ^ i— 


library 


THE  PHOTOGRAPHIC  HEWS. 


Vol.  XXVII.  No.  1296. — July  6,  1883. 


CONTENTS. 


The  Day  of  the  Eclipse  at  Caroline  Island.  By  C.  Kay  Woods  417 

Collodion  Emulsion  and  Gelatine  Emulsion...  418 

Glass 41!) 

On  Re-sittings 42(1 

With  the  Eclipse  Expeditions.  By  C.  Kay  Woods  421 

French  Correspondence.  By  Leon  Vidal 4 22 

Lightning  Prints  on  the  Human  Body  423 

Notes 423 

Patent  Intelligence  42C 


paoi: 

Sensitiveness  of  Gelatine  and  of  Collodion  Emulsions.  By  H. 


W.  Vogel  426 

On  Hydrokinone  as  a Developer.  By  Edwin  Banks  427 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 428 

Correspondence  429 

Proceedings  of  Societies  429 

Talk  in  the  Studio 431 

To  Correspondents 432 


THE  DAY  OF  THE  ECLIPSE  AT  CAROLINE 
ISLAND. 

BY  C.  KAY  WOODS. 

"he  observers  of  the  eclipse  of  May  6th  had,  in  cotn- 
arison  with  many  previous  expeditions,  not  by  any  means 
n easy  time  of  it.  Apart  from  the  mechanical  difficulties 
-such  as  landing,  for  instance,  and  the  absence  of  skilled 
tbour  in  making  preparations— there  were  other  obstacles 
equally  formidable.  A coral  island,  however  charming  as 
temporary  residence,  is  not  the  place  one  would  choose 
ir  observing  a passing  solar  phenomenon  from,  if  one  had 
choice.  Choice,  however,  there  was  none  ; and  consider- 
lg  the  few  specks  of  land  over  which  the  moon’s  shadow 
assed,  it  is  rather  surprising  that  even  a place  offering  the 
icilities  which  Caroline  Island  did,  should  have  been  at 
ur  disposal.  Moreover,  the  position  of  the  island  was 
ery  inaccurately  marked  on  the  charts.  This  was, 
irtunately,  to  our  advantage,  for  the  new  position  obtained 
laced  us  nearer  the  line  of  central  totality. 

But  to  pass  over,  for  the  present,  our  preliminary  diffi- 
ulties,  and  to  leave  them  and  our  manner  of  living,  &c., 
>r  a future  communication,  I will  ask  your  readers  to 
icture  us  in  their  minds’  eye  on  the  eventful  morning, 
n the  inner  side  of  the  southern  island  of  the  little  group 
a wooden  residence,  built  after  the  usual  tropical  fashion, 
s front  facing  the  peaceful  waters  of  the  lagoon.  Just  a 
ttleto  the  rear  of  it  is  a large  tent,  containing  a transit 
istrument,  a long  pendulum,  and  a chronograph,  belong- 
ig  to  the  United  States  Coast  Survey,  and  placed  under 
le  charge  of  Messrs.  Preston  and  Brown.  That  tent, 
owever,  is  now  deserted.  Mr.  Preston  is  looking 
trough  a telescope  waiting  for  the  first  contact,  and  ready 
) note  its  appearance  instantaneously  by  electric  com- 
mnication  with  his  chronograph.  A few  yards  from  the 
rge  tent  is  a small  framework  and  waterpoof-cardboard 
at,  in  which  several  spectroscopic  cameras,  under  my  own 
large,  are  arranged.  In  front  of  this  hut  is  a large 
derostat,  still  covered  with  a waterproof  sheet,  for  the  sky 
cloudy,  and  light  showers  more  than  possible.  A few 
ards  from  the  siderostat  are  the  photo-heliograph  and 
irona  camera,  under  the  charge  of  Lieutenant  Qualtrough, 
.S.N.,  with  a seaman  to  assist  in  making  the  exposures, 
few  yards  further  to  the  west  is  the  equatorial  of  Mr. 
awrance,  with  its  grating  and  spectroscope.  Like  the 
>8t  of  the  English  instruments,  its  formidably  looking 
ides  are  not  yet  in  the  cameras.  At  some  little  distance 
vay  is  Mr.  Upton,  busily  making  meteorological  observa- 
ons,  the  most  noticeable  piece  of  his  apparatus  being  a 
ill  anemometer,  its  cups  revolving  in  the  breeze.  In  a 
ne  with  the  house  and  the  coast  survey  tent,  but  at  a 
ttle  distance  away,  are  the  tents  of  Professor  Holden  and 
tessrs.  Hastings  and  Rockwell,  the  intermediate  space 


containing  a telescope,  spectroscope,  and  polariscope  to 
be  used  by  Messrs.  Preston,  Brown,  Doyle,  and  Dixon. 
In  a conspicuous  position,  in  hearing  of  all,  is  the  post  of 
Mr.  Fletcher,  whose  duty  it  is  to  call  the  time. 

A few  hundred  yards  away  is  the  French  encampment, 
near  another  wooden  residence.  M.  Janssen  i3  busy  with 
a nest  of  instruments,  the  principal  one  of  which  is  a huge 
reflector  of  short  focus  with  a spectroscope  attached.  There 
are  also  a polariscope,  prismatic  telescope,  and  a finder. 
Close  by  is  a formidable  array  of  large  cameras  with  lenses 
of  short  focus  and  large  angular  aperture,  taking  corres- 
ponding large  plates,  the  object  being  to  secure  any  intra- 
Mercurial  planet  or  planets  that  may  be  visible.  M. 
Trouvelot  is  armed  with  a large  telescope,  in  order  to  view 
and  draw  the  corona,  as  well  as  to  search  for  Vulcan  during 
a portion  of  the  time  of  totality.  M.  Palisa,  with  a tele- 
scope of  six  inches  aperture,  has  laid  himself  out  to  look  for 
Vulcan,  and  Professor  Tacchini  is  prepared  for  spectro- 
scopic eye  observations.  In  both  French  and  Anglo- 
American  camps,  each  seaman  has  a duty  allotted  him,  if 
only  to  stand  sentry  and  keep  out  the  company  of  the 
friendly-disposed,  yet,  nevertheless,  undesirable  kanakas. 

At  length  the  time  of  first  contact  arrives  ; the  open  sky 
enables  its  appearance  to  be  recorded  ; and,  to  the  dismay 
and  disgust  of  all,  thin  clouds  pass  over  the  sun,  and  the 
partially-eclipsed  sun  peeps  out  now  and  again  in  the  most 
tantalizing  manner.  The  chances  seem  not  of  the  best, 
but  that  has  nothing  to  do  with  the  morning's  programme 
and  duties. 

Preparations  continue,  adjustments  are  made,  clocks 
are  wound,  plate- holders  are  served  out  and  put  in  position. 
Time  is  rapidly  approaching — only  ten  minutes  to  wait  now 
— adjustments  are  now  finally  made,  and  if  anything  is 
wrong,  there  are  poor  chances  of  its  lining  corrected.  The 
clear  ringing  voice  of  Mr.  Fletcher  is  heard  at  the  com- 
pletion of  each  minute,  and  some  of  the  photographic  in- 
struments are  already  in  operation.  One  minute  before 
totality,  and  time  is  called  every  ten  seconds.  The  air  is 
rapidly  darkening,  we  are  already  hard  at  work,  and  the 
faint  trace  of  sunlight  that  still  lingers  is  rapidly  diminish- 
ing. 

“ Now ! ” 

For  a moment  or  two  we  are  in  full  swing  but  then  comes 
a little  breathing  space.  It  is  not  so  very  dark  ; the  house, 
the  trees,  the  tents,  stand  out  far  more  clearly  than  on  a 
moonlight  night,  and  we  can  see  our  companions  and  what 
they  are  doing  perfectly  well.  The  light  is  just  a little 
uncanny,  that  is  all,  but  scarcely  so  much  so  as  it 
was  in  Egypt  during  the  eclipse  of  ’82.  We  look  towards 
the  eclipsed  sun.  There  is  a perfectly  black  disc  in  the 
centre  of  a most  brilliant  halo  or  glory.  The  coronal 
streamers  extend  to  a little  over  two  diameters  ; but  they 
are  arranged,  as  last  year,  pretty  evenly  round  the  sun. 


418 


THE  PHOTOGKA PHIC  NEWS. 


[July  6,  1883. 


Only  round  the  poles  is  it  lacking,  and  here  there  is  a 
very  marked  rift.  Saturn  is  shining  not  far  from  the  sun, 
and  a star  or  two  are  pretty  plainly  visible  in  the  vicinity 
of  the  eclipsed  luminary.  It  is  a grand  spectacle  ; but  do 
not  imagine  that  we  are  wholly  absorbed  in  it.  Mr, 
Fletcher  is  sticking  steadily  at  his  chronometer,  and  as 
each  ten  seconds  pass,  we  hear  his  voice,  and  make  the 
necessary  changes  in  the  slides.  The  300  seconds  pass,  and 
he  calls  out  zero.  There  are  yet  a few  more  seconds 
before  the  re-appearance  of  the  sun,  and  Mr.  Fletcher  gets 
his  first  look  at  the  corona.  Some  of  the  slides  are  closed, 
and  others  have  the  plates  moved  on  for  another  exposure. 
“Time!” 

Out  comes  the  sun’s  limb,  and  before  many  miuutes 
have  passed,  the  last  plates  in  the  spectroscopes  have 
received  their  last  exposure.  The  slides  are  put  iu  a 
safe  place  till  the  darkness  and  coolness  of  the  night  will 
permit  the  latter  to  be  developed  with  safety.  Eye- 
observers  write  down  the  things  they  have  seen,  while 
their  memories  are  still  fresh  ; then,  all  adjourn  to  the 
house  to  congratulate  one  another  on  the  opportunities 
given  them.  Opportunities  indeed,  for  the  clouds  had 
disappeared  only  a short  time  before  totality,  only  one 
light  transparent  cloud  appearing  throughout  the  325 
seconds,  and  that  little  obstruction,  if  it  could  really  be 
called  such,  rapidly  passing  over.  Shortly  after  totality 
the  sky  again  clouded  over,  cleared  off  for  an  observa- 
tion of  fourth  contact,  and  then  became  obscured  for  the 
greater  part  of  the  day. 

And  what  results  were  obtained  ? Well,  to  come  to 
particulars  first,  and  mention  what  is  likely  to  interest 
your  readers  most,  the  photographs  obtained  were  good. 
The  pictures  taken  in  the  corona  camera  were  fully  equal 
to  those  obtained  last  year  with  the  same  instrument. 
With  these,  and  the  pictures  obtained  with  the  photo- 
heliograph, we  shall  be  able  to  get  a perfect  representation 
of  the  coronal  detail  from  the  edge  of  the  limb  to  the 
extremities  of  the  streamers.  The  spectrum  of  the  corona 
was  photographed  well,  and  we  succeeded  in  obtaining 
some  of  the  most  prominent  lines  of  the  reversion  spectrum, 
or  flash,  as  it  has  been  called,  in  several  instruments. 
These  are  our  most  important  photographs.  What  they 
tell  us,  I can  best  relate  in  describing  the  general  results 
of  the  various  expeditions. 

As  your  readers  are  likely  to  know  from  observations  at 
home,  the  sun  was  not  in  a very  active  state.  Very  few 
spots  were  on  his  disc,  and  these  only  of  small  size.  The 
chromosphere  was  also  very  quiet,  and  the  prominences 
were  insignificant.  This,  coupled  with  the  excess  of  the 
moon  over  the  sun  in  size,  rendered  some  of  our  instru- 
ments— e.g.,  the  prismatic  camera  and  the  Rowland  grating 
— less  fruitful  in  results  than  we  expected  them  to  be.  The 
first  of  these  instruments,  which  gave  a most  instructive 
result  last  year,  gave  good  photographs  on  this  occasion, 
but  the  amount  of  information  to  be  derived  from  them  is 
comparatively  small.  The  same  inactiveness  of  the  sun 
seems  also  to  have  had  its  effect  on  the  corona,  not  so  much 
in  general  appearance,  as  in  the  character  of  the  light 
emitted.  The  spectrum  was  more  continuous ; though 
containing  many  bright  lines,  these  were  fewer  in  number, 
and  of  less  intensity  than  in  the  spectrum  photograph 
obtained  in  1882.  Dr.  Hastings  saw  the  D lines  only 
dark;  but  M.  Janssen  asserts  that  he  saw  most  of  the 
Fraunhofer  lines  as  dark  lines.  M.  Janssen’s  observation 
is  most  significant,  if  that  gentleman  be  not  mistaken. 
Unhappily,  M.  Janssen  did  not  attempt  to  photograph 
the  coronal  spectrum  as  well.  Solar  physicists  are  likely 
to  be  treated  shortly  to  a pretty  lively  discussion  on  an 
issue  raised  by  Dr.  Hastings.  It  is  the  opinion  of  this 
gentlema  i that  the  corona — or  at  least,  the  outer  part  of 
it— is  mainly  a diffraction  phenomenon,  and  not  a true 
solar  appendage,  and  his  observations  on  Caroline  Island 
tend,  he  considers,  to  confirm  this  view.  Giving  special 
attention  to  the  1474  line,  he  observed  that  at  the  com- 


mencement of  totality  it  extended  to  a greater  distance  on 
the  eastern  than  on  the  western  limb,  and  as  the  moon 
moved  across  the  sun,  the  condition  of  things  was  reversed  ; 
the  variations  in  length,  so  he  alleges,  were  greater  than 
the  moon’s  motion  could  account  for.  A considerable 
amount  of  mathematical  work  has  to  begot  through  before 
he  can  publish  his  report,  and  until  that  report  is  pub- 
lished, I do  not  care  to  express  any  definite  opinion.  In 
spite,  however,  of  Dr.  Hastings'  undisputed  ability,  I fear 
that  this  case,  fully  admitting  the  correctness  of  his  obser- 
vations, is  likely  to  be  but  a weak  one.  An  exceedingly 
interesting  observation,  but  one  that  will  require  confir- 
mation in  the  future,  is  that  of  Professor  Tacchini,  who, 
examining  with  his  spectroscope  one  of  the  coronal 
streamers,  saw  something  resembling  a cometary  spectrum. 
This  somewhat  resembles  an  observation  made  by  Mr. 
Lockyer  last  year,  that  geutleman  noticing  well-defined 
maxima  and  minima  in  the  brightness  of  the  spectrum, 
and  what  looked  like  flutings.  Should  this  observation  of 
M.  Tacchii'i’s  be  identical  with  the  previous  one  of  Mr. 
Lockyer’s,  a<  is  not  uulikely,  it  will  exert  some  influence 
on  the  hypothesis  associated  with  the  latter  gentleman’s 
name.  Iu  reference  to  the  work  specially  done  to  test 
Mr.  Lockyer’s  hypo‘hesis,  the  photographs  taken  will  re- 
quire a very  careful  examination  before  any  opinion  can 
be  expressed  either  one  way  or  the  other. 

Before  dismissing  the  spectroscopic  work,  I must  not 
forget  to  mention  the  observations  of  Mr.  Rockwell,  who 
saw  several  lines  iu  the  green  not  usually  seen  in  the 
corona.  They  were  probably  magnesium.  Taking  a 
general  glance  at  the  eye  observations  of  the  spectrum, 
they  cannot  be  regarded  as  too  satisfactory,  being,  in 
some  instances,  contradictory.  It  is  becoming  more  aud 
more  evident  every  day,  that  where  rare  and  fleeting 
phenomena  are  concerned,  photography  is  by  far  the  most 
reliable  observer. 

But  I am  forgetting  all  mention  of  the  planet  Vulcan. 
Still,  that  is  only  to  be  expected,  for  be  altogether  failed 
to  put  in  au  appearance  when  most  looked  for.  Professor 
Holden,  and  Messrs.  Trouvelot  and  Palisa,  looked  for  him 
and  found  him  not,  whilst  M.  Janssen  employed  a good 
many  photographic  eyes,  but  they  have  not  yet  been  ex- 
amined. The  most  detiuite  thing  to  be  said  concerning 
him  is  Prof.  Holden’s  statement,  that  if  Vulcan  exists  at 
all,  his  light  is  less  than  that  from  a star  of  the  6th 
magnitude. 

In  conclusion,  it  may  fairly  be  said  that  the  eclipse  of 
1883  is  not  behind  any  of  its  predecessors  in  the  fruitful- 
ness of  its  results,  and  the  time  is  yet  far  distant  when 
solar  eclipses  can  cease  to  be  regarded  as  important.  The 
more  thoroughly  they  are  observed,  the  more  intricate  do 
the  problems  to  be  solved  become. 

But  now  this  long  letter  must  be  closed.  Iu  my  next 
communication  I will  endeavour  to  give  my  experiences  of 
photographic  work  on  the  island,  with  other  matters  of 
sufficient  interest  to  warrant  my  placing  them  before  your 
readers. 


COLLODION  EMULSION  AND  GELATINE 
EMULSION. 

The  classic  researches  of  Dr.  II.  W.  Vogel,  which  have 
appeared  from  time  to  time  in  our  columns,  give  our  readers 
an  excellent  opportunity  of  judging  as  to  the  essential 
difference  which  exists  between  the  haloid  salts  of  silver  in 
various  photographic  preparations. 

In  another  column  will  be  found  an  article  in  which 
Dr.  Vogel  treats  of  the  subject  anew,  and  more  fully  eluci- 
dates those  experiments  with  which  our  readers  are 
familiar.  He  points  out  how  essential  is  the  difference 
between  the  silver  bromide  of  a collodion  emulsion,  and 
the  isomeric  salt  contained  in  a gelatine  emulsion.  Both 
isomers  are  approximately  equal  in  sensitiveness  when  a 
physical  developer  is  used,  the  well-recognised  greater 


THE  PHOTOGRAPHIC  NEWS. 


419 


July  6,  1883.J 

sensitiveness  of  the  latter  only  becoming  traceable  when 
chemical  development  is  resorted  to.  Notwithstanding 
this,  the  indigo-sensitive  bromide  (collodion)  is  reduced  to 
the  metallic  state  with  much  greater  facility  than  the  blue 
sensitive  (gelatine)  modification.  One  might  be  disposed 
to  expect  the  sensitiveness  under  the  action  of  a reducing 
developer  to  be  in  some  measure  proportional  to  the 
reducibility  of  the  compounds  ; but  Or.  Vogel  points  out 
that  the  sensitiveness  is  rather  proportional  to  the  capa- 
bility of  the  respective  bromides  for  absorbing  radiant 
energy,  as  evidenced  by  their  behaviour  when  subjected 
to  the  action  of  the  solar  spectrum. 

Dr.  Vogel's  investigations  will  have  to  be  taken  into 
account  in  all  efforts  to  realise  the  extreme  sensitiveness 
of  the  gelatine  plate  when  a collodion  emulsion  is  used  ; 
and  it  is  quite  probable  that  a notable  future  exists  either 
for  collodion  emulsions,  or  for  collodio-gelatine  emulsions 
of  the  kind  now  so  universally  associated  with  the  name  of 
Dr.  Vogel.  We  would  remind  our  readers  that  on  p.  378 
of  the  present  volume  will  be  found  full  working  directions 
for  making  the  Vogel  composite  emulsion.  lu  this  pre- 
paration, the  biomide  exists  in  the  blue-sensitive  condi- 
tion, or  as  in  the  ordinary  gelatine  emulsion. 


GLASS. 

Sixth  Article. 

The  furnace  figured  on  page  226  is  not  the  only  type  used 
in  the  manufacture  of  window-glass  ; it  represents  the  form 
of  nine-teuths  of  the  Belgian  furnaces,  but  there  are  in  use 
in  England  and  elsewhere  other  forms,  such,  for  instance,  as 
Siemen’s  regenerative  gas-furnace,  and  the  so-called  tank- 
furnace  of  the  same  inventor. 

It  would  be  difficult  to  explain,  without  numerous 
drawings,  the  details  of  construction  and  the  functions  ot 
these  distinct  departures  from  the  regular  type  of  coal- 
furnaces.  In  the  gas-furnace,  instead  of  the  fuel  being 
burned  in  actual  contact  with  the  pots,  it  is  roasted  in  a 
separate  producer,  and  the  gas  given  off  by  the  roasting  of 
thecoal  is  led — smoke  tar  and  every  other  impurity  as  well — 
to  the  furnace  in  which  it  is  ignited.  The  gas  so  used  con- 
tains all  the  heat-producing  properties  of  the  coal  — unlike 
the  purified  illuminating  gas  we  burn  in  our  houses— and 
is,  therefore,  much  more  effective  than  street  gas,  besides 
being  much  less  costly.  The  flame,  after  impinging  upon 
and  circulating  round  the  pots,  is  caused  to  give  up  most 
of  its  heat  by  being  drawn  through  a large  underground 
chamber  filled  with  a sort  of  honey-comb  of  fire  bricks. 
According  to  the  activity  of  the  furnace  these  become 
intensely  heated,  and  then,  by  a set  of  valves,  the  directions 
of  the  gas  and  air  currents  are  reversed,  passing  up 
through  the  net-work  of  intensely  heated  fire-bricks  and 
entering  the  furnace  as  a white-hot  blast,  the  heat  of  which 
has  been  known  to  break  down  the  pots  and  melt  the  arch 
of  the  furnace.  The  theory  and  action  of  the  regenerative 
gas  furnace  is  very  beautiful,  and  there  is,  perhaps,  no  finer 
sight  than  to  see  a well-planned  gas  furnace  at  work.  The 
system  is  also  applied  to  what  are  called  tank-furnaces. 
In  these,  the  use  of  pots  is  avoided  ; the  “ tank  ” is,  in  fact, 
a large  rectangular  chamber,  whose  floor  and  walls  are  built 
of  fire-brick  ; the  tank  occupies  the  space  under  the  furnace 
crown  where  the  pots  would  stand  in  a pot  furnace,  and 
the  verifiable  materials  being  placed  therein,  the  heat  and 
flame  pass  over  the  top  thereof,  whether  the  furnace  be 
worked  by  gas  or  by  coal.  Some  of  the  tank-furnaces 
contain  many  tons  of  glass,  and,  by  a later  modification  of 
the  tank  system,  the  process  becomes  a continuous  one,  for, 
by  extending  the  area  of  the  furnace,  the  inventor  divides 
the  tank  into  three  compartments  ; in  the  first  the  materials 
are  melted,  and  the  liquid  glass  flows  into  a second  tank  to 
clarify  or  become  fine,  and  thea  passes  to  a third  division, 
where  it  is  ready  for  the  blowers,  and  this  process  goes  on 
without  cessation,  uight  and  day,  by  employing  changes  of 


men,  for  as  long  as  the  furnace  will  hold  together.  The 
continuous  system,  when  fairly  started,  is  probably  the  most 
economical  method  of  glass-makiDg  at  present  in  vogue. 
Of  course,  the  first  cost  is  great,  as  the  work  has  of 
necessity  to  be  very  good,  elaborate,  and  costly  ; but  after- 
wards, in  the  saving  of  pots,  economy  of  time  of  the  blowers, 
continuity  of  the  uniform  heat  to  melt  the  materials,  and, 
perhaps  less  total  wear  and  tear  than  in  pot  furnaces 
worked  by  cr  als,  the  producing  power  of  a given  furnace 
costing  a ceitain  sum  is  greater  in  ratio  than  a furnace 
costing  a little  and  worked  on  the  system  explained 
in  our  last  article.  The  tank  system  is  applicable  chiefly 
to  the  manufacture  of  the  lower  qualities  of  window 
glass  (sheet-glass),  also  of  rolled  plate-glass,  and 
especially  of  bottles.  Up  to  the  present  time  the  finer 
descriptions  of  window-glass  are  rarely  produced  from 
tanks,  and  the  system  is  not  applicable  to  the  method,  now 
followed,  of  making  plate-glass,  for  plates  are  cast  by  pour- 
ing the  contents  of  a pot  on  to  a large  iron  casting  table  ; 
hence  pots  or  crucibles  must  be  used.  The  advantages 
of  the  regenerative  gas  furnace  are  supposed  to  consist  in 
an  economy  of  fuel,  conjointly  with  a greater  production, 
and  the  manufacture  of  an  article  of  purer  colour  than  by 
the  use  of  coal  in  furnaces  such  as  figured  in  our  last. 
Tanks  are  in  operation  at  two  or  three  English  works,  and 
are  turning  out  very  good  glass ; the  difficulties  usually  ex- 
perienced are  seediness  of  the  metal,  stones,  striae,  and 
frequently  a harsher  product  than  if  the  same  materials 
had  been  founded  in  pots.  In  the  manufacture  of  common 
bottles  (black  porter  bottles),  and  even  the  better  sorts, 
such  as  lemonades  and  sodas,  the  tank  system  is  pre- 
eminently suitable,  for  quality  is  not  of  much  moment ; and 
seeing  that  common  bottles  are  made  from  the  greatest 
rubbish,  it  becomes  a question  as  to  how  cheaply  the 
material  can  be  melted,  especially  when  we  consider  that 
carriage  has  to  be  paid  hundreds  of  miles,  and  bears  a con- 
siderable proportion  to  the  entire  value  of  the  finished 
article.  A tank  furnace  is  in  existence,  which  is  built  but 
a few  yards  from  the  bank  of  one  of  our  north  country 
rivers,  where  the  space  necessary  was  levelled  to  begin 
building  operations.  The  fuel  arrives  in  boats,  and  is  all 
but  at  the  furnace  mouth,  when  it  is  thrown  on  to  the  quay. 
The  material  from  which  the  bottles  are  made  consists 
mainly  of  the  hill-side,  which  is  dug  away  as  they  require 
more  room  for  building,  and  wheeled  to  the  tanks,  into 
which  it  goes  along  with  limestone  and  the  commonest 
alkali  procurable  ; heat  does  the  rest,  and  the  resulting 
bottles  are  excellent.  The  bottles  are  then  packed  into  the 
holds  of  the  boats  that  bring  (he  materials  and  go  away, 
ultimately  to  penetrate  to  the  remotest  corners  of  the 
habitable  globe,  wherever  anyone  can  be  found  who  cares 
for  Bass’  bottled  bitter  beer  ! 

A project  was  started  a few  years  since  of  utiliz- 
ing the  slag  of  blast  furnaces  for  the  manufacture 
of  glass  articles,  such  as  bottles,  and  this  was  actually 
worked  out  in  a factory  which  was  erected  in  close 
proximity  to  some  iron-works,  whence  the  slag  was  con- 
veyed white-hot  to  the  glass  furnace,  and  there  worked  up 
into  bottles,  by  being  mixed  with  some  slightly  better 
materials,  yielding  a workable  glass.  It  is  evident  that  a 
great  saving  of  fuel  could  be  effected  by  such  an  installa- 
tion as  this,  and  it  is  difficult  to  imagine  what  might  not  be 
the  ultimate  field  for  such  an  industry,  for  if  glass  could 
be  cheaply  fashioned  in  like  manner  to  concrete  blocks  or 
castings  of  pig-iron,  its  employment  in  the  arts  of  building 
and  construction,  and  in  sanitary  work,  would  become  a 
matter  of  course. 

The  tank  system  met  with  severe  opposition  on  its  in- 
troduction, as  did  the  gas-furnace,  and  opinions  are  yet 
divided  as  to  the  merits  and  demerits  of  these  systems  over 
the  older-fashioned  one  of  pot-furnaces  fed  with  coals. 
Gas-furnaces  and  tanks  are  costly  experiments  ; a fortune 
has  to  be  sunk  before  a complete  plant  can  be  put  down 
and  good  glass  made  therefrom.  We  know  of  cases  where 


420 


THE  PHOTOGRAPHIC  NEWS. 


[July  6,  1883. 


these  furnaces  have  been  erected  and  thousands  of  pounds 
spent,  and  up  to  this  day  not  one  foot  of  good  glass  has 
ever  yet  been  produced  therein. 

The  system  of  making  plate-glass  is  pretty  uniform  in  all 
countries.  As  stated  before,  the  tank  system  does  not  yet 
appear  practicable,  as  each  poiis  lifted  out  of  the  furnace 
and  its  liquid  contents  poured  out  on  to  the  table,  iu  order 
to  form  a large  plate. 

In  making  sheet  glass  and  rolled  plate  the  tank  system 
is  probably  better  than  the  pot  system,  although  it  must 
be  clearly  understood  that  no  mixture  or  varieties  of  glass 
can  be  made  in  a tank  furnace,  unlike  a pot  furnace  of 
(say)  eight  pots,  every  one  of  which  may  contain  a different 
colour  or  description  of  glass.  Tarks,  therefore,  are 
admirably  adapted  for  common  window  glass,  known  as 
sheet  glass,  and  for  rolled  plate,  such  as  is  made  in  sheets 
of  about  twenty  feet  superficial,  and  which  are  produced  by 
ladling  an  enormous  ladle  full  of  molten  glass  out  of  the 
furnace  and  throwing  it  on  to  an  irou  table,  which  is 
traversed  by  a heavy  iron  roller,  which  spreads  out  the 
glass  into  a sheet,  whose  thickness  is  regulated  by  the 
height  of  the  runners  upon  which  the  roller  travels. 

In  Eugland,  in  the  manufacture  of  sheet  glass,  it  is  the 
rule  to  have  a separate  furnace,  called  the  blowing 
furnace,  which  is  quite  detached  and  apart  from  the 
melting  furnace,  and  whose  use  is  to  furnish  heat  whilst 
the  blowers  fashion  the  cylinders  from  which  sheets  are 
made. 

In  Belgium  there  is  no  such  thing  known  as  a blow- 
ing furnace;  the  blowing  is  all  done  at  the  orifice  over 
the  pots  from  which  the  metal  is  gathered ; and  herein, 
perhaps,  consists  the  greatest  departure  from  the  English 
system.  By  the  aid  of  a separate  blowing  furnace, 
although  there  i3  extra  fuel  consumed,  yet  a greater 
number  of  men  can  work  a given  furnace  than  on  the 
Belgian  system,  because  the  gatherers  go  on  continually 
gathering  lumps,  which  are  carried  off  to  the  blowing 
furnace  to  be  fashioned,  and  therefore  the  melting  furnace 
is  sooner  worked  out  by  the  pots  being  quickly  emptied, 
and  is  ready  for  a fresh  charge ; iu  other  words,  the 
“journey”  is  shorter  than  on  the  Belgian  system,  where, 
when  a furnace  is  ready  for  the  glass  in  its  pots  to  be 
worked,  the  operation  of  gathering  is  perpetually  being 
interrupted  by  the  blowing  of  each  gathering  having  to  be 
effected  over  the  pots.  From  this  it  might  be  inferred 
that  the  English  system  is  better  than  the  Belgian,  and  so 
it  may  be  as  far  as  regards  the  quality  of  the  material  pro- 
duced (for  there  can  be  no  two  opinions  as  to  the 
superiority  of  English  glass  over  any  other)  ; but,  as  a 
matter  of  cheapness  of  production,  the  Belgian  system 
has  the  advantage. 

The  secrets  are  not  far  to  seek.  In  the  Belgian  system 
of  blowing  over  the  pots,  the  sinking  of  capital  for  the 
erection  of  a separate  blowing  furnace  is  avoided.  Seeing 
that  many  of  the  Belgian  manufacturers  are  men  of  very 
small  capital,  this  forms  the  principal  reason  why  a secoud 
furnace  is  dispensed  with.  The  time  consumed  on  a 
“ journey  ” is  probably  one-third  longer  than  in  the  English 
system  ; but  the  pots  are  smaller  than  the  English,  which 
brings  down  the  total  time  consumed  somewhat.  But  the 
duration  of  the  “ journey  ” is  not  of  much  moment  to 
the  Belgian  manufacturer,  because  his  men  can  only  do  a 
certain  amount  of  work,  and  whether  he  could  get  one 
“ journey  ” per  week  more  is  scarcely  a consideration  if 
he  has  not  men  to  do  the  work.  If  all  the  furnaces  in 
Belgium  could  be  put  in  activity  to-morrow,  it  is  im- 
probable that  workmen  could  be  found  to  “ man  ” them  ; 
therefore,  so  long  as  the  manufacturer  gets  a fair  product 
from  his  furnaces,  he  is  obliged  to  be  content.  His  men 
are  paid  1 y results,  that  is  to  say,  the  wages  are  paid 
upon  the  number  of  sound  sheets  delivered  into  the  ware- 
house ; the  blower  pays  his  gatherer,  and  they  work  in  a 
sort  nf  partnership  with  the  flattener. 

lliis  seems  to  be  an  age  iu  which  the  word  “apprentice- 


ship ” seems  likely  to  fall  into  disuetude.  We  do  not 
suppose  the  pages  of  the  News  will  do  it,  but  we 
should  very  much  like  to  impress  upon  large  manu- 
facturers the  necessity  to  propagate  young  hands  to  take 
the  place  of  the  older. 


ON  llE-SITTINGS. 

We  have  much  pleasure  in  publishing  the  following  remarks 
upon  this  difficult  subject,  more  especially  as  they  emanate 
from  the  priucipal  of  a “ Family  Studio,”  whose  experience 
is  proclaimed  by  the  fact  that  he  is  both  successful  as  an 
artist  and  as  one  of  the  heads  of  a flourishing  firm. 

It  will  readily  be  admitted  that  the  question  of  re-sittings 
is,  generally  speaking,  a difficult  one,  aud,  in  every  well- 
conducted  studio,  should  be  established  on  a satisfactory 
basis.  Sitters  should  not  be  compelled  to  have  pictures  that 
do  not  give  satisfaction,  or,  in  such  a case,  to  pay  an 
additional  fee  to  be  re-taken,  neither  should  the  photographer 
be  compel!'-  I to  give  re-sittings  free  of  charge  merely  for 
the  sake  ol  ^ratifying  idle  whims  and  fancies.  Respect 
should  be  shown  to  the  dislikes  of  patrons,  and  however 
excellent  the  result  as  to  pose,  lighting,  and  manipulation 
(and,  as  a rule,  reaubs  which  give  the  artist  the  greatest 
satisfaction  are  those  with  which  the  sitter  is  least  pleased), 
one  should  endeavour  by  a gentle,  conciliating  demeanour  to 
bow  to  the  wishes  of  the  dissatisfied.  These  are  not  the  days 
when  one  can  afford  to  ride  a high  horse  iu  the  photographic 
studio,  and  positively  refuse  to  recognize  any  right  on  the 
part  of  the  public  to  pass  an  adverse  opinion  upon  the  pro- 
ductions of  the  operator,  whoever  he  may  be,  unless  he  be 
independent  of  the  art  as  a means  of  livelihood.  Such, 
alas  ! has  been  the  course  adopted  by  some  in  the  past,  and 
they  have  inevitably  learnt  that  their  own  high  and  exalted 
notions  of  their  skill  and  ability  have  not  been  shared  by 
the  outside  world. 

When  a person  sits  for  a photograph,  it  is  generally  with 
the  idea  of  securing  a result  that  shall  be  pleasing  to  the 
circle  of  friends  among  whom  copies  are  to  be  distributed, 
and  sometimes  there  is  the  hope  also  of  a result  that  shall 
give  personal  satisfaction.  Not  one  sitter  in  a thousand 
ever  thinks  of  having  a portrait  that  is  simply  to  please  the 
artist.  Yet  this  is  the  standpoint  from  which  the  photo- 
grapher is  disposed  to  view  the  result.  Does  it  please  him  V 
I f so,  then  everyone  else,  he  is  sure,  ought  to  be  pleased  ; and 
it  they  are  not,  they  are  no  judges,  and  must  pay  again  for 
a fresh  sitting.  This  is  not  wise,  for  whenever  a legitimate 
dislike  exists,  it  is  a ruinous  policy  to  compel  anyone  to 
have  an  unsatisfactory  result,  or  to  pay  an  additional  fee  to 
be  re-taken  ; and  in  some  sort  photographers  are  aware  of  this. 
The  point  to  determine  in  the  matter  is  simply  this  : is  the 
objection  real,  oris  it  only  imaginary?  Does  a ligitimate 
dislike  exist,  or  is  the  person  actuated  by  some  fad  oi  fancy  ? 

This  may  be  easily  settled.  Let  a case  be  supposed. 
Proofs  have  been  submitted  in  the  ordinary  way,  and  are 
returned  with  the  announcement  that  no  one  likes  them — 
they  are  not  considered  at  all  good  ; then  comes  the  request, 
will  the  photographer  give  another  sitting  ? Yes,  another 
sitting  will  be  given  with  the  greatest  of  pleasure,  pro- 
viding the  sitter  comrs  in  the  same  costume  as  before,  and 
has  the  same  arrangement  of  hair,  &c.  This,  upon  considera- 
tion, appears  just  and  reasonable.  The  photographer  ought 
not  to  be  compelled  to  give  a fresh  sitting  gratis,  if  it  is 
merely  a question  of  dress  ; if  that  be  changed,  then  he  has  a 
perfect  right  to  charge  a fee.  But  there  is  another  point, 
aud  that  is,  when  the  re-sitting  is  given,  the  negative  first 
taken  will  be  destroyed.  This,  it  is  urged,  is  only  fair,  for 
supposing  the  order  to  be  for  a dozen  C.D.V.’s  for  which 
two  positions  are  given,  these  being  ie-taken,  if  the  first 
negative  is  saved,  the  sitter  has  the  choice  of  four  positions 
instead  of  two  ; besides,  if  four  positions  are  saved,  mistakes 
are  likely  to  occur  when  duplicate  orders  are  given,  as  by 
chance  the  wrong  negative  may  get  into  the  printers 
bauds.  If  the  original  negative  is  not  liked,  no  objection 


Jci.Y  ti,  1883.  | 


THE  PHOTOGRAPHIC  NEWS 


*121 


will  be  made  to  this,  for  wbat  is  wanted  is  a better  result, 
and  the  sitter  who  comes  to  the  studio  the  second  time  in 
the  same  dress,  willing  also  to  sacrifice  the  first  negative,  has, 
it  may  be  concluded,  a legitimate  right  to  be  re-taken  free 
of  charge  ; whereas  it  is  found  in  practice  that  persons  who 
are  faddish  will,  when  the  announcement  is  made,  hesitate 
to  have  a negative  destroyed,  and  will  rather  pay  a fee  to 
have  it  preserved,  lest  the  second  venture  should  not  prove 
so  good  as  the  first. 

In  conclusion,  photographers  should  remember  that  the 
public  are  their  patrons  ; every  sitter  the  means,  more  or  less, 
of  their  business  increasing  or  diminishing;  every  satisfactory 
portiait  the  very  best  advertisement ; and  although  the  order 
to-day  may  be  only  for  a half-dozen  or  dozen  C.D.V.’s,  in  a 
few  years  time,  without  a fresh  sitting,  may  be  for  an 
enlargement  thirty,  sixty,  or  a hundredfold  its  present  value. 
These  considerations  will  help  him,  even  with  the  best  of 
rules,  not  to  hold  the  reins  with  too  hard  a hand. 
Although  there  may  be  a few  characters  in  creation  who 
would  sit  as  many  times  as  the  operator  chose  to  let  them, 
they  may  be  classed  a3  units ; the  vast  majority  consider  the 
operation  as  a tryingordeal,  and  it  behoves  the  photographer, 
for  his  own  sake  as  well  as  for  theirs  (especially  in  these 
days  of  dry  plate  manipulations),  to  make  sure  of  the  result 
before  every  sitter  leaves  his  establishment,  and  not  to  be 
led  astray  by  the  mad  boast  of  those  who  never  know  the 
result  of  the  day’s  operations  till  the  sun  has  disappeared 
from  the  scene. 


WITH  THE  ECLIPSE  EXPEDITIONS. 

BY  C.  RAY  WOODS. 

Caroline  Island,  April  20/A,  1883. 

By  the  afternoon  of  March  22nd,  our  instruments  had  all 
been  removed  from  the  Bolivia  on  to  the  U.S.S.  Hartford, 
and  we  followed  them  in  the  steam  lauuch  belonging  to  the 
latter  vessel.  We  naturally  expected  that  we  should  have 
to  have  to  put  up  with  many  little  inconveniences  on  boar1' 
of  a man-o’-war,  where  the  carrying  of  passengers  is  some- 
what out  of  the  ordinary  routine,  aud,  so  far  as  photographic 
work  was  concerned,  I expected  few  facilities  for  anything 
of  that  kind.  1 arranged  that  my  dark-tent  should  always 
be  handy  for  changing  plates,  and  was  fully  prepared  to 
rest  contented  with  even  that  convenience.  We  were  des- 
tined, however,  to  be  very  agreeably  disappointed.  The 
arrangements  that  had  been  made  for  our  comfort  could 
scarcely  have  been  bettered.  Captain  Carpenter,  U.S.N., 
gave  113  a very  hearty  welcome,  the  officers  readily  entered 
into  the  object  of  the  expedition,  and,  in  fact,  every  man  on 
board  seemed  pleased  with  the  cruise  about  to  be  under- 
taken, and  its  object.  As  to  photographic  matters,  I was 
both  pleased  and  astonished.  Scarcely  had  I set  foot  ou 
board,  when  I was  “ button-holed,”  so  to  speak,  by  Dr. 
Kennedy,  the  chief  surgeon  of  the  vessel,  who  asked  me  a 
thousand  questions  relating  to  photography,  and  whom  I 
soon  found  to  be  one  of  the  most  enthusiastic  amateurs  I 
have  met.  So  energetic  was  his  attack  that  I hardly  know 
whether  I felt  most  flattered  or  scared  by  it ; and  when  he 
asked  me  to  go  down  and  develop  a couple  of  plates  for 
him,  my  astonishment  reached  its  climax.  Following  him 
down  below,  I was  led  into  the  apothecary’s  shop,  and  in- 
troduced to  that  gentleman,  Mr.  Le  Fevas,  who  had  put  a 
red  screen  over  the  porthole,  and  had  prepared  the  solutions. 
There  was  plenty  of  room  for  the  necessary  manipulations, 
and  the  array  of  dishes  on  a side  bench  possessing  a water- 
proof covering,  the  rows  of  bottles  against  the  walls, 
measures,  and  stirring-rods  at  my  elbow,  made  me  feel  at 
home  at  once.  I felt  I had  fallen  in»o  right  good  company. 
The  two  plates  I had  been  asked  to  develop  were  instan- 
taneous shots  at  a group  of  sea-lions,  taken  by  the  doctor 
at  Sau  Lorenzo.  They  were  well  exposed,  and  taken  from  a 
good  point  of  view,  both  turning  out  good  pictures,  but 
lacking  density,  the  plates  were  so  thin.  The  chief  com- 
plaint that  used  to  be  brought  against  English  commercial 


plates  was  their  thinness  and  absence  of  uniformity  ; but 
many  of  the  doctor’s  plates,  which  are  from  one  of  the 
best  American  makers,  are  thinner  than  any  I have  seen. 
The  emulsion  is  good,  and  the  plates  are  coated  evenly, 
but  the  image  is  through  and  well  visible  from  the  back 
long  before  its  proper  time. 

Looking  through  the  doctor’s  negatives  (he  had,  by-the- 
bye,  only  been  six  months  at  it),  I thought  be  was  greatly 
to  be  pitied,  for  his  subjects  were  excellent  from  an  artistic 
point  of  view,  and  seemed  to  have  been  rightly  exposed  ; 
but  scarcely  one  of  them  possessed  good  printing  density, 
and  others  were  ghostly.  He  had  really  had  no  oppor- 
tunity of  doing  justice  to  his  artistic  training.  English 
makers  of  gelatine  dry  plates,  in  spite  of  the  many  com- 
plaints brought  against  them,  have  as  yet  nothing  to  fear 
from  American  competition,  even  in  the  United  States. 
But,  as  I have  said,  the  quality  of  the  emulsion  was  good, 
and  if  used  less  sparingly  would  bring  the  question  of 
English  versus  American  plates  down  to  a mere  competition 
in  price.  The  marine  officer  on  board  is  also  an  amateur 
photographer,  and  has  taken  some  nice  pictures  in  a little 
instrument  designed  for  snap  shots.  I venture  to  prophesy 
that  there  will  be  more  photographers  among  the  officers 
when  they  go  on  their  next  cruise. 

The  Hartford,  though  small  compared  with  some  of  our 
own  warships,  is  one  of  the  best  in  the  American  navy  ; 
and  when  I say  that  the  cruise  has  been  charming,  I am 
but  feebly  expressing  the  fact.  Wind  and  weather  seem 
to  have  been  made  expressly  for  us,  aud  the  vessel  has  been 
steadily  moving  under  sail  almost  throughout  the  entire 
journey.  I do  not  think  that  the  Hartford  has  ever  been 
on  a scientific  expedition  before,  but  some  of  the  officers 
have,  I believe,  been  on  other  vessels  that  have  taken 
parties  out — e.  g.,  to  see  the  Transit  of  Venus  in  1874. 

This  calls  to  my  mind  a little  anecdote  in  connection  with 
that  event.  America,  not  having,  like  ourselves,  a body  of 
Engineers  trained  in  photography,  employed  a number  of 
professionals  fully  capable  ot  doing  all  that  was  necessary 
under  scientific  direction.  In  one  party  was  a photographer 
who  seemed  to  have  something  on  his  miud,  and,  accosting 
oue  of  the  scientific  members  of  the  party,  he  said  : 

“ How  far  away  did  you  say  the  sun  was  ? ” 

“ About  niuety  million  miles." 

“ And  how  far  is  Venus  ? ’’ 

“ Twenty-five  millions  about.” 

“Then  I don't  quite  see  how  you’re  likely  to  get  those 
two  things  in  focus  at  the  same  time.  I guess  we  had 
better  go  home  again.” 

It  is  not  very  often  that  one  gets  a chauce  of  viewing 
life  on  board  a man-o’-war,  let  alone  an  American  one,  and 
I have  therefore  been  improving  the  occasion.  So  far  I 
have  been  simply  taking  those  spectacles  that  are  least 
frequently  presented,  such  as  reading  the  Articles  of  War, 
an  event  which  only  takes  place  ou  the  first  Sunday  in 
each  month.  This  occurred  on  our  second  Sunday  on 
board,  but  it  was  rather  provoking  to  find  that  no  good 
point  of  view  could  be  got  without  having  not  only  one 
part  of  the  picture  in  bright  light  and  the  other  part  in 
shadow,  but  the  sun  itself  shiniDg  into  the  lens.  Shading 
the  lens  from  the  sun  with  a hat,  we  made  the  best  of  it, 
and  all  the  plates  I exposed  were  successful,  or,  at  least, 
free  from  flare,  even  if  slightly  lacking  in  detail  in  one  or 
two  places,  for,  owing  to  the  rolling  of  the  ship,  they  all 
had  to  be  instantaneous.  Fire-drill,  rifle  and  cutlas  prac- 
tice, gun-drill,  boarding  and  repelling  boarders,  full 
battalion  drill  to  the  strains  of  the  brass-band,  give  one 
plenty  of  material  for  instantaneous  work.  The  amuse- 
ments of  the  crew — the  schoolmaster  and  his  pupils  grouped 
in  a corner  or  between  two  of  the  guns — the  men  at  the 
wheel,  with  the  ship’s  motto,  “ Go  Ahead  !”  above  then- 
heads — the  smoking  corner  of  the  officers — present  subjects 
for  longer  exposures.  Some  of  these  scenes  I have  already 
depicted  ; others  remain  to  furnish  pastime  on  the  return 
journey. 


422 


THE  PHOTOGRAPHIC  NEWS. 


[Jdi.y  6,  1883. 


I keep  my  camera  always  at  hand,  for  there  is  no  know- 
ing when  it  may  be  wanted,  and  occasionally  1 get  my 
reward  in  such  a subject,  for  instauce,  as  the  furling  of  a 
sail.  While  this  sort  of  thing  usually  creates  fun,  and 
sometimes  is  the  source  of  much  gratification  to  those 
who  come  within  the  rapid  glance  of  the  camera’s  trustful 
eye,  it  may  also  give  rise  to  suspicion  and  dis'rust.  We 
have  had  one  remarkable  instance  of  this.  One  morning 
a seaman  came  to  the  mast  with  a complaint  against  “ one 
o’  them  Britishers,”  who,  he  said,  had  been  following 
him  about  with  his  camera  at  night,  and  at  eleven  o’clock 
one  evening  had  taken  his  photograph  while  he  was  up 
aloft  (what  will  dry  plates  be  expected  to  do  next  ?) 
Where  the  man  got  such  a crazy  notion  from,  goodness 
only  knows ; but  the  best  part  of  the  joke  is  that  the 
charge  was  brought  against,  not  your  humble  servant— 
who,  by  his  mysterious  motions  might  have  given  rise  to 
such  a thing — but  against  poor  Mr.  Lawrance,  who  had 
never  brought  his  camera  on  deck  but  once.  The  first 
lieutenant  was  only  half  able  to  undeceive  the  man,  who 
retired  muttering  that  be  would  have  no  more  of  it. 

By  Sunday,  April  15th,  the  wind,  which  had  been 
steadily  blowing  from  the  south  and  east  ever  since  we 
left  Callao,  almost  ceased,  and  we  found  ourselves  nearly 
becalmed  just  as  we  passed  the  most  southerly  isle  of  the 
Marquesas  group.  Our  spirits,  which  had  been  rising 
and  falling  with  every  heaving  of  the  log,  now  sank  to 
zero,  but  not  for  long  ; orders  were  given  to  put  on 
steam,  and  once  more  we  found  ourselves  cleaving  through 
the  water.  What  if  the  vibration  of  the  screw,  and  the 
column  of  smoke  coming  out  of  the  funnel,  leaving  a 
black  track  behind,  did  mar  the  poetic  smoothness  of  our 
pleasant  cruise ! Were  we  not  getting  to  our  destina- 
tion, and  was  not  each  moment  gained  likely  to  add  to 
our  success?  Up  went  our  spirits  again.  Little  we 
minded  the  consumption  of  coal.  Siuce  then,  the  fires 
were  kept  alight,  but  banked  up  whenever  anything  like 
a breeze  helped  us  on  our  way.  Not  a vessel  did  wc  sight 
throughout  the  four  thousand  and  odd  miles  we  had 
travelled  ; but  the  cruise  was  anything  but  monotonous. 
How  could  it  be,  when  we  had  the  frequent  bustle  of 
naval  drill,  the  strains  of  the  brass  and  string  bands,  and 
the  dances  of  the  crew,  to  beguile  the  time,  to  say  nothing 
of  the  excitement  of  occasionally  catching  a shark,  and 
seeing  the  sailor’s  mortal  enemy  backed  and  hewn  to  death 
as  he  vainly  struggled  on  the  deck  with  a sharp  hook  in 
his  malignant  jaws  ? 

This  morning,  April  20th,  every  man  seemed  up  betimes, 
for  we  knew  we  were  not  more  than  twenty  or  thirty  miles 
away  from  our  destination.  Many  a pair  of  eyes  peered 
anxiously  ahead  from  the  fo’c’stle,  and  were  at  length 
rewarded  by  the  sight  of  the  top3  of  a few  palm  trees. 
These  increased  in  height  and  number,  till  at  last  a chain 
of  low  islands,  thickly  wooded,  stretched  before  us,  and  at 
their  foot  appeared  a thin  line  of  white  foam  which  we 
well  knew  to  be  the  swell  of  the  sea  breaking  on  the  reef 
which  protected  the  islands  from  the  fury  of  the  ocean. 
The  vessel’s  head  had  been  pointing  westward,  but  now  it 
was  turned  round,  and  we  skirted  the  islands  and  stopped 
on  the  western  side  of  the  southern  isle,  the  largest  of  the 
group,  the  nearest  to  the  line  of  central  totality,  and  where 
the  best  landing  place  was  to  be  found.  Discussion  had 
been  rife  as  to  whether  any  inhabitants  were  to  be  found, 
but  none  appeared  on  the  beach,  and  the  flag-staff  planted 
by  Commander  Nares,  when  he  took  possession  of  the 
island  in  Her  Majesty’s  name,  remained  bare.  A boat  was 
sent  out  containing  Mr.  Qualtrough  (one  of  the  officers 
who  is  to  remain  on  shore  with  us)  in  order  to  reconnoitre 
and  try  the  landing.  As  he  reached  the  island,  the  ship 
fired  a gun,  and  ere  the  smoke  cleared  away,  the  British 
flag,  the  red  ensign  used  in  the  merchant  marine,  ran  up 
to  the  top  of  the  flag-staff,  and  an  involuntary  Hurrah  ! ” 
sprang  from  our  lips.  A few  figures  were  seen  to  run 
down  to  the  water  s edge,  and  our  boat's  crew  disappeared 


for  a short  time.  Shortly  afterwards  they  returned  and 
pulled  for  the  ship,  bringing  with  them  a stranger.  He 
turned  out  to  be  a Kanaka  who  had  been  brought  from 
Tahiti  a few  months  (four  moons,  he  expressed  it)  pre- 
viously. lie  told  us  there  were  seven  people  on  the  island 
— four  men,  two  boys,  and  one  woman,  and  a house  which 
we  saw  among  the  trees  belonged  to  a European  who  was 
in  Tahiti.  We  had  hit  upon  the  best  landing  place,  but 
that  seemed  poor,  and  fears  were  expressed  as  to  whether 
our  heavy  cases  could  be  got  on  shore,  iet  every  man 
set  to  with  a will,  boats  were  loaded,  the  catamaran  (a  sort 
of  small  raft)  was  got  ready,  and  we  soon  had  the  pleasure 
of  seeing  a lot  of  our  cases  piled  up  on  the  bea.h,  and 
others  dragged  to  the  outskirts  of  the  woods.  Duty  kept 
me  on  board  the  vessel,  but  as  we  looked  through  our  spy- 
glasses, it  seemed  a beautiful  place.  Beautiful  crimson 
birds — possibly  parrots — were  seen  in  the  branches  of  the 
trees  ; crowds  of  gulls  and  frigate  birds  left  the  land  to 
visit  the  strange  ship,  and  uttered  strange  cries  as  they 
hovered  overhead.  The  members  of  the  party  who  went 
on  shore  came  back  with  the  intelligence  that  the  island 
was  one  of  the  prettiest  places  they  had  seen. 

Most  of  our  cases  are  now  on  shore,  and  thereat  will  go 
to-morrow  morning,  and  ere  the  day  closes  we  shall  be 
left  on  the  island,  for  the  snip  leaves  for  Tahiti  to  get 
supplies.  A small  party  of  men,  including  a carpenter, 
will  be  left  with  us.  Mr.  Qualtrough  will  take  the  com- 
mand of  them,  and  also  be  entrusted  with  the  care  of  the 
party  ; he  will  also  take  charge  of  our  photo-heliograph 
and  corona  camera,  his  experience  at  the  Naval  Observa- 
tory, Washington,  having  well  fitted  him  for  such  work. 
Two  midshipmen,  Messrs.  Doyle  and  Fletcher,  also  accom- 
pany us,  and  their  spare  time  will  be  taken  up  with  a 
general  survey  of  the  group  of  islands.  We  shall  have 
one  of  the  ship's  boats  for  traversing  the  lagoon,  and  any- 
thing else  that  is  likely  to  add  to  our  convenience.  It 
seems  strange,  this  undertaking— this  mingling  of  semi- 
barbarism, and  the  highest  outcome  of  civilization  ; this 
visit  to  a lonely  little  place  to  determine  some  of  the  most 
intricate  problems  of  modem  science.  What  will  be  the 
result?  Clouds  have  half-covered  the  sky  to-day,  a rain 
squall  broke  over  the  island  ere  we  reached  it,  and  it  seems 
scarcely  too  promising.  But  fortune  has  favoured  us  so 
far  : why  should  we  fear  now  ? Hope  within  tells  us  that 
success  awaits  our  efforts  : at  least,  if  we  do  our  best,  the 
elements  alone  will  be  to  blame,  should  we  return  empty- 
handed. 


FRENCH  CORRESPONDENCE. 
Iso-Chromatio  Plates — Photographic  Enamels  in  Colours 

— Lectures  on  Photo-Ceramics — MM.  Dodille  Bros.’ 

Sensitive  Albumenizbd  Paper. 

Iso-chromatic  Plates. — MM.  Tailfer  and  Clayton  are  about 
to  organise  in  Paris  a manufactory  for  iso-chromatic  plates, 
that  isto  say,  having  equal  sensitiveness  to  the  coloured 
rays  of  the  solar  spectrum.  Eosine  is  the  substance 
employed  to  give  this  quality.  By  introducing  it  into  the 
emulsion  in  a convenient  form,  the  films  are  as  sensitive  as 
any  gelatino-bromide  plates.  The  effects  produced  by  com- 
paring two  plates,  each  reproducing  the  same  subject,  are 
striking.  Chrome  yellow,  orange  red,  blue,  and  violet,  are 
rendered  bv  the  aid  of  eosine  with  relative  value  absolutely 
equal  to  that  perceived  by  the  eye.  1 am  convinced  that  as 
soon  as  the  factory  is  established,  photographers  will  cot 
hesitate  to  use  thtso  plates,  which  enable  them  to  copy  from 
nature  with  a fidelity  hitherto  never  attainable  by  photo- 
graphy. The  artists  ought  at  last  to  be  satisfied,  uuless  it 
be  a cause  of  grief  to  them  to  be  unable  to  have  any  further 
cause  of  complaint  against  photography.  They  seemed 
quite  happy  in  finding  out  its  defects  in  rendering  the 
yellows  and  luminous  reds  of  their  pictures  black.  I have 
heard  the  following  objection  made  to  these  iso-chromatic 
plates.  How  ia  it  possible  to  escape  fogging  with  plates 


Jcly  6,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


•123 


sensitive  to  all  coloured  rays,  even  to  the  red  ? It  is  a 
disadvantage,  but  one  which  may  be  easily  overcome. 
When  working  in  the  dark  room,  it  is  not  necessary  to  see 
everything  very  distinctly,  or  to  hold  the  plates  close  to  the 
source  of  light.  It  is,  therefore,  advisable  to  screen  off  the 
light  with  a very  thick  red  glass,  so  that  only  a subdued 
glimmer  is  obtained,  exercising  but  little  or  no  influence 
over  the  sensitive  products,  and  it  is  needless  to  expose  them 
to  this  feeble  light,  except  during  the  few  seconds  when 
charging  or  emptying  the  dark  slides.  The  action  of 
placing  the  plates  in  the  drying  oven  or  in  the  developing 
bath  admits  of  only  a faint  exposure  to  light,  and  the 
fogginess  will  be  scarcely  perceptible.  There  is,  then,  really, 
no  fear  of  the  complete  iso-chromatism  being  hindered,  as 
means  can  easily  be  taken  to  prevent  this  fogging. 

Photographic  Enamels  Printed  in  Various  Colours. — When 
printing  enamels  by  the  powder  process,  it  seems  to  me 
easy  to  obtain  several  colours  on  the  one  impression  by 
screening  off  parts  of  the  plate  which  are  not  to  be  printed 
blue,  for  instance,  and  powdering  blue  over  the  portions 
uncovered.  The  plate  is  then  turned  over  in  order  to  get 
rid  of  the  surplus  blue,  or  lightly  blown  off  by  bellows,  and 
then  passed  on  to  the  next  colour.  By  this  means  an  image 
in  several  vitrifiable  colours  is  at  one  time  placed  on  the 
enamel  or  porcelain.  It  may  next  be  half  baked,  the  work 
retouched  with  a brush  to  finish  it  up,  and  after  submitted 
to  the  final  firing.  In  order  to  conduct  this  rather  delicate 
operation,  oue  must  have  a little  dexterity  and  practice, 
but  it  is  easily  acquired. 

Photo-Ceramic  Lectures  at  Limoges. — This  mention  of 
enamels  reminds  me  to  say  that  the  annual  course  of  photo- 
ceramic lectures  will  soon  be  delivered  by  me  at  Limoges, 
the  town  celebrated  for  porcelain.  My  readers  know, 
without  a long  explanation,  what  important  parts  photo- 
graphic processes  take  in  ceramic  decoration.  It  is  really 
astonishing  to  note  the  scarcity  of  applications  of  this  kind, 
and  the  imperfection  of  most  of  the  designs  actually  em- 
ployed to  ornament  the  porcelain.  It  is  to  be  hoped  that 
by  showing  at  the  various  industries  practising  this  kiud 
of  decoration  what  value  they  may  derive  from  photo- 
graphy, they  will  succeed  in  producing  more  artistic 
subjects.  The  lectures  will  be  essentially  practical,  and 
include  photo-eugraving  processes,  in  outline  or  chalk,  on 
copper  or  zinc,  photographic  enamels  in  powder  colours, 
phototype  and  its  combinations  with  chromo-lithography 
in  vitrifiable  colours,  the  various  photo-mechanical  pro- 
cesses for  transferring  designs  to  engraving  plates,  and 
gelatine  reliefs  suitable  for  moulding  and  embossing  the 
porcelain  paste. 

MM.  Doddle's  Albumenized  Paper  Factory. — We  have 
recently  visited  this  factory  for  manufacturing  sensitive 
albumenized  paper.  Ten  thousand  eggs  are  consumed 
weekly.  The  work  proceeds  night  and  day  without  inter- 
mission, and  yet  the  demand  exceeds  the  supply.  The 
sensitive  paper  will  keep  six  months  in  a dry  place  with- 
out undergoing  any  alteration.  The  time  will  soon  come 
when  factories  of  this  kind  will  have  to  be  multiplied, 
for  photographers  are  gradually  ceasing  to  prepare  their 
own  paper.  By  the  help  of  gelatine  plates  and  paper 
already  prepared  by  skilful  hands,  the  work  of  the  photo- 
grapher is  greatly  simplified.  Leon  Vidal. 


LIGHTNING  PRINTS  ON  THE  HUMAN  BODY, 

Mr.  George  Bruce  thus  writes  to  the  Berwickshire  News  : — It 
may  be  interesting  to  some  of  the  readers  of  the  News  to  know 
that  through  the  thoughtfulness  of  Mr.  Gunn,  chemist,  I secured  a 
well-defined  impression  of  the  “ lightning  print  ” found  on  the  arm 
of  his  son,  George  Gunn,  who,  along  with  other  three  boys,  was, 
as  reported  in  your  last  issue,  struck  by  the  electric  fluid.  So 
far  as  I am  aware,  it  would  seem  that  this  is  the  first  time  this 
remarkable  phenomenon  has  been  photographed,  and,  perhaps, 
when  the  picture  is  put  into  the  hands  of  one  of  our  eminent 
electricians,  the  photographic  image  may  elucidate  a point  which 


is,  at  present,  in  the  minds  of  many  people,  rather  hazy.  In 
relating  the  miraculous  escape  of  those  four  boys  made  from  a 
violent  death,  your  correspondent,  while  suggesting  the  popular 
idea  that  the  delicately  triced  figures,  so  very  like  fern  fronds, 
or  branches  of  trees,  are  caused  by  the  object  which  happen  to 
be  near  the  person  struck  by  lightning  being  printed  on  the 
surface  of  the  body,  does  not  identify  himself  with  this  theory. 
He  only  suggests  the  current  idea  that  the  marks  found  on  the 
necks  and  arms  of  the  boys  may  be  representations  of  a tree  not 
far  distant  from  where  they  were  standing.  Now,  while  it  is 
not  to  be  wondered  at  that  for  generations  this  has  been 
believed,  I for  one  am  not  prepared  to  accept  the  current  belief 
as  scientifically  correct.  The  first  objection  which  presents 
itself  to  my  mind  against  the  generally  accepted  opinion,  that 
the  floral  figures  impressed  upon  the  skin  are  photographic 
representations  of  surrounding  objects,  is,  that  the  photographic 
conditions  necessary  to  form  the  image  and  retain  it  are  entirely 
wanting,  namely,  a lens  and  a surface  made  sensitive  to  light. 
But,  assuming  that  a law  exists,  unknown  to  us,  by  which  the 
electric  fluid  in  passing  from  a thunder-cloud  to  the  earth  so 
rarefies  the  air  that,  as  in  the  case  of  the  mirage,  the  atmosphere, 
by  the  laws  of  reflection  and  refraction,  depicts  objects  as  clearly 
as  a photographic  lens;  and  further,  that  for  the  time  being 
the  surface  of  the  human  body  is  so  affected  as  to  become 
sensitive  to  light,  and  thus  prepared  to  receive  and  retain 
impressions  of  surrounding  scenery,  the  “ lightning  prints  ” 
under  these  circumstances  would  be,  I think,  different  from 
what  they  really  are.  The  floral  figures  which  were  so  vividly 
represented  on  the  bodies  of  the  boys  were  what  may  be  called 
positive  pictures,  namely  a dark  picture  on  a white  ground  ; 
whereas,  had  they  been  formed  by  the  chemical  and  optical 
laws  that  are  essential  to  the  formation  of  the  photographic 
shadow  of  a tree,  they  would  have  been  negative  pictures — that 
is,  a white  picture  on  a dark  ground.  There  are  other  objections 
that  might  be  mentioned,  such  as  the  position  of  the  tree 
referred  to  by  your  correspondent  in  relation  to  the  boys  who 
were  within  the  stable,  and  also,  that  while  the  “lightning 
prints”  were  clearly  defined,  there  were  no  impressions  visible 
from  the  clothes  they  wore.  I think,  however,  that  sufficient 
has  been  said  to  show  that  we  must  search  in  some  other  direction 
for  the  cause  of  these  mysterious  and  delicately  beautiful  forms, 
and,  thanks  to  the  researches  and  experiments  of  scientists,  the 
probable  explanation  is  not  far  to  seek. 

By  a simple  experiment,  a stream  of  sparks  discharged  from 
an  electrical  machine  can  be  broken  up  and  made  to  take  the 
exact  form  of  figure  found  on  the  arm  photographed.  Or  if  a 
charged  Leyden  jar  be  substituted  in  our  experiment,  and  a pane 
of  glass  be  interposed  between  the  knob  of  the  vessel  and  the 
discharging  tongs,  a perfect  breath  figure  of  the  discharge  is  seen 
on  eacn  side  of  the  glass  which  bears  a most  striking  resemblance 
to  a tree.  Knowing,  then,  that  under  certain  conditions  the 
sparks  from  an  electric  machine  may  be  made  to  take  the  form 
of  a brush,  a feather,  a fern,  or  a tree,  we  are,  I venture  to 
say,  compelled  to  come  to  the  conclusion  that  the  markings 
developed  on  the  necks  and  arms  of  our  young  friends  were 
caused  by  the  direct  action  of  the  electric  fluid,  paralyzing  the 
nervous  system,  and  causing,  for  a time,  congestion  in  the 
capillary  vessels,  and  therefore  redness,  wherever  the  tree-like 
sparks  touched  the  skin. 


ftotea. 

Our  work  “About  Photography  and  Photographers” 
will  be  published  next  month,  by  Messrs.  Piper  and  Carter. 


“The  Tourist  Photographer,”  a series  of  journies  with 
the  camera,  will  commence  next  week. 


Intending  exhibitors  at  the  Brussels  Exhibition  are 
reminded  that  the  forwarding  agents  in  London  are 
Messrs.  Flageollet  Brothers  and  Co.,  George  Yard, 
Aldermanbury,  who  will  receive  exhibits  up  to  the  20th  of 
this  month. 


424 


THE  PHOTOGRAPHIC  NEWS. 


[July  6,  1883. 


Dr.  Hermann  Vogel  sails  for  America  on  the  18th  inBtant, 
and  on  his  return  at  the  end  of  next  month  he  will  probably 
pass  a few  days  in  London. 

The  interior  of  the  Gaiety  Theatre  is  now  lit  by  in- 
candescent electric  lamps,  and  the  Criterion  will  be 
similarly  illuminated  when  it  opens  a few  weeks  hence. 
So  that  we  have  this  novel  and  delightful  means  of  illu- 
mination adopted  in  three  first-class  London  theatres. 

At  the  same  time,  one  must  not  argue  too  much  from 
this  progress  in  electric  illumination.  While  applications 
will  be  found  more  and  more  for  the  introduction  of 
electric  lighting,  gas  and  candles  will  probably  be  used  as 
much  as  ever  in  days  to  come.  As  it  is,  most  employers 
of  electricity  use  gas  to  generate  the  current;  while  at  the 
theatres  we  have  alluded  to,  gas  is  laid  on  throughout. 
As  many  an  ingenuous  admirer  of  the  incandescent  light 
has  remarked,  the  tiny  little  lamp  would  be  much  more 
convenient  if  only  there  were  no  battery  behind  it  ; and 
following  the  same  bent  of  thought,  we  may  observe  what 
a wonderful  thing  a candle  would  have  been,  that  you  can 
carry  about  lighted  in  your  hand,  if  it  had  beeu  but 
invented  after  the  electric  light.  Some  argue  in  the  same 
way  about  matches  that  light  only  on  the  box  ; if  these 
latter  had  been  first  introduced,  what  a wonder  must  have 
been  the  match  that  would  light  anywhere  ! 

Mr.  George  Bruce,  of  Duns,  sends  us  a most  interest- 
ing photograph  ; it  shows  the  imprint  made  by  lightning 
upon  a boy’s  arm.  Four  boys,  it  appears,  were  struck,  all 
of  whom  escaped  with  their  lives,  but  were,  nevertheless, 
marked  on  arms  and  neck  by  the  subtle  fluid.  The  im- 
print takes  the  form  of  a fine  sea-weed  design,  and  is  in 
red  on  the  boy’s  pink  flesh.  Professor  Tait,  of  the  Edin- 
burgh University,  deems  Mr.  Bruce’s  print  so  interesting, 
that  he  proposes  to  draw  the  attention  of  the  lloyal  Society 
to  it. 


The  non-existence  of  any  planet  in  between  the  sun  and 
Mercury  seems  now  to  have  been  definitely  established  by 
photography.  During  the  recent  eclipse,  when  the  sun 
was  obscured  for  nearly  six  minutes,  M.  Janssen  searched 
the  heavens  with  a camera  for  some  distance  around  the 
solar  orb.  Had  there  been  any  planet  in  the  neighbour- 
hood, this  would,  obviously,  have  been  lit  up  by  the  sun, 
and  accordingly  registered  itself  upon  the  sensitive  film. 
But  no  evidence  of  any  intra- Mercurial  body  was  to  be 
found  upon  the  photographic  plate. 

So  Caroline  Island  was  inhabited,  after  all.  Mr.  Wood’s 
description  of  the  landing,  how  the  flagstaff  upon  the  green 
island  was  bare  until  a gun  from  the  Americau  frigate  woke 
up  the  sleepy  inhabitants — eleven  in  all — and  how  the 
British  flag  was  run  up  in  response  to  the  salute,  and  loud 
“ hurrah  ” from  the  ship’s  company,  is  exceedingly  graphic, 
and  carries  the  reader  right  out  into  the  mid-Pacitic.  Nor 
are  the  doings  on  the  eventful  day  of  the  Eclipse  less  power- 
fully told,  as  our  readers  will  bear  testimony.  Work  and 
play  are  described  sq  well,  one  almost  feels  to  be  partici- 
pating in  it  all. 


The  correspondence  column  of  a semi-scientific  con- 
temporary has  the  following  : — “ I am  anxious  to  be  able  to 
take  photos,  of  buildings,  scenery,  persons,  and  various 
objects,  being  quite  up  to  chemistry  and  theory  of  photo- 
graphy, but  quite  unacquainted  with  practical  details.  Will 
be  much  obliged  if  any  reader  will  give  me  advice  as  to 
cameras,  plates,  books,  &c.  ; and  if  I can  get  good  instru- 
ments for  less  than  £2 ; and  if  I can  take  instantaneous 
photographs  with  same.”  It  is  to  be  hoped  this  enquirer 
will  not  get  hold  of  a catalogue  of  a first-class  maker,  or  he 
will  certainly  alter  his  ideas  about  photography,  so  far  as 
the  value  of  “good  instruments”  is  concerned.  He  may 
also  find  a difficulty  in  obtaining  a lens  which  is  equally 
good  at  “buildings,  scenery,  persons,  or  various  object!, ” 
at  all  events,  for  the  price  of  ten  shillings,  which  would 
seem  to  be  about  all  ho  is  prepared  to  give. 


Elephants  do  not  resemble  professional  beauties  : they  do 
not  like  being  photographed.  An  elephant  rejoicing  in 
the  name  of  Jumbo  II.,  belonging  to  Cross’s  Zoological 
Establishment  in  Liverpool,  was  a few  days  ago  put  under 
the  ordeal,  with  the  result  that  directly  he  caught  sight  of 
the  camera  he  rushed  at  it.  and  with  oue  blow  of  his  trunk 
smashed  it  to  atoms.  He  was  about  to  turn  his  attention 
to  the  unfortunate  photographer,  when  the  kseper  interposed 
and  stopped  furtbor  proceedings.  After  undergoing 
punishment,  Jumbo  II.  consented  to  “sit,”  and  the  operator 
succeeded,  after  some  trouble,  in  obtaining  a good  negative. 
Mem. — When  you  take  the  portrait  of  an  elephant,  always 
have  him  thrashed  first. 


The  heat  in  the  studio  during  the  past  few  days  has  been 
intense.  There  is  no  better  or  readier  way  of  cooling  the 
air  than  calico  stretched  on  light  wooden  frames  and  kept 
saturated  with  water.  If  placed  in  front  of  an  open 
window,  so  that  the  air  passes  through  the  wet  calico,  the 
temperature  of  the  interior  ■will  be  at  once  perceptibly 
lowered. 


Photographers  are  peculiar  in  the  facility  they  show  in 
re-discovering  old  discoveries,  and  in  the  zest  with  which 
they  re-dUcuss  matters  which  are  generally  supposed  to 
have  been  “ threshed  out.”  The  discussion  at  the  last 
social  meeting  of  the  Photographic  Society  savoured  some- 
what of  the  last.  The  notion  that  exposure  to  light 
increases  sensitiveness  is  as  old  as  anything  in  photo- 
graphy. In  the  “ System  of  Photography,”  published  in 
New  York  in  1849,  we  find  Messrs.  S.  D.  Humphrey  and 
M.  Finley  writing  thus  : “ It  is  a fact  not  generally  known 
that  a plate  coated  in  a light  chemical  room  is  more  sensi- 
tive than  when  coated  in  darkness.  By  admitting  a free, 
uniform  light,  and  exposing  the  plate  to  it  a few  seconds 
after  coating,  then  timing  short  in  the  camera,  a very 
light,  clear  impression  is  obtained  ; the  time  in  the  camera 
is  reduced  in  proportion  to  the  previous  action  of  light. 
I'he  shades,  of  course,  are  destroyed,  and  the  tone  injured  ; 
still,  for  taking  children,  we  have  succeeded  better  by  this 
method  than  by  the  use  of  ‘sensitizers.’”  This  referred 
to  Daguerreotypes ; but  the  subject  has  been  discussed 
many  times  in  reference  to  collodion,  and  it  reads  oddly  to 


Jci-T  6,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


425 


have  the  question  brought  up  again  in  connection  with 
gelatine  plates,  aud  in  the  month  of  June,  when  over- 
sensitiveness,  rather  than  the  want,  is  to  be  expected. 


A German  engineer,  Herr  Schumaun,  has  obtained  some 
results  interesting  to  photographers,  with  a newly  con- 
structed photo-spectroscopic  apparatus.  The  prisms  of  the 
instrument  are  fashioned  of  rock-crystal  and  calcareous  spar, 
and  with  these  he  has  examined  the  action  of  light  upon 
bromo-iodide  of  silver.  Herr  Schumann  has  found  that  in 
certain  circumstances  bromo-iodide  of  silver  possesses  a 
greater  sensitiveness  for  colour  than  pure  bromide  of  silver, 
and  he  asserts  also  that  the  two  maxima  of  sensitiveness 
discovered  by  Abney  disappear  altogether  when  the 
mixed  iodide  and  bromide  of  silver  is  subjected  to  digestion. 
Schumann  is  undertaking  further  experiments  in  the  same 
direction. 


Auctioneers  and  estate  agents  might  make  a much 
more  extensive  use  of  photography  than  at  present  ; still, 
they  are  beginning  to  appreciate  the  advantages  of  a very 
obvious  means  of  placing  reliable  details  before  intending 
purchasers.  Only  a couple  of  days  ago  we  saw  the  con- 
ditions of  sale  of  the  VVeybread  Lodge  Estate,  in  Suffolk, 
and  a well-executed  cabinet  photograph  was  mounted  on  a 
place  left  for  the  purpose  by  the  printer. 


A very  perfect  electric  lighting  system  has  been  fitted  up 
at  the  new  Parkeston  Quay  Station,  and  Hotel  of  the  Great 
Eastern  Company  ; arc  lights  are  driven  direct  from  the 
dynamos,  while  Swan’s  incandescent  lamps  are  actuated  by 
secondary  batteries  which  have  been  charged  during  the  day 
time.  At  the  time  of  our  visit  on  Saturday  afternoon  last, 
the  engines  were  still,  the  attendant  telling  us  that  he  had 
run  the  machine  for  four  hours  that  day,  aod  stored  up  a 
sufficient  charge  to  keep  250  Swan  lamps  in  action  for  more 
than  seven  hours.  As  he  lighted  up  the  station  and  hotel 
by  turning  on  a few  switches,  he  remarked,  “ I have  only 
39  cells  of  the  battery  in  circuit  now,  but  after  three  or  four 
hours  working  I shall  add  a few  more ; but  I do  not  often  find 
it  necessary  to  use  the  full  set  of  55.” 


A good  deal  depends  upon  Mr.  Justice  Field's  judgment 
in  the  case  of  Nottage  i>.  J.  H.  Jackson,  one  of  the  points 
being  of  especial  interest  to  photographers.  We  mean  the 
question  as  to  whom  belongs  the  copyright  of  a portrait 
negative  if  an  assistant  takes  it  unaided  in  any  way  by  the 
principal.  The  Copyright  Act,  it  is  argued,  contemplates  a 
personal  authorship,  for  the  copyright  is  to  continue  in 
force  for  a certain  time  after  the  author’s  death.  Although 
the  Judge  decided  for  the  defendant,  it  is  a matter  con- 
cerning which  much  may  be  said  on  both  sides. 


The  Photographic  Society  is  bent  upon  following  the 
example  of  the  French  Society  in  having  occasional  lantern 
demonstrations  at  the  annual  Pall  Mall  Exhibition.  As 
we  have  witnessed  the  lantern  demonstrations  in  Paris, 
it  may  be  well  to  mention  how  they  are  managed.  Au 
announcement  is  put  up  in  the  exhibition  gallery  of  the 


times  when  pictures  in  the  lantern  will  be  shown,  and  the 
display  does  not  take  place  in  the  gallery  itself,  but  in  a 
special  apartment  darkened  for  the  purpose.  Thu3  the 
entertainment  can  be  given  just  as  well  by  day  as  by 
night,  and  daes  not  interfere  with  the  enjoyment  of 
other  visitors  who  may  prefer  to  occupy  themselves  in 
the  gallery.  In  Paris,  the  lantern  display  lasted  a brief 
half-hour — the  brevity  of  the  period  was  a great  element 
of  success — and  considerable  tact  was  shown  in  the 
selection  of  good  subjects  and  good  slides. 


Personally,  we  were  well  pleased  with  the  Paris  lantern 
entertainment ; but,  at  the  same  time,  there  is  no  denying 
the  fact  that,  unless  the  affair  is  managed  well,  it  may 
easily  descend  to  a mediocre  level.  Moreover,  a lantern 
display — unless  conducted  on  a really  graud  scale — should 
not  be  permitted  to  interfere  with  the  main  object  of  the 
Exhibition,  which  is  to  allow  the  public  to  seethe  pictures 
on  the  walls.  By  making  it  a mere  aljunct,  success 
would  possibly  attend  it ; but  it  must  only  be  as  an 
adjunct,  and  nothing  more. 


At  the  Physical  Society,  which  meets  within  the 
charmed  circle  of  South  Kensington,  there  is  a growing 
tendency  towards  an  almost  fastidious  exactness  of  verbal 
expression.  Hence,  when  Professor  Hughes  referred  to 
Ampere’s  theory  of  magnetism  as  a “ higgledy-piggledy  ’’ 
arrangement,  no  less  than  five  members  rose  to  their  feet, 
and,  in  the  most  ingenuous  manner,  enquired  the  meaning 
of  the  expression.  Still,  it  is  scarcely  worth  while  for  us 
to  reproduce  Professor  Guthrie’s  flue  distinction  between 
“higgledy  ” and  “ piggledy.” 


“ When  you  buy  patent  plate,  be  sure  that  you  get  it.” 
The  advice  is  very  good ; but  those  who  purchase  this 
expensive  article,  whether  for  enlarging,  copying,  collo- 
type, or  other  special  work,  are  often  not  in  a position  to 
judge  until  it  is  too  late.  Therefore,  the  ready  test  in 
general  use  in  the  trade  for  telling  a piece  of  patent  plate 
from  ordinary  glass,  may  well  be  borne  in  mind.  Hold 
the  glass  plate  in  your  hand,  and  look  down  upon  it  at  any 
reflection  of  straight  lines — the  lines  of  a studio  roof  is  a 
capital  test.  The  lines  should  appear  reflected  on  the 
glass  surface  as  straight  as  they  are  in  reality ; if  the 
markings  are  wave-like,  then  the  glass  is  not  patent 
plate. 


Herr  Ernst  Wolfram,  in  the  Ztituvi 7,  advocates  the  em- 
ployment of  metallic  lead  for  tetouching  instead  of  graphite. 
A lead  point  presents  several  advantages,  he  says,  among 
them  being  that  the  retouching  may  be  done  more  quickly, 
while  the  pencil  doe9  not  crumble  uor  break  off.  Again, 
there  are  no  dust  particles,  as  in  graphite,  to  rub  away,  and 
therefore  the  retouching  work  upon  the  negative  is  more 
permanent.  Seme  preparation  of  the  film  is,  however, 
necessary  before  retouching  with  metallic  had,  such  as 
coating  the  negative  with  hard  varnish,  and  rubbing  the 
surfaces  to  be  retouched  to  render  them  matt. 


426 


THE  PHOTOGRAPHIC  NEWS 


[Jvtr  6,  1883. 


§ attnt  Jutdligntrc. 

Patent3  Granted  in  Sweden. 

353.  G.  Meisenbach,  for  “ Photographic  printing-plates,  &c.’’ — 
Dated  3rd  October,  1882. 

412.  L.  H.  Philippi,  for  “ Apparatus  for  obtaining  photographs 
on  metal.” — Dated  28th  November,  1882. 

Patents  Granted  in  Austria-Hungary. 

G.  Meisenbach,  of  Munich,  for  “ Photographic  plaques  for  relievo 
and  intaglio  negatives,  &c.” — Dated  9th  February,  1883. 

Patents  Granted  in  Germany. 

23,138.  T.  Kotteritzsch,  of  Pappendorf,  near  Hainichen,  for 
“ Continuous  regeneration  of  photographic  oxalate  developers.” 
Dated  17th  September,  1882.  Class  61. 

Patent  Granted  in  United  States. 

278,788.  Mathias  Flammang,  of  Newark,  N.J.,  for  “ A photo- 
graphic camera.” — Application  filed  26th  March,  1883.  No 
model. 


ON  THE  CAUSE  OF  THE  GREAT  SENSITIVENESS 

OF  GELATINE  EMULSION  AS  COMPARED 
WITH  COLLODION  EMULSION. 

BY  II.  \V.  VOGEL. 

Under  nearly  the  same  title  as  above,  Mr.  II.  Farmer 
recently  published  a paper,  and  as  I have  worked  upon 
the  same  subject  during  some  years  with  definite  results, 
and  have  already  published  details  in  the  Photographic 
News  about  a year  ago,  I beg  to  give  some  remarks  on 
Mr.  Farmer’s  suggestion.  I proved  by  many  experiments 
that  there  is  a very  marked  difference  between  the  silver 
bromide  precipitated  in  collodion,  and  that  precipitated  in 
gelatine,  as  regards  their  behaviour  under  the  solar  spec- 
trum ; the  first  (precipitated  iu  collodion)  has  its  maximum 
of  sensitiveness  in  the  indigo  (average  wave  length  430), 
while  the  second  (precipitated  in  gelatine)  has  its  maximum 
in  the  blue  (wave  length  450).  I pointed  out,  further, 
that  the  ripened  and  unripened  silver  bromide  has  the 
game  spectroscopical  behaviour — that  is  to  say,  the  point  of 
maximum  is  the  same  with  both.  I proved  by  experiments 
that  this  behaviour  does  not  depend  upon  the  physical 
character  of  the  two  vehicles.  I prepared  for  this  purpose 
collodio-gelatine  emulsion,  at  first  with  collodion  emulsion 
by  mixing  it  with  gelatine  dissolved  in  glacial  acetic  acid, 
and  in  the  second  place  with  gelatine  emulsion  made  with 
the  same  solvent  and  mixed  afterwards  with  collodioD. 
Here  the  vehicle  was  the  same  in  both  cases,  and,  in  spite 
of  that,  there  was  the  very  marked  above-mentioned 
spectroscopical  difference. 

I have  also  emulsified  bromide  of  silver  precipitated  in 
gelatine  emulsion,  with  collodion,  and  have  found  no  change 
in  the  spectroscopical  behaviour.  Therefore  I came  to  the 
conclusion  that  there  are  two  different  modifications  of 
silver  bromide,  called  by  me,  after  the  point  of  spectro- 
scopical maximum,  the  blue-sensitive  and  the  indigo-seusi- 
tive  bromide  of  silver  ; and  that  the  different  qualities  of 
silver  bromide  formed  in  gelatine  and  in  collodion  are  not 
due  to  the  different  physical  characteristics  of  the  two 
vehicles,  as  Mr.  Farmer  asserts.  I acknowledge  that  there 
is  an  influence  of  the  vehicle,  but  not  one  which  could 
change  the  general  character  of  the  different  modifications. 
More  than  that,  I observed  that  it  is  possible  to  form  the 
two  different  modifications  of  silver  bromide  without  the 
aid  of  any  vehicle,  and  I stated  that  the  blue-sensitive 
silver  bromide  is  formed  by  precipitating  silver  bromide 
in  aqueous  solutions,  and  indigo-sensitive  silver  bromide 
is  formed  by  precipitating  it  in  strong  alcoholic  solutions. 

But  some  one  may  say  that  the  spectroscopical  difference 
between  the  two  alleged  modifications  of  silver  bromide  is 
not  sufficient  characteristically.  Well,  then,  I beg  to 
answer  that  there  are  other  much  more  marked  differences 
between  the  two  modifications — differences  which  partly  are 


already  observed,  and  also  pointed  out  by  Mr.  Farmer  • 
for  example,  that  the  sensitiveness  of  the  blue-sensitive' 
bromide  of  silver  is  very  much  increased  by  heat  ; the 
sensitiveness  of  the  indigo-sensitive  bromide  not,  or,  ac- 
cording to  Mr.  Farmer,  only  a little.  I will  give  here  the 
other  different  qualities  of  the  two  kinds  of  bromide  of 
silver  observed  by  me,  and  I think  they  are  sufficient  to 
prove  that  these  two  modifications  really  exist.  These 
different  qualities  are — 

1.  The  Unequal  Capability  of  Diffusion  of  the  two  Bromides. 
— Let  us  suppose  the  case  of  a bromide  precipitated  by 
mixing  a solution  of  3 gins,  of  ammonium  bromide  in 
100  c.c.  of  strong  alcohol,  with  5 gms.  of  silver  nitrate  in 
10  gms.  of  weak  alcohol,  and  compare  it  with  a silver 
bromide  precipitated  under  similar  conditions  from  aqueous 
solutions.  In  each  case  we  obtain  coarse  granular  masses  ; 
but  on  adding  them  to  collodion  on  the  one  hand,  and  to 
gelatine  on  the  other  hand,  it  will  be  found  that  the  bro- 
mide which  was  precipitated  from  alcohol  refuses  to 
thoroughly  diffuse  itself  in  the  gelatinous  solution  ; while 
the  silver  bromide  which  was  precipitated  from  water  fails 
to  diffuse  itself  pecfectly  through  collodion. 

2.  Unequal  Deducibility  of  the  two  Bromides.  -The  blue 
sensitive  bromide  is  reduced  to  the  metallic  state  with 
much  more  difficulty  than  the  indigo-sensitive  modifica- 
tion. If  collodio-bromide  plates  are  treated  on  the  one 
hand,  and  gelatino-broraide  plates  on  the  other  hand,  with 
a chemical  or  alkaline  developer,  the  former  darkens  much 
more  rapidly  than  the  latter.  Hence  it  becomes  possible 
to  make  use  of  much  more  powerful  developers  for  gelatine 
plates  than  for  collodion  plates.  That  this  greater  reduci- 
bility  of  the  indigo -sensitive  bromide  is  really  due  to  an 
integral  difference,  and  not  to  the  greater  porosity  of  the 
collodion  film,  U proved  by  the  circumstance  that  the 
bromide  of  the  collodio-gelatiue  emulsion  is  reduced  with 
the  same  difficulty  as  the  corresponding  bromide  in  pure 
gelatine.  Another  conclusive  experiment  is  to  coat  a 
collodio-bromide  plate  with  gelatine,  and  expose  it  after 
drying  ; this  plate  is  much  quicker  developed  with  the 
strong  alkaline  developer  than  a gelatine  plate,  and  with- 
out fogging,  the  gelatine  coating  increasing  the  sensitive- 
ness a little  ; but  in  general,  it  is  far  inferior  to  a gelatino- 
bromide  plate.  The  latter  develops  much  slower,  but 
gives  much  more  detail  in  the  shadows. 

3.  1 he  Unlike  Behaviour  with  Chemical  and  Optical  Seusi- 
tisers. — My  experiments  prove  that  the  action  of  these 
agents  is  far  more  energetic  iu  the  case  of  the  indigo- 
sensitive  bromide. 

4.  Behaviour  of  the  Bromides  with  the  Developer.— The 
exposed  blue-sensitive  silver  bromide  is  at  least  twenty- 
five  times  more  sensitive  in  relation  to  chemical  develop- 
ment, than  in  relation  to  physical  development ; while  in 
the  case  of  the  indigo-sensitive  bromide,  this  condition  of 
things  is  so  far  modified  that  the  compound  is  at  most  not 
more  than  three  times  as  sensitive  when  subjected  to 
chemical  development,  as  when  subjected  to  physical  deve- 
lopment. The  blue-sensitive  bromide  and  the  indigo- 
sensitive  bromide  are  approximately  equal  as  regards 
sensitiveness  when  the  development  is  physical,  but  widely 
different  when  the  development  is  chemical. 

5.  Different  Behaviour  when  Heated. — Blue-sensitive  bro- 
mide, when  prepared  with  an  excess  of  alkaline  bromide, 
is  made  much  more  sensitive  when  heated  under  water ; 
but  the  iudigo-sensitive  bromide  either  increases  in  sensi- 
tiveness a very  little,  or  not  at  all  ; or,  according  to  Mr. 
Farmer,  only  a little.  I thiuk  that  these  different  quali- 
ties, which  are  very  marked,  are  sufficient  to  prove  that 
there  are  two  modifications  of  silver  bromide,  and  that  the 
existence  of  these  two  modifications  is  the  cause  of  the 
different  sensitiveness  of  the  gelatine  and  collodion  emul- 
sions. 

The  essential  feature  of  the  action  of  light  is  the  com- 
mencement of  a reducing  action,  and  one  would  from  this 


I 


Jult  6,  1883.| 


THE  PHOTOGRAPHIC  NEWS. 


427 


naturally  conclude  that  the  moat  easily  reduced  body— viz., 
the  indigo-sensitive  bromide — would  prove  in  actual  prac- 
tice to  be  the  most  sensitive.  This,  however,  is  not  the 
case,  as  the  sensitiveness  depends  rather  on  the  relative 
power  of  the  two  isomeric  bodies  to  absorb  light.  In  the 
case  of  the  blue-sensitive  modification,  this  absorptive 
power  is  much  greater  than  in  the  case  of  the  indigo- 
sensitive  modification. 


ON  HYDROKINONE  AS  A DEVELOPER. 

BY  EDWIN  BANKS.* 

In  response  to  a request  from  the  Hon.  Secretary  that  I should 
read  a p iper  before  you  this  evening,  I thought  that  the  subject 
of  development  and  developers,  with  a short  account  of  the 
newest  addition  to  the  list — namely,  hydrokinone — would  per- 
haps be  of  some  interest.  The  theory  of  processes  and  formulae 
for  obtaining  sensitiveness  and  vigour  in  sensitive  plates  has 
been  discussed  over  and  over  again  for  years  past,  and  still 
remains  as  open  to  discussion  as  ever.  Every  process  in  photo- 
graphy is  capable  of  many  variations,  each  one  of  which  will 
produce  good  or  bad  results  according  to  the  skill  or  practice  of 
the  operator,  and  what  one  person  succeeds  with,  another  is  apt 
to  condemn  as  useless. 

The  subject  of  development,  however,  has  not  proved  capa- 
ble of  so  many  variations  as  other  parts  of  the  routine  in  pro- 
ducing a picture.  The  number  of  developers  in  use  is  also 
very  limited.  Until  about  six  years  ago  we  only  had  two  that 
were  available  in  negative  work — namely,  ferrous  sulphate  and 
pyrogallic  acid.  The  iron  developer,  made  acid  with  acetic  acid, 
was  employed  in  wet  plate,  and  pyrogallic  acid  principally  for  the 
various  dry  processes.  Sulphate  of  iron  development  underwent 
very  little  change  during  its  whole  history.  The  formula  recom- 
mended thirty  years  ago,  although  repeatedly  modified  by  the 
addition  of  various  organic  substances,  still  stands  as  the  best  in 
the  wet  process  at  the  present  day.  Pyrogallic  acid,  however, 
has  had  many  changes.  Originally  employed  as  the  developer 
for  negatives  with  a bath,  it  gave  way  to  the  more  energetic 
sulphate  of  iron,  took  second  rank,  and  was  used  as  an  intensi- 
fier  or  re-developer.  In  all  dry  processes  it  always  held  its 
place,  its  organic  constitution  rendering  it  better  capable  of 
developing  a dried  film  than  iron  proved  to  be.  Most  of  you 
will  remember  the  impetus  given  to  dry-plate  photography  by 
the  discovery  that  an  alkaline  solution  of  pyro  would  develop  a 
dry  plate  far  more  energetically  than  would  an  acid  solution  with 
silver.  It  was  from  this  period  that  dry  processes  began  to 
advance  into  the  rank  of  practical  utility,  until,  by  the  accumu- 
lated researches  of  so  many  minds,  they  have  advanced  to  their 
present  prominent  position.  If  it  had  not  been  for  this  varia- 
tion in  the  method  of  development,  all  our  modern  processes 
would  have  been  unknown  ; and,  in  all  probability,  fuither 
advances  in  the  science  will  be  brought  about  by  researches  in 
the  same  direction.  There  is  in  development  and  developers  an 
almost  unlimited  field  for  investigation. 

About  six  years  ago  Mr.  M.  Carey  Lea  published  a series  of 
papers  on  new  modes  of  development,  and  announced  the  dis- 
covery of  the  developing  power  of  ferrous  oxalate  when  held  in 
solution  by  oxalate  of  potash  upon  films  containing  no  free  silver 
— that  is  to  say,  development  took  place  at  the  expense  of  the 
film  itself,  and  not  by  precipitation  upon  its  surface.  Most  of 
you  have  employed  this  developer,  and  are  familiar  enough  with 
its  valuable  properties  ; and  for  many  purposes  it  still  holds  first 
rank.  In  the  same  paper  Mr.  Lea  gives  the  result  of  a great 
many  experiments  with  a large  variety  of  organic  substances, 
which,  from  their  chemical  constitution,  might  be  regarded  as 
possible  developers.  It  is  a communication  full  of  interest,  and 
suggests  many  directions  for  research,  and  it  is  unfortunate  that 
more  attention  is  not  given  to  improvements  in  using  and  varia- 
tion in  the  substances  employed  for  development.  That  the 
possible  developers  are  extremely  numerous  will  be  seen  at  once 
by  referring  to  the  experiments  of  Mr.  Lea,  to  which  1 have  re- 
ferred. All  the  experiments  were  tried  upon  paper  prepared 
with  iodide,  bromide,  and  chloride  of  silver,  washed  free  from 
all  trace  of  nitrate. 

For  the  benefit  of  those  present  who  cannot  conveniently  refer 
to  the  article,  I will  mention  briefly  a few  of  them  which  were 
successful  in  giving  a vigorous  development,  and  which  seemed 
worthy  of  further  experiment.  Ferrous  oxalate  is  well  known, 

* Read  before  the  Liverpool  Amateur  Photographic  Association. 


and  also  Captain  Abney’s  modification  of  it,  when  dissolved  in 
citrate  instead  of  oxalate  of  potash  ; but  almost  any  organic 
acid  saturated  with  a ferrous  oxide  will  develop  an  image, 
especially  the  lactate,  salicylate,  and  succinate.  Amongst  the 
glucosides,  sugars,  and  resins,  many  were  found  capable  of  giving 
very  promising  development,  especially  guiacum,  which,  dis- 
solved with  an  alkali,  gave  development  no  far  inferior  to  pyro- 
gallic. 

Everyone  knows  that  a developer  which  is  eminently  suited 
for  one  process,  is  not  adapted  to  another.  Pyro  and  ammonia 
succeed  well  with  gelatino-bromide  dry  plates,  but  is  unsuited 
for  gelatino-bromide  paper.  Where  one  developer  begins  to  fail, 
another  steps  in  and  supplies  the  deficiency  ; hence  my  reason 
for  drawing  attention  to  the  wide  field  open  for  research  for  those 
who  have  time,  inclination,  and — most  important  of  all — patience. 
In  the  numerous  applications  to  which  photography  is  applied, 
every  variety  of  developer  would  readily  find  its  appropriate 
sphere  of  usefulness. 

The  latest,  and  what  bids  fair  to  be,  peihaps,  the  most  useful 
addition  to  our  developers,  is  the  more  immediate  subject  of  this 
paper.  Hydroquinone,  or  hydrokinone,  or  quinol— for  it  is 
known  by  all  these  names — partakes  very  much  of  the  nature  of, 
and  is  closely  allied  to,  pyrogallol.  Like  pyrogallol,  it  is  a deriva- 
tive of  benzine.  The  solution  of  it  is  neutral  to  litmus  paper. 
It  has  a powerful  attraction  for  oxygen,  absorbing  it,  when  dis- 
solved in  water  from  the  atmosphere,  and  more  rapidly  when 
rendered  alkaline,  though  in  neither  case  does  it  do  so  as  rapidly 
as  pyro  ; hence  its  solution  will  k;ep  better,  and,  when  mixed 
with  alkali,  retain  its  developing  power  a longer  time  than  pyro. 
The  chemical  formula  is  also  very  similar.  Pyrogallol  has 
C6H:i(OH):1,  and  quinol  C6,H4  (0H)2 ; so  that,  it  will  be 
observed,  whilst  each  contains  six  atoms  of  carbon  and  six  atoms 
of  hydrogen,  which  is  the  composition  of  benzine,  pyrogallic 
contains  three  atoms  of  oxygen,  and  quinol  only  two.  Another 
resemblance  to  pyro  consists  in  the  fact  that  both  exist  in 
nature  in  certain  vegetable  productions ; pyro.  exists  as  gallic 
acid  in  gall-nuts  and  oak  bark,  and  quinol  as  arbutive  in  the 
leaves  of  the  arbutus,  or  bearberry,  and  other  Ericaciie. 

Commercially,  quinol  is  made  from  aniline  and  from  carbolic 
acid,  both  also  benzine  derivatives.  It  i3  first  obtained  as 
quinone  (C61I402)  by  the  oxidation  of  aniline.  One  part  of 
aniline  is  dissolved  in  eight  parts  of  sulphuric  acid  diluted  with 
twice  its  bulk  of  water.  After  cooling,  a saturated  solution  of 
two  and  a-half  parts  of  bichromate  of  potassium  is  added  very 
gradually  to  avoid  too  great  rise  in  temperature.  At  first  a thick, 
pulpy  mass  of  aniline  black  is  formed,  the  reaction  being  the 
same  as  that  which  takes  place  in  the  aniline  printing  process. 
This  shortly  changes  to  a dirty-brown  solution.  It  is  then 
tieated  with  sulphurous  acid  in  excess,  when  quinol  or  hydro- 
kinone is  formed.  This  is  extracted  from  a solution  by  ether, 
and  on  evaporation  crude  quinol  is  left.  Other  methods  are 
given,  but  sufficient  has  been  said  to  give  an  idea  of  its  nature. 
Its  characteristics  as  a developer  is  what  possesses  the  most 
interest  to  photographers. 

Captain  Abney,  who,  I believe,  was  the  first  in  this  country  to 
draw  attention  to  its  developing  power,  says  that  it  is  twice  as 
powerful  as  pyro.  It  is  very  certain  that  it  will  bring  out  a 
fully-developed  picture  with  at  least  half  the  exposure  neces- 
sary when  pyro  is  employed.  At  first  sight  this  appears  strange 
when  it  is  observed  how  much  more  powerfully  pyro  absorbs 
oxygen  ; but  the  explanation  probably  is  in  the  fact  that  hydro- 
kinone is  more  gradual  in  its  action,  and  has  a more  “ selective  ’’ 
power  than  pyro.  With  a collodio-bromide  film,  for  instance, 
which  is  not  so  much  protected  from  chemical  action  as  a gela- 
tine one,  pyrogallic  acts  with  such  energy,  when  mixed  with  an 
alkali,  that  the  whole  film  is  reduced  immediately,  and  no 
image,  or  only  a faint  one  enveloped  in  fog,  appears  ; hence  there 
must  be  used  a powerful  restrainer  to  keep  this  action  within 
bounds.  A soluble  bromide  which  is  usually  used  has  this 
effect,  but,  unfortunately,  at  the  same  time,  partially  undoes  the 
work  which  the  light  has  done,  rendering  it  necessary  to  give 
longer  exposure.  But  with  hydrokinone  no  restrainer  is  neces- 
sary unless  a great  error  in  exposure  has  been  made.  It  does 
its  work  rapidly  and  clean,  in  this  resembling  the  ferrous 
oxalate  ; it  does  not  discolour  during  development  so  much  as 
pyro,  and  consequently  does  not  stain  the  film  so  much,  whilst 
full  printing  vigour  is  very  easily  obtained  without  having  to 
resort  to  intensification.  The  colour  and  general  appearance  of 
the  negative  also  is  more  like  the  wet-plate  process,  since  the 
shadows  remain  so  clear  and  free  from  fog.  It  seems  almost 
impossible  to  fog  a plate  with  it. 


428 


THE  PHOTOGRAPHIC  NEWS. 


[Jury  6,  1883. 


A collodio-bromide,  or  even  a collodio-chloride,  plate  exposed 
in  the  camera,  will  develop  clean  and  rapidly  without  any  re- 
strainer. This  property  of  developing  a chloride  is  very  sur- 
prising, and  will  probably  be  very  important.  I have  tided  a 
collodion  containing  all  chloride,  with  no  trace  of  iodide  or  bro- 
mide or  of  free  silver,  and  in  the  camera  it  is  nearly,  if  not  quite, 
as  rapid  as  a bromide  when  developed  with  hydrokinone  and  an 
alkali  ; whilst  I think  it  has  the  advantage  in  roundness  and 
vigour.  One  grain  to  the  ounce  is  strong  enough  for  most 
purposes.  With  some  samples  of  hard  gelatine  it  is  advisable  to 
use  two  ; but  with  most  kinds  and  with  collodion,  one  grain  is 
quite  sufficient.  I prefer  using  it  with  a saturated  solution  of 
washing  soda  as  an  alkali.  Two  or  three  drops  of  this  to  the 
ounce  of  solution  of  hydrokinone  rapidly  develops  the  image, 
and  the  addition  of  a few  drops  more  to  complete  development 
is  all  that  is  needed.  A soluble  bromide  acts  very  powerfully  as 
a retarder  and  restrainer.  With  a mere  trace  added,  develop- 
ment is  very  much  slower. 

Although  its  cost  per  ounce  is  greater  than  pyro,  an  ounce  of 
it  will  go  as  far  as  two  of  pyro,  so  the  difference  is  not  so  much 
as  it  appears.  No  doubt,  if  a demand  sprung  up  for  it,  the  price 
would  also  be  reduced  considerably.  Many  of  you,  I daresay . 
can  remember  the  time  when  pyro  was  seven  shillings  and  six- 
pence per  ounce,  and  hypo  two  shillings  per  pound  ; but  greater 
consumption,  and  consequent  demand  for  them,  soon  brought 
these  prices  down.  The  same  will  doubtless  take  place  when 
the  value  of  hydrokinone  becomes  recognized. 

I must  not  omit  to  mention,  before  concluding,  another  useful 
property  of  this  developer — that  is,  its  suitability  for  developing 
on  paper  either  a bromide  or  a chloride  film,  whether  it  be  pro- 
duced by  an  emulsion,  or  by  the  older  method  of  first  brushing 
over  the  paper  the  haloid,  and  afterwards  the  silver.  The  clear - 
nesss  with  which  it  works  renders  it  very  suitable  for  this  pur- 
pose, and  for  enlargement  or  printing  enables  pictures  to  be 
obtained  with  very  short  exposures. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  XL— Transferring,  Proving,  and  Printing. 
Having  now  some  acquaintance  with  the  principles  and 
requirements  of  lithographic  printing,  we  may  proceed  to 
the  practical  operations  of  “transferring”  or  putting  down 
our  photo-transier  print  on  stone  or  zinc,  proving,  and 
printing  it. 

Transferring  to  Stone  or  Zinc. — Before  transferring,  the 
photo-transfer  prints  must  be  slightly  damped,  in  order  to 
soften  the  gelatine  underlying  the  inked  lines  and  facilitate 
the  adhesion  of  the  ink  to  the  dry  stone  or  zinc,  and  its 
complete  separation  from  the  paper. 

The  first  requirement,  therefore,  is  a “ damping  book  ” 
made  of  about  twenty  sheets  of  thick  plate  paper,  rather 
larger  than  the  largest  size  of  transfer.  The  damping  is 
effected  by  wetting  every  alternate  sheet  with  a sponge, 
and  laying  the  wet  and  dry  sheets  in  a pile  under  pressure 
till  all  are  uniformly  damped,  and  the  moisture  evenly 
distributed  throughout  the  whole.  It  is  recommended  to 
add  a little  carbolic  acid  to  the  water  used  for  damping,  in 
order  to  prevent  mildew. 

The  damping  book  should  be  kept  between  two  zinc 
plates  or  flat  wooden  boards,  to  reduce  evaporation,  and 
if  at  the  end  of  a day’s  work  a wet  sponge  be  passed  here 
and  there  between  the  leaves,  it  will  be  ready  for  use  next 
day. 

The  method  of  transferring  is  exactly  the  same  for  stone 
or  zinc. 

The  photo-transfer  prints  being  trimmed  and,  if 
necessary,  joined,  as  described  in  Chap.  VII.,  are  laid  in 
the  damping  book  and  allowed  to  remain  a short  time, 
during  which  the  stone  or  zinc  plate,  previously  slightly 
warmed,  is  placed  on  the  press  and  wiped  with  a clean 
dry  cloth,  kept  specially  for  the  purpose,  to  remove  any 
remains  of  graining-saud  or  dust.  Two  or  three  sheets  of 


clean  thin  proof  paper  and  the  backing  are  laid  over  it, 
and  it  is  passed  through  the  press  once  or  twice  till  the 
pressure  is  properly  regulated. 

When  working  with  stone,  it  is  important  to  have  a 
level  stone,  and  a level  close-fitting  scraper ; less  pressure 
is  required  to  make  a transfer,  the  effect  is  more  uniform, 
and  there  is  less  danger  of  the  lines  spreading.  The 
levelling  of  the  stone  is  tested  by  adjusting  the  scraper  to 
give  a light  pressure  at  one  end  ; it  is  then  tried  in  the 
middle  aud  at  the  other  end,  and  if  the  pressure  is  found 
to  be  fairly  equal  all  over,  nothing  more  is  required.  If  a 
deficiency  is  found  at  either  end,  slips  of  paper,  torn  so  as 
to  form  a feather  edge,  are  carefully  packed  under  the  end 
of  the  stone  till  the  pressure  is  equalised. 

The  scraper  edge  should  feel  the  stone  all  along,  and  if 
it  does  not  do  so,  should  be  rubbed  with  a piece  of  glass- 
paper  or  a fine  file. 

Before  laying  down  a transfer,  the  position  it  is  to  occupy 
should  be  marked  on  the  stone  or  zinc  with  a pencil.  This 
is  particularly  necessary  if  several  transfers  have  to  be  laid 
together  and  printed  on  a single  sheet,  either  to  be  folded 
into  consecutive  pages,  or  be  cut  up  afterwards  into  sepa- 
rate sheets.  The  positions  may  be  readily  found  by  taking 
a sheet  of  paper  of  the  required  size,  and  carefully  folding  it 
into  2,  4,  8,  12,  10,  or  as  the  case  may  be  ; and  if  it  is 
desired  to  print  on  both  sides  of  the  paper,  the  pages  may 
be  numbered  consecutively.  On  opening  out  the  sheet, 
the  proper  arrangement  of  the  pages  for  both  sides  of  the 
paper  will  be  seen  at  once.  The  appropriate  transfer  print 
for  each  page  is  then  fastened  in  its  place  on  the  marked 
sheet,  and  the  whole  transferred  at  once.  For  work  on  both 
sides  of  the  paper,  two  sheets  will  of  course  be  required, 
one  for  each  side. 

When  the  transfer  is  sufficiently  damp  (it  should  only  be 
just  limp),  it  is  removed  from  the  damping  book,  and  laid 
gently  in  its  place  on  the  stone  or  zinc,  which  should  be 
just  milk- warm.  A sheet  of  clean  damp  paper  is  laid  over 
it,  and  over  that  a sheet  or  two  of  dry  paper,  covered  by  the 
backing  sheets,  or,  preferably,  a piece  of  fine  printer’s 
blanketing.  The  tympan  is  lowered,  and  the  transfer  is 
then  passed  through  the  press  once,  which,  if  the  photo- 
transfer  print  is  fresh,  should  be  sufficient.  The  tympan 
is  raised,  the  backing  sheets  or  blanketing  removed,  and 
the  effect  is  examined  by  lifting  one  corner  of  the  print,  now 
adhering  firmly  to  the  stone  or  plate.  If  all  the  ink  has 
not  left  the  paper,  the  plate  or  stone  is  turned  round  end 
for  end,  and  passed  through  the  press  egain,  the  back  of 
the  paper  being  moistened  with  a sponge,  and,  if  thought 
necessary,  the  pressure  may  be  slightly  increased.  Trans- 
fer prints  that  have  been  kept  several  days  may  require  to 
be  passed  through  the  press  several  times,  changing  the 
position  of  the  stone,  and  backing  and  damping  the  back  of 
the  transfer  print  each  time. 

When  the  transfer  is  considered  complete,  the  back  of 
the  transfer  print  is  washed  over  with  a sponge  and  water, 
and  as  soon  as  the  paper  appears  loosened,  it  is  gently 
stripped  off.  If  the  operation  has  been  properly  performed, 
there  should  be  scarcely  any  trace  of  ink  left  on  the  paper, 
and  the  image  should  appear  clean,  sharp,  and  distinct  on 
the  stone  or  zinc.  The  plate  or  stone  is  now  washed  with 
water  and  a soft  sponge  to  thoroughly  remove  all  traces  of 
paper  and  gelatine,  and  is  fanned  dry.  If  the  paper  is  very 
adherent  to  the  stone,  it  may  be  advisable  to  use  warm 
water  to  help  its  removal,  and  also  to  dissolve  any  traces  of 
soluble  gelatine  that  may  be  left.  Photo-transfer  prints 
on  hardened  gelatine  transferred  to  zinc  sometimes  resist 
all  attempts  to  remove  the  paper  by  hot  water,  and  require 
washing  over  with  dilute  nitric  acid. 

Any  slight  touebing-up  of  defective  lines  or  parts  that 
may  be  necessary  i 4 better  done  at  this  stage,  though  it  may 
be  deferred  till  after  a proof  is  taken,  especially  if  further 
corrections  and  additions  are  likely  to  be  required.  The 
various  methods  of  making  corrections  will  be  described 
hereafter. 


July  6,  1883. | 


THE  THOTOGHATHIC  NEWS. 


429 


It  is  usual  to  transfer  damp  transfers  to  a dry  Btone  ; but, 
according  to  Richmond,  there  are  many  and  great 
advantages  iu  laying  down  the  transfer  dry  or  on  a wet  stone. 
It  is  easier  to  damp  the  stone  than  the  paper  ; it  is  quicker. 
Patched  transfers  can  be  put  down  without  creasing  them, 
and  all  can  be  transferred  without  increased  dimensions. 
To  succeed  with  this  method,  however,  it  is  necessary  that 
the  transfer  paper  shall  be  readily  made  adhesive  with 
cold  water,  and  therefore  it  is  only  suitable  for  rolled  up 
transfers,  or  others  in  which  the  coating  of  gelatine  is  left 
in  a sufficiently  adhesive  condition.  The  amount  of  mois- 
ture on  the  atone  should  be  just  sufficient  to  make  the 
colloid  matter  on  the  transfer  adhere  to  the  stone,  and,  as  a 
rule,  the  stone  may  be  wetted  to  about  the  same  degree  as 
for  printing.  Everything  beiDg  prepared  as  in  the  ordinary 
process,  the  transfer  print  is  laid  on  the  damp  stone,  and  as 
quickly  as  possible  passed  through  the  press  about  three 
times.  The  paper  should  then  have  absorbed  all  the  mois- 
ture from  the  stone,  and  the  latter,  being  dry,  is  free  to  take 
up  the  ink.  As  soon  as  the  stone  is  found,  by  lifting  up  a 
corner  of  the  paper,  to  be  quite  dry,  the  back  of  the  trausfer 
may  be  damped,  and  the  transferring  finished  in  the  same 
way  as  before. 

The  transfer  being  complete,  the  next  thing  to  be  done  is 
to  prove  it. 

Proving. — Under  this  term  are  included  all  the  operations 
of  cleaning,  etching,  rolling-in,  and  taking  what  are  called 
“ proofs  ” or  first  impressions  for  examination  and  approval 
before  “press  order”  is  given  for  the  final  printing  off. 
The  procedure  is  similar  for  stone  or  zinc,  the  chief  difference 
being  in  the  etching.  We  shall,  however,  consider  both 
separately. 

Preparation  of  Stone  after  Transfer. — The  treatment  of 
the  stone  after  transfer  is  as  follows  : — 

It  is  first  brushed  over  with  fresh  gum-water,  made  as 
described  in  the  last  chapter,  and  allowed  to  dry. 

The  stone  being  quite  cool,  the  gum  is  washed  off  with 
clean  water,  and  the  excess  of  moisture  being  removed  with 
the  damping  cloth,  so  as  just  to  leave  the  surface  of  the 
stone  uniformly  damp,  the  work  is  rolled  iu  carefully  with 
iuk  of  medium  strength,  as  will  be  described  under  the  head 
of  “Printing.”  After  rolling  in,  spots  aud  dirty  places 
will  make  their  appearance,  and  must  be  removed.  The 
edges  and  white  parts  of  the  stone  are  cleaoed  with  a sponge, 
followed  by  rubbing  with  a piece  of  pumice  or  snake  stone. 
A pointed  slate  pencil  or  slip  of  snake  stone  is  used  to  clear 
off  dirt  between  the  lines  or  on  small  opeu  spaces.  Spots 
that  cannot  be  removed  with  the  snake  stone  or  slate  pencil 
may  be  taken  out  by  robbing  them  with  a sharp  pointed 
piece  of  hard  wood  dipped  into  a mixture  of  gum,  acidified 
with  nitric  acid,  till  it  will  briskly  effervesce  when  applied 
to  a blank  part  of  the  stODe.  Care  must  be  taken  that  the 
acid  does  not  spread  and  injure  the  lines,  aud  it  must  be 
quickly  washed  off  with  sponge  and  water. 

A sharp  steel  eraser  or  scraper  may  be  used  for  finishing 
off  and  cleaning  between  very  close  work,  also  for  thinning 
down  lines  that  are  too  thick. 

When  the  work  appears  quite  clean,  the  stone  must  be 
well  rolled  op  again,  and  etched  by  being  washed  over  evenly 
and  quickly  with  a soft  sponge  or  brush  dipped  in  a mixture 
of  gum  and  acid,  containing  forty  to  sixty  parts  of  gum-water 
about  the  consistence  of  linseed  oil,  to  one  part  of  nitric  or 
muriatic  acid,  and  just  strong  enough  to  effervesce  slightly 
when  applied  to  the  stone.  The  etching  is  washed  off,  the 
stone  gummed  in  again,  and  allowed  to  dry,  and  it  is  better 
to  leave  it  for  some  hours,  or  even  a day  or  two,  before  printing. 

When  the  work  is  very  fine,  or  the  transfer  prints  rather 
old,  so  that  the  transfer  seems  weak,  and  it  is  doubtful 
whether  it  will  roll  up  well,  it  may  be  strengthened  by 
washing  the  stone  over  with  a sponge  dipped  in  fresh  gum- 
water  and  held  in  the  left  hand,  while  with  the  right  hand 
a pad  dipped  in  a mixture  of  turpentine,  thin  piinting  ink, 
and  stone  re-transfer  ink,  or  a mixture  of  printing  ink  with 
a very  little  olive  oil,  is  tubbed  over  the  lines  of  the  drawing, 


the  pa  l being  re-charged  with  ink,  and  the  sponge  with 
gum,  as  required.  By  this  treatment,  every  line  of  the 
drawing  should  appear  perfectly  black,  and  if  plenty  of  gum 
is  kept  on  the  stone,  there  is  little  fear  of  injury.  When  the 
work  is  properly  charged  with  ink,  the  dirty  mixture  of  gum 
and  ink  is  washed  off  with  clean  water.  The  stone  is  then 
gummed  in  again  with  fresh  gum,  and  set  aside  for  the  ink 
to  penetrate. 

(To  be  continued.) 


Correspondence. 

COLLODION  EMULSION. 

Slit. — Mr.  Banks  has  recently  stated  that  the  rapidity  in 
collodio-emulsiou  can  be  secured,  combined  with  keeping 
it,  if  unwashed.  He  gave  no  hint  of  the  formula  used.  If 
the  quantity  of  pyroxyline  and  the  nitrates  used  were 
given,  it  would  stimulate  experimentalists  among  amateurs, 
and  might  lead  to  something  that  would  secure  the  use  of 
such  emulsion,  as  it  has  the  advantage  of  allowing  a few 
plates  being  coated  as  required.  Information  as  to 
substratum  necessary  would  be  useful,  as  the  writer  finds 
French  chalk  does  not  prevent  film  leaving  the  glass. 

Amateur 


PORTRAITS  A PENNY  A-PIECE. 

Dear  Sir, — You  say  in  your  “ Notes  ” last  week,  that  if 
people  can  buy  pirated  portraits  for  a penny,  they  are  not 
likely  to  give  a shilling  for  the  copyright  pictures  at  shops. 
Allow  me  to  say  that  you  do  not  put  the  matter  strongly 
enough.  I have  not  only  bought  several  of  the  pirated 
portraits,  but  I have  carefully  examined  them,  aud  although 
not  equal  to  the  originals,  still  they  have  a quality  that 
these  lack.  The  penny  portraits  1 have  found  to  be,  in 
nine  cases  out  of  ten,  collotype  prints,  and  therefore  per- 
fectly permanent.  I would  therefore  say,  is  it  likely  that 
the  public  will  coutinue  to  buy  photographs  at  a shilling 
each  that  will  fade,  when  they  can  purchase  permanent 
pictures  for  one  penny? 

I have  been  told  that  Messrs.  W.  and  D.  Downey  and 
others  know  when  a shipment  of  these  prints  arrive  ; they 
kuow  where  they  are  manufactured,  and  who  are  the 
manufacturers.  Generally  speaking,  they  come  from 
Germany,  it  is  said,  and  the  fact  of  their  being  collotypes 
favours  this  idea.  Why  cannot  we  stop  the  supply  of 
them  ? 

It  is  certain,  obviously,  that  if  the  pirate  takes  the  trouble 
to  print  the  portraits  mechanically,  he  has  a large  sale  in 
view.  Under  these  circumstances,  I should  have  thought 
photographers  would  long  ago  have  banded  together  to 
protect  their  property. — Faithfully  yours,  A.  E. 


Sir, — I have  the  houour  to  send  you  also  two  pictures  I 
bought  on  a barrow  in  the  Borough  ; they  cost  one  penny 
each,  but  I do  not  think  they  are  good  ones. — Yours, 

A Photographer. 

[Our  correspondent  sends  us  a portrait  of  Mrs.  Langtry 
and  of  Lord  Wolseley.  They  are  both  of  them  collotypes. 
— £l>.  P.N.]. 


proceeding*  ot  Societies. 

London  and  Provincial  Photographic  Association. 

At  the  ordinary  meeting  of  the  above  Association  held  on  the 
28th  ult.,  Mr.  A.  Cowan  in  the  chair, 

Mr.  Henderson  read  a letter  from  Mr.  T.  H.  Blake,  an 
American  gentleman  who  visited  this  country  a few  months  ago. 
Mr.  Blake  said,  with  respect  to  removing  of  the  yellow  stain 
left  on  negatives  by  pyrogallol,  he  found  that  it  was  perfectly 


430 


THE  PHOTOGRAPHIC  HEWS. 


[July  6,  1883. 


achieved  by  soaking  the  plate  in  a solution  of  alum  and  acid 
previous  to  fixing. 

Mr.  A.  Haudon  had  stated  that  the  stain  was  removed  by 
soaking  in  alum  and  acid,  but  on  washing  to  get  rid  of  the  acid, 
the  stain  re-appeared. 

Mr.  F.  A.  Hart  produced  an  instantaneous  picture  of 
albatrosses  flying,  taken  by  a drop  shutter  passing  through  the 
stop  slot. 

Mr.  J.  Trail  Taylor  exhibited  some  very  fine  prints,  speci- 
mens of  American  dry  plate  work,  and  a very  fine  series  of 
Autotypes,  including  a view  of  the  New  York  “Cleopatra’s 
Needle.” 

The  following  question  was  found  in  the  box  : — “ What  are 
the  advantages  (if  any)  of  using  a single  combination  of  the  rapid 
symmetrical  lens  (Ross). 

Mr.  J.  Trail  Taylor  said  it  would  be  of  much  longer  focus, 
and  a picture  about  half  as  large  again  would  be  obtained. 

Another  question  from  the  box  was  then  discussed — viz  : “ Can 
anyone  give  a formula  for  printing  on  ivory  without  silver— not  a 
transfer  process,  but  one  depending  upon  the  action  of  uranium, 
or  per-salt  of  iron  acting  upon  gold  or  platinum  ? ’’ 

Mr.  W.  E.  Debenham  said  that  such  processes  had  been 
published,  the  ivory  being  sensitised  with  either  uranium  or 
platinum,  and  developed  with  iron  or  gold. 

Mr.  Taylor  suggested  thoroughly  washing  the  ivory  to  remove 
all  grease,  then  sensitise  it  with  nitrate  of  uranium,  and  develop 
with  gold. 

Messrs.  J.  H.  Hare  and  H.  J.  Dale  were  elected  members  of  the 
Association. 

The  meeting  then  resolved  into  the  first  annual  general  meet- 
ing, and  the  Hon.  Secretary  presented  the  report  as  follows  : — 
“In  presenting  the  first  annual  report  of  the  London 
Provincial  Photographic  Association,  the  members  must  be  con- 
gratulated upon  the  success  of  the  undertaking.  The 
Association  was  formed  to  supply  a long-felt  want — viz.,  a society 
whose  meetings  should  be  of  a more  social  character  than  those 
of  the  then  existing  societies,  whose  proceedings  should  be  open 
to  publication,  and  the  subscription  to  which  should  be 
sufficiently  low  to  enable  all  members  of  the  profession  to 
participate  in  its  benefits.  This  latter  requirement  has  been  met 
by  the  annual  subscription  being  fixed  at  the  small  sum  of  five 
shillings.  So  far  the  efforts  of  the  promoters  have  been  success- 
ful, there  being  now  nearly  one  hundred  names  on  the  books. 
By  the  Treasurer’s  report  it  will  be  seen  that,  after  paying  all 
liabilities,  there  is  a balance  in  hand  of  £2,  and  to  this  must  be 
added  the  amount  of  several  subscriptions  received  since  the 
audit,  making  a total  balance  of  JE3.  During  the  year  many 
papers  have  been  read,  demonstrations  given,  and  discussions 
have  taken  place,  and  by  means  of  the  reports  published  weekly 
in  the  photographic  journals,  much  information  of  value  to  all 
concerned  in  photography  has  been  disseminated.  It  is  with 
deep  regret  we  have  to  chronicle  the  death  of  two  valued  mem- 
bers, viz.,  Messrs.  C.  G.  Collins  and  T.  J.  Pearsall,  both  of 
whose  names  are  well  known  in  the  photographic  world,  and 
whose  loss  the  Association  can  but  deeply  deplore.  A gelatine 
plate  competition  has  been  organised,  and  this,  with  other 
kindred  matters,  will,  it  is  to  be  hoped,  tend  to  make  the  Associ- 
ation even  more  popular.’’ 

Mr.  Mackie  proposed,  and  Dr.  Thompson  seconded,  that  the 
report  be  adopted—  carried  unanimously. 

The  Treasurer  then  presented  the  balauce  sheet  for  the  past 
year,  which  was  also  unanimously  adopted. 

The  following  officers  were  elected  for  the  year  ensuing  : — 

Trustees — W.  E.  Debenham  and  \V.  K.  Burtou. 

Treasurer — W.  H.  Prestwich. 

Curator — A.  Haddon. 

Secretary— C.  Bennell  Cutchey 

A vote  of  thanks  to  the  officers  for  their  work  during  the  past 
year  was  carried  unanimously. 

A hearty  vote  of  thanks  to  the  chairman  closed  this  part  of 
the  proceedings,  when  Mr.  A.  L.  Henderson,  throwing  open  the 
doors  of  another  room,  invited  the  members  to  join  him  at  a 
cold  collation  there  prepared.  The  following  toasts  were  drank, 
and  responded  to : — “ The  Queen,”  “ The  Association  and 
Officers,”  “The  Photographic  Press,”  and  “ The  Chairman,”  the 
last-named  toast  being  drunk  with  all  honours. 

Nortii  Staffordshire  Photographic  Association. 

A meeting  of  this  Society  was  held  on  Thursday,  June  28th,  in 
the  Ante-room,  Town  Hall,  Stoke-on-Trent,  Mr.  VV.  C.  Potter 
occupying  the  chair. 


Mr.  Henk  was  elected  a member  of  the  Society,  and  Mr.  W. 
Alex.  Jones  was  proposed  as  a member  for  election  at  the  next 
meeting. 

It  was  resolved  that  the  necessary  arrangements  for  the 
Society’s  first  excursion  be  left  in  the  hands  of  the  committee. 

Some,  of  the  members,  advocates  of  the  wet  collodion  pro- 
cess for  landscape  work,  challenged  an  equal  number  of  gelatine 
plate  workers  to  accompany  them  on  the  same  day,  under 
similar  conditions  of  light,  and  on  the  same  subjects,  to  take 
simultaneous  negatives  and  compare  the  results,  the  whole 
number  of  members  to  decide  who  had  won  the  day. 

It  was,  after  some  discussion,  decided  that  the  above  plan 
should  be  adopted. 

A Member  stated  that  when  gelatine  plates  were  introduced 
a few  years  ago,  he  and  another  gentleman  were  engaged  in 
taking  instantaneous  street  views  in  London.  He  himself  used 
wet  collodion,  and  whilst  the  negatives  he  obtained  were  in 
every  way  perfect,  he  could  secure  three  to  his  dry-plate 
friend’s  two. 

Mr.  Burgess  remarked  that  the  most  favourable  conditions 
must  have  been  necessary  for  the  above. 

The  Chairman  said  that  he  was  pleased  to  see  such  an 
interest  shown  in  the  wet  process  by  the  members  present,  and 
he  hoped  that  at  the  next  excursion  they  would  demonstrate 
theory  by  practice.  He  himself  should  join  the  collodion  party  ; 
but  he  thought  it  absurd  to  set  up  collodion  against  gelatine, 
unless  under  the  most  favourable  circumstances  as  regards  pro- 
pitious weather  and  chemicals  in  good  order. 

The  Chairman  then  called  upon  Mr.  Jones  to  read  his  paper 
on  “ Light  and  Lenses.” 

The  paper  was  listened  to  with  great  interest,  and  a unanimous 
vote  of  thanks  to  Mr.  Jones  was  passed. 

After  some  discussion,  and  explanation  by  Mr.  Jones  of  some 
points  iu  his  paper,  the  meeting  separated. 


Liverpool  Amateur  Photographic  Association. 

The  usual  monthly  meeting  of  this  Association  was  held  at  the 
Free  Library,  on  Thursday,  the  28th  ultimo,  Mr.  Booturoyd 
(President)  in  the  chair. 

After  the  usual  formal  preliminaries,  Messrs.  J.  T.  Smith, 
T.  J.  Smith,  J.  M.  Jones,  and  T.  Haworth  were  elected 
members  of  the  Association. 

The  Chairman,  in  commenting  upon  the  large  accessions  of 
new  members  to  the  Association  of  late  years,  desired  to  remind 
those  who  had  not  presented  copies  of  their  portraits  to  the 
album  that  they  should  do  so  without  delay. 

Mr.  W.  H.  Kirkby  thought  it  would  facilitate  the  making 
known  of  new  members  to  the  older  associates  of  the  Society  if 
the  proposer  or  seconder  of  each  neophyte  were  to  introduce  him 
to  thePresideut  and  Hon.  Secretary,  and  then,  very  necessarily, 
to  the  Treasurer. 

The  Hon.  Secretary  then  read  Mr.  J.  A.  Forrest’s  report  of 
the  recent  meeting  at  Conway,  when  some  twenty  of  their 
confrires  enjoyed  the  hospitality  of  Mr.  Lewis  Hughes,  and 
upwards  of  one  hundred  negatives  were  taken  in  and  about 
Conway.  Mr.  Forrest’s  notes  are  attached  to  the  present 
report. 

The  Chairman  proposed  a resolution  thanking  Mr.  Hughes, 
in  the  name  of  the  Association,  for  his  magnificent  hospitality  on 
the  occasion  referred  to  by  Mr.  Forrest.  Nothing  could  have 
been  more  enjoyable  than  this  excursion,  and  the  sumptuous 
entertainment  provided  for  the  members  by  their  host  closed  the 
proceedings  of  the  day  in  a most  agreeable  manner. 

Mr.  J.  H.  Cork  hill,  in  seconding  the  resolution,  said  that 
he  would  abstain  from  refernng  in  detail  to  the  many  enjoy- 
ments of  a most  delightful  excursion,  out  of  consideration  for  the 
feelings  of  those  members  who  had  been  unable  to  be  present. 
The  resolution  having  been  carried  by  acclamation, 

The  Hon.  Secretary  referred  to  the  kindness  of  Mr.  Pochin, 
of  Gian  Conway,  who  had  thrown  open  his  splendid  grounds 
to  the  Association,  and  had  afforded  very  great  pleasure  to  those 
who  had  been  able  to  visit  them. 

Mr.  J.  H.  T.  Ellerbeck  seconded  a formal  vote  of  thanks  to 
Mr.  Pochin. 

This  vote  also  having  been  c'rried,  the  Hon.  Secretary  was 
authorised  to  communicate  with  b ith  Mr.  Hughes  and  Mr. 
Pochin,  and  convey  to  them  the  thauks  of  the  Association. 

Mr.  E.  Banks  then  read  his  paper  on  “ Hydrokinone  as  a 
Developer  ” (see  page  127),  and  at  its  close  presented  a number 
1 of  packets  of  it  for  distribution  among  the  members. 


JpLY  6,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


431 


Mr.  Kirkby  asked  Mr.  Banks  if  he  could  give  an  approximate 
idea  of  the  cost  ef  hydrokinone. 

Mr.  Basks  replied  that  Captain  Abney  had  mentioned  £1  Is. 
per  ounce  as  the  price  of  it,  but  he  thought  that  when  a demand 
for  the  new  developer  had  arisen,  it  would  soon  be  cheaper  than 
pyro. 

The  Chairman  asked  Mr.  Banks  for  particulars  as  to  the  use 
of  the  packets  which  he  had  so  generously  presented  to  the 
members. 

Mr.  Banks  said  that  each  packet  contained  fifteen  grains  of 
hydrokinone,  and  that  this  was  sufficient  for  from  ten  to  fifteen 
ounces  of  developer.  To  each  ounce  of  solution  he  recommended 
the  addition  of  from  one  to  three  drops  of  a saturated  solution 
of  common  washing  soda. 

Mr.  Ellerbeck  asked  why  soda  was  recommended  in  prefer- 
ence to  ammonia  ; and  also  wished  to  kuow  if  the  developer 
could  be  used  again  and  again. 

Mr.  Banks  said  that  a possible  prejudice  on  his  part  in  favour 
of  soda  had  led  him  to  recommeud  it  in  preference  to  ammonia  ; 
but  he  had  found  the  latter  destroy  the  image  on  a negative 
under  certain  circumstances,  and  this  had  never  been  his  expe- 
rience with  soda.  Hydrokinone  might  be  used  repeatedly  for 
purposes  of  development  until  the  solution  became  discoloured. 

The  Chairman,  on  behalf  of  the  meeting,  expressed  bis 
warmest  thanks  to  Mr.  Banks  for  his  excellent  paper,  and  also 
for  his  considerate  kindness  and  generosity  in  presenting  to  the 
Association  so  abundant  a supply  of  the  new  developer.  It 
would,  doubtless,  be  an  experiment  of  the  greatest  interest  to 
the  members  to  be  able  thus  to  test  the  value  and  capabilities 
of  hydrokinone. 

Mr.  Kirkby  exhibited  some  prints  of  negatives  of  instan- 
taneous sea  subjects  taken  from  the  deck  of  a yacht  under  full 
sail,  with  a strong  wind,  and  in  a rough  sea.  These  views  had 
all  been  taken  with  Mr.  Kirk  by’ s own  shutter,  and  were 
extremely  good  specimens  of  instantaneous  work. 

Mr.  It.  Crowe  also  showed  some  fine  prints  of  instantaneous 
pictures  taken  by  him  at  the  Conway  excursion,  with  his  own 
shutter  and  Edwards’  plates. 

The  Chairman  invited  the  members  of  the  Association  to 
spend  the  day  with  him  on  Saturday,  the  21st  instant. 

The  Hon.  Secretary  said  that  the  July  meeting  of  the 
Association  was  usually  held  at  the  house  of  one  of  the  members, 
and  therefore  he  had  much  pleasure  in  proposing  a cordial 
acceptance  of  Mr.  Boothroyd’s  kind  invitation,  and  that  the 
July  meeting  be  held  at  his  house. 

Mr.  Beer  seconded  the  resolution. 

Mr.  Kirkby  objected  to  the  holding  of  the  regular  monthly 
meetings  of  the  Association  anywhere  but  in  the  room  usually 
employed  for  these  meetings,  and  therefore  proposed,  as  an 
amendment,  that,  while  accepting  the  Chairman’s  kind  invita- 
tion to  Southport,  the  ordinary  July  meeting  be  held  on  the 
proper  day  and  in  the  usual  place. 

Mr.  Tyerman  seconded  the  amendment,  and  on  being  put  to 
the  meeting  it  was  carried  by  a majority  of  votes,  and  the  Hon. 
Secretary’s  resolution  was  lost. 

Prints  of  negatives  taken  during  the  Conway  excursion  were 
exhibited  by  Messrs.  Tyrer,  Boothroyd,  Ellerbeck,  Crowe,  Cork- 
hill,  Birtles,  and  Twigge.  Messrs.  Palmer  and  Wharmby  showed 
negatives  taken  on  the  occasion,  and  Mr.  James  some  trans- 
pariences  of  Conway  subjects. 

Mr.  Forrest  exhibited  some  prints  from  negatives  of  the 
Lake  District,  and  tbe  Platinotype  Company  showed  specimens 
of  their  new  tone. 

The  meeting  was  then  adjourned. 


&alk  in  tfr*  Stubi0. 

A Photographic  Surprise  Party. — At  the  conclusion  of  the 
first  annual  meeting  of  the  London  and  Provincial  Photographic 
Association,  and  as  the  chairman  was  vacating  his  seat,  Mr.  A.  L. 
Henderson  invited  all  present  to  sup  with  him  in  the  adjoining 
Hall,  where  the  tables  were  laid  for  sixty  guests.  So  well  had 
the  secrets  of  the  establishment  been  preserved,  that  the  utmost 
amazement  was  depicted  on  every  face.  Perhaps  it  is  needless 
to  say  that  the  guests,  numbering  between  thirty  and  forty, 
did  ample  justice  to  the  viands  so  generously  provided  ; and 
soon,  above  the  sounds  of  opening  the  “fiz”  rose  the  ac- 
companiment “ For  he’s  a jolly  good  fellow,”  &c.  The  usual 
toasts  having  been  duly  honoured  and  responded  to,  some 


excellent  music,  both  vocal  and  instrumental,  was  rendered  by 
gentlemen  among  the  company,  and  it  was  a late  hour  when  the 
members  left  this  their  first  annual  general  meeting. 

Ox  Saturday,  June  16,  at  a joint  meeting  of  the  Essex  Field 
Club  and  the  Geologists'  Association,  held  at  Grays  for  the 
purpose  of  visiting  the  “ Deneholes  ” in  Hangman’s  Wood, 
photographs  of  the  interior  of  one  of  the  holes  were  successfully 
taken  by  Mr.  A.  J.  Spiller  by  means  of  magnesium  burning  in 
oxygen. 

Photographic  Copyright— Nottage  and  Another  v.  J.  H. 
Jackson. — The  plaintiffs  in  this  case  carry  on  business  under 
the  name  of  the  London  Stereoscopic  Company,  and  the 
defendant  sold  photographs  and  other  things  at  Leeds.  The 
action  wa3  founded  upon  an  allegation  that  the  defendant  had 
infringed  upon  the  plaintiffs’  right  by  selling  unauthorised 
copies  of  their  photographs  of  the  Australian  Cricketers  of  1882, 
and  of  the  Earl  of  Derby.  The  plaintiffs  claimed  penalties  for 
the  infringement  of  the  statute,  and  an  injunction  restraining 
the  defendant  from  future  sales.  Mr.  Petheram,  Q.C.,  and  Mr. 
Shortt  were  for  the  plaintiffs,  and  Mr.  Crump  for  the  defendant. 
A number  of  points  of  law  were  argued  for  the  defendants,  as  to 
whether  there  had  been  a proper  registration  of  the  photo- 
graphs—whether  the  plaintiffs’  “place  of  abode’’  had  been 
inserted  in  the  registration,  which  simply  specified  their  place  of 
business— whether  the  plaintitfs  were  the  “ authors  ” of  the 
photographs  so  as  to  be  entitledto  claim  copyright.  Mr.  Justice 
Field,  in  giving  judgment,  said  that  various  objections  had  been 
raised  on  the  part  of  the  defendant  to  the  plaintiffs'  right  to 
recover.  One  was  that  in  their  registration  of  copyright  they 
had  not  inserted  their  “ place  of  abode  ” according  to  the 
statute.  What  they  had  registered  was  their  business  premises 
in  Cheapside  and  in  Regeut  Street,  where  they  did  not  live.  He 
had  no  doubt  that  this  was  their  “ place  of  abode,”  but  it  was 
not  necessrry  for  him  to  decide  that.  Another  question  was 
whether  they  were  “ authors  ’’  of  the  photographs,  and  it  had 
been  argued  that  they  were  joint  authors  with  those  who  were 
engaged  in  taking  the  photographs.  He  could  not,  however, 
yield  to  that  contention.  Judgment  for  defendant,  with  costs. 

The  Balloon  Exhibition  was  closed  at  the  Trocadero  on  the 
24th  inst.  It  was  visited  by  two  officers  of  the  British  army, 
sent  by  the  Government  to  report.  Among  the  notable  objects 
we  may  mention  the  original  valve  used  by  Gay-Lussac  in  his 
ascent,  a new  valve  used  by  French  aeronauts,  the  car  and  net 
of  Lhoste  as  rescued  from  the  North  Sea,  a panoramic  apparatus 
for  photographing  a bird’s-eye  view  of  scenery  as  seen  from  a 
balloon  at  an  altitude  of  200  metres,  several  photegraphs  taken 
from  the  cars  of  captive  or  free  balloons  in  Paris,  Boston,  and 
Rouen,  a refrigerator  by  Mignon  and  Bouard  for  instantly  con- 
densing vapour  from  clouds,  bichromate  elements  constructed  by 
Trouve  for  Tissandier’s  intended  aerial  experiments. — Xature. 

A new  mode  of  measuring  light  was  proposed  at  the  last 
meeting  of  the  Royal  Society  by  Mr.  Preece,  F.R.S.  The 
standard  of  reference  is  a small  surface  illuminated  to  a given 
intensity,  and  the  mode  of  comparison  is  the  light  given  by  a 
small  glow  lamp  whose  state  of  incandescence  is  raised  or  lowered 
by  increasing  or  diminishing  an  electric  current.  The  amount 
of  illumination  is  measured  by  the  amount  of  current  flowing, 
so  that  the  number  of  amperes  gives  the  degree  of  illumination. 
The  standard  surface  is  that  illuminated  by  a British  “ caudle” 
at  12*7  inches,  and  this  is  the  same  as  that  produced  by  the 
French  “bee”  at  I metre  distance.  In  this  way  sunlight, 
moonlight,  twilight,  fog,  and  the  amount  of  illumination  in  any 
part  of  a room  or  building,  or  that  distributed  over  a street  or 
area  at  any  time  of  day  or  night,  can  be  measured  without  any 
reference  to  the  source  of  light  or  its  distance  from  the  point 
lighted.  We  have,  in  fact,  a standard  of  illumination  very  easily 
and  simply  measured. — Ibid. 

An  Unruly  Sitter. — Photographers,  as  a rule,  are  not  a 
nervous  body  of  men,  but,  like  all  mortals,  they  have  their 
feelings.  In  pursuance  of  their  duties  they  do  not  object  to 
photographing  the  volatile  infant,  the  snub-nosed  pug-dog,  the 
family  cob,  or  the  old  maid’s  cat ; but  they  draw  the  line  at  an 
elephant — especially  one  named  Jumbo  the  Second.  Thus  it 
came  to  pass  that  when  Mr.  Cross  wished  to  have  an  elephant 
in  his  zoological  department  photographed,  he  experienced  no 
little  difficulty  in  securing  an  artist  to  take  the  picture.  Several 
professionals  when  appealed  to  declined  to  take  the  picture,  but 
at  last  a firm  was  found  who  were  willing  to  undertake  the  task. 
The  photographers  were  duly  in  attendance,  and  the  elephant, 
which  is  always  chained  up  with  a heavy  anchor-chain,  was  un- 
fastened and  let  out  in  the  yard  ; but  when  he  found  the  camera 


432 


THE  PHOTOGRAPHIC  NEWS. 


[July  6,  1883. 


directed  towards  himself,  and  the  photographer  manipulating  it 
and  looking  at  him  through  it,  he  got  excited,  and  with  one 
blow  of  his  trunk  he  smashed  the  apparatus,  and  was  ready  to 
deal  a second  blow  at  the  photographer,  when  some  of  the  staff 
of  the  menagerie  rushed  to  his  assistance,  and  succeeded  in 
restoring  the  auimal  to  his  normally  docile  condition.  On  being 
assured  that  the  elephant  would  now  keep  perfectly  quiet,  the 
photographer  commenced  his  work  again  with  another  camera, 
and,  after  several  attempts,  succeeded  in  obtaining  a good 
negative.  People  who  essay  to  take  pictures  in  a wild  beast 
show  will  do  well  to  provide  themselves  with  a wrought-iron 
elephant-proof  camera.  The  ordinary  makes  are  too  fragile.— 
Sportsman. 

Success  of  the  American  Eclipse  Expedition. — Professor 
E.  S.  Holden,  of  the  Washington  Observatory  of  Madison, 
Wisconsin,  with  his  party  of  observers,  who  were  sent  out  by 
the  United  States  Government  to  the  Caroline  Islands  to  make 
Observations  on  the  total  eclipse  of  the  sun  of  May  6,  has 
arrived  at  San  Francisco  in  good  health.  Professor  Holden 
reports  that  the  weather  on  the  day  of  the  eclipse  was  favourable, 
and  that  a number  of  excellent  photographs  were  taken  showing 
good  views  of  the  corona.  Some  fine  observations  of  the  spectra 
were  made.  The  supposed  planet  Vulcan  was  not,  however, 
discovered.  The  party  went  from  New  York  city  to  Lima,  last 
March,  thence  in  the  United  States  sloop  of  war  Hartford  to  the 
Caroline  Islands.  The  duration  of  the  eclipse  was  comparatively 
loDg,  and  opportunities  for  observation  good. — Scientific  American. 

The  Luminosity  of  Non-Illuminating  Gas  Flames.— As 
the  illuminating  power  of  gaseous  flames  is  known  to  be  due  to 
the  presence  of  incandescent  solid  or  even  liquid  particles,  it 
has  been  customary  to  say  that  the  feebly  luminous  flame  of 
gases  which  do  not  contain  such  particles  is  the  effect  of  the 
incandescence  of  the  gas  itself  at  a high  temperature.  Dr. 
Werner  Siemens  had  an  idea  that  pure  gases,  however  highly 
heated,  did  not  emit  light ; and  he  has  recently  carried  out  a 
series  of  experiments  to  determine  this  question.  In  order  that 
an  experiment  of  this  nature  should  be  decisive,  the  observed 
temperature  should  be  higher  than  that  produced  by  luminous 
combustion.  Dr.  Werner  Siemens  therefore  had  recourse  to  the 
regenerative  furnace  used  by  his  brother,  Friedrich  Siemens,  of 
Dresden,  in  the  manufacture  of  hard  glass.  The  furnace  stands 
in  a separate  room,  which  can  be  made  perfectly  dark.  In  the 
walls  of  the  furnace  are  two  openings  opposite  each  other,  thus 
allowing  free  vision  through.  A heat  of  1 ,500°  or  2,000°  C.  (or 
beyond  the  melting  temperature  of  steel)  can  easily  be  obtained. 
Before  the  sight-holes  were  placed  a series  of  smoke -blackened 
screens,  with  central  openings  so  proportioned  to  the  holes  in  the 
furnace  that  the  observer  could  look  through  the  latter  without 
receiving  any  rays  from  the  heated  walls.  If,  under  these  con- 
ditions, dampers  were  closed,  and  all  light  excluded  from  the 
room,  it  was  found  that  not  the  least  light  came  to  the  eye  from 
the  highly-heated  air  in  the  furnace.  For  the  success  of  the 
experiment  it  was  necessary  to  avoid  any  combustion  in  the 
furnace,  and  then  wait  until  the  enclosed  air  was  as  free  from 
dust  as  possible.  Any  flame  in  the  furnace— even  when  not  in 
the  line  of  sight  — or  the  least  quantity  of  dust  in  it,  illuminated 
the  field  of  vision.  As  a result  of  these  experiments,  Dr.  W. 
Siemens  considers  the  view  hitherto  held,  that  highly-heated 
gases  are  self-luminous,  is  not  correct.  In  the  furnace  were,  in 
this  instance,  the  products  of  the  previous  combustion  of  the 
fuel  with  atmospheric  air  ; or  a mixture  of  oxygen,  nitrogen, 
carbonic  acid,  and  aqueous  vapour.  If  only  one  of  these  gases 
had  possessed  the  property  of  being  self-luminous,  the  field  of 
vision  must  have  been  always  illuminated.  The  weak  light  of 
burning  gases,  wherein  there  is  no  separation  of  solid  particles, 
cannot,  therefore,  be  considered  as  a phenomenon  of  the  glow 
of  the  gaseous  products  alone.  It  further  occurred  to  Dr.  W. 
Siemens  as  probable  that  heated  gases  do  not  emit  heat  rays. 
After  again  convincing  himself  and  Dr.  Herr  Frbhlich,  of 
Dresden,  that  the  heated  gases  were  perfectly  dark,  Dr.  W. 
Siemens’s  thermopile  experiments  for  the  investigation  of  the 
other  hypothesis  failed.  By  the  aid  of  a common  lamp,  how- 
ever, it  was  found  that  heated  gases  do  radiate  some  heat,  but 
much  less  than  some  solid  bodies  at  the  same  temperature. 
Dr.  W.  Siemens  does  not  yet  say  what  he  believes  to  be  the 
cause  of  the  feeble  light  of  so-called  non-lumiuous  gases. — 
Journal  of  Gas  Lighting. 

Photographic  Club.— The  subject  for  discussion  at  the  next 
meeting  ou  July  II,  will  be  the  adjourned  discussion  on  “ The 
best  lens  for  instantaneous  landscapes,  especially  with  regard  to 
the  angle  desirable  to  be  included.” 


fo  Correspondents. 

*,*  We  cannot  undertake  to  return  rejected  communications. 

F.  Gregory. — It  is  obviously  impracticable  for  us  to  give  you  in 
this  column  such  complete  directions  as  you  require;  but  we 
advise  you  to  carefully  study  Mr.  W.  K.  Burton’s  “A.  B.  C. 
of  Photography.  Perhaps  the  light  by  which  you  work  is  not 
sufficiently  safe. 

A Subscriber  from  1863. — 1.  We  have  tried  the  formula  you 
mention,  but  did  not  find  it  quite  so  satisfactory  as  the  developer 
mixed  in  the  old-fashioned  way.  2.  The  first  is  citrate  of  soda, 
and  the  second  is  the  protoxalate  of  iron  (ferrous  oxalate).  Each 
of  these  salts  can  be  obtained  from  a dealer  in  photographic 
chemicals. 

C.  R.  S. — Your  experience  corresponds  with  much  of  ours,  and  you 
must  look  on  the  case  referred  to  as  exceptional. 

W.  A.  C. — A rectangular  satchel,  made  of  leather  sufficiently  stiff 
to  afford  some  protection  to  the  camera,  is  usually  made  use  of, 
and  it  is  as  well  not  only  to  have  a division  between  the  camera 
and  the  dark  slides,  but  to  leave  room  for  lenses,  focussing  eye- 
piece, &c.  Your  best  way  will  be  either  to  send  the  camera  to  a 
maker  of  photographic  apparatus,  and  leave  him  to  design  the 
case  : or  to  make  a rough  model  in  cardboard,  and  to  hand  it  over 
to  a local  saddler. 

Joseph  Lewis. — Your  suggestion  is  not  a bad  one,  and  we  will  see 
if  we  can  carry  it  out. 

J.  C.  J. — 1.  Au  ordinary  print  on  sensitive  albumenized  paper 
was  referred  to.  2.  Cold  water.  We  cannot  give  the  exposure 
in  minutes,  as  so  many  circumstances  may  cause  it  to  vary. 
You  may  vary  the  method  by  inking  the  unsoaked  plate  as  sug- 
gested in  a subsequent 'leader.  This  will  give  you  a somewhat 
greater  body  of  ink. 

H.  T.  W. — That  you  mention  is,  we  believe,  good  value  for  the 
money. 

Russell  Steel. — Write  to  Mr.  England. 

T.  R.  Young. — 1.  Acid  fumes  would  certainly  tend  to  render  it  in- 
soluble, but  you  oan  neutralize  them  by  sprinkling  a few  drops  of 
ammonia  about  the  locality  where  you  work.  2.  The  book  is  in 
German.  Write  again  if  any  difficulty  arises. 

E.  J.  Asser. — Many  thanks  for  the  block,  which  we  shall  probably 
use  next  week. 

R.  Stewart. — Try  Luckhardt’s  medium,  as  given  in  the  Formulary 
last  week. 

Anxious. — They  are  often  due  to  traces  of  greasy  matter  in  the 
gelatine. 

S.  Timbert. — 1.  It  is  quite  impossible  for  us  to  form  an  opinion  in 
such  a case,  unless  after  a very  careful  investigation  of  all  the 
details.  2.  The  metal  need  not  be  more  than  one-eighth  of  an 
inch  thick  inordinary  cases.  3.  Not  unless  a moderatpro.>  >r  - 
tion  of  alcohol  is  added. 

Beginner. — For  such  work,  patent  plate  glass  should  always  be 
used,  as  want  of  flatness  will  prevent  that  close  contact  upon  which 
sharpness  of  definition  depends. 

Manchester. — 1.  The  sulphate  is  hardly  soluble  enough,  so  we 
would  advise  you  not  to  make  any  change.  2.  Light  petroleum  or 
benzoline  will  answer  very  well.  3.  Boil  it  in  water  until  it 
becomes  sufficiently  soft.  4.  It  is  due  to  the  action  of  heat. 

F.  T.  Simpson.— 1.  According  to  rizzighelli  and  Hubl,  it  is  easy 
to  influence  the  tone  by  varying  the  nature  of  the  sizing  material : 
a gelatinous  preparation  yielding  a bluish-black  tint,  and  a starch 
preparation  yielding  a brown-black  tint.  See  page  128  of  the 
Year-Book.  2.  We  do  not  understand  your  objections  to  gela- 
tine as  a mountant ; explain  your  difficulties  more  fully. 

Wili  iam  Purchase. — You  dry  the  films  at  far  too  high  a tempera- 
ture. 

M.  R.  F. — You  should  certainly  focus  with  an  eye-piece  in  such  a 
case,  and  if  you  render  a small  portion  of  the  focussing  screen 
transparent  by  means  of  a touch  of  varnish,  you  will  find  it 
easier  to  work  with  exactness. 

Amateur. — 1.  Few  use  it  now,  theold  system  having  proved  more 
convenient.  2.  A cold  saturated  solution.  3.  It  is  an  indication 
that  the  whole  of  the  silver  is  precipitated.  4.  You  might  try 
the  experiment,  but  unless  you  dry  the  film  very  completely,  it  is 
almost  sure  to  undergo  decomposition  in  a few  days. 

Cambridge. — There  is  a special  knife  sold  for  the  purpose,  and  it 
is  probable  that  you  will  be  able  to  obtain  one  from  Hughes  and 
Kirnber,  of  East  Harding  Street,  London. 

John  B . — It  appears  to  us  that  yours  is  a case  in  which  much 

is  to  be  said  on  each  side  ; and  it  is  probable  that,  if  brought  into 
court,  it  would  lead  to  very  prolonged  litigation.  How  would  it 
be  for  you  to  yield  as  regards  the  4th  aad  6th  points,  in  order  to 
sec  if  the  other  party  is  inclined  to  come  to  terms  ? 

Beginner. — No  wonder,  as  such  a dark  room  as  you  describe  is  by 
no  means  safe  for  gelatine  work.  One  thickness  of  cherry  fabric 
over  the  window  will  probably  put  matters  right. 

Albx.  Thomas.— As  tho  process  is  not  worked  commercially  at 
present,  you  will  Lave  some  difficulty.  Try  some  of  the  older 
stock-houses. 


CONTENTS. 


FAOK 

Sensitive  Bacteria,  and  tbeir  Employment  in  Photometry  433 

Asser’s  Photo-lithographic  Method 433 

Lenses  for  Instantaneous  Work  434 

The  Tourist  Photographer 433 

Lighting  and  Posing  the  Human  Model.  By  Cliff  437 

Amateur  Photogiaphy 438 

Sulphur.  By  Charles  Erhmann  438 

Notes 440 

Patent  Intelligence  443 

With  the  Eclipse  Expeditions.  By  C.  Ray  Woods  443 

Photographing  a Dene-Hole.  By  Arnold  Spiller  .....  443 


PAGE 

How  to  Make  a Pictorial  Background 443 

The  Use  of  the  Diaphragm.  By  Charles  Erhmann  444 

Dust  in  the  Eyes.— A Screw  Loose,  or  What ! By  A.  L. 

Henderson  " 444 

A Dictionary  of  Photography  444 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 443 

Proceedings  of  Societies  447 

Talk  in  the  Studio ; 447 

To  Correspondents 448 

Photographs  Registered  448 


SENSITIVE  BACTERIA,  AND  THEIR  EMPLOY- 
MENT IN  PHOTOMETRY. 

It  is  well  known  to  our  readers  that  the  motion  of  several 
of  the  lower  organisms— as,  for  example,  the  so-called  Bac- 
teria— is  influenced  by  light.  The  tiny  beings  thus  influ- 
enced do  not,  however,  all  behave  in  the  same  way  when 
subject  to  light  rays ; some  are  more,  and  some  less, 
sensitive,  while  the  cause  of  their  motion  under  the  action 
of  light  differs  also. 

Certain  Bacteria — as,  for  instance,  the  putrefaction  Bac- 
teria— only  move,  according  to  Eugelmann,  in  the  presence 
of  free  oxygen.  If  these  Bacteria  are  under  water  in  con- 
tact with  plant  cells  containing  chlorophyll,  they  will  not 
move  so  long  as  they  are  in  darkness,  and  no  oxygen  is 
given  off.  On  the  other  hand,  as  soon  as  light  falls,  the 
chlorophyll  at  once  begins  to  generate  oxygen,  and  the 
Bacteria  get  into  motion.  In  this  instance,  therefore,  the 
motion  of  the  Bacteria  depends  upon  an  alteration  in  the 
nature  of  the  gases. 

Other  Bacteria  there  are,  Engelmann  tells  us,  called 
Bacterium  photometricum,  which  get  into  motion  under  no 
other  circumstances  but  when  light  falls  upon  them.  The 
animating  power  of  the  light  is  not  instantaneous,  but 
proceeds  only  after  an  interval,  so  that  a certain  prelimin- 
ary action  is  necessary,  as  in  certain  photographic  pro- 
cesses ; to  wit,  in  the  case  of  a mixture  of  chlorine  and 
hydrogen,  which  combines  under  the  action  ot  light.  The 
animating  action  of  the  light  in  this  case  is  not  due  to 
any  development  of  oxygen.  Light  in  great  quantity, 
and  of  a constant  nature,  acts  as  a sedative.  On  sudden 
darkening,  the  Bacteria  are  frightened  back.  An  illumin- 
ated ball  introduced  into  the  fluid  impels  the  Bacteria 
forwards,  while  a brightly-lit  spot  in  an  otherwise  dark 
drop  of  liquid  becomes  a perfect  trap  to  the  little  creatures  ; 
they  can  get  in,  but  they  cannot  get  out.  By  directing  a 
luminous  ray  into  liquid  in  this  way,  Engelmann  has  suc- 
ceeded within  a few  minutes  in  bringing  together  within 
the  space  of  OT  of  a millimetre  several  thousand  Bacteria. 
The  ultra-red  rays  seem  to  have  the  greatest  power  of 
animating  Bacteria  in  this  way,  although  the  tiny  organ- 
isms are  also  sensitive  to  violet  rays  as  well. 

It  is  apparent,  then,  that  there  are  certain  Bacteria  which 
are  exceedingly  sensitive  to  light.  For  this  reason  they 
may  be  employed  for  photometry,  and  Engelmann,  indeed, 
has  actually  experimented  with  this  novel  and  original 
method  of  measuring  light,  and  with  no  little  success. 

Engelmann's  results  furnish  us  with  a satisfactory  reply 
to  the  question  why  our  eyes  see  no  ultra-red.  If  the 
spectrum  of  a gas  jet  is  permitted  to  pass  through  the  re- 
frangible medium  of  four  fresh  ox  eyes,  and  with  a micro- 
spectroscope  the  action  of  the  ultra-red  is  observed  upon 
the  bacterium  photrometricum , very  nearly  the  same  effect 


will  be  seen  as  that  produced  by  the  direct  spectrum. 
This  proves  that  the  boundary  of  vision  of  the  spectrum  at 
the  red  end  is  not  in  consequence  of  the  absorption  of 
ultra-red  by  the  eye,  but  because  the  eye  itself  is  not 
sensitive  to  these  particular  rays. 

The  action  of  coloured  light  in  bringing  about  the  gene- 
ration of  oxygen  in  plant  cells  may  also  be  verified  in  the 
micro-spectroscope  by  means  of  the  Bacteria  method. 
Engelmann  found  that  in  the  case  of  green  plant  cells,  the 
maximum  action  of  the  spectr’m  in  the  red  was  between 
B and  C,  while  there  was  a second  maximum  in  the  blue 
at  F,  and  a minimum  in  the  green. 

This  observation,  we  may  mention,  is  contradictory  to  the 
results  of  other  investigators,  such  as  Draper  and  Ffeffer  ; 
but  the  last-mentioned  experimented  with  whole  plants, 
and  hence  it  is  likely  that  errors  of  observation  crept  in. 
Very  important  is  the  result  that  the  maxima  of  assimilation 
(in  the  case  of  change  of  matter  in  the  plant  cell)  coincides 
with  the  maximum  of  light  absorption,  and  the  minima  with 
the  minima.  This  observaton  is  really  quite  startling,  and 
it  harmonises  with  all  our  experiences  in  photo-chemistry. 

Very  interesting,  too,  is  the  observation  that  coloured 
pigments  are  capable  of  forwarding  the  assimilation  of  un- 
coloured vegetable  substances.  Apparently  the  coloured 
substances  act  upon  the  colourless  vegetable  bodies  as 
optical  sensitizers,  in  accordance  with  theory  which  Dr. 
Hermann  Vogel  holds. 


ASSER’S  IMIOTO-LITHOGRAFHIC  METHOD. 
Nearly  three  months  ago,  we  alluded  to  the  facility  with 
which  the  original  photo-lithographic  method  of  Asser 
can  be  carried  out ; and  the  circumstance  that  the  half- 
tones of  an  ordinary  negative  may  be  reproduced  as  a 
grain  or  stipple.  We  now  present  our  readers  with  a 
print  from  an  etched  zinc  block,  which  Mr.  Asser  has 
kindly  sent  us ; and  although  the  original  was  a pen-and- 
ink  drawing,  there  are  several  points  of  interest  relating  to 
it. 

Our  readers  will  notice  the  very  satisfactory  manner  in 
which  the  original  spirit  of  the  artist  is  rendered,  and 
one  may  look  on  a reproduction  of  this  kind  as  an  etching 
in  which  the  artist  is  spared  all  the  troublesome  details  of 
work  incident  to  the  actual  dissolving  away  of  the  metal. 

Theoriginal  drawing,  which  represents  a characteristically 
picturesque  gateway  to  be  found  at  Haarlem,  made 
by  Mr.  A.  W.  Weissman,  was  executed  in  Indian  ink  on 
white  paper,  and  an  ordinary  negative  was  taken  of  this  on 
Asser’s  prepared  paper — which,  as  our  readers  know,  is  a 
highly  starched  paper  made  sensitive  with  bichromate — 
was  next  exposed  under  this  until  a vigorous  brown  im- 
print of  the  subject  became  visible  on  the  paper.  Our 
readers  are  familiar  with  the  remaining  steps  in  the  pro- 


434 


THE  PHOTOGRAPHIC  NEWS.  [July  13,  1883. 


cess.  The  free  bichromate  is  soaked  out,  and,  when  dry, 
the  print  is  exposed  to  a temperature  of  about  140° 
Centigrade,  in  order  to  harden  the  coating.  When  once 
more  moistened,  the  print  is  ready  for  inking.  This  ink- 
ing is  best  effected  by  the  velvet  roller,  and  it  will  be  found 
that  the  ink  adheres  only  to  the  exposed  lines.  When  the 
transfer  is  properly  inked,  it  ij  laid  down  on  a carefully 
surfaced  and  cleaned  zinc  plate,  and  contact  is  established 
by  means  of  the  lithographic  press.  The  back  of  the  ad- 
herent transfer  being  now  moistened,  it  becomes  easy  to 


strip  off  the  paper,  leaving  the  fatty  image  fast  on  the 
zinc  plate. 

In  a series  of  articles  which  commenced  on  page  673  of 
our  last  volume,  we  detailed  with  some  minuteness  the 
steps  which  are  necessary  to  etch  the  zinc  into  a 
typographic  block ; but  we  may  refer  in  this  place  to  the 
leading  features  of  the  operation.  The  zinc  plate  is 
gummed,  wiped,  and  inked  with  the  usual  lithographic 
roller,  after  which  the  plate  is  dried.  Asphalt  powder  or 
resin  powder  is  now  dusted  over,  and  this  material  serves 


to  add  solidity  and  strength  to  the  lines.  Dilute  nitric 
acid,  about  one  to  forty,  is  now  allowed  to  act  for  a 
sufficient  time  to  leave  the  lines  in  slight  relief.  A moderate 
heat  now  serves  to  so  far  melt  the  mixture  of  ink  aud 
resin  as  to  cause  it  to  flow  down  and  cover  the  sides  of  the 
lines  now  standing  in  relief,  after  which  the  inking  and  the 
etching  are  repeated.  By  proceeding  in  this  way  each  line 
ultimately  forms  the  apex  of  a stepped  ridge,  and  the 
printing  block  is  finished. 


LENSES  FOR  INSTANTANEOUS  WORK. 

A discussion7  has  been  going  on  for  some  weeks  at  the 
meetings  of  the  Photographic  Club  on  the  general  subject 


of  lenses  for  landscape  work,  and  lately,  particularly  on 
those  best  adapted  for  instantaneous  work.  As  we  hinted 
in  our  last  issue,  there  has  been  much  re-threshing  of  thrice- 
threshed  straw  and  stubble. 

Nevertheless,  one  point  has  been  taken  up  generally, 
the  importance  of  which  we  think  is  great.  This  is  a con- 
sideration of  the  angle  of  view  which  it  is  desirable  to 
include  iu  a picture,  apart  entirely  from  the  nature  of  the 
len3  to  be  used.  Of  course,  au  angle  of  view  cannot  be 
laid  down  for  all  subjects ; but  at  the  same  time  it  is  true 
that  there  has  been  at  all  times  since  photography  first 
came  into  existence  what  might  be  entitled  a “ fashionable  ” 
angle  ; that  is  to  say,  one  which  photographers  appeared  to 
strive  to  use  under  most  circumstances.  Moreover,  if  no 
angle  can  be  specified  to  serve  for  all  cases,  a desirable 


July  13,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


435 


limit  of  angle  may  easily  be  laid  down.  What  we  noticed 
in  connection  with  this  matter  is,  that  amongst  the  photo- 
graphers at  the  Club  there  was  expressed  an  almost,  if  not 
quite  unanimous,  opinion  in  favour  of  limiting  the  angle 
to  a much  smaller  one  than  has  been  fashionable,  or  at  least 
customary,  during  recent  years. 

We  are  particularly  pleased  to  note  this  tendency,  as  we 
have  for  several  years  past  persistently  urged  the  advan- 
tages of  limiting  the  angle  to  such  a one  as  is  taken  in  by 
ihe  eye  at  one  time,  and  of  avoiding  anything  greater 
except  when  this  is  quite  impossible. 

The  discussion  was  opened  on  this  point  by  Mr.  G.  F. 
Williams,  who  said  that,  when  he  first  commenced  instan- 
taneous work,  his  desire  was  to  find  a lens  which  would 
permit  him  to  use  an  angle  of  60°,  or  nearly  so,  and  that 
he  fouud  it  in  the  portable  symmetrical.  Since  then, 
however,  his  tendency  had  been  all  towards  the  use  of  a 
lens  of  longer  focus;  until  now  he  used  one  whose  focal 
length  was  half  as  long  again  as  his  plate,  instead  of  only 
about  the  same  length  as  at  first. 

Mr.  Mawdesley  described  very  graphically  what  must,  we 
believe,  have  been  the  feelings  of  many  a photographer  as 
he  advanced  in  his  art.  lie  said  that  when  he  was  a 
beginner,  or  at  least  at  an  early  stage  in  his  photographic 
career,  his  tendency  and  desire  when  he  looked  at  the 
image  on  the  ground  glass  was  always  to  get  in  “ just  a 
little  bit  more,”  and  he  told  how  disappointing  he  found 
the  pictures  which  resulted  from  giving  effect  to  this  desire, 
lie  then  went  on  to  say  how  that  he  discovered  his  error 
to  be  that  he  was  taking  in  too  much  angle,  and  that  his 
tendency  since  then  had  been  to  use  lenses  of  longer  and 
larger  focus  ; until  now  he  had  a distinct  and  somewhat 
confined  maximum  angle  which  he  never  overstepped 
except  on  very  special  occasions,  whilst  his  minimum  was 
only  limited  by  the  length  of  his  camera. 

Another  member  stated  that  he  worked  12  by  10  plates ; 
that  his  first  lens  had  been  of  12-inch  focus ; that  since 
then  he  had  adopted  for  general  work  a lG-inch  focus,  and 
frequently  used  one  combination  of  his  12-inch  lens,  thus 
having  a focus  of  24  inches  ; and  that  now  he  was  having 
an  adapter  made  for  his  camera  to  enable  him  to  use  one 
of  the  combinations  of  his  lG-inch  lens,  and  thus  have  a 
focus  of  32  inches. 

All  this  we  consider  a decided  and  noteworthy  indica- 
tion of  a movement  in  the  right  direction. 

With  regard  to  the  special  type  of  lens  to  be  used  for 
instantaneous  work,  there  were  not  found  wanting  advocates 
for  every  possible  form  of  instrument,  from  the  portrait 
lens  to  the  single  achromatic  lens.  A lens  of  the  last  de- 
scription, aDd  of  a very  old  make — that,  we  believe,  of  the 
late  Mr.  A.  Ross — was  shown,  and  wa3  said  to  work 
admirably  through  a moderate  angle  with  an  aperture  of 
“ 8 ” of  the  standard  numbers,  or  about  T^. 

One  point  appeared  to  be  overlooked  in  connection 
with  the  discussions  on  the  angle  included  by  different 
lenses — namely,  that  lenses  of  the  same  type,  but  of  differ- 
ent lengths  of  focus,  do  not,  by  any  means,  work  sharp 
through  the  same  angle.  A lens  of  long  focus  always  works 
sharp  through  a less  angle  than  one  of  short  focus,  and  of 
the  same  type. 

The  portrait  lens,  when  of  very  short  focus -say,  up  to 
seven  or  eight  inches  (equivalent) — covers  through  an 
angle  which  makes  itquite  serviceable  for  landscape  works, 
and,  in  fact,  for  many  instantaneous  subjects,  it  is  the 
best  lens  which  can  be  used.  A long  focus  portrait  lens 
— say  one  of  twenty  inches — will,  on  the  other  hand,  cover 
sufficiently  sharply  for  landscape  work  only  an  angle  of  a 
few  degrees. 

Lenses  of  the  rapid  type,  and  of  short  focus,  may  be 
worked  through  an  angle  of  about  forty-five  degrees  full 
aperture,  and  give  very  satisfactory  results.  Those  of 
long  focus— sixteen  or  twenty  inches — will  only  work 
sharp  through  about  25Q 

The  portable  symmetrical  of  a few  inches  focus  will 


cover  through  60°  at  ! . Of  long  focus  it  will  only  cover 
about  45°  with  the  same  aperture. 

Another  difficulty  which  makes  itself  evident  when  long 
focus  lenses  are  used  for  instantaneous  work,  is  the  want 
of  depth  of  focus.  With  a short  focus  lens,  the  depth  of 
focus  need  seldom  be  a consideration.  We  are  limited  in 
the  aperture  which  we  may  use  only  by  requirements  of 
definition  and  of  flatness  of  field.  It  is  quite  different 
with  lenses  of  long  focus.  When,  for  example,  we  get  up 
to  a focal  length  of  sixteen  or -twenty  inches,  we  will  find 
that,  entirely  apart  from  absolute  definition  or  covering 
power,  it  is  seldom  that  we  can  use  anything  like  the  full 
aperture  of  a rapid  lens,  because  of  the  want  of  depth  of 
focus.  For  most  subjects  we  find  ourselves  limited  to 
an  aperture  of  about  or 

The  depth  of  focus  of  lenses  of  the  same  type — or, 
rather,  leaving  type  altogether  out  of  the  question — of  lenses 
having  the  same  relation  of  aperture  to  focal  length,  varies 
inversely  as  the  square  of  the  focal  length.  For  example, 
by  doubling  the  focal  length,  we  decrease  the  depth  of 
focus  by  four  times.  By  tripling  the  focal  length,  we  de- 
crease at  nine  times,  and  so  on.  All  this  tends  to  show 
that  there  are  many  advantages  to  be  looked  for  in  the 
production  of  small  negatives,  and  the  subsequent  enlarge- 
ment of  them,  if  the  difficulties  attending  such  a process 
can  be  overcome. 


THE  TOURIST  PHOTOGRAPHER. 

No.  1. — Yorkshire. 

Yorkshire  does  not  receive  justice  at  the  hands  of  the 
tourist.  The  beauties  of  Wensleydale,  Wharfedale,  and 
Teesdale,  to  mention  three  charming  valleys  in  this  wide 
county,  are  rarely  visited  by  the  holiday  maker,  who  will 
find  here  rustic  pictures  and  green  panoramas  in  plenty  to 
delight  him.  And  it  is  not  only  for  leafy  hills  and  verdant 
pasture  land  that  Yorkshire  is  pre-eminent.  Its  vast  moor- 
lands and  stretches  of  purple  heather  are  not  less  attrac- 
tive, especially  to  dwellers  in  large  towns  ; indeed  a tramp 
over  these  breezy  uplands  is  the  most  healthful  and  in- 
vigorating of  exercises.  For  the  camera  there  are  water- 
falls, historical  ruins,  and  village  pictures  in  profusion, 
especially  if  it  is  carried  by  pedestrians ; aud  it  is  the 
doings  of  a little  party  of  this  nature  we  are  now  about 
to  describe. 

Our  starting  point  is  Ley  burn,  easily  reached  by  rail 
from  York,  and  here  we  adjust  knapsacks,  eager  to  begin. 
Hut  there  is  no  necessity  for  putting  them  on  just  now. 
Several  excursions  into  Wensleydale  may  be  made  from 
Leyburn,  and  the  first  will  naturally  be  to  the  Shawl.  This 
is  a long  backed  hill,  or  natural  terrace,  that  affords  a 
series  of  delightful  views.  The  distant  peeps  are  scarcely 
profitable  investments  for  the  camera,  magnificent  as  the 
panorama  is  with  the  ruins  of  Bolton  Castle  and  Middle - 
ham  right  and  left ; but  some  lovely  woodland  scenes, 
especially  with  the  graceful  silver  birch  in  the  foreground, 
may  be  secured  with  advantage  Wensley  village,  with 
its  church  tower  and  surrounding  foliage,  makes  a nice 
picture ; but  it  is  too  small  from  here,  and  the  photo- 
grapher will  do  well  to  take  it  at  closer  quarters. 
Middleham,  a very  fine  ruin,  is  situated,  unfortunately,  in 
a stretch  of  uninteresting  landscape;  still,  by  approaching 
close  to  the  structure  — it  is  but  two  miles  off  — some 
grand  views  can  be  secured  of  this  old  stronghold  of  the 
famous  king-maker. 

Middleham  Castle,  indeed,  is  not  only  a historical  pile, 
but  is  familiar  to  all  readers  of  Shakespeare  and  Lytton. 
Its  vast  extent  can  only  be  fully  appreciated  by  walking 
about  and  among  the  standing  walls  and  solid  grey 
buttresses.  Edward  IV.  is  said  to  have  resided  in  the 
castle,  and  to  cruel  Hunchback  Richard  it  certainly 
belonged  for  many  years.  But  perhaps  Middleham  will 
best  he  remembered  iu  connection  with  “ The  Last  of  the 
Barons,”  for  much  of  Lord  Lyttou’s  famous  novel  is  Lid 


436 


ME  PHOTOGRAPHIC  NEWS. 


[July  13,  1883. 


here ; in  any  case,  therefore,  the  photographer  must  not 
leave  the  spot  until  a sketch  of  the  home  of  the  great 
Earl  of  Warwick  has  been  secured. 

Further  on,  about  three  miles  from  Middleham,  is 
Jervaux  Abbey,  another  ruin,  not  so  complete  as  the 
castle,  but  with  its  fragmentary  walls  looped  with  ivy, 
more  picturesque,  and  with  more  greenery  about  it.  The 
date  of  the  Abbey  is  about  the  same  as  that  of  Middleham, 
and  one  can  well  understand  how  the  monks  had  a good 
time  of  it  in  the  sheltered  and  comfortable  retreat.  The 
refectory  and  kitchen  form  the  larger  part  of  the  ruin, 
and  speak  eloquently  of  fast  times  and  jolly  living.  The 
last  abbot,  however — for  there  was  a last  abbot  here,  as  at 
Middleham  there  was  a last  of  the  barons— whether  he 
lived  too  jolly,  or  what  he  did,  came  to  an  untimely  end, 
for  he  was  executed  at  Tyburn,  for  some  good  and  suffici- 
ent reason,  let  us  hope. 

Wensley  village,  on  its  carpet  of  green  turf,  is  a model 
English  hamlet,  within  half-an-hour’s  walk  of  Eeyburn, 
and  here,  too,  the  photographer  may  set  up  his  camera 
with  advantage.  What  a pity  he  cannot  transfer  the  soft 
green  slopes  to  his  sensitive  plate  ! But,  at  any  rate,  the 
church  with  its  square  tower  will  make  a pleasing  photo- 
graph, and  so  will  some  of  the  trim  cottages  on  the  hill- 
side. 

We  now  make  a start  out  of  Leyburn  towards  Askrigg, 
passing  on  our  way  Aysgarth  Force,  where  we  bring  the 
camera  to  bear  once  more.  There  is  not  much  water  flow- 
ing, but  the  character  of  the  Force,  if  such  a gently  flow- 
ing cascade  can  be  termed  a Force,  is  quite  unique.  The 
water  flows  over  a broad  stone  bed,  gliding  from  ledge  to 
ledge,  for  the  fall  is  but  a few  inches  at  a time.  Doubt- 
less, in  the  rainy  season,  there  would  be  more  fuss  and 
foam  ; still  the  translucent  water,  moving  past  the  spec- 
tator in  broad  sheets,  has  a charm  that  is  both  striking 
and  novel. 

A bend  in  the  road  just  b fore  we  enter  Askrigg  is  so 
tempting — the  river  on  one  side,  and  overhanging  tiees  on 
the  other — that  we  stop  a waggoner  with  his  team,  and 
entreat  him  to  tarry  a few  minutes  while  we  get  a photo 
graph.  He  is  only  too  delighted  to  assist  at  a picture,  and 
takes  care  that  every  detail  in  his  harness  is  adjusted  with 
nicety,  quite  oblivious  of  the  fact  that  his  waggon  effectually 
screens  from  view  the  greater  part  of  the  steeds  themselves. 

Our  next  halting  place  is  Hawes.  It  is  a little  town  with 
a very  good  inn,  and  early  in  the  morning,  after  a draught 
of  fresh  milk,  and  before  breakfast,  we  set  out  to  photograph 
Hardraw  Force.  It  is  but  a quarter  of  an  hour’s  walk  from 
the  inn,  but  it  is  difficult  to  And,  for  all  that.  The  fact  is, 
we  get  on  the  plain  above  the  fall,  and  for  a time  search 
in  vain  across  the  landscape  for  a stream  of  water  that 
makes  a clear  leap  of  a hundred  feet,  as  we  have  been  told. 
Curiously  enough,  we  cross  and  re-cross  the  stream  itself,  but 
it  is  6ome  time  before  we  come  to  the  spot  where  this  precipi- 
tates itself  into  a deep  semi-circular  hollow.  It  is  a gracef  ul 
stream  of  water — not  very  big — and  deserves  to  be  visited,  if 
only  for  its  mighty  leap.  But  it  makes  a poor  photograph. 
Two  friends  who  are  with  us  station  themselves  under  the 
fall,  or  rathei  behind  it,  and  we  photograph  their  forms 
veiled  by  the  descending  water.  The  size  of  their  figures 
demonstrates  very  well  the  height  of  the  fall,  but  the  fault 
of  our  picture  is  that  the  sheet  of  water  descends  in  such  a 
mathematically  straight  line,  it  might  have  been  ruled  with 
a ruler.  Moreover,  the  operation  of  photographing  damps 
the  ardour  of  our  friends  in  respect  to  further  work;  they 
get  rather  wet  while  we  are  busy  with  the  focussing,  and 
afterwards  explain,  in  very  clear  and  concise  language,  that 
they  don’t  mean  to  stand  any  more  photography  under  the 
same  circumstances. 

We  strike  off  now  “ oe’r  moss  and  fell”  towards  Ingle- 
borough — at  Ingleton,  good  accommodation  can  be  had  — 
one  of  the  principal  hills  in  Yorkshire.  It  is  a capital  climb 
to  the  top,  and  we  are  in  hopes  of  securing  some  photo- 
graphs of  an  ancient  British  camp,  of  which  guide-books  say 


there  are  some  very  striking  remains.  There  are  indications 
of  a lot  of  ancient  huts,  we  are  informed,  but  to  our  un- 
trained sight  nothing  sufficiently  like  a dwelling  could  be 
found  to  photograph.  Nevertheless,  we  secure  a picture  of 
a very  strange  sight  that  greets  us  half-way  up  the  moun- 
tain. At  a certain  point  we  pass  over  a big  area  of  flat 
rock,  not  unlike  a huge  glacier  in  appearance,  and  of  this  a 
plate  is  taken  before  proceeding  on  our  way. 

There  is  a huge  cave  in  the  vicinity  of  Ingleborough, 
containing  some  very  fine  stalactites,  together  with  many 
caverns,  said  to  have  been  the  abode  of  ancient  Britons; 
but,  unfortunately,  we  were  without  any  special  means  of 
illumination,  aud  so  did  not  venture  to  pay  an  “ at  home  ” 
visit  at  the  abode  of  our  elderly  relatives. 

To  visit  Teesdale  and  the  extreme  north  of  the  county, 
we  take  rail  from  Clapham,  at  the  foot  of  Hillborough, 
through  the  Eden  Valley,  to  Kirby  Thore,  coming  down 
iuto  the  valley,  over  a curious  pass  termed  High  Cup  Nick, 
to  get  a view  of  High  Force.  It  is  rugged  walking  enough, 
climbing  over  these  steep  Yorkshire  fells ; Mickel  Fell, 
the  biggest  mountain  in  Y orkshire  is  on  your  left,  and  other 
heather-clad  eminences  stretch  away  before  you  for  miles. 
So  primitive  and  secluded  is  it,  when  you  get  among  the 
hills  here,  that  you  might  be  in  Norway,  for  all  the  signs  of 
civilisation  to  be  met  with.  During  a twenty  mile  march 
you  may  scarcely  see  a habitation  or  meet  a single  soul  on 
the  wastes  of  moorland,  in  the  rocky  defiles,  and  beside 
the  foaming  torrent  by  which  your  way  passes,  in  fact, 
there  is  frequently  no  path,  and  it  is  a question  of  guiding 
yourself  by  ordnance  map  and  compass. 

High  Cup  Nick  is  a niche  in  a mountain  through  which 
you  pass  into  Teesdale.  The  scenery  here  is  wild  and  weird 
to  a degree,  and  the  only  indication  the  traveller  has  to 
guide  him  into  the  valley  is  the  tiny  stream  that  now 
begins  to  descend  beside  him.  A five-mile  march  through 
a region  of  desolation  brings  you  to  Caldron  Snout,  a pictu- 
resque waterfall,  opposite  which  is  a big  bare  precipice,  that 
goes  by  the  quaint  name  of  Cronkley  Scar.  The  descent 
from  this  wild  and  cold  region  into  the  garden  luxuriance 
of  Teesdale  really  reminds  one  of  passing  from  Switzerland 
into  Italy,  say  by  the  St.  Gotthardt  or  Simplon,  so  marked 
is  the  change  between  rugged  moorland  and  the  green 
cultivated  country. 

There  is  a comfortable  inn  at  High  Force  where  you  may 
rest  for  the  night,  marching  the  last  few  miles  of  the  way 
through  a pine  forest.  High  Force  itself,  a fine  mass  of 
white  water  tumbliug  into  a rocky  basin  surrounded  by 
black  firs,  is  a really  grand  sight,  and,  naturally  enough, 
we  get  picture  a of  it ; nay,  more,  we  climb  upon  the 
rock  over  which  the  water  pours,  and  setting  up  the 
camera  upon  them,  take  a view  down  the  valley — the 
sparkling  stream  fringed  with  dark  foliage — that  is  no 
less  pleasing. 

Down  the  valley  we  now  tramp  to  Bowes.  Our  party  is 
gallantly  marching  abreast,  knapsack  on  back,  and  at  a 
picturesque  spot  in  the  road,  where  the  spreading  branches 
of  the  trees  meet  overhead,  the  word  “ halt  ” is  given  ; the 
photographer  of  the  party  recedes  some  twenty  feet,  and 
setting  up  his  camera,  focusses  his  brethren  in  front,  as  they 
have  been  suddenly  halted  on  their  way.  The  smallest  stop 
is  employed  to  make  the  exposure  a long  one,  and  then 
whipping  off  the  cap,  the  photographer  rusher  to  the  front, 
and  takes  up  his  post  motionless  on  the  flank.  One,  two, 
three,  four,  five,  six,  seven,  eight  he  counts  ; and  then, 
dashing  back  quickly,  caps  the  lens.  A lecord  of  the 
walking  party  to  Yorkshire  at  an  interesting  moment  of 
their  travels  is  thus  secured. 

Bowes  is  rather  a cold  little  town  : but  still  it  has  its 
attractions.  Our  first  plate  is  expended  in  Bowes  Church- 
yard, on  the  monument  of  “ Edwiu  and  Emma,”  the 
lovers  who  died  on  the  same  day,  and  whose  sad  story 
Mallet  has  told  in  touching  verse.  The  youth’s  friends 
forbidding  the  match,  he  pined  and  died,  and  — so  records 
the  gravestone — “ upon  tolling  of  his  passing  bell  she  cried 


jn,Y  13,  1883. ) 


THE  PHOTOGRAPHIC  HEWS. 


437 


out,  ‘My  heart  is  broke!’  and  in  a few  L^uis  expired,  ihe  last  bouse  in  the  Tillage,  a one-storied  huil  bng  < f 
purely  through  love.”  dull  stone,  surrounded  by  a high  wall,  is  pointed  out  as 

Another  association  with  Bowes  is  the  circumstance  the  origiual  of  “ Dotheboys ; ” but  the  good  people  of 
that  Charles  Dickens  placed  his  “ Dotheboys  Hall”  here.  Bowes,  naturally  enough,  hesitate  to  talk  much  about  it. 
It  is  a four-mile  walk  from  Greta  Bridge,  where  Squeers  The  old  landlady  at  the  “ Unicorn  ” spoke  very  depre- 
and  Nicholas  Nickleby,  it  will  be  remembered,  quitted  catingly  of  '‘young  Mr.  Dickens,”  as  she  still  termed 
the  coach— we  secure,  by-the-way,  a picture  of  the  old  him,  when  we  mentioned  the  subject,  and  complained  that 
hostelry  at  Greta  Bridge,  and  its  big  grass-grown  quad-  matters  were  grossly  exaggerated.  But  the  fact  remains 
rangle,  both  indicative  of  bygone  traffic — and  is  also  but  a that  in  the  house  iu  question  there  was  a cheap  and  low 
short  distance  from  Barnard  Castle,  about  which,  it  will  class  boarding  school,  about  which  ugly  rumours  were 
be  recollected,  Newman  Noggs  gave  a hint  to  Nicholas,  rife  in  the  village  ; that  its  squalid  character  and  half- 
to  the  effect  that,  “ If  you  go  near  Barnard  Castle,  there  starved  inmates  attracted  the  attention  of  the  great 
is  good  ale  at  the  ‘ King’s  Head.’  ” i novelist  when  visiting  Bowes,  and  that  the  miserable  estab- 


lishment did  not  long  outlast  the  publication  of  Nicholas 
Nickleby ; and  it  is  now  occupied  by  farm  people. 

As  a matter  of  course,  we  cannot  leave  Bowes  without  a 
picture  of  Dotheboys  Hall.  We  take  photographs  both  of 
the  front  and  back  of  the  house,  the  sketch  herewith  being 
the  latter,  which  is  the  more  characteristic  of  the  two. 


LIGHTING  AND  POSING  THE  HUMAN  MODEL. 

BT  CLIFF. 

It  having  struck  me  that  an  article  on  the  above  subject  I 
would  be  acceptable  to  a considerable  proportion  of  the 
readers  of  this  valuable  journal.  I have  spent  some  coo-  ! 
siderable  amount  of  thought  and  time  in  looking  up  the 
opinions  of  various  authorities  on  the  subject,  which,  with 
my  own  experiences,  I row  lay  before  them,  trusting  that 
some  little  good  may  accrue  therefrom. 

With  regard  to  the  construction  of  the  studio,  it  behoves 
me  to  say  as  little  as  possible,  as  well-lighted  and  artistic 
pictures  have  been,  and  constantly  are  being,  turned  out 
from  studios  of  every  construction.  One  artist  prefers  all 
top-light ; another  has  no  top-light,  or  has  a ridge  roof  ; 
and  one  has  the  ridge  across  instead  of  along  the  studio. 
Yet  in  each  and  all  of  these  rooms  artistic  lighting  can  be 
obtained  by  the  careful  adjustment  of  blinds  and  screens, 
and  the  placing  of  the  sitter  in  different  positions  with 
regard  to  the  source  of  light.  Of  course,  the  construction 
of  studio  which  requires  the  least  intricate  arrangement  of 
blinds,  screens,  and  reflectors,  is  the  easiest  in  which  to 
work. 


Too  much  top-light  should,  iu  all  cases,  be  avoided,  as 
it  gives  a light  patch,  looking  like  grey  hair  on  the  top  of 
the  head,  and  heavy  shadows  under  the  eyes,  nose,  and 
chin,  in  many  cases  making  the  neck  appear  black,  and 
causing  the  retoucher  to  talk  about  ordering  in  his  blue 
paint  by  the  hundredweight. 

Brilliancy  (not  hardness)  is  obtaiued  by  near  approach 
to  the  source  of  light,  flatness  by  going  too  far  from  it ; 
but  the  roundest  and  most  flesh-like  effects  are  produced 
by  having  the  sitter,  so  to  speak,  behind  the  side  light— 
that  is,  do  not  have  your  side  light  striking  straight,  or  at 
right  angles  on  the  face.  Do  not  be  afraid  either  of  your 
light  being  too  bright,  so  long  as  you  take  care  of  your 
shadows,  and  by  reflection  soften  them  ; no  amount  of 
light  will  give  hardness. 

I usually  use  diffused  side  light  and  direct  top  light— that 
is,  the  lights  on  the  forehead,  nose,  and  cheek,  I obtain 
from  the  top,  the  side  light  being  in  the  front  of  the  sitter ; 
this  gives  a very  soft  and  yet  brilliant  effect.  Of  course, 
the  direct  top  light  must  not,  in  any  case,  be  allowed  to 
fall  on  the  top  of  the  head.  In  some  constructions  of 
studios  this  cannot  be  avoided  without  the  use  of  a head- 
screen,  which  is  a very  useful  piece  of  apparatus,  consist- 
ing of  the  screen  proper,  a wooden  framework  covered 
with  blue  or  pink  (sometimes  white)  linen,  and  about  40 
inches  square.  This  is  attached  by  a hinged  arm,  with  an 
iron  stand  much  like  a headrest,  and  which  can  be  raised 
and  depressed  in  the  same  manner.  A string  is  attached 
to  the  screen,  by  which  the  angle  ol  ‘devation  may  be 
altered  at  will.  This,  of  course,  keeps  off  all  direct  light, 
and  the  stand,  I may  remark,  is  placed  at  the  side  of  the 


438 


THE  PHOTOGRAPHIC  NEWS 


[July  13,  1883. 


sitter,  or  else  behind  the  background , otherwise  we  should 
have  a straight  liue  up  the  centre  of  the  picture.  The 
best  kind  of  reflector  for  use  is  a curved  one,  and  its  use  is 
increased  by  also  placing  it  on  a stand  similar  to  a head- 
rest. 

Care  should  always  be  taken  to  see  that  the  reflex  is 
even  on  both  eyes,  and  that  it  is  on  the  side  from  which 
the  light  comes,  otherwise  your  lighting  is  certain  to  be 
flat,  and  partake  of  the  nature  of  an  open-air  picture.  It 
is  not  advisable  to  take  Rembrandt  or  semi-Rembrandt 
pictures  of  people  with  light  eyes;  for  eyes  that  are  deeply 
sunk,  nearly  fall  face  is  the  best,  and  a sloping  reflector 
should  be  placed  on  the  ground  in  front.  Small  eyes  are 
usually  better  portrayed  looking  a trifle  upwards,  and 
staring  eyes  the  reverse.  Blue  eyes  are  often  better  look- 
ing downwards.  The  eyes  should  never  be  looking  farther 
round  than  the  face ; on  the  contrary,  if  they  are  fixed  on 
an  object  a little  nearer  the  camera,  the  result  is  more 
natural. 

In  the  case  of  a “Tcnnysonian  ” or  “ tip-tilted  ” nose, 
the  camera  should  be  raised  aud  the  lens  looking  down- 
wards, or  the  picture  will  give  you  the  impression  of  looking 
up  the  nostrils. 

If  the  nose  is  large,  take  it  from  the  side  towards  which 
it  inclines  ; if  small,  the  reverse  ; for,  strange  as  it  may 
seem,  not  one  nose  in  twenty  is  quite  straight.  With  very 
high  cheek-bones,  a profile,  or  as  nearly  full  face  as  possi- 
ble, should  be  taken,  but  never  a three-quarter  or  seven- 
eighth-inch  face,  which  would  exaggerate  the  effect  on  the 
shadowed  side. 

Take  a small  mouth,  full,  especially  if  the  shape  be  good ; 
but  a large  mouth,  show  as  little  as  possible  of — let  the 
model  be  smelling  a flower  or  coquetting  with  a fan  rather 
than  show  the  whole  mouth.  Keep  the  hair  as  light  as 
possible  ; in  cases  of  golden  brown,  red,  or  chestnut  hair, 
powder  must  be  used  to  produce  a natural  result. 

The  hands  are,  perhaps,  the  most  difficult  part  to  deal 
with.  They  should  never  be  brought  more  forward  than 
the  face,  aud,  so  far  as  possible,  be  always  kept  in  half-tone, 
and  the  projecting  part  under  the  little  finger  should  be 
made  to  rest  on  something,  as  otherwise  it  increases  the 
apparent  size. 

W ith  old  or  hard-featured  people,  it  is  a safe  rule  to 
light  as  much  as  possible  from  the  front,  and  to  have  very 
little  shadow. 

It  is  advisable  to  have  a movable  stand  with  a picture 
upon  it  to  use  as  an  eye-rest ; and  don’t  forget  to  tell  your 
model  that  he  or  she  may  blink  the  eyes,  thus  avoiding  a 
fixed  strong  look  in  the  eyes.  A dark  curtain  is  a useful 
accessory,  not  necessarily  to  come  in  the  picture,  but  to 
throw  a shadow  on  the  background  ; aud  it  should  be  noted 
in  the  first  place  that  the  background  itself  should  in  no 
case  be  darker  than  the  darkest  shadow  in  the  hair,  and  in 
the  second,  that  the  darkest  part  of  the  background  should 
be  in  closest  proximity  to  the  lightest  side  of  the  figure. 

When  painted  exterior  or  interior  backgrounds  are  used, 
or  when  combination  printing  is  resorted  to,  great  care 
should  be  taken  to  observe  that  the  lighting  on  the  figure 
and  on  the  background  correspond.  I have  frequently 
seen  photographs  in  which  the  reverse  was  the  case,  and 
in  one  instance  remember  seeing  a window  represented 
close  by  the  shadowed  side  of  the  face  of  the  model : possi- 
bly it  was  what  Baddy  would  call  a “ dark  window.” 


AMATEUR  PHOTOGRAPHY. 

Complete  outfits  for  amateur  photographers  have  struck  the  bed- 
rock price  of  $7.85.  We  say  this  more  in  sorrow  than  in 
anger,  and  would  gladly  draw  a wet  blanket  over  the  harrowing 
scenes  in  the  future,  and  nail  on  with  a lariat  safety  pin.  There 
is  trouble  ahead.  People  are  not  going  to  stand  it.  There  is 
enough  imposition  now  stalking  through  the  land,  like  a bovine 
somnambulist  over  the  garden  truck,  without  this  new  and  added 
infliction.  The  man  with  his  hand  on  the  public  pulse  can 


inform  you  that  the  great  swearing  public  proposes  to  kick 
against  amateur  photography.  Fortunate  parties  that  have,  so 
far,  escaped  being  focussed  by  a soft-eyed  youth  with  a brass- 
wood  camera,  just  for  the  sake  of  an  ideal  friendship,  “ don’t 
chew  know,”  may  not  be  adequately  prepared  to  profoundly 
sympathize  with  the  tone  of  this  article.  But  we  mean  business, 
even  though  we  are  obliged  in  the  course  of  our  duty  to  the 
public  to  sit  down  on  the  amateur  photographer  and  smash  all 
his  chemicals. 

An  amateur  photographer’s  advertisement  says  that  the 
$7.85  outfit  is  an  attractive  addition  to  the  furniture  of  any 
parlour ; that  it  will  receive  a warm  welcome  from  the  home 
circle  ; and  that  for  ladies  it  will  prove  a pleasant  amusement  in 
making  sittings  of  their  visitors,  and  be  taken  along  on  picnics 
and  excursions,  packed  up  in  the  same  hamper  with  the  cold 
yellow-legged  chicken  and  deviled  codfish.  That  is  all  well 
enough  to  talk  about  in  scientific  circles.  The  pale  savant  with 
the  languid  liver,  and  the  watch-eyed  Boston  girl  may  haunt 
the  highways  with  camera  and  tripod,  dry  plates  and  a camp 
chair,  but,  for  all  that,  amateur  photography  can  never  become 
the  pronounced  success  that  the  speculative  advertiser  would 
have  everybody  believe. 

One  of  these  visionary  amateurs  undertook  to  photograph  Budd 
Doble  in  a sulky  whose  delicate,  spider-  web  thills  clung 
tenderly  to  the  graceful  sides  of  comeinto-the-garden  Maud  S. 
And  when  the  dude  took  his  plate  out  of  the  camera  and  looked 
at  it,  Maud  S.  was  prone  on  her  back,  her  four  legs  working  a 
10j  gait  toward  the  zenith,  while  Budd  Doble  was  represented 
under  the  wreck  of  a twenty-five  pound  sulky,  taking  a drink 
out  of  a fifty-pound  flask.  Budd  said  that  would  never  do  in 
the  world,  and  taking  the  negative  away  from  the  infatuated 
amateur,  he  broke  it  into  sixteen  hundred  pieces,  and  told  him 
to  go  home  and  practise  on  some  of  bis  own  family,  and  see 
how  they  liked  it. 

An  amateur  photographer  will  take  his  best  girl,  and  put  a 
mug  on  her  that  Talmage  would  blush  to  own,  and,  of  course, 
this  creates  a coolness  between  the  two  for  aye.  When  your 
best  friends  step  up  and  examine  the  negative  which  you  have 
taken,  and  turn  suddenly  around  and  chastise  you  on  the  spot, 
it  is  high  time  to  go  out  of  the  amateur  photography  business, 
and  try  and  get  a job  peddling  peanuts  in  a circus. — “ Texas 
Siftings,”  from  The  Eye. 


SULPHUR. 

BY  CHARLES  EHRMANN.* 

Sulphur  is  an  element  well  known  for  its  great  importance  to 
the  chemical  and  technical  industries  of  the  whole  civilized 
world.  It  is  the  base  of  sulphuric  acid,  a factor  without  which 
all  industrial  efforts  would  come  to  a complete  stoppage.  When, 
in  the  year  1841,  the  .Government  of  Naples  laid  an  export  duty 
on  sulphur,  manufacturing  England  answered  this  measure  with 
a declaration  of  war.  And  justly  so.  All  the  efforts  of  the 
chemist  to  produce  sulphur  from  pyrites  and  sulphureta  could 
not  satisfy  the  demand  for  it.  Without  sulphur  there  cannot  be 
any  sulphuric  acid,  no  muriatic  acid,  no  chloride  of  lime,  soap, 
soda,  glass,  &c.  Even  watlike  powers  would  be  condemned  to 
everlasting  peace  for  the  want  oi  gunpowder. 

Sulphur  is  disseminated  throughout  the  mineral  kingdom — it 
occurs  in  the  earth  native  or  in  combinations.  When  native,  it 
is  found  either  in  translucent  or  opaque  masses,  or  in  a powdery 
state  mixed  with  limestone,  gypsum,  slate,  &e.  In  its  purest 
form  it  is  found  ia?  Italy,  Sicily,  Galicia,  California  (Santa 
Barbara),  and  mauy  other  places.  In  combination  it  occurs 
almost  everywhere  with  iron,  lead,  mercury,  arsenic,  antimony, 
copper  and  zinc,  forming  compounds  called  sulphureta.  More 
extensively  we  find  sulphur  as  sulphates,  which  as  sulphate  of 
calcium,  barium,  and  other  metallic  bases  constitute  enormous 
mountainous  masses.  Sulphate  of  sodium  is  a companion  of  the 
chloride  of  sodium  of  sea  water,  and  sulphates  enter  the  organism 
of  animals  and  plants.  All  proteine  matter — albumen,  glutin, 
casein — always  contains  sulphur.  A full  grown  man  is  said  to 
carry  in  his  body  four  ounces  of  it. 

Sulphur  is  a non-metallic  element ; it  is  brittle,  solid,  pale 
yellow  in  colour,  of  crystalline  texture  and  shining  fracture.  Its 
symbol  is  S,  eq.  number  16,  and  density  2.  It  is  insoluble  in 
water,  but  soluble  in  alkaline  solutions,  petroleum,  naphtha, 


* Read  before  the  Association  of  Operative  Pbotogiapher*  of  Mew  York, 


July  13,  1883.} 


THE  PHOTOGRAPHIC  NEWS. 


439 


fixed  and  volatile  oils,  alcohol,  ether,  chloroform  and  bisulphuret 
of  carbon.  Sulphur  melts  at  115  5 deg.  C.  and,  when  cooling, 
will  under  circumstances  crystallize  in  sharp,  slender  prisms. 
The  crystals  formed  from  a solution  of  bisulphuret  of  carbon  are 
oc  tahed  ric. 

Sulphur  heated  to  150  deg.  C.  ignites,  and  enters  easily  into 
combination  with  oxygen,  metals,  and  other  elements,  some  of 
which  are  very  important  to  the  photographer.  Of  all  of  these, 
let  us  first  consider  the  well  known 

Sulphuret  of  Potassium,  which  is  formed  when  carbonate  of 
potash  and  sulphur  in  certain  proportions  are  brought  to  a state 
of  tranquil  fusion  and  allowed  to  cool.  The  mass  obtained  is 
hard  and  brittle,  of  peculiar  taste  and  odour,  and  of  a liver  brown 
colour.  Hence  its  ancient  name  of  kepar  sulphuric.  It  is  easily 
soluble  in  water,  attracts  oxygen  by  exposure  to  air,  and  changes 
gradually  into  potassium  sulphate,  when  it  becomes  inodorous 
and  white  on  the  surface.  The  solution  is  decomposed  by 
mineral  acids,  which  liberate  sulphuretted  hydrogen  and  precipi- 
tate sulphur.  Most  of  the  metals  in  solutions  are  by  it  precipi- 
tated as  sulphurets.  Hence  its  use  to  throw  down  silver  as  a 
sulphuret  of  silver  from  old  fixing  baths  or  other  solutions  con- 
taining it,  and  as  an  intensifier  for  negatives. 

Sulphuret  of  Ammonium  is  used  for  similar  purposes.  It  is 
made  by  passing  a continuous  stream  of  sulphuretted  hydrogen 
through  liquid  ammonia  till  saturated. 

Sulphuret  of  Antimony  and  Sodium,  or  Schlippe's  Salt , is  also 
used  as  an  intensifier,  often  in  combination  with  bichloride  of 
mercury.  It  consists  of  large,  pale  yellow  diaphanous  tetrahedric 
crystals.  It  should  not  be  used  when  the  crystals  are  covered 
with  a reddish  brown  surface. 

Sulphuretted  Hydrogen  is  used  as  a reagent  for  the  detection 
of  metals.  It  is  obtained  by  the  action  of  sulphuric  acid  upon 
sulphuret  of  iron.  The  gas  thus  set  free  is  either  applied  direct 
or  when  mixed  with  water. 

Some  of  the  combinations  of  sulphur  with  oxygen  are  of  the 
greatest  importance.  Besides  sulphurous  acid,  SO.-,  and  sul- 
phuric acid,  S+03,  there  are  known  a series  of  others.  Dithi- 
onous  acid,  S202 ; dithionic  acid,  S205  ; trithionic  acid,  S30;, ; 
tetrathionic,  S4Os  ; pentathionic,  S-Oj,  to  all  of  which  the' photo- 
grapher’s interest  need  only  be  directed  to  the  dithionous  or 
hyposulphurous,  the  sulphurous,  and  sulphuric  acids. 

Hyposulphurous  Acid,  S20-.>,  is  formed  by  heating  a soluble 
sulphite  with  sulphur,  or  by  the  action  of  sulphuric  acid  upon 
metallic  zinc  and  sulphide  of  zinc.  This  acid  exists  in  combi- 
nation only,  and  has  not  yet  been  prepared  in  its  free  state. 
Combined  with  soda  it  forms  the  widely-known  hyposulphite  of 
soda  or  fixing  soda.  This  salt  is  readily  made  by  mixing  dry 
carbonate  of  soda  with  powdered  sulphur,  heating  the  mixture 
till  the  sulphur  melts,  and  stirring  the  agglutinated  mass  to 
bring  every  particle  of  it  in  contact  with  the  air.  The  sulphuret 
of  sodium  first  formed  is  thus  converted  into  sulphite  of  soda. 
This  is  dissolved  in  water,  and  the  filtered  solution  being  boiled 
with  sulphur  becomes  sulphite,  which  salt  will  deposit  in 
crystals.  During  the  process  the  sulphuric  acid  of  the  sulphite 
takes  up  an  additional  equivalent  of  sulphur,  becoming  hyposul- 
phurous or  dithionous  acid,  which  forms  with  the  soda  hypo- 
sulphate  of  soda.  This  salt  is  obtained  as  a by-product  in  very 
large  quantities,  and  at  enormously  low  prices,  in  the  manufac  - 
ture  of  soda.  The  solutions  of  hyposulphite  of  soda  dissolve  all 
insoluble  silver  compounds  except  the  sulphuret  and  that  result- 
ing from  the  decomposition  of  a silver  salt  by  light.  It  dissolves 
iodine,  and  forms  with  it  iodide  of  sodium  and  tetratliionate  of 
soda,  and  the  blue  colour  of  iodide  of  starch.  The  photographer 
uses  it  to  dissolve  the  silver  haloids  on  plates  or  paper  not  acted 
upon  by  light ; and  it  is  also  used  as  a bleacher  in  many  instances. 
Its  chief  use,  however,  is  for  the  destruction  of  chlorine  when 
it  has  been  applied  to  destroy  the  colour  of  paper  pulp  or  fabrics. 
Therefore  it  is  known  in  commerce  by  the  name  of  antichlor. 
It  converts  the  chlorine  into  hydrochloric  acid,  which  forms 
with  the  soda  chloride  of  sodium,  and  the  hyposulphite  of  soda 
is  changed  to  neutral  sulphate  of  soda  ; either  of  these  substances 
remaining  in  the  paper  of  which  mounts  are  manufactured,  is  not 
injurious  to  the  photograph  pasted  upon  it. 

_ Sulphurous  Acid,  S02,  occurs  occasionally  in  volcanic  exhala- 
tions of  gases,  but  is  formed  directly  by  burning  sulphur  in 
atmospheric  air  or  oxygen.  At  the  ordinary  temperature  the 
acid  is  gaseous,  colourless,  and  irrespirable,  and  of  the  well- 
known  suffocating  odour  of  burning  sulphur.  It  is  soluble  in 
water,  forming  the  so-called  aqueous  sulphurous  acid.  The 


great  energy  of  this  acid  to  attract  oxygen  and  form  with  it  sul- 
phuric acid,  is  proved  by  its  application  to  prevent  putrefaction 
and  fermentation.  The  so-called  sulphuring  of  wine  and  cider 
casks  has  been  carried  on  for  centuries  to  retard  the  fermenta- 
tion and  acidification  of  those  liquids.  Another  peculiar  property 
of  sulphurous  acid  is  its  power  to  decolourize  many  pigments. 
Its  use  is,  however,  restricted  to  the  bleaching  of  animal  matter, 
as  wool,  silk,  feathers,  leather,  &c.,  the  colours  of  which  are  not 
easily  attacked  by  chlorine,  being  oftentimes  even  intensified. 
Sulphurous  acid  and  sulphite  of  soda,  added  to  the  pyrogallic 
developer  used  for  gelatine  emulsion  plates,  have  of  late  been 
introduced  into  the  photographer’s  laboratory.  Without 
attempting  now  to  discuss  the  merits  of  these  additions,  it  is 
nevertheless  evident  that  the  sulphite  of  soda  prevents,  from  its 
properties  mentioned  above,  the  decomposition  of  the  pyro- 
gallol.  It  is  further  claimed  that  it  gives  to  the  negatives  the 
tone  and  colour  so  much  admired  in  a collodion  plate.  Mr. 
Berkeley,  of  England,  was  probably  the  first  to  recommend  these 
accessories  to  the  photographer. 

Sulphuric  Acid,  S -f-  03,  is  absolutely  indispensable  in  the 
pursuit  of  all  technical  and  chemical  operations.  It  is  one  of 
the  most  powerful  factors  of  modern  industry,  and  is  one  of  the 
strongest  and  also  one  of  cheapest  acids  known  to  commerce  and 
the  chemist.  Whenever  weaker  acids  must  be  separated  or  ex- 
pelled, alkalies  neutralized,  metals  or  metallic  oxides  converted 
into  corresponding  salts,  it  is  invariably  employed.  Its  manifold 
applications  are  equalled  only  by  its  enormous  consumption.  To 
manufacture  sulphuric  acid,  sulphurous  acid  is  first  generated  by 
burning  sulphur  in  atmospheric  air,  and  its  higher  oxidation  pro- 
moted by  means  of  nitric  acid.  We  have  seen  how  easily  and 
energetically  sulphurous  acid  takes  up  oxygen  from  all  matter  con- 
taining it.  If  sulphur  is  oxidized  with  even  pure  oxygen  it  will 
only  yield  sulphurous  acid,  but  becomes  sulphuric  acid  by  sub- 
sequent contact  with  oxygenous  matter.  Of  all  means  to  oxidize 
sulphurous  acid,  nitrient  acid  is  by  far  the  most  practical  and 
economical.  Nitric  acid,  N05,  is  a combination  of  1 eq.  (or  14 
parts)  of  nitrogen  and  5 eq.  (or  40  parts)  of  oxygen.  If  2 eq.  of 
sulphurous  acid  come  in  contact  with  N05,  each  one  of  these 
will  take  up  1 eq.  of  oxygen,  thus  forming  2 eq.  of  sulphuric  acid, 
while  nitrous  acid,  N03,  a reddish  brown  gas,  is  liberated. 
Further,  when  3 eq.  of  nitrous  acid,  which  are  equal  to  3 nitrogen 
and  9 oxygen  collectively,  are  brought  in  contact  with  an  abun- 
dance of  water,  they  are  decomposed  into  1 eq.  of  nitric  acid, 
NOj,  and  2 eq.  of  oxide  of  nitrogen,  NOs  ; this  gasis  an  alogous 
to  sulphurous  acid.  On  combining  with  oxygen  it  is  immediately 
changed  to  nitrous  acid,  NO3,  which,  again,  is  converted  by  the 
water  present  into  nitric  acid  and  oxide  of  nitrogen,  and  so  on 
ad  infinitum.  Time  being  so  limited,  prevents  me  giving  a 
detailed  description  of  the  mode  in  which  sulphuric  acid  is  manu- 
factured on  a large  scale.  This  process,  however,  is  carried  on 
within  a system  of  large  leaden  chambers,  into  which  the  vapours 
of  sulphurous  acid  are  carried  and  brought  in  contact  with  finely- 
divided  sprays  of  nitric  acid.  The  acid  formed  is  collected  at 
the  bottoms  of  the  chambers,  and  contains  then  about  6G  per 
cent,  of  pure  hydrated  sulphuric  acid,  a rectification  of  which  is 
completed  in  a platinum  still.  The  article  thus  obtained  is 
commercial  sulphuric  acid  of  from  97  to  98  per  cent.  The  photo- 
grapher uses  pure  sulphuric  acid  for  various  purposes  : to  make 
gun-cotton,  either  in  combination  with  nitric  acid  or  with  nitrate 
of  potash  ; to  clean  glasses,  using  either  the  pure  acid,  or  when 
mixed  with  nitric  acid  or  bichromate  of  potash  ; to  destroy  the 
viscosity  of  glutin,  when  it  is  necessary  to  recover  the  silver  from 
useless  bromo-emulsions  ; as  an  addition  to  photosulphate  of  iron 
solution  to  prevent  its  oxidation,  &c. 

Of  the  sulphates  we  handle  daily,  let  us  mention  alum,  or 
sulphate  of  alumina  and  potash,  for  hardening  gelatine  negatives  ; 
chrome-alum  as  a substratum  for  gelatine  plates  ; sulphate  of 
copper  for  various  intensifiers  ; sulphate  of  iron,  and  sulphate  of 
iron  and  ammonia,  the  principal  agent  for  the  making  of  collo- 
dion negatives  and  positives,  and  again  for  the  production  of 
ferrous  oxalate  developer  : sulphate  of  potash,  as  an  admixture 
to  ferrotype  developer  ; sulphate  of  magnesia,  to  arrest  frilling 
and  puckering  of  gelatine  plates ; sulphate  of  uranium  with 
prussiate  of  potash  as  an  intensifier,  &c. 

Sulphur,  and  many  of  its  combinations,  you  will  thus  observe, 
are  of  great  importance  to  us  as  well  as  to  most  all  other  trades 
or  manufactures.  Sulphuric  acid  is  instrumental  to  furnish 
mankind  with  all  possible  necessities,  comforts,  and  commodities, 
for  it  is  used  in  producing  them  all,  and  it  1 ; well  to  say  : the 
state  of  industiy  of  a country  must  be  rated  at  her  consumption 
of  sulphuric  acid. 


440 


THE  PHOTOGEAPHIC  NEWS. 


[July  13,  1883 


The  inauguration  of  the  monument  to  the  memory  of 
Daguerre  is  fixed  for  the  12th  August  at  Cormeilles-en- 
Pe.risis,  his  birth-place. 

The  programme  of  the  fete  to  be  organised  on  the  occa- 
sion promises  to  be  a most  attractive  one.  There  is  to  be 
a banquet  in  the  evening,  to  which  many  well-known 
representatives  of  science,  art,  and  literature  have  been 
invited,  and  to  which  foreigners  will  be  welcome.  Cor- 
meilles  is  in  the  department  of  Seine-et-Oise,  and  within 
a short  distance  of  Paris. 


In  the  early  numbers  of  the  News  will  be  found  an 
early  dictionary  of  photography  ; we  commence  this  week, 
after  a lapse  of  a quarter  of  a century,  another  work  of 
the  same  nature,  which  will,  we  trust,  find  equal  favour 
in  the  eyes  of  our  readers. 


The  forthcoming  Printers’  Exhibition  at  the  Agricultural 
Hall  is  to  include  a comprehensive  display  of  designs  for 
Christmas,  New  Year,  Birthday,  and  other  congratulatory 
cards,  as  well  as  paintings  in  oil  and  water  colour,  etchings, 
&c.  No  doubt  photographic  pictures  will  al30  be  welcome  ; 
and,  if  so,  here  is  an  opportunity  for  photographers  to 
exhibit  their  works  before  a large  public,  such  as  they  un- 
fortunately but  rarely  obtain. 


M.  Marey,  of  the  Institute  of  France,  is  still  continuing 
his  investigation  into  the  philosophy  of  motion  by  means 
of  photography.  The  movement  of  a man  marching  has 
been  under  investigation  for  some  time,  M.  Marey,  as 
our  readers  are  aware,  clothing  the  man  in  white,  and 
permitting  him  to  march  in  front  of  a black  screen.  Inter- 
mittent exposures  of  a sensitive  plate  then  showed  the 
movement  of  the  man  at  certain  fixed  intervals.  The 
white  images,  when  the  plate  was  developed,  falling  one 
over  the  other,  were  apt  to  be  confused,  and  therefore 
a sort  of  shepherd’s  plaid  or  cloth,  with  little  black  and 
white  spaces,  was  chosen  for  a garment,  to  make  the 
movements  more  distinct. 


Of  late,  M.  Marey  has  altered  the  vestm  ents  of  his  walk- 
ing man  once  more.  The  model  is  now  clothed  in  black — 
the  background  is  also  black,  it  will  be  remembered — but 
the  outline  of  the  trousers  is  sewn  with  a row  of  bright 
silver  buttons,  which  alone  are  photographed,  and  which 
rigorously  mark  the  relative  position  of  the  thigh,  leg, 
and  foot  in  walking.  The  background  and  clothing  being 
of  a dead  black,  are  not  depicted  on  the  sensitive  film, 
which  only  shows  certain  light  tracings  or  dotted  lines 
made  by  the  burnished  buttons  reflecting  the  light. 


Mr.  Galton’s  new  work  on  the  development  of  the  human 
faculty  is  illustrated  by  a photographic  frontispiece, 
showing  some  of  his  latest  results  in  composite  portraiture. 
I he  idea  of  obtaining  an  average  portrait  of  Alexander 


the  Great,  by  combining  the  portraits  to  be  found  on  six 
different  medals,  is  ingenious  ; but  of  course  it  is  not  the 
same  thing  as  if  the  originals  were  photographs. 


Messrs.  Marsh,  of  Henley,  whose  marvellous  instantaneous 
photographs  will  be  well  remembered,  were  busily  at  work 
throughout  the  Regatta  week.  Henley  Regatta  has 
generally  been  associated  with  rainy  days ; but  this  year  no 
weather  could  be  more  favourable  for  photography  than 
that  with  which  the  spectacle  was  favoured.  If  Messrs. 
Marsh  were  at  all  fortunate,  some  rare  pictures  of  gaiety 
and  go  should  have  been  obtained. 

Vanity  Fair,  some  time  ago,  did  the  Luxograph  Company 
an  injustice  by  describing  photographs  taken  by  their  light 
at  an  evening  party  as  taken  by  the  electric  light.  The 
Times  is  apparently  as  ignorant  of  the  Luxograph  light  as 
is  Vanity  Fair.  The  leading  journal,  in  announcing  the 
Savage  Club  Ball,  observed:  “ An  original  idea  in  photo- 
graphic art  will  be  introduced  at  the  ball.  During  the 
evening  all  the  ‘ Savages  ’ and  visitors  can  be  photographed 
in  the  crush-room  by  the  VaD  der  Wey  delight.”  We  fancy 
we  have  heard  of  photography  at  a fancy  ball  before  ! 


Says  a paragraph  in  a weekly  paper : “ A city  firm  has  an 
export  order  for  2,000  oil  paintings  from  three  shillings  to 
jC2.”  Let  not  photographers  talk  about  the  reduction  of 
prices  after  this.  It  reminds  yon  of  the  story  of  the 
economical  gentleman  who  wanted  to  have  his  portrait 
done  in  oils,  and  asked  the  artist  if  it  would  not  come 
cheaper  if  it  were  painted  with  paraffin  ! 


A propos,  a lady  of  a similar  economical  turn  recently  sat 
for  a carte -de-visite  at  an  establishment  where  a single 
portrait  is  taken.  When  the  proof  was  sent  home,  she 
called  on  the  photographer  and  expressed  her  satisfaction 
with  the  likeness.  The  photographer  naturally  imagined 
she  was  going  to  order  a dozen,  and  was  considerably  taken 
aback  when  the  lady  coolly  said,  ‘T  am  now  going  to  post 
it  to  Messrs.  So-and-So  to  have  a dozen  copies  struck  off. 
I like  your  style  of  taking,  but  your  copies  are  too  ex- 
pensive.” The  soothing  effect  of  this  communication  on 
the  photographer  may  be  better  imagined  than  described. 

A correspondent  writes  : — “ It  is  surprising  how  little 
photography  has  done  for  the  river  Thames,  especially  in  its 
most  pictruesque  portions  ; say,  from  Maidenhead  to  Henley. 
In  the  course  of  a three  days’  camping-out  excursion  up  the 
river,  I came  upon  an  endless  variety  of  subjects  for  the 
camera.  Apart  from  the  delightful  scenery  on  the  banks, 
there  are  hosts  of  charming  pictures  to  be  made  of  the  boats 
and  their  occupants,  especially  of  the  new  fashionable  punt, 
which  lends  itself  admirably  to  artistic  effect.  With  rapid 
gelatine  plates  there  ought  not  to  be  the  least  difficulty  in 
“ taking  people  unawares.”  A series  of  river  pictures  well 
done  would,  I believe,  be  highly  popular,  and  prove  very 
remunerative.” 


The  German  Photographic  Society  is  following  the 
example  of  their  Paris  brethren  in  respect  to  granting 


THE  PHOTOGRAPHIC  NEWS. 


441 


July  13,  1883.  | 

diplomas  or  certificates  to  assistants.  But  there  is  this  wide 
difference  between  the  proposed  German  certificates  and 
those  of  the  French  : the  latter  are  acquired  by  examina- 
tion— and  a pretty  stiff  examination,  too — whereas  the 
German  documents  are  to  be  granted  after  five  years’  con- 
tinued occupation  for  industry,  application,  and  good  con- 
duct, the  certificate  of  the  principal  being  accepted. 


The  granting  of  the  diplomas  is  to  be  in  the  hands  of  six 
members  of  the  German  Photographic  Society  chosen  for 
the  purpose  at  the  annual  gathering.  A printed  form  is  to 
accompany  each  application  for  a diploma,  bearing 
testimony  to  the  qualifications,  conduct,  and  general 
capabilities  of  the  candidate  by  the  principal.  Obviously, 
therefore,  the  document,  when  granted,  will  be  an  evidence 
of  good  conduct  rather  than  of  knowledge  ; for  qualifi- 
cations that  would  satisfy  one  principal  might  not,  perhaps, 
satisfy  another. 


Rumour  mentioned  two  names  as  likely  to  succeed  that 
of  Mr.  Spottiswoode  as  president  of  the  Royal  Society ; 
to  wit : Professors  G.  G.  Stokes  andT.  Huxley.  Professor 
Stokes,  as  an  old  member  of  the  Council  of  the  Photo- 
graphic Society,  end  whilom  editor  of  its  Journal,  would 
have  been  a very  appropriate  choice  ; but  probably  because 
the  branch  of  science  he  represents  was  represented  also 
in  the  person  of  the  late  president,  his  claims  were  scarcely 
so  strong  as  that  of  his  colleague.  Huxley,  it  is  very 
certain,  will  prove  a most  popular  president. 


Mr.  Bruce,  of  Duns,  is  one  of  the  very  few  photographers 
who  has  clung  to  collodio-chloride  printing  since  its 
introduction  commercially  many  years  ago.  A dozen  of 
the  most  charming  cabinet  portraits,  with  all  that  beauti- 
ful gloss  and  softness  characteristic  of  the  process,  come 
to  us  from  Mr.  Bruce,  as  he  says,  “ to  show  you  that  I 
still  cling  to  my  first  love  through  good  and  bad  report.” 
As  the  “good”  report  has  it  that  collodio-chloride  prints, 
unlike  those  on  albumenized  paper,  do  not  fade,  there  is 
the  quality  of  permanence  to  be  added  to  other  virtues ; 
and  in  face  of  the  exquisite  results  Mr.  Bruce  produces, 
we  really  are  at  a los3  to  know  why  the  process  is  so 
widely  neglected.  We  have  written  to  Mr.  Bruce,  begging 
Borne  practical  hints  from  his  experience  on  the  subject, 
which  will  be  new  to  many,  and  welcome  to  all  of  our 
readers. 


M.  de  St.  Pol  Lias,  a French  traveller  in  New  Zealand, 
has  recently  published  the  views  of  a Maori  upon  the 
theory  of  photography.  This  is  how  one  of  the  aborigenes 
explained  the  modus  operandi  of  the  photographer.  “ The 
white  man  is  taking  pictures  of  our  country.  Whenever 
he  sees  a nice  view,  he  stands  still,  and,  looking  at  it 
steadily  with  his  big  eyes,  absorbs  the  picture  inside  him, 
making  terrible  grimaces  the  while.  Then  he  puts  his 
head  into  a bag,  and  spits  out  the  view  upon  a glass  plate, 
of  which  he  carries  a goodly  number  with  him.  Finally 
the  glass  is  washed  with  water,  the  picture  of  the  land- 
scape remaining  behind  on  the  surface.” 


“ An  absolutely  certain  and  cheap  ” method  of  prevent- 
ing blisters  in  albumenized  paper  is  given  in  the  Zeitung, 
by  Herr  W.  Paulsen,  of  Hamburg.  After  toning,  the  prints 
are  rinsed  one  by  one,  and  then  put  into  water  to  which 
some  ammonia  has  been  added,  say  a small  wine  glass  of 
ordinary  liquor  ammonia  to  two  quarts  of  water.  The 
prints  remain  herein  for  five  minutes,  and  are  thence  taken 
direct  to  the  fixing  bath.  After  fixing,  they  are  put  into 
water,  to  which  a small  handful  of  salt  is  added  for  every 
two  gallons,  and  the  prints  then  finally  washed. 

A correspondent  asks  us  to  tell  him  how  he  can  print 
block  letters  upon  glass.  We  reply  that  the  best  plan  is 
Mr.  Warnerke’s,  only  for  the  purpose  it  is  necessary  to 
have  a rolling  machine  with  rubber  rollers.  A wringing 
machine  answers  the  purpose,  and  is,  indeed,  what  Mr. 
Warnerke  employs.  The  type  or  letters  required  on  the 
glass  is  first  printed  in  the  ordinary  way  upon  a sheet  of 
paper  in  any  printing  office ; then  the  newly-printed  sheet 
is  placed,  face  downwards,  upon  the  glass  plate,  and  passed 
between  rubber  rollers.  The  glass  retains  the  printing 
ink  without  difficulty,  but  if  the  print  upon  the  paper  is 
old,  moistening  on  the  back  of  the  paper  with  turpentine 
facilitates  the  transfer. 

It  is  a moot  point  whether  the  use  of  dry  plates  for 
portraits  of  a large  size  is  not  likely  to  have  a tendency 
towards  the  production  of  inferior  pictures.  The  differ- 
ence between  the  exposure  of  wet  and  dry  plates  of  an 
extra  size  is  considerable,  and  a photographer  who  counts 
the  cost  may  often  be  inclined  to  put  up  with  a first  or 
second  attempt,  rather  than  go  on  exposing  plates,  each 
of  which  means  a serious  inroad  into  his  profit.  Of  course 
he  can  increase  his  charge,  but  the  remedy  may  be  worse 
than  the  disease. 

Just  as  it  was  time  for  the  Journal  of  the  Society  of  Arts 
to  go  to  press,  a telephone  message  arrived  from  the 
printers  to  the  effect  that  some  tabular  matter  referred  to 
in  Mr.  Seymour  Haden’s  paper  on  “ The  Relative  Claims 
of  Etching  and  Engraving  to  rank  as  Fine  Arts,”  was 
wanting,  and  it  turned  out  that  the  matter  in  question  was 
inscribed  on  enormous  sheets  hanging  in  the  lecture 
theatre.  “ Bring  me  my  camera,  and  some  of  the  last 
batch  of  whole  plates ! ” shouted  the  secretary  to  Mr. 
Burton,  who  happened  to  be  in  the  laboratory ; and  in 
seventeen  minutes’  time  a Hansom  was  on  its  way  to  the 
printing  office  with  the  negatives.  The  compositors  did 
not  like  the  rum  kind  of  copy,  as  it  was  necessary  to  get  a 
boy  to  hold  it  against  the  light ; but  the  Journal  was  got 
out  in  time  to  catch  the  post. 

Overheard  at  South  Kensington.  Chief:  “Ah!  very 
good  ; that  is  the  photograph  of  the  carbon  mon-oxide 
spectrum  which  you  have  taken,  is  it  ? ” Assistant : “ Yes.” 
Chief:  “ To-morrow  you  had  better  do  one  of  carbon  di- 
oxide.” Assistant:  “ Certainly,  it  shall  be  done.”  Chief: 
“That  will  do  for  carbon  di-oxide  ; you  had  better  then 
try  your  hand  on  carbon  tri-oxide  next.”  Assistant : 
“Carbon  tri-oxide!  Why,  it  does  not  exist.”  Chief: 
“ Not  exist ! — nonsense  ; other  metals  give  tri-oxidcs.” 


442 


THE  PHOTOGRAPHIC  HEWS. 


[July  13,  1883. 


g atfnt  Jutcllignta. 

Application  for  Letters  Patent. 

3362.  Frank  Wirth,  of  the  firm  of  Wirth  and  Company,  Patent 
Solicitors,  at  Frankfort-on -the-Main,  in  the  empire  of  Germany, 
for  an  invention  of  “ An  improved  method  of  producing  plates 
by  photography,  to  be  used  for  printing  purposes.” — A com- 
munication from  the  firm  of  Benecke  and  Fischer,  of  St.  Louis, 
United  States  of  America,  and  John  Frank,  a person  resident 
at  Frankfort-on-the-Main,  in  the  empire  of  Germany. — Dated 
6th  July,  1883. 

Notice  to  Proceed. 

2799.  Joseph  Julius  Sachs,  of  Gray’s  Inn  Road,  in  the  county 
of  Middlesex,  for  an  invention  of  “ Improvements  in  appara- 
ratus  to  be  used  in  the  preparation  of  metal  surfaces  for  etch- 
ing, engraving,  and  similar  purposes.” — Dated 5th  June,  1883. 

Specification  Published  during  the  Week. 

1608.  R.  H.  Brandon,  “ Gelatino-bromide  film  paper  for  photo- 
graphic negatives.” — A communication  from  A.  C.  A.  Thiebaut. 
This  invention  consists  in  the  preparation  of  a gelatinised  bro- 
mide of  silver  film  paper  from  which  the  pellicle  or  film,  after  the 
photographic  negative  has  been  produced  by  exposure  and  deve- 
lopment in  the  usual  manner,  is  detached  or  peeled  ofl  in  a dry 
state  by  hand  without  the  assistance  of  any  dissolving  or  other 
agent.  Since  the  discovery  and  use  of  rapid  glasses  prepared 
with  gelatine  and  bromide  of  silver,  constant  effoi  ts  and  trials 
have  been  made  to  replace  the  glass  universally  used,  by  a light 
support,  not  brittle,  as  fine  and  as  transparent  as  glass,  and  at 
the  same  time  easily  handled  for  the  purpose  of  obtaining  photo- 
graphic negatives.  The  paper  which  I have  invented  for  this 
purpose  answers  all  the  requirements  of  the  art,  and  has  the 
following  advantages  : — 

First.  The  sensitive  coating  is  regular,  and  its  thickness  is 
uniform  throughout  the  entire  surface  of  each  sheet. 

Second.  It  can  be  exposed  for  a luminous  impression  in  any 
kind  of  slide  as  usually  constructed. 

Third.  It  can  be  developed  and  fixed  as  easily  as  a negative  on 
glass. 

Fourth.  The  negative  obtained  dries  quite  flat  on  blottiDg- 
paper. 

Fifth.  The  film  which  constitutes  the  negative  can  be  de- 
tached or  peeled  from  its  support  or  backing  easily  and  readily 
by  the  hand,  without  the  assistance  of  any  dissolving  or  other 
agent.  Thus  this  invention  does  away  with  all  sensitive  prepara- 
tions on  glass,  which  latter  is  both  a brittle  and  relatively  heavy 
material,  thus  diminishing  the  bulk  and  weight  of  amateur’s  and 
scientific  photographer’s  luggage  when  travelling  ; it  produces 
photographic  negatives  as  fine  and  as  transparent  as  those  on 
glass,  in  so  much  that  the  film  does  not  contain  any  grain  ; and, 
lastly,  it  admits  of  printing  from  either  face  of  the  film,  as  re- 
gards the  production  of  positives  on  paper  or  other  material,  as 
well  as  plates  for  phototypy  and  photo-engraviug,  which  latter 
processes  require  a negative  to  be  reversed. 

For  the  manufacture  of  my  sensitised  film  paper 
Firstly.  A gelatinised  sheet  of  paper  is  properly  damped  with 
cold  water,  and  when  evenly  saturated  it  is  placed  on  a glass,  to 
which  it  is  attached  by  means  of  bands  of  paper  pasted  partially 
on  the  glass,  and  partially  on  the  edges  of  the  said  sheet ; in  this 
state  it  is  allowed  to  dry,  whereby  it  is  stretched  quite  flat. 

Secondly.  I coat  the  dry  sheet  with  a solution  of  ordinary 
collodion,  containing  from  one  to  two  per  cent,  cubic  measure  of 
azotic  cotton  (1J  per  cent,  gives  very  good  results)  and  from 
l£  to  2J  per  cent,  of  castor  oil  (2  per  cent,  gives  very  good 
results) ; this  coating  is  allowed  to  dry  ; and, 

Thirdly.  The  glass,  with  the  prepared  paper  upwards,  is  levelled, 
and  then  it  is  coated,  in  a room  from  which  all  rays  but  red  rays 
of  light  are  excluded,  with  a tepid  emulsion  of  bromide  of  silver 
to  the  extent  of  about  one  millimetre  thick,  and  after  leaving  it 
in  this  position  until  the  gelatine  has  set  (say)  about  five  minutes, 
with  the  film  paper  still  attached,  it  is  placed  upright  in  a drying- 
room,  where  it  should  remain  about  twelve  hours  exposed  to  a 
temperature  of  from  02  to  66  degrees  Fahrenheit ; and 

Fourthly.  The  film-paper  is  detached  from  the  glass  ready 
for  exposure,  development,  and  fixing,  in  the  usual  manner.  For 
the  purpose  of  developing,  oxalate  of  iron  or  pyrogallic  acid 
answers  equally  well ; for  the  purpose  of  fixing,  I have  found 
that  a mixture  by  weight,  water  1,000,  hyposulphite  of  soda  150, 
and  powdered  alum  60,  produces  excellent  results,  after  being 
allowed  to  dry. 


Fifthly.  The  film  is  peeled  off  the  paper  by  hand,  and  can  be 
immediately  used  for  producing  negatives  recto  or  verso  as  above 
mentioned. 

I claim  as  my  invention, — 

Firstly.  The  preparation  or  formation  of  gelatino-bromide 
film  paper  for  photographic  negatives,  in  the  manner  and  for  the 
purposes  above  described  ; and 

Secondly.  The  use  for  this  purpose  of  castor  oil  or  any  other 
analogous  oil,  more  especially  with  the  view  of  peeling  off  the 
film  from  the  paper  backing  as  above  described. 


WITH  THE  ECLIPSE  EXPEDITIONS. 

BY  C.  RAY  WOODS. 

A communication  forwarded  by  way  of  Tahiti,  to  which 
place  the  Hartford  proceeded  while  we  remained  on  Caroline 
Island,  has,  I presume,  already  been  honoured  with  publica- 
tion, and  from  it  your  readers  will  have  obtained,  I hope, 
some  idea  of  how  time  passed  on  board  an  American  man- 
of-war.  I cannot  refrain  from  expressing  here  how  deeply 
we  feel  indebted  to  Captain  Carpenter,  Lieutenant  White, 
and  each  and  all  of  the  officers  of  the  vessel.  Every  atten- 
tion was  paid  to  our  comfort,  every  help  was  given  us,  and 
after  a deal  of  trouble  and  labour  we  found  ourselves  and 
our  instruments  safely  situated  on  a desirable  site.  We 
were  fortunate  in  finding  two  wooden  houses  surrounded  by 
palm  trees,  and  were  uot  long  in  taking  possession  of  them 
and  making  ourselves  as  comfortable  as  circumstances  would 
permit.  When  the  French  party  joined  us,  we  made  up 
quite  a large  settlement ; Caroline  Island  certainly  never 
boasted  before  of  such  an  extensive  white  population. 

I need  not  detail  all  our  troubles  and  difficulties,  the 
getting  up  the  instruments,  &c.,  but  will  proceed  to  describe 
a spot,  insignificant  perhaps,  yet  which  may  possibly  live  in 
history  in  spite  of  its  small  size  and  remoteness  from  the 
civilized  world.  We  knew  very  little  about  it  a short  time 
since,  but  now,  thanks  to  our  brief  stay,  no  other  coral  group 
of  the  same  size  has  been  surveyed  and  examined  with  more 
care  and  minuteness  than  this  place  has  been  by  midshipmen 
Uoyle  and  Fletcher. 

It  can  scarcely  be  called  a group  of  islands,  for  it  has 
the  main  features  af  an  atoll,  with  this  exception,  that  it  is 
not  yet  sufficiently  raised  above  the  sea  level  to  form  an  un- 
broken ring.  The  outside  reef  is  almost  unbroken,  and  the 
long  line  of  foaming  breakers  was  in  pleasing  contrast 
with  the  quiet  water  within.  The  low  islands  were  thickly 
wooded,  aud  wherever  one  went,  crowds  of  birds  rose  into 
the  air.  Tne  lagoon  was  stocked  with  fish  beautiful  beyond 
description,  the  shallower  portions  of  it  strewn  with  sea- 
slugs  ; at  night  the  sandy  shore  swarmed  with  hermit  crabs, 
aud  crabs  that  disdained  a borrowed  retreat  fled  swiftly  at 
the  approach  of  footsteps.  The  whole  island  teemed  with 
life,  and  the  eloquent  descriptions  of  the  late  Charles 
Darwin  were  brought  forcibly  to  our  minds  at  every  turn. 
The  brilliant  display  of  colour  seemed  to  challenge  the 
poets’  “ Paradise,”  but  admiration  was  tinged  with  sadness 
at  the  thought  that  no  artist  was  with  U3  to  transfer  nature 
to  paper  and  canvas  ; memory  alone  could  carry  with  it  a 
fitting  delineation  of  all  that  met  the  eyes.  After  all,  what 
was  photography  worth  ? Its  efforts  in  black  and  white  fell 
flat  by  the  side  of  the  living  reality,  and  made  one  wish 
for  the  far-off  time  when  Nature  herself  shall  register  her 
own  loveliness  by  Science’s  aid.  Not  that  there  were  no 
subjects  suitable  for  the  camera.  Far  from  it ; but  one  can 
always  meet  with  scenes  that  make  dull  and  ugly  photo- 
graphs, but  which  themselves  teem  with  beauty. 

But  we  had  little  time  for  taking  photographs  previous 
to  the  eclipse,  and  even  when  that  was  over  there  was 
plenty  of  work  to  make  pastime  scarce.  1 am  happy  to 
say,  however,  that  we  did  not  come  away  without  a few 
mementos  of  our  sojourn.  Photographs  of  the  camp  of 
course  we  obtained,  the  houses  and  other  objects  in  the 
immediate  vicinity  of  the  instruments,  and  the  Kanakas’ 
dwelling.  We  let  the  natives  alone,  for  South  Sea  Islanders 


Jclt  i3,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


443 


ia  cast-off  European  garments  are  not  sufficiently  in- 
teresting. There  might  have  been  some  pleasure  in  posing 
a troop  of  warriors  clothed  in  tattoo  marks  and  war  paint, 
even  if  it  did  expose  us  to  the  dangers  of  premature  death 
and  unconventional  burial.  Civilization  robs  the  world  of 
a deal  of  her  charms,  though  it  does  add  to  her  comfort. 
Only  twice  did  I get  a fair  chance  of  attempting  pictures, 
but  then  I was  fairly  successful.  A group  of  coaco-nut 
trees,  with  their  ringed  stems  aud  spreading  crests ; the 
pandanus,  with  its  singular  bunch  of  roots  above  the 
ground  ; the  lagoon  appearing  through  the  trees,  with  the 
line  of  surf  in  the  distauce,  will  not  fail  to  bring  up 
pleasing  reminiscences  in  days  to  come.  Had  there  only 
been  time,  one  might  have  obtained  a portfolio  of  tropical 
foliage  and  the  scenery  characteristic  of  coral  islands. 

Plates  were  chiefly  developed  at  night.  A temporary 
dark  room  in  the  tropics  is  uncomfortably  warm  and 
suffocating,  and,  in  addition,  heavy  rainfalls,  altogether 
unbargaiued  for,  necessitated  the  re-covering  of  the  window 
each  time  the  dark-room  was  required,  aud  it  was  better 
to  cover  it  up  and  use  artificial  light.  All  our  eclipse 
photographs  were  developed  at  night,  and  M.  Pasteur — 
M.  Janssen’s  assistant— did  the  same  thing.  Blisters  gave 
us  some  trouble,  but  I succeeded  in  developing  all  our 
scientific  photographs  without  their  appearance.  I put 
down  their  appearance  to  the  use  of  too  hard  a film. 
M.  Janssen  also  used  gelatine  plates,  and  his  pictures  were 
good.  His  photographs  of  the  corona,  so  far  as  I could 
judge,  perfectly  resembled  our  own.  On  the  day  after  the 
eclipse,  M.  Pasteur  took  a successful  photograph  of  the 
whole  of  the  people  on  the  island,  even  to  the  Kanakas,  in 
one  of  liis  largest  cameras. 

Wednesday,  May  9th,  saw  all  our  cases  packed  and  safely 
stowed  away  in  the  hold  of  the  Hartford,  and  ere  the  sun 
went  down  we  left  the  island  behind.  Several  brick  piers, 
the  framework  of  a tent  or  two,  and  an  extensive  litter  of 
emptied  meat  and  fruit  cans,  remain  to  mark  the  scene  of 
our  labours  ; I might  also  add,  a piece  of  stone  inscribed  by 
no  skilful  hand  with  this  legend,  “ U.  <S’.  Eclipse  Expedition, 
1883.” 

A favourable  wind  carried  us  swiftly  towards  Hawaii,  and 
to  enable  us  to  visit  the  famous  crater  of  Kilanea,  the  largest 
continuously  active  volcano,  I believe,  in  the  world,  Captain 
Carpenter  anchored  the  Hartjord  in  the  harbour  of  Hilo. 
We  took  a few  photographs  the  following  afternoon,  and 
the  next  day  started  on  our  way  up  the  mountain.  Whilst 
there,  a message  was  sent  to  Captain  Carpenter,  conveying 
intelligence  of  the  death  of  Princess  Ruth,  with  a request 
from  the  King  to  be  taken  to  Honolulu  with  his  suite.  We 
hastened  down  from  the  mountain,  got  on  board  once  more, 
and  steamed  swiftly  to  the  Hawaiian  capital.  Here  we  had 
to  take  our  leave  of  the  Hartford  and  its  genial  officers,  not 
without  great  regret.  In  Honolulu  we  had  to  stay  several 
days,  giving  me  an  opportunity  to  take  a few  more  views. 
The  Zealandia  came  in  on  the  3rd  of  June.  Once  more  we 
had  to  cross  the  sea,  and  after  a cold  and  rather  rough 
passage  found  ourselves  at  Sau  Francisco.  To-morrow 
(the  15th)  we  go  on  board  the  San  Jose,  which  will  take  us 
down  the  Mexican  coast  to  Panama,  and  from  that  place, 
or  rather  from  Colon,  we  shall  take  one  of  the  Steam 
Packet  Company’s  vessels  for  England. 


PHOTOGRAPHING  A DENE-HOLE. 

BY  ARNOLD  SPILLER. 

The  following  short  account  of  a successful  experiment  in 
subterranean  photography,  which  I recently  made  con- 
jointly with  Mr.  Brougham  Young,  may  perhaps  be  worthy 
of  record.  The  subject  was  one  of  the  chalk  caves  known 
as  Dene-holes.  No  doubt  most  of  the  readers  are  aware 
that  dotted  about  the  country,  on  both  sides  of  the  Thames, 
are  several  groups  of  these  caves.  In  Hangman’s  Wood, 
at  Grays  Thurroch,  there  are  no  less  than  seventy  of 


there  “holes,”  which  are  supposed  to  have  been  em- 
ployed in  pre-historic  times  as  store  or  dwelling-houses, 
more  especially  in  time  of  threatened  invasion.  The 
Dene-holes  Exploration  Committee,  under  the  leadership  of 
Mr.  T.  V.  Holmes,  F.G.S.,  are  now  investigating  these 
caves,  and  permitted  me  to  take  the  photographs  on  the 
16th  June,  the  occasion  of  the  joint  meeting  of  the 
Es.-ex  Field  Club  and  the  Geologists’  Association.  The 
hole  which  we  descended  is  marked  No.  3 by  the  above 
committee ; it  is  connected  with  the  surface  by  a shaft 
eighty  feet  deep,  by  about  three  and  a-half  feet  in  dia- 
meter, and  it  is  believed  that  in  ancient  times  the  ascents 
and  descents  were  made  in  the  same  way  as  the  boys  used 
to  sweep  chimnies,  for  in  several  places  there  are  holes 
on  opposite  sides  of  the  shaft  corresponding  to  foot-steps. 
The  cave  is  star-shaped,  and  consists  of  six  chambers, 
each  about  eighteen  feet  high,  ten  feet  wide,  and  twenty 
feet  in  length  ; but  in  consequence  of  sand  falling  down 
the  shaft,  and  forming  a mound  some  fifteen  feet  high,  it 
is  only  possible  to  include  one  chamber  in  each  photo- 
graph. For  the  light,  magnesium  burning  in  oxygen  was 
employed  ; two  quart  bottles  of  the  gas,  and  two  feet  of 
the  metal  in  the  form  of  ribbon,  being  used  for  an  expo- 
sure, and  in  consequence  of  the  gas  being  only  partially 
consumed  during  one  exposure,  the  same  volume  could  be 
employed  twice.  To  focus  the  picture,  candles  were  placed 
in  different  parts  of  the  chambers,  so  that,  although  all  that 
was  visible  on  the  ground-glass  were  a few  bright  specks, 
by  a little  skill  and  calculation  it  was  possible  to  adjust 
the  camera  to  take  in  the  required  field  of  view,  and  at 
the  same  time  be  approximately  in  focus.  Then,  to  take 
the  photograph,  the  camera  was  placed  on  a stand  about 
two  feet  above  the  sand  mound,  on  which  one  of  the  lights 
was  placed  immediately  beneath  the  lens,  a sheet  of  white 
cardboard  being  employed  as  a reflector  ; the  other  light 
was  placed  at  one  side  of  the  chamber,  but  concealed  from 


"V 


view.  The  above  diagram  shows  a plan  of  the  cave, 
and  the  mode  of  arranging  the  lights. 


HOW  TO  MAKE  A PICTORIAL  BACKGROUND.* 
Disclaiming  all  originality  in  the  process  to  be  described,  it  is 
still  one  that  is  scarcely  known  among  photographers,  and  more 
especially  that  class  for  whom  this  article  is  specially  intended. 

The  advantage  of  being  able  to  make  negatives  with  pictorial 
backgrounds  without  having  to  incur  the  expense  of  a costly- 
painted  screen  to  be  placed  behind  the  sitter,  will  be 
appreciated. 

Procure  a number  of  transparencies,  either  from  nature, 
engravings,  or  paintings,  of  such  subjects  as  are  desired  to  be 
introduced  in  the  background,  and  have  in  the  camera  an 
arrangement  whereby,  after  the  portrait  has  been  exposed  and 
the  lens  capped  for  a moment,  the  transparency  shall  then  be 
interposed  between  the  lens  and  the  sensitive  plate,  and  as  close 
to  the  latter  as  convenient.  The  sitter  is  then  requested  to 

* Photographic  Time). 


444 


'THE  PHOTOGRAPHIC  HEWS. 


[July  13,  1883. 


remain  steady  for  a few  seconds  more,  and  an  exposure  again 
made  for  a very  brief  period,  by  which  the  transparency  is 
impressed  upon  the  sensitive  plate,  the  sitter  acting  as  a mask. 

Upon  developing  the  negative,  the  portrait  of  the  sitter  will  be 
seen  backed  by  the  scene  represented  in  the  transparency,  and 
which  is  now  a faint  negative.  The  strongest  effects  are  pro- 
duced when  the  principal  exposure,  that  of  the  portrait,  is  made 
with  a drab  background  behind  the  sitter,  for  which  one  much 
lighter  in  colour  is  substituted  during  the  exposure  with  the 
transparency. 

A convenient  holder  for  the  transparency  consists  of  a light 
wooden  frame,  hinged  at  the  bottom  and  at  a little  distance  in 
front  of  the  dark  slide  containing  the  sensitive  plate.  This  lies 
on  the  bottom  of  the  camera  while  the  sitter  is  being  taken,  but 
is  brought  into  an  erect  position  as  soon  as  the  white  background 
has  been  substituted  for  the  dark  one.  The  second  exposure 
should  be  quite  momentary,  as  the  landscape  scene  in  the 
finished  negative  ought  to  be  somewhat  faint,  and  not  absolutely 
sharp.  Sharpness  of  this  scene  depends  upon  the  distance  at 
which  the  transparency  is  held  from  the  sensitive  plate. 

Any  ingenious  amateur  can  easily  make  for  himself  a trans- 
parency exposing  frame  of  the  kind  just  described. 


THE  USE  OF  THE  DIAPHRAGM. 

BY  CHARLES  EHRMANN.* 

Introducing  to  you  this  very  interesting  and  instructive  subject 
for  the  purpose  of  discussion,  I can  only  call  to  your  attention 
the  careful  observance  of  axioms  long  established  in  photographic 
optics.  I do  not  attempt  to  tell  you  anything  new,  but  merely 
quote  from  authors  well  known  to  you. 

“ Hardwich,”  American  edition,  1855,  pp.  55  and  56,  says  : 
Both  chromatic  and  spherical  aberration  reside  principally  in  the 
outside  or  circumferential  portion  of  lenses,  to  remedy  which  it 
appears  necessary  to  cut  off  the  outside,  and  use  only  the  central 
part  of  the  lens. 

Now,  this  is  precisely  what  is  effected  by  a stop,  which  is  a 
movable  diaphragm  with  a circular  aperture,  intended  to  be 
placed  in  front  of  the  lens  in  order  to  intercept  that  portion  of 
the  light  which  would  otherwise  have  fallen  upon  the  edge  of 
the  lens. 

The  employment  of  a stop  is  always  attended  with  the  dis- 
advantage of  cutting  off  a very  large  portion  of  the  light,  and  so 
of  diminishing  the  brilliancy  of  the  image.  It  is  more  resorted 
to,  therefore,  in  cases  where  a rapid  action  is  desired  ; but  when 
time  of  exposure  is  no  object,  a better  result  in  very  many  ways 
is  secured  by  the  use  of  a stop. 

Even  supposing  the  lens  to  be  so  carefully  ground— which, 
however,  it  xarely  is — that  the  spherical  aberration  is  perfectly 
corrected,  the  definition  of  sharpness  of  outline  of  the  image  is 
improved.  The  various  rays  proceeding  from  the  object  being 
confined  to  the  central  portion  of  the  lens,  interfere  with  and 
confuse  each  other  less  than  they  would  otherwise  do.  They  are 
made  to  fall  upon  the  base  at  a higher  and  more  equal  angle, 
and  therefore  the  distinctness  of  focus  and  flatness  of  field  are 
proportionally  improved. 

From  the  same  cause,  it  also  happens  that  when  a stop  of 
comparatively  small  diameter  is  used,  a variety  of  objects,  situ- 
ated at  different  distances  from  the  lens,  are  all  in  focus  at  the 
same  time  ; whereas,  with  the  full  aperture  of  the  lens,  objects 
near  at  hand  cannot  be  rendered  distinct  at  the  same  time  with 
distant  objects,  or  vice  versa. 

Mr.  Taylor,  in  his  revised  (ninth)  edition  of  the  same  work, 
says,  further  : Lenses  employed  with  the  full  aperture  do  not 
render  near  and  remote  objects  sharp  upon  the  ground  glass  of 
the  camera  at  the  same  time.  If  the  foreground  is  in  focus, 
the  lens  must  be  thrown  inwards  to  make  the  distance  clear. 
This  is  a necessary  consequence  of  the  focal  plane  of  any  object 
varying  with  the  position  of  the  object  in  regard  to  the  lens. 

The  action  of  a diaphragm  or  stop  is  seen  to  great  advantage 
in  remedying  the  defect  complained  of.  Rays  of  light  radiating 
in  all  directions  from  a luminous  point,  and  falling  on  the  entire 
surface  of  the  lens,  will  not  produce  an  equally  sharp  image  upon 
the  ground  glass.  Through  the  action  of  the  diaphragm,  set 
before  the  lens,  a portion  of  the  rays  which  would  impinge  upon 
the  outside  of  the  glass  is  intercepted.  The  focus  in  each  case  is 
at  the  point  where  the  rays  cross  each  other  after  refraction.  If 
the  ground  glass  is  advanced  nearer  to  the  lens  with  full  aper- 

* Read  before  the  Association  oi  Operative  Photographers  of  New  York. 


ture,  or  withdrawn  from  it,  even  in  the  least  degree,  the  image 
will  immediately  be  out  of  focus  ; but  if  the  rays  falling  upon 
the  margin  of  the  lens  are  intercepted  by  a stop,  they  will  run 
so  nearly  parallel,  that  the  effect  of  a slight  change  of  position 
will  not  be  perceptible.  The  refracted  pencil  is,  as  it  were, 
sharpened  and  drawn  out,  so  that  the  focus  has  considerable 
depth,  and  is  no  longer  confined  to  a single  plane. 

The  focal  variation  for  near  and  distant  objects  is  much  more 
considerable  when  lenses  of  very  long  focus  are  employed,  and 
it  becomes  less  evident  with  lenses  of  short  focus. 

Of  all  photographic  objectives,  the  single  achromatic  or  land- 
scape lens  is  the  most  simple.  Similar  to  the  plano-convex  is 
the  meniscus.  If  the  meniscus  form  is  very  pronounced,  a 
smaller  diaphragm  is  necessary  to  correct  the  aberration  than 
with  an  objective  more  nearly  approaching  the  plano-convex,  in 
which  case,  the  larger  the  aperture  employed,  the  more  rapid  the 
action  secured. 

In  landscape  lenses  the  stop  is  generally  placed  before  it,  at  a 
distance  of  about  one-fifth  of  its  focal  distance.  This  distance 
varies  with  differently-constructed  lenses,  as,  for  instance,  in  the 
Dallmeyer  landscape,  composed  of  three  menisci,  the  stop  is  set 
at  a distance  of  one  tenth  of  its  focus. 

A defect  of  the  landscape  lens  is  its  inability  to  produce 
rectilinearity.  Focussing  a square  with  a single  lens,  the  stop 
placed  before  it,  the  image  appears  on  the  ground  glass  with  Jhe 
marginal  lines  curved  outwards  ; while,  if  the  stop  is  fixed  back 
of  the  lens,  a bending  of  the  lines  towards  the  centre  is  observed. 
The  cause  of  this  distortion  is  a deflection  of  the  marginal  rays. 
By  placing  a stop  between  two  lenses  of  similar  construction,  the 
errors  are  equalised,  and  a correctly-drawn  picture  is  the  result. 
This  fact  has  led  to  the  construction  of  objectives  with  a central 
top. 

The  photographic  objectives  of  modern  construction  have  the 
stop  placed  between  the  two  lenses.  Its  exact  position  towards 
the  lenses  differs  in  different  instruments.  The  apertures  in 
diaphragms  are  systematically  arranged — their  diameters,  con- 
dition, the  time  of  exposure,  and  the  proportions  between  them 
being  based  upon  mathematical  calculation. 


DUST  IN  THE  EYES.— A SCREW  LOOSE,  OR  WHAT  ? 

BY  A.  L.  HENDERSON.* 

A special  correspondent  of  the  Photographic  Times  and  Ameri- 
can Photographer,  of  the  15th  June,  gives  an  account  of  a dry 
plate  manufactory.  Statements  therein  contained  appear  so 
startling  that  it  is  as  well,  before  believing  all  we  read,  to  take 
pencil  and  paper  and  see  how  the  statements  agree. 

Sixty  dozen  plates  per  hour  are  coated  by  each  machine,  and 
400  ounces  of  silver  nitrate  used  per  week.  Now  we  will  pre- 
sume, for  argument’s  sake,  that  only  half-plates  are  coated,  and 
we  find  that  to  use  this  quantity  of  silver  converted  into  bro- 
mide, allowing  four  grains  for  each  plate,  that  this  would  coat 
43,750  plates.  Now,  to  coat  these  plates  at  the  rate  of  sixty 
dozen  per  hour,  would  require  only  one  coater,  working  sixty 
hours,  forty-five  minutes,  fifty  seconds.  Further  comment  is 
superfluous. 

Suffice  it  to  say  that  this  statement  reminds  me  very  much  of 
the  story  of  the  young  American  who,  being  asked  where  liars 
went,  replied  that  they  went  down  West  to  write  for  the  papers  ; 
but  it  seems  that,  having  now  done  with  the  West,  they  are 
making  their  way  Eastward. 


& iictiffttarg  oi  i &oto(jr^Ijn. 

ABBREVIATIONS.— Such  shortened  terms  as  “ pyro  ” instead 
of  pyrogallic  acid  or  pyrogallol,  and  “ hypo  ” instead  of  sodium 
hyposulphite — or,  rather,  thio-sulphate — are  thoroughly  estab- 
lished in  photographic  literature  ; but  these  abbreviations  are  not 
likely  to  mislead  the  general  reader.  Many  speakers  and  writers 
ordinarily  refer  to  silver  nitrate  as  “ silver,”  and  potassium  bro- 
mide simply  as  “ bromide.”  Abbreviations  of  units  of  weight  and 
measure  are  so  well  understood  that  a list  of  them  would  be 
superfluous,  but  it  may  be  mentioned  that  gr.  in  most  continental 
writings  stands  for  gramme.  The  English  usually  abbreviate 
gramme  to  gm.,  and  grain  to  gr. 

* Read  before  the  London  and  Pr*vincial  Photographic  Association. 


July  13,  1883.  J 


THE  PHOTOGRAPHIC  NEWS. 


445 


ABERRATION. — See  Lenses. 

ABSORPTION  OF  LIGHT. — When  light  is  absorbed  by  any  mate- 
rial, it  generally  heats  the  substance,  or  effects  a chemical  change. 
That  light  which  is  absorbed  by  the  leaves  of  plants  serves  to 
decompose  the  carbonic  acid  of  the  air,  and  store  up  the  means  of 
producing  heat  and  light  at  any  time.  A plate  is  only  sen- 
sitive to  those  rays  which  are  absorbed  by  the  film,  and  it  has  been 
asserted  by  Vogel  and  others  that  by  staining  a film  it  can  be 
made  especially  sensitive  to  those  radiations  which  are  comple- 
mentary to  the  colour  of  the  stain.  Many  substances,  as  calcium 
salts,  fluor  spar,  or  glass,  possess  the  property  of  storing  up  light 
and  gradually  evolving  it  when  taken  into  a dark  place.  This 
phenomenon  is  generally  known  as  phosphorescence ; and 
M.  Niepce  de  St.  Victor  found  that  a photographic  copy  of  an 
ordinary  engraving  may  often  be  obtained  by  the  agency  of  the 
light  stored  up  in  the  white  paper.  See  Light. 

ACCELERATING  AGENTS. — A term  rather  vaguely  applied 
to  bodies  which  serve  to  expedite  photographic  exposure  or 
development.  This  effect  of  chlorine  or  bromine  in  reducing  the 
exposure  required  for  a Daguerreotype  plate  may  be  referred  to 
under  this  bead.  Another  class  of  reactions  may  be  typified  by 
the  effect  of  a powerful  reducing  agent  in  facilitating  the  action 
of  light  on  haloid  salts  of  silver,  and  with  respect  to  this  point 
we  may  mention  that  the  haloid  salts  of  silver  appear  to  be 
absolutely  insensitive  to  light  provided  that  neither  moisture  nor 
any  foreign  substance  is  present.  The  tendency  of  light  is  to 
liberate  the  halogen  ; but  if  no  substance  capable  of  taking  up 
or  uniting  with  this  halogen  is  present,  there  is  no  photographic 
action.  Accelerating  agents  of  this  kind  are  often  called  sensi- 
tizers. In  the  case  of  the  gelatino-bromide  work,  the  gelatine 
itself  may  be  regarded  as  the  sensitizer  ; while  in  the  Daguerreo- 
type process,  the  sensitizer  is  the  film  of  metallic  silver  which 
underlies  the  sensitive  film.  Nitrate  of  silver  acts  as  sensitizer 
in  the  collodion  process  and  in  the  ordinary  method  of  printing  on 
albumenized  paper  ; but  nitric  acid  is  liberated  by  the  action  of 
haloids  on  silver  nitrate,  and  this  acid,  when  in  a free  state,  tends 
to  act  as  a de-sensitizer. 

ACCUMULATION,  Development  by. — An  old-fashioned  term 
for  that  which  is  now  known  as  physical  development ; the 
deposition  of  fresh  silver  on  the  lines  of  a wet  plate  negative 
affording  a good  instance.  The  mixture  of  pyro  and  silver 
nitrate  slowly  deposits  silver,  and  the  silver  tends  rather  to 
accumulate  on  the  metallic  image  than  on  those  parts  where  no 
reduction  has  already  taken  place. 

ACETIC  ACID  ( Acetum , Vinegar). — CjH3O.HO.  Acetic  acid 
appears  to  exist  already  formed  in  the  juice  of  certain  plants; 
but,  in  ordinary  cases,  it  is  a product  of  the  secondary  decompo- 
sition of  various  organic  bodies.  Until  recently,  the  main  supply 
of  acetic  acid  was  derived  from  alcohol ; as  dilute  alcoholic 
liquids  readily  undergo  a kind  of  oxidatory  fermentation,  acetic 
acid  being  formed,  and  ordinary  vinegar  resulting-  The  so-called 
acetous  fermentation  appears  to  depend  on  a growth  which  Pasteur 
calls  my  coderm  a aceti.  But  that  the  presence  of  this  mycoderm  is 
not  an  essential  to  the  direct  acetic  oxidation  of  alcohol,  is  evi- 
denced by  the  fact  that  when  mixed  alcohol  vapour  and  air  are 
passed  over  platinum  black,  acetic  acid  is  produced.  Acetic  acid 
is  a frequent  product  of  the  action  of  composite  oxidising  agents 
on  organic  bodies. 

At  the  present  time,  enormous  quantities  of  acetic  acid  are  pre- 
pared by  the  dry  distillation  of  wood  ; this  material  being  baked 
in  iron  retorts  like  those  used  for  the  preparation  of  coal  gas,  and 
the  acetic  acid  is  condensed  along  with  tar  and  numerous  other 
volatile  products.  The  crude  product  is  either  converted  into  a 
sodium  or  a calcium  salt,  and  this,  after  purification,  is  decomposed 
by  distillation  with  sulphuric  acid.  Sometimes,  however,  the 
storing  acid  is  prepared  by  distilling  the  acid  acetate  of  potas- 
sium. 

Acetic  acid,  when  nearly  or  quite  free  from  water,  forms  a 
somewhat  corrosive  and  highly-pungent  liquid,  boiling  at  117"  C., 
and  it  is  known  as  glacial  acetic  acid,  as  it  readily  solidifies  when 
exposed  to  a moderate  degree  of  cold.  When  quite  free  from 
water  it  may  become  solid  at  16°  C.,  but  it  often  happens  that  it 
remains  liquid  at  a much  lower  temperature,  and  suddenly 
solidifies  when  agitated  or  brought  into  contact  with  a particle  of 
solid  acetic  acid.  An  acid  very  considerably  weaker  than  the 
glacial  acid  is  occasionally  sold,  but,  from  a photographic  point 
of  view,  it  is  generally  much  more  convenient  to  purchase  the 
strong  acid.  The  subjoined  table  shows  the  specific  gravity  ot 
acetic  acid  when  in  conjunction  with  various  proportions  of 
water. 


Per  cent,  of  Acetic  Acid  Sp.  gr.  at  la®  C. 


0 

1.0000 

1 

1.0007 

5 

1.0087 

10 

1.0142 

15 

1.0214 

20 

1.0284 

25 

1.0350 

30 

1.0412 

35 

1.0470 

40 

1.0*23 

45 

1.0571 

50 

1.0615 

60 

1.0685 

70 

1.0733 

80 

1.0748 

90 

1.0713 

100 

1 0553 

Commercial  acetic  occasionally  contains  sulphuric  acid,  which 
can  be  detected  by  diluting  with  about  three  times  its  volume  of 
water,  and  adding  a few  drops  of  chloride  of  barium  ; a white 
precipitate  indicating  the  presence  of  sulphuric  acid.  Hydro- 
chloric acid  can  be  detected  by  testing  in  a similar  manner  with 
silver  nitrate,  a white  precipitate  of  silver  chloride  being  thrown 
down.  It  is  not  necessary  to  enumerate  the  special  photographic 
uses  of  acetic  acid,  as  they  will  be  treated  of  in  other  places. 
Some  few  acetates  are  of  interest  to  the  photographer. 

Aluminium  acetate  is  an  unstable  salt  only  existing  in  solution. 
It  is  a very  effectual  agent  for  hardening  gelatine  films. 

Lead  acetate , a white,  readily  soluble  salt,  known  in  commerce 
as  sugar  of  lead. 

Silver  acetate  forms  thin  white  flexible  laminae.  It  is  soluble 
in  about  a hundred  times  its  weight  of  cold  water. 

Sodium  acetate  is  a very  soluble  salt,  and  crystallises  with  three 
molecules  of  water.  It  effloresces  iu  dry  air.  Its  addition  to  the 
solution  of  chloride  of  gold  used  for  toning  serves  to  replace  any 
free  hydrochloric  acid  which  may  be  present,  by  the  weaker 
acetic  acid.  ' 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor -General  of  India. 

Chapter  XL— Transferring,  Proving,  and  Printing.* 

Etching  Zinc  Plates. — The  procedure  of  etching  a transfer 
to  zinc  is  similar  to  that  of  transfers  to  stone,  but,  instead  of 
using  a simple  mixture  of  gum-water  and  dilute  nitric  acid, 
an  etching  fluid  is  used  consisting  of  a mixture  of  gum- 
water  and  decoction  of  nut-galls,  acidified  with  phosphoric 
acid. 

The  decoction  of  gall-nuts  is  prepared  by  soaking  half-a- 
pound  of  bruised  Aleppo  gall-nuts  in  cold  water  for  twenty- 
four  hours,  then  pouring  water  and  gall-nuts  into  a sauce- 
pan with  about  two  gallons  of  water  and  boiling  down  to  one 
gallon.  The  liquor  is  then  strained  off  into  ajar,  and  one 
ounce  of  phosphoric  acid  is  added  to  it.  A mixture  of  equal 
quantities  of  the  decoction  and  of  fresh  gum-water  about  as 
thick  as  cream  forms  the  etching  solution.  Too  much  of  it 
should  not  be  mixed  at  once,  as  the  gum-water  becomes  sour. 

The  phosphoric  acid  is  prepared  by  placing  sticks  of 
phosphorus  in  a bottle  of  water  so  as  to  leave  the  ends  un- 
covered. The  mouth  of  the  bottle  is  closed  by  a cork  with 
a hole  in  it,  so  that,  air  being  admitted,  the  phosphorus 
becomes  oxidised,  forming  a mixture  of  phosphorous  and 
phosphoric  acids,  which  dissolve  in  the  water  as  they  are 
formed.  The  solution  is  ready  for  use  in  a few  days. 

The  strength  of  the  etching  liquid  varies  according  to 
the  nature  of  the  subject  ; for  fine  work  it  should  be  used 
weak,  but  for  strong  line  work,  or  if  the  iuk  contains  a 
good  deal  of  soap,  it  may  be  used  stronger,  in  order  to 
thoroughly  neutralise  the  alkali  in  the  ink.  If  the  etching 
is  not  sufficiently  strong,  the  work  is  apt  to  run  smutty — 
that  is,  become  dirty;  and  if  etched  too  strongly,  the 
delicate  lines  are  destroyed.  The  usual  strength  is  such 

» Continued  from  page  429. 


446 


THE  PHOTOGRAPHIC  NEWS. 


that  a drop  of  the  etching  solution  loft  on  a piece  of 
polished  zinc  for  a few  seconds  should  make  a slight  but 
visible  stain  of  a light  grey  colour.  If  the  stain  be  deeper, 
add  water ; and  if  lighter,  add  phosphoric  acid.  The  solu- 
tion being  made  of  the  proper  strength  for  ordinary  use, 
can,  as  required,  be  weakened  or  strengthened  in  the 
same  way. 

The  etching  liquid  is  brushed  all  over  the  plate  with  a 
broad  brush,  and  allowed  to  remain  for  a few  seconds, 
after  which  it  is  washed  off  with  sponge  and  water.  The 
plate  is  then  sprinkled  with  turpentine  (sometimes  a little 
glycerine  or  oil  is  added)  and  a few  drops  of  water,  and 
gently  rubbed  with  a piece  of  felt  kept  for  the  purpose, 
till  the  transfer  ink  is  removed.  The  work  must  now  be 
rolled  in  again  with  printer’s  ink,  made  by  thinning  down 
one  pound  of  ink,  as  sold  in  tins,  with  about  five  ounces 
of  middle  and  five  ounces  of  thin  lithographic  varnish, 
and  mixing  it  well  up  on  a stone  slab  with  a muller.  The 
stiffness  will  depend  on  temperature.  If  too  stiff,  more 
varnish  may  be  added,  or  vice-versa.  The  ink  for  proving 
should,  however,  be  rather  stiffer  than  would  be  used  for 
printing,  especially  if  the  work  is  fine.  Before  commenc- 
ing to  roll  up  the  plate,  the  printer  should  have  his  damp- 
ing cloth  wetted,  and  wrung  out  as  dry  as  possible,  and 
having  in  a basin  at  his  side  his  damping  solution,  made 
by  adding  two  dessert  spoonfuls  of  gum-water  to  a pint 
of  water.  This  solution  should  be  kept  solely  for  damp- 
ing the  plate,  and  should  be  used  for  no  other  purpose. 

All  being  ready  for  rolling  up,  the  plate  is  damped,  and 
the  roller  is  passed  over  it  in  the  manner  to  be  described 
in  the  next  section,  till  the  woik  appears  in  all  its  details, 
and  evenly  charged  with  ink  all  over.  Dirty  spots  or 
marks  and  other  defects  will  now  appear.  The  heaviest 
of  these  are  removed  by  rubbing  them  with  the  pointed 
end  of  a piece  of  wood  shaped  like  a pencil,  and  dipped 
into  a solution  of  caustic  potash  1 ounce  to  4 ounces  of 
water.  The  printer  should  take  a wet  sponge  in  the  left 
hand,  and  the  stick  in  the  other  ; a very  small  quantity  of 
potash  should  be  taken  up  on  the  stick,  and  rubbed  over 
the  dirty  mark,  then  removed  quickly  with  the  wet  spoDge. 
When  all  the  heaviest  marks  have  beeu  removed,  sprinkle 
a little  gum-water  over  the  plate,  pass  the  damping  cloth 
over  it,  and  roll  up  once  more.  Now  take  a piece  of  felt 
about  six  inches  square,  made  into  a roll ; dip  this  into  a 


mixture  of  gum  and  acid  composed  of — 

Nitric  acid 

..  1 ounce 

Water 

..  6 ouuces 

Gum-water 

o 

• • jy 

and  rub  the  acid  gently  over  the  dirty  places,  using  the 
sponge  with  the  left  hand  as  before,  until  all  the  dirt  is 
removed.  Small  spots  are  removed  with  the  point  of  a 
slate  pencil  or  snake-stone  slip,  and  lines  that  are  too 
thick,  or  shadows  that  are  too  deep,  may  be  treated  with 
the  scraper  or  dry  point  in  the  same  way  as  described  for 
stone. 

When  the  work  appears  quite  clean,  the  plate  is  etched 
again,  sprinkled  with  a little  gum- water,  damped,  rolled 
up,  and  a few  proof  impressions  pulled  on  thin  paper  till 
the  plate  is  clean  and  iu  good  working  order.  After 
proving,  the  plate  should  be  rolled  up,  and  a sponge  con- 
taining gum-water  passed  all  over  the  surface,  and  then 
fanned  dry.  The  plate  should  always  be  gummed  and 
fanned  dry  if  left  or  put  away  for  a time,  as  dampness 
will  corrode  the  metal  and  spoil  the  work.  It  should  not 
be  put  away  with  too  much  gum  on  it,  as  the  gum  attracts 
moisture  from  the  atmosphere. 

Mr.  Richmond  recommends  a rather  different  procedure 
to  the  above,  which  may  be  worth  noting. 

For  etching  he  uses  a simple  decoction  of  nut-galls 
without  any  acid.  The  decoction  is  made  by  steeping 
four  ounces  of  bruised  galls  in  three  quarts  of  water  for 
twenty-four  hours,  and  then  boiling  up  and  straining. 
After  etching,  wash  off,  gum  in,  and  dry  by  heat ; then 
wash  off  the  trausfer  ink  with  turpentine  without  remov- 


LJuly  13,  1883. 

ing  or  moistening  the  gum,  and  roll  in  the  plate  till  quite 
black.  Now  sprinkle  it  with  water,  and  continue  rolling 
and  throwing  on  water  till  the  plate  becomes  clean  again, 
and  the  work  is  properly  charged  with  ink.  This  method 
is  considered  safer,  in  the  first  instance,  than  washing  out 
in  the  ordinary  way. 

If  the  work  rolls  up  weak,  it  may  frequently  be 
strengthened  by  rubbing  up  with  thin  ink,  which  may  con- 
tain a little  olive  oil  and  plenty  of  gum. 

Corrections. — When  the  proof  is  examined,  it  will 
usually  be  found  that  more  or  less  alteration  will  be 
required  before  the  work  can  be  printed  off ; and  this  is 
much  more  the  case  with  photo-lithographic  reproductions 
than  with  ordinary  lithographic  work,  which  always  require 
special  drawings,  whereas  the  originals  for  photography 
are  generally  in  manuscript,  often  valuable,  and  impossible 
to  alter.  In  map  work,  for  instance,  names  and  details 
may  require  alteration,  entire  removal,  or  new  insertions. 
The  addition  of  title,  foot-notes,  border  lines,  &c  , is  also 
sometimes  left  to  be  done  after  proving.  In  all  classes  of 
subjects,  more  or  less  touching  up  aud  correction  is  usually 
necessary,  and  though  it  by  no  means  improves  the  work, 
should  not,  if  carefully  done,  injure  it  very  much.  As  a 
rule,  all  cleaning  up  and  slight  touching  up  should  be  done 
before  proving,  leaving  actual  corrections  and  alterations 
to  be  done  after  proving,  when  the  work  is  better  pro- 
tected by  gum. 

Corrections  on  Stone. — Corrections  before  proving  are 
generally  made  by  scraping  the  ink  off  the  part  with  a 
sharp  steel  scraper,  taking  care  not  to  make  a hollow  in 
the  stone,  which  would  prevent  the  part  printing  up.  For 
larger  corrections  the  work  may  be  removed,  and  the  stone 
polished  again  with  snake-stone,  pointed  slips  of  which,  or 
slate  pencils,  are  very  useful  for  this  purpose.  After 
polishing,  any  new  details  required  can  be  inserted  with 
writing  ink  or  by  transfer. 

Corrections  after  rolling-in  are  made  in  the  same  way 
if  work  lias  to  be  removed,  otherwise  it  will  be  sufficient 
to  remove  the  gummy  coating  of  the  stone  by  washing  it 
over  with  a solution  of  acetic  or  citric  acid,  just  sutficiently 
weak  not  to  effervesce  on  the  stone.  It  is  allowed  to 
remain  for  about  a minute,  and  then  well  washed  off.  The 
stone  is  then  ready  for  touching  up,  or  additions  to  be 
made  with  writing  ink  or  by  transfer. 

Richmond  recommends  the  stone  to  be  first  inked  up 
before  the  application  of  the  acid,  and  the  superfluous  ink 
to  be  removed  afterwards  by  pulling  an  impression  or  two 
on  plate  paper.  Usually,  however,  the  ink  is  first  removed, 
and  then  the  acid  applied.  In  this  case  the  acid  used 
must  be  weaker,  so  as  not  to  penetrate  the  thin  coating  of 
ink  ou  the  lines. 

Corrections  on  Zinc. — For  a long  time  one  of  the  great 
impediments  to  the  adoption  of  zinc  printing  was  the  sup- 
posed difficulty  of  correcting  errors  or  making  additions 
after  the  subject  had  once  been  put  down  and  etched. 
Long  experience  of  zinc  printing  of  subjects  requiring  a 
great  deal  of  correction  has  shown  that  there  is  no  more 
difficulty  in  making  corrections  on  zinc  than  there  is  on 
stone,  if  due  care  be  exercised.  At  the  same  time,  they 
should  be  avoided  as  far  as  possible. 

Corrections  before  proving  are  generally  made  immedi- 
ately after  transfer  aud  before  the  plate  is  etched.  Faint 
and  broken  lines  are  strengthened  with  lithographic  writ- 
ing ink  and  a fine  brush  or  pen.  Titles,  footnotes,  and 
other  lettering,  &c.,  may  be  added  from  copper  plate  or 
type  transfers.  Parts  where  the  lines  run  together  may 
be  opened  out  with  au  etching  point.  Spots,  finger  marks, 
and  other  imperfections  are  removed  with  the  wooden 
point  and  caustic  potash,  or  with  slate  pencil  or  snake 
stone,  as  before  described.  In  working  on  the  unetched 
plate,  great  care  must  be  taken  not  to  rub  the  work  or 
touch  the  surface  of  the  plate  with  the  fingers. 

When  corrections  are  made  after  proving,  the  part  of  the 
plate  to  be  corrected  must  first  be  washed  free  of  gum,  and 


July  13,  1883.J 


THE  PHOTOGHAPHIC  NEWS. 


447 


dried  off  with  blotting-paper.  If  details  have  to  be 
removed,  they  are  rubbed  over  with  a wooden  pencil  dipped 
in  the  solution  of  caustic  potash  U3ed  for  cleaning,  then 
washed  with  a sponge  and  water,  and  blotted  off.  A piece 
of  felt  dipped  in  nitric  acid,  one  part  acid  to  six  of  water, 
is  passed  over  the  parts,  the  acid  washed  quickly  off  with 
sponge  and  water,  and  the  moisture  blotted  off  as  before. 
Any  required  insertion  may  then  be  made  by  drawing  in 
or  transfer.  After  correction  the  plate  is  etched  again, 
washed  clean  with  water,  the  ink  is  washed  out  with 
turpentine,  and  the  plate  rolled  up,  cleaned,  and  proved  as 
before. 

Corrections  may  also  be  made  with  an  etching  point ; 
in  that  case  acid  is  not  required.  The  part  is  etched,  then 
covered  with  gum,  and  the  insertions  are  scratched  in  with 
the  point,  care  being  taken  that  the  breath  does  not  moisten 
the  gum,  or  the  lines  will  not  retain  the  ink.  Printing 
ink  i3  then  forced  into  the  lines  with  a dabber  made  of 
closely-rolled  flannel,  worked  round  and  round  till  the 
lines  are  well  charged.  A sheet  of  waste  or  proof  paper  is 
laid  on  the  plate,  and  is  passed  through  the  press  to  drive 
the  ink  well  into  the  scratches,  and  also  to  remove  the 
superfluous  ink  ; the  remainder  is  removed  with  the  gum 
by  sponging  the  plate.  If  necessary,  the  plate  is  washed 
out  with  turpentine,  and  rolled  up  again. 

Sometimes,  if  the  corrections  are  large,  or  the  work  has 
been  on  the  plate  for  a long  time,  it  may  be  advisable  to 
remove  the  ink  with  potash  and  acid,  and  then  re-grain  the 
part  with  a small  muller ; but  practically,  the  application  of 
the  acid  is  generally  found  sufficient. 

Sulphuric  acid  is  sometimes  recommended  to  be  used  for 
restoring  the  surface  previous  to  making  corrections.  We 
have  found  that  nitric  acid  of  the  strength  indicated  works 
more  cleanly  and  effectually. 

The  corrections  being  finished,  the  plate  is  again  proved 
for  press  order,  and,  if  all  is  found  satisfactory,  the  printing 
is  proceeded  with. 

(To  be  continued.) 

o 

Drombings  of  jfomtui. 

Sheffield  Photographic  Society. 

The  ordinary  meeting  was  held  July  3rd,  Mr.  T.  H.  Morton, 
M.D.,  presiding.  The  minutes  were  read  and  adopted,  and  Mr. 
B.  W.  Wood  was  admitted  a member. 

The  principal  subject  of  conversation  related  to  the  work 
accomplished  at  the  last  excursion  of  the  Society  to  Chatworth 
on  June  11th.  The  weather  being  favourable,  results  proved 
highly  satisfactory,  although  the  number  of  plates  exposed  was 
below  the  average. 

Mr.  RawsOq  contributed  a batch  of  nice  stereoscopic  pictures. 

Mr.  Dakin  a number  of  good  10  by  8 negatives. 

Dr.  Morton  showed  several  prints.  One,  he  said,  was  from  a 
plate  which  became  rapidly  so  dense,  even  with  little  pyro, 
that  it  was  apparently  useless.  The  negative,  however,  was 
fixed,  well  washed,  and  steeped  for  a minute  in  a solution  of 
ferric  perchloride  (PB)  half  an  ounce  to  twelve  ounces  of  water. 
The  chloride  then  dissolved  by  hyposulphite  bath,  reduced  the 
image  to  a good  printing  quality. 

_ Mr.  Rawson  said  one  of  his  plates  erred  in  the  opposite 
direction,  some  of  the  detail  being  very  imperfect.  He  applied  a 
solution  of  ammonia  with  a camel-hair  brush  over  the  insensitive 
part,  which  had  desired  effect;  then  completed  development. 

The  Chairman  exhibited  a 12  by  10  portable  camera  made  for 
him  by  Mr.  J.  Taylor  ; it  weighed,  with  double  slide,  131  lbs., 
and  looked  a most  servicable  apparatus. 


5LaIk  in  tkt  Stubiff. 

Blotting-Paper  Especially  Prepared  for  Photographic 
Tse. — Messrs.  Morgan  and  Co.,  wholesale  stationers  of  Cannon 
Street,  have  forwarded  us  a sample  of  a blotting  and  filtering 
paper,  which  is  said  to  be  free  from  those  impurities  which  are 


most  liable  to  act  injuriously  on  photographic  preparations.  We 
tested  it  for  hypo  and  free  acid,  but  found  neither. 

Mr.  H.  N.  King  had  the  honour  of  photographing,  by  com- 
mand, at  Claremont,  on  Saturday  last,  H.R.H.  the  Duchess  of 
Albany  and  the  infant  Princess. 

According  to  the  Photographic  News  it  takes  a week  to  get 
out  a proof  in  London.  We  wonder  how  long  it  takes  them  to 
get  out  a dozen  portraits  ! We  should  think  they  would  use  rapid 
paper  for  making  proofs. — The  Eye. 

Munich  Art  Exhibition.— The  International  Art  Exhibition 
at  Munich  was  opened  on  the  1st  inst.  The  building  now  contains 
2,232  oil  paintings,  310  water  colours,  270  plastic  works,  and 
140  graphic  productions. 

Improvement  in  Glass  Manufacture.- -At  the  meeting, 
on  4th  J une,  of  the  Paris  Academy  of  Science,  M.  J.  B.  Dumas 
called  attention  to  the  substitution,  at  M.  Appert’s  glass-works, 
Paris,  of  a pressure  fan  for  the  blowing  into  hollow  glass  ware, 
that  was  formeily  effected  by  the  mouth  of  the  glass  blower. 
This  long  and  fatiguing  expenditure  of  breath,  accompanied  by 
'lard  work  in  a heated  atmosphere,  proved  highly  injurious  to 
die  health,  and  even  fatal  in  many  cases,  if  continued  for  a long 
period.  The  new  system  has  been  successfully  carried  out  on  a 
large  scale  by  M.  Appert,  whose  drawings  and  photographs  have 
been  referred  to  the  committee  on  unhealthy  trades.  The 
molten  glass  is  kept  under  pressure  in  reservoirs,  whence  it  flows 
in  channels  to  each  glass-worker  (no  longer  glass  blower).  The 
latter  has  within  easy  reach,  and  capable  of  being  handled  with 
the  greatest  facility,  a pipe  which  affords  him  the  necessary 
quantity  of  air,  at  the  required  pressure  for  blowing  out  the 
globe,  bottle,  or  other  object.  The  germ  of  this  useful  and 
humanitarian  invention  is  due  to  a workman  of  the  famous 
Baccarat  glass-works,  who,  by  means  of  a rude  air-pump,  blew 
out  his  glass  without  using  the  mouth  ; he  was  rewarded 
with  a prize  by  the  Academy  forty  years  ago. — Journal  of  the 
Society  of  Arts. 

Action  of  Light  on  India-rubber.— Mr.  Herbert  McLeod 
writes  to  Nature : — “ In  continuation  of  the  experiments 
described  in  Nature,  vol.  xxvii.  p.  312,  two  pieces  of  caoutchouc 
tube,  about  48  mm.  long  and  7 mm.  wide,  were  introduced  on 
January  23,  1883,  into  test  tubes  containing  oxygen  confined 
over  mercury.  One  of  these  tubes  was  surrounded  by  a case  of 
black  paper,  and  both  tubes  were  placed  side  by  side  in  a north 
window.  On  June  27  the  tubes  were  examined:  in  that 
exposed  to  light  about  17  cc.  of  oxygen  (about  three-quarters  of 
the  gas  the  test  tube  at  first  contained)  had  been  absorbed,  and 
the  india-rubber  had  become  altered,  so  that  on  pressing  the  tube 
between  the  fingers  superficial  cracks  were  produced.  In  the 
other  test  tube  no  appreciable  diminution  of  gas  had  taken  place, 
and  the  caoutchouc  was  unchanged,  thus  fully  confirming  the 
results  of  the  former  experiments.  We  may  therefore  conclude 
that  caoutchouc  alters  under  the  combined  influence  of  light 
and  oxygen,  but  that  neither  alone  produces  any  effect. 

Luminosity  of  Flame.  By  W.  Hittorf  (Ann.  Ph ys.  Chem. 
[2],  19,  73 — 77). — In  this  paper,  the  author  claims  priority  over 
\V.  Siemens  as  regards  the  non-luminosity  of  gases  at  the  tem- 
perature of  molten  steel  (this  vol.,  p.  539) ; for  he  observed  in 
the  year  1879  that  a layer  of  air  surrounding  electrodes  of 
platinum,  made  white-hot  by  the  passage  of  a current  from 
1,600  cells,  appeared  perfectly  dark  to  the  eye.  The  author  has 
repeated  the  experiment,  substituting  the  iridium  for  platinum, 
and  using  a battery  of  2,400  elements,  divided  into  series  of 
400,  600,  and  800 ; the  result  arrived  at  was  the  same,  and 
though  the  white-hot  iridium  anode  was  melted,  yet  the  gas 
media,  whether  of  nitrogen,  hydrogen,  or  oxygen,  remained  per- 
fectly dark.  Experiments  showed  that  all  gases  at  this  elevated 
temperature  become  good  conductors  of  electricity,  even  at  the 
lowest  difference  of  potential,  and  on  passage  of  the  current  no 
longer  emit  the  spectra  of  the  first  order.  The  temperature  at 
which  the  non-metallic  elements  give  the  spectra  of  the  second 
order  (or  line  spectra)  is  considerably  higher,  and  is  attained  by 
the  momentary  discharge  of  the  condenser.  Further,  it  can 
easily  be  demonstrated  that  the  luminous  gases  in  Geissler’s 
tubes  are  at  a low  temperature,  and  that  their  luminosity  is  due 
to  a phosphorescence,  for  the  absorptive  power  of  these  gases 
differs  from  their  emissive  power,  and  they  behave  differently 
from  metallic  vapours,  which  become  luminous  in  the  flame. 
Although  the  author  claims  priority  over  W.  Siemens,  he  yet 
points  out  that  Melloni  deduced  the  same  conclusions  from  the 
researches  of  Draper,  and  even  as  early  as  1792,  Wedgwood 
noticed  that  air  at  the  temperature  of  a furnace  is  non-luminous. 
— V.  H.  V. 


448 


THE  PHOTOGRAPHIC  NEWS, 


[July  13,  1883, 


Photographic  Club. — At  the  next  meeting  of  this  Club, 
July  18th,  the  subject  for  discussion  will  be  “Iron  versus 
pyrogallic  development : which  system  will  give  the  best  results 
(detail  and  vigour)  with  a given  exposure  upon  plates  from  one 
emulsion  ! ” 


^cmsponfontg. 

*„*  We  cannot  undertake  to  return  rej  ected  communications. 

S.  M.  H. — No;  your  best  plan  will  be  to  study  the  chapters  on 
“ Photo-lithography  ” in  our  columns,  by  Major  Waterhouse. 

Recrem. — See  either  Abney’s  “ Photography  with  Ktiml-ions,” 
price  3s.  ; or  Burton’s  “ A B C of  Modern  Photography,”  price 
Is.  Both  are  to  be  had  of  our  Publishers. 

L.  R. — Quite  legitimate,  but  the  circumstance  of  the  enlargement 
having  been  done  by  another  person  must  be  stated.  2.  There 
is  nothing  to  pay  unless  you  wish  to  have  it  sent.  In  this  case 
you  would,  of  course,  have  to  pay  the  expense  of  packing  and 
transmission. 

F.  P. — All  the  conditions  cannot  very  well  be  fulfilled  at  the  same 
time,  and  you  cannot  do  better  than  study  the  details  given  in 
“ The  Studios  of  Europe.” 

A Learner. — Yon  will  find  some  information  in  the  present 
number,  and  full  details  in  our  last  volnme,  pp.  673,  690,  706, 
738,  770. 

O.  T. — 1.  It  would  probably  be  enough  in  most  cases,  but  it  is  best 
to  err  on  the  safe  side.  2.  It  would  cause  mischief  if  present  to 
a considerable  extent,  but  a mere  trace  will  do  no  harm. 

John  Chapman. — New  glass  often  gives  rise  to  a little  trouble,  as 
the  wax  does  not  readily  adhere  to  it.  Polish  it  off  less  com- 
pletely until  your  glass  is  got  into  good  working  order. 

John  Malburn. — 1.  The  colour  arises  from  the  liberation  of 
iodine,  and  the  consequence  is,  the  collodion  becomes  much  less 
sensitive.  2.  It  would  be  well  to  increase  the  exposure  con- 
siderably— say,  fourfold — and  to  use  a much  weaker  developer. 

C.  D.  P. — The  grained  card  mask  or  border  will  be  found  described 
on  page  262  of  our  present  volume. 

Wm.  B.  Funnell. — That  you  mention  is  very  good  value  for  the 
money,  and  would  be  found  to  answer  well  in  the  hands  of  a care- 
ful worker ; but  you  mnst  not  expect  to  have  such  good  instru- 
ments as  those  costing  three  times  the  money. 

Enquirer. — 1.  The  black-and-white  results  which  trouble  you  are 
more  likely  to  be  a consequence  of  your  system  of  lighting,  than 
of  any  peculiarities  in  the  plates  you  employ.  Our  article  on 
“ Screens  and  Reflectors,”  which  appeared  a fortnight  ago,  will 
give  you  some  idea  as  to  how  to  set  to  work.  2.  A photographer 
wanting  someone  to  help  him  would  be  likely  to  give  you  a 
moderate  salary,  but  you  would  have  to  do  such  work  as  he  might 
require.  If  you  go  into  a studio  with  the  view  of  practising 
those  branches  which  you  yourself  select,  you  will  probably  have 
to  pay  a premium. 

Anxious. — Rely  on  neither,  but  apply  to  a photographer  in  your 
own  town. 

David  Thomas.— 1.  Apply  it  with  a clean  camel’s-hair  brush 
until  the  paper  is  thoroughly  permeated  by  the  solution.  2.  It  is 
better  to  so  arrange  the  conditions  that  it  shall  become  dry  in  six 
or  eight  hours. 

Peter  Wright. — 1.  Ordinary  oil  colours  answer  very  well. 
2.  One  part  dissolved  in  twelve  parts  of  water.  3.  You  appear 
to  have  lost  sight  of  the  circumstance  that  it  is  necessary  to  add 
acetic  acid.  See  the  formula  given  in  the  Year-Book. 

D.  W.  L. — It  is  usual  to  add  a little  wax,  generally  about  one-sixth 
of  its  weight ; but  this  is  by  no  means  essential. 

Henry  Elliott. — That  the  difficulty  exists  is  well  known,  and 
there  are  few  photographers  who  cannot  tell  of  a certain  remedy  ; 
still  we  seem  no  nearer  to  a satisfactory  conclusion. 

A.  S.  Belman. — 1.  Air  was  enclosed  between  the  tissue  and  the 
glass  in  mounting,  hence  the  shining  spots.  2.  You  can  only 
avoid  this  by  carefully  watching  each  step  in  the  process. 

F.  B. — 1.  It  will  not  dissolve.  2.  We  cannot  tell  you  why,  as  it  is 
one  of  the  ultimate  properties  of  the  substance.  The  so-called 
explanation  you  refer  to  is  no  explanation,  as  it  merely  states  the 
fact  in  other  words. 

Member  of  the  Photographic  Society. — We  imagine  that 
it  simply  arises  from  a mistake,  or  a clerical  error,  and  you  had 
better  write  to  the  Secretary. 


PHOTOGRAPHS  REGISTERED. 

Mr.  G.  Bitucs  (Duns,  Berwick) — Photo,  of  the  Arm  of  George  Gunn. 

Mr.  A.  Donald  (Dundee) — Photo,  of  the  Donald  Cameron  Monument. 

Mr.  R.  F.  Blackett  (38,  Woburn  Square)— Photo,  of  Christ  Church, 
Woburn  Square. 

MI-r  W Austen  (69,  Queen’s  Road,  Finsbury  Park) -Photo,  of 
Mr.  Phillip  McGrath. 


THE  EVERY-DAY  FORMULARY. 

The  Gelatino-Bromide  Process. 

Emulsion. — A— Nit.  silver  100  grains,  dist.  water  2 oz.  B— Bromide 
potassium  83  grains,  Nelson’s  No.  1 gelatine  20  grains,  dist.  water  14  oz., a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  SO  minims.  C— Iodide 
potassium  8 grains,  dist.  water  A oz.  D— Hard  gelatine  120  grains,  water 
several  oz.  When  the  gelatine  is'thoroughly  soaked,  let  all  possible  water  be 
p lured  off  D.  A and  B are  now  heated  to  about  120°  l'ahr.,  after  which  B 
is  gradually  added  to  A with  constant  agitation ; C is  then  added.  Heat  in 
water  bath  for  half  an  hour,  and  stir  in  D . After  washing  add  J oz.  alcohol. 

Fyro.  Developer.— No.  1— Strong  liq.  ammonia  1J  oz.,  bromide  potas- 
sium 240  grains,  water  80  oz.  No.  2— Pyro.  30  grains,  water  10  oz.  In  case 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
end  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing.— Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  by 
soaking  in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  riDsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts.  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased  ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Backing  Sheets. — A chromngraphic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shilling  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  back  of  glass  plate. 

The  Wet  Collodion  Process. 

The  Nitrate  Bath.- Water  14  oz.,  nit.  silver  1 oz., nitric  acid  1 drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  (-oz.,  liquid  ammonia  J-oz. 

Film-removing  Pickle  for  Old  Plates.— Water  1 pint,  sulphuric 

acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum,— Whites  of  2 eggs  well  beaten,  6 pints  of  water,  and  1 dr. 
liq.  ammon. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 
pyroxyline  of  suitable  quality  250  grains,  shake  well  and  add  ether  2 pints. 
Iodize  this  by  mixing  with  one-third  of  its  volume  of  alcohol  £ pint,  iod. 
ammon.  80  grains,  iod.  cadm.  80  grains,  brom.  ammon.  40  grains. 

Normal  Iron  Developer.— Water  10  oz., proto-sulphate  iron  J oz., 
glacial  acetic  acid  4 oz.,  alcohol  J oz.  The  amount  of  proto-sulphate 
iron  may  be  diminished  to  ( oz.  when  full  contrasts  are  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  be  reduced  to  { oz. ; but  when  bath  is,old  more  is  wanted. 

Intensifying  Solution.— Water  6 oz.,  citric  acid  75  grains,  pyro.  30 
grains,  v*  hen  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Bead  Intensification.— After  nog.  washing,  immerse  in  dist.  water 
100  parts,  red  pruss.  potash  6 parts,  and  nit,  lead  4 parts.  When  it  is  yellowish 
white  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution.— 1.  Fotass.  cyanide  200  grains,  water  10  oz.  2.  Sat. 
sol.  of  sod.  hypo. 

Varnish.— Shellac  2 oz.,  sacdarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  16  oz. 

Printing  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 
ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution.— Nit.  silver  50 grs.,  water  1 oz.,  sod.  carb.  4 gr. 

Acetate  Toning  Bath.— Chi.  gold  1 gr.,  acet.  soda  20  grs..  waters  oz. 

Dime  do. — Chi.  gold  1 gT.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do.— Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath. -Sodium  hypo.  4 oz..  water  1 pint,  liq.  ammon.  30  drops. 

Reducer  for  Deep  Prints.— Cyan,  potass.  5 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Encaustic  Paste. — Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  1)  oz., 
water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion.— Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

MountanL— 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

Collotypic  Substratum. — Soluble  glass  3 parts,  white  of  egg  7 parts, 
water  10  parts. 

Collotypic  Sensitive  Coating.— Bichromate  potash  J oz.,  gela- 
tine 2J  oz.,  water  22  oz. 

Collotypic  Etching  Fluid.— Glycerine  150  parts,  ammonia  50  parts, 

saltpetre  5 parts,  water  2o  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  albumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  for  raper. 

Cyanotype  Printing.— Water  1 oz.,  red  prussiatc  of  potash  (fern- 
cyanide)  1 dr.,  ammonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

Various. 

Euckardt’s  Retouching  Varnish.— Alcohol  300  parts,  sandarac 

50  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnish.— Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 
benzole  80  to  100  parts. 

Encaustic  Paste.— Best  white  wax,  in  shreds,  1 oz.,  turpentine  5 oz. ; 
dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  fianncl. 

Ferrotypes. 

Collodion.— Ammonium  iodide  35  grains,  cadmium  iodide  25  grains, 
cadmium  bromide  20  grains,  pyroxyline  70  grains,  alcohol  5 oz.,  ether  5 oz. 

Bath.  — Silver  nitrate  1 oz.,  water  10  oz.,  nitric  acid  1 drop. 

Developer.  -Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 oz.,  water  ICoz, 

Fixing  and  Varnish,— Same  as  wet  collodion  process. 


THE  PHOTG#B$fcPHIC 

Vol.  XXYII.  ‘ Nd  20,  1883. 


HEWS. 


CONTENTS. 


PAOK 


Prints  on  Salted  Paper  419 

8ome  of  the  Uses  of  Common  Alum  44!) 

Carbon  Pictures  for  Crystoleum  Paintinp  By  W.  T.  Wilkinson  450 

French  Correspondence.  By  Leon  Vidal  450 

The  Translation  of  Colour  into  Monochrome  by  Photographic 

Means.  By  J.  R.  Sawyer  451 

The  Effect  of  Shearing  Stress  on  Sensitive  8alts.  By  Captain 

Abney,  R.E.,  E.R  S 452 

Gun-cotton  and  Pyroxvliiic  : The  Question  of  Permanence. 

By  John  Spiller,  F.C.S 453 

A New  Unit  of  Light  in  Connection  with  Sensitomctry.  By 
James  B.  Spurge 453 


PAOK 

Mclhuisli’s  Roller  Slide  455 

Notes 455 

Patent  Intelligence  458 

I.essons  in  Optics  for  Photographers.  By  Capt.  Abney 458 

A Dictionary  of  Photography  460 

The  Exhibition  of  the  Photographic  Society  of  Great  Britain...  4f.l 

Correspondence  461 

Proceedings  of  Societies  462 

Talk  in  the  Studio 463 

To  Correspondents 463 

Photographs  Registered  464 

| The  Every-Day  Formulary  464 


PRINTS  ON  SALTED  PAPER. 

It  is  strange  to  note  how  universal  is  the  adoption  of  the 
albumen  process  as  a method  of  positive  printing  ; and  so 
far  is  this  mode  of  producing  positive  photographs  become 
universal,  that  the  first  point  to  be  considered  in  connec- 
tion with  any  new  printing  process  is,  how  far  the  results 
resemble,  or  can  be  made  to  resemble,  pictures  on  albu- 
menized  paper. 

The  albumen  process  of  printing  has  made  its  way  under 
what  might  be  regarded  as  very  considerable  dis- 
advantages, as  the  results  are  notoriously  liable  to  rapid 
fading ; they  are  by  no  means  well  adapted  to  receive  the 
work  of  the  colourist  or  of  the  retoucher,  and  possess  a 
gloss  which  many  regard  as  highly  inartistic  and  vulgar. 

Ordinary  collodion  negatives  or  positives,  as  well  as 
prints — in  the  production  of  which  the  dangerous  sulphur- 
containiDg  albumen  takes  no  part — are  well  known  to  be, 
uuder  ordinary  circumstances,  far  more  permanent  than 
pictures  on  albumenized  paper  ; aud  it  would  probably  be 
well  worth  while  for  the  photographic  profession  to  make 
an  effort  to  educate  the  public  to  a just  appreciation  of  the 
results  which  can  be  obtained  on  plain  salted  paper.  One 
notable  advantage  of  this  course  would  be  the  great 
facility  with  which  high-class  artistic  work  can  be  brought 
to  bear  on  the  results. 

A preliminary  trial,  which  will  abundantly  serve  to  give 
a Dotiou  as  to  the  kind  of  pictures  which  can  be  obtained 
on  salted  paper,  may  be  made  with  the  ordinary  albu- 
menized paper,  the  back  being  sensitized  instead  of  the 
front.  But  this  course  is  not  to  be  recommended  as  a 
general  proceeding,  as  there  may  be  some  risk  of  sulphur 
from  the  albumen  coating  affecting  the  image ; aud  it  is  by 
no  means  an  economical  expedient  to  replace  salted  paper 
by  albumenized  paper.  W hen  the  back  of  the  albumenized 
paper  is  sensitized  and  printed  upon,  very  little  difference 
will  be  noticed  as  regards  the  details  of  the  subsequent 
operations  ; but  the  print  will  generally  be  reduced  more 
than  usual  during  fixation,  and  it  will  ordinarily  be  found 
to  tone  more  rapidly. 

For  printing  on  plain  paper,  either  Saxe  or  Rive’s  may 
be  used  ; but  we  are  rather  inclined  to  prefer  the  latter. 
The  salting  bath  consists  merely  of  a solution  of  one  part 
of  ammonium  chloride  dissolved  in  sixty  parts  of  water. 
But  many  persons  prefer  to  add  a very  small  proportion  of 
gelatine  ; but  it  is  not  desirable  that  the  proportion  used 
should  exceed  two  parts  to  each  hundred  parts  of  the  solu- 
tion. The  addition  of  gelatiue  is  especially  useful  in  the 
case  of  a paper  which  has  not  been  highly  sized,  as  the 
colloid  matter  tends  to  prevent  the  rapid  penetration  of 
the  sensitizing  solution,  and  the  consequent  production  of 
pictures  so  deeply  seated  in  the  substance  of  the  paper  as 
to  appear  weak  an  1 flat.  A sixty  or  seveuty-graiu  bath 


should  be  used  for  sensitizing,  aud  two  minutes  is  a suffi- 
ciently long  time  for  floating  the  paper,  the  prolonged 
action  of  the  sensitizing  solution  being  especially  undesir- 
able, as  flat  pictures  naturally  result. 


SOME  OF  THE  USES  OF  COMMON  ALUM. 

A substance  very  much  used  by  photographers  of  late 
years — in  fact,  so  much  used  that  no  well-appointed  labora- 
tory could  be  considered  complete  without  it  — is  the  sub- 
stance known  as  common  alum  or  potash  alum,  being  a 
double  sulphate  of  alumina  and  potash  ; but  it  is  interest- 
ing to  note  that  much  of  the  commercial  alum  met 
with  at  the  present  time  is  ammonia  alum,  or  the  double 
sulphate  of  alum  and  ammonia,  it  is  quite  a matter  of 
indifference  to  the  photographer  whether  he  uses  potash, 
alum,  or  ammonia-alum. 

Besides  its  great  value  to  the  Autotype,  Woodburytype, 
and  mechanical  printers  as  an  agent  for  hardening  the  gela- 
tine films,  it  has  been  recommended  for  all  sorts  of  ail- 
ments photographic.  The  silver  printer  adds  a small 
portion  to  his  sensitizing  bath  to  keep  it  in  working  order, 
and  to  prevent  blistering  of  the  albumen  ; then,  again, 
silver  prints  are  soaked  in  a dilute  solution  of  alum,  having, 
for  its  object  the  thorough  elimination  of  the  last  traces 
of  the  fixing  salt.  A very  good  proportion  to  use  for  this 
latter  purpose  is  four  fluid  ounces  of  a saturated  solution, 
diluted  with  one  gallon  of  water,  the  prints  being  well 
agitated  during  an  immersion  of  ten  minutes. 

Of  all  the  uses  to  which  alum  is  put,  perhaps  not  in  any 
single  instance  can  so  much  satisfaction  be  derived  as  when 
it  i8  used  to  arrest  frilling  of  gelatine  plates.  This  it  has 
the  power  to  do  instantaneously,  and  many  of  the  most 
careful  workers,  both  amateur  and  professional,  or  at  least 
those  who  do  not  care  to  run  any  unnecessary  risks  with 
negatives  which  have  cost  them  a good  deal  of  anxiety  and 
trouble  to  secure,  but  prefer  to  make  assurance  doubly 
sure — such  individuals  may  be  numbered  by  the  hundred  — 
make  it  a point  in  every-day-practice  to  immerse  all  their 
plates  in  a solution  of  alum,  either  before  fixing,  or  immedi- 
ately afterwards.  In  fact,  some  operators  have  two  alum 
baths  in  use:  one  a normal  bath,  as  above-mentioned, for  im- 
mersing the  plates  in  when  of  the  ordinary  printing  inten- 
sity; and  the  other  a saturated  solution  strongly  acidified  by 
means  of  a vegetable  acid  (such  as  citric),  or  a mineral  acid 
(such  as  sulphuric),  for  use  when  there  is  too  much  print- 
ing density,  since  it  has  been  found  in  practice  that  an  acid 
solution  of  alum  in  contact  with  sodium  thiosulphate  on 
the  gelatine  image  (after  fixing,  but  before  washing)  not 
only  removes  the  colour  or  stain  caused  by  the  alkaline 
or  pyrogallol,  but  perceptibly  reduces  the  strength  of  the 
image.  Moreover,  the  colour  does  not  again  re-appear 
after  washing,  as  it  doe3  sometimes  when  the  fixing  salt 


450 


THE  PHOTOGRAPHIC  NEWS. 


[July  20,  1883. 


bas  been  partially  washed  away.  In  cases  where  there  is 
great  tendency  to  frill — such,  for  instance,  as  when  a soft 
sample  of  gelatine  has  been  employed,  or  old  decomposed 
emulsion  worked  in  with  the  fresh  emulsion — it  will  in  such 
cases  be  safer  to  put  the  plates  iu  the  normal  bath  for  a 
few  miuutes  previous  to  immersing  them  in  the  acid  bath. 

Potash  alum  is  obtained  tolerably  pure  in  commerce  in 
colourless  transparent  crystalline  masses,  having  an  acid, 
sweetish,  astringent  taste.  It  is  soluble  in  18  parts  of 
water  at  60®  F.,  and  in  its  own  weight  of  water  at  212°  F. ; 
but  the  excess  crystallizes  out  upon  cooling.  The  solu- 
tion reddens  litmus  paper,  and,  when  impure,  usually  con- 
tains traces  of  oxide  of  iron.  Upon  the  addition  of  either 
caustic  soda  or  potash,  a white  gelatinous  precipitate  is 
formed  (hydrate  of  alumina),  which  is  soluble  in  excess 
of  the  re-agent  employed.  The  precipitate  thus  obtained 
has  much  of  the  character  of  the  opalescent  film  some- 
times observed  on  gelatine  plates,  when  dry,  which  have 
been  soaked  in  alum,  and  uot  well  washed  afterwards. 

Alkaline  carbonates— such  as  washing  soda,  for  instance 
— precipitate  hydrate  of  alumina,  which  does  not  dissolve 
in  an  excess  of  the  re-agents,  and  carbon  di-oxide  is 
evolved. 

Ammonia  hydrate  produces  a precipitate  in  a much  finer 
state  of  division,  which  does  not  dissolve  iu  excess  when 
examined  in  a test-tube ; it  somewhat  resembles  thin 
starch  paste. 

The  presence  of  traces  of  iron  may  be  known  by  adding 
a few  drops  of  hydrochloric  acid  to  a small  quantity  of  a 
saturated  solution  of  alum  in  a test-tube,  to  which  add 
strong  liquid  ammonia  ; should  any  iron  be  present,  the 
mixture  will  have  a reddish-brown  tinge  when  examined 
over  a sheet  of  white  paper.  Other  alum3  exist,  such  as 
the  double  sulphate  of  alumina  and  sodium,  and  sodium 
or  aluminum  aud  ammonium  ; but  hitherto  their  uses  have 
been  confined  to  the  experimental  portion  of  the  com- 
munity rather  than  the  practical. 

©. 

CAltBON  PICTURES  FOR  CRYSTOLEUM 
PAINTING. 

BY  W.  T.  WILKINSON. 

The  ancient  process  of  colouring  silver  prints  from  the 
back,  under  the  modern  patronymic  of  crystoleum,  has 
been  the  meaus  of  calling  into  existence  various  firms 
whose  business  i3  to  supply  photographs  and  materials  to 
the  general  public,  which  materials  have  had  an  immense 
sale. 

The  success  that  has  attended  the  venture  may  be  put 
down  to  the  fact  that  crystoleum  is  art  made  easy,  as  by 
cementing  the  photograph  upon  a piece  of  glass,  and  by 
the  aid  of  varioui  mediums  for  making  it  transparent,  the 
application  of  a little  colour  upon  the  back  quickly  trans- 
forms the  monochrome  photograph  into  a highly-coloured 
miniature,  and  this  result  being  attained  without  any 
knowledge  or  skill  in  drawing,  its  popularity  cau  scarcely 
be  wondered  at. 

Photographers,  as  a body,  have  not  given  so  much 
attention  to  the  principle  upon  which  this  process  is  based 
ai  perhaps  they  ought  to  have  done  ; oue  reason,  no  doubt, 
being  that  the  effects,  although  done  with  a reasonable 
amount  of  skill,  have  had  a more  or  less  pasty  effect — an 
effect  that,  on  account  of  the  opaque  nature  of  the  paper 
support  of  the  silver  print,  could  uot  be  remedied. 

Now  the  principle  of  the  process,  and  no  doubt  the 
reason  of  its  immense  popularity,  is,  that  the  drawing  aud 
composition  of  the  picture  being  supplied  by  the  photo- 
graph, and  the  application  of  the  colour  being  upon  the 
back,  far  less  skill  is  required  than  when  the  colouring  is 
attempted  upon  the  front,  or  where  it  would  be  necessary 
to  both  draw  and  paint  the  picture. 

Photographers  know  to  their  cost  the  difficulty  ex- 
perienced (except  with  highly-paid  artists)  in  keepiug  the 
likeness  intact  when  photographs  are  coloured  on  the 


front ; therefore,  to  guard  against  this,  and  at  the  same 
time  get  a more  highly-finished  picture,  let  the  colouring 
be  done  at  the  back. 

But  ordinary  silver  prints,  in  spite  of  all  the  clearing  and 
preservative  mediums,  cannot  be  made  sufficiently  trans- 
parent to  enable  the  best  skill  of  the  colourist  to  be  shown, 
nor  to  guarantee  the  permanency  of  the  result  when  done  ; 
so,  instead  of  a silver  print,  try  one  in  carbon  developed 
upon  the  glass  (flat  or  concave)  ; then  a really  first-class 
picture  may  be  made  upon  which  the  colourist  may  lavish 
all  his  skill  with  the  assurance  that  every  stroke  made  for 
effect  will  give  that  effect,  that  the  likeness  will  not  be 
disturbed,  and  that  the  work  is  permanent. 

Carbon  images  are  easily  developed  upon  glass  either 
flat  or  on  the  inside  of  the  convex  glasses ; associated  with 
this  class  of  work,  in  either  case  the  glass  must  be  prepared 
with  a substratum  of  bichromated  gelatine,  and,  when  dry, 
exposed  to  light,  so  as  to  render  this  film  quite  insoluble. 
To  mount  the  exposed  tissue  upon  the  convex  glasses  the 
best  squeegee  is  a piece  of  india-rubber  about  two  inches 
square,  and  one-eighth  of  an  inch  thick  ; but  for  flat  glasses, 
the  ordinary  squeegee  will  be  best;  in  either  case,  be  sure 
and  do  not  spare  the  squeegee. 

The  best  class  of  negative  for  the  purpose  is  a very  thin 
one — almost  too  thin  for  silver  printing  ; and  the  best  tissue 
is  the  Autotype  Company’s  Portrait  Brown  No  113. 

To  colour  these  pictures,  use  the  best  oil  colour,  stippling 
the  hands  and  face,  not  merely  putting  on  a complexion 
colour;  jewellery,  &c.,  being  put  in  in  gold  or  silver,  and 
the  whole  backed  up  with  white  pigment,  either  pure  or 
modified,  with  warm  or  cold  colour,  as  taste  dictates. 

Bear  in  mind  that  the  carbon  image  is  nearly  transpa- 
rent, and  is  there  to  give  the  drawing  only,  so  that  all  the 
colour  effect  must  be  done  thoroughly  and  properly,  as  a 
daub,  instead  of  making  a finished  picture,  wiil  only  spoil, 
iustead  of  improving  a good  photograph. 

Before  commencing  to  colour,  any  spots  or  blemishes  in 
the  print  must  be  removed  with  oil  colour  the  same  tint  as 
the  carbon  image,  taking  care  to  put  the  colour  on  as  thin 
as  possible,  else  the  work  may  show  through  the  colour. 

Full  details  as  to  the  ordinary  crystoleum  process  are  to 
be  found  in  the  current  Year-Book. 


FRENCH  CORRESPONDENCE. 

Captain  Biny’s  Typographic  Process — The  Photographic 
Society  Of  France — Enlargements  on  Gelatino- Bro- 
mide Paper — Steinheil’s  Objective — Transit  of  Venus 
— M.  Davanne’s  Lectures — Piioto-ceramic  Lectures  at 
Limoges — Exhibition  in  Vienna. 

Captain  Biny's  Process. — My  experience  in  various  print- 
ing processes  enables  me  to  set  a high  value  on  a new 
method  shown  by  Captain  Biny,  whose  works  are  well 
known.  It  is  a mode  of  engraving  on  zinc  to  be  printed 
from  a lithographic  press.  Zinc  must  first  be  selected  free 
from  streaks  and  traces  of  oxidization.  It  is  cleaned  with  a 
soft  brush  dipped  in  water  acidulated  with  hydrochloric  acid 
in  the  proportion  of  three  per  cent.  Next  it  is  washed,  and 
plunged  in  a wet  state  into  a saturated  solution  of  iodine 
aud  gallic  acid  and  two  per  cent,  of  liquid  phosphoric  acid, 
at  the  ordinary  temperature.  The  zinc  plate  should  be 
rubbed  over  with  a brush  to  prevent  the  formation  of 
bubbles,  and  afterwards  freely  washed  in  water,  and  dried 
between  blotting-paper.  It  may  then  be  coated  with  the 
sensitive  material  (bitumen  of  Judea,  or  bichromated  albu- 
men), and  exposed  behind  tho  original  positive  design, 
black  and  homogeneous  in  character.  The  length  of  expo- 
sure is  controlled  by  any  of  the  various  well-known  methods, 
aud  the  plate  developed  iu  the  usual  way.  It  is  etched  in 
fifty  seconds  with  water  acidulated  with  three  per  cent.  of 
nitric  acid.  This  done,  the  insoluble  matter  is  peeled  off, 
and  the  plate  dried  carefully.  To  ink  the  plate,  it  must  be 
lightly  rubbed  over  with  oil  with  the  palm  of  the  hand,  the 
excess  dried  off,  and  then  lithographic  ink  applied  to  the 


July  20,  1883.  J 


THE  PHOTOGRAPHIC  NEWS. 


451 


surface.  lu  this  state  the  plate  is  rubbed  with  clean  flannel 
slightly  damp,  and  the  plate  can  give  off  as  many  impres- 
sions as  desired.  It  must  be  carefully  ascertained  that  the 
engraved  plate  is  quite  dry  before  applying  the  oil. 

Photographic  Society  of  France.  — At  the  last  meeting  some 
enlargements  on  gelatino-bromide  by  M.  Lamy  excited 
interest,  the  paper  being  issued  from  the  firm  of  Hutinet. 
We  have  already  spoken  of  this  paper,  similar  to  Morgan’s. 
Morgan's  paper  is,  however,  more  suitable  for  intense 
images,  and  forms  negatives  or  positives  equally  well. 
These  enlargements  shown  by  M.  Hutinet  were  obtained 
directly  by  diffused  daylight,  and  in  a few  seconds.  A 
portrait  of  the  opera  singer,  Losalle,  life-size,  attracted 
special  attention.  M.  Carette  presented  a new  arrangement 
of  objectives  by  M.  Steinheil,  each  lens  being  three  centi- 
metres thick.  One  of  the  attractions  of  the  evening  was  the 
projection  on  the  screen,  by  M.  Chapuis,  ol  the  Transit  of 
Venus,  and  viows  of  the  place  of  observation.  Such  enter- 
tainments are  always  appreciated,  and  there  was  no  lack  of 
assistants. 

M.  Davanne’s  Lectures. — The  administrators  of  VEcole 
Nationale  Jes  Ponts  el  Chaussees  have  brought  out  the  lectures 
delivered  there  this  year  by  our  learned  colleague,  M. 
Davanne.  It  consitutes  a veritable  treatise  on  general 
photography,  in  which  the  principal  methods  of  reproduc- 
tion by  the  aid  of  light  are  reviewed  with  clearness  and 
precision. 

Photo-Ceramic  Lectures  at  Limoges. — Apropos  of  lectures,  I 
may  be  permitted  to  stato  that  my  lectures  are  about 
to  be  given  at  Limoges,  referring  to  all  applications  of 
photography  to  the  decoration  of  porcelain,  with  which  I am 
charged  by  the  Minister  of  Fine  Arts  and  Public  Instruction. 
Limoges  is  a most  important  industrial  centre  for  the  manu- 
facture and  decoratiou  of  porcelain,  and  the  audience  will 
therefore  be  large  and  appreciative. 

Exhibition  of  the  Graphic  Arts  in  Vienna.— I have  just 
seen  a notice  respecting  the  approaching  exhibition  of  the 
graphic  arts  in  Vienna.  It  states  that  heliographs  will  be 
admitted,  to  the  exclusion  of  silver  photographs.  This  ex- 
clusion is  quite  right,  and  should  exist  in  all  exhibitions. 
Photographs,  although  graphic  productions,  are  too 
unstable  to  be  admitted  into  collections  of  publications, 
except  they  be  carbon  and  platinum  pictures.  It  is  not, 
therefore,  deemed  necessary  to  make  them  the  object  of  a 
special  section.  I should  have  liked  to  see  an  exception 
made  in  favour  of  direct  photographs  of  assured  permanence. 

Leon  Vidal. 


THE  TRANSLATION  OF  COLOUR  INTO  MONOCHROME 
BY  PHOTOGRAPHIC  MEANS. 

BY  J.  E.  SAWYER.* 

The  amount  of  interesting  and  instructive  matter  put  down  for 
your  consideration  this  evening  would  seem  to  make  it  un- 
advisable  that  I should  again  occupy  your  time  ; but  the  com- 
munication that  I wish  to  make  to  you  springs  so  naturally  out 
of  the  paper  I read  at  your  last  meeting— is,  in  fact,  so  truly 
supplementary  to  it,  and  any  value  it  may  have  would  be  so  much 
impaired  by  the  delay  consequent  upon  the  vacation — that  I 
decided  to  ask  to  be  permitted  to  again  trespass  upon  your 
patience. 

On  the  last  occasion  I brought  before  you  the  results  of  photo- 
graphing a screen  of  sixteen  colours  arranged  in  a curve,  so  as 
to  give  gradation  of  light  and  shade  in  each  colour,  and  therefore 
giving  the  photographic  value  of  each  colour  in  every  gradation 
from  high-light  to  deep  shadow ; this  screen  of  colours  I again 
bring  before  your  notice,  and  by  its  side  I have  placed  an  en- 
largement of  the  best  small  negative  I have  been  able  to  make 
of  it. 

The  negative  from  which  this  enlargement  has  been  made  is 
upon  a gelatine  plate,  bromide  of  silver,  with  a trace  of  iodide, 
and  I believe  that,  with  our  present  knowledge,  no  better  photo- 
graphic translation  of  colour  is  possible  ; but,  however  good  this 
particular  translation  may  be  considered  as  the  rendering  of 
colour  into  monochrome,  there  is  no  disguising  the  fact  that  it  is 

* Read  before  the  Photographic  Society  of  Great  Britain. 


painfully  inadequate  to  render  colour  into  monochrome  so  that 
its  lights  and  shades  shall  impress  the  optic  nerve  of  the  eye  in 
the  same  degree  and  in  the  same  relation  that  the  colours  them- 
selves do. 

A comparison  between  the  colour-screen  and  the  enlarged 
photograph  will  show  what  a great  gulf  still  exists  between  what 
is  possible  at  present,  and  what  is  necessary  to  be  done,  before 
photography  can  be  considered  able  to  translate  colour  into 
satisfactory  monochrome.  To  take  only  a few  instances,  note  the 
contrast  between  the  energetic  action  of  the  yellow,  No.  5,  upon 
the  optic  nerve,  with  its  extreme  feebleness  upon  the  sensitive 
plate.  The  blues,  No.  3 and  No.  10,  both  cool  and  retiring  to 
the  eye,  are  most  energetic  on  the  plate;  the  browns,  13,  14, 
and  15,  although  so  very  different  in  value  to  the  eye,  come  out 
pretty  nearly  alike  in  the  photograph.  The  orange,  No.  6,  a 
darker  colour  to  the  eye  than  the  bright  yellow  next  to  it,  is 
rendered  as  being  a much  lighter  and  brighter  colour  ; in  short, 
taking  black  and  white  as  our  standards,  it  is  difficult  to  say 
which  colour  it  is  that  photography  does  represent  as  being  of  the 
value  that  the  visual  organs  attach  to  it. 

Fortunately,  it  happens  that  neither  nature  nor  art  presents 
colour  in  the  sharp  and  decided  manner  that  it  is  given  on  this 
screen  ; nature  blending  and  mixing  her  tints  with  wondrous 
skill,  and  the  artist,  being  a faithful  student,  striving  to  put  on 
canvas  his  transcript,  exalted  and  emphasized  by  whatever  of 
genius  he  may  have  in  him.  The  result,  then,  of  photographic 
transcripts  from  nature  and  art  is  not  nearly  so  imperfect  as 
might  be  imagined  ; but  there  is  still  a wide  difference  between 
the  value  of  colour  as  seen  by  the  eye,  and  its  value  as  presented 
in  a photograph. 

But,  then,  it  may  be  said,  what  is  to  be  the  standard  for 
translating  colour  into  monochrome  ? Photographs  are  daily 
made  that  already  render  colour  into  very  satisfactory  mono- 
chrome, and  it  may  be  asked  what  more  can  be  desired  ? What 
is  wanted  is  the  same  translation  that  a skilful  engraver  would 
produce,  and  nothing  less  than  this  standard  should  be  aimed  at. 

Let  me  now  call  your  attention  to  a coloured  picture,  a very 
common  chromo-lithograph,  which  I was  fortunate  enough  to 
secure,  probably  because  it  was  so  glaring  in  colour,  and  so 
wanting  in  any  artistic  merit,  that  it  failed  to  find  a purchaser 
even  for  the  very  small  sum  that  I gave  for  it ; in  my  eyes,  and 
for  my  purpose,  it  had  great  merit,  and  I eagerly  became  the 
possessor  of  a work  that  would  so  admirably  illustrate  what  I 
wish  to  lay  before  you.  This  we  may  imagine  to  be  an  Italian 
fruit-seller,  a young  girl  attired  in  a white  Garibaldi  shirt,  over 
which  is  a daik  blue  bodice  and  dress  ; she  has  an  elaborate  sash 
of  green  and  red ; her  right  hand  supports  a yellowish-brown 
earthen  vase,  whilst  her  left  steadies  a large  basket  of  green  and 
red  grapes  which  she  carries  on  her  head  ; the  grapes  are  set  off 
by  vine  leaves,  and  a strip  of  some  bright  red  material  hangs  over 
one  edge  of  the  basket ; her  face,  of  an  orange  tint,  is  illumined 
by  the  setting  sun,  one-half  of  it  being  in  shadow  ; she  wears  a 
necklace  of  red  beads,  also  one  of  bright  yellow  ; she  has  a back- 
ground of  greenish-biue  lake,  yellowish-green  hill,  and  snow- 
mountain,  up  which  the  blue  shadow  thrown  by  the  departing 
sun  is  creeping  ; the  sky  has  a faint  primrose  tint  near  the 
horizon,  fading  gradually  into  blue  sky  towards  the  top  of  the 
picture. 

The  special  value,  for  my  purpose,  of  this  most  inartistic  work, 
consists  in  its  violent  and  crude  colouring.  I felt  that  I had  here 
a range  of  colour  sufficient  to  test  to  its  utmost  all  the  photo- 
graphic resources  known  to  me. 

By  its  side  I have  placed  an  enlargement  from  the  best  dry- 
plate  negative  I have  been  able  to  make  ; and,  before  going 
further,  I wish  to  call  your  careful  attention  to  those  points  in 
which  the  photograph  has  failed  in  reproducing  the  value  of  the 
colour  of  the  original. 

Take  the  red  and  green  grapes  in  the  photograph : they  both 
come  out  of  the  same  value  ; but  to  the  eye  the  red  is,  and 
should  be,  the  prominent  colour.  The  red  patch  of  cloth  hang- 
ing over  the  edge  of  the  basket  comes  up  as  a dark  patch ; the 
necklaces,  although  the  yellow  one  is  much  brighter  to  the  eye 
than  the  red  one,  come  out  of  about  the  same  value  : the  girdle 
of  red  and  green,  picked  out  with  yellow,  comes  out  more  or  less 
of  the  same  tint,  but  the  patches  of  yellow,  being  light,  have  got 
something  like  their  value  ; the  earthen  vase,  being  a yellowish  - 
brown,  is  much  too  dark  ; the  red  end  of  the  girdle  or  scarf, 
instead  of  telling  out  as  a bright  colour,  is  of  a similar  value  to 
the  dark  blue  of  the  dress  over  which  it  hangs.  I will  not  weary 
you  by  goiDg  minutely  over  the  whole  of  the  picture,  but  there 
are  still  two  noticeable  features  that  I must  call  your  attention 


452 


THE  PHOTOGRAPHIC  NEWS. 


[July  20,  1883, 


to  : one  is  this — you  will  notice  the  light  blue  shadow  creeping 
up  the  distant  snow  mountain,  this  shadow  is  absolutely  lost  in 
the  negative,  there  is  no  trace  whatever  of  it ; the  other  feature 
is,  that  in  the  coloured  print,  the  sky  near  the  horizon  is  made 
lighter  by  the  introduction  of  a pale  yellow  colour,  but  the 
photograph,  as  one  would  expect,  has  rendered  this  darker  than 
the  upper  part  of  the  sky,  instead  of  lighter,  thus  absolutely 
reversing  the  effect  the  artist  intended. 

Still,  with  all  these  discrepancies,  the  photograph  has  a certain 
harmony  in  its  way.  There  is  gradation,  and  light  and  shade, 
although  the  gradation  and  light  and  shade  are  not  those  of  the 
original ; but  considering  the  violent  colour  and  glaring  effect  of 
the  lithograph,  if  we  were  compelled  to  make  a choice  between 
the  two,  most  probably  we  should  all  desire  the  photographic 
copy  rather  than  the  original.  The  problem  to  be  solved 
appears  to  me  to  be  this.  Supposing  an  artistic  engraver 
had  to  reproduce  this  picture  in  monochrome,  how  would 
he  do  it,  and  what  value  would  he  attach  to  the  various 
colours  ? Taking  this  idea  of  reproduction  as  a standard,  can 
there  be  any  method  devised  by  means  of  which  an  artist 
would  have  as  much  coutrol  over  a photographic  negative  as  an 
engraver  has  over  his  plate  ? My  first  step  in  the  consideration 
of  this  problem  was  to  produce  a very  thin  negative,  giving  all 
the  detail  in  the  drawing  that  it  was  possible  to  get.  A print 
from  this  negative  is  before  you.  You  will  observe  that  there 
are  no  high-lights,  no  deep  shadows  : the  whole  thing  is  flat  and 
in  half-toue.  This  negative  I took  as  a basis  to  work  upon,  and 
the  result  of  this  negative  worked  up  is  also  before  you.  I do 
not  pretend  that  the  print  from  this  negative  is  such  a repre- 
sentation as  a skilled  engraver  would  give  us,  but  it  will  serve 
to  demonstrate  to  you  the  power  of  alteration  consequent  upon 
the  method  of  working  I have  pursued. 

The  negative  has  been  retouched  by  a clever  artist,  but  one 
who  has  had  no  experience  in  this  kind  of  work,  and  it  is  very 
possible  that  the  effects  produced  are  neither  good  nor  true  ; for 
to  produce  fine  artistic  effects  from  pictures  by  this  method  will 
require  both  talent  and  practised  skill.  My  object  is  to 
demonstrate  to  you  what  could  be  done.  By  having  the  nega- 
tive in  half-tone  it  has  been  possible  to  give  vigour  to  the 
shadows  by  covering  the  negative  with  paper  and  cutting  out 
those  portions  which  were  wanting  in  depth  ; to  bring  up  the 
reds  and  yellows  by  working  with  chalk  and  pencil ; to  create 
the  blue  shadow  creeping  up  the  mountain  by  working  upon  the 
high-light  of  the  snow,  and  leaving  the  other  portion  of  the 
mountain  in  its  original  half-tint  to  represent  the  shadow  ; to 
give  luminosity  to  the  sky  near  the  horizon  by  stumping  with 
chalk  and  powder  colour,  allowing  the  upper  portion  to  remain 
as  photographed. 

Thus  I trust  to  have  demonstrated  to  you  this  evening  that, 
given  a thin,  well-exposed  negative,  such  as  can  so  well  be  pro- 
duced with  a gelatine-bromide  plate,  it  is  possible  to  work 
largely  upon  such  a negative,  to  put  in  lights,  and  give  depth 
and  force  to  shadows,  to  lower  the  tone  of  colours  that  come  out 
too  prominently,  and  to  raise  to  their  proper  importance  colours 
to  which  the  photographic  sensitive  surfaces  refuse  to  render 
justice. 


THE  EFFECT  OF  SHEARING  STRESS  ON  SENSITIVE 
SALTS.* 

BY  CAPTAIN  ABNEY,  K.E.,  F.R.S.t 

The  subject  which  I have  to  bring  before  the  Society  to-night 
is  one  which  has  arisen  from  the  observation  that  when  plates 
are  packed  with  masks,  as  by  Mr.  England’s  plan,  it  sometimes 
happens  that  marks  are  found  at  the  corners  of  the  plates  where 
the  gummed  paper  forming  the  corners  of  these  masks  comes  in 
contact  with  them.  The  same  phenomenon  is  also  observable 
in  plates  packed  by  the  ordinary  zigzag  plan.  My  attention 
was  especially  called  to  the  fact,  as  I have  observed,  that  plates 
from  the  top  are  not  so  liable  to  masks  as  plates  at  the  bottom 
of  (say)  a packet  of  twenty-four.  The  question  I asked  myself 
was,  then,  “ What  is  the  cause  of  these  markings  ? ” In  order 
to  investigate  the  matter,  I commenced  by  taking  a piece  of  glass 
rod,  rounded  so  as  to  be  quite  blunt  at  the  end,  and  writing 
lightly  on  a gelatine  plate.  On  applying  the  alkaline  deve- 
loper, the  part  written  on  showed  as  a black  line  ; here  there 
was  a something  on  which  to  start  an  enquiry.  Next  it  was 


• The  author’s  original  title  was,  ’’The  Effect  of  Pressure  on  Sensitive 
Salts.”  He  his  thought  it  better  to  modify  the  title  to  the  above. 

+ Read  before  the  Photographic  Society  of  Great  Britain, 


found  that  ferrous-oxalate  development  acted  equally  well.  It 
struck  me  that  this  might  be  due  to  the  action  of  the  gelatine, 
which  had  been  scraped,  forming  a nucleus  on  which  develop- 
ment could  take  place.  The  question  was,  how  to  settle  that 
point.  A plate  was  written  on,  and  then  half  of  it  soaked  in 
water  till  thoroughly  swelled,  and  then  developed  ; the  action 
was  the  same  as  before.  Next  half  a similar  one  was  immersed 
in  bichromate  solution,  and  where  the  plate  was  immersed  no 
action  was  seen  on  applying  the  developer.  Thus,  then,  the 
same  oxidizing  solution  which  will  destroy  an  image  produced  by 
light  will  also  destroy  one  produced  by  shearing  stress.  The 
question  then  again  arose,  as  to  whether  it  might  not  be  the 
material  of  the  glass  rod  which  caused  this  effect ; so  plates  were 
written  on  by  gold,  silver,  ivory,  talc,  and  wood,  and  still  the 
same  effects  were  in  every  case  obtainable.  A black-lead  pencil 
seemed  to  be  an  exception,  but  this  was  only  due  to  the  repel- 
lant  action  of  the  black-lead  by  the  developer.  When  the 
graphite  was  sponged  away  by  water,  and  development  proceeded 
with,  the  pencil-marks  showed  all  the  signs  of  development.  If 
a plate  is  moistened,  you  do  not  get  the  effect,  because  the 
silver  is  not  crushed.  To  my  own  mind,  these  experiments 
settled  the  question  as  to  gelatine  plates ; but  was  the  same 
obtainable  on  sensitive  salts  or  other  media,  such  as  collodion  ? 
A collodion -emulsion  was  taken,  and  treated  the  same  way  with 
the  different  media ; and  it  was  found  that,  where  the  film  was 
not  torn  by  the  writing  process,  this  same  action  took  place,  but 
more  feebly,  owing  to  the  small  shearing  force  that  could  be 
applied.  To  try  further,  a piece  of  gelatine  paper  was  taken, 
and  coated  with  collodion-emulsion,  and  written  upon,  with  the 
result  that  the  writing  in  each  case  developed.  A piece  of  bromo- 
iodized  paper,  prepared  as  I have  described  in  the  Journal , gave 
results,  but  very  feeble,  owing,  in  my  belief,  to  the  fact  that  the 
particles  of  sensitive  salts  could  escape  from  beneath  the  writing 
implement. 

My  next  experiment  was  with  a piece  of  mosquito  netting 
placed  on  a gelatine  film  between  two  pieces  of  thick  glass. 
These  were  squeezed  together  in  a vice,  and  the  film  developed. 
Where  the  pressure  had  been  brought  to  bear  on  the  film,  there 
the  network  developed  as  black  lines.  A collodion-bath  plate 
was  treated  with  an  albumen  solution,  and  dried,  and  the  writing 
implements  applied  to  the  film,  and  in  this  case  the  result  was 
almost  imperceptible,  for  a reason  whifch  will  presently  be  appa- 
rent. A piece  of  cream-laid  paper  was  placed  over  a gelatine 
plate,  and  writing  executed  on  the  film  through  the  paper. 
With  a gentle  pressure  the  words  did  not  develop,  while  when 
the  pressure  was  strong  they  showed  themselves  perfectly,  but 
the  lines  rather  thicker  than  usual.  Iu  this  case  there  was  no 
abrasion  of  the  film,  as  far  as  1 could  see.  Let  me  lay  the  facts 
so  far  obtained  before  you. 

1st.  All  rounded  points  applied  direct  to  the  film  gave  images 
on  development,  if  the  pressure  was  very  slight,  and  the  deve- 
loping power  was  destroyed  by  bichromate. 

2nd.  The  same  points  through  a medium,  such  as  thin  paper, 
gave  no  result  unless  the  pressure  used  was  strong,  when  the 
lines  seemed  increased  in  breadth. 

3rd.  Pressure  in  a vice  of  a raised  surface  gave  an  image  of 
that  surface. 

Now  the  foregoing  are  different  results  to  those  which  have 
been  previously  obtained  by  Warnerke  and  myself.  Pressure 
from  the  back  of  a film  produces  insensitiveness  of  the  film.  In 
old  experiments  where  friction  had  to  be  resorted  to  to  bring 
green  bromide  to  the  state  of  orange  bromide,  in  some  cases  the 
film  fogged  where  friction  had  been  applied,  which  is  in  accord- 
ance with  what  is  now  brought  forward,  whilst  in  others  the 
sensitiveness  to  light  was  evidently  diminished.  The  former 
was  so  much  the  rule,  that  I have  in  many  cases  resorted  to  un- 
foggiug  the  image  by  passing  it  through  dilute  hydrochloric 
betore  conducting  experiments.  I set  this  down,  however,  at 
the  time,  to  the  eflect  of  organic  matter  from  the  hand  with 
which  I usually  rubbed.  Can  the  eflect  be  due  to  phosphores- 
cence ? I think  not,  for  I could  not  perceive  any  light  when 
rubbing,  and,  if  it  were  present,  it  must  be  very  feeble — in  fact, 
too  feeble  to  pioduce  a strong  image  such  as  I obtained.  Again 
it  struck  me  that  it  might  be  due  to  the  breaking-down  of  the 
very  sensitive  form  of  bromide  in  the  gelatine  plates;  orange 
bromide,  however,  gave  the  same  result.  Again,  when  I first 
tried  the  experiments,  my  thoughts  naturally  turned  to  Moser's 
experiments  ; but  on  testing  the  matter  by  using  recently  ignited 
mica  as  a writing  material,  this  explanation  was  void.  Other 
experiments,  performed  with  the  same  view,  conoborated  this 
one  experiment,  and  we  must  look  for  some  other  explanation. 


July  20,  1883. ] 


THE  PHOTOGRAPHIC  NEWS. 


453 


What  that  explanation  is  I dare  not  put  forward  with  confidence, 
since  there  is  much  to  be  taken  into  account.  The  matter  is  one 
of  importance,  in  more  ways  than  one.  Theoretically  there  can 
be  no  doubt  of  its  significance,  and  practically  it  may  prove  to  be 
of  value  in  emulsion-making.  At  present  I am  inclined  to  the 
view  that  the  shearing  force,  which  often  reaches  half  a ton  to 
the  inch,  is  so  great,  that  it  breaks  up  a particle  of  silver  salt 
much  in  the  same  way  light  does,  and  that  mere  pressure  makes 
the  particles  more  compact,  and  iherefore  less  sensitive.  When 
more  than  this  pressure  is  applied,  we  have  a further  breaking 
down,  which  causes  the  broken-down  particle  to  be  capable  of 
development.  I have  not  been  able  to  pursue  these  experiments 
further,  but  I think  they  show  that  a variety  of  phenomena  may 
be  explained  by  the  effect  of  pressure.  I have  not  finished  my 
investigations,  and  must  reserve  any  definite  opinion.  As  this 
is  the  last  meeting  of  the  session,  I thought  it  well  not  to  with- 
hold what  1 had  already  obtained. 


GUN-COTTON  AND  PYROXYLINE  : THE  QUESTION  OF 
PERMANENCE. 

BY  JOHN  8PILLER,  F.C.S.* 

In  overhauling  my  collection  of  chemical  preparations  lately,  I 
came  upen  a small  box  containing  a number  of  specimens  of  gun- 
cotton separately  wrapped  in  paper,  and  labelled  both  as  to 
quality  and  date.  As  their  history  was  known  to  me,  and  mode 
of  preparation  recorded,  I naturally  anticipated  much  interest  in 
their  examination  after  a lapse  of  twenty-one  years  ; for 
although  Sir  Frederick  Abel  has  treated  of  this  subject  almost 
exhaustively  in  his  several  communications  to  the  Royal  Society, 
it  is  seldom  that  a chemist  gets  the  chance  of  experimenting  for 
himself  upon  such  ancient  samples  as  those  herein  referred  to  ; 
in  fact,  it  is  not  usual  to  keep  these  articles  in  store  for  so  long  a 
period. 

The  specimens  in  question,  six  in  number,  were  labelled  as 
follows : — 

I.  Gun-cotton,  highly  explosive  and  insoluble.  April  10th, 

1862.  • • : 

II.  Gun-cotton  treated  with  chlorate  of  potash.  (Same  date). 

III.  Collodion  cotton,  perfectly  soluble.  1862.  Hadow’s 

formula.  ■ * 

IV.  Gun-cotton  and  paper.  (No  date,  but  certainly  very 
old). 

V.  Dr.  Liesegang's  papyroxyline.  April,  1869. 

VI.  Mr.  Daniel  Spill’s  low-nitrated  cotton  pulp,  as  used  for 
the  manufacture  of  xylonite.  1870. 

Besides  these,  I found  another  sample  of  highly  explosive  gun- 
cotton, without  label  or  date,  contained  in  a wide-mouthed  bottle, 
which  I remember  as  having  been  in  my  possession  for  a great 
many  years.  This  bottle  was  closed  with  a cork  of  rather  coarse 
texture,  and  therefore  not  hermetically  sealed  from  contact  with 
air.  And,  lastly,  I have  still  by  me  some  specimens  of  Abel’s 
gun-cotton  yarn  and  pulp,  which  Mr.  E.  0.  Brown,  of  Wool- 
wich Arsenal,  gave  me  in  April,  1869,  after  delivering  his  lecture 
(at  the  Conduit  Street  Gallery),  “ On  the  manufacture,  pro- 
perties, and  military  applications  of  gun-cotton.!’  In  regard  to 
these  last-named  specimens,  I may  remark  that  they  are  not 
photographic  qualities,  but  more  highly  nitrated  compounds, 
suitable-  for  blasting  and  military  purposes,  and,  beyond 
becoming  very  faintly  acid  by  keeping,  have  not  sensibly  changed  : 
they  are  all  still  very,  highly  explosive. 

Speaking  now  of  the  contents  of  the  box,  I found,  on  opening 
it,  that  the  wrapping-papers  and  string  were  very  tender,  and 
that  the  ultramarine. in  those  papers,  which  had  once  been  blue, 
was  almost  entirely  discharged  or  bleached,  as  though  by  acid 
vapours,  and,  on  testing  with  blue  litmus,  the  wrappers  and 
their  contents  were  now  in  most  cases  distinctly  acid.  Dr. 
Liesegang’s  papyroxyline  and  Hadow’s  soluble  cotton  were,  how- 
ever, very  well  preserved,  and  the  gun-cotton  impregnated  with 
chlorate  of  potash  had  not  appreciably  suffered,  being  still  very 
highly  explosive.  Spill’s  preparations,  perhaps  from  not  having 
been  so  perfectly  washed,  had  completely  rotted  the  papers,  so 
that  they  fell  to  pieces  on  the  slightest  touch.  On  firing 
portions  of  the  two  specimens,  they  burn  now  (as  originally)  with 
a carbonaceous  residue ; one,  the  finer  sort,  burning  off  much 
more  quickly  than  the  other.  Both  of  these  were  found  to  con- 
tain free  sulphuric  acid,  but  no  oxalic  acid,  as  a product  of  their 
decomposition.  The  mode  of  manufacture  was  described  in  vol. 

’ Bead  before  the  Photographic  Society  of  Great  Britain. 


xv.,  page  42,  of  the  Photographic  Journal ; and  these  specimens 
were  shown  at  the  meeting  of  the  Society  in  December,  1870. 

With  respect  to  No.  1 specimen — “gun-cotton  highly  explo- 
sive and  insoluble ’’—which  was  contained  in  a blue- wove 
official  envelope,  the  paper  was  bleached  in  parts,  denoting  some 
slight  escape  of  acid  fumes  ; but  the  material  remains 
apparently  as  explosive  as  ever,  is  still  quite  insoluble  in  ether 
and  alcohol,  and  in  all  respects  seems  practically  unaffected  at 
the  end  of  a period  of  twenty-one  year3.  This  result  1 believe 
to  be  partly  attributable  to  its  position  at  the  top  of  the  box, 
where  it  found  enough  air  to  allow  of  the  easy  escape  of  acid 
vapours  by  diffusion.  No  oxalic  acid  could  be  detected  on 
drenching  this  sample  of  gun-cotton  with  pure  water ; only  a 
minute  trace  of  soluble  sulphate  being  found  in  the  aqueous 
solution. 

Specimen  No.  2— “ gun-cotton  treated  with  chlorate  of 
potash” — was  not  acid,  and,  as  already  stated,  was  apparently 
as  explosive  as  ever.  It  likewise  had  withstood  the  action  of 
time  for  twenty-one  years. 

Soluble  cotton,  No.  3,  made  by  Hadow’s  formula,  is  still 
perfectly  soluble  in  a mixture  of  ether  and  alcohol,  giving  a 
good  tough  film,  and  making  excellent  photographic  collodion. 
Neither  in  thi3  nor  in  Dr.  Liesegang’s  papyroxyline  can  I find 
the  slightest  evidence  of  change,  although  prepared  as  long  ago 
as  twenty-one  and  fourteen  years  respectively. 

From  these  observations  I think  it  may  be  fairly  inferred, 
that  well-washed  gun-cotton  or  pyroxyline  can  be  preserved 
indefinitely,  if  screened  from  sunshine,  and  left  open  to  moder- 
ate access  of  air  ; but,  on  the  other  hand,  we  know,  from  Prof. 
Abel’s  experiments,  that  if  heated  beyond  the  normal  tempera- 
ture of  the  air,  or  enclosed  in  perfectly  air-tight  vessels  with 
ever  so  small  a trace  of  free  acid,  there  is  danger  of  a destructive 
decomposition  being  set  up,  with  the  chance,  in  extreme  cases, 
of  a spontaneous  explosion.  No  one  doubts  the  permanence  of 
collodion  film3  (apart  from  the  question  of  cracked  varnish) 
when  once  properly  fixed  and  washed  as  in  photographic 
negatives. 


A NEW  UNIT  OF  LIGHT  IN  CONNECHON  WITH 
SENSITOMETRY. 

BY  JAMES  B.  SI’URGE.# 

With  the  introduction  of  prepared  sensitive  films,  means  for 
ascertaining  their  photographic  value  has  become  an  absolute 
necessity,  as  it  is  of  the  highest  importance  for  an  operator, 
wishing  to  secure  the  series  of  tints  focussed  upon  his  screen,  to 
know  the  capability  of  the  films  he  intends  to  employ,  both  as 
regards  the  time  necessary  to  register  the  same,  and  whether 
their  relationship  is  likely  to  be  increased  or  diminished  by  the 
process.  With  the  object  of  finding  out  means  of  obtaining  this 
much-desired  result,  1 commenced  a series  of  experiments,  the 
outcome  of  which  I intend,  with  your  indulgence,  to  place  before 
you  this  evening.  Now  the  first  thing  I had  to  decide  was  the 
best  source  of  illumination  to  employ.  A standard  candle 
appeared  at  first  sight  to  be  all  that  could  be  desired,  until 
experience  showed  it  required  great  care  and  time  to  adjust 
itself,  and,  after  all,  did  not  give  satisfactory  results.  M. 
Giroud,  of  Paris,  in  an  investigation  for  the  purpose  of  finding  a 
standard  of  fixed  intensity,  gives  the  following  experiments 
upon  two  standard  candles,  marked  A and  B,  and  one  paraffin 


ditto  : — 

Standard  Candles.  Paraffin 
A B Candle. 

Maximum  1*1 13  ...  1-027  ...  1‘288 

Minimum  0-716  ...  0-765  ...  0-795 

Rise  of  value  per  cent,  above  minimum  65  ...  34  ...  62 

Mean  of  sixty  minutes’  observations  0-875  ...  0 887  ...  1-041 

Number  of  times  the  mean  was  ob- 
served   4 ...  2 ...  6 

You  observe  they  show  a variation  above  their  minimum 


value  of  55,  34,  and  62  per  cent,  respectively,  which  is  quite  in 
accordance  with  my  experience.  The  result  of  his  investigations 
led  him  to  adopt  as  a standard  the  flame  produced  by  gas  issuing 
from  a vertical  hole  1 mm.  in  diameter,  and  regulated  to  a con- 
stant length  of  67.5  mm.,  for  he  found  that  small  differences 
in  the  diameter  of  the  hole  did  not  appreciably  influence  length 
of  flame,  the  intensity  being  affected  after  the  rate  of  0 015  of 
this  intensity  per  0-05  valuation  in  the  size  of  the  hole,  whilst 
the  quality  of  the  gas  may  vary  as  much  as  30  per  cent.  The 
illuminating  power  of  this  standard  is  j'&  of  a mean  Carcel 


454 


THE  PHOTOGRAPHIC  NEWS. 


lamp,  which  latter  equals  9 '5  standard  candles  ; consequently 
M.  Giroud’s  equals  095.  These  results  appeared  so  very  satis- 
factory that  it  induced  me  to  experiment  with  his  standard  with 
a view  of  adopting  it  for  my  purpose.  The  next  thing  was  to 
determine  its  suitability  ; for  this  purpose  I selected  two  batches 
of  gelatine  plates  that  I knew  to  vary  considerably  in  sensitive- 
ness, and,  having  a rough  screen  giving  different  intensities,  I 
exposed  them  so  as  to  obtain  an  equal  minimum  tint  upon  each  ; 
the  ratio  of  exposure  I found  to  be  as  1 : 48.  1 have  here  one 
from  each  exposed  in  the  camera  for  one  and  forty-eight  seconds 
respectively.  A collodion  plate  treated  at  the  same  time  did 
not  agree  in  the  same  manner  ; this,  I think,  can  be  accounted 
for  when  we  consider  that  the  collodion  is  sensitive  to  rays  of 
different  refrangibility,  and  as  the  two  sources  varied  in  compo- 
sition, the  percentage  of  actinic  rays  being  less  for  collodion  in 
the  case  of  gas,  and  greater  for  the  gelatine,  which  naturally 
disturbed  the  ratio  when  compared  with  solar  light ; and  this 
must  be  also  taken  into  account  when  great  accuracy  is  required 
— when  comparing  films  of  different  composition,  such  as  a bro- 
mide with  a bromo-iodide  or  bromo-iodide  chloride;  also  the 
condition  of  the  atmosphere  when  employing  solar  light — as,  for 
instance,  one  would  find  considerable  variation  in  the  absorption 
of  the  solar  rays,  when  comparing  an  Italian  sky  with  a genuine 
London  fog,  with  its  full  charge  of  butterine,  or  Blackpool,  with 
its  soot-charged  atmosphere  ; and  further,  these  remarks  apply 
equally  well  to  the  phosphorescent  unit,  or  any  other  source  of 
light  differing  in  composition  from  that  you  ultimately  intend 
to  use  with  the  films.  May  I venture  to  suggest  that  the  diffi- 
culty can  be  overcome  by  the  use  of  a constant  for  each  film  of 
that  particular  composition,  in  reference  to  the  light  employed 
when  comparing,  to  that  you  intend  to  use  with  the  films.  On 
the  other  hand,  with  films  of  uniform  composition  my  experience 
is  that  their  ratio  is  not  disturbed,  however  much  the  lights 
may  differ  in  composition  among  themselves.  The  last  experi- 
ment having  looked  somewhat  hopeful,  I proceeded  to  find  the 
best  method  of  using  my  temporary  standard.  My  first  idea 
was  to  try  the  effect  of  various  exposures,  each  upon  a different 

fortion  of  the  film  ; otherwise,  intensity,  constant,  time  varied. 

tried  the  disc  method  of  exposure  : an  improvement  upon  this 
I found  was  to  have  a rectangular  plate,  about  ten  times  the 
length  of  the  film  to  be  experimented  with,  and  a quarter  wider, 
arranged  in  guides  so  as  to  have  a free  fall  in  the  direction  of  its 
length,  similar  to  a drop-shutter,  at  a distance  of  J from  the 
furthest  end  when  the  plate  is  adjusted  to  fall  past  the  film, 

“ the  latter  being  held  behind  ; ” an  aperture  was  cut,  the  verti- 
cal length  of  which  varied  from  unity  to  anything,  so  as  to 
correspond  to  any  desired  ratio.  Many  modifications  of  the  aper- 
ture were  tried,  all  of  which  were  very  disappointing.  My  next 
idea  was  to  try  the  effect  of  varying  intensity,  time  remaining 
constant,  as  this  is  much  more  in  accordance  with  the  conditions 
of  the  tints  upon  the  screen  of  the  camera  which  we  desired  to 
register. 

Whilst  engaged  with  my  microscope,  one  evening,  which  is 
fitted  with  rotary  diaphragms  attached  to  the  stage  by  means  of 
a short  piece  of  tube,  it  occurred  to  me  that  if  a piece  of  opal 
glass  were  placed  upon  the  diaphragm  so  as  to  cover  the  hole, 
the  light  would  be  distributed  evenly  over  the  base  of  the  tube. 
This  happily  proved  to  be  correct ; and  to  save  trouble  in  calcu- 
lating the  areas,  I mounted  upon  a piece  of  opal  glass  a series  of 
pieces  of  perforated  cardboard,  each  containing  a different 
number  of  holes  in  arithmetical  progression,  their  centres  coin- 
ciding with  a series  of  chambers  upon  which  the  opal  plate  was 
secured.  The  spaces  between  the  cardboard  were  covered  with 
black  varnish,  so  as  to  exclude  all  light  except  that  passing 
through  each  group  of  holes  corresponding  to  its  little  room. 

I found  this  to  answer  admirably,  the  light  being  controlled  in 
proportion  to  the  area  of  its  windows,  although  I soon  found 
the  instrument  had  very  little  range ; and,  further,  the 
intensities  would  have  to  be  in  a geometrical  ratio  to  one 
another.  Calculation  showed  that  it  would  be  necessary  to 
have  the  holes  very  small,  so  as  to  be  able  to  get  the  required 
number  upon  the  limited  area  at  disposal.  For  instance, 
the  instrument  I am  about  to  refer  to  more  fully  would 
require  39,392  holes,  the  smallest  having  10,  whilst  the  largest 
would  contain  8,120,  which  you  can  easily  understand  would 
have  to  be  very  small  to  get  them  within  the  limited  area  of  200 
square  mm.,  this  being  the  area  of  the  thirtieth  part  of  a J-plate  ; 
consequently,  I had  to  abandon  the  holes,  and  turn  my  attention 
to  the  construction  of  single  openings  for  each  chamber.  It  was 
suggested  tome  to  cut  the  openings  in  tin-foil,  which  I find  very 
convenient.  1 have  here  a series  of  tints  produced  by  apertures 


[jtar  20,  1883. 


in  arithmetical  and  geometrical  progression  respectively,  also 
the  instruments,  and  a modification  in  which  you  observe  two 
wedge-shaped  openings  are  employed,  producing  two  series  of 
tints,  both  of  which  are  in  geometrical  progression  to  one  another. 
Comparing  the  tints  of  one  series  with  any  two  belonging  to  the 
other,  the  variation  would  be  ,,  as  the  one  having  the  greatest 
range  is  as  6 to  9,  the  other  7 to  9.  The  next  difficulty  that 
beset  me  was  to  obtain  opal  glass  of  uniform  quality,  which  I 
ultimately  found  to  be  extremely  difficult  ; consequently  I dis- 
pensed with  it,  preferring  a screen  formed  of  a sheet  of  white 
paper,  such  as  is  used  for  photographic  prints,  as  you  will  re- 
member formed  the  subject  of  a paper  by  Mr.  Mucklow  and 
myself  at  one  of  your  December  meetings  in  1881.  Here  is 
arranged  the  standard  in  its  latest  form,  which,  as  you  perceive, 
consists  of  four  of  M.  Giroud’s  standards  arranged  in  a line 
parallel  to  the  plane  of  the  screen  at  a distance  of  25  cm.,  the 
length  of  the  flames  being  regulated  by  means  of  the  cross  wires. 
Between  the  opening  formed  by  the  two  jets  near  the  centre  the 
the  sensitometer  is  placed,  the  plane  of  the  instrument  coincid- 
ing with  a line  drawn  through  the  flames.  My  thanks  are  due 
to  my  esteemed  friend,  Mr.  Cromwell  Varley,  F.R.S.,  &c.,  who 
very  kindly  suggested  to  me  the  principles  of  constructing  the 
ratio,  &c. — viz,  making  the  ratio  a root  of  2,  the  largest  aperture 
1 cm.  in  area ; the  depth  and  size  of  the  chambers  also  to  have  a 
simple  relationship.  The  dimensions  adopted  are  the  2y/‘i,  or  as 
1 : 1-2599,  the  depth  of  the  chambers  25  mm.,  T\y  the  distance 
from  the  screen,  and  their  bases  200  square  mm.  Thirty  of  these 
have  a range  sufficient  for  all  present  requirements.  Here  are 
some  of  the  results  obtained.  First,  a simple  exposure ; second, 
ditto,  but  with  a mat  interposed,  formed  by  stencilling  figures 
and  lines  upon  a piece  of  glass  ; and,  thirdly,  with  a stencil  mat, 
which,  I think,  for  various  reasons,  will  be  found  the  best  adapted 
for  general  working.  Series  A shows  the  variation  when  using 
16  and  25-candle  gas  respectively,  being  a variation  in  the 
quality  of  55  per  cent,  above  the  minimum  value. 


Mark. 

Instrument. 

Power  of 
Gas  in 
Candles. 

Time  of 
Exposure  in 
Seconds. 

1 

Reading  of 
Instrument 
2 

3 

r i 

...  S ... 

16 

...  60  ... 

28 

...  23  ... 

23 

2 

...  vv  ... 

16 

...  60  ... 

22 

...  22  ... 

23 

3 

...  s ... 

25 

...  60  ... 

23 

...  23  ... 

23 

4 

...  w ... 

25 

...  60  ... 

23 

...  23  ... 

23 

5 

...  is  ... 

25 

...  60  ... 

23 

...  23  .... 

23 

A 

6 

...  w ... 

25 

...  30  ... 

21 

...  20  ... 

21 

lx  - 

7 

...  s ... 

16 

...  60  ... 

22 

...  23  ... 

23 

8 

...  w ... 

16 

...  30  ... 

20 

...  20  ... 

21 

9 

...  s ... 

25 

...  60  ... 

23 

...  23  ... 

23 

10 

...  w ... 

25 

...  60  ... 

24 

...  23  ... 

23 

11 

...  s ... 

16 

...  60  ... 

22 

...  23  ... 

23 

12 

...  w ... 

16 

...  60  ... 

24 

...  23  ... 

24 

Series  B,  C,  D,  and  D1  Bhow  the  effects  of  different  exposures 
upon  different  films  : — 


Reading  of  Instrument. 

Exposure. 

Mark. 

1. 

2. 

Practical. 

Theoretical. 

(1 

14 

• •• 

14 

4 

4 

B 

2 

24 

25 

• •• 

64 

688 

(3 

28 

28 

• •• 

180 

176 

l 

14 

14 

6 

5 

C ■ 

2 

23 

25 

• •• 

120 

127-5 

3 

28 

• •• 

27 

• •• 

160 

167-5 

'1 

9 

9 

2 

2 

2 

12 

12 

4 

4-5 

3 

14 

• •• 

14 

• •• 

8 

7-7 

D- 

4 

17 

18 

16 

20 

5 

20 

• •• 

20 

• • • 

32 

31 

6 

22 

23 

• •• 

61 

77 

7 

25 

• •• 

25 

• •• 

128 

150 

8 

27 

27 

• •• 

265 

258 

rl 

15 

15 

10 

10 

D>. 

2 

19 

19 

• • • 

30 

24-4 

3 

23 

23 

90 

87 

These,  you  observe,  do  not  agree  with  the  ratio  of  the  holes, 
which  is  owing  to  the  variation  in  the  area  of  the  screen  capable 
of  reflecting  light  directly  upon  the  film  ; this  goes  on  in  a 
diminishing  ratio  towards  the  smallest  hole.  By  dividing  the 
effective  area  corresponding  to  the  largest  by  smaller,  and 
extracting  the  29th  root,  which  multiplied  by  D2599  gives  1*31, 
the  basis  for  calculating  the  theoretical  exposure  .which,  I think, 
may  be  taken  as  within  the  experimental  error.  In  the  case  of 
the  phosphorescent  unit,  or  when  a piece  of  opal  glass  is  used, 
the  ratio  given  to  the  apertures  remains  good  for  the  exposures, 


July  20,  1888. | 


THE  PHOTOGRAPHIC  NEWS. 


455 


a3  shown  in  Series  E.  The  advantage  of  this  arrangement  above 
all  others  is — 6rstly,  there  is  no  medium  between  the  source  of 
light  and  the  film  ; secondly,  there  is  no  appreciable  deteriora- 
tion by  use  ; and  thirdly,  they  can  be  produced  in  any  quantity, 
as  every  part  is  based  entirely  upon  measurement,  and  conse- 
quently may  be  regarded  as  a mechanical  standard  equal  with  a 
Whitworth  gauge.  With  regard  to  the  accuracy  with  which  the 
holes  can  be  made,  it  is  only  necessary  to  have  gauges  similar  to 
these,  which  are  made  the  size  of  every  hole  ; these  can  easily 
be  measured  by  means  of  a micrometer,  or  the  holes  by  means  of 
slightly  conical  rods.  Series  E shows  the  comparison  between 
Mr.  Warnerke’s  instrument  and  my  own,  with  two  phosphor- 
escent tablets,  one  being  his  standard,  the  other  one  prepared 
by  myself, 


Mark. 

4 

i 


Exposure 
in  seconds. 
30  . 

30  . 

30  . 

30  . 

(8  times) 


Tablet  used. 

..  w 

..  w .. 

,.  s 

..  s 


Instrument 

. w .. 
s 

. s 
. s 


Readings. 


1. 

15 

12 

14 

23 


2. 

15 

12 

14 

23 


Series  F exhibits  the  relative  action  of  the  alkaline  pyrogallic 
and  ferrous-oxalate  developers  lespectively : — 


the  other,  film  to  film  ; it  is  then  a matter  of  comparative  ease 
to  bring  any  oue  of  the  tinted  triangles  opposite  to  any  other 
particular  one,  for  the  purpose  of  judging  their  respective  in- 
■ensity  with  the  idea  of  determining  the  gradation  of  range  of 
tint  produced. 

I have  to  tbank  you  for  your  very  kind  attention,  and  trust 
that  this  contribution  may  assist  somewhat  to  elucidate  the  best 
means  of  obtaining  a standard  of  comparison  for  prepared  sensi- 
tive films. 


Mark. 


Light 

used. 


Instru- 

ment. 


Exposure 
in  seconds. 


Readings. 


MELHUISH'S  ROLLER  SLIDE* 

The  object  of  the  slide  is  to  enable  a person  to  carry  out  any 
number  of  sheets  of  sensitive  paper  and  change  them  con- 
veniently in  the  open  light.  The  slide  is  fitted  up  with  two 
rollers,  a a,  and  the  sensitive  sheets,  b b,  are  gummed  together, 
making  one  long  band,  the  ends  of  which  are  gummed  to  pieces 
of  paper  always  kept  on  the  rollers.  The  sensitive  sheets  are 
wound  off  the  left  or  reserve  roller  on  to  the  right  or  exposed 
roller,  until  all  are  exposed. 

The  rollers  are  supported  on  springs  ax to  rendor  then- 
motion  equal ; they  are  turned  by  the  milled  heads  m m,  and 
clamped  when  each  fresh  sheet  is  brought  into  position  by  the 
nuts  a-  a1 ; c is  a board  which  is  pressed  forward  by  springs,  c'  c', 


w 

...  W ... 

30 

...  14  . 

. 14 

w 

...  S ... 

30 

...  9 .. 

. 9 

s 

...  S ... 

30 

...  12  .. 

. 13 

• 

S Gas 

...  s ... 

Ferrous  Oxalate. 

61 

...  23  .. 

. 22 

, 

W 

...  w ... 

30 

...  14  . 

. 14 

# 

W 

...  s ... 

30 

...  9 . 

. 9 

, 

s 

...  s ... 

32 

...  12  . 

. 13 

• 

S Gas 

...  s ... 

64 

...  21  . 

..  22 

The  former,  you  observe,  behaves  in  a similar  manner  to  the 
latter  as  regards  sensitiveness,  and  contains  per  fluid  ounce 
3 minims  of  ammonium-hydrate,  sp.  gr.  0 880,  2 grains  of 
ammonium  bromide,  and  1 grain  of  pyrogallic  acid,  and  is 
adopted  by  Mr.  Swan  for  developing  his  plates.  Having  arrived 
at  a method  of  determining  the  sensitiveness  or  time  necessary 
to  register  the  minimum  tint  upon  a film,  we  will  next  apply  the 
instrument  to  the  study  of  the  difierence  in  the  relationship  that 
is  found  to  exist  between  the  tints  themselves  and  the  intensities 
that  were  used  to  produce  them,  partly  arising  from  the 
character  of  the  films  and  the  developer  employed.  Series  O are 
produced  by  modifications  of  the  pyro  developer,  all  of  the 
plates  belonging  to  the  same  dozen. 

Time 


Mark. 

Exposure. 

Developer 

employed. 

acting  in 
minutes. 

Reading 
1.  2. 

fl 

...  11  ... 

Normal 

...  34  ... 

19  . 

. 18 

I 2 

...  20  ... 

• •• 

...  3i  ... 

21  . 

. 20 

-i3 

i4 

...  40  ... 

... 

...  3i  ... 

23  . 

. 22 

...  60  ... 

• •• 

...  3i  ... 

24  . 

. 23 

5 

...  60  ... 

N+AmHO 

...  4 

25  . 

. 25 

[6 

...  60  ... 

N-f-AtnBr 

...  4 ... 

20  . 

. 19 

Series  H similar,  except  that  they  were  done  with  another  lot 
of  plates. 


Mark.  Exposure. 


3 


H 


r 


Developer  employed. 

Normal 

N + water  

r f vol.  OH,  ) 

N-f-  l vol.  pyro.  !■ 

( solution  J 
f N4-=vol  of  pyro.  \ 

\ solution  ... 

Pyro.  sol. =2  gr.  per  oz. 


Time, 
acting,  in 
minutes. 
...  6 .., 

...  C .. 

...  6 .. 


Reading. 
1.  2. 
19  ...  If 
27  ...  2f 
26  ...  2c 


26 


26 


I regret  that  time  will  only  permit  my  taking  more  than  a 
passing  notice  of  them.  You  will  observe  the  range  of  tint  is 
in  some  of  them  increased,  whilst  in  others  the  opposite  effect 
has  been  produced.  This  subject  1 hope  to  discuss  more  fully, 
with  your  permission,  at  some  future  time,  as  I find  the  instru- 
ment to  be  well  adapted  for  such  investigations.  The  form  of 
stencil  mat  already  described  now  comes  to  our  aid,  for  it  is  only 
necessary,  when  you  wish  to  compare  one  result  with  another,  to 
reverse  one  of  the  plates  end  for  end,  and  to  superpose  one  upon 


so  as  to  hold  the  sheet  to  be  exposed,  and  keep  it  smooth  against 
the  plate  of  glass,  d ; when  the  sheet  has  been  exposed,  the 
board  is  drawn  back  from  the  glass  in  order  to  release  the 
exposed  sheet,  and  allow  it  to  be  rolled  on  the  exposed  roller : 
the  board  is  kept  back  while  this  is  being  done  by  turning  the 
square  rod  c1  half  round,  so  that  the  angles  of  the  square  will 
not  pass  back  through  the  square  opening  until  again  turned 
opposite  to  it ; e e are  doors,  by  opening  which  the  operator  can 
see  (through  the  yellow  glass  y y)  to  adjust  the  position  of  the 
sensitive  sheets  when  changing  them. 


Ifates. 

We  are  glad  to  hear  that  no  less  than  8,000  francs  have 
been  subscribed  towards  the  Poitevin  memorial. 


Mr.  C.  Ray  Woods  returns  to  England  by  the  S.S.  Nile, 
which  is  duo  from  the  West  Indies  on  the  28th  inst.  We 
sincerely  trust  he  will  be  amply  recompensed  for  his  arduous 
voyage  of  six  months,  undertaken  to  observe  a six  minutes 
eclipse. 

* From  the  Journal  of  the  Photographic  Society,  April,  1856, 


456 


THE  PHOTOGRAPHIC  HEWS. 


[July  20,  1883. 


In  appointing  the  medal  jury  this  year,  it  will  be  seen 
that  the  Photographic  Society  has  somewhat  modified  the 
custom  of  the  past  few  years  ; no  painter’s  name  is  among 
the  seven  gentlemen  nominated,  all  of  whom  are  members 
of  the  Society. 

The  formula  recommended  by  Dr.  Stolze  for  preparing 
sensitized  paper  that  will  keep  is  not  very  different  from 
several  we  have  already  published  ; it  is  briefly  as  follows: 
Float  the  albumenized  paper,  in  the  ordinary  way,  upon  a 
ten  per  cent,  solution  of  nitrate  of  silver  for  four  minutes, 
draw  it  over  a glass  rod  to  drain,  and  then  float  the  back 
of  the  sheet  for  another  four  minutes  upon  a bath  com- 
posed of — 

Citrate  of  potash  1 part 

Water 30  parts 

Final  washing  in  rain-water  succeeds,  and  toning  is  best 
undertaken  with  sulpho-cyanide  of  gold. 


Mr.  Horace  Wilmer,  one  of  the  engineers  of  the  Great 
Eastern  Railway,  showed  us  the  other  day  a charming  little 
photographic  map  he  had  produced  for  the  pocket.  It 
represented  the  whole  of  the  eastern  counties  with  their 
net-work  of  railways,  upon  a most  minute  scale,  while  yet 
every  town  and  station  was  clear  to  the  eye.  The  idea  may 
possibly  find  application  with  many  of  our  readers  ; it 
would  be  practicable  to  carry  a whole  atlas  in  the  waistcoat 
pocket. 

A curious  circumstance  is  told  in  connection  with  the 
burning  down  of  Mr.  Griggs’  photo-lithographic  establish- 
ment, of  which  we  made  mention  at  the  time.  Mr.  Griggs^ 
it  seems,  from  the  first  was  thoroughly  convinced  that  the 
fire  was  the  work  of  an  incendiary,  who  must  have  thrown 
some  inflammable  material  through  the  sky-light  ; and 
now,  from  information  received,  as  the  police  say,  he  has 
little  doubt  the  mischief  was  done  by  a Fenian,  who  mis- 
took Mr.  Griggs’ establishment  for  that  of  a studio  close  by, 
where  the  negative  of  “No.  1”  (Tynan)  was  taken,  copies 
of  which  have  been  circulated  in  every  direction. 


The  Photographic  Society  of  Great  Britain  publishes  to 
the  world  the  fact  that  it  now  possesses  a series  of  flanges 
and  camera  screws  which  have  been  approved  by  the 
Society  as  Standards.  How  far  opticians  and  others  will  be 
prepared  to  adopt  these  standards,  is  a matter  to  be  settled 
hereafter ; but  anyone  desirous  of  obtaining  information 
about  them  is  invited  to  apply  to  the  Secretary  of  the 
Society. 


We  have  several  times  alluded  to  the  sun-engine  in  these 
columns,  the  boiler  of  the  engine  consisting  of  a long  cylin- 
drical vessel  blackened  on  the  outside,  upon  which  the  sun’s 
rays  are  directed  by  means  of  huge  reflectors.  The  heat 
nnder  a tropical  sun  is  more  than  sufficient  in  these  cir- 
cumstances to  bring  water  to  the  boiling  point,  and  hence 
the  generation  of  steam  fit  to  work  a small  engine.  It  was 
but  a short  time  ago  that  a printing-press  was  exhibited  in 
action  in  the  Tuileries  Garden  set  in  motion  by  one  of  these 


sun-engines  ; but,  as  a matter  of  course,  it  is  only  in  a 
Southern  climate  that  the  engine  would  work  with  any- 
thing like  regularity. 

Taking  this  circumstance  into  consideration,  Dr.  Hervey 
Macaulay  has  hit  upon  a clever  idea,  that  may  very  possibly 
be  feasible.  He  suggests  the  use  of  the  sun-engine  for 
cooling  rooms  and  buildings  ; when  the  weather  is  hot,  the 
sun-engine  can  always  work,  and  then  it  is  obviously  that 
cool  air  is  most  welcome.  He  proposes  to  assist  ventilation 
by  pumping  cold  air  into  buildings  situated  in  the  Tropics, 
with  the  sun-engine,  and  as  the  working  of  this  would  go 
on  automatically  as  long  as  the  eun  shines,  it  would  be 
possible  to  reduce  the  temperature  of  dwellings  at  the  very 
time  cool  air  is  most  wanted. 


The  Chinese  new  iron  clad,  Ting-Yuen , is  lighted  between 
decks  with  240  Edison  lamps.  Jn  this  case,  however,  the 
Flowery  Land  is  not  in  advance  of  the  navies  of  the  West. 
The  lnfexible,  our  premier  battle-ship,  which  carries  four 
80-ton  guns,  and  took  part  in  the  recent  bombardment  of 
Alexandria,  was  fitted  with  the  Swan  lamp  a twelvemonth 
ago.  her  dull  little  cabins  below  the  water-mark  and  the 
black  recesses  of  the  hold  thus  being  as  brightly  and  clearly 
illumined  as  a modern  ball-room.  In  fact,  the  eternal  dark- 
ness of  our  ’tween  decks  is  likely  to  be  swept  away  altogether 
before  the  electric  lamp. 

A novelty  is  being  introduced  into  the  stationery 
trade  in  the  shape  of  a visiting  card  with  a photographic 
view  in  the  corner.  The  views  are  taken  to  suit  particular 
localities,  and  of  course  would  only  find  purchasers  in  the 
residents.  Ferhaps  the  next  “ fad  ” will  be  to  have  one’s 
house  photographed,  and  a picture  in  miniature  placed  on 
the  card. 


According  to  a trade  journal,  the  respective  estimation 
in  which  we  hold  our  friends  and  acquaintances  may  be 
determined  by  the  size  of  the  photograph  we  send  in  each 
case.  In  noticing  the  new  “ Carte  Midgets,”  the  journal 
in  question  says:  “For  sending  to  acquaintances  or  friends 
of  recent  acquirement,  and  where  the  ordinary  C.  D.  V. 
or  cabinet  would  be  deemed  a little  out  of  place,  these 
very  small  photos  will  be  found  very  useful.”  No  doubt ; 
but  if  a scale  of  acquaintanceship,  leading  up  to  “ a friend- 
ship of  recent  acquirement,”  and  so  on  to  close  intimacy, 
and  possibly  affection,  is  to  be  established,  some  tact  and 
discretion  will  be  necessary  to  avoid  giving  offence. 
Besides,  if  the  size  of  the  photograph  is  to  indicate  the 
state  of  one’s  feelings,  nothing  short  of  a life-sized  enlarge- 
ment will  serve  between  engaged  couples.  And  this  would 
be  not  only  awkward,  but  expensive. 


Everything  concerning  the  sun  should  be  of  interest  to 
photographers,  but  we  do  not  know  that  up  to  the  present 
they  have  busied  themselves  with  what  has  been  unkindly 
called  the  science  of  “sun  spotting.”  From  time  imme- 
morial, more  or  less  importance  has  been  attached  to  the 
presence  or  absence  of  spots  on  the  sun,  according  to  the 
favourite  theory  of  the  particular  observer ; but  nothing 


Jtjlt  20,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


467 


has  been  definitely  settled,  and  the  “ sun  spotting  ” adhe- 
rents have  not  been  able  to  say  exactly  whether  such  spots 
are  for  good  or  for  evil.  The  labours  of  Mr.  Westwood 
Oliver,  who  ha3  for  some  time  past  been  collecting  the 
statements  of  various  observers,  will  not,  wo  fear,  assist 
them.  Herr  Schwabe,  in  the  course  of  twenty-five  years, 
made  10,000  observations  of  the  sun,  but  seems  to  have 
done  little  more  than  establish  the  fact  that  the  spots  in- 
crease to  their  highest  number  at  intervals  of  about  eleven 
years,  decreasing  gradually  directly  afterwards.  Since 
then  the  efforts  of  observers  have  been  directed  towards 
connecting  the  spots  with  the  indication  ot  calamities  on 
the  earth.  We  have  had  Indian  droughts  and  famines, 
storms,  cyclones,  and  commercial  panics,  accounted 
for  by  the  science  of  “sun  spotting.”  Indeed,  the  science 
has  even  invaded  social  and  political  questions ; and  some 
three  years  ago  Professor  Piazzi  Smyth  went  so  far  as  to 
say  that  “ the  bud,  in  his  never-ceasing  cycles  of  radiant 
heat,  light,  magnetism,  and  spots,  with  their  necessarily 
accompanying  tenth  or  twelfth  bad  agricultural  year,  fights 
against  the  Irish  Land  League.”  After  this,  it  is  dis- 
appointing to  find  Mr.  Oliver  coming  to  the  conclusion  that 
“ sun  spottery  is  not  what  it  is  represented  to  be,  but 
is,  for  the  most  part,  humbug.” 


The  manufacturers  of  photographic  birthday  cards  cannot 
be  congratulated  on  their  selection  of  photographs,  so  far 
as  the  appropriateness  of  the  text  is  concerned.  Take  this 
one,  for  instance,  which,  from  its  frequent  appearance  in  shop 
windows,  would  seem  to  be  popular.  The  text  runs  thus  : — 
“ God  grant  thee  happiness 
Of  His  great  pleasure  ; 

God  give  to  thee  good  gifts 
In  fullest  measure.” 

We  have  nothing  to  say  against  the  piety  of  these  wishes, 
though  there  is  something  to  be  desired  in  the  way  of  clear- 
ness, especially  in  the  two  first  lines  ; but  surely  the  depth 
of  bathos  is  reached  when  underneath  the  photograph 
opposite  (a  sea-scape)  is  printed  “ Off  Margate  ! ” 


Among  the  first  books  illustrated  by  photography  may 
be  mentioned  Piazzi  Smyth’s  “Teneriffe,”  and  as  the 
scientific  value  of  such  a work  as  this  depends  almost 
entirely  on  the  accuracy  and  detail  of  the  illustrations,  we 
mention  with  regret  that  in  a copy  which  came  into  our 
hands  the  other  day,  each  of  the  stereographic  pictures 
had  yielded  to  the  deteriorating  influence  of  a quarter 
of  a century.  Let  us  hope  that  the  last  book  illustrated 
with  silver  prints  has  been  issued. 


Bound  up  with  Professor  Smyth’s  book,  we  find  a leaflet 
in  which  Mr.  Melhuish  (who  printed  the  stereographic 
illustrations)  offers  apparatus  especially  adapted  to  the 
wants  of  the  tourist,  and  he  refers  to  the  value  of  the  roller 
slide  to  those  working  a paper  process.  As  the  roller 
slide  is  likely  to  be  of  very  considerable  value  in  con- 
nection with  gelatino-bromide,  not  only  for  the  produc- 
tion of  negatives,  but  also  for  making  positive  prints,  we 
reproduce  in  another  column  the  original  sketch  of  Mr. 


Melhuish’s  slide  from  the  Journal  of  the  Photographic 
Society  of  April,  1856. 


Why  do  photographers  object  to  display  cards  of  terms? 
Many  have  them  printed,  but  do  not  show  them ; and 
many  more  object  altogether  to  the  idea.  In  no  instance 
during  our  half-dozen  visits  was  a card  of  terms  put  into 
our  hands.  Plainly  speaking,  we  should  have,  felt  more 
confidence  had  we  possessed  some  knowledge  of  the  prices 
of  various  photographs;  and  we  think,  too,  the  duties  of 
the  reception  room  would  thereby  be  lightened.  Whether 
the  sum  demanded  is  large  or  small,  the  public  usually 
like  to  know  it  is  a fixed  one. 


An  International  Exhibition  of  Graphic  Arts  is  to  be 
held  at  Vienna  between  September  15th  and  October  31st, 
for  the  purpose  of  bringing  into  prominent  view  the  im- 
provement and  development  of  the  graphic  arts  during  the 
second  half  of  the  nineteenth  century,  that  is  to  say,  since 
1850.  The  list  of  exhibits  comprehends  copper  and  steel 
engravings,  etchings,  lithographs,  wood  engravings,  and 
drawings  and  paintings  produced  with  a view  to  engraving. 
There  will  also  be  shown  heliotypes  and  illustrated  works 
in  which  any  reproductive  graphic  art  has  been  employed, 
except,  strange  to  say,  the  art  of  direct  photography.  One 
would  like  to  know  on  what  grouuds  photography  has  been 
thus  excluded.  Photography  has,  during  recent  years, 
been  brought  more  and  more  in  connection  with  book  and 
newspaper  illustration,  and  is  gradually  narrowing  the 
sphere  of  the  wood-engraver.  It  certainly  has  a moral 
right  to  be  included  among  the  graphic  arts,  though, 
technically,  it  may  not  be  considered  one. 


Bints  Photograph  Gallery,  a novelty  brought  out  at  the 
Avenue  Theatre,  on  Monday,  is  well  worth  a visit,  if  only 
to  hear  the  touching  little  ballad  of  the  “ Old-Fashioned 
Photograph  ” rendered  by  the  silver-haired  and  silver- 
voiced grandmother  in  Act  I.  It  is  a sign  of  the  times — and 
a very  good  sign,  too — that  however  people  may  decry  the 
photographic  portrait,  they  are  beginning  to  find  out  there 
is  a homeliness  and  pathos  attaching  to  it  that  grand  oil 
paintings  and  family  portraits  never  possess. 


The  Second  Act  passes  in  Bink’s  studio,  and  here  Mr 
Willie  Edouin— who  does  not  remember  his  drollery  as  the 
Heathen  Chinee  five  years  ago? — gets  fun  unlimited  out  of 
the  shiftings  of  an  impecunious  photographer  and  from 
the  posing  of  models  and  manipulation  of  the  apparatus. 
The  camera,  the  background,  the  head-rest,  all  are  made 
to  serve  their  turn  at  burlesque,  and  the  busy  photographer, 
and  his  more  busy  lad,  never  let  the  fun  flag  during  the 
hour  and  a-half  that  the  audience  have  the  studio  before 
them.  One  customer  comes  to  get  a photograph  of  a 
sister  who  is  in  Australia,  and  another  lady — so  the  boy 
announces  to  his  master— would  give  a guinea  if  she  could 
but  see  the  photographer  for  a few  minutes  ; only,  as  the 
young  urchin  subsequently  explains,  she  is  blind. 


In  a word,  the  little  piece  is  teeming  with  broad  fun  and 


458 


THE  PHOTOGRAPHIC  NEWS. 


[July  20,  1883. 


harmless  drollery,  Mr.  Edouin  captivating  his  audience 
with  a thousand  quaint  doings  and  sayings.  There  may 
be  some  trifles  of  inaccuracy  about  the  play,  such  as 
lighting  the  model  from  behind,  instead  of  in  front,  and 
speaking  of  the  ferrotype  process  forty-five  years  ago,  when 
photography,  let  alone  tintypes,  was  not  invented ; but 
these  are  details  we  must  leave  to  the  carping  critic  to  find 
fault  with. 


patent  Intelligent. 

Application  for  Letters  Patent. 

3476.  Richard  Brown,  Robert  William  Barnes,  and  Joseph 
Bell,  all  of  Liverpool,  in  the  county  of  Lancaster,  for  an  in- 
vention of  “Improvements  in  means  for  and  method  of  pro- 
ducing designs  upon  paper  or  other  fibrous  or  soft  material,  or 
upon  metallic  surfaces.” — Dated  14th  July,  1883. 

Specification  Published  during  the  Week. 

5110.  A.  M.  Clark,  “ Producing  designs,  &c.,  upon  glass,  metal, 
and  other  surfaces.” — A communication  from  H.  Beau. 

This  invention  consists  in  a novel  process  of  producing  or 
appljiDg  designs,  letters,  figures,  or  other  marks  upon  glass, 
metal,  or  other  surface,  in  such  manner  that  the  said  surface 
forms  a ground  upon  which  the  said  designs,  letters,  figures,  or 
other  marks  appear  to  be  printed  or  engraved  directly.  The 
process  consists  in  printing,  or  otherwise  producing  the  designs, 
letters,  figures,  or  other  marks,  upon  an  absolutely  colourless  and 
transparent  tissue  or  film,  which  is  afterwards  applied  and  caused 
to  intimately  adhere  to  the  glass,  metal,  or  other  surface.  The 
tissue  or  film  when  so  applied  becomes  completely  invisible,  the 
natural  colour  and  aspect  of  the  subjacent  surface  showing 
through  it  unaltered,  leaving  the  designs,  letters,  figures,  or 
other  marks,  alone  visible  on  the  transparent  or  other  ground 
with  which  they  appear  to  be  intimately  incorporated.  The 
tissue  or  film  which  covers  the  entire  subjacent  surface  also 
serves  to  protect  it  from  atmospheric  influences.  In  carrying 
out  this  invention,  I print  or  otherwise  produce  the  desired 
designs,  letters,  figures,  or  other  marks,  upon  thin  unsized  bank 
post  paper  or  other  similar  material,  such  as  china  paper,  china 
crape,  and  thin  fabrics  of  jute,  ramie  fibre,  and  generally  fabrics 
permeable  to  varnish.  After  printing,  the  tissue  is  subjected  to 
the  application  of  a colourless  varnish, 'and  stove  dried.  By  this 
operation  the  substance  of  the  tissue  or  fabric  is  caused  to 
disappear  from  the  eye,  there  remaining  only  a very  thin  flexible 
colourless  pellicle  or  film  bearing  the  impression  upon  it  in  any 
desired  colours.  By  printing  with  suitable  “ reserves,”  it  will  be 
understood  that  transparent  colourless  designs,  letters,  figures,  or 
other  marks,  may  be  produced  upon  a coloured  transparent  ground 
if  desired,  and  by  conbining  the  various  results  producible  by  the 
aid  of  lithography,  colours,  and  drawing,  all  kinds  of  effects  may 
be  obtained.  By  printing,  for  example,  in  blank  upon  a thin 
permeable  pellicle  or  film  as  above  described,  it  will,  when 
applied  to  glass,  produce  an  imitation  of  engraving  with  hydro- 
fluoric acid  as  usually  produced. — Provisional  Protection. 

Patent  Granted  in  United  States. 

279,878.  Edward  J.  Muybridge,  of  San  Francisco,  Cal.,  for  “ A 
method  of  and  apparatus  for  photographing  changing  or  moving 
objects.” — Application  filed  31st  August,  1881.  Renewed 
19th  April,  1883.  No  model. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.R.S. 

Lesson  II.— Refraction  of  Light. 

When  light  enters  from  one  medium  into  another,  it  is 
a matter  of  common  experience  that  two  things  (such  as 
from  air  and  water)  happen  ; first,  part  of  it  is  bent  from 
its  original  direction,  except  in  the  case  when  it  strikes 
the  surface  bounding  the  two  media  perpendicularly  ; and 
second,  part  is  reflected.  This  latter  obeys  the  laws  we  have 
already  mentioned ; but  in  what  way  is  the  ray  of  light 
bent?  The  law  or  rule  which  the  bendiDg  follows  has 
been  found  by  experiment. 


Supposing  a ray  of  mono-chromatic  light  (a  light  of  one 
colour),  A O,  strike  a surface  (3ay)  of  water  at  O,  instead 
of  continuing  its  course  to  a,  it  is  bent  to  A',  and  another 


Fig.  7. 

ray  of  light,  B O,  striking  at  a different  inclination,  instead 
of  continuing  its  course  to  6,  is  bent  toB'.  Describe  any 
circle  with  O as  a centre,  and  draw  P O Q perpendicular 
to  d O d,  the  surface  of  the  water,  and  b m , a n,  B'  O, 
A'  P,  perpendicular  to  P Q.  It  is  found  by  experiment 
that  n a bears  the  same  proportion  to  A'  P that  b m does 
to  B1  O.  In  the  case  of  water  the  proportion  is  about  as 
1'.^  to  1. 

lor  light  flint  glass,  the  proportion  is  about  1^  to  1 — 
that  is,  a u would  always  be  H times  larger  than  A'  P,  and 
b m 1|  times  larger  than  B O.  This  proportion  is  called 
the  index  of  refraction,  and  is  expressed  mathematically 
by  saying  that  the  sine  of  angle  of  inclination  bears  a con- 
stant proportion  to  sine  of  the  angle  of  refraction.  In 
England  this  proportion  is  usually  designated  by  the  Greek 
letter  n. 

We  have  above  taken  light  as  going  from  a rare  medium 
to  one  more  dense  ; but  if  it  goes  from  the  dense  medium 
(such  as  glass)  to  a rarer  one  (such  as  air),  the  ray,  instead 
of  being  bent  towards  the  line  which  is  perpendicular  to 
the  common  surface  of  the  two  (P  Q in  fig.  7),  would  be 
bent  away  from  it,  aDd  a proportion  would  still  hold  good 
as  before  described  ; but  such  proportion  would  be  exactly 
the  reverse  to  that  which  would  be  found  above.  Thus 
when  a ray  travels  from  air  to  glass,  the  proportion  of  the 
perpendiculars  a n to  A'  P was  H to  1 ; but  if  the  ray 
travelled  from  glass  to  air,  it  would  be  1 to  1 J. 

It  will  now  be  seen  that  if  the  course  of  a ray  of  light 
passing  through  a plate  of  glass  in  air  with  parallel  sides 


be  traced  on  the  same  principles  as  adopted  in  fig.  7,  it 
will  always  emerge  parallel  to  its  original  direction. 

The  student's  attention  is  here  directed  to  an  important 
deduction.  Suppose  we  have  a ray  of  light  which  is 
traversing  a dense  medium,  and  tries  to  get  out  into  one 
less  dense  (from  glass  to  air,  suppose),  it  may  happen  that 


Jclt  20,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


459 


it  makes  such  an  angle  with  the  common  surface  that  it 
can  never  get  out.  Let  A O be  the  ray,  and  make  the 
same  construction  as  in  fig  2,  supposing  the  index  of  refrac- 
tion of  the  glass  to  be  1£.  Now,  if  1^  X A n be  equal  to  or 


greater  than  O d , which  is  radius  of  the  circle,  it  is  evident 
that  A O can  never  emerge  into  the  air.  What  becomes 
of  it  ? It  can  only  be  reflected,  and  it  must  be  so  totally. 
The  angle  that  A O makes  with  O Q when  the  refracted 
ray  grazes  the  surface  is  called  the  critical  angle. 

Suppose  we  have  a prism  of  glass  (Fig.l)  which,  in  sec- 
tion, has  one  aDgle,  Q R P,  a right  angle,  and  the  two  sides, 
Q R and  P R,  equal ; if  a ray,  A B,  strikes  the  glass  prism 
perpendicularly,  as  shown,  it  will  enter  the  glass  without 


Fig.  10. 


any  refraction,  and  will  strike  the  surface  P Q in  C.  A geo- 
metrical construction  will  show  that,  in  this  case,  the 
beam  cannot  emerge  into  the  air ; it  is,  therefore,  totally 
reflected  to  D,  following  the  law  of  ordinary  reflection  (see 
Lesson  I.),  strikes  the  surface,  P R,  of  the  glass  perpen- 
dicularly, and  therefore  emerges  into  the  air  along  D E. 
It  is  on  this  principle  that  prisms  of  total  reflection  are 
made  for  obtaining  reversed  negatives.  It  should  be  re- 
membered that  this  is  not  the  only  instance  in  which  the 
ray,  in  passing  from  glass  to  air,  is  reflected.  Whenever 
a ray  strikes  a surface  common  to  two  media,  part  of  the 
light  is  reflected.  This  is  easily  proved  experimentally. 
Hold  a piece  of  glass  so  that  the  sun’s  ray  passes  through 
it ; it  will  be  found  that  part  is  reflected,  and  that  the 
more  obliquely  it  is  held,  the  stronger  is  the  reflection, 
and  that  the  reflection  is  least  when  the  plane  of  the  glass  is 
perpendicular  to  the  rays  of  light.  This  point  is  worthy 
of  attention  when  considering  the  construction  of  a lens. 

We  have  only  so  far  taken  as  an  example  of  refraction 
the  passage  of  a ray  of  light  through  a plate  of  glass  with 
parallel  surfaces,  and  we  have  found  that  its  path,  after 
such  a passage,  is  parallel  to  its  path  before.  We  will 
next  trace  the  path  of  a ray  which  strikes  in  any  direction 
a glass  prism  of  triangular  section. 

Let  A B C be  a section  of  such  a prism,  and  S a source 
of  monochromatic  light  (such  as  the  wick  of  a spirit  lamp 
impregnated  with  common  salt)  sending  a ray  in  the  direc- 
tion S D.  Then,  when  it  reaches  the  surface  of  the  glass 
A C at  D,  instead  of  travelling  on  towards  E,  it  is  bent 
towards  the  perpendicular  T P',  according  to  the  law 


already  enunciated,  and  travels'in  the  direction  D G,  and 
would  travel  on  to  G did  it  not  meet  with  another  surface, 
A B,  common  to  glass  and  air.  Here  the  ray,  as  it  passes 
to  a less  dense  medium  (air),  is  bent  away  from  he  perpen- 


Fig.  11. 


dicular  Q Q',  and  travels  towards  II.  So,  if  the  eye  were 
placed  anywhere  in  the  line  11  F,  the  source  of  monochro- 
matic light  would  appear  to  be  at  S'. 

Now,  suppose  we  put  two  such  prisms  with  their  bases 
in  contact,  and  trace  the  path  of  rays  of  light  from  some 
point.  In  our  last  example  we  supposed  that  the  ray  of 
light  was  compelled  to  travel  along  S D (fig.  12).  Here 


Fig.  12. 


we  must  suppose  the  light  to  travel  in  all  directions, 
as  is  usually  the  case.  Make  two  screens  for  the  sides  of 
the  prisms  nearest  S,  and  pierce  two  small  holes  in  any 
position,  taking  care  that  they  are  in  the  same  vertical 
plane.  Now,  the  only  light  which  will  pass  through  the 
prisms  will  be  through  the  two  holes,  and  if  we  follow  the 
construction  used  in  fig.  12,  it  will  be  seen  that  the  light 
penetrating  through  one  hole,  D,  will  find  a path  towards 
H,  and  through  the  other  towards  H'.  If,  now,  apiece  of 
white  paper  be  moved  so  that  it  reaches  the  point  O,  the 
two  images  of  S will  there  coalesce,  so  that  we  shall  have 
only  one  image,  but  twice  as  bright  as  the  image  formed 
by  one  hole. 

It  is  evident  that  we  are  only  using  a small  portion  of 
the  prism,  and  that  all  except  two  small  layers  might 
be  cut  away  without  altering  the  result. 

Next,  suppose  we  increase  the  number  of  the  prisms  by 
introducing  two  portions  of  other  prism3  (less  pointed  than 


Fig.  lif. 

those  already  used),  such  as  B C M N and  B'C'MN. 
Keep  the  screens  on  A C and  AC',  and  the  holes  in  them 


460 


THE  PHOTOGRAPHIC  NEWS. 


[Juir  20,  1883. 


at  D and  13'.  Cover  up  N C'  with  a screen  of  paper,  and 
have  a movable  screen  for  N C with  a hole  pierced  in  it. 
Place  the  piece  of  paper  in  such  a position  that  the  image 
from  ABC  and  A’  B'  C'  coincide,  and  now  move  the 
movable  screen  along  N C till  the  image  formed  by  the 
portion  of  the  prism  BLMS  also  falls  on  the  other 
images.  Do  the  same  with  a movable  screen  for  N C'. 
Then  we  shall  have  an  image  at  O,  but  four  times  brighter 
than  would  be  given  by  one  prism. 

By  increasing  the  number  of  prisms  having  slightly 
different  angles,  the  brightness  of  the  image  might  be 
perpetually  increased.  If,  instead  of  a number  of  pieces 
of  different  prisms,  a piece  of  glass  be  ground  into  two 
cylindrical  surfaces,  or  a plain  and  cylindrical  surface, 
noting  that  the  middle  part  is  the  thickest,  we  may,  instead 
of  holes  in  our  screen,  use  a continuous  cut-out  line,  and 
we  shall  get  the  same  result,  for  we  may  look  upon  such  a 
piece  of  glass  in  section  as  composed  of  an  indefinite 


Fi</.  14. 


number  of  such  prisms  (fig.  14).  If,  instead  of  cylindrical 
surfaces  to  the  glass,  we  use  spherical  surfaces,  we  may 
abolish  the  screen  altogether,  for  practically,  and  also  by 
calculation,  it  is  found  that  rays  of  light  falling  from  one 
point  of  light  on  such  spherical  surfaces  are  brought 
together  so  as  to  meet  very  nearly  in  one  point  on  the  oppo- 
site side  of  the  lens,  and  this  point  is  called  the  focus  of 
the  lens  for  that  particular  point  of  light  of  which  an 
image  is  formed.  Such  a piece  of  glas3is  called  a lens,  and 
the  special  kind  of  lens  we  have  had  under  consideration 
is  called  a bi-con  vex  lens.  With  a spherical  surface  or 
surfaces,  it  is  evident  that  brightness  of  the  image  will 
be  proportional  to  the  area  of  the  glass  struck  by  the  rays 
of  light  emanating  from  a source. 


Fiy.  15. 


If  two  prisms  be  placed  point  to  point,  and  screened  as 
before,  it  will  be  found  that  the  rays  of  light  will  never 
cross,  and  that  an  intensified  brightness  can  never  be 
obtained.  By  increasing  the  number  of  prisms  the  same 
result  would  be  found  to  hold  good  ; and  finally,  by  using 
a glass  ground  into  two  hollow  spherical  surfaces,  the  like 


would  still  be  found  to  hold  good.  This  lens  is  a bi-con- 
cave lens.  All  lenses  which  are  thinnest  in  the  middle  can 
have  no  real  focus,  though  they  do  possess  what  is  called 
a virtual  focus,  with  which  we  need  not  trouble  ourselves. 

Having  seen  how  a lens  is  formed,  it  will  be  well  to 
enumerate  the  different  kinds  of  lenses. 


Fig.  16. 

I.  is  a bi-convex  lens. 

II.  is  a plano-convex  lens. 

III.  is  a concavo-convex  or  meniscus  lens. 

IV.  is  a bi-concave  lens. 

V.  is  a plano-concave  lens. 

VI.  is  a convexo-concave  lens. 


& Dictionary  ot 

ACHROMATIC.— (4,  r.egative  prefix:  colour.) — A 

compound  lens,  constructed  with  the  view  of  bringing  so  many 
of  the  rays  to  focus  at  one  point  as  shall  prevent  the  production 
of  those  coloured  fringes  which  characterise  images  produced  by 
uncorrected  lenses.  Perfect  achromatism  is  a theoretical  impos- 
sibility ; but  in  actual  practice  it  is  generally  sufficient  to  ensure 
the  coincidence  of  two  or  three  points  in  the  spectrum.  See 
Lenses. 

ACIDS,  Bases  and  Salts. — Groups  into  which  one  great 
class  of  chemical  substances  has  been  divided,  the  distinction 
being,  however,  so  ill  marked  that  it  is  sometimes  difficult  to  know 
whether  to  regard  asubstance  as  an  acid,  a base,  or  a salt.  Water 
may  very  well  be  regarded  as  the  central  figure  of  the  whole 
series,  it  being  possible,  without  any  very  great  effort  of  the  im- 
agination, to  regard  the  substance  as  an  acid,  a base,  or  a salt. 
A so-called  hydrogen  acid  consists  of  hydrogen  united  either  with  a 
halogen,  or  a compound  group  capable  of  acting  like  a halogen,  as 
hydrochloric  acid,  HC1 ; hydrobromic  acid,  HBr  ; hydriodic  acid, 
HI ; or  hydrocyanic  acid,  HCN.  The  salts  corresponding  to 
these,  and,  indeed,  to  all  of  the  acids,  are  derived  by 
substituting  a metal  for  the  hydrogen.  If,  for  instance,  the 
hydrogen  in  IIC1  is  replaced  by  silver,  we  obtain  the  salt  AgCl,  or 
chloride  of  silver  ; and  if  the  hydrogen  in  (two  molecules  of)  the 
same  acid  is  replaced  by  zinc,  we  obtain  ZnCl,,  or  chloride  of  zinc. 
The  leading  idea  of  a salt  is  a substance  obtained  byreplacing  the 
hydrogen  of  an  acid  by  a metal ; but  as  the  term  metal  itself  is 
somewhat  vague,  and  as  hydrogen  itself  may  be  regarded  as  the 
vapour  of  an  exceedingly  volatile  metal,  it  is  a common  practice  to 
speak  of  acids  as  hydrogen  salts  or  salts  of  hydrogen.  Acidity, 
iu  the  popular  sense  of  the  term,  is  not  by  any  means  a universal 
quality  of  acids,  although  by  far  the  greater  part  of  those  acids 
which  are  soluble  in  water  are  sour  to  the  taste,  and  redden  blue 
litmus  paper. 

The  second  and  principal  great  family  of  acids  is  that  compris- 
ing the  so-called  oxygen  acids  ; and  these  may  be  regarded  as 
compounds  of  hydrogen  united  with  oxygenated  groups,  which 
groups  may  have  a certain  analogy  with  the  halogens ; but  in  tho 
majority  of  cases  these  oxygenated  groups  have  not  been  isolated 
As  characteristic  examples  of  oxygen  acids  we  may  refer  to 
HC2H302,  acetic  acid  ; H2S04,  sulphuric  acid  ; and  U3P04,  ortho- 
phosphoric  acid  ; while  corresponding  salts  would  be  NaC2H302, 
sodium  acetate;  KjS04,  normal  potassium  sulphate;  KHS04, 
hydrogen  potassium  sulphate ; CaS04,  calcium  sulphate ; 
Na3P04,  normal  or  tri-sodium  phosphate ; Na2HP04,  di-sodium 
hydrogen  phosphate  (common  phosphate  of  soda). 

A base  may  be  regarded  as  a metal,  or  group  acting  as  a metal, 
united  with  the  radicle  HO  ; examples  being  afforded  by  KHO, 
potassium  hydrate,  or  caustic  potash;  (NH4)  HO,  ammonium 
hydrate  ; and  Ca(II0)2,  calcium  hydrate,  or  slaked  lime.  Bases, 
when  soluble  in  water,  have  ordinarily  an  alkaline  reaction,  and 
restore  the  blue  colour  to  litmus  which  has  been  reddened  by  an 
acid. 

The  fundamental  reactions  between  acids  and  alkalies  consist 


TEE  PHOTOGRAPHIC  NEWS. 


461 


July  20,  1883.J 


in  the  elimination  of  hydrogen  from  each,  water  being  formed  ; 
and  the  union  of  the  halogen  with  the  metal  to  form  a salt.  Ex- 


1.  IIC1+K(H0)=KC1+H;,0 

2.  H2304+Ca(H0),=CaS0l+2H!!0 


ACTINIC  FOCUS. — Sec  Lenses. 

ACTINISM  is  the  term  which  has  been  given  by  Mr.  Hunt  to 
that  principle  of  the  solar  spectrum  which  produces  the  pheno- 
mena of  chemical  change.  It  has  been  contended  that  neither  the 
force  which  causes  the  sensation  of  light,  nor  that  which  produces 
the  phenomenon  of  heat,  has  very  decided  chemical  action,  and, 
consequently,  we  are  driven  to  the  hypothesis  of  the  existence  of  a 
new  form  of  force  in  the  sunbeam,  co-existing  with  heat  and 
light.  In  order  to  designate  this,  the  word  actinism  has  been 
proposed.  This  word  signifies  nothing  more  than  ray-power,  and 
therefore,  as  it  involves  no  theory,  it  is  not  open  to  the  objections 
which,  unfortunately,  must  be  made  to  many  of  the  scientific 
terms  in  common  use.  Modern  investigations  have,  however, 
proved  that  all  radiations  of  the  spectrum  produce  a certain  actinic 
effect,  the  locality  of  the  maximum  of  actinic  action  depending 
on  the  nature  of  the  sensitive  body. 


THE  EXHIBITION  OF  THE  PHOTOGRAPHIC  SOCIETY 
OF  GREAT  BRITAIN. 


Abney,  R.E.,  F. R.S.,  Francis  Bedford,  Leon  AVarnerke  ; three 
members  of  the  Society— Joseph  Paget,  Fred  Hollyer,  Robert 
Slingsby. 

No  charge  will  be  made  to  members  of  the  Society  for 
exhibiting  their  pictures  ; but  to  non-member-:  a charge  of  one 
shilling  per  square  foot  will  be  made  for  wall  space  ; the  mini- 
mum charge  being  five  shillings.  No  charge  for  wall  space  will 
be  made  to  foreign  exhibitors.  The  charge  for  wall  space  to 
those  exhibitors  who  may  become  members  of  the  Society  at  the 
November  meeting  will  be  remitted.  It  is  proposed  to  lay  on 
the  table  a catalogue  containing  the  price  of  pictures  to  be  dis- 
posed of  ; those  who  wish  to  avail  themselves  of  this  proposal 
will  please  state  the  price  of  their  pictures  iD  the  letter  of  advice. 
Notice  will  be  sent  to  exhibitors  when  to  fetch  away  those  works 
which  are  left  at  the  Gallery  by  hand,  and  should  any  exhibitor 
not  be  able  to  send  to  the  Gallery,  he  can,  by  giving  notice  to 
the  Assistant-Secretary,  and  paying  the  cost,  have  his  pictures 
packed  in  a case  and  returned  by  carrier.  The  Council  do  not 
hold  themselves  responsible  for  any  damage  that  may  happen  to 
the  pictures,  or  other  exhibits,  whilst  in  their  custody  ; but  they 
will  take  every  precaution  to  insure  their  safety,  and  their 
prompt  return  to  the  owners  at  the  close  of  the  Exhibition. 
Any  further  information  respecting  the  Exhibition  and  lantern 
slides  can  be  obtained  from  the  Assistant-Secretary,  Mr.  Edwin 
Cocking,  57,  Queen’s  Road,  Peckham,  S.E. 


The  Exhibition  of  this  Society,  for  1883,  will  be  held  at  the 
Gallery  of  the  Royal  Society  of  Painters  in  Water  Colours,  5a, 
Pall  Mall  East,  London,  S.W. 

It  will  be  inaugurated  by  a conversazione , open  to  members 
and  their  friends,  at  8 p.m.,  on  Saturday  evening,  the  6th  of 
October.  The  Exhibition  will  remain  open  daily  (Sundays 
excepted)  from  Monday,  the  8th  of  October,  until  Thursday,  the 
1 5th  of  November.  Admission  (from  10  a.m.  till  dusk),  one 
shilling.  It  will  also  be  open  every  Monday,  Wednesday,  and 
Saturday  evening.  Admission  (from  7 to  10  p.m  ),  sixpence. 
Members  have  free  admission  at  any  time,  and  will  also  be 
supplied  with  tickets  to  admit  their  friends.  Season  tickets  will 
be  issued  : single,  3s. ; double,  5s. 

All  packing  cases  must  be  sent  (carriage  paid),  ad  dressed  to 
the  “ Photographic  Society  of  Great  Britain,  care  of  Mr.  James 
Bourlet,  17,  Nassau  Street,  Middlesex  Hospital,  London,  so  as 
to  arrive  not  later  than  Friday,  September  28th.  No  packing 
cases  can  be  received  at  the  Gallery.  Pictures  by  hand  will  be 
received  at  the  Gallery,  5a,  Pall  Mall  East,  on  Friday,  Septem- 
ber 28th,  until  9 p.m. 

Photographic  transparencies  will  be  shown  with  the  Society’s 
optical  lantern  on  Monday  evenings  during  the  Exhibition. 
Slides  (which  must  not  exceed  3j  inches  in  height)  are  solicited 
to  assist  this  special  purpose ; they  may  be  sent  in,  either  on  or 
before  Friday,  September  28th  (so  as  to  come  with  other  exhibits 
before  the  judges  of  awards),  or  at  any  time  afterwards  during 
the  Exhibition.  Each  exhibitor  must  send  a letter  of  advice 
containing  a description  of  each  picture,  as  also  a statement  of 
process  and  any  further  detail,  to  be  inserted  in  the  Catalogue 
(and  it  is  suggested  that  when  the  work  shown  is  taken  by  a 
special  process,  prepared  and  made  by  the  exhibitor,  information 
as  to  particulars  should  be  communicated),  addressed  to  the 
“ Hon.  Secretary,”  Photographic  Society  of  Great  Britain,  5a, 
Pall  Mall  East,  London,  S.W. 

Each  frame  or  picture  may  have  the  exhibitor’s  name  and 
subject  neatly  inscribed,  but  no  address,  or  anything  in  the  shape 
of  an  advertisement  will  be  permitted.  No  pictures  in  Oxford 
frames,  and  no  pictures  previously  exhibited  in  London,  will  be 
admitted.  Photographs  coloured  by  scientific  or  mechanical 
means  will  be  admissible.  Photographs  coloured  by  haod  will 
not  be  admitted.  Photographic  apparatus  and  appliances  may 
be  sent  for  exhibition.  Negatives  and  transparencies  will  be 
admissible.  The  hanging  committee  will  have  the  power  of 
rejecting  any  pictures  or  apparatus  forwarded. 

Special  Notice. — By  Order  of  the  Council — The  Rules  and 
Regulations  respecting  the  Exhibition  are  to  be  strictly  adhered 
to,  therefore  no  picture  will  be  received  after  9 o'clock,  p.m , on 
Friday,  September  28th. 

Medals  will  be  placed  at  the  disposal  of  the  judges  for  artistic, 
scientific,  and  technical  excellence,  and  the  judges  are  instructed 
to  reserve  three  medals  for  portrait  or  figure  subjects  (if  they 
find  them  worthy  of  awards).  The  judges  will  consist  of  the 
following  gentlemen  : — The  President  of  the  Society — James 
Glaisher,  F.R.S.,  &c. ; three  members  of  the  Council —Captain 


“DUST  IN  THE  EYES--A  SCREW  LOOSE— OR 
WHAT?” 

Sin, — In  his  censorship  of  my  letter  in  the  June  issue 
of  the  Photographic  Times  and  American  Photographer,  Mr. 
A.  L.  Henderson  has  studiously  abstained  from  stating 
that  the  dry  plate  factory  which  forms  the  subject  of  his 
animadversion  in  your  last  number  is  that  presided  over 
by  Mr.  Samuel  Fry,  of  Kingston.  This  reticence  is  doubt- 
less stimulated  by  a fear  lest,  were  this  fact  known,  the 
purity  of  his  motives  might,  especially  by  London  photo- 
graphers, be  misconstrued.  To  his  friends  it  must  prove  a 
source  of  regret  that,  at  the  time  of  writing  the  article, 
Mr.  Henderson  had  no  judicious  adviser  beside  him  to 
point  the  desirableness  of  paying  greater  atlention  to  the 
truth  of  his  premises  before  he  suffered  his  genius  to  hurry 
him  to  such  a conclusion. 

The  account  of  the  Kingston  Dry  Plate  Factory  wa3 
written  for  the  American  readers  of  the  Photographic  Times, 
who  are  presumed  to  have  the  sense  to  know  that  although 
by  one  of  certain  machines  plates  were  seen  coated  at  the 
rate  of  twelve  per  minute,  it  does  not  follow  that  the 
powers  of  such  machines  are  necessarily  taxed  to  this 
extent  from  the  beginning  to  the  end  of  the  week. 

The  precise  language  made  use  of  by  me  was  as  follows  : 
“ I was  led  by  my  guide  to  the  presence  of  the  coating 
machines,  and  saw  plates  being  coated  with  emulsion  at  a 
rate  perfectly  astonishing,  each  machine  turning  out  at  the 
rate  of  sixty  dozen  per  hour.”  This  deduction  was  made 
on  the  basis  of  my  having  timed  the  rate  of  production  of 
one  machine  for  about  two  minutes. 

Mr.  Henderson  apparently  mistrusts  the  coating  capa- 
bilities of  the  machine  (which  is  that  of  Eastman,  of 
Rochester,  N.Y.).  I am  not  aware  that  his  scepticism  is 
of  any  cousequence  ; yet,  if  it  conduce  to  the  allaying  of 
his  perturbation,  it  is  possible  that  a properly-couched 
request  to  Mr.  Fry  may  afford  him  the  opportunity  of 
seeing,  as  I saw,  and  as  1 timed  by  my  watch,  plates 
coated  at  the  rate  of  one  in  every  five  seconds. 

1 cannot  stoop  to  the  level  of  the  last  paragraph  of  Mr. 
Henderson’s  article,  to  notice  its  coarse  personalities  or 
soi  disant  wit,  nor  is  it  necessary  that  I should  do  so,  for 
a reason  that  may  be  apparent  before  loug ; but  I may 
say  that  there  are  others  than  Mr.  Henderson,  and  whose 
opinions  on  matters  appertaining  to  Ameiican  literature 
and  veracity  are  likely  to  carry  quite  as  great  weight  as 
his,  who  have  not  fouud  it  necessary  to  indulge  in  sneers 


462 


THE  PHOTOGRAPHIC  NEWS. 


[July  20,  1888. 


such  as  this  gentleman  considers  it  good  taste  to  put  in 
requisition. — I am,  yours,  &c., 

The  Special  Correspondent  of  the  New  York 
Photographic  Times. 


A RECTIFICATION. 

Sir, — Some  of  my  friends  have  called  my  attention  to 
the  remarks  I made  at  the  meeting  of  the  London  and 
Provincial  Photographic  Association  on  Thursday,  July  5th, 
and  which  appeared  in  your  last  issue,  in  which  I criti- 
cised, as  I thought  in  a good-humoured  manner,  a report 
which  appeared  in  the  American  Photographic  Times.  I did 
not  for  a moment  question  the  veracity  of  the  reporter.  I 
am  sorry  if  it  has  given  offence  to  any  one,  and  now  take 
the  earliest  opportunity  of  expressing  regret  that  my  mean- 
ing should  have  been  mis-interpreted  in  any  way. — Yours 
respectfully,  A.  L.  Henderson. 

PS. — Since  penning  the  above,  I now  learn  that  the 
special  correspondent  in  question  is  a personal  friend  of 
my  own,  a gentlemau  I hold  iu  high  esteem  ; and  I am  sure 
he  is  quite  incapable  of  giving  other  than  a perfect  account 
of  whatever  he  writes  about.  The  remarks  made  as  to 
American  writers  were  never  for  a moment  intended  for 
my  friend. 

PHOTOGRAPHIC  VIEWS  AT  HEN  LEX  AND 
COOKHAM. 

Dear  Sir, — In  this  week’s  News  we  see  that  a corres- 
pondent writes  saying  it  is  surprising  how  little  has  been 
done  between  Henley  and  Cookham  in  the  way  of  photo- 
graphy. Thinking  the  views  of  this  part  of  the  river  may 
be  interesting  to  you,  we  herewith  send  you  a few. 

We  also  send  a few  of  the  regatta  effects.  You 
mentioned  about  the  beautiful  weather.  It  was  ready 
beautiful  weather;  but,  strange  to  say,  the  sun  managed  to 
get  behind  a cloud  at  nearly  all  the  finishes  of  the  races. — 
We  remain,  dear  sir,  yours  faithfully,  Marsh  Bros. 

[The  views  forwarded  are  indeed  very  interesting,  and 
the  regatta  effects  secured  are  such  as  might  be  expected 
from  the  well-known  ability  of  Messrs.  Marsh  Bros. — Ed.] 


PHOTOGRAPHS  ON  THE  WOOD-BLOCK  OF  THE 
ENGRAVER. 

Dear  Sir, — There  is  just  a thin  line  oftentimes  between 
failure  and  success  in  most  enterprises. 

I fancy  this  line  exists  in  my  case.  I prepared  the 
planished  copper  plate,  84  by  6},  roughened  it  as  you  inti- 
mated, prepared  the  gelatine,  and  stirred  in  the  ammonium 
bichromate,  and  covered  the  plate  very  uniformly  in  an 
atmosphere  of  105°  Fahr.  1 happened  to  have  a coppei 
vessel  6ome  eighteen  inches  long,  ten  inches  wide,  and  eight 
inches  deep,  with  double  side3  and  double  bottom.  Into 
the  space  water  was  put,  wilh  gas  under,  and  a thermometer 
indicated  exactly  105°  ; a stand  supported  the  levelled 

Id  ate.  Up  to  this  point  all  was  satisfactory  ; but  I was  at  a 
oss  to  know  whether  the  gelatine  plate  should  be  allowed 
to  dry  in  the  same  or  a lower  temperature.  I put  out  the 
gas,  however,  and  allowed  the  whole  thing  to  cool  down 
gradually,  hoping  that  in  a few  hours  (the  same  day,  Satur- 
day the  14th  inst.)  the  plate  would  be  ready  for  exposure  ; 
but  it  was  not,  so  was  left  until  Monday  the  16th.  On 
examination,  I found  it  very  ‘‘tacky,”  so  left  it  until  this 
(Tuesday)  afternoon.  The  surfaco  was  tolerably  hard  round 
the  sides,  but  somewhat  “ tacky  ” in  the  middle. 

I put  the  negative  on,  and  put  it  out  to  print,  by  the  side 
of  which  I put  a medium  negative  with  sensitized  paper 
under,  and  let  the  gelatino  plate  be  exposed  until  the  same 
was  printed  enough  for  toniug.  Fearing  that  the  negative 
had  stuck  to  the  gelatine,  I put  both  into  a tray  filled  with 
filtered  common  water,  when  the  negative  came  away  better 
than  I expected,  although  not  without  bringing  away  some 
of  the  margin  of  the  negative  outside  the  picture.  You  say, 


soak  the  plate  ten  minutes.  I did,  no  apparent  effect,  fifteen, 
twenty,  twenty-five  minutes.  The  circle  then  became 
visible,  then  the  children’s  faces  when  looked  at  endwise. 

Now  for  the  inking.  I had  obtained  some  printer’s  ink 
from  the  office  of  one  of  our  local  papers  ju6t  as  they  were 
going  to  press,  and  followed  further  your  directions.  The 
enclosed  is  all  I could  get,  and  on  putting  it  on  to  the 
wood-block  (made  by  a blockmaker)  I could  get  no  transfer  ; 
the  paper  seemed  too  dry — that  is,  the  ink.  Queries: — 

1st.  Was  the  plate  over-exposed  ? '■ 

2nd.  Was  the  ink  too  thick  ? '’Mil 

3rd.  Is  the  1 J drachms  of  gelatine  enough  ? Would  it  be 
tacky  if  there  were  more  ? 

4th.  What  is  the  best  mode  of  drying  a plate  ? 

J.  C.  J. 

[Our  correspondent  has  encountered  just  those  special 
difficulties  which  are  ordinarily  met  with  during  the  first 
stages  of  work  with  bichromated  gelatine.  Bichromated 
gelatine,  when  kept  for  a long  time  in  a moist  condition, 
loses  its  property  of  swelling  in  water,  becomes  insoluble, 
and  is,  in  fact,  changed  just  in  the  same  way  as  if  it  had 
been  exposed  to  light.  Hence  the  need  of  drying  as 
rapidly  as  practicable.  The  arrangement  adopted  by  our 
correspondent  tends  rather  to  keep  the  vapour  hanging 
about  the  plate,  and  so  is  not  calculated  to  bring  about  a 
very  rapid  desiccation.  The  plate  must  be  so  dry  as  to 
perfectly  resist  all  attempts  to  indent  the  film  with  the 
finger-nail.  A film  which  has  been  dried  slowly  is  much 
more  sensitive  than  one  which  has  been  dried  rapidly,  and 
if  we  may  judge  from  the  print  sent,  we  should  think  that 
the  exposure  wa3  several  times  as  much  as  required.  We 
think  for  the  earlier  experiments  of  an  amateur,  that 
the  best  method  of  drying  is  to  work  on  the  hob  of 
a kitchen  range,  the  draught  being  very  favourable  to 
rapid  desiccation,  or  to  dry  over  a thick  plate  of  iron 
heated  by  means  of  a gas-burner  placed  underneath.  The 
ink  used  appears  to  have  been  of  about  the  right  consis- 
tency, but  we  think  rather  too  much  was  used.  Tue  pro- 
portion of  gelatine  referred  to  is  correct.  The  picture 
probably  refused  to  transfer  to  the  wood,  because  the 
paper  was  not  sufficiently  impervious  ; but  the  following 
proceeding  will  serve  to  overcome  this  difficulty.  Leave 
the  transfer  to  dry  on  the  block,  and  then  moisten  the 
back  with  a few  drops  of  oil  of  cloves,  and  renew  the  pres- 
sure, after  which  strip  the  paper  away.  We  hope  our 
correspondent  will  communicate  any  further  difficulty  he 
may  experience.  As  regards  Mr.  Swan’s  process,  we  may 
mention  that  the  film  of  ink  laid  over  the  gelatinous  sur- 
face should  never  be  sufficient  to  considerably  hinder  the 
swelling  of  the  gelatine  ; and  if  the  ink  film  is  extremely 
thin,  it  reticulates  and  granulates  so  perfectly  as  to  render 
any  clearing  off  process  unnecessary. — Ed.  R.N.] 


DrorttMttgiJ  0f 

Manchester  Photographic  Society. 

On  Saturday,  the  7th  instant,  the  members  of  the  Manchester 
Photographic  Society,  and  friends,  to  the  number  about  twenty, 
including  ladies,  enjoyed  % most  delightful  excursion  to  that 
quiet  corner  of  Camden’s  “ Fair  Cheshire  ” which  includes 
Marton  and  Gawsworth. 

The  party,  on  arrival  at  Macclesfield  by  train  at  2.17  p.m., 
was  conveyed  in  a large  wagonnette  along  a charming  succession 
of  well- wooded  country  lanes  leading  through  the  villages  of 
Broken  Cross  and  Siddington,  at  which  latter  place  a brief  halt 
was  made,  and  a few  plates  exposed.  The  drive  being  resumed, 
Marton  was  reached  about  four  o’clock.  Here  cameras  were 
quickly  unpacked,  and  the  church,  more  famous  for  its  antiquity 
(1343)  than  for  its  architectural  beauty,  became  an  object  of 
interest,  and  many  plates  received  its  iinige,  although  pictorial 
effect  was  somewhat  mirred  by  the  rank  aud  uncut  grass  in  the 
graveyard. 

The  “ Marton  Oak,”  immortalized  by  Mr.  Leo  Grindon  in  his 


July  20,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


463 


“ Summer  Rambles,”  was  next  visited.  The  entire  circumference 
of  the  trunk  of  this  famous  oak  is,  atone  yard  above  the  ground, 
fifty  feet.  The  inside  of  the  trunk,  however,  is  totally  decayed, 
and  the  space  utilized  for  the  storage  of  farming  implements  ; 
but  the  upper  branches  are  loaded  with  a wealth  of  foliage.  A 
large  number  of  plates,  from  many  points  of  view,  were  exposed 
on  this  interesting  object,  and,  the  light  being  favourable,  no 
doubt  many  good  negatives  would  be  the  result.  Other  plates 
were  **  shied  ” at  the  picturesque  wayside  cottages,  and  gardens 
gay  with  roses.  The  fine  old  hall,  an  Elizabethan  structure  in 
the  half-timbered  style,  was  sighted  at  a distance  to  the  right ; 
but  the  day  being  somewhat  advanced,  and  the  prospective 
manipulation  of  “ ham  and  egg  ” plates  having  by  this  time 
begun  to  engage  attention,  it  was  deemed  advisable  to  push  on. 

After  a further  run  of  two  miles  the  party  alighted  at 
Gawsworth — charming  Gawsworth ! For  who  that,  for  the  first 
time  in  his  life,  has  seen  the  place  in  all  its  summer  beauty, 
could  fail  to  be  struck  with  admiration  and  delight?  Near  to 
the  church,  and  in  a shady  plantation  by  the  roadside,  may  be 
seen  the  unusual  spectacle  of  a tombstone  on  which  are  set 
forth,  in  a spirited  poem,  the  reasons  why  Samuel  Johnson, 
otherwise  “ Lord  Flame  ” — poet,  wit,  and  play-actor — did,  about 
one  hundred  years  ago,  elect  to  have  his  remains  deposited 
in  this  secluded  place.  About  an  hour  was  spent  in  photo- 
graphing the  fine  old  church,  rectory,  old  hall,  and  several  groups 
of  fine  trees. 

The  members  then  withdraw  to  the  quiet  hostelry,  once  a 
famous  posting  house  on  the  London-road,  but  whose  glory  has 
long  since  departed  with  the  good  old  coaching  days.  An 
excellent  and  substantial  tea  was  served  up,  to  which  the  party, 
with  appetites  sharpened  with  the  breezy  drive  and  several  hours’ 
fasting,  did  ample  justice. 

On  the  return  journey  to  Macclesfield  and  Manchester,  both 
ladies  and  gentlemen  were  unanimous  iu  their  opinions  that  the 
trip  had  been  the  most  successful  aud  enjoyable  of  any  previous 
ones  that  could  be  remembered.  Manufacturers  of  dry  plates 
will  surely  rejoice  to  hear  that  in  the  aggregate  more  than  100 
plates  were  exposed. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  the  12th  inst.,  Mr.  A.  Haddon  in  the 
chair, 

Mr.  Henderson,  referring  to  a question  asked  at  the  previous 
meeting,  as  to  whether  collodion  or  gelatine  was  best  for  repro- 
ducing a negative,  and  when  Mr.  Hart  and  himself  both  spoke 
iD  favour  of  collodion,  passed  round  a gelatine  negative  of  the 
Thames  at  London  Bridge.  It  was  taken  on  a very  rapid  plate  ; 
but  there  was  little  or  no  detail  visible  under  the  arch  of  the 
bridge.  He  also  showed  a collodion  transparency  from  the  nega- 
tive, in  which  tne  courses  of  stone  in  the  arch  could  easily  be 
traced,  and  which  contained  a much  greater  amount  of  detail 
than  the  negative.  The  developer  he  used  was  2^  grains  of 
iron  to  1 ounce  of  water  saturated  with  alum,  and  Beaufoy’s  acetic 
acid  added. 

Mr.  W.  Coles  said  he  had  noticed  that  if  a gelatine  negative 
was  left  for  a considerable  time  in  the  hypo  (say  all  night)  the 
image  was  dissolved  out. 

Mr.  Henderson  exhibited,  on  behalf  of  a Birmingham  photo- 
grapher, prints  from  a negative  coated  with  emulsion  prepared 
by  Mr.  Henderson’s  formula  slightly  modified.  The  picture  was 
taken  with  a lens  of  22  inches  focus,  and  stop  jj-  inch,  as  quick  as 
cap  could  be  taken  on  and  off,  when  commercial  plates,  said  to 
be  of  greatest  rapidity,  were  much  under-exposed  with  a longer 
exposure. 

In  a discussion  which  followed,  Mr.  Henderson  said  he  could 
take  the  cap  on  and  off  three  times  in  a second. 

Mr.  Hart  said  Mr.  Warnerke  had  told  "him  it  could  be  done 
in  one-third  of  a second. 


Mfc  in  t[u  Sittbin. 

Photographic  Society  of  Great  Britain.— The  next 
meeting  will  beheld  on  Tuesday  next,  July  24tb,at  eight  o’clock, 
at  the  Gallery,  5a,  Pall  Mall  East. 

South  London  Photographic  Society.— The  first  out-door 
meeting  of  the  season  will  be  held  at  Hampstead,  on  Saturday, 
28th  inst.  Tea  will  be  provided  at  the  “ Bull  and  Bush  ” 
Hotel,  at  six  o’clock. 


The  Future  of  Electric  Lighting  for  Domestic  Purposes 
— Mr.  W.  K.  Burton,  who  is  well  known  to  our  readers,  delivered 
a discourse  on  this  subject  to  the  members  of  the  Sanitary  Pro- 
tection Association,  on  the  occasion  of  their  recent  gathering  at 
Kensington.  After  reviewing  the  gradual  development  of  elec- 
trical science,  the  lecturer  pointed  out  that  the  main  value  of 
incandescent  lighting,  viewed  purely  through  a sanitary  point  of 
view,  rests  in  the  circumstance  that  no  vitiation  of  the  atmos- 
phere takes  place,  a point  upon  which  we  insisted  when  treating 
of  the  electric  light  in  the  dark-room. 

The  British  Association  meetings  in  Montreal,  in  August,  1881, 
are  looked  forward  to  with  great  interest.  The  arrangements 
are  already  nearly  completed.  They  comprise  a fortnight’s  tour 
from  Montreal  to  the  Rocky  Mountains,  returning  by  Chicago 
aud  Niagara. 

Parker  v.  the  First  Avenue  Hotel  Company,  Limited. — 
This  was  an  appeal  in  the  Supreme  Court  of  Judicature  Court  of 
Appeal,  before  the  Master  of  the  Rolls  and  Lords  Justices 
Cotton  and  Bowen,  from  a judgment  of  Mr.  Justice  North  at 
the  trial  in  Middlesex  by  the  plaintiff,  who  sought  to  have  it 
declared  that  the  plaintiff  Company  should  not  be  allowed  to 
erect  on  a part  of  their  building  a sloped  roof  at  an  angle  of 
45  deg.,  and  in  such  a way  as  would  interfere  with  his  ancient 
lights.  The  plaintiff  was  a photographer  in  High  Holborn,  and 
his  studio  was  close  to  the  hotel  of  the  defendants,  and  it  was 
alleged  that  the  new  building  was  being  carried  to  such  a height 
as  would  interfere  with  hi3  ancient  lights,  so  as  to  prevent  him 
carrying  on  his  business  as  heretofore.  The  contention  of  tLe 
defendants  was,  that  while  these  were  ancient  lights,  yet,  if  the 
sloped  roof  was  at  an  angle  of  45  deg.,  it  could  not  be  considered 
as  likely  to  interfere  with  the  lights  to  his  rooms,  and  this  angle 
had  been  held  to  be  quite  enough  in  similar  cases.  The  plaintiff 
considered  that  this  obstruction  would  seriously  damage  his 
premises,  and  asked  that  the  order  of  the  Court  below  be  varied, 
so  as  to  give  him  an  absolute  prohibition  against  the  obstruction 
complaimed  of  by  him.  When  the  case  was  heard  on  motion, 
the  defendants  were  put  under  certain  obligations  as  to  the 
building.  Lord  Justice  Cotton  delivered  judgment,  and  went 
minutely  over  the  facts  of  the  case,  observing  that  it  was  a mis- 
take to  suppose  that,  when  a sloping  roof  on  defendant’s  pre- 
mises gave  an  angle  of  45  degs.  to  those  of  the  plaintiff,  who 
possessed  ancient  lights,  that  it  could  be  considered  that  was 
quite  enough,  and  no  obstruction  then  existed.  The  order 
w’ould  be  so  varied  as  not  to  permit  of  any  obstruction  of  the 
plaintiffs  ancient  lights. — Daily  Chronicle. 

Cause  of  the  Acid  Reaction  exhibited  by  some  kinds 
of  Paper. — By  Haerling  ( Dinql . Folyt.  J.,  247,  382).— The 
author  rejects  Feichtiuger’s  statement  (ibid.,  247,  218)  that  all 
papers  sized  with  resin  contain  free  sulphuric  acid,  as  the  method 
used  for  sizing  does  not  admit  of  the  presence  of  free  sulphuric 
acid  in  paper.  The  method  consists  in  adding  resin-soap, 
prepared  by  dissolving  resin  in  soda-ley,  to  the  paper  pulp,  and 
precipitating  with  normal  aluminium  sulphate,  so  that  the 
precipitate  of  alumina  in  combination  with  resin  forms  the  size. 
In  the  presence  of  free  acid,  resin  only  would  be  precipitated, 
and  the  paper  not  sized,  but  merely  impregnated  with  resin 
particles,  which  would  render  it  useless  for  writing  or  printing 
purposes.  Feichtinger’s  admits  the  presence  of  aluminium 
sulphate,  but  appears  unable  to  prove,  without  further  in- 
vestigation, whether  the  sulphate  exists  in  paper  as  normal  or 
basic  salt.  The  author  mentions  that  this  question  is  answered 
by  the  above  method,  for  when  normal  aluminium  sulphate  is 
precipitated  with  an  excess  of  sodium  hydroxide,  a basic 
precipitate  must  be  formed.  Moreover,  the  assumption  of  the 
simultaneous  presence  of  free  sulphuric  acid  and  basic  aluminium 
salt  contradicts  the  laws  of  chemistry. — D.  B. 

Photographic  Club.— At  the  next  meeting  of  the  Club, 
July  25th,  the  subject  for  discussion  will  be  “On  Toning  Silver 
Prints.” 


©o  &0rmgcB&£ttt0. 

We  cannot  undertake  to  return  rejected  communications. 

Frederic  Samuels. — Such  investigations,  although  undertaken 
with  the  immediate  object  of  satisfying  the  inDate  desire  to 
possess  knowledge,  have  led  to  the  most  astounding  industrial 
results  ; and  we  fail  to  see  that  any  useful  end  would  be  fulfilled 
by  doing  as  you  suggest. 


464 


THE  PHOTOGRAPHIC  NEWS 


[July  20,  1888 


G.  F.  Webber. — Under  the  circumstances  we  should  suggest  that 
the  best  place  would  be  as  high  over  the  background  as  po  ssible ; 
and  the  least  unsightly  ventilator  would  be  one  consisting  of  a 
large  number  of  long  horizontal  shutters,  closing  together  like 
the  slats  of  a Venetian  blind,  or  the  swell  flaps  of  an  organ.  It 
is  probable  that  an  ordinary  j oincr  would  be  able  to  construct  such 
an  arrangement. 

Amateur. — There  are  several  firms  who  make  a special  feature  of 
the  production  of  enlarged  negatives,  and  the  addresses  will  be 
found  in  our  advertising  columns. 

L.  Bollaxs. — You  have  committed  the  not  unfrcquent  error  of 
trying  to  improve  on  a process  before  having  made  yourself 
familiar  with  the  experiments  of  others.  W e advise  you  to  throw 
away  all  your  solutions,  and  to  make  up  fresh  preparations  in 
exact  accordance  with  the  published  formula).  At  the  same  time, 
you  would  do  well  to  adhere  minutely  to  every  detail  of  manipu- 
lation, until  you  have  produced  results  which  are  at  least  as  good 
as  those  to  which  you  profess  to  admire  so  much. 

Leo. — Cardboard  is  hardly  durable  enough  ; why  not  use  thin  sheet 
ebonite  ? 

S.  Chamford. — 1.  A mixture  or  solution  containing  one  part  potas- 
sium bichromate  and  two  parts  of  sulphuric  acid  dissolved  in 
about  15  parts  of  water  will  probably  remove  all  traces  in  the 
course  of  a few  days.  2.  Iron  would  be  very  rapidly  dissolved 
under  the  circumstances,  but  copper  would  bo  scarcely  affected. 
3.  It  is  ordinarily  bleached  with  chlorine,  and  the  hyposulphite 
is  used  in  order  to  so  far  ncutrallize  the  halogen  as  to  render  it 
harmless.  4.  A very  dilute  solution  of  the  blue  iodide  of  starch 
forms  a convenient  test,  as  the  salt  immediately  decolourizes  this 
preparation.  5.  You  have  made  some  mistake,  as  ghm-arabic  is 
insoluble  in  alcohol.  Perhaps  you  intended  to  write  sandarac. 
If  this  is  the  case,  no  difficulty  is  likely  to  present  itself.  6.  It 
becomes  very  yellow  when  exposed  to  daylight  for  some  months. 

B.  Leicester. — China  clay  is  useless  for  the  purpose,  and  your 
bath  does  not  work  because  it  contains  hydrochloric  acid.  Add 
two  drachms  of  acetate  of  soda. 

John  Chambers. — 1.  It  will  dissolve  readily  enough,  provided  that 
a very  small  proportion  of  acetic  acid  is  present;  but  it  is  not 
desirable  for  a very  great  excess  of  the  acid  to  be  present. 
2.  Coat  it  with  plain  collodion  before  immersing  it  in  water. 

Jersey. — The  most  convenient  method  is  to  cover  the  back  of  the 
negative  with  the  thin  transparent  paper,  which  is  sold  as  mineral 
paper,  and  then  to  work-in  the  clouds  with  powdered  black-lead 
and  a paper  stump. 

Potterer. — They  will  answer  extremely  well,  but  great  care 
should  be  taken  in  cleaning  them,  as  the  dirt  does  not  show  dis- 
tinctly against  the  dark  colour. 

M.  H.  Pocklington  writes  to  say  that  in  his  hands  the  following 
developer  allows  considerable  latitude  of  exposure,  and  produces 
very  brilliant  and  clear  negatives.  Its  great  defect  is  its  extreme 
slowness.  Take  1 grain  bydrokinone,  1 grain  sulphite  of  soda, 
1 ounce  water.  This  solution  will  not  keep  well.  Add  the 
above  to  one  ounce  of  a ten  per  cent,  solution  of  carbonate  of  soda 
(washing  soda).  Full  development  requires  alout  ten  minutes, 
but  the  negative  does  not  stain  to  a greater  degree  than  the  alum 
bath  is  competent  to  rectify,  if  used  after  development  and  before 
fixing. 

Edward  Cartwright. — 1.  Captain  Abney  has,  by  his  extended 
researches,  made  this  subject  peculiarly  his  own,  and  we  should 
recommend  you  to  carefully  study  his  papers,  all  of  which  have 
appeared  in  the  Photographic  News.  2.  We  think  you  might 
do  as  suggested  without  any  impropriety,  but  cannot  speak  very 
decidedly,  as  we  do  not  know  all  the  circumstances. 

J u.nior. — Although  copper  does  not  dissolve  in  hydrochloric  acid  to 
an  appreciable  extent,  it  would  be  very  unwise  to  make  the  appa- 
ratus of  this  metal,  as  the  united  action  of  air  and  the  acid  would 
very  soon  so  far  corrode  it  as  to  render  it  valueless. 

Pyroxylins. — Sensitize  your  paper  t n a much  stronger  bath  ; one- 
fourth  more  silver  will  probably  answer  very  well 

A.  O.  D. — We  are  under  the  impression  that  it  would  be  necessary’ 
to  obtain  permission. 

F.  T.  Wilson. — 1.  Chloroform  is  the  best  solvent,  but  benzole 
will  answer  fairly  well . 2.  It  is  well  to  remove  traces  of  water  by- 
leaving  it  for  some  days  in  contact  with  a few  fragments  of 
chloride  of  calcium,  and  subsequently  re-distilling  it.  3.  You 
have  probably  made  some  mistake,  as  it  volatilizes  at  a much 
lower  temperature  tbau  that  which  you  name. 

T.  Dunetkorne. — The  prolonged  action  of  heat  has  had  the  effect 
of  destroying  the  setting  power  of  the  gelatinous  mixture  ; and  it 
is  not  likely  that  you  will  mend  matters  by  adding  chrome  alum. 


PHOTOGRAPHS  REGISTERED. 

WMcL.od  (Stornoway)— Photo,  of  the  Stranding  of  II. M S.  Lirelg. 
Mr.  L \Yiieki.ek  (Brighton)— Photo,  of  Boy  with  Pail  and  Spade. 

Messr-.  Lambert  Weston  and  Sox  (Dover) — l’hoto.  of  Duchess  of  Con- 
naught Planting  an  Oak  Tree  in  Connaught  Park,  Dover. 


THE  EVERY-DAY  FORMULARY. 

The  Gri.atino-Beomide  Process. 

Emulsion. — A — Nit.  silver  100  grains,  dist.  water  2 oz.  B — Bromide 
potassium  85  grains, Nelson’s  No.  1 gelatine  20  grains,  di«t.  water  Uoi.,a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C— Iodid  e 
potassium  8 grains,  dist.  water  J oz.  D— Uard  gelatine  120  grains,  water 
several  oz.  When  the  gelatine  is  thoroughly  soaked,  let  all  possible  water  be 
poured  off  D.  A and  B are  now  heated  to  about  120°  Fahr.,  after  which  B 
is  gradually  added  to  A with  corstant  agitation ; C is  then  added.  Heat  in 
water  bath  for  half  an  hour,  and  stirin  I).  After  washingadd  J oz.  alcohol. 

Pyro.  Developer. — No.  1— Strorigliq.ammoniali  oz.,  bromide  potas- 
sium 240  grains,  water  80  oz.  No.  2 — Pyro.  30  grains,  water  10  oz.  In  case 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
and  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing. — Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell's  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts,  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negativciswhitencd  by 
soaking  in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  rinsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts.  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased  ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Backing  Sheets.— A cbromegraphic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shitting  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  back  of  glass  plate. 

The  Wet  Com.odios  Process. 

The  Nitrate  Bath.  — Water  14  oz.,  nit.  silver  1 oz.,  nitric  acid  1 drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler's rouge  i-oz.,  liquid  ammonia  J-oz. 

Film-removing  Pickle  for  Old  Plates.— Water  1 pint,  sulphuric 
acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  6 pints  of  water,  and  1 dr. 
liq.  amnion. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 

pyrcxtlinc  of  suitable  quality  250  grains,  shake  well  and  add  ether  2 pints. 
Iodize  thin  by  mixing  i cith  one-third  of  its  volume  of  alcohol  J pint,  iod. 
amnion.  80  grains,  iod.  cadm.  80  grains,  brom.  ammon.40  grains. 

Normal  Iron  Developer.— Water  10  oz., proto-sulphate  iron  J oz., 
glacial  acetic  acid  4 oz.,  alcohol  J oz.  The  amount  of  proto-sulphate 
iron  may  be  diminished  to  1 oz.  when  full  contrasts  are  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  be  reduced  to  j oz. ; but  when  bath  is  old  more  is  wanted. 

Intensifying  Solution.— Water  6 cz.,  citric  acid  To  grains,  pyro.  30 
grains.  R hen  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Bead  Intensification.— After  neg.  washing,  immerse  in  dist.  water 
100  parts,  red  pruss.  potash  6 parts,  and  nit.  lead  4 parts.  When  it  is  yellowish 
white  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution. — 1.  Potass,  cyanide  200 grains,  water  10  oz.  2.  Sat. 
sol.  of  soa.  hypo. 

Varnish.— Shellac  2 oz.,  sandarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  16  cz. 

Printing  Pbocsssrs. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 
ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution.— Nit.  silver  60  grs.,  water  1 oz.,  sod.  carb.  J gr. 

Acetate  Toning  Bath.— Cbl.  gold  1 gr.,  acet.  soda  20  grs..  water  8 oz. 

Lime  do.— Chi.  gold  1 gr.,  whiting  30  grs.,  boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do. — Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath.  — Sodium  hypo.  4 oz.,  water  1 pint,  liq.  amm.  n.  30  dreps. 

Seducer  for  Deep  Prints. — Cyan,  potass.  5 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Bncaustic  Paste. — Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  lj  oz., 

water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion.— Tough  pyroxj  line  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

Mountant. — 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

CoUotypic  Substratum.— Soluble  glass  3 parts,  white  of  egg  7 parts, 
water  10  parts. 

CoUotypic  Sensitive  Coating.— Bichromate  potash  J oz.,  gela- 
tine 24  oz.,  water  22  oz. 

CoUotypic  Etching  Fluid.— Glycerine  150  parts,  ammonia 50 parts, 

saltpetre  0 parts,  water  25  parts. 

Printing  on  Fabric.— Kemovs  all  dressing  frem  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  alhumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  for  raper. 

Cyanotype  Printing.— Water  1 oz.,  red  prussiatc  of  potash  (fem- 
cyanide)  1 dr.,  animonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

Various. 

Luckardt’s  Betouching  Varnish.— Alcohol  S00  parts,  sandarac 

50  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnish.— Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 
benzole  80  to  100  parts. 

Encaustic  Paste.— Best  white  wax.  in  shreds.  1 oz.,  turpentine  5cz. ; 
dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  flannel. 

Ferrotypes. 

Collodion.  — Ammonium  iodide  35  grains,  cadmium  iodide  25  grains, 
cadmium  Liomide  20  grains,  pyn  xjline  TO  grains,  alcohol  5 oz., ether  5 cz. 

Bath.  - Silver  nitrate  1 cz.,  water  10  1/.,  nitric  acid  1 diop. 

Developer.— Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 cz.,  water  ICoz. 

Fixing  and  Varnish.  -Same  as  wet  collodion  process. 


NEWS 


THE 


CONTENTS. 


PAOK 

Ammonia  in  Emulsions  4G5 

Hot  Weather  and  Gelatino-Bromido  Work  4G1 

Stained  Sensitive  Films  460 

The  Tourist  Photographer 467 

On  the  Use  of  Partial  Photographs  lor  Studying  the  Move- 
ments of  Men  and  Animals.  By  M . Matey 469 

Review  470 

Stellar  Photography  at  Harvard  470 

Notes 471 


PAGE 

Patent  Intelligence  473 

Lessons  in  Optics  for  Photographers.  By  Capt.  Abney 473 

Dry  Plates  versus  Wet.  By  E.  E.  Cadett 475 

A Dictionary  of  Photography  476 

Solid  and  Liquid  Illuminating  Agents.  By  L.  Field.  F.C.S  477 

Correspondence  473 

Proceedings  of  Societies  478 

Talk  in  the  Studio 480 

To  Correspondents 490 


AMMONIA  IN  EMULSIONS. 

The  emulsion  processes  in  which  ammonia  is  used  to  give 
sensitiveness  have  a great  advantage  in  the  ease  with 
which  a fair  degree  of  rapidity  combined  with  good  quality 
can  be  gained. 

It  is  also  well  known  that  it  is  possible  to  gain  by  these 
processes  a very  high  degree  of  sensitiveness,  although 
many  have  been  unable  to  do  this,  and  still  more  have 
found  it  unattainable  without  great  loss  of  quality.  In 
working  in  strict  accordance  with  the  formula}  given  by 
Dr.  Eder  in  his  earlier  writings,  keeping  to  the  temperatures 
and  periods  of  digestion  which  he  prescribes,  we  have 
failed  to  get  anything  above  a moderate  sensitiveness,  and 
the  same  is  the  experience  of  such  of  our  friends  as  have 
worked  the  process  strictly  as  described. 

One  of  the  most  popular  ammonia  processes  in  this 
country  has  been  that  originated  by  Mr.  Cowan,  in  which 
the  digestion  with  ammonia  is  performed  in  the  presence 
of  a very  small  quantity  of  gelatine  only,  the  bulk  being 
afterwards  added.  This  is  an  admirable  process  when  a 
fair  amount  of  sensitiveness — say  that  of  au  average  com- 
mercial plate,  or  about  17°  of  the  sensitometer— is  con- 
sidered sufficient.  This  can  be  got  by  the  use  of  a com- 
paratively low  temperature— not  much  above  lOO’Fahr. 
A very  much  higher  degree  of  sensitiveness  may  be  obtaiued 
by  the  use  of  a higher  temperature,  but  it  is  at  a sacrifice 
of  quality.  The  emulsion  becomes  thin  and  transparent, 
and  unless  very  thick  coating  of  plates  be  resorted  to,  the 
image  totally  wants  pluck. 

The  same  has  resulted  in  our  hands  in  experimenting 
with  Mr.  Henderson’s  lucine.  Working  exactly  as  specified 
by  him,  we  have  got  plates  of  fair  sensitiveness  and  ex- 
cellent quality,  the  emulsion  being  as  opaque  as  could  be 
desired.  On  pushing  the  process  to  get  extreme  sensitive- 
ness, either  by  high  temperature  or  the  addition  of  more 
ammonia,  we  have  got  a very  thin  emulsion. 

An  examination  of  the  film  through  a short  focus 
eye-piece  shows  very  distinctly  what  is  the  cause  of  the 
thinness;  it  arises  from  a great  enlargement  of  the  grains 
of  silver  bromide.  The  reason  for  this  appears  evident : 
the  small  quantity  of  gelatine  present  loses  all  its  viscoscity 
atthe  high  temperature,  and  does  not  prevent  the  cohesion 
or  running  together  of  the  particles,  which  consequently 
aggregate  themselves  into  comparatively  large  masses. 

From  this  it  would  appear  evident  that  a larger  quantity 
of  gelatine  is  desirable  in  the  emulsion  whilst  digestion 
goes  on.  In  some  recent  experiments  we  reverted  to 
what  is  practically  the  original  formula  of  Dr.  Eder,  using, 
however,  much  higher  temperature. 

It  is  pretty  well  known  that  the  limit  of  temperature 
laid  down  by  Dr.  Eder — namely,  100°  Fahr. — may  be 
exceeded  with  safety  ; but  to  how  great  an  extent  it  may 
be  exceeded  is  not  generally  understood,  we  believe. 


In  our  first  experiment,  we  made  up  an  emulsion  as 
follows.  We  took — 

Silver  nitrate  400  grains 

Potassium  bromide  340  „ 

Potassium  iodide 15  ,, 

Nelson’s  No.  1.  gelatine 100  ,, 

Hard  gelatine  500  „ 

The  silver  was  dissolved  in  eight  ounces  of  water,  and  the 
bromide  iodide  and  No.  1 gelatine  in,another  eight  ounces. 
The  solutions  were  then  emulsified  together  at  a high 
temperature,  and  the  emulsion  was  boiled  for  twenty 
minutes.  The  hard  gelatine  was  added  with  the  smallest 
quantity  of  water  necessary  to  soak  it — about  six  ounces. 
The  temperature  now  was  about  160°  Fahr. — a degree 
or  two  above  it,  if  anything.  An  ounce  and  a quarter  of 
the  strongest  ammonia  was  added,  and  the  whole  was 
stirred  for  several  minutes,  then  put  on  one  side  to  cool 
slowly.  At  the  end  of  an  hour  it  had  cooled  to  about 
100°  Fahr.  The  emulsion  was  neither  very  thin  nor  granular. 
It  was  left  for  twenty-four  hours  before  washing  was 
attempted,  and  here  came  the  first  difficulty : the 

ammonia  at  the  high  temperature  had  so  far  softened  the 
gelatine  that  it  wrould  not  set  stiff.  It  appeared  stiff 
enough,  however,  not  to  dissolve  away  in  cold  water,  and 
we  washed  it.  It  took  up  so  much  water  that,  instead  of 
25  ounces  of  emulsion  as  intended,  we  had  50  ounces. 
On  attempting  to  coat  plates  with  this,  we  had  an  alto- 
gether novel  experience.  The  levelling  shelf  was  cooled 
with  ice,  and  plates  coated  were  left  on  it  for  twenty 
minutes. 

At  the  end  of  that  time,  on  tilting  them  up,  a clear 
liquid  was  poured  off,  the  silver  bromide  having,  in  fact, 
precipitated  itself  on  the  glass.  The  only  expedient  was 
either  to  throw  down  the  emulsion  with  alcohol,  or  to  add 
gelatine  to  it.  We  chose  the  latter,  and  as  a consequence 
we  got  an  emulsion  very  thin,  simply  on  account  of  dilution, 
but  otherwise  showing  good  qualities.  Plates  coated  with 
it  were  at  the  best  somewhat  transparent,  but  there  was  no 
granularity  ; and,  far  from  giving  a thin  image,  as  do  plates 
coated  with  emulsion  prepared  by  digestion  with  ammonia 
in  presence  of  a very  small  quantity  of  gelatine,  they  gave 
on  development  an  image  of  exceeding  density.  The  sensi- 
tiveness was  very  great — 22p  to  23°  of  the  sensitometer. 

We  modified  our  formula  to  avoid  the  difficulty  we  have 
mentioned,  and,  as  modified  and  here  given,  we  can  recom- 
mend it  to  those  who  wish  to  make  rapidly  an  emulsion  of 
excessive  sentitiveness.  The  formula  is  — 

Silver  nitrate  400  grains 

Potassium  bromide  340  „ 

Potassium  iodide  .,  15  ,, 

Nelson’s  No.  1 gelatine 100  „ 

Hard  gelatine  300  „ 

The  silver  nitrate  is  this  time  mixed  with  only  4 ounces 


4G6 


IHE  PHOTOGRAPHIC  NEWS. 


of  water,  and  the  potassium  bromide,  potassium  iodide’ 
and  No.  1 gelatine  with  other  4 ounces  ; the  hard  gelatine’ 
again,  with  the  least  quantity  of  water  that  will  swell  it. 

Boiling  is  performed  as  before,  the  bard  gelatine  is 
added,  the  whole  is  either  heated  or  cooled  to  160°F.  as  is 
found  necessary,  and  5 drams  of  the  strongest  ammcnia 
(about  the  same  percentage  as  before)  are  added.  Stirring 
is  performed,  and  it  is  so  arranged  that  the  solution  will 
take  an  hour  to  cool  to  100°F.  When  it  has  reached  that 
temperature,  200  grains  more  of  hard  gelatine  soaked  in 
water  are  added.  There  will  be  just  enough  heat  left  in 
the  emulsion  to  melt  this,  after  which  the  whole  will  set 
very  quickly.  It  may  with  advantage  be  left  for  twenty- 
four  hours,  as  probably  a slight  increase  of  sensitiveness 
will  result.  After  this  it  is  washed  as  usual.  It  will 
probably  make  about  25  ounces  of  emulsion. 

The  result  of  our  experiments,  conducted  as  recorded 
above,  was  an  emulsion  very  fairly  opaque,  not  granular 
above  the  average,  of  the  very  highest  sensitiveness  (25° 
of  the  sensitometer),  and  giving  go  great  density  of  image 
that  one-half  to  three-quarters  of  a grain  of  pyro  to  the 
ounce  of  developer  was  sufficient  to  give  a plucky 
negative. 

Both  the  emulsions  which  we  made  gave  plates  showing 
green  fog  to  a quite  appreciable  extent,  but  not  sufficiently 
to  spoil  the  printing  qualities  of  the  negatives. 

The  opacity  of  the  last  described  emulsion  was  very 
fairly  good,  but  not  such  as  would  be  got  by  the  boiling 
process.  With  the  quantity  made — 400  grains  of  silver 
being  used — sixteen  plates,  12  by  10,  were  coated.  With 
a boiled  emulsion,  even  of  the  highest  degree  of  sensitive- 
ness, twenty-four  could  have  been  coated. 

A fact  is  worth  noting  in  connection  with  the  ratio  of 
silver  bromide  to  gelatine  in  emulsions.  When  the 
quantity  of  silver  bromide  is  comparatively  large  in  pro- 
portion to  the  gelatine,  so  that  plates  dry  with  a matt  sur- 
face, they  get  less  transparent  in  drying.  If  this  propor- 
tion of  gelatine  is,  on  the  other  hand,  so  high  that  a glazed 
surface  results,  the  plates  get  more  transparent  on  drying, 
or  do  not  alter.  The  proportions  which  we  mentioned 
above  give  a matt  surface. 


HOT  WEATHER  AND  GELATINO-BROMIDE 
WORK. 

The  present  season  being  the  time  of  year  when  the  photo- 
grapher may  expect  the  most  abundant  crop  of  blisters,  frills, 
and  other  troubles  of  like  character,  it  may  be  well  to  note 
a few  points  bearing  on  this  subject. 

It  is,  however,  highly  gratifying  to  comparo  the  earlier 
period  of  gelatino- bromide  work  with  the  present,  and  to 
find  a most  decided  improvement  as  regards  the  stability  of 
the  film ; this  result  is  due  to  the  circumstance  that 
emulsion  is  generally  so  made  in  the  present  time  as  to 
guard  the  gelatine  against  such  deteriorations  as  serve  to 
bring  about  frilling  and  blistering.  In  addition  to  this, 
it  is  a common  practice  to  treat  the  emulsion  with  a 
small  proportion  of  chrome  alum — a proceeding  not  alto- 
gether without  objection,  as  films  prepared  from  such  an 
emulsion  gradually  become  increasingly  impervious  to 
aqueous  liquids,  and  are  consequently  liable  to  be  very 
sluggish  under  the  action  of  the  developer.  Mere  immer- 
sion in  a bath  of  chrome  alum  before  development  is  fre- 
quently useful  as  a preventive  of  frilling ; but  this  pro- 
ceeding alone  is  nearly  useless  when  the  gelatine  has  become 
thoroughly  softened  or  deteriorated  by  long  emulsification. 
In  such  a case  it  is  advisable  to  adopt  Captain  Abney’s 
method  of  coating  the  film  with  plain  collodion.  The 
collodion  should  be  applied  to  the  plate  precisely  as  if  a 
glass  were  being  coated  for  the  bath  process,  and  as  60on  as 
the  collodion  has  thoroughly  so1,  the  film  is  immerse  1 in 
a ten-grain  solution  of  chrome  alum.  It  is  well  to  allow 
the  plate  to  remain  ia  this  bath  for  about  twice  the 
time  required  for  the  thorough  disappearance  of  repulsion 


[July  27,  1883. 


lines  on  withdrawing  the  plate.  A collodion  which  is 
neither  decidedly  horny  nor  extremely  weak  should  bo 
employed,  a sample  well  adapted  for  the  ordinary  wet  pro- 
cess being  generally  suitable;  and  before  proceeding  to 
development  it  is  well  to  rinse  the  plate  once  with  water. 

Such  precautions  as  working  in  the  coolest  place  available, 
and  making  use  of  moderately  bard  and  cold  water  when  it 
can  be  obtained,  scarcely  require  mention  ; but  in  any  case, 
it  is  as  well  to  harden  the  water  which  is  to  be  used,  by  the 
addition  of  a small  proportion  of  Epsom  salts — one  ounce  to 
a bucket  of  water  being  generally  sufficient.  After  fixation, 
the  chrome  alum  bath  may  be  used  again,  or  a saturated 
solution  of  common  alum  may  be  employed;  this  second 
hardening  being  a good  preliminary  to  the  long  washing 
which  is  always  needful. 

In  spite  of  the  precautions  referred  to  above,  it  sometimes 
happens  that  a plate  will  frill  ; and  should  the  frilling  be  so 
decided  as  to  indicate  that  it  will  extend  to  an  essential  part 
of  the  picture,  it  generally  becomes  advisable  to  take  no 
further  precautions  against  it,  but  rather  to  encourage  it, 
with  the  view  of  completely  removing  the  film  from  the 
glass,  and  mounting  it  upon  a fresh  plate.  Frilling  cau 
generally  be  encouraged  by  gently  pressing  with  the  palm 
of  the  hand  on  those  portions  of  the  film  which  immediately 
adjoin  tbe  frilled  parts;  the  plate  being  meanwhile  under 
water.  By  very  little  careful  work  of  this  kind,  combined 
with  a slight  tendency  towards  a twistiug  action  during  the 
time  pressure  is  exercised,  it  ordinatily  becomes  quite  easy 
to  completely  and  rapidly  detach  the  film.  It  should  be 
allowed  to  remain  in  water  until  those  parts  which  have 
separated  most  recently  from  the  glass  have  swelled  suffi- 
ciently to  attain  the  same  scale  of  magnitude  as  those  parts 
which  frilled  up  at  an  earlier  period  ; when  it  may  be  caught 
on  a fresh  glass  (which  must  of  course  be  somewhat  larger 
than  the  oiigiual  one),  and  allowed  to  dry.  It  is  obvious 
that  it  can  be  so  placed  on  the  fresh  glass  as  to  form  either 
a direct  negative  or  a reversed  negative  ; but  inconvenience 
may  possibly  arise  from  the  siz;  of  the  transferred  negative 
being  considerably  larger  than  that  of  the  original  plate; 
this  enlargement  being  of  course  accompanied  with  a corres- 
ponding reduction  of  vigour  or  intensity.  It  is,  however, 
easy  to  reduce  the  floating  film  to  its  original  dimensions,  or 
even  much  smaller,  before  putting  it  upon  a fresh  glass,  this 
end  being  attained  either  by  adding  dilute  sulphuric  acid  or 
alcohol  to  the  water  in  which  the  film  is  floating.  The 
amount  added  will  naturally  depend  or.  the  degree  of  reduc- 
tion wished  for,  and  in  order  to  economise  material,  it  is  well 
to  pour  off  the  greater  part  of  the  water  before  adding  the  alco- 
hol or  the  sulphuric  acid.  If  sulphuric  acid  is  used,  it  is  neces- 
sary to  well  rinse  the  film  with  water  when  it  is  on  tbe  fresh 
plate,  and  for  this  reason  alcohol  is  generally  to  be  preferred. 


STAINED  SENSITIVE  FILMS. 

Bkomide  of  silver  films  stained  with  eosine  are  no  novelty. 
Dr.  Hermann  Vogel,  of  Berlin,  Major  Waterhouse,  of  Cal- 
cutta, and  others,  have  made  experiment  with  sensitive  films 
stained  with  this  rosy  pigment,  the  haloid  salt  of  silver 
being  contained,  however,  in  collodion,  and  not  gelatine. 
Dr.  Vogel,  it  may  be  remembered,  distinctly  avowed  that  in 
the  case  of  certaiu  colours,  thie  staining  of  the  fiim  was  bene- 
ficial, in  so  far  as  the  eosine  acted  in  the  capacity  of  an 
“optical  sensitizer."  A stained  film,  according  to  Dr. 
Vogel,  was  sensitive  to  certain  rays,  which,  in  its  unstained 
condition,  had  but  little  or  no  action;  and  Major  Water- 
house,  on  several  occasions,  obtained  results  which  certainly 
bore  out  the  theory. 

Those  interested  in  Dr.  Vogel’s  experiments,  published 
nine  or  ten  years  since,  will  find  them  described  in  previous 
columns  of  the  News;  but  in  considering  the  subject  they 
must  remember  two  things.  In  the  first  place,  the  use  of 
“optical  sensitizers  ” is  very  limited,  and  their  action,  even 
according  to  Vogel  and  Waterhouse,  of  so  trifling  a nature 
that  hardly  any  practical  good  can  come  of  their  employ 


Jttlt  27,  1883.) 


THE  PHOTOGRAPHIC  NEWS 


4 G7 


ment  in  every-day  photography.  The  other  point  is,  that 
although  the  beneficial  action  of  staining  may  be  appreci- 
ated in  the  case  of  the  colours  of  the  spectrum,  which  are 
pure  and  constant,  it  is  very  different  with  our  pigments, 
which  are  impure  and  inconstant.  The  region  of  the  red 
and  orange  in  the  spectrum  is  one  thing,  and  that  produced, 
say,  by  vermilion  or  the  chromes  is  another.  Thus,  there 
are  blues  we  meet  with  every  day  that  are  rendered  almost 
white  in  photography  ; while  others — the  Prussian  blue,  for 
instance — come  out  dark  in  the  photographic  print,  and  are 
not  incorrectly  rendered  by  the  camera  in  respect  to  light 
and  shade.  This  fact  must  always  be  borne  in  mind  by  the 
photographer ; he  can  nover  absolutely  predict  what  shade 


a coloured  fabric  will  appear  in  a photograph,  although  he 
knows  very  well  that  most  blues  come  out  light,  and  most 
yellows  come  out  dark.  Pigments,  whether  they  are  aniline 
dyes  or  body  colours,  are  very  different  in  their  action  to  the 
pure  tints  of  the  spectrum. 

We  are  led  to  make  these  observations  by  reason  of  an 
article  that  ha3  recently  appeared  in  La  Nature.  Our  con- 
temporary publishes  two  diagrams  which  we  reproduce,  and 
which  are  supposed  to  prove  beyond  cavil  the  excellence  for 
studio  work  of  certain  dry  plates  manufactured  by  a Paris 
firm.  The  plates  are  stained  with  eosine,  and  as  a conse- 
quence, we  are  assured,  their  capacity  for  reproducing 
colours  at  their  proper  value  in  respect  to  light  and  shade 


is  very  marked.  Mr.  J.  R.  Sawyer,  in  a recent  paper  read 
before  the  Photographic  Society  of  Great  Britain,  put  this 
matter  of  reproduction  by  photography  in  a very  clear  light. 
What  is  wanted,  said  Mr.  Sawyer,  is  for  photography  to  act  | 
the  part  of  engraver,  and  translate  the  colours  of  an  object 
into  light  and  shade,  which,  to  the  eye,  produce  an  effect 
similar  to  that  of  the  original.  This,  we  are  led  to  infer, 
these  special  bromide  plates,  stained  with  eosine,  and  manu- 
factured in  Paris,  enable  the  photographer  to  do.  The  left- 
hand  wood-cut  shows  certain  colours  as  depicted  by  the  ordin- 
ary gelatine  plate,  the  right-hand  one  the  same  colours 
depicted  by  an  eosine  gelatine  plate.  In  the  eosine  plate  it 
will  be  seen  that  the  yellow  is  depicted  light,  and  the  blue 
dark,  and  there  is  that  contrast  between  the  two  which  in 
most  cases  it  is  desirable  to  acquire  in  photography. 

But  it  must  be  borne  in  mind,  it  is  only  a wood-cut  we 
are  looking  at,  and  not  a photographic  print.  As  we  have 
just  said,  there  is  little  doubt  that  staining  with  eosine  will 
permit  the  photographic  film  better  to  appreciate  certain 
colours  in  their  proper  light,  but  this  fact  only  is  true  in 
regard  to  the  colours  of  the  spectrum.  Veiy  possibly,  too, 
eosine  may  also  have  a beneficial  effect  in  the  translating  of 
certain  pigments  ; but,  at  any  rate,  not  to  the  extent  these 
diagrams  would  lead  us  to  believe.  We  fear  the  results  are 
very  much  exaggerated. 

In  any  case,  our  readers  may  easily  make  the  experiment 
for  themselves.  Eosine  is  comparatively  cheap.  It  may  be 
purchased  at  any  wholesale  druggist — say,  Burgoyne’s  or 
Hopkin  and  Williams— ?at  about  fifteenpence  an  ounce,  and 


this  amount  would  suffice  to  stain  many  gross  of  plates. 
Eosine— which,  by  the  way,  is  a bromine  compound— dis- 
solves readidy  in  water,  and  a cherry-red  solution  would  bo 
suitable  for  experiment.  For  ourselves,  we  have  found  that 
staining  with  eosine  certainly  has  a tendency  to  reproduce 
certain  blues  of  a darker  tint,  while  yellow — we  essayed  a 
picture  of  ordinary  yellow  tammy — appears  to  be  rendered 
lighter  than  with  the  unstained  film.  But  the  results  we 
obtained  were  too  insignificant  to  be  of  any  practical  value, 


THE  TOURIST  PHOTOGRAPHER. 

OVEE  THE  SXELVIO  PASS. 

The  Stelvio  has  much  to  recommend  it  as  an  enjoyable  tour. 
It  is  the  highest  pass  in  Europe  available  for  carriages,  it 
represents  a most  stupendous  bit  of  road  engineering,  and 
finally  it  traverses  one  of  the  grandest  mountain  districts  on 
the  Continent.  The  way  lies  under  the  very  shoulder  of 
the  snowy  Ortler,  the  highest  peak  in  the  Tyrol,  and  in 
close  proximity  to  the  Bernina,  an  ice-crusted  range,  as 
mighty  almost  as  that  of  Mont  Blanc.  A track  that  leads 
the  traveller  a thousand  feet  above  the  line  of  perpetual 
snow— for  the  top  of  the  Stelvio  is  9,000  feet — must  needs 
biing  before  him  new  and  varied  scenes,  not  the  least  strik- 
ing of  which  is  the  Monte  Crystallo  glacier,  a smooth  mass 
of  gleaming  white,  like  the  icing  of  a gigantic  bride-cake, 
that  sweeps  down  to  within  a few  yards  of  the  road. 

The  Stelvio  leads  from  Italy  into  Austria.  Coming  from 


468 


THE  PHOTOGRAPHIC  NEWS 


[July  27,  1883. 


the  South,  you  take  the  steamer  to  the  northern  point  of  should  be  employed  to  depict  the  smooth  ascending  road, 
Lake  Como  — Colico — and  carriage  or  diligence  thence  for  the  great  highway  is  a marvel  of  construction,  and  is 
through  the  sultry  valley  of  Yalteline  to  Bormio  at  the  perhaps  seen  at  its  best  rising  from  the  valley.  A wild 
foot  of  the  Pass.  We  crossed  the  Stelvio  with  a knapsack,  background  should  be  chosen — it  is  easy  enough  to  find — 
but  we  did  not  foot  it  through  the  Valteline.  The  damp  for  the  finished  piece  of  engineering  appears  to  more  advan- 
heat  of  this  Italian  valley  in  summer  is  well-nigh  insup-  tage  in  its  rugged  setting  of  big  grey  cliff's  and  hoary- 
portable,  and  therefore  we  recommeud  a conveyance  through  headed  mountains.  Take  care  that  your  equipment  is  in 
it  under  any  circumstances.  A generous  red  wine  grows  good  order  before  setting  out,  for  it  will  be  some  time  ere 
here  that  will  bear  comparison  with  any  vintage,  and  we  you  reach  another  hotel  like  that  at  the  Baths, — or,  indeed, 
advise  tourists  in  the  neighbourhood  to  call  for  Yalteline  or  any  houses  worthy  of  the  name.  If  you  caunot  foot  it  over 
Veltner,  generally  the  cheapest  and  best  liquor  on  the  carle,  the  Stelvio,  and  are  not  inclined  to  go  to  the  expense  of  a 
We  have  specified  Bormio  as  a good  starting-point  for  private  vehicle,  there  is  a conveyance  that  traverses  the  I’ass 
the  Stelvio,  but  Bormio  Bath,  or  Bagni  di  Bormio,  a every  other  day,  or  twice  a week,  that  will  aid  the  traveller 
couple  of  miles  above  the  town,  is  better  still,  for  the  little  materially.  This  is  the  Slellwagen , a sort  of  second-class 
Italian  towu  affords  but  poor  accommodation.  You  won’t,  6tage  coach.  that  m0VeS  to°  8‘0Bly  for  ordinary  travelling, 
however,  hear  much  about  Bormio  if  you  start  from  the  ,but  1S  bandy  to  give  an  occasional  lift  or  for  carrying 
Austrian  side,  for  the  German  for  Bormio  is  Worms,  a free  lugga£e-  I he  Baths  of  Bormio  are  already  at  an  elevation 
translation,  truly.  But  really  one  masn’t  mind  what  of  4,000  feet— we  have  ascended  a good  deal  on  our  way 
foreigners  say.  For  instance,  these  6ame  Austrians  speak  of  'rom  Como  lake— so  that  there  is  a climb  of  5,000  feet  to 
the  Stilfser’s  Joch  instead  of  Stelvio;  the  Italians  call  the  summit  of  the  1 ass.  But  the  road  is  very  good  the 
Florence  Firenze;  the  Danish  say  Kjbbenhavn  for  Copen-  wh°le  way,  and  a steady  walk  of  three  or  four  hours  will 
hagen,  and  we  have  even  heard  of  benighted  Dutchmen  who  bring  you  to  the  top. 

persisted  in  speaking  of  the  Hague  as  ’sGravenhage.  There  is  no  lack  of  subjects  for  pictures.  The  smoot 

The  hostelry  built  against  the  mountain  at  Bormio  Baths  highway  ascends  gradually  by  desolate  mountain  ravine 
will  make  a good  subject  lor  No.  1 plate  ; and  another  plate  now  running  along  a mere  shelf  hewn  out  of  the  precipito 


cf'ff,  now  through  tunnels  pieced  into  the  solid  rock.  At  Here  is  a sketch  of  a photograph  taken  by  our  friend, 
^8ngerous  parts,  the  *oad  is  roofed  over  with  strong  masonry,  Ilerr  Piiimm,  of  Berlin,  from  under  one  of  the  arched  stone 
*o  protect  the  traveller  from  falling  avalanches,  which  come  refuges  on  the  road.  There  is  the  road  winding  in 
thnndeting  down  from  the  cliff’s  above  in  early  spring,  and,  front  round  the  shoulder  of  tho  mountain,  with  another 
passing  harmlessly  overhead,  tumble  into  the  abyss  below.  J avalanche  shed  just  before  us.  The  picture  brings  to  mind 
As  in  the  case  of  most  Alpine  highways,  there  are  refuges  at  vividly  the  up-hill  climb  to  the  summit  of  the  Pass,  and 
every  few  miles— stone-built  tenements — for  the  protection  also  serves  to  recall  a joke  perpetrated  by  our  travelling 
of  storm-bound  travellers  and  of  the  road-menders,  who  are  companion.  While  we  were  busy  focussing  the  camera  at 
continually  at  work  during  the  summer  months  effacing  the  one  of  these  tunnel  outlets,  we  remember  on  one  occasion 
ravages  of  wind  and  weather.  that,  uncovering  our  heads  for  the  moment,  and  looking  back 


JctT  27,  1883. ] 


THE  PHOTOGRAPHIC  HEWS. 


469 


into  tho  dark  on  a call  from  our  fiiend/  we  saw  the  tuunel 
suddenly  lit  up  by  a dozen  tiny  lights,  lie  had  stuck  a 
number  of  wax  vestas  in  a row  against  the  rock,  aud  thus 
constituted  a chain  of  Vauxhall  lights  in  miniature  for  his 
amusement,  while  we  were  engaged  under  the  dark  cloth. 

Tho  wayside  is  very  weird  and  wild  until  you  approach 
the  top  of  the  Pass  ; and,  as  we  have  said,  there  is  but  the 
poorest  accommodation  on  the  road,  so  that  the  tourist  had 
best  carry  something  with  him.  A packet  of  tea,  carried 
inside  a little  tin  kettle,  with  a spouge  spirit  lamp,  is  a 
wonderful  comfort,  for  even  dry  bread  with  tea  is  palatable. 
(N.  B. — Take  pure  spirit  for  your  lamp  ; it  is  not  dear  on 
the  Continent,  and  if  it  upsets,  or  the  vessel  containing  it 
leaks,  there  is  no  unpleasant  smell  upon  your  clothes). 
Another  “comfort,”  to  use  a medical  term,  is  a small  pot 
of  Liebig’s  extract  of  meat  ; you  can  get  all  sorts  of  soups 
at  the  inns,  made  of  every  article  under  the  sun  but  meat, 
so  that  a spoonful  of  Liebig  added  usually  makes  a palatable 
mess. 

Another  word  on  ways  and  means  while  we  are  on  the 
subject.  Some  time  ago,  the  general  advice  was  to  travel 
with  English  money  ; English  sovereigns  carry  conviction 
wherever  you  go,  and  are  nowhere  refused.  This  is  quite 
right,  as  far  as  it  goes ; but  for  the  past  ten  years  we  have 
taken,  instead,  to  travelling  with  gold  twenty-franc  pieces, 
and  we  have  got  along  with  much  fewer  anxieties.  For 
this  reason  : of  the  three  gold  pieces  best  known  in  Western 
Europe,  the  sovereign,  20-mark  piece,  and  20-frauc  piece, 
the  last  is  of  the  least  value,  while  it  is  even  more  current 
than  the  sovereign.  Now,  with  sovereigns,  one  is  continu- 
ally liable  to  have  them  mistaken  for  the  20-franc  piece, 
worth  only  sixteen  shillings,  and  there  is  always  the  onus 
on  your  part  of  setting  matters  right ; whereas  the  traveller 
with  20-franc  pieces  need  never  have  any  anxiety  about 
“ errors  ” of  this  kind — in  our  experience  they  never  arise — 
so  he  is  spared  of  the  trouble  of  looking  out  for  them. 
One  day,  in  Switzerland,  between  the  hours  of  ten  and 
noon,  we  had  occasion  to  call  the  attention  of  officials  on 
railroad  and  steamer  no  less  than  three  times  to  the  fact 
that  they  had  mistaken  an  English  gold  piece  for  a French 
one. 

The  Stelvio  is  an  important  military  position  when  war 
breaks  out  between  Italy  and  Austria.  In  1859,  and  again 
in  1866,  it  was  taken  possession  of  by  Italian  troops,  who 
blew  up  a bridge,  and  blockaded  the  roadway  to  prevent  the 
Austrians  from  forcing  an  entrance  by  this  line  of  route. 
The  Austrians  have  a strong  fortress  on  the  other  side  of  the 
pass,  and,  indeed,  command  the  whole  northern  slope  ; we 
need  scarcely  recommend  photographers  not  to  work  when 
in  sight  of  the  fortifications.  The  sentries  are  very  keen- 
eyed, and  very  jealous  of  strangers. 

Only  as  you  begin  to  approach  the  summit  of  the 
Stelvio  do  you  suddenly  feel  that  you  are  in  a realm  of 
mom  tains.  We  know  nothing  so  exhilarating  and  pulse- 
quickening  as  approaching  the  top  of  a grand  peak  or  pass  : 
the  cold  crisp  air  that  suddenly  envelops  you,  the  vista  that 
gradually  opens  wider  and  wider,  clearer  and  clearer,  the 
white  peaks  and  glaciers  that  grow  up  around  you.  The 
snowy  Monte  Crystallo  rises  on  your  right,  and  on  both 
sides  are  6now  slopes  that  hem  in  the  narrow  road  between 
them.  Rarely  is  the  Stelvio  free  from  snow  except  in  late 
summer.  The  mighty  white  Order  comes  into  view,  and 
peak  after  peak  rises  up  until  there  are  innumerable  sugar- 
loaf  mountains  before  you.  At  last  you  reach  the  big 
obelisk — at  first  sight  like  a gigantic  pulpit — at  the  top  of 
the  Fass,  which  marks  the  boundaries  of  Italy,  Austria,  and 
Switzerland. 

There  is  a rough  building  at  the  very  top,  one  of  the 
series  of  refuges,  called,  if  we  remember  aright,  Ferdinands- 
hbhe.  It  is  generally  uninhabited,  and  what  was  worse, 
the  door  of  the  building  was  securely  locked  at  the  time  of 
our  visit.  So  the  tourist  photographer  must  not  rely  upon 
any  shelter,  mush  less  sleeping  accommodation  here.  At 
Santa  Maria,  an  hour’s  march  from  the  summit,  and  again  a 


couple  of  thousand  feet  dowu  on  the  Austrian  side,  there  is 
simple  accommodation  to  be  had,  the  houses  contaiuing  each 
of  them  about  a dozen  beds  and  balf-a-dozen  stoves,  for  the 
latter  are  quite  as  important  as  the  former  in  this  lofty 
district.  There  is  no  “hospice”  or  religious  establishment 
on  the  Stelvio,  as  is  the  case  of  most  Swiss  passes,  where  a 
body  of  monks  reside,  ready  to  afford  assistance  to  un- 
fortunate travellers,  and  where  one  may  pass  the  night 
tolerably.  The  fact  is,  a habitation  could  not  be  built 
sufficiently  strong  up  here  to  withstand  the  dements,  for 
there  is  no  plain  or  basin  at  the  top,  as  on  most  Alpine 
thoroughfares.  The  Stelvio  is  a cutting  between  two  rugged 
mountains,  and  one  would  be  always  in  peril  from  earth- 
slips  and  avalanches.  A little  while  ago  there  was  an 
Austrian  post-house  a short  distance  from  the  summit,  where 
horses  were  to  be  hired,  and  travellers  might  obtain  shelter 
and  refreshment ; but  one  day  an  avalanche  came  rumbling 
down  the  mountains,  and  the  mass  of  ice  and  rock  smashed 
the  little  house  to  atoms,  killing  every  being  in  the  place, 
the  postmaster  himself,  poor  fellow,  being  found  under  a 
bit  of  rock  that  a dozen  men  could  scarcely  stir. 

( To  be  Continued.) 


ON  THE  USE  OF  PARTIAL  PHOTOGRAPHS  FOR 

STUDYING  THE  MOVEMENTS  OF  MEN  AND 

ANIMALS. 

BY  M.  MAREY.* 

When  a series  of  photographs  representing  the  successive 
attitudes  of  an  auimal  is  taken  on  the  same  plate,  it  is 
naturally  desirable  to  multiply  these  images,  for  the  pur- 
pose of  getting  the  greatest  possible  number  of  phases  of 
the  movement.  But  when  the  animals  to  be  reproduced 
do  not  move  rapidly,  the  number  of  images  is  limited  by 
their  superposition  and  the  resulting  confusion.  Thus,  a 
man  running  at  a moderate  pace  may  be  photographed  ten 
times  in  a second,  without  the  impressions  on  the  plate 
being  confused.  If,  at  times,  one  leg  is  depicted  on  a part 
already  bearing  the  trace  of  another  leg,  the  superposition 
does  not  alter  the  image ; the  whites  become  only  more 
intense  in  those  poritions  of  the  plates  receiving  an 
impression  twice  over ; but  the  contours  of  both  limbs  are 
still  easily  to  be  distinguished.  In  the  case,  however,  of  a 
man  walking  slowly,  these  superpositions  are  so  numerous 
as  to  render  the  reproduction  very  confused. 

It  is  to  remedy  this  defect  that  I have  had  recourse  to 
partial  photography ; that  is  to  say,  I have  suppressed 
certain  part3  of  the  image,  that  the  rest  may  be  more  easily 
understood. 

In  the  method  which  I employ,  only  white  and  light 
objects  affect  the  sensitive  plate ; it  suffices,  therefore,  to 
clothe  that  portion  of  the  body  to  be  suppressed  iu  black. 
If  a man  dressed  in  a parti-coloured  costume  of  black  and 
white  walk  over  the  track,  by  turning  the  white  parts  of  his 
apparel  towards  the  camera — the  right  side,  for  instance — 
he  will  be  reproduced  as  if  he  only  possessed  the  right  half 
of  his  body.  These  images  permit  the  various  successive 
phases  of  movement  to  be  accurately  followed,  the  rota- 
tion of  the  foot  and  leg  when  both  on  the  ground  and 
lifted  up,  and  the  oscillation  of  the  limb  at  the  hip  joint 
while  moving  along  in  a continuous  manner. 

These  partial  photographs  are  also  useful  in  the  analysis 
of  rapid  movements,  because  they  allow  of  the  number  of 
attitudes  represented  being  multiplied.  At  the  same  time, 
as  a man’s  leg  is  rather  large,  its  reproduction  cannot  be 
multiplied  very  often,  owing  to  confusion  by  superposition. 
I have  therefore  sought  to  diminish  the  size  of  the  images, 
so  as  to  admit  of  repetition  at  very  short  intervals.  The 
method  consists  in  attiring  the  walker  in  a black  costume 
having  narrow  bands  of  bright  metal  applied  down  the 
length  of  the  leg,  thigh,  and  arm,  following  exactly  the 
direction  of  the  bones  of  the  limbs.  This  plan  permits 

• Con‘i>tei  Rendu}  of  the  French  Academy  of  Sciences. 


470 


'THE  PHOTOGRAPHIC  NEWS. 


[July  27,  1883. 


the  number  of  images  formerly  produced  to  be  increased  at 
least  tenfold;  thus,  instead  of  ten  photographs  per  second, 
one  hundred  may  be  taken.  To  do  this  it  is  not  necessary 
to  change  the  speed  of  rotation  of  the  disk,  but,  instead  of 
piercing  it  with  one  aperture,  ten  holes  are  made  equally 
disposed  around  the  circumference.* 


The  figure  here  shown  is  from  one  of  the  negatives  pro- 
jected on  the  screen  from  the  lantern.  The  dotted  lines 
have  been  filled  in  to  form  direct  lines.  The  figure  shows 
the  successive  phases  of  one  step  in  running.  Only  the 
left  leg  is  represented  ; the  lines  correspond  to  the  thigh, 
leg,  and  foot  ; the  dots  to  the  joints  at  the  ankle,  knee,  and 
hip. 

This  diagram  shows  pretty  clearly  the  alternations  of 
flexion  and  extension  of  the  leg  on  the  thigh,  the  undulat- 
ing trajectories  of  the  foot,  knee,  and  hip,  and  yet  the 
number  of  images  does  not  exceed  sixty  in  a second.  A 
revolving  shutter  pierced  with  more  holes  would  give 
more  perfectly  the  angular  displacements  of  the  leg  on  the 
thigh,  and  the  positions  of  the  three  joints.  The  finer 
the  dotted  lines  expressing  the  direction  of  the  limbs,  the 
more  the  images  may  be  multiplied  ; but,  in  the  present 
case,  sixty  times  in  a second  more  than  suffice  to  show  the 
displacements  of  the  limbs  when  running. 

In  this  photographic  analysis  the  two  factors  of  move- 
ments—time  and  space— cannot  be  both  estimated  per- 
fectly. Knowledge  of  the  positions  the  body  has  occupied  in 
space  requires  that  one  should  possess  complete  and  distinct 
images  ; in  order  to  obtain  such  images,  a sufficiently 
long  space  of  time  must  elapse  between  the  two  successive 
photographs.  If,  on  the  contrary,  it  is  desirable  to  esti- 
mate time  more  perfectly,  the  frequency  of  recurrence  of 
the  image  must  be  greatly  increased.  To  bring  these  two 
exigencies  as  closely  together  as  possible,  lines  and  points 
must  be  chosen  for  the  partial  photographs  which  best 
show  the  successive  attitudes  of  the  body. 

It  is  curious  to  see  that  this  expression  of  successive 
attitudes  of  the  trunk  and  limbs,  by  means  of  a series  of 
lines  expressing  the  direction  of  the  bones,  has  been 
precisely  adopted  by  the  ancient  authors  as  being  the 
most  explicit  and  capable  of  making  the  phases  of  a 
movement  understood.  Thus,  Vincent  and  Goiffon,  in 
their  remarkable  work  on  the  horse,  have  tried  to  represent 
by  lines  at  different  angles  the  displacements  of  the  bones 
of  limbs  while  taking  a step. 

It  is  not  necessary  to  expatiate  on  the  superiority  photo- 
graphy has  over  actual  observation  for  this  purpose,  giving 
the  true  positions  of  the  limbs,  while  the  eye  is  incapable 
of  taking  in  such  rapid  actions  in  such  short  spaces  of 
time. 

At  the  commencement  of  this  century  the  brothers 
Weber  had  recourse  to  the  same  mode  of  representation  to 
explain  the  successive  actions  produced  in  the  walk  of  a 
man.  It  was  by  reducing  the  walker  to  the  figure  of  a 
skeleton  that  these  eminent  observers  succeeded  in  pre- 
senting, without  confusion,  a number  of  images  expressing 
different  attitudes. 

The  method  of  constructing  the  bright  metal  bands 
which,  in  the  photograph,  explain  the  position  of  the 
joints,  requires  special  mention.  As  the  length  of  expo- 
sure is  very  short,  a substance  having  great  brilliany 
must  be  employed.  The  strips  of  metal  are  not  equally 
luminous  down  their  entire  length,  because  they  do  not 

• It  is  of  ten  desirable  to  make  one  of  the  apertures  twice  the  diameter  of 
the  rest  ; it  causes  a greater  intensity  to  he  given  to  one  image,  and  that 
facilitates  the  calculation  of  time,  while  it  furnishes  points  for  the  comparison 
of  the  moTemcats  of  the  lower  limbs  with  those  of  the  arms. 


reflect  the  solar  rays  at  the  same  angle  ; they  present  lines 
of  unequal  intensity  on  the  negatives.  I have  obtained 
the  best  results  with  small  strips  of  black  wood  with  nails 
having  hemispherical  bright  metal  heads  driven  in  at 
regular  intervals.  Each  little  rounded  surface  reflected 
the  image  of  the  sun  very  brilliantly.  In  the  photograph 
these  lines  of  nails  are  reproduced  as  dotted  lines. 
At  the  ankle,  knee,  and  hip  joints,  nails  of  larger  dimen- 
sions were  inserted,  showing  these  centres  of  movement  by 
a much  larger  dot. 

Partial  photographs  obtained  by  this  method  allow  of 
the  different  acts  of  locomotion  being  analysed,  as  well  as 
the  movements  of  walking,  running,  or  jumping. 


lUbicfo. 

The  Amateur's  First  Hand-Book.  A Complete  Gcide 
and  Instructor  in  the  Art  of  Modern  Photo- 
graphy. Tiie  Ury-Plate  Process.  Illustrated.  By 
J.  H.  T.  Ellerbeck.  (D.  II.  Cussons  ami  Co.,  Liverpool.) 
Taking  into  consideration  the  length  of  the  title  of  this 
work,  its  actual  size  appears  rather  small,  since  it  is  all 
comprised  within  sixty-six  pages.  As  “ a complete  guide 
and  instructor,”  it  has,  no  doubt,  its  shortcomings ; but 
it  is  a bandy  book  enough  for  the  beginner,  who  will,  no 
doubt,  find  it  sufficient  guide  at  the  outset  of  his  journey. 
It  is  a pity,  as  the  book  is  for  the  beginner,  that  abbrevia- 
tions such  as  “ pyro 51  and  “ hypo  ” should  have  been  used, 
especially  as  there  was  plenty  of  room  for  printing  the 
words  in  full,  several  pages  appearing  at  the  end  with 
nothing  at  all  on  them.  The  best  part  of  the  little  book 
is  the  chapter  on  the  selection  of  apparatus. 


STELLAR  PHOTOGRAPHY  AT  HARVARD. 

At  the  meeting  of  the  Astronomical  Society  which  was  held  on 
June  8th  last,  Prof.  Pickering,  of  Harvard  College  Observatory, 
so  well  knewn  for  his  stellar  observations,  and  who  is  a Foreign 
Associate  of  the  Society,  attended  and  gave  an  interesting 
account  of  the  work  which  has  been  done  during  the  past  few 
years  at  his  observatory. 

Some  few  years  ago  Prof.  Pickering  took  up  the  work  of 
determining  the  intensity  of  the  light  of  the  principal  stars  by 
eye-observation,  without  taking  the  question  of  colour  into  con- 
sideration, work  which  has  been  already  dwelt  upon  in  this 
journal.  For  this  purpose  he  used  a photometer,  completing 
his  observations,  which  number  some  90,000,  about  a year  ago, 
and  a large  part  of  his  results  are  already  in  print.  The 
published  results  of  the  more  important  investigators  of  star 
magnitudes,  from  the  time  of  Almagest  and  Lufi,  have  also  been 
reduced.  Sir  W.  Herschel’s  observations,  which  appeared 
almost  a century  ago  in  the  Philosophical  Transactions,  have 
likewise  been  taken  in  hand  at  Harvard  Observatory,  and  com- 
pletely discussed.  Sir  John  Herschel’s  works,  the  “ Uranometria 
Nova,”  the  “ Durchmusterung,"  as  well  as  many  other  works 
in  the  same  field,  have  also  been  made  use  of  in  preparing  the 
Harvard  Catalogue,  which  therefore  shows  those  cases  in  which 
the  photometric  observations  carried  out  by  Prof.  Pickering 
differ  from  the  results  obtained  by  other  observers,  when  their 
observations  are  reduced  to  the  same  system.  These  eye-obser- 
vations of  stars  having  been  completed,  Prof.  Pickering,  in  con- 
junction with  his  brother,  Mr.  W.  H.  Pickering,  has  taken  up 
stellar  photography  from  the  same  point  of  view.  By  this 
means  a comparison  is  obtained  between  the  brightness  of  the  star 
as  seen  by  the  eye,  and  its  brightness  as  determined  by  its  greater 
or  less  action  upon  the  photographic  plate  ; and  by  a comparison 
of  photographs  taken  on  different  nights,  any  variation  in  bright- 
ness may  be  detected  ; whilst  the  exact  positions  of  stars  may 
of  course  be  more  accurately  and  permanently  recorded  than  by 
eye-observations.  Mi.  A.  A.  Common  recently,  by  taking 
photographs  of  the  nebula  in  Orion  on  different  nights,  and  com- 
paring them,  has  thus  been  able  to  detect  a probable  variation  in 
ono  of  the  stars  in  the  nebula  ; and  in  1858,  Professor  George  1*. 
Bond,  by  measuring  the  diameters  of  stars  in  photographs,  was 


July  27,  1883.] 


TRE  PHOTOGRAPHIC  NEWS. 


471 


able  to  determine  the  relative  brightness  of  the  two  stars  which 
form  the  double  £ Ursa:  Majoria. 

But  the  work  at  H arvard  University  was  to  do  more  than  this. 
The  stars  which  Prof.  Bond  examined  were  close  together.  Prof. 
Pickering  wished  to  compare  stars  far  removed  from  each  other. 
For  this  purpose  the  ordinary  method  of  stellar  photography,  by 
which  photographs  arc  taken  at  the  foci  of  large  telescopes,  would 
not  suffice.  These  photographs  only  comprise  a small  region  of 
but  one  or  two  degrees  in  diameter.  A different  method  was 
therefore  employed  in  the  Harvard  observations.  V wholly 
different  form  to  the  ordinary  equatorial  telescope  was  used.  It 
is  not  unusual  to  construct  photographic  cameras  to  take  pictures 
of  buildings  which  subtend  to  an  angle  of  60°  or  even  90°  ; 
but  when  applied  to  the  stars,  however,  the  images  at  the  edges 
are  very  poor,  and  only  very  small  apertures  can  be  used.  It 
has,  however,  been  found  that  some  of  the  best  lenses  for 
pictures  can  be  obtained  covering  a circle  of  29°  diameter  with- 
out serious  distortion,  and  at  the  same  time  large  apertures  can 
be  used,  thus  reducing  the  time  of  exposure.  In  order  to  still 
further  this  work,  Mr.  \V.  H.  Pickering  investigated  the  sensi- 
tiveness of  various  photographic  plates,  and  obtained  some  so 
sensitive  that  stars  of  the  fifth  and  sixth  magnitude  have  been 
photographed  without  using  clockwork,  they  forming  dots  or 
making  liues  as  their  images  pass  across  the  photographic 
plate,  the  length  of  these  lines  depending,  of  course,  upon  the  time 
during  which  the  plate  is  exposed.  If  the  plate  be  exposed  dur- 
ing ten  seconds,  a distinct  dot  is  obtained,  whilst  an  exposure  of 
thirty  seconds  causes  a short  line  to  be  formed.  The  plates 
used  at  Harvard  Observatory  are  six  by  eight  inches.  They 
are  divided  into  six  equal  parts,  each  part  being  in  turn  exposed. 
By  this  means  six  regions  of  the  heavens,  each  about  15°  square, 
may  be  photographed  on  one  plate  ; and  by  a variation  in  the 
dot  and  liue  system  employed,  sometimes  taking  the  dot  and 
sometimes  the  line  first,  three  pictures  may  be  taken  on  a single 
division  of  one  of  the  plates  without  giving  rise  to  any  confusion. 
Instead  of  simply  six,  therefore,  eighteen  photographs  are  taken 
on  one  of  these  plates,  so  that  on  a single  plate  a portion  of  the 
heavens  of  more  than  three  hours’  right  ascension,  and  extending 
from  30°  S.  to  G0a  N.,  may  be  included.  Since  each  portion  of 
the  plate  covers  a region  of  about  15°,  the  camera  mounting  has 
a series  of  notches  or  stops,  by  which  it  may  be  instantly  moved 
through  that  amount  either  of  right  ascension  or  declination. 

When  photographing,  the  following  is  the  exact  method  em- 
ployed. The  first  exposure  takes  the  region  between  30°  and  15® 
south  declination,  and  between  one  hour  and  a-half  and  half-au- 
hour  west  of  the  meridian.  First,  the  plate  is  exposed  for  ten 
seconds,  and  each  star  records  itself  by  a dot.  The  plate  is  then 
covered  for  ten  seconds ; next  it  is  exposed  for  a period  of  thirty 
seconds,  and  each  star  makes  a line  on  the  plate.  By  means  of 
the  clamping  arrangement,  to  which  we  have  referred,  the  plate 
is  then  moved  through  one  hour  in  right  ascension.  This  takes 
tip  the  remaining  few  seconds  of  the  minute,  so  that  the  taking 
of  the  next  photograph  begins  with  the  first  second  of  another 
minute.  The  camera  is  then  on  the  meridian.  The  same  part 
of  the  plate  is  again  exposed,  and  in  order  to  distinguish  this 
series  of  stars  from  those  first  photographed,  this  time  the  plate 
is  exposed  first  during  thirty  seconds,  and  then  during  ten,  so 
that  the  result  is  a line  followed  by  a dot.  This  gives  the  second 
series.  But  the  same  portion  of  the  plate  may  be  again  used. 
The  remaining  ten  seconds  of  the  secoud  minute,  like  those  of 
the  first,  are  spent  in  moving  the  camera  through  another  hour 
of  right  ascension.  Then  a fresh  exposure  is  made  for  thirty 
seconds,  a line  simply  being  obtained  without  a dot,  and  this 
completes  the  series.  The  first  class  of  images  is  in  dots  and 
lines,  the  second  in  lines  and  dots,  the  third  is  recognized  by  the 
presence  of  lines  alone.  The  thirty  seconds  which  remain  of  the 
third  minute  are  employed  in  exposing  a second  portion  of  the 
plate,  and  changing  the  position  of  the  camera,  which  now  takes 
in  the  region  from  15°  S.  to  the  equator.  The  same  process  is 
then  gone  through  again,  three  exposures  as  before  being  made 
in  three  different  positions  of  right  ascension.  By  continuing 
this  process,  taking  three  photographs  on  each  of  the  six  portions 
into  which  the  plate  i3  divided,  the  whole  region  included 
between  the  declinations  of  — 30°  and  -f  60°,  and  between 
three  hours  of  right  ascension,  one  and  a-half  hours  on  each  side 
of  the  meridian,  being  one-eighth  of  the  whole  heavens,  excluding 
the  circumpolar  stars,  will  be  photographed  on  one  plate,  the 
whole  operation  occupying  but  eighteen  minutes.  With  regard 
to  those  stars  in  the  vicinity  of  the  Pole,  some  other  method  will 
have  to  be  adopted.  Thus  much  for  one  branch  of  the  work — 
and  an  important  branch— carried  on  at  Harvard  Observatory. 


Another  portion  of  their  work  consists  in  the  preparation  of 
a photographic  map  of  the  entire  heavens.  The  method  just 
described,  in  which  clockwork  is  dispensed  with,  only  enables 
those  stars  whose  magnitude  is  not  less  than  five  or  six  to  be 
photographed,  and  stars  of  a less  magnitude  than  this  must,  of 
course,  be  included  in  a map  of  the  heavens.  The  camera  in  this 
work , therefore,  is  driven  by  clockwork.  By  this  means  stars  of 
the  eighth  magnitude  record  their  images  on  the  photographic 
plate,  and  as  many  as  200  are  visible  in  the  paper  print  withiu  a 
circle  of  5°  in  diameter.  A photograph  taken  iu  this  way  of  a 
portion  of  the  constellation  of  Orion,  besides  showing  the  three 
stars  of  the  Belt  and  the  Sword-IIandle,  gives  an  interesting 
picture  of  the  nebula. 

With  reference  to  the  question  of  the  colours  of  stars,  it  is 
interesting  to  note  the  faintness  of  a Orionis  in  the  photographs. 
To  the  eye  its  brilliancy  is  almost  as  great  as  that  of  0,  whilst 
in  the  photograph  it  is  not  more  prominent  than  A.  The  reason 
is  to  be  found  in  the  colour  of  a.  It  is  a red  star,  and  conse- 
quently makes  but  little  impression  on  the  photographic  plate. 

Again,  in  the  constellation  Cetus,  the  three  stars  which  are 
brightest  to  the  eye  are  a,  y,  and  <r.  A,  which  is  the  brightest 
of  the  three,  has  close  to  it  a very  faint  companion,  scarcely  visi- 
ble to  the  naked  eye,  its  magnitude  being  given  as  G-3,  whilst 
that  of  a is  2'7.  This  is  the  appearance  of  this  part  of  that 
constellation  as  seen  by  the  eye.  A photograph  of  this  region 
was  taken  at  Harvard  with  the  result  that  the  small  star  is  seen 
in  the  photograph  nearly  as  bright  as  a,  it  being  only  three- 
tenths  of  a magnitude  less.  The  colour  of  these  stars  again 
explains  this,  a being  of  a reddish  tint,  whilst  the  small  star  is 
of  a deep  blue  colour,  and  being  so,  the  rays  which  flow  from  it 
have  a greater  influence  on  tbe  photographic  plate.  A com- 
parison of  the  number  of  stars  seen  in  the  photograph  of  Orion, 
with  the  number  in  the  photometric  catalogue,  further  illustrates 
this  effect  of  colour.  In  that  part  of  this  constellation  included 
between  5°  north  and  oQ  south  declination,  and  75°  to  90°  of 
right  ascension,  sixteen  stars  were  common  to  photograph  and 
catalogue  ; a like  number,  being  either  too  small  in  magnitude 
or  too  red  in  colour,  although  catalogued,  remain  unrecorded  on 
the  photographic  plate ; whilst  five  others  seen  in  the  photograph 
are  not  given  in  the  catalogue.  A reduction  has  been  made  of 
the  results  given  by  the  plates  of  different  makers,  with  the  view 
of  ascertaining  the  value  of  the  deviation.  In  two  of  such  plates 
the  average  deviation  was  0 21  of  a magnitude,  and  in  two 
measurements  of  the  same  plate,  it  wa3  found  to  be  0'07  of  a 
magnitude. 

It  is  obvious,  from  this  account  of  the  work  at  Harvard,  that 
star  photography  is  entering  into  a new  phase,  and  one  which 
will  entirely  replace  the  present  system  of  eye-observations,  for 
the  reason  that,  whilst  the  eye  is  so  variable,  photographic  plates 
may  now  be  obtained  doing  their  work  with  almost  definite 
wave-lengths  of  light.  The  constant  record  of  the  plate  must 
in  time,  therefore,  be  preferred  to  observation  by  the  variable  eye. 
At  the  same  time,  as  photography  advances,  if  it  be  considered 
necessary  to  obtain  photographic  star  maps  to  record  the  obser- 
vations of  the  average  eye,  there  will  be  no  difficulty  in  this 
being  done. — Nature. 


We  regret  to  announce  the  death  at  Calcutta,  on  the 
20th  ult.,  of  Mr.  W.  E.  Batho,  a name  well-known  to  the 
readers  of  this  journal  as  an  active  and  energetic  worker 
in  many  branches  of  photography.  For  the  past  three 
years  he  had  been  working  with  Messrs.  Westfield  and 
Company,  and  had  but  recently  joined  Major  Waterhouse’s 
staff  as  head  assistant  at  the  Calcutta  Ordnance  Office. 

In  the  Millheilungen,  Herr  Obernetter  gives  a very  simple 
method  of  recovering  the  silver  from  waste  bromide 
emulsion.  The  latter  is  collected  in  a vessel  with  a solu- 
tion of  calcined  soda  (this  can  be  present  in  excess),  and 
from  time  to  time  grape  sugar  is  added.  The  accumula- 
tion of  waste  material  may  go  on  in  this  way  for  weeks, 


472 


THE  PHOTOGRAPHIC  NEWS. 


[Juir  27,  1883. 


and  in  the  end  the  silver,  in  a reduced  condition,  will  be 
found  at  the  bottom  of  the  vessel  in  a pasty  condition. 

“ I want  you  to  be  very  particular  about  taking  it,”  said 
a lady  the  other  day,  in  ordering  a cabinet  portrait,  “ for 
I am  going  to  send  it  away  to  be  copied.”  Thus,  an  in- 
genuous customer  to  Mr.  Photographer. 


At  the  last  meeting  of  the  Royal  Microscopical  Society, 
a paper,  by  Dr.  T.  C.  Iviaer,  on  “Micro-photography  by 
Lamp-light,”  was  read.  The  President  (Professor  Dun- 
can, F.R.S.)  remarked  on  the  simplicity  of  the  method 
detailed  by  Dr.  Kiaer,  and  drew  attention  to  the  excellence 
of  the  photographs  with  which  the  paper  was  illustrated. 


“ Have  the  photographic  effects  of  lightning,  instances  of 
which  have  been  recorded  at  intervals  since  the  statement 
of  Benjamin  Franklin,  in  1786  (in  reference  to  a man 
struck  by  lightning,  while  standing  opposite  a tree,  having 
an  exact  representation  of  the  tree  printed  on  his  breast^ 
again  received  confirmation?  ” asks  a contemporary.  The 
question  arises  from  the  fact  that  at  the  last  meeting  of 
the  Royal  Society  of  Edinburgh,  a photograph  of  the  arm 
of  a boy,  which  had  been  struck  by  lightning,  was  sub- 
mitted for  inspection  by  Mr.  Milne  Howe,  and  either  on 
or  under  the  skin  was  the  representation  of  foliage,  in  form 
resembling  a yew  tree.  This  photograph,  of  course,  is 
that  of  Mr.  Bruce,  to  which  we  referred  the  other  day. 
Professor  Tait  called  attention  to  these  markings,  and 
added  that  the  matter  was  well  worth  the  consideration 
of  anatomists  and  physiologists. 


At  the  same  meeting  a note  was  read  from  Professor 
Piazzi  Smyth,  contending  that  spectroscopists  who  held 
that  in  the  sun’s  atmosphere  all,  or  the  most  ordinary, 
elements  were  decomposed  into  simple  bodies,  were  in 
error.  The  ground  for  their  belief  was,  that  in  terrestrial 
experiments  an  apparent  coincidence  between  the  lines  of 
the  spectra  given  by  two  such  substances  as  iron  and 
nickel  had  been  found,  and  this  line  was  held  to  be  not 
really  either  iron  or  nickel,  but  a “ basic  element,”  com- 
mon to  both.  Professor  Smyth,  however,  urged  in  his 
note  that  more  perfect  spectroscopic  power  had  demon- 
strated that  these  lines  were  not  coincident. 

We  have  to  announce  the  death  of  M.  l'Abbe  Laborde, 
at  the  age  of  seventy-five.  His  name  is  familiar  to  all  who 
are  cognisant  of  the  early  progress  of  photography,  and 
he  it  was  who,  in  France,  was  the  first  to  suggest— as 
Fargier  was  the  first  to  carry  out — the  plan  of  developing 
carbon  prints  from  the  back,  thus  producing  impres- 
sions in  half-tone.  This  discovery,  which  he  shares  with 
Burnett,  Swan,  and  Blair  in  Great  Britain,  may  be  said 
to  have  established  carbon  printing  as  a practical  process. 

M.  Audra  communicates  some  experiments  he  has  made 
in  every-day  photography,  with  a view  to  determine  how 
fast  a shutter  should  act  in  order  to  secure  sharp  pictures 
of  ordinary  objects  in  motion  ; and  he  comes  to  the  con- 


clusion that  an  exposure  of  not  less  than  of  a second 
is  necessary.  Thus,  in  the  case  of  an  omnibus,  he  says 
that  it  moves  at  the  rate  of  3-33  metres  per  second  (say 
between  three  and  four  yards),  and  therefore  if  you  expose 
for  & of  a second,  the  vehicle  moves  during  the  time  as 
muoh  as  00  or  07  of  a metre  (say  two  to  three  inches). 
Anything  like  a sharp  picture,  in  these  circumstances,  M. 
Audra  holds  to  be  impossible. 


Nothing  is  more  marked  than  the  change  which  has 
taken  place  of  late  years  in  photographic  backgrounds. 
The  blank  expanse  of  moorland,  with  the  nebulous  balcony, 
a propos  of  nothing  in  particular,  which  used  generally 
to  accompany  a lady  without  bonuet  or  mantle,  has  long 
since  disappeared,  and  so  has  the  impossible  rustic  fence, 
and  tte  fountain  which  would  always  come  in  the  wrong 
place.  It  would  seem,  therefore,  almost  superfluous  for 
the  Photographic  I'imts  to  put  forward  as  a novelty  the 
interposition  of  a transparaency  of  a landscape  between 
the  lens  and  the  plate,  so  as  to  secure  a pictorial  back- 
ground, and  so  do  away  with  the  necessity  of  having  a 
painted  background.  The  idea  is  an  old,  and  not  a par- 
ticularly successful  one. 


Taper  appears  capable  of  being  used  for  anything. 
After  paper  railway  wheels,  paper  canoes,  and  paper 
roofs,  it  is  surely  not  absurd  to  suggest  that  paper  might 
be  tried  for  the  dark  backs  of  cameras ! There  is  no 
moisture  to  affect  them,  they  could  be  made  rigid  enough 
for  all  practical  purposes,  and  would  be  an  immense  saving 
in  weight  and  portability. 


Two  German  patents  are  worth  noting.  The  first 
(No.  22,0‘Jl)  is  for  a method  of  enamelling,  by  means  of 
which  bas  reliefs  similar  to  cameos  may  be  produced,  and 
in  which  possibly  the  Woodburytype  process  might  find 
application.  The  object  is  to  form  a pressed  enamel  on 
glass,  a mixture  of  dry  enamel,  thick  pine  oil,  and  gum- 
dammar  being  laid  upon  the  glass  surface  in  a half-dry 
state.  On  drying,  the  design  or  picture  is  pressed  in  and 
the  enamel  burnt,  it  being  possible  thus  to  reproduce  the 
forms  of  figures  in  slight  relief,  as  well  as  the  feathers  of 
birds,  and  veins  of  leaves. 


The  other  German  patent  (22,313)  is  for  treating  un- 
glazed pottery  so  that  you  may  write  upon  it  or  otherwise 
produce  designs  with  aqueous  fluids.  The  process  consists 
in  coating  the  absorbent  clay  surface  with  whey,  which  is 
obtained  by  adding  a small  quantity  of  acid  to  skimmed 
milk,  and  separating  the  precipitate  by  filtration. 


M.  Duchausson  has  communicated  to  the  Academy  of 
Sciences  the  results  of  no  less  than  32,400  observations  on 
clouds,  estimating  the  density  of  these  and  their  frequency 
at  various  times  of  the  year.  As  the  photographer  is  one 
of  the  most  interested  of  beings  in  the  matter  of  sunshine 
and  cloud,  we  may  quote  one  or  two  data  from  M.  Duch- 
ausson’s  statistics.  Speaking  of  late  years  there  was  a 
minimum  of  cloud  in  1871,  and  a maximum  in  1878. 


Jplt  27,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


473 


Clouds  are  most  abundant  in  December,  and  least  in  July. 
September  is  clearer  than  August,  and  April,  strange  to 
say,  is  clearer  than  May. 


Dr.  Albert  Leeds,  in  the  last  number  of  the  Philosophi- 
cal Magazine , calls  attention  to  the  subject  of  analysing 
water  by  a photogi  aphic  method,  to  which  we  have  already 
referred  in  these  columns.  His  plan  is  to  estimate  organic 
matter  in  water  by  an  operation  similar  to  that  of  the 
photographer  in  “ sunning  ” his  silver  bath.  Dr.  Leeds 
starts  with  establishing  the  fact  that  no  precipitation  of 
reduced  silver  occurs  in  a neutral  solution  of  argentic 
nitrate,  nor  in  one  of  ammonio-argentic  oxide,  nor  amtnonio- 
argentic  chloride,  nor  ammonio-argentic  hyposulphite, 
when  organic  matter  is  rigidly  excluded,  even  after  pro- 
longed action  of  sunlight,  and  then  proceeds  to  discover 
which  of  these  five  solutions  it  is  best  to  use  for  identify- 
ing and  removing  organic  impurities  from  water. 


His  choice  is  a simple  solution  of  nitrate  of  silver.  He 
prepares  this  of  a standard  strength,  and  adds  it  to  the 
water  to  be  tested  contained  in  tall  stoppered  glas3  cylin- 
ders. The  waters  become  turbid,  aud  frequently  coloured 
by  the  action  of  light ; but  after  a moderate  interval,  the 
entire  precipitate  collects  at  the  bottom  of  the  cylinder. 
If  sufficient  silver  solution  has  been  used — an  excess  is  re- 
commended— the  clearing  of  the  water  indicates  the  end  of 
the  experiment,  and  the  black  silver  precipitate  is  then 
collected  and  accurately  weighed.  Dr.  Leeds  considers  the 
amount  of  this  precipitate  fairly  indicates  the  proportion 
of  organic  matter  in  the  water,  and  if  care  is  taken  to  have 
the  silver  solution  neutral,  the  examination  of  waters  by  its 
means  is  generally  trustworthy. 


Had  Pope  lived  in  these  days,  when  he  asked  the  ques- 
tion, “ Why  has  not  man  a microscopic  eye?”  he  would 
probably  have  substituted  the  word  “ photographic  ” for 
“ microscopic,"  since  it  has  been  demonstrated  over  and 
over  again  that  the  human  eye  is  inferior  in  point  of 
accuracy  to  the  eye  of  the  photographer’s  camera.  The 
latest  proof  of  this  inferiority  has  been  demonstrated  by 
M.  Rabourdin,  a member  of  the  Society  of  Anthropology, 
of  Paris.  M.  Rabourdin  has  been  making  some  experi- 
ments on  binocular  vision,  and  he  has  come  to  the  conclu- 
sion that  man  is  one  of  the  animals  which  possess  in  the 
lowest  degree  the  power  of  seeing  things  in  relief,  and 
that  he  acquires  the  habit  of  using  one  eye  more  than  the 
other  as  a necessary  condition  of  clear  vision.  How  far 
defective  drawing,  which  has  been  revealed  by  photo- 
graphy even  in  the  works  of  our  best  artist,  i3  due  to  defec- 
tive vision,  and  how  far  to  conventional  treatment,  would 
be  difficult  to  decide.  A propos,  it  is  asserted  that  the 
instantaneous  photographs  of  Mr.  Muybridge  which  show 
that  none  of  our  artists  can  draw  horses  in  motion  correctly, 
had  been  found  to  coincide  exactly  with  the  pictures  of 
horses  drawn  by  J apanese  draughtsman.  Either  the  vision 
of  the  Japanese  is  better  than  ours,  or  they  have  gone 
direct  to  nature  instead  of  copying  somebody  else’s  notion 
of  what  a horse’s  motion  ought  to  look  like. 


In  a recent  play,  the  hero  is  described  in  the  programme 
as  “ retired  rich,  but  not  off  photography,”  the  playwright 
evidently  not  believing  in  the  possibility  of  rich  photo- 
graphers. Nor  is  this  belief  confined  to  dramatists. 
Dining  some  years  ago  at  the  Solar  Club,  the  owner  of  a 
West  End  studio  expressed  to  us  the  opinion  that  it  would 
be  impossible  to  point  to  any  man  who  had  made  ten 
thousand  pounds  by  photography  ; but,  on  our  repeating 
this  opinion  to  a third  party,  the  latter  at  once  replied 
that  the  first  speaker  had  himself  undoubtedly  accumulated 
the  sum  in  questiou.  So  we  are  led  to  the  opinion,  that 
photographers  grumble  like  just  other  men,  and  that  those 
who  grumble  most,  have  least  cause  for  it. 


Certainly,  in  our  own  experience,  we  can  point  to  a 
dozen  men  who  have  made  not  less  than  ten  thousand 
pounds  by  photography,  while  several  of  them  have 
accumulated  five  or  ten  times  as  much.  Only  the  other 
day  we  gave  an  instance  of  a Paris  studio,  a small  one, 
albeit  of  the  first-class,  whose  income  was  four  thousand  a 
year  ; while  one  of  the  London  studios  in  1863,  the  year  of 
the  Prince  of  Wales’  marriage,  netted  no  less  than  thirteen 
thousand  pounds.  The  twelvemonth  previously — the 
Exhibition  year — a landscape  photographer  of  our  acquaint- 
ance, if  he  did  not  make  ten  thousand  pounds,  acquired  a 
sum  very  little  short  of  it ; while  others  by  speculation  in 
photography  have  undoubtedly  made  little  fortunes.  The 
purchaser  of  the  photographic  copyright  of  “ You  Dirty 
Boy,”  to  wit,  realised  the  standard  of  “ ten  thousand,”  if 
not  more,  and  this  is  the  amount  quoted  as  the  profit  of 
the  Chicago  photographer  who  published  “ Good  Night” 
and  “ Good  Morning.”  Finally,  it  is  not  three  months 
ago  that  a London  photographer  assured  us  he  could 
make  ten  thousand  a year  by  portraiture  and  publishing, 
if  he  liked  to  work  hard  enough,  a statement  worthy  of 
belief,  in  so  far  as  he  is  earning  half  the  income  at  this 
moment.  So  that  “ retired  rich,  but  not  off  photography," 
is  not  such  an  impossibility,  after  all. 


1 atm!  JntfUigm*. 

Patent  Granted  in  Belgium. 

61,740.  L.  H.  Philippi,  of  Hamburg,  for  “ Applying  photo- 
negatives for  printing  stuff  and  wall-paper.” — Dated  19th 
June,  1883. 

Patent  Granted  in  Canada. 

16,671.  William  Kurtz,  of  New  York,  N.Y.,  U.S.,  for  “A 
method  of  producing  photographic  images  and  apparatus  there- 
for.” — Five  years. — Dated  13th  April,  1883. 

Patent  Granted  in  America. 

280,166.  Mathias  Flammano,  of  Newark,  N.J.,  for  “A  plate- 
holder  for  photographic  cameras.” — Application  filed  27th  May, 
1882.  No  model. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.K.S, 

Lesson  III. 

Optical  Centre  of  a Lens. — In  every  lens  there  is  some 
point  at  which,  if  a pinhole  in  a card  were  placed,  the 
same  sized  image  would  be  formed  on  the  focussing  screen 
as  is  formed  by  the  lens.  This  point  is  called  the  optical 


474 


THE  PHOTOGRAPHIC  HEWS. 


[Idly  27,  1883. 


centre  of  the  lens,  and  is  the  point  from  which  all  measure- 
ments are  made.  It  is  usually  said  that  this  optical  centre 
is  a point  through  which  a ray  passing  does  not  undergo 
any  deviation  from  its  original  course.  This  is  only  true 
when  the  lens  is  very  thin  indeed.  In  a single  lens  this 
point  can  be  found  graphically  when  the  radius  of  the 
spherical  surfaces  is  known.  Take  a meniscus  lens,  for 
instance,  and  draw  a section. 


Fig.  17. 

Let  A be  the  centre  of  one  spherical  surface  (fig.  17),  and 
B of  the  other.  B A O is  called  the  principal  axis  of  the 
lens.  Through  A,  draw  a line,  A C,  making  a moderate 
angle  with  the  axis  A B,  cutting  the  spherical  surface  of 
which  A is  the  centre  in  C,  and  draw  B D parallel  to  this 
line,  cutting  the  other  spherical  surface  in  D.  Join  D C, 
and  prolong  it  till  it  meets  the  principal  axis  in  O ; then  0 
is  the  optical  centre  of  the  lens.  [It  will  be  seen  that  any 
ray  which  is  refracted  along  C D will  be  refracted  at  D 
parallel  to  the  direction  it  enters  at  C,  since  the  normals 
to  the  two  surfaces  are  parallel.]  In  the  case  of  a bi-convex 
lens,  it  will  be  seen  that  D C would  intersect  the  piincipal 
axis,  A B,  in  the  lens.  The  same  rule  applies  to  the  bi- 
concave and  convexo-concave  lenses.  When  a lens  is  plano- 
convex, or  plano-concave,  the  optical  centre  is  situated  at 
the  intersection  of  the  spherical  surface  with  the  principal 
axis,  A B. 

A straight  line  which  passes  through  the  optical  centre 
of  a lens,  and  striking  the  lens,  is  called  a secondary  axis. 

The  Focal  Length  of  Lenses. — The  focus  of  a lens  has 
already  been  defined  ; but  we  require  to  know  more  about 
the  alterations  in  it.  For  instance,  it  will  be  found  that 
the  focus  of  a distant  point  in  a landscape  is  at  a different 
distance  from  a lens  than  that  of  a near  object.  Suppose 
we  examine  the  first  case.  Here  the  rays  of  light,  coming 
from  a distant  point,  which  strike  the  lens,  are  virtually 
parallel  to  one  another,  and  there  is  no  alteration  to  be 
made  whether  we  focus  a distant  mountain,  the  moon,  or 
the  sun — there  is  always  the  same  distance  of  the  focussing 
screen  from  the  lens,  and  the  screen  is,  in  this  case,  at  the 
principal  foetus  of  the  lens.  Take  another  object  close  to 
the  lens,  aud  it  will  be  found  that  the  screen  has  to  be 
pulled  back  from  the  lens  very  considerably.  Make  an 
experiment  in  regard  to  this:  use  only  the  central  portion 
of  the  lens,  screening  off  the  margin  with  black  paper. 
The  reason  of  doing  this  we  shall  see  shortly.  Let  the 
object  be  a candle-flame,  and  find  the  exact  position  of  the 
sharp  image.  Now  replace  the  candle-flame  by  the  screen, 
and  the  screen  by  the  caudle-flame.  The  image  of  the 
flame  will  be  found  to  be  still  in  focus,  though  most  likely 
of  a different  size.  Thus  A being  the  focus  of  B,  if  the 
candle  be  placed  at  B the  focus  of  B will  be  at  A.  A and 
B are  said  to  be  conjugate  foci,  and  A C and  B C conjugate 
focal  lengths.  Now,  in  the  case  of  parallel  rays,  in  fig.  18, 


Fig.  18. 

it  is  evident  that  A must  be  very  far  off ; and  the  further  A 
is  removed,  the  nearer,  up  to  a certain  limit,  B will  approach 
to  L,  aud  this  limit,  beyond  which  B cannot  approach,  is  the 


principal  focus  of  the  particular  lens.*  As  a rule,  in  land- 
scape photography,  the  focussing  screen  is  very  close  to 
this  principal  focal  distance,  since  the  objects  to  be  photo- 
giaphed  generally  lie  at  some  distance  from  the  lens.  In 
portrait  photography  this  is  not  the  case.  When  once 
this  principal  focus  is  found,  all  other  distances  can  be 
calculated. 

To  Determine  Practically  the  Optical  Centre  and  Principal 
Focus  of  a Lens. — There  are  several  ways  of  proceeding. 
An  easy  plan  is  as  follows Make  two  marks  on  a wall 
distant  about  ten  times  the  approximate  focal  length  of 
the  lens,  so  that  the  middle  point  between  them  lies  very 
nearly  in  the  principal  axis  of  the  lens,  and  focus  them 
sharply  on  the  screen.  Measure  the  distance  of  the  screen 
from  the  focussed  marks,  and  measure  as  accurately  as 
possible  the  distance  apart  of  the  images  of  the  two  points 
(a  photograph  may  be  taken  and  the  image  taken  from 
that). 

Example. — The  distance  apart  of  two  marks  is  2 feet,  and 
the  distance  of  the  screen  from  the  scale  12  feet,  and  the 
distance  apart  of  the  images  of  the  two  marks  is  3 inches  : 
to  find  the  optical  centre  of  the  lens. 

Now  by  our  definition  of  the  optical  centre,  if  a pinhole 
be  placed  there,  we  shall  have  the  same  sized  image  on 
the  screen.  If,  therefore,  we  choose  to  draw  the  distances 
to  scale,  we  shall  easily  find  the  optical  centre.  A simple 
rule  is,  however,  as  follows  : Multiply  the  distance  of  the 


Fig.  19. 

screen  from  the  scale  by  the  distance  apart  of  the  images, 
and  divide  this  by  the  distance  apart  of  the  marks  to 
which  has  been  added  the  distance  apart  of  the  images ; 
the  result  will  be  the  distance  of  the  optical  centre  from  the 
screen.  If  it  be  a photographic  lens  which  is  used,  the 
point  on  the  principal  axis  can  be  indicated  by  a mark  on 
the  brass  mount.  In  the  example  before  us,  the  result  is — 

114-in.  X_3Jn.  _ jgjucjies  £rom  the  screen. 

27  in. 

This,  however,  does  not  give  tho  equivalent  focal  length 
of  the  lens,  though  it  can  be  calculated  from  it  by  a 
formula  we  shall  give  presently.  The  optical  centre  being 
obtained,  a distant  object  should  be  focussed,  and  the 
distance  of  the  screen  from  the  optical  centre  will  give  the 
required  equivalent  focal  length,  w’hich,  in  this  case,  would 
be  13$  = 13-7  inches.  This  mode  of  finding  the  optical 
centre  aud  principal  focus  applies  not  only  to  single  lenses, 
but  to  any  combination  (doublet,  triplet,  &c.).  With  such 
combinations  the  principal  focal  length  is  usually  called 
the  equivalent  focal  length.  This  is  the  same  thing  as  saying 
that  a combination  of  lenses  will  give  an  image  at  the  focus 
or  parallel  rays,  of  the  same  size  as  would  a pinhole  placed 
at  the  same  distance  from  the  screen. 

To  find  the  size  of  the  Images  at  Conjugate  Foci. — Suppos- 
ing we  are  making  an  enlargement,  it  is  often  useful  to 
know  at  what  distance  we  have  to  place  the  negative  or 
other  object  in  order  with  a lens  of  given  focal  length  to 
obtain  an  image  of  a given  size.  A reference  to  fig.  19 
will  show  that  the  size  (in  diameter)  of  the  images  is  pro- 
portional to  the  distances  of  the  lens  from  the  object,  l)  C, 
and  the  lens  from  the  focussing  screen  (d  c) ; but  the 
distance,  D C,  regulates  the  distance  of  A C from  the 
screen  with  any  given  lens.  Now  suppose  the  image  of 
the  object  is  to  be  (say)  “ n ” times  the  size  of  the  object, 

* A common  magnifying  glass  will  answer  every  purpose. 


Jutr  27,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


475 


with  a lens  whose  focal  distance  is  known  (say  /inches)  : 
at  what  distance  from  the  object  must  the  optical  centre 
of  the  lens  be  placed,  and  at  what  distance  the  focussing 
screen  ? The  rule  is,  to  the  focal  length  of  the  lens  .add 
the  focal  length  divided  by  the  magnification  (or  diminu 
tion)  required,  and  this  will  give  the  distance  of  optical 
centre  of  the  lens  from  the  screen.  Multiply  this  distance 
by  the  magnification  (or  diminution),  and  that  will  give  the 
distance  of  the  object  from  the  optical  centre  of  the  lens, 

[In  mathematical  formula  it  is  expressed — 

*■—/+» 

where  v is  distance  of  the  optical  centre  of  the  lens  from 
the  object. 

This  formula  is  arrived  at  by  the  formula  for  conjugate 
focal  distances. 

where  ^ =_i  4-  -1 
/ u v 

/ being  the  equivalent  focus,  v and  u the  distances  of  the 
object  and  the  screen  from  the  lens. 

Since  the  enlargement  depends  on  the  proportion  of 
v to  a,  if  n be  the  number  of  times  enlargement 

i=-+- 

/ nv  v 


>='“'/+ -f] 


Example.— Suppose  we  want  to  enlarge  a negative  four 
times  with  a lens  of  10-inch  equivalent  focus : where  is  the 
object  to  be  placed  ? 

10-|-^  = 12i  inches. 

To  find  the  distance  of  the  lens  from  the  screen,  we 
have  to  multiply  the  distance  lines  obtained  by  4,  which, 
in  this  example,  would  be  50  inches. 

Allusion  has  already  been  made  to  a combination  of 
lenses.  It  may  be  well  here  to  point  out  what  equivalent 
focal  length  we  shall  obtain  by  combining  two  lenses 
together. 

Suppose  we  have  two  lenses  having  focal  lengths  /and  / 
respectively ; then,  if  the  lenses  were  very  thin  and  placed 
close  together,  the  equivalent  focal  length  of  two  lenses 
is  found  by  multiplying  together  the  principal  focal  lengths 
of  the  two  lenses,  and  dividing  by  their  sum.  [Putting  it 
in  mathematical  formulae — 

I=-L+I_ 

f / /. 


or  F 


= M1  1 
f+fx  J 


Example. — Two  similar  lenses,  each  having  an  equivalent 
focus  of  16  inches  : what  would  be  the  effect  of  combining 
them  together  ? This  would  give  us — 

fc1-8 +^=8  inches. 

32 

Again,  take  one  lens  of  16  inches,  and  another  of  10  inches  ; 
in  this  case — 

inches. 

26  13 

Again,  if  we  had  three  lenses  to  combine  together,  the 
equivalent  focus  would  be  found  by  multiplying  them 
together,  and  dividing  by  the  sum  of  every  two  and  two 
multiplied  together. 

[The  formula  would  be  thus,  where  f f\  ft  were  the  three 
focal  lengths  : — 

X-  1 + k + X 
F f + A fn 
nr  F - 7i+/i/n~Effii  ”1 

£.eaw/fc,— Three  lenses  have  focal  lengths  12,  10,  and  8 


inches  respectively.  What  would  be  the  equivalent  focal 
length  ? 

F=  _ 12x10x8  _ 960  _ ' 

12  x 10+8  xlO-f  12x8  ~ 296  ~ °r  3i  ln’  near,y- 

In  ordinary  photographic  doublets,  the  lenses  are  separated 
by  an  interval,  in  which  case  the  rule  to  apply  is  *— 
Multiply  the  focal  length  of  one  lens  by  that  of  the  other, 
and  divide  by  some  of  their  focal  lengths,  less  their  distance 
apart.  Thus,  in  the  case  of  a symmetrical  doublet  of 
10-in.  focus  for  each  lens,  and  separated  by  one  inch,  the 
equivalent  tocus  would  be — 

g2Hr  — y3r  m.,  or  84  nearly. 

If  a concave  (or  any  lens  which  was  thinnest  in  the 
centre)  had  to  be  combined  with  a convex  lens  (or  any 
lens  which  was  thickest  in  the  centre),  the  same  rules 
would  apply,  only  in  that  case  the  principal  virtual  focal 
length  of  the  concave  would  have  to  be  substracted  from 
the  principal  focal  length  of  the  convex  lens. 

The  formula  would  be,  when /is  focal  length  of  the 
convex  lens,  and/'  the  virtual  focal  length  of  the  concave 
lens — 

1__  1 

F / /* 


The  above  will  be  found  useful  to  photographers  who 
wish  to  use  a lens  with  longer  focus,  when  they  only  have 
a doublet  to  use.  It  will  be  seen  that  by  unscrewing  one 
lens,  and  using  only  one  of  the  combination,  a much  longer 
focal  length  can  be  obtained. 


DRY  PLATES  VERSUS  WET. 

BY  E.  E.  CADETT. 

A GREAT  deal  is  being  said  about  the  retrograde  movement 
photography  has  taken  since  the  introduction  of  the  gela- 
tine dry  plate.  In  fact,  it  is  said  that  those  photographers 
who  were  making  fine  pictures  with  the  wet  process,  and 
who  have  adopted  dry  plates,  are  now  getting  inferior 
results.  Of  portraits  on  dry  plates,  there  is  not  much 
advance,  excepting  where  instantaneous  photography  comes 
in  ; but  this  is  in  a great  measure  the  fault  of  dry  plate 
manufacturers,  and  could  be  easily  remedied.  When  a new 
batch  of  plates  is  bought,  one  has  not  the  remotest  idea  of 
the  sensitiveness  of  the  plates,  or  wbat  exposure  to  give  ; 
but  this  might  be  easily  overcome  by  testing  a plate  out  of 
the  batch  for  yourself,  if  it  were  not  that  some  makers 
have  contracted  the  bad  habit  of  mixing  the  plates  of 
different  batches  ; therefore,  in  such  cases  it  is  impossible 
to  tell  whether  two  plates  are  alike  in  sensitiveness,  as  the 
great  difference  which  may  occur  between  any  two  differ- 
ent batches  is  only  too  well  known  by  any  one  who  ha3 
experimented  in  gelatine  emulsion  making.  Now,  if  those 
plate  makers  who  do  mix  their  batches  of  plates  would  only 
keep  them  separate,  they  would  confer  a great  favour  on 
the  consumers,  as  it  is  the  cause  of  a great  many  failures. 
Another  thing  I might  mention  is  putting  some  test  number 
on  the  plate,  such  as  the  highest  number  the  plate  will 
show  when  tested  by  Warnerke’s  sensitometer,  or  any  other 
standard  of  sensitiveness,  so  as  to  give  the  consumer  some 
idea  of  the  right  exposure.  This  would  remove  a 
great  drawback  from  the  path  of  dry  plates.  This  is  one 
of  the  advantages  the  wet  process  possesses  over  the  dry 
process.  Once  the  bath  is  in  good  working  order,  there  is 
very  little  difference  in  the  sensitiveness  of  the  plates,  pro- 
vided the  same  sample  of  collodion  is  used. 

Another  reason  that  better  results  have  been  got  by  the 
wet  process  is,  that  the  plate  must  be  developed  on  the 
spot,  and  if  the  results  are  not  good,  another  plate  is  taken, 
and  a good  picture  secured  ; whereas,  with  the  dry  plate 
process,  the  exposed  plate  is  generally  developed  on 


4?6 


THE  PHOTOGRAPHIC  NEWS. 


(July  2f,  1883. 


arriving  home,  and  if  the  result  is  moderately  good,  unless 
the  subject  is  near  at  hand,  nine-tenths  of  photographers 
would  content  themselves  with  it,  and  not  take  the  trouble 
to  return  and  get  a result  as  nearly  perfect  as  possible. 
This  is  another  reason  why  better  pictures  are  generally 
obtained  by  the  wet  process.  1 he  advantages  of  dry  plates 
over  wet  must  be  obvious  to  every  unprejudiced  person  : 
there  is  no  cumbrous  dark-tent,  bath,  dishes,  &c.,  to  be 
carried  wherever  you  go,  in  addition  to  the  camera ; but 
only  the  dry  plates,  which  occupy  very  little  more  space 
than  the  bare  glass  in  the  wet  process.  No  experienced 
help  need  be  employed  ; therefore  a reduction  of  expenses 
and  good  pictures  may  be  taken  at  times  when  it  would  be 
absolutely  impossible  to  take  anything  worth  printing  by 
the  wet  process.  Any  length  of  time  may  elapse  between 
the  time  of  placing  the  plate  in  the  dark-slide  and  the  ex- 
posure, so  that  a proper  lighting  of  the  picture  may  be 
waited  for,  and  therefore  a good  picture  may  nearly 
always  be  secured ; whereas  in  the  wet  process,  a com- 
paratively short  time  may  elapse  between  the  time  the 
plate  is  taken  from  the  sensitizing  bath  and  the  exposure 
(these  advantages  are  on  the  assumption  that  the  operator 
knows  what  he  is  working  with). 

Besides  facilitating  the  production  of  pictures,  dry  plates 
bring  landscape  photography  within  the  reach  of  a great 
many  amateurs  who  would  otherwise  do  very  little  else 
than  portraiture,  and  enables  them  to  take  their  photo- 
graphic apparatus  on  many  a holiday  tour,  when  it 
would  be  out  of  all  questionjf  the  wet  process  had  to  be 
used. 

In  conclusion,  I may  say  that  if  only  dry  plate  manu- 
facturers will  give  the  consumer  some  idea  of  what  lie  is 
working  with,  there  will  not  be  half  the  failures  or 
grumbling  and  disappointment ; and  any  little  extra 
trouble  they  may  be  put  to  would  be  amply  repaid  by  the 
increase  of  plates  got  rid  of. 

« 

& girtoarg  of  J&otoptfife. 

ACTINOLYTE.— A comprehensive  term  proposed  by  Dr.  George 
Wilson,  as  applicable  to  substances  on  which  light  exerts  a 
chemical  and  physical  change.  He  says,  in  lecturing  on  the 
theory  of  photography  : “ I have  found  the  word  Aetinolyte  very 
convenient.  ...  In  its  simplest  etymological  meaning,  it 
signifies  a chemical  compound  analysable  into  its  components  by 
light.  I propose,  however,  to  use  it  in  as  wide  a sense  as  Faraday’s 
term,  “ electrolyte  ” (from  which  it  is  borrowed),  so  as  to  include 
chemical  synthesis  as  well  as  analysis  ; and  in  the  present  state  of 
our  knowledge  it  would  be  convenient  to  extend  the  term  to  all 
the  substances  employed  by  photographers  on  which  light  exerts  a 
marked,  sensible  change,  although  it  may  be  uncertain  how  far 
that  change  is  chemical  or  mechanical." 

ACTINOMETEB.—  (uktIs,  a ray;  fitrpov,  a measure).— An  in- 
strument for  determining  the  variations  of  actinic  power.  The 
registration  of  the  ever-varying  photographic  intensity  of  light  is 
so  important  a subject,  that  it  has  occupied  the  attention  of  several 
eminent  scientific  observers.  It  was  noticed  at  a very  early  period 
that  the  chemical  activity  of  the  solar  rays  varied  considerably  at 
different  hours  of  the  day.  Arago,  in  his  address  to  the  French 
Academy  on  the  discovery  of  the  Daguerreotype  process,  remarked 
that  there  was  a great  difference  in  the  photographic  power  of 
the  sun  when  observed  at  10  a.m.,  and  at  2 p.m.,  in  favour  of  the 
latter.  Further  experiments  soon  showed  that  there  were  some 
alterations  in  the  actinic  properties  of  the  light  which  required 
further  investigation  in  order  to  understand  it  properly ; and 
it  became  evident  that  very  great  advantage  would  be  derived 
from  the  construction  of  some  instrument  by  which  these  photo- 
graphic variations  should  be  regularly  recorded. 

Mr.  Jordan  published  a paper  in  the  year  1839,  on  a “ Descrip- 
tion of  a New  Arrangement  of  the  Heliograph  for  Registering 
the  Intensity  of  Solar  Light.”  In  1840,  Sir  John  Ilerschell  des- 
cribed an  “ Actinograph,  or  Self-Registering  Photometer,  for 
Meteorological  Purposes.”  He  says  : “ The  objects  of  such  an 
instrument,  which  cannot  but  be  one  of  material  importance  to 


the  meteorologist,  the  botanist,  and  the  general  physiologist,  may 
be  considered  as  twofold,  viz.,  first,  to  obtain  a permanent,  and, 
at  least,  self-comparable  register,  of  the  momentary  amount  of 
general  illumination  in  the  visible  hemisphere  which  constitutes 
daylight ; and,  secondly,  to  obtain  a similar  registry  of  the 
intensity,  duration,  and  interruption  of  the  actual  sunshine ; or, 
when  the  sun  is  not  visible,  of  the  illumination  of  that  point  in 
the  clouded  sky  behind  which  the  sun  is  situated.”  Each  of  these 
instruments  had  many  points  of  resemblance.  The  photographic 
paper  was  placed  round  a cylinder,  which  was  enclosed  in  another 
cylinder  which  was  moved  on  its  axis  at  a certain  rate  by  means 
of  clockwork.  A vertical  slit,  through  which  the  light  passed, 
being  made  in  the  outer  cylinder,  the  variations  of  the  light  were 
recorded  on  that  part  of  the  paper  opposite  which  the  slit  happened 
to  be  ; and,  by  adjusting  the  rapidity  of  the  movement  of  the 
cylinder  so  as  to  keep  the  slit  always  opposite  the  sun,  the  paper 
recorded  every  cloud  which  passed  over  its  disc. 

Mr.  Hunt  afterwards  constructed  an  instrument  on  the  same 
principles  as  those  mentioned  above.  He  says  : — “ This  actino- 
graph consists  of  two  brass  cylinders  moving  freely  upon  their 
axes,  one  of  them  containing  a powerful  clock-spring,  by  which 
the  apparatus  is  driven.  These  cylinders  are  fixed  about  twelve 
inches  apart,  and  around  them  is  placed  a band  of  india-rubber 
cloth,  which,  being  carried  round  by  friction  against  the  upper 
working  barrel,  makes  a complete  revolution  in  twenty-four  hours. 
The  uniform  rate  of  motion  is  secured  by  an  ordinary  clock  escape- 
ment and  pendulum.  This  apparatus  is  adjusted  at  such  an  angle 
that  the  direct  radiations  from  a zone  of  the  heavens,  about  45® 
above  the  visible  horizon,  may  fall  upon  its  upper  surface.  This 
clockwork  is,  therefore,  enclosed  in  a box,  and  covered  with  a brass 
plate,  in  which  there  is  a triangular  opening.  The  widest  part  of 
this  opening  measures  one  inch,  and  the  smallest  the  sixtieth 
part  of  an  inch.  This  is  divided,  1st,  in'.o  five  holes  of  such  sizes 
relatively  as  represent  the  periods  of  1,  2,  3,  4,  and  5 minutes  ; 
and  2ndly,  by  bars,  the  openings  between  each  being  adjusted  to 
regularly  increasing  divisions,  from  10  to  60.  From  this  it  will 
be  understood  that  any  point  of  the  moving  band  will  be  exposed 
to  the  daylight  for  an  hour  in  passing  under  the  largest  opening, 
and  the  time  of  exposure  diminished  by  10  minutes  in  each  of  the 
other  divisions  until  the  smaller  ones.  In  these  the  times  of  ex- 
posure are,  under  the  largest  hole  five  minutes,  and  under  the 
smallest  one  minute. 

“ If  we  attach  to  the  moving  web  a piece  of  prepared  photo- 
graphic paper,  it  will  be  evident  that  for  the  whole  of  daylight  it 
will  be  receiving  impressions  during  the  time  of  exposure  above 
described.  The  line  which  passes  under  the  smallest  hole  will 
never  be  exposed  for  more  than  a minute,  while  that  which  moves 
under  the  largest  opening  will  never  be  exposed  for  less  than  an 
hour;  consequently  we  have  the  difference  between  1 and  60. 
Now  the  maximum  effect  will  be  the  blackening  of  the  paper 
thoroughly  in  one  miuute,  when  of  course  the  image  of  the  opening 
and  its  divisions  will  be  deeply  impressed : the  minimum  effect 
will  be,  that  the  exposure  of  an  hour  is  necessary  to  produce  any 
sensible  change  in  the  colour  of  the  paper ; then  we  shall  have 
the  line  under  the  longest  opening  alone  well  defined,  the  others 
becoming  less  and  less  distinct,  until  the  paper  remains  absolutely 
white  over  those  parts  which  correspond  with  the  diminished 
openings.  It  is  my  intention  to  fix  a numerical  value  to  each  of 
these,  which  will  enable  me  to  tabulate  my  results,  and  register 
the  relative  value  of  the  actinic  radiations  by  the  side  of  the  indi- 
cations of  the  barometer,  thermometer,  and  hygrometer.  I wish 
to  these  the  photometer  could  be  added,  but  at  present  we  possess 
no  self-registering  instrument  which  will  give  us  indications  of  the 
variations  in  solar  light. 

“ In  the  use  of  this  instrument,  I prefer  presenting  it  to  the  light 
of  the  northern  sky  rather  than  to  the  direct  rays  of  the  sun.  In 
the  latter  case,  every  passing  cloud  which  obscured  the  face  of 
the  sun  would  be  registered ; but  I believe  the  most  accurate 
registration  of  the  quantity  of  the  chemical  radiations  active  during 
daylight  will  be  more  correctly  determined  by  obtaining  constant 
comparative  results  from  the  same  point  of  the  northern  sky.  The 
material  with  which  I prepare  my  paper  is  a standard  solution  of 
the  oxide  of  silver  in  ammonia.  One  wash  only  is  applied  to  the 
paper,  which  is  then  found  to  be  sufficiently  sensitive  for  all  the 
purposes  of  the  instrument. 

“ A solution  of  that  kind,  kept  in  my  bottle,  remains  constant 
for  any  length  of  time.  After  one  single  wash  of  this,  the  paper 
is  placed  damp  in  the  instrument,  and  exposed  during  the  hours 
of  night;  it  dries,  and  in  the  morning  it  is  in  an  uniform  con- 
dition,  which  will  last  during  the  day.” 

( To  be  continued.) 


July  27,  1883.) 


THE  PHOTOGRAPHIC  NEWS, 


477 


SOLID  AND  LIQUID  ILLUMINATING  AGENTS. 

BY  LEOPOLD  FIELD,  F.C.8.* 

You  who  come  from  stations  lighted  by  electricity,  and  through 
streets  brilliant  iu  gaslight,  may  find  good  cause  for  wooder  that 
so  much  can  be  found  to  be  said  upon  out-of-date  subjects  like 
the  lamp  and  the  candle,  which  are  the  simple  equivalents  of  the 
title  of  these  lectures. 

The  system  according  to  which  I have  concatenated  the  various 
bodies  used  for  lamps  and  candles  is  based  upon  the  theories 
held  by  the  generality  of  modern  chemists.  The  diagram 


shows  how  every  member  almost  of  these  myriad — these  Mormon 
— families  can  be  assigned  to  one  or  the  other  of  the  four  groups 
— hydrocarbons,  alcohols,  ethers,  and  acids.  Hydrocarbons  may 
be  regarded  as  parents  of  the  others,  which  in  theory,  borne  out 
to  a certain  extent  by  experiment,  are  derived  from  them  by 
more  or  less  complicated  processes.  As  their  name  implies,  the 
hydrocarbons  consist  entirely  of  hydrogen  and  carbon.  The 
relative  proportions  of  these  elements  in  the  different  series  vary 
by  equal  increments.  First  on  the  list,  as  to  us  they  are  the  most 
important,  come  the  paraffins.  The  white  solid  familiar  to  us 
under  that  denomination  consists  of  a number  of  the  higher 


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homologues  of  this  series,  the  compositiou  of  which  is  so  nearly  dualised.  They  all  conform  to  one  typical  formula,  Cn  H2C  -f-  2, 
identical  as  lo  defy  the  most  cunning  attempts  at  isolation.  At  | and  are  all  very  inert,  characterless  compounds,  to  which 
the  present  time,  twenty  well  defined  paraffins  have  been  indivi-  qualities  they  owe  their  name  ( parum , little,  affinis,  akiD).  The 

— first  of  the  twenty  has  long  been  known — it  is  the  joy  of  the 

* Journal  of  the  Society  of  Arte.  | lecturer,  as  methane  ; the  wonder  of  the  bucolic,  as  marsh  gas 


478 


THE  PHOTOGRAPHIC  NEWS, 


[Joty  27,  1883, 


and  terror  of  the  miner,  as  fire-damp.  The  formula  of  methane 
is  CH4.  It  is  a colourless  gas,  becoming  liquid  only  under  ex- 
treme cold  and  pressure.  Its  sp.  gr.  is  -55.  Here  is  a cylinder 
of  it : observe  the  bright,  smokeless  flame,  characteristic  of  the 
paraffins  generally.  In  this  short,  stout  tube,  there  are  confined 
four  volumes  of  oxygen,  with  two  of  methane  ; applying  alight, 
the  brisk  detonation  suggests  that  methane,  at  least,  has  kindred 
feelings  to  oxygen.  But  the  methane  exists  no  longer;  at  the 
moment  of  union,  water  and  carbon  dioxide — the  dreaded  choke 
damp — were  formed — 

CH44-04=C02  + 2H20 

Marsh  gas  is  the  invariable  concomitant  of  slow  organic  decom- 
position. The  formation  of  coal  was  attended  with  evolution  of 
this  gas,  large  volumes  of  which  are  often  stored  in  coal  mines. 
The  mud-volcano  of  Bulganak,  in  the  Crimea,  belche3  forth  pure 
CH4.  The  fire  worshippers  of  Baku,  according  to  O’Donovan,* 
prostrate  themselves  before  a stream  of  this  gas.  It  is  also  seen 
dancing  over  marshes,  ablaze,  as  Will-o’-the-Wisp.  Methane, 
and  the  three  following  members,  ethane  (C2HG),  propane  (C:iHs), 
and  butane  (C4H6),  are  gases  of  density,  increasing  with  their 
molecular  weights.  The  fifth,  pentane  (C5H12),  is  a liquid  at 
38°C.,  and  so  till  the  sixteenth,  hexdecane  (ClcH43),  solid  at  21°C. 
Ethane  (C2HG)  is  noteworthy  as  the  parent  of  alcohol,  ether,  and 
acetic  acid. 

(To  be  continued.) 


STANDARD  LIGHT. 

Dear  Sir, — As  the  question  of  a standard  light  is  now 
in  order,  I call  to  mind  a recollection  of  a lamp  that  was 
devised  for  giving  a standard  light,  and  it  appears  to  me 
about  what  is  wanted. 


Fig.  I,  Opening  for  filling  lamp  ; 2,  reservoir  for  fluid  ; 3,  connection  to 
wick  chamber ; 4,  wick  chamber ; 5,  opening  for  wicks. 

The  chamber  No.  4 is  to  be  of  a certain  diameter  and 
deepness.  The  wicks  are  of  platinum  wire  taken  just  so 
many  to  fill  the  chamber,  and  are  to  be  a trifle  longer  than 
the  chamber  is  deep. 

Fluid  Used.— Pure  alcohol  of  a standard  strength,  with 
a small  but  definite  quantity  of  pure  spirits  of  turpentine 
mixed  therein. 

It  is  evident  that  each  lamp  made  strictly  after  standard, 
and  fed  with  standard  fluid,  will  give  an  equal  light  with 
a standard  metre  having  as  many  numbers  as  may  be 
deemed  necessary,  and  a distance  set  at  which  the  plate 
Bhall  be  exposed ; and  for  a certain  specified  length  of 
time  to  give  the  No.  10  as  a unit.  If  dry  plate  makers 
were  to  use  such  a lamp,  and  give  the  number  indicated 
by  meter  on  each  packet  of  plates,  it  would  be  a standard 
that  could  be  used  the  world  over,  and  a great  help  to  the 
users.— Yours,  Jex.  Bardwell. 

Detroit. 


PACKING  PYROGALLOL. 

Dear  Sir, — Will  you  kindly  grant  me  space  to  protest 
against  the  present  mode  of  packing  pyrogallol.  In  the 
old  days  it  was  not  thought  too  much  trouble  to  cram 
ounces  into  separate  bottles ; but  now  one  never  sees  such 
a thing,  and  in  place  we  get  larger  sized  bottles,  or  pound 
tins,  which  I must  say  are  very  inconvenient. 

Of  all  operations,  there  is  none  more  utterly  odious  than 
weighing  “ pyro  ” — especially  if  one  should  happen  to  run 
short  of  solution,  and  have  a sitter  waiting. 

Now  that  I have  had  my  grumble,  let  me  suggest  a 

* O’Donovan,  “Merv  Oasis,” 


remedy.  If  we  must  have  pound  tins,  1 would  suggest 
that  they  contain  the  amount  in  half-ounce  and  quarter- 
ounce  packets,  which  would  be  infinitely  more  convenient 
than  having  to  weigh  out,  perhaps  at  the  last  moment, 
when  time  is  valuable. — Yours  obediently,  H.  W.  B. 


A TIGRESS  IN  ITS  LAIR. 

Dear  Sir, — I send  you  by  “book  post”  a copy  of  a 
photograph  I took  a short  time  ago  in  the  Jungles,  and 
should  be  glad  to  hear  what  you  think  of  it.  It  was  taken 
on  a Pall  Mall  plate.  Its  chief  merit  as  a picture,  however, 
I consider  lies  in  the  pose  of  the  tigress ; and  when  I tell 
you  that  the  beast  posed  herself  in  the  exact  position  in 
which  her  portrait  was  taken,  I think  you  will  agree  with 
me  that  it  was  a lucky  chance  which  a photographer  does 
not  get  every  day.  To  account  for  her  keeping  so  still,  I 
may  mention  that  she  received  a ball  through  the  heart 
before  the  camera  was  brought  to  the  front. — Yours 
faithfully,  W.  W.  Hooper,  Major,  4th  P.  \V.  0.  L.  Cav. 

Kamptee. 

[Major  Hooper’s  picture  is,  indeed,  a realistic  one.  In 
a rocky  recess,  formed  of  big  gray  boulders,  lies  stretched 
the  fallen  “ Empress  of  India,”  its  striped  body  and 
finely  marked  head  the  embodiment  of  lissom  strength 
and  ferocity.  On  the  stay-at-home  mind  the  effect  of  the 
picture  is  particularly  graphic  ; a dozen  chapters  could 
not  convey  to  the  senses  the  terrible  feeling  of  reality 
that  Major  Hooper  is  able  to  bring  home  by  his  powerful 
photograph. — Ed.  P.N.] 


Drumming*  of  ^ociiliw. 

Photographic  Society  op  Great  Britain. 

The  usual  monthly  Technical  meeting  of  this  Society  was  held  on 
Tuesday  evening,  July  24  th,  at  5a,  Pall  Mall  East,  Captain 
Abney,  R.E.,  F.R.S.,  in  the  chair. 

Mr.  Addenbrooke  exhibited  a photograph  he  had  taken  of 
the  very  bright  forked  lightning  which  appeared  during  a 
thunder  storm  recently  in  London.  A conversation  arose  re- 
specting any  influence  which  electricity  in  stormy  weather  might 
have  upon  gelatine  emulsion  ; but  no  observation  had  been  made 
upon  this  matter. 

The  Chairman  then  alluded  to  some  transparencies  which  had 
been  fixed  in  windows  having  become  tarnished,  and  desired  to 
know  whether  damp  would  affect  them.  It  seemed  to  be 
admitted  that  proximity  to  the  effluvia  of  gas  burnt  in  rooms 
would  considerably  affect  that  class  of  picture. 

Sir.  Warnerke  also  stated  that  some  valuable  film  negatives 
were  sent  to  the  Paris  Exhibition,  and  the  cases  having  to  wait 
a long  time  in  an  exposed  shed  before  being  opened,  he  found 
that  damp  had  destroyed  many  of  them. 

Sir.  Payne  Jennings  had  also  lost  some  negatives  from  his 
late  store  room  having  been  damp.  Both  the  films  and  the 
negatives  on  glass,  gelatine,  as  well  as  collodion,  had  brown 
markings  upon  them,  and  it  had  been  decided  that  they  had  no 
relation  to  silver  deposit  or  to  any  action  of  hypo. ; therefore  they 
must  have  arisen  from  damp. 

The  Chairman,  in  alluding  to  this  subject,  said  that  if  a drop 
of  water  got  spilt  or  splashed  on  to  a geiatine  negative,  it  dis- 
coloured the  part.  It  was  suggested  that  re-wetting  the  plate 
would  entirely  remove  the  effect,  as  also  that  rain  drops  some- 
times contained  nitric  acid  ; but,  it  was  thought,  so  little  as  not  to 
be  considered. 

Mr.  Ackland  thought  that  if  water  removed  the  stain,  it 
would  show  that  it  was  due  to  physical  causes. 

Mr.  D.  S.  Davis  then  alluded  to  the  fact  of  halation  occurring 
to  some  negatives  he  had  taken  upon  gelatine  emulsion  plates, 
and  said  it  raised  the  question  whether  any  preparation  of 
emulsion  could  be  made  to  induce  a large  amount  of  density,  or 
whether  resort  should  be  had  to  backing  to  correct  this  tendency 
to  halation  ; when  it  appeared  to  be  the  general  opinion  that  the 
better  plan  was  to  back  the  plates.  The  conversation  then 
drifted  into  the  various  kinds  of  backing  most  suitable  to  use, 
burnt  sienna  and  gum-water  being  recommended  ; asphaltum 
being  also  thought  good,  excepting  that  it  gave  a brilliant  sur- 
face, and  was  not  so  suitable  as  pigments  like  sienna,  which  gave 


Jut*  27,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


479 


a dull  surface  when  in  optical  contact  with  the  glass  ; the 
tendency  of  all  the  remarks  being  that  a backing  of  some  kind 
was  the  best. 

Mr.  Cowan  then  exhibited  a new  drop-shutter  he  had 
designed,  which  worked  inside  the  camera,  behind  the  lens,  and 
not  requiring  any  opening  to  be  made  in  the  camera  for  the  fall 
of  the  shutter,  the  release  being  effected  by  pneumatic  power. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  the  10th  inst.,  Mr.  F.  W.  Hart  in  the 
chair, 

Mr.  Cowan  showed  a drop-shutter  to  work  immediately 
behind  the  lens  ; it  wa3  made  to  take  the  place  of  the  lens-board, 
the  flange  being  fastened  on  to  it,  the  thickness  being  about 
J-inch  ; it  was  so  arranged  that  any  amount  of  exposure  could 
be  given,  say  from  one-fifth  of  a second  to  any  longer  time 
desired.  It  consisted  of  two  drops  falling  one  after  the  other, 
held  in  position  by  a trigger-spring  so  arranged  that  the  act  of 
releasing  the  first  drop  held  the  second  one  till  the  trigger  was 
released,  when  that  also  fell. 

The  Chairman  said  that  the  best  lens-board  he  had  seen  was 
one  of  Mr.  Warnerke’s,  which  was  made  of  ebonite,  the  largest 
lens  screwing  into  the  front  itself,  an  adapter  being  used  for  all 
the  others. 

Mr.  J.  Tegkda,  of  New  York,  who  was  introduced  to  the 
meeting,  said  that  the  principal  obstacle  encountered  there  in 
the  preparation  of  gelatine  plates  was  the  extreme  difficulty  iu 
producing  a rapid  emulsion  during  the  hot  season.  With  the 
glass  at  95°F.  the  quickest  he  could  produce  was  about  twice  the 
speed  of  collodion  ; he  had  tried  boiling,  and  also  adding  am- 
monia to  quicken  the  speed,  but  found  this  decomposed  the  gela- 
tine, the  top  of  the  emulsion  remaining  perfectly  clear  when 
emulsion  was  set.  He  had  been  more  successful  with  boiling 
than  with  the  ammonia  process  ; the  quickest  he  had  prepared 
was  by  the  ammonia  nitrate  process,  keeping  the  solution  as 
cool  as  possible  ; but  even  this  was  very  slow. 

Mr.  Henderson  passed  round  prints  from  negatives  taken  by 
Mr.  J.  Brigenshaw  with  drop-shutter  on  plates  containing  but  a 
very  small  quantity  of  silver,  as  explained  by  him  at  a previous 
meeting  ; sixty-six  cabinet  plates  being  coated  with  200  grains 
of  silver. 


Newcastle-on-Tyne  and  Northern  Counties’  Photographic 
Association. 

It  had  been  arranged  for  the  first  out-door  meeting  on  June  20th 
to  go  by  sea  to  Marsden,  but  the  morning  was  stormy  and  the  sea 
so  rough,  that  only  one  member  appeared  at  Tynemouth  to 
join  Mr.  Auty.  A coble  not  being  obtainable  on  account  of  the 
boisterous  weather,  the  morning  was  spent  in  taking  views  of 
Tynemouth  Priory,  ah  of  which  were  unfortunately  spoilt  by 
vibration  of  the  camera  caused  by  the  wind.  Some  instantan- 
eous views  of  the  harbour  mouth  were  more  successful.  The 
weather  improved  in  the  afternoon,  a coble  was  procured,  and 
with  a rattling  breeze  the  little  party  of  three  were  soon  on  their 
way  to  Marsden  Rock,  about  five  miles  off.  Sailing  out  of  the 
mouth  of  the  Tyne,  down  the  coast  by  South  Shields,  and 
passing  Frenchman’s  Bay  and  Manhaven,  they  landed  safely  at 
the  Velvet-beds,  about  half  a mile  distant  from  Marsden. 
Several  good  photographs  were  taken,  and  about  half  past  six 
the  party  re-embarked,  and  reached  Tynemouth  without  mishap, 
where  they  partook  of  Mr.  Auty’s  hospitality,  and  inspected  his 
fine  instantaneous  storm  pictures 

On  Wednesday,  July  18th,  the  second  out-door  meeting  took 
place,  the  members  meeting  at  the  Central  Station,  Newcastle,  at 
(1.25  a.m.  There  were  seven  present,  an  eighth  joining  them  at 
Hexham.  Thence  proceeding  by  train  to  Chollerford,  after 
breakfasting  at  the  inn,  the  company  set  out  for  the  Chesters, 
the  residence  of  John  Clayton,  Esq  , the  owner  of  the  property 
upon  which  the  most  important  stations  on  the  line  of  the 
Roman  Wall  stand.  Mr.  Clayton  kindly  permitted  the  members 
to  inspect  his  collection  of  Roman  relics,  which  contains  many 
specimens  of  jewellery,  coins,  Samian  ware,  and  other  pottery  ; 
and  when  the  very  numerous  Roman  altars,  figures,  and  in- 
scribed stones  in  his  museum  had  been  examined,  they  visited 
the  Roman  station  of  Cilurnum,  and  saw  the  Forum,  or  ancient 
Roman  market  place,  the  Treasury,  the  Hvpocaust,  and  the 
gateways  of  the  camp,  as  well  as  a portion  of  the  wall  itself, 
which  have  remained  intact  since  the  time  of  the  Roman  occupa- 
tion of  Britain.  Tempted  by  the  beautiful  stretches  of  river  and 


woodland,  none  of  the  party  would  devote  a plate  to  the  Roman 
antiquities,  and  they  left  the  Camp  for  the  banks  of  the  North 
Tyne,  which  had  been  flooded  the  day  before,  and  still  showed 
by  the  depth  of  its  rich  transparent  brown  colour  that  its  waters 
were  derived  from  the  hilly  moorlands  of  the  borders.  Many 
fine  river  subjects  were  photographed,  all  the  gentlemen  present 
being  provided  with  cameras  varying  in  size  from  quarter-plate 
up  to  15  by  12. 

On  their  return  to  Chollerford,  Professor  Ilerschel,  one  of  the 
Vice-presidents  of  the  Society,  joined  them.  They  then  took 
train  to  Barrasford  Station,  and  walking  down  the  river,  the 
Castle,  which  is  situated  on  the  opposite  bank,  was  photographed. 

On  the  arrival  of  the  ferryman  with  his  boat  from  the  other 
side  of  the  river,  a group  was  arranged  on  the  landing-place  of 
the  ferry'.  In  order  that  all  the  members  might  appear  in  the 
photograph,  a small  boy  was  instructed  to  uncap  the  lens,  and 
two  plates  were  exposed,  which  have  turned  out  successful.  The 
river  was  then  crossed,  and  several  views  were  taken  of  Haughton 
Castle  and  Lake  ; returning  by  the  village  of  Humshaugh,  they 
visited  the  approaches  to  the  Roman  Bridge  at  Cilurnum.  The 
bridge  itself,  having  been  made  of  wood,  has  long  since  dis- 
appeared, but  its  foundations  and  abutments  of  massive  masonry 
still  remain,  showing  the  marks  of  the  Roman  chisel  very  dis- 
tinctly. On  arriving  at  Chollerford  Inn,  they  finished  up  the 
day  with  tea  and  a pleasant  chat  on  matters  photographic, 
leaving  for  Newcastle  by  the  last  train.  The  day,  although 
rather  dull,  was  calm,  and  very  saticfactory  for  out-door  work, 
and  sixty-seven  dry  plates  of  various  sizes  were  exposed. 


NoRtn  Staffordshire  Photographic  Association. 

The  ordinary  monthly  meeting  of  this  Association  was  held  on 
Thursday,  July  19th,  at  the  Wedgwood  Institute,  Burslem,  Mr. 
A.  Humboldt  Sexton,  F.R.S.,  occupying  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
approved,  it  was  resolved  that  an  excursion  be  made  on  Thursday, 
August  2nd,  to  Ashbourne  and  Dovedale  ; the  party  to  journey 
from  Stoke  to  Ashbourne  by  North  Eastern  Railway,  and 
from  thence  to  Dovedale  by  waggonette.  The  secretary  was 
requested  to  go  over  to  Ashbourne  and  make  all  necessary 
arrangements,  and  also  to  send  out  invitations  to  photographers, 
amateur  and  professional,  non-members  of  the  Society  in  the 
neighbourhood,  to  join  the  party. 

Mr.  A.  Humboldt  Sexton  said  he  was  extremely  sorry  that 
he  should  be  obliged  to  resign  the  office  of  president  of  the  Asso- 
ciation, as  he  intended  leaving  the  neighbourhood  in  a few  days 
for  Manchester. 

Mr.  F.  J.  Emery  said  that  he  was  sure  all  the  members 
present  would  hear  with  great  regret  that  their  president  was 
about  to  leave  them  ; he  proposed  a vote  of  thanks  to  Mr.  Sexton 
for  the  very  able  way  in  which  he  had  fulfilled  the  duties  of  the 
office  since  his  election. 

Mr.  Burgess  seconded  Mr.  Emery’s  proposition,  and  the  vote 
was  accordingly  passed,  accompanied  with  a wish  for  Mr.  Sexton’s 
success  in  his  new  undertaking. 

Mr.  W.  Alexander  Jones  having  been  elected  a member,  the 
meeting  separated. 

Bury  Photographic  and  Arts  Club. 

The  monthly  meeting  was  held  at  the  Coffee  Rooms,  Market 
Place,  Bury,  on  Monday,  July  16th.  There  was  a good  attend- 
ance of  members,  Mr.  E.  W.  Mellor  (the  president)  occupying 
the  chair.  The  minutes  of  last  meeting  having  been  confirmed, 
Messrs.  R.  N.  Philips,  M.P.  ; T.  Roberts,  J.P.  ; and  J.  W. 
Kenyon  were  elected  as  honorary  members  ; and  Mr.  J.  Whally 
as  member. 

There  was  a good  show  of  views  and  groups  taken  by  the 
members  at  their  last  out -door  meeting  at  Bolton  Woods,  which 
were  declared  very  satisfactory. 

Mr.  W.  H.  Dearden  then  exhibited  a new  and  convenient 
washing  apparatus,  designed  by  himself. 

Mr.  E.  Eccles  exhibited  a useful  instantaneous  shutter, 
designed  by  Mr.  Kershaw. 

A discussion  then  took  place  on  the  various  methods  of  deve- 
lopment used  for  gelatine  plates. 

Mr.  Rishton  gave  a description  of  his  method  of  intensifying 
gelatine  negatives. 

The  next  out-door  meeting  was  fixed  to  take  place  on  Bank 
Holiday,  August  6th,  the  districts  of  Clithero,  Downham,  and 
Sawley  being  selected.  Members’  friends  can  join  this  meeting. 


480 


THE  PHOTOGRAPHIC  NEWS. 


[July  27,  1883. 


SLalk  in  t&e  $tttbi0. 

The  Duke  and  Duchess  of  Albany.— Messrs.  George 
Tuohy  and  Co.,  of  Richmond,  send  us  two  capital  groups  of 
their  Royal  Highnesses  the  Duke  and  Duchess  of  Albany  and 
other  visitors  on  the  occasion  of  the  distribution  of  prizes  at  the 
Royal  School  for  Daughters  of  Officers  in  the  Army  at  Roe- 
h iuipton.  Messrs.  Tuohy  state  that  it  was  “ raining  steadily  ” 
during  the  time  ; but  they  do  not  say  whether  they  attribute 
the  success  of  the  pictures  to  this  circumstance. 

Nottage  and  Another  v.  Jackson. — This  was  an  appeal  of 
the  plaintiffs  from  a judgment  of  Mr.  Justice  Field,  at  the  trial 
of  this  action  in  Middlesex.  The  plaintiffs  were  Mr.  Alderman 
Nottage  and  Mr.  Kinnaird,  who  carried  on  business  under  the 
title  of  the  London  Stereoscopic  Company,  at  Cheapside,  and 
Regent  Street,  W.  They  had  sought  to  restrain  the  defendant, 
who  was  a photographer  at  Leeds,  from  infringing  on  their 
copyright  of  the  “ Australian  Cricketers  ” taken  on  their  behalf 
at  the  Kennington  Oval  in  June,  1882.  It  appeared  that  the 
plaintiffs  manager  arranged  with  the  captain  of  the  Australian 
team  to  photograph  the  group  at  tne  Oval,  and  their  artist,  Mr. 
Reynolds,  attended  and  took  the  negative  from  which  the  posi- 
tives were  taken.  The  negative  was  subsequently  sent  to  the 
works  of  the  plaintiffs  at  Barnet,  where  copies  were  made,  and 
the  photograph  was  registered  under  the  Copyright  Act,  and  the 
names  of  the  plaintiffs  appeared  on  it  as  the  authors.  The 
photographer  who  took  the  negative  was  admitted  to  be  in  the 
service  of  the  plaintiffs,  and  was  their  paid  servant  directed  to 
do  certain  duties,  a part  of  which  was  to  take  negatives  under 
instructions.  Objection  was  taken  at  the  trial  that  the  plaintiffs 
were  not  the  authors  of  the  photograph,  but  Reynolds,  who  took 
the  negative  ; therefore  there  was  no  ground  of  action.  The 
defendants  contended  that  the  man  who  actually  took  the  nega- 
tive was  the  author  of  the  photograph,  and  in  him  alone  the 
copyright  was  vested.  The  negative  was  vested  in  the  photo- 
grapher, as  he  actually  did  the  work.  The  plantiffs  maintained 
that  they  were  the  authors  of  the  photograph,  and  had  regis- 
tered themselves  as  such  ; but  the  defendant  responded  that  the 
plaintiffs  were  merely  the  proprietors,  and  nothing  more.  The 
learned  judge  who  tried  the  action,  took  the  view  of  the  case  as 
set  up  by  the  defendants,  and  entered  judgment  for  them.  Their 
Lordships  said  that  they  would  take  time  to  consider  judgment. 

Maud  [looking  at  a picture  of  the  Laocoon  groupj. — “Why 
are  the  men  in  that  photograph  up  there  making  6uch  faces, 
Aunty  ? ” Aunty  : “ Because  they  have  sinned,  dear  ; and,  as 
a punishment,  there  came  two  great  snakes  and  bit  them  most 
fearfully.’’  Maud  [after  a pause]  : But,  Aunty,  wasn’t  it  silly 
of  them  to  be  photographed  when  they  were  like  that  ? ” — lutiny 
Folks. 

A Leaky  Electric  Conductor. — A crowd  of  men  and  boys 
gathered  on  the  sidewalk  in  Maiden  Lane,  New  York,  one  Satur- 
day afternoon  receutly.  At  very  frequent  intervals  somebody 
would  exclaim,  “ Here  comes  one  ! ’’and  then  everybody  would 
smile  with  a pleasurable  expectation,  and  turn  their  eyes  towards 
an  approaching  horse  and  truck.  The  driver,  meanwhile,  with 
that  supercilious  indifference  peculiar  to  his  class,  would  scarcely 
deign  to  notice  the  crowd  or  remove  his  gaze  from  his  jogging 
beast.  Suddenly,  when  his  horse  reached  a certain  spot  in  the 
street  pavement,  the  animal  would  give  a spavined  and  convulsive 
leap,  shake  up  the  driver  with  a violent  jerk,  and  continue  on  his 
way  at  a lively  pace.  Then  the  crowd  would  laugh  and  the 
driver  swear.  When  a team  came  along  sometimes  only  one 
horse  would  be  affected,  but  the  pair  always  jumped  ahead  in 
rattling  style.  These  phenomena  invariably  occurred  when  the 
horses  reached  the  same  spot  in  the  street  pavement.  The 
underground  electric  light  wire  had  become  disarranged,  and  a 
metal  plate  in  the  roadway  was  strongly  charged  with  electricity, 
so  that  when  the  iron  shoe  of  ahorse  touched  it,  the  animal  ex- 
perienced a severe  shock.  The  fun  lasted  until  a policeman 
came  along  aDd  warned  drivers  to  take  the  side  of  the  road. — 
Detroit  Free  Press. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
August  1st,  the  subject  for  discussion  will  be  “ On  the  Selection 
of  Views.” 


9(0  60m*00ttbtnts. 

Charles  Wilkins. — The  alcohol  of  the  varnish  dissolves  the 
pyroxyline,  and  the  addition  of  a few  drops  of  water  to  each  ounce 
of  varniah  will  probably  prevent  this. 


S.  Rosenthal. — We  regret  your  disappointment,  but  it  shall  not 
last  long.  Our  columns  hnve  been  so  crowded  of  late,  that  it  has 
been  difficult  to  find  space  for  the  articles  in  question.  Now  the 
Societies  are  not  so  busy,  we  shall  be  able  to  have  matters  more 
our  own  way,  and  hope  to  gratify  you. 

J.  Maychell. — 1.  Try  the  compound  emulsion  of  Dr.  Vogel. 
Details  for  its  preparation  will  be  found  on  p.  378  of  the  present 
volume.  2.  Yourbost  way  will  be  to  obtain  Pritchard’s  “ Studios 
of  Europ°.” 

F.  II.  Davies. — First  make  as  good  a copy  as  practicable  in  case  of 
injury  to  the  original ; after  which  the  original  should  be  flooded 
with  a five-grain  solution  of  potassium  cyanide,  this  being  allowed 
to  act  until  the  stains  disappear.  Wash  well  with  water. 

N.  B.  C. — 1.  It  cannot  be  so,  as  excess  of  nitrate  is  always  present. 
2.  Use  a solution  of  pure  wax  in  benzole,  10  grains  to  the  ounce. 

V.  X. — You  will  doubtless  be  able  to  pay  it  into  a bank  for  its  full 
value,  but  if  you  prefer  to  make  it  into  chloride,  proceed  as 
follows  : — Note  the  weight,  and  next  dissolve  it  in  a mixture  of 
three  ounces  of  strong  hydrochloric  acid  and  one  ounce  of  nitric 
acid,  the  most  convenient  mode  of  dissolving  being  to  put  the 
materials  in  a glass  flask,  and  this  flask  on  a dish  of  sand  placed 
on  the  kitchen  hob.  The  fumes  will  then  go  up  the  chimney  and 
do  no  harm.  When  solution  is  complete,  pour  out  the  contents 
of  the  flask  into  a clean  saucer,  and  allow  this  to  remain  on  the 
dish  of  sand  until  all  the  free  acid  has  evaporated,  and  a crystal- 
line residue  remains,  after  which  add  water  at  the  rate  of  two 
drachms  for  each  grain  of  gold  originally  used.  The  solution 
may  be  regarded  as  containing  one  grain  of  chloride  of  gold  to 
each  drachm,  and  the  small  proportion  of  copper  which  is  present 
will  not  interfere  with  the  process  of  toning. 

Tory. — Put  a handful  of  salt  in  your  water.  If  you  have  our 
“ Studios  of  Europe,”  consult  Mr.  Payne  Jennings  on  Toning. 

H.  Schuster. — Thank  you  very  much  ; but,  as  you  will  see,  our 
friend,  M.  Leon  Vidal,  forwards  us  French  correspondence 
regularly. 

A.  Barrett.— We  rather  think  the  defects  are  due  to  grease  in 
the  gelatine.  Try  another  sample.  Otherwise,  the  emulsion 
appears  to  be  very  good. 

E.  D.  G. — Try  the  following : — 

Best  arrowroot  3.1  ounces 

Water  28"  ,, 

Gelatine  or  glue ItiO  grains 

Methylated  spirit 2 ounces 

Carbolic  acid  12  drops 

Mix  the  arrowroot,  with  six  ounces  of  the  water,  into  a paste, 
then  add  rest  of  water  and  the  soaked  gelatine.  Boil  and  stir 
for  three  or  four  minutes,  then  let  partly  cool.  Finally,  add  the 
carbolic  acid  and  spirit.  Keep  stirring  till  properly  mixed. 
This  mounting  solution  will  keep,  and  does  not  cockle  the  prints. 
You  can,  of  course,  take  less  quantities  if  you  please. 

T.  W. — We  think  your  error  lies  in  over-development.  Pushing 
too  far  is  bound  to  produce  flat  pictures,  and  then  intensification  is 
necessary.  The  “little  boy”  would  have  been  better  but  for  this. 
Intensify  this  negative  with  the  bichloride  formula  on  p.  197  of 
our  Year-Book,  and  we  think  you  will  be  satisfied  with  the 
result. 

B.  Collenette. — Very  likely  the  mounts  contain  sodium  chloride, 
or  common  salt.  Soak  two  or  three  of  them  in  distilled  water 
for  a couple  of  hours,  and  then  add  a drop  of  nitrate  of  silver  solu- 
tion, to  see  if  any  turbidity  results.  If  this  is  the  case,  salt  is 
present,  and  this  attracts  moisture,  and  will  ruin  the  print.  The 
experiment  is  a very  simple  one.  We  have  frequently  found  salt 
present  in  black  mounts. 

Retort.— From  the  circumstance  that  the  phenomenon  appears  in 
the  plate,  on  development,  even  when  the  latter  has  not  been 
exposed  to  light,  there  is  little  doubt,  we  think,  that  the  defect  is 
due  to  coarse  grains  of  silver  bromide.  According  to  Dr.  Eder, 
reduction  will  take  place.  It  is  possible  you  boil  a little  too  much  ; 
or  that  the  silver  solution  you  use  is  rather  too  concentrated. 
Tho  fault  may  arise  from  either  of  these  beads.  Mr.  Cowan,  who 
employs  salycilic  acid,  is  quite  satisfied  with  it,  and  the  amount 
you  employ  is  not  excessivo. 

B.  Sandiland. — Test  the  solution  with  red  litmus  paper;  if  it 
turns  blue,  the  salt  is  alkaline,  and  should  be  rejected. 

C.  Lighti'OOT. — 1.  See  Leader  this  week.  2.  A name  occasionally 
applied  to  10  by  8 plates.  3.  A glass  vessel  is  much  to  be  pre- 
ferred. 

J.  IIarrold. — Considerable  changes  are  likely  to  take  place 
shortly,  the  scale  of  fees  being  considerably  reduced.  It  may 
therefore  be  worth  your  while  to  wait. 

Andrew  C . — 1.  We  imagine  youi  glass  has  been  imperfectly 

cleaned.  A good  mixture  is  made  by  dissolving  one  drachm  of 
iodine  in  one  pint  of  methylated  spirit,  and  adding  three  ounces 
of  tripoli.  2.  The  bath  should  just  show  a faint  acid  re-action 
when  a piece  of  litmus  paper  is  immersed,  and  as  you  become 
more  experienced,  you  will  be  able  to  work  satisfactorily  with  a 
bath  more  nearly  neutral. 

G.  F.  Webber,  Photographer,  and  several  other  Correspon- 
dents in  our  next. 


THE 


HEWS, 


CONTENTS. 


PAOI 

Testing  for  Hypo.. 481 

Fixing  Bath  containing  Alum 481 

Lantern  Slides  482 

The  Tourist  Photographer  483 

Newc>stle-on-Tyne  Photographic  Association 481 

Does  the  Amount  of  Gelatine  affect  the  Rapidity  and  Quality 

of  the  Negative.  By  A.  L.  Henderson 485 

The  Eolipse  Party 485 

Practical  Aids  to  Instantaneous  Photography.  By  R.  Crowe...  488 


PAOR 

Notes  .......... . 487 

Patent  Intelligence  489 

A Trip  to  Kilauea.  By  C.  Ray  'Woods 489 

A Dictionary  of  Photography  491 

Solid  and  Liquid  Illuminating  Agents.  By  L.  Field,  F.C.S  492 

Correspondence  494 

Proceedings  of  Societies 494 

Talk  in  the  Studio 495 

To  Correspondents 490 


TESTING  FOR  HYFO. 

It  is  probable  that  not  one  band-book  out  of  every  twenty 
which  has  been  written  on  the  subject  of  photography  duriDg 
late  years  could  be  found  that  does  not  contain  the 
method  of  determining  the  presence  of  thiosulphate  or 
hyposulphite  of  soda  by  means  of  iodide  of  starch.  This 
subjtct  having  been  well  ventilated  in  these  columns  from 
time  to  time,  also  by  various  authors  of  treatises  on  chemis- 
try, we  may  take  it  as  a pretty  conclusive  fact  that  the 
average  photographer  is  thoroughly  well  acquainted  with 
the  re-agent  spoken  of,  and  the  reactions  which  take  place. 
Assuming  such  to  be  the  case,  we  take  this  opportunity  of 
pointing  out  just  how  one  little  error  might  upset  the  calcu- 
lation, and  render  the  experiment  valueless.  There  is  very 
little  doubt  that  the  blue  colour  of  starch  iodide,  when 
diluted  with  pure  (or  comparatively  pure)  distilled  water, 
may  be  retained  for  sometime  if  kept  in  a closed  tube  in  the 
dark  room  ; but  as  the  photographer  does  not  always 
possess  a very  pure  sample  of  water,  it  is  customary  to  pre- 
pare the  comparing  liquid  at  the  time  of  performing  the 
experiment.  Suppose  we  place  a given  quantity  of  the 
starch  iodido  into  a clean  test-tube,  and  nil  it  up  with  dis- 
tilled water,  and  into  another  clean  test-tube  of  the  same 
dimensions  put  a similar  quantity  of  starch  iodide,  and  fill 
it  up  with  the  liquid  to  be  tested,  the  difference  in  colour, 
if  any,  when  examined  over  a sheet  of  white  paper,  denotes 
the  bleaching  action  of  sodium  thiosulphate ; this  is  all 
very  well  so  far  as  it  goes,  but  it  does  not  for  a moment 
prove  that  other  bleaching  agents  are  not  present  in  the 
water  besides  the  one  named. 

To  prove  that  such  bleaching  agents  do  exist  in  ordinary 
water,  the  following  experiments  were  undertaken  : — Three 
test-tubes  of  the  same  capacity  were  marked  iu  a similar 
position  as  regards  quantity,  and  filled  to  the  mark  with  A, 
distilled  water  ; B,  ordinary  tap-water  drawn  from  the  main, 
and  containing  lime  ; C,  distilled  water,  to  which  was  added 
an  equal  quantity  of  lime  water;  also  carbonio  acid  gas, 
until  the  mixture  became  turbid.  To  each  A B and  C we 
delivered  by  means  of  a pipette  a quantity  of  the  starch 
iodide  solution,  equal  to  five  cubic  centimetres ; each  tube 
was  then  shaken,  and  placed  vertically  against  a sheet  of 
white  paper  with  the  light  arranged  from  the  top,  so  as  to 
examine  the  colour  in  the  most  satisfactory  manner  ; and  to 
be  very  exact,  a piece  of  litmus  paper  of  the  same  shade 
was  used  for  comparison.  A retained  its  colour;  B veiy 
gradually  became  lighter;  C bleached  instantly.  50  cubic 
centimetres  more  starch  was  added  to  C ; but  the  colour  dis- 
nppeated  within  a few  minutes,  clearly  showing  the  unrelia- 
bility of  this  substance  under  certain  conditions. 

A,  remaining  constant,  two  more  tubes  were  filled  in  a 
similar  manner  with  distilled  water,  sodium  carbonate  being 
added  to  one,  and  sodium  sulphite  to  the  oiher ; upon 


shaking  up  with  a similar  quantity  of  starch  iodide  as 
previously  used,  the  colour  was  destroyed  in  both  cases. 
The  next  experiment  consisted  in  pouring  acetic  acid  on 
chalk,  so  as  to  obtain  a plentiful  supply  of  carbonic  acid  gas, 
the  mouth  of  the  tube  containing  C02  being  held  over  the 
mouth  of  another  tube  containing  lime  water  to  saturation  ; 
this  gas,  which  is  heavier  than  air,  naturally  flows  from  the 
upper  tube  into  the  lower  one,  and  carbonate  of  lime  was 
rapidly  deposited,  so  that  this  experiment  may  be  considered 
as  an  intensified  copy  of  G.  To  this  mixture  two  drops  of 
strong  nitric  acid  were  added,  which  cleared  the  turbidity, 
and  five  cubic  centimetres  of  starch  iodide  solution  delivered 
from  a pipette,  89  before,  coloured  the  mixture  a delicate 
blue,  similar  to  A,  the  tube  we  had  taken  as  our  standard. 
After  a lapse  of  twenty-four  hours  the  colour  was  unaltered  ; 
but  one  drop  of  fixing  solution  (sodium  thiosulphate)  sufficed 
to  destroy  the  colour  instantly. 

From  these  experiments  we  glean  that,  when  it  is  desired 
to  adopt  the  iodide  of  starch  method  in  testing  for  hypo  in 
mounts  previous  to  taking  them  into  stock,  silver  prints, 
gelatine  negatives,  or  either  of  their  respective  washing 
waters,  it  becomes  a matter  of  some  importance  that  the 
liquid  should  be  acidified;  and  nitric  acid  is  suitable  for  the 
purpose,  because,  as  we  have  shown  that  in  the  presence  of 
unmistakable  bleaching  agents  a very  small  proportion  of 
the  powerful  oxidizing  acid  so  controls  or  retards  their  action, 
that  their  presence  may  be  considered  inert. 

o 

FIXING  BATH  CONTAINING  ALUM. 

In  many  ways  the  mixed  alum  and  hyposulphite  bath  has 
proved  to  be  a valuable  and  important  improvement  upon 
the  old  fixing  bath  made  up  with  sodium  hyposulphite 
alone  ; and  we  recommend  a trial  to  those  readers  who 
have  not  yet  employed  the  composite  bath. 

As  far  as  our  own  experience  goes,  the  simple  mode 
of  mixing  recommended  in  the  Formulary  answers  ex- 
tremely well,  and  either  no  sulphur  is  deposited  when  one 
volume  of  a saturated  solution  of  sodium  hyposulphite  is 
mixed  with  two  volumes  of  a saturated  solution  of  alum,  or 
the  amount  of  sulphur  deposited  is  extremely  small  ; so 
small,  indeed,  as  to  correspond  with  the  decomposition  of 
so  minute  a proportion  of  sodium  hyposulphite  as  not  to 
perceptibly  affect  the  working  strength  of  the  fixing  bath. 

The  Marquis  de  Ferronnay  recommends  a somewhat 
novel  method  of  mixing  the  hypo  and  alum  bath,  his 
plan  being  as  follows.  One  litre  of  warm  water  is  poured 
on  a mixture  of  150  grammes  of  hyposulphite  of  soda  and 
40  grammes  of  alum,  the  whole  being  well  stirred  ; a piece 
of  wood  being  more  convenient  for  this  purpose  than  a 
glass  rod.  A small  proportion  of  sulphur  is  deposited, 
but  after  this  has  been  removed  by  filtration  the  solution 


482 


THE  PHOTOGRAPHIC  HEWS. 


[August  3,  1883. 


is  ready  for  use,  and  it  is  said  that  such  a bath  may  be  used 
more  than  a hundred  times  without  becoming  coloured. 

As  the  fixing  bath  containing  alum  is  more  or  less  liable 
to  deposit  sulphur,  it  is  advisable  to  filter  it  immediately 
before  use,  and,  in  order  to  guard  against  the  possibility  of 
a deposit  of  finely-divided  sulphur  remaining  on  the  surface 
of  the  negative,  it  is  well  to  pass  the  hand  lightly  over  the 
film  while  the  plate  is  in  the  wash  water.  The  alum  and 
hypo  bath  does  not  appear  to  cause  the  sulphuration  of  the 
image,  and  we  see  no  reason  to  suppose  that  negatives 
fixed  in  the  composite  bath  are  likely  to  be  less  permanent 
than  those  which  have  been  fixed  in  the  simple  hypo  bath 


LANTERN  SLIDES. 

Third  Article. 

Assuming  that  the  reader  has  constructed  some  such  piece 
of  additional  apparatus  as  that  figured  upon  page  291,  and 
that  all  is  now  ready  to  begin  work — that  is,  that  a nega- 
tive has  been  placed  in  the  frame  made  to  receive  it,  upside 
down,  and  film  side  towards  the  camera,  and  that  the  image 
cast  upon  the  ground  glass  has  been  obtained  of  the  correct 
dimensions  required  for  a slide,  care  being  taken  to  see 
that  it  is  perfectly  sharp  and  even,  which  must  be  done  by 
a magnifying  glass  or  focussing  eye-glass — we  will  now  pro- 
ceed to  explain  some  of  the  methods  and  processes  as  fore- 
shadowed in  our  first  article  on  page  130.  We  will  begin 
by 

Photographing  the  Negative,  in  the  Camera  on  Wet  Collodion. 
— Among  many  amateurs,  and  certainly  several  pro- 
fessionals, the  bath  process  still  continues  in  vogue  as  a 
means  to  produce  slides,  although  this  method  is  threatened 
to  be  superseded  by  other  more  modern  ones.  Doubtless 
wet  collodion  ha3  its  adherents  by  reason  of  its  simplicity, 
and  chiefly  among  those  whose  business  or  inclination 
leads  them  to  such  work  as  may  be  called  copying,  and  the 
bath  process  is  not  unlikely  so  to  remain  in  favour,  especi- 
ally with  those  who  have  already  been  educated  in  its  use, 
either  as  professional  photographers  of  a dozen  years’  ex- 
perience, who  have  not  yet  given  up  the  use  of  the  bath,  or 
as  amateurs  who  may  incline  to  the  belief  that  wet  collo- 
dion is  the  correct  method  for  the  production  of  lantern 
slides. 

Wet  collodion  slides  have  a particular  character  about 
them  almost  always  distinguishable  from  slides  made  by 
other  processes,  the  votaries  of  wet  collodion  urging  that 
they  have  a bloom  and  vigour  not  obtainable  by  other 
means ; that  the  process  is  so  greatly  under  control  that 
any  specific  results  can  be  produced ; and  other  claims, 
which  adherents  of  rival  processes  as  firmly  advance  on 
behalf  of  their  favourite  processes.  Our  business  is  not  so 
much  to  discuss  these  rival  merits,  as  to  indicate  the  exact 
details  of  each  process,  although  we  are  bound  to  point 
out  some  of  the  shortcomings  of  every  one  of  them. 

Wet  collodion  undoubtedly  has  the  right  to  claim  vigour 
in  the  results,  but  it  has  not  uufrequently  the  drawback  of 
structure  in  the  film,  seen  when  the  slides  are  projected 
upon  the  screen  by  a powerful  light  and  high  magnifying 
power  ; and  it  also  has  to  plead  guilty  to  granularity  and 
an  encroachment  on  the  highest  lights  due  to  the  building 
up  action  of  the  developer,  which  reduces  the  free  silver  to 
the  metallic  state,  so  to  speak  “piling  it  on,”  producing 
that  blocking  up  condition  well  known  to  wet  collodion 
woikers. 

However,  that  many  thousands  of  beautiful  slides  on 
wet  collodion  have  been  and  will  be  produced,  there  can 
be  no  doubt ; and  we  must  now  give  our  readers  a peep 
into  our  own  arrangements  to  this  end. 

Glass. — For  all  kinds  of  lantern  slides,  we  prefer  to  use 
patent  plate  glass,  for,  beyond  its  general  good  quality,  it 
has  other  recommendations,  if  care  be  used  to  avoid  stain- 
ing the  surface  of  this  glass,  which  frequently  happens  if 


it  is  allowed  to  lie  about  among  dirty  dishes  and  chemicals 
There  is  an  especially  thin  kind  of  glass  sold  by  some' 
merchants,  which  is  admirably  suited  for  lantern  slides  ; 
we  believe  it  is  called  nine-ounce  polished  flatted  crown, 
and  is  made  for  the  purpose  ; but  we  have  been  unable  to 
obtain  it  at  more  than  one  or  two  places.  It  does  not 
stain  like  patent  plate  does. 

• 

Albumenizing. — As  a safeguard  when  employing  wet 
collodion,  we  have  always  found  that  the  use  of  a sub- 
stratum is  strongly  to  be  urged  ; accordingly,  we  proceed 
as  follows.  We  clean  and  polish  several  dozens  of  glasses, 
and  store  them  in  the  light  grooved  plate-boxes,  such  as 
are  now  issued  by  several  gelatine  plate  makers.  We  make 
up  an  albumenizing  solution  by  taking  the  white  of  one 
egg,  and  beating  it  up  to  a froth  (the  cook  will  do  this  if 
she  be  very  politely  asked),  and  add  thereto  20  ounces  of 
distilled  water  and  one  dram  of  ammonia,  filtering  the 
whole  through  a bit  of  sponge  rammed  into  a glass  funnel. 
This  will  keep  for  ever  if  corked  tight  after  each  time  it  is 
used.  We  have  by  us  a large  bottle  of  this  albumenizing 
fluid  made  some  three  or  four  years  ago,  which  has  coated 
dozens  of  plates,  and  been  filtered  over  and  over  again,  and 
is  as  limpid  and  clear  as  possible.  To  use  this,  take  the 
polished  glasses,  and,  holding  one  by  a corner  with  the 
left  hand  fingers  and  thumb,  pour  on  a pool  of  the  solu- 
tion ; it  will  flow  up  to  the  corners,  and  can  then  be 
drained  off  into  the  sponge-plugged  funnel.  Forthwith, 
hold  the  plate  as  close  as  convenient  to  a red  fire  to 
evaporate  the  water.  This  soon  takes  place,  and  the  film 
of  albumen  left  will  be  so  clear  that  unless  the  coated  side 
of  the  glass  be  marked,  it  will  be  impossible  to  distinguish 
it  from  the  plain  side.  Drop  each  baked  plate  into  the 
plate- box,  coated  sides  all  one  way,  and  do  several  dozens 
right  off. 

The  trouble  of  albumenizing  glasses  is  well  repaid  by 
the  security  felt  in  the  after  manipulation  of  the  plates, 
particularly  so  if  by  any  chance  one  happens  to  be  using  a 
collodion  in  any  way  inclined  to  be  rotten.  In  our  own 
way  of  working,  we  have  found  that  the  most  beautiful 
results  were  obtained  by  the  use  of  a collodion  decidedly 
rotten,  such  as  certainly  would  not  stop  on  the  glass  with- 
out a substratum,  or  such  as  might  be  got  through  every 
stage  up  to  fixing,  and  would  afterwards  “ peel  ’’  in  dry- 
ing. What  can  be  more  irritating  than  to  produce  a 
delightful  little  picture,  and  then  see  love’s  labour  lost  by 
the  confounded  thing  slipping  off  down  the  sink,  or  else 
splitting  up  in  drying  ? Substrata  save  these  difficulties. 
Other  means  may  be  employed,  such  as  coating  the  plates 
with  india-rubber  solution — 

Fure  white  india-rubber  ...  1 grain  ) , . 

Clean  benzole 1 ounce)  * 

poured  on,  and  evaporated  just  as  described  for  albumen- 
But  we  doubt  whether  the  bite  of  a rotten  collodion  is  so 
great  upon  an  india-rubber  substratum  as  upon  one  of 
albumen. 

Substrata  overcome  one  of  the  greatest  difficulties  of  the 
wet  collodion  process — viz.,  the  necessity  for  using  chemi- 
cally clean  glass  plates.  A substratum  of  albumen  the 
one-thousandth  of  an  inch  thick  will  cover  a multitude  of 
sins  in  the  way  of  imperfectly-cleaned  glass,  and  we 
strongly  urge  the  importance  of  this  part  of  the  process, 
which  may  appear  somewhat  of  drudgery. 

Collodion. — We  have  heard  it  stated  that  any  collodion 
would  do  for  making  lantern  slides,  but  to  this  we  must 
demur.  We  know  one  worker  who  says  ho  uses  positive 
collodion,  but  we  surmise  he  must  have  some  especial 
method  of  procedure  not  usually  followed.  We  have  never 
been  able  to  produce  good  results  without  a collodion 
giving  a rich,  creamy  film,  nor  have  we  succeeded  unless  it 
contained  much  iodide  and  indicated  free  iodine  ; indeed, 
we  have  often  given  a pint  of  colourless  collodion  a good 
dose  of  tincture  of  iodine  in  order  to  bring  it  to  our 
ideal  condition  to  fit  it  for  this  work.  We  give  a good 


August  3,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


483 


formula  for  a bromo-iodized 
pose 

collodion  for  this 

Pure  alcohol,  absolute  .. 

. ...  2^  ounces 

Methylated  ether 

2* 

Pyroxyline 

20  grains 

Iodide  of  cadmium 

...  11 

Iodide  of  ammonium  .. 

...  11 

Bromide  of  ammonium  .. 

. ...  5 „ 

It  is  best  to  make  the  plain  collodion  first,  decantiug  the 
clear  portion,  and  filtering  repeatedly  after  iodizing.  The 
maturation  of  a co'lodion  such  as  this  is  a matter  depend- 
ing much  upon  the  quality  of  the  cotton  used — some  cottons 
will  give  a collodion  with  this  formula  which  would  be 
colourless  months  after  compounding.  In  such  cases,  and 
indeed  in  almost  any  case,  it  will  be  best  to  add  free  iodine 
by  dropping  in  about  five  minims  of  tincture  of  iodine  per 
ounce  of  collodion  ; this  will  tint  it  straw  colour,  wbicb 
will  soon  change  to  red.  A red  collodion  is  slower  than  a 
pale  one,  but  will  give  clear  glass  in  the  shadows,  with 
greater  freedom  from  fog,  scum,  or  deposit  under  the 
developer. 


cals  will  not  give  a robust  image  under  the  iron  developer, 
then  it  will  be  necessary  to  resort  to  this  method  of 
intensifying  the  developed  image  ; but  we  should  prefer  to 
avoid  it  if  possible,  because  of  introducing  a complication 
of  the  process. 

Fixing  is  best  performed  with  weak  cyanide  in  pre- 
ference to  hypo.  After  fixing,  we  can  still  better  judge 
of  the  quality  of  the  image ; but  it  is  rarely  that  the 
resulting  tone  is  such  as  to  please,  if  even  the  density  and 
other  qualities  are  correct ; therefore,  to  obtain  the  tone 
desirable  for  a lantern  slide,  wo  find  platinum  the  most 
suitable  agent.  Make  a solution  of  — 

Bichloride  of  platinum  1 grain 

Water  5 ounces 

When  well  washed,  after  the  fixing,  immerse  the  plate 
for  a few  seconds  in  this  ; it  will  be  seen  to  tone  rapidly  — 
this  may  be  done  in  daylight — taking  care  not  to  overtone. 
When  the  tone  required  is  about  to  come,  stop  it,  wash 
thoroughly,  set  up  to  drain  and  dry,  and  when  quite  dry, 
varnish  the  transparency  with  crystal  varnish  by  heat. 


Bath. — 

Nitrate  of  silver  (preferably 

fused) 40  grains  > 20  ounces 

Distilled  water 1 ounce  j to  be  made. 

Let  it  be  slightly  acid  to  test-paper  by  nitric  or  acetic  acid, 
and  filtered.  When  freshly  made,  the  bath  should  have  a 
collodionized  plate  put  in  and  left  in  all  night ; this  is 
better  than  iodizing  the  bath — at  least,  proves  so  in  our 
way  of  working  for  making  slides. 

Developer. — 

Ammonia  sulphate  of  iroD,  crystals...  C ounces 

Water 120  „ 

Methylated  spirit  5 ,, 

Accto-gelatine  5 ,, 


The  aceto-gelatine  is  made  thus  : — 

Glacial  acetic  acid  ...  ...  ...  5 ounces 

Gelatine  ...  ...  ...  ...  20  grains 


It  is  advisable  to  make  a large  quantity  of  this  iron 
developing  solution ; it  improves  by  age,  and  i3  better 
when  red  than  when  freshly  made.  The  function  of  the 
aceto-gelatine  is  to  give  density  and  tone  to  the  developed 
image. 

The  glasses  being  albumenized,  the  collodion  filtered,  the 
bath  in  good  order,  and  the  developing  solution  all  ready, 
we  will  begin.  Coat  a plate  carefully  with  collodion, 
taking  great  care  to  avoid  crapy  lines ; allow  to  set  tho- 
roughly, immerse  in  bath,  and  leave  until  a nice  creamy  film 
is  formed,  liaise  the  plate  on  the  dipper,  and  allow  to 
drain,  wiping  the  back  of  plate  free  from  superfluous  bath 
solution.  Expose  in  camera,  say  thirty  seconds  (time  will 
vary  with  lens  used,  class  of  negative,  the  light,  and  the 
state  of  collodion  and  bath) ; return  to  the  dark  room,  and 
develop  in  wet  plate  fashion.  Now  comes  the  critical 
moment ! Let  us  watch  the  image  coming  up.  True,  we 
can  use  a pale  yellow  light,  so  different  from  the  sombre 
red  needful  when  we  work  rapid  gelatine  plates.  Under 
this  aceto-gelatine  iron  developer  the  image  should  appear 
directly  ; we  see  it  grow  in  the  familiar  wet  plate  style, 
which  makes  us  sigh  for  the  like  condition  of  things  when 
using  gelatine  plates.  The  image  should  be  a warm 
brown  against  the  pure  unchanged  portions  of  the  film 
which  are  meant  to  remain  clear ; we  must  watch  very 
attentively  now,  for  the  slightest  indication  of  veil  is  the 
signal  to  throw  off  the  developer,  and  place  the  plate  under 
the  tap.  A little  experience  will  soon  render  this  branch 
of  the  process  easy.  What  is  required  is  to  be  able  to  judge 
how  far  to  carry  development,  and  this  will  depend  largely 
on  the  condition  of  the  chemicals.  After  arresting  the 
development,  some  persons  re-develop  with  pyro.  and  acid 
silver  before  fixing.  This  is  a matter  in  which  the  mani- 
pulator must  be  guided  by  circumstances.  If  the  chemi- 


TIIE  TOURIST  PHOTOGRAPHER. 

Over  the  Stelvio  Pass. — II. 

Standing  on  the  smooth  carriage  road  in  a defile  that 
might  be  mistaken  for  a huge  railway  cutting,  yon  are  a 
thousand  feet  above  the  line  of  perpetual  snow.  There  is 
no  view  here,  at  the  top  of  the  pass,  but  it  is  only  necessary 
to  climb  one  of  the  eminences  near  at  hand  to  enjoy  a 
magnificent  sight — far-stretching  snow  fields  andpinuacles 
of  ice  on  the  one  hand,  and  sugar-loaf  mountain  peaks  on 
the  other. 

But  we  must  not  tarry  long,  for  there  is  still  a long 
stretch  before  us  to  our  resting  place.  It  goes  steeply 
down  hill  on  the  Austrian  side,  the  road  making  as  many 
as  fifty  zigzags  before  the  little  hamlet  of  Trafoi  is  reached 
for  night  quarters.  The  way,  too,  is  not  so  satisfactory  as 
on  the  Italian  side  ; instead  of  a hard  well-made  thorough- 
fare, the  road  is  loose  and  rotteD,  the  shaley  fragments  of 
which  it  consists  being  torn  from  the  sides  every  year  by  the 
melting  snow  ; but  this  soon  alters  for  the  better  as  soon 
as  you  have  descended  a couple  of  thousand  feet,  and  enter 
the  black  pine-woods  that  break  upon  your  view.  If  you 
turn  round  now,  you  get  a charming  glimpse  of  the  whole 
Ortler  Chain,  the  highest  range  in  the  Tyrol.  With  the 
lofty  black  pines  as  a foreground,  the  snowy  whiteuess  of 
the  Ortler  Spitz  stands  out  very  vividly,  and  by  careful 
development  afterwards— for  we  need  not  say  how  difficult 
is  the  problem  of  bringing  out  detail  in  the  black  masses 
of  shadow  underneath  the  pines,  and  at  the  same  time 
preserving  the  delicate  outline  of  the  snow  mountains— a 
most  telling  photograph  of  the  scene  may  be  secured. 
[N.B. — The  raising  of  the  camera  front  is  a sine  qua  non  if 
full  effect  is  to  be  given  to  the  height  of  the  mountain 
peaks.] 

Just  above  Trafoi,  and  at  the  very  base  of  the  Ortler 
Spitz,  is  a green  patch  known  as  the  Barenboden,  or  Bear 
Garden,  where  Master  Bruin,  it  is  said,  may  frequently  bo 
seen.  We  saw  none  on  the  occasion  of  our  visit ; but  that 
there  are  bears  in  the  Tyrol  we  can  testify  from  actual 
experience,  for  we  remember  not  many  years  ago  seeing 
the  body  of  a tremendous  fellow  within  twenty-four  hours 
of  his  being  shot.  The  ragged  yellow  teeth  we  still 
recollect  vividly,  for  he  was  an  animal  some  ten  or  twelve 
years  old,  having  been  killed  by  a Chamois  hunter,  near 
the  village  of  Pfunds,  not  far  from  the  Oetzthal  Glacier. 
But  the  Biirenbodeu  is  the  subject  of  a good  photograph, 
in  any  case,  the  little  pastoral  scene  surrounded  by  wild 
rocks  and  lofty  precipices,  to  say  nothing  of  the  grand 
Madatsch  glacier,  whoso  glacial  billows  come  down  the 
mountainside  close  by. 

At  Tiafoi  the  hotel  is  not  very  good;  but,  as  it  is  the 
best  hereabouts,  one  must  perforce  be  satisfied.  Here  it 


484 


THE  PHOTOGRAPHIC  NEWS. 


[ArGUST  3,  1883. 


) 


is  that  the  traveller’s  store  of  tea  and  meat  extract  are 
employed  to  the  best  advantage,  half  a teaspoonful  of  the 
latter  in  a plate  of  soup — as  hot  water  with  a little  rice  or 
fragments  of  potatoe  floating  in  it  is  usually  termed 
about  here— working  a wondrous  change  for  the  better. 

A strange  incident  happened  to  us  near  Trafoi.  Turning 
a corner  of  the  road,  we  beheld,  perched  upon  high,  a little 
camera  of  shining  mahogany.  A brother  of  the  craft  was 
near  at  hand,  evidently  ; but  where  was  he  ? We  ran  up 
the  bank,  and  looked  round  ; not  a soul  appeared.  On 
the  little  well-built  instrument  was  a neat  ivory  tablet 
with  the  well-known  name  of  Meagher.  Ah,  ah!  a Briton, 
evidently ; and  what  more  likely  than  our  friend  William 
England  ? Whereupon,  standing  over  the  little  camera,  we 
set  up  shouting  long  and  loud,  making  the  big  lonely  valley 
resound  with  Anglo-Saxon  calls.  We  paused,  and  as  there 
came  no  answer,  we  shouted  and  holload  again  and  again. 
Presently,  looking  around,  during  an  interval  of  breathing, 
we  beheld,  what  we  had  not  before  observed,  the  figures 
of  two  gentlemen,  sitting  close  at  hand  under  a bush,  wait- 
ing with  some  curiosity,  evidently,  to  see  what  the  intruder 
meant  to  do  with  their  property. 

Of  course  we  explained,  as  far  as  we  could,  the  situa- 
tion ; but  the  proprietors  of  the  camera — they  were  Italian, 
albeit  the  owners  of  English  apparatus— did  not  quite  take 
to  heart  the  hurried  and  imperfect  words  we  uttered.  It 
was  their  idea, evidently,  that  we  intended  appropriating  the 
camera  as  treasure  trove,  and  that  we  were  shouting  to  our 
fellows  to  come  and  look  at  the  discovered  property.  Our 
apologies  were  received  with  some  curtness,  and  we  retired 
from  the  scene  scarcely  so  happy  as  we  had  entered 
upon  it. 

A delightful  little  picture  is  to  be  seen  now  we  have 
entered  the  lower  part  of  the  valley.  We  have  passed  the 
solid  fortress  of  the  Austrians,  built  with  its  embrazures 
and  loop-holes  at  the  narrowest  portion  of  the  defile, 
where  cannon  posted  right  and  left  command  the  road  for 
miles,  and,  entering  the  more  pastoral  portion  of  the  vale, 
have  come  upon  a green  paradise.  The  lofty  green  hills 
on  either  side  are  covered  with  rich  grass  and  luxuriant 
crops,  and  perched  high  above  us  on  the  left  is  the  little 
village  of  Stilfs  or  Stelvio,  whence  the  pass  derives  its 
name.  You  must  secure  a picture  of  this  interesting  spot, 
the  tiny  white  cottages  attached  like  fungi  to  the  steep 
green  slope,  and  reminding  you  more  of  swallows’  nests 
than  anything  else.  You  are  now  well  hidden  from  the 
fortress  and  its  sentinels,  so  you  need  not  fear  to  produce 
the  camera  once  more.  Of  course,  it  is  the  Italian  who  is 
the  natural  enemy  of  the  Austrian  hereabouts,  and  it  is 
unlikely  you  will  be  mistaken  for  a member  of  the  former 
nationality. 

Indeed,  as  we  have  said  before  in  these  columns,  the 
tourist  photographer  is  rarely  interfered  with.  In  the 
Finstermiinz  Valley  we  were  once  warned  by  a sentry  not 
to  sketch — he  meant  sketching  with  the  camera,  for  we  had 
no  other  means  at  hand— and  on  the  Simplon  Pass  we  have 
had  to  turn  out  our  photographic  paraphernalia  by  the 
Italian  guard.  But  beyond  this  we  have  never  been 
molested ; Britons  have  a reputation  for  eccentricity 
abroad,  and  it  would  astonish  no  one  if  you  travelled  with 
a photographic  dark-room  on  wheels. 

In  truth,  it  would  make  a very  enjoyable  tour — rather 
expensive,  perhaps— to  charter  a travelling  carriage,  and 
secure,  in  an  ea3y-going  fashion,  photographs  of  large 
dimensions  of  the  passes  and  quaint  village  scenes  to  be 
met  with  en  route  through  the  Italian  and  Austrian  Tyrol. 
A roomy  vehicle  would  take  everything  necessary  to  do 
the  work  comfortably  and  well,  and  plates  might  be  ex- 
posed, developed,  examined  and  packed  up  without  trouble. 
It  is  always  nice  to  look  forward  to  a pleasure  ; towaids 
this,  there  is  every  possibility  of  our  looking  forward  for 
some  time. 

1 assing  Stilfs,  the  valley  soon  afterwards  divides,  one 
route  going  northwards  over  the  Fmstermuuz  Pass,  and 


the  other  leading  east  to  Meran  and  the  Brenner.  We 
follow  that  to  Finstermiinz  over  the  Malser  Haide— a 
broad  stretch  of  heather — whence  some  wonderful  views 
of  the  snow  mountains  may  be  obtained. 

Stadt  Glurns  must  not  be  forgotten  by  the  photographer 
when  he  passes  it.  The  little  town  is  very  proud  of  its 
existence,  for  every  notice  and  warning  has  the  heading 
“ Town  Glurns  ; ” nay,  as  you  pass  within  its  walls — for  it 
is  an  old  fortified  township — there  is  a label  “ Town 
Glurns  ” over  the  gateway.  The  place  is  like  a relic  of 
the  middle  ages.  It  lies  somewhat  off  the  main  route,  and 
as  you  look  across  to  it,  the  high  walls  seem  to  environ  the 
houses  on  all  sides.  There  is  not  a habitation  outside  in 
the  cold  ; all  are  gathered  together  snug  and  comfortable 
within  the  battlements,  and  not  until  you  have  passed  the 
heavy  portal  do  you  get  among  the  densely-built  houses. 

You  may  imagine  an  armed  host  sallyicg  forth  from  the 
town  gates  to  do  battle  with  a hostile  force  intent  on 
securing  the  Pass,  and,  in  case  of  misfortune,  hurrying  back 
to  the  shelter  of  the  walls  that  rise  grim  and  bare  from  the 
plain.  They  would  have  been  very  serviceable  in  days 
gone  by,  those  thick  high  walls  ; but  they  have  their  dis- 
advantages now  ; for  while  they  are  useless  against  modern 
artillery,  they  necessarily  hamper  any  improvements  to  the 
town,  the  buildings  and  population  of  which  get  denser 
every  day.  Some  of  the  old  streets  and  quaint  buildings, 
all  of  them  centuries  old,  as  well  as  the  ancient  churchyard 
--also  within  the  walls— makegood  pictures  in  the  camera. 

You  may  pay  a visit  to  the  Oetzthal  Glacier — the  biggest 
in  the  Tyrol — on  your  way  to  the  fine  Finstermiinz  Pass, 
but  these  far-stretching  snow-fields  are  important  enough 
for  a separate  description  ; so  in  our  next  paper  we  shall 
tell  how  we  carried  a camera  over  the  Nieder  Joch  of  the 
Oetzthal  into  the  Schnalser  Thai. 


NEWCASTLE-ON-TYNE  AND  NORTHERN  COUNTIES’ 
PHOTOGRAPHIC  ASSOCIATION. 

The  exhibition  of  this  Society  for  1883,  which  will  be  held  in 
the  Central  Exchange  Art  Gallery,  Newcastle-upon-Tyne,  in 
November,  will  be  inaugurated  by  a conversazione,  and  remain 
open  daily  (Sundays  excepted)  from  10  a.m.  till  9 p.m.  The 
following  are  among  the  regulations  : — 

All  pictures  for  exhibition  must  be  sent  carriage  paid, 
addressed  to  “ The  Hon.  Secretary,  Newcastle-on-Tyne  and 
Northern  Counties’  Photographic  Association,  care  of  Messrs. 
Barkas  and  Tweedy,  Central  Exchange  Art  Gallery,  Newcastle- 
on-Tyne,”  so  as  to  arrive  not  later  than  the  20th  of  November  ; 
no  picture  will  be  received  after  9 o’clock  p.m.  on  that  date. 
Each  exhibitor  must  send  a letter  of  advice  to  the  Hon. 
Secretary,  containing  a description  of  each  picture,  statement  f 
process,  and  any  further  detail.  Pictures  or  frames  may  have 
the  exhibitor’s  name  and  subject  neatly  inscribed,  or  name  and 
address  if  desired  ; but  nothing  in  the  6hape  of  an  advertisement 
will  be  permitted.  Photographic  prints,  coloured  by  hand,  will 
not  be  admitted  for  competition,  but  may  be  sent  for  exhibition. 
Photographic  apparatus  and  appliances  may  be  sent  for  exhibi- 
tion, also  negatives  and  transparencies  properly  mounted,  at 
exhibitor’s  own  risk.  The  Hanging  Committee  may  reject  any 
picture  or  apparatus. 

Medals  will  be  given  as  follows  : — 

A silver  for  the  best  set  of  three  sea  or  landscapes,  interior  or 
architectural  views  ; a medal  for  the  second,  and  three  certificates 
of  honour ; a silver  and  certificates  for  the  best  single  land  or 
seascape,  architectural  subject,  or  interior  ; also,  a silver  and 
certificates  for  the  best  figure  study.  These  all  restricted  to 
members  of  the  Association. 

For  open  competition,  a gold  medal  for  the  best  picture  in 
the  exhibition,  and  a silver  medal  for  the  second  ; and  a silver 
medal  for  the  best  figure  study,  and  for  the  second. 

The  original  work  of  the  exhibitor  only  allowed  to  compete. 
There  will  be  no  restriction  as  to  the  size  of  the  picture  or 
pictures.  Exhibitors  and  competitors  may  exhibit  a single 
picture  or  any  number  of  pictures.  The  pictures  must  be 
mounted  and  framed. 

The  judges  selected  are : — Col.  P.  S.  Sheppee  Chester-le 


August  3,  1883.  ) 


THE  PHOTOGRAPHIC  NEWS. 


480 


Street;  H.  H.  Etnmerson,  Esq.,  Cullercoats;  G.  Bruce,  Esq., 
Duns,  Berwick. 

Any  further  information  will  be  supplied  by  application  to  Mr. 
Schumann,  15,  Mosley  Street,  Newcastle-on-Tyne,  or  to  the 
Honorary  Secretary,  Mr.  J.  Pike,  43,  Northcote  Street,  Westgate 
Road,  Newcastle-on-Tyne. 


DOES  THE  AMOUNT  OF  GELATINE  AFFECT  THE 

RAPIDITY  AND  QUALITY  OF  THE  NEGATIVE  ? 

BY  A.  L.  HENDRRSON'.* 

This  is  a matter  which  deserves  more  attention  than  I thiuk  it 
has  received.  From  experiments  I have  made  lately,  I have 
come  to  the  conclusion  that  the  amount  of  gelatine  does  very 
materially  affect  the  quality  and  sensitiveness  of  emulsion.  I 
know  that  Messrs.  Sceptic,  Don’t-believe,  and  Won’t-try,  will, 
as  a matter  of  course,  take  exception  to  this  statement ; yet 
“ facts  are  stubborn  things.”  I have  not  only  reasoned  the 
thing  out,  but  demonstrated  that  my  theory  is  correct.  But  I 
suppose  I must  not  bring  the  subject  forward  as  new,  or  I shall 
have  a shower  of  claimants  about  me.  One  of  the  greatest  mis- 
fortunes I have  laboured  uuder  is  the  difficulty  I have  to  make 
myself  perfectly  understood.  With  these  preliminary  remarks, 

I will  at  once  proceed  to  give  my  views. 

In  the  first  place,  I will  take  the  case  of  a very  sensitive  emul- 
sion, one  which  generally  gives,  when  not  thickly  coated,  a very 
thin  imaje.  In  this  case  a email  quantity  of  gelatine  having  a 
matt  surface  will  give  a better  or  denser  picture,  because  less 
light  will  penetrate  the  bromide  of  silver.  A plate  giving  a matt 
surface  is  always  slower  than  when  a larger  quantity  of  gelatine 
is  used — that  is,  when  the  same  amount  of  silver  bromide  is 
present.  I have  frequently  noticed  (and  others  also)  that  a soft 
gelatine  added  to  emulsion  oefore  coating  gave  quicker  pictures. 
This  I accounted  for  by  the  so-called  molecular  change  taking 
place  more  rapidly  in  soft  than  in  hard  gelatine. 

I have  somewhat  modified  my  opinion,  and  to  this  effect : that 
the  amount  of  gelatine  has  as  much,  if  not  more,  to  do  with  the 
rapidity  than  any  molecular  change.  A slow  plate  (varying  from 
two  to  ten  times  the  rapidity  of  wet  collodion)  is  usually  of  a 
yellowish  or  cinnamon  colour  when  viewed  by  transmitted  light, 
consequently  it  does  not  transmit  as  much  light ; and  then  there 
is  scarcely  a limit  to  the  amount  of  gelatine  that  may  advan- 
tageously be  added.  A large  quantity  will  allow  more  light  to 
pass  through,  and  there  is  a corresponding  increase  in  rapidity. 
I have  not  yet  worked  out  the  smallest  amount  of  bromide  of 
silver  necessary  to  give  good  results.  The  greatest  number  of 
plates  I have  coated  with  an  emulsion  made  with  200  grains  of 
silver  nitrate  was  about  thirty-six  dozen  quarter-plates. 

This  emulsion,  when  viewed  by  transmitted  light,  was  a cinna- 
mon colour,  gave  splendid,  dense  negatives,  and  was  about  twice 
as  rapid  as  my  wet  collodion  then  in  use.  I will  not  just  now 
give  you  the  exact  formula  ; I will  do  so  at  another  time  when 
my  experiments  are  somewhat  more  advanced.  Suffice  it  to  say 
that  I used  a large  quantity  of  gelatine,  converting  half  the 
silver  into  ammonia- nitrate,  then  boiled,  getting  the  silver  bro- 
mide, in  the  first  stage,  in  a very  fine  state  of  division.  I do 
not  say  that  it  was  a necessity  to  boil,  but  in  this  case  I thought 
to  increase  the  sensitiveness  by  boiling,  as  I did  not  use  much 
ammonia. 

Plea-.e  bear  in  mind  that  you  can  stop  out  more  light  with  a 
pound  of  black  paint  than  with  a pound  of  greenish-violet,  and 
this  is  about  the  relationship  between  rapid  and  slow  emulsions. 

Some  present  may  not  be  aware  that  it  is  not  an  absolute 
necessity  to  wash  or  precipitate  emulsions,  or  to  get  rid  of  the 
salts.  I have  made  many  batches,  which  produced  very  fine 
negatives,  by  simply  increasing  the  bulk  of  gelatine — say,  to  as 
much  as  from  eight  to  ten  times  the  usual  quantity.  I am 
obliged  to  use  potassium  bromide.  It  will  be  seen  that  when 
usiug  that  quantity  of  gelatine,  and  increasing  the  bulk  of  emul- 
sion, little  orno  crystallisation  will  take  place  ; and  I do  not  doubt 
the  permanence  of  the  uncrystallised  condition  of  the  salts  in 
this  emulsion,  and  therefore  that  the  necessity  for  washing  to 
remove  these  salts  is  done  away  with.  We  find  gelatine  lozenges 
and  jujubes  keep  an  indefinite  time.  They  contain  a great  deal 
more  soluble  and  hygroscopic  salts  than  an  emulsion  such  a3  I 
have  described. 

I leave  the  matter  in  your  hands  for  discussion.  If  I have 
not  made  the  matter  sufficiently  clear,  I shall  be  pleased  to  do 
so  more  fully. 

• Read  before  the  London  and  Provincial  Photographic  Association. 


THE  ECLIPSE  PARTY. 

Letters  have  been  received  from  the  English  and  American 
members  of  the  above,  giving  some  details  which,  we  think,  may 
prove  of  interest  to  our  readers. 

Leaving  England  on  February  17,  in  the  s.s.  Medway,  the 
English  observers  made  a calm  passage  to  Colon.  Here  they 
met  the  American  party,  consisting  of  Prof.  Holden,  Dr. 
Hastings,  Mr.  Rockwell,  Mr.  Preston,  Lieut.  Brown,  and  Mr. 
Upton,  to  which,  it  will  be  remembered,  they  were  to  be 
attached.  The  united  party  then  proceeded  to  Panama,  and 
took  ship  in  the  Bolivia  for  Callao,  where  they  arrived  on  March 
20.  Early  the  following  morning  the  instruments  and  baggage 
were  removed  to  the  U.S.S.  Hartford,  in  which  the  voyage  from 
thence  was  to  be  made,  and  the  party  left  Callao  about  five 
o’clock  on  the  evening  of  March  22,  sighting  Caroline  Island,  the 
spot  selected  for  the  observations,  on  April  20.  Although 
named  Caroline  Island,  it  is  not  a single  island,  but  a low-lying 
chain  of  coral  islets  which  enclose  a central  lagoon.  The  ring  of 
islets  is  about  seven  and  a-half  miles  in  length,  and  one  and  a- 
half  in  breadth.  The  island,  like  most  of  its  kind,  is  of  value  on 
account  of  its  stores  of  guano,  and  its  cocoanut  produce,  being 
leased  to  Messrs.  Houlder  Brothers,  of  146,  Leadenhall  Street, 
whose  agent  at  intervals  visits  this  and  other  Pacific  coral 
islands  leased  to  the  firm.  On  the  arrival  of  the  Hartford  a 
boat,  under  the  charge  of  Lieut.  Qualtrough,  put  off  to  make  a 
tour  of  inspection,  returning  with  the  intelligence  that  there 
were  two  large  empty  frame  houses,  several  smaller  ones,  and 
seven  inhabitants — four  men,  one  woman,  and  two  children — 
who  had  come  thither  from  Tahiti  two  months  previously.  A 
site  having  been  selected  by  Prof.  Holden  for  the  erection  of  the 
observatory,  the  work  of  disembarkation  commenced.  This  was 
a matter  of  great  difficulty,  the  nature  of  the  coast  preventing 
even  the  small  ship’s  boats  approaching  within  several  hundred 
yards  of  the  shore.  The  boats  had  first  to  run  in  through  a 
narrow'  opening  in  the  reef,  the  boxes  had  then  to  be  carried 
through  fifty  yards  or  so  of  water,  varying  in  depth  from  two 
to  three  feet,  next  over  about  fifty  yards  of  sharp  irregular  coral 
rock  that  cut  the  men’s  shoes  to  pieces,  and  finally  to  be  carried 
up  a soft  sandy  beach  for  upwards  of  a quarter  of  a mile. 
However,  the  landing  was  effected  without  accident,  and  the 
observers  took  j obsession  of  their  various  quarters. 

The  English  observers  report  that  the  house  in  which  they 
were  located  was  a very  comfortable  one,  containing  a kitchen, 
diniDg-room,  bed-room,  bath-room,  and  store-room,  and  a large 
laboratory.  Mr.  Rockwell,  one  of  the  American  observers,  was 
fortunate  enough  to  obtain  the  luxury  of  a bed.  Mr.  Upton, 
another  of  the  party,  had  to  be  content  with  a table,  whilst  the 
rest  swung  their  hammocks  and  cots  in  the  verandah,  an 
arrangement  which,  while  possessing,  perhaps,  advantages  of  its 
own  when  the  weather  was  fine,  was  not  altogether  the  best 
when  the  nights  were  wet.  Still  the  observers  were  not  un- 
comfortable ; and  if  they  did  not  “ fare  sumptuously  every  day,” 
yet,  with  abundance  of  fish  and  cocoanuts,  they  did  not  live 
altogether  badly. 

The  weather,  with  the  exception  of  one  severe  rain-storm,  was 
pleasant  during  the  sojourn  of  the  observers,  although  nearly 
every  day  slight  showers  were  brought  to  the  island  by  flying 
clouds. 

On  the  evening  of  the  22nd,  just  as  the  Hartford  was  casting 
off  for  Tahiti,  L'  Eclaireur  came  in  with  the  French  expedition, 
consisting  of  MM.  Janssen,  Trouvelot,  Palisa,  and  Tacchini  on 
board. 

The  preparations  for  the  eclipse  proceeded  briekly,  and  by 
April  28  the  siderostat,  equatorial,  and  photo-heliograph  were 
erected  and  adjusted  in  position.  The  spectroscopes  were  next 
taken  in  hand,  and  the  rating  of  the  clocks  proceeded  with. 
This  took  some  time  ; but  matters  had  so  far  advanced  by  May  1, 
that,  from  that  date,  with  the  exception  of  May  4,  when  the 
weather  was  wet,  two  rehearsals  of  the  observations  were  made 
daily — one  at  7,  the  other  at  11.30  a.m.  Messrs.  Preston  and 
Brown,  of  the  U.S.  Coast  and  Geodetic  Survey,  during  this  period 
made  pendulum  observations. 

By  the  evening  of  May  3 the  photographers  were  nearly  ready 
to  take  trial  plates,  and  these  they  hoped  to  obtain  the  following 
day.  The  hitherto  fine  weather,  however,  changed,  and  before 
noon  next  day  five  inches  of  rain  had  fallen,  and  the  photographic 
dark-room  which  had  been  erected  was  destroyed,  all  the  dye 
being  washed  out  of  the  ruby  curtains  and  window.  This 
damage  being  repaired, an  attempt  was  made  to  obtain  trial 
j plates  the  next  day,  but  the  length  of  time  occupied  in 


486 


THE  PHOTOGRAPHIC  NEWS 


[August  3,  1883. 


rehearsing  the  observations,  and  the  still  unsettled  state  of  the 
weather,  prevented  this  being  done.  The  early  morning  of  the 
eclipse  found  the  weather  in  the  same  unsettled  state  ; about 
Dine  o'clock,  however,  the  clouds  began  to  disperse  themselves, 
and  by  ten  o’clock  the  sky  was  moderately  clear.  After  the 
first  contact  the  lenses  were  dusted,  the  slits  of  the  spectroscopes 
cleaned,  and  the  adjustments  finally  inspected. 

With  regard  to  the  work  of  observation  itself,  this  was  done 
in  accordance  with  the  programme  laid  down  before  the 
observers  left  England,  although  the  time-table  of  exposures 
was  slightly  departed  from  to  meet  the  circumstances  of  the 
case,  as,  for  instance,  a greater  length  of  totality  than  was 
expected,  the  duration  being  five  minutes  twenty-five  seconds. 
During  the  eclipse  the  direction  and  velocity  of  the  wind 
remained  constant,  whilst  the  meteorological  observations  of  Mr. 
Upton  showed  a slight  rise  in  barometric  pressure,  a rise  in 
humidity,  and  a fall  of  temperature,  the  latter  reaching  even  the 
nightly  values  ; whilst  radiation  thermometers  showed  that  the 
heat  received  by  the  earth  was  almost  nil. 

The  observations  with  the  photo-heliographs  which  the  Euglish 
observers  took  out  were  taken  in  hand  by  Lieut.  Qualtrough, 
of  the  American  navy. 

Perhaps  some  details  as  to  the  work  itself  may  be  of  interest. 

First  with  regard  to  the  work  of  Mr.  Woods.  A red-end  collo- 
dion plate  was  washed  and  placed  by  him  in  one  of  the  pris- 
matic camera  slides  five  minutes  before  totality.  Four  minutes 
later  he  started  the  clockwork  of  the  integrating  spectroscopic 
slide.  Forty  seconds  before  totality  exposures  were  made  in 
the  Rowland  grating  c imeras,  and  at  totality  the  prismatic 
camera  and  slit  spectroscope  were  each  opened. 

In  the  spectroscopes,  which  were  under  the  care  of  Mr.  Law- 
rence, the  exposures  commenced  ten  minutes  before  totality, 
his  work  continuing  uutil  ten  minutes  after  totality. 

The  photo-heliographs,  as  we  have  said,  were  looked  after  by 
Lieut.  Qualtrough,  the  plates  which  he  exposed  in  these  instru- 
ments being  given  to  Mr.  Woods  after  the  eclipse.  During  the 
intervals  in  the  exposures  of  the  plates,  the  observers  found  time 
to  note  the  corona.  In  its  general  character  it  seems  to  have  much 
resembled  that  seen  last  year  in  Egypt,  but  its  light  was  of  a 
more  natural  tone,  the  landscape  lacking  the  wierd  colouring, 
so  marked  a feature  in  the  Egyptian  eclipse. 

Mr.  Lawrence,  examining  the  corona  with  the  finder,  was  able 
to  detect  much  delicate  detail,  especially  in  those  portions  of  it 
near  the  preceding  limb  of  the  moon.  He  also  examined  it 
with  a small  pocket  spectroscope  with  lens.  Taking  out  the 
prisms  during  mid-totality,  he  could  see  the  green  ring,  and 
very  faintly  towards  the  end  C and  D3.  Alter  totality  he  still 
saw  the  1474  ring,  as  well  as  the  red  and  yellow  ones  ; these 
latter,  however,  being,  as  before,  very  faint.  Replacing  the 
prisms,  he  could  see  then  only  the  1474  line — that  examined  by 
I’rof.  Hastings.  The  F line,  for  which  he  had  specially  searched, 
was  not  seen  by  him  at  all.  Mr.  Lawrence  agrees  in  thinking 
that  the  coronal  light  was  of  a more  natural  tint  than  it  was  in 
the  eclipse  last  year.  Mr.  Dixon,  of  the  American  party,  made  a 
careful  sketch  of  the  corona,  showing  five  well-defined  streamers. 
Soon  after  totality  the  photo-heliograph  clock  was  stopped,  and 
an  endeavour  made  to  obtain  the  run  of  the  sun’s  crescent  on  the 
two  cameras  for  the  purpose  of  orientation,  but,  owing  to  the 
prevalence  of  clouds,  the  attempt  was  only  successful  with  one, 
the  smaller  instrument,  with  which  two  exposures  were  obtained 
on  one  plate. 

So  much  for  the  observations  themselves.  A3  to  the  results, 
we  learn  that  the  photographs  taken  with  the  small  photo- 
heliographs are  very  good  ; that  which  had  two  minutes’  expo- 
sure showing  as  much  as  those  which  M.  Janssen  exposed  during 
the  whole  of  totality.  The  large  photo-heliograph  has  not  given 
such  good  results,  all  the  plates  taken  showing  signs  of  slight 
shifts.  Still  it  is  believed  that,  by  combining  the  photographs 
on  each  of  the  nine  plates,  the  whole  structure  of  the  corona  from 
the  limb  to  its  outmost  limbs  will  be  obtained. 

M ith  the  first  order  grating  H and  K were  obtained  as  bright 
lines  just  before,  and  immediately  after,  totality  ; but  with  the 
second  order  grating  no  result  seems  to  have  been  obtained— at 
least,  the  observers  could  see  nothing  when  they  examined  the 
plate  on  the  island.  The  photographs  taken  with  the  dense 
prism  spectroscope,  like  those  obtained  with  the  first  order  grat- 
ing,  show  bright  lines  at  the  commencement  and  end  of  totality, 
particularly  at  the  end,  the  photograph  taken  then  showing  II , 

A,/,  and  F very  distinctly. 

The  integrating  spectroscope  also  did  useful  work.  Although 
uo  result  was  obtained  during  totality  with  this  instrument,  the 


flash  of  bright  lines  before  and  again  after  totality  were  sue" 
cessfully  photographed  by  it.  The  more  prominent  lines  in 
these  photographs  are  those  which  belong  to  hydrogen  and  tho 
lines  H,  K,  and  1474. 

The  slit  spectroscope  was  also  successful,  giving  a good  photo- 
graph from  the  ultra-violet  to  the  green.  This  spectrum, 
whilst  being  in  the  main  a continuous  one,  is  not  the  same  on 
the  two  sides  of  the  disk,  nor  are  the  lines  so  numerous  as 
those  obtained  last  year  in  Egypt.  II  and  K are  very  strong  in 
the  present  photograph  ; but  in  this  respect  also  the  spectrum 
differs  from  that  obtaiued  in  Egypt,  these  lines  then  extending 
across  the  interval,  which  is  not  so  in  the  present  photograph. 
The  hydrogen  line  near  G,  however,  extends  over  nearly  a solar 
diameter  ; and  h,  F,  1474,  b,  and  other  lines  have  also  been 
obtained. 

With  regard  to  the  gelatine  red-end  plates  of  the  prismatic 
camera,  although  they  gave  good  photographs,  yet  the  almost 
entire  absence  of  prominences  will  diminish  their  value.  In  the 
eclipse  of  last  year,  when  many  prominences  were  visible,  these 
plates  were  used  with  good  results.  The  Rowland  grating,  too, 
serms  to  have  given  no  useful  result ; but  this  is  probably  due, 
like  the  small  measure  of  success  with  the  prismatic  camera,  to 
the  comparative  absence  of  prominences. 

In  developing  the  red-end  plate  immediately  after  totality, 
Mr.  Woods  was  unfortunate  enough,  owing  to  his  having  to 
manipulate  it  almost  entirely  in  the  dark,  to  get  it  torn,  and 
nothing  now  remains  but  the  gelatine  edging. 

The  work  now  being  complete,  the  things  began  to  be  re-packed 
for  the  homeward  journey.  The  Hartford  returned  to  Caroline 
on  the  8th,  the  work  of  re -embarkation  commeuced,  and  011  the 
9th  the  expedition  left. 

The  observers  were  almost  sorry  to  leave  the  island,  as  their 
sojourn  there  had  been  a most  pleasant  one.  Like  most  of  its 
kind,  it  is  well  wooded,  the  graceful  outlines  of  the  cocoanut 
palms  being  characteristic  features  in  the  pretty  scenery  which 
the  island  affords. 

By  day  the  small  hermit  crab  swarmed  the  sandy  beach, 
feeding  on  what  decayed  animal  matter  it  could  find  ; whilst,  at 
night,  the  large  red  hermit  crabs  covered  the  same  beach  in  their 
hundreds,  they  preferring  dead  vegetable  matter.  The  lagoon, 
too,  around  which  the  little  islets  arrange  themselves,  was  a 
never-failing  source  of  interest  and  amusement,  and  in  boating 
there,  and  in  the  deeper  water  off  the  reef,  or  in  hunting  the 
shore  in  search  of  the  brilliant-coloured  shells  and  coral  with 
which  the  island  abounds,  the  observers  found  much  amuse- 
ment. 

In  deep  water  bivalve  shells,  more  than  two  feet  across,  were 
observed  ; whilst  the  reefs  at  low  water  were  covered  with  smaller 
representatives  of  the  same  or  a similar  species,  which  threw 
jets  of  water  into  the  air.  Several  octopi  were  caught  by  the 
various  members  of  the  expedition,  and  many  beautiful  sea- 
urchins  picked  up  by  them  in  their  daily  walks.  Thus  did  they 
spend  their  spare  hours,  and  it  was  therefore  with  some  regret 
that  they  saw  the  outlines  of  the  island  disappear  on  their 
horizon.  The  Hartford  was  bound  for  Honolulu  in  the  Sand- 
wich Islands.  The  voyage  was,  however,  broken  at  Hilo,  Hawaii, 
in  order  that  the  members  of  the  expedition  might  visit  the 
celebrated  volcano  of  Kilauea.  Honolulu  was  reached  on 
May  30th.  Here  Messrs.  Preston  and  Brown,  who  were  to 
continue  their  pendulum  observations,  remained,  the  rest  of  the 
expedition  proceeding  in  the  Zcalandia  for  San  Francisco.  The 
English  observers  left  at  Honolulu  copies  of  the  photographs 
they  obtained,  to  be  forwarded  to  England  by  the  next  mail. 
They  left  San  Francisco  on  June  15tb,  and  may  therefore- be 
expected  to  arrive  in  England  about  the  end  of  the  present 
month. — Halure. 


PRACTICAL  AIDS  TO  INSTANTANEOUS 
PHOTOGRAPHY. 

BY  RICHARD  CROWK.* 

In  treating  upon  the  above  subject  I find  it  difficult  to  add 
anything  new  to  that  which  has  already  been  written  and  said  by 
abler  members  of  our  Society,  so  I shall  content  myself  by 
explaining  the  practical  advantages  of  apparatus  which  I have 
found  in  my  own  practice  to  be  of  the  utmost  value,  and  by  the 
aid  of  which  I have  been  enabled  to  procure  the  pictures  before 
you. 

In  my  opinion  the  taking  of  rapid  pictures  does  not  receive 

• Head  bcfcrc  the  Liverpool  Amateur  Photographic  Association. 


August  3,  1883.] 


TELE  PHOTOGRAPHIC  NEWS. 


487 


that  attention  from  the  members  of  our  Society  to  which  it  is 
entitled,  seeing  the  numerous  experienced  members  we  have  who 
possess  a selection  of  the  most  rapid  lenses  and  expensive 
cameras,  with  quite  an  assortment  of  shutters  of  different  makes, 
and  who  expend  liberally  in  paying  high  prices  for  the  most 
rapid  plates  ; yet,  when  opportunity  arises,  all  these  advantages 
are  neglected,  or,  if  used,  are  employed  with  great  doubt  as  to 
the  result.  This  should  not  be  the  case ; for,  with  a little 
necessary  attention  and  study,  instantaneous  work  with  a 
shutter  ought  to  be  as  certain  in  its  results  as  ordinary  work 
with  a cap.  To  attain  this  desirable  end,  four  items  will  be 
found  indispensable ; namely,  a good  light,  a rapid  plate,  a rapid 
lens,  and  a shutter. 

Without  the  first,  the  other  items  are  of  little  use  in 
instantaneous  work.  There  are  so  many  good  rapid  plates  in  the 
market,  upon  which  the  makers  say  that  pictures  can  be  taken 
in  a fraction  of  a second,  that  unless  our  amateur  makes  his  own 
he  can  hardly  go  far  wrong  in  selecting;  but  I strongly  advise 
keeping  to  one  make  and  thoroughly  proving  its  capabilities.  In 
this  way  far  better  results  will  be  obtained  than  by  a continual 
change  from  one  maker  to  another. 

Tho  lens  must  be  of  a rapid  combination  type,  and  of  sufficient 
focal  length  to  cover  the  plate  with  full  aperture.  This  is  essen- 
tial to  allow  the  full  advantage  of  a rapid  shutter.  This  latter 
requires  more  than  a passing  thought,  and  is  an  indispensable 
aid  to  the  previous  three  items;  for  upon  its  judicious  use  depend 
the  success  of  the  final  operation. 

Although  there  are  a great  many  kinds  of  shutters  in  use — 
some  very  large,  some  very  small,  and  some  very  rapid — yet 
very  few  possess  any  means  of  adjustment  for  speed,  which  I 
consider  to  be  a necessary  and  most  important  item.  I will 
take  the  drop  shutter,  placed  between  the  lenses,  as  an  example. 
This,  if  not  found  sufficiently  rapid  of  its  own  weight,  is  usually 
pulled  down  by  a rubber  band,  which  increases  its  speed  con- 
siderably ; but  possibly  one  quarter  of  the  speed  would  have 
been  sufficient  for  the  subject  being  photographed. 

I would  suggest  that  all  make3  of  mechanical  shutters  should 
be  supplied  with  the  maximum  amount  of  force  to  start  with, 
but  with  an  appliance  to  regulate  the  speed — say  by  a screw  with 
degrees  marked  upon  it — so  that  a record  could  be  taken  of  the 
pressure  applied.  Thus,  upon  developing  a picture  with  a known 
pressure,  the  following  information  would  be  obtained  once  for 
all. 

If  the  picture  was  fully  exposed  but  the  figures  had  moved,  it 
would  at  once  be  inferred  to  be  useless  trying  that  class  of  sub- 
ject at  the  speed  employed,  which  would  have  to  be  increased 
until  movement  of  the  figures  was  no  longer  discernible.  If, 
when  the  figures  are  sharp,  the  plate  appears  under-exposed,  the 
attention  must  then  be  turned  to  the  light,  the  rapidity  of 
plate,  and  the  nature  of  the  development ; knowing  that  to  take 
this  class  of  picture  successfully,  it  must  not  have  a longer 
exposure  than  the  record  of  the  test  subject.  My  own  shutter 
(which  is  a rotary  one)  has  this  regulated  pressure  applied  to  the 
rotary  disc.  If  this  shutter  worked  between  the  lenses  it  would 
be  all  I could  wish  ; but,  unfortunately,  it  fits  upon  the  hood — a 
most  inconvenient  place. 

The  next  aid  is  the  finder , and  this  I have  found  of  very 
great  use  in  watching  any  moving  objects  until  they  arrive  at  the 
exact  position  desired  upon  the  plate.  It  is  a very  simple  little 
instrument  which  any  one  can  make  for  himself,  being  merely  a 
small  box  having  at  one  end  a piece  of  ground  glass  of  a shape 
corresponding  to  that  in  the  camera,  and  at  the  other  end  a 
double-convex  lens  such  as  is  used  by  watchmakers,  covering  on 
this  focussing-screen  somewhat  less  of  the  subject  than  the 
working  lens.  I have  found  this  simple  little  instrument  of 
inestimable  value  in  quickly  arranging  the  perpendicular  lines  of 
buildings  when  operating  from  the  top  of  an  omnibus,  &c.  This 
brings  me  to  my  new  portable  camera-holder  for  use  on  boat  or 
omnibus,  &c. 

Most  amateurs  who  have  attempted  to  plant  a camera  on  a 
crowded  boat  will,  no  doubt,  have  experienced  the  difficulty  in 
finding  a safe  and  suitable  position  for  the  camera-stand  ; but  if 
there  be  a hand-guard  or  rail— such  as  is  usually  to  be  found  on 
our  steamers,  omnibuses,  and  tramcars — this  little  holder  will 
provide  a firm  resting-place  for  the  camera.  It  forms  a kind  of 
adjustable  clamp,  with  an  universal  or  ball-and-socket  movement. 
When  it  is  attached  to  the  camera  the  clamping-screw  is 
adjusted  to  the  thickness  of  the  hand-rail,  to  which  it  is  then 
pushed  on  and  screwed  quite  firm,  when  it  will  be  found  securely 
fixed  and  out  of  the  way  of  passers-by.  The  ball-and-socket 
movement  will  enable  you  to  quickly  turn  the  camera  in  any 


direction,  and  will  remain  sufficiently  firm  to  admit  of  the  re- 
quired exposure. 

The  street  views  I pass  round  have  all  been  taken  from  the 
tops  of  omnibuses  by  the  aid  of  this  holder.  The  buildings  are 
quite  straight,  although  the  omnibus  in  many  instances  was  not 
level.  The  finder  being  attached  enables  you  to  adjust  the 
camera  quickly,  and  to  a nicety. 

Regarding  the  development  of  a plate  which  has  had  a brief 
exposure : I find  an  energetic  and  quick  one  the  best,  with  as 
little  restrainer  as  possible. 

Very  possibly  there  may  be  nothing  new  ia  these  few  remarks  ; 
but  if  they  are  the  means  of  directing  the  attention  of  my  fellow 
members  to  this  most  entertaining  branch  of  our  art,  the  end  of 
this  paper  will  have  been  attained. 


Mr.  Ray  Woods  arrived  at  Plymouth  safe  and  sound  last 
Friday  night  from  Caroline  Island,  mid-Pacific. 


The  opening  of  the  Vienna  Electric  Exhibition  has  been 
postponed  for  a few  days.  Among  other  novelties  will  be 
an  art  gallery  lit  by  various  modes  of  illumination,  in  order 
to  test  the  value  of  electricity  for  viewing  paintings,  engrave 
iugs,  and  photographs. 


The  stoat  little  Willem  Barents,  which  may  well  be  desig- 
nated the  Polar  photographer,  so  many  camera  pictures  has 
she  brought  back  of  tho  far  north,  is  engaged  on  her  fifth 
voyage  to  tho  Polar  seas.  Mr.  W.  J.  A.  Grant,  who  made 
two  voyages  in  her,  and  who  last  year  went  out  in  the  little 
ill-fated  Kara,  to  find  the  Eira , has  given  up  Arctic 
voyaging  for  one  summer  at  least. 


The  Lick  Observatory,  Philadelphia,  for  which  the 
largest  telescope  in  the  world  is  being  constructed,  is  making 
great  progress.  The  transit  house  aud  the  chambers  for 
the  photo-heliographs  have  been  in  working  order  for 
some  time,  and  it  is  expected  that  by  the  end  of  the  year 
the  observatory  will  be  completed. 


“ Visitors  are  respectfully  informed  that  a photograph 
will  be  taken  of  the  visitors  on  the  pier  in  a group,  under 
the  Lantern  Hill,  at  1045  this  morning.”  So  runs,  accord- 
ing to  a correspondent,  the  announcement  of  an  energetic 
Ilfracombe  photographer,  one  of  whose  pictures  is  forwarded 
— a picture  that  tells  us  that  the  photographer  in  question 
wisely  chooses  the  mod  favourable  time  in  the  day  for 
the  execution  of  his  purpose. 


Our  good  friend,  Mr.  Lindt,  of  Melbourne,  eeuds  us  a 
fineseries  of  landscape  photographs  of  the  Bush  and  Austra- 
lian scenery  generally.  We  have  tho  pleasures  of  kangaroo 
hunting  depicted  ; camera  sketches  of  picnics  as  they  are  at 
the  Antipodes  ; of  the  log-huts  of  the  bushmen,  and  por- 
traits of  the  jet-black  aborigines,  who,  in  our  eyes,  strange 
to  say,  always  look  like  sickly  mechanics,  rather  than  the 
sturdy  children  of  Nature.  Mr.  Lindt  complains  of  tho 
lack  of  subjects  for  tho  landscape  photographer  in  Aus- 
tralia; but,  however  this  may  be,  he  is,  at  any  rate,  quite 
able  to  make  the  best  of  what  there  is. 


488 


ME  PHOTOGRAPHIC  NEWS. 


[Acgfst  3,  1883. 


Several  methods  have  been  suggested  for  the  preparation 
of  a gelatino-bromide  film  paper  for  negatives,  but  nothing 
has  come  before  the  photographic  public  in  a very  prac- 
tical form.  One  of  the  most  receat  patents  in  this  direction 
is  that  of  M.  Thiebaut,  a photographer  in  the  Hue  Laffitte, 
Paris.  M.  Thiebaut  t ikes  a gelatinised  sheet  of  paper, 
damps  it,  and  attaches  it  on  a glass  by  bands  of  paper 
pasted  at  the  edges.  When  dry,  it  is  covered  with  collodion 
containing  about  two  per  cent  of  castor  oil.  The  glass  is 
then  levelled,  and  coated  in  the  dark-room  with  a tepid 
emulsion  of  bromide  of  silver,  and  after  resting  about  five 
minutes,  the  glass  is  placed  upright  in  a drying  room  with 
a temperature  of  from  62°  to  668  Fahr.  Here  it  remains 
about  twelve  hours.  The  sensitive  paper  i3  exposed,  deve- 
loped, and  fixed  in  the  usual  way,  and  after  being  allowed 
to  dry,  the  film  is  peeled  off  the  paper  by  hand,  and  be- 
comes an  ordinary  transparent  negative. 


It  is  related,  in  connection  with  Focarde’s  statue  of  “ You 
Dirty  Boy,”  the  photographic  copyright  of  which,  as  we 
noted  last  week,  brought  such  good  luck  to  its  possessor, 
that  the  expression  of  anguish  on  the  urchins  face  was 
brought  about  by  the  sculptor  pulling  his  model’s  ear  at  the 
fixed  tariff  of  a shilling  a pull.  As  forty  pulls  were  given, 
the  boy  doubtless  was  well  pleased  with  his  bargain. 


The  incident,  however,  furnishes  one  with  food  for  reflec- 
tion as  to  how  the  expressions  of  the  innumerable  crying 
children  which  have  been  so  popular  were  obtained. 
Rejlander’s  picture  called  by  him  “Mental  Anguish,” 
which  afterwards  sold  enormously  under  the  name  of 
“ Ginx’s  Baby,”  was  the  result  of  an  accident,  the  artist,  in 
pure  desperation  at  the  wilful  perverseness  of  the  infant, 
exposing  a “ malice  aforethought  ” at  the  very  moment  it  was 
in  the  paroxysms  of  an  appalling  roar.  This  picture  set  the 
fashion  for  crying  children,  and  since  then  we  have  had 
them  in  every  stage  of  fractiousness,  from  the  incipient 
“ whinnick  ” to  the  fully  developed  equall.  But  they  could 
not  all  have  been  accidents.  We  are  really  sadly  afraid  that 
barbaric  means  similar  to  Signor  Focarde’s  method  have 
been  resorted  to  in  most  instances,  and  possibly,  even,  the 
much  to  be  dreaded  pin  brought  to  bear  upon  the  unlucky 
infantile  models.  It  is  to  be  hoped  that  a hint  of  such 
doings  will  not  reach  the  ear  of  the  British  matron,  or  the 
sale  of  these  pictures  will  be  decidedly  affected. 


Mr.  Henderson  points  out  that  if  an  emulsion  is  prepared 
with  a very  large  proportion  of  gelatine,  the  removal  of  the 
inert  salts  by  washing  is  no  longer  absolutely  essential. 
The  mass  of  gelatine  prevents  crystallisation.  These  facts 
should  have  interest  for  those  who  make  sensitive  pellicles  Or 
films. 


Mr.  Mayland,  of  Deal,  sends  us  by  post  some  delightful 
studies  of  sea  and  cloud,  which  would  be  invaluable  to  the 
marine  painter.  He  forwards  us  also  a photograph  of  a 
rainbow,  which  seems  to  us  of  particular  interest  to  the 
physicist.  And  for  this  reason.  The  bow  is  simply  repre- 
sented as  a dark  band,  but,  strange  to  say,  it  marks  the 


boundary  between  a dark  and  light  atmosphere  ; that  is  to 
say,  supposing  we  expressed  the  intensity  of  the  atmosphere 
on  one  side  of  the  rainbow  by  the  figure  3,  we  should  esti- 
mate the  intensity  of  the  atmosphere  beyond  by  the  figure  6. 
In  a word,  there  is  a sky  twice  as  intense  on  one  side  of  the 
rainbow  than  on  the  other,  the  bow  making  a sharp  divi- 
sion ; so  that  it  is  very  possible  photography  may  help  to 
explain  the  phenomenon  of  the  rainbow  more  clearly  than 
has  yet  been  done. 

Our  contemporary  the  St.  Louis  Photographer  makes  the 
amende  honorable,  and  apologises  for  quoting  our  “ Notes  ’» 
without  acknowledgment ; not  to  be  behindhand  in  courtesy, 
we  regret  ever  having  mentioned  the  circumstance. 


By  the  simple  reflection  of  an  image,  M.  Wolff  is  enabled 
to  take  note  of  the  least  oscillation  of  the  earth.  He  sets  to 
work  as  follows.  Some  ninety  feet  under  ground,  where  no 
vibrations  from  above  are  likely  to  affect  tho  observations,  is 
a tunnel  one  hundred  feet  in  length.  At  one  end  of  tho 
tunnel  is  a bowl  of  mercury  reflecting  on  its  surface  a 
certain  object,  or  point,  and  by  a system  of  fixed  mirrors 
this  same  point  is  reflected  from  the  other  end  of  the  tunnel. 
If  the  reflections  of  the  two  surfaces — the  mobile  and  fixed — 
coincide,  the  earth  is  steady  ; but  if  the  reflected  images 
do  cot  coincide,  then  there  is  evidence  of  an  oscillation. 
The  least  erratic  movement  of  our  sphere  is  thus  recorded, 
and  by  a simple  photographic  tell-tale  the  motions  might 
be  written  down  without  trouble. 


In  La  Nature  we  read  of  photographs  being  taken  by  M. 
Louis  Dor  by  moonlight  with  the  aid  of  some  new  gelatine 
plates  of  a most  sensitive  kind,  which  M.  Luraiere  has 
patented.  Moonlight  photographs  in  this  country  have  long 
been  dismissed  from  the  category  of  wonders,  but  although 
many  of  our  readers  have  deemed  their  results  sufficiently 
curious,  nene,  we  believe,  ever  dreamt  of  taking  out  a patent 
for  films  that  could  be  impressed  by  moonlight. 

A theory  of  considerable  interest  to  photographers  is 
just  now  under  discussion  by  Dr.  Oliver  Lodge  and  Lord 
Raleigh.  It  concerns  the  so-called  dark  plane  to  be  seen 
above  hot  bodies  in  dusty  and  illuminated  air ; that  is, 
just  above  a hot  rod  of  iron  or  hot  iron  plate,  there  is 
always,  as  many  of  our  readers  must  have  noticed,  a per- 
ceptible dark  layer,  and  it  is  this  region  of  darkness — so  it 
appears  to  the  eye — which  is  the  subject  of  discussion. 
Tyndall  has  demonstrated,  if  he  was  not  the  first  to  point 
out,  that  it  is  dust  particles  in  the  air  that  make  it 
luminous,  aud  that  it  is  quite  possible  for  a ray  of  light  to 
be  imperceptible  to  the  eye  if  there  are  do  dust  particles 
in  its  path  to  reflect  the  light.  The  dark  plane  over  a hot 
object  has,  therefore,  been  explained  by  the  fact  that  the 
dust  in  the  dark  region  has  either  been  burnt  up  or 
dried  up  by  contact  with  the  hot  body. 

Lord  Raleigh,  by  the  simple  device  of  using  a cold  body, 
instead  of  a hot  one,  succeeded  in  getting  a down-streaming 
dust-free  space  instead  of  an  up-streaming  one,  and  this 
proved  that  this  theory  of  burning  or  drying  up  of  the 


Acgcst  3,  1883.  J 


THE  PHOTOGRAPHIC  NEWS 


480 


dust  could  not  be  correct.  Dr.  Lodge,  following  up  the 
subject,  now  tells  us  he  finds  that  all  “solid  bodies  have 
sharply-defiued  dust-free  coats,  or  films  of  uniform  thick- 
ness, always  surrounding  them,’'  the  envelope  of  dust- 
free  air  appearing  to  the  eye  as  an  envelope  of  darkness. 
Why  the  air  near  a solid  is  free  from  du3t,  Dr.  Lodge  is 
not  prepared  to  say,  but  that  the  phenomenon  is  due  to 
electric  action,  he  thinks  more  than  probable. 


Strange  to  say,  in  his  investigations,  Dr.  Lodge  has  not 
attempted  to  use  photography,  but  confined  himself  to 
observations  made  by  a microscope  of  low  power.  The 
dust-free  coat  surrounding  solid  bodies  Dr.  Lodge  esti- 
mates at  of  an  inch,  but  its  thickness  varies  with 
temperature,  pressure,  and  electrical  conditions.  Dr. 
Lodge,  by  enveloping  a rod  in  smoke,  and  altering  its 
temperature  and  electrical  condition,  has  not  only  been 
able  to  vary  the  character  of  the  dark  envelope,  but 
actually  to  cause  it  to  curl  in  the  air,  in  the  heart  of  a 
smoke  jet.  Going  still  further,  Dr.  Lodge  has  found  that 
he  can  clear  a box  of  smoke  very  quickly  by  means  of 
electricity,  and  he  is  not  without  hope  that  one  of  these 
days  it  may  be  possible  to  clear  the  air  of  smoking-rooms, 
tunnels,  by  electrical  means — nay,  even  to  dissemi- 
nate a fog ; and  in  support  of  hi3  anticipations,  he  reminds 
us  how  a thunderstorm,  or,  rather,  a lightning  storm, 
undoubtedly  does  clear  the  atmosphere. 


The  decision  of  the  Master  of  the  Rolls,  in  conjunction 
with  Justices  Cotton  aud  Bowen,  is  all  the  more  import- 
ant, since  it  confirms  the  view  of  Justice  Field,  that 
unless  a photographer  himself  actually  superintends 
the  taking  of  a portrait,  he  cannot  claim  the  copyright. 
VVe  presume  that  his  presence  in  the  studio  would  suffice 
to  make  good  the  claim,  because  he  stands  ready  with  his 
advice  and  experience  ; but  if  he  is  not  present,  the  assis- 
tant reaps  the  benefit.  Our  readers  will  find  the  judgment 
set  forth  iu  another  column  ; and  whatever  may  be  said  in 
respect  to  it,  it  is  certainly  clear  enough. 


Our  contemporary,  the  Artist,  says  : — “ It  should  not  be 
necessary  to  urge  on  readers  of  the  Artist  to  see  to  the  artistic 
side  of  their  photographic  work  ; yet  it  is  the  fact  that 
painters  do  neglect  this  a good  deal  when  they  take  the 
camera  in  hand.  They  content  themselves  with  records  of 
details  as  ‘ picture  furniture.’  Ilow  much  more  can  be 
done  by  patience  and  care  was  exemplified  recently  by  a 
series  of  prints  which  we  have  recently  seen,  and  which  are 
the  work  of  an  employe  in  a London  warehouse.  They 
were  tiny  photographs  of  cattle,  shipping,  skies,  and  other 
subjects,  only  about  2J  inches  by  lj,  mounted  on  a thick 
dark  mount  with  a gilt  edge.  They  are  of  unusually  artistic 
quality,  and  on3  of  the  London  firms  who  issues  Christmas 
cards  has  thought  them  of  sufficient  merit  and  spirit  to  issue 
in  that  popular  form  of  art  work.’’ 


Reviving  the  idea  of  having  a photograph  upon  your 
card  when  paying  a call — the  origin  of  the  Carte-de - Visile — 
brings  to  mind  a happy  thought  of  the  King  of  the  Belgians, 


when  a party  of  British  volunteers  were  entertained  at 
Brussels  some  years  ago.  The  officers  attended  a levee  at 
the  palace  on  that  occasion,  and  His  Majesty,  in  order  to 
secure  the  portraits  as  well  as  the  name3  of  his  guests,  asked 
them  to  assemble  en  masse  in  the  palace  yard.  A large 
camera  was  already  at  one  of  the  windows — we  remember  it 
was  M.  Ghetnar  who  had  the  management  of  the  affair — 
and  in  five  mioutes  the  assembly  dispersed,  leaving  their 
portraits  behind  them. 

o— 

patent  Jutcllignta. 

Grant  of  Provisional  Protection. 

3362.  Frank  Wirth,  of  the  firm  of  Wirth  and  Company,  Patent 
Solicitors,  at  Frankfurt-on-the-Main,  in  the  empire  of  Germany, 
for  an  invention  of  “ An  improved  method  of  producing  plates 
by  photography,  to  be  used  for  printing  purposes.” — A com- 
munication from  the  firm  of  Beneckeand  Fischer,  of  St.  Louis, 
United  States  of  America,  and  John  Frank,  a person  resident 
at  Frankfort-on-the-Main,  in  the  empire  of  Germany. — Dated 
6th  July,  1883. 

Patent  Sealed. 

1380.  Richard  Brown  and  Robert  William  Barnes  and 
Joseph  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  for  an  invention  of  “ Improvements  in  and  relating 
to  the  preparation  of  pictures  and  photographs  to  be  used  in 
the  production  of  pictures  by  'the  art  of  photography  and 
photo-engraving,  and  in  the  production  of  gelatine  reliefs  and 
printing  surfaces  therefrom.” — Dated  15th  March,  1883. 

Specification  Published  during  the  Week. 

6017.  J.  H.  Johnson,  “Manufacture  of  bichromates.”-  A com- 
munication from  0.  Adolf,  and  Albert  Neuhaus. 

The  patentee  claims  the  manufacture  of  bichromates  of  potas- 
sium, sodium,  calcium,  barium,  and  magnesium  from  their  chro- 
mates by  decomposing  them  with  carbonic  acid,  acting  under 
pressure  and  at  a high  temperature. 

Patent  Void  through  Non-payment  of  Duties. 
2966.  Joseph  Julius  Sachs,  of  the  city  of  Manchester,  for  an 
invention  of  “ Improvements  in  the  production  of  surfaces  for 
printing,  stamping,  or  embossing.”— Dated  19th  July,  1880. 
The  final  claiming  clauses  are  as  follows 
First.  The  system  or  mode  of  obtaining  roller  surfaces  for 
printing,  stamping,  or  embossing,  by  depositing  metal  on  a 
roller  through  the  interstices  of  lace  or  other  open  work,  fabric, 
or  material. 

Secondly.  The  system  or  mode  of  obtaining  roller  surfaces  for 
printing,  stamping,  or  embossing  from  casts  of  open  work,  fabric, 
or  material,  or  of  designs  in  relief  and  sunk. 

Thirdly.  The  system  or  mode  of  obtaining  roller  surfaces  for 
printing,  stamping,  oi  embossing  from  facsimiles  produced  by 
the  action  of  light  of  open  work,  fabrics,  material,  or  of  photo- 
graphs or  other  designs. 

Patent  Granted  in  Austria-Hungary. 

J.  Chaine,  A.  Durand,  and  Sallonier  de  Chaligny,  of  Lyons, 
for  “Coloured  photographs,  or  so-called  ‘photonature.’’’ — 
Dated  llth  March,  1883. 


A TRIP  TO  KILAUEA. 

BY  C.  RAY  WOODS. 

The  Eclipse  Expedition  has  now  returned,  haviug  reached 
the  shores  of  “Merrie  England”  late  on  Friday  night. 
I am  afraid  T shall  be  thought  very  remiss  in  having  said  so 
little  concerning  the  return  journey  ; but  then,  a long  sea 
voyage  is  little  conducive  to  industry,  and  my  experiences 
may  perhaps  still  be  readable,  although  not  written  “ on 
the  spot.”  For  is  it  not  the  universal  experience  that 
when  an  old  campaigner  sits  in  his  arm-chair  by  the  fire- 
side, and  fights  his  battles  over  again,  his  exploits  gain, 
rather  than  lose,  by  the  oft-repeated  telling  ? 


496 


THE  PHOTOGRAPHIC  NEWS. 


[Acgpst  3,  1883. 


As  1 informed  your  readers  in  my  last,  we  sailed  from 
Caroline  Island  to  the  Hawaiian  Islands,  touching  at  Ililo, 
to  visit  the  famous  crater  of  lvilauea.  It  is  this  visit  to 
the  volcano  that  I wish  to  make  the  subject  of  the  present 
communication.  Scientists  and  naval  officers,  we  numbered 
fifteen  in  all,  and  starting  from  the  ship  at  the  break  of 
day,  we  put  off  to  the  landing  stage,  where  our  horses  were 
waiting  in  readiness.  Let  me  bring  my  memory  back  to 
the  scene. 

It  is  a cloudy  morning,  but  the  clouds  offer  a prospect  of 
a cool  day,  rather  than  a wet  one.  The  little  town,  half 
enveloped  in  trees,  except  near  the  shore,  where  the  water 
rolls  in  on  the  lava  beach,  is  already  beginning  to  be  up 
and  astir  to  witness  our  departure.  A crowd  of  natives  are 
minding  the  horses  and  assist  us  in  getting  ready.  One 
gentlemau  is  buckling  on  one  spur  that  has  been  handed 
him,  and  another  gentleman  is  buckling  on  the  fellow  one 
to  it.  There  were  not  enough  to  go  round,  even  at  the 
rate  of  one  apiece.  One  ingenious  individual  is  fixing  a 
pillow  on  his  saddle,  whilst  others  are  seeing  the  pack- 
horse  loaded  with  their  traps.  “Take  this  ; he's  a very 
good  horse ! ” says  a Kanaka  to  your  humble  servant ; and 
being  of  a confiding  nature,  I take  him.  How  was  I to 
know  that  some  more  favoured  individual  had  been  told 
that  the  animal  was  not  fit  to  stand  the  journey?  Up  I 
get,  therefore,  with  my  camera  strapped  to  my  back, 
wondering  why  on  earth  they  put  great  leather  shields 
round  the  stirrups.  We  arc  soon  ready,  and  a peculiar 
gathering  we  look.  Some  scientific  men  areas  picturesque 
on  horseback  as  a sailor  is  in  a similar  situation.  Now  we 
are  off  ; in  fact,  one  gentleman  is  off  with  a vengeance,  for 
his  horse  runs  away  with  him,  and  he  gallops  along  the 
principal  street  a la  John  Gilpin,  clinging  tightly  to  the 
tall  pummel  of  his  saddle,  which,  fortunately,  is  a Mexican 
one.  It  was  not  myself,  for  my  steed  had  very  little  go  in 
him.  The  ruu-away  is  soon  stopped,  exchanges  horses 
with  a member  of  the  party  who  has  a quieter  mount,  and 
then  the  start  fairly  commences,  and  with  the  start  I will 
resume  the  past  tense. 

We  gave  our  horses  the  rein,  and  trotted  briskly  out  of 
the  town,  rattled  over  the  wooden  bridges  that  spanned  a 
few  small  streams,  then,  coming  to  a piece  of  smooth  road, 
brought  our  horses  to  the  gallop.  Away  we  went,  past 
houses  aud  past  sugar  plantations,  with  a view  of  the  open 
country  on  one  side  and  Hilo  Bay  on  the  other,  where  the 
good  ship  Ilartjord  was  laying  at  anchor,  many  of  its 
officers  aud  crew  watching,  probably,  our  progress,  now  in 
single  file,  aud  now  two  abreast,  along  the  well-trodden 
track.  Soon  we  passed  the  grove  of  tall  cocoa-nut  palms 
that  graced  the  extreme  point  of  the  Bay,  and  then  our 
progress  became  less  easy.  Huge  blocks  of  lava  barred 
the  way,  and  over  these  obstacles  the  horses  scrambled. 
We  let  them  go  just  as  they  pleased,  for  they  knew  the 
road  aud  its  nature,  whilst  we  did  not.  The  road  gradu- 
ally became  more  difficult,  and  before  long  we  found  our- 
selves entering  a forest  which  extends  for  several  miles. 
Then  we  saw  the  utility  of  the  shields  on  the  stirrups, 
without  which  our  boots  and  trousers  must  have  received 
serious  damage,  for  sharp  twigs  and  thorny  branches 
stretched  across  the  narrow  path,  making  us  look  well  to 
our  persons  ; whilst  at  the  same  time  we  had  to  accommo- 
date our  bodies  to  the  movements  of  the  horses.  Their 
movements  were  intricate  indeed.  Sometimes  they  had  to 
spring  from  block  to  block  of  slippery  lava,  or  to  pick  their 
way  amongst  broken  rock,  and  not  unfrequently  to  plunge 
through  water  which  came  up  past  their  knees,  or  to 
flounder  through  bog.  And  all  this  time  the  road — or 
path,  rather — went  up  and  down  in  a manner  that  caused 
us  to  wonder  how  the  animals  kept  their  footing.  As  one 
officer  had  told  us  beforehand,  they  must  have  been  half  fly 
and  half  goat,  or  they  could  never  have  accomplished  it. 
You  will  get  by  no  means  an  exaggerated  notion  of  it  if  you 
ride  a horse  up  and  down  stairs  ; in  fact,  it  would  be  a far 
safer  performance.  A photograph  of  it  would  have  beeD 


extremely  interesting,  but  we  were  too  much  occupied 
even  to  have  time  to  think  about  it:  it  would  be  like 
trying  to  develop  a plate  while  your  house  is  on  fire. 
Occasionally,  the  trunk  of  a fallen  tree  blocked  the 
way,  or  the  cry  of  “Mind  your  face!”  warned  one  of 
the  threatening  aspect  of  an  overhanging  bough.  Little 
time  to  note  the  nature  of  tree,  brake,  or  fern : suffici- 
ently thankful  were  you  if  you  passed  through  them 
unscathed.  Everything  must  have  an  end,  however,  and 
presently  we  emerged  from  the  forest,  and  again  saw 
the  open  sea,  smooth  as  a millpond,  stretched  out  before 
us.  The  way  now  was  across  an  open  plain,  the  trail  being 
sufficiently  conspicuous  as  a thin  line  of  polished  lava, 
where  grass  and  soil  had  been  scattered  by  the  continual 
trotting  of  horses  to  and  from  the  volcano.  The  riding 
wa3  much  easier  now,  but  my  horse  showed  signs  of 
flagging.  He  had  a bad  touch  of  an  awkward  complaint 
at  the  very  outset,  and,  at  this  stage,  neither  coaxing  nor 
beating  would  make  him  do  more  than  crawl,  so  that  1 
soon  saw  the  rest  of  the  party,  including  the  guide — the 
guide  (?)  travels  last — gradually  drawing  farther  and 
farther  away  from  me  in  the  distance.  What  was  I to  do  ? 

I got  off  the  animal,  and  led  him  for  a bit ; but  he  got 
worse  and  worse.  As  1 was  unable  to  carry  the  horse — or, 
at  least,  I thiuk  so — and  he  was  unable  to  carry  me,  I tied 
him  to  a stump,  where  there  was  plenty  of  grass,  and  did 
the  rest  of  the  way  to  the  “ Half-way  House” — a matter 
of  five  miles  or  more — by  Shanks’  pony,  who  could  go  a 
pretty  good  pace  in  spite  of  the  bad  road  and  the  heat. 
At  the  end  of  the  plain  was  another  wood,  but 
of  smaller  extent  than  the  first,  and  less  rough  ; and 
happily  there  was  no  water  to  go  through.  At  last 
I emerged  once  more  into  the  open  country,  and  on  more 
elevated  ground,  getting  a good  view  on  all  sides,  but 
unable  to  see  the  rest  of  the  party.  Steadily  I tramped  on 
till  at  last  I came  in  sight  of  some  Kanaka  huts,  the  in- 
habitants of  which  gazed  in  wonder  at  the  unusual  sight  of  a 
traveller  doing  the  trip  on  foot.  I was  strongly  tempted  to 
stop  and  expose  a few  plates,  but  the  thought  of  my  friends 
getting  their  lunch  aud  enjoying  the  tit-bits  restrained  me ; 
the  claims  of  Nature  are  stronger  than  those  of  Art,  bad 
luck  to  it.  I was  at  last  rewarded  with  a sight  of  the 
Half-way  House,  and  found  that  my  perseverance  (and  my 
legs)  had  brought  me  in  only  ten  minutes  behind  the  last 
horseman. 

In  old  days,  a curious  performance  was  gone  through 
at  this  place.  The  traveller  was  seized  by  a party 
of  natives  and  stripped ; his  joints  were  all  pulled,  his 
flesh  was  kneaded,  and  ho  was  then  thrown  on  his  stomach, 
for  the  fattest  woman  there  to  walk  up  and  down  on  his 
prostrate  form.  This  violent  exercise  refreshed  his  weary 
limbs,  and  he  lost  all  signs  of  fatigue.  The  “Loomi- 
loomi  ” has  since  been  done  away  with,  and  we  had  to 
content  ourselves  with  a rest  on  the  grass  and  our  lunch. 
Then  came  the  question,  “ What  was  I to  do  about  the 
horse  ? ” It  was  soon  settled.  The  luggage  was  divided, 
the  pack-horse  saddled,  and,  before  mounting,  I walked 
round  my  new  steed  and  took  a survey  of  him.  He  looked 
as  if  he  would  make  a good  horse  when  he  was  finished ; 
as  it  was,  the  framework  was  displayed  to  the  utmost  possi- 
ble advantage,  and  what  more  could  one  expect?  I 
mounted.  “ Whoo!  come  up,  you  brute;  what  are  you 
trying  to  do  ? This  is  not  a circus.” 

He  did  not  like  the  bit.  Whack ! went  the  guide’s 
cowhide,  and  off  he  started.  Used  to  being  pulled  along 
behind  the  guide  by  a rope,  he  hardly  knew  what  to  make 
of  it,  and  gave  me  a good  deal  of  trouble.  At  last,  with 
the  aid  of  the  whip,  he  would  keep  trotting  on,  but  the 
rest  of  the  party  were  soon  far  ahead.  At  last,  in  trying 
to  keep  my  seat  during  a restive  but  not  restful  moment, 
I lost  my  cowhide,  and  could  not  find  it.  Necessity  is  the 
mother  of  invention.  I got  out  my  camera-sticks,  yet,  not 
wishing  to  damage  the  animal’s  framework,  I looked  for 
a soft  place,  and  went  for  it.  He  went  for  it,  too.  With 


THE  PHOTOGRAPHIC  NEWS. 


491 


AcGtst  3,  1883.] 


a plentiful  application  of  camera-stand,  we  made  a little 
progress,  and,  once  more  coming  in  sight  of  the  sea,  we 
found  an  easier  road.  Now  the  guide  thought  we  ought 
to  gallop,  but  the  horse  thought  different,  and,  beiog  desir- 
ous of  munching  a little  grass,  came  to  a stand.  Another 
stand  (the  camera-stand)  came  to  him,  aud  pretty  briskly, 
too,  after  which  be  went  for  another  half-mile,  and  turned 
round  as  if  he  would  like  to  go  home.  This  was  too 
much.  Then  I bethought  myself  of  the  guide’s  spurs,  and 
proposed  changing  horses.  As  it  was  now  getting  late, 
and  my  argument  was  persuasive,  this  was  agreed  to.  My 
new  horse  had  only  been  broken  in  three  months,  and 
went  like  the  wind.  So  did  the  other,  for  sharp  spurs  are 
more  persuasive  than  camera-legs.  On  we  went  through 
the  forest  again,  over  softer  ground,  and  occasionally 
through  bog.  At  last  we  found  ourselves  less  than  two 
miles  from  the  Volcauo  House,  and  the  road  was  good. 
Bringing  the  horses  to  a smart  gallop,  and  keeping  a 
good  seat,  we  dashed  over  the  ground,  for  I meant  to  get 
in  before  dark,  if  I broke  my  neck  over  it.  Beaching  the 
house  in  safety,  I was  soon  in  the  midst  of  dinner,  and  that 
performance  concluded,  I took  stock.  Results: — General 
stiffness  and  divers  sores,  aching  shoulders  and  sore  back 
from  my  camera,  broken  ground-glass,  and  a few  plates 
smashed. 

****** 

I can’t  help  it,  Mr.  Editor.  Please  don’t  1 Go  to  Hilo 
and  administer  it  to  those  horses  ; some  of  them  want  some 
physic.  1 know  there  is  nothing  about  photography  in 
this  letter,  but  I brought  in  the  camera  legs  as  often  as  I 
could,  though  not  as  often  as  I did  on  the  road.  After  all, 
this  is  a very  good  aiticle  on  “ Where  not  to  go  with  the 
Camera.” 

( To  be  continued.) 


& iictioiwg  of  gjjotafjniglijr. 

“MM.  Favre  and  Silbermann  have  examined  the  action  of 
the  solar  light  on  a mixture  of  chlorine  and  hydrogen,  and  have 
employed  the  facts  which  they  have  observed  in  measuring  the 
chemical  influence  of  the  different  coloured  rays  of  the  spectrum. 
They  filled  fifty  small  glass  tubes,  placed  in  an  upright  position 
along  the  sides  of  a narrow  trough — the  gases  being  confined  over 
salt  water,  whilst  they  were  exposed  to  the  solar  spectrum.  The 
level  to  which  the  salt  solution  rose  in  the  various  tubes  under 
the  influence  of  light  leDdered  the  chemical  action  of  the  coloured 
rays  evident  to  the  eye.  Favre  and  Silbermann  state  that  they 
have  found  the  greatest  action  to  take  place  in  the  morning  at 
the  lino  H,  at  noon  at  the  line  G,  and  in  the  evening  at  F. 

“M.  C’laudet  has  also  devised  an  instrument  which  he  terms  a 
photographometer,  by  means  of  which  we  are  enabled  to  measure, 
not  only  the  intensity  of  the  chemical  rays,  but  also  the  relative 
susceptibility  of  the  plates  or  chemical  papers,  which  have  been 
prepared  according  to  different  methods.  The  plate  or  paper  is 
attached  at  the  lower  edge  of  an  inclined  plane,  and  covered  with 
a metallic  plate,  which  is  perforated  horizontally  with  a row  of 
equi-distant  round  holes.  A second  disc  slides  along  the  inclined 
plane,  in  which  there  are  corresponding  holes  of  1,  2,  4,  8,  10, 
32,  and  64  millimetres  in  diameter.  This  second  plate  is  fixed  in 
a black  cloth,  which  moves  with  it,  in  such  a manner  that  the 
rays  of  light  can  only  impinge  upon  the  prepared  plate  during 
the  time  which  the  openings  of  the  moving  plate  occupy  in  pass- 
ing over  those  in  the  one  at  rest.  It  is  evident  that  the  ratios  of 
the  periods  of  operation  for  the  adjacent  perforations  must  be  as 
1,  2,  4,  8,  &c.  When  a very  weak  light  is  employed,  as  in 
instituting  a comparison  between  the  solar  and  lunar  light,  it  is 
necessary  to  let  the  movable  plate  fall  repeatedly,  and  to  calcu- 
late the  ratios  of  the  intensities  accordingly.  If  we  wish  to  com- 
pare plates  that  have  been  prepared  according  to  different 
methods,  they  must  be  placed  in  juxtaposition,  and  two  movable 
plates  allowed  to  slide  down  at  the  same  time,  as  the  intensity  of 
the  light  varies  every  minute. 

“ Professor  Draper  has  devoted  considerable  time  to  the 
study  of  the  chemical  action  of  light ; and  many  years  ago  he 
commenced  experiments,  with  the  view  to  invent  some  means  for 
measuring  the  chemical  action  of  light  with  some  degree  of  exact- 


ness. His  first  essays  were  by  noticing  the  degree  of  blackness 
which  was  produced  on  papers  coated  with  chloride  or  bromide  of 
silver.  He  subsequently  described  an  instrument  which  was  well 
adapted  to  these  enquiries.  This  he  described  in  a paper  published 
in  the  Philosophical  Magazine,  and  it  is  from  this,  and  other 
papers  by  the  same  experimentalist  which  he  has  communicated 
to  that  journal,  that  the  present  account  of  his  researches  is  taken. 
The  instrument,  to  which  he  has  given  the  name  of  tithonometer, 
consists  of  an  arrangement  by  which  there  may  be  obtained  from 
hydro-chloric  acid  by  voltaic  decomposition  a mixture  of  equal 
parts  of  chlorine  and  hydrogen.  This  mixture  will  remain  with- 
out change  in  the  dark,  but  on  exposure  to  the  rays  of  a lamp  the 
two  gases  unite  in  proportion  to  the  incident  light.  So  great  is 
its  sensitiveuess,  that  an  electric  spark  which  lasts,  it  is  said,  less 
than  the  millionth  part  of  a second,  affects  it  powerfully  when  at 
a distance,  and  sometimes  occasions  an  explosion  which  destroys 
the  tithonometer.  Messrs.  Bunsen  and  Koscoe  have  introduced 
several  improvements  aud  refinements  into  the  tithonometer ; and 
in  a paper  which  they  read  before  the  Royal  Society,  they  have 
brought  forward  many  important  discoveries  in  photo-chemical 
science  which  they  have  been  enabled  to  make  by  means  of  this 
instrument.  They  belong  too  much  to  the  domain  of  abstract 
scienco  for  ns  to  lay  them  in  full  before  our  readers.  The 
apparatus  which  these  physicists  have  contrived  for  this  purpose 
is  most  ingenious ; and,  although  too  complicated  and  delicate 
for  any  other  purpose  than  an  instrument  of  pure  research, 
promises  to  be  of  the  highest  importance  in  all  inquiries  into  the 
laws  which  regulate  photographic  phenomena.  Messrs.  Bunsen 
and  Roscoe  have  obtained  several  remarkable  results  with  their 
instrument ; one  of  them  is,  that  the  presence  of  a very  minute 
quantity  of  a foreign  gas  introduced  into  their  standard  mixture 
of  chlorine  and  hydrogen  was  capable  of  offering  great  resistance 
to  the  combination  of  the  gases,  a small  quantity  of  hydrogen  in 
excess  diminished  the  sensitiveness  by  two-thirds,  whilst  a little 
more  than  one  per  cent,  of  oxygen  almost  entirely  prevented 
combination.  Their  researches  have  also  show  n that  the  obser- 
vations of  Becquerel,  which  induced  him  to  assume  the  existence 
of  certain  rays  which  could  continue  but  not  commence  chemical 
action,  may  be  explained  without  having  recourse  to  the  hypo- 
thesis of  the  existence  of  a new  property  of  light.  They  have 
also  discovered  a very  important  law  governing  the  chemical  com- 
bination of  a mixture  of  chlorine  and  hydrogen,  and  which  it  is 
reasonable  to  suppose  equally  well  applies  to  the  other  cases  of 
combination  or  decomposition  induced  by  the  agency  of  light, 
which  is,  that  ‘ for  a given  amount  of  chemical  action,  effected  in 
the  chlorine  and  hydrogen,  an  equivalent  quantity  of  light  is 
absorbed.”  These  experimentalists  have  also  noticed  that  the 
chemical  rays  from  various  sources  of  light  are  very  different  in 
quality,  and  that  the  chemical  rays  reflected  at  different  times 
and  hours  not  only  possess  quantitative  but  also  qualitative 
differences,  similar  to  the  various  coloured  rays  of  the  solar 
spectrum  ; and  they  conclude  their  elaborate  paper  by  a reference 
to  the  influence  which  these  qualitative  differences  in  the  chemical 
rays  exert  on  the  photo-chemical  phenomena  of  vegetation. 
They  state,  1 that  this  influence  must  be  of  tho  greatest  importance 
is  evident  from  the  varying  effects  produced  in  other  photo- 
chemical processes  by  differences  in  the  solar  light.’  We  must 
only  mention,  in  proof  of  this  assertion,  the  fact  well  kuown  to 
all  photographers,  that  the  amount  of  light,  photometrically 
speaking,  gives  no  measure  for  the  time  in  which  a given  photo- 
chemical effect  is  produced,  and  that  a less  intense  morning  light 
is  always  preferred  for  the  preparation  of  pictures,  to  a bright 
evening  light. 

“ Professor  Draper  has  also  suggested  another  means  for  measur- 
ing the  chemical  action  of  light,  and  one  which  will  be  found  well 
adapted  where  extreme  sensitiveness  is  not  desired.  It  is  by 
employing  an  aqueous  solution  ol  peroxalate  of  iron.  This  sub- 
stance is  of  a golden  yellow  colour,  and  may  be  preserved 
unchanged  for  years  if  in  total  darkness,  but  on  exposure  to  the 
light  of  a lamp,  or  to  daylight,  decomposition  immediately  takes 
place,  and  a lemon-yellow  precipitate  of  protoxalate  of  iron  falls 
down,  with  evolution  of  carbonic  acid. 

“ The  rays  which  chiefly  affect  this  solution  are  the  most 
refrangible  indigo  and  violet  rays — the  same,  in  fact,  w’hich  affect 
the  tithonometer  and  silver  salts  in  general.  In  its  application  to 
photometry  several  plans  may  be  pursued: — The  quantity  of  the 
carbonic  acid  produced  may  be  estimated  either  by  determining 
its  weight  or  volume ; or  a determination  might  be  made  of  the 
weight  of  certain  metals— gold  or  silver,  for  instance — which  the 
solution  after  exposure  w’ould  precipitate. 

“ Several  precautions  must  be  borne  in  mind  in  experimenting 


492 


'THE  PHOTOGRAPHIC  HEWS. 


[August  3,  1883, 


with  this  body.  First,  the  lemon-yellow  protoxalate  must  not  be 
permitted  to  incrust  the  sides  of  the  glass  exposed  to  the  light, 
and  thus  injure  its  transparency.  Second,  the  solution  of  per- 
oxalate  must  be  kept  nearly  at  a constant  temperature,  as  its 
colour  changes  with  tbe  heat,  it  being  at  the  freezing  point 
emerald  green,  and  at  the  boiling  point  brownish  yellow.  Third, 
before  any  carbonic  acid  can  be  disengaged,  the  solution  must 
become  saturated  therewith  ; and  therefore,  before  the  quantity 
of  incident  chemical  rays  can  be  correctly  measured  by  the 
amount  of  disengaged  carbonic  acid,  the  portion  dissolved  must 
be  removed  either  by  exposing  the  solution  to  heat,  or  by  passing 
a stream  of  hydrogen  through  it.” 

{To  be  continued.) 


SOLID  AND  LIQUID  ILLUMINATING  AGENTS. 

BY  LEOPOLD  FIELD,  F.C.S.* 

The  paraffins  allow  of  substitution  products  with  the  haloids  ; 
that  is,  they  give  up  two  atoms  of  hydrogen  in  exchange  for  an 
equal  number  of  atoms  of  chlorine,  bromine,  or  iodiue.  This  is 
important,  as  the  substitution  compounds  thus  formed  are  iden- 
tical with  the  additive  compounds  of  the  haloids,  with  the  olefins  ; 
which  are  the  next  series.  These  bodies  have  Cn  H’“  for  their 
typical  formula.  Like  the  paraffins,  they  are  colourless,  readily 
inflammable,  forming  carbon  dioxide  and  water.  They  are,  how- 
ever, much  more  easily  acted  upon  by  acids,  and  combine  directly 
with  the  haloids.  Here  we  have  olefiant  gas  or  ethylene,  the 
first  of  the  class  burning  with  a flame  much  resembling  that  of 
methane.  In  this  jar,  inverted  over  water,  I have  two  volumes 
of  ethylene.  Passing  up  from  this  bottle  an  equal  proportion  of 
chlorine,  you  will  see  the  water,  at  first  displaced,  soon  rise 
rapidly,  while  drops  of  an  oily  liquid  collect  in  the  apex  of  the 
funnel,  whence  they  can  be  drawn  off  afterwards.  This  oily 
pungent  liquid  is  ethylene  dichloride,  called  of  old,  Dutch 
liquid.  The  name  olefiant — oil  making — is  attributable  to  this 
property. 

The  reaction,  a3  before  mentioned,  is  additive,  and  symbolised 
thus : — 

C2H4  + Cl,  = C2H4C12 

ethylene  chlorine  ethylene  dichloride 

which  is  identical  with  the  substitution  product  formed  by  the 
action  of  chlorine  upon  methane. 

With  the  exception  of  ceteae  and  cerotine,  constituents  of  wax 
and  spermaceti,  the  other  olefines  are  of  no  interest  to  us.  What 
renders  ethylene  of  moment  is  the  method  of  its  formation  from 
acetylene,  the  head  of  the  third  series  of  hydro-carbons,  called 
acetylenes. 

The  typical  formula  of  these  is  Cn  H>n.2.  We  will  only  take 
acetylene  itself,  C2H2.  Owing  to  the  preponderance  of  carbon, 
you  observe  it  burns  with  a smoky  reddish  flame.  Though 
colourless,  acetylene  possesses  a strong  unpleasant  smell,  familiar 
to  all  who  have  allowed  Bunsen  burners  to  ignite  below.  In 
fact,  as  methane  is  always  attendant  upon  slow  decomposition  of 
organic  bodies,  so  acetylene  is  formed  in  every  imperfect  organic 
combustion.  The  feature  of  salient  interest  in  its  character  is 
its  production  from  the  direct  union  of  carbon  and  hydrogen. 
When  a stream  of  the  latter  is  passed  over  the  carbon  electrodes 
of  a powerful  battery,  combination  takes  place,  thus  : — • 

C2  -f  H,  = C2H2 
acetylene 

Now,  if  nascent  hydrogen  act  upon  cuprous  acetylide,  we  obtain 
ethylene,  which  combination  we  may  depict  simply  as  : — 

C2H2+H,=C2H, 
acetylene  ethylene 

Again,  by  the  action  of  sulphuric  acid  upon  ethylene,  ethylic 
alcohol,  or  spirits  of  wine,  is  formed  : — 

1.  C2H4  + H2S04=S04HC2H5 
ethylene. 

2.  S04HC2Hi+0H2=H2S04-(-C2H;,0H 

sulphuric  ethylic 
acid  alcohol 

And  as  from  ethylic  alcohol  most  other  organic  compounds  may 
be  built  up,  we  may  be  fairly  said  to  have  started  ab  ovo,  and 
call  acetylene  the  tap-root  of  organic  compounds.  I must  not 
detain  you  now  with  the  remaining  hydro-carbons,  the  benzines, 
terpenes,  &c.,  which  are  adduced  as  playing,  or  having  played, 

* Continued  from  page  178. 


some  part  in  the  drama  of  lighting.  Nor  will  we  linger  long  over 
the  alcohols,  ethers,  and  acids,  except  for  just  such  space  as  will 
give  us  an  insight  into  the  meanings  and  propriety  of  application 
of  the  terms.  The  alcohols  owe  their  name  to  ethylic  alcohol, 
the  alcohol  par  excellence,  our  national  beverage,  commonly 
called  spirits  of  wine.  The  word  alcohol  itself  comes  from  the 
Arabic,  al  kohol,  antimony.  This  metal,  very  subtlely 
powdered,  was  applied  as  a pigment  to  the  brows  of  oriental 
beauties.  Soon  any  very  fine  powder  was  called  alcohol.  We 
find  Boyle  talking  of  reducing  a body  to  a very  “ subtile  powder, 
or  alcohol,  as  the  chemists  speak.”  Ultimately,  the  epithet 
passed  to  all  “subtile”  bodies,  and  so  to  spirit  of  wine.  The 
modern  chemist,  then,  gave  the  name  to  a great  order  of  com 
pounds,  which  stood  respectively  in  the  same  relation  to  hydro- 
carbons as  ethylic  alcohol  does  to  its  parent  ethane  ; from  which 
it  is  formed  by  the  substitution  of  OH,  hydroxyl,  for  H. 

C2H:,  1 , q — C2H,  ) q 

ethane,  or  etbjrlhydride=ethylic  alcohol 

Ethylic  and  methylic  (jitQv,  wine)  alcohols  have  been  used  for 
illuminating  ends,  when  tempered  with  some  carbonaceous 
substance.  Here  is  pure  spirit,  burning,  a3  you  see,  non-lumi- 
uous  ; and  here  some  spirit  in  which  camphor  has  been  dissolved. 
This,  you  perceive,  has  a bright  flame.  But  the  sole  use  of 
methylated  spirit  to  the  chemist  now  is  for  heating  ; the  flame 
gives  very  great  heat;  as  Boyle  remarks — “In  lamp  furnaces 
wherein  1 have  used  spirits  of  wine  for  oil,  the  same  flame  has 
melted  foliated  goli.”  The  alcohol  of  chief  interest  to  us,  though 
not  itself  a luminant,  is  glycerine,  of  which  later  on. 

The  ethers  (aiflw,  I burn)  may  be  regarded  as  formed  from  the 
alcohols,  by  the  substitution  of  another  radicle  for  H.  In  fact, 
the  alcohols  may  be  called  the  hydrates  of  the  anhydride  ethers, 
as  in  metallic  compounds  of  the  same  nature.  So  we  have 
ethylic  ether,  and  ethylic  alcohol,  formed  from  ethane,  which 
may,  in  its  turn,  be  regarded  as  a hydride  of  the  radical  ethyl. 
The  following  t.  rangemeut  gives  a brief  idea  of  the  view  which 
is  taken  of  the  formation  of  the  whole  chain,  from  the  molecule 
of  hydrogen  to  that  of  acetic  acid. 


H 

H 

hydrogen 


}■ 


C,H5 

H 

ethylhydrida 

(ethane) 


C2H,1  n. 
H/u- 
ethyl  hydrate 
(alcohol) 


C2H; 

c2g 

cthyloxido 

(ether) 


K^KiSlo: 


c2h3 

OH. 

aldehyde  acetic  acid 
(alcohol  dehydrated) 


Acetic  acid  is  more  properly  regarded  as  being  formed  from 
methane,  by  substitution  of — 

COOH  (carbhydroxl)  for  H : 

0U3 1 . co-OH-  — \ 

H / ‘ —CO  OH  / 


methane 
(methyl  hydride) 


acetic  acid 


Ether  also  is  itself  of  no  consequence  here,  but  the  compound 
ethers,  as  tallow  and  palm  oil,  will  fully  vindicate  the  brief 
attention  we  have  paid  the  chief  of  their  clan.  The  word  acid 
originally  meant  a substance  of  a sour  taste,  which  acted  upon 
metals.  Working  upon  the  typical  properties  of  the  first  definite 
acids,  as  sulphuric  and  hydrochloric,  the  name  is  now  bestowed 
upon  an  infinite  number  of  bodies  ; their  qualification  being  the 
possession  of  hydrogen  atoms,  which  they  can  exchange  for 
metals  or  radicles.  Considering  that  every  flower,  berry,  insect, 
animal,  metal— in  short,  everybody,  animate  or  dead — furnishes 
a peculiar  and  distict  acid,  it  is  not  surprising  that  the  number  is 
large.  Of  the  substances  with  which  we  shall  have  to  deal, 
cocoanut  oil  alone  furnishes  ten  different  acids,  and  bees’-wax 
three. 

There  is  an  immense  deal  more  to  be  said  about  the  permuta- 
tions and  combinations  possible  between  organic  compounds. 
Time,  and  the  fear  of  wearying  you,  forbid  my  pursuing  the  sub- 
ject further.  I have,  however,  drawn  up  a table  of  the  chief 
changes  mentioned.  They  are  worth  attention,  as,  by  their  aid, 
it  is  possible  to  furnish  some  explanation  of  the  changes  which 
nature  brings  about.  Leaving  now  this  arid  but  essential  pre- 
liminary, we  will  take  a rapid  retrospect  of  the  art  of  lighting, 
see  what  materials  our  fathers  had  at  their  command,  and  how 
they  used  them. 

Probably  the  earliest  known  means  of  lighting  was  the  torch, 
used  largely  of  old  in  north  countries,  and  still,  no  doubt,  light- 
ing the  Lapp  and  the  Finn.  This  torch  has  been  sent  me  from 


August  3,  1883.] 


THE  PHOTOGRAPHIC  NEWS, 


493 


North  Germany.  It  is  cut  from  the  pitch  pine,  and  sticky  with 
exuded  resin.  I will  light  it  ; you  see  the  red  large  flame,  and 
the  volumes  of  smoke.  This  will  presently  condense  into  small 
particles  of  soot,  colloquially  termed  “ blacks,”  which  adhere  to 
faces  and  clothes  with  surprising  determination,  and  may  give 
some  idea  of  the  emiuent  comfort  experienced  in  a hall  lighted, 
like  the  Walhalla,  with  pine-splinters--A-ic«-sj9fl7ine.  We  may 
presume  that,  in  cooking,  some  of  the  fat  might  saturate  a brand, 
which  would  burn  long  without  consuming  its  fibre  ; or, 
perhaps,  that  the  readier  and  brighter  combustion  of  certain 
woods  was  attributed  correctly  to  the  resin  they  contained. 
This  is  the  crude  idea  of  a link — even  of  a candle.  Substituting 
a rope  for  a splinter,  and  saturating  this  with  pitch  or  resin,  we 
have  the  link  that  still,  on  foggy  days,  connects  us  with  the 
past.  For  the  word,  and,  most  probably,  the  idea,  comes  from 
the  Greek,  Xvxvos,  or  perhaps  the  Latin  luchnus  (Cic.),  as  the 
German  “ fackel,”  from  the  Greek  tpautbos  (faff got),  a bundle  of 
sticks — after,  a torch.  Our  word  torch,  though,  is  evidently  the 
Latin  “ tortitium  ” — a twisted  thing,  which  would  now  be 
applied  more  properly  to  the  link ; while  our  pine  torch  finds  its 
Roman  equivalent  in  taidae—  slips  of  the  taeda,  or  Italian  pitch 
pine — the  usual  outdoor  light  of  Rome.  Funalia,  with  which 
Virgil  tells  us  Dido’s  palace  was  lighted  (evidently  from  “funis,” 
a rope) — 

“ dependent  lychni  laquearibus  aureis 

Inccnsi,  et  noctcm  ttammis  funalia  vincunt,”* 

were  probably  flambeaux , a finer  kind  of  link.  Here  'tve  have 
specimens  both  of  link  and  flambeau,  disinterred  from  Lambeth 
cellars,  where  they  have  lain,  perhaps,  half  a-century. 

The  link,  giving  an  eager,  smoky  flame,  was  held  by  the 
running  footmen  or  linkboys,  who  quenched  their  light  in  the 
large  extinguishers  still  to  be  found  on  houses  of  aristocratic 
antiquity.  The  flambeau  has  a centre  of  oakum,  surrounded 
with  alternate  layers  of  rosin  and  crude  beeswax,  finished  off 
with  a coating  of  the  latter,  bleached,  which  gives  it  a very 
expensive  appearance.  This  description  of  torch  w p more  costly, 
and  gave  a cleaner  flame  than  its  brothers,  and  so  was  princi- 
pally employed  in  lighting  halls,  staircases,  &c.  At  what 
period  the  torch  was  superseded,  and  whether  by  lamps  or 
caudles,  is,  and  will  remain,  a moot  point.  The  fact  is,  the 
Greeks  and  Romans,  regarding  lighting  as  of  very  minor 
importance,  were  shockingly  loose  in  their  nomenclature.  Nor 
are  we  much  better  in  English.  In  our  translation  of  the 
Scriptures  the  words  “ candle  ” and  “ candle-stick  ” are  used 
indiscriminately  with  “ lamp  though  it  it  quite  certain  that  a 
bona-fide  candle  was  not  known.  For  example,  in  Exodus 
xxv.  31,  we  have  “ a candlestick  of  pure  gold,”  but,  from  the 
after  text,  we  may  be  certain  that  the  right  word  should  be 
“ lampstand.”  Again,  in  Matt.  v.  15,  the  words  “ men  do  not 
light  a candle  and  put  it  under  a bushel,  but  on  a candlestick,” 
would  seem  to  positively  attest  the  use  af  both  candle  and  stick 
at  that  period,  did  we  not  know  that  the  Latin  candelabrum 
and  Greek  A vxria,  Latin,  luchnuchus  (Cic.),  meant  “lampstand.” 
Furthermore,  as  in  the  parable  of  the  virgins,  where  oil  is  a 
specified  condition,  the  word  Aux^r  is  rendered  lamp  (Matt, 
xxv.  1-5).  The  confusion  of  names  seems  strange  to  us  now 
with  whom  lamp  and  candle  enjoy  such  distinct  individuality  ; 
but  in  old  times,  no  doubt,  the  terms  were  interchangeable. 
Etymology  shows  the  words  to  be  derived  from  roots  signifying 
to  shine  or  burn — as,  candela,  uarS^Ka,  akin  to  candeo,  to  shine 
(Persian  katideel),  (Sans,  kan) — Xvxvos,  lucerna,  from  lux,  light, 
(Sans.  16k),  Atf/zirar,  lampas,  probably  connected  with  lame,  and 
the  Hebrew  lapad,  to  shine. 

We  are,  I think,  safe  in  concluding  the  torch  to  have  been 
superseded  by  the  lamp,  and  it  is  interesting  to  perceive  how 
this  is  evidenced  in  mythology.  Ceres,  in  the  old  legend,  sought 
her  daughter  in  Hell  with  a torch  ; Apuleius  makes  Psyche 
drop  hot  oil  on  Cupid  from  a lamp.  Whether  candles,  properly  so- 
called — i.e.,  wicks  surrounded  with  coatings  of  wax  or  tallow — 
were  known  before  or  after  the  use  of  lamps  had  become  general, 
I cannot  say.  We  have  a passage  from  Martial  (1st  cent.  A.D.), 
in  which  the  candle  is  mentioned  as  an  old  affair.  Says  he  : — 

“ Nomina  candelce  nobis  antique  dederunt, 

Non  nflrat  parcos  uncta  lucerna  patres.” 

(Ep.  xiv.,  43.) 

But  here  he  may  mean  torch— funalia — which  the  old  Romans 

• This  reminds  us  forcibly  of  Milton’s  description  of  Pandemonium — 

“ From  the  arched  roof, 

Pendant  by  subtle  magic,  many  a row 
Of  starry  lamps  and  blazing  cressets,  fed 
With  naphtha  and  asphaltum,  yielded  light 
As  from  a sky ” 


would  most  probably  call  candela,  from  its  shining  qualities 
than  funalia,  in  allusion  to  its  manufacture.  In  the  Greek,  the 
word  uav5n\ a is  derived  from  the  Latin,  and  is  not  met  with  till 
the  time  of  Athenmus,  who  lived  in  the  reign  of  Aurelius  and 
Commodus  (about  150 — 220  a.c.)  In  his  “ Deipnosophistse  ” 
we  find  one  telling  a waiter  to  bring  furthing  dips  : — 

Ipoi  8e  irai  SwpdiSenri'e  a craaptov  KirrbfiKas  irplu. 

By  this,  no  doubt,  a rushlight  is  intended  to  be  understood, 
which  article  had  at  that  time  come  pretty  generally  into  use. 

But  the  most  valuable  information  on  this  point  is  obtained 
from  a passage  in  Apuleius’  Metam.  iv.  where,  at  a noise  in  the 
dead  of  night,  the  household  runs  in  with  “ tad  is,  lucerna, 
sebaceis,  cereis,  et  ceteris ,”  that  is,  with  torches  of  pine,  lamps, 
tallow  candles,  and  wax  tapers.  This  is  a decisive  proof  that 
candles  both  of  wax  and  tallow  were  used.  They  were,  however 
at  no  time  considered  as  respectable  as  the  lamp,  for  we  find  in 
another  verse  of  Martial  (Apoph.  42.) 

“Hie  tibi  nocturnos praestabit  cereus  ignes 
Subducta  est  puero  namque  lucerna  tuo.”* 

An  apology  for  giving  his  friend  a wax  light,  as  his  footman  ha8 
walked  off  with  the  lamp.  At  Herculaneum  a chandler’s 
apparatus  was  found,  and  in  the  British  Museum  there  is  a 
fragment  of  a huge  candle  found  in  Vaison,  near  Orange,  and 
supposed  to  have  been  made  about  the  first  century,  A.C. 
(Juvenal,  iii.  287,  also  talks  of  the  “ breve  lumen  candelae.”) 
The  wick  of  such  candles  would  probably  be  the  pith  of  rushes 
— scirpus — rudely  covered  with  crude  wax  or  tallow,  and  rolled 
into  shape.  Candlesticks  to  hold  these  existed,  but  later  on  with 
a spike  to  penetrate  the  butt  of  the  candle.  The  name  cande- 
labrum, however,  was  applied  generally  to  the  pillar  on  which  the 
oil  lamp  was  placed,  or  from  which  it  was  suspended.  I have  here 
both  diagrams  and  specimens  of  lucermc  and  candelabra.  This  one 
especially  deserves  notice,  as  being  a genuine  bronze  candela- 
brum, said  to  have  been  found  in  Herculaneum.  The  lamp  upon 
it  is  a fair  representative  of  its  class,  scarcely  ornamental  enough, 
perhaps,  to  be  worthy  of  such  a support,  but  the  combination  of 
the  two  will  give  you  an  accurate  idea  of  a Roman  house-lamp. 

I have  given  it  a wick  of  oakum  ( stuppa ),  and  filled  the  body 
with  crude  Italian  olive  oil,  thus  imitating,  as  exactly  as  may 
be,  the  actual  light.  Not  a very  brilliant  one,  you  will  say,  and 
smoking  exceedingly.  So  did  all  old  lamps,  of  necessity,  no 
attempt  being  made  at  creating  the  current  of  air  requisite  for 
proper  combustion.  You  may  imagine  the  state  of  a room  the 
morning  after  a symposium,  when,  perhaps,  a dozen  lamps  had 
been  burning  for  six  hours,  smoking  fearfully,  without  the  least 
appliance  for  the  escape  of  the  heavy  carbonaceous  fumes.  In- 
deed, it  was  one  slave’s  recognised  duty  to  go  round  in  the 
morning  wiping  the  sooty  pictures  and  statues.  The  only 
instance,  to  my  recollection,  of  a flue  existing,  was  at  the  Erec- 
theum  of  the  Athens  Acropolis.  The  lamp  was  of  pure  gold, 
and  so  large  as  to  require  replenishing  only  once  a year.  Calli- 
machus designed  it  for  the  new  temple,  about  400  B.c.,  and  pro- 
vided it  with  a chimney,  in  the  guise  of  a bronze  palm  tree 
inverted.  Otherwise,  the  smoke  appears  to  have  been  regarded 
as  an  unavoidable  evil.  Certain  it  is  that,  however  magnificent 
and  elaborate  the  design,  the  economy  of  the  light  remained 
stationary.  A wick,  sometimes  of  oakum,  sometimes  of  the 
dearer  Carpasian  flax  (cotton  ?),  passed  through  the  nozzle  into 
the  body,  filled  generally  with  olive  oil,  though,  according  to 
Pliny,  bitumen  was  occasionally  used.  This  is  the  less  surpris- 
ing, as  Italy,  in  parts,  is  rich  in  springs  of  that  mineral  and 
petroleum.  In  the  East,  especially  among  the  tribes  dwelling  in 
the  vicinity  of  the  Lacus  Asphaltites,  or  Dead  Sea,  bitumen  and 
naphtha  were  extensively  consumed  for  lighting  and  other  pur- 
poses. Perhaps  Nephi,  the  sacred  pit-fire,  was  of  this  nature  ; 
and,  to  speculate  further,  the  emphasis  laid  upon  the  use  of 
olive  oil  in  the  tabernacles  of  Israel,  may  have  beep  an  implied 
condemnation  of  the  mineral  combustible,  as  peculiar  to  heathen 
ritual.  Mr.  Basil  Cooper,  the  well-known  Egyptologist,  has 
kindly  suggested  to  me  a very  fascinating  etymology  of  the 
word  naphtha — viz.,  NA,  water  ; of  PHTHA,  the  Hephcestos,  or 
V ulcan  of  Egypt's  deities,  the  god  of  fire.  This  is  endorsed  by 
the  fact  that  the  Indians,  who  sold  the  first  petroleum  as  Seneca 
oil,  and  used  it  largely  in  their  rites  of  worship,  termed  it  fire-* 
water,  which  name  has  descended  to  alcohol.  About  bitumen 
and  its  kindred  we  shall  speak  under  the  heading  petroleum. 

(To  be  continued.’) 


* Pliny  xxxiv.  3-G,  speaks  of  “ the  extravagant  prices  of  candelabra, 
which  take  their  name  from  so  poor  a thing.” 


494 


THE  PHOTOGRAPHIC  NEWS. 


[August  3,  1883. 


PHOTOGRAPHY  AT  ILFRACOMBE. 

Sir, — There  is  certainly  some  novelty  iu  the 
manner  of  conducting  photographic  businesses  here  in 
Ilfracombe,  and  if  the  system  would  not  work  in  London 
and  other  places,  it  certainly  seems  to  be  a paying  institu- 
tion here,  for  everything  of  note  which  takes  place  is 
photographed,  and,  whenever  practicable,  announced  pre- 
viously from  the  street  corners  by  the  town-criers,  of 
which  worthies  I counted  no  less  thau  three  within  half-a- 
mile.  Here  is  a specimen  of  one  of  the  announcements  : — 
“ Visitors  are  respectfully  informed  that  a photograph 
will  be  taken  of  the  visitors  on  the  pier  in  a group  under 
the  Lantern  Hill  at  10.45  this  morning.  Copies  of  this 
photograph  may  be  obtained  at  Mr.  John  Catford’s  studio, 
113,  High  Street,  nearly  opposite  the  Royal  Clarence 
Hotel,’’  &e.  Further  on,  another  crier  was  delivering  the 
following  oration  on  the  merits  of  a photograph  taken  on 
the  previous  day  by  another  photographer.  “ A false  re- 
port having  been  circulated  that  the  photographs  taken  by 
Mr.  Batten  of  the  members  of  the  Cardiff'  Choral  Society 
yesterday  afternoon  iu  the  Oxford  Hall  has  "proved  a 
failure,  visitors  are  respectfully  informed  that  the  said 
report  is  utterly  devoid  of  truth,  and  instead  of  the  photo- 
graphs being  an  utter  failure,  they  were  a great  success. 
Copies  of  the  photograph  may  be  obtained  at  4,  Orchard 
Terrace,”  &c. 

Besides  photographing  audiences  at  entertainments  of 
all  kinds,  the  four-horse  coaches  which  ply  between  this 
place  aud  Lynton^are  photographed,  with  their  load  of 
pleasure-seekers,  every  morning  at  8.30,  previous  to  the 
start,  copies  of  which  may  be  obtained  mounted  and 
finished  the  same  evening,  iu  time  for  the  return  of  the 
coaches,  at  the  respective  photographers’  shop9.  It  strikes 
one  as  being  rather  curious  that'long  after  the  grocer  and 
the  butcher  have  closed  their  shops,  the  photographers’ 
windows  are  gaily  illuminated,  and  the  outside  at  least  is 
besieged  with  anxious  faces  eager  to  get  a glimpse  of  the 
morning’s  productions.  In  fact,  the  photographers’  shops 
are  the  only  places  where  there  is  anything  to  see  after 
nine  o’clock  in  the  evening ; thus  they  are  demoralising 
the  good  people  of  North  Devon,  who  are  accustomed  to 
retire  to  rest  at  the  above  mentioned  hour.  The  photo- 
grapher here  is  a busy  man ; he  does  not  require  any  rest, 
neither  does  he  care  how  much  mischief  he  makes  iu  family 
circles  by  being  always  on  the  spot  with  his  camera  and 
instantaneous  plate,  so  long  as  he  can  maintain  the  present 
excitement  for  photographs  and  being  photographed. 

I think  something  concerning  this  system  of  photo- 
graphing has  been  previously  mentioned  in  the  News,  but 
I thought  one  or  two  of  the  items  might  at  any  rate  be 
repeated. 

We  are  having  splendid  weather  here  this  week,  and  it 
seems  settled.  — Yours  faithfully, 

August  1st.  A Reader  of  the  News. 


AN  EXPERIENCE. 

Dear  Sir,— For  some  time  past  I have  been  in  the 
habit  of  using  the  crystals  of  oxalate  of  potash  deposited 
in  the  stock  bottle  after  developing  platinum  prints,  both 
for  developing  transparencies  upon  gelatine  plates,  and 
gelatiue  bromide  paper,  and  always  with  success  ; iu  fact, 
I always  thought  that  the  colour  in  both  cases  was  better, 
and  the  image  brighter,  than  when  fresh  oxalate  was  used. 

But  yesterday,  when  trying  to  reproduce  a negative  in  the 
camera  upon  a gelatine  plate,  to  my  astonishment,  instead  of 
. a negative  from  the  transparency,  I got  a transparency — 
that  is,  a direct  reversion  of  image,  and  to-day  1 have  in  the 
same  developing  solution  got  a negative  from  a negative, 
and  that  negative  of  the  best  quality. 

Now  for  the  cause  of  this  anomaly : — 

The  developer  was  compounded  of  oxalate  of  potash  that 


had  been  mixed  with  the  Platinotype  Company’s  special 
sepia  liquid,  and  after  being  used  for  developing  platinum 
prints,  was  evaporated  to'drynes9,  and  a saturated  solution 
made  from  the  resulting  crystals.  This  saturated  solution 
was  filtered,  and  three  parts  were  added  to  one  of  sat.  sol. 
of  sulphate  of  iron,  with  result  as  stated— viz.,  that  instead 
of  getting  a negative  from  a transparency,  I got  a trans- 
parency; whilst  with  another  plate  out  of  same  batch, 
but  using  the  same  sat.  sol.  of  sulphate  of  iron,  with  a sat. 
sol.  of  fresh  oxalate  of  potash,  I got  a negative  from  the 
same  transparency. , W.  T.  Wilkinson. 


§r0£«ibitt0s  oi  Fomins. 

London  and  Provincial  Photoqraphic  Association. 

At  the  meeting  held  26th  July,,  Mr.  A.  L.  Henderson  in  the 
chair, 

Mr.  F.  W.  Hart,  referring  to  a conversation  wLich  took  place 
at  a recent  meeting  as  to  single  view  lens  and  the  difference 
between  the  chemical  and  visual  foci,  exhibited  a camera  and 
lens  made  about  1813.  On  the  top  of  the  camera  was  an  ivory 
tablet  showing  the  difference  in  the  foci  of  the  lens,  which  was  a 
concavo  convex  of  about  ten  and  a-half  inches  focu6. 

The  Chairman  passed  round  prints  from  pinhole  negatives, 
taken  by  Mr.  J.  Taylor,  of  Aldgate,  and  read  a paper  entitled, 
“ Does  the  amount  of  gelatine  affect  the  rapidity  and  quality 
of  the  negative  ?” 

In  the  discussion  which  followed, 

Mr.  Cowan  enquired  whether  a slow  emulsion  was  quickened 
by  the  addition  of  fresh  gelatine  ? 

Mr.  Henderson  said  it  was,  and  in  reply  to  another  question, 
as  to  whether  the  plates  took  longer  to  develop,  he  replied  that 
they  did  not.  He  hoped  to  be  able  to  prepare  emulsion  by  this 
method  sufficiently  rapid  for  drop-shutter  work. 

Mr.  Golding  said  he  found  that  if  he  prepared  an  emulsion 
with  (say)  20  grains  silver  to  the  ounce,  he  could  make  it  up  to 
8 ounces  without  imparing  the  quality  of  the  plate,  but  the  bro- 
mide must  be  in  au  extremely  line  state  of  division  ; lie  could 
prepare  a fine  batch  of  emulsion  giving  about  eight  times  plates 
with  160  grains  to  40  ounces  gelatine. 

Mr.  Debenham  said  that  Mr.  Watuerke  thought  an  emulsion 
was  not  too  thin  so  long  as  he  could  not  see  the  shape  of  a gas 
flame  through  the  plate  when  wet. 


Liverpool  Amateur  Photographic  Association. 

The  ordiuary  monthly  meeting  of  this  Association  was  held  on 
Thursday,  the  26th  inst.,  at  the  Free  Library,  William  Brown 
Street,  Mr.  J.  H.  T.  Ellerbeck  in  the  chair. 

The  minutes  of  the  June  meeting  having  been  read  and  con- 
firmed, Mr.  T.  Churchland  was  elected  a member  of  the  Associa- 
tion. 

The  Hon.  Secretary  read  the  Chairman's  report  of  the  recent 
excursion  to  Southport. 

Mr.  Ellerbeck  said  : — The  second  excursion  of  the  season 
was  held  at  Southport,  on  Saturday,  the  21st  instant,  by  invita- 
tion of  the  president,  Mr.  B.  Boothroyd.  The  numbers  attend- 
ing were  few,  owing  to  the  inclemency  of  the  weather.  It 
rained  at  starting,  came  down  heavily  on  arriving,  poured  all  the 
way  to  the  Botanic  Gardens,  Churchtown,  and  came  down  in 
torrents  all  the  time  till  moving.  In  spite,  however,  of  this 
untoward  circumstance,  all  enjoyed  the  afternoon  thoroughly, 
being  under  cover;  and  the  ferns  and  flowers  at  the  gardens 
came  in  for  a due  share  of  attention.  It  is  to  be  hoped  that  good 
pictures  were  the  result — a consummation  more  devoutly  to  be 
wi-hed  than  expected.  The  day  closed  by  an  adjournment  to  the 
residence  of  the  host,  who  did  his  best  to  compensate  for  the 
disappointing  weather,  and  succeeded  in  doing  so  so  thoroughly 
that  all  were  delighted  with  the  excursion.  Mr.  11.  Greenwood 
proposed  a hearty  vote  oi  thanks  to  Mr.  and  Mrs.  Boothroyd, 
which  was  carried  unanimously.  The  party  arrived  in  Liverpool 
about  9'30  p.m.,  the  rain  still  continuing.  One  fact  is  worth 
recording : the  directors  of  the  Southport  Botanic  Gardens  admit 
all  photographers — amateur  or  otherwise — free,  trusting  to  the 
distribution  of  the  results  for  compensation,  as  advertisement 
for  the  beauty  of  the  place.  This  is  an  example  we  should  be 
glad  to  see  followed  in  other  districts. 

Messrs.  H.  N.  Atkins  aud  Phillips  exhibited  prints  from 


August  3,  1883.  j 


THE  PHOTOGRAPHIC  NEWS. 


495 


negatives  taken  on  the  occasion.  Mr.  Atkins’  prints  were  in 
silver  and  in  platinotype,  and  the  latter  seemed  to  be  fuller  of 
detail  than  the  former. 

The  Hon.  Secretary  announced  a donation  to  the  library  by 
the  Chairman  of  his  recent  work  on  photography. 

The  Chairman  stated  that  arrangements  were  being  made  for 
an  excursion,  in  the  month  of  August,  to  Gorsewortb,  near 
Macclesfield.  Members  who  were  desirous  of  going  were  requested 
to  forward  their  names  to  Mr.  J.  H.  Day. 

Mr.  R.  Crowe  then  read  his  paper  on  “ Practical  Aids  to 
Instantaneous  Photography,”  (see  page  48G).  Some  extremely 
clever  pictures  of  swans,  geese,  street  views  (taken  from  the  top 
of  an  omnibus),  and  of  Blondin  in  various  positions  on  the  high 
rope,  were  passed  round  by  Mr.  Crowe. 

The  Chairman,  after  expressing  his  appreciation  of  Mr. 
Crowe’s  appliances,  and  of  the  results  which  he  had  exhibited, 
asked  for  information  as  to  the  stop  used  and  the  exact  extent 
of  the  exposure. 

Mr.  Crowe  replied,  that  he  invariably  used  the  full  aperture  of 
his  lens,  and  thought  that  the  average  length  of  exposure  was  a 
quarter  of  a second.  The  street  views  had  been  taken  on  omni- 
buses en  route  to  and  from  business.  He  (Mr.  Crow)  gave  an 
amusing  description  of  his  adventures  on  omnibuses  in  the 
struggle  to  obtain  striking  street  views,  and  of  the  disasters 
which  had  occasionally  occurred  before  he  had  perfected  his 
appliances.  He  thought  the  most  useful  shutter  would  be  one 
on  Mr.  Kirkby’s  principle— to  work  between  the  lenses. 

The  Rev.  H.  J.  Palmer  said  that  Mr.  Crowe’s  stand  would 
be  of  special  value  on  board  steamers,  for  the  purpose  of  taking 
instantaneous  seascapes  and  views  of  the  shore. 

Mr.  Crowe  observed  that  he  had  found  a difficulty  in  the 
usual  excessive  thickness  of  the  top  rail  ; but,  on  most  steam- 
boats, a lower  rail  could  be  used  for  his  stand. 

The  Chairman,  in  thanking  Mr.  Crowe  on  behalf  of  the  meet- 
ing for  his  very  useful  communication,  wished  to  call  special 
attention  to  the  excellence  of  the  street  pictures,  which  he  had 
seldom  seen  exceeded. 

Mr.  Crowe  passed  round  two  instantaneous  negatives  of 
Tal-y-Cafn  ferry — one  taken  upon  one  of  the  most  expensive 
plates  in  the  market,  and  the  other  upon  one  of  the  cheapest. 
He  pointed  out  that  there  was  not  much  to  choose  between 

them. 

Mr.  J.  A.  Forrest  exhibited  some  very  fine  pictures  taken  by 
him  at  Tal-y-Cafn  in  the  June  excursion  of  the  Society. 

The  Chairman  called  the  attention  of  the  meeting  to  the 
circulars  on  the  table  of  the  coming  Exhibition  of  the  Photo- 
graphic Society  of  Great  Britain,  and  said  he  feared  that  the 
proposed  charge  of  five  shillings  to  exhibitors  would  act  upon 
many  photographers  as  a prohibitive  measure. 

Mr.  H.  N.  Atkins  said  that,  in  recently  trying  to  devise  a 
portable  lamp  for  a holiday  excursion,  he  had  finally  decided  on 
using  two  of  the  circular-stamped  soup 
Cover,  plates,  about  six  inches  in  diameter, 
Dish.  usec\  commonly  by  emigrants,  and 
readily  to  be  obtained  in  Goree  Piazza, 
Liverpool.  Taking  one  of  these,  he 
bored  three  holes  one  inch  in  diameter 
in  the  bottom,  and  laid  it,  bottom- 
upwards,  on  the  table.  He  treated 
another  in  the  same  way,  and  then, 
Paper,  taking  a sheet  of  parch  mentised  ruby 
cherry  PaPer>  or  cherry  fabric,  he  made  a 
fabric,  cylinder  with  a couple  of  pins.  A para- 
ffin, lamp  with  an  inch  wick,  was  placed 
on  the  bottom  tin,  the  cylinder  of  paper 
ls  ' was  slipped  over  the  lamp,  and  the 

The  bottom  dish  is  slightly  second  tin  capped  the  cylinder.  To 
raised  from  the  table  to  ad-  prevent  light  reaching  the  ceiling 
mit  air  at  one  side.  through  the  top  holes,  a third  smaller 

tin  was  laid  on  the  top,  and  tilted  to  one  side  to  allow  ventilation. 
The  tins  fit  into  each  other,  take  up  little  room  in  the  portman- 
teau,and  the  paper  lies  flat.  When  in  use,  the  paper  goes  round 
the  tins  once  and  a-half,  thus  giving  a dark  and  a light  side  to 
the  lantern  ; and  the  light,  while  thoroughly  safe  for  so-called 
“ thirty-times’  ” plates,  is  so  abundant  that  the  seconds  hand  of 
a watch  can  be  easily  seen  at  ten  feet  distance. 

Mr.  E.  Phipps,  iu  referring  to  development  by  hydrokinone, 
asked  if  the  members  present  had  tried  the  samples  kindly  pre- 
sented by  Mr.  Banks  at  the  last  meeting.  He  had  experimented 
with  Mr.  Banxs  sample  ; and  with  some  he  had  purchased,  the 
action  was  slow  and  steady,  suggesting  the  almost  forgotten 


luxury  of  the  development  of  a dry  collodion  plate.  He  agreed 
with  Mr.  Banks,  that  it  seemed  almost  impossible  to  fog  a plate 
with  the  developer.  In  developing  a much  over-exposed  plate 
he  had  increased  the  dose  of  soda  to  over  fifty  drops  of  a satu- 
rated solution  per  ounce,  and  the  plate  was  in  the  developer 
forty  minutes,  still  there  was  no  fog.  With  the  particular  plates 
he  was  using  he  had  found  a difficulty  in  procuring  sufficient 
intensity  with  the  use  of  soda  alone.  He  therefore  developed 
with  soda,  and  when  the  details  were  well  out,  intensified  by  the 
use  of  a few  drops  of  the  usual  mixture  of  ammonia  and  bromide. 
By  this  means  any  amount  of  intensity  could  be  obtained. 

Mr.  H.  N.  Atkins  had  found  it  extremely  slow  in  its  action  on 
an  under-exposed  picture. 

Mr.  Wynne  exhibited  a sheet  of  Swan’s  ruby  paper. 

Mr.  H.  A.  Wharmby  said  he  had  used  ruby  paper  of  this  kind 
over  a gas  flame,  with  perfect  freedom  from  fog  in  the  plates 
devel  »ped  by  this  light. 

The  Chairman  called  attention  to  a Scorali  finder  camera 
exhibited  by  Mr.  Ryley,  which  was  sold  at  7s.  Cd. 

Mr.  P.  II.  Phillips  thought  that  the  simplest  and  best  finder 
for  the  purpose  consisted  of  a couple  of  sights  on  the  camera. 

The  meeting,  which  was  well  attended,  then  adjourned  till 
the  last  Thursday  in  August. 


Mk  iu  tfr  StuMu. 


The  Out-door  Gathering  of  the  South  London  Society. — 
About  twenty  members  of  this  Society  sat  down  to  tea  at  the 
“ Bull  and  Bush,”  Hampstead,  on  Saturday  evening  last,  Mr. 
Mawdsley  having  previously  photographed  them  as  a group  in 
the  garden  of  the  Inn.  The  Rev.  F.  F.  Statham  occupied  the 
chair,  and  a very  pleasant  evening  was  spent.  On  Mr.  Bridge 
raising  the  question  as  to  a second  out-door  gathering,  it  was 
found  that  a very  large  proportion  of  those  present  would  shortly 
leave  town,  so  it  was  determined  not  to  organise  a second 
meeting. 

The  Launch  Accident  on  the  Clyde.— Messrs.  Goodall  and 
Stevens  are  good  enough  to  send  us  an  interesting  picture  of  the 
ill-fated  Daphne,  lying  on  her  side  in  the  Clyde,  in  the  act  of 
being  raised  from  the  bed  of  the  river. 

A Fast  Train. — Mr.  A.  Campbell  Swinton  sends  us  a photo- 
graph of  the  Special  Scotch  Express,  the  train  being  taken 
diagonally,  with  the  steam  in  full  blast,  trailing  behind.  More- 
over, the  separate  bursts  of  steam  emanating  at  each  stroke  of 
the  piston  are  to  be  made  out,  so  that  there  is  here  further 
evidence  of  the  train  being  at  full  speed. 

Ives’  Phototypic  Block  Process. — We  have  received  from  the 
Heliotype  Printing  Company,  of  Boston,  Mass.,  a series  of  speci- 
mens which  fully  illustrate  the  considerable  value  of  this  most 
practical  method  of  making  type  blocks  from  negatives  after 
nature.  Their  considerable  depth,  and  the  decided  outline  of 
the  ruled  stipple,  renders  them  specially  adapted  for  machine 
printing.  Ives’  blocks  are  frequently  used  to  illustrate  Harper’s 
Magazine,  which  is  said  to  have  a circulation  of  over  170,000. 

The  Printing  Trades’  Exhibition  at  the  Agricultural 
Hall. — Although  as  regards  numbers  of  exhibits  this  Exhibition 
falls  short  of  the  preceding  ones,  there  is  much  to  interest  the 
photographer,  or  even  the  casual  visitor.  Albums,  card-mounts, 
and  other  articles  of  stationary  used  by  the  photographer,  are  to 
be  seen  in  various  stages  of  manufacture,  and  a photographer 
who  can  wander  round  the  Agricultural  Hall  without  gathering 
some  ideas  in  handicraft  calculated  to  expedite  his  work  must 
be  dull  indeed.  The  most  notable  photographic  exhibit  consists 
of  a good  display  of  pictures  by  the  ink-photo  process  of 
Messrs.  Sprague  and  Co. ; and  our  readers  will  remember  that 
we  were  the  first  to  present  a specimen  of  this  process  to  the 
photographic  public.  Among  Messrs.  Sprague’s  specimens  we 
noticed  most  of  the  illustrated  supplements  which  he  has 
executed  for  the  Photographic  News,  and  we  could  not  but 
feel  gratified  to  notice  that  Mr.  H.  P.  Robinson’s  Merry  Tale  ” 
was  placed  in  the  position  of  honour,  directly  facing  the  entrance 
to  Mr.  Sprague’s  recess.  “ Do  you  send  out  many  of  your  ink- 
photos  as  type  blocks  ?”  we  asked.  “ No,”  was  the  answer  ; “ we 
prefer  to  print  by  the  litho  method,  as  it  is  quick,  cheap,  and 
requires  next  to  no  making  ready  ; iu  fact,  most  of  our  orders 
are  finished  before  the  type  block  could  be  etched.  We 
etched  that  picture  into  relief  for  Messrs.  Cassell ; but  I think  the 
litho  print  is  best.”  Messrs.  Sprague  appear  to  have  realised  a 


496 


THE  PHOTOGRAPHIC  HEWS. 


[August  3,  1683. 


decided  practical  advance  in  photo-mechanical  printing.  Crys- 
toleum  pictures  and  materials  for  making  them  are  shown  by 
several  firms,  and  although  the  small  pictures  are  in  most  cases 
passable,  it  seems  to  us  that  the  large  ones  look  vulgar  and  in- 
artistic, recalling  to  mind  the  paintings  which  adorned  the 
earlier  American  clocks.  Trenetnan  aud  Co.  exhibit  a well- 
selected  assortment  of  plain  and  coloured  photographic  scraps 
mounted  as  Christmas  and  New  Year  cards.  The  corrugated 
paper  packing  shown  by  Messrs.  Thompson  and  Norris  is  likely 
to  be  useful  to  the  photographic  tourist,  or  to  those  who  may 
have  occasion  to  pack  negatives  for  transmission  to  a distance. 

Nottage  and  Kennard  v.  Jackson. — Judgment  was  delivered 
yesterday  morning  in  this  case.  The  plaintiffs  (the  London 
Stereoscopic  Company)  sued  the  defendant  for  the  alleged  in- 
fringement of  their  copyright  in  a photograph  of  the  Australian 
Cricket  Team.  The  defendant  disputed  the  plaintiffs’  title,  on 
the  ground  that  they  were  not  the  registered  “ authors  ” under 
the  Copyright  Act,  and  that  the  “author”  was  the  artist  who 
took  the  negative  at  Kennington  Oval.  The  Master  of  the  Rolls 
said  that  the  matter  turned  upon  the  meaning  of  the  word 
“author,”  in  the  Copyright  Act,  1862.  The  plaintiffs  had 
registered  themselves  as  the  ‘ authors,”  as  well  as  the  proprie- 
tors, and  if  they  were  not  the  “ authors,”  the  copyright  did 
not  exist.  The  construction  of  the  Act  was  a matter  of  the 
greatest  difficulty,  on  account  of  the  strange  phraseology 
employed,  and  it  was  a subject  for  speculation  whether 
the  draughtsman  had  ever  cleared  his  mind  upon  the 
effect  of  his  words  so  far  as  concerned  photographs.  The 
present  case  illustrated  one  of  the  difficulties,  for  if  the 
plaintiffs  were  right,  then  the  copyright  would  continue,  not  for 
the  life  of  one  person,  as  intended  by  the  Act,  but  for  the  life  of 
the  survivor  of  them.  The  proprietor  of  a photographic  establish- 
ment  might  never  interefere  in  any  way  with  the  taking  of  a 
photograph,  and  might  not  even  go  to  his  shop.  Was  he  then  to 
be  held  to  be  the  author  because  he  paid  the  rent  of  the  shop,  and 
the  wages  of  his  employes,  and  furnished  the  camera  and  materials? 
Then,  on  the  other  hand,  it  seldom  happened  that  a single  person 
conducted  the  whole  operation;  and,  indeed,  the  sum  was  a not  un- 
important factor.  The  conclusion  at  which  his  Lordship  had,  with 
difficulty,  arrived  was,  that  the  “author  ” was  he  who  was  most 
nearly  and  effectively  the  cause  of  the  picture  which  was  produced, 
that  was  to  say,  the  actual  superintendent  of  the  operation  itself. 
That  was  a question  of  fact  in  each  case,  and  in  the  present  case 
it  was  enough  to  say  that,  applying  that  principle  of  construction, 
Messrs.  Nottage  and  Kennard  were  clearly  not  the  authors,  and  their 
registration  was  bad.  He  therefore  agreed  with  Mr.  Justice  Field, 
that  the  plaintiffs  had  no  copyright  in  the  photograph  in  question, 
and  the  defendant  was  entitled  to  judgment.  The  result  was  that 
the  great  photographers,  if  they  would  protect  themselves,  must 
either  personally  superintend  operations,  or,  if  they  could  only  act 
through  their  employes,  should  engage  men  with  good  lives,  so  as 
to  get  the  full  benefit  of  the  copyright.  Lords  Justices  Cotton 
and  Bowen  gave  judgments  to  the  same  effect,  and  the  plaintiffs’ 
appeal  was  consequently  dismissed  with  costs. 

Photographic  Club.— At  the  next  meeting,  on  August  8,  the 
subject  for  discussion  will  be,  “ On  the  development  of  plates 
having  received  a minimum  exposure.”  An  out-door  meeting 
has  been  organised  for  the  Bank  Holiday,  August  6th,  to  proceed 
to  Gomshall.  Train  leaves  Charing  Cross  at  11  -5,  and  London 
Bridge  at  11*13. 

-© 

G0msu0 tt&tttt*. 

*,*  We  cannot  undertake  to  return  rejected  communications. 

O.  F.  Webber. — 1.  All  thsse  difficulties  to  which  you  allude  may 
bo  overcome  by  so  placing  it  that  the  flaps  shall  rather  lay 
over  tho  openings  than  fit  in.  There  is,  however,  no  reason  why 
they  should  not  be  made  of  metal.  2.  The  complex  device 
referred  to  will  rather  hinder  the  draught  than  assist  it,  a plain 
opening  being  the  best  pos.-ible  arrangement ; and  only  so  much 
covering  being  desirable  as  is  absolutely  necessary  for  the  exclu- 
sion of  rain.  3.  This  appears  to  us  actually  worse  than  your 
friend’s  design  ; but  something  similar  is  useful  if  driven  by  inde- 
pendent power,  as,  for  example,  a steam  engine. 

H.  S. — We  will  consider  the  matter,  but  we  fear  that  it  would  only 
prove  useful  to  a very  small  proportion  of  our  readers. 

William  R.  Crichton. — It  appears  to  us  that  you  have  not  only 
over-exposed  very  considerably,  but  also  worked  in  far  too  actinic 
a light.  Reduce  your  exposure,  and  add  a thickness  of  cherry 
fabric  to  the  covering  of  your  dark  room  window. 


A.  G.  (Amsterdam). — 1.  Write  the  inscription  with  stiff  Indian  ink 
on  the  varnished  surface  ; but  in  this  case  you  must  learn  to  wr.te 
lackwards.  2.  Print  the  title  from  type  on  slightly  damp  tissue 
paper,  taking  care  that  plenty  of  ink  is  used.  Lay  the  print,  face 
downwards,  on  the  varnished  surface,  cover  with  a sheet  of  stiff 
paper,  and  establish  contact  by  repeated  pressure  with  the  finger. 
Now  moisten  the  paper,  when  it  can  be  removed  without  difficulty. 
Time  must  be  allowed  for  the  printing  ink  to  dry,  and  you  would 
do  well  to  experiment  on  a waste  negative  first. 

S.  S.  Wilkins.— It  is  old— indeed,  very  old  ; we  re-described  it  in 
the  N eiys,  together  with  some  suggestions  for  adapting  to  the 
wants  of  the  present  day,  and  others  have  since  alluded  to  it  ns  a 
nevelty. 

W.  H.  W. — We  will  bear  the  matter  in  mind.  Thanks. 

T.  Fernley. — 1.  It  is  very  evident  that  the  gelatinous  coating  of 
the  tissue  has  become  Insoluble;  that  is  to  say,  time  and  moisture 
have  brought  about  just  that  same  kind  of  change  which  takes 
place  when  tho  film  is  exposed  to  the  light.  Bichromated  gela- 
tine can  be  preserved  in  an  unaltered  condition  for  a long  time  if 
all  traces  of  moisture  are  absent.  2.  They  appeared  to  us  rather 
to  be  particles  enclosed  between  the  film  and  the  transfer  paper, 
than  foreign  bodies  originally  present  in  the  tissue.  Filter  the 
water.  3.  The  collodion  film  is  almost  invariably  discoloured  to  a 
certain  extent,  and  we  know  of  no  means  by  which  this  can  be 
altogether  avoided.  4.  Squeegee  the  wet  print,  face  downwards,  on 
a sheet  of  grained  zinc,  the  metal  being  very  slightly  waxed. 

C.  Jervis. — The  glass  contains  lead,  and  this  has  united  with  some 
of  the  sulphur  of  the  ammonium  sulphide,  black  sulphide  of  lead 
being  formed. 

Pyro. — Use  hot  water. 

Lyndhurst. — Two  exposures  appear  to  have  been  made  on  the 
large  plate.  Examine  the  negative  carefully,  and  you  will  pro- 
bably recognise  the  locality  represented  by  the  fainter  image, 
which  in  reality  covers  the  whole  of  the  plate.  You  appear  only 
to  have  noticed  the  prominent  white  object  to  which  you  refer. 

Alfred  Baines.— 1.  Line  the  box  with  tin-plate  or  zinc.  2. 
Glass  is  to  be  preferred,  but  you  will  probably  find  no  mischief  to 
arise  from  tho  use  of  earthenware,  unless  the  glaze  becomes 
cracked. 

Wanderer. — It  is  a true  image  of  the  sun,  and  its  shape  is  quite 
independant  of  that  of  the  aperture  through  which  the  light 
passes.  During  an  eclipse,  this  is  well  illustrated,  as  each  spot 
faithfully  represents  the  partially  covered  disc. 

M.  Bancroft. — 1.  Dry  carbonate  of  soda  obtained  by  baking 
washing  soda  in  an  oven.  2.  Two-thirds  of  its  weight  is 
sufficient  in  any  case.  3.  Unless  the  quantity  is  very  large,  you 
had  better  mix  them  together. 

D.  F.  L. — It  can  be  waterproofed  very  satisfactorily  with  ordinary 
boiled  linseed  oil  ; but  there  is  a tendency  for  the  fibres  to  rot 
under  the  influence  of  the  oil.  Simple  soaking  in  paraffine  will 
not  answer  unless  the  texture  of  the  cloth  is  very  fine. 

Indignant. — Your  customer  is  nevertheless  right,  and  you  will 
subject  yourself  to  a penalty  if  you  sell  or  otherwise  dispose  of 
copies. 

John  Cavlford. — 1.  It  is  a difficulty  which  not  unfrequently 
arises  ; but  immersion  in  alcohol  is  generally  sufficient. 

Norman  May. — More,  perhaps,  depends  on  the  learner  than  on  the 
teacher  ; but  we  will  write  to  you  by  post. 

M.  Jobson. — 1.  Use  the  harder  kind  of  gelatine,  by  all  means  ; but 
remember  that  the  long-continued  action  of  heat  may  spoil  it. 
2.  Alcohol,  if  added  in  sufficient  quantity,  will  throw  the  whole 
of  it  down. 


In  a few  clays , price  2 s.,  per  post,  2 s.  3(7., 

ABOUT 

PHOTOGRAPHY  & PHOTOGRAPHERS. 

A Series  of  Essays  for  the  Studio  and  Study. 

TO  WHICH  AUG  ADDED 

CONTINENTAL  RAMBLES  WITH  A CAMERA. 

BY 

H.  BADEN  PRITCHARD,  F.C.S., 

Vice-President  of  the  Photographic  Society  of  Great  Britain; 
Author  of  the  **  Photographic  Studios  of  Europe  M ; and 
Editor  of  the  “ Yearbook  of  Photography .** 


Advertisements  should  be  addressed  at  once  to 
Messrs.  Pipir  & Carter,  5,  Castle  St.,  Holborn,  E.C. 


THE 


HEWS, 


CONTENTS. 


PAOK 


Photographic  Copyright 497 

The  Effect  Produced  by  Varying  the  Amount  of  Water  in  which 
is  Dissolved  the  Salts  Used  in  Emulsifying  with  Gelatine. . . 497 

Ires’  Photo-Block  Method  49S 

The  Tourist  Photographer  499 

Cash  at  Time  of  Sitting.  By  C.  Branywin  Barnes  SOI 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 502 

Notes 503 


PAOR 


Patent  Intelligence  505 

Lessons  in  Optics  for  Photographers.  By  Capt.  Abney 500 

A Dictionary  of  Photography  503 

French  Correspondence.  By  Leon  Vidal 509 

Clinical  Knowledge.  By  Thomas  C.  Strickland 510 

Correspondence  510 

Proceedings  of  Societies  511 

Talk  in  the  Studio 511 

To  Correspondents 512 


PHOTOGRAPHIC  COPYRIGHT. 

Whether  Mr.  Alderman  Nottage  will  appeal  once  more  on 
the  subject  of  the  Australian  Cricket  photograph  or  not, 
there  cannot  be  a doubt  as  to  the  law  as  at  present  laid 
down  by  the  Master  of  the  Rolls  and  his  brother  judges,  and 
to  which  we  referred  last  week.  The  point,  as  our  readers 
will  remember,  is  a very  simple  one.  The  copyright  of  a 
photograph,  like  that  of  a painting  or  other  work  of  art, 
belongs  to  the  author,  the  judges  tell  us,  and  therefore 
the  author  of  a negative  can  alone  claim  it.  The  copy- 
right belongs  to  the  author  during  his  lifetime,  or  for  a 
certain  number  of  years,  says  the  Act,  and  therefore, 
argue  the  judges,  it  will  not  do  to  import  any  other  period, 
as,  for  instance,  the  life-time  of  a second  person.  N o one, 
in  fact,  cau  claim  to  be  author  but  the  producer,  the  copy- 
right depending  upon  him  aud  his  life-time. 

It  is  difficult  to  see  how  any  other  view  could  have  been 
taken  by  the  learned  judges  in  face  of  the  wording  and 
construction  of  the  Act.  Photographers,  to  a man,  who 
maintain  there  is  something  of  art — much  or  little — in  a 
photograph,  would,  indeed,  hardly  have  it  otherwise  than 
that  he  who  produces  a picture  should  be  entitled  to  the 
copright;  and  if  the  legal  ruling  puts  the  matter  in  a light 
they  have  never  before  seen  it  in,  there  is  no  reason  why 
they  should  not  cheerfully  accept  it.  More  explicit  arrange- 
ments may  hereafter  be  necessary,  in  some  cases,  between 
employers  and  employed  ; but  that  is  all. 

Mr.  Alderman  Nottage  sent  one  of  his  assistants  to 
photograph  the  Australian  Cricket  Eleven,  and  this  assis- 
tant made  so  good  a picture  that  it  was  copied  or  pirated. 
The  copyists  say  they  have  not  infringed  the  Copyright 
Act,  because  Mr.  Nottage,  or  the  Stereoscopic  Company, 
registered  themselves  as  “ authors,”  whereas  not  they,  but 
the  assistant,  was  the  real  author.  If  the  Company  had 
sent  a painter  to  paint  the  group,  the  Stereoscopic  Com- 
pany would  not  have  registered  themselves  as  “ authors,” 
and  as  such  entitled  to  the  copyright.  No  doubt  their 
painter,  had  he  been  entirely  in  their  pay,  would  have  had 
to  given  up  both  painting  and  copyright  (this  would 
obviously  have  been  the  bargain  of  his  employment) ; but 
still,  it  would  be  necessary  all  the  same,  to  transfer  the 
copyright  from  the  author,  and  the  value  of  it  would  depend 
upon  the  author’s  life.  Why,  then,  should  it  be  otherwise 
in  photography,  if  photography  has  any  pretension  to  be 
an  art  ? 

All  the  same,  there  is  no  reason  why  assistant  or  pupil 
should  enjoy  the  copyright  of  a photographic  negative,  or 
positive,  whichever  may  be  taken.  In  many  cases,  a photo- 
graph would  be  of  little  value  without  the  copyiight,  and 
here,  of  course,  is  one  great  difference  between  painting  and 
photography.  All  the  employer  has  to  do  in  future  is  to 
bargain  that  both — picture  and  copyright— shall  belong  to 


him.  If  it  is  laid  down  by  law  that  two  results  of  value 
are  produced  by  the  person  in  his  pay,  instead  of  only  one, 
then  he  will  take  care  that  it  is  distinctly  understood  the 
two  things  belong  to  him— picture  and  copyright. 

In  the  case  of  portraits  taken  in  the  studio,  by  assistants 
who  are  supervised  much  or  little  by  the  principal,  there 
can  be  no  question  that  to  the  principal  belongs  the  copy- 
right as  well  as  the  negative.  He  may  not  even  pose  or 
direct  the  lighting;  if  he  looks  on  and  approves,  he  is 
entitled  to  what  his  assistant  or  pupil  does.  Nay,  even 
during  the  principal’s  temporary  absence,  if  the  assistant 
makes  use  of  the  artistic  lighting  effects,  and  the  draping 
arrangements  contrived  and  adjusted  by  the  master,  we 
cannot  but  think  that  the  entire  results  are  due  to  him 
and  him  alone.  On  the  other  hand,  if  a principal  simply 
looks  after  business  matters,  and  does  not  concern  himself 
with  studio  work,  then  a clear  bargain  with  his  assistants 
is  perforce  necessary. 

The  production  of  photographic  pictures  is  not  a mere 
question  of  manufacture.  This,  the  judges  have  acknow- 
ledged by  their  verdict,  which  is,  in  truth,  a flattering  one 
to  photographers  generally.  Now,  if  Mr.  Justice  Field, 
and  later  the  Master  of  the  Rolls,  had  argued  that  photo- 
graphy, being  a mere  technical  matter,  and  the  apparatus 
being  the  property  of  the  principal,  the  results  must  also 
be  the  property  of  the  master,  much  as  if  these  results  were 
a chair  or  table,  we  feel  sure  photographers  would  have 
scarcely  been  content  with  such  a view;  in  present  cir- 
cumstances, it  seem3  to  us  that  the  position  of  photo- 
graphers is  higher  and  better  recognized  for  the  verdict, 
while  their  interests  will  be  quite  as  safe,  if  they  will  only 
make  proper  arrangements  with  those  in  their  employ- 
ment. 


THE  EFFECT  PRODUCED  BY  VARYING  THE 
AMOUNT  OF  WATER  IN  WHICH  IS  DIS- 
SOLVED THE  SALTS  USED  IN  EMULSIFYING 
WITH  GELATINE. 

In  various  formulae  for  the  manufacture  of  gelatine  emul- 
sions, a factor  which  we  find  continually  varied,  is  that  of 
the  quantity  of  water  in  which  each  of  the  chemicals  used 
to  produce  the  silver  bromide  is  dissolved. 

The  variation  is,  as  we  say,  great,  aud  yet  it  is  a point 
to  which  we  seldom  hear  reference  made.  The  amount 
of  excess  of  bromide  used,  the  quantity  of  iodide  intro- 
duced, and  such-like  questions,  we  hear  continually  dis- 
cussed ; yet,  probably,  variation  of  neither  of  these  factors 
mentioned  produces  such  difference  in  the  results  obtained 
or,  more  strictly  speaking,  in  the  time  necessary  to  bring 
about  the  results,  as  does  varying  the  amount  of  water 
U3ed  to  dissolve  the  salts.  Looking  at  one  or  two  formu'ae, 
we  find  standing  at  one  extreme  that  of  Captain  Abney, 


498 


PHOTOGRAPHIC  NEWS. 


[August  10,  1883. 


who  recommends  that  400  grains  of  silver  nitrate  be  dis- 
solved in  only  three  ounces  of  water,  and  the  necessary 
bromide  and  iodide  in  other  three  ounces. 

At  the  other  extreme,  we  have  formulae  in  which  as 
much  as  eight,  or  even  ten,  ounces  of  water  take  the  place 
of  the  three  ounces  of  Captain  Abney.  We  would  natu- 
rally expect  some  difference  of  action  between  solutions  of 
such  vastly  different  degrees  of  concentration. 

With^regard  to  the  first-mentioned  formulae,  we  may 
say  that  we  have  found  the  concentration  far  too  great. 
Without  the  exertion  of  an  amount  of  care,  quite  out  of  the 
question  for  every-day  work,  we  have  found  a considerable 
portion  of  the  silver  bromide,  and  apparently  almost  all 
such  silver  iodide  as  is  formed,  thrown  to  the  bottom  of  the 
vessel  in  a sandy  state. 

Given,  however,  very  careful  regulation  of  the  tempera- 
ture and  very  careful  mixture,  a fine  bromide  may  be  got 
even  with  such  extraordinary  concentrated  solution  as 
Captain  Abney  recommends.  On  the  other  hand,  if  we 
take  the  very  dilute  solutions  mentioned,  say  such  as 
give  10  ounces  of  water  to  400  grains  of  silver  nitrate,  we 
will  find  that,  however  carelessly  we  mix,  a ruby  emulsion 
is  the  result. 

So  far,  the  advantage  would  appear  to  be  all  on  the  side 
of  the  dilute  solution  ; but  at  the  next  step  it  will  be  found 
otherwise.  It  will  be  found  that,  in  boiling  the  concen- 
trated solution,  the  desired  blue  silver  bromide  will  be 
formed  in  a quarter  of  an  hour  or  thereby,  whereas  with 
the  concentrated  solutions  probably  two  or  more  hours 
will  be  required.  On  the  other  hand,  we  have  to  note  this. 
If  very  great  care  be  not  exerted  to  have  the  concentrated 
solution  slightly  acid,  the  result  of  pushing  the  process  to 
get  the  highest  degree  of  sensitiveness  will  be  to  get  fog. 
With  the  dilute  solutions  this  will  not  be  the  case,  even  if 
there  be  very  slight  alkalinity.  Indeed,  further  experi- 
ment might  show  that  with  dilute  solutions  we  might  have 
resource  to  boiling,  in  the  presence  of  a small  quantity  of 
ammonia,  with  advantage. 

It  will  be  noticed  that,  so  far,  our  remarks  have  been 
made  on  the  assumption  that  sensitiveness  bo  gained  by 
boiling,  and  not  by  the  use  of  ammonia.  \Ve  have, 
however,  made  experiment  with  the  ammonia  process  in 
the  same  direction  as  with  the  boiling.  That  is,  we  have 
varied  the  amount  of  water  used  to  dissolve  the  constitu- 
ents. Here,  if  we  use  the  ammonia  nitrate  process,  we  find 
a result  pretty  similar.  If,  on  the  other  hand,  we  use  the 
process  in  which  ammonia  is  added  to  the  emulsion  after 
emulsifying,  and  sometimes  after  a certain  amount  of  boil- 
ing has  been  performed,  and  if  we  follow  the  instructions 
of  Dr.  Eder,  and  use  with  different  strengths  of  solution 
the  same  percentage  of  ammonia,  we  find  that  the  larger 
quantity  used  in  the  more  dilute  solution  almost  compen- 
sates for  the  dilution.  Not  quite,  however.  With  concen- 
trated solutions,  sensitiveness  is  somewhat  more  quickly 
gained  than  with  diluted,  even  under  these  circumstances. 

So  far,  we  have  left  out  of  the  question  the  amount  of 
gelatine  used  for  emulsification.  We  indicated  in  a recent 
number  of  the  Photographic  News  that  we  did  not  believe 
that  a variation  of  the  quantity  of  gelatine  used  during 
emulsification  produced  such  variation  of  result  as  was 
commonly  supposed  if  less  than  a certain  desirable  mini- 
mum were  not  used.  In  other  words,  the  quantity  of 
gelatine  present,  when  the  two  solutions  are  mixed,  may  be 
greater  than  is  commonly  used  in  either  the  boiling  or  the 
ammonia  process,  and  yet  sensitiveness  may  be  as  quickly 
gained  as  with  a very  small  quantity. 

To  deduct  a practical  conclusion  from  this,  we  believe 
that  the  best  results  are  gained  in  either  the  boiling  or 
the  ammonia  process  by  using  solutions  of  a fair,  but  not 
too  great  amount  of  concentration.  As  the  result  of  many 
experiments,  we  may  state  that  we  fiud  ounces  of  water 
to  be  a good  amount  to  use  with  400  grains  of  silver 
nitrate  for  either  process,  a similar  amount  being  used 
with  the  bromide  and  iodide  solution.  In  such  a case, 


about  half-an-hour  of  boiling  will  be  sufficient,  as  a rule, 
to  bring  about  the  change  from  a bromide,  red  by  trans- 
mitted light  to  one  blue,  and  one  hour  to  make  an  emul- 
sion of  the  highest  degree  of  sensitiveness.  This,  on  the 
assumption  that  there  is  a considerable  excess  of  soluble 
bromide— say,  about  20  per  cent. 

We  have  heard  it  stated  by  some  with  great  confidence 
that  a better  result  is  to  be  gained  by  using  a dilute  solu- 
tion of  silver  nitrate  and  a concentrated  one  of  soluble 
bromide,  these  two  solutions  containing  the  same  quantity 
of  water.  We  have  heard  others  attribute  similar  virtues 
to  the  use  of  a large  quantity  of  water  with  the  bromide, 
aud  a small  quantity  with  the  silver  nitrate.  After  care- 
fully trying  both  these  variations,  we  have  arrived  at  the 
conclusion  that  from  neither  of  them  is  there  to  be  gained 
a result  better  than  can  be  got  from  using  the  same 
quantity  of  water  in  each  solution. 

With  regard  to  the  quantity  of  gelatine  to  be  used  for 
emulsifying  with  solutions  of  the  strength  we  have  given, 
we  may  say  that  we  have  found  no  retardation  iu  the 
length  of  time  necessary  to  produce  the  blue  bromide  when 
120  grains  of  gelatine  (Ntlson’s  No.  1)  are  used  with  the 
bromide  necessary  to  convert  the  400  grains  of  silver  nitrate 
mentioned  above,  4|  ounces  of  water  being  used  for  each 
solution. 


IVES'  PHOTO-BLOCK  METHOD. 

Processes,  by  which  blocks  suited  for  the  typographic 
printer  can  be  produced  from  negatives  after  nature,  have 
a particular  charm  about  them ; but,  up  to  the  present 
time,  tint  blocks  have  not  competed  very  seriously  with 
the  work  of  the  wood-engraver.  Those,  however,  who 
have  seen  the  mere  recent  results  obtained  by  the  method 
of  Ives,  may  well  conclude  that  the  time  is  at  hand  when 
photo-tint  blocks  may  be  advantageously  used  for  the 
illustration  of  newspapers.  Ives’  process,  a specimen  of 
which,  in  its  older  form,  appeared  on  page  46G  of  our  last 
volume,  has  been  very  much  simplified  and  improved 
recently,  and  we  hope  shortly  to  present  some  specimens 
to  our  readers. 

Mr.  Ives’  original  specification,  dated  August  12,  1878, 
runs  as  follows,  aud  it  gives  a good  notion  of  the  original 
mode  of  working  : — 

I,  the  undersigned,  have  to-day  invented  a method  of  obtain- 
ing relief  plates  for  the  photographic  printing-press,  from 
ordinary  photographic  negatives,  which  may  be  described  as 
follows : — 

1st.  From  an  ordinary  photographic  negative,  a relief  in  gela- 
tine, similar  to  that  used  in  the  IVoodburytype  process,  but 
perhaps  in  lower  relief,  is  obtained. 

2nd.  This  relief  is  carefully  and  uniformly  inked  with  fine 
printers’  ink,  and  pressed  between  two  flat  surfaces  (or  between 
rollers)  against  paper  or  other  material,  upon  which  is  stamped, 
or  otherwise  produced,  a fine  grain,  or  other  suitable  surface. 
The  inked  relief  being  highest  in  the  black  parts,  presses  down 
the  grain  of  the  paper  on  the  corresponding  parts,  and  the 
removal  of  the  ink  by  the  paper  from  those  parts  of  the  relief, 
produces  a black  impression  ; while  upon  those  parts  where  the 
relief  of  the  gelatine  is  lower,  the  grained  surface  is  pressed  less, 
and  the  ink  taken  up  in  spots,  the  size  of  which  depends  upon 
the  grain  of  the  paper,  and  the  amount  of  pressure,  and  produc- 
ing an  effeet  similar  to  that  of  crayon  sketches  made  upon  such 
a surface. 

Srd.  Relief  plates  may  be  made  from  this  impression  either  by 
the  usual  photo-typographic  processes,  or,  perhaps,  by  obtaining 
a cast  or  electrotype  of  the  impressed  surface  of  the  paper  or 
other  material  used  to  receive  the  impression  from  the  gelatine 
relief.  Fred  E.  Ives. 

It  will  be  seen  that  where  the  pyramidal  projections  of 
the  paper  are  thoroughly  crushed  down  by  the  most  pro- 
jecting poxtions  of  the  Woodburytype  relief,  a uniform 
black  surface  results,  which,  in  the  case  of  a very  light 
tint  of  the  original,  the  tips  only  of  the  pyramidal  pro- 
jections become  inked.  These  conditions  give  the  extremes 
of  tone,  but  every  intermediate  degree  is  also  realised. 


August  10,  1883.] 


TEE  PHOTOGRAPHIC  NEWS. 


490 


To  photograph  the  inked  impression  on  the  grained  paper* 
and  make  a block  by  the  ordinary  zinc  etching  method,  is 
an  easy  and  rapid  process;  but  the  inked  paper  itself  may 
be  used  as  a transfer.  There  are  other  developments  of 
the  process/which,  we  believe,  will  shortly  be  patented  in 
this  country  by  Mr.  Ives. 

The  most  serious  operation  in  connection  with  the  Ives’ 
process,  is  the  production  of  the  Woodburytype  relief,  an 
operation  of  considerable  delicacy,  and  requiring  consider- 
able experience  and  judgment.  All  the  difficulties  of 
carbon  printing  are  considerably  exaggerated  in  making  a 
relief  of  this  character,  especially  when  the  size  is  large. 
We  have  heard  of  people  who  say  they  can  make  perfect 
Woodburytype  reliefs  up  to  three  or  four  feet  and  in  less 
time  than  the  development  alone  would  take  in  the  hands 
of  an  expert ; but,  curiously  enough,  the  results  are  not 
shown. 

As  regards  the  commercial  value  of  a block  process,  it  is 
necessary  to  bear  in  mind  that  too  much  reliance  must 
not  be  placed  upon  specimens  printed  by  hand.  The  true 
test  is  to  take  the  block  to  a printer  of  average  carefulness, 
let  him  set  it  in  a forme  of  type,  and  run  off  some  six  or 
eight  thousand  copies  on  his  machine. 

Our  readers  will  perhaps  be  interested  in  reading  the 
account  of  Ives’  process  given  by  Professor  YV.  A. 
Anthony,  of  Cornell  University,  in  the  recent  case  of  Ives 
v.  Petit,  when  judgment  of  priority  was  awarded  to  Ives. 

Professor  Anthouy  says:  — 

In  the  latter  part  of  the  summer  of  1878,  Mr.  Ives  showed  me 
a specimen  of  a priut  obtained  by  mechanical  means  from  a 
photographic  negative,  the  shades  of  the  print  being  produced  by 
lines  and  being  entirely  in  black-and-white,  as  is  the  case  with 
wood  engravings.  My  impression  is  that  he  showed  me  more 
than  one  specimen.  I am  not  positive  as  to  this.  One  of  the 
specimens  I should  say  was  three  by  four  inches,  and  represented 
a landscape,  and,  I think,  some  human  figures  in  the  picture.  He 
explained  to  me  the  process  of  making  the  print  as  follows  : — A 
gelatine  film  was  exposed  under  a photographic  negative  from 
nature,  then  the  film  was  swelled  in  water  after  the  usual  manner 
of  making  a Woodburytype.  Then  the  gelatine  film,  when 
dry,  was  evenly  inked  with  printers’  ink  ; then  pressed  upon  a 
piece  of  paper  on  which  were  raised  lines.  The  pressure  -where 
the  film  was  thickest  would  mash  the  raised  lines  and  produce  a 
uniform  black  surface ; where  the  film  was  less  thick,  the  lines 
would  be  partially  flattened  and  present  a surface  of  broad  black 
lines,  the  intervening  grooves  being  left  white  ; where  the  film 
was  thinner  still,  the  tops  of  the  lines  only  would  be  inked, 
presenting  a surface  of  narrow  black  lines  with  broader  white 
spaces,  and  consequently  presenting  the  appearance  of  a lighter 
shade  ; where  the  film  was  thinnest,  the  lines  upon  the  paper 
would  not  be  inked  and  all,  and  the  white  surface  would  be  the 
result.  Thus  a picture  having  all  the  shades  of  a photograph 
from  nature  would  be  produced  by  the  simple  mechanical  pres- 
sure of  the  gelatine  film  upon  the  surface  of  the  paper  ruled  in 
raised  lines  as  described.  Mr.  Ives’  object  in  this  work  was  to 
produce  a plate  similar  to  the  plates  produced  by  the  photo- 
engraving process  for  obtaining  prints  in  the  ordinary  printing- 
press  with  type,  and  the  process  which  he  described,  and  the 
specimen  which  he  showed  me,  demonstrated  the  possibility  of 
producing  such  plates.  At  the  same  time,  he  showed  that  the 
same  results  might  be  obtained  by  using  paper  having  on  it 
raised  dots  instead  of  raised  lines,  thereby  giving  a stipple  effect 
in  the  impression. 


THE  TOURIST  PHOTOGRAPHER. 

The  Oetzthal  Glacier. 

Some  time  ago,  wo  listened  with  a good  deal  of  pleasure  to 
a lecture  on  Scotland,  which  was  illustrated  by  some  charm- 
ing views  of  Loch  Katrine,  Skye,  Oban,  &c.,  and  which 
wound  up,  we  remember,  by  some  disparaging  remarks  of 
the  lecturer  about  Britons  who  will  persist  in  going  all  the 
way  to  Switzerland  or  the  Tyrol  in  search  of  the  pictu- 
resque, instead  of  travelling  nearer  home.  Now,  we  yield 
to  no  one  in  our  admiration  of  Scotch  scenery ; we  have 
carried  a kuapsaek  through  a great  portion  of  the  country 


from  the  Falls  of  the  Clyde  in  the  south,  to  Cape  Wrath 
in  the  far  north,  and  we  have  thoroughly  enjoyed  tour 
after  tour  on  the  breezy  uplands.  But  there  is,  neverthe- 
less, one  very  good  reason  why  the  mountain -loving  Briton 
should  go,  at  any  rate,  to  the  Tyrol,  in  lieu  of  Scotland,  for 
his  summer  outing ; we  mean  the  fact  that  it  will  cost  him 
much  less  for  a month’s  holiday  in  South  Germany  than 
iu  North  Britain.  Certainly,  travelling  in  Scotland  is  more 
expensive  than  in  Switzerland  ; and  now  cheap  tickets  are 
issued  to  the  Swiss  Republic,  there  is  not  much  difference 
in  the  cost  of  getting  to  your  destination ; while,  in  the 
Tyrol,  if  you  are  a bit  of  a German  scholar,  living  is  not 
much  more  than  half  of  what  it  is  in  Switzerland.  Seven 
or  eight  francs  a day  will  cover  most  of  your  wants,  and  on 
some  occasions,  our  expenses  have  not  exceeded  five  or  six. 
Here,  then,  is  a substantial  answer  to  the  lecturer  on 
Scotland,  where  only  the  very  wealthy  can  visit  the  best 
hotels. 

In  the  Tyrol,  if  you  will  but  avoid  Innsbruck,  and  one 
or  two  other  fashionable  spots,  you  are  in  a land  as  yet 
unspoilt  by  grasping  landlords  and  stucco  hotels.  For  the 
pedestrian,  there  are  the  most  romantic  of  tours,  the  quaint- 
est experiences;  for  the  more  easy-going  traveller,  there 
are  diligences  and  a most  efficient  and  inexpensive  posting 
service.  The  latter,  which  goes  by  the  name  of  “ Extra- 
post,” is  a wonderful  convenience;  for  the  sum  of  tenpence 
a mile,  a party  of  four,  with  reasonable  luggage,  may  have  a 
carriage  and  pair,  with  postillion  in  orange  and  red,  all  to 
themselves,  postillion’s  fee  included,  and  what  is  more, 
can  hire  the  same  at  a few  minutes’  notice  from  every 
post-town  in  the  district.  Think  of  that,  noble  hotel 
proprietors  in  Scotland  ! And  when  we  add  that  the  old- 
fashioned  inns— which  are  Government  post-houses  for  the 
most  part,  and  therefore,  to  a certain  extent,  under  control 
— are  comfortable  and  moderate  of  charge,  not  a little  like 
the  quaint  roadside  hostelries  of  fifty  years  ago  in  England, 
that  charmed  YY'ashington  Irving,  we  need  say  little  more 
to  justify  the  Briton  against  the  strictures  of  the  lecturer, 
of  whom  we  have  just  spoken. 

Our  present  sketch  is  of  the  Oetzthal  glacier,  which, 
with  the  exception  of  the  Aletsch,  and  Rhone  Glaciers  of 
Switzerland,  is  perhaps  the  largest  ice-field  in  Europe. 
And  yet  we  make  so  bold  as  to  say  that  out  of  every  ten 
British  travellers  on  the  Continent,  scarce  one  has  ever 
heard  of  its  existence.  Our  own  visit  was  made  with  knap- 
sack and  camera,  and  in  the  company  of  an  artist,  whose 
name  is  familiar  as  a cartoonist  of  one  of  the  London 
humorous  Weeklies. 

A rapid  journey  is  made  to  Cologne  and  Munich,  and 
thence  to  the  pretty  lake  of  Walcheren.Un  Bavaria,  where 
the  knapsack  is  douned,  and  the  little  5 by  4 camera  in 
its  leather  case  slung  across  the  shoulder,  ready  for  work 
at  any  moment.  It  is  not  long  before  the  first  plate  is  put 
in  requisition — viz.,  at  Mittenwad,  a town  built  as  no  other 
town  iu  our  experience,  for  each  house Js  placed  diagonally 
to  the  line  of  the  street ; in  other  words,  every  dwelling 
has  an  angle  projecting  into  the  thoroughfare.  Mitten- 
wald  has  acquired  a particular  reputation  for  the  stringed 
instruments  that  are  made  iu  the  district — thousands  o 
violins,  guitars,  and  double  basses  being  annually  manuf 
factured  here.  Many  of  the  European  markets  are  supplied 
from  Mittenwald,  although,  truth  to  tell,  the  articles  are 
more  noted  for  their  cheapness  than  their  quality.  To 
see  the  number  of  families  engaged  on  the  work,  one 
would  think  all  the  fiddles  in  the  world  came  from  this 
little  place. 

Our  way  lies  through  the  Scharnitz  Pass,  the  most 
southern  part  of  Bavaria,  and  the  scene  of  many  a bloody 
fight  between  Tyrolese  and  lowlanders,  for  it  is  one  of  the 
principal  highways  to  Italy  and  the  Mediterranean.  A 
very  fine  mouutaiu  peak,  grey  and  craggy,  rises  from  the 
valley,  so  steep  and  perpendicular  that  it  may  be  likened  in 
its  wild  majesty  to  the  mighty  Matttrhorn,  to  which  it 
bears  some  resemblance.  There  is  a village  at  Scharnitz, 


500 


THE  PHOTOGRAPHIC  NEWS. 


[August  10,  1883. 


and  a Custom  House,  and  at  the  latter  we  beg  for  shelter, 
for  the  purpose  of  repairing  our  photographic  apparatus. 
We  are  carrjing  one  of  the  Warnerke  roller  slides,  con- 
taining an  endless  band  of  sensitized  tissue,  aud  this  having 
been  torn,  requires  to  be  cemented  together.  The  good- 
humoured  Custom  officers  willingly  aid  us,  and  after  a 
brief  visit  to  a cellar-like  out-house,  we  proceed  on  our 
way  rejoicing. 

Scharnitz,  though  once  a fortress,  is  no  longer  any 
stronghold.  The  last  occasion  of  the  fortress  being 
stormed  was  in  1805,  when  Marshal  Ney  came  hither  with 
an  army  of  Frenchmen  and  Bavarians,  whilst  Bernadotte 
was  attacking  the  Tyrol  from  another  point.  One  of  Ney's 
generals,  Laisse  by  name,  with  13,000  men,  advanced 
against  the  village  here,  held  by  a few  hundred  Tyrolese 
sharpshooters.  The  fortress  was  considered  impregnable 
with  such  a garrison,  and  it  withstood  two  assaults  against 
it.  But  the  French  ultimately  discovered  a mountain  path 
that  led  over  a shoulder  of  the  Wetterstein  into  the 
Leutasch  Valley,  and  in  this  way  they  were  enabled  to 
pass  round  and  get  to  the  rear  of  the  little  Scharnitz  garri- 
son. The  Tyrolese  were  thus  compelled  to  retire,  and 
when  the  French  marched  up  a third  time  to  storm  the 
place,  they  found  it  deserted.  The  works  were  then  razed 
to  the  ground,  as  we  now  see  them,  and  the  villagers  still 


point  out  a mountain  pathway  to  the  tourist  which  goes  by 
the  name  of  the  ‘‘  Frenchman’s  Ladder.” 

We  say  good-bye  to  Scharnitz,  the  valley  of  rocks  and 
wild  desolation,  with  the  “ Isar,  rolling  rapidly,”  in  its 
midst,  and  reaching  the  valley  of  the  Inn,  get  a lift  by 
“ extra-po3t  ” along  the  hot,  high  road,  some  twenty-five 
miles,  to  Hainingen,  at  the  entrance  of  the  Oetz  valley. 
At  the  village  of  Oetz,  there  is  a capital  inn,  and  we 
recommend  a stay  here,  since  it  is  the  last  well-appointed 
hostelry  the  traveller  meets  with  this  side  of  the  glacier. 
There  is  a fine  waterfall  at  Oetz— a cascade  of  foaming 
water — which  we  photograph.  It  makes  a good  picture  ; 
but,  as  we  have  before  remarked  in,  these  columns,  much 
better  spend  your  plates  upon  characteristics  of  the  people 
and  country  you  travel  in,  rather  than  in  mountains  and 
waterfalls.  These  latter  are  never  quite  satisfactory, 
when  you  bring  them  home ; they  are  so  much  like  other 
waterfalls  and  mountains. 

A good  day’s  march  brings  you  to  Sblden.  The  taper 
spire  of  the  village  church,  its  dark  outline  standing  out 
sharply  and  clearly  from  the  background  of  snow 
mountains,  is  a most  tempting  subject,  and  if  we  had  only 
taken  the  precaution  to  pull  the  shutter  right  out,  we 
should  have  secured  a very  good  picture.  As  it  is,  how- 
ever, the  result  makes  a passable  “ upright,”  and  we  are 


[hankful  it  is  no  worse.  At  Sblden,  we  reach  the  last  inn 
’n  the  valley,  and  henceforth  have  to  put  up  with  the 
hospitality  of  the  village  priest.  But  this  is  an  advantage, 
not  a drawback,  let  us  state.  The  priest  expects  you,  his 
housekeeper  is  quite  willing  to  mention  the  sum  of  your 
indebtedness,  and,  in  a word,  the  only  notable  difference 
is,  that  you  exchange,  generally  speaking,  a boorish  land- 
lord for  an  educated  and  amiable  one. 

A.t  first  we  were  rather  shy  about  trespassing  into  the 
priestly  domain.  It  was  at  a village  called  Holy  Cross, 


some  distance  above  Sblden,  that  we  first  made  the  acquaint- 
ance of  a clerical  landlord  ; but  once  you  learn  to  know 
them,  their  hospitality  is  preferable  to  that  of  the  ordinary 
inn.  In  the  Dolomite  district,  at  Stern,  our  clerical  land- 
lord, we  remember,  was  a photographer,  and  we  made 
together  a morning’s  excursion,  that  still  lingers  plcasautly 
in  our  memory  ; he  was,  indeed,  not  only  spiritual  adviser, 
but  medical  man  and  general  authority  of  the  district,  and 
hence  he  proved  a most  excellent  companion.  The  kitcheu 
is  usually  a good  one  at  the  priest's,  and  the  red  wine  he  gives 


THE  THOTOGEATHIC  NEWS. 


501 


August  10,  1883.  f 


you  is  the  best  in  the  district.  At  Holy  Cross,  a dinner  of 
roast  veal,  pancakes,  and  claret  was  served  to  us  by  the 
priest’s  housekeeper,  that  would  have  done  honour  to  any 
first-class  hotel  ; while  the  chatge  made — it  is  not  etiquette 
to  speak  to  the  priest  on  the  subject  of  money,  but  privately 
to  consult  the  housekeeper  on  the  subject,  her  master  giving 
you  plenty  of  opportunity  thereto — was  more  reasonable 
even  than  that  of  the  simple  village  ale-house. 

We  take  a p’cture  of  the  church  at  Holy  Cross,  for  it  is 
situated  in  most  romantic  fashion  at  the  summit  of  a hill 
in  view  of  the  whole  valley  for  miles  around,  and  then  pro- 
ceed on  our  way  to  the  last  hamlet  of  all — Fend — before 
crossing  the  Oetzthal  glacier.  We  have  been  steadily 
mounting  during  the  whole  of  the  march,  and  are  now  some 
five  or  six  thousand  feet  above  sea-level.  At  Fend,  we  like- 
wise seek  hospitality  at  the  priest’s — there  is  no  alternative 
— and  find  in  his  comfortable  little  dwelling  two  other 
tourists,  bound  like  ourselves,  across  the  ice  sea.  Our  land- 
lord here,  again,  is  a delightful  host,  and  he  enters  into 
our  plans  heartily.  He  engages  a guide — our  artist  com- 
panion is  good  enough  to  tako  a sketch  of  landlord  and 
guide,  which  we  here  reproduce  by  the  photo-etching  pro- 
cess— and  sees,  when  we  stait  in  the  morning,  that  we  carry 
with  us  food  and  wine  sufficient  for  the  journey.  In  a word, 
he  exhibits  all  the  thoughtfulness  of  an  old  friend,  and 
takes  as  much  interest  in  your  journey  as  if  he  were  respon- 
sible for  your  safety.  Indeed,  the  clerical  landlord  is  one 
of  the  most  pleasant  features  of  Tyrolean  travel. 

[To  be  Continued.) 


CASH  AT  TIME  OF  SITTING. 

BY  C.  BRANYWIN  BARNES  (“  CLIFF  ”). 

Of  all  the  numerous  questions  that,  at  times,  vex  and  annoy 
the  brethren  of  the  black  art,  this  question  of  cash  at  time 
of  sitting  takes  the  palm  for  very  “ cussedness,”  as  our 
friends  across  the  herring  pond  express  it.  Time  was — and 
that  not  very  long  since — when  photographers,  as  a body, 
were  Quite  content  to  leave  the  matter  of  payment  to  the 
sitters  themselves,  and  in  many  cases  had  to  wait  six,  and 
even  twelve  months,  before  obtaining  the  hard  cash.  Of 
late  we  are  very  fond  of  exclaiming,  “ Nous  avons  change 
tout  cela ,”  but  much  remains  yet  to  he  done  ’ere  “ cash  at 
time  of  sitting  ” is  recognised  by  the  general  public  as  the 
unalterable  rule  of  the  photographic  atelier.  There  are 
still  a certain  number  of  members  of  the  profession  who  do 
not  exact  cash  payments,  even  in  these  days  of  co-operation 
and  ready-money  Stores,  but  allow  their  clients  to  remain 
their  debtors  until  such  time  as  they  see  fit  to  part  with 
“ the  ready,”  and  never  think  of  asking  for  a settlement, 
for  fear  of  offending.  In  the  course  of  ten  or  eleven  years’ 
experience  in  studios  where  the  cash  system  is  in  vogue,  and 
in  others  where  unlimited  credit  is  allowed,  I have  had 
ample  opportunities  for  judging  of  the  merits  and  de-merits 
of  both  systems  ; and  whilst  to  the  one  I must  give  my 
strongest  and  most  unqualified  approval,  to  the  other  I must 
give  a condemnation  equally  strong  and  unqualified.  I 
have  seen  good  businesses  brought  to  naught,  and  hard-work- 
ing photographers  ruined,  simply  by  this  abominable  credit 
system.  I am  at  present  in  business  in  the  Highlands  of 
Scotland,  and  if  the  foregoing  remarks  are  pertinent  else- 
where, they  are  decidedly  so  here,  only,  to  quote  another 
Americanism,  “much  more  so.”  I have  a notice  exhibited 
in  the  studio  intimating  that  “All  portraits  must  be  paid 
for  at  the  time  of  sitting  ; ” but,  notwithstanding  this,  1 am 
constantly  being  met  with  the  excuse  “ I have  been  takeu 
before  at  Mr.  MacSpooran’s,  or  Mr.  MacTartan’s,  and  I 
have  never  paid  at  the  time  before.”  Sometimes  the  excuse 
takes  a different  form  ; here  are  a few  of  the  most  approved 
varieties. 

“ I see  that  your  rule  is  for  portraits  to  be  paid  for  at  the 
time ; I am  very  sorry  I can’t  comply  with  it,  as  I did  not 
bring  my  purse  out  with  me.” 


“ I never  paid  at  the  time  before,  and  1 most  certainly  do 
not  intend  to  now;  besides,  if  I didn’t  like  the  portrait,  I 
wouldn’t  take  it,  and  if  you  once  had  the  money,  I don’t 
suppose  you  would  return  it.” 

“I  am  sorry  I haven’t  the  money  with  me  just  now,  but 
if  you’ll  send  the  pictures  home  on  Saturday  with  the  bill, 
I’ll  pay  the  messenger  then.” 

These  are  only  one  or  two  out  of  the  many  excuses  that 
one  has  to  put  up  with,  and  each  requires  different  treat- 
ment. With  No.  1 it  is  necessary  to  intimate  that  I do  not 
consider  myself  bound  to  follow  the  lax  practice  of  Mr. 
MacSpooran  or  Mr.  MacTartan. 

With  No  2 it  is  usually  the  best  plan  to  ask  them  to  call 
in  as  they  are  passing  when  they  have  their  purse  with 
them,  and  to  intimate  that  the  pictures  will  be  put  in  hand 
meantime. 

No.  3 is  the  most  difficult  subject  of  all ; it  is  usually  a 
vinegar-faced  old  woman,  who  is  never  likely  to  fancy  any 
portrait  at  all,  so  it  becomes  a necessity  to  use  every  possi- 
ble means  to  exact  the  cash  or  part  of  it,  as  she  is  almost 
certain  to  sit  at  least  three  times,  and  if  you  have  not  got 
the  money,  the  chances  are  that  she  will  throw  all  the 
three  sittings  back  on  your  hands,  and  leave  you  to  your 
reflections  with  some  such  remark  as,  “ I don’t  know  how 
it  is,  but  I bave  never  had  a good  portrait  taken  yet,  and  I 
sha’n’t  try  any  more." 

In  the  course  of  time,  when  your  sitter  joins  the  majority, 
some  of  her  relatives  might  like  a picture  of  her,  and  if 
you  are  content  to  lay  the  negative  over  awaiting  that  con- 
summation, you  may,  some  day,  in  the  far  remote  future, 
recover  some  little  honorarium  for  your  wasted  time  and 
material.  I don’t  usually  wait  myself,  but  take  what  revenge 
I can  by  smashing  the  negatives,  and  making  specimens  of 
the  cards.  You  must  not  think  of  putting  them  in  your 
show-case,  though,  or  you  will  very  soon  be  requested  to 
withdraw  “ that  caricature.” 

No.  4 is  usually  all  serene,  and  you  are  mostly  safe  in 
sending  the  pictures  home,  as  the  messenger  usually  gets 
paid. 

I cannot  help  thinking  that  one  of  the  greatest  arguments 
in  favour  of  cash  payments  is  to  be  adduced  from  the 
fact  that  while  a sitter  owes  an  account  he  or  she  is  not  at  all 
likely  to  come  and  have  any  more  work  done  until  that 
account  is  paid  ; and  as  it  will  have  to  wait  and  go  in  with 
butchers’  and  bakers’  bills  for  settlement  at  Christmas  or 
Midsummer,  a considerable  sum  is  thus  lost  which  might 
otherwise  be  pocketed  by  the  photographer.  I have  known 
cases  where  one  of  a family  has  wanted  to  be  photographed, 
and  has  been  met  by  materfamilias  with  the  remark,  “ We 
owe  Mr.  Bromide  five  pounds,  so  you  had  better  go  to  Mr. 
Collodion,  and  you  can  pay  for  them,  as  I cannot  afford  to 
pay  Bromide’s  bill  just  yet.  Now,  if  Mr.  Bromide  had  had 
cash  for  the  earlier  transactions  he  would  not  have  lost  this, 
which,  perhaps  only  a matter  of  ten  or  fifteen  shillings  in 
itself,  may  entail  a heavier  loss,  for  by  some  fortunate  hit  Mr. 
Collodion  may  obtain  a picture  which  the  family  consider 
better  than  Bromide’s  work,  and  therefore  they  henceforward 
convey  their  custom  to  Mr.  C. 

A friend  of  mine  once  gave  me,  as  a fact,  an  anecdote  of  his 
only  credit  transaction.  A lady  called  and  had  her  baby 
taken,  regretted  she  had  not  enough  money  with  her  to  pay 
for  the  portraits,  but  would  call  and  do  so  directly  she  got 
them.  She  gave  her  name  and  address,  from  which  it  ap- 
peared she  was  the  wife  of  an  army  surgeon  ; this  appeared 
satisfactory,  so  the  portraits  were  finished  and  sent  home. 
A fortnight  elapsed,  and  as  the  lady  did  not  “call  in  and 
settle,”  my  friend  sent  his  boy  up  with  a note,  and  was 
informed  that  Mrs.  M.  would  call  during  the  day.  Another 
week  passed,  and  still  no  signs  of  the  lady  ; the  boy  was 
now  sent  up  and  instructed  not  to  come  away  without  the 
money.  On  the  message  being  delivered  to  Mrs.  M.,  he 
heard  her  say,  “ Oh  ! very  well,  let  him  sit  down  in  the 
passage  till  the  Doctor  comes  home,  and  he’ll  kick  him  out.” 
This  seems  to  have  frightened  the  poor  boy,  for  he  at  once 


502 


'THE  PHOTOGRAPHIC  NEWS. 


[August  10,  1888. 


“ made  tracks,”  and  it  is  almost  needless  to  add  that  the 
bill  was  never  paid. 

When  I first  came  to  the  Highlands,  and  before  I enacted 
the  hard  and  fast  rule  of  “ cash  at  the  time  of  sitting,”  I was 
much  surprised  at  certain  Seotch  tactics  brought  into  play 
by  some  of  my  sitters,  and  to  which  I at  first  fell  a victim. 
A sitter  would  call — order  a dozen  cartes — state  they  would 
be  called  for  on  the  following  Saturday,  and  payment  made 
then.  W hen  the  Saturday  arrived,  my  sitter  would  walk 
in  and  say,  he  or  she  was  very  sorry,  but  he  or  she 
had  not  got  enough  money  to  *' take  the  dozen  out,”  but 
would  have  six,  and  come  for  the  others  next  week.  By  this 
means  they  would  get  six  cartes,  all  they  probably  wanted, 
at  just  half  the  price  of  a dozen,  and  would  never  after  turn 
up  for  the  remainder.  This,  I learut,  they  did  not  look 
upon  as  cheating  or  swindling;  but  merely  as  obtaining 
fair  play  ; for  they  consider  it  an  imposition  to  charge  more 
in  proportion  for  the  half  dozen  than  the  dozen,  and  all 
efforts  at  explanation  fail.  Ouce  a “Hielander”  takes  a 
thing  into  his  cranium,  it  is  not  easily  removed.  The  thing 
most  likely  to  puzzle  a new-comer  in  the  Highlands  is,  that 
nine  out  of  every  twelve  negatives  taken  are  groups.  This 
is,  of  course,  done  for  cheapness,  as  Dugal  don’t  care  to  spend 
more  than  he  can  help  (except  upon  whiskey),  nor  to  part 
with  his  money  before  he  is  compelled. 

In  England,  I opine  the  best  plan  is  to  present  the  receipt 
and  take  the  money  prior  to  sitting;  but  here  that  won’t 
work  at  all ; the  folks  ate  far  too  “canny,”  and  imagine 
that  you  only  want  to  get  the  cash,  and  then  never  take 
the  pictures  at  all. 

I find,  in  practice,  that  sitters  who  have  paid  for  their 
portraits  very  rarely  disapprove  them,  or  require  to  be 
re-taken. 

Another  advantage  of  the  cash  system,  and  one  of  the 
most  important,  is  that  as  you  have  a constant  supply  of 
cash  for  your  work,  you  are  enabled  to  buy  your  materials 
for  cash  yourself,  and  by  so  doing,  get  them  at  a much 
less  rate  than  if  you  ran  an  account ; and  the  offcome  of 
this  is  necessarily  that  you  can  supply  your  patrons  at  a 
lower  rate  than  if  you  allowed  them  to  run  accounts  with 
you. 

The  credit  system  necessitates  the  use  of  an  intricate  set 
of  books,  which  have  to  be  carefully  kept  and  checked ; 
whilst  for  a cash  business,  a day-book  for  business  done, 
another  for  your  wholesale  houses,  and  a cash-book,  are  all 
that  are  really  necessary  for  the  monetary  part  of  the 
business. 

Then  there  are  no  bills  to  send  out  every  month  or  every 
three  months— so  saving  billheads,  envelopes,  and  postage, 
which  are  no  mean  items;  no  worry  as  to  when  So-and-so 
is  going  to  settle,  as  you  want  his  account  in,  so  as  to 
settle  yours  with  the  wholesale  firm. 

In  conclusion,  I must  add  that  in  the  opinion  of  those 
who  have  tried  both,  the  advantages  of  a cash  business 
over  a credit  one  are  too  numerous  to  mention,  and  that 
if  you  once  adopt  the  cash  system  you  are  never  likely  to 
relapse  into  the  old  worn-out  credit  one. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BT  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chatter  XI.— Transferring,  Proving,  and  Printing.* 
Printing. — From  what  has  gone  before,  the  reader  will, 
we  hope,  have  gleaned  a fair  idea  of  the  principles  and 
some  of  the  details  of  lithographic  printing,  so  that  we  need 
now  only  add  a few  remarks  on  the  routine  of  printing,  the 
management  of  the  roller,  and  the  causes  of  failure.  Print- 
ing is  an  art  it  is  impossible  to  learn  from  books,  and  we 
would  counsel  anyone  wishing  to  enter  practically  on  this 
part  of  the  subject  to  take  lessons  from  a skilful  printer. 

• Continued  from  page  U7. 


The  press  being  in  good  order,  and  the  working  parts 
oiled,  the  stone  or  zinc  plate  on  its  block  is  placed  in 
proper  position  on  the  bed  of  the  press.  The  first  thing  is 
to  regulate  the  pressure,  and  see  that  the  scraper  is  level, 
and  the  pressure  uniform  all  over  the  stone  or  plate,  as 
described  in  the  early  part  of  this  chapter  under  the  head 
of  “Transferring.” 

The  amount  of  pressure  to  be  given  for  printing  ia 
regulated  by  the  size  and  thickness  of  the  stone,  the 
hardness  or  softness  of  the  printing  paper,  and,  above  all, 
by  the  character  of  the  work.  Excess  of  pressure  is  to  be 
avoided  a3  fatiguing  to  the  workman,  wearing  to  the  work 
on  the  stone  or  zinc,  and,  in  the  case  of  stone,  liable  to 
break  it.  Too  little  pressure  is,  on  the  other  hand,  to  be 
avoided  as  giving  pale  prints. 

If  not  alieady  done,  the  position  of  the  paper,  or  its 
“ lay,”  should  now  be  marked  on  the  stone  or  plate  with  a 
slate  pencil. 

In  commencing  the  printing  from  a stoDe  that  has  been 
laid  by.  the  surface  requires  to  be  flooded  with  water  to 
soften  the  gum  and  soak  into  the  stone,  any  preservative 
coating  of  gum  having  been  previously  washed  off.  In 
order  to  prevent  the  water  drying  off  unevenly,  it  is  usual 
to  cover  the  stone  with  a sheet  of  paper,  or  the  damping 
cloth.  The  surface  of  zinc,  being  less  porous,  does  not 
require  so  much  preliminary  damping,  and  it  will  be 
sufficient  to  wash  off  the  gum  with  plenty  of  water,  and 
wipe  the  plate  with  the  damping  cloth. 

While  the  damping  is  going  on,  the  printer  gets  ready 
his  ink,  stiff  or  thin,  according  to  the  work  and  the  tem- 
perature, and  distributes  a portion  of  it  evenly  by  working 
it  in  different  directions  over  the  inking  slab  with  his  ink- 
ing roller,  till  both  are  in  proper  condition  for  use.  He 
prepares  his  damping  cloth,  and  has  a sponge  and  a basin 
of  clean  water  conveniently  at  hand,  also  gum-water  and 
his  gum  sponge. 

For  zinc  printing,  the  damping  solution  should  contain  a 
little  gum,  as  noted  above  under  the  head  of  “ proving.” 
When  printing  fine,  close  work,  or  in  very  hot  weather,  a 
little  glycerine  may  be  added  to  the  damping  solution, 
which  should  then  be  prepared  as  follows: — 

Take  twenty-four  ounces  of  gum-water  ; add  lime-water 
till  it  is  neutral  to  test  paper ; then  add  two  ounces  of 
glycerine,  and  mix  well.  Two  ounces  of  this  solution  mixed 
with  ten  ounces  of  water  from  the  developing  solution,  and 
care  must  be  taken  to  keep  it  neutral,  otherwise  it  will 
become  acid,  and,  acting  as  an  etching  solution,  may 
obliterate  fine  detail.  By  using  this  mixture  the  finest 
work  may  be  printed  without  clogging  up.  This  solution 
should  be  made  in  small  quantities,  as  it  is  liable  to  get 
sour.  It  should  always  be  tested  before  use,  and  neutral- 
ized with  more  lime-water. 

All  being  ready,  the  printer  removes  with  his  spoDge 
the  water  lying  on  the  stone,  or,  if  working  with  a zinc 
plate,  passes  the  wet  sponge  over  it,  and  then  either  the 
stone  or  plate  is  wiped  with  the  damping  cloth  backwards 
and  forwards  alternately  from  right  to  left  and  left  to  right 
progressively  towards  the  printer,  that  the  same  place  may 
not  be  passed  over  twice,  nor  any  part  be  left  untouched. 
The  stone  or  plate  should  now  be  sufficiently  damp  to  re- 
fuse all  ink,  except  on  the  lines. 

The  printer  now  takes  his  roller,  and  holding  it  with 
both  hands  by  its  leather  handles,  so  that  it  may  turn 
freely  in  them,  rolls  it  over  the  work  backwards  and  for- 
wards, pressing  at  first  somewhat  heavily,  and,  after  each 
course  of  the  roller,  lifting  it  off  the  stone  and  giving  it  a 
slight  turn  in  the  hands,  so  as  to  change  the  position  of 
the  seam,  and  equalize  the  inking.  During  the  first  inking 
of  a stone  or  plate,  the  latter  will  require  re-damping  after 
a few  passes  of  the  roller,  and  the  roller  re-charging  with 
ink.  The  inking  is  finished  off  with  a lighter  and  quicker 
movement  of  the  roller,  which  picks  up  any  dirty  scum  of 
ink,  and  cleans  up  the  image.  In  rolling  up,  care  should 
be  taken  not  to  allow  the  stone  to  become  dry  enough  for 


August  10,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS. 


503 


ink  to  be  deposited  on  the  white  parts,  and  with  large  work 
it  will  generally  be  necessary  to  re-damp  and  re-charge 
the  roller  two  or  three  times  in  the  course  of  the  operation  ; 
but  a good  deal  will  depend  upon  the  temperature  and 
state  of  dryness  of  the  atmosphere. 

The  quantity  of  ink  to  be  laid  on  the  stoue  will  depend 
on  the  nature  of  the  work.  Too  much  will  give  a black, 
heavy  impression  ; too  little,  a weak  and  pale  grey  one. 
Theamouut  can  be  regulated,  as  before  noted,  by  the  stiff- 
ness or  thinness  of  the  ink,  the  quantity  of  it  on  the  roller, 
the  pressure  and  speed  given  to  the  roller  in  inking,  and 
the  state  of  dampuess  or  dryness  of  the  stone.  A free 
laying  on  of  ink  is  favoured  by  using  soft  or  thin  ink,  a 
quantity  of  it  on  the  roller,  heavy  pressure  and  slow 
movement  of  the  roller  in  inking,  and  a slightly  damp 
stone.  On  the  contrary,  stiff  ink  in  small  quantity  on  the 
roller,  working  the  roller  lightly  and  quickly,  and  a wet 
stone,  all  tend  to  prevent  the  laying  on  of  ink,  and  to 
remove  it  when  in  excess.  The  influence  of  cold  and  heat 
in  stiffening  and  thinning  the  ink,  and  on  the  amount  of 
moisture  retained  by  the  stone,  must  also  not  be  over- 
looked. 

The  stone  being  properly  inked  up,  and  the  work  appear- 
ing evenly  black  all  over,  and  free  from  scum  or  dirt,  a 
sheet  of  the  printing  paper,  already  damped  for  the  pur- 
pose, as  before  described,  is  laid  over  it,  the  printer  hold- 
ing the  paper  cornerwise,  and  adjusting  one  corner  in  its 
place,  as  marked  on  the  stone,  before  letting  down  the 
other.  With  large  sheets,  and  when  two  or  more  men  are 
required  to  work  the  press,  the  spongeman,  on  the  opposite 
side  of  the  press,  holds  up  the  side  away  from  the  printer, 
while  the  latter  adjusts  his  side  along  the  line  marked  on 
the  stone,  and  holds  it  there ; this  being  done,  he  lowers 
the  sheet  gently  into  its  place. 

Unless  these  precautions  are  taken,  the  paper  will 
“ slur,”  or  take  a double  impression.  For  the  same  reason, 
the  outer  end  of  the  tympan  frame  must  be  raised  and 
supported,  so  that  the  leather  may  be  free  of  the  stone  or 
plate  till  forced  down  by  the  passage  of  the  scraper. 

The  backing  sheet  is  then  laid  on,  the  tympan  brought 
down,  the  pressure  applied  with  the  lever,  and  the  stone 
passed  through  the  press.  The  print  is  then  lifted  care- 
fully off  the  stone,  so  as  to  avoid  tearing  off  the  surface  of 
the  paper  if  the  ink  is  stiff.  It  is  looked  over  to  see  that 
the  impression  is  clean  and  free  from  defects,  and,  if  all  is 
satisfactory,  laid  in  its  place  on  the  back  of  the  press,  or  on 
a table  or  board.  The  stone  or  plate  is  then  re-damped 
and  rolled  in  again,  and  so  on  for  each  impression,  till 
the  number  of  impressions  required  have  been  printed  off. 

After  about  fifty  copies  have  been  printed,  it  is  a good 
plan  to  scrape  the  ink  off  the  roller  aud  inking  slab,  and 
put  fresh  ink  on,  because  the  ink  gets  charged  with 
particles  of  fluff,  &c.,  left  on  the  stone  from  the  printing 
paper,  damping  cloths,  &<\ 

in  rolling  up,  should  the  roller  work  stiff,  and  deposit 
ink  on  the  white  parts  of  the  stone,  it  shows  that  the  stone 
is  not  sufficiently  damp ; damping  and  rolling-in  again 
smartly  will  clear  off  the  ink  again.  On  the  other  hand, 
if  the  roller  slips  on  the  stone  without  turning,  the  latter 
is  too  wet,  and  requires  wiping. 

In  zinc  printiug,  should  the  plate  become  slightly  dirty 
in  printing,  the  part  should  be  rubbed  with  a piece  of 
flannel  dipped  in  the  etching  solution.  The  plate  is  then 
washed,  a little  gum  applied,  and  the  damping  and  rolling- 
up  proceeded  with.  When  close  work  gets  very  heavy 
from  long  printing,  a wash  of  dilute  nitric  acid— 1 to  12- 
will  improve  it.  This  must  be  washed  off  immediately,  and 
the  plate  etched  agaiD. 

Damping  cloths  and  sponges  should  be  washed  out 
well  every  evening  in  clean  water,  without  soap.  All 
cloths  and  sponges  must  be  kept  carefully  for  their  own 
special  purpose,  and  not  used  for  anything  else. 

In  any  interruption  of  the  printing,  the  stone  or  zinc 
should  always  be  gummed ; and  if  some  time  is  likely  to 


elapse  before  the  printing  is  resumed,  and  the  work  is  to  be 
stored  away,  the  stono  or  plate  should  be  rolled  up  with 
transfer  ink  or  with  a preserving  ink  composed  of — 

Wax 100  parts 


Asphaltum  ...  100  ,, 

Tallow  ...  ...  ...  ...  40  ,, 

Lampblack  ...  ..  ...  ...  20  ,, 

The  above  ingredients  divided  into  small  pieces  are  digested 
in  turpentine  and  stirred  up  occasionally.  After  a few  days 
they  will  form  a viscous  mixture,  which  should  be  kept  for 
use  in  covered  pots. 

Failures. — A good  priut  should  be  of  an  even  blackness 
all  over,  not  too  hoavy  nor  too  grey,  aud,  above,  all  not 
patchy,  some  parts  black  and  some  pale.  The  lines  must 
retain  as  far  as  possible  their  original  sharpness,  width,  and 
primness.  In  long  impressions,  however,  the  work  will 
become  more  or  less  worn. 

Spreading  of  the  lines  is  caused  by  too  much  or  too  thin 
an  ink,  or  too  much  pressure.  If  not  stopped  in  time, 
especially  when  using  thin  ink,  it  may  lead  to  a general 
“smutting  up”  or  closing  the  lines  in  a black  patch  which 
resists  all  ordinary  methods  of  cleaning,  to  remedy  which 
the  ink  must  be  carefully  washed  off  with  turpentine,  taking 
care  that  the  stone  or  plate  is  well  wetted.  The  work  is 
then  rolled  in  again  with  stiff  ink,  gummed  or  etched,  and, 
if  possible,  allowed  to  remaia  a day  or  so  before  printing 
again.  This  defect  is  also  caused  by  too  weak  an  etching 
solution,  and  using  soft  bad  ink,  or  from  dirty  work. 

A general  paleness  of  the  impression  is  caused  by  too 
little  or  too  thin  au  ink,  too  little  pressure,  or  too  wet  a 
paper,  especially  if  it  is  highly  sized. 

Doubling  of  the  line,  or  “ slurring,”  is  caused  by  the 
tympan  being  too  slack,  the  paper  being  cockled  or  wrinkled 
after  damping,  unevenly  drying,  or  being  carelessly  laid 
down  on  the  work. 

Kottenness  or  breaking  up  of  the  lines  is  caused  by  too 
light  a pressure. 

White  streaks  running  through  the  impression  show  that 
the  scraper  edge  is  uneven,  and  requires  adjusting  with  a file 
or  glass  paper. 

Light  patches  constantly  recurring  in  the  same  part  of  the 
print,  or  all  along  one  edge  of  it,  show  that  there  are  hollows 
in  the  stone,  or  thin  places  in  the  tympan  leather  or  backing, 
or  that  the  stone  is  not  level.  In  the  former  case  the  hollow 
parts  are  packed  with  little  pieces  of  paper  applied  as  re- 
quired, and  in  the  latter,  the  stone  must  be  packed  up  from 
below. 

1’atchiness  may  also  be  caused  by  uneven  damping. 

The  above  short  sketch  of  the  operations  of  printing  will, 
in  the  absence  of  practical  lessons,  be  sufficient  for  guidance 
in  the  reproduction  of  pen-and-ink  drawings  and  engravings, 
&c.,  on  the  small  scale,  but  for  anything  more  extensive, 
Richmond's  Grammar  and  other  special  technical  works 
should  be  consulted,  though,  as  said  before,  nothing  but  a 
long  practical  training  will  make  a good  printer. 

(To  be  continued.) 


The  British  Association  meets  at  Southport  on  the 
19th  September  ; Professor  Cayley  is  the  President-elect. 

M.  Carlos  Relvas,  a Portugese  amateur  photographer, 
whose  name  is  familiar  to  many  of  our  readers,  has  been 
nominated  Chevalier  of  the  Legion  of  Honour.  • 

The  sum  subscribed  for  a monument  to  Poitevin  already 
amounts  to  eight  thousand  francs  ; it  is  to  be  erected  in 
the  town  of  St,  Calais. 


504 


THE  PHOTOGRAPHIC  NEWS. 


The  International  Photographic  Exhibition  at  Brussels 
opens  to  the  public  on  Thursday  next. 


The  German  Photographic  Society  hold  their  annual 
meeting  at  Bonn  next  week. 


The  remaik  of  the  Master  of  the  Rolls  that  if  “gre  at 
photographers”  made  use  of  employes,  they  must  take  care 
to  engage  men  with  good  lives,  so  as  to  get  the  full  benefi  t of 
the  Copyright,  might  have  a curious  effect  if  applied 
practically.  For  instance,  to  be  on  the  safe  side,  it  will  be 
absolutely  necessary,  when  a photographer  engages  an  assis- 
tant, to  insist  upon  the  production  of  a medical  certificate 
that  he  is  sound  in  wind  and  limb  ; anyone  over  thirty  will 
be  out  of  the  question,  reckoning  the  Biblical  allowance  of 
three  score  and  ten  as  a fair  average ; while  an  applicant 
who  owns  to  consumption  or  gout  in  his  family,  will  not  have 
the  slighest  chance.  What  may  become  of  the  old  photo- 
grapher’s assistant  will  be  as  great  a problem  to  solve  as 
what  becomes  of  the  old  draper’s  assistant. 


By  the  way,  considering  the  difficulty  there  was  in  decid- 
ing what  will  doubtless  become  an  historic  case,  there  is 
little  cause  for  wonder  that  the  Master  of  the  Rolls  should 
ask  why  people  who  draw  acts  of  Parliament  would  insist 
upon  using  language  which  nobody  else  used.  It  is  devoutly 
to  be  wished,  when  the  next  Copyright  Act  is  draughted, 
that  photographers  will  have  some  voice  in  the  matter  to 
prevent  manifest  injustice  and  absurdity. 


Photography  was  put  to  a severe  test  the  other  day  at  the 
British  Museum — so  severe  indeed,  that  it  is  no  wonder  that 
it  failed.  It  may  not  be  generally  known  that  the 
authorities  have  been  offered  by  Mr.  Shapira,  a well-known 
bookseller  and  dealer  in  antiquities  of  Jerusalem,  fifteen 
leather  slips,  on  the  forty  folds  of  which  are  written  portions 
of  the  Book  of  Deuteronomy,  including  the  Ten  Command- 
ments in  a form  entirely  different  from  that  of  the  received 
text.  These  leather  slips  are  supposed  to  be  sixteen  centuries 
earlier  than  any  other  clearly  authenticated  manuscript  of 
any  other  portion  of  the  Old  Testament,  and,  as  may  be 
readily  imagined,  are  literally  black  with  age.  Apparently 
there  is  no  writing  on  the  surface  ; but  it  was  thought,  as  in 
other  instances,  that  photography  would  reveal  its  presence, 
and  the  slips  were  accordingly  photographed,  but  without 
any  result.  Subsequently  the  surface  was  moistened  with 
alcohol,  and  the  writing  then  became  visible  for  a short  time. 
The  value  placed  by  Mr.  Shapira  on  these  leathern  frag- 
ments is  only  a million  sterling,  a price  which  we  are  afraid 
will  compel  the  vendor  to  look  for  purchasers  outside  the 
British  Museum. 

Some  time  ago  we  suggested  that  balloon  photography 
might  be  made  use  of  in  the  preparations  of  maps  and 
charts.  The  Pall  Mall  Gazette  is  evidently  of  the  same 
opinion,  for  in  referring  to  Sir  Claude  de  Crepigny’s  balloon 
voyage  across  the  Channel,  and  the  statement  of  Mr. 
Simmons  that  the  bottom  of  the  sea  was  clearly  seen  in 
every  direction,  while  every  channel  and  Bhoal  was  easily 


[Aitgust  10,  1883. 

marked,  and  formed  a fibrous  network,  it  says  : — “ By 
the  aid  of  instantaneous  photographs  there  would  be  no 
limit  to  the  increase  of  our  knowledge  of  the  sea  through 
balloons,  and  if  the  daring  American  voyager  comes  across 
the  Atlantic,  we  may  expect  whole  Odyssies  of  sea  romance 
and  encyclopedias  to  be  added  to  our  store. 

Do  not  photographers  make  a mistake  when  they  publish 
cabinet  pictures  at  half-a-crown  each,  and  panel  photographs 
as  high  as  half-a-guinea?  It  is  very  nice,  no  doubt,  to  pro- 
duce a fine,  boldly-executed  photograph,  mounted  upon  a 
smooth  mount  of  black  and  gold,  and  to  say,  proudly,  “ That 
picture  sells  for  ten  shillings  and  sixpence,  and  you  may  see 
them  marked  up  in  Bond  Street  at  that  figure  ; ” but  every- 
body does  not  walk  down  Bond  Street,  and  of  those  who  do, 
not  ten  per  cent,  are  disposed  to  pay  the  price.  What  is  the 
good,  then,  of  saying  that  “ panels  sell  for  half-a-guinea  V ” 
That  is  exactly  what  they  do  not  sell  at;  they  are  offered 
at  half-a-guinea,  but  while  a few  people  may  buy,  the 
majority  do  not.  Surely  it  would  be  better  to  sell  a hundred 
copies  at  five  shillings,  than  a dozen  at  twice  the  amount ; 
better,  at  any  rate,  for  the  photographer,  if  for  nobody  else. 

It  is  generally  argued  that  the  public  will  pay  for  a thing 
if  it  wants  it.  No  doubt ; but  what  will  the  public  pay  for 
things  it  does  not  want?  Photographic  pictures  and  por- 
traits are  not  necessaries,  but  luxuries,  and  hence  it  is 
requisite  there  should  be  some  inducement  to  purchase.  So 
far  as  the  middle  classes  are  concerned,  half  a guinea,  and 
indeed  half-a-crown,  for  a nick-nack,  is  a large  price  to  pay, 
and  the  consequence  is,  only  wealthy  people  purchase. 
Therefore,  in  fixing  upon  a selling  price,  photographers 
must  make  up  their  minds  whether  they  will  cater  for  the  few 
or  the  many  ; and  half-a-guinea,  they  must  bear  in  mind, 
will  purchase  much  more  than  a photograph. 

It  is  doubtful  whether  the  instantaneous  photographs  of 
M.  Marey  and  Mr.  Muybridge,  of  the  horse  in  motion,  will 
have  any  appreciable  effect  upon  artists  in  their  drawings  of 
horses.  An  artist  is  only  bound  to  draw  that  which  the  eye 
can  see,  and  truthful  as  the  positions  of  the  horse  as  repre- 
sented by  the  camera  may  be,  they  are  positions  which  the 
eye  cannot  recognize,  since  the  visual  organ  is  incapable  of 
receiving  and  obliterating  impressions  in  the  hundredth 
part  of  a second  or  so.  This  is  the  grit  of  a paper  which 
recently  appeared  in  the  Magazine  of  Art  on  the  subject, 
and  it  must  be  owned  that  the  writer  who  upholds  the  con- 
ventional treatment  of  a horse’s  gallop  has  good  argument 
on  his  side. 


It  was  an  accident  which  led  Mr.  Du  Manrier  to  utilize 
photography  in  his  drawings.  He  has  lost  the  sight  of  one 
eye,  and  the  sight  of  tLc  other  is  at  times  affected,  and  has, 
he  necessarily  found,  a difficulty  in  working  on  the  small 
drawings  which  appear  weekly  in  Punch.  A friend  sug- 
gested to  him  the  plan  of  making  the  drawings — say — six 
times  as  large  as  they  are  wanted,  and  having  them  photo- 
graphed down.  Mr.  Du  Manrier  tried  this  method,  and 
found  it  answered  perfectly ; indeed,  he  has  been  able  to 
obtain  a delicacy  of  detail  impossible  by  the  ordinary  way. 


August  10,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


505 


“But  do  you  think  it  is  cheaper  to  work  wet  collodion 
than  gelatine  plates  in  a studio  ? ” we  asked  a photo- 
grapher recently.  “ Perhaps  not,”  was  his  reply  ; “ but 
I think  it  very  likely  that  you  would  get  au  assistant  who 
understood  collodion  for  less  pay  than  one  thoroughly 
understanding  the  gelatine  process.” 


Growing  a beard,  however  much  it  may  protect  the 
occasional  evildoer  from  detection  by  the  police,  does  not 
avail  the  habitual  criminal.  In  fact,  it  is  likely  to  aid  in 
his  discovery.  Our  prison  authorities  not  only  secure 
pictures  of  inmates  in  their  shaven  and  shorn  condition, 
but  also  a few  days  previous  to  their  release,  men  “going 
out  ” being  permitted  to  grow  their  beards  three  months 
beforehand.  So  that  the  prison  albums  invariably  contain 
the  pictures  of  habitual  criminals  in  a half-fiedged  con- 
dition as  regards  whiskers  and  moustache,  as  well  as  with 
smooth  features. 


Intending  emigrants  have  now  something  much  more 
tangible  to  believe  in  than  had  Martin  Chuzzlewit  when  he 
was  deluded  by  the  representations  of  the  City  of  Eden, 
which  was  depicted  in  such  glowing  colours.  Anyone  can 
draw  the  plan  of  a city  containing  details  which  may  be 
purely  imaginary ; but  photography  is  a different  matter 
altogether.  For  this  reason,  the  Canadian  authorities,  who 
are  interested  in  promoting  emigration  to  Manitoba  and 
the  North  Western  portions  of  the  Dominion,  have  had  a 
number  of  photographs  of  the  scenery,  farms,  &c.,  taken, 
so  that  British  farmers  may  be  made  acquainted  with  the 
features  of  this  vast  Colony.  These  photographs  will  be 
exhibited  at  the  forthcoming  show  of  the  Royal  Agricul- 
tural Society  at  York. 


A correspondent  writes: — “1  have  heard  that  diamonds, 
and  other  precious  stones,  too,  are  often  appraised  by  the 
light  with  which  they  shine  ; would  not  photography  offer 
an  easy  method  of  determining  the  comparative  value  of 
gems  in  this  respect  ? ” Here  is  a chance  of  investigation  by 
any  of  our  readers  who  happen  to  be  the  fortunate  possessors 
of  a collection  of  precious  stones  ! 


A glance  at  the  list  of  patents  taken  out  in  connection 
with  photography  during  the  last  quarter  of  a century 
might  point  an  instructive  moral  to  those  restless  trained 
photographers  who  no  sooner  conceive  a novelty  than  they 
rush  into  the  expensive  luxury  of  a patent.  In  turning 
over  some  old  records  of  photographic  patents  applied  for 
and  taken  out  some  five-and-twenty  years  ago,  we  fouud 
that  in  1856  twenty-one  patents  for  improvements  in 
photographic  apparatus  were  applied  for ; in  1857  the 
number  was  twenty-three  ; in  1858  fourteen,  and  in  1862 
there  were  no  less  than  twenty-eight.  These  were  ex- 
clusive of  thirty-four  patents  relating  to  stereoscopes  alone. 
Of  all  these  patents,  scarcely  one  was  of  any  commercial 
value  at  the  time,  and  are  certainly  worthless  now.  Dr- 
Hill  Norris’s  albumen  plates  no  doubt  became  established 
market  commodities,  but  we  fancy  that  gelatine  has  now 
almost  superseded  them.  It  is  a notable  fact  that  three  of 


the  most  important  photographic  processes  were  given 
freely  and  generously  to  the  world  by  the  inventors — Mr. 
Fox  Talbot’s  calotype  process,  Mr.  Scott  Archer’s  collodion 
process,  and  Mr.  Bennett’s  rapid  gelatine  process.  It  is 
true  that  Mr.  Fox  Talbot  applied  for  a patent,  but  shortly 
afterwards  abandoned  the  idea.  We  have  only  mentioned 
the  number  of  applications  made  in  four  years,  and  if  to 
these  be  added  the  patents  applied  for  at  other  times,  the 
total  will  swell  up  to  something  astounding. 


“It  ain’t  no  use  to  ask  you  to  have  yours  done,”  said  a 
brother  of  the  camera  as  we  were  sunning  ourselves  outside 
the  “ Forest  Hotel  ” at  Chingford  ; “ and  I fancy  your  turn- 
out is  a chalk  or  two  over  mine.’’  Ile  then  very  carefully 
took  a rapid  rectilinear  from  an  inside  pocket  and  said : 
“I  use  this  for  my  best  work  ; landscapes  and  so  forth. — 
Stops  worn  bright!  why  don’t  I blacken  them  ? Lord  bless 
you ! there  is  no  need  for  blacking  them  with  a lens  like  this .’* 
He  turned  his  back  and  was  off  in  an  instant,  his  companion 
having  booked  an  order.  A plate  was  already  in  the  bath, 
and  in  five  minutes  and  ten  seconds  from  the  time  he  left  us 
he  had  delivered  the  portrait  and  taken  the  money.  He 
resumed: — “ What  do  I do  in  the  winter?  Iam  a muffin 
maker,  but  I prefer  the  photo  line. — No,  I shall  not  travel 
for  views  of  houses  and  groups  on  the  lawn  just  yet;  I 
always  wait  till  the  people  have  returned  from  the  seasidet 
Their  faces  are  so  red  that  they  wonder  that  they  come 
out  dark.  Show  you  my  turn  out  ? Proud  to  do  it.  These 
are  some  of  my  best  views.  Glad  you  think  they  are  good. 
Now  let  me  take  your  portrait ; of  course  I shan’t  charge  you 
anything.  A little  more  to  the  left,  or  there  will  be  too 
much  light  overhead.  There!  you  shall  have  one  of  my 
best  frames.”  We  need  hardly  say  the  man  had  his  fee. 

o 

fatfttt  Jntdligntte. 

Application  for  Letters  Patent. 

3800.  Alberta  Mary  Frances  Caspar,  of  200  and  223,  Regent 
Street,  in  the  county  of  Middlesex,  Artist,  for  an  invention  of 
“ A new  process  for  preparing  and  painting  photographs,  prints, 
or  drawings  so  as  to  resemble  oil  paintings  on  canvas,  to  be 
called  1 Caspar’s  kartaline.’  ” — Dated  3rd  August,  1883. 

Specification  Published  during  the  Week. 

5,933.  R.  E.  Frank,  “Ornamentation  of  glass,  &c.” — A commu- 
nication from  L.  Micciullo,  known  as  D.  Scotellari. 

This  invention  relates  to  improvements  in  copying  and  multi- 
plying works  of  art  and  others  on  glass,  china,  tiles,  or  other 
vitreous  objects  or  metals  to  be  ornamented.  With  a sensitive 
varnish  of  adhesive  properties  the  object  or  surface  to  be 
ornamented  is  covered,  and  the  transparent  pattern,  picture, 
design,  or  object  to  be  reproduced,  is  placed  against  the  varnished 
surface,  where  the  light  will  make  an  impression  upon  the 
varnish,  hardening  the  lighter  parts  and  leaving  the  dark  parts 
soft ; after  a few  minutes,  it  is  removed,  aid  oxides  or  colours 
are  applied  in  the  ordinary  way,  say,  as  follows  : — The  finely- 
pulverized  colours  or  enamels  are  taken  up  (in  a dry  state)  by  a 
brush,  applied  to  the  parts  where  they  are  required,  which  can 
be  clearly  distinguished  in  the  layer  of  varnish  on  the  article  to 
be  ornamented.  The  colours,  enamels,  or  metallic  oxides,  adhere 
more  or  less  according  to  the  degree  to  which  the  adhesiveness 
of  the  varnish  has  been  effected,  that  is  to  say,  according  to  lights 
and  shades  in  the  picture,  design,  &c.,  to  be  reproduced,  or 
according  to  whether  the  varnish  has  hardened  more  or  less. 
The  varnish  may  be  composed  of  yellow  gelatine,  gum- 
tragacantb,  and  quince-seeds  mixed  with  rain  water,  and  chrome 


506 


THE  PHOTOGRAPHIC  NEWS. 


[August  10,  1883. 


salts,  such  as  bichromate  of  potash,  added  to  sensitize  it.  The 
composition  of  the  varnish  may  greatly  vary,  and  has  to  be 
adapted  to  the  weather,  the  state  of  the  atmosphere,  and  similar 
conditions ; for  normal  conditions,  it  may  be  prepared  by  mixing 
the  said  ingredients  in  the  following  propoitions  : — 

Filtered  water  ...  500  parts 

Gelatine  1 part 

Gum  tragacanth ...  10  parts 

Quince-seeds  ...  3 „ 

Chromo-salt  (in  crystals) 40  ,, 

If  the  atmosphere  is  very  dry,  the  quince-seeds  may  be  replaced 
by  sugar,  glucose,  or  honey  ; or  these  latter  substances  may  be 
used  in  addition.  As  a substitute  for  gum-tragacanth,  gum- 
arabic  may  be  used  in  the  proportion  of  say  thirteen  parts.  It 
may  here  be  repeated  that  these  proportions  are  merely  approxi- 
mate, as  no  absolute  rule  can  be  laid  down  as  to  the  exact  pre- 
paration of  the  varnish,  which  will  have  to  be  varied  as  directed 
by  experience  according  to  the  conditions  of  the  light,  the  degree 
of  dryness  of  the  air,  and  other  conditions ; but  practice  will 
readily  suggest  what  is  requisite  to  those  skilled  in  kiudred  pro- 
cesses. When  the  oxides  have  been  applied,  they  are  protected 
by  a coat  of  thick  turpentine,  such  as  is  known  in  France  as 
'*  terebenthine  grasse,”  attenuated,  if  required,  by  common 
tnrpentine,  and  the  other  superfluous  parts  of  tli  e varnish  re- 
moved by  immersion  for  twenty-four  hours  (more  or  less)  in 
water  acidulated  with  vinegar  or  other  acid,  say  pure  acetic  acid, 
or  hydrochloric  acid.  The  strength  of  the  bath  (viz.,  the  pro- 
portion of  acid  therein)  may  be  varied  within  reasonable  limits, 
and  determines  the  length  of  time  which  the  immersion  has  to 
last.  The  more  acid  in  the  bath,  the  shorter  the  immersion  ; the 
weaker  the  bath,  the  longer  the  immersion  has  to  be.  The 
object  under  treatment  is  then  dried,  touched  up,  and  further 
coloured  with  metallic  oxides,  if  desired,  and  fired  in  a kiln. 
Copies  of  works  of  art  and  the  like,  such  as  portraits  on  glass 
(whether  seen  by  transparency  or  by  reflection),  and  either  fired 
or  not,  whether  they  are  drawn  from  nature,  or  a copy  of 
photographs,  or  of  other  designs,  are  with  advantage  produced  by 
making  two  or  more  fac  simile  copies  as  above  described,  the 
said  copies  being  exactly  fitted  one  over  the  other.  Two  copies, 
whereof  one  at  least  is  transparent,  are  sufficient  in  most  cases. 
Upon  one  of  these  the  enamels,  metallic  oxides,  or  other  suitable 
colours,  may  be  applied,  or  it  may  be  touched  up  after  the 
colours  are  fired  ; the  second  copy  is  placed  over  the  coloured  one, 
so  that  all  details  and  contours  register  exactly  in  both  pictures, 
and  consequently  appear  as  a single  image  to  the  eye.  The  two 
copies  are  united  either  by  joints,  by  leads,  or  framing,  or  they 
may  be  cemented  together,  or  especially,  if  of  glass,  fired  with  a 
flux  applied  at  the  edges,  so  that  the  two,  being  fused  together, 
form  a single  piece ; this  may  also,  when  practicable,  be  effected 
by  the  firing  which  fixes  the  colours.  The  manner  of  uniting 
the  plates  by  the  interposition  and  fusion  of  a flux  is  the  one 
which  is  preferable,  it  may,  with  or  without  slight  modification, 
be  employed  for  uniting  plates  produced  by  processes  other  than 
herein  described.  Where  a simple  ornamental  design,  or 
ornamented  surface  without  figures,  &c.,  is  desired,  it  can  be 
obtained  upon  glass  and  other  articles  by  applying  a varnish 
composed  of  asphaltum,  pitch,  or  an  equivalent  material,  dis- 
solved in  spirits  of  turpentine,  to  which  sulphuric  ether  is  added. 
The  plate  is  then  dried,  and  the  design  applied,  or  forms  naturally 
in  the  varnish,  and  the  plate,  &c.,  is  then  treated  with  fluoric 
acid  and  water,  mixed  in  suitable  proportions,  then  washed  in 
water,  and  the  varnish  removed,  as  will  be  readily  understood. 
This  manner  of  proceeding  produces  plates,  &c.,  which  have  a 
“ frosted  ” or  “ crackled  ” appearance,  that  is  to  say,  they  appear 
as  if  covered  by  numerous  vein-like  grooves  or  marks.  The 
varnish  for  this  purpose  may  consist  of  : — 

Asphaltum  100  parts 

Spirits  of  turpentine  60  „ 

Sulphuric  ether 50  „ 

These  proportions  may,  however,  vary  considerably,  and 
according  to  their  variation  will  produce  a different  design 
'J  he  sulphuric  ether  may  be  replaced  by  light  naptha  or  by 
benzoline.  The  component  parts  of  the  varnish  do  not  enter 
into  chemical  combination,  but  merely  become  mechanically 
mixed.  The  mixture  is  applied  to  the  article  by  means  of  a 
brush  or  a pad  similarly  to  “ stippling.”  By  this  means  the  non 
volatile  fatty  component  parts  of  the  varnish  adhere  in  flakes  or 
patches  to  the  article  and  protect  it,  and  the  fluoric  acid  attacks 
only  the  parts  not  so  protected,  and  thereby  the  design  is  pro- 
duced. Having  now  described  the  nature  of  the  said  invention 


as  communicated  to  me,  and  the  manner  of  performing  the 
same,  I wish  it  to  bs  understood,  that  what  I claim  and  desire  to 
protect,  under  the  hereinbefore  in  part  recited  Letters  Patent 
is  : — 

First.  A sensitive  adhesive  varnish  consisting  essentially  of 
water,  gelatine,  gum,  quince-seeds  or  their  equivalent,  and 
chrome  salt,  prepared  substantially  as  and  for  the  purposes  set 
forth. 

Second.  The  process  for  producing  pictures,  patterns,  or 
designs  upon  glass,  china,  potter}’,  or  other  vitreous  substances  or 
metal,  by  applying  a sensitive  adhesive  varnish,  followed  by 
enamels,  metallic  oxides,  or  other  suitable  colours,  the  latter 
beiug  then  protected  by  a suitable  coating,  whilst  the  varnish  is 
removed  from  the  unprotected  parts,  and  subsequently  firing 
the  articles  iu  a kiln  or  furnace  substantially  as  described. 

Third.  The  ornamenting  of  plates  or  articles  of  glass,  china,  or 
other  material,  by  producing  upon  the  surface  thereof  a 
“frosted”  or  “ crackled  ” appearance  by  first  covering  it  with  a 
suitable  varnish,  and  then  immersing  it  in  a bath  of  fluoric  acid 
substantially  as  described. 

Fouith.  The  varnish  for  making  articles  with  a “ frosted  ” or 
“crackled  ” appearance  consisting  of  asphaltum,  turpentine,  and 
sulphuric  ether,  or  their  equivalents,  substantially  as  set  forth. 

Fifth.  The  uniting  of  ornamental  plates  of  glass  and  the  like 
by  the  interposition  of  a flux,  and  fusion,  substantially  as  and 
for  the  purposes  set  forth. 


o — 

LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.K.S. 

Lesson  IV. 

Oblique  Central  Rays.— So  far,  we  have  ODly  considered 
the  focus  of  central  rays  going  nearly  direct  through  the 
middle  of  the  lens.  The  next  question  which  has  a practi- 
cal bearing  is  the  focus  of  oblique  central  rays. 


Ftg.  20. 


As  an  experiment,  take  any  lens,  ABC,  screen  off  all 
of  it  by  S except  a central  hole,  and  focu3  a point  of  dis- 
tant light  lying  in  its  axis,  so  as  to  obtain  its  principal  focus, 
P,  and  then  tilt  the  lens  at  an  angle  round  its  centre, 
and  focus  again.  The  rays  in  this  case  will  cotne  in  the 
direction  H and  Iv,  which  will  briDg  the  focus  to  O.  It  will 
be  found  that  the  focussing  screen  has  to  be  pushed  towards 
the  lens  to  a small  extent.  If  the  angle  of  tilt  be  small, 
the  focus  will  remain  the  same  as  if  the  rays  traversed 
along  the  axis,  and  be  the  principal  focal  length. 

[Mathematically,  the  new  focus/1  for  parallel  rays  is — 


where  n is  the  index  of  refraction,  and  <p  the  circular 
measure  of  the  angle  of  tilt.] 

It  will  now  be  seen  that  focus  for  all  points  of  a view  at 
a long  distance  off  will  be  nearly  on  the  arc  of  a circle  of 
the  radiu3  of  the  principal  focus. 

Oblique  Excentncal  Rays  will  be  treated  of  when  we  con- 
sider spherical  aberratiou.  Before  entering  on  the  subject, 
the  relation  of  a curvature  of  a lens  to  the  index  of  refrac- 
tion will  be  briefly  considered. 

Radius  of  Curvature. — There  arc  some  circumstances  in 
which  it  may  be  useful  to  find  approximately,  and  in  a 
simple  manner,  the  radii  of  the  spheres  to  which  a lens  has 
been  ground.  Mr.  V.  Boys’  method,  which  he  described 
before  the  Physical  (Society  in  1882,  is  as  direct  and  useful 


August  10,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


507 


a manner  as  can  be  employed,  no  niceties  of  the  optical 
bench  being  required. 

Plano  l*'ns  (A  R C.  fi(».  21 1 required  to  be  examined 


Fig.  21. 


in  a clip,  and  in  a piece  of  card,  lv  K,  make  a pinhole,  P, 
about  |-inch  diameter,  and  another,  Q,  about  1J  inches 
from  it,  and  about  £ inch  wide,  in  the  same  horizontal 
line  with  it.  Make  the  central  part  of  the  lens  and  the 
two  holes  the  same  height  from  the  table  on  which  the 
experiment  is  to  be  made.  Take  a small  piece  of  looking 
glass  placed  as  at  M (a  piece  of  microscopic  glass  may  be 
silvered*),  and  at  S place  a candle,  the  flame  of  which  is 
also  at  the  same  height  as  the  pinhole.  The  rays  of  light 
from  Swill  now  illuminate  the  pinhole,  and  be  reflected  by 
the  two  surfaces,  ADC  and  ABC.  If  the  lens  be  moved 
backwards  and  forwards  from  the  card,  an  image  of  the 
pinhole  can  be  made  to  fall  on  the  cardboard  near  the  hole 
Q,  and  it  will  be  found  that  there  are  two  distances,  D Q 
and  D O,  where  the  image  of  the  pinhole  is  in  focus. 
These  positions  are  the  foci  of  the  two  reflecting  surfaces. 
(The  distances  are  in  every  case  measured  from  the  nearest, 
surface  of  the  lens.)  In  the  case  before  us,  the  radius  of 
the  concave  surface  nearest  the  card  will  also  be  the  length 
of  the  radius  of  the  sphere,  the  other  radius  has  to  be 
calculated,  since  it  passes  through  the  glass  and  is  re- 
fracted. To  ascertain  still  more  accurately  the  focus,  an 
ordinary  focussing  glass  may  be  placed  against  the  opening, 
and  the  sharpness  of  the  image  be  thus  better  appreciated. 

One  more  measurement  has  still  to  be  taken  to  complete 
the  necessary  series,  and  that  is,  to  find  rhe  focal  length 
of  the  lens.  By  placing  a piece  of  looking-glass  at  B,  so 
that  the  rays  are  reflected  centrally  back,  and  moving  the 
card  till  the  image  is  again  in  focus,  we  get  a third 
measure,  which  gives  the  focal  length  of  the  lens.  [A 
little  reflection  will  show  that  the  rays  returning  through 
the  lens  from  the  mirror  at  B are  parallel  rays.] 

The  radii  of  curvature  are  calculated  by  the  following 
rule  when  the  rays  pass  the  glass,  and  cannot  be  measured 
directly  as  can  be  with  the  surface  ADC  : — 

Multiply  the  focal  length  of  the  lens  by  the  distance  of 
the  focus  from  one  of  the  reflected  surfaces,  and  divide  by 
the  focal  length  less  the  distance  of  focus  of  the  same  re- 
flected image. 

[Mathematically,  it  is  expressed  thus: — If /is  the  focal 
length  of  the  lens,  and  a and  b the  distances  of  the  images 
by  reflection,  and  r and  r'  the  two  radii  respectively,  then — 

r — and  r'  — -^L. 

f—a  f—b 

When  two  lenses  are  cemented  together,  there  will  be  a 
third  very  faint  image  in  focus  by  reflection,  which  may 
be  called  c.  Then  the  radius  of  curvature  of  these  two 
common  surfaces  »•"=/-  l 

f-C  J 

It  may  be  incidentally  remarked  that,  knowing  the 
radii  of  the  spheres  to  which  a lens  is  ground,  and  the 

• “ See  Instruction  in  Photography.” 


index  of  refraction,  the  focal  length  can  at  once  be  calcu- 
lated. The  rule  is  as  follows: — Multiply  the  two  radii 
together  and  divide  by  their  difference,  and  divide  the 
result  by  the  index  of  refraction,  less  unity.  This  will 
give  the  principal  focal  length. 

[Mathematically,  it  is  this — 


Similarly  can  be  obtained  the  conjugate  foci — 


v and  n being  the  conjugate  focal  distances.] 

An  excellent  magnifying  mirror  may  be  made  with  an 
ordinary  spectacle  lens,  by  silvering  it  on  one  surface,  and 
using  it  as  a mirror  through  the  other  surface.  Condensing 
mirrors  for  microscopes  cau  also  be  made  on  the  same 
principles,  their  advantage  being  that  the  reflecting  surface 
is  always  bright. 

Spherical  Aberration. — In  the  last  chapter,  when  it  was 
said  that  the  spherical  surface  acted  as  would  do  au  indefi- 
nite number  of  prisms,  it  was  also  said  that  such  a surface 
brings  all  the  images  formed  by  the  different  portions  very 
nearly  to  one  focus.  This  very  nearly  is  an  important 
addition  to  the  axiom.  The  fact  is  that  the  central  por- 
tions of  a lens,  such  as  that  in  fig.  22,  make  the  focus  a 
little  further  out  from  the  lens  than  the  rays  which  come 
from  the  margin.  Thus,  in  fig.  22,  suppose  B to  be  a point 


Fig.  22. 


of  monochromatic  light ; then  the  rays  B G and  B 11  will 
meet  together  at  a point  £,  further  from  the  lens  than  the 
rays  striking  the  lens  at  S and  T,  which  will  meet  some- 
where about  I.  If,  then,  the  whole  of  the  lens  were  used, 
instead  of  the  image  of  B (a  point  of  light)  also  being  a 
point,  it  would  be  a fuzzy  disc,  and  the  image  of  a candle- 
flame  would  be  of  the  same  undefined  character  as  that 
which  has  been  described  in  Chapter  I.,  where  the  image 
was  formed  by  passage  through  a hole  in  a card. 

This  want  of  sharpness  is  caused  by  the  surface  of  a sphere 
not  being  exactly  the  proper  shape  to  give  to  the  glass,  and 
this  defect  is  technically  called  spherical  aberration.  In 
order,  then,  to  obtain  a sharp  image,  manifestly  only  a 
portion  of  the  lens  should  be  employed,  and  the  smaller  that 
portion,  the  greater  sharpness  there  will  be  found. 

There  is  nothing  so  satisfactory  as  the  experimental  proof 
of  an  assertion,  and  the  student  should  convince  himself  of 
the  existence  of  spherical  aberration.  Take  any  lens, 
whether  photographic  or  otherwise  (an  ordinary  spectacle 
lens  will  answer  the  purpose),  and  mount  it  so  that  an 
image  of  a distant  spirit-lamp  flame,  of  which  the  wick  has 
been  given  a wash  of  common  salt  in  spirit,  can  be  viewed 
on  the  focussing  screen.  Take  two  pieces  of  card,  and  cut 


508 


THE  PHOTOGHATHIC  NEWS 


[August  10,  1883. 


out  apertures  as  in  figs.  23  and  24.  The  cards  themselves 
must  be  large  enough  entirely  to  cover  the  lens  when 
placed  against  it.  The  card  cut  as  in  fig  23,  will  allow  the 


Fig.  23.  Fig.  24. 

central  portion  of  the  lens  alone  to  be  open,  whilst,  when 
an  aperture  in  a card  like  fig.  24  is  used,  the  margins  of 
the  lens  will  be  uncovered.  Focus  with  the  card  fig.  23  in 
contact  with  the  lens,  and  then  change  it  for  that  repre- 
sented in  fig.  24.  It  will  be  found  that  to  obtain  sharpness 
in  the  two  cases,  the  focus  will  be  altered  (unless  a lens 
happens  to  be  used  which,  by  the  refractive  index  of  the 
glass,  is  virtually  free  from  aberration).  This  will  show 
that,  as  a rule,  spherical  surfaces  will  give  aberration  of 
this  description. 

There  are  special  cases  where  there  is  no  appreciable 
spherical  aberration.  Thus,  a glass  which  has  a refractive 
index  of  T686  (or  nearly  that),  if  made  into  a plano-convex 
lens  having  the  anterior  surface  convex,  the  margin  and  the 
centre  of  the  lens  will  bring  parallel  rays  to  focus  at  the 
same  point.  Such  being  the  case,  if  a point  of  light  be 
placed  at  this  focus,  the  rays  emerging  will  be  parallel. 
This  form  is  used  for  condensing  lenses  when  the  glass  has 
a high  refractive  index.  Again,  with  crown  glass  having 
a refractive  index  of  T5,  if  the  radii  of  the  spheres  into 
which  they  are  formed  be  as  6 to  1,  the  spherical  aberra- 
tion will  be  a minimum.  For  glasses  of  other  refractive 
index,  calculations  can  also  be  made  to  give  a minimum. 


3-  littiffttstrg  of  § 

It  is  by  no  means  necessary  to  describe  in  detail  the  various  in- 
struments which  have  been  devised  for  enabling  the  photographer 
to  judge  of  the  actinic  intensity  of  the  light,  especially  as  such 
instruments  are  seldom  employed  during  actual  work.  Johnson’s 
actinometer  is,  however,  of  considerable  value  to  the  carbon 
printer,  and  it  consists  of  a small  metal  box  containing  a roll  of 
sensitive  albumenized  paper  so  arranged  that  it  can  be  drawn 
under  an  opening  in  the  lid  of  the  box,  the  space  around  this 
opening  being  so  coloured  as  to  resemble  silver  paper  which  has 
been  exposed  to  light  for  a short  time.  When  the  exposed  part 
of  the  sensitive  paper  matches  the  painted  portion  of  the  lid,  one 

tint  is  said  to  be  registered, 
and  the  actinic  intensity  of 
the  light  is  inversely  as  the 
time  required  for  the  registra- 
tion of  one  tint.  Woodbury’s 
actinometer  is  a somewhat 
similar  instrument,  but  ispro- 
, vided  with  a graduated  scale 
of  tints  round  the  opening 
Actinometers  in  which 
stepped  screens  built  up  out 
of  varying  thicknesses  of 
paper  or  other  translucent 
material,  and  having  a num- 
ber impressed  on  each  grade, 
are  occasionally  employed, 
the  screen  being  placed  over 
a sensitive  suiface  and  ex- 
posed to  light.  Under  these 
circumstances,  the  last  mini 
bcr  which  is  visible  on  the  sensitive  surface  indicates  the  intensity 
of  the  light.  Warnerke’s  sensitometcr  consists  of  a graduated 
screen  of  this  character,  and  by  noting  the  effect  when  a staudard 
exposure  is  given,  it  becomes  practicable  to  estimate  the  relative 
sensitiveness  of  various  plates.  All  light-screens  or  graduated 
actinometers  hitherto  proposed  are  quite  arbitrary,  and  conse- 
quently incapable  of  exact  reproduction,  excepting  the  sulphur 


Fig.  1. 


light -screen  proposed  in  the  Photographic  News,  1881,  p.  38. 
This  consists  of  a scale  built  up  of  various  thicknesses  of  sulphur. 
See  Sensitometer. 

Wamerke's  actinometer  consists  of  a metal  box,  in  which  is  a 


Fig.  4. 


Fig.  2. 


circular  opening  covering  a 
disc  painted  with  Balmain’s 
luminous  paint,  and  when  the 
box  is  closed  an  eye-piece 
ranges  opposite  tothis painted 
disc,  this  arrangement  being 
shown  by  figs.  2 and  3. 

After  exposing  the  phos- 

fihorescent  surface  to  the 
ight,  and  before  closing  the 
instrument  a graduated  disc 
(fig.  4)  is  interposed  between 
the  eye-piece  and  phospho- 
rescent surface  ; and  as  this 
disc  is  turned  round,  increas- 
ingly opaque  parts  come  be- 
tween the  eye-piece  and  the 
luminous  surface ; the  last 
letter  or  figure  which  can  bo 
read  on  the  graduated  screen 
serving  to  indicate  the  inten- 
sity  of  the  light  to  which  the 

luminous  paint  was  exposed. 

Vidal  has  devised  a somewhat  complex  but  very  efficient  actino- 
meter, in  which  advantage  is  taken  of  the  fact  that  the  electrical 


resistance  of  selenium  diminishes  when  exposed  to  light.  A 
specially  arranged  cell  of  crystalline  selenium  and  a galvano- 
meter are  included  in  an  electric  circuit,  when  every  variation  of 
the  light  shining  on  the  selenium  affects  the  galvanometer  needle. 

Many  sunshine-recording  instruments  based  on  the  actinometers 
of  Jordan,  Herschell,  and  Hunt,  have  been  introduced  from  time 
to  time,  but  we  need  only  refer  to  two  of  the  most  recent  and 
convenient  sunshine  recorders.  Mr.  Campbell’s  apparatus  is  thus 
described  in  the  Photographic  News  : — 

“ About  thirty  years  ago,  Mr.  Campbell,  of  Kensington,  fitted 
a ball  of  glass  into  a wooden  bowl,  the  adjustment  being  so  made 
as  to  ensure  the  coincidence  of  the  heat  focus  of  the  solar  rays 
with  the  surface  of  the  wood,  so  that  whenever  the  instrument 
is  exposed  to  sunshine  of  sufficieut  intensity,  the  great  luminary 
leaves  its  trace  in  the  shape  of  a charred  mark  on  the  internal 
surface  of  the  wooden  bowl.  This  somewhat  crude  apparatus  was 
found  to  yield  most  valuable  results,  as  the  depth  to  whioh  the 


August  10,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


509 


wood  was  burned  or  charred  indicated  approximately  the  intensity 
of  the  solar  radiations.  Professor  Stokes  has  recently  pointed 
out  that  it  is  not  by  any  means  necessary  to  sacrifice  a whole 
wooden  bowl  for  each  experiment,  and  that  a highly  satisfactory 
result  can  be  obtained  by  using  a strip  of  card  mounted  on  a kind 
of  half-round  gallery  placed  as  shown  by  the  subjoined  wood-cut. 


Another  improvement  is  the  accurate  graduation  of  the  cards 
into  hours  and  half  hours  ; and  in  order  to  render  the  same  cards 
available  at  all  seasons,  the  frame  is  so  marked  off  that  the  posi- 
tion of  the  printed  card  can  be  varied  according  to  the  time  of  the 
year.  In  this  form  the  apparatus  is  a sun-dial  of  no  mean  value, 
it  being  often  easy  to  tell  the  time  by  it  within  ten  minutes,  and 
all  calculations  are  rendered  unnecessary,  owing  to  the  facilities 
provided  for  the  accurate  adjustment  of  the  cards. 

“Not  only  does  the ‘sunshine  recorder’ in  its  present  con- 
venient form  register  sunshine,  but  the  extent  to  which  the  card  is 
charred  indicates  in  a very  striking  manner  the  intensity  of  this 
sunshine  ; it  being  most  curious  to  note  how  the  course  of  the 
sun  is  sometimes  marked  by  a fine  line  only  just  visible  when  the 
card  is  carefully  placed  in  relation  to  the  light,  and  at  others  by  a 
thorough  charring  of  the  card  throughout  its  entire  thickness. 
The  photographer  knows  very  well  that  the  thermic  energy  ot 
the  sun’s  rays  does  not  correspond  exactly  with  their  actinic 
activity ; but,  notwithstanding  this,  valuable  information  may  be 
obtained  by  an  inspection  of  the  card  when  an  exposure  is  about 
to  be  made.” 

The  following  description  of  the  somewhat  more  elaborate 
Whipple-Casella  instrument,  is  also  to  be  found  in  a subsequent 
number  of  the  Photographic  News  : — No  one  is  more  interested 
than  the  photographer  in  the  vigour  and  duration  of  the  sun's 
rays  that  fall  upon  the  earth,  and  hence  we  make  no  apology  for 
bringing  before  our  readers  another  and  improved  apparatus  con- 
structed upon  a design  of  Mr.  Whipple,  the  director  of  the  Kew 
Observatory,  and  Mr.  Casella,  the  well-known  optician  of  Holborn 
Bars.  The  instrument,  as  our  readers  will  see  from  the  drawing, 
is  an  adaptation  of  the  glass  sphere  which  Mr.  J.  P.  Campbell  was 
the  first  to  suggest  as  a ready  means  of  recording  the  hours  and 
minutes  of  sunshine.  The  sphere  acts  as  a convex  lens  or  burning 
glass,  and  is  thus  made  to  produce  a charred  line  along  a printed 
sheet  or  diagram  that  is  placed  suitably  in  the  focus  of  the  rays. 
The  diagram  is  divided  into  spaces  representing  the  hours  of  the 
day,  and  if  at  sunset  it  is  found  that  a charred  line  exists  through- 
out all  these  spaces,  there  is  proof  at  hand  that  the  sun  has  been 
shining  all  day.  In  the  same  way,  if  the  charred  line  only  appears 
at  certain  intervals  on  the  printed  sheet,  then  we  know  that 
during  certain  times  of  the  day  only  has  the  sun  shone,  the  actual 
periods  of  dull  and  bright  weather  being  at  once  shown  by  the 
diagram. 

“ About  ninety  per  cent,  of  sunshine  may  be  in  this  way  re- 
corded, for  very  feeble  sunlight  fails  to  exert  any  action  ; but  we 
suggested  in  our  former  article  that  if  a more  sensitive  recording 
material  were  necessary,  this  might  probably  be  produced  by 
treatment  of  tho  paper  to  be  charred,  with  slightly  sensitive 
chloride  of  silver  or  other  similar  medium. 

“ There  are,  however,  some  slight  defects  in  the  Campbell 
recorder,  which  have  led  to  the  design  of  the  present  improved 
instrument,  one  of  the  shortcomings  being  the  fact  that  it  is 
necessary  to  construct  the  instrument  especially  for  the  latitude 
of  the  spot  where  it  is  to  be  used.  It  cannot  be  transferred  fiom 
one  place  to  another.  The  Whipple-Casella  instrument,  on  the 
other  hand,  is  universal-,  that  is  to  say,  it  may  be  set  to  work  in 
any  part  of  the  world  on  adjusting  the  polar  axis  (B  C)  of  the 
glass  sphere  (A)  to  the  height  of  the  pole  at  the  place  of  obser- 


vation. When  this  (the  latitude)  is  known,  the  adjustment  of  the 
instrument  may  be  performed  at  once  by  means  of  a graduated 
circle  (D)  provided  for  the  purpose. 

“ Another  defect  of  the  Campbell  instrument  is  the  necessity  of 
having  the  diagrams  or  cards  cut  to  different  curvations  to  fit 
round  the  sphere  at  different  seasons  of  the  year,  as  also  the 
necessity  of  shifting  them  from  day  to  day.  The  Whipple- 
Casella  supporter  is  provided  with  several  movable  card-holders, 
K,  all  adapted  to  receive  strips  of  card  cut  straight,  and  of  uniform 
width,  so  that  they  are  perfectly  interchangeable  one  with  another, 
and  the  same  kind  may  be  used  all  the  year  round. 

“ The  card-holders  are  held  in  their  place  by  a clip,  E,  so  that 


when  it  is  necessary  to  change  the  paper,  one  holder  is  slipped  ont 
and  another  in,  an  operation  occupying  but  a second  sr  two, 
leaving  the  observer  at  liberty  to  remove  the  cards  from  the  holder 
at  any  time  during  the  day  when  convenient,  and  allowing  of  his 
drying  them  before  the  fire,  if  wet,  before  withdrawing  them  from 
the  grooves,  thereby  avoiding  the  risk  of  tearing  or  destroying 
them  in  the  operation. 

“ In  order  to  assist  the  observer  in  placing  his  card  in  the 
proper  position  for  receiving  the  sun’s  image,  a graduated  scale, 
F,  is  provided,  engraved  with  divisions  indicating  the  sun’s  place 
any  day  of  the  year.  If,  then,  the  pointer  be  set  to  the  correct 
date,  and  tho  clamp,  G,  be  screwed  fast,  the  card  will  be  in  its 
correct  place. 

“ Owing  to  the  smaller  diameter  of  the  circle  described  by  the 
sun’s  image  round  the  glass  sphere  at  tho  solstices  than  at  the 
equinoxes,  it  is  found  necessary  to  have  card-holders  to  two  differ- 
ent diameters,  the  larger  ones  to  be  used  during  the  months  of 
May,  June,  July,  and  August,  whilst  the  smaller  ones  are  em- 
ployed the  remainder  of  the  year.” 

These  instruments  rather  record  the  heat  of  the  sun’s  radiations 
than  the  actinic  energy,  and  are  not  actinometers  in  the  strict 
sense  of  the  word  ; but,  by  reducing  the  light,  and  using  chloride 
of  silver  paper,  they  are  converted  into  extremely  useful  actino- 
metors. 


FRENCH  CORRESPONDENCE. 

Captain  Biny’s  Photo-engraving  Process  for  Half- 

TINTS. 

Captain  Biny  has  finished  his  experiments  on  a photo- 
engraving process  on  zinc;  it  may  be  used  either  for 
copperplate  or  lithographic  printing.  The  following  des- 
cription shows  this  ingenious  method. 


510 


THE  PHOTOGRAPHIC  NEWS. 


[August  10,  1883. 


1st.  Take  some  highly-polished  zinc,  thickness  No.  8 or 
No.  10 ; choose  the  smoothest  sheets,  free  from  streaks 
and  defects. 

2nd.  Clean  the  plate  in  the  water  containing  three  per 
cen*'.  of  hydrochloric  acid,  and  get  rid  of  all  bubbles  of 
hydrogen. 

did.  Render  it  hygroscopic  in  the  bath  of  iodine,  gallic 
acid,  and  phosphoric  acid,  indicated  in  the  previous  des- 
cription of  the  process  of  photo-engraving  in  outline. 

4th.  Next  wash  the  zinc  in  running  water,  and  dry  care- 
fully between  blotting-paper. 

5th.  When  quite  dry,  coat  it  with  coal-tar  pitch,  eight 
per  cent,  dissolved  in  pure  benzine  ; as  soon  as  spread,  it 
may  be  heated  in  the  dark  up  to  the  temperature  of  50  0 C., 
and  allowed  to  dry  until,  upon  cooling,  it  is  no  longer 
sticky. 

6th.  Expose  behind  a positive  plate  having  soft  half- 
tints. 

7th.  Control  the  exposure  with  the  help  of  slips  coated 
with  coal  tar,  it  is  more  rapid  than  bitumen. 

8th.  Develop  as  before  with  turpentine  and  benzine,  and 
finish  the  process  in  petroleum  and  one-tenth  its  quantity 
of  spirits  of  turpentine.  This  new  bath  by  forming  alight 
homogeneous  varnish  gives  a chemical  grain  well  suited  to 
the  half-tints  of  the  tar.  Next  cause  the  plate  to  rotate  so 
that  the  mixture  of  petroleum  and  turpentine  may  be 
uniform  in  texture  and  almost  entirely  evaporated.  Heat 
the  plate  again  up  to  50°  or  60°  C.,  and  allow  it  to  cool. 

9th.  To  engrave  the  image  thus  obtained  ,'on  the  zinc 
with  all  its  half-tints,  make  use  of  the  following  bath  : — 

Pure  water  100  grammes 

Water  saturated  with  sulphate 

of  copper 50  „ 

Sulphuric  or  hydrocloric  acid...  3 „ 

Bubbles  of  hydrogen  will  be  disengaged  from  all  the 
little  points  constituting  the  chemical  grain  of  the  plate, 
and  at  the  same  time  particles  of  copper  will  be  deposited 
in  their  place,  forming  a positive  image,  which  must  not  be 
touched  while  in  the  bath.  As  soon  as  the  image  is  well 
formed  in  copper,  it  can  be  removed  and  placed  in  water, 
frequently  changed.  It  may  next  be  wiped  between 
blotting-paper,  and  dried  in  the  open  air. 

10th.  Remove  the  insoluble  coal  tar  and  non-adherent 
copper  with  a brush  soaked  in  benzine.  Rinse  with  clean 
benzine,  and  wipe  well  with  a soft  cloth  so  as  not  to  scratch 
it. 

11th.  To  ink  the  plate,  coat  it  with  varnish  or  oil  and 
fatty  ink,  so  as  to  fill  up  the  grain  of  the  picture— heating 
it  if  necessary. 

12tb.  Rub  the  plate  with  a damp  flannel  to  remove 
superfluous  ink,  and  print  off  in  a press  for  line-engraving 
if  the  lines  are  deep,  or  in  a lithographic  press  if  but 
slightly  indented.  The  depth  of  the  lines  in  the  plate 
depends  on  the  thickness  of  the  coal  tar  film.  This  process 
is  most  ingenious,  and  the  various  operations  it  admits  of 
are  more  easy  to  execute  than  describe.  Captain  Biny  will 
finish  these  experiments  by  determining  the  proportional 
chemical  grain  for  heliographic  plates  in  a Bimple  and 
economical  manner.  Leon  Vidal. 


CLINICAL  KNOWLEDGE. 

BY  THOMAS  C.  STRICKLAND. 

A few  years  ago  photographers  weighed  out  the  iron  for  deve- 
loper, and  were  careful  to  pulverize  it  in  a moitar.  To-day 
most  all  make  a saturated  solution,  or  weigh  the  iron  and  put  it 
into  the  water  without  pulverizing.  By  either  method  the 
labour  of  pulverizing  is  saved.  Not  much  in  that,  you  may  say. 
But  when  you  come  to  thiuk  of  it  rightly,  you  will  find  that  it 
was  so  in  those  days  for  want  of  thought.  No  benefit  was 
derived  from  pulverizing  ; not  even  time.  Some  fifteen  years 
ago  I kuew  a photographer  who  kept  a customer  waiting  until 
he  sent  a boy  five  miles  for  a mortar.  lie  depended  on  his 
written  formula,  and  that  said — pulverize.  Strange  as  it  may 
seem,  he  had  never  thought  of  the  why.  And  even  to-day  things 


as  foolish  are  oftener  done  than  most  would  care  to  own.  Not 
three  months  ago  an  instance  occurred  regarding  a copying  tube 
fully  as  absurd. 

I do  not  advocate  that  every  man  who  works  in  the  dark  room 
should  be  a thorough  chemist ; but  he  should  know  all  about 
the  chemicals  he  uses.  The  reason  is  obvious.  The  list  is  not 
so  very  long.  And  a study  of  them  that  will  enable  you  to  give 
the  why  intelligently,  will  add  reputation  to  your  work.  And 
that  means  more  gold  in  your  pocket. 

Now,  water  is  a familiar  element,  and  one  much  used  in  the 
dark  room.  A tolerably  pure  water  may  give  good  results. 
Many  a time  the  bath  is  boilei,  sunned,  and  condemned,  when 
the  fault  was  in  the  water.  A strip  of  glass  an  inch  or  two  wide 
by  three  long,  and  a lamp,  is  sufficient  to  test  for  iron  and 
earthy  matter.  If,  upon  evaporating  a drop,  only  a ring  or  two 
is  left  upon  the  glass,  it  contains  but  little  earthy  or  saline 
matter.  But  if  a crust  is  left,  it  is  called  loaded.  And  if  that 
crust  is  brownish,  it  contains  iron.  Use  litmus  paper  to  test  for 
acid.  Water  has  great  power  of  solution,  and  is  essential  in  the 
processes  of  art,  as  well  as  a sustenance  of  animal  life.  Moun- 
tains of  stone  give  way  to  this  power,  and  wherever  it  is,  a change 
is  going  on — dissolving  here,  depositing  there.  On  account  of 
this  power,  it  becomes  what  is  termed  impure. 

Particles  of  matter  possess  powers  of  attraction  and  repulsion. 
And  a knowledge  of  these  regarding  particular  elements  give 
rise  to  the  useful  “ dodges,”  as  they  are  called,  yet  they  are  no 
more  or  less  than  principles  in  chemistry. 

Some  substances  have  great  affinity  for  each  other,  and  readily 
unite  ; alcohol  and  water,  for  instance.  But  when  so  mixed  the 
individual  elements  lose  their  name  and  individuality,  and  the 
compound  is  given  another  name.  By  the  way,  some  men  have  a 
strong  affinity  for  the  two  named  elements,  but  I hope  no  artist 
does,  for  when  saturated  he  also  loses  his  individuality,  and  is 
given  another  name. 

Take  nitric  and  hydrochloric  acid,  mix,  and  the  result  is  a new 
solution. 

This  will  dissolve  gold,  and  even  if  you  buy  your  gold,  and 
prefer  to  do  so  from  press  of  work,  it  will  pay  you  to  make  a 
small  quantity  just  for  the  practice. 

To  dissolve  as  much  as  a gold  dollar  piece  take  : 

Nitric  acid  1 drachm 

Hydrochloric  acid  3 drachms 

Water  ...  ...  ...  ...  ...  3 ounces 

After  the  gold  is  dissolved,  add  carbonate  of  soda  until  a green 
precipitate  is  formed.  Filter  and  add  36  ounces  of  water. 

The  fact  is,  if  you  would  have  a thorough  knowledge  of  the 
chemicals  of  the  dark  room,  you  must  experiment.  With  prac- 
tical work  you  become  familiar  with  tne  action  of  the  different 
drugs.  Probably  you  were  not  aware  of  the  powerful  agents 
used  in  toning. 

I have  noticed  that  parties  using  dry  plates,  who  never  used 
wet  plates,  however  intelligent  they  may  be,  are  more  at  sea 
when  trouble  comes  than  those  who  for  years  used  wet  plates. 
Though  a wet-plate  worker  may  have  never  made  dry  plates,  if 
he  has  been  a thinking  man,  he  knows  what  he  is  about  when 
handling  a dry  plate.  When  you  get  iron  from  your  dealer,  if 
it  has  effloresced,  you  condemn  it.  You  detect  it  at  once,  from 
your  past  knowledge  of  how  it  should  look.  The  brilliant  green 
crystal  had  given  place  to  a dull  grayish  powder.  So  it  is  with 
every  chemical  we  use,  if  we  will  only  make  a knowledge  of  them 
as  familiar. 

A knowledge  of  the  repulsion  between  different  particles  of 
matter  is  useful  in  many  ways  in  everyday  work.  For  instance, 
if  you  use  the  cheap  tin  pan  to  develop  dry  plates  in,  and  it 
becomes  rusty,  and  you  have  not  time  to  rc-varnish,  grease  or 
warm  slightly  and  run  beeswax  over. 

Working  blindly  is  not  business.  Even  in  the  cities  you  will 
find  men  using  pine  trays  with  glass  bottoms,  which  is  a useless 
expense.  However,  even  to  use  one  with  glass  bottom  is  far 
ahead  of  a few  years  ago.  It’s  no  difference  what  material  your 
tray  is  made  of,  if  it  is  not  porous,  and  is  of  itself,  or  covered 
with  a substance  having  no  afliuity  with  the  solution  it  is  in- 
tended to  hold. — St.  Loais  Fhooogrnpher. 

STAINED  SENSITIVE  FILMS. 

Sir, — I have  just  received  the  last  number  of  your 
excellent  journal,  and  I find  in  it  an  article  and  a repro- 


Acgcst  10,  1883.) 


THE  PHOTOGRAPHIC  NEWS 


511 


duction  of  an  engraving  which  appeared  in  La  Nature  a 
fortnight  ago,  on  the  subject  of  isochromatic  plates, 
which,  by  the  way,  have  been  mentioned  already  several 
times  in  your  journal  by  M.  Leon  Vidal,  your  Taris 
correspondent,  who  has  experimented  them  already  on 
several  occasions. 

1 beg  leave  to  make  some  observations  on  your  article, 
and  at  the  same  time  I take  the  liberty  of  sending  you  a 
photographic  print,  which  served  for  the  engraving  you 
have  been  good  enough  to  reproduce,  so  that  you  may  see 
that  if  there  be  exaggeration  in  the  effect  of  the  engrav- 
ing, it  is  really  very  slight  indeed,  and,  in  fact,  the  con- 
trary would  perhaps  be  the  truth.  I send  enclosed  at  the 
same  time  bits  of  the  stuffs  employed.  I need  not  say  that 
these  stuffs  were  chosen  expressly  to  show  in  a striking 
and  easily  perceptible  manner,  the  isochromatic  qualities 
of  the  plates  in  comparison  with  those  of  the  ordinary 
kind— you  will  see  that  at  once.  But  it  is  no  less  true 
that  these  qualities  are  evident  in  all  cases  where  there 
are  blues,  purples,  yellows,  &c. ; you  see  1 don’t  say  rgds. 

If  the  subject  interest  you  sufficiently,  we  would  be  very 
glad  to  send  you  a few  of  the  plates,  so  that  you  may  try 
them  yourself,  and  1 have  no  doubt  but  that  you  will  be 
thoroughly  convinced  after  this  trial  of  the  very  sensible 
difference  that  exists  between  them  and  the  ordinary  ones, 
whether  the  film  be  thick  or  thin. 

I hardly  dare  to  open  the  scientific  side  of  the  question, 
which  is  very  far  from  being  so  simple  as  you  seem  to 
suppose  it.  The  simple  staining  of  plates  has,  as  you  say 
yourself,  little  or  no  effect  in  an  isochromatic  way;  it  is 
very  easy  to  convince  oneself  of  the  fact ; while  on  the 
contrary,  when  the  plate  has  been  prepared  in  the  suitable 
way,  it  has  hardly  need  to  be  coloured  at  all  to  produce 
the  desired  effect ; and  when  the  operations  of  developing, 
fixing,  washing,  &c.,  are  finished,  the  film  has  very  nearly 
the  same  aspect  as  an  ordinary  one. — I am,  yours  truly, 

John  Clayton. 

[We  shall  be  pleased  to  receive  specimens  of  the 
plates. — Ed.  B.N.] 


DOES  THE  AMOUNT  OF  GELATINE  AFFECT  THE 
RAPIDITY  AND  QUALITY  OF  THE  NEGATIVE? 

Siu, — Mr.  A.  L.  Henderson  says  in  your  last  issue,  page 
485,  “ The  greatest  number  of  plates  I have  coated  with 
an  emulsion  made  with  200  grains  of  silver  nitrate,  was 
about  thiity-six  dozen  quarter-plates.”  Is  this  a mis- 
print? being  considerably  less  than  half  a grain  to  each 
quarter-plate ! Will  Mr.  Henderson  kindly  give  his 
formula.—  C.  J.  Dobbs. 


WHY  IS  THIS  THUS? 

Sir,— -I  understand  that  there  are  two  photographic 
clubs  or  societies  in  London,  which  hold  weekly  meetings. 
One  announces  the  subject  for  discussion,  but  does  not 
report  thereon  ; the  other  does  not  make  any  announce- 
ment, but  gives  a report  of  a discussion,  &c.  The  Secre- 
tary of  the  Club  has  kindly  offered  to  propose  me  as  a 
member ; his  offer  1 have  declined,  as  I cannot  attend  the 
meetings,  or  feel  inclined  to  wait  till  the  end  of  the  year 
for  the  reports,  which,  I am  told,  are  issued.  I take  the 
liberty  of  addressing  you,  as  1 perceive  a matter  very 
interesting  to  me  is  advertised  for  discussion  at  the  next 
meeting. —Yours  respectfully,  Autemcs  tiie  Second. 

Ilfracombe , August  4,  1883. 


oi  Somlus. 

London*  and  Provincial  Photographic  Association. 

At  the  ordinary  weekly  meeting  of  this  Association,  held  on 
Thursday,  the  2nd  inst.,  Mr.  W.  E.  DebenhaM  in  the  chair, 

Mr.  Cowan  showed  some  specimen  prints  coloured  by  a stain, 
which  could  be  removed  with  alcohol,  the  process  being  stated 


to  be  so  simple  that  it  could  be  acquired  by  any  lady  in  a lesson 
of  one  hour. 

The  Chairman  said  this  idea  had  Jbeen  carried  out  with 
aniline  dyes,  but  that  they  were  liable  to  fading. 

Mr.  Henderson  had  also  found  difficulty  in  rendering  the 
colours  indelible. 

The  Chairman  suggested  the  use  of  gum  water. 

The  following  question  from  the  box  was  next  discussed,  viz., 
“Why  does  a Gelatine  Plate  always  Dry  ro  udthe  Edges 
first  ? ” 

Mr.  Henderson  said  that  when  a plate  was  imperfectly 
washed,  the  salts  always  crystallized  towards  the  centre. 

The  Chairman  suggested  that  a current  of  air  passing  over 
the  edges  of  the  plates  would  take  up  the  moisture  in  the 
centre  less  readily. 

Mr.  C.  R.  Cooke,  on  behalf  of  Mr.  J.  B.  B.  Wellington, 
passed  round  some  plates  coated  with  an  unwashed  emulsion 
prepared  as  follows  : — 

Silver  nitrate 

Water 

Gelatine  

Potassium  bromide 

Gelatine  ... 

Water  

Potassium  iodide... 

Water 

Gelatine  (Heinrich) 

Boil  forty-five  minutes.  This  gave  an  emulsion  of  a bright  ruby 
colour  by  transmitted  light,  and  coated  forty-five  half-plates. 
The  rate  of  exposure  was  twelve  seconds. 

Mr.  Henderson  said  a quicker  plate  would  have  been 
obtained  by  adding  more  gelatine. 

Mr.  Cowan  inquired  whether  an  excess  of  bromide  in  an  un- 
washed emulsion  did  not  teud  to  make  it  very  slow. 

Mr.  Henderson  said  the  excess  was  very  small  when  a large 
quantity  of  emulsion  (weak  in  silver)  was  prepared,  and  it  did 
not  materially  affect  the  density.  He  had  added  two  grains  of 
free  bromide  to  the  ounce  of  emulsion  previous  to  coating,  with- 
out materially  affecting  the  rapidity. 

In  reply  to  a question,  as  to  whether  anyone  present  had  had 
experience  with  hydrokinone, 

Mr.  Cowan  said  he  found  no  difference  in  the  result  when 
pyro  was  used,  and  that  he  could  not  get  a clear  picture  without 
the  addition  of  bromide.  Citric  acid  acted  as  a preservative,  as 
with  pyro. 


SLalk  in  tin  ^tubin. 


The  Willesdex  Waterproof  Paper  and  Cardboard.— This 
material,  which  is  prepared  by  half  dissolving  the  surface  of 
ordinary  paper  with  an  ammoniacal  cuprous  solution,  and  then 
drying,  possesses  a toughness  somewhat  comparable  to  that  of 
parchment,  and  it  seems  likely  to  receive  many  applications  in 
the  workshop  of  the  photographer.  We  have  already  referred 
to  its  use  in  the  making  of  backgrounds,  but  it  seems  to  acquire 
more  real  importance  as  a means  of  protecting  gelatine  plates 
intended  for  export.  Those  who  have  visited  the  Fisheries’ 
Exhibition  have  seen  how  readily  it  can  be  used  in  the  con- 
struction of  light  buildings  of  the  studio  or  dark-room  type.  The 
three  ply  cardboard  answers  admirably  for  the  sliding  shutters  of 
dark  slides,  and  we  have  used  the  paper,  folded  so  as  to  form  a 
kind  of  seamless  bag,  instead  of  the  usual  porous  cell  of  the 
Daniel  battery. 

City  and  Guilds  of  London  Institute  Technological 
Examinations,  1883. — Captain  Abney,  R.  E.,  Examiner  in 
Photography,  says  : — “ I return  the  examination  list,  and  at  the 
same  time  I am  happy  to  report  that  the  results  of  this  year’s 
examination  are  much  in  advance  of  those  of  last  year.  The 
small  percentage  of  failures  out  of  a larger  number  of  candidates 
alone  would  show  an  improvement.  The  answers  given  in  the 
majority  of  papers  show  that  most  of  the  candidates  have  had  a 
careful  theoretical,  as  well  as  practical  training,  and  that  ‘ rule 
of  thumb’  photography,  which  I have  animadverted  upon  in  a 
former  report,  has  been  replaced  by  instruction  in  the  subject 
on  a much  sounder  basis.  My  belief  is  that  the  past 
session  marks  a new  era  in  the  technical  teaching  of  Photo- 
giapby.”  The  results  of  the  examination  are  as  follows 
Ordinary  Grade — 18  first-class  and  16  second-class  passed,  while 
prizes  were  awarded  to  the  following,  who  passed  in  the  first- 


ly grains  j 
40  grains  l 
10  grains  ' 
5 ounces 
1^  grains 
1 ounce 
200  grains 


gf 

a* 

W 


512 


IHE  PHOTOGRAPHIC  HEWS. 


[August  10,  1883. 


class—  1st.  £3  and  a silver  medal,  George  F.  Davies  ; 2nd.  £3 
and  a bronze  medal,  William  Cole3;  3rd.  £2  and  a bronze 
melal,  Thomas  H.  Norris;  4th.  £1  and  a bronze  medal,  Alfred 
Dando ; 5th.  Bronze  medal,  Benjamin  F.  Winks.  Honours 
Grade — £5  and  a silver  medal  were  awarded  to  Ernest  Howard 
Farmer  ; and  two  candidates  passed  in  the  second-class. 

The  Copyright  Decision'. — The  master-photographer  who 
sends  a man  to  the  Oval  to  execute  a photograph  is  no  more  an 
author  than  the  publisher  who  employs  a literary  man  to  write 
a book  for  him,  and  this  is  made  doubly  clear  by  the  Act  itself, 
which  carefully  separates  the  author  from  the  proprietor.  It  is 
hardly  necessary  to  follow  the  hazardous  attempt  of  the  Master 
of  the  Rolls  to  define  an  author  ; it  is  sufficient  for  the  day  that 
the  author  of  a photograph  is  the  man  who  executes  it,  and  not 
he  who  supplies  materials  and  employs  another  person  to  do  the 
work. — Daily  Chronicle. 

International  Exhibition  of  the  Graphic  Art  5. — Thelnter- 
national  and  Special  Exhibition  of  Graphic  Arts  wi  Toe  opened  in 
Vienna,  on  the  premises  of  the  Association  of  Artists,  on  Sep- 
tember 15,  and  will  remain  open  until  October  31.  The  object 
of  the  Exhibition  is  to  give  a complete  insight  into  the  develop- 
ment of  graphic  arts  during  the  second-half  of  the  19th  century 
in  all  countries  of  Europe,  as  well  as  in  the  United  States.  The 
Exhibition  will  comprise  the  graphic  reproductions  which  have 
appeared  since  18-50,  and  will  include  engravings  in  copper  in  all 
styles,  etchings,  lithographs,  engravings  on  wood,  drawings  and 
water-colours  executed  with  a view  to  graphic  reproductions.  It 
will  also  show  the  influence  photography  and  its  different  appli- 
cations have  exercised  on  the  artistic  reproductions  of  the 
graphic  arts,  and  heliography  and  all  illustrated  works  in  which 
other  processes  of  reproduction  have  been  employed  will  be 
admitted.  The  sites  for  the  collective  exhibitions  will  be  allotted 
by  the  Central  Commission  of  the  Exhibition,  and  the  decoration 
of  these  sites  will  be  undertaken  by  the  special  commissioners 
who  have  charge  of  the  general  arrangements.  All  goods  must 
be  delivered  before  August  15.  Sir  F.  Leighton,  P.R.A.,  is  the 
president  of  the  English  commission ; Mr.  F.  S.  Haden,  president 
of  the  Society  of  Painter-Etchers,  and  Mr.  S.  Cousins,  R.A.,  are 
vice-presidents ; and  among  the  members  are  Mr.  L.  Alma- 
Tadema,  R.A.,  Mr.  F.  Holl,  R.A.,  Mr.  H.  S.  Marks,  R.A.,  and 
Mr.  Briton  Riviere,  R.A. 

Phototype  Blocks  for  the  Bookbinder. — One  of  the  most 
pressing  needs  of  the  bookbinder  is  some  simple  way  of  making 
handsome  book  covers  for  cheap  editions.  A writer  suggests 
making  the  design  in  black  and  white  outline,  and  from  that 
getting  a photo-engraved  relief  plate.  This  is  to  be  electrotyped 
and  the  shell  filled  with  brass  instead  of  type  metal.  He  says 
that  such  book  bookbinders’  electrotypes  last  about  twelve  times 
as  long  as  others,  and,  besides  being  very  much  cheaper,  there 
is  no  comparison  between  them  and  the  cut  stamp  for  oppor- 
tunities so  offered  for  freehand  design. — Dorrinyton  s Press  News. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
August  15,  the  subject  for  consideration  will  be  the  adjourned 
discussion  on  “ Development  of  plates  having  received  a mini- 
mum exposure.”  Also  on  “ What  is  the  cause  of  scum  or  stria; 
on  the  surface  of  gelatine  plates,  and  what  is  the  best  preventive 
of  this  effect  ?”  On  the  22nd  of  August,  the  discussion  will  be 
on  “ Copyright.”  Visitors  are  invited  to  take  part. 

-© 

&0ms00ttfcnts. 

*»*  We  cannot  undertake  to  return  rejected  communications. 

H.  W.  T. — If  you  had  two  such  trays,  and  employed  a lad  to  con- 
stantly transfer  the  prints  from  one  to  tho  other,  tho  washing 
would  be  much  more  thorough.  As  things  are  at  present,  we 
should  think  there  must  be  a great  tendency  for  the  prints  to  rest 
together  so  compactly  as  to  considerably  hinder  the  removal  of  all 
traces  of  hypo. 

Danvers. — 1.  It  is  probable  that  you  do  not  sufficiently  expose  in 
tho  printing-frame.  There  is  no  necessity  to  tone  in  a yellow 
light ; but  a subdued  light  is  generally  to  be  preferred  to  the  full 
light  of  day. 

C.  W.  Perrins. — It  is  most  likely  due  to  some  peculiarity  in  the 
plates  themselves;  but  your  description  only  enables  us  to  con- 
jecture. 

D.  Muirhead.— 1.  Good  work  may  be  done  with  an  optical  arrange- 
ment such  as  you  suggest ; but  straight  lines  at  the  edges  of  the 
field  would  be  distorted.  2.  A more  elongated  opening  in  the 
drop-shutter  would  bo  better  for  general  work.  3.  They  vary 
considerably  ; but  perhaps  six  or  seven  may  be  taken  as  an  average. 


W.  W.  Washburn. — We  referred  to  England,  and  do  not  know 
how  the  matter  stands  in  the  United  States. 

A.  Andrew. — 1.  An  experienced  photographer  might  obtain  very 
good  results,  but  we  advise  you  to  thoroughly  master  the  easier 
phases  of  photography,  in  the  first  place.  2.  There  is  but  little  to 
choose  between  the  makers  to  whom  you  refer.  3.  If  you  are  able 
to  devote  the  wholo  of  the  short  time  which  is  to  elapse  before 
you  set  out  to  photographic  work — and  you  possess  a natural  apti- 
tude for  the  work — you  may  perhaps  attain  sufficient  skill  to  make 
it  worth  while  to  tako  a photographic  outfit.  A tour  round  the 
world  is  a severe  ordeal  both  for  a photographer  and  for  his  appa- 
ratus. 4.  Second-hand  apparatus  can  often  be  bought  advanta- 
geously ; but  in  such  a case  as  yours,  no  expense  should  bo  spared 
in  order  to  secure  the  very  best. 

R.  Bleakwrough. — See  Mr.  Ashman’s  article  on  page  141  of  the 
Year-Book. 

J.  C.  C. — 1.  Write  to  Mr.  Duncan  C.  Dallas,  Crane  Court,  Fleet 
Street.  2.  Most  likely  from  deficient  washing  after  treatment 
with  tho  mercuric  salt ; but  either  circumstance  m»v  cause  it. 
3.  From  insufficient  washing  after  fixing,  in  all  probability.  Im- 
mersion in  a weak  solution  of  cyanide  of  potassium  (fivo  or  six 
grains  to  the  ounce)  is  sometimes  effectual.  4.  If  you  get  a sable 
brush  of  good  quality,  it  will  assist  you  much,  as  it  can  be  worked 
up  into  a fine  point  like  the  tip  of  a pen. 

G.  F.  W. — The  principal  object  in  having  a considerable  number  is 
to  reduce  the  working  space  occupied,  so  the  simple  flap  becomes 
el  iborated  into  an  arrangement  like  a Venetian  blind.  We  will 
send  you  what  you  require  by  post. 

Nitrate. — Add  an  equal  bulk  of  alcohol  to  tho  saturated  solution, 
when  nearly  the  whole  will  be  deposited  as  a granular  precipitate. 

Alfred  Dismond. — Hydrokinone  can  be  had  from  Burgoyne  and 
Co.,  of  Coleman  Street,  at  3s.  9J.  per  ounce.  The  following 
formula,  as  recommended  by  Mr.  Pocklington,  answers  very  well. 

A.  — Hydrokinone  12  grains 

Alcohol 12  drachms 

B.  — Carbonate  of  soda  (washing  soda)  ...  1 part 

Water  9 parts 

Mix  one  drachm  of  A with  one  ounce  of  water,  and  add  one 
ounce  of  B.  Development  is  rather  slow. 

L.  R.  T. — It  is  probable  that  the  surface  of  the  lens  has  become 
cop-oded  or  disintegrated,  and  it  requires  re-polishing.  You  had 
better  send  it  to  the  maker. 

C.  Martin. — Soak  them  in  dilute  nitric  acid,  and  the  incrustation 
will  be  dissolved  off. 

Constant  Reader. — 1.  One  of  the  best  forms  of  the  instrument 
is  that  to  which  you  refer  ; but  in  your  case  it  would  bo  well  to 
have  all  the  ironwork  thickly  plated  with  nickel.  2.  Thin  sheet 
gelatine  can  be  obtained  from  dealers  in  such  fancy  papers  as  are 
u-ed  in  making  and  decorating  cardboard  boxes.  3.  Reduce  tho 
quantity  of  gelatine  to  three-fourths  of  that  now  used. 

Julius  A.  Kay. — It  is  photo-lithography,  but  no  details  have  been 
published  as  to  the  method  adopted  for  making  the  transfer. 
The  so  called  “Autotype”  is  a collotypic  process. 

Norman  May. — We  can  only  judge  from  the  specimens  we  have 
seen,  and  what  we  have  heard  from  others.  Such  direct  questions 
as  those  you  ask  could  only  be  answered  by  one  who  has  actually 
seen  every  stage  of  the  process  performed  under  the  circumstances 
implied  in  your  letter. 

C.  D.  B. — The  package  must  bo  open  at  the  ends,  and  so  packed 
that  the  contents  may  readily  be  removed  for  examination  ; and, 
judging  from  your  description,  these  conditions  were  not  fulfilled 
in  your  case. 


In  a few  days , price  2 s.,  per  p>ost , 2.9.  3(7., 
ABOUT 

PII0T0GEAPHY  & PIIOTOGKAPIIEKS. 

A Series  of  Essays  for  the  Studio  and  Study. 

TO  WIIICU  ARE  ADDED 

CONTINENTAL  RAMBLES  WITH  A CAMERA. 

BY 

H.  BADEN  PRITCHARD,  F.C.S., 

Vice-President  of  the  Photographic  Society  of  Great  Britain / 
Author  of  the  “ Photographic  Studio s of  Europe”  ; and 
iditor  of  the  “ Yearbook  of  Photography 


(£t*  Advertisements  should  be  addressed  at  once  to 
Hessis.  Pipir  & Carter,  5,  Castle  St.,  Holborn,  E.C. 


THE  PHOTOGRAPHIC  HEWS, 


Vol.  XXVII. 


The  Bru&rfls  Exhibition 

Permanent  Silver  Printing 

Transferring  Printed  Titles  to  Negatives  . 

The  Tourist  Photographer 

“Mr.  Shadbolt’a  Extraordinary  Escape  ” 
French  Correspondence.  By  Leon  Vidal 

Photography  at  the  Antipodes  

Notes 

Patent  Intelligence  


"7\ 


No.  1302. — August  17,  1883. 


CONTENTS. 

I WEN. 

PAOK 


PA  OK 


513 

515 

517 
617 

518 
5lil 

519 

520 

521 


A Trip  to  Kilauca.  By  C.  Ray  Woods  522 

A Dictionary  of  Photography  523 

Solid  and  Liquid  Illuminating  Agents.  By  L.  Field,  F.C.S  524 

Rocher’s  Patent  for  Concaving  Photographs 525 

Correspondence  526 

Proceedings  of  Societies 527 

Talk  in  the  Studio 527 

To  Correspondents 52S 

Photographs  Registered  528 


THE  BRUSSELS  EXHIBITION. 

It  would  not  be  ea8y  to  find  a more  suitable  place  than 
Brussels  for  a great  International  Photographic  Exhibi- 
tion, as  this  city  is  fairly  central  for  the  whole  of  the  civil- 
ised world. 

The  central  hall  of  the  Palais  des  Beaux  Arts  was  especi- 
ally designed  by  the  architect,  Balat,  as  an  apartment  for 
the  exhibitiou  of  pictures,  and  he  has  succeeded  in  con- 
structing one  of  the  best  exhibition  galleries  in  Europe. 
Entering  by  the  facade,  abutting  on  the  Rue  de  la 
liegence,  one  walks  directly  between  the  magnificent 
columns  of  polished  granite  into  the  Central  Hall,  which 
is  over  200  feet  long,  and  about  sixty  feet  wide.  The 
lighting  is  wholly  through  slightly  frosted  windows,  cover- 
ing nearly  the  whole  of  the  top;  indeed,  more  than  the 
top  in  one  sense,  as  a recessed  gallery  runs  down  each  of 
the  longer  sides,  and  the  sky-light  is  extended  so  as  to 
nearly  cover  this.  No  part  of  the  gallery  projects  in  any 
way,  so  there  is  no  obstruction  whatever  of  the  general 
lighting  of  the  hall. 

On  entering  the  main  hall  when  the  Exhibition 
opened  yesterday,  we  could  not  help  feeling  surprised 
that  it  had  been  possible  to  gather  together  such  a com- 
prehensive collection  of  representative  pictures  as  the 
Belgian  Society  has  been  the  means  of  gathering  in  one 
place.  Indeed,  we  found  that  all  the  exhibits  were 
not  really  contained  in  the  main  apartment,  but  that  as 
many  exhibits  as  would  altogether  form  an  extensive 
photographic  exhibit  were  gathered  together  in  some  of 
the  adjoining  apartments.  To  give  anything  like  a con- 
nected account  of  even  the  principal  exhibits  as  a result  of 
our  visit  on  the  first  day  would  be  quite  out  of  the  question, 
so  we  will  conteut  ourselves  with  elbowing  our  way  among 
the  crowd  of  visitors,  and  noting  down  discursively  some 
impressions  regarding  those  exhibits  which  first  attracted 
our  attention. 

Mr.  Joseph  Maes,  of  Antwerp,  exhibits  a collection 
of  photographic  work  which  indeed  constitutes  an  exhi- 
bition in  itself ; but  his  extensive  series  illustrating  the 
Plantin  exhibition  at  Antwerp  has  a special  interest  at 
the  present  time.  The  printing  house  of  Plantin  was 
founded  in  1555,  and  the  accumulation  of  literary  and 
artistic  treasures  continued  until  the  printing  office  was 
closed  in  1800.  Nothing  was  disturbed  until  the  premises 
came  into  the  hands  of  the  municipality,  and  the  collection 
is  shown  as  it  existed  when  the  office  was  closed,  all  being, 
as  it  were,  ready  for  the  commencement  of  next  day’s  work. 
The  pay  book  and  the  money  bowl  stand  in  the  office ; 
the  cases  of  type  with  the  copy  upon  them  only  want  the 
compositors  ; and  the  partly  printed  sheets  only  require  to 
be  finished  and  bound,  to  complete  the  work  which  were  to 
hand  when  the  printing  house  was  closed.  These  things, 
together  with  the  ancient  sale  room,  the  proof  readers’  apart 
ments,  the  type  founding,  are  shown  in  Mr,  Maes’  photo- 


graphs ; while  other  pictures  present  the  ancient  carved 
oak  furniture,  the  tapestry  and  paintings  by  Rubens,  which 
had  been  lost  to  the  world  for  eighty  years.  Mr.  Maes 
knows  how  to  work  the  collotype  and  other  photo-mechani- 
cal processes  with  advantage,  if  we  may  judge  by  the 
numerous  series  of  views  and  book  reproductions  which 
he  exhibits.  Some  of  the  reproduced  books  are  those  from 
the  press  of  the  Plantin  family. 

Mr.  John  Ward,  of  Brussels,  is  evidently  one  of  the 
few  who  can  photograph  microscopic  objects  with  com- 
plete success,  and  his  diatoms,  magnified  from  100  to 
800  diameters,  are  exceedingly  good  ; but  in  one  case, 
he  goes  as  far  as  2,000  diameters,  a small  diatom  thus 
acquiring  the  dimensions  of  an  ordinary  cheese.  In  this 
case,  the  enlargement  does  not  look  very  sharp.  Mr. 
Ward’s  reproductions  of  insects,  and  of  insect  anatomy, 
are  likely  to  be  of  value  for  educational  purposes.  The 
reproductions  of  old  documents  and  of  old  prints  appears 
to  be  a speciality  of  Mr.  Alexander  Davis,  but  he  also  shows 
interiors  and  instantaneous  views.  A group  of  five 
etephanta  is  perhaps  the  most  striking  picture  of  a set 
of  about  a dozen,  which  illustrate  the  animals  of  San- 
ger’s Circus.  One  elephant  is  mounted  on  a pedestal,  while 
another  squats  down  with  his  legs  spread  out,  and  his  trunk 
between  his  fore  legs.  The  Fete  des  Fleurs,  a scene  on  the 
steps  of  the  new  Bourse,  is  a striking  picture. 

The  true  pictorial  instinct  is  evidently  possessed  by  George 
Brokesch,  of  Leipzig,  whose  artisticstudies  are  likely  to  be  of 
considerable  use  to  the  painter.  A striking  group  is  a party 
io  an  opera  box,  the  younger  pair  being  so  intent  on  an  in- 
cipient flirtation,  as  to  be  altogether  neglectful  either  of  per- 
formance or  programme,  which  latter  hangs  over  out  of  the 
box.  Not  so  the  old  folks,  whose  attitude  and  expression 
are  indicative  of  all  absorbing  interest. 

Der  Weiblische  Amateur  represents  a lady  at  work  with 
the  camera.  It  is  a mountainous  district,  let  us  sup- 
pose the  Tyrol.  The  clownish  fellow  who  holds  the 
slides  is  evidently  altogether  mystified  by  the  proceedings, 
while  a tall  boorish-looking  peasant  cranes  his  neck  out, 
stretching  his  head  almost  over  the  camera  in  order  to 
gather  some  kind  of  idea  of  the  proceedings. 

The  exhibit  of  the  Woodburytype  Company  com- 
prises items  which  do  not  offer  much  novelty  to  the  English 
photographer,  but  we  observed  them  to  create  a considerable 
interest  among  the  visitors  yesterday.  M.  Hector  Colard 
(amateur),  of  Brussels,  contributes  about  thirty  country 
scenes.  He  evidently  has  an  eye  for  the  beautiful.  The 
Rousseau  Oak  at  Fontainebleau  is  almost  an  ideal  tree  pic- 
ture, while  two  watermills  from  the  Ardennes  district  pos- 
sess that  peculiar  charm  which  results  from  a judicious 
combination  of  water  and  woodland  scenery.  The  Gracht 
a Dordrecht  shows  a water  road,  in  which  the  houses  them- 
selves form  the  borders  of  the  canal,  a condition  of  things 
common  enoagh  in  Venice,  but  not  bo  usual  in  Holland, 


$14 


THE  PHOTOGRAPHIC  NEWS. 


[August  17,  1883. 


where  broad  side  walks  are  ordinarily  left  on  each  bank  of 
the  water.  A striking  effect  is  noticeable  in  the  instanta- 
neous picture  of  the  Estracade  at  Ostend — two  figures  in 
the  immediate  foreground,  standing  out  with  remarkable 
boldness,  while  the  buildings  in  the  distance  are  subdued 
by  a peculiarly  effectual  aerial  softening. 

The  so-called  Autotype  publishing  house  (Autotypie 
Verlag)  of  Munich  contributes  a very  remarkable  series 
of  photo-tint  block  prints,  which  appear  to  have  been  pro- 
duced by  some  process  founded  upon  the  Ives’  method. 
Their  number,  character,  and  other  circumstances,  stamp 
them  as  ordinary  trade  or  commercial  productions,  and 
many  are  shown  which  have  been  printed  from  in  illus- 
trated journals  side  by  side  with  wood-cuts.  The  Auto- 
type process- blocks  are  not  confined  to  very  small  sizes, 
as  is  frequently  the  case  with  this  class  of  work,  as  some 
of  the  engravings  are  considerably  over  a foot  high 
The  exhibit  of  Goupil  and  Co.  is  also  of  especial  interest,  as 
comprising  a notable  series  of  M.  Eousselon’s  new  tint  or 
stipple  typographic  blocks,  and  many  of  the  remarks  we 
have  made  regarding  the  Autotype  blocks  also  apply  to 
these.  The  graiD  of  Rousselon’s  blocks  is,  perhaps,  finer 
than  that  of  those  from  Munich,  and  the  results  appear 
to  us  hardly  so  bold  and  vigorous  ; but  the  delicacy  of 
modelling  is  certainly  equal,  if  not  superior.  Rousselon 
can  also  make  large  blocks,  and  in  this  respect  the  new 
work  is  certainly  ahead  of  what  we  have  seen  in  England. 
We  hear  at  home  a great  deal  of  what  is  going  to  be 
done  in  the  way  of  tint  printing  blocks,  but  the  results 
shown  have  generally  fallen  very  short  of  expectations ; 
the  firms  which  we  have  referred  to  say  nothing,  but 
show  magnificent  results. 

The  city  of  Liverpool  contributes  its  quota  to  the  show  in 
the  shape  of  six  large  frames,  containing  work  by  Vandyke. 
The  remarks  made  by  the  visitors  show  how  much  this  ex- 
cellent collection  of  examples  of  current  styles  of  portraiture 
is  appreciated  by  the  Belgians.  If,  however,  the  exhibit  of 
M.  Geruzet  were  transported  to  England,  we  have  but  little 
doubt  that  this  collection,  which  may  be  regarded  as  a 
typical  example  of  high  class  Belgian  work,  would  be  appre- 
ciated so  thoroughly  as  to  bring  about  that  sincerest  of  all 
praise — imitation.  His  portraits  in  sepia  aud  red  chalk 

are  delightful.  A notable  exhibit  from  London,  and 
one  which  has  not  yet  been  shown  at  any  of  our  own 
societies,  is  a series  of  a dozen  10  by  8 pictures  of  London 
street  life  by  Mr.  Cobb.  We  understand  that  they  were 
taken  from  the  knife-board  of  an  omnibus,  and  that  Hunter 
and  Sands’  shutter  was  used  for  exposure.  Fully  exposed, 
well  modelled,  and  intensely  realistic,  they  will  convey  to 
our  Continental  neighbours  some  idea  of  our  City  life  in  its 
busiest  phases;  the  absorbed  and  earnest  looks  of  City 
men  offer  a new  field  for  artists  to  study  out  at  their  leisure 
from  these  photographs. 

Children’s  portraits  are  a speciality  with  Mr.  Otto  Pfen- 
ninger,  of  St.  Gallen,  and  most  of  bis  little  folks  are  either 
crying  or  laughing.  One  little  fellow  has  a face  hideously 
distorted  with  rage,  apparently  at  the  prospect  of  a bath  ; 
while  another  sits  contentedly  enough  in  the  wash-basin, 
one  foot  hanging  over  the  aide,  and  with  such  a smile  on  his 
face  as  immediately  reflects  itself  in  that  of  the  observer. 
Excellent  enlargements  on  gelatino-bromide  paper  come 
from  Mr.  Morgan,  of  Greenwich,  and  also  prints  from  paper 
negatives ; but  the  gelatino-bromide  negatives  made  on  a 
basis  of  waxed  paper  by  M.  Balagny  are  really  surprising 
productions,  and  so  free  are  they  from  any  visible  grain, 
that  it  is  difficult  to  believe  they  are  not  taken  on  glass. 

Collotype  prints  are  shown  by  several  firms,  but  we  are 
inclined  to  regard  a small  print  by  W.  Otto,  of  Brussels 
and  Dusst-ldorf,  as  the  best  example.  It  is  a Derbyshire 
lan  j fr  m a negative  by  Abney.  It  need  scarcely  be  pointed 
out  that  excellence  in  collotype  work  consists  in  the  perfect 
realisation  of  every  degree  of  the  wide  gradation  of  tone 
which  exists  in  a high  class  negative.  The  steam-press 
collotypic  work  from  the  establishment  of  Naumann  and 
Schroeder,  of  Leipzig,  is  a magnificent  exhibit.  We  hare 


reproductions  of  street  views  and  sylvan  scenes  of  cabinet 
size,  and  large  sheets  of  trade  patterns  and  other  commercial 
work.  On  the  table  are  editions  de  luxe  of  works  illustrated 
by  the  firm.  We  noticed  among  others  Lipsius’  “Moderne 
Timmereinrichtungen  ” and  Leuteman’s  “ Bilder  aus  dem 
Thierleben ; ” but  the  most  striking  work  among  those 
alluded  to  by  Naumann  and  Schroeder  is  Professor  Forst- 
mann’s  “ Mayahandschrift  der  Bibliotbek  zu  Dresden,”  the 
colours  of  the  original  manuscript  being  reproduced  by 
printing  from  several  collotypic  plates  in  succession. 
HoffmaD,  of  Dresden,  also  shows  numerous  works  well  illus- 
trated by  collotype,  Heine’s  travels  in  Japan  being  worthy 
of  special  notice,  and  a child’s  toy  book,  “ Die  Kleine  Welt,’’ 
in  which  bold  black-and-white  sketches  are  reproduced. 
An  interesting  application  of  collotype  is  shown  by  Batkin- 
Verregen,  of  Brussels.  The  collotype  plate  is  inked  with  a 
mixture  of  vitrifiable  colour  and  printing  varnish,  and  the 
print  is  transferred  to  porcelain  or  glass,  and  fixed.  Photo- 
enamels made  by  the  process  are  not  equal  to  the  best  results 
obtainable  by  the  substitution  process,  but  they  can  be  pro- 
duced at  a very  low  price;  a tile  7£  inches  square  being 
eold  for  about  one  shilling  and  sixpence. 

A photographic  exhibition  would  scarcely  be  complete 
without  a few  of  the  well-known  productions  of  Mr.  H.  P. 
Robinson,  and  here  he  is  well  represented.  It  is  needless 
to  refer  to  his  “ Wayside  Gossip,"  or  “ A Merry  Tale  ” ; 
but  let  us  rather  pass  on  to  those  pictures  which  are  now 
exhibited  for  the  first  time.  The  expression  of  anxious 
expectation  with  which  a girl  examines  the  contents  of  the 
shrimper’s  creel  in  “ W hat  Luck  ? ” affords  a happy  realisa- 
tion of  the  title  of  the  picture  ; while  the  figures  generally 
stand  out  with  striking  Coldness  against  a wintry-looking 
sea  and  sky,  the  former  being  relieved  by  a most  effective 
gleam  of  light  which  forms  a faint  “ silver  streak  ” in  the 
distance.  In  the  “Launch  of  a Deal  Galley-Punt"  wc 
have  the  sea  in  a phase  of  activity,  a boat  being  mounted 
high  on  the  crest  of  a wave,  no  less  than  a third  of  its  keel 
being  out  of  the  water,  and  the  grouping  of  the  waves  is 
such  as  to  excite  the  greatest  admiration.  A “Nor’- 
Easter,”  in  which  a fisher-girl,  leaning  against  the  side  of  a 
picturesquely  quaint  boat,  looks  meditatively  on  the  storm- 
moved  and  hissing  sea,  is  a striking  production.  Remark- 
ably clear  definition  of  the  waves  characterises  this  picture  ; 
and  the  curious  effect  of  the  light  produces  a weird  aspect 
such  as  is  seldom  seen  in  a photograph.  Mr.  Robinson 
well  sustains  his  old  reputation. 

The  large  steam  press  collotype  work  of  Brauneck,  of 
Mainz,  is  especially  good,  and  we  believe  this  firm  were  one 
of  the  first  to  adopt  the  steam  press. 

Series  of  electric  light  portraits  by  Van  Rouzelen,  ot 
Berlin,  and  Liebert,  of  Paris,  demonstrate  the  practical 
value  of  this  method  of  illumination. 

Pictures  intended  to  show  the  wonderful  capabilities  of 
the  gelatino-bromide  film  for  depicting  moving  objects  are 
naturally  numerous.  Grassiu’s  (Boulogne)  pictures  of 
Church  processions  are  extremely  life-like,  but  his  master- 
piece is  the  picture  of  a train  travelling  at  fifty  miles  an  hour, 
direct  side  view,  with  steam  in  well-defined  puffs  streaming 
over  six  coaches.  The  exposure  is  estimated  at  one  two- 
hundredth  of  a second.  The  leaping  horses,  aud  “ Diver  ” 
of  Lugardon  (Geneva)  are  also  temarkable  examples  of 
instantaneous  work,  but  we  must  leave  over  further  notes  on 
the  pictures  until  next  week,  when  the  decision  of  the  judges 
will  be  given.  The  following  gentlemen  will  act  as  the 
jury: — Dr.  F.  Stolze,  Berlin;  Captain  Abrny,  London; 
Mr.  Warnerke,  London;  Dr.  Eder,  Vienna;  M.  Davanne, 
Paris ; M.  De  Blochouse,  Brussels ; M.  Alf.  Geruzet, 
Brussels;  M.  De  Pittcurs,  Zeppern  ; M.  E.  L.  Montetiose, 
Paris  ; M.  L.  Dommartin,  Brussels;  M.  E.  Smits,  Brussels. 

The  selection  of  apparatus  shown,  bears  generally  on  the 
gelatino-bromide  process.  We  find  portable  dry  plate 
cameras,  shutters,  and  travelling  stands  make  up  by  far  the 
greater  part  of  the6um  total  of  exhibits,  as  regards  appliances. 
The  selection  of  apparatus  for  gelatino-bromide  wotk  from 
the  factory  of  Tockateia  ia  remarkably  complete.  David’s 


August  17,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


515 


emulsion  press  is  shown  in  various  forms,  the  body  being 
made  of  hard  wood,  and  the  perforated  die-plate  of  horu  ; 
Eder's  plate  washing  arrangement  is  also  shown  in  a cheap 
and  poi  table  form,  as  well  as  the  more  expensive  and  comphte 
apparatus.  The  double  closing  tin  plate  boxes  are  extremely 
well  designed,  and  calculated  to  be  of  value  to  the  traveller. 
There  are  also  red  lanterns  both  for  home  work  and  for  the 
tourist,  and  numerous  minor  aids  to  work.  Mackenstein’s 
light  double  slides  with  cardboard  shatter  are  worth  notice. 

Hunter  and  Sands,  of  London,  exhibit  a quantity  of 
very  fine  cabinet  work,  their  changing  box,  in  which  two 
plates  are  held  together  by  a frame  and  transferred  into  a 
double  dark  slide,  being  a good  illustration  of  the  careful 
designing  and  sound  execution  which  charactise  their  work. 
The  locking  apparatus  which  prevents  the  opening  of  the  slips 
until  box  and  slide  are  united  is  both  simple  and  effective. 
Some  recent  improvements  render  theirguncamera,  which  has 
already  been  described  in  the  Puotograpbic  News,  a more 
compact  aud  convenient  instrument  than  formerly, 
and  we  are  told  that  Capt.  Leigh  Smith  has  made  use 
of  it  with  good  effect  on  board  the  yacht  Lira.  Messrs. 
Watson  exhibit  Addenbrooke’s  aud  several  other  clever 
shutters.  Mr.  Hare,  of  London,  aud  Rentier,  of  Brussels, 
show  a selection  of  their  photographic  cabinet  work. 
The  carved  oak  studio  accessories  made  by  Janssen, 
of  Cologne,  are  excellent,  almost  works  of  art.  A neat 
finder  camera  is  contributed  by  Hofmann,  of  Brussels, 
and  we  were  especially  struck  by  the  compactness  of 
the  tourist’s  camera  of  De  Ozonnier.  The  plates  are 
shifted  by  a kiud  of  bag  arrangement  at  the  top  of  the 
camera,  but  the  whole  can  be  quickly  closed  so  as  to  form 
an  almost  cubical  box,  without  any  projections  likely  to  be 
injured  in  travelling.  Shew’s  accordion-like  changing- 
box  was  examined  with  interest  by  many  of  those  present. 

.Photographic  literature  is  fairly  well  represented,  and 
we  noticed  the  extensive  series  of  photographic  works  pub- 
lished by  Gauthier- Villars,  of  Paris,  a complete  set  of  the 
Photographic  News,  a series  of  works  on  Military  Photo- 
Cartography  by  Volkmer,  several  of  Eder’s  works,  the 
Year-Book,  Pritchard’s  “Studios,”  “ Men  of  Mark,” 
“ Persepolis,”  by  Stolze  and  Andreas,  Liebert's  “ Photo- 
graphie  eu  Amerique,”  series  of  numbers  of  the  Bulletin  of 
the  Belgian  Society,  and  several  other  books  or  collections 
which  are  on  view. 


PERMANENT  SILVER  PRINTING. 

HoW  to  produce  permanent  silver  prints  is  as  important  a 
question  to-day,  as  ever  it  has  been  for  the  past  thirty 
years.  Whatever  may  be  said  in  favour  of  pigment  print- 
ing, collotype,  Woodbury  type,  photo-gravure,  &c.,  it  is 
patent  to  all  that  with  one  single  exception— the  Platino- 
type  process — there  is  no  process  within  reach  of  the 
photographer  of  small  means,  and  of  the  amateur,  that 
will  produce  prints  of  a permanent  character,  unless  it  be 
the  collodio-chloride  method.  Collodio-chloride  printing 
has,  indeed,  never  been  justly  treated.  It  is  a process 
which  produces  results  equal,  if  not  superior,  to  those 
furnished  by  albumenized  paper,  in  respect  to  softness, 
vigour,  and  beauty  ; while  we  have  the  testimony  of  many 
authorities  oi  stauding  — Bruce,  Faulkuer,  Obernetter,  &c. 
— that  the  charming  pictures  are  also  permanent. 

In  these  circumstances  we  make  no  apology  for  bringing 
before  our  readers  the  practical  experience  of  a collodio- 
chloride  printer  of  nearly  fifteen  years'  standing.  A mag- 
nificent series  of  cabinet  portraits  sent  to  us  last  month 
by  Mr.  George  Bruce,  of  Duus,  brought  to  us  again  very 
forcibly  all  the  charms  of  this  process,  and  since  the  lament 
never  ceases  to  be  expressed,  “ What  a grand  thing  it 
would  be  to  get  permanent  silver  prints  ! ” we  immediately 
wrote  to  Mr.  Bruce  asking  him  to  put  the  case  once  more 
before  our  readers.  Mr.  Bruce,  we  may  mention,  living 
in  the  border  town  of  Duns,  up  in  the  north,  has  no  inte- 
rest whatever  in  the  process  itself,  beyond  the  fact  that  it 
has  served  him  all  these  years  in  good  stead  ; aud  ou 


behalf  of  ourselves  and  our  readers,  we  thank  him  for 
placing  his  experiences  at  the  services  of  this  journal. 
Surely,  to  be  able  to  put  a beautiful  silver  print  before  the 
public,  having  all  that  delicacy,  half-tone,  and  charm  which 
both  public  and  photographer  understand  so  well,  and  to 
be  in  a position  to  say  it  is  permanent,  is  worth  some 
amouut  of  care  and  trouble  ; and  these  Mr.  Bruce  holds 
to  be  amply  compensated  by  the  results  he  obtains.  We 
have  no  doubt  that  Mr.  Bruce  would  consent  to  forward 
any  of  our  correspondents  a carte  or  cabinet  at  a nominal 
price,  should  these  wish  to  see  the  character  and  finish  of 
the  portrait  with  which  that  gentleman  supplies  the  public ; 
but  to  many  Mr.  Bruce’s  work  is  so  familiar  at  the  annual 
exhibitions,  that  further  testimony  on  the  subject  is  need- 
less. Without  further  preface,  we  here  print  Mr.  Bruce’s 
communication.  He  says  : — 

I would  not  have  thought  of  writing  a paper  on  the 
collodio-chloride  process,  had  it  not  been  that  the  esteemed 
Editor  of  the  Photographic  News  suggested  that  some 
practical  information  on  the  subject  might  be  of  interest  to 
his  present  readers. 

1 feel,  however,  as  if  I required  to  make  an  apology  to 
the  readers  for  what  must  appear  to  them  an  egotistically 
written  paper.  But  my  position  in  relation  to  the  late  Mr. 
Wharton  Simpson’s  process  is  such  that,  iu  writing  about 
it,  my  own  personality  must  be  more  conspicuous  than  is 
at  all  desirable.  So  far  as  I know,  I stand  alone  in  this 
country  in  having  adopted  this  method  of  printing,  and  if, 
in  this  paper,  the  capital  l is  often  used,  I trust  the  readers 
will  not  forget  that  what  appears  to  savour  of  egotism  is, 
in  my  case,  really  a matter  of  necessity.  More  than  four- 
teen years  ago  I finally  abandoned  the  use  of  albumenized 
paper,  and  began  to  print  all  my  work  on  collodio-chloride 
of  silver  paper ; and  while  by  doing  so  I may  have  added 
to  the  depth  and  breadth  of  that  “ sea  of  troubles”  which 
everybody  has  to  wade  through  before  they  get  to  the  end 
of  life,  yet,  in  looking  backwards  through  those  years,  I 
cannot  see  any  reason  to  regret  making  the  change ; per- 
haps, as  some  of  my  photographic  friends  have  ventured  to 
hint,  I may  have  made  the  collodio-chloride  process  a 
“ hobby,”  and  shut  my  eyes  to  the  practical  side  of  affairs, 
and  that,  after  all,  “the  game  is  not  worth  the  candle.” 

Well,  all  I have  to  say  is,  that  if  a man  can  make  an 
honest  livelihood  for  fourteen  years,  and  at  the  same  time 
give  satisfaction  to  those  who  accord  him  their  patronage, 
by  riding  a “ hobby,”  then  by  all  means  let  him  do  so. 
When  I first  began  collodio-chloride  printing  I used  paper 
made  by  Herr  Obernetter,  of  Munich  ; but  at  present  Iain 
printing  on  paper  made  by  Herr  Linde,  of  Liibeck.  Both 
these  gentlemen’s  papers  have  given  me  equally  good  re- 
sults. The  collodio-chloride  paper  comes  from  Germany, 
carefully  packed  in  zinc  tubes,  the  tubes,  again,  being 
packed  in  wood  boxes. 

Some  years  ago  I met  with  considerable  loss  by  reason 
of  the  Custom  House  officers  opeuing  the  tubes,  to  see  that 
there  was  no  contraband  material  within.  Those  gentle- 
men, after  having  ascertained  that  there  were  no  rolls  of 
tobacco  inside  the  rolls  of  paper,  very  carefully  closed  the 
tubes,  aud  passed  them  on  to  my  London  agent,  never 
dreaming  for  a moment  that  in  exposing  their  contents  to 
the  light,  a loss  of  many  pounds  accrued  to  me.  I wrote 
to  Sir  Frederick  Freemantle,  and  explained  the  matter, 
enclosing  at  the  same  time  a piece  of  the  sensitive  paper, 
and  ever  since  the  boxes  have  reached  me  without  being 
opened.  If,  therefore,  any  photographer  wishes  to  try  the 
collodio-chloride  printing,  and  orders  paper  from  either  of 
the  manufacturers  referred  to,  he  may  be  sure  of  getting 
it  free  from  damage. 

A quire  of  collodio-chloride  paper  costs  me,  including 
carriage  and  packing,  something  like  £2  10s. ; but  as  there 
are  now  and  again  streaky  sheets  in  the  parcels,  that  will 
not  produce  good  prints,  the  above  sum  scarcely  covers 
the  price  I really  pay. 

The  size  of  the  sheets  is  22  by  17  inches,  which  gives 
thirty  C.D.Y.  pieces,  or  ten  cabinets,  More  might  be  cut 


516 


THE  PHOTOGRAPHIC  NEWS 


[August  17,  1883. 


from  the  sheet,  but  as  the  edges  sometimes  fray  in  the 
toning  and  washing,  it  is  better  to  leave  a sufficient  margin, 
so  that  when  trimming  the  prints  a clean  and  firm  edge  may 
be  secured.  The  paper  will  keep  good  in  a cool  place  for 
two  or  three  months. 

The  printing  should  not  be  so  deep  as  when  using 
albumenized  paper,  as  collodio-chloride  prints  lose  very 
little  of  their  vigour  in  passing  through  the  toning  and 
fixing  baths. 

Collodio-chloride  prints  may  be  kept  for  a considerable 
time  before  toning — two  or  three  weeks  may  elapse — but  I 
prefer  toning  as  soon  after  printing  as  possible. 

The  toning  bath  is  made  as  follows  : — 


Stock  Solution. — No.  1. 

Sulpho-cyanide  of  ammonium  loz.  2 drachms 

Distilled  water  

60  ounces 

Hyposulphite  of  soda 

9 grains 

Stock  Solution. — No. 

2. 

Bure  gold  

11  » 

or 

Chloride  of  gold  

o-> 

n 

Distilled  water  

60  „ 

Fixing  Bath. 

Hyposulphite  of  soda 

1 ounce 

Distilled  water  

12  ounces 

The  gold  I use  for  toning  is  prepared  according  to  Col. 
Stnart  Wortley’s  formula,  given  in  the  Year-Book  for 
1871,  page  91 ; and  it  gives  in  my  hands  more  uniform 
results  when  toning  collodio-chloride  paper  than  I ever 
obtained  with  the  ordinary  commercial  samples  of  chloride 
of  gold.  Why,  I cannot  tell,  any  further  than  that  in  pre- 
paring your  own  chloride  of  gold  you  know  exactly  what 
you  have  at  band,  and  strength  of  the  toning-bath  is 
more  under  your  control. 

This  “ control  ” is  absolutely  necessary  to  success  with 
collodio-chloride  papers,  as  I find  that  anything  more  than 
the  strength  given  in  the  formula  produces  a flat  eaten-out 
picture  without  any  depth ; while,  on  the  other  hand,  too 
weak  a toning  bath  gives  heavy  opaque  brown  tones. 
Thus,  if  the  toning  goes  on  too  quickly,  you  lose  depth 
and  richness  ; if  very  slowly,  a brown  leathery  tone  is  pro- 
duced, which  is  far  from  satisfactory. 

The  reason  in  the  first  case  is  that  the  prints  pass  so 
rapidly  from  brown  to  black,  that  before  you  can  well  pet 
them  removed  from  the  bath,  the  point  where  richness  lies 
is  often  lost.  And  in  the  second  place,  the  sulphocyanide 
of  ammonium  solution  in  some  measure  destroys  the  trans- 
parency and  purity  of  the  prints  when  they  are  left  too  long 
in  contact  with  it.  .Particular  care  and  attention  must 
therefore  be  given  to  the  toning  bath,  so  as  to  have  it 
neither  more  nor  less  than  the  strength  stated,  as  collodio- 
chloride  photographs  are  much  easier  stained  in  toning 
than  prints  upon  albumenized  paper ; and  when  unequal 
toning  does  take  place,  it  is  more  visible  in  the  former  than 
in  the  latter. 

In  making  up  a bath,  equal  quantities  of  No.  1 and  No  2 
are  mixed,  plenty  of  chalk  being  added,  letting  the  whole 
stand  for  from  three  to  five  hours  before  use. 

With  some  samples  of  this  paper,  the  bath  can  be  used 
at  once  ; but  with  other  sheets  this  is  not  the  case,  a 
deposit  of  gold  taking  place  over  the  whole  prints,  and 
destroying  the  purity  of  the  whites.  It  is  better,  therefore, 
to  err  on  the  safe  side  by  rnakiug  up  the  bath  a consider- 
able time  before  it  is  required,  and  thus  be  assured  of 
having  a uniformity  in  one’s  photographs. 

W hen  I have  many  prints  to  tone,  I use  two  flat  dishes 
capable  of  holding,  say,  a dozen  prints  each.  1 filter  the 
solution  into  these  dishes  to  the  depth  of  one-fourth  of  an 
inch ; were  the  liquid  deeper,  the  prints  would  not  keep 
flat.  I wash  in  three  changes  of  water ; and  as  the  prints 
generally  curl  up  into  tubes,  I open  each  of  them 
separately  in  the  water,  so  as  to  get  the  surface  uniformly 
washed.  If  this  is  not  done,  and  done  in  each  separate  dish 
of  clean  water,  uneven  toning  will  be  sure  to  take  place.  I 


When  the  prints  have  been  properly  washed  with  a 
quick  but  gentle  movement,  I open  up  each  picture,  and 
lay  it  flat  in  the  bath  face  downward  ; and  when  the  dish 
is  full,  I begin  at  the  first  and  turn  it  over,  brushing  the 
face  with  a camel’s-hair  brush,  and  continue  the  process 
until  the  whole  have  been  so  treated,  afterwards  turning 
them  back  again  into  their  former  position,  and  so  on 
without  cessation,  until  the  prints  are  ready  to  leave  the 
bath.  When  stains  occur  in  the  course  of  toning,  lift  the 
print  out  of  the  solution,  dip  the  brush  in  alcohol,  and  rub 
the  spot  slightly.  Then  immerse  the  print  again,  when  it 
will  be  found  that  the  stain  has  disappeared,  and  the  print 
has  been  saved. 

W'hen  fixing  the  prints,  the  same  care  is  required  in 
laying  them  separately  in  the  fixing  solution,  turning  them 
over,  and  keeping  them  in  motion  until  they  are  fixed, 
which  is  completed,  when  the  fixiug  bath  i3  new,  in  from 
three  to  five  minutes.  When  removed  from  the  bath, the 
prints  are  immersed  for  a few  minutes  in  three  or  four 
changes  of  water,  and  put  under  the  tap  for  an  hour  or  two. 
The  water  is  then  shut  off,  and  they  are  left  all  night, 
and  throughout  the  next  day  until  the  afternoon  ; the 
water  is  changed  now  and  again.  The  prints  are  then 
trimmed  and  mounted. 

The  system  in  use  amongst  many  of  the  profession,  of 
cutting  the  prints  to  the  exact  size  wanted  before  toning 
them,  cannot  be  readily  adopted  with  collodio-chloride 
pictures.  In  their  case  the  paper  should  always  be  a little 
larger  than  is  necessary,  allowing  not  less  than  one-eighth 
of  an  inch  to  be  cut  off  all  round  after  the  prints  have  been 
toned,  fixed,  aud  washed.  The  reason  for  this  is  that  the 
edges  of  the  prints  are  very  curly,  and  the  film  becomes 
frayed  in  the  course  of  washing ; by  cutting  away  this 
frayed  curly  part,  they  are  more  easily  and  neatly  mounted. 
As  it  is  impossible  to  lay  these  prints  upon  blotting-paper 
and  dry  them  in  a flat  state  without  cracking  the 
surface,  another  method  has  to  be  put  in  practice  for  the 
purpose  of  trimming  them.  I use  a piece  of  thin  plate 
glass,  cut  to  the  exact  size  of  what  the  carte  de-visite  print 
should  be,  the  edges  being  ground  and  the  corners  slightly 
rounded,  so  as  not  to  scratch  the  picture.  If  the  prints 
are  more  than  ordinarily  curly,  I open  them  underneath 
the  water,  and  lay  the  sheet  of  glass  upon  the  face,  and 
then  lift  both  of  them  out  of  the  water  at  once,  the  mois- 
ture between  the  two  enabling  me  to  move  and  adjust  the 
glass  over  the  print  with  the  greatest  ease.  I then,  with  a 
pair  of  long-bladed  scissors,  cut  along  the  four  edges  of  the 
glass,  and  thus  secure  a straight  clean-cut  print,  without 
damaging  the  surface  of  the  photograph. 

The  medium  I use  for  mounting  is  starch,  carefully 
boiled,  as  thick  as  possible.  It  is,  while  still  warm,  poured 
into  the  centre  of  a muslin  cloth,  the  corners  of  which  are 
drawn  together  and  held  firmly  with  the  left  hand,  while 
the  right  hand  presses  the  bag  and  causes  the  pure  starch 
to  exude  through  the  interstices  of  the  cloth — the  result 
being  a paste  perfectly  free  from  gritty  matter,  and  of  the 
right  consistence  for  mounting. 

A sheet  of  thick  plate  glass  is  covered  with  a damp  cloth, 
and  the  prints  are  lifted  from  the  dish  and  laid  upon  it  in 
a wet  condition,  the  water  on  the  face  of  the  prints  and  the 
damp  cloth  preventing  them  from  curling.  They  are  then 
pressed  quite  flat  with  another  cloth,  and  dried  before  they 
are  starched. 

After  the  prints  are  mounted,  dried,  and  spotted  out,  I 
roll  them  upon  a hot  steel  plate  ; they  are  then  put  up  in 
dozens  into  paper  and  laid  upon  the  machine  plate,  and 
when  warm  are  rubbed  over  with  “ Solomon  paste,”*  which 
gives  them  a richness  and  transparency  they  would  not 
otherwise  possess. 

If  desired,  these  photographs  may  very  easily  be  covered 
with  “ Mawson’s  print  varnish  ” or  enamel  collodion”  by 
coating  them  with  a camel’s-hair  brush  of  the  same  breadth 
as  the  card.  In  my  own  practice,  however,  I rarely 


* See  “ Standard  Formula!  ” in  Ylak-Book, 


ArGrsT  17,  1883.  J 


THE  PHOTOGRAPHIC  NEWS. 


517 


varnish  the  pictures,  as  I think  they  are  more  beautiful 
and  artistic  whensimply  finished  with  wax  paste.  After  four- 
teen years’  experience,  I can  speak  with  a considerable  de- 
gree of  confidence  regarding  ihestabilityof  collodio-chloride 
pictures.  I am  not,  however,  prepared  to  assert  that  out  of 
the  many  thousands  of  photographs  which  have  left  my 
hands  throughout  the  course  of  these  years,  none  of  them 
have  faded.  At  first  the  manufacturers  of  collodio-chloride 
papers  were  not  so  careful  as  they  are  now  regarding  the 
basis  on  which  the  collodion  film  rests  ; nay,  I have  reason 
to  believe  that  sheets  of  albumenized  paper  were  then  used 
as  a support  for  the  emulsion.  In  such  a case,  the  prints 
made  from  those  sheets  are  liable  to  fade.  But, 
notwithstanding  this,  the  fact  remains— and  I am  glad 
to  be  able  to  say  so — that  out  of  many  dozens  of  photo- 
graphs in  my  possession,  dating  back  to  the  year  1869,  I 
do  not  find  any  fading  prints  among  them.  Some  of  these 
prints  have  been  lying  loosely  on  shelves  in  a room  where 
i have  made  up  developers,  boiled  negative  baths,  made 
chloride  of  gold,  toned,  washed,  and  rolled  my  photographs 
for  nearly  a decade  of  years,  and  yet,  so  far  as  I can  judge, 
they  still  retain  their  pristine  purity. 

With  reference  to  12  by  10  framed  prints,  I may  remark 
that  those  I forwarded  to  the  London  Exhibition  in  1874, 
and  which  were  afterwards  returned  to  the  International 
Exhibition  held  the  same  year,  and  huug  there  along  witn 
other  exhibits  for  some  months,  if  I remember  aright,  iu 
one  of  the  corridors,  exposed,  as  was  remarked  at  the  time, 
to  atmospheric  influences  which  severely  tested  the  keeping 
qualities  of  the  pictures,  have  not  the  slightest  appearance 
of  fading  about  them. 

Then,  as  regards  what  may  be  called  independent 
evidence  in  favour  of  the  stability  of  collodio-chloride 
prints  in  warm  climates,  I have  to  say  that  ladies  and 
gentlemen  who  were  photographed  by  me  before  they 
went  out  to  India,  or  had  prints  of  their  friends  sent  to 
them  when  there,  state  that  while  albumenized  prints  often 
fade  very  rapidly,  collodio-chloride  prints  continue  un- 
changed. 

Although  I write  warmly  in  favour  of  the  collodio- 
chloride  process,  a3  being  worthy  of  a better  place  than  it 
has  among  the  various  printing  processes  connected  with 
photography,  [ am  not  to  be  understood  as  having  any 
money  interest  in  connection  with  the  sale  of  the  paper. 
At  one  time  I did  supply  photographers  with  paper,  but 
ultimately  gave  up  doing  so.  If,  therefore,  any  gentleman 
wishes  to  try  collodio-chloride  printing,  he  will  require  to 
order  the  paper  direct  from  either  of  the  manufacturers 
already  referred  to. 


TRANSFERRING  PRINTED  TITLES  TO 
NEGATIVES. 

It  is  frequently  desirable  to  print  a title  to  a photograph, 
and  from  a practical  point  of  view  it  is  very  much  more 
desirable  to  so  imprint  the  inscription  upon  the  negative 
that  each  proof,  whether  unmounted  or  not,  shall  bear  its 
own  title,  than  to  lay  in  a stock  of  specially  printed  mounts 
for  each  subject.  As  few  persons  possess  the  accomplish- 
ment of  writing  in  a reversed  direction  with  ease  and  ele- 
gance, it  is  not  much  use  to  recommend  our  readers  to 
write  their  inscriptions  backwards  on  the  varnished  film  ; 
but  we  will  rather  describe  a simple  and  easy  method  by 
which  letter-press  titles  may  be  transferred  to  the  surface  of 
the  varnish.  The  titles  are  printed  on  thin  paper  which  has 
been  evenly  smeared  over  with  moderately  stiff  starch 
paste  and  allowed  to  diy,  a rather  large  amouut  of  print- 
ing ink  being  used  in  inking  the  type.  Of  course  the 
photographer  can  get  this  printing  done  for  him  by  the 
nearest  letter-press  printer,  but  as  a title  generally  con- 
sists of  but  two  or  three  words,  it  is,  perhaps,  more  gene- 
rally convenient  for  the  photographer  to  print  them  him- 
self. There  is  a stock  article  at  the  London  toy-shops, 
which  consists  of  a wooden  press,  together  with  one 


alphabet  of  small  type,  also  ink  and  dabbers.  All  these 
are  sold  retail  for  one  shilling  and  sixpence,  and  if  a 
simple  alteration  is  made  in  the  set,  it  becomes  well  adapted 
for  the  work  now  under  consideration.  This  altera- 
tion consists  in  casting  aside  the  single  alphabet  of  type, 
and  replacing  it  by  such  a small  fount  as  can  be  bought 
from  Squintani,  in  Farringdon  Street,  for  about  eighteen 
pence.  The  single  alphabet  is  useless,  unless  in  the  case 
of  a title  in  which  one  letter  recurs  ; but  the  letters  of  the 
fount  are  so  proportioned  as  to  meet  ordinary  ueeds. 

Let  us  now  suppose  that  the  title  is  printed  on  the 
starched  paper,  and  that  the  superfluous  edges  of  the  paper 
are  trimmed  off.  The  next  step  is  to  lay  it,  face  down- 
wards, on  a convenient  part  of  the  varnished  negative  film, 
and  to  establish  contact  between  the  viscous  printing  ink 
and  the  varnish  by  gentle  pressure,  care  being  taken  not 
to  so  move  the  transfer  as  to  occasion  the  least  smearing. 
The  back  of  the  paper  is  next  slightly  moistened,  and  the 
pressure  is  renewed,  after  which  the  paper  is  wetted  suffici- 
ently to  thoroughly  soak  it.  No  difficulty  will  now  be 
experienced  in  slowly  stripping  off  the  paper,  so  as  to 
leave  the  reversed  inscription  on  the  negative ; the  last 
trace  of  fibrous  material  being  removed  by  careful  scrub- 
bing with  a camel’s- hair  brush.  When  the  whole  of  the 
water  has  evaporated,  it  is  easy  to  reinforce  the  fatty  letters 
by  dusting  over  with  finely-powdered  red  lead,  all  excess 
of  this  being  wiped  off  with  a soft  brush.  This  red  lead 
serves  to  render  the  inscription  more  opaque,  and  also 
expedites  the  drying  of  the  fatty  ink.  The  whole  process 
of  thus  transferring  printed  titles  to  the  varnished  film 
takes  a very  few  minutes,  and  generally  the  work  looks 
much  neater  than  if  written.  We  need  scarcely  say  that 
the  transfer  must  be  made  while  the  ink  is  wet.  A 
much  less  satisfactory  method  of  titling  negatives  consists 
of  simply  gumming  on  a printed  title,  and  leaving  the 
paper  in  position.  Similarly,  the  titles  may  be  printed  on 
a transparent  material,  such  as  thin  sheet  gelatine,  and 
this  may  be  left  on  the  negative ; but  such  expedients 
seldom  make  neat  work. 

Just  iu  the  same  manner  as  the  typographic  impression 
is  transferred  to  the  negative,  an  impression  from  a litho- 
graphic stone  or  a copper  plate  may  be  put  down  on  the 
varnished  film.  Should  the  ink  be  hard  (a  circumstance 
likely  to  occur  when  au  impression  is  taken  from  a plate), 
it  may  be  softened  by  being  held  over  the  vapour  of  some 
turpentine  heated  in  a spoon. 

If  the  photographer  should  wish  to  avoid  using  type,  he 
may  photograph  any  title  that  pleases  him,  and  make  a 
photo-lithographic  transfer  from  it,  and  put  this  down  on 
the  negative  just  as  we  have  described  in  the  case  of  the 
impression  from  the  type.  Major  Waterhouse’s  paper* 
give  full  details  as  to  making  the  transfer. 


THE  TOURIST  PHOTOGRAPHER. 

II. — The  Oetzthal  Glacier. 

From  Fend,  we  march  direct  to  tbe  glacier.  There  are  two 
ways  across  to  the  Schnalser  Thai : by  the  Hoch  Joch,  and 
Nieder  Joch.  Strange  to  say,  the  latter  is  some  three  or  four 
hundred  feet  higher  than  the  Hoch  Joch,  both  of  the  passes 
being  between  nine  and  ten  thousand  feet  above  the  level  of 
the  sea.  For  ourselves,  we  passed  the  Nieder  Joch  across 
the  most  lovely  snow  fields,  and  by  glittering  slopes  of  the 
purest  white.  Following  in  the  footsteps  of  the  guide,  we 
traverse  the  shoulder  of  one  sugar-loaf  mountain  after 
another,  making  a path  for  ouiselves  in  tbe  soft,  white  soil, 
and  looking  down  sometimes  from  our  narrow  track  into  a 
mass  ot  cloud  that  concealed  from  the  eyes  the  depth  of  the 
abyss  below.  Look  steadily  before  you,  and  mind  your  footing, 
keeping  jour  Alpine  staff  on  the  inside,  between  yourself  and 
the  mountain  wall,  is  the  best  advice  we  can  tender  in  these 
circumstances  ; if  your  pole  slips  then,  you  fall  against  the 
mountain  side,  and  there  is  no  harm  done.  Again,  never 
contemplate  tbe  scene  below  you  while  walking  on  these 


518 


THE  PHOTOGRAPHIC  NEWS. 


[Arorsi  17,  1883. 


precarious  ledges;  you  want  all  your  attention  to  yourself* 
and  if  you  are  apt  to  be  giddy,  staring  down  at  the  preci- 
pice below  is  Dot  likely  to  infuse  confidence.  Indeed,  if  at 
all  nervous,  to  close  well  up  to  the  guide,  is  the  best  thing 
you  can  do. 

Of  course,  we  secure  a picture  of  our  party  ascending  the 
Oetzthal  glacier,  making  a halt  for  the  purpose,  where  the 
track  seems  most  desperate  ; for  we  have  no  idea  of  making 
an  Alpine  journey  with  the  camera  without  bringing  back 
some  evidence  of  the  terrible  risks  we  run  for  the  sake  of — 
well,  for  the  sake  of  photography.  Our  guide  is  in  front 
with  his  coil  of  rope  and  ice-hatchet — we  tell  him  to  pretend 
to  be  using  this  last  implement  to  make  the  thing  look  as 
dangerous  as  possible— and  our  friend  the  cartoonist,  knap- 
sack on  back,  appears  on  a giddy  pedestal  of  ice,  in  the 
centre  of  the  picture,  where  his  figure  may  not  be  lost  to 
view.  Altogether  the  result  is  a most  wonderful  reminiscence 
of  Alpine  travel,  and  we  have  often  contemplated  it  since 
with  admiration  and  awe. 

By  the  way,  it  is  surprising  how  few  people  climb  6now 
mountains,  except  in  the  cause  of  science.  It  is  like 
ballooning  ; everyone  goes  up  with  an  unselfish  object,  viz., 
for  the  purpose  of  benefitting  mankind  at  large — never, 
simply,  for  his  own  fun  or  gratification.  We  suppose  there 
are  people  who  believe  in  this  theory,  otherwise  we  should 
neverhearsomuch  aboutit.  In  an  early  edition  of  “Murray’s 
Switzerland,”  we  remember,  we  have  the  matter  discussed  in 
the  most  innocent  manner — how  it  is  all  very  well  to  make 
ascents  in  the  pursuit  of  knowledge,  but  that  without  this 
laudable  aim  in  view,  such  doings  are  unjustifiable;  and 
Murray  winds  up  with  the  account  of  an  Englishman,  whom 
he  holds  up  to  scorn,  because,  when  asked  the  reason  for 
climbing  a snow  peak,  this  Briton  gives  as  answer  that 
his  only  motive  was  to  say  he  has  been  to  the  top.  The 
chances  are  this  Englishman  was  not  such  a humbug  as 
those  who  pretend  to  scientific  reasons  : in  any  case,  he 
was  frank  and  straightforward  enough. 

So  our  motive  for  climbing  the  Oetzthal  Glacier,  let  us 
say,  is  purely  in  the  interests  of  photography.  It  is  very 
nice,  though,  while  discharging  a duty  to  one’s  fellow 
creatures,  to  be  able  to  enjoy  yourself  at  the  same  time.  The 
crisp,  invigorating  air,  the  sparkling  snow  slopes,  the  grey 
crags,  piercing  the  soft  coverlid  here  and  there,  the  wide- 
stretching  expanse  of  undulating  country  all  virgin  white, 
with  not  a habitation  or  living  thing  as  far  as  the  eye  can 
reach — all  this  is  like  a new  world  above  the  old  one  you 
have  just  left.  As  you  mount  higher  and  higher,  there  are 
yet  more  peaks  and  prominences  to  be  seen,  the  bright  snow 
fields  in  the  sun,  apparently  covered  with  a silken  sheen, 
while  the  blue  sky  is  blue  indeed  against  the  sharply- 
limned  mountain  tops. 

The  Schnalser  valley  now  comes  into  view  as  we  descend. 
A little  village,  called  UnserFrau,  is  our  destination  for  the 
night ; but  ere  we  reach  it,  a most  singular  phenomenon  is 
seen.  This  is  no  less  than  a mountain  chalet  that  has  been 
carried  by  an  avalanche  down  the  hill  side,  a distance  at 
least  of  a quarter  of  a mile.  A broad  miry  track — like  a 
road  at  a distance — marks  the  path  of  this  habitation,  and, 
so  we  are  told  on  enquiry,  the  chalet  was  moved  in  the 
night  while  the  household  was  actually  asleep,  the  latter 
being  awakened,  indeed,  by  the  motion  occasioned  by  the 
remova1.  The  shades  of  evening  are  falling  fast  as  we 
bring  the  camera  to  bear  on  this  interesting  subject ; 
and,  unfortunately,  we  get  no  picture,  when,  some  three 
weeks  afterwards,  we  essay  its  development. 

Some  miles  lowc  down  the  valley  is  a charming  subject 
for  the  camera,  with  which  we  are  more  fortunate.  It  is  a 
castle,  most  romantically  situated  upon  a lofty  hill-top, 
called  the  Katarinaburg.  This  rises  precipitately  from  the 
valley,  and  at  a turn  o!  the  road,  when  you  first  sight  it,  the 
little  burg  appears  to  be  lifted  into  the  heavens.  Leuses, 
unfortunately,  as  every  photographer  knows,  have  a tendency 
to  depress  the  horizon.  When  we  looked  at  the  Katarina- 
burg on  our  focussing  giass,  all  its  romance  had  dis- 


appeared, and  the  hill-top,  with  its  edifice,  looked  common- 
place enough.  However,  matters  soon  mended,  as  soon  as 
the  lens  was  raised  a little  above  the  centre  of  the  camera, 
and  with  a slight  adj  ust  ment  of  the  swing  back  we  managed 
to  do  the  magnificent  scene  the  least  possible  injustice. 
And  here  we  may  remark  that  the  photographer  seldom 
makes  full  use  of  the  advantagts  that  the  apparatus-maker 
gives  him.  With  swing-back  and  swing-front,  movable 
lens  frame  and  movable  base-boards,  he  has  at  his  com- 
mand a whole  series  of  resources  that  are  all  valuable,  if  he 
only  learns  how  to  use  them. 

From  Unser  Frau,  a day’s  walk  will  bring  you  once  more 
into  civilized  regions  to  comfortable  inns  and  a frequented 
post-road,  viz.,  the  valley  of  the  Yintschgau.  At  Naturns 
we  find  a capital  inn,  and  here  you  may  either  pass  the 
night,  or  go  by  “ extra-post  ” in  a couple  of  h'ours  to  Meran, 
a spa  of  some  importance.  Botzen,  a little  Italian-built 
town,  situated  on  the  Brenner  Railway,  is  within  a day’s 
walk  of  Meran. 

In  making  up  your  packets  of  dry  plates  for  use,  it  is  well 
to  be  guided  by  the  number  of  double  dark  slides  you  carry. 
Thus,  supposing  you  carry  three  slides,  your  day’s  work  will 
be  confined  to  exposing  six  plates,  and  therefore  packets  of  six 
will  be  most  convenient.  To  the  tnergetic  photographer 
this  does  not  seem  to  be  a very  large  number;  but  if  he 
works  on  fourteen  days  during  his  tour,  it  means  seven  dozen 
plates,  and  few  tourists  would  like  to  travel  with  more  than 
this,  with  their  ordinary  baggage.  We  always  make  it  a 
practice  to  pack  our  plates  in  pairs,  faces  inwards,  with  a 
narrow  framework  of  card — the  size  of  the  plate — between, 
and  for  the  double  purpose  of  being  able  to  tell  back  and  front 
in  the  dark  ; and  to  afford  room  for  memoranda,  we  place  a 
pretty  large  adhesive  label  on  the  back  of  each  plate  beforo 
starting.  You  can  never  make  any  mistake  then,  when 
putting  the  plates  in  the  elides,  even  if  you  do  the  changing 
upon  your  bed  in  the  black  of  the  night,  the  most  fitting 
place  and  opportunity  we  have  generally  found  on  our 
travels. 

The  Tyrol  cbfdets  and  tenements  form  delightful  subjects 
for  the  camera.  The  wood-carving  of  balcony  and  roof  is 
often  most  elaborate,  and  so,  too,  is  the  little  belfry  that 
surmounts  the  more  pretending  homesteads.  Nor  are  the 
costumes  of  the  Tyrolese  less  picturesque  than  their  dwell- 
ings ; and  now-a-days,  with  rapid  gelatine  plates,  figures  are 
as  easily  depicted  in  the  camera  as  still-life  objects. 
Flower  gardens,  gay  with  crimson  poppies  and  white  roses, 
are  to  be  seen  fronting  the  village  dwellings,  and  as  you 
near  Italy,  there  are  painted  frescoes  of  the  Saints  and  the 
Virgin  Mary  to  be  seen  on  the  walls.  Holy  emblems,  indeed, 
are  everywhere  in  the  Tyrol.  You  cannot  go  a mile  on 
your  journey  without  passing  a crucifix  or  devotional  pic- 
ture, for  the  peasantry  are  fa6t  and  firm  Catholics.  Little 
churches  and  chapels,  gleaming  white  in  the  sunshine  as  if 
cut  out  of  chalk,  and  picturesquely  set  up  upon  some  jutting 
rock  by  the  way-side,  or  at  the  junction  of  a couple  of 
roads,  or  at  the  top  of  some  steep  ascent,  are  dotted  about 
the  landscape,  and  every  important  village  has,  besides,  a 
Calvary  mountain,  where  devout  worshippers  may  do 
penance.  It  is  not  difficult,  in  a hilly  district  like  this,  to 
find  a mount  that  can  be  readily  adapted  to  religious  use, 
and  the  consequence  is,  that  on  a day’s  journey  you  may  sie 
balf-a-dozen  of  these  Calvary  mouuts  near  the  towns  and 
villages  you  pass  by.  Of  these,  many  interesting  pictures 
made  be  made  during  a tour  in  the  Tyrol. 


“MR.  SHADBOLT’S  EXTRAORDINARY  ESCAPE!” 
Tiie  following  marvellous  balloon  story  appeared  in  the 
Doily  Clirohicle  on  the  7th  inst.,  and  has  since  gone  the 
round  of  the  papers.  As  many  of  our  readers  have  proba- 
bly been  watching  with  interest  the  exploits  of  Mr.  C.  V. 
Shadbolt  in  the  “ Sunbeam,”  we  append  full  particulars 
of  his  reported  adventure  on  Bank  Holiday  last,  together 
with  a communication  received  from  him  respecting  it : — 


August  17,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


519 


Yesterday  evening  a special  train  of  “ empties,”  which  left 
Charing  Cross  at  5 55  to  pick  up  returning  excursionists  fiorn 
Gravesend,  had  some  extraordinary  experiences,  such  as  perhaps 
have  hardly  ever  occurred  to  a train  on  a single  journey.  On 
leaving  Dartford,  where  some  passengers  were  taken  up,  the 
train  was  proceeding  towards  Greenhithe,  when  the  driver 
observed  on  the  line  a donkey,  which  had  strayed  from  an 
adjoining  field.  An  endeavour  was  made  to  stop  the  train  before 
the  animal  was  reached,  but  without  success,  and  the  poor  beast 
was  knocked  down  and  dragged  along  by  the  fiiebox  of  the 
engine.  The  train  was  stopped,  and  with  great  difficulty  the 
body  of  the  animal,  which  was  killed,  was  extricated  from 
beneath  the  engine.  'While  this  was  in  progress,  a balloon  called 
the  “Sunbeam,”  supposed  to  come  either  from  Sydenham  or 
Tunbridge  Wells,  passed  over  the  line,  going  in  the  direction  of 
Northfleet.  The  two  aeronauts  in  the  car  were  observed  to  be 
short  of  gas,  and  were  throwing  out  ballast,  but,  notwithstanding 
this,  the  balloon  descended  slowly,  and  when  some  distance  ahead 
of  the  train,  was,  to  the  horror  of  the  passengers,  seen  to  drop 
suddenly  into  the  railway  cutting  two  or  three  hundred  yards 
only  in  advance  of  the  approaching  train.  The  alarm  whistle 
was  sounded,  and  the  brakes  put  on,  and  as  the  balloon  dragged 
the  car  and  its  occupants  over  the  down  line,  there  seemed 
nothing  but  certain  death  for  them  ; but  suddenly  the  inflated 
monster,  now  swaying  about  wildly,  took  a sudden  upward 
flight,  and,  dragging  the  car  clear  of  the  line,  fell  into  an  adjoin- 
ing field  just  when  the  train  was  within  a hundred  yards  of  the 
spot.  The  escape  was  marvellous. 

Mr.  Shadbolt  writes  as  follows:  — 

“ The  whole  story  is  utterly  false,  as  we  had  safe  landings 
both  on  Monday  and  Tuesday  ; and  no  such  incident 
occurred  to  the  ‘ Sunbeam  ’ as  that  reported,  although 
we  descended  at  Northfleet  on  the  evening  referred  to,  and 
saw  a traiu  some  400  or  500  feet  below  us  as  we  were  sail- 
ing low  in  search  of  a landing  place.  It  is  just  an  exam- 
ple of  one  of  those  exciting  adventures  evolved  from  the 
lively  imagination  of  some  enterprising  penny-a-liner  ; and 
you  will  not  be  surprised  when  I tell  you  that  the  circula- 
tion of  such  a thrilling  story  has  caused  no  little  anxiety 
among  my  friends.  It  is  too  bad  ! 

“ Be  photographic  work  on  these  occasions.  The  weather 
was  dull,  and  the  lateness  of  the  hour  at  which  the  ascents 
were  made  rendered  success  almost  impossible.  I have  a 
few  traces  of  an  image  on  one  or  two  of  the  plates,  but 
not  much  more  as  far  as  I have  yet  developed.  To  be 
really  successful  requires  bright  sunlight,  and  in  order  to 
obtain  this,  an  earlier  ascent  is  generally  necessary.  In 
all  I have  made  this  year,  the  hour  has  unfortunately  been 
unfavourable  for  photographic  operations.— Yours  faith- 
fully, <l  Cecil  V.  Shadbolt.” 


FRENCH  CORRESPONDENCE. 

New  Method  of  Dark  Room  Lighting— M.  Enjalbert’s 
Lantern— M.  Hutinet’s  Enlarging  Apparatus — Auto- 
matic Apparatus  for  Endless  Pellicles. 

M Scold's  Method  of  Dark  Boom  Lightuuj. — M.  Scola  has 
discovered  a new  method  of  lighting  the  dark  room,  while 
operating  with  gelatine  plates,  by  the  help  of  an  anti- 
photogenic  lamp  flame.  Bromate  of  strontium  is  used, 
which  gives  a red  flame,  and  has  the  property  of  not  cal- 
cining the  wick.  The  idea  is  excellent,  but  it  remains  to 
be  seen  whether  the  flame  does  not  contain  blue  rays. 
M.  Scola  affirms  that  he  has  developed  gelatine  plates  in 
this  light  without  any  fogging. 

M.  Enjalbert's  Lantern. — M.  Enjalbert,  whose  ingenious 
apparatus,  are  well  known,  has  just  brought  out  a new 
portable  lantern,  of  a pattern  well  worthy  of  notice.  The 
sides  of  this  lantern  fold  back  in  such  a way  as  to  form  a 
flat  object.  The  red  glass  is  well  protected  from  the  case, 
and  an  ordinary  candle  fixed  in  a brass  sheath  regulated' 
by  a spring.  The  whole  thmg  is  contained  in  a small  flat 
box,  and  is  very  portable. 

M.  Ilutinet's  Enlarging  Apparatus. — For  using  his  gela- 
tine paper,  M.  Hutinet  has  constructed  a special  enlarging 


apparatus,  of  which  we  give  a diagram.  By  the  help  of 
this  camera  lighted  by  an  ordinary  lamp  or  gas  flame,  an 
enlargement  is  obtained  in  about  one  minute.  The 


rapidity  of  the  whole  operation  is  such  that  five  hours 
sutfice  to  carry  out  the  whole  process.  The  following 
letters  refer  to  the  diagram : — A,  camera ; B,  box  of 
galvanised  iron  ; C,  lens  ; D,  support  for  negatives  ; 
E,  ground  glass  ; F,  silvered  reflector ; G,  gas  lamp ; 
11,  chimney.  This  process  possesses  the  enormous  advan- 
tage of  a facility  and  rapidity  of  execution  hitherto  un- 
attainable with  enlargements.  The  gelatino- bromide 
paper  used  is  more  suitable  for  positives  than  negatives,  for 
it  gives  very  intense  images  by  reflection,  and  the  opposite 
results  for  transparencies. 

M.  Subbing' s Apparatus. — M.  Stebbing  has  presented 
the  Photographic  Society  of  France  with  an  automatic 
apparatus  for  endless  pellicle  rolls.  It  gives  prints  of 
6 by  6.  The  band  unrols  from  one  side  on  to  the  other, 
and  is  fixed  in  front  of  the  lens  in  a very  ingenious  way. 
Fifty  to  sixty  views  may  be  reproduced  successively  with 
it,  which  may  afterwards  be  enlarged.  As  it  is  very  port- 
able, it  may  be  of  great  use  to  artists  and  others ; it  is 
also  very  simple  to  manage.  Leon  Vidal. 


PHOTOGRAPHY  AT  THE  ANTIPODES. 

We  take  the  following  from  the  letter  of  a correspondent 
who  dates  from  Melbourne: — 

As  Mr.  Valentine  has  told  you  in  “ A Photographer’s 
Visit  to  the  Antipodes,”  our  art  is  well  represented  in 
Melbourne,  and  I may  say  in  Australasia.  We  have  all 
classes  represented  — from  the  gem- man  to  the  well- 
appointed  studio.  In  Melbourne  especially  competition  is 
very  keen,  and  very  passable  work  is  turned  out  for  8s.  6d. 
per  dozen  cartes,  15s.  per  dozen  cabinets.  The  firm  of 
Steward  and  Co.  especially  turn  out  very  creditable  work 
at  this  low  figure.  Steward  was  the  first  to  lower  the 
price,  and  we  must  give  him  the  credit  of  endeavouring  to 
keep  up  the  quality  of  the  work  as  much  as  possible. 
Others  have  tried  to  follow  in  his  steps,  but  none  have  as 
yet  succeeded  in  pleasing  the  multitude  as  he  has  done. 
Among  the  high  class  workers,  Mr.  Foster,  of  Foster  and 
Martin,  takes  a prominent  position,  and  his  work  would 
be  considered  A1  in  any  part  of  the  world.  Not  alone  in 
photography,  but  also  in  painting,  M.  Foster  comes  to  the 
front.  His  sea-scapes  especially  are  always  highly  spoken 
of  at  the  anuual  exhibitions  of  the  Victorian  Academy  of 
Art.  Of  Messrs.  Johnstone  O'Shaunessy  and  Co.,  Mr. 
Valentine  has  already  spoken,  and  I can  ouly  corroborate 
his  eulogistic  remarks. 

The  old  firm  of  Batchelder  and  Co.  (established  1852) 
possesses  many  valuable  negatives  of  early  colonists,  and 
still  holds  its  ground  well,  in  spite  of  keen  competition. 
The  American  firm  of  Tuttle  and  Co.  is  also  well  known, 
though  only  established  a few  years.  Tuttle  has  a style 
of  his  own,  both  in  establishing  a business  and  finish  of 
work.  He  is  the  boldest  poser  and  retoucher  I ever  met 
with,  and  although  those  among  us  who  consider  them- 
selves legitimists  (photographically  speaking)  are  apt  to 
sneer  at  his  work,  it  cannot  be  denied  that  it  attracts 


520 


THE  PHOTOGRAPHIC  NEWS. 


[August  17,  1883. 


notice.  His  speciality  is  theatrical  characters.  He  is  skim- 
ming the  cream  off  the  photographic  milk  in  Sydney  now,  and 
since  he  left  here,  the  work  turned  out  at  the  place  carried 
on  under  his  name  has  lost  much  of  its  racy  character. 
Tuttle  has  had  a branch  in  Adelaide,  and  is  now  going  to 
open  one  in  N.  Zealand.  He  has  already  had  about  thirty 
different  galleries,  and  if  he  lives  long  enough,  you  may 
see  him  start  in  London  yet. 

For  the  landscape  photographer  there  is  not  much  of  a 
field  here.  We  have  no  history,  no  past,  and  our  scenery, 
in  consequence,  resolves  itself  into  two  classes — town  and 
suburban  views  of  bush-scenery.  To  do  the  latter  means 
real  downright  hard  work,  and  travelling  here  is  unlike 
travelling  in  the  old  country. 

I often  long  to  contribute  semething  to  your  valuable  paper, 
out  of  which  I gleaned  much  information  and  many  a good 
hint ; but  we  are  so  far  apart.  Still,  I fancy  some  account 
of  my  bush  experiences  might  interest  our  photographic 
confreres  in  the  old  country  ; and  if  you  like  my  pictures, 
I may  some  day  tell  you  how,  or  under  what  circumstances, 
they  were  produced.” 


Batts. 

“ About  Photography  and  Photographers  ” is  published 
to-day  by  Messrs.  Piper  and  Carter. 


The  International  Photographic  Exhibition  at  Brussels, 
which  opened  yesterday,  was  visited  by  an  unexpectedly 
large  number  of  people.  The  jury,  with  the  exception  of 
Dr.  Eder,  whose  attendance  was  prevented,  commenced 
their  inspection  in  the  afternoon.  We  believe  that  the 
Belgian  Photographic  Association  intend  to  hold  a similar 
exhibition  every  three  years. 


His  Majesty  the  King  of  the  Belgians  has  arranged  to 
visit  the  Exhibition  to-day,  and  the  Qneen,  who  is  now  in 
Hungary,  has  telegraphed  her  regret  at  not  beiug  able  to 
accompany  him. 


Apart  from  the  general  advance  in  numerous  depart- 
ments of  photography,  the  definite  mark  of  progress  which 
will  make  this  Exhibition  notable,  is  the  practical  realisation 
of  photo-block  printing  as  a substitute  for  wood  engrav- 
ing. The  remarkable  work  of  M.  Rousselon  (Goupil)  and 
the  Autotype  Publishers  of  Munich  is  now  shown  for  the 
first  time.  This  latter,  at  any  rate,  appears  to  be  done  by 
some  modification  of  the  method  of  Ives. 


Contributions  to  the  Exhibition  have  been  received  from 
various  parts  of  the  world,  and  during  our  walk  round 
yesterday  we  noticed  exhibits  from  Denmark,  Germany, 
Austria,  Hungary,  France,  England,  Servia,  Russia, 
Algiers,  Syria,  Portugal,  and  Italy.  We  hope  that  Eng- 
lish photographers  will  endeavour  to  see  this  Exhibition, 
as  its  international  character  gives  it  especial  interest.  An 
account  of  some  of  the  exhibits  will  be  found  in  another 
column. 


This  is  how  the  exhibitor’s  season  ticket  is  made.  He 
sends  in  a carte-de-visite  portrait,  and  the  Secretary  of  the 
Association  covers  the  back  with  a label,  setting  forth  that 


the  person  whose  portrait  and  signature  are  on  the  other 
side  is  to  be  admitted  at  all  times. 


According  to  the  Daily  News,  a most  interesting  collec- 
tion of  photographs  has  been  presented  to  Mr.  Inspector 
Denning  by  members  of  both  Houses  of  Parliament,  each 
bearing  an  autograph.  The  collection  has  been  enclosed 
in  two  handsome  albums,  which  have  been  presented  to 
Mr.  Denning  by  members  of  the  parliamentary  staff  of  the 
Press  of  London  and  the  provinces.  The  first  photograph 
is  that  of  the  Queen,  with  Her  Majesty’s  autograph,  which 
was  specially  sent  to  Mr.  Denning. 


As  Mr.  Denning  and  his  myrmidons  are  required  to 
know  off-hand  the  features  and  person  of  every  member 
of  the  legislature,  as  he  passes  in  and  out  of  the  parlia- 
mentary chambers,  the  present  is  not  only  an  ornamental, 
but  decidedly  useful,  one  to  the  vigilant  inspector. 

The  International  Electric  Exhibition  at  Vienna  was 
opened  yesterday  by  the  Crown  Prince  Rudolf,  when 
thousands  of  persons  were  present,  notwithstanding  the 
unfavourable  state  of  the  weather.  The  British  Com- 
missioners are  Lord  Sudely,  Sir  William  Thomson,  Sir 
William  Siemens,  and  Sir  Frederick  Abel,  C.B. 


The  day  originally  fixed  for  the  inauguration  of  the 
Daguerre  Monument  has  proved  inconvenient,  and  the 
ceremony  is  to  take  place  on  Sunday  week,  the  26th  inst., 
at  Cormeilles-en-Parisis.  The  meeting  place  for  the  Paris 
contingent  is  the  St.  Lazare  Station,  12.5  p.m.  train  for 
Cormielles. 


The  bust,  which  stands  on  a handsome  pedestal,  is  the 
work  of  the  sculptor  Capellaro,  and  was  exhibited  at  the 

Salon. 


We  are  in  receipt  of  the  Jubilee  Report  of  the  Royal 
Cornwall  Polytechnic  Society,  which  is  a bulky  volume 
containing  a mass  of  useful  information  in  the  shape  of 
reports  and  lectures  on  mechanics,  fine  art,  natural  history, 
and  many  other  topics  of  interest.  The  reports  on  the 
photographic  section  appeared  in  our  volume  for  1882. 

As  some  of  our  readers  appear  to  be  in  the  habit  of  pro- 
ducing chloride  of  gold  from  sovereigns  and  half-sovereigns, 
we  must  remind  them  that  destroying  or  defacing  current 
coins  of  the  realm  is  an  illegal  act. 

We  had  the  pleasure  of  meeting  Mr.  William  M.  Whyte, 
oue  of  the  Ben  Nevis  observers,  the  other  day  at  Foit 
William.  This  is  Mr.  Whyte’s  second  season  as  an  ob- 
server. He  told  us  he  had  climbed  the  mountain  106  times, 
and  every  alternate  day  he  makes  the  ascent— 4,406  feet — 
to  read  the  thermometers,  barometers,  and  other  recording 
instruments  at  different  stations  on  the  mountain.  The 
top  observation  is  taken  at  8 a.m.  precisely — the  barometer 
being  read  to  one-thousandth  of  an  inch— and  the  work 
not  unfrequently  detains  him  for  a couple  of  hours  upon 
the  cold,  inhospitable  summit. 


August  17,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


521 


The  force  of  the  wind  and  the  density  of  cloud  is  also 
noted.  “ The  latter,”  said  Mr.  Whyte,  in  reply  to  a 
question,  “ is  done  by  imagining  a scale  from  0 to  10,  zero 
meaning  blue  sky,  anl  10  dense  cloud  ; there  is  no  diffi- 
culty iu  the  matter,  for  it  is  always  10.”  Not  once  in 
twenty,  that  is  to  say,  is  there  a clear  view.  The  bridle 
path  up  the  mountain  will  be  finished  in  a mouth,  and  a 
stout  little  building  to  house  three  observers  is  promised  by 
the  contractors  before  the  end  of  the  year.  Then  the 
labours  of  the  observers  will  be  materially  lightened,  for 
photography  will  be  called  in,  as  at  Ivew  and  other  ob- 
servatories, to  watch  and  record  the  changes  that  take 
place.  Photography  never  tires  and  never  makes  a mistake, 
let  it  watch  unceasingly  the  mercury  column  of  the  baro- 
meter, or  the  action  of  the  swinging  bar  magnet. 


Mr.  Wragge,  as  our  readers  are  aware,  is  the  institutor 
of  the  Ben  Nevis  Observatory,  and  many  are  the  wrongs 
laid  to  his  charge  by  the  good  people  at  the  foot  of  the 
mountain,  who  declare  matters  have  recently  changed  for 
the  worse.  “ The  weather  was  very  well  as  it  was ; why 
couldn’t  he  leave  it  alone  ? ” is  the  plaint  of  the  conventional 
oldest  inhabitant,  who  was  sure  Mr.  Wragge  would  make  a 
mess  of  it  from  the  first.  Still,  it  is  pleasant  to  record  that 
Ben  Nevis  observatory  is  now  an  accomplished  fact ; funds 
are  at  hand  for  its  construction,  Government  has  promised 
electrical  communication,  while  the  hardy  observers  are 
indefatigable  in  their  labours. 


Many  a photographer  has  had  complaint  about  thedaik- 
ne8S  of  his  sitter’s  face.  The  features  turn  out  degraded, 
the  white  collar  and  cuffs  not  unfrequently  adding  further 
to  the  duskiness  of  a skin  which,  may  be,  rivals  the  lily  in 
whiteness.  Oliver  Wendell  Holmes,  in  his  “Poet  at  the 
Breakfast  Table,”  complaics  of  this  tendency  of  photo- 
graphy in  no  uncertain  terms ; he  trusts  that  his  portrait, 
at  any  rate,  will  not  come  out  “ quite  so  badly  as  one  I saw 
the  other  day,  which  I took  for  the  end  man  of  the 
Ethiopian  Serenaders,  or  some  traveller  who  had  been  ex- 
ploring the  sources  of  the  Niger,  until  I read  the  name  at  the 
bottom,  and  found  it  was  a face  I knew  as  well  as  my  own.” 


Touching  the  Copyiight  question  and  the  Stereoscopic 
Company,  Truth  compares  the  position  of  a person  employed 
for  the  purpose  of  taking  portraits  with  that  of  an  author 
instructed  by  a publisher  to  write  a book.  In  the  latter 
case,  the  copyright  would  naturally  belong  to  the  employer, 
or  publisher  ; and  so,  Truth  argues,  the  pbotogiaph  should 
also  belong,  not  to  the  person  taking  it,  but  to  his  employers. 
This  is  beggiug  the  question,  which  is  rather,  whether  any 
one  but  the  producer  has  a tight  to  register  himself  as 
“author”  of  an  object,  and  thus  substitute  his  lifetime 
for  the  lifetime  of  the  producer,  and  so  alter  for  better  or 
worse  the  term  of  copyright. 


Ths  plan  adopted  by  Mr.  Hannay,  the  police  magistrate, 
of  showing  a drunken  man  his  reflection  in  a mirror  to  shame 


him  out  of  the  vice,  might  be  very  much  improved  upon, 
Why  should  not  “drunks”  be  photographed,  and  copies 
huDg  outside  the  police  stations,  to  serve  as  ‘‘awful 
examples?”  Publicity  of  this  kind  would  have  a much  more 
deterrent  effect  than  fines  or  imprisonment.  Indeed,  we 
do  not  see  why  this  plan  should  not  be  extended  to  other 
offenders — wife-beaters  especially.  They  might  be  made  to 
pay  for  the  pictures. 


In  writing  last  week  with  rcfeience  to  the  photographing 
of  the  Sbapira  leather  manuscripts,  it  was  inadvertently 
stated  that  they  were  photographed  at  the  British  Museum. 
This  is  not  the  fact.  The  photographs  were  taken  at 
Leipsic. 


Those  who  use  the  carbon  process  largely  will  be  interested 
in  learning  that  a process  has  been  patented  in  England  ou 
behalf  of  P.  Homer,  of  Elberfeld,  whereby  the  cost  of  the 
manufacture  of  bichromate  of  potash  will  be  much  reduced. 
Hitherto  only  potassium  salts  have  been  used,  and  the 
principle  of  the  patent  is  the  substitution  in  part  of  sodium 
salts  for  potassium,  the  latter  being  more  costly. 


Photographers,  especially  those  who  do  their  own  printing, 
are  large  consumers  of  water,  but  it  does  not  appear  on  what 
principle  companies  are  guided  as  to  their  chargee.  In 
some  cases  no  extra  demand  is  made,  while  in  others  the 
Company  knows  something  of  photographers  and  their  ways, 
and  raises  the  price  ; but  even  when  this  is  so,  the  basis  is 
difficult  to  ascertain.  It  may  be  said  that  to  charge  by 
meter  would  be  the  fairest  way.  So  it  would,  but  then  there 
would  be  the  temptation  to  underwash  silver  prints,  the 
photographer  knowing  that  for  every  extra  gallon  he  used 
he  would  have  to  pay.  Perhaps,  on  the  whole,  it  were  best 
to  let  things  remain  as  they  are.  Of  course  the  result  of  Mr. 
Dobbs’  appeal  to  the  House  of  Lords,  which  has  now  decided 
that  the  companies  must  base  their  charges  on  the  rateable 
value,  and  noton  the  gross  rental,  will  affect  photographers 
favourably. 

It  is  laid  down  by  several  authorities  on  pigeon-flying — 
by  Mr.  Tegitmeir  in  particular — that  these  useful  winged 
messengers  cannot  fly  in  fog  or  cloud.  Tnis  question  will 
now  speedily  be  set  at  rest,  f^r  pigeons  are  being  trained  to 
carry  down  from  Ben  Nevis  to  Fort  William  the  eight 
o’clock  meteorological  records.  As  the  summit  of  the  Ben  is 
more  frequently  clouded  than  not,  there  will  be  unusual 
opportunities  for  settling  this  moot  point. 


fatfttt  Intelligent. 

Application  for  Letters  Patent. 

3837.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patent  Agents,  Southampton  Buildings,  London,  for 
an  invention  of  “ Improvements  in  adjustable  chairs,  chiefly 
designed  for  photographic  purposes." — A communication  to 
him  from  abroad  by  William  Shields  Liscomb,  of  Providence, 
Rhode  Island,  United  States  of  America,  Gentleman. — 
(Complete  Specification.) — Dated  7th  Angust,  1883.—  Also 


522 


THE  PHOTOGRAPHIC  NEWS. 


[August  17,  1883, 


protected  for  six  months  by  deposition  of  a complete  specifica- 
tion. 

Patent  Sealed. 

1229.  Alfred  Horace  Dawes,  of  Brook  Cottage,  Windermere, 
in  the  county  of  Westmorland,  Artist,  for  an  invention  of  “ An 
improved  process,  system,  or  method  of  producing  permanent 
coloured  photographic  card  pictures.” — Dated  7th  March, 
1883. 

Specification  Published  during  the  Week. 

5962.  A.  Aeon,  “ Photographic  albums.” — A communication 
from  A.  Aron. 

The  object  of  this  invention  is  to  construct  albums  for  holding 
photographs,  in  such  a manner  that  the  said  photographs  may  be 
readily  placed  into  or  withdrawn  from  the  leaves  without  risk  of 
tearing  or  injuring  that  portion  of  the  leaf  which  is  visible  to  the 
eye.  For  this  purpose,  and  according  to  one  arrangement,  each 
leaf  of  the  album  is  composed  of  two  portious,  viz.,  a fixed 
portion,  or  leaf  proper,  and  a removable  portion,  or  slide,  this 
latter  portion  being  adapted  to  be  slidden  into  the  fixed  portion, 
either  from  the  top  or  from  the  bottom  edge,  or  from  the  lateral 
edge  of  the  leaf,  and  to  be  readily  withdrawn  therefrom  as 
required.  This  removable  or  sliding  portion  carries  the  photo- 
graphs, which  are  inserted  therein  through  slits  or  openings  in 
the  lateral  edges,  or  in  any  other  suitable  part  of  such  portion, 
and  this  portion  is  also  provided  with  apertures  or  openings,  for 
the  exhibition  of  the  photographs,  said  apertures  or  openings 
corresponding  with  and  lying  between  those  in  the  fixed  portion, 
or  leaf  proper,  when  the  sliding  portion  is  fitted  in  place.  In 
another  arrangement  or  modification,  the  portion  cirrying  the 
photographs  is  a fixture,  and  the  outer  leaf  is  adapted  to  be 
slidden  over  this  fixed  portion,  and  to  form  a sheath  or  envelope 
therefor. — Provisional  Protection  only. 

Patent  Granted  in  America. 

231,532.  William  E.  Lindop,  of  St.  Thomas,  Ontario,  Canada, 
assignor  to  Charlotte  Frances  Lindop,  of  the  same  place,  for 
“ An  apparatus  for  changing  and  storing  photographers’  back- 
grounds, &c.” — Application  filed  9th  March,  1883. — No  model. 


A TRIP  TO  K1LAUEA. 

BY  C.  RAY  WOODS.* 

By  the  time  we  had  finished  our  dinner,  darkness  had 
come  on,  for  the  Sandwich  Islands  are  just  within  the 
Tropics,  and  in  those  regions,  I need  scarcely  inform  your 
readers,  twilight  has  but  a short  duration.  We  stepped 
out  of  the  house,  and  looked,  many  of  us  for  the  first  time, 
on  an  active  volcano.  The  volcano  house  stands  very 
near  to  the  edge  of  the  crater,  and,  stepping  up  to  the  verge 
of  the  yawning  hole,  we  gazed  upon  an  impressive  specta- 
cle. The  night  was  black  in  the  distance,  but  right  before 
us  it  was  of  a fiery  red,  for  columns  of  vapour  were  ascend- 
iog  into  the  air,  reflecting  the  ruddy  glow  of  the  cauldron 
beneath.  What  appeared  then  to  be  a sort  of  jagged 
mountain  peak  separated  the  bright  red  reflection  from  the 
dark  space  between  us  and  it;  but  several  lines  of  light, 
ranging  in  intensity  from  red  to  white,  broke  the  monotony 
of  the  intervening  space.  Beautiful  and  grand  as  the  sight 
was,  however,  it  was  poor  in  comparison  with  the  spectacle 
we  were  to  have  on  the  morrow.  We  became,  at  the  same 
time,  aware  of  the  presence  of  sulphurous  vapours ; but 
these  proceeded  from  a source  much  more  near  to  hand. 
We  could  not  give  too  much  attention  to  our  feet,  for  holes 
and  fissures,  lined  with  sulphur,  yawned  around  us,  belch- 
ing forth  compounds  of  sulphur  and  steam.  Over  one  of 
these  holes  a small  hut  had  been  erected,  and  into  this  hut 
we  went  to  enjoy  a vapour  bath.  We  sat  ourselves  inside 
a kind  of  wooden  box,  in  which  the  whole  body  was  en- 
closed, with  the  exception  of  the  head,  which  protruded 
from  a hole  formed  by  a couple  of  boards  fitting  round 
the  neck,  till  the  perspiration,  streaming  from  every  pore, 
rendered  the  heat  no  longer  a source  of  discomfoit ; then 
we  stepped  out,  and  one  of  our  companions  completed  the 
operation  by  pouring  a pail  of  almost  ice-cold  water  over 

* Continued  from  page  191. 


us.  The  refreshing  effects  of  this  bath  upon  aching 
limbs  cannot  be  over-praised,  and,  much  restored  by  it,  we 
wandered  round  the  house,  or  closed  round  the  great 
wood  fire  in  the  sitting-room,  enjoying  the  fragrant  weed, 
till  it  was  time  to  retire  to  rest. 

We  were  best  able  to  estimate  the  exact  position  of 
affairs  when  morning  came.  The  crater,  which  is  nine 
miles  in  circumference,  is  one  huge  hole  some  hundreds  of 
feet  deep,  with  almost  perpendicular  walls.  Its  bottom  is 
one  black  crumbled  expanse,  with  two  or  three  not  very 
tall  cones  in  the  distance.  Vast  quantities  of  vapour 
arose  out  of  these  central  cones,  and  from  many  a spot  of 
the  pitch-like  lava  ascended  the  rarified  air,  which  showed 
only  too  plainly  the  temperature  of  the  mass  beneath  it. 
It  was  these  heated  masses,  and  the  distance  of  the  central 
cones,  which  gave  the  latter  the  appearauce  of  height  on 
the  preceding  evening. 

One  party  set  out  for  the  centre  in  the  morning,  and 
another  went  in  the  afternoon,  and  stopped  till  night-fall. 
A few  energetic  individuals  attended  both  visits,  but  in 
their  case,  nothing  could  have  been  gained  by  the  first 
journey.  I went  on  the  second  visit  only,  and  spent  the 
morning  examining  the  surroundings  with  the  hotel  pro- 
prietor ; and  remarkable  surroundings  they  were.  Beauti- 
ful ferns  grew  immediately  over  hot  steam  cracks  ; bright 
flower  beds  were  in  close  proximity  with  deposits  of  sul- 
phur. Such  is  the  fertility  of  volcanic  soil,  that  shrubs 
and  grasses  grew  vigorously  in  spite  of  the  crystals  of  sul- 
phur that  cling  like  hoar  frost  to  their  leaves  and  blades. 
We  were  shown  the  caves,  hot  wells,  and  steam  cracks, 
where  the  hotel  proprietor  intended  building  his  kitchen, 
and  cooking  the  eatables;  we  were  shown  also  masses  of 
an  edible  fern  being  cooked  in  large  quantities  for  the  pigs. 
The  eatables  of  which  we  partook  were  not  supposed  to 
have  been  cooked  by  volcano ; it  may  be  so,  but  I have 
my  doubts.  In  any  case,  I do  not  intend  to  buy  a volcano 
myself  for  that  purpose,  as  I cannot  divest  myself  of  an 
unaccountable  prejudice  in  favour  of  coals,  rather  than 
steam  and  sulphur.  We  then  wandered  along  the  road 
towards  Mauna  Loa,  which,  with  its  neighbour,  Mauna 
Kea  (the  latter  tipped  with  snow),  towered  majestically  in 
the  distance.  The  rest  of  the  morning  I spent  lying  at  full 
length  on  the  grass,  picking  the  wild  strawberries  that  lay 
withiu  my  reach. 

In  the  afternoon  we  set  out  across  the  crater,  descending 
down  the  side  of  the  precipice  by  a narrow  winding  path, 
which,  in  many  places,  passed  objectionably  near  some  of 
the  steam  holes  and  sulphur  cracks.  My  camera  was 
strapped  across  my  back,  but  my  camera  legs  were  again 
useful,  for  I opened  them,  tied  them  together,  and  used 
them  in  place  of  a stick  for  crossing  dangerous  places. 
Arrived  at  the  foot  of  the  precipice,  we  stepped  out  on  to 
the  lake  of  lava,  and  pursued  a somewhat  circuitous  route 
across  it  Hard,  polished,  and  slippery  in  some  places,  soft 
and  crumbling  iu  others  ; gnarled  and  t wisted,  broken  and 
cracked  ; divided  by  fissures  that  appeared  hot  below  the 
depth  of  a foot  or  two  beneath  the  surface,  sounding  in 
many  cases  quite  hollow  to  the  tread,  as  if  we  were  stepping 
ou  some  huge  bubble,  we  needed  occasionally  some  support 
to  assist  us.  Hot  vapour  rose  up  through  some  of  the 
cracks,  and  through  others  molten  lava  was  squeezing  its 
way  to  the  surface.  In  some  parts  we  had  to  go  out  of 
our  way  to  avoid  places  too  hot  to  stand  on  ; and  when  we 
chanced  to  get  on  the  leeward  side  of  such  pieces,  the  hot, 
dry  air  became  almost  insupportable.  Once  at  least  we 
had  to  cross  a stream  of  lava,  the  thin  surface  of  which  only 
was  solid,  and  happy  were  those  who  had  provided  them- 
selves with  good  stout  boots.  Soon  we  began  gradually  to 
ascend,  and  at  last  found  ourselves  looking  down  on  what 
is  known  as  the  “ New  Lake,”  a strong  cool  breeze  blowing 
at  our  backs,  and  our  faces  being  scorched  by  the  huge 
furnace  that  glowed  beneath  us.  This  lake  is  nearly  half 
a mile  in  diameter,  and  its  lower  edges,  where  the  molten 
lava  was  in  contact  with  the  solid  rock,  glowed  continuously, 


THE  PHOTOGRAPHIC  NEWS. 


523 


August  17,  1883.J 

forcibly  reminding  you  of  the  chromosphere  of  the  sun. 
The  brightness  of  the  lake  varied  considerably  from  time 
to  time  ; sometimes  it  would  appear  comparatively  dark 
and  quiescent,  and  at  other  periods  its  whole  surface  was 
convulsed:  bright  red  streaks  suddenly  broke  up  its  surface, 
and  continually  shifted  their  position  ; in  twelve  to  sixteen 
places  once  it  literally  boiled  ; fountains  of  molten  lava, 
looking  like  the  sun’s  red  prominences  as  seen  during  an 
eclipse,  were  thrown  high  into  the  air,  to  be  scattered  by 
the  wind  in  the  form  of  spray.  It  is  in  this  manner  that  the 
substance  known  as  Paley's-hair  is  formed.  It  is  nothing 
less  than  lava  spun  into  fine  threads.  For  some  time  we 
gazed  on  this  magnificent  and  awe-inspiring  spectacle,  and 
then  took  out  our  cameras.  Instantaneous  shots  were  out 
of  the  question,  for  the  day  was  dull,  and  had  it  been 
otherwise,  the  phenomena  we  most  desired  to  obtain  could 
not  have  impressed  themselves  ou  the  plate.  We  exposed 
several  plates,  therefore, for  various  periods,  then  once  more 
gave  our  sole  attention  to  the  spectacle,  and  remarked,  not 
without  wonder,  how  one  huge  craggy  rock  continued  to 
withstand  the  intense  heat  of  glowiug  lava  that  dashed 
itself  at  its  foot. 

Time  wore  on,  and  the  sun  sank  below  the  horizon.  As 
the  air  grew  darker,  the  sight  became  yet  more  sublime; 
the  rocks  around  were  lit  up  by  the  bright  red  glow,  and 
the  vapour  that  rose  into  the  air  was  tinged  with  the  same 
hue.  Now  for  another  plate  and  longer  exposure,  though 
the  experiment  may  meet  with  doubtful  success.  It  gets 
yet  darker,  and  we  try  another  with  a longer  exposure 
still.  The  lava  has  been  flowing  for  some  time  towards 
the  corner  of  the  lake,  near  which  we  stand.  Some  of  the 
party  are  already  finding  their  way  back,  but  a few  of  us 
still  linger  on.  loth  to  quit  the  scene.  The  lava  flows  more 
swiftly  towards  our  corner,  and  suddenly  that  part  just 
beneath  breaks  up,  scorching  and  half  blinding  us  with 
its  glare — the  lava  is  finding  some  outlet  beneath  the 
very  rock  on  which  we  stand.  The  light  grows  fainter, 
and  we  turn  sorrowfully  away,  making  all  haste  to  catch  up 
to  the  guide  and  the  rest  of  the  party,  but  giviug  many  a 
lingering  glance  behind  us. 

Hardly,  however,  had  we  been  ten  minutes  on  our  way, 
when  a bright  streak  of  lava  came  out  of  the  foot  of  the 
cone,  near  the  place  we  had  just  left,  and  stretched  for 
some  distance  across  and  beyond  the  part  we  had  lately 
traversed.  Ilad  we  stayed  a few  minutes  longer  looking 
at  the  lake,  we  must  have  been  intercepted,  and  have  had 
to  make  a long  detour.  If  it  was  difficult  to  find  our  way 
across  the  lava  before,  it  was  still  more  so  now,  when 
there  were  only  two  lanterns  at  the  disposal  of  the  party. 
We  made  our  way  across  in  single  file,  and  without  acci- 
dent. Once,  indeed,  my  foot  slipped  into  one  of  the  fis- 
sures, but  it  was  out  again  in  less  time  than  it  takes  me 
to  write  it.  We  stopped  near  a stream  of  molten  lava  to 
obtain  a few  specimens,  and  get  some  coin  impressions, 
and  then  reached  the  side  of  the  crater  as  quickly  as  the 
nature  of  the  road  would  permit.  It  was  much  harder 
work  to  climb  up  than  to  get  down  ; but  when  we  came  to 
a dangerous  place,  one  member  of  the  party  would  hold 
the  lantern  till  the  others  had  passed  ; by  this  means  the 
house  was  soon  reached,  and  we  shortly  retired  to  rest. 

To  describe  the  journey  home  would  be  almost  super- 
fluous. I must  therefore  content  myself  with  saying  that 
my  last  horse  gave  me  satisfaction,  and  I greatly  eujoyed 
the  ride,  before  the  close  of  the  third  day,  we  were  once 
more  on  board  the  Hartford,  where  preparations  were 
being  made  to  receive  the  King  of  Hawaii  with  his  suite. 
Owing  to  the  death  of  the  Princess  Ruth,  we  had  been 
asked  to  convey  the  royal  party  to  Honolulu. 

The  plates  exposed  at  this  place  I have  recently  developed, 
but  Dot  with  the  success  that  might  bo  desired.  la  the 
first  place,  the  plates  were  some  of  those  that  had  been 
prepared  for  the  Eclipse,  and  had  been  made  specially  hard, 
the  better  to  stand  the  climate.  Though  they  worked  well 
on  Caroline  Island,  on  the  subject  for  which  they  were  pre- 


pared, it  is  difficult  to  get  a good  bright  image  on  them  at 
home.  Other  important  considerations  have  also  to  be 
taken  into  account.  I very  much  under-estimated  the 
actinic  power  of  the  glowing  lava,  aud  my  long  exposures 
which  I expected  to  turn  out  best,  are  inferior  to  the  others., 
The  shortest  exposures  give  clearly  the  shape  of  as  much  of 
the  lake  that  the  angle  of  the  lens  allowed  to  be  taken  in 
at  once— the  glowing  rock  at  the  edges,  and  bright  streaks 
of  tire  across  the  lava.  In  the  long  exposures,  the  bright 
parts  are  in  many  cases  reversed.  In  those  taken  just  as 
night  came  on,  the  rugged  character  of  the  precipitous  rock, 
as  it  appeared  when  lit  up  by  the  glowing  lake,  is  clearly 
shown ; the  outline  of  the  crater  round  the  lake  beyond  is 
also  to  be  seen,  though  broken  where  the  cloud  of  sulphur 
vapour  obscured  the  view.  On  the  same  plate  a fountain  of 
lava  which  played  for  some  time  is  also  reversed.  All  the 
plates  are  thin-— “ ghostly,”  if  you  prefer  to  express  it  so  ; 
but  I hardly  know,  even  now,  whether  I am  pleased  or  dis- 
appointed with  them. 


& Dictionary  of  g^otoyntyly. 

ADHESION,  ATTRACTION  OF. — The  power  of  attraction 
which  exists  between  the  particles  of  dissimilar  kinds  of  matter 
gives  rise  to  a variety  of  important  phenomena,  and  this  is  especially 
worthy  of  the  attention  of  scientific  photographers,  as  its  powers 
are  nearly  allied  to  that  of  chemical  affinity.  A familiar  illustra- 
tion of  this  force  is  the  adhesion  of  water  to  the  surface  of  glass 
which  is  thereby  wetted.  The  adhesion  of  the  coll  dionised  plate’ 
to  the  glass  dipper  also  depends  upon  this  force,  combined  with 
the  force  of  cohesion  existing  between  the  particles  of  the  liquid 
themselves.  All  bodies  exert  the  force  of  adhesion : between 
solids  it  gives  rise  to  a resistance  to  motion  which  is  known  as 
friction  ; this  is  generally  greater  when  exerted  between  similar 
kinds  of  matter,  thau  between  dissimilar  kinds.  A common  means 
of  diminishing  the  amount  of  this  force  is  by  the  interposition  of 
a body  whose  particles  have  but  little  cohesion  one  with  the 
other,  such  as  plumbago  or  grease.  India-rubber  is  a body  whose 
great  power  of  adhesion  is  constantly  being  made  use  of  by  the 
scientific  experimentalist ; its  power  of  adhesion  to  glass  is 
remarkable,  and  it  is  thus  commonly  employed  in  the  manufacture 
of  plate-holders.  In  the  case  of  the  pneumatic  plate-holders,  the 
rubber  rim  is  in  optical  contact  with  the  glass,  and  while  this 
condition  holds  good,  the  vacuum  is  retained  with  absolute 
certainty.  The  intimate  contact  known  as  optical  contact  is  an 
esseniial  for  good  action  in  the  case  of  tbe  backings  of  plates, 
and  is  best  insured  either  by  the  use  of  a bituminous  varnish,  ora 
soft  gelatinous  pad,  this  latter  being  recommended  by  Professor 
H.  Fol. 

The  use  of  the  numerous  cements  employed  by  photographers 
to  mount  photographs  and  build  up  glass  dishes  and  baths  depends 
upon  the  attraction  of  adhesion  ; and  a little  reflection  on  the 
very  vary'ng  degrees  of  force  which  is  exerted  by  the  same  cement 
upon  different  bodies  will  show  how  this  attraction  varies  with 
the  substances  exerting  it.  Gum  or  paste,  which  w ill  cement 
paper,  will  not  answer  for  glass,  this  requiring  some  resinous 
body,  as  the  adhesive  force  between  glass  and  resin  is  more  con- 
siderable than  between  glass  and  gum.  It  must  be  remembered 
that  a cement  should  tlways  be  used  thin,  as  its  readier  adaptation 
to  the  varying  changes  of  temperature  prevents  that  destruction 
of  the  cohesion  of  its  own  par  icles  which  would  gradually  take 
place  were  the  cement  to  be  used  thick.  Sometimes  the  foice  of 
adhesion  between  the  cement  and  the  body  which  it  unites  is 
greater  thau  the  actual  cohesion  of  the  particles  one  with 
another  of  that  body.  Thus  pieces  of  wood  which  have  been 
glued  together  and  then  torn  asunder  will  frequently  not  separate 
at  the  layer  of  glue,  but  by  a fracture  in  the  wood  itself.  Paper 
photographs  may  be  easily  split  into  two  laminae  by  cementing  a 
piece  of  linen  fabric  firmly  on  to  each  side,  and,  when  quite 
dry,  separating  them.  The  cohesion  of  the  particles  of  the  paper 
one  with  another  being  less  than  the  adhesion  of  the  cement  to 
the  paper,  the  latter  separates  into  two  films,  which,  by  dissolving 
the  cement  which  holds  them  to  the  linen,  may  be  washed,  dried, 
and  ironed.  Sec  Mountants. 

AERIAL  PERSPECTIVE. — The  so-called  aerial  perspective  is 
due  to  two  circumstances:  first,  the  turbidity  of  the  air,  and  in  the 
next  place  its  colour.  Several  circumstances  conspire  to  some* 


f. 


524 


THE  PHOTOGRAPHIC  NEWS. 


what  disturb  the  just  rendering  of  aerial  perspective  by  the 
earner*,  the  photographic  picture  often  showing  but  little  aerial 
depth  when  the  eve  almost  lo<es  the  distance  in  a vague  and 
cloud-like  blue;  wliilt  on  the  othe'  hand,  it  sometimes  happens 
that  the  photograph  shows  even  near  objects  as  surrounded  in  a 
veil  or  fog,  although  they  may  be  clearly  and  sharply  visible 
to  the  eye.  The  former  conditions  frequently  obtain  in 
mountainous  districts  where  the  air  is  pure,  and  its  clear  blue 
colour  is  scarcely  affected  by  emanations  from  the  eaith ; while 
the  latter  conditions  are  most  strikingly  illustrated  when  a slight 
yellowish  mist  pervails,  or  where  the  smoke  from  a town  vitiates 
the  atmosphere.  It  frequently  happens,  however,  that  the 
actinic  transparency  of  the  atmosphere  is  just  such  as  to  enable 
the  photographer  to  perfectly  rouder  the  aerial  perspective  with- 
out exaggeration,  either  on  the  side  of  excessive  slnrpness  as 
regards  the  distance,  or  of  undue  indistinctness  of  the  distant 
obj  -cts. 

A FFINITY. — A term  used  rather  vaguely  in  scientific  literature, 
but  the  following  may  be  regarded  as  expressing  the  ordinary 
views. 

The  various  bodies  which  surround  us  are  all  formed  of  an  in- 
considerable number  of  simple  substances  or  elements  uuited  one 
with  the  other  in  different  proportions  by  certain  forces,  to  which 
has  been  given  the  name  of  affinities. 

These  affinities  are  of  two  sorts.  One,  by  virtue  of  which  the 
molecules  of  bodies  adhere  together,  is  known  under  the  name  of 
the  affinity  of  aggregation,  or  attraction  of  cohesion  ; this  we  have 
recently  alluded  to.  The  various  degrees  of  this  affinity  govern  the 
differences  which  are  apparent  in  the  resistance  of  bodies  to  ex- 
ternal force.  When  it  is  considerable,  the  substances  are  hard 
and  solid  ; when  inconsiderable,  they  are  liquid ; and  when  this 
force  is  still  more  diminished,  they  become  gaseous.  These  three 
states  of  bodies — the  solid,  liquid,  and  gaseous— are  called  forms 
of  aggregation.  On  this  affinity  of  aggregation  depend  also  the 
regular  forms  which  are  assumed  by  certain  bodies  when  they  pass 
from  the  liquid  to  the  solid  state ; this  is  known  in  chemistry  by 
the  word  crystallization.  Hardness,  softness,  toughness,  brittle- 
ness, &c.,  are  equally  dependent  on  this  form  of  a force.  Its 
powers  may  be  mechanically  overcome  by  pulverisation  or  similar 
operations,  and  chemically  by  the  action  of  heat. 

The  other  kind  of  affinity  is  known  under  the  name  of  affinity 
of  composition,  or  chemical  affinity . 

It  is  not  only  exercised  in  compound  substances,  between  the 
simple  bodies  of  which  they  are  composed,  but  also  between 
identical  atoms  which  unite  to  form  molecules.  By  its  means  two 
bodies  are  enabled  to  unite,  and  give  rise  to  a third  new  substance, 
which  frequently  does  not  possess  the  inherent  qualities  of  the 
substances  of  which  it  was  compounded.  Thus  chlorine  and  silver 
are  enabled,  by  means  of  their  chemical  affinity,  to  unite  and 
form  the  white  powder,  chloride  of  silver. 

For  this  reason,  it  is  customary,  in  describing  the  two  kinds  of 
affinity,  to  call  the  first— that  of  aggregation — a force  exerted 
between  homogenous  substances ; for  example,  between  the 
separate  molecules  of  chloride  of  silver ; whilst  the  second — 
chemical  affinity — is  exerted  between  heterogeneous  substances  ; 
for  instance,  between  chlorine  of  silver,  and  between  elementary 
atoms,  which  form  molecules  by  their  union  ; thus,  H2,  free 
hydrogen,  and  Cl2,  free  chlorine.  Heat,  light,  electricity,  and 
other  forms  of  force,  possess  the  property  of  frequently  sepa- 
rating bodies  held  together  by  chemical  affinity.  The  whole  art 
of  photography  is,  indeed,  based  on  the  power  of  light  to  effect 
chemical  decompositions. 


SOLID  AND  LIQUID  ILLUMINATING  AGENTS. 

BY  LEOPOLD  FIELD,  F.C.S.* 

The  introduction  of  lamps  into  Greece  was  gradual  and  slow. 
Probably,  by  the  end  of  the  5th  century  B.C.,  they  were  in  gene- 
ral use  iu  the  upper  ranks  of  society.  Herodotus  (ii.  62),  writing 
of  the  Lychnokaie  (feast  of  lamps)  at  Sais,  in  Egypt  (450  B.c.l, 
does  not  express  surprise  at  the  lamps  themselves,  but  only  at 
the  great  number  thereof.  Their  lamp  differed  in  no  way  from 
that  of  Rome  ; the  wick  {BpoaKKis)  made  from  the  woolly  leaves 
of  au  indigenous  plant,  passed  through  the  nose  tponr-bp)  into 
the  crude  olive  oil.  Those  who  wish  to  become  more  intimately 
acquainted  with  the  various  styles  of  ornament  in  vogue  among 
old  nations  will  fiud  every  conceivable  shape  and  size  in  the 
Etruscan  Vase  Gallery  at  the  British  Museum,  to  which  1 must 
beg  to  refer  them  for  fuither  illustration.  Becker’s  Gal/us  and 

• Continued  from  page  493. 


[August  17,  1883. 


Charicles  also  are  replete  with  information  on  this  point.  I 
could  not  pursue  the  subject  further,  without  trenching  on  the 
ground  of  my  future  lectures,  in  which  the  main  subject  will 
always  be  prefaced  by  an  outline  history  of  that  branch.  You 
will  be  surprised  to  find  both  our  latter  day  inventions  fore- 
shadowed in  extreme  antiquity,  and  the  imperfections  of  the 
dark  ages  maintained  to  a recent  date. 

It  is  worthy  of  comment,  in  conclusion,  how  fire  and  light 
have  ever  been  invested  with  celestial  attributes,  and  reserved 
for  divine  worship.  I need  only  instance  the  Caspian  fire- 
worshippers,  and  the  Persian  monarchs,  with  their  silver  fire- 
trays  borne  before  them  into  battle.  Great  festivals  of  lamps 
have  been  common  to  all  nations.  The  Lychnokaie,  above- 
mentioned  as  an  Egyptian  lamp-feast,  has  its  parallel  in  the 
Chinese  feast  of  lanterns.  We  send  out  annually  mauy  thousand 
scarlet  candles,  lobchocks — here  is  one— for  this  festival,  which 
happens  on  the  fifteenth  day  of  the  first  month.  Then  the 
Greeks  had  their  \apna5g-bpopia,  and  the  Romans  their  Lupcr- 
calia.  In  lieu  of  this  feast,  remarkable  for  its  licentiousness, 
Pope  Gelasius  instituted  Candlemas,  falling  on  the  2nd  February. 
Some  have  it,  that  Vigilius  supplanted  the  Proserpina  by  this 
festival.  Anyhow,  though  the  significance  be  changed,  candles 
play  the  chief  role  in  both.  According  to  Pliny  (Nat.  Hist.),  the 
Romans  themselves  used  waxed  candles  in  certain  rites.  I nee  d 
scarcely  hint  at  the  eternal  lamp  of  Vesta,  tended  by  damsels  of 
established  reputation  ; the  never  dying  lights  of  Mahomet’s 
tomb,  Aaron's  tabernacle,  and  Roman  Catholic  churches.  The 
Romans  lighted  lamps  in  honour  of  Prometheus,  who  caught 
fire  from  heaven;  of  Minerva,  who  gave  them  oil ; of  Vulcan, 
who  invented  lamps ; birthdays  were  sometimes  called  days  of 
lamps,  as  the  bulk  of  their  gifts  took  that  form,  in  cheap  terra- 
cotta or  costly  metal ; there  was  the  fax  belli  or  war  torch,  and 
fax  nuptialis,  the  emblem  of  marriage. 

“ There  let  Hymen  oft  appear, 

In  saffron  robe,  with  taper  clear.” 

Milton,  (‘‘Allegro”). 

On  the  tomb3  of  the  dead,  lamps  were  placed  by  the  sorrow- 
ing hands  of  their  legatees,  filled  with  scented  oil.  An  oracular 
statue  of  Hermes,  in  Achaia,  was  “ worked  ” by  lighting  a lamp 
before  him,  and  placing  a small  coin  at  his  feet. 

Ingenious  suggestions  have  been  made  about  eternal  lamps  in 
tombs,  which  are  positively  averred  to  have  been  found  burning 
after  the  lapse  of  centuries. 

‘‘Our  wasted  oil unprofitably  burns, 

Like  hidden  lamps  in  old  sepulchral  urns.” 

Couper  (“Conversation”). 

Indeed,  Rosicrucius  gives  a description  of  his  eternal  lamp,  with 
all  the  circumstance  of  discovery.  “ But  this,”  says  Disraeli, 
“ is  only  dwelt  on  to  make  it  appear  that  he  did  discover  some- 
thing.” Boyle  undertook  a series  of  experiments  with  the  air- 
pump,  which  demonstrated  the  absurdity  of  such  statements. 
Reserving  my  private  opioion  as  somewhat  iconoclastic,  I might 
suggest  the  possibility  of  an  asbestos  wick,  communicating  with 
a supply  of  light  naphtha,  burning  indefinitely  in  a tomb  not 
absolutely  air-tight.  Possibly,  also,  highly  carbonaceous  vapours 
in  the  sepulchre  might  have  been  kindled  by  the  intruded  torch. 

After  this  hasty  glimpse  at  our  wretchedly  illumined  fore  fathers, 
you  will  be  more  than  ever  incliued  to  endorse  Lamb's  opinion, 
that  “ one  can  never  hear  mention  of  them  without  an  accom- 
panying feeling,  as  though  a palpable  obscure  had  dimmed  the 
face  of  things,  and  that  our  ancestors  wandered  to  and  fro — 
groping.” 

Adhering  to  the  plan  of  commencing  ab  ovo,  we  will  apply  our- 
selves in  this  lecture  to  the  study  of  those  substances  which  can 
be  used  for  illumination  in  a crude  manufactured  form,  or, 
rather,  with  unchanged  chemical  composition.  Tallow,  bees- 
wax, and  sperm- wax  are  the  chief  of  such  naturals,  and  we  will 
discuss  them  accordingly. 

I have  already  referred  to  the  distinction  drawn  by  Apuleius 
between  cerei  and  sebacei ; also  to  the  fact  of  wax  candles  having 
entered  into  certain  rites  of  heathen  worship.  Partly  from  the 
smaller  supply,  chiefly  though,  no  doubt,  from  the  supeiiority  of 
its  appearauce,  hardness  of  grain,  and  sweeter  odour,  the  wax 
candle  has  ever  lorded  it  over  the  unsavoury  tallow  dip, 
associated  with  kitchen  and  garret,  while  the  wax  taper  suggests 
cathedral  and  boudoir.  Iu  days  before  gas  and  Argand  lamps, 
people’s  rank  was  not  unfrequently  gauged  by  the  class  of  candle 
they  affected.  “Wax  candles  in  the  schoolroom !”  says  Mrs. 
Elton,  in  “ Emma.”  Lord  Bacon,  in  his  “ Natural  History,” 
extols  wax  lights  as  lasting  longer  than  tallow  candles,  because 


August  17,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


525 


“ wax  is  more  firm  and  hard.”  Tallow,  however,  can  never  be 
regarded  as  a good  illuminant.  Look  at  this  clumsy  apparatus 
of  tray  aod  snuffcs,  with  the  candle  gutteiing  in  long  winding 
sheets,  every  drop  on  the  brass  candlestick  being  marked  by  a 
greeu  spoi.  of  ‘‘  verdigris  ” (ste  irate  of  copper) ; and  the  long  red 
poiut  of  the  uncousumed  wick  protruding  from  the  dull  brown 
flame,  exhaling  nauseous  odours  both  irorn  unburnt  and  burnt 
tallow-  One  would  have  imagined  that  such  a candle  would 
have  fallen  a victim  to  popular  execration  when  Chevreul  and 
Young  provided  their  cheap  and  beautiful  substitutes.  But  no, 
tallow  candles  are  still  burnt  in  tons — miners,  cobblers,  and 
other  traditional  craft-men  adhere  to  the  light  of  their  fathers — 
and  so  we  cannot  avoid  entering  into  the  details  of  their 
manufacture.  It  may  be,  perhaps,  that  the  recommending 
qualities  of  tallow  to  certain  classes  are,  the  readiness  with 
which  it  adapts  its  form  to  circumstances,  enabling  it  to  be 
stuck  into  any  crevice,  without  bending,  as  cheap  paraffiu  will, 
and  the  large  wick,  keeping  alight  in  draughty  places,  and  giving 
a bulky  flame,  without  much  smoke. 

Referring  to  old  manuals  of  candle-craft,  I find  blendings  of 
tallows  recommended  ; certain  proportions  of  beef  and  mutton 
fat.  The  best  brand  for  the  purpose  is  known  as  P.Y.C.,  which, 
I believe,  meaus  Petersburg  Yellow  Candle  (tallow  implied). 
This  article  has  lost  its  prestige  of  late  years  by  the  enormous 
imports  of  Australian  substitute,  and  now  appears  to  serve 
rather  as  a basis  of  speculation  than  in  any  commercial  capacity. 
However,  the  tallow  should  naturally  be  as  hard  as  possible, 
without  risk  of  cracking,  which  result  can  only  be  attained  by 
experienced  selection.  The  fat  from  various  portions  of  the 
animals  is  rendered,  i.  e.,  boiled  well  with  salt  (or  acid)  water 
till  the  fibrous  portions  have  settled  out,  and  the  tallow  swims 
white  and  sweet  on  the  top.  Of  this,  with  no  more  ado,  candles 
are  made.  A truly  ancient  form  of  tallow  candle  is  the  rush- 
light.  As  it  is  now,  so  it  must  have  been  thousands  of  years 
ago ; it  being  impossible  to  figure  a more  primitive  stage  of 
existence  than  you  see  here.  A rush,  deftly  stripped  of  its  skin, 
of  which  a slender  streak  is  left  to  act  as  a kind  of  backbone  to 
the  tender  pith.  A number  being  thus  prepared,  are  allowed  to 
become  thoroughly  dry,  by  hanging  in  an  airy  loft.  They  are 
then  tied  by  the  tops  in  little  bundles  of  four  or  six,  which  are 
held  in  the  hand,  being  kept  apart  by  the  intervention  of  the 
fingers.  Thus  disposed,  they  are  discreetly  immersed  in  the 
tallow,  of  a temperature  just  high  enough  to  preclude  solidifica- 
tion in  bulk,  yet  to  insure  a sufficient  portion  adhering  to  the 
cold  rushes.  After  two  or  three  dippings,  the  candle  is 
complete.  It  remains  now  to  let  it  harden  and  whiten,  to  which 
end  it  returns  to  the  aforesaid  loft,  and  in  about  a month  of 
favouable  weather  is  ready  for  sale.  I had  considerable  difficulty 
in  obtaining  these  specimens  of  rushlights,  although  my  inquiries 
were  made  in  the  most  out-of-the-way  country  places.  In 
Hampshire,  I came  across  this  instrment,  which  is  really 
interesting,  and  which  I am  told  is  still  used  in  the  Isle  of  Wight 
farms.  A small  deal  strip  is  stuck  upright  at  angles  to  a broader 
piece  of  wood,  which  acts  as  a firm  basis.  The  upright  board 
is  furnished  at  the  top  with  a rude  iron  clamp,  which  holds  the 
long  rush,  dipped  once  or  twice  into  grease.  The  rush,  as  you 
see,  is  held  at  an  angle  of  30°  to  the  basis,  on  which  the  end 
rests,  the  ash  dropping  on  the  table.  A more  primitive  candle- 
stick and  light  cannot  be  conceived.  But  the  rushlight  itself  I 
found,  singularly  enough,  in  the  heart  of  London,  where  im- 
prisoned in  a tall  gauze  shade,  it  still  illumines,  in  perfect  safety 
from  fire,  many  a humble  sick  chamber.  One  very  good  quality 
of  this  light  is  the  absence  of  snuff ; the  wick  consuming  as  it 
reaches  the  air,  leaving  nothing  but  a slight  feathery  ash. 

I cannot  say  when  cotton  wick  was  introduced.  Oakum 
(stuppa)  and  papyrus  ( scirpa ) were  the  ancient  substitutes  ; but 
most  probably,  with  us,  the  wicks  were  made  of  linen,  gradually 
giving  place  to  cotton,  as  that  material  became  more  familiar. 
All  candles  were  “dipped,”  “rolled,”  or  “poured,”  till  the 
Sieur  de  Brez,  in  the  15th  century,  introduced  the  “mould” 
candles,  which  rapidly  asserted  a position  of  superiority.  Uf 
these  we  cannot  speak  till  the  last  lecture,  and  with  regard  to 
dipping,  not  much  remaius  to  be  told.  The  principle  remains 
the  same  ; but  the  pressure  of  increased  consumption  concurring 
with  superior  mechanical  skill,  brought  about  several  improve- 
ments in  the  method  of  working.  The  wicks  were  hung  on 
hoops,  and  a row  of  three  hoops  on  one  arm  of  a revolving 
wooden  star,  so  contrived  that  only  three  hoops  at  a time  should 
pass  over  the  kettle.  Once  in  position,  the  craftsman  depressed 
the  arm  with  the  three  hoops  pendant,  which  were  withdrawn, 
on  release,  by  the  antagonistic  weight  of  the  opposite  spoke.  So 


with  all  the  arms  in  rotation,  and  by  the  time  the  first  came 
round  again,  the  candles  would  be  ready  for  another  dip.  The 
whole  arrangement  was  suspended  to  one  arm  of  a scale  beam, 
which  indicated  when  the  candles  had  attained  the  legitimate 
thickness. 

This  was  a great  saving  of  labour,  but  still  each  individual 
wick  had  to  be  cut  and  fastened  to  the  hoop.  A good  method 
of  obviating  this  is  shown  in  this  rectangular  iron  frame.  To 
one  corner  I fasten  the  end  of  a wick  on  this  reel.  Adjusting 
the  frame  to  a simple  revolving  appliance,  I turn  the  handle 
rapidly,  and  you  see  the  wick  wound  upon  the  frame.  It  is 
then  secured  tightly  by  a little  clamp  at  either  end,  and  a 
number  of  these  frames  adjusted  to  the  revolving  spokes  already 
described.  After  one  immersion,  the  wicks  are  rigid  enough  for 
independent  action.  Accordingly,  a sharp  knife  is  drawn  along 
either  row,  at  the  base.  Now,  you  see,  the  rudimentary  candles 
swing  loose,  the  lower  parts  of  the  frame  is  removed,  and  the  dip- 
ping proceeded  with  en  regie. 

Another  form  of  tallow  candle  is  the  “ flat  candle,”  a kind 
of  twin,  or  two  candles  joined  sideways,  and  flattened.  This  is 
much  affected  by  cobblers,  for  no  reason  that  I can  see,  except 
as  alleged  by  a sutorial  interlocutor  of  long  experience,  that  it 
gives  twice  the  light  of  an  ordinary  candle — in  which,  as  it  has 
two  wicks,  there  is,  perhaps,  nothing  remarkable. 

The  great  fault  of  tallow  candles,  dips,  or  moulds,  is  their 
tendency  to  gutter,  and  to  exhale  evil  odous  when  blown  out  ; 
also,  the  necessity  for  snuffing  them.  The  first  two  vices  are  in- 
eradicable, lying  at  the  root  of  the  composition  of  tallow  itself. 
Being  a mixture  of  hard  stearin  and  soft  elaidin,  the  latter 
melts  first,  and  consequently  overruns  the  hard  cup  formed  by 
the  former,  producing  the  domestic  phenomenon  of  “ winding 
sheets.”  Again,  each  of  the  commixts  is  a compound  of  fatty 
acid,  stearic  and  elaic,  with  glycerine.  This  combination  has  to 
be  split  up,  which  operation,  consuming  heat,  dims  the  light  to 
begin  with,  and  the  malcombustible  glycerine  is  vapourised  as 
acrolein,  a highly  pungent  compound.  It  remained  for  Chevreul 
to  purge  the  candle  from  this  abomination  ; Mr.  Palmer,  how- 
ever, took  the  wick  in  hand,  and  by  a happy  invention,  rendered 
snuffing  unnecessary.  He  introduced  a fine  thread  (technically 
called  the  “ doctor  ”),  impregnated  with  impalpably  powdered 
bismuth,  into  the  body  of  the  wick,  which,  further,  was  not 
twisted  after  the  ordinary  fashion,  but  consisted  of  a number  of 
parallel  threads  bound  together  by  another  one  wound  round 
them.  The  bismuth  fuses  into  a little  ball,  the  weight  of  which 
draws  the  wick  laterally  out  of  the  flame  into  contact  with  the 
air,  having  performed  which  duty,  the  bead  oxidises,  and  votal- 
ises  away.  Here  you  have  one  of  “ Palmer’s  Metallic  Wick 
Candles,”  burning  side  by  side  with  an  ordinary  dip,  and  the 
difference  in  burning  renders  comment  superfluous.  Mr.  Palmer 
has  very  kindly  supplied  me  with  a number  of  wicks  and  candles 
of  different  structure,  and  for  various  purposes.  In  this  large 
candle  there  are  three  convolute  wicks.  These  were  wound 
spirally  round  a rod,  clamped  at  the  top,  the  rod  introduced  into 
a mould  — as  here  shown — the  mould  then  filled  with  tallow,  and 
allowed  to  cool,  when  the  rod  was  withdrawn,  leaving  the  wick 
round  a tubulated  passage  up  the  centre.  This  kind  of  candle 
was  much  used  in  the  candle  lamp,  of  which  I have  here  a very 
old  specimen.  You  see  the  three  wicks,  untwisting  as  they  burn, 
each  with  its  bi  ight  little  head.  The  flame  is  large,  but,  owing 
to  the  reasons  alleged  before,  not  luminous  in  proportion. 

Later  on,  I hope  to  give  you  some  numerical  values  of  the 
luminosity  of  candle  flames,  which  will  show  you  the  great  differ- 
ence in  the  burning  of  stearin  with,  and  stearic  acid  without, 
glycerine. 

\Ve  have  talked  enough  of  tallow  now,  and  shall  discover 
nothing  more  to  its  advantage.  By  pressure,  the  softer  elain 
may  be,  to  a great  extent,  removed  ; look  at  this  brilliant,  blue- 
white  substance,  which  you  would  hardly  know  to  be  tallow  ; 
and,  again,  at  this  mould  candle  made  from  it,  burning  without 
guttering,  and  with  a metallic  wick.  Still  the  light  is  dim  and 
the  smell  evil.  In  our  fourth  lecture  you  will  see,  though, 
how  the  coarsest  tallow  can  be  made,  by  the  chemists’  art,  to 
rival  paraffin  in  the  brilliancy  of  light,  spermaceti  in  whiteness, 
and  wax  in  cleanliness,  sweetness,  and  hardness. 

[To  be  Continued.) 


ROCHER’S  PATENT  FOR  CONCAVING  PHOTOGRAPHS. 
American  Patent  No.  267,720,  dated  November  21,  1882. 
Application  filed  August  14,  1882. 


526 


THE  PHOTOGRAPHIC  NEWS, 


[August  17,  1883. 


My  invention  has  for  its  object  to  produce  a means  by  which 
to  press  photographic  pictures,  so  as  to  assume  a concave  shape, 
and  to  imitate  in  appearance  the  porcelain  plaque ; and  it 
consists  of  the  novel  devices  and  combination  of  devices  herein- 
after described  and  specifically  claimed. 

In  the  accompanying  drawings,  Fig.  1 represents  a perspective 
view  of  a picture  as  produced  by  my  device  ; Fig.  2,  a cross- 


section  of  the  dies  as  placed  together  and  before  being  com- 
pressed, and  Fig.  3 a similar  view  of  the  dies  after  compression. 

Corresponding  letters  in  the  several  figures  of  the  drawings 
designate  like  parts. 

A denotes  a metal  frame  that  is  provided  with  smooth  edges 
and  surfaces,  and  the  opening  in  which  is  to  be  of  the  exact  size 
and  shape,  corresponding  with  the  outline,  the  picture  is  to  have 
— that  is,  to  be  pressed — which  may  be  circular,  oval,  square,  or 
octagon.  B is  the  rubber  plate  that  is  to  be  of  corresponding 
shape  and  has  bevelled  edges,  which  are  to  overlap  the  frame  A 
a sufficient  width  ; and  C is  a small  rubber  block  or  plate, 
having  chamfered  edges. 

F is  the  photographic  picture  that  is  to  be  made  concave. 
This,  while  yet  slightly  damp,  is  placed  with  its  face  downwards 
upon  the  rubber  plate  B,  and  the  metal  frame  A is  placed  on  top 
of  it,  while  the  rubber  block  C is  placed  centrally  under  plate  B, 
and  thus  combined,  the  entire  apparatus  is  brought  between  the 
base  D and  follower  E of  any  common  hand-press,  when  on 
being  compressed,  the  rubber  plate  B will  assume  a convex 
shape  inside  of  frame  A,  and  while  the  edges  or  margin  of  the 
photograph  are  rigidly  held  between  such  frame  A and  plate  B, 
such  photograph  will  be  bulged  out  to  assume  a corresponding 
shape,  and  will  be  kept  perfectly  smooth  during  and  after  the 
manipulation.  After  the  photograph  has  remained  in  the  press 
long  enough  to  be  perfectly  dry  it  is  removed,  and  another  one 
is  put  in  in  the  same  manner. 

This  device,  as  will  be  noticed,  is  very  simple,  and  will  have 
the  advantage  of  not  only  enabling  a photographic  plaque  being 
produced  of  any  circumferential  shape,  but  it  also  permits  the 
concavation  of  a picture  to  any  desired  degree  by  pressing  the 
rubber  plate  B more  or  less  into  the  frame  A. 

I am  aware  that  dies  for  embossing  pictures  have  been  con- 
structed with  a non-elastic  metal  bed-plate,  having  a convex- 
shaped metallic  boss,  and  a rigid  concave-shaped  die-plate  with 
elastic  cushions  interposed  between  such  members ; but  I am 
not  aware  of  any  device  where  the  photograph  is  compressed 
within  the  opening  in  the  forming-frame  by  means  of  a rubber 
plate  extending  entirely  across  said  opening  aud  a central 
rubber  block,  which  on  the  descent  of  the  follower  E,  will  be 
will  be  caused  to  press  the  rubber  plate  and  the  picture  thereon 
within  the  opening  in  the  forming- plate  A to  any  desired  extent 
or  degree,  depending  upon  the  amount  of  pressure  exerted  by 
the  follower.  By  my  arrangement  I am  enabled  to  impart  to 
pictures  a concavity  more  or  less  pronounced  without  changing 
the  apparatus,  which  result  could  not  be  attained  by  the  use  of 
metallic  die-plates,  and  to  my  knowledge  has  not  heretofore  been 
obtainable  in  so  simple  and  effective  a manner  as  by  my  present 
nvention. 


What  I claim  is— 

The  device  herein  described  for  producing  photographic 
plaques,  and  consisting  of  the  metal  frame  A,  rubber  plate  B, 
extended  across  said  frame  A and  central  rubber  block  C,  when 
used  in  combination  with  any  common  press  substantially  in 
the  manner  set  forth. 


terfsptt&fna. 

AMOUNT  OF  GELATINE  AND  QUALITY  OF 
NEGATIVE. 

Sib, — In  reply  fo  Mr.  C.  J.  Dobbs’  question,  which 
appeared  in  your  impression  of  the  10th  inst.,  1 beg  to  say 
that  the  statement  that  “ thirty-six  dozen  quarter-plates 
were  coated  with  200  grains  of  nitrate  of  silver,”  is  no  mis- 
print. 

With  regard  to  his  request  for  a definite  formula,  I have 
to  inform  him  that  when  I made  that  statement,  I promised 
to  give  it  later  on,  when  my  experiments  were  more  complete. 

Mr.  Haddon,  of  Greenwich  College,  has  made  some  im- 
portant discoveries  in  connection  with  bromide  of  silver  (I 
believe  shortly  to  be  published),  which  throw  a great  deal 
of  light  upon  the  most  sensitive  form  of  bromide  of  silver, 
and  I think  this  will  assist  me  in  my  experiments. 

From  the  hints  which  1 threw  out,  several  emulsion 
makers  have  taken  the  cue,  and  woiked  them  out  successfully 
as  far  as  I have  done  myself. — I remain,  yours  respectfully, 

A.  L.  Henderson. 


PHOTOGRAPHIC  COPYRIGHT. 

Slit, — May  I venture  a few  remarks  upon  the  article  on 
“ Photographic  Copyright  ” which  appears  in  your  issue 
of  last  week  ? 

First  of  all,  as  to  the  decision  itself,  1 would  say  that 
whether  or  not  it  is  accepted  as  fiual  by  the  London 
Stereoscopic  Company  aud  the  other  large  firms  who  are 
understood  to  have  been  associated  together  in  Jackson’s 
and  other  recent  “ piracy  ” cases,  it  is  a judgment  which 
the  Court  arrived  at  with  much  difficulty  and  doubt. 
During  the  argument,  indeed,  the  Master  of  the  Rolls  ridi- 
culed the  notion  of  the  operator  being  the  author,  and 
Lord  Justice  Bowen  playfully  asked  whether  it  could  not 
be  as  well  contended  that  the  cabman  who  conveyed  the 
apparatus  to  Kenniugton  Oval  was  the  author?  Lord 
Justice  Cotton  was,  however,  throughout  in  favour  of  the 
opinion  which,  in  the  result,  prevailed— a narrow  aud 
illiberal  interpretation  of  the  Act,  a3  I venture  to  submit, 
and  one  contrary  even  to  the  intention  of  the  unfortunate 
draftsman  upon  whose  work  the  Master  of  the  Rolls  was 
so  cynically  severe.  The  report  of  the  recent  Copyright 
Commission  draws  special  attention  to  the  essential  differ- 
ence between  paintings  and  photographs,  and  compares 
the  latter  to  engravings,  in  the  case  of  which,  as  is  well 
knowD,  copyright  is  given  to  the  person  who  produces  the 
work,  or  causes  it  to  be  produced.  The  argument  as  to 
limited  liability  companies  not  being  capable  of  author- 
ship is  simply  an  anachronism.  At  the  time  the  Fine 
Arts  Copyright  Act  was  passed,  no  limited  companies  existed ; 
so  how  could  the  framer  of  the  Act  have  thought  of  them  ? 
Judges  ought  really  to  remember  dates  more  clearly. 
With  reference  to  the  practical  result  of  the  decision,  I 
think,  sir,  that  in  common  with  other  writers  in  the  public 
press  who  have  commented  upon  the  case,  you  do  not 
accurately  enunciate  the  law  in  saying  that  “ if  a principal 
does  not  concern  himself  with  studio  work,  then  a clear 
bargain  with  his  assistants  is  perforce  necessary.’’ 

Do  you  not  overlook  the  words  of  the  Act,  which  pro- 
vide that  where  a photograph  is  made  for  or  on  behalf  of 
another  person  for  a good  or  valuable  consideration  (c. 
a salary ),  the  copyright  shall  belong,  not  to  the  person 
making  the  photograph  (i.  e.,  the  operator),  but  to  the  per- 


August  17,  1883.) 


THE  PHOTOGRAPHIC  HEWS. 


527 


son  for  or  on  whose  behalf  it  is  made  ( i . e.,  the  employer), 
and  that  without  any  agreement  or  assignment? 

A Photographic  Copyright  Bill  was  introduced  into  the 
House  of  Commons  on  Wednesday  night.  Let  the  photo- 
graphic profession  look  to  it,  and  see  that  they  are  properly 
protected. 

I enclose  my  card,  and  beg  to  remain  your  obedient  ser- 
vant, Scrutator. 


0I  jfoririui. 

Halifax  Photographic  Club. 

A meeting  was  held  on  Wednesday,  August  8th,  the  president, 
Major  Holroyde,  in  the  chair. 

The  Secretary  having  read  the  minutes  of  last  meeting, 
which  were  confirmed,  a letter  was  read  from  the  French  Com- 
mittee for  erecting  a monument  to  Daguerre,  inviting  the  Club 
to  subscribe  to  the  fund,  and  to  send  a representative  to  the 
fete  to  be  held  on  August  12,  to  render  homage  to  the  illustrious 
inventor.  An  invitation  to  take  part  in  the  exhibition  of  the 
Newcastle-on-Tyne  Photographic  Society,  to  be  held  in  November 
next,  as  also  a letter  from  Captain  Turton,  thanking  the  Club 
for  electing  him  a honorary  member,  were  submitted. 

The  next  business  was  electing  Dr.  Bowman,  F.R.A.S.,  a 
member  of  the  Club. 

A committee  was  then  appointed  to  adjudicate  on  the  diploma 
pictures  and  negatives  taken  at  Bolton  Woods,  Wharfedale,  on 
the  Club’s  summer  excursion,  June  25,  the  following  members 
being  elected: — Rev.  W.  E.  Hancock,  Messrs.  J.  E.  Jones,  J.  J. 
Learoyd,  D.  Smith,  and  J.  Hill.  The  result  of  their  judgment  was 
as  follows  : — Mr.  W.  C.  Williams,  first,  for  technical  excellence 
in  a photograph  he  called  the  “ Sunlit  Woods  ” ; Mr.  Williams, 
first,  for  artistic  merit,  with  the  “ FishermaD,”  a beautiful  pic- 
ture with  a fisherman  wading  in  the  river  Wharfe,  with  a fine 
background  of  woodland  foliage  ; this  was  taken  on  Bennett’s 
slow  landscape  plates,  exposure  ten  seconds.  Several  other 
prints  were  much  admired  : “Shade  of  Evening,”  ‘‘Landscape, 
with  Cattle,”  “Reflection,”  “The  Waterfall,”  &c.,  all  being 
marvellous  pictures,  the  cloud  effects  especially  being  something 
magnificent.  The  second  picture  for  technical  excellence  was  by 
Mr.  Councillor  John  Smith  ; the  second  for  artistic  merit  was  by 
Mr.  Edward  Huntriss.  Three  pictures  were  shown  by  the  presi- 
dent— one  of  the  Cavendish  Memorial,  and  two  woodland  scenes  ; 
two  by  Mr.  Councillor  J.  Smith  ; two  by  Mr.  J.  Whitely  ; three 
by  Mr.  E.  J.  Caw  ; one  by  Mr.  F.  Smith.  These  were  very 
highly  commended  by  the  committee.  The  hour  heiog  late, 
the  judging  of  the  negatives  was  deferred. 


Amateur  Photographic  Association. 

The  annual  meeting  of  the  council  was  held  on  Friday,  the  10th 
inst.,  Dr.  Arthur  Farre,  F.R.S.,  in  the  chair. 

The  minutes  of  the  last  meeting  having  been  confirmed,  the 
following  gentlemen  were  elected  members  : — Hon.  Henry 
O’Callighan,  Hon.  Denis  Lawless,  Mr.  Inspector  Hirst,  Messrs. 
A.  J.  Corry,  J.  B.  Colgrove,  M.A.,  F.R.  A.S.,  and  G.  R.  Fludder. 

The  Secretary  then  laid  before  the  meeting  the  pictures  of 
the  current  year. 

Mr.  GLAI8HER  remarked  that  he  and  his  co -referee  were  grati- 
fied to  find  that  a large  number  of  pictures,  and  of  a higher 
standard,  had  b?en  contributed  this  year  than  at  any  previous 
time,  many  pictures  being  now  ranked  in  the  second  class  which 
used  to  be  placed  in  the  first.  He  called  especi  d attention  to 
a series  of  remarkably  fine  anthropological  subjects  (portraits  of 
the  native  races  of  India)  by  Mr.  George  Western  ; to  some  large 
figure  subjects  by  Mr.  W.  Adcock,  and  a cattle  piece  by  Lord 
Emlyn.  The  following  is  an  abstract  of  Mr.  Glashier’s  report : — 
Class  I contains  162  pictures,  contributed  as  follows: — R. 
Leventhorpe,  20;  W.  Muller,  21;  G.  Western,  15;  W.  S. 
Hobson,  14  ; C.  Stephens,  6;  F.  Beasley,  6 ; R.  Murray,  5;  T. 
Brownrigg,  6 ; F.  H.  Lloyd,  1 ; W.  Adcock,  4 ; F.  S.  Schwabe,  7 ; 
Maj  *r  Board,  2;  R.  0.  Milne,  8 ; P.  Gunyon,  5;  Lieut.-Col. 
Warde,  1 ; Mrs.  Evans,  3 ; J.  C.  Hannyngton,  4 ; J.  L.  Rank- 
ing* I ! G.  Brook,  Junr.,  6 ; S.  Norman,  7 ; R.  C.Carr,  1 ; A.  R. 
Dresser,  3 ; The  Right  Hon.  Lord  Emlyn,  2 ; J.  R.  Ellerbeck, 
3 ; Mrs.  Abbott,  5 ; R.  B.  White,  1 ; J.  S.  Byers,  2 ; H. 
O’Farrell,  1 ; and  A.  Tagliaferro,  2. 

Class  2 contains  160  pictures  as  follows;— C.  Stephens,  11; 


Right  Hon.  Lord  de  Ros,  2 ; F.  Beasley,  1 1 ; R.  Murray,  5; 
T.  Brownrigg,  2;  F.  H.  Lloyd,  2;  W.  S.  Hobson,  6;  W. 
Adcock,  1 ; F.  S.  Schwabe,  2 ; Major  Board,  4 ; Mrs.  Gulston,  1 ; 

G.  Western,  7 ; R.  0.  Milne,  5 ; P.  Gunyon,  11  ; W.  Muller,  21  ; 
Lieut.-Col.  *Varde,  4 ; R.  Leventhorpe,  3 ; F.  A.  W.  Whitmore, 
1 ; J.  C.  Hannyngton,  9 ; J.  L.  Ranking,  4 ; F.  H.  Shaw,  4 ; 
J.  W.  Robinson,  1 ; E.  J.  Jackson,  3 ; A.  R.  Dresser,  11  ; Right 
Hon.  Lord  Emlyn,  3 ; J.  R.  Ellerbeck,  7 ; Mrs.  Abbott,  10  ; 

R.  B.  White,  3 ; T.  Perrot,  1 ; J.  S.  Byers,  1 ; H.  O’Farrell 
1 ; and  A.  Tagliaferro,  3. 

Class  3 contains  185  pictures  as  follows: — His  Highness  the 
Rajah  of  Cochin,  1 ; C.  Stephens,  8 ; Right  Hon.  Lord  de 
Ros,  1 ; F.  Beasley,  7 ; R.  Murray,  2 ; T.  Brownrigg,  4 ; W. 

S.  Hobson,  2 ; W.  Adcock,  1 ; J.  H.  Ritchie,  5 ; F.  S.  Schwabe, 
2 ; Major  Board,  7 ; Gen.  Sladen,  5 ; Mrs.  Gulston,  6 ; G. 
Western,  1 ; R.  O.  Milne,  5 ; P.  Gunyon,  2;  W.  Muller,  11; 
Lieut.-Col.  Warde,  2 ; R.  Leventhorpe,  1 ; Mrs.  Evans,  4 ; F. 

H.  Shaw,  5 ; F.  A.  W.  Whitmore,  1 ; J.  C.  Hannyngton,  8 ; J. 
L.  Ranking,  4 ; S.  Norman,  2 ; Right  Hon.  Earl  of  Rosse,  6 ; J. 
W.  Robinson,  3 ; E.  J.  Jackson,  4 ; R.  de  Salis,  2 ; R.  C.  Carr, 
7 ; A.  R.  Dresser,  1 1 ; Right  Hon.  Lord  Emlyn,  3 ; J.  R.  Eller- 
beck, 10;  J.  W.  Baxendale,  3 ; Mrs.  Abbott,  18  ; R.  B.  White, 
3 ; T.  Perrot,  7 ; H.  O'Farrell,  8 ; and  A.  Tagliaferro,  3, 

The  remainder  of  the  pictures  are  comprised  in  classes 
4,  5,  and  6. 

The  following  prizes  were  awarded :— The  first  prize  to 
R.  Leventhorpe,  for  Nos.  78,  86,  90,  and  98— an  oil  painting  by 
Carl  Frisch  in  frame ; to  S.  Norman,  for  Nos.  1,  2,  3,  and  8 — a 
silver  g iblet ; to  W.  Muller,  for  Nos.  882,  832,  and  896 — a silver 
goblet ; to  W.  S.  Hobson,  for  Nos.  272,  and  293 — a silver  goblet; 
to  Mrs.  Abbott,  for  Nos.  4 and  6 —a  painting  in  frame  ; to  G. 
Brook,  for  Nos.  1 and  2 — an  album  elegantly  bound  ; to  R.  O. 
Milne — a water  colour  drawing  in  frame  ; to  P.  Gunyon — a 
water  colour  drawing  in  frame ; to  F.  S.  Schwabe — an  album 
elegantly  bound  ; to  G.  Western— a silver  goblet ; to  W. 
Adcock — a water  colour  drawing  in  frame  ; and  to  T.  Brownrigg 
— an  album  elegantly  bound. 

Certificates  of  honorable  mention  were  awarded  to  R.  Murray, 
J.  R.  Ellerbeck,  A.  R.  Dresser,  Major  Board,  Lord  Emlyn,  A. 
Tagliaferro,  J.  S.  Byers,  Lieut.-Col.  Warde,  Mrs.  Evans,  J.  C. 
Hannyngton,  H.  O’Farrell,  and  R.  C.  Carr. 


Coventry  and  Midland  Photographic  Society. 

In  the  absence  of  the  President,  Mr.  Ambrose,  Vice-president, 
took  the  chair,  and  after  conclusion  of  the  business  part  of  the 
meeting,  called  upon  Mr.  T.  J.  Lloyd  to  read  a short  paper  upon 
his  way  of  making  chloride  of  gold. 

Mr.  Lloyd  was  of  opinion,  confirmed  by  experiment,  that  it 
was  not  absolutely  necessary  to  use  pure  gold,  for  in  making  his 
chloride  he  used  up  any  scrap  gold  he  might  have  at  the  time, 
leaving  in  the  finished  solution  all  the  alloys  and  other  im- 


purities.  His  formula  is  as  follows  ; — 

Gold  (half  sovereign)  

...  2)  dwt. 

Nitric  acid  (pure)  

...  3 drachms 

Hydrochloric  acid  (pure) 

...  9 

Water  

- 6 

Apply  heat,  and  when  dissolved,  neutralise  with  an  excess  of 
prepared  chalk,  and  make  up  to  12  ounces.  Mr.  Lloyd  asserted 
that  he  got  better  tones  with  this  gold  than  with  any  commercial 
gold  he  had  tried.  It  was  much  cheaper,  and  more  satisfactory. 

• 

Mk  in  tfit  JsiuMn. 


Cooking  by  Electricity. — There  is  an  apparatus  now  for 
cooking  by  electricity.  It  consists  of  a saucepan  so  isolated  by 
non-conductors  that  the  bottom  forms  the  positive  pole  of  the 
current.  The  negative  pole  is  attached  to  a movable  point, 
which  travels  in  circles  over  the  bottom  of  the  pan  underneath, 
thus  distributing  the  heat  over  the  whole  surface,  and  quickly 
enough  to  avoid  burning  holes  in  the  saucepan.  But  plain  cooks 
can  never  be  expected  to  boil  potatoes  in  such  a manner  as  this. 
The  battcric  de  cuisine  bids  fair,  indeed,  to  becomejan  electrical 
battery  ere  loDg. 

According  to  Weidemann's  Beiblaltcr,  a shark  belonging  to 
the  genus  Scymitus  is  phosphorescent  on  its  whole  under  surface, 


528 


THE  PHOTOGRAPHIC  NEWS. 


[August  17,  1883, 


with  the  exception  of  a black  stripe  on  the  neck.  The  upper 
surface  is  non-luminous. 

Decidedly  American. — A remarkable  invention  is  described 
by  an  electric  contemporary.  It  is  a device  for  photographing  in 
a telephone  exchange  all  persons  using  the  telephones  on  wires 
emanating  therefrom.  The  photograph  appears  on  a ribbon 
which  runs  under  the  eye  of  the  operator.  If  the  person  using 
the  instrument  is  not  a subscriber,  the  fact  is  at  once  apparent, 
and  the  person  in  whose  office  the  telephone  is  located  is  charged 
a fixed  sum  for  allowing  his  instrument  to  be  used  by  one  not 
entitled  to  use  it.  Each  ribbon  will  hold  250  photographs,  and 
when  full,  will  be  filed  away.  It  is  claimed  that  the  telephone 
service  can  be  much  improved  if  the  use  of  the  instrument  is 
restricted  to  subscribers  only,  as  is  likely  to  be  the  case  if  the 
photographic  device  is  attached.  But  it  must  be  remembered 
that  in  some  business  houses  it  is  necessary  that  twenty  of  more 
different  persons  shall  use  the  telephone,  and  the  photographic 
feature  is  likely  to  become  complicated.  — The  Eye. 

Action  of  Light  on  an  Aqueous  Solution  of  Cane  Sugar. 
— Messrs.  Gladstone  and  Tribe  find  that  exposure  to  light  is  un- 
favourable to  the  development  of  fungoid  growths  in  a solution 
of  cane  sugar  exposed  to  atmospheric  air  ; but  experiments  which 
they  have  recently  made  do  not  confirm  the  observation  of  Rouet 
that  the  cane  sugar  becomes  changed  into  glucose  when  its  solu- 
tion is  exposed  to  light. 

Lockyer's  Dissociation  Theory.  By  \V.  Vogel  (Ann. 
Phyt.  Vhem.  [2],  19,  284 — 287). — The  author  has  on  a former 
occasion  taken  exception  to  Lockyer’s  dissociation  theory,  and 
has  pointed  out  that  photographs  bring  out  a fifth  hydrogen  line 
very  close  to  the  Fraunhofer  calcium  line  H'.  This  line  was 
probably  confounded  by  Huggins  with  its  neighbouring  calcium 
line,  and  its  presence,  taken  in  connection  with  the  abseuce  of 
the  calcium  line  II " in  the  photographs  of  the  spectra  of  the  so- 
called  white  stars,  was  one  of  the  principal  arguments  brought 
forward  by  Lockyer.  Attention  is  also  drawn  to  the  researches 
of  Liveing  and  Dewar,  which  have  conclusively  proved  that 
certain  magnesium  and  calcium  lines  are  brought  out  only  in  the 
presence  of  some  foreign  substance — hydrogen,  for  example. — 
Journal  of  the  Chemical  Society. 

Transferring  Paintings  from  one  Canvas  to  another. — 
To  transfer  a painting  from  one  canvas  to  another  is  not  difficult, 
said  the  renovator.  I first  paste  several  thicknesses  of  tissue 
paper  on  the  face  of  the  painting,  after  taking  it  from  the  frame. 
When  it  is  dry  the  canvas  is  wet  thoroughly,  and  I peel  it  from 
the  back  of  the  picture,  leaving  the  painting  fast  to  the  tissue 
paper.  After  it  dries  again,  I glue  a new  canvas  to  the  back  of  the 
picture,  and  when  it  has  dried  for  the  fourth  time,  1 wet  the 
tissue  paper,  and  peel  it  off.  The  picture  is  then  ready  for  the 
usual  cleansing  and  renovating  processes.  Are  there  many  im- 
portant paintings  on  wood  in  existence  ? Very  many,  or  there 
were  before  they  were  transferred  to  canvas.  When  the  wood 
is  so  old  that  the  paint  begins  to  flake  off,  from  old  age,  then 
the  only  chance  to  save  it  from  ruin  is  to  transfer  it  to  canvas.  I 
paste  the  tissue  paper  on  the  face  of  the  painting,  and  then  turn 
it  over,  and  plane  off  the  wood  with  a plane  whose  iron  has  a 
convex  edge.  When  the  wood  is  worked  down  thin,  I use  a 
chisel  with  a rounded  edge,  and  when  the  white  paint,  which  is 
usually  the  grouud  work  of  a picture,  begins  to  appear,  I take 
off  the  last  of  the  wood  with  pumice  stone  and  a damp  spenge. 

The  Bed  of  the  Sea  as  Seen  from  a Balloon. — Mr.  Sim- 
monds,  in  speaking  of  his  recent  trip  across  the  German  Ocean, 
expressed  the  opinion  that  instantaneous  photography  could  be 
used  from  balloons  with  great  success  in  the  work  of  surveying 
the  bed  of  the  sea,  which  was  plainly  discernible  during  the 
greater  part  of  the  voyage. 

Photographic  Club. — In  consequence  of  the  recent  legal 
decision  on  the  subject  of  Copyright,  members  and  visitors  are 
requested  to  observe  that  it  has  been  considered  advisable  to  alter 
the  title  of  the  subject  for  d scussion  on  Wednesday  evening 
next,  the  22nd  inst.,  to  that  of  “ Photography  as  a Fine  Art.” 

o 

tomsponfcttts. 

*»*  We  cannot  undertake  to  return  rejected  communications. 

F.  Gregory. — The  lamp  is  not  the  right  distance  from  the  con- 
denser. Find  the  correct  position  by  trial. 


F.  W.  B. — 1.  A trace  will  do  no  harm.  2.  It  is  hardly  possible 
to  pick  out  one  item  in  each  process,  and  to  consider  them  as 
on  propose.  Admirab’e  results  may  be  obtained  in  either  case, 
f you  were  to  use  the  larger  proportion  with  the  last-mentioned 
formula,  we  imagine  the  results  would  be  unsatisfactory. 

H.  Anderson. — There  is  not  any  special  treatise  on  the  subject, 
but  you  cannot  do  better  than  read  up  the  matter  in  the  Year- 
Books  and  the  “ Studios  of  Europe.” 

A.  G.  B. — 1.  We  cannot  tell  you  why,  but  our  experience  is  the 
same  as  your  own.  2.  As  we  do  not  use  it,  we  can  hardly  speak 
from  personal  knowledge.  It  is  but  a makeshift,  after  all.  _ 

H.  I.  Davison. — Thanks  for  the  print,  which  we  shall  examine  in 
detail . 

E.  D. — We  congratulate  you  on  your  success.  It  is  vigorous  and 
well  modelled,  without  being  harsh.  You  ask  us  to  find  the 
principal  fault  of  the  picture  ; we  have  failed. 

Ed.  Little. — Thanks. 

W.  Dailley. — About  double  the  exposure  would  be  required,  the 
aperture  being  the  same.  You  should  not,  however,  work  with 
a larger  stop  than  one-twelfth  of  the  focus. 

Distance. — There  must  have  been  a reflection  from  some  part  of 
the  inside  of  the  camera.  Take  out  the  focussing  screen,  and 
examine  carefully. 

Traveller. — 1.  You  will  find  work  very  trying  under  such  con- 
ditions, as  the  atmosphere  is  moist  and  hot ; still,  such  precau- 
tions as  you  propose  to  take  should  render  work  practicable. 
2.  We  recommend  the  latter. 

B.  N. — We  cannot,  of  course,  put  ourselves  altogether  in  your  place, 
but  we  are  inclined  to  think  that  8£  by  6J  will,  under  the  circum- 
stance. be  best. 

J.  N.  Holmes. — Boil  them  in  oil  of  turpentine  fora  few  minutes  ; 
but  you  must  take  careful  precaution  against  any  accident  from 
fire. 

B.  Thompson. — It  should  dissolve  readily  in  nitric  acid  of  the 
strength  you  refer  to  ; but  from  what  you  say,  we  imagine  that  you 
have  been  using  hydrochloric  acid. 

F.  B.  Lane. — Although  excellent  as  a piece  of  optical  work,  the 
instrument  has  no  market  value  at  the  present  time.  Vou  may  be 
able  to  find  a purchaser,  but  we  imagine  that  a dealer  would  either 
refuse  to  buy  it,  or  would  offer  a very  trifling  sum. 

E.  L.  Forster. — 1.  It  is  perhaps  the  most  actinic  light  known, 
after  direot  solar  rays.  Captain  Abney  produced  a picture  by  its 
agency  during  one  of  his  recent  Cantor  Lectures.  2.  So  instan- 
taneous that  a quickly  revolving  wheel  appears  stationary  when 
illuminated  by  it.  3.  Fume  your  paper  with  ammonia. 

C.  Baker. — Reduce  the  time  of  exposure  to  about  one-sixth. 

F.  Curious. — Your  samples  were  much  discoloured  when  they 
reached  us  ; the  spots,  as  far  as  we  can  judge,  are  metallic,  and 
inherent  to  the  paper. 

P.  P. — Chloride  of  gold  is  usually  acid;  the  chalk  is  added  to 
neutralise. 

Alpha. — Your  experience  is  not  new.  Niepce  de  St.  Victor  was, 
we  believe,  the  first  to  point  out  a similar  result.  He  found 
that  a black  and  white  surface  exposed  to  light  was  afterwards 
capable  of  impressing  an  image  in  the  dark.  The  result  you 
obtained  is  not  unlike  his. 

V.  X. — You  enclose  no  prints.  The  spirit  should  do  no  hatm, 
but  we  should  prefer  to  be  without  the  alum.  Doctoring  will 
certainly  do  no  good  now ; you  had  better  throw  down  your 
silver  and  recover  it. 

Photographer. — We  regret  that  your  question  has  been  over- 
looked. We  have  searched  Nos.  for  June  1 and  June  8,  but  do 
not  find  the  article.  You  say  it  was  in  the  News  of  June  the 
4th,  1883,”  but  no  No.  appeared  on  that  date. 

G.  Habeber. — MM.  Ferrier  et  Soulier,  of  Paris,  used  to  publish 
largely,  but  the  firm  now  is,  we  believe,  M.  Leon  Levy.  Herr 
L.  Schrank,  of  Vienna,  also  publishes. 

A.  D.  S. — “English  tracing  paper  won’t  do,  it  goes  yellow  in  a 
week”  See  Mr.  V.  Blanchard,  in  “ Stuoios  of  Europe.”  If 
this  had  caught  your  eye,  it  would  have  saved  you  some  trouble. 
rapier  Mineral  is  a paper  many  photographers  employ  for  the 
purpose,  but  we  think  that  a paste,  thick  or  thin,  as  you  may 
desire,  would  answer  well  enough,  and  this  you  could  remove 
again  with  warm  water  at  anv  time. 

L.  L.  W.,  I.  C.  Johnson,  K.  It.,  and  others,  next  week. 


PHOTOGRAPHS  REGISTERED. 

Mr.  W.  Mayland  (Deal) — Photo.  Sea  View,  Our  Father;  Far  a way  were 
Angels  Dwell. 

Mr.  Lennox  Brow.v  (London) — Nine  photos,  of  the  Larynx. 

Mr.  G.  W.  acsten  (London)  — Oil  PaintiDg  of  Superintendent*  of  the 
Prudential  Assurance  Company. 

Mr.  W.  J.  Brioos  (Enfield)— Two  photos,  of  St.  Mary  Magdalene  Church, 
Enfield. 

Mr.  R,  Sli.ncsbt  (Lincoln)— Photos.  Expedition ; I’m  Coming  ; Beady. 


THE  PHOTOGRAPHIC  HEWS, 


Vol.  XXVII.  No.  1803. — August  2$,  1883. 


CONTENTS. 


PAOS 


The  Unification  of  Ph  otographic  Constants 529 

Clouds  in  Lands  capes  529 

The  Brussels  Exhibition 530 

Tho  Tourist  Photographer  632 

The  British  Association  533 

The  Camera  in  South  Africa  533 


Comparative  Emulsion  Experiments.  ByJ.  Vincent  Elsden, 


B.Sc.  (Lond.),  F.C.8 534 

Notes 536 

Patent  Intelligence  .j... 63b 


PAO  K 

Lessons  in  Optics  for  Photographers.  By  Capt.  Abney 538 

Brussels  International  Photographic  Exhibition 539 

Daguerre  MO 

Photo-Lithography  and  Photo-Zincography.  By  Major  I. 

■Waterhouse,  B.S.C 541 

Solid  and  Liquid  Illuminating  Agents.  By  L.  Pield,  F.C.S  542 

Correspondence  543 

Proceedings  of  Societies  544 

Talk  in  the  Studio 544 

To  Correspondents 544 


THE  UNIFICATION  OF  PHOTOGRAPHIC 
CONSTANTS. 

It  was  made  very  apparent  by  several  circumstances  in 
connection  with  the  Exhibition  at  Brussels,  that  a con- 
siderable hindrance  is  offered  to  the  free  advance  of  photo- 
graphy by  the  great  variation  now  existing  as  regards 
such  dimensions  which  might  well  be  referred  to  universal 
standards,  and  the  various  meanings  attached  to  photo- 
graphic terms  in  different  countries.  The  Brussels  jury 
were,  indeed,  more  hampered  in  their  work  of  adjudica- 
tion by  the  want  of  unity  as  regards  the  meaning  attached 
to  technical  expressions,  than  by  the  circumstance  that  the 
discussion  as  to  the  peculiarities  of  the  various  exhibits 
was  carried  on  in  several  languages. 

On  the  evening  of  the  day  when  the  Brussels  jury  com- 
menced their  work  of  inspection,  the  Brussels  Society  in- 
vited them  to  dine,  together  with  the  former  presidents  of 
the  Society  and  a few  other  gentlemen.  During  the  even- 
ing, Mr.  Warnerke  referred  to  the  desirability,  not  only  of 
definitely  determining  the  meanings  attached  to  photo- 
graphic terms,  but  also  of  adopting  universal  standards  for 
photographic  dimensions.  We  now  have  many  names  for 
the  same  thing,  and  what  is,  indeed,  far  more  inconveni- 
ent, one  and  the  same  name  stands  for  widely  different 
things.  Mr.  De  Vylder,  the  first  president  of  the  Associ- 
ation, said  that  the  required  unification  would  best  be 
accomplished  by  holding  an  international  congress,  and  he 
thought  that  such  a gathering  might  be  advantageously 
held  at  Brussels  ; not  only  is  the  geographical  position  of 
this  city  more  generally  convenient  than  any  other  which 
could  be  selected,  but  the  political  neutrality  of  Belgium 
would  contribute  largely  to  the  success  of  the  enterprise. 
Dr.  Stolze  generally  agreed  with  M.  De  Vylder,  and  he 
thought  it  very  desirable  that  the  metric  system  should 
become  universal  for  expressing  photographic  dimensions  ; 
but  Mr.  Warnerke  and  Captain  Abney,  in  admitting  the 
desirability  of  this,  pointed  out  the  difficulty  which  would 
be  experienced  in  inducing  English  photographers  to  co- 
operate as  regards  this  point. 

After  some  further  discussion  it  was  generally  agreed 
that  the  Belgian  Society  should  ask  for  the  advice  and  co- 
operation of  other  societies,  and  the  matter  should  be  re- 
ported upon  at  a later  date ; but  Mr.  Warnerke,  in  referring 
to  the  influential  and  representative  character  of  the  pre- 
sent gathering,  urged  the  necessity  of  making  some  defi- 
nite step  in  advance.  He  spoke,  also,  of  the  work  already 
done  by  the  English  Society  in  fixing  definite  standards 
for  lens  flanges  and  screws  ; no  doubt  the  proposed  con- 
gress would  confirm  these,  especially  as  the  Whitworth 
standard  is  now  nearly  universal  for  screw  threads. 

Before  the  meeting  broke  up,  Dr.  Stolze  referred  to  the 
present  Exhibition  as  marking  an  epoch  in  the  history  of 


photography.  He  pointed  out  that  we  have  the  first  great 
photographic  exhibition  held  in  a national  academy  of  fine 
arts,  and  this  national  recognition  possessed  especial  value 
as  coming  from  so  enlightened  a nation  as  Belgium  ; and 
his  proposal  to  drink  a bumper  to  the  prosperity  of 
Belgium  and  the  Belgian  king  was  responded  to  with 
enthusiasm. 

It  is  to  be  hoped  that  the  unification  congress  will  meet 
and  get  through  some  considerable  portion  of  its  work 
before  the  next  triennial  exhibition  of  the  Brussels  Society, 
and  we  would  suggest  this  time  next  year  as  a convenient 
time  for  meeting.  All  preliminaries  might  be  roughed 
out  in  the  meantime,  so  that  one  meeting  of  the  congress 
would  suffice. 


CLOUDS  IN  LANDSCAPES. 

The  photographic  abomination  once  so  often  seen — a land- 
scape with  perfectly  white  sky— is  now  becoming  rare,  and 
the  general  introduction  of  gelatine  plates  has  made  it 
somewhat  less  common  than  even  a few  years  ago. 

Could  we  but  get  a photographic  process  ready  to  give 
a representation  of  the  whole  range  of  light  which  the  eye 
is  capable  of  perceiving,  it  is  evident  that  what  clouds 
exist  in  a landscape  would  always  be  represented  in  the 
photograph  taken  of  it.  That  any  process  we  know  of 
falls  far  short  of  the  capacity  to  register  such  a range  of 
light  is  well  known  ; though  it  is  certain  that  the  gelatine 
process,  especially  certain  modifications  of  it,  approaches 
the  desideratum  much  more  nearly  than  the  wet  process 
does,  at  any  rate  as  the  latter  is  commonly  practised.  It 
is  true  that  by  modifying,  for  the  special  purpose,  the 
strengths  of  the  bath  and  developer  used  for  wet  plates, 
the  range  of  light  finding  a representation  can  be  some- 
what increased  ; but  not,  we  think,  so  much  so  as  to  equal 
that  finding  a representation  on  a good  gelatine  film. 

With  many  subjects  of  such  a nature  as  do  not  require 
prolonged  exposures  to  bring  out  detail  in  deep  shadows, 
clouds  will  be  perfectly  represented  with  gelatine  plates, 
whereas  they  would,  as  a rule,  not  have  shown  at  all  with 
wet  plates.  Almost  all  subjects  fit  for  the  rapid  exposures 
usually  termed  instantaneous  are  of  this  nature. 

We  are,  however,  no  better  off  than  we  were  before  in 
the  matter  of  views  in  which  exposures  at  all  above  the 
briefest  are  required.  If  it  is  necessary  to  penetrate  into 
any  deep  shadows,  the  exposure  required  will  so  over- 
expose the  sky  that  no  clouds  will  be  visible.  In  such 
cases — that  is  to  say,  in  most  cases— the  printing  of 
clouds  from  a separate  negative  is  a necessity. 

It  is  urged  by  some  that  in  all  instances  where  an  expo- 
sure so  long  that  the  clouds  of  the  landscape  will  not  be 
represented  is  required,  a separate  negative  should  be 
taken,  with  a shorter  exposure  to  serve  for  the  sky  alone, 


530 


THE  PHOTOGRAPHIC  NEWS.  ^August  24,  1883. 


and  that  the  two  should  be  printed  into  each  other.  Strictly 
speaking,  this  is  the  only  correct  course  to  follow.  It  is 
certain  that  every  cloud  reflects  a certain  amount  of  light, 
that  this  light  modifies  to  a slight  extent  the  appearance 
of  the  landscape,  and  that  absolute  harmony  cannot  be 
obtained  unless  the  sky  and  the  landscape  be  taken  at 
very  nearly  the  same  time. 

Although  this  is  hypothetically  the  only  correct  pro- 
cedure, in  practice  it  will  be  found  that  frequently — nay, 
generally — better  results  will  be  got  by  a different  pro- 
cess, namely,  by  looking  out  for  the  time  when  the  land- 
scape looks  its  best  apart  from  the  sky,  and  exposing  for  it 
then,  and  by  getting  a set  of  skies  of  different  characters, 
and  lighted  from  different  points,  to  print  into  our  various 
landscapes.  If  the  skies  be  well  selected,  and  be  printed 
into  the  landscapes  with  even  very  moderate  skill,  it  will 
be  impossible  to  discover  any  want  of  harmony  in  the  re- 
sult. A few  hints  on  the  getting  of  cloud  negatives  may 
be  of  use. 

Mr.  H.  P.  Robinson  always  prefers  to  employ  wet  plates 
for  his  cloud  negatives,  but  nevertheless  gelatine  films 
may  well  be  employed  if  not  highly  sensitive.  It  is 
necessary  to  select  a spot  to  expose  from,  which  gives  a 
low  open  horizon  for  at  least  a considerable  distance 
around  the  photographer.  It  is  particularly  advisable  to 
get  the  skies  down  to  this  horizon,  or  otherwise,  when 
printed  with  certain  landscapes,  the  effect  is  not 
good. 

The  best  horizon  is,  of  course,  afforded  by  sea,  but  when 
this  is  not  available,  flat  land  will  do  instead.  The  clouds 
which  give  the  best  effect  are  light  fleecy  ones,  and  masses 
of  brightly-lighted  cumuli.  Frequently,  in  the  course  of 
a day,  when  there  is  some  wind,  and  possibly  a threaten- 
ing of  rain,  there  will  be  a never-ending  variety  of  clouds 
of  the  most  exquisite  form,  enough  to  enable  the  photo- 
grapher to  provide  himself  with  a supply  of  negatives  for 
a large  number  of  landscapes.  The  opportunity  should  be 
taken  of  getting  negatives  with  the  sun  at  all  elevations, 
and  of  taking  them  at  all  angles  with  the  sun.  Of  course 
those  looking  towards  the  sun  are  only  useful  for  excep- 
tional cases.  Unfortunately,  clouds  near  the  sun  are  the 
ones  which  photograph  by  far  the  best,  so  that  there  is  a 
strong  temptation  to  pay  special  attention  to  them,  and  to 
neglect  the  less  brilliant  effects  which  are  to  be  had,  work- 
ing at  right  angles  to  and  away  from  the  sun.  So  strong, 
indeed,  is  the  temptation,  that  we  have  seen  in  photo- 
graphs taken  by  excellent  photographers  the  landscape 
lighted  by  the  sun  evidently  somewhat  behind  the  camera, 
and  the  clouds  somewhat  before  it. 

The  exposure  necessary  varies  with  the  nature  of  the 
clouds  and  the  direction  from  which  they  were  lighted. 
It  must  always  be  brief,  otherwise  movement  is  pretty  sure 
to  make  itself  evident.  It  is  by  no  means  necessary  to  use 
a shutter,  but  the  cap  should  be  manipulated  as  quickly  as 
possible. 

With  gelatine  plates  of  ordinary  sensitiveness,  it  will  be 
found  that  with  an  exposure  as  that  indicated— pro- 
bably or  { of  a second — a stop  varying  from  to  ^ , 
according  to  the  light,  should  be  used. 

The  development  is  a matter  requiring  some  attention, 
especially  if  it  be  desired  to  print  the  clouds  boldly  into 
the  landscape.  If  it  be  intended  merely  to  give  an  indica- 
tion of  clouds,  a very  thin  negative  will  do.  In  this  case 
also  the  exact  direction  of  the  lighting  is  not  of  so  great 
importance,  as  it  is  impossible  to  detect  in  the  print  a 
slight  error.  If,  however,  it  be  desired  to  print  the  clouds 
boldly,  the  negative  must  show  considerable  contrast  ; and 
to  get  this  is  not  always  easy,  especially  when  clouds  nearly 
opposite  the  sun  are  taken.  A slow  development,  with  a 
strong  solution  of  pyro,  and  a considerably  restrained  deve- 
loper, is  necessary. 

It  is  a very  great  convenience  to  have  cloud  negatives 
on  paper,  so  that  printing  may  be  done  from  either  side. 
This  is  best  done  by  contact  printing  by  the  old  waxad 


paper  or  Talbotype  process,  but  we  have  found  the  follow- 
ing plan  to  give  very  fair  results. 

A transparency  is  taken  of  the  negative,  either  on  a dry 
plate  by  contact,  or  on  a dry  or  wet  plate  in  the  camera. 
From  this  transparency  a print  is  taken  on  ordinary  albu- 
menized  paper,  the  back  of  the  paper  being,  however,  ex- 
posed to  the  transparency.  This  gives  a print  weak  by 
reflected  light,  but  bold  when  looked  at  as  a negative  by 
transmitted  light.  Thi3  paper  negative  is  made  rather 
dark,  i3  toned  to  a dark  purple,  and  fixed.  It  is,  after 
washing  and  drying,  waxed  by  brushing  melted  white  wax 
over  it,  and  pressing  it  with  a hot  iron  between  sheets  of 
blotting-paper  till  all  wax  that  can  be  absorbed  from  it  is 
pressed  out. 


THE  BRUSSELS  EXHIBITION. 

Second  Notice. 

We  may  now  give  a rough  classification  of  the  exhibits  : — 

A.  Pictures  in  fatty  ink  printed  from  a surface  of  gelatine. — 
E.  Aubry,  Brussels  ; Brauneck,  Mayence ; F.  Briickmann, 
Munich  ; Goupil  and  Co.,  Paris  ; W.  Hoffmann,  Dresden  ; 
Leroux,  Algiers;  J.  Lbwy,  Vienna;  J.  Maes,  Antwerp; 
Baumann  and Schroeder,  Leipzig;  Wm.  Otto,  Dusseldorf ; 
Mile.  Relvas,  Gollega;  Paul  Schahl,  Berlin ; Strumper 
and  Co.,  Hamburg. 

B.  Photo-lithography,  photo -engraving,  zinc  etching,  tint 
blocks,  Woodburytype,  frc. — Autotype  Publishers,  Munich; 
P.  Arents,  Paris;  Evely  and  Deron,  Brussels;  E.  Gaillard, 
Berlin;  Goupil  and  Co.,  Paris;  K.  Klic,  Vienna;  J. 
Maes,  Antwerp ; R.  Schuster,  Berlin  ; S.  Schall,  Berlin ; 
Scolik,  Vienna  ; Scamoni,  St.  Petersburg  ; Strumper  and 
Co.,  Hamburgh;  Dujardin,  Paris;  Volkmer,  Vienna; 
Woodbury  Company,  London. 

C.  The  carbon  process  on  paper  or  glass. — Chicharro, 
Santiago  ("portraits);  Dandoy,  Namur  (views);  Coupe, 
Termonde  (views)  ; Fabronius,  Brussels  (portraits)  ; 
Greiner,  Amsterdam  (portraits);  Hallez,  Diuant  (views) ; 
Harrison,  Paris  (instmtaneous  pictures);  H.  N.  King, 
London  (transparencies)  ; J.  A.  Kay,  Bolton  (portraits) ; 
J.  Maes,  Antwerp  (views) ; Marsh  Brothers,  Henley 
(enlargements)  ; Bruno  Meyer,  Carlsruhe  (reproductions); 
Eug.  Pirou,  Paris  (enlarged  portraits) ; Mile.  Relvas, 
Gollega  (views  and  portraits) ; E.  Sacre,  Ghent  (views) ; 
Woodbury  Company,  London  (enlargements)  ; H.  Zeyen, 
Liege  (portraits)  ; Zehngraf,  Aarhus  (portraits)  ; Salomon, 
Dessau  (portraits  on  opal)  ; J.  Moffat,  Edinburgh  (enlarge- 
ments) ; A.  Schoenowsky,  Neckerspoel  (enlargements). 

D.  Prints  on  albumenized paper.  Direct  prints — 1.  Por- 

traits— H.  Axtmann,  Plauen ; Von  Ayx,  Mayence;  W. 
Byrne,  Richmond  ; G.  Brockesch,  Leipzig  ; Burata,  Zara  ; 
Chmielewski,  Poltava  ; Dupont,  Brussels ; Devigne, 
Dinant;  Fabronius,  Brussels;  A.  Herzog,  Basel;  S.  llei- 
mann,  Lugos;  O.  Klein,  Lahr;  J.  Kossak,  Temesvar;  A. 
Knirsch,  Temesvar  ; Karelinn,  Nijni-Novgorod  ; A.  Lewis, 
Douglas;  A.  Liebert,  Paris;  0.  Lieoert,  Holzminden;  J. 
Lbwy,  Vienna  ; J.  Moffat,  Edinburgh  ; O.  Pfenniger,  St. 
Gallen ; Mile.  Relvas,  Gollega ; Salomon,  Dessau ; St. 
Senoch,  Paris  ; Solovief,  St.  Petersburgh  ; A.  Schoenowsky, 
Neckerspoel;  A.  Vandyke,  Liverpool;  Van  Ronzelen, 
Berlin;  Van  Bosch,  Paris;  A.  Werner,  Dublin;  Zehn- 
graf, Aarhus ; Zeyen,  Liege.  2.  Views  ( including  land- 
scapes and  architecture) — Alexandre  Drains,  Brussels  ; Bon- 
fils  and  Co.,  Beyrouth;  Brightman,  Bristol;  Brownrigg, 
Guildford ; W.  Bedford,  London ; II.  Colard,  Brussels  ; 
Devigne,  Dinant ; F.  W.  Donkin,  London  ; Ermakow,  Tiflis ; 
W.  England,  London  ; Fry  and  Co.,  Kingston  ; Fischer 
and  Co.,  Copenhagen  ; Grienwaldt,  Bremen ; Groger, 
Habelschwerdt;  Godbold,  St.  Leonards-on-Sea ; A.  Herzog, 
Basel ; A.  Hendrey,  Godmanchester  ; O.  Klein,  Lahr ; 
Karelinn,  Nijni-Novgorod;  II.  Krafft,  Paris;  l£urkdjan, 
l’riwan  ; L.  Laoureux,  Liege;  Dr.  Von.  Lorent,  Meran; 
A.  Lewis,  Douglas;  Leroux,  Algiers;  Lauwereyns, 
Brussels ; Levy  and  Co.,  Paris ; Lachmaier,  Tiumen ; 


August  21,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


531 


Marsh  Brothers,  Henley-on-Thames  ; McLiesh,  Darling- 
ton ; Manfield,  Northampton;  Mauren,  Brussels;  Nor- 
man and  Co.,  Tunbridge  Wells  ; C.  Perier,  Paris  ; Pfeu- 
niger,  St.  Gallen ; A.  Petitt,  Keswick ; H.  Ruckwardt, 
Berlin ; G.  Renwick,  Burton ; Mile,  ltelvas,  Gollega ; de 
Selvys  Longchamps,  Liege  ; Storms,  Antwerp  ; Standen- 
heim,  Feld-kirchen  ; II.  Stevens,  London;  G.  Whaite, 
Southport;  Wyllie,  Cambridge ; Wurthle  and  Spinnhirn, 
Salzburg.  3 Genre  pictures  — G.  Brokescb,  Leipzig ; 
Chaffin  and  Sons,  Taunton ; A.  Diston,  Leven ; C. 
Eckert,  Prague ; H.  P.  Robinson,  Tunbridge  Wells ; 
Slingsby,  Lincoln.  4.  Reproductions  —Alexandre  Drains, 
Brussels ; W.  Otto,  Dusseldorf.  5.  Instantaneous  pictures 
— Anschutz,  Lissa ; Alexandre  Drains,  Brussels  ; Brown- 
rigg,  Guildford ; H.  Colard,  Brussels ; L.  Charles, 
Brussels ; Grassin,  Boulogne-sur-Mer ; Godbold,  St.  Leon- 
ards ; Lauwereyns,  Brussels ; Lugardon,  Geneva ; Marsh 
Brothers,  Ilenley-on-Thames ; Sutcliff,  Whitby ; Storms, 
Antwerp  ; J.  West  and  Son,  Gosport ; Standenheim,  Feld- 
kirchen. 

E.  Photographs  on  paper  ly  development. — 1.  Pla  linotype 
— W.  Gillard,  Gloucester  (genre) ; H.  Manfield,  North- 
ampton (views) ; Platinotype  Co.,  London  (portraits  and 
views) ; G.  Pizzighelli,  Vienna ; J.  Taschler  and  Signer, 
Basel  (genre) ; G.  Renwick,  Burton  (views) ; 2.  Gelatino- 
bromide  paper  — D.  Hutinet,  Paris  (enlargements) ; 
Morgan  and  Kidd,  Greenwich  (portraits  and  enlarge- 
ments) ; Storms,  Antwerp  (enlargements). 

F.  Cyanotype,  SfC. — Kymeulen-Pettens,  Brussels. 

G.  Vitrified  photographs. — Leisner,  Waldenburg ; Batkin- 
Verregen,  Brussels. 

H.  Apparatus. — E.  Corroyer,  Brussels ; N.  Fischer> 
Copenhagen  ; C.  Hofmans,  Brussels ; G.  Hare,  London  ; 
Hunter  and  Sands,  London  ; Dr.  Just,  Vienna  ; H.  Martin, 
Paris;  E.  S.  Montefiore,  Paris  ; Mackenstein,  Paris  ; J.  De 
Neck,  Brussels ; E.  Rentiers,  Brussels  ; Shew  and  Co., 
London  ; Thury  and  Amey,  Geneva  ; Toksteiu,  Meidling  ; 
Watson  and  Son,  London. 

I.  Photographic  literature. — H.  Baden  Pritchard,  London  ; 
Gauthier- Villars,  Paris  ; A.  Liebert,  Paris;  Leon  Vidal, 
Paris ; H.  Colard  and  C.  Campo,  Brussels  ; Association 
Beige  de  la  Photographic,  Brussels. 

J.  Publications  illustrated  by  photography. — L.  Aillaud, 
Albi ; Dr.  Fritsch,  Berlin  ; Julien  Laferriere,  Larochelle  ; 
J.  Maes,  Antwerp ; Woodbury  Co.,  London. 

K.  Photo-micrographs  and  applications  of  photography  to 
science. — J.  Coupe,  Termonde  ; Societe  Beige  de  Micro- 
scopic, Brussels ; J.  Girard,  Paris  : J.  W ard,  Brussels. 

L.  Farious — Balagny,  Paris  (sensitive  pellicles)  ; Chau- 
vigne,  Tours  (photo  painting)  ; Eugel  Feithknecht, 
Donanue  (dry  plates)  ; Gelatine  fabric,  Winterthur  (gela- 
tine); Janssen  and  Co.,  Cologne  (accessories);  Dr.  Just, 
Vienna  (paper) ; Rebo  des  Montils,  Paris  (photo  painting)  ; 
York  and  Son,  London  (transparencies);  T.  Burato,  Zara 
(transparencies  by  the  gelatino-cbloride  process). 

It  must  not  be  supposed  that  those  exhibits  coming 
under  section  A,  and  which  we  failed  to  notice  last  week, 
are  devoid  of  merit.  Aubry,  of  Brussels,  shows  excellent 
work,  including  some  highly  successful  chromo-collotypes, 
while  the  extensive  series  of  collotypes  by  Leroux,  of 
Algiers,  interested  us  as  being  the  first  we  have  seen 
coming  from  Africa.  This  series  includes  reproductions 
in  black-and-white,  copies  of  other  works  of  art,  and 
portraits  from  nature.  Success  in  collotype  work  is  evi- 
dently not  very  much  dependent  on  climatic  influences. 
The  quality  of  the  work  executed  by  Lbwy,  of  Vienna, 
and  Strumper,  of  Hamburg,  is  so  well  known  as  to  need 
no  comment. 

Class  B,  which  includes  other  photo-mechanical  methods, 
presents  notable  features  of  novelty  and  interest,  the 
magnificent  block  work  (from  negatives  after  nature) 
being,  as  we  remarked  last  week,  a characteristic  by  which 
this  Kxhibition  will  be  remembered.  And  now  that 
nflucntial  firms  like  Goupil  and  the  Autotype  Pub- 


lishing Association  of  Munich  have  taken  the  matter 
in  hand,  starting  rather  with  the  exhibition  of  large 
and  good  specimens  of  work  than  with  high-flown 
statements  of  what  they  are  going  to  do,  we  imagine  that 
photo-tint  block  printing  has  a fair  chance  of  becoming  a 
very  important  industrial  reality  before  long.  The  Auto- 
type publishers’  blocks  appear,  as  we  stated  before,  to  be 
made  by  some  modification  of  Ives’  process,  and  are  said 
to  be  covered  by  the  patents  of  Meissenbach,  these  having 
been  taken  out  in  all  important  countries ; but  the  specifi- 
cations have  not  yet  been  published.  The  Portal  of  Reims 
Cathedral,  from  a negative  by  Trompette,  is  a very  fine 
block  print  by  Goupil,  the  fine  tint-gradations  of  the 
decaying  stone  being  admirably  rendered.  The  block  is 
about  fourteen  inches  high.  Another  notable  block  print 
of  the  same  firm  is  one  from  a negative  by  Abney  ; it  is  a 
charming  little  picture  of  water  and  foliage.  Magnificent 
examples  of  intaglio-plate  engraving  from  negatives  after 
nature  are  contributed  by  Arents,  Evely  and  Deron,  Klic, 
Scamoni,  Dujardin,  Goupil,  and  others,  but  this  method 
of  photographic  reproduction  appears  to  us  unlikely  to 
become  of  enormous  commercial  importance,  as  the  pro- 
cess of  printing  from  the  plates  is  slow  and  expensive. 

The  carbon  process,  Class  C,  is  well  represented,  but  we 
noticed  but  few  examples  of  large  work.  We  may 
especially  mention  the  instantaneous  pictures  of  Harrison, 
and  the  portraits  on  opal  exhibited  by  Salomon. 

As  might  have  been  expected,  the  greater  part  of  the 
pictures  shown  come  under  Class  D,  as  direct  prints  on 
albumenized  paper  still  form  the  staple  of  photographic 
productions.  The  admirable  style  of  lighting  realised  by 
lvarelinn,  of  Nijni-Novgorod,  is  well  set  forth  by  a series  of 
which  the  largest  picture  is  nearly  three  feet  high,  and  all 
these  were  taken  directly  on  wet  plates.  Exhibits  from 
England  are  numerous ; the  portraits  of  Byrne,  A.  Lewis, 
J.  Moffat,  and  others  compare  well  with  continental 
pictures ; while,  for  those  peculiar  characters  which 
often  distinguish  the  work  of  English  landscapists,  the 
pictures  of  Brownrigg,  Bedford,  England,  Marsh  Bros., 
McLiesh,  and  G.  Whaite,  stand  unrivalled.  Donkin’s 
pictures  of  the  High  Alps  attracted  much  attention,  and  we 
observed  some  charming  new  studies  by  Slingsby,  as  “ I’m 
coming,”  and  “ Ready,”  which  represent  a child  in  the  act 
of  leaving  the  fork  of  a tree  for  a ride  on  the  shoulders  of  a 
grown  friend.  Class  E,  which  includes  platinotype,  comes 
chiefly  from  England  ; but  the  prints  sent  by  Captain 
Pizzighelli  certainly  possess  a depth  and  vigour  which  are 
very  rarely  realised  in  platinum  pictures. 

We  alluded  last  week  to  the  vitrified  collotypes  of 
Batkin-Verregen,  of  Brussels,  and  we  may  mention  that 
the  effect  of  the  pictures  is  in  several  cases  made  more 
realistic  by  imprinting  the  image  on  a bas-relief.  Leisner 
shows  some  excellent  photo-enamels  on  plaques  over  a 
foot  high. 

An  exhibit  of  especial  interest  is  that  of  Dr.  Just,  of 
Vienna,  and  consists  of  a series  of  machine-printed  photo- 
graphs, a band  of  sensitised  paper  being  used.  Probably 
the  machine  is  somewhat  similar  to  that  patented  about 
twenty  years  ago  by  Fontayne,  and  to  which  we  recently 
called  attention.  Four  series  of  prints  on  the  band  of 
paper  are  shown,  and  from  400  to  500  impressions 
per  hour  can  be  obtained  in  ordinary  daylight  when 
gelatino-chloride  paper  is  used.  By  gaslight,  an  exposure 
of  as  much  as  two  minuteB  is  required  for  each  print,  so  that 
about  twenty-four  copies  per  hour  can  be  obtained.  Dr. 
Just  also  shows  platinotype  prints  obtained  in  bands  by 
his  machine. 

A few  words,  in  conclusion,  upon  the  British  exhibits. 
The  collection  of  Mr.  W.  Bedford  includes  his  fine  picture 
of  •*  Warwick  Castle,”  with  which  many  of  our  readers 
are  familiar,  together  with  other  leafy  nooks  from  England 
and  Wales.  Mr.  Edward  Brightman,  of  Bristol,  shows 
pictures  of  Lynmouth,  of  the  Lynn,  and  other  studies  from 
North  Wales  that  we  have  previously  had  an  opportunity 


532 


THE  PHOTOGRAPHIC  NEWS. 


[August  24,  1883. 


of  criticising  and  admiring.  Mr.  Brownrigg,  another 
well  known  British  amateur,  has,  among  others,  his  charm- 
ing photograph  of  “ High  Tor,”  and  adds  also  a goodly 
series  of  the  successful  pictures  he  obtained  this  spring  in 
Italy ; these  latter  appear  in  public  for  the  first  time,  and 
are  many  of  them  admirable  productions.  Messrs.  Chaffin 
and  Sons  show  most  of  the  pictures  sent  to  Pall  Mall  last 
year,  to  wit  : “ Cherry  Ripe,”  “ My  First  Party,”  &c. ; 
while  Mr.  Adam  Diston  wisely  chooses  the  medal  picture 
“ Gloamin’,”  to  represent  his  work. 

The  British  section  has  also  reason  to  be  proud  of  Prof. 
F.  W.  Donkin,  who  exhibits  two  of  his  grand  pictures  of 
the  Chamonix  district,  the  “ Dent  du  Geant,”  and 
“ Aiguille  du  Dru.”  Mr.  Alfred  Hendrey’3  little  snow 
scenes  are  here  also,  while  Mr.  Gillard,  of  Gloucester, 
sends  “Reading  to  Granny;”  and  Mr.  H.  Godbold,  of 
St.  Leonards,  contributes  some  bright  marine  views.  Mr. 
J.  A.  Kay  has  several  of  the  photographs  sent  to  Pall 
Mall  last  year,  and  of  which  we  have  already  spoken  ; while 
Mr.  Albert  Lewis,  of  Douglas,  contributes  likewise  a magni- 
ficent series  of  sea  views  which  have  gladdened  our  eyes  be- 
fore. Of  ‘‘A  Misty  Morning  on  the  Wear,”  Mr.  McLeish’s 
(of  Darlington)  admirable  contribution,  we  certainly 
need  say  nothing  ; and  about  Mr.  H.  Manfield’s  charming 
collection,  which  includes  the  “Marble  Hall,”  and  several 
fine  cathedral  interiors,  we  can  add  no  further  praise 
to  that  we  have  already  awarded  them  on  previous  occa- 
sions. Mr.  John  Moffat,  of  Edinburgh,  exhibits  excellent 
work,  some  of  which  also  seemed  familiar  to  us  ; and  we 
may  say  the  same  of  the  goodly  collection  of  pictures  for- 
warded by  Messrs.  Norman  and  Co.  Of  the  prints  shown 
by  the  Platinotype  Company  we  have  already  spoken,  and 
we  may  add  that  the  pictures  were  eagerly  scanned  by 
visitors  at  the  opening  of  the  Exhibition,  who  also  paid 
particular  attention  to  the  fine  examples  of  carbon  printing 
exhibited  by  the  Woodburytype  Company.  Mr.  Renwick 
has  some  bright  little  studies  both  in  platinotype  and 
silver,  and  Mr.  Henry  Stevens  exhibits  the  fine  photo- 
graphs of  the  flowers  that  secured  him  a medal  at  Pall  Mall 
last  year. 

The  delightful  studies  of  Mr.  Frank  Sutcliffe  are  seen  to 
advantage  on  foreign  soil,  and  so,  too,  are  the  artistic 
groups  of  Mr.  T.  G.  Whaite,  of  Southport,  which  have 
deservedly  earned  for  that  gentleman  several  medals  in 
Great  Britain.  Messrs.  G.  West  and  Co.,  of  Gosport,  are 
represented  by  some  clever  instantaneous  pictures.  Mr, 
W.  England,  we  were  glad  to  see,  sends  a series  of  his 
magnificent  Swiss  views,  all,  if  we  mistake  not,  old  friends, 
and  all — a significant  matter — taken  with  emulsion  of  his 
own  preparation.  Last,  but  not  least  of  the  English  ex- 
hibitors, we  note  our  friend  Mr.  F.  York,  of  Notting  Hill, 
who  shows  our  Belgian  friends  how  cleverly  transparencies 
may  be  made,  and  how  photography  lends  itself  to  amuse 
and  instruct  in  the  matter  of  lantern  slides. 


THE  TOURIST  PHOTOGRAPHER. 

In  the  Engadine. 

Please  don’t  call  it  the  “Ingaddin ! ” is  what  we  are  often 
tempted  to  say,  when  visitors  give  the  Cockney  pronouncia- 
tion  to  the  beautiful  mountain  valley  which  its  inhabitants 
speak  of  as  the  “Engardeen,”  and  which  lies  in  the  south- 
eastern corner  of  Switzerland.  It  used  to  be  the  fashion 
a little  while  ago  for  the  Times  to  discover  the  Engadine 
once  a year.  As  sure  as  the  holidays  came  round,  and  all 
the  world  and  his  wife  talked  of  going  out  of  town,  there 
appeared  in  the  columns  of  our  leading  journal  a long 
article  by  some  gentleman  who  fancied  he  was  the  first  to 
visit  this  region.  Even  now,  although  the  fashionable 
intelligence  tells  of  daily  arrivals  and  departures  of  the 
upper  ten  for  the  Engadine,  we  are  assured  from  time  to 
time  that  it  is  but  quite  lately  the  Engadine  has  become 
one  of  the  playgrounds  of  Europe,  and  are  told  that  ten 
years  ago  there  was  not  an  hotel  in  the  place  fit  to  dwell  in. 


Our  knowledge  of  the  Engadine  is  not  very  extensive, 
it  is  true,  but  it  dates  back  to  1858 — a quarter  of  a century 
— and  we  remember  well  on  that  occasion  of  our  first  visit, 
we  stayed  at  the  Steinbock  hotel,  where  a goodly  company 
of  English  visitors  were  gathered  together.  There  was 
one  big  family  in  particular,  from  Albion,  making  them- 
selves very  much  at  home— they  were  at  tea,  we  recollect, 
when  we  entered  from  a mountain  tramp — and  it  must 
have  amused  them  considerably  when  a dozen  years  after- 
wards they  heard  the  Engadine  spoken  of  in  the  Times  as 
an  unknown  land. 

Since  then  we  have  twice  visited  the  beautiful  spot,  the 
last  time  with  the  camera,  and  the  little  views  we  secured 
of  Pontresina  and  St.  Maritz,  of  the  Roseg  and 
Morteratsch  glaciers,  of  the  Bernina  pass  and  Engadine 
lakes,  &c.,  &c.,  call  vividly  to  mind  the  pleasures  of  that 
charming  region.  There  is  no  way  into  the  Engadine  but 
by  climbing  a lofty  pass.  There  is  the  Bermina  pass  that 
travellers  take  coming  from  Italy,  or  the  Maloja,  a delight- 
ful walk  past  the  foot  of  the  Monte  Disgrazia  ; while  from 
the  north  there  is  also  a choice  of  two  passes,  the  Julier  and 
the  Albula,  the  latter  upwards  of  8,000  feet  high.  There 
are  good  roads,  however,  by  all  these  routes,  and  in  sum- 
mer time  good  conveyances  as  well ; that  there  are  good 
hotels  likewise  goes  without  saying. 

In  our  last  trip  to  the  Engadine  we  had  amusing  proof, 
we  well  remember,  of  good  management  at  an  hotel. 
There  was  a capital  head- waiter,  or  Oberkellner,  and 
when  this  is  the  case,  the  hotel  is  usually  a comfort- 
able one.  Not  unfrequently  in  Switzerland  and  Germany 
the  whole  household  is  at  the  command  of  the  head-waiter, 
master  and  mistress  being  nonentities  beside  him,  and 
with  very  good  reason  ; for  while  the  latter  are  frequently 
but  good  people  of  lowly  origin,  the  head-waiter  is  a man 
of  superior  intelligence,  a great  traveller,  and  a practised 
linguist.  We  have  met  many  thorough-going  head- waiters 
in  our  time  : at  the  big  hotel  at  Gairloch  in  Scotland — he 
may  be  there  now,  for  aught  we  know— a busy  man  managed 
the  whole  huge  hotel  with  half  a dozen  understrappers, 
never  disconcerted  when  the  Skye  boat  brought  two  or 
three  score  more  passengers  than  there  were  beds  for.  It 
was  his  boast,  among  other  things,  that  he  had  crossed  the 
Atlantic  twenty-six  times.  At  the  Landsberg  Hotel,  at 
Frankfort,  there  used  to  be  a head-waiter  who  placed  every 
dish  tor  sixty  or  eighty  persons  upon  the  table  d’hote 
table  himself,  assistant  waiters  handing  them  over  to  him  ; 
while  many  an  Oberkellner  in  the  big  hotels  permit  no  one 
to  dress  a salad  but  themselves  Three  or  four  languages 
are  usually  spoken  by  a good  head-waiter,  not  feebly,  but 
fluently,  and  he  will  put  you  right  with  your  grammar 
without  hesitation. 

“Avey-voos” — we  once  heard  an  Englishman  ask — 
“ Avey-voos  ce  ving  en  bouteilles  ploos  petites  ? ” 

“ Certainly,  sir,”  replied  the  brisk  Oberkellner  ; “ we 
keep  it  in  pints  and  naif-pints.”  He  had  spent  a twelve- 
month  at  the  “ Ship  ” at  Greenwich,  this  head-waiter  told 
us  in  after  conversation. 

“But  why  this  talk  about  tables  d’hote  and  head- 
waiters  ? ” our  readers  may  ask.  We  will  tell  them.  One 
day,  entering  the  Grand  Hotel  Roseg,  at  Fontresina,  in  the 
Engadine,  and  beholding  our  friend  the  head-waiter 
superintending  the  setting  out  of  the  long  tables  for 
dinner,  with  the  snowy  napkins,  glittering  glass,  and 
polished  plate  upon  them,  it  occurred  to  us  that  a photo- 
graph of  the  scene  would  be  exceedingly  interesting,  if 
only  to  show  hereafter — to  those  who  still  hold  to  it— that 
the  Engadine  is  a newly-discovered  land.  Our  friend  gave 
his  consent,  and  our  little  picture  shows  him  standing  half- 
way up  the  room.  The  apartment  was  comparatively  easy 
to  photograph  ; the  table-cloths  and  napkins  gave  plenty 
of  reflection,  and  the  bow- windows  at  the  end  were  not 
only  covered  with  thick  white  curtaius,  but,  better  still, 
they  did  not  look  out  into  direct  daylight ; that  is  to  say, 
to  build  the  room,  it  had  been  necessary  to  cut  a hollow 


August  21,  1883.  ) 


THE  PHOTOGRAPHIC  HEWS. 


533 


out  of  the  mouutain  side,  and  the  windows  looked  upon 
this  half-illuminated  concavity,  most  of  the  light  comiDg  in 
from  above. 

So  crowded  was  the  hotel,  that  sleeping  accommodation 
had  to  be  found  in  the  village.  So  the  next  picture  to 
take  was  our  village  abode.  We  were  not  the  sole  occu- 
pants of  this  building;  two  cows  bad  the  ground  floor,  or 
rather  the  back  part  of  it,  but  we  all  of  us  entered  by  the 
same  portal.  Ours  was  the  first  floor.  As  Pontresina  is 
some  6,000  feet  above  the  sea — half  as  high  again  as  Ben 
Nevis — it  is  naturally  very  cold  in  the  winter  time  ; hence 
walls  are  built  very  thick,  and  the  windows  are  very  small. 
This  latter  circumstance,  however  inconvenient  to  many 
people,  favours  the  photographer  immensely  ; and  how- 
ever much  one  might  grumble  at  the  cell-like  nature  of 
the  apartment,  it  had  one  recommendation  to  the  photo- 
grapher— it  was  a capital  dark-room. 

Pontresina  is  a wonderful  place  for  those  who  desire  to 
win  fame  as  mountaineers  with  the  least  trouble  and  risk. 
As  we  have  said,  it  is  possible  to  drive  all  the  way  to  the 
village,  and  since  it  lies  at  a considerable  elevation,  the 
snow  line  is  easily  reached.  Moreover,  Pontresina  is 
favourably  situated  for  glaciers.  The  Roseg  is  but  two 
hours’  walk,  and  to  the  foot  of  the  Morteratsch  is  but  one. 
There  is  a beautiful  ice  cavern  usually  formed  every  year 
at  the  foot  of  the  Morteratsch,  which  makes  a charming 
photograph,  only,  if  you  include  figures  in  the  picture,  you 
must  not  keep  them  too  long  waiting.  Two  ladies  whom 
we  asked  to  stand  under  the  translucent  roof  of  glittering 
ice,  proclaimed  they  were  half  frozen  by  the  time  we  had 
done  our  focussing  and  given  the  proper  exposure,  which 
must  needs  be  comparatively  long  to  bring  out  the  details. 

A week — or,  indeed,  two  or  three— may  be  very  agreea- 
bly spent  in  the  Engadine  with  a camera.  Strange  to  say, 
the  district  has  not  been  well  photographed,  and  therefore 
there  is  an  additional  reason  why  the  tourist  should  sperd 
a little  time  over  the  work.  The  best  head-quarters  are 
at  Pontresina,  where  half-a-dozen  good  hotels  are  now  to 
be  found,  although  St.  Moritz — about  four  miles  distant — 
has  also  good  accommodation.  For  the  matter  of  that, 
nearly  every  hamlet  in  the  valley — Samaden,  Silvaplana, 
Celerina,  &c. — has  one  or  more  stylish  hostelries  ; but  still 
we  repeat,  for  a stay,  Pontresina  is  the  most  favourably 
situated.  Why,  you  may  take  an  afternoon’s  stroll  by 
the  Bernina  Pass  into  Italy,  or,  in  a moderate  morning's 
climb,  reach  the  top  of  the  Piz  Languard,  more  than  two 
thousand  feet  above  the  snow  line  ; an  hour’s  promenade 
will  take  you  to  the  big  frozen  ice  crystals  of  two  of  the 
finest  glaciers  in  Switzerland  ; while  within  a few  minutes 
of  the  hotel  you  can  wander  through  a whole  valley  full 
of  blooming  red  Alp-roses. 

We  spoke  of  brave  mountaineers  just  now.  A very 
funny  sight  greeted  us  while  we  were  taking  a little  view 
of  the  Morteratsch  glacier.  Accompanied  by  two  lady 
friends — the  same  who  animadverted  on  our  clumsiness  in 
depicting  the  ice  cavern — we  had  made  a descent  upon 
the  glittering  sea  of  ice,  our  equipment  consisting  simply 
of  three  mountain  poles,  the  camera,  and  a lunch  basket, 
for  our  object  was  a picnic  on  the  snow-fields.  Now  there 
are  two  ways  of  getting  on  to  a glacier,  as  most  people  are 
aware— a difficult  method,  and  an  easy  one.  The  difficult 
way  is  to  assault  it  at  its  lowest  point,  where  it  breaks  up 
in  the  valley  into  huge  ice-blocks,  and,  indeed,  it  is  often 
insurmountable  ; while  the  easier  plan  is  to  let  the  glacier 
alone  for  a while,  and  mount  beside  it,  outside  the 
earthy  debris  skirting  it,  or  moraine , and  getting  a little 
above  the  glacier,  to  choose  a favourable  place  for  making 
the  descent.  In  the  present  instance,  the  ladies  found  it 
very  easy  work,  and  with  the  least  trouble  in  the  world 
we  managed  to  gain  a footing  upon  the  frozen  billows. 
Two  suitable  spots  were  selected  and  photographed —how 

difficult  it  is  not  to  get  figures  inky  in  a snow  picture  ! 

and  then,  placing  a few  shawls  on  the  ice,  we  sat  down  and 
began  our  pleasant  meal.  Presently,  looking  down  into 


the  valley  below,  whence  we  had  come,  we  saw  climbing 
up  towards  us  a line  of  four  .or  five  tourists,  led  by  a 
doughty  guide  with  ropes  and  ice-axe,  and  followed  by 
another  professional  similarly  accoutred.  On  they  came 
in  single  file,  with  the  deed  of  daring  they  were  accom- 
plishing writ  down  on  every  man’s  features.  The  party 
were  on  a visit  to  the  Morteratsch  glacier,  and  the  guides, 
by  way  of  earning  their  money,  had  chosen  the  difficult 
route.  They  at  once  approached  our  little  party,  and  the 
guide  sternly  put  questions  as  to  our  knowledge  of  ice- 
climbing and  its  dangers,  to  which  we  replied  to  the  best 
of  our  ability.  Had  we  possessed  but  another  spare  plate, 
we  should  have  solicited  the  honour  of  photographing  the 
party  as  they  appeared  on  the  field  of  danger  ; but,  un- 
fortunately, all  the  films  were  exposed  before  we  sat  down 
to  lunch.  (7 o be  continued ) 


THE  BRITISH  ASSOCIATION. 

The  53rd  annual  meeting  of  the  British  Association  will  be  held 
at  Southport,  the  popular  seaside  resort  of  Lancashire,  from  the 
19th  to  the  27th  of  September.  The  president  for  the  year  is 
Dr.  Cayley,  Sadlerian  Professor  of  Mathematics  in  the  University 
of  Cambridge.  The  presidents  of  sections  are  as  follows 
Mathematics,  Professor  Henrici ; Chemical  Science,  Dr.  J.  II. 
Gladstone;  Geology,  Professor  W.  C.  Williamson;  Biology, 
Professor  E.  Ray  Lankester  ; department  of  Anthropology,  Mr. 
W.  Pengelly ; Geography,  Lieutenant-Colonel  H.  H.  Godwin- 
Austen  ; Economic  Science,  Mr.  R.  H.  Inglis  l’algrave ; and 
Mechanical  Science,  Mr.  James  Brunlees.  On  the  Thursday 
evening  there  will  be  a soiree  in  the  Winter  Gardens ; on  Friday 
evening  an  illustrated  lecture  will  be  delivered  by  Professor  Ball, 
Astronomer-Royal  for  Ireland,  on  recent  researches  on  the 
distance  of  the  sun ; on  Saturday  evening  Sir  F.  J.  Bramwell 
will  give  the  popular  lecture  to  working  people,  the  subject  of 
which  will  be  “ Talking  by  Electricity  through  Telephones  ; ” 
on  Monday  evening  there  will  be  a lecture  by  Professor 
M’Kendrick,  of  the  Glasgow  University,  on  Galvani  and  Animal 
Electricity,  illustrated  by  experiments ; on  Tuesday  evening 
there  will  be  another  soiree  in  the  Winter  Gardens ; and 
excursions  are  arranged  for  Saturday  the  22nd,  and  Thursday 
the  27th. 

The  Winter  Gardens  have  been  engaged  for  the  exclusive  use 
of  the  Association,  and  in  them  will  be  given  the  Presidential 
Address  and  evening  lectures,  and  in  them  will  also  be  held  the 
conversazioni.  The  spacious  assembly  room  in  the  Cambridge- 
hall  will  be  devoted  to  the  purposes  of  a reception  room,  and 
suitable  halls  have  been  acquired  for  the  use  of  the  various 
sections.  Numerous  excursions  are  in  process  of  arrangement. 
A geological  excursion  will  be  made  to  the  neighbourhood  of 
Clitheroe  and  the  Victoria  caves,  which  it  is  hoped  will  be 
personally  conducted  by  Mr.  R.  H.  Tiddeman,  M.A.,  F.G.S., 
who  made  the  geological  survey  of  the  district.  Another  party 
will  visit  Furness  Abbey  and  the  Lake  District.  The  Earls  of 
Derby,  Crawford  and  Balcarres,  and  Lathom,  and  Mr.  Weld- 
Blundell,  of  Ince  Blundell,  will  throw  open  their  grounds  to 
members  of  the  Association,  and  at  some  of  these  places  garden 
parties  will  be  given. 

o 

THE  CAMERA  IN  SOUTH  AFRICA. 

Graaff  Reinet , S.  A frica. 

The  following  extracts  from  a letter  received  by  one  of 
our  contributors  possess  some  interest : — 

“In  accordance  with  the  promise  made  in  my  last  epistle, 
to  let  you  know  something  of  how  we  manage  photo- 
graphy in  this  country,  1 take  an  early  opportunity  of 
sending  an  account  of  an  out-door  trip,  and  will  not  waste 
time  with  a lot  of  unnecessary  preliminaries,  but  burst 
forth  like  a thunderstorm  with  my  story. 

“ The  sun  was  beginning  to  let  us  know  he  intended  to 
make  it  warm  for  us  when  we  started  to  take  a few  nega- 
tives at  a farm  some  sixty  miles  by  rail,  the  journey  being 
supplemented  by  a ride  of  six  hours  by  cart,  the  driver 
possessing  a name  having  as  many  letters  as  there  are  in 
the  alphabet,  and  quite  unpronounceable  by  an  unsophisti- 
cated artist  like  myself.  We  were  informed,  in  our 


534 


THE  PHOTOGRAPHIC  NEWS. 


[August  24,  1883. 


summons  to  attend  the  afore-mentioned  farm,  that  it  was 
‘ a short  distance  only  ’ from  the  station ; so  you  can 
imagine  our  surprise  at  having  to  travel  for  six  hours  over 
about  the  worst  road  I have  ever  travelled — and  I have 
covered  a few  in  this  tropical  clime. 

“When  we  arrived  at  our  destination,  we  opened  our 
traps,  the  appearance  of  which  suggested  to  the  company 
we  were  pedlars  with  watches  and  jewellery  to  dispose  of ; 
but  if  they  conceived  such  an  idea,  they  were  greatly  mis- 
taken, as  our  package  consisted  only  of  a Colonial  home- 
made camera  and  changing-box  combined,  covered  up 
with  coffin  cloth  to  prevent  the  light  getting  in  the  small 
holes  ; over  the  larger  ones  we  had  pasted  brown  paper. 
1 have  been  told  in  confidence  that  cameras  of  English 
manufacture  always  go  to  pieces  in  this  climate,  and  yet  I 
see  by  the  advertisements  they  continue  to  import  such 
articles  from  ‘our  native  land.’  After  some  time  we 
managed  to  get  all  the  strings  loose,  and,  with  the  aid  of  a 
few  tin-tacks,  we  were  ready  for  work.  It  was  some 
time  before  we  could  get  any  of  the  company  together,  but 
we  were  anxious  to  know  how  things  were  working,  so  I 
got  a group  of  about  thirty  persons  together,  while  the 
camera-maker  prepared  to  make  an  exposure.  Well,  we 
thought  it  best  to  develop  before  going  ahead,  so  I skir- 
mished round  to  find  some  place  where  I could  develop 
the  plate,  and  fixed  upon  a loft  fairly  light-tight,  and,  on 
developing,  I found  half  the  plate  had  been  covered  during 
exposure  by  something— I presume  it  must  have  been 
packing  paper.  It  was  too  late  for  anything  more  that 
day. 

“ Next  day  we  got  to  work,  took  a number  of  negatives, 
groups,  views,  &c.,  and  in  the  evening  started  for  my  loft, 
and  commenced  to  develop.  I finished  about  a dozen,  and 
left  them  to  soak  out  in  the  open,  a plan  that  is  quite  safe 
here  during  the  night  in  summer.  Although  you  are 
standing  at  116°  F.  in  the  shade  during  the  day,  the  nights 
are  sometimes  quite  cold.  Well,  in  the  morning,  I was 
rather  disgusted  to  find  about  two-thirds  of  what  I had 
developed  were  hopelessly  bad  ; some  fogged,  but  most 
of  them  out  of  focus,  and  I am  sure  one  need  not  be 
surprised  if  they  saw  the  focussing  arrangements.  This 
concern  I have  called  a camera  all  through  consisted  of  the 
following.  A long  box,  very  badly  put  together,  with  a 
frame  to  hold  plate  and  focussing  glass  working  inside. 
I can’t  say  how  the  rack  was  put  in  which  worked  this 
frame,  but  it  was  an  awful  struggle  to  move  it  anyway,  and 
when  you  had  focussed,  and  wished  to  remove  the  glass 
for  the  dark  slide,  it  was  all  about  as  firm  as  a match  box. 

I tried  one  or  two  plates  in  that  camera  the  second  day, 
but  after  I saw  the  result  I declined  to  have  any  more  to 
do  with  it,  and  left  all  the  camera  arrangements  to  the 
builder  (who  never  knew  it  to  fail  before).  As  the  time  of 
our  stay  was  not  limited,  I was  quite  at  ease  to  do  a little 
shooting  during  the  morning,  while  the  instrument  was 
under  repairs.  What  between  the  inconveniences  of  the 
aforementioned  apparatus,  and  the  exuberance  displayed 
by  our  sitters,  you  can  guess  we  were  under  no  few 
difficulties.  We  could  not  find  a suitable  light  in  any  part 
of  the  house  to  operate,  so  were  obliged  to  take  possession 
of  the  carpenter’s  shop,  and  it  was  situated  next  a sheep 
kraal,  the  offensive  odour  of  which  was  not  exhilarating. 
However,  with  the  aid  of  a disinfectant,  and  a couple  of 
blankets  for  a background,  we  managed  to  make  a few 
more  failures.  Our  stock  of  optical  instruments  consisted 
of  one  lens,  and  we  tried  that  all  round — first  the  back 
lens,  then  the  front,  then  both  together.  I regret  I can- 
not explain  to  you  the  peculiar  properties  of  that  lens  ; 
but  I verily  believe  it  was  one  of  the  first  of  its  kind.  I 
hope  the  manufacturer  never  made  another.  He  evidently 
did  not  think  it  worth  his  while  to  append  his  name. 
Well,  you  may  reckon,  going  on  in  this  way,  we  soon 
reduced  our  stock  of  plates,  without  the  corresponding 
increase  of  good  negatives. 

“ After  ten  days  of  bungling,  we  were  obliged  to  send 


back  for  more  plates,  which  delayed  us  four  days,  and 
when  they  arrived,  we  had  put  the  camera  in  order,  and  wo 
made  a great  improvement  on  our  previous  endeavours, 
besides  which  we  managed  to  redeem  our  falling  reputation. 
After  a few  more  days’  sojourn,  we  took  our  departure  for 
home.  About  half-way  between  our  last  scene  of  action 
and  the  railway  station,  we  were  invited  to  take  some  more 
negatives  ; but  that  camera  must  have  got  back  to  its  old 
ways  again,  from  the  shaking  up  it  received  on  the  return 
journey  ; and  to  mend  matters,  the  maker,  who,  in  his  lei- 
sure, devotes  a little  of  his  time  to  the  study  of  botany, 
would  insist  on  photographing  many  of  the  trees  he  saw  on 
the  road,  and  somehow  the  boxes  got  a trifle  mixed,  and  on 
arriving  home,  we  found  sitters  and  trees  hopelessly  com- 
plicated on  the  same  plates.  The  execution  was  good,  but 
the  composition  was  a failure.  Since  this  expedition  he 
has  decided  to  try  another  make  in  cameras,  and  I hope 
our  next  trip  will  be  a decided  improvement  on  our  last,  the 
result  of  which  I shall  send  you.’’ 


COMPARATIVE  EMULSION  EXPERIMENTS. 

BY  J.  VINCENT  ELSDEN,  B.SC.  (tOND.),  F.O.S. 

One  of  the  greatest  difficulties  to  be  encountered  in  con- 
ducting photographic  experiments  is  the  impossibility  of 
insuring  exact  similarity  of  conditions  in  all  the  case*  under 
consideration.  So  many  minute  details  have  to  be  attended 
to,  and  so  small  a variation  will  produce  an  appreciable 
difference  in  the  result,  that  it  is  often  impossible  to  say 
with  certainty  to  what  conclusion  the  experiment  points. 
This  is  especially  the  case  in  emulsion  experiments.  The 
many  different  opinions  as  to  the  advantages  or  disad- 
vantages of  certain  formulas,  or  of  different  methods  of 
development,  have  arisen,  not,  as  some  suppose,  from  capa- 
ciousness of  physical  or  chemical  laws,  but  from  some  un- 
thought-of  or  unavoidable  difference  in  treatment,  which, 
small  though  it  may  be,  is  yet  sufficient  to  exert  considerable 
influence  upon  the  delicate  operations  of  photographic 
manipulation. 

I have  endeavoured  in  the  following  investigations  to 
avoid  these  sources  of  error,  as  far  as  possible,  by  making 
the  experiments  strictly  comparative,  that  is  to  say,  by 
always  having  a fixed  standard  of  comparison,  which  is 
subjected  to  precisely  the  same  conditions  as  the  experi- 
mental plate. 

This  I tried  to  do  by  coating  each  plate  in  three  divisions, 
with  different  kinds  of  emulsions  ; the  first  division  always 
being  covered  with  the  pure  bromide,  free  from  any  ad- 
mixture of  iodide  or  chlcride. 

I first  made  three  separate  batches  of  emulsion.  The  first, 
consisting  of  bromide  only,  was  prepared  as  follows  : — 

Silver  nitrate  200  grains 

Potassium  bromide  150  ,, 

Opaque  gelatine  30  „ 

Hydrochloric  acid  1 minim 

Water  5 ounces 


Added  after  emulsification — 


Opaque  gelatine 
Nelson’s  No.  1. 
Water 


100  grains 


140 

5 


>> 

ounces 


Tho  second,  consisting  of  iodide  only,  I prepared  by  the 
formula — 


Silver  nitrate 

100 

grains 

Potassium  iodide 

100 

99 

Opaque  gelatine  ... 

15 

Hydrochloric  acid 
Water  ...  ... 

1 

minim 

3 

ounces 

Added  after  emulsification — 

Opaque  gelatine 
Nelson’s  No.  1. 

50 

grains 

70 

ti 

Water  

2 

ounces 

August  24,  1883.] 


THE  THOTOGHATHIC  NEWS 


535 


The  third,  consisting  of  chloride  only,  was  prepared  in  the 
following  proportions  : — 


Silver  nitrate 
Sodium  chloride 
Opaque  gelatine 
Hydrochloric  acid 
Water 


200  grains 
160  „ 

30  „ 

1 minim 
5 ounces 


Adding  after  emulsification — 

Opaque  gelatine  100  grains 

Nelson’s  No.  1.  ...  ...  ...  140  ,, 

Water  5 ounces 

These  three  emulsions  were  put  into  separate  flasks  of  the 
same  shape  and  size  ; they  were  simultaneously  immersed  in 
the  same  cooking  vessel,  and  boiled  for  exactly  the  same 


Comparative  View  of  the  Effect  of  Variation  in  the  Proportion  of  Iodide  in  Emulsions. 


Number  of  Plate  and  nature  of 
Emulsion. 

Ordinary  Pyro  Developer. 

Sulphite  Developer. 

Oxalate  Developer. 

Plate  1 — 

Portion  coated  with  AgBr  . . . .Slightly  denser  than  rest  of  plate. 
Ditto,  ditto,  AgBr +2-50/0AgI  Greater  contrast. 

Ditto,  ditto,  AgBr+5°/0AgI  . Greater  contrast;  shadows  clearer 

NB.  All  three  parts  of  the  image 
flashed  out  simultaneously. 

Traces  of  green  fog. 

No  green  fog ; shadows  clearer 
than  above. 

No  green  fog;  shadows  still 
clearer. 

All  three  parts  developed  simul- 
taneously. 

Denser  than  rest  of  plate. 

\ Apparently  under -developed  ; 
' shadows  clearer  than  above  ; 
f image  browner  by  reflected 
) light. 

The  pure  bromide  was  the  first 
to  develop. 

Plate  2 — 

Portion  coated  with  AgBr  ... 

Ditto,  ditto, AgBr-f-8%AgI  ... 
Ditto,  ditto,  AgBr-j-10%AgI 

Band  of  green  fog  visible  by  re- 
flected light  denser  than  rest 
of  plate,  and  better  exposed. 

1 No  green  fog;  distance  and 
> shadows  clear,  bnt  slightly 
j under-exposed. 

Parts  with  iodide  troublesome  to 
fix. 

Green  fog  over  whole  plato,  but 
more  pronounced  in  this  por- 
tion. 

■J  Rather  slower  in  development ; 
>•  green  fog  decreases  as  iodide 
J increases. 

Each  division  of  the  plate  clearly 
marked  by  bands  of  green  fog. 

Denser  ihan  rest  of  plate. 

! Shadows  clearer,  but  colour  of 
r film  by  reflected  light 
J slightly  greener. 

Each  division  clearly  marked  by 
reflected  light. 

Plate  3 — 

Portion  coated  with  AgBr  ... 
Ditto,  ditto,  AgBr-}-l4%AgI 
Ditto,  ditto,  AgBr+18°/0AgI 

Denser  than  rest  of  plate  ; no  fog 
of  any  kind. 

Best  portion  of  plate,  distance 
very  clear. 

Rather  under-exposed. 

Each  division  of  plate  plainly 
marked  by  quality  of  negative. 

Denser  than  rest ; slightly  better 
detail ; slight  green  fog. 

Slower  in  development ; no  green 
fog. 

Slightly  less  density. 

Not  so  much  difference  in  quality 
of  each  division. 

Quicker  in  development,  and 
denser  than  rest  of  plate. 

> Shadows  clearer ; colour  of 
J-  image  browner  by  reflected 
1 light. 

Better  result  than  with  the  other 
developers. 

Plate  4 — 

Portion  coated  with  AgBr  ... 
Ditto,  ditto,  AgBr-f21°/0AgI 
Ditto,  ditto,  AgBr-f 25%AgI 

Too  dense;  slight  green  fog; 
over-developed. 

} Shadows  and  distance  much 
> clearer ; no  fog ; not  so  dense 
) as  above. 

As  iodide  increases,  difficulty  ol 
fixing  becomes  troublesome. 

Too  dense;  much  green  fog;  deve- 
lops quicker  than  rest  of  plate. 
I Not  so  much  density,  less  green 
>•  fog,  and  far  clearer  shadows 
J and  distance  than  above. 

Iodide  parts  take  5 or  6 times  as 
long  to  fix  as  the  pure  bromide. 

Very  dense ; develops  quicker 
than  rest  of  plate, 
t Very  marked  difference  ; shad- 
[_  ows  much  clearer  ; colour  of 
( image  browner  by  reflected 
) light. 

Far  superior  negative  to  those 
developed  by  pyro. 

Plate  5 — 

Portion  coated  with  AgBr 
Ditto,  ditto,  AgBr-f29°/0AgI 
Ditto,  ditto,  AgBr-j-33n/0AgI 

Dense,  good  detail ; perfect 
negative. 

I Thin,  no  detail,  but  no  fog 
J-  anywhere  ; apparently  much 
j under-developed. 

Green  fog,  but  good  density ; 

slightly  quicker  in  development 
j No  green  fog ; clear  shadows ; 
f plenty  of  detail,  and  far 
f better  negative  on  the  whole 
) than  above  portion. 

Much  quicker  in  development ; 

twice  as  dense  as  iodide  parts, 
i Clear  shadows  and  very  great 
[ contrast,  but  defieient  in 
r density ; colour  of  image 
) browner  by  reflected  light. 
All  parts  seemed  equally  deve- 
loped on  looking  at  the  back 
before  fixing. 

Plate  C — 

Portion  coated  with  AgBr  ... 
Ditto,  ditto,  AgBr-j-G6n/0AgI 
Ditto,  ditto,  AgBr+100°/0AgI 

No  green  fog ; good  detail ; per- 
fect negative. 

) Clearer  shadows  and  distance, 
J-  but  not  so  much  detail,  and 
J image  too  thin. 

2nd  and  3rd  portions  indistin- 
guishable from  one  another. 

Slight  green  fog  ; good  density. 

i Clearer  shadows,  and  not  quite 
f such  density  as  above,  but  fai 

t less  difference  than  might  bt 
) expected.  No  green  fog. 
Each  division  clearly  marked  by 
decrease  in  density. 

Much  quicker  in  development ; 
Very  dense. 

) Much  clearer  shadows,  but 
> rather  thin ; image  much 
) browner  by  reflected  light. 

Each  division  clearly  marked  by 
decrease  in  density. 

length  of  time.  All  the  other  operations  were  conducted 
in  a manner  precisely  the  same  for  each  bath,  so  that  the 
emulsions,  although  prepared  separately,  should  have  the 
same  properties  as  when  made  together  in  one  and  the  same 
flask.  Of  course  there  is  one  possible  source  of  error  in  this 
method,  inasmuch  as  there  may  be  some  mutual  reaction  o( 
the  mixed  haloids  upon  one  another  during  emulsification, 


which  could  not  possibly  be  the  case  when  boiled  in  sepa- 
rate flasks. 

Having  then  prepared  the  emulsions,  plates  were  coated 
in  the  manner  previously  described.  One-third  of  each 
plate  was  always  coated  with  pure  bromide ; the  next  divi- 
sions were  covered  with  gradually  increasing  proportions  of 
chloride  or  iodide.  The  proportions  were  calculated  by 


536 


THE  PHOTOGRAPHIC  NEWS. 


[_ August  24,  1883. 


dropping  tubes  ns  carefully  as  possible,  and  each  plate  was 
labelled  with  the  exact  description  of  the  nature  of  the 
emulsion. 

In  this  way  I was  enabled  to  compare  the  pure  bromide 
with  successively  varying  proportions  of  the  other  haloid  j, 
upon  the  same  plate,  and,  therefore,  as  nearly  as  possible, 
under  the  same  conditions.  When  exposed,  the  plates  were 
cut  into  pieces  transversely,  developed  by  various  methods, 
and  the  results  compared.  When  the  different  kinds  of 
emulsion  gave,  under  these  circumstances,  different  quali- 
ties of  negative  upon  one  and  the  same  plate,  it  was  assumed 
that  the  difference  was  due  to  the  nature  of  the  emulsion 
alone. 

The  chief  results  obtained,  arranged  for  convenience  in  a 
tabular  form,  are  given  on  the  preceding  page. 

(To  be  continued.) 


Hate*. 

Dublin  is  to  have  a Photographic  Exhibition  in  February 
next,  to  be  held  under  the  auspices  of  the  Photographic 
Society  of  Ireland. 

Next  Sunday,  the  26th,  is  now  fixed  for  the  unveiling  of 
the  Daguerre  memorial  at  Cormeilles,  near  Paris.  The 
statue  has  been  on  view  at  the  Salon  during  the  summer, 
and  seems  to  have  met  with  general  approval. 

In  another  column,  Mr.  William  Brooks  reminds  our 
readers  that  the  date  of  the  annual  Exhibition  of  the  Corn- 
wall Polytechnic  Society  is  drawing  nigh. 


The  King  of  the  Belgians  has  taken  considerable  interest 
in  the  International  Exhibition  at  Brussels.  On  Friday 
last  be  spent  upwards  of  two  hours  in  carefully  examining 
the  exhibits,  passing  round  the  Gallery  accompanied  by 
the  officers  of  the  Brussels  Society,  and  informing  himself 
closely  upon  new  processes  and  old  processes  alike.  His 
Majesty  proved  himself  a keen  critic,  and  spoke  particularly 
highly  of  the  British  seotion. 


“1  must  request  you  to  convey  to  Mr.  Robinson,  my  high 
appreciation  of  his  work,”  was  His  Majesty’s  remark  to 
Captain  Abney,  who,  as  one  of  the  jurors,  was  in  attendance 
on  the  king.  The  august  visitor  spent  some  time  in  study- 
ing the  magnificent  series  of  pictures  by  which  the  Tun- 
bridge Wells  artist  is  represented  at  Brussels,  and  has  since, 
we  believe,  expressed  a desire  to  be  furnished  with  several 
of  Mr.  Robinson’s  well-known  studies.  Mr.  Robinson,  we 
are  glad  to  hear,  takes  the  principal  medal. 

Says  VEtoile  Beige,  the  principal  Brussels  journal,  re- 
viewingthe  International  Exhibition : — “ C’est  l’Angleterre 
qui  fournit  les  plus  belles  productions  photographiques  et 
pourtant  ce  pays  se  trouve,  en  apparence,  dans  les  plus 
mauvaises  conditions  de  production,  a cause  de  la  deplor- 
able lumiere  de  son  climat  brumeux.”  Praise  from  Sir 
Hubert  is  praise  indeed. 


The  fine  art  aspect  of  photography  is  now  thoroughly 
recognized  in  Belgium,  and  it  must  be  remembered  that 


the  exhibition  is  held  in  a building  especially  constructed 
for  national  fine  art  displays.  When  shall  we  see  a photo- 
graphic exhibition  in  the  rooms  occupied  by  the  Royal 
Academy  ? 

The  free  course  of  lectures  delivered  annually  at  Brussels 
by  M.  Rommelaere  is  attended  by  about  one  hundred  and 
fifty  students,  and  includes  heliochromie,  photo-engraving, 
photo-micrography,  and  carbon  printing. 


M.  Fournier  thus  describes  an  ingenious  method  of  print- 
ing designs  or  tracings.  Albumenized  paper  is  floated  from 
the  back  on  a solution  of  bichromate  of  potash,  and,  when 
dry,  exposed  under  a negative.  Washing  in  cold  water  suc- 
ceeds, whereby  the  non-solarised  albumen  is  of  course 
removed  ; the  faint  impression  is  now  put  into  a water  bath 
containing  three  per  cent,  of  sulphuric  acid  ; and  further, 
into  a ten  per  cent,  aqueous  solution  of  sulphate  of  iron. 
After  a rinsing  in  water,  the  impression  is  finally  placed  in 
a solution  of  gallic  acid,  which  turns  the  image  a deep  black. 


The  bichromated  albumen,  of  which  the  image  consists, 
by  first  absorbing  the  iron  salt,  and  next  the  gallic  acid, 
assumes  a very  black  tint,  especially  if  the  iron  solution  has 
been  permitted  to  act  for  some  time.  By  washing  the 
prints  in  water  containing  a little  chloride  of  lime,  the 
whites  are  speedily  cleared,  and  the  pictures  becomes  very 
presentable.  M.  Fournier  employs  this  method  of  printing 
in  the  Government  Engineering  Office  at  Dijon,  and  speaks 
very  highly  of  its  results.  Albeit  seemingly  complicated, 
it  is  a most  simple  and  straightforward  method,  but  only 
suitable  for  black  and  white. 


Human  nature,  as  time  goes  on,  does  not  change  much. 
The  popularity  of  individuals  as  determined  by  their  photo- 
graphs sold,  appears  to  range  from  royalty  to  philosophers, 
the  first  being  the  highest  in  the  scale,  the  second  the  low- 
est, actors  and  actresses  coming  very  near,  in  popular  esti- 
mation, to  princes  and  princesses.  A table  which  has  just 
been  compiled  by  Mr.  Algernon  Graves,  of  the  eminent 
personages  who  have  been  on  view  at  the  chief  exhibitions 
more  than  six  times  between  the  years  1760  to  1880,  some- 
what corroborates  the  experience  of  photographers.  The 
Duke  of  Wellington  is  the  highest  in  the  list  with  138 
portraits;  Queen  Victoria  is  credited  with  117,  while  the 
first  gentleman  in  Europe  is  only  two  less.  Lord  Nelson 
appeared  45  times,  and  Mrs.  Siddons  was  within  two  of  this 
number.  Scientific  men  like  Sir  Humphrey  Davy,  and 
poets,  like  TennysoD,  are  nowhere. 


The  Times  leader  on  Daguerre,  which  we  reprint  in 
another  column,  is  a strange  mixture  of  nonsense  and  the 
reverse.  Speaking  of  modern  photography,  we  are  told 
“nitrate  of  silver  has  been  discarded  as  the  medium  in  favour 
of  gun-cotton  and  ether  and  uranium.”  In  none  of  the  dis- 
jointed sentences  of  which  the  article  consists,  is  a word  said 
about  Daguerre’s  partner,  Nicephore  Niepce,  who  un- 
doubtedly was  the  discoverer  of  camera  photography,  while 
an  equally  serious  omission  is  that  of  “ the  new  era,”  the 


August  24,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


537 


gelatine  process  not  being  once  alluded  to.  The  end  of  the 
article  is,  however,  much  more  satisfactory  : that  photo- 
graphy “ will  not  suffer  daubs  and  scarecrows  to  placard 
themselves  as  creations  of  art  with  impunity  ” is  certainly 
true,  no  less  than  that  our  art  has  relieved  the  world  “ from 
dependence,  for  its  artistic  adornment,  on  engravings  with- 
out taste  and  paintings  out  of  drawing.” 


“1  know  the  prints  arc  permanent,  but  it  is  such  a 
bother,”  was  the  opinion  of  a photographer  the  other  day, 
to  whom  we  were  speaking  on  the  subject  of  the  collodio- 
chloride  process.  He  was  quite  right ; he  summed  up  the 
whole  matter  in  the  word  “bother.”  The  only  question 
is,  whether  to  obtain  permanent  silver  prints,  is  not  worth 
some  “bother”;  most  people  evidently  think  not,  and 
rub  along  with  albumenized  paper  and  its  consequences. 


Last  summer,  it  may  be  remembered,  a chain  of  obser- 
vatories was  established  around  the  North  Pole.  Nearly 
every  European  nation  sent  out  observers  and  founded  a 
station  where  meteorological  and  other  records  were  to  be 
secured  throughout  the  whole  year.  One  by  one  these 
observing  parties  are  sending  in  news  of  their  work  during 
the  hard  and  bitter  winter  through  which  they  have  passed 
in  Spitzbergen,  Novaya  Zemlia,  &c. ; the  Russian  obser- 
vers, who  have  inhabited  Jan  Mayen,  reporting  “perfect 
observations,  rich  collections,  aud  taken  geodetic  and 
photographic  views  of  the  island.” 


Mr.  M’Laren’a  Gill  for  amending  the  law  of  copyright  so 
far  as  photographs  are  concerned,  is  one  of  the  shortest 
brought  into  Parliament  during  the  present  session.  Here 
it  is  in  its  entirety  : “ The  author  of  a photograph  within 
the  intention  of  the  said  Act  (that  is  the  existing  Copyright 
Act)  shall  mean  the  person  at  whose  house  or  studio,  being 
a house  or  studio  used  for  the  purpose  of  taking  or  selling 
photographs,  or  by  means  of  whose  instruments  and 
materials  the  negative  thereof  shall  have  been  made,  and 
who  shall  have  been  permitted  or  employed  to  make  such 
negative  by  the  person  on  whose  behalf  such  photograph 
shall  have  been  taken.”  Notning  could  be  simpler  than 
this,  and  the  only  question  is  whether  in  its  simplicity  it 
will  cover  all  the  complications  which  may  arise  out  of 
different  sets  of  circumstances.  Who,  for  instance,  will  be 
the  owner  of  a photographic  copyright  where  a man  makes  a 
negative  at  a private  house  not  “ used  for  the  purpose  of 
taking,  selling,  or  taking  photographs?”  Suppose  he  uses 
somebody  else’s  apparatus  and  materials ; or,  to  make  the 
matter  more  confusing,  imagine  him  borrowing  a friend’s 
camera,  and  using  his  own  materials,  or  rice  versa  : who  then 
holds  the  copyright  ? Or,  put  the  case  of  a painter  employ- 
ing a photographer  to  copy  a picture,  the  photographs  of 
which  are  to  be  sold,  the  artist  simply  paying  the  photo- 
grapher for  his  camera  and  materials.  One  of  those  photo- 
graphs is  copied  ; who  in  such  a case  would  have  to 
prosecute — the  painter  or  the  photographer  ? 

In  regard  to  sitters  there  is  also  a difficulty.  The  Copy- 
right Amendment  Bill  of  1879,  which  never  had  the  fortune 


of  becoming  law,  had  a clause  prohibiting  a photographer 
from  exposing  for  6ale  or  exhibiting  in  any  way  a photo- 
graph made  “ on  the  order  of  any  person  for  a valuable  con- 
sideration ; ” and  if  the  copyright  was  infringed,  this  person 
had  equal  rights  with  the  proprietor  of  the  copyright  (in 
this  case  also  the  photographer)  of  taking  proceedings  in 
respect  of  the  infringement.  In  the  present  Bill  no  such 
power  is  given,  and  apparently  there  is  nothing  to  prevent  a 
photographer  from  selling  photographs  of  any  noted  person 
who  may  happen  to  sit  to  him. 

But,  after  all,  it  may  be  that  in  the  very  simplicity  of  the 
Bill  may  lie  its  value.  It  is  quite  impossible  to  legislate  for 
every  position  which  photographic  copyright  may  assume, 
and  any  attempt  so  to  do  would  land  the  question  into  a 
state  of  hopeless  confusion.  Making  the  proprietor  of  the 
apparatus  by  which  the  photograph  is  taken,  or  at  whoso 
house  the  operation  is  performed,  the  proprietor  of  the  copy- 
right, may  not  be  the  best  solution  of  the  difficulty  ; but  it 
is  at  any  rate  a tangible  basis  to  work  upon,  and  with  this  in 
view,  arrangements  could  be  easily  come  to  by  which  the 
parties  concerned  would  be  protected. 


Bromine,  or  rather  salts  of  bromine,  have  lang  been  used 
in  medicine  ; now,  its  employment  is  proposed  as  a simple 
and  effective  disinfectant.  A German  chemist,  Dr.  Adolph 
Frank,  of  Charlottenburg,  has  busied  himself  in  the  prepara- 
tion of  what  he  calls  solid  bromine,  which  is  simply  clay  or 
kieselguhr  impregnated  with  bromine  vapour.  Kieselguhr, 
our  readers  may  remember,  is  the  infusorial  earth  employed 
in  the  preparation  of  dynamite,  which  explosive  is,  in  fact, 
nothing  more  than  seventy-five  parts  of  nitroglycerine 
absorbed  by  twenty-five  parts  of  this  spongy  clay. 


The  “ Brom-Kieselguhr  ” contains  also  twenty-five  per 
cent,  of  earth  and  seventy-five  per  cent,  of  bromine.  It  is 
suggested  to  employ  this  solid  material  in  sick  rooms,  or 
where  bad  and  dangerous  odours  prevail,  to  disinfect  the 
air,  the  bromine  vapour  coming  off  freely  from  the  clay. 
Unfortunately,  the  Daguerreotype  process  is  in  little  favour 
just  now,  or  the  “Brom-Kieselguhr”  would  be  a cheap 
and  ready  means  of  securing  bromine  vapour.  Still,  as 
photographers  are  now  more  than  ever  interested  in  bromide 
compounds,  we  do  not  hesitate  to  bring  this  new  bromine 
generator  to  their  notice. 

The  Australian  Sketclier,  in  an  amusing  woodcut,  sets 
forth  a ludicrous  difficulty  that  presents  itself  but  too  often 
to  the  portrait  photographer,  l’apa,  mama,  and  baby,  are 
being  photographed  in  a group  ; tho  photographer  stands 
ready  to  expose,  and  with  the  view  of  inducing  a happy 
expression  on  the  little  one’s  face,  he  has  assumed  a cap  and 
bells,  is  blowing  a penny  trumpet,  and  otherwise  making  a 
fool  of  bimelf  for  the  benefit  of  his  sitter.  But  the  result  is 
anything  but  cheering  ; the  babe’s  stolid  face  only  grows 
more  stolid  and  frightened  as  the  antics  of  the  photographer 
increase,  while  papa’s  usual  smirk  subsides  into  an  idiotic 
grin  that  reminds  one  more  of  a laughing  baboon  than  the 
face  of  a reasonable  mortal. 


538 


THE  PHOTOGRAPHIC  NEWS. 


[Augtj9t  24,  1883i 


§attut  Jntclligm*. 

Application  for  Letters  Patent. 

3948.  Joseph  Julius  Sachs,  of  8,  Union  Court,  Old  Broad 
Street,  in  the  city  of  London,  for  an  invention  of  “ Improve- 
ments in  the  manufacture  of  pliable  plates  and  surfaces  as 
a substitute  for  glass  for  photographic  and  other  purposes.” — 

A communication  to  him  from  Messieurs  Fickeissen  and 
Becker,  resident  at  Villengen,  Baden,  Germany. — Dated  14th 
August,  1883. 

Notices  to  Proceed. 

1870.  William  Llotd  Wise,  of  46,  Lincoln’s  Inn  Fields,  in  the 
county  of  Middlesex,  for  an  invention  of  •*  Improvements  in 
aud  pertaining  to  apparatus  for  utilising  solar  heat.” — A com- 
munication from  La  Societe  Centrale  pour  l’Utilisation  de  la 
Chaleur  Solaire  (Brevets  Mouchot  et  Abel  Pifre),  of  Paris, 
France. — Dated  12th  April,  1883. 

1971.  William  Cooke,  of  43,  Southampton  Buildings,  Holbom, 
in  the  county  of  Middlesex,  Civil  Engineei  and  Patent  Agent, 
for  an  invention  of  “ An  apparatus  for  automatically  exposing 
bodies  ox  articles  to  the  action  of  the  sun’s  rays  or  to  light 
otherwise  produced.” — A communication  to  him  from  abroad 
by  Richard  Sclilotterhoss,  of  Vienna,  in  the  empire  of  Austria, 
Engineer. — Dated  18th  April,  1883. 

3837.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patent  Agents,  Southampton  Buildings,  London,  for 
an  invention  of  ‘‘  Improvements  in  adjustable  chairs,  chiefly 
designed  for  photographic  purposes.” — A communication  to 
him  from  abroad  by  William  Shields  Liscomb,  of  Providence, 
Rhode  Island,  United  States  of  America,  Gentleman. — Dated 
7th  August,  1883. 

Patents  Sealed. 

1061.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patent  Agents,  Southampton  Buildings,  London,  for 
an  invention  of  “ An  improved  process  for  sensitizing  photo- 
graphic paper,  and  developing  pictures  thereon.” — A commu- 
nication to  him  from  abroad  by  Redfield  Benjamin  West  and 
Benjamin  Corey  West,  both  of  Guilford,  Connecticut,  United 
States  of  America. — Dated  27th  February,  1883. 

1007.  James  Henry  Hare  and  Henry  James  Dale,'  both  of 
Little  Britain,  in  the  city  of  London,  for  an  invention  of 
“ Improved  apparatus  for  supplying  sensitive  plates  in  photo- 
graphic cameras.” — Dated  24th  February,  1883. 

Patent  Filed. 

J ulius  Allgeyer  and  Carl  Bolhoeven.  No.  896. — Dated  19th 
February,  1883. 

This  invention  has  for  its  object  to  obtain  from  drawings, 
wood-cuts,  photographs,  and  other  pictures,  relief  plates,  which 
may  be  used  for  printing  simultaneously  with  letter-press.  For 
this  purpose  a heliotype  (sun-print  or  Lichtdruck)  is  first  pro- 
duced on  a plate  prepared  like  ordinary  heliotype  plates,  except 
that  chloride  of  calcium  in  the  proportion  of  one  part  of  the 
chloride  to  five  parts  of  the  gelatine,  or  other  substance  capable 
of  producing  a “grain,”  has  been  added.  The  heliotype  plate 
is  exposed  to  light  under  a dispositive,  rolled  over  with  greasy 
ink,  and  the  image  is  either  immediately  strengthened  by  strew- 
ing graphite  powder  or  some  other  suitable  coating  over  it,  or 
an  impression  is  made  from  it  on  a gelatine  foil,  which  impres- 
sion or  copy  may  also  be  strengthened  in  the  manner  described. 
By  either  method  a grained  negative  is  obtained,  which  in  one 
case  is  right-handed,  and  in  the  other  case  left-handed.  Under 
one  of  these  grained  negatives  a film  chiefly  composed  of  bichro- 
mate and  glue,  and  prepared  in  the  manner  hereafter  described, 
is  exposed  to  light.  The  back  of  this  film  is  subsequently 
fastened  on  to  a wood  block  to  the  exact  height  of  type  to  be 
used  with  it.  Those  parts  of  the  picture  on  the  wood  block 
which  have  not  been  acted  on  by  the  light  are  now  mechanically 
removed  by  friction  with  moderate  damping,  and  by  this  means 
the  required  relief  is  produced,  which  may  be  used  in  combina- 
tion with  letter-type  for  printing  on  the  ordinary  type  printing- 
press.  From  the  same  relief  plate  an  electrotype  may  be  pro- 
duced, in  the  same  manner  as  from  ordinary  engraved  blocks. 
The  exposure  of  such  a sensitive  film  to  light  is  equally  success- 
ful with  a lined  negative.  The  film  destined  to  receive  the 
picture,  and  to  serve  as  a printing  surface,  is  prepared  in  the 
following  manner  : — Ooe  kilogramme  of  glue  (Cologne  glue)  is 
soaked  in  one  litre  of  water  for  several  hours,  then  dissolved  by 
adding  thirty  grammes  of  bichromate  of  potash  and  12  grammes 


of  glycerine,  and  placing  the  vessel  containing  the  mixture  in  a 
warm  water  bath.  A suitable  quantity  of  the  mixture  is  then 
poured  on  glass  plates  which  have  been  previously  coated  with  a 
solution  of  ox-gall.  The  film  of  prepared  glue  thus  disposed  of 
is  then  allowed  to  dry  in  a dark  place.  When  well  dried , it  is 
scraped  perfectly  even  with  an  edged  instrument,  then  taken  off 
from  the  glass  plate,  and  exposed  under  a negative  in  the  manner 
hereinafter  described,  care  being  taken  to  expose  that  side  of  the 
film  which  adhered  to  the  glass. 

The  claiming  clauses  are  as  follows  : — 

1.  The  production  of  grained  negatives  (a)  by  the  direct  use  of 
heliotpye  plates  containing  chloride  of  calcium  or  any  other 
suitable  grain-producing  substance,  which  heliotype  plates  have 
been  inked  in,  aud  the  image  strengthened  by  the  addition  of 
graphite  powder  or  any  other  suitable  coating  ; (A)  by  the  use  of 
an  impression  taken  on  a gelatine  foil,  and  strengthened  in  a 
similar  manner. 

2.  The  production  of  printing  blocks  by  pouring  chrome  glue 
over  a plane  of  glass  plate,  previously  prepared  with  a solution 
of  ox-gall,  allowing  the  film  to  dry,  exposing  under  a grained 
negative  (which  may  be  obtained  as  indicated  in  the  preceding 
claim)  or  under  a lined  negative,  that  side  of  the  film  which  has 
adhered  to  the  glass,  attaching  the  other  (back)  side  upon  a bare 
plate,  and  developing  the  relief  by  means  of  damp  friction,  for 
the  purpose  of  using  such  blocks  directly  in  the  type  printing 
press,  or  for  obtaining  printing  blocks  by  means  of  electro- 
plating in  the  manner  well  known. 

Specification  Published  during. the  Week. 

6114.  Stephen  Henry  Emmess,  of  Soho  Square,  in  the  County 
of  Middlesex,  Actuary,  and  John  Mcnro,  of  West  Croydon,  in 
the  county  of  Surrey,  “ Improvements  in  photometric 
apparatus”  Dated  22nd  Dec,  1882. — A comparison  photometer 
in  which  the  equilibrium  of  the  lights  is  established  by  an  ad- 
justable prism  or  wedge  of  tinted  or  obscured  glass. 

Patents  Granted  in  America. 

281,660.  Edwin  L.  Bergstresser,  of  Hublersburg,  Pa.,  for 
“ A photographic-plate  holder.” — Application  filed  21st  April, 
1883. — No  model. 

281,743.  Hawley  C.  AVhite,  of  North  Bennington,  Vt.,  for  “ A 
stereoscope.”— Application  filed  17th  May,  1883. — No  model. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.R.S. 

Lesson  V. 

Oblique  Excentrical  Rays.— Take  a lens,  and  cover  all  up 
with  black  paper  except  a line  of  bare  glass  passing  through 
its  centre,  and  then  use  it  with  a camera  which  has  a large 


Fig.  25. 

focussing  screen.  Cover  up  the  line  of  glass,  except  the 
portion  A B,  and  focus  a distant  object,  making  a large 
angle  with  the  axis  of  the  lens,  and  measure  the  distance 


Fig.  26. 

from  O ; it  will  be  found  to  be  O F.  Cover  up  next  all  ex- 
cept the  portion  B C,  and  again  focus,  when  the  image  will 
be  found  to  be  sharp  at  a distance,  O G.  Similarly,  focus 


August  24,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


539 


with  the  portions  C D and  D E respectively,  when  it  will 
be  found  that  the  focal  lengths  are  at  H and  K respectively. 
Now  use  the  whole  of  the  line  ABODE,  and  then  no 
sharp  focus  will  be  obtained.  This  shows  that,  with 
oblique  excentrical  rays,  the  position  of  focus  varies  accord- 
ing to  the  part  of  the  lens  used  to  form  the  image. 

Astigmatism. — Next  take  an  ordinary  convex  lens  of  as 
long  focus  as  possible,  and  use  it  so  that  its  principal  axis 
is  in  a line  with  the  sun.  Focus  an  image  of  the  sun  on  a 
piece  of  paper,  and  it  will  be  fairly  sharp.  Next  twist  the 
lens  so  that  the  axis  forms  a considerable  angle  with  the 
line  joining  it  and  the  sun  ; it  will  be  found  that  it  will  be 
impossible  to  obtain  a sharp  image  ; if  sharp  in  one  direc- 
tion, it  will  be  out  of  focus  in  the  direction  at  right  angles 
to  it.  Again,  if  you  take  a photographic  lens,  covering  a 
considerable  angle,  using  a large  aperture,  and  focus  win- 
dow bars  on  the  ground  glass,  it  will  be  seen  that,  if  the 
horizontal  bar3  are  in  focus  near  the  top  of  the  plate,  the 
vertical  bars  will  be  fuzzy,  or  vice  versa.  This  really  opens 
out  one  of  the  most  intricate  problems  in  common  optics, 
when  entered  into  with  great  nicety  ; but  it  can  be  ex- 
plained in  a simple  manner. 

Suppose  A 13  0 D be  a perspective  view  of  a lens  (con- 
vex), and  let  parallel  rays  of  light  strike  it  at  some  angle 
with  the  axis.  It  will  be  seen  that  a slice  of  the  whole 
bundle  of  rays  may  be  taken,  which  will  be  in  the  same 
plane  as  the  axis  and  the  distant  source  of  light  (distant 


Fig.  27. 


because  the  rays  are  supposed  to  be  parallel).  Such  a 
slice  of  light  would  cut  the  lens  in  B D.  Another  slice 
of  the  beam  may  be  taken  at  right  angles  to  the  first  slice, 
entering  the  lens  in  A C,  and  these  may  be  considered 
directions  which  would  give  the  greatest  alteration  in  focus. 
Draw  a line  M O E parallel  to  the  rays  through  0,  Hie 
optical  centre.  Since  it  passes  through  the  optical  centre, 
it  is  a secondary  axis  (see  Lesson  III.).  The  ray  refracted 
at  D will  cut  this  axis  at  E,  and  that  from  B at  O (see  fig. 
26),  whilst  the  rays  from  A and  C,  being  symmetrical,  will 
cut  the  axis  at  one  point,  G.  Thus,  whilst  the  image  of  the 
object  of  light  will  be  in  focus  at  G for  all  parts  parallel 
to  the  line  A C (as  the  cross  section  of  the  vertical  bars),  it 
will  be  out  of  focus  for  all  others,  particularly  in  the  parts 
of  the  object  vertical  to  this  (the  vertical  windows  bars). 
This  optical  defect  is  called  “ astigmatism,”  and  we  shall 
now  see  that  it  can  be  very  largely  mitigated,  though 
never  entirely  eliminated,  by  using  a diaphragm  or  stop. 

The  next  figure  shows.the  same  incident  parallel  rays  as 


Fig.  28. 

before  ; but  now  we  have  inserted  a stop  S S behind  the  lens. 
It  will  be  seen  that  for  oblique  rays  only  a portion  of  the 
lens  near  the  margin  is  used,  and  these  rays  are  brought  to 
a focus  near  G.  If  we  now  take  the  focus  of  direct 


parallel  rays,  shown  as  dotted  lines,  we  shall  see  that  the 
marginal  rays,  whose  focus  is  about  N,  are  cut  off,  and  the 
central  rays  with  a focus  about  M alone  used.  If  a plane 
surface  be  placed  at  right  angles  to  the  axis  of  the  lens  and 
at  M,  both  the  oblique  rays  and  the  central  rays  will  form 
fairly  sharp  images  ; the  rays  which  would  give  fuzziness 
to  them  being  cut  off  by  the  stop. ' Thus,  if  the  stop  were 
away,  a distant  point  lying  in  the  direction  A A,  B B, 
would  be  represented  by  a patch  of  light,  of  which  G L 
would  be  the  greatest  breadth.  By  using  a stop,  the 
astigmatism  is  not  done  away  with,  but  only  diminished 
to  a passable  extent,  so  as  to  give  the  appearance  of  focus. 
In  the  above  figure,  a stop  or  diaphragm  has  been  shown 
between  the  focussing  screen  and  the  lens.  It  can  be  (and 
is  usually)  placed  in  front  of  the  lens,  so  as  to  give  the 
same  result.  In  fact,  it  will  be  found  that  that  is  a better 
position  for  it  to  occupy.  The  student  may  re  draw  fig.  28, 
and  place  the  diaphragm  in  it. 

What  is  a Sharp  Image  /—Now  comes  the  question — What 
amount  of  fuzziness  is  allowable,  and  will  give  the  appear- 
ance of  a sharp  image?  This  is  a thoroughly  practical 
question,  and  has  been  settled  in  a practical  manner.  The 
area  that  the  image  of  a point  is  represented  by  is  what  is 
usually  called  the  disc  of  the  least  confusion,*  and  if  the 
diameter  of  that  disc  is  about  ^ of  an  inch,  it  subtends 
such  an  angle  at  the  distance  at  which  an  eye  usually  ex- 
amines a photograph  as  to  make  the  disc  appear  as  a 
point.  That  is,  the  images  of  all  the  points  of  light 
comiDg  from  an  object  focussed  may  be  represented  by  discs 
of  light  of  T^y  of  an  inch  in  diameter.  It  may  be  looked 
atthis  way  : supposing  no  diffraction  phenomenainterfered, 
the  image  of  a distant  landscape  formed  by  a pinhole  of 
an  iuch  in  diameter  would  appear  to  the  eye  absolutely 
sharp.  Let  U3  see  how  this  affects  a view  of  the  same  sub- 
ject taken  on  a quarter  plate  and  on  a whole-plate,  using 
lenses  in  both  cases  to  embrace  the  same  field  of  view. 
In  both  plates  the  discs  of  confusion  need  only  be  of 
an  inch,  and  therefore  the  quarter-plate  lens  need  only  be 
stopped  down  to  half  the  amount  as  the  whole-plate  lens, 
for  if  equally  stopped  down  the  diameter  of  the  discs  of 
confusion  would  be  proportional  to  the  diameter  of  the 
plates ; and  ,if  on  the  whole-plate  they  were  inch  in 

diameter,  in  the  quarter-plate  they  would  be  inch  in 

diameter. 

This  is  a point  well  worthy  of  attention  in  photography. 
Many  people  take  small  views  to  be  subsequently  enlarged, 
and  they  focus,  as  they  think,  sharply ; whilst,  when  en- 
larged, the  image  is,  more  often  than  not,  ill-defined, 
because  the  diameters  of  the  discs  of  confusion  also  are 
enlarged.  The  photographer  should  focus  sharply  with  as 
big  a stop  as  he  can,  and  then  subsequently  put  in  a 
smaller  stop,  the  size  of  the  latter  evidently  depending  on 
the  size  to  which  an  enlargement  is  to  be  carried. 


BRUSSELS  INTERNATIONAL  PHOTOGRAPHIC 
EXHIBITION. 

\VrE  subjoin  the  list  of  jurors  and  their  awards,  as  tele- 
graphed to  us  by  our  Special  Correspondent : — 

Jury. — Dr.  Stolze,  Berlin  ; Capt.  W.  de  W.  Abney, 
London ; M.M.  L.  Warnerke ; Davanne,  Paris ; 
DeBlochouse,  Brussels  ; A.  Geruzet,  Brussels  ; De  Pitteurs, 
Zepperen  ; L.  Montefiore,  Paris  ; L.  Dommartin,  Brussels ; 
E.  Smits,  Brussels. 

Grand  Diploma  of  Honour  (herr  concours).  — MM. 
Goupil  and  Co.,  Paris. 

Diplomas  of  Honour. — Dr.  Stolze,  Berlin  (hors  concours)  ; 
MM.  Geruzet  freres,  Brussels  (hors  concours)  ; “ Photo- 
graphic News,”  London  ; Societe  Beige  de  Microscopie, 
Brussels  ; L’Association  Beige  de  Photographic,  Brussels  ; 
Campo  and  Colard,  Brussels  ; Gauthier- Villars,  Paris ; 
Srczniewski,  Petersburg  ; Leon  Vidal,  Paris. 

* Every  pencil  of  convergent  concentrated  rays  has  a disc  of  least  confu« 
sion,  and  is  that  area  where  the  rays  are,  so  as  to  give  the  greatest  intensity. 


$40 


TftE  THOTOGRAPSIC  NEWS 


[August  24,  1883. 


Gold  Medal  given  by  the  King  of  the  Belgians. — Mr. 
H.  P.  Robinson,  Tunbridge  Wells. 

Silver-gilt  Medals. — Messrs.  W.  Bedford,  London  ; E. 
Grassin,  Boulogne-sur-Mer  ; Solovief,  St.  Petersburg ; 
Major  Volkmer,  Vienna. 

Silver  Medals. — MM.  Frederick  Bruckinann,  Munich  ; 

G.  Brockesch,  Leipzig ; H.  Colard,  Brussels  (amateur)  ; 
A.  Diston,  Leven  ; W.  England,  London;  Dr.  Fritsche, 
Berlin  ; W.  Hoffman,  Dresden  ; G.  Hare,  London  ; Hunter 
and  Sands,  London  ; H.  Krafft,  Paris  (amateur) ; J.  Lowy, 
Vienna;  A.  Lewis,  Douglas;  A.  Lugardon,  Geneva; 
McLiesh,  Darlington  ; Marsh  Brothers,  Henley-on- 
Thames  ; J.  Maes,  Antwerp ; G.  Pizzighelli,  Vieuna ; H. 
Riickwardt,  Berlin ; G.  Scamoni,  St.  Petersburg ; R. 
Schuster,  Berlin ; Scolik,  Vieuna ; A.  Stevens,  London 
(amateur) ; Taschler  and  Signer,  Basle ; Wurthle  and 
Spinnhirn,  Salzburg. 

Bronze  Medals. — MM.  L.  Aillaud,  Albi;  O.  Anschutz, 
Lissa;  E.  Aubry,  Brussels;  Autotype  Publishers,  Munich; 
P.  Arents,  Paris ; G.  Balagny,  Paris ; Bonfils  and  Co., 
Beyrouth  (Syria);  Brauneck,  Mayence;  E.  Brightman, 
Bristol ; J.  M.  Brownrigg,  Guildford  ; J.  Chaffin  and  Sons, 
Taunton;  J.  Dupont,  Brussels ; F.  W.  Donkin,  London; 

H.  Dandoy,  Maestricht;  D.  Ermakow,  Tiflis ; J.  Hallez, 
Dinant ; D.  Hutinet,  Paris  ; Julien  Laferriere,  La  Rochelle ; 
H.  N.  King,  London ; J.  Kossak,  Temesvar  ; L.  Laoureux, 
Liege;  A.  Leisner,  Waldenburg ; A Liebert,  Paris;  O. 
Pfenniger,  St.  Gallen ; Platinotype  Co.,  London  ; G.  llen- 
wick,  Burton  ; Saint  Senoch,  Paris  (amateur) ; Thury  and 
Amey,  Geneva;  Van  Bosch,  Paris;  John  Ward,  Brussels 
(amateur);  Watson  and  Sons,  London;  Woodbury  Co., 
London ; West  and  Son,  Gosport ; York  and  Son,  London. 

Honorable  Mention. — MM.  Burato,  Zara;  W.  Byrne, 
Richmond;  Von  Ayx,  Mayence;  Batkin,  Brussels; 
Chmielewski,  Poltawa;  Corroyer,  Brussels;  Deneck, 
Brussels  (amateur)  ; Evely  and  Deron,  Brussels  ; Eckert, 
Prague ; Fabronius,  Brussels ; E.  Gaillard,  Berlin ; 
Girard,  Paris  (amateur)  ; Harrison,  Paris ; Hofmans, 
Brussels;  Dr.  Just,  Vienna  ; Karelinn,  Nijni-Novgorod  ; 
Kurkdjan,  Eriwan  ; Martin,  Paris  ; Mackenstein,  Paris; 
Bruno  Meyer,  Carlsruhe  ; J.  Moffat,  Edinburgh  ; Naumann 
and  Schroeder,  Leipzig  ; W.  Otto,  Dusseldorf  ; E.  Pirou, 
Paris;  A.  Petitt,  Keswick;  llebodes  Moutils,  Paris; 
P.  Schahl,  Berlin  ; Storms,  Antwerp  (amateur)  ; Chev.  von 
Staudenheim,  Feld-kirchen ; F.  Slingsby,  Whitby  ; Shew 
and  Co.,  London  : Van  RonzeleD,  Berlin. 


DAGUERRE.* 

Louis  Daguekre  has  well  earned  the  monument  which  is  to  be 
unveiled  in  his  native  village  of  Cormeilles  on  Sunday.  Long 
before  he  commenced  his  experiments  the  principle  of  photo- 
graphy was  known.  Thomas  Wedgwood  had  applied  it  in 
practice  at  the  beginning  of  the  century.  For  Daguerre  it  was 
reserved  to  launch  it  on  its  career  as  servant  of  all  work  to  art 
and  science.  The  present  generation  has  almost  forgotten  the 
pale  forbidding  spectres  which  scowled  and  squinted  under  the 
name  of  Daguerreotypes.  Not  the  less  were  they  the  lineal 
ancestors  and  the  indispensable  forerunners  of  the  finished 
portraits  which  have  annihilated  miniatures  and  the  delicate 
scenes  which  the  landscape  painter  both  fears  and  uses.  Photo- 
graphy since  the  production  of  the  first  Daguerreotype  plates  in 
1838-39  has  passed  through  many  stages.  Without  Mr.  Henry 
Fox  Talbot’s  discovery  its  present  popular  employment  would 
have  been  impossible.  Under  the  original  process  the  subject 
had  to  be  copied  separately  for  each  impression.  A single 
impression  is  sufficient  by  the  aid  of  negatives  for  indefinite 
multiplication.  Nitrate  of  silver  has  been  discarded  as  the 
medium  in  favour  of  gun-cotton  and  ether  and  uranium.  An 
alternative  has  been  found  for  the  direct  action  of  the  sun  when 
that  luminary  is  sulking  under  clouds  or  hidden  in  night. 
Magnesium  and  electricity  discharge  its  functions  at  second 
hand.  In  every  direction  photography  has  become  more  certain 
of  its  effects,  and  more  versatile  in  its  manipulation  for  their 
production.  Had  Daguerre  not  existed,  photography  would 

* From  the  Timet. 


have  asserted  its  power.  Many  minds  were  on  the  track.  The 
fulness  of  time  had  arrived  for  its  promulgation.  There  is 
nothing  to  show  that  Daguerre  possessed  the  genius  which  leaps 
at  a bound  to  a truth.  But  he  was  clear-sighted  and  he  was 
persistent.  He  perceived  that  the  sun  could  be  made  to  take 
portraits.  That  was  his  fixed  idea ; and  he  sold  himself  as  a 
bond-slave  to  do  its  bidding.  M.  de  Lesseps  was  not  more  the 
slave  of  his  idea  of  the  Suez  Canal  than  was  M.  Daguerre  of  his 
Daguerreotypes.  For  fifteen  years  he  laboured  to  accomplish 
his  object,  and  he  succeeded.  In  the  lengthened  chain  which 
will  represent  the  innumerable  achievements  of  photography 
Daguerre’s  work  mustalwajs  constitute  an  indispensable  link. 

Photography  belongs  to  the  fruitful  arts  of  which  philosophy 
ranks  the  highest.  Many  considerable  inventions  end  with  them- 
selves. About  photography  it  can  never  be  safely  asserted  when 
and  where  it  will  not  be  serviceable.  It  reproduces  the  eternal 
Pyramids.  It  crystallizes  the  spray  of  a wave.  A baby’s  smile 
is  not  too  fleeting  for  it.  The  last  look  of  the  dead  before  decay 
is  set  in  is  sacred  for  it.  Justice  avails  itself  of  its  aid,  to  treasure 
up  the  villainous  features  of  the  habitual  criminal.  All  the 
visible  humours  of  a popular  holiday  it  can  instantaneously  re- 
flect and  marshal.  The  depths  of  the  sea  are  not  beyond  its 
reach,  or  the  heights  of  heaven.  Movements  concealed  from 
human  eyes,  because  the  agents  are  too  minute  or  too  distant, 
do  not  elude  the  photographer.  Wherever  light  penetrates  he 
can  go.  Whatever  act  is  done  in  light  he  can  fix  and  delineate. 
Light  is  all-inquisitive  and  all -pervading.  In  photography 
science  has  secured  a mode  of  cross-questioning  light,  and  oblig- 
ing it  to  keep  for  leisurely  perusal  notes  of  all  which  it  has 
glanced  at  in  the  flash  of  a ray.  Nothing  is  so  plastic  as  light. 
Of  everything  which  it  sees  it  takes  a mould.  Hitherto  it  has 
broken  the  die  the  next  instant,  and  passes  on  to  lend  itself  to  a 
fresh  impression.  The  photographer  halts  it  on  its  march,  and 
bids  it  leave  its  transcript  with  him.  No  limit  can  be  assigned 
to  the  powers  of  photography,  because  no  limit  can  be  assigned 
to  the  curiosity  and  tell-tale  minuteness  of  light.  At  one  period 
it  appeared  marvellous  that  photography  should  be  able  to  por- 
tray whatever  human  eyes  can  see.  Much  that  is  visible  cannot 
be  turned  to  use  on  account  of  the  evanescence  of  the  vision. 
Photography  stamped  it  on  the  instant  in  ineffaceable  characters, 
and  science  was  exuberantly  grateful.  Those  boundaries  to  the 
ai  t have  been  far  transcended.  Light  which  visits  human  eyes  has 
been  brought  to  yield  up  secrets  to  the  photographer  otherwise 
beyond  human  scrutiny.  Through  lii3  art  he  analyzes  a sun’s 
beam,  as  the  naturalist  analyzes  a bucket  of  sea-water  dredged 
from  the  deep,  and  he  levies  on  its  invisible  picture  gallery  a tri- 
bute of  visible  replicas.  The  uses  of  photography  in  war  have  long 
been  acknowledged.  Every  campaign  adds  to  their  scope.  Medical 
science  is  already  beginning  to  avail  itself  as  largely  of  the 
assistance  of  photography  as  astronomy.  Photography  will  not 
be  satisfied  until  it  has  devised  ways  of  picturing  the  whole 
internal  economy  and  the  physical  operations  of  organic  being. 
Not  impossibly  the  bitterness  and  gravity  of  the  conflict  between 
vivisection  and  its  antagonists  may  be  modified  by  the  discovery 
of  means  for  effecting  bv  the  observation  of  photography  much 
which  is  to  be  learned  at  present  only  experimentally  by  the 
help  of  the  vivisector’s  knife.  Photography  has  elevated  itself 
to  such  a position  that,  whenever  science  is  at  a loss  for  an 
instrument  to  effect  an  object  it  craves  for  rather  than  discerns, 
photography  is  the  auxiliary  it  instinctively  summons.  Photo- 
graphy does  not  murmur  at  the  utmost  importunities  to  which 
it  is  subjected.  It  goes  to  meet  demands,  and  suggests  fresh 
ones.  Like  every  active  servant  of  the  public,  it  creates  needs 
that  it  may  gratify  them. 

The  process  has  climbed  to  such  aerial  eminences  that  to  a 
large  body  of  its  admirers  and  practitioners  its  employment  on 
the  manufacture  of  cartes-de-visite  seems  a mere  accident.  For 
the  majority  of  mankind  its  artistic  qualities  remain  its  true 
and  distinguishing  merit.  From  this  point  of  view  there  are 
ungrateful  persons  who  will  meditate  on  Daguerre  and  his  fellow- 
workers  with  anything  but  gratitude.  The  supposed  necessity 
of  being  photographed,  and  the  actual  necessity  of  inspecting 
photographic  portraits  of  others,  and  their  collections  of  photo- 
graphed landscape,  and  architecture,  and  pictures,  and  sculpture, 
are  among  the  worst  frictions  which  vex  social  life.  Photo- 
graphy has  on  its  conscience  that  its  competition  has  killed  the 
exquisite  art  of  miniature  painting.  It  has  been  instrumental 
in  enforcing  the  popular  modern  conviction  that  art  can  be  re- 
duced to  mechanism.  Yet  when  even  the  artistic  merits  and 
demerits  of  photography  are  balanced,  it  must  be  confessed  that 
the  advantages  are  in  a majority.  It  has  erected  a standard  of 


August  24,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS 


541 


resemblance  in  features  and  obedience  to  the  laws  of  drawing 
lofty  enough  to  banish  for  ever  the  montrosities  of  family  por- 
traits which  abused  the  hospitality  of  respectable  middle-class 
dining-rooms.  In  landscape  art  it  has  compelled  painters  to 
respect  the  veracity  of  nature,  which  formerly  all  but  the 
greatest  defied  with  effrontery.  If  it  is  a reproach  to  many 
excellent  landscapes  that  they  approach  too  closely  to  photo- 
graphs, exhibitions  of  landscape  art  owe  it  to  photography  that 
few  among  the  inferior  works  ic  them  bear  no  trace  of  having 
been  copied  from  nature  at  all.  Like  most  of  the  powerful 
agencies  in  modern  life,  photography  is  a leveller.  It  tends  to 
render  the  eye  content  in  art  with  something  below  the 
inspirations  of  genius.  On  the  other  hand,  it  will  not  suffer 
daubs  and  scarecrows  to  placard  themselves  as  creations  of  art 
with  impunity.  Since  the  world  in  the  nature  of  things  cannot 
afford  to  indulge  freely  in  masterpieces,  photography,  which  has 
relieved  it  from  dependence  for  its  artistic  adornment  on 
engravings  without  taste,  and  paintings  out  of  drawing,  deserves 
to  be  hailed  as  a public  benefactor. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  XII. — Direct  Collo-Chromate  Methods. 

In  the  direct  methods  of  photo-lithography,  as  we  have 
already  noticed  in  Chapter  Y.,  the  photographic  image  is 
produced  directly  by  the  action  of  light  on  a lithographic 
stone  or  a metal  plate  coated  with  a sensitive  collo-chromate 
mixture,  or  with  bitumen.  The  collo-chromate  methods 
are  better  adapted  for  working  on  stone  than  on  metal,  for 
which  latter  bitumen  is  preferable,  and  have  advantages 
over  the  transfer  methods  in  simplicity,  economy  of  mate- 
rial, rapidity  of  working,  and  accuracy  of  scale  ; but,  on 
the  other  hand,  the  inconveniences  of  working  with  heavy 
stones,  the  difficulty  of  obtaining  perfect  contact  between 
the  negative  and  the  stone,  and,  more  thauall,  the  liability 
of  the  image  to  wear  out  quickly  in  printing,  have  caused 
these  methods  to  be  almost  entirely  abandoned  in  favour  of 
the  transfer  methods,  which,  notwithstanding  the  disadvan- 
tages they  labour  under  of  distorting  the  dimensions  of  the 
images,  and  the  comparative  heaviness  of  the  results,  have 
many  conveniences,  and  are  very  suitable  for  all  ordinary 
work  in  line.  In  cases  where  the  use  of  direct  methods  is 
desirable,  such  as  for  the  reproduction  of  very  fine  line- 
work  or  for  half-tone,  it  is  preferable  to  employ  the  collo- 
type process,  which  gives  very  superior  results,  both  in  line 
and  half-tone. 

In  the  earlier  direct  processes  of  photo-lithography, 
bitumen  was  the  sensitive  substance  used  for  coating  the 
stones  ; but  it  is  now,  I believe,  very  seldom  used  with  stone, 
though  of  late  years  it  has  again  come  into  extensive  use 
with  zioc  plates  for  the  production  of  blocks  for  printing 
with  letter-press. 

Although  the  direct  collo-chromate  methods  are  very  little 
used  at  present,  these  papers  would  be  incomplete  without 
some  record  of  them  ; and,  moreover,  they  have  a good  deal 
of  interest  attaching  to  them  as  being  the  starting  point 
of  most  of  the  present  processes  of  photo-lithography  and 
collotype.  The  bitumen  methods  will  be  treated  by  them- 
selves in  another  chapter. 

The  first  person  to  apply  a mixture  of  an  alkaline  bichro- 
mate with  a colloid  to  a lithographic  stone,  with  the  object 
of  obtaining  impressions  in  greasy  ink  therefrom,  was  Poit- 
evin, who  elaborated  a very  practical  method  for  reproducing 
subjects  both  in  line  and  half-tone  It  is  doubtful  whether 
he  or  Paul  Pretsch  was  the  actual  discoverer  of  the  property 
possessed  by  an  insolated  and  damped  collo-chromate  film  of 
taking  up  greasy  ink  in  the  parts  acted  on  by  light,  and 
this  proportionately  to  the  amount  of  the  action  of  light 
upon  them  ; but  he  certainly  was  the  first  to  apply  this 
principle  in  a practical  way  to  lithographic  printing,  and 
the  processes  of  this  bind  still  used  are  almost  identical’  with 
Poiteviu's  own  way  of  working  as  described  in  his  Traite 


des  Impressions  Photographiques,  of  which  a now  edition, 
with  appendices  by  M.  Leon  Vidal,  has  just  been  published, 
arid  from  which  I take  the  liberty  of  quoting. 

Poitevin  says: — “A  hard  and  close-grained  Bavarian 
lithographic  stone  is  to  be  preferred.  The  surface  being 
smoothed  and  finely  grained,  I wet  it,  and  having  removed 
the  excess  of  water,  I apply  with  a brush  the  bichromate 
mixture,  composed  of  an  egg  beaten  up,  passed  through  a 
piece  of  linen,  and  mixed  with  an  equal  quantity  of  satu- 
rated solution  of  bichromate  of  ammonia.  With  a sponge 
I clean  the  edges  of  the  stone,  and  with  a linen  dabber  I 
remove  the  excess  of  solution  by  dabbing,  but  without  rub- 
bing, and  with  a drier  cloth  I remove  the  remainder  of  the 
liquid  in  the  same  way  until  the  stone  no  longer  moistens 
the  finger  when  touched.  By  working  thus,  only  a very 
small  quantity  of  the  bichromated  mixture  penetrates  into 
the  stone,  and  forms  there  a very  regular  inner  layer  with- 
out covering  its  suiface.  Without  waiting  for  the  complete 
drying  of  this  layer,  I apply  to  it  the  photographic  cliche,  if 
of  paper,  by  keeping  it  in  place  by  means  of  a glass  plate 
fastened  down  by  means  of  pellets  of  soft  modelling  wax.  If 
the  negative  is  on  glass,  1 fix  it  with  wax.  I have  also 
used  a special  pressure-frame  to  hold  the  stone  and  nega- 
tive ; but  the  way  I have  described  answers  ordinarily.  I 
expose  the  prepared  stone  either  to  direct  sunlight,  falling 
perpendicularly  on  its  surface,  or  to  diffused  light,  laying 
the  stone  horizontally.  The  time  of  exposure  is  very  varia- 
ble in  summer  (from  ten  to  twelve  minutes  in  the  sun),  and 
in  winter  from  an  hour  and  a-half  to  fwo  hours  ; in  the 
shade  the  exposure  will  be  from  four  to  five  times  longer. 
In  any  case  the  latitude  is  great,  and  it  is  better  to  expose 
too  much  than  too  little,  because  over-exposure  can  be 
corrected  in  the  inking  of  the  stone,  and  by  the  etching 
and  proving,  whilst  too  little  exposure  prevents  the  greasy 
ink  from  adhering  to  the  half-tones,  and  that  cannot  be 
remedied. 

“ After  exposure  to  light,  the  stone  is  taken  into  the  inking 
room  and  there  left  for  some  time  to  take  the  temperature  of 
the  surrounding  air,  whether  it  may  have  been  too  much 
warmed  or  chilled  according  to  the  temperature  of  the  time 
of  year. 

“The  stone  is  moistened  with  a sponge  dipped  in  a solution 
containing  one-third  of  glycerine  to  two-thirds  of  water, 
and  having  removed  the  excess  of  liquid,  I pass  a roller 
charged  with  transfer  ink  and  varnish  all  over  the  stone. 
The  image  then  appears  gradually,  the  parts  which  have  re- 
ceived the  action  of  light  retaining  the  fatty  ink,  whilst  the 
others,  corresponding  to  the  whites  of  the  drawing  or  opaque 
parts  of  the  negatives,  repel  ir.  The  stone  is  damped 
lightly  with  ordinary  water,  and  the  inking  is  continued 
until  the  drawing  has  attained  the  desired  strength.  If  the 
stone  should  have  been  over-inked,  the  whole  is  removed 
with  turpentine,  the  stone  is  wiped  and  damped,  and  the 
inking-in  is  done  again  more  carefully,  with  the  roller  less 
charged  with  ink. 

“The  stone  is  then  left  at  rest  for  about  twelve  hours,  in 
order  that  the  fatty  ink  may  penetrate  it  and  be  fixed  more 
completely.  It  is  then  gummed  ; after  an  hour  it  is  washed, 
the  gum  removed,  and  the  stone  is  then  rolled  in  with  ordin- 
ary printing  ink,  etched  and  proved  by  pulling  a few 
proofs,  just  as  in  the  case  of  an  ordinary  chalk  drawing  on 
stone. 

“If  the  exposure  to  light  has  been  insufficient,  the  fatty  ink 
will  take  with  difficulty,  and  the  proof  will  be  wanting  in 
half-tone  ; on  the  contrary,  if  over-3xposed,  the  image  will 
be  heavy  aud  blocked  up  ; but  in  the  majority  of  cases  a good 
proof  is  obtained,  because  there  is  a great  latitude  in  the 
exposure  if  the  lithographer  is  skilful  in  working  up  the 
image.  In  any  case  it  will  always  be  better  to  expose  a 
fresh  stone  rather  than  hand  over  a bad  impressiou  to  the 
printer.” 

Writing  near  the  close  of  his  life,  Poitevin  notices  the  im- 
provements brought  about  by  the  adoption  of  a coating  of 
bichromated  gelatine  supported  on  metal  or  glass  plates; 


542 


THE  PHOTOGRAPHIC  NEWS, 


[August  24,  1883. 


but,  stil!  faithful  to  the  old  love,  thinks  that  equally 
good  results  may  be  obtained  from  stone,  especially 
if  two  rollers  are  used  for  inking,  one  charged 
with  ordinary  printing  ink  for  the  body  of  the  work,  and 
the  other  a glue  roller  charged  with  a thinner  and  coloured 
ink,  to  complete  and  soften  the  first  inking,  and  give  a more 
agreeable  appearance  to  the  print.  Ke  even  ventures  to 
think  that  stone  will  be  brought  into  use  again,  as  offering 
more  security  in  the  daily  practice  of  a largo  printing  office. 

Whether  this  will  come  to  pass  or  not,  it  is  impossible  to 
say  ; but  it  is  probable  that  the  use  of  stone  in  collotype 
printing  might  be  attended  with  advantage.  The  porous 
nature  of  the  stone  would  enable  the  gelatine  film  to  be  held 
more  firmly  than  it  can  be  on  glass  or  metal,  and  also,  by  its 
capacity  for  retaining  moisture,  the  stone  would  afford 
superior  facilities  for  keeping  the  gelatine  film  in  a proper 
state  of  dampness  without  the  necessity  for  constant  spong- 
ing. The  weight  of  large  stones  and  the  difficulty  of 
handling  them  in  the  dark-room  must,  however,  always  act  as 
a bar  to  their  extended  employment  for  photographic  work. 

(To  be  continued.) 


SOLID  AND  LIQUID  ILLUMINATING  AGENTS. 

BY  LEOPOLD  FIELD,  F.C.S.* 

Wax  next  demands  our  consideration.  Here  I must  call  your 
attention  for  a moment  to  the  manner  in  which  I have  divided 
the  various  substances  that  subscribe  to  the  definition  of  fats. 
This  is  quite  arbitrary  on  my  part,  and  I am  emboldened  by  the 
fact  that  evory  authority  on  the  subject  has  followed  his  own 
ideas,  and  given  his  own  definitions.  Fats  proper,  I think,  are 
such  bodies  as  yield  glycerine  upon  saponification.  According 
to  this  definition,  very  few  of  the  bodies  we  shall  have  to  discuss 
can  be  called  fats.  But  I have  given  the  word  a broader  signifi- 
cation, and  propose  to  extend  the  name  to  embrace  all  substances 
which  possess  both  lubricity  and  inflammability,  and  leave  a 
more  or  less  permanent  transparent  stain  upon  paper.  By  taking 
for  the  nonce,  this  view,  we  are  enabled  to  include  the  paraffins, 
olefins,  and  waxes  ; also  turpentine  and  camphor,  with  their 
isomeric  essential  oils.  Oils  themselves  have  long  been  divided 
into  fixed  and  volatile,  the  latter  being  also  termed  essential. 
With  these  we  have  nothing  to  do  ; they  are  all  isomeric  either 
with  turpentine,  as  lemon,  bergamot,  orange,  and  many  other 
well-known  essences  ; or  with  camphor,  as  rosemary,  lavender, 
rue,  and  that  class  of  perfumes.  Turpentine  and  camphor  may 
have  to  be  mentioned  in  the  lecture  on  lamps,  but  quite  en 
passant. 

The  term  wax  used  to  be  applied  solely  to  beeswax,  but  of 
late  years  the  introduction  of  paraffin,  solid  and  liquid,  has  led 
to  the  name  being  employed  to  distinguish  the  first,  paraffin 
proper,  from  the  oil.  So  the  white  solid  rejoiced  in  the  desig- 
nation, “ paraffin  wax,”  until  the  cognomen  being  dropped  alto- 
gether, we  find  certain  companies  advertising  their  goods  simply 
as  wax  candles,  a confusion  of  names  which  must  be  deprecated, 
as  tending  to  mislead  ; perhaps,  however,  this  is  the  end  in 
view. 

Wax  may  be  defined  as  bodies  of  a certain  viscid  plasticity 
when  warmed,  consisting  of  fatty  acids  of  the  series  Cn  H2n  Os 
either  free,  or  in  combination  with  an  alcohol  radicle  ; they  do 
not  yield  glycerine  upon  saponification,  which  is  effected  with 
difficulty,  and  the  soap  formed  is  sparingly  soluble  in  water. 
Following  these  lines,  we  have  the  following  genuine  waxes  of 
interest  to  us  : — 

Origin. 

C Bees- wax  Apis. 

Animal  J Spermaceti  Physeter  macro- 

I esphalus. 

(.Pill-la  Coccus  sinensis. 


( Carnauba  wax 

Vegetable  <;  ^yrtle  » 

| Pa'm  „ 

(.Japan  „ 


Copernicia  cerifera 
Myrica  cerifera 
Ceroxylon  andicola 
Phus  succcdanea 


We  will  take  these  seriatim.  Beeswax  is  the  gift  of  the  ordin- 
ary bee.  It  has  long  been  an  open  question  whether  the  wax 
was  in  the  pollen  of  the  flower,  the  bee  acting  as  a mere  vehicle, 
or  whether  the  insect  evolved  the  wax  by  some  process  be3t 


* Continued  from  page  525. 


known  to  itself.  When,  on  experiment,  it  was  found  bees  who 
were  fed  entirely  oil  sugar  continued  to  produce  wax,  the  ques- 
tion was  considered  settled ; namely,  that  the  wax  was  as 
genuine  a bee  product  as  the  silk  of  the  worm.  But  later  in- 
vestigations show  that,  after  two  or  three  days’  sugar  diet,  the 
bees  fail  to  supply  any  more  wax,  and  ultimately  die.  Carefully 
conaideiing  all  I have  been  able  to  find  upon  this  subject,  I am 
inclined  to  think  that  pollen  is  necessary  for  the  formation  of 
wax  ; in  the  first  place,  it  nourishes  the  bee,  containing  nitrogen, 
which  sugar  does  not ; and  secondly,  itself  containing  wax, 
probably  gives  the  initiatory  to  the  wax-producing  organs.  It 
is  a fact,  that  a colony  of  bees,  deprived  of  polleD,  will  take 
eighteen  ounces  of  honey  to  produce  an  ounce  of  wax  ; whereas, 
with  a proper  supply  of  ‘‘bee  bread,”  only  fifteen  ounces  of 
be  consumed  in  making  the  same  quantity.  The  wax  exudes 
from  between  the  lower  rings  on  the  abdomen  of  the  bee,  and  is 
worked  up  between  the  fore-paws,  for  though  of  high  melting 
point  (145°  F.),  it  becomes  plastic  at  90°,  and  can  be  readily 
moulded.  The  composition  of  beeswax  has  been  fruitful  subject 
of  discussion  amongst  chemists,  who  have  obtained  results  of 
startling  discrepancy.  This  is,  doubtless,  due  rather  to  the 
adulteration  of  the  wax  before  analysis  than  variation  in  the 
substance  itself,  it  being  generally  found  that  substances  of 
animal  origin  are  very  uniform  in  composition.  Mr.  Otto 
Hehner  has  recently  made  a most  exhaustive  investigation  of  a 
great  number  of  different  waxes,  and  comes  to  the  conclusion 
that  the  average  composition  is — 

Cerolein  (?) 

Myricin  88 

Cerotic  acid  '12 


in  100  parts  of  wax. 

These  two  constituents  may  be  easily  separated  by  boiling  the 
wax  with  alcohol,  when  the  cerotic  acid  dissolves,  leaving  the 
myricin,  which  is  a true  typical  wax,  beingapalmitate  of  myrioyl 

CiaH-n  j o2  : it  is  finely  crystalline. 

Ferhaps,  if  there  be  cerolein,  it  is  that  which,  by  its  abundance  or 
exactness,  gives  the  characteristic  qualities  to  all  these  different 
waxes.  On  this  stand  there  are  over  forty  varieties,  from  every 
country  at  all  noted  for  that  product,  and  yet  an  experienced  eye 
and  nose  will  pick  you  out  and  assign  most  of  them  to  their  native 
lands.  Here  we  have  bright  yellow  wax  from  Holstein  and 
Denmark,  the  golden  produce  of  Senegambia,  the  parti-coloured 
mixture  from  Australian  hives,  and  the  soft,  dark  ceral  of  Mogador. 
This  gamboge-tinted  specimen  comes  from  Mexican  woods;  this 
is  wasp-wax,  soft  and  dirty-looking  ; this  again,  almost  white, 
comes  from  Brazil.  According  to  Mr.  Hehner,  whatever  the 
physical  properties  and  appearance  of  these  multichroic  specimens, 
their  composition  varies  but  little.  Even  that  little  he  inclines  to 
attribute  to  man  and  the  advance  of  civilisation,  rather  than  to 
any  fault  on  the  part  of  the  bee.  Of  old,  if  the  sable  bee-owner 
had  not  sufficient  tale  of  wax,  he  artlessly  introduced  a stone  or 
lump  of  iron,  or  a bone  or  two,  to  make  up  the  weight,  or,  at 
most,  stirred  in  a quantity  of  coarse  sand.  But  now  every  con- 
ceivable fat,  cheap  paraffin  (imported  for  the  purpose),  palm  oil 
dregs,  &c.,  are  employed  as  adulterants,  not  detected  till  the 
bleaching  ground  or  candle,  by  defective  performance,  exposes 
the  deception.  There  is  no  remedy.  The  agent  who  collects 
the  tributary  supplies  from  a hundred  homesteads,  mixes  all  the 
lots,  and  the  hundred  agents’  deliveries  are  again  thrown  together. 
What  help  is  there?  But,  by  careful  sampling,  a keen  buyer 
manages  to  escape  with  about  75  per  cent,  of  pure  wax.  This 
comes  to  the  factory  as  you  see  it,  and,  in  its  present  form  is  use- 
less. Tho  first  step  is  to  “clear it  down” — which  is  much  the 
same  as  “ rendering” — boiling  with  a little  weak  acid  and  water 
which  separates  all  dross,  and  leaves  the  wax  clean,  though  dark 
in  colour.  The  next  operation  is  that  of  bleaching.  This  may 
be  done  in  two  ways — by  air,  or  chemical  action.  The  latter  can 
only  be  applied  to  wax  that  is  not  intended  for  candles  ; the  grain 
becomes  highly  crystalline,  and  the  burning  power  deteriorates. 
Why  this  is,  I cannot  say,  as  yet  ; we  must  look  to  Mr.  Hehner’s 
researches  for  the  future  explanation.  To  whiten  the  wax 
chemically,  it  is  treated  with  sulphuric  acid  and  bichromate  of 
potash,  whereby  ozone  is  liberated,  and  that  discharges  the  colour. 
As  the  chromium  salts  impart  a powerful  green  tint  to  the  wax, 
it  has  to  bo  boiled  considerably  with  further  libations  of  acid  water, 
till,  finally,  it  assumes  this  appearance.  Observe  how  short  and 
friable  the  grain  here — you  will  see  the  crystalline  structure  upon 
closer  inspection.  If  1 were  authorised  to  hazard  an  explanation, 

! it  would  be,  that  in  the  gentle  performance  of  atmospheric  bleach 


August  24,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


543 


mg,  the  cerolein  (presuming  such  to  exist)  only  is  destroyed ; by 
the  violent  attack  and  heat  of  the  chromic  acid,  tho  myricin  is 
split  up  into  acids,  palmitic  and  cerotic.  In  brief  experiments,  I 
have  found  that  air-bleached  wax  dissolves  in  alcohol  to  pretty 
nearly  the  same  extent  as  when  crude,  while  the  chemically 
whitened  body  is  far  more  soluble  than  before,  which,  if  correct, 
points  to  a srreat  increase  in  the  quantity  of  acid,  and  decrease  in 
myricin.  My  assistant  is  now  performing  the  operation  of 
chemical  decolourising.  Observe  the  deep  green  colour,  and  great 
heat,  sufficient,  as  you  see,  to  boil  alcohol.  After  the  lecture,  I 
will  show  you  the  small  cake  of  wax,  not  entirely  blanched,  but 
much  whiter  than  before. 

To  bleach  bees-wax  atmospherically,  requires  time  and  fair 
weather.  The  melted  wax  is  allowed  to  trickle  through  a slit 
pipe  over  a drum  revolving  in  water.  This  divides  it  into  ribbons, 
which  are  rescued  from  the  water  by  a rake,  and  spread  on  long 
canvas  sheets — about  forty  feet  by  three  feet.  Llere  they  sojourn 
during  the  fine  summer  days,  being  discreetly  tossed  and  turned, 
and  sprinkled  judiciously  with  water,  till  tho  colour  is  discharged 
from  the  outer  film.  Again  melted  and  divellated,  it  undergoes 
another  exposure,  and  yet,  perhaps,  another,  according  to  its 
nature,  till  of  the  yellowish  white  peculiar  to  itself.  It  is  then 
run  into  cakes  and  stored  for  use.  We  may  as  well  follow  it  to 
tho  end,  and  see  how  it  is  made  into  candles.  A very  favourite 
method  in  olden  days  was  to  apply  the  wax,  made  plastic  in  hot 
water,  to  the  wick  with  the  hand,  by  kneading  and  manipulation, 
reducing  it  to  proper  form.  But  this  was  a lengthy  process,  and 
tho  water  was  difficult  to  expel,  producing  spluttering.  The 
candles  were  also  dipped,  like  tallow-lights ; but  this  method 
would  only  answer  in  short  cases,  and  the  generality  of  wax  lights 
are  passing  long.  Moulding,  somehow,  will  not  answer  with 
wax ; the  candles  refuse  to  leave  the  moulds,  or  crack  while 
doing  so.  So  now  they  are  “poured.”  Round  this  wooden  hoop 
you  will  notice  a number  of  strings,  to  each  of  which,  by  means 
of  a little  wax,  my  assistant  will  join  a wick.  The  hoop  is  now 
hung  over  a cauldron  of  melted  wax,  “ and,  be  very  careful.  I 
pray  you,"  says  an  old  manualist,  “ of  the  temperature,  lest,  all 
too  hot,  the  wax  refuse  to  adhere  to  the  wick  ; or,  too  chill, 
hardens  before  the  whole  length  be  run.”  Dipping  a ladleful 
from  the  cauldron,  the  operator  revolves  tho  hoop  with  one  hand, 
while  he  pours  the  fluid  material  over  the  wicks  with  the  other. 
After  three  or  four  revolutions,  that  hoop  is  laid  aside,  and  another 
taken  in  hand.  On  this  frame,  the  candle  is  arranged  in  crescendo , 
showing  the  increment  gained  after  each  pouring.  At  a certain 
period,  the  candles  are  reversed,  as  the  tendency  is  naturally  to 
thicken  at  the  lower  extremity.  Being  now  of  tolerably  even 
diameter,  though  unsightly,  they  are  plucked  from  the  strings, 
and  laid  in  a row  of  about  six  upon  a marble  slab,  sprinkled  with 
water.  The  maker  then  proceeds  to  roll  them  under  a board, 
upon  which  he  throws  all  his  weight,  and  by  this,  the  still  plastic 
substance  is  renderel  of  a smooth  and  even  surface.  With  knife 
and  gauge,  the  candles  are  cut  to  the  required  length,  and  their 
tops  trimmed  with  a piece  of  wood.  Hand  labour,  you  see, 
throughout,  and  requiring  much  skill  and  experience.  A well- 
made  wax  candle  should  show  rings  like  a tree,  where  the 
different  layers  have  been  superfused. 

(To  be  continued.) 


ROYAL  CORNWALL  POLYTECHNIC  SOCIETY. 

Dear  Sir, — I beg  to  remind  your  readers  that  Tuesday, 
September  4th,  is  the  last  day  for  receiving  exhibits  at  the 
hall  of  the  above  Society.  All  articles  must  be  addressed 
to  the  secretary.  I do  not  think  it  is  generally  known  that 
cases  sent  by  goods  train  from  London  take  about  three 
clear  days  in  transit ; so  to  avoid  disappointment,  care  must 
be  taken  to  send  oft'  in  good  time,  as  in  former  years  I 
have  seen  cases  arrive  too  late  for  exhibition,  and  great  dis- 
appointment has  been  caused  thereby,  for  cases  by  passenger 
or  van  train  take  about  twenty-four  hours  for  delivery.  Van 
train  rate  is  about  twenty-five  per  cent  less  than  parcels  iate 
by  ordinary  passenger  trains.  I think  this  year,  for  small 
exhibitors,  who  sometimes  only  send  one  or  two  small 
frames,  the  parcels  post  might  be  utilised  with  advantage, 
taking  care  to  have  the  frames  packed  in  strong  light  boxee. 


Ifforwatded  in  this  way,  a letter  of  advice  must  be  s nt  to 
the  secretary  with  tho  return  postage  enclosed,  or  at  tho 
close  of  the  exhibition  all  exhibits  will  bo  returne  1 in  the 
ordinary  way — by  passenger  train.  I shall  be  most  happy 
to  forward  prize  lists  and  forms  of  entry,  on  application,  to 
intending  exhibitors. — I remain,  sir,  yours  very  truly, 

William  Brookes. 

Laurel  Villa,  Wray  Park , Pei  gate,  Surrey. 


PERMANENT  SILVER  PRINTING.  — HYDRO- 
K1NONE. 

Sir, — With  reference  to  the  collodio-chloride  of  silver 
process  of  printing,  perhaps  the  following  fact  will  be  of 
interest  to  your  readers. 

There  is  in  this  house  a photograph  printed  by  that  pro- 
cess by  Mr.  George  Bruce,  of  Duns,  more  thau  twelve  years 
ago.  The  photograph  has,  during  the  whole  of  this  period, 
hung  in  an  ordinary  frame  with  sunk  mount  upon  an  ex- 
ceedingly damp  wall,  and  though  the  mount  is  covered  with 
spots  and  yellow  marks,  the  photograph  is  as  fresh  as  the 
day  it  was  taken.  On  the  same  wall  there  used  to  hang 
two  ordinary  albumenized  prints,  but  some  years  ago  the 
latter  had  to  be  removed,  so  much  had  they  laded. 

Other  plates  by  Mr.  Bruce,  someof  them  now  of  consider- 
able age,  are  still  without  traces  of  decay,  although  they 
have  not  been  protected  in  any  special  way.  Does  it  not 
seem  that  for  some  reason  or  other  collodion  is  a better 
medium  than  is  albumen  for  holding  tho  silver  salts  'l 

To  turn  to  another  subject.  I have  been  making  some 
experiments  with  hydrokinone  development.  In  my  experi- 
ence, plates  developed  with  hydrokinone  and  soda  carbon- 
ate require  only  about  two-thirds  of  the  exposure  necessary 
with  pyro  development.  On  the  other  hand,  if  ammonia  be 
used  instead  of  soda,  the  hydrokinone  becomes  less  effective 
than  pyro,  and  necessitates  a longer  exposure.  During  the 
last  two  or  three  days  I have  been  developing  a laige 
number  of  negatives,  some  of  which  were  considerably  over- 
and  others  under-exposed.  1 found  a very  useful  plan  was 
to  commence  development  with  hydrokinone  and  soda, 
which,  if  the  negative  was  under-exposed  (that  is  to  say, 
under-exposed  for  pyro),  brought  out  the  negative  with 
full  details.  On  the  other  hand,  if  the  negative  had  been 
exposed  too  long,  the  hydrokinone  was  immediately  washed 
off,  and  strongly  restrained  pyro  substituted.  By  this 
means  a large  number  of  negatives,  which  would  otherwise 
have  been  failures,  were  very  successfully  developed.  A very 
remarkable  fact  is  that,  with  the  hydrokinone,  it  seems 
almost  impossible  to  produce  fog,  however  much  carbonate 
of  soda  be  added  ; and  no  restrainer  whatever  is  required.  I 
have  also  tried  a compound  developer  containing  both  pyro 
and  hydrokinone  with  some  success,  and  intend  to  push  my 
investigations  further  in  this  direction.  The  hydrokinone 
developer  I employed  was — 

Hydrokinone  ...  2 grains 

Sat.  sol.  carb.  soda  ...  ...  5 minima 

Water  ...  ...  ...  ...  1 ounce 

Yours  faithfully,  A.  A.  Campbell  Swinton. 

Puns,  N.B. 


PERMANENT  SILVER  PRINTS. 

Dear  Sir, — I can  bear  testimony,  such  as  it  is,  as  to 
the  permanence  of  collodio-chloride  prints.  Three  pic- 
tures in  an  album  I have,  and  which  has  not  had  a new 
print  inserted  for  eight  years  at  least,  were  printed  by 
this  process,  and  do  not  show  any  signs  of  fading,  although 
of  that  delicate  warm  purple  which  most  photographers 
regard  as  the  most  fleeting  of  tone.  Although  but  an 
amateur,  I am  preparing  to  take  up  the  process,  and  have 
taken  your  advice  to  write  to  Mr.  Bruce  for  one  or  two 
specimens.  It  is  very  good  of  him,  I think,  to  place  his 
experience  at  the  disposal  of  photographers. — Yours  faith- 
fully, £>.  Gordon  Smith. 


544 


ME  PHOTOGRAPHIC  NEWS. 


[August  24,  1883. 


$ muDittijs  0f  Stomliw. 

London  and  Provincial  Photographic  Association. 

At  the  meeting  held  16th  August,  Mr.  J.  B.  B.  Wellington  in 
the  chair, 

Mr.  J.  S.  Smith,  of  Edinburgh,  exhibited  a quarter-plate 
pocket  camera,  devised  by  a friend  in  Dundee.  It  was  con- 
structed on  a principle  similar  to  an  opera  hat,  and  fitted  in  a box. 
When  folded,  it  was  about  five  inches  square  and  two  deep.  A 
flap  shutter  was  fitted  to  it  to  work  behind  the  lens  on  the  crank 
principle.  The  weight  of  the  camera,  flange,  shutter,  and 
focussing  glass,  was  three  quarters  of  a pound,  and  with  the 
dark  slide,  about  17  ounces. 

Mr.  Cowan  showed  a finishing  frame  for  taking  transparencies 
with  chloride  plates  ; it  was  so  arranged  that  the  positive  could 
be  taken  from  any  part  of  the  negative  without  coming  in  actual 
contact  with  it. 

Mr.  Haddon  said  that  he  had  been  troubled  with  transparent 
spots  in  the  high  lights  of  his  negatives,  which  he  found  was  due 
to  the  gelatine,  as,  although  he  had  changed  all  his  chemicals, 
they  did  not  disappear  till  he  had  changed  the  gelatine. 

Mr.  Henderson  suggested  they  might  be  due  to  a partial 
decomposition  of  the  gelatine. 

Mr.  Haddon  said  he  had  soaked  a plate  a quarter  of  an  hour, 
then  exposed,  and  developed  ; but  the  spots  were  still  there,  and 
quite  as  transparent. 

Mr.  Henderson  suggested  that  a quarter-plate  should  be 
washed,  then  put  on  a warm  brick  so  as  to  melt  the  gelatine,  then, 
when  re-set,  exposed  and  developed.  He  thought  then  they  would 
have  disappeared. 

A discussion  was  then  commenced  in  reference  to  an  assertion 
made  at  the  last  meeting  by  Mr.  Henderson,  that  the  density  of 
a gelatine  negative  was  increased  after  it  had  been  flooded  by 
alcohol. 

Mr.  Haddon  showed  a plate  which,  not  being  quite  dry  in 
one  part,  was  flooded  with  alcohol,  and  in  that  part  which  was 
wet  there  was  a decided  increase  in  density.  He  suggested  that 
if  the  negative  was  wetted,  and  allowed  to  dry,  the  density  would 
again  be  uniform. 

Mr.  Debenham  suggested  that  the  density,  instead|of  being  in- 
creased in  the  wet  portions,  was  decreased  in  the  dry  parts. 

Mr.  Henderson  had  prepared  an  emulsion  as  follows  : — 

Gelatine 30  grains 

Bromide  potassium  30  grains 

Water  ...  10  ounces 

Ammonia ...  ...  about  2 drops 

He  dissolved  the  gelatine  and  silver  in  ten  ounces  of  water,  then 
added  two  ounces  of  gelatine,  and  on  removing  the  ttirring-rod 
after  a little  time,  found  it  was  slightly  opalescent.  He  then 
added  2 drachms  ammonia,  and  1 4 ounces  ammonia,  and  allowed 
it  to  set  in  ice  ; he  then  broke  it  up  with  1 4 ounces  gelatine, 
washed,  melted,  and  measured  up  to  8 ounces.  With  this  he 
coated  plates  rather  thickly,  and  exposed  with  a 2B  lens,  No.  2 
stop,  five  seconds  ; under  same  conditions  with  collodion,  he 
would  have  allowed  twenty  seconds. 


3LaIk  in  Sto&w. 

j Pure  Filter  Paper. — Some  weeks  ago  we  called  attention  to 
a very  pure  filter  paper  which  Messrs.  Morgan  and  Co.,  of 
Cannon  Street,  had  submitted  to  us,  specially  prepared  for 
chemical  and  photographic  use.  Since  then,  the  same  firm  has 
forwarded  us  other  samples  of  the  same  material,  but  of  varying 
thicknesses,  destined  either  for  blotting  or  filtering.  We  have 
lately  used  the  material  for  soft  padding  in  the  packing  of  plates 
for  travelling,  its  freedom  from  acid  and  hyposulphite  of  soda 
being  a strong  recommendation  to  its  employment  for  the 
purpose. 

Photographic  Society  of  Great  Britain. — The  next 
monthly  technical  meeting  of  this  Society  will  be  held  on 
Tuesday  next,  August  28th,  at  eight  o’ clock, at  oA,  Pall  Mall  East. 

Electrical  Exhibition  in  Vienna. — To-morrow  Sir  William 
Siemens  will  deliver  a lecture,  and  has  addresssei  a letter 
to  the  Electrical  Society  in  London,  informing  it  that  the 
importance  of  the  Vienna  Exhibition  has  been  underrated 
in  England,  and  that  exhibits  should  be  sent  even  now,  as 
they  might  be  of  great  use.  On  Tuesday  night  the  great  light 
on  the  lantern  of  the  Rotunda  was  visible  for  many  miles  around. 


The  light  penetrates  through  the  glass  roof,  producing  a magic 
effect  outside,  which  attracts  crowds  in  front  of  the  entrance 
gate. 

Cholera  and  Heliography.  — The  Daily  News  correspondent 
at  Cairo  reports  that  heliographic  communication  has  been 
established  between  head-quarters  and  the  hospital  at  Mokattam. 

New  Paper-making  Substance. — The  great  and  growing 
increase  in  the  consumption  of  paper  naturally  calls  attention  to 
substances  suitable  to  the  paper  manufacturer.  Already  the 
alfa  and  the  ramie  have  been  pressed  into  his  service  ; and  the 
same  country  which  produces  these — viz.,  Algeria — also  affords 
another  plant,  the  dwarf  palm,  the  fibrous  properties  of  which 
have  long  been  known  to  the  Arabs,  while  they  have  been  unable 
to  turn  them  to  account.  A Frenchman,  M.  Reynaud,  has  found 
means  for  utilising  the  whole  plant,  except  the  roots,  which  serve 
for  firing.  Every  part,  from  the  stalk  to  the  topmost  leaves,  is 
transformed  into  fibre  of  excellent  quality,  and  it  makes  no 
difference  if  the  plants  have  been  pulled  up  several  years 
previously.  The  plants  are  placed  in  a kind  of  cage,  which  is 
immersed  in  a boiler  filled  with  a special  lye,  and  heated.  The 
substance  being  thus  retted,  becomes  soft,  so  that  the  fibre  may 
be  readily  separated.  It  is  withdrawn  from  the  bath,  and 
drained,  the  lye  being  saved  for  use  over  again.  It  is  then  passed 
between  rollers,  while  at  the  same  time  being  made  cold  by 
quantities  of  water.  The  number  of  rollings,  rinsings,  and 
combings  depend  upon  the  degree  of  fineness  required.  The 
product  is  allowed  to  fall  into  a receptacle  containing  pure 
water,  whence  it  is  withdrawn  to  be  tied  up  in  bundles  for 
transport. 

Photographic  Club. — At  the  next  meeting,  on  August  29th, 
the  subject  for  discussion  will  be,  “ Defects  in  Gelatine  Plates, 
especially  of  Surface  Markings.” 


fflo  Gomwonlten t*. 

L.  W.  R. — 1.  We  suppose  that  it  is  due  to  the  lowness  of  the  tem- 
perature ; but  the  information  you  give  is  not  sufficient  to  enable 
us  to  speak  confidently.  2.  A small  proportion  of  carbolic  acid 
should  be  added,  say  one  drop  to  each  ounce.  3.  It  is  a very 
good  plan,  but  in  ordinary  cases  it  is  not  worth  while  to  expend 
so  much  time  and  material  upon  it.  4.  A,  90  grains;  B,  180 
grains.  5.  Ten  ounces  is  very  near  the  mark,  but  no  experi- 
mental data  exist  for  calculating  it  out  with  exactness.  The  pro- 
portions to  which  you  refer  are  those  which  we  should  recommend 
for  ordinary  use. 

J.  Harvey. — Use  the  gum  rather  stiff,  and  add  a little  ox-gall. 

A.  D. — We  imagine  that  the  official  list  is  correct,  but  you  had 
better  write  to  the  secretary. 

J.  ParIbH. — We  have  seen  such  an  objective  with  an  extra  positive 
lens  for  shortening  the  focus,  and  a negative  lens  for  lengthening 
it.  If  yours  is  of  the  same  character,  that  marked  “ Larger” 
should  be  the  negative  lens,  and  that  marked  “ Shorter  ” the 
positive  lens.  It  is  not  likely  that  there  is  any  provision  for 
using  the  objective  with  both  the  extra  glasses  at  the  same  time, 
as  it  is  difficult  to  see  any  reason  for  so  doing. 

Photo  Artist. — The  best  method  of  obtaining  them  will  be  to 
take  them  yourselves,  as  those  having  good  work  of  this  kind  do 
not  usually  allow  others  to  obtain  the  credit  of  having  done  it. 

G.  W.  K. — We  do  not  at  present  know  of  a suitable  person,  but 
think  that  you  might  hear  of  someone  if  you  were  to  advertise. 

Charles  Auty. — Le  Moniteur  de  la  Photographie,  published  at 
15,  Quai  Voltaire,  Paris. 

M.  G.  M. — 1.  A mixture  of  whiting  and  raw  sienna  will  be  found 
to  answer  very  well. 

H.  G.  Pike. — Thank  you  for  the  photograph. 

D.  Macfarlane. — Probably  from  accidental  contact  with  hypo 
after  washing. 

J.  W. — 1.  They  can  be  obtained  through  any  dealer  in  optical 
goods.  2.  From  Barnaid,  artists’  colourman,  Oxford  Street. 
3.  Itwill  answer  very  well,  as  regards  illumination  and  definition, 
but  distorts  marginal  lines  to  an  appreciable  extent. 

Herbert  and  Dubbin. — We  will  endeavour  to  put  it  in  the 
proper  channel. 

W.  II.  Mason. — The  last  day  for  sending  contributions  to  the 
forthcoming  exhibition  of  the  London  Society  is  the  28lh  of  next 
month. 

W.  G.  H.  Spray'. — We  have  no  means  of  obtaining  the  photo- 
graph, aod  have  returned  your  stamps. 

J.  D.  V. — If  it  was  registered  (which  you  can  ascertain  at 
Stalioner»’  Hall  on  payment  of  a fee  of  one  shilling),  and  you 
took  the  picture  on  your  own  account,  you  are  probably  well 
protected. 

%*  Several  answers  must  stand  over. 


THE 


HEWS, 


CONTENTS. 


Statue  to  Daguerre 545 

Mixing  the  Alum  and  Hypo.  Baths 545 

Mounting  Prints 546 

The  Tourist  Photographer  646 

Sitting  for  a Photograph 547 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

■Waterhouse,  B.S.C 548 

Selling  and  Buying  Photographic  Businesses.  BvC.B.  Barnes  55(1 

Echoes  from  the  Orient.  By  Edward  L.  Wilson 551 

Photo-Zincography  at  the  French  Department  of  Works 551 

Notes 552 


PAOF 


Patent  Intelligence  

Comparative  Emulsion  Experiments.  By  J.  Vincent  Elsden, 

B.Sc.  (Lond.).  F.C.S 

Photography  on  the  Rhine 

A Dictionary  of  Photography  

Solid  and  Liquid  Illuminating  Agents.  By  L.  Field,  F.C.S. 

Correspondence  

Proceedings  of  Societies  

Talk  in  the  Studio 

To  Correspondents 

Photographs  Registered  


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STATUE  TO  DAGUERRE. 

In  the  oppressive  heat  of  a sultry  suu,  the  monument  to  the 
memory  of  the  best  known  of  the  inventors  of  photography 
was  inaugurated  on  Sunday  last  at  Cormeilles-en-Parisis. 
The  natal  village  of  Daguerre  for  some  day3  past  had 
lived  a life  of  excitement,  and  the  principal  street  was 
ornamented  with  Venetian  masts  and  gay  flags  to  com- 
memorate the  work  of  one  who  has  made  the  little  place 
famous. 

The  official  train  from  Paris  was  timed  to  start  at  five 
minutes  past  noon,  so  as  to  bring  down  visitors  to  Cor- 
meilles  in  plenty  of  time  for  the  inauguration,  which  was 
fixed  for  2 p.m. ; but  many  ladies  and  gentlemen  drove 
over  from  the  metropolis.  M.  Letellier,  the  president  of 
the  “ Societe  Fraut^aise  des  Archives  Photographiques,  ’ 
was  the  executive  officer  in  command,  and  among  those 
who  assisted  at  the  demonstration  were  M.  Hemant,  of 
the  Ministry  of  Fine  Arts  ; Baron  Cottu,  the  Prefect  of 
the  department;  the  civil  authorities  of  Corraeilles,  together 
with  most  of  the  leading  photographers  of  Paris. 

The  statue,  raised  by  voluntary  contributions  collected 
from  all  parts  of  the  world,  was  erected  on  a small  open 
space  opposite  the  house  where  Daguerre  was  born, 
which  little  spot,  in  his  honour,  has  now  been  called  the 
Place  Daguerre.  The  memorial  consists  of  a pedestal  some 
six  or  seven  feet  in  height,  surmounted  by  a bust  in  bronze, 
the  work  of  the  well-known  sculptor  Capellaro ; it  has 
been  exhibited  during  the  season  at  the  Salon,  and  has 
frequently  been  commended  as  an  excellent  work  of  art. 
On  the  pedestal  were  the  dates  1789  — the  year  of 
Daguerre’s  birth — and  1883. 

The  ceremony  of  unveiling  was  a very  short  one.  The 
visitors  were  received  about  half-past  one  by  the  municipal 
officers  of  Corneilles,  and,  preceded  by  the  Orpheonists 
of  Franconville,  marched  to  the  Mairie,  or  townhall,  where 
a v in  d'honneur  was  offered  by  the  town.  Thence  the  pro- 
cession made  its  way  to  the  Place  Daguerre,  where  the 
Orpheonists  commenced  proceedings  by  chanting  a cantata 
of  M.  Louis  Lebey.  M.  Letellier  then  unveiled  the  bust, 
making  a speech  in  honour  of  Daguerre  and  his  work, 
which  was  frequently  interrupted  and  applauded  by  the 
large  gathering  around. 

Other  official  speeches  followed,  but  the  heat  of  the  day 
somewhat  interfered  with  the  progress  of  events,  for 
many  of  the  visitors,  unable  longer  to  stand  the  glare  and 
oppression  of  the  sun — which  was  there  in  full  force  to  do 
honour  to  the  invention  of  “ sun-drawing  ” — moved  away 
to  the  hospitable  refreshment  shelters,  to  slake  their  thirst 
and  enjoy  the  welcome  shade. 

A banquet  followed  the  ceremony  at  six  o’clock,  after 
the  drawing  of  a tombola  and  the  distribution  of  com- 
memorative medals  to  the  orpheonists  and  other  visitors 
of  the  spectacle.  Altogether  the  affair  proved  very  suc- 


cessful, albeit,  at  one  time,  a discordant  element  seemed 
to  threaten  the  harmony  of  the  proceedings  ; this  was  no 
less  than  the  publication,  by  a grandson  of  Niepce,  of  the 
old  agreement  entered  into  between  Niepce  and  Daguerre 
on  the  subject  of  their  work,  and  with  which  our  readers 
are  already  familiar.  In  this  partnership  arrangement  the 
process  of  photography  is  alluded  to  as  “ invented  by 
Niepce,  and  improved  by  Daguerre,”  and  this  statement  is 
brought  forward  to  prove  that  to  the  former,  and  not  to 
the  latter,  is  honour  due.  No  one  more  than  ourselves 
would  be  ready  to  acknowledge  the  great  work  of  Nice- 
phore  Niepce  ; but,  for  all  that,  Cormeilles  has  reason  to 
be  proud  of  its  statue  to  Daguerre,  who  is  certainly  entitled 
to  rank  as  one  of  the  greatest  pioneers  in  photography. 


MIXING  THE  ALUM  AND  HYPO  BATHS. 

One  of  the  many  things  that  perplexes  the  photographer  is 
the  number  of  contradictory  practices  adopted  by  different 
members  of  the  profession.  Let  us  take  a notable  example. 
One  man  is  in  the  habit  of  placing  his  negatives,  after 
washing,  into  the  alum  bath  for  the  purpose  of  destroying 
the  last  trace  of  hypo  ; his  neighbour  places  the  plate,  after 
development  and  rinsing,  into  a mixture  of  alum  and  hypo, 
to  perform  the  processes  of  hardening  and  fixing  at  one 
operation.  Now  so  directly  contradictory  are  these  two 
practices,  that  the  photographer  is  puzzled.  A few  weeks 
back  we  gave  a short  article,  speaking  favourably  of  the 
fixing  bath  containing  hypo.  Subsequent  experiments, 
carried  out,  moreover,  during  the  recent  hot  weather,  have 
led  us  to  somewhat  modify  the  opinion  we  then  expressed. 
The  number  of  photographers  who  mix  the  alum  and  hypo, 
baths  together  is  comparatively  few  ; but  the  manner  in 
which  the  question  crops  up  now  and  again  would  tend  to 
show  that  the  practice  deserves  attention.  It  may  not 
be  out  of  place,  therefore,  to  bring  up  the  subject  again, 
and  in  so  doing  to  draw  our  readers’  attention  to  a few 
simple  experiments. 

Take  two  glass  vessels ; into  one  of  them  pour  saturated 
solutions  of  alum  and  hypo.,  the  alum  solution  being  in 
excess ; into  the  other  vessel  pour  the  two  solutions  as 
before,  but  let  the  hypo  be  in  excess.  Now  watch  the 
result— no  change  takes  place  at  once,  but  if  the  solution 
is  at  all  warm,  very  speedily  both  solutions  begin  to  get 
milky,  and  this  milkiness  gradually  increases ; further, 
if  the  vessels  be  brought  near  the  nose,  a faint  sul- 
phurous smell  is  distinctly  perceptible. 

Now  take  a gelatino-bromide  plate  that  has  been  evenly 
coated,  cut  it  into  three  pieces,  and,  to  make  the  result  still 
more  conclusive,  soak  all  three  pieces  in  water  for  five 
minutes  or  more  ; soak  one  piece  in  alum  solution  for 
about  a minute,  and  well  wash  under  the  tap.  Place  this 
piece  and  one  of  tho  other  pieces  in  fresh  hypo,  solution  ; 


546 


THE  PHOTOGRAPHIC  NEWS. 


[August  31,  1883. 


at  the  same  time  place  the  third  piece  in  a fresh  mixture 
of  alum  and  hypo.  It  will  be  found  that  that  piece  which 
was  put  into  the  hypo,  direct  fixes  first ; that  which  was 
first  soaked  in  alum  comes  next ; but  the  piece  placed  in 
the  mixed  solutions  takes  much  longer  than  the  other  two. 
Wash  all  three  pieces,  and  place  against  black  cloth  or 
paper.  The  second  piece  may  be  more  or  less  milky  in 
appearance,  according  to  the  amount  of  washing  it  received 
after  it  had  been  in  the  alum,  but  the  third  is  undoubtedly 
turbid.  This  turbidity  is  not  so  noticeable  on  drying,  nor 
need  we  lay  much  stress  upon  it,  even  if  the  cause  of  it 
were  the  precipitation  of  sulphur  in  the  film,  as  the  sulphur 
would  not  do  the  same  mischief  to  a negative  that  it  does 
to  a silver  print.  The  main  point  to  which  we  desire  to 
draw  attention  is  the  difference  in  the  length  of  time — a 
difference  which,  as  we  shall  presently  show,  can  be  very 
readily  explained. 

As  we  pointed  out,  this  precipitate  may  be  filtered  off, 
but  this  operation  entails  a great  deal  of  trouble,  and  the 
filter  paper  used  must  be  of  the  very  best ; in  fact,  this 
experiment  is  a very  good  test  for  the  quality  of  a filter 
paper.  We  would  recommend  our  readers  to  try  this  for 
once  by  way  of  experiment  ; but  filtering  a solution  to 
free  it  from  sulphur  in  daily  practice  may  be  objected 
to ; and  we  purposely  avoid,  if  we  can,  all  chemical 
reactions  in  which  sulphur  is  precipitated.  We  will 
assume,  therefore,  that  our  readers,  after  passing  the  mixed 
solutions  through  filter  papers  innumerable,  have  at  last 
succeeded  in  getting  a clear  filtrate.  You  lay  it  aside,  but 
only  to  find  soon  after  that  it  is  again  getting  turbid. 
But  this  is  not  likely  to  be  very  apparent  unless  the 
weather  is  warm.  The  following  experiments  will  give 
some  idea  of  what  takes  place. 

Into  a test-tube  pour  portions  of  the  solutions  of  alum 
and  hypo,  and  heat  over  a Bunsen  or  spirit  lamp  ; it  is  of 
no  consequence  which  re  agent  is  in  excess.  The  warmer 
the  liquid  gets,  the  more  turbid  it  becomes,  until,  by  the 
time  it  has  reached  boiling  point,  there  is  a large  quantity 
of  precipitate,  and  a suffocating  gas — sulphurous  acid — 
is  coming  off  in  appreciable  volume.  This  reaction 
between  hyposulphite  of  soda  and  salts  of  alumina  is  well 
known  to  chemists,  and  is  usually  expressed  by  the  follow- 
ing formula,  leaving  out  sulphate  of  potash  or  ammonia 
(the  other  constituent  of  alum)  as  not  being  essential. 

3NasS;03  -f  Al^SOj),  =AL03  + S3  -f  3S08  + 3Na2S04 

Hyposulphite  Sulphate  of  4 , Sulphurous  Sulphate 

of  soda.  aluminium.  Alumma'  Sulphur.  ailhPydrlde  of‘oda. 


What  takes  place  in  the  cold,  therefore,  is  exactly  the  same 
reaction,  only  it  takes  place  much  more  slowly. 

We  have,  then,  pretty  direct  evidence,  that  when  solu- 
tions of  alum  and  hyposulphite  of  soda  are  brought  into  contact, 
mutual  decomposition  takes  place.  To  say  the  least  of  it, 
therefore,  we  are  to  some  extent  weakening  the  ae-agents 
at  our  disposal.  We  run  the  danger  of  introducing 
alumina  and  sulphur  into  our  films,  and  sulphurous  acid 
into  the  atmosphere.  But  this  is  not  all.  By  the  mere 
action  of  mixing  the  two  solutions  we  weaken  both,  for 
each  is  diluted  in  proportion  to  the  quantity  of  the 
other  that  has  been  added  to  it.  This  will  in  itself 
account  for  the  greater  length  of  time  the  plate  takes 
to  fix.  Looking  at  the  subject  from  all  points,  there- 
fore, little  or  nothing  is  really  gained  by  mixing  the  re- 
agents, or  time  being  saved,  less  economy  found,  and 
objectionable  substances  being  brought  into  play  ; 
whether  any  trouble  is  really  saved  we  must  leave  our 
readers  to  judge.  On  this  point  we  may  give  the  method 
the  benefit  of  the  doubt ; but  even  then  we  have  still  to 
answer  the  question— Is  the  game  worth  the  shot  ? 


MOUNTING  PRINTS. 

Until  improvements  in  photo-mechanical  printing 
methods  enable  us  to  economically  and  conveniently  im- 
press the  photographic  image  directly  upon  cardboard,  the 


work  of  mounting  prints  will  form  a considerable  item  in 
the  labour  account  of  the  photographer  ; as  the  public  look 
with  but  little  favour  upon  an  unmouuted  picture,  the 
number  sold  is  comparatively  small. 

A mounted  photograph  is  seldom  so  flat  and  even  as 
the  original  card,  because  the  albumcnised  paper,  expanded 
by  the  moisture  of  the  adhesive  material  used,  contracts 
in  drying,  and  distorts  the  card  mount  ; this  distortion 
being  generally  so  considerable,  that  in  the  case  of  a print 
mounted  upon  a large  card,  a decided  concavity  of  the 
picture  results,  while  a small  card  nearly  covered  by  the 
photograph  is  generally  drawn  either  into  a gutter  or  a 
bow-like  form. 

These  disadvantages  can  be  readily  overcome  by  adopt- 
ing the  simple  and  easy  expedient  of  gumming  the  prints, 
allowing  them  to  dry,  and  then  causing  them  to  adhere  to 
slightly  damped  mounts  by  the  application  of  considerable 
pressure. 

The  work  of  gumming  the  back  of  the  photographs  can 
be  very  quickly  performed  if  abroad  brush  is  used,  but  as 
the  gumming  of  paper  is  now  a distinct  trade  in  London, 
it  is  more  advantageous  to  send  them  to  be  gummed,  more 
especially  when  the  sheets  are  printed  upon  whole.  A 
ream  of  paper,  the  same  size  as  the  ordinary  sheets  used 
for  photographic  purposes  (17$  by  21$),  can  be  gummed 
in  London  for  about  10s.,  t£is  sum  including  the  gum. 
The  gummed  pictures  are  next  trimmed  in  the  usual  way, 
when  all  is  ready  for  the  work  of  mounting. 

A card  is  very  slightly  damped  on  the  face  with  a sponge, 
the  gummed  photograph  is  placed  in  position,  and  the 
whole  is  quickly  run  through  a lithographic  or  a roller- 
press.  Far  less  moisture  is  required  than  might  be  sup- 
posed, as  the  pressure  brings  to  the  surface  tbat  water 
which  has  soaked  into  the  card,  and  the  mounted  photo- 
graph, when  taken  from  the  press,  is,  to  all  appearance,  as 
dry  as  if  it  had  not  been  damped  at  all ; and,  what  is  more 
important,  it  has  no  tendency  to  curl. 

A smooth  lithographic  stone  forms  the  best  basis  upon 
which  to  lay  the  print  when  the  pressure  is  applied,  and  a 
sheet  of  smooth  card  or  glaze-board  should  be  laid  over 
the  picture  before  the  leather  tympan  is  closed  down  upon 
it.  Assuming  the  pictures  to  be  already  gummed,  about 
four  hundred  per  hour  can  be  mounted  by  this  method, 
and  it  must  be  remembered  that  the  effect  of  the  pressure 
is  almost  equivalent  to  rolling. 

The  method  to  which  we  now  refer  has  long  been  in  use 
by  collotype  printers,  in  this  country  and  abroad,  for 
mounting  their  pictures,  and  we  know  of  several  instances 
in  which  it  has  been  introduced  with  advantage  in  portrait 
studios.  A small  lithographic  or  autographic  press,  suit- 
able for  work  up  to  about  12  by  10,  can  be  obtained  for  a 
very  moderate  sum. 


THE  TOURI6T  PHOTOGRAPHER. 

In  the  Engadine— IF. 

One  of  the  most  charming  features  of  the  Engadine  is  the 
chain  of  lakelets  that  occupy  the  basin  of  the  upper  valley. 
These  are  not  to  be  seen  from  Pontresina,  but  still  they 
are  ouly  a two  hours’  walk  from  that  village.  These  waters 
are  of  singular  beauty.  They  are  placid,  green-bordered 
lakes,  the  water  so  clear  and  translucent  that  the  shining 
pebbles  of  red  and  yellow  at  the  margin  seem  like  bright 
mosaic  work  ; at  first  sight  they  resemble  the  ornamental 
waters  of  a park,  so  lawn-like  is  the  green  grass,  and  so 
dainty  and  elegant  in  shape  are  the  clear  little  basins  after 
the  rugged  mountain  side  and  monster  peaks  to  which  the 
eye  has  grown  accustomed.  The  most  refined  of  these 
pretty  waters — a fitting  abode  for  a lady  of  the  lake — is 
that  at  Silvaplana,  that  greets  the  traveller  on  his  ascent 
of  the  steep  Maloja  pass,  when,  after  an  arduous  hour  or 
two  of  climbing,  he  suddenly  reaches  the  garden-like  plain 
of  the  Engadine,  aud  gets  his  first  glimpse  of  the  fairy 
waters.  It  is  very  like  climbing  Jack’s  beanstalk  and 


August  31,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


547 


coming  into  a new  and  beautiful  world,  the  ascending  of 
the  Maloja ; and  all  who  can  make  their  choice  about 
entering  this  lovely  district  would  do  well  to  elect  this 
route. 

What  a pity  these  silvery  lakes  are  so  difficult  to  render 
in  photography  ! In  nine  cases  out  of  ten,  a sheet  of  white 
is  all  that  your  plate  reproduces  of  the  fair  scene.  Some- 
times a quiet  backwater  may  be  chosen  where  the  shining 
pebbles  seen  through  the  transparent  water,  aud  grass 
blades  rising  in  groups  above  the  mirror-like  surface,  form 
a passable  foreground  ; but  even  in  this  case,  the  landscape 
is  disposed  to  be  flat,  if  the  mountains  or  hills  are  at  a 
distance.  Again,  in  lake  photography,  very  much  depends 
upon  the  nature  of  the  stand  you  use.  Most  stauds  are 
not  sufficiently  high,  and  when  you  have  chosen  your  view, 
you  find  on  lowering  the  eyes  to  the  level  of  the  camera, 
all  the  beauty  of  the  scene  has  vanished.  It  is  astonishing, 
indeed,  what  a difference  a few  inches  make  in  the  matter. 
We  have  frequently  selected  a point  of  view  in  walking,  and 
when  it  comes  to  arranging  the  camera,  from  the  fact  that 
this  is  some  twelve  inches  lower  than  the  eye,  have  been 
obliged  to  abandon  the  subject  altogether,  because  under 
the  circumstances  a favourable  view  was  impossible. 

There  is  a good  hotel  at  Silvaplana,  while  at  St.  Moritz, 
three  or  four  first-class  hostelries  are  to  be  found.  Many 
visitors  winter  in  the  Engadinc,  making  St.  Moritz  their 
head-quarters ; and  the  lakes  which  freeze  early  in  the 
season  afford  capital  opportunities  for  skating  and  sleighing. 
There  is  quite  an  English  colony  every  year,  and  the  air  is 
so  dry  and  the  climate  so  uniform  that  consumptive  patients 
are  frequently  tempted  to  try  it  as  a winter  abode. 

This  portion  of  the  valley,  too,  the  Sils  and  Silvaplana 
district,  as  also  that  portion  below  the  Maloja  pass,  has 
another  interest.  The  fine  chalets  and  dwellings  to  be 
seen  hereabouts  are  for  the  most  part  the  property  of  rich 
families  who  have  made  their  money  abroad,  and  princi- 
pally in  England.  The  Italian  and  Italian-Swiss  waiters, 
restaurant  keepers,  and  hotel  proprietors  to  be  met  with 
far  from  their  own  land,  come  from  this  district.  The 
family  of  Gatti,  well  known  in  London  as  the  proprietors 
of  the  Adelaide  Gallery,  the  Adelphi  Theatre,  &c.,  may  be 
cited  as  an  example  of  what  we  mean  ; and  when  these 
hardworking  business-like  people  have  made  a fortune, 
they  generally  go  back  to  their  native  place  to  enjoy  it. 
The  consequence  is  the  district,  besides  its  natural  charms, 
is  thriving  and  well-to-do,  and  has  all  the  appearance  of 
smiling  prosperity. 

Celerina,  with  its  elegant  church  of  white  stone  nestling 
in  a casket  of  green  foliage,  makes  a charming  little  photo- 
graph, and  the  same  may  be  said  of  Samaden  village. 
This  latter  lies  rather  low  in  the  marsh  land,  so  that  as  a 
stopping  place  it  is  not  to  be  commended  ; still  there  is  at 
least  one  good  hotel  in  the  village  at  which  you  may  be 
made  comfortable. 

We  have  already  spoken  of  the  Morteratsch  glacier. 
Another  not  less  delightful  glacier  is  the  Roseg,  which 
appears  but  a quarter  of  an  hour’s  stroll  from  the  Hotel 
lloseg  at  Pontresina,  the  ice-crystals  sweeping  down  into 
the  dark  pine  wood  that  fronts  this  comfortable  hostelry. 
But  let  not  the  tourist  photographer  be  deceived,  as  we 
were  ourselves  on  the  occasion  of  our  first  visit.  It  is  a 
two  hours’  walk  before  you  can  set  foot  on  one  of  the  ice- 
blocks,  and  all  the  way  the  distance  is  so  deceptive  that 
it  seems  as  if  every  turn  in  the  path  will  bring  you  in  front 
of  the  crystalline  mass.  The  glacier  is  well  worth  a visit, 
and  if  you  take  the  camera  with  you,  you  can  use  it  with 
advantage.  Sometimes  a grand  cloud  mass  i3  to  be  seen 
rolling  over  these  glaciers,  that  makes  a capital  picture ; 
and  by  way  of  foreground,  a pile  of  ice-blocks  is  sure  to  be 
found,  their  semi-transparent  character  adding  a character- 
istic beauty  to  the  subject.  Some  time  ago  Mr.  England, 
who  has,  perhaps,  more  experience  of  Alpine  photography 
than  mo3t  of  us,  called  attention  to  the  fact  that  the 
camera  tripod  is  apt  to  yield  during  the  period  of  expo- 


sure, from  ice  melting  under  its  feet  ; and  since  this 
rendered  the  image  unsharp,  he  advocated  putting  pebbles 
under  each  leg.  With  gelatine  plates,  and  brief  exposures, 
this  piece  of  forethought  is  not  so  necessary ; still,  the 
dodge  is  well  worth  bearing  in  mind  whenever  you  carry 
the  camera  upon  a glacier. 

Another  hint  we  may  give  is  for  the  photographer  to 
take  a pair  of  blue  spectacles  with  him,  if  he  is  going  on 
the  ice  or  snow.  A few  minutes  surrounded  by  the  glow- 
ing white  ground  may  not  inconvenience  the  eyes;  but 
after  this,  it  is  almost  impossible  to  trust  them,  if  the  sun 
is  shining.  When  you  take  your  eyes  from  the  focussing 
screen  and  gaze  about  you,  it  is  impossible  to  say  for  the 
moment  whether  the  sky  is  black  or  blue,  whether  the  sun 
is  shining,  or  whether  you  are  in  an  azure  mist.  In  these 
circumstances,  obviously,  it  is  no  use  trying  to  time  an 
exposure  from  a glance  at  the  surroundings ; your  optical 
senses  are  simply  not  to  be  trusted. 

Figures  upon  the  ice  are  nearly  always  a failure.  In 
development  you  endeavour,  of  course,  to  retain  the  deli- 
cate transparence  of  the  ice-blocks,  the  crust  of  white 
crystalline  snow  deposited  upon  the  frozen  masses  ; and  in 
preserving  these  characteristics  of  the  scene,  your  figures 
go  by  the  board.  In  most  cases,  the  result  is  a couple  of 
chimney  sweeps  where  your  friend  and  the  guide  have 
been,  aud  they  stand  against  the  frozen  scene  like  black 
paper  silhouhettes,  cut  out  sharply  with  a pair  of  scissors. 
A better  result  is  obtained  by  capping  your  lens  when  half 
exposed,  and  allowing  your  models  to  take  up  a position 
then,  when  the  plate  is  further  exposed  ; but  in  that  case, 
as  we  have  found  to  our  cost,  the  figures  are  not  less  un- 
canny, for  they  are  frequently  unsubstantial  personages, 
with  the  angle  of  an  ice-block  showing  through  the  body. 

You  may  walk  to  the  Bernina  hospice  on  the  top  of  the 
Bernina  Pass,  and  pay  a visit  to  Italy  by  making  a day’s 
excursion  from  Pontresina.  The  road  is  a good  one,  and 
passes  the  wildest  of  mountain  scenery,  with  glimpses  of 
fine  snow  peaks  close  at  hand.  A photograph  of  the 
winding  road  near  the  top  of  the  pass,  with  just  a forlorn 
bush  here  and  there  to  mark  its  loneliness,  and  big  weird 
boulders  covered  with  yellow  lichen  to  tell  of  the  cold  in- 
hospitable climate,  affords  a lively  reminiscence  of  this 
part  of  the  world,  where  desolation  reigns  supreme.  We 
climbed  this  road,  we  remember,  with  two  ladies,  who  were 
anxious  to  get  a glimpse  of  Italy,  and  had  heard  our 
remark  at  the  table  d’hote  that  you  could  walk  there  and 
back  in  a day  from  Pontresina.  We  passed  the  Bernina 
after  a fatiguing  march,  and  descended  the  wild  and  weird 
region  of  rock  and  boulder,  scrub  and  lichen,  that  succeeds 
the  pass. 

“There,  that  is  Italy!”  we  said,  pointing  afar  to  the 
boundary  stone. 

No  sunny  vineyards,  no  olive  groves,  no  blue  lakes,  no 
fragrant  blossoms  — only  the  same  bare  mountain  side, 
the  same  half-starved  tree  trunks  crippled  by  the  cold 
blast,  the  same  marshy  ground  and  grey  boulders.  Our 
lady  friends,  we  recollect,  were  much  disappointed  at  this, 
their  first  visit,  to  Italy,  and  we  set  down  their  experi- 
ence here  as  a warning  to  those  who  may  imagine  that  they 
have  only  to  climb  the  Bernina  to  reach  the  sunny  south. 


SITTING  FOR  A PHOTOGRAPH. 

W nEN  photography  was  young,  and  the  mind  of  man  not 
intimate  as  it  now  is  with  that  beautiful  art,  the  great  difficulty 
of  the  photographer  was  to  persuade  clients  that  the  process  bore 
no  resemblance  to  the  operation  of  having  a tooth  drawn.  One 
may  conceive  that  it  took  some  trouble  to  undeceive  people  in 
that  respect.  The  camera  became  au  alarming  object  when  the 
artist  threw  a black  cloth  over  his  head  and  converted  himself, 
as  it  were,  into  one  large  glass  eye.  The  patient  was  told  not  to 
move — a terrifying  injunction.  He  was  earnestly  entreated  not 
to  wink,  and  the  result  was  the  tears  instantly  flowed  into  his 
eyes  until  the  ciaving  for  winking  became  a madness.  His  head 
was  fixed  in  an  engine  designed  to  steady  it,  but  which  in  reality 


548 


THE  PHOTOGRAPHIC  NEWS. 


[August  31,  1883, 


appeared  as  if  it  was  meant  to  crush  it,  and  in  this  posture  he 
was  told  to  look  happy,  and  to  think  of  something  agreeable, 
whilst  the  operator  watched  him  with  his  hand  on  the  cap  over 
the  lens  waiting  for  the  happy  expression  to  come  into  his  face. 
It  was  hardly  surprising  that  the  usual  consequence  of  a sitting 
of  this  description  was  a likeness  the  predominant  characteristic 
of  which  was  that  of  acute  mental  suffering  and  considerable 
physical  anguish.  The  wonderful  progress  which  has  been  made 
in  photography  of  late  years  has  made  the  old  protracted  sitting 
no  longer  necessary  ; and  no  artist  now-a-days  objects  to  your 
winking.  But,  to  judge  from  the  cartes-de-visite  which  fill  the 
albums  of  one's  friends,  it  does  not  seem  that  the  public  as  sitters 
have  at  all  kept  abreast  of  the  photographers  as  artists. 

You  are  constantly  coming  across  the  most  extraordinary 
poses,  the  most  astonishing  expressions  of  countenance,  the 
most  melancholy  groupings.  It  is  not  the  fault  of  the  photo- 
graphers ; the  sitters  will  have  it  so,  and  object  to  artistic 
arrangements.  A fond  couple,  for  instance,  imagine  that  a most 
picturesque  and  pleasing  effect  may  be  produced  by  Matilda 
sitting  on  a chair  looking  up  at  Henry,  who  leans  poetically  over 
her.  In  real  life  nothing  could  be  more  idyllic  than  such  an 
attitude ; but  in  real  life  a particular  subjection  of  light  will  not 
make  Matilda  look  like  a West  Indian  Degress,  nor  will  Henry’s 
bowed  head  lead  one  to  suppose  that  it  is  possible  for  a man’s 
face  to  consist  entirely  of  the  parting  of  his  hair. 

One  young  lady,  in  the  resolution  to  look  uncommonly 
pleasing,  comes  out  as  though  she  had  been  just  about  to  sneeze 
when  her  likeness  was  taken.  An  elderly  lady  of  large 
proportions,  quite  ignorant  of  the  law  of  photographic 
perspective,  insists  upon  sitting  “ so,”  and  is  represented  like  an 
elephant  in  a gown.  People  with  turn-up  noses,  with  very  long 
noses,  with  no  noses  to  speak  of,  delight  in  sitting  en  profile.  On 
the  other  hand,  people  decorated  with  four  or  five  chins,  and 
a corresponding  amplitude  of  cheek,  love  to  present  their  full 
faces.  A short  man  insists  upon  being  taken  standing.  A tall 
man  will  cross  his  legs,  desiring  to  appear  in  an  easy  attitude, 
and  by  projecting  his  boot  into  the  sphere  of  the  lens  is  depicted 
as  the  possessor  of  a foot  that  should  make  his  fortune  in 
a travelling  booth. 

There  can  be  no  doubt  that  actors  and  actresses  make  the 
best  photgraphs.  The  habit  of  assumption  sits  lightly  on  them, 
and  they  have  the  art  of  smiling  and  posing  so  as  to  make  the 
smile  look  genuine  and  the  pose  natural.  Moreover,  and  this  refers 
exclusively  to  actresses,  they  know  how  to  dress.  Dress  is  not 
everything  in  a photograph,  but  it  is  a very  great  deal. — Tit-Bits. 

o 

PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  XII. — Direct  Collo-Chromate  Methods.* 
One  of  the  most  useful  applications  of  the  direct  collo- 
chromate  methods  is  the  reproduction  of  maps  in  cases  where 
more  accuracy  in  scale  is  required  than  can  be  obtained  by 
the  transfer  methods;  though  the  use  of  the  process  is 
practically  limited  to  maps  that  can  be  taken  on  a single 
negative.  With  this  object,  an  excellent  process  of  the 
kind  used  to  be,  and  possibly  is  now,  worked  on  the  large 
scale  in  the  Topographical  Depot  of  the  Belgian  War 
Department  for  the  reproduction  of  the  beautiful  chromo- 
lithographed  map  of  Belgium  on  the  scale  of  1 to  20,000. 
The  process  is  fully  described  by  Capt.  llannot,  the  officer 
in  charge  of  the  photographic  branch  of  the  Depot,  in  Maes 
and  llannot’s  “ Traite  de  Topographie  et  de  Reproduction 
des  Cartes  au  Moyen  de  la  Photographic,’’  from  which  the 
following  account  is  taken. 

The  sensitive  solution  is  composed  of — 

Bichromate  of  potash  ...  ...  5 parts 

Gelatine  ...  ...  ...  ...  6 ,, 

Water  100  „ 

The  gelatine  should  be  of  the  first  quality,  and  the  bichro- 
mate pure.  The  bichromate  is  dissolved  in  half  the  water, 
and  the  gelatine  iu  the  other  half.  The  solutions  are  mixed 
in  the  dark,  and  filtered  through  muslin. 

• Continued  tram  paje  542. 


The  above  solution  is  applied  with  a fine  sponge  in  a very 
thin  and  uniform  coating  on  a lithographic  stone  ; prefer- 
ably, a yellow  or  light-coloured  one  lather  than  a grey  one, 
the  latter  not  being  so  porous.  The  stone  should  have  a 
very  plaoe  surface,  and  be  recently  grained  and  dried.  If 
necessary,  a broad  brush  may  be  used  to  smooth  the  coating. 
The  coating  will  be  dry  in  ten  minutes,  and  ready  for  expo- 
sure under  the  negative,  which  must  be  a reversed  one. 

The  whole  beauty  and  value  of  the  result  depends  on 
perfect  contact  b tween  the  negative  and  the  stone,  and  this 
is  rather  difficult  to  obtain. 

In  the  first  place,  the  glass  on  which  the  negative  is  taken 
must  be  very  level  as  well  as  the  stone.  The  negative  is 
laid,  film  side  downwards,  on  the  sensitive  coating  of  the 
stone.  Small  pieces  of  paper  are  pasted  on  the  back  of  the 
negative  in  blank  places,  so  as  to  give  extra  pressure  in  the 
centre  or  any  other  important  parts.  Two  or  three  sheets 
of  thick  glass  are  then  laid  over  the  negative,  and  the 
whole  clamped  down  with  four  wooden  screw  clamps,  the 
screws  of  which  work  on  wooden  bars  placed  along  the  sides 
of  the  glass,  to  render  the  pressure  more  even,  and  prevent 
the  glass  from  being  broken. 

As  it  is  always  difficult  to  make  sure  of  securing  perfect 
contact,  it  is  desirable  to  use  only  parallel  rays  when  expos- 
ing to  light,  so  that  the  want  of  sharpness  arising  from  any 
slight  want  of  contact  may  be  minimised  as  much  as  possi- 
ble. This  is  done  by  putting  the  stone  and  negative  at  the 
bottom  of  a long  open  box,  blackened  on  the  inside. 

The  exposure  to  light  takes  about  a quarter  of  an  hour  in 
full  sunlight.  Exposure  in  the  shade,  though  longer,  is 
generally  considered  preferable,  and  may  be  prolonged  with- 
out inconvenience,  if  the  dark  parts  of  the  negative  are 
sufficiently  opaque.  It  is  better  to  over-expose  than  not  to 
expose  enough,  as  it  is  essential  to  success  that  the  action  of 
light  should  completely  penetrate  the  sensitive  coating. 

Sometimes,  in  order  to  increase  the  contrast  between  the 
lines  and  the  ground,  a thin  sheet  of  white  paper  is  laid 
over  the  negative  when  exposed  to  sunshine.  The  action  of 
the  light  is  then  more  equal  all  over  the  image,  and  the 
final  result  is  better.  (This  might  be  useful  in  printing 
transfers  from  weak  negatives.) 

After  sufficient  exposure,  the  negative  is  removed  from 
the  stone  in  a dark  room  ; the  design  can  then  be  seen  faintly 
marked  in  brown  on  the  yellow  ground  presented  by  the 
unaltered  gelatine. 

The  ptone  is  then  covered  all  over  by  means  of  a roller 
with  a mixture  of  equal  parts  lithographic  printing  ink  and 
transfer  ink.  The  coating  of  ink  is  veiy  thin,  the  object 
of  it  beiog  chiefly  as  a guide  in  the  after  operation  of  clean- 
ing. Before  commencing  the  cleaning,  a small  quantity 
of  starch  is  made  into  a thin  paste  with  boiling  water.  A 
small  quantity  of  this  is  poured  on  the  stone,  and  rubbed 
gently  over  it  with  a small  sponge.  The  parts  of  the  coat- 
ing that  have  remained  soluble  are  gradually  removed,  and 
the  design  appears.  Tho  cleaning  is  continued  till  nothing 
remains  on  the  stone  but  the  design.  The  stone  is  then 
washed,  gummed,  and  left  for  a few  hours. 

It  frequently  happens  that  in  parts  where  the  lines  are 
very  close  together,  the  drawing  is  not  perfectly  fiee  from 
soluble  gelatine,  and  clogs  up.  This  dirtiness  may  be 
cleaned  off  by  rubbing  with  a piece  of  flannel  moistened 
with  water  aud  a little  turpentine,  so  as  to  remove  the  ink. 
Ink  is  then  applied  again  with  a fine  sponge.  If  that  is 
still  not  enough,  the  dirty  parts  are  lightly  rubbed  with  a 
flannel  soaked  in  a little  weak  acid  ; or,  better,  beer,  which 
acts  less  forcibly  than  acid. 

By  this  treatment  all  traces  of  soluble  gelatine  should  be 
removed  from  the  stone. 

The  design  on  the  stone,  being  formed  only  of  insoluble 
gelatine,  is  very  delicate,  and  requires  a good  deal  of  care  in 
printing,  to  prevent  the  finer  lines  from  being  removed.  It 
is  advisable  to  place  the  stones  for  an  hour  or  two  in  a heat- 
ing box  warmed  to  120°  F. 

Should  the  lines  not  hold  the  ink  well,  an  exposure  to  the 


August  31,  1883,] 


THE  PHOTOGHATHIC  NEWS. 


549 


Bua  will  remedy  the  defect.  Should  they  take  too  much  ink 
and  be  too  heavy,  a slight  wash  with  acid  will  lighten 
them  ; but  it  must  be  used  with  great  care  to  avoid  washing 
away  the  fine  lines,  because  the  insoluble  gelatine  will  not 
stand  the  prolonged  action  of  any  acid. 

When  the  stone  is  perfectly  cleaned,  and  in  good  order 
for  printing,  it  is  printed  off  just  in  the  same  way  as  an 
ordinary  drawing  on  stone.  It  is  said  that  1,500  impres- 
sions may  be  taken  from  a stone  without  sensible  deteriora- 
tion. 

The  same  method  is  applicable  to  zinc,  but  the  zinc,  being 
less  porous  and  capable  of  imbibing  moisture,  is  less  suit- 
able than  stone  for  these  processes.  It  has,  however,  the 
advantage  of  being  easily  handled,  and  of  rendering  it  com- 
paratively easy — if  thin  plates  be  used — to  obtain  perfect 
contact  between  the  negative  and  plate  during  exposure  to 
light. 

The  plates  of  zinc  used  are  thin,  and  of  the  kind  used  for 
roofing  purposes,  but  carefully  planished,  so  as  to  have  a 
perfectly  even  surface. 

Captain  Hannot  recommends  that,  instead  of  being 
grained,  the  plates  should  be  polished  with  emery,  and 
finished  with  a piece  of  fine  emery  paper  applied  on  a small 
block  of  wood  covered  with  a piece  of  thick  cloth.  Senhor 
Rodriguez,  of  Lisbon,  working  a similar  process,  prefers  to 
grain  the  plates  with  powdered  pumice  stone. 

All  impurities  are  removed  from  the  surface  by  a wash 
with  caustic  soda,  and  the  plate  is  then  coated  as  thinly  as 
possible  with  the  following  solution  : — 

Gelatine  ...  ...  ...  ...  2 parts 

Bichromate  of  ammonia  2 „ 

Water  100  „ 


Or,  according  to  Rodriguez  — 
Gelatine 

Bichromate  of  ammonia 
Water  


3 parts 
...  1 part 

..  100  parts 


The  sensitive  coating  may  be  dried  off  over  a stove  or 
lamp,  and  the  plate  exposed  to  light  under  a reversed  nega- 
tive in  an  ordinary  pressure  frame,  care  being  taken  to  obtain 
perfect  contact.  The  length  of  exposure  is  usually  about 
five  minutes  in  the  sunshine. 

After  exposure,  the  plate  is  covered  all  over,  by  means  of 
a leather  or  india-rubber  roller,  with  a mixture  of  4 parts  of 
litho  printing  ink  and  1 part  of  transfer  ink.  It  is  then 
washed  in  warm  water  to  remove  all  the  unaltered  gelatine. 
When  all  is  clear,  it  is  rinsed  in  cold  water,  and  etched  with 
a solution  of — 


Gum-arabic  

• • • • 

...  40 

Sulphate  of  copper 

• ••• 

2 

Gallic  acid  

• ••• 

5 

Nitric  acid  

i • • • • 

4 

VV  ater  

• 

1,000 

This  is  allowed  to  dry  on  the  plate.  The  subsequent 
operations  of  proving  and  printing  are  as  described  in  the 
last  chapter. 

In  an  ordinary  lithographic  scraper-press  a plate  will  only 
furnish  about  300  to  400  impressions  ; but  more  may  be 
printed  by  using  a roller-press  or  vertical  pressure. 

Senhor  Rodriguez  soaks  his  plates  in  cold  water  for  two 
or  three  hours,  then  passes  a lithographic  roller  over  the 
plate  to  develop  the  image,  dissolves  the  unaltered  gelatine 
by  washing  in  warm  water,  and  finally  etches  with  the  same 
solution  as  given  above. 

Senhor  Rodriguez  does  not  seem  to  recommend  the  use  of 
this  process,  preferring  to  employ  the  image  on  zinc  for 
transfer  purposes  only. 

The  zinc  plates,  previously  washed  over  with  a ten  per 
cent,  solution  of  caustic  potash,  are  coated  very  thinly  and 
evenly  on  a turning-table  with  a solution  of — 


Gelatine 8 parts 

Bichromate  of  potash  3 

Water  100  „ 

When  dry,  the  plate  is  exposed  to  light  for  eight  to  fifteen 


minutes  in  the  sun ; then  well  wathed  in  cold  water,  and 
dried.  It  is  then  damped  lightly  with  a sponge,  wiped 
with  a soft  cloth,  aud  inked-in  with  a good  lithographic 
roller  charged  with  a mixture  of  equal  parts  of  printing  and 
transfer  inks.  An  excellent  image  is  thus  obtained,  which 
can  be  transferred  to  stone  or  metal. 

M.  Geymet  has  giveu  a very  full  description  in  his  Photo- 
lithographic of  a direct  process  on  stone.  He  recommends,  as 
a sensitive  coating  for  the  stone,  a preparation  made  by 
taking  the  wlites  of  two  eggs,  adding  six  grammes  (about 
90  grains)  of  bichromate  of  ammonia  in  powder,  and  beating 
up  the  whole  to  a froth.  After  settling,  the  clear  solution 
is  applied  to  the  stone. 

Albumen  is  very  suited  for  fine  work,  and  gives  more  im- 
pressions than  gum,  but  the  latter  is  easier  to  work. 

The  proportions  of  gum  and  bichromate  are  not  of  much 
consequence.  A quantity  of  gum  is  placed  in  a suitable 
vessel,  and  j ust  covered  with  water.  When  dissolved,  a suffi- 
cient quantity  of  the  thick  solution  is  taken  and  mixed  with 
one-third  its  volume  of  a saturated  solution  of  bichromate 
of  potash.  The  mixture  is  strained  through  muslin.  With 
a brush  or  cloth  some  of  the  solution  is  spread  all  over  the 
stone  without  regard  to  the  evenness  of  the  coating.  With- 
out waiting,  the  stone  is  wiped  with  a clean  cloth,  and  well 
rubbed,  so  that  while  the  excess  is  removed,  the  sensitive 
solution  is  made  to  penetrate  the  pores  of  the  stone.  The 
operation  is  continued  with  a soft  cloth  free  from  fluffiness 
till  the  surface  appears  bright  and  the  stone  becomes  dry. 
It  is  essential  that  no  free  gum  should  remain  on  the  surface ; 
it  must  only  be  in  the  pores  of  the  stone,  and  the  surface 
should  appear  quite  bright.  An  even  coating  given  in  any 
other  manner  will  not  answer. 

The  prepared  stone  is  allowed  to  remain  for  about  a quarter 
of  an  hour  in  the  dark,  in  order  to  become  thoroughly  dry, 
and  may  be  found  to  hasten  the  operation.  It  is  then  ready 
to  be  exposed  to  light. 

M.  Geymet  exposes  his  stones  to  light  under  a reversed 
negative  in  an  ordinary  pressure  frame,  with  its  sides 
deepened  sufficiently  to  hold  the  lithogiaphic  stone.  The 
back  of  the  frame  is  fixed  in  its  place  by  hooks,  and  the 
pressure  given  with  screws. 

The  exposure  is  very  short,  about  half  a minute  in  the 
sun,  and  two  to  four  minutes  in  a good  diffused  light.  The 
image  should  not  be  visible. 

After  exposure,  the  stone  is  inked  in  the  dark  with  an  ink 
composed  of  transfer  ink  and  varnish.  For  this  operation 
two  lithographic  rollers  will  be  required,  and  if  new,  they 
should  be  prepared  as  described  in  Chapter  IX. 

The  stone  is  uniformly  inked  all  over  with  one  roller,  and 
is  then  plunged  bodily  into  a vessel  containing  water  mixed 
with  2 per  cent,  of  nitric  acid,  and  the  same  quantity  in 
weight  of  gum.  It  is  taken  out  again  immediately,  and 
rolled,  while  wet,  with  the  second  roller,  which  lifts  the  ink 
from  the  parts  which  should  remain  white,  while  the 
altered  parts  retaiu  the  iok,  and  thus  the  image  is  developed. 
The  stone  is  then  washed  under  a tap  and  dried,  though 
sometimes  a second  inking  is  required  if  the  ink  appears  to 
leave  the  lines.  Corrections  can  now  be  made,  and  the  stone 
is  gummed. 

If  the  image  is  under-exposed,  the  lines  will  appear 
broken  and  pale,  and  the  operation  must  be  done  over 
again. 

If  much  over-exposed,  there  will  be  a difficulty  in  clear- 
ing up  the  image  ; but  if  only  slightly  so,  a brisk  and  pro- 
longed treatment  with  the  roller,  and  a second  application 
of  the  gum  and  acid  bath,  will  generally  clear  it,  and  pro- 
duce a good  result.  It  is,  therefore,  better  to  slightly  over- 
expose than  not  to  expose  enough. 

It  is  recommended  to  defer  the  gumming  of  the  stone  till 
the  day  after  development,  and  then  to  let  it  rest  for  some 
hours  before  applying  the  acid.  The  gum  is  washed  off, 
and  the  stone  is  treated  with  water  acidulated  with  nitric 
acid,  so  as  to  be  just  acid  to  the  taste.  The  acid  is  allowed 
to  act  for  a minute,  or  less  if  it  seems  to  act  too  strongly, 


550 


fHE  THOTOGIIAPHIC  NEWS. 


[August  31,  1883. 


The  stone  is  well  washed,  and  is  then  ready  for  printing. 
It  is  better  not  to  remove  the  transfer  ink  with  turpentine 
before  rolling  in  with  printers’  ink. 

The  foregoing  processes  all  have  the  defect  that  the 
printing  ink  is  not  in  direct  contact  with  the  stone,  but 
separated  from  it  by  a film  of  colloid  material,  which  is  very 
liable  to  be  worn  away  and  damaged  in  process  of  printing. 
In  the  early  days  of  photo-lithography  several  operators 
tried  to  overcome  this  by  the  use  of  processes  in  which  the 
design  was  left  bare  and  open  to  the  application  of  soap  or 
other  greasy  material.  The  best  known  of  these  processes 
is  that  patented  by  Messrs.  Cutting  and  Bradford,  and  very 
good  results  seem  to  have  been  obtained  from  it;  but,  so 
far  as  I know,  it  has  never  come  into  any  extended  use. 

A lithographic  stone  or  zinc  plate  is  coated  in  the  dark 
with  a solution  composed  of — 

Sugar  160  grains 

Bichromate  of  potash  160  „ 

Gum-arabic  4 ounces 

Water  40  ,, 

When  dry,  it  is  exposed  to  light  under  a positive.  It  is 
then  washed  with  a solution  of  soap,  which,  while  removing 
the  soluble  gum  from  the  lines  of  the  design,  enters  into 
combination  with  the  stone,  forming  an  insoluble  soap  ; 
while  the  insoluble  gum  in  the  parts  where  the  light  has 
acted  protects  those  parts  from  the  action  of  the  soap.  The 
stone  is  then  well  washed  with  acidulated  water  to  remove 
the  gum,  and  inked-in  with  the  printing  roller,  which 
deposits  ink  only  on  the  parts  where  the  soap  has  pene- 
trated the  stone.  The  process  is  said  to  bo  applicable  to 
liue  or  half-tone  subjects,  the  stone  in  the  latter  case  being 
grained. 

In  another  modification  of  the  same  process — patented  by 
Messrs.  Bolton  and  Matheson — the  stone  is  first  thoroughly 
well  washed  with  water  to  remove  all  soluble  gum,  then 
dried,  and  coated  with  a solution  of  soap  in  turpentine  ; and 
when  this  is  dry,  washed  again  to  remove  the  soapy  coating 
from  the  parts  where  there  is  still  insoluble  gum  ; then 
treated  with  a solution  of  bichromate  of  potash  to  decom- 
pose the  6oap,  washed  again,  and  finally  inked-in. 

These  direct  processes  have  now  been  superseded  for  line- 
work  by  the  transfer  methods,  and  for  half-tones  by  collo- 
type, and  it  is  doubtful  whether  they  will  ever  come  into 
use  again  to  any  extent.  Still,  they  have  peculiar  advan- 
tages in  simplicity  and  economy,  and  a good  direct  process 
on  thin  zinc  plates  would  really  be  very  valuable.  One  of 
the  greatest  practical  objections  to  the  direct  processes  is 
the  difficulty  of  obtaining  perfect  contact  between  glass 
negatives  and  the  stone  or  plate.  This  may  be  obviated  by 
using  a film  negative,  kept  in  close  contact  with  the  sensi- 
tive surface  by  means  of  india-rubber  solution. 

In  collotype  printing  I have  found  it  answer  to  wax  the 
sensitive  gelatine  surface,  and  then  squeegee  a film  negative 
on  to  it  in  a bath  of  spirit  of  wine  ; but  it  is  sometimes  diffi- 
cult to  remove  the  films  afterwards  without  tearing  them. 

{To  be  continued.) 


SELLING  AND  BUYING  PHOTOGRAPHIC 
BUSINESSES. 

BY  C.  BRANGWIN  BAKNES. 

In  buying  or  selling  a photographic  business,  many  items 
have  to  be  taken  under  thoughtful  consideration,  and  in 
some  cases  subjected  to  careful  scrutiny,  before  auy  defi- 
nite decision  can  be  arrived  at  as  to  the  fair  and  proper 
value  of  the  practice.  It  is  naturally  to  the  interest  of  the 
seller  to  obtain  as  high  a price  as  possible  for  the  business 
of  which  he  is  disposing,  and  equally  so  to  the  interest  of 
the  purchaser  to  obtain  the  same  at  the  lowest  possible 
figure. 

Sellers,  as  a rule,  are  thoroughly  competent  to  take  care 
of  themselves  in  the  matter,  and  rarely,  if  ever,  err  on  the 
Bide  of  asking  too  little,  either  for  the  practice  itself,  or  for 


any  of  the  goods,  fixtures,  patent  rights,  &c.,  &c.,  which 
often  appertain  thereto.  Such  being  accepted  as  a truism, 
it  shall  be  my  aim  in  this  short  paper  to  point  out  to  the 
buyer  the  various  points  which  he  will  need  to  consider 
and  scrutinize  preparatory  to  completing  his  purchase  and 
entering  into  possession  thereof. 

One  of  the  first  requisites  in  determining  the  value  of  a 
photographic  practice  is  to  calculate  the  amount  of  work 
done  by  the  seller  and  his  employees  for  some  stated 
period,  say  three  years,  and  to  take  special  note  as  to 
whether  it  has  been  on  the  increase  or  vice  versa,  as  a 
business  showing  signs  of  a yearly  increasing  exchequer  is 
of  much  more  value  than  one  in  which  the  reverse  is  the 
case,  or  even  one  in  which  the  yearly  returns  have  much 
the  same  average.  The  increase  shown  in  one  year  alone 
is  not  a sufficient  guide  ; three  years  is,  in  my  opinion,  the 
smallest  space  of  time  on  which  the  increase  should  be 
calculated,  and  from  which  the  average  returns  should  be 
extracted. 

Having  satisfied  oneself  as  to  the  amount  of  business 
done,  and  the  proportionate  amount  of  increase  that  may 
be  expected,  the  next  requisite  is  to  calculate  the  amount 
of  profit  likely  to  have  accrued  therefrom,  which  must 
necessarily  depend  upon— firstly,  the  prices  obtained  for 
work  ; and  secondly,  the  amount  of  paid  assistance  required 
to  carry  on  the  business.  In  some  studios  the  proportion 
of  profits  to  the  gross  takings  is  much  greater  than  in 
others,  and  wherb  the  profits  are  the  largest,  the  business 
is,  of  course,  the  most  valuable. 

The  rent  of  business  premises  must  also  be  taken  into 
account,  and  especial  care  should  be  taken  to  ascertain  the 
length  of  lease  yet  to  run,  and  whether  a renewal  can  be 
obtained  at  the  end  of  the  term,  and  whether  said  renewal 
would  be  at  the  old  rental,  or  an  increased  one. 

The  number  of  negatives,  and  their  state  of  preservation, 
should  also  be  seen  to ; and  it  i3  as  well,  whilst  on  the  sub- 
ject, to  ascertain  that  they  are  so  named  aud  numbered  as 
to  be  attainable  in  the  event  of  repeat  orders  coming  in. 

In  many  instances,  apparatus,  chemicals,  and  fixtures 
are  also  sold  with  the  practice,  and  more  disagreements  as 
to  price  are  likely  to  arise  over  these  than  over  the  good- 
will itself.  The  buyer  expects  to  get  the  apparatus  at  a 
considerable  reduction  from  the  price  he  would  have  to 
pay  a dealer  for  second-hand  goods ; and  the  seller  expects 
to  get  at  least  the  same  price  as  a dealer  would.  The 
buyer,  as  a rule,  does  not  mind  paying  cost  price  for  stock 
of  chemicals  and  plates. 

The  better  way  is  to  call  in  a valuer,  if  it  can  be  so 
arranged,  to  fix  the  price  of  apparatus  and  accessories,  as 
it  is  very  difficult  to  come  to  an  agreement  otherwise.  No 
one  should  ever  think  of  purchasing  a practice  without 
personally  inspecting  the  premises,  books,  &c.,  or  he  runs 
a great  risk  of  being  “ done.” 

An  acquaintance  of  mine,  whom  we  will  call  Mr.  C., 
met  with  “a  case  of  do”  a short  time  back.  He  had 
recently  returned  from  New  Zealand,  and  was  staying  for 
a short  time  in  Liverpool,  when  his  attention  wasdrawu  to 
an  advertisement  of  a business  for  disposal  in  a somewhat 
distant  quarter.  He  wrote  for  particulars,  and  received  a 
letter  in  reply,  stating  that  there  was  a capital  studio, 
mentioning  size,  &c.,  with  good  blinds  fitted;  that  the  rent 
was  very  small ; and  that  <£500  had  been  taken  during  the 
twelve  months  immediately  preceding.  The  price  asked  was 
only  .£150.  Mr.  C.  jumped  eagerly  at  the  bait,  sent  off  £10 
to  close,  and  intimated  that  he  would  run  down  the  following 
week,  sign  the  necessary  papers,  pay  the  cash,  and  take 
possession.  He  very  foolishly  did  this  without  knowing 
anything  of  the  man  with  whom  he  was  dealing,  or  even  of 
the  town  in  which  the  business  was  situated.  Agreeably 
to  his  promise  he  went  down,  and  found  the  studio  almost 
a heap  of  ruins,  scarcely  a whole  pane  of  glass  in  it,  and  the 
much-vaunted  blinds  mere  rags  of  calico,  stained,  soddened, 
and  spoilt  by  the  deluge  which  entered  the  roof  whenever 
it  rained.  He  next  demanded  to  see  the  books,  and  wa3 


August  31,  1883.  | 


TSE  EHOTOGltAEHlC  NEWS. 


551 


told  that  none  had  been  kept.  Thoroughly  convinced  that 
the  whole  affair  was  a swindle,  he  politely  requested  the 
return  of  his  £10.  It  is  almost  needless  to  add  that  he  did 
not  get  it,  and  as  he  declined,  under  the  circumstances, 
to  complete  the  contract,  he  returned  to  Liverpool  a 
sadder  and  a wiser  man,  with  his  mind  thoroughly  made 
up  never  to  pay  a deposit  again  until  he  had  made  a 
personal  inspection  of  the  projected  purchase. 

Care  should  always  be  taken  that  the  contract  or  deed 
of  sale  contains  stipulations  prohibiting  the  seller  of  a busi- 
ness from  re-opening  anywhere  in  the  immediate  vicinity, 
and,  where  possible,  a respectable  solicitor  should  be  en- 
gaged to  complete  the  purchase. 


ECHOES  FROM  THE  ORIENT. 

BY  EDWARD  L.  WILSON.* 

Petra— “The  Rock  City.” 

How  shall  I ever  describe  the  many  things  and  wonders  which 
1 saw  in  “ the  Rock  City  ” Temples  with  arched  terraces  ; 
rows  of  columns  ; interiors  whose  ceilings  were  decorated  with 
all  the  waves  of  colour  which  the  sweep  of  the  brush  of  nature 
could  paint ; a generous  display  of  colour  and  form  everywhere  ; 
each  rock  and  stone  at  our  feet  a perfect  wonder,  for  if  a piece 
attracted  me  on  account  of  its  beautiful  colour,  and  I lifted 
another  plainer  looking  bit  to  break  it  apart,  there  was  always 
sure  to  be  a surprise,  for  each  stone  would  fly  to  pieces,  and 
reveal  new  secrecs  of  colour  which  had  not  been  imagined. 
Sometimes  the  rock  had  been  hewn  as  much  as  fifteen  feet  back 
in  order  to  obtain  either  a good  colour  or  an  unbroken  surface 
for  a facade,  and  sometimes  much  further  back  than  this  in  order 
to  admit  of  the  rows  of  columns.  Nothing,  remember,  standing 
now  was  erected ; everything  was  carved  from  the  solid  rock. 
About  a quarter  of  a mile  beyond  our  camp,  the  stream  turned 
to  the  left,  and  led  through  what  must  once  have  been  the 
principal  street  of  Petra,  ard  which  was  evidently  the  only  street 
where  buildings  were  erected  from  quarried  stone.  Its 
surroundings  must  have  been  very  fine,  and  many  fallen  sections 
of  columns  lie  near.  I found  one  of  a bluish-grey  granite,  and 
others  of  Syenite,  doubtless  from  the  Nile,  still  finely  polished, 
while  others  lie  overturned  on  their  edges  like  rows  of  grind- 
stones. Only  one  of  the  buildings  of  this  grand  street  remains 
standing,  and  is  known  as  the  Kusr  Farou.  In  every  direction, 
great  stairways  were  seen  leading  from  temple  to  temple  ; and 
then  from  the  pediment  skyward,  without  any  idea  which  can 
be  explained,  other  upper  stairways,  which  consisted  of  about 
six  steps  leading  to  the  right  and  to  the  left,  and  terminating  in 
the  air.  Near  the  street  just  named,  was  one  temple  which  is 
the  only  example  showing  how  the  Petran  builders  constructed 
their  magnificent  buildings.  It  proves  that  they  began  at  the 
top,  and  worked  downward,  instead  of  vice  versa,  for  it  is  only 
partly  excavated.  And  it  is  easily  seen  why  this  should  be  so, 
because  the  debris,  as  it  tumbled  to  the  ground,  was  cleared  as 
the  building  advanced,  instead  of  being  in  the  way  all  the  time, 
as  it  would  be  if  the  beginning  had  been  at  the  base. 

But  it  would  take  more  than  the  limits  of  a letter  like  this  to 
tell  you  of  all  that  there  is  to  be  seen  in  Petra.  I remained  only 
four  days,  all  that  time  under  protest,  and  amid  wonders  why  I 
did  not  look  and  go  away,  I was  privileged  to  see  a good  deal 
more  than  the  ordinary  traveller.  I clambered  up  hundreds  of 
stairways,  through  many  ravines  ; ascended  a great  many  cliffs  ; 
visited  many  wonderful  interiors,  and  the  wonders  never  came 
to  an  end. 

At  one  place  I found  a great  green  plateau,  and  what  I had 
been  looking  for — a fine  ascending  spiral  stairway.  It  led  me  up 
to  hollowed-out  rocks,  which  were  canopied  by  overhanging 
cliffs,  making  them  look  like  pulpits.  I believe  they  were  once 
used  as  such,  a great  congregation  assembling  on  the  grass  below. 
There  was  no  quieter,  finer  place  in  Petra  for  a church,  and  what 
I afterwards  found  seemed  to  confirm  my  conclusion  in  this 
respect,  for  a number  of  Sinaitic  inscriptions  were  cut  along  the 
walls,  and  higher  up,  depressions  and  arches  all  along  the  way 
for  idols  or  semblances  of  the  great  God.  Perhaps  David  himself 
may  have  ascended  these  very  steps  while  he  sung  the  sixtieth 
Psalm,  and  these  very  rocks  probably  echoed  his  sacred  tones. 
It  seemed  the  only  place  in  Petra  that  had  any  holiness  about  it. 
I ascended  the  striped  stairway,  and  stood  under  the  first  canopy, 

* Continued  from  page  1U, 


near  which  was  a tank,  evidently  for  baptism.  Then  I crept  on 
up  to  the  top  of  the  mountain,  though  against  the  protests  of 
our  Fellahin  guides.  There  I found  another  altar  and  a water 
conduit,  cut  out  of  the  rock.  A long  way  further  up,  climbing 
to  the  top,  two  erections  of  pyramidal  shape  were  found,  and 
beyond  them  were  a number  of  curious  tanks,  some  partly  filled 
with  water,  and  what  would  seem  to  be  an  altar  of  sacrifice. 
This  last  was  on  a rock  by  itself,  with  four  stone  steps  leading  to 
it.  It  consisted  of  a circular  basin,  four  feet  in  diameter,  in  the 
centre  of  which  was  a smaller  depression,  eighteen  inches  in  dia- 
meter, to  collect  the  blood,  which  would  run  out  by  means  of  a 
little  drain  or  outlet  into  the  tank  below.  It  could  be  nothing  else 
than  a sacrificial  altar.  Near  it  was  another  elevated  tank,  around 
which  was  a passage,  eighteen  inches  wide,  so  that  a person  could 
reach  it  on  all  sides.  It  was  six  feet  by  nine  in  size,  with  stairs 
also  leading  to  it.  Several  other  tanks  were  in  the  neighbour- 
hood, in  one  of  which  a large  number  of  blind  fish  were  found. 
At  the  lowermost  of  these  was  an  outlet,  leading  to  the  south- 
east of  the  mountain  to  an  aqueduct  or  conduit,  from  which  wo 
could  overlook  nearly  all  the  city  of  Petra.  Doubtless,  this  was 
the  most  secluded  and  favourite  resort  of  the  ancient  Petrana 
and  their  stronghold,  for  from  it  any  point  of  the  city  could  be 
commanded — to  the  right  or  to  the  left,  or  in  front.  The  sun 
was  now  getting  low,  and,  taking  our  last  look,  we  descended 
first  a few  rods  by  a stairway,  and  then  through  a deep  gorge 
which  brought  us  into  the  valley  near  the  Kuzneh  and  beyond 
the  theatre. 

Our  last  morning  in  Petra  was  spent  in  a visit  to  the 
Deir,  a temple  whose  size  is  greater  even  than  that  of  the 
Kuzneh,  but  whose  facade  is  not  nearly  so  beautiful.  Here 
Nature  has  supplied  a glorious  mountain-side  for  carving  a 
temple.  But  great  boldness  on  the  part  of  the  architect  is 
shown,  who  risked  so  much  labour  without  knowing  that  he  had 
the  material  he  desired.  In  plan,  the  Deir  is  somewhat  similar 
to  the  Kuzneh.  Its  facade  is  fifty  feet  wide;  the  interior 
thirty-four  by  forty  ; the  two  tiers  of  semi-colunms  in  front,  five 
feet  in  diameter.  The  colour  is  quite  uniform,  being  Petra  red. 
A large  plateau  is  in  front,  covered  with  fresh  green  grass,  and 
here  and  there,  squares  and  circles  stand,  telliDg  at  once  that 
other  buildings  were  there.  Directly  opposite  is  Mount  Hor, 
upon  whose  summit  could  be  seen  a little  building,  erected  by 
the  Mohammedans,  to  mark  the  place  where  Aaron  died  and  was 
buried. 

We  could  stay  but  a little  while  here,  and  went  away  wonder- 
ing, dissatisfied,  almost  distracted,  for  a month  would  be  needed 
to  see  all  the  beauties  and  marvels  of  this  once  great,  and  still 
great  and  mysterious  city,  wtiere  all  the  patriarchs  dwelt — where 
Israel  once  undoubtedly  lived,  and  whose  history  can  now  never 
be  fathomed. 

At  noon  we  left  by  the  Wady  Arabah  side,  attended  by  some 
sixty  of  the  Bedouins  and  Fellahin,  who  claimed  it  to  be  not  only 
their  privilege,  but  their  duty,  to  see  us  safely  out  of  their  city. 
Alas ! that  we  had  struck  such  a conscientious  set,  for  the  sequel 
to  it  all  was  that  we  had  a great  deal  more  trouble  to  get  out  of 
their  city  than  we  had  to  get  in. 


PHOTO-ZINCOGRAPHY  AT  THE  FRENCH  DEPART- 
MENT OF  WORKS. 

The  process  now  in  use  here  is  thus  described  by  the  Bulletin 
de  la  Societe  d' Encouragement : — 11 A plate  of  commercial  zinc  is 
chosen  which  is  free  from  defects.  In  order  to  cleanse  it 
thoroughly  it  is  rubbed  with  a stiff  hair  brush,  which  is  dipped 
into  a mixture  of  one-third  sulphuric  acid  and  two-thirds  water. 
After  this  cleansing,  which  removes  every  trace  of  oxidation  and 
grease,  the  plate  becomes  very  brilliant,  and  it  is  rubbed  for 
some  minutes  with  a cork  dipped  in  powdered  pumice  stone.  It 
is  then  w'ashed,  and  plunged,  for  ten  or  fifteen  minutes,  into  a 
bath  acidulated  with  3 per  cent,  of  nitric  acid.  The  plate  then 
has  a dull  look,  and  shows  a slight  roughness  under  the  micro- 
scope. After  having  carefully  dried  it,  it  is  covered  by  a prepara- 
tion composed  of  10  litre.3  of  water  and  500  grammes  of  crushed 
nutgalls.  After  boiling  this  preparation  until  it  is  reduced 
about  one-third,  it  is  cooled  and  filtered  through  linen  ; then  are 
added  100  grammes  of  common  nitric  acid  and  6 grammes  of 
pure  chlorhydric  acid.  After  the  preparation  has  been  left  in 
contact  with  the  plate  for  some  time,  it  is  washed  and  dried,  and 
then  coated  with  bitumen  in  the  ordinary  manner,  and  exposed 
to  the  light  under  the  drawing  which  is  to  be  copied.  When  the 
exposure  is  over,  the  plate  is  warmed  slightly  and  developed. 


552 


THE  PHOTOGRAPHIC  NEWS. 


[August  31,  1883. 


To  facilitate  the  inking,  it  is  well  to  apply  to  the  lines  some  oil, 
which  destroys  their  brilliancy  and  turns  them  grey.  Then,  after 
a careful  drying,  the  bitumen  is  dissolved  by  benzine,  and  the 
plate  is  again  dried.  It  can  then  be  delivered  to  the  printer, 
who  submits  it,  without  any  precautions,  to  the  customary 
operations  of  lithography  for  inking  and  printing.” 


IfatfS. 

His  Majesty  the  King  of  the  Belgians  has  given  his 
consent  to  the  meeting  of  a photographic  congress,  under 
Government  auspices,  at  Brussels  next  year,  for  the  pur- 
pose of  deciding  upon  a unification  of  terms  in  photo- 
graphic processes  and  formulae. 


We  learn  that  our  Year-Book  (1881)  photograph  of 
Daguerre  wa3  of  considerable  assistance  to  the  artist  who 
fashioned  the  bust  unveiled  at  Cormeilles  on  Sunday. 


Mr.  Linley  Sambourne,  the  well-known  Punch  artist, 
following  in  the  steps  of  his  colleague,  Mr.  Du  Maurier, 
has  taken  up  photography  to  aid  him  in  his  work. 


M.  Hutinet,  of  Baris,  is  to  give  a series  of  demonstra- 
tions with  “ a new  brilliant  gelatino-bromide  paper,”  in 
this  country.  The  first  takes  place  in  London  on  Monday 
next,  at  the  “ Golden  Cross  ” Hotel,  Strand,  at  eight  p.m. 

Mr.  Campbell  Swinton,  it  will  be  seen,  is  employing 
hydrokinone  in  combination  with  pyrogallic  acid  for  gela- 
tino-bromide development.  Our  readers  will  be  anxious 
to  learn  how  this  compound  developer  answers  in  his 
hands,  and  in  what  proportion  he  employs  the  two  princi- 
pal agents. 


Colonel  Laussedat,  who  successfully  worked  at  photo- 
lithography in  France,  contemporaneously  with  the  late 
Sir  Henry  James  in  England,  is  likely  to  obtain  the  vacant 
chair  in  the  Paris  Academy  of  Sciences. 


As  the  Daguerre  memorial  has  opened  up  again  the  rights 
and  wrongs  of  the  invention  of  photography,  we  may  men- 
tion that  in  our  little  book  “ About  Photography  and 
Photographers  ” is  included  a history  of  “ The  first  camera 
photograph.” 


According  to  Nature,  Herr  Wauschaff,  of  Berlin,  is  em- 
ploying photography  for  registering  earth  currents.  His 
apparatus  consists  of  a very  delicate  galvanometer  enclosed 
in  a case  with  a clockwork  arrangement  for  moving  a photo- 
graphic plate  steadily  downwards.  A fine  ray  of  light  is 
reflected  on  to  the  galvanometer  mirror  by  a total  reflection 
prism,  and  is  focussed  on  the  photographic  plate.  The 
speed  of  the  movement  of  the  plate  is  80  mm.  j^er  hour, 

thus  allowing  variations  from  minute  to  minute  to  be  ob- 
served. 


One  word  more  on  the  subject  of  the  Brussels  Exhibi- 
tion. Our  notices  during  the  past  two  weeks,  as  also  the 
list  of  those  honoured  by  diplomas  and  medals  that  we 


published  in  our  last  issue,  sufficiently  demonstrate  the 
importance  and  truly  international  character  of  the  gather- 
ing, and  we  would  urge  all  who  have  two  or  three  days  at 
their  disposal  to  pay  the  exhibition  a visit.  Only  those 
who  have  run  over  to  the  Belgian  capital,  either  by  Calais, 
Ostend,  or  Antwerp,  are  aware  how  brief  and  inexpensive 
the  trip  can  be  made. 

One  of  the  most  interesting  exhibits  at  the  present 
Amsterdam  Exhibition  relates  to  criminal  photography, 
being  the  exemplification  of  a system  which  is  likely  to 
make  the  photographic  records  of  prisoners  ten  times  more 
useful  than  they  are  at  present.  Both  in  Baris  and  in 
London  it  is  the  rule  to  index  the  portraits  of  criminals 
under  the  various  crimes  committed  by  the  models,  each 
,;,irtrait  bearing  name,  age,  and  some  sort  of  personal  des- 
cription. With  all  these  data,  it  is,  however,  very  diffi- 
cult to  identify  the  habitual  criminal ; his  name,  of  course, 
he  changes  a dozen  times,  the  manner  of  wearing  his  hair 
may  be  altered  once  a month,  and  a clever  fellow  can  add 
an  apparent  five  or  ten  years  to  bis  age  without  difficulty. 

The  Amsterdam  plan  is  to  index  the  photographic  por- 
traits by  measurements  of  the  middle  finger,  the  foot,  and 
the  head.  Of  course,  the  measurements  must  be  taken 
carefully,  by  means  of  accurate  instruments,  and  by  skilled 
men.  The  middle  fmger  varies  in  males  from  17  to  20 
centimetres,  so  that  if  you  estimate  by  millimetres  there  is 
along  range  of  measurement.  In  the  length  of  head  there 
is  a variation  from  16  to  21  centimetres,  and  in  the  foot 
an  even  greater  difference.  Supposing  there  was  a collec- 
tion of  60,000  male  portraits  to  index,  these  would  first  be 
divided  into  three  parts,  representing  short,  medium,  and 
tall  people,  and  each  20,000  be  again  sub-divided  into  small, 
medium,  and  big-footed  people.  Then  the  measurement 
of  head  and  of  finger  would  come  in  to  assist  in  further 
sub-division,  and,  finally,  colour  of  eyes,  age,  &c.,  assist 
in  sub-dividing  still  more. 


In  the  end,  according  to  the  Amsterdam  calculation,  it 
would  be  possible,  supposing  the  criminal  album  to  muster 
60,000  portraits,  to  fine  down  the  identity  of  a suspicious 
character  within  50  portraits  ; that  is  to  say,  that  if  the 
police  arrested  a man  on  suspicion,  and  carefully  measured 
him,  they  would  have  but  50  portraits  to  look  over  in 
order  to  find  out  definitely  whether  he  had  been  in  their 
hands  before. 


The  inauguration  of  the  Daguerre  bust  has  been  a god- 
send to  the  daily  press,  which,  in  the  sitting  session,  finds 
it  hard  work  to  get  interesting  subjects  for  their  columns. 
The  Telegraph,  whose  self-confidence  habitually  leads  it  to 
rush  in  where  other  people  fear  to  tread,  is  particularly 
amusing  in  its  comments.  It  thus  begins  a sentence  of 
stupendous  length Although  photography  is  capable 
of  producing  apparently  (sic)  faithful  transcripts  of  all 
kinds  of  objects,  animate  and  inanimate  ; although  a page 
of  a newspaper  can  be  photographed  on  a sheet  of  the 
diameter  of  a pea,  and  under  a film  of  enamel  may  last  as 
long  as  an  Etruscan  vase,  or  an  Egyptian  lachrymatory — 


August  31,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


553 


that  is,  for  all  time  ; although  the  gallop  of  a greyhound,  the 
flight  of  a bird,  the  procession  of  the  clouds  in  the  sky, 
and  of  the  waves  of  the  sea,  can  be  instantaneously  pho.o- 
graphed ; and  although  as  a social  benefactor  in  bringing 
the  ends  of  the  earth  together,  and  drawing  all  humanity 
into  sympathetic  intercommunication,  photography  rivals 
steam,  the  electric  telegraph,  and  cheap  postage,  still  the 
veil  is  not  yet  wholly  lifted  ; the  [what  do  our  readers 
suppose  is  the  gigantic  discovery  the  Telegraph  has  made  ? 
Why,  that]  the  laws  of  photographic  focussing  arc  yet  im- 
perfectly  understood."  Wonderful ! The  sentence  from 
which  we  have  quoted  has  by  no  mcaus  come  to  an  end,  but 
we  have  given  quite  enough  to  justify  the  question;  Was 
it  worth  so  much  fine  writing  to  arrive  at  such  a ridicu- 
lously small  conclusion  ? 


That  the  writers  in  the  dailies  were  well  agreed  upon  the 
main  points  was  not  due  so  much  to  the  absence  of  any 
debateable  matter  as  to  the  circumstance  that  most  all  of 
them  went  for  their  facts  to  the  same  encyclopaedia.  Of  all 
the  journals,  the  Standard  was  the  most  generously  inclined 
towards  photography,  stoutly  averring  that  there  is 
decidedly  fine  art  in  photography  ; for,  says  our  contem- 
porary, “ it  is  just  as  difficult  to  produce  a good  artistic 
sun-picture  as  it  is  to  produce  one  by  the  aid  of  pencil  and 
colour  tube.  So  long  as  Art  involves  something  more 
than  mere  work  for  eye  and  hand  this  will  remain  so,  and 
we  are  more  likely  to  see  photography  elevated  to  Art, 
than  Art  degraded  to  the  mechanical  multiplication  of 
images.” 


Into  one  error  nearly  all  our  contemporaries  appear 
to  have  fallen,  curiously  enough ; they  seem  to  have 
taken  it  for  granted  that  Daguerreotype  is  as  dead  as  the 
clever  artiste-peintre  whose  marble  bust  was  unveiled  at 
Cormeilles  on  Sunday.  So  far  from  Daguerreotype  being 
obsolete,  it  may  safely  be  said  that  no  other  photographic 
process  is  so  suitable  for  scientific  work  where  micrometer 
measurements  have  to  be  made.  Dry  albumen  and  dry 
collodion  film3  are  more  trustworthy  in  this  respect  than 
wet  collodion  or  gelatine,  but  the  Daguerreotype  plate  is 
the  best  of  all  when  fine  measurements  of  the  photographic 
image  require  to  be  taken. 


We  spoke  last  week  of  the  circum-polar  stations  insti- 
tuted by  international  endeavour,  and  mentioned  that  good 
news  had  arrived  from  the  Austrian  station,  whose  ob- 
servers, besides  other  work,  had  secured  an  extensive  series 
of  photographs  of  the  icy  district  in  their  neighbourhood. 
Of  the  most  northern  of  the  stations,  that  established  by 
the  United  States,  no  news  of  any  kind  has,  unfortunately, 
yet  come  in,  and  it  is  feared  that  the  relief  party  sent  out 
this  summer  will  not  be  able  to  reach  it.  The  ob- 
servers are  located  as  far  north  as  Captain  Nares  pene- 
trated when  the  last  Franklin  expedition  was  undertaken, 
and  they  have  been  instructed  to  make  their  return  at  all 
cost,  if  not  relieved  this  autumn.  The  results  obtained 
at  these  observatories  round  the  North  Pole  should  give 
us  a valuable  insight  into  the  Polar  world.  ~ 


“ Drawings  for  competition  should  be  sketched  with 


open  lines  like  the  above,”  says  the  new  publication  called 
Scraps,  “ so  that  they  may  be  fined  down,  as  in  the  pic- 
ture below,  by  photographic  reduction.” 


554 


THE  PHOTOGRAPHIC  HEWS 


[August  31,  1883. 


Photography  now  enters  largely  into  the  every-day  work 
of  the  journalistic  artist,  and  the  time  seems  to  be  near  at 
hand  when  photo-typic  blocks,  made  directly  from  nega- 
tives after  nature,  will  become  as  common  as  wood  en- 
gravings. 

“ Newhaven  Fisherwomen  ” and  “ Scotch  Washerwomen 
were  the  labels  on  a series  of  portraits  we  saw  in  a print- 
seller’s  window  in  Edinburgh  last  week.  The  pictures  re- 
presented women,  in  picturesque  clothing  enough,  and,  for 
the  most  part,  quaintly  and  artistically  attired,  but  most 
of  them  were  old,  and  all  of  them  ugly.  We  are  not  quite 
60  ungallant,  we  hope,  a3  to  turn  our  backs  on  the  sex 
because  youth  and  beauty  are  lacking ; but  still  we  can’t 
help  thinking  that  most  persons  offered  pictures  of  the  old 
and  ugly  of  either  sex  would  reply  that  they  didn’t  want 
them.  Our  friend  the  Edinburgh  photographer  may  argue 
that  the  fisherwomen  and  washerwomen  of  the  capital  age 
like  other  people,  and  that  as  to  comeliness,  these  good 
people  are  as  heaven  made  them.  We  should  be  the  last  to 
deny  the  fact,  but  still,  it  is  quite  as  true  that  purchasers 
of  ugly  pictures  are  rare,  while  pretty  ones  find  a ready 
market. 


Moreover,  the  whole  difficulty  is  one  easily  overcome. 
Let  any  one  glance  through  the  “ Swiss  Costumes  ” of  the 
famous  firm  of  Braun,  of  Dornach,  if  he  wishes  to  see 
comely  women  ; and  yet  the  fair  sex,  we  make  bold  to  say, 
is  less  fair  in  the  Swiss  Republic  than  in  Bonnie  Scotland. 
M.  Braun  told  us,  when  we  visited  his  establishment  in 
Alsace  some  years  ago,  how  he  managed  to  get  such  attrac- 
tive pictures.  From  each  of  the  Swiss  Cantons  he  ordered 
a befitting  costume,  so  as  to  secure  the  true  Cantonal  attire, 
and  these  were  all  sent  to  his  studios  at  Dornach.  Then 
he  selected  the  most  comely  maidens  he  could  find  to  fit  the 
dresses — half-a-dozen  were  sufficient  for  his  purpose — and 
thus  successfully  produced  the  “Swiss  Costumes,”  which 
are  purchased,  perhaps,  lesson  account  of  the  quaint  dresses, 
than  their  wearers.  Next  time  our  Edinburgh  brother 
wants  to  photograph  the  “ Bonnie  Fishwife,”  let  him  go 
and  do  likewise. 


Datfut  Jittellignut. 

Grant  of  Provisional  Protection. 

3800.  Alberta  Mary  Frances  Caspar,  of  200  aud  223, 
Regent  Street,  in  the  county  of  Middlesex,  Artist,  for  an  in- 
vention of  “A  new  process  for  preparing  and  painting  photo- 
graphs, prints,  or  drawings,  so  as  to  resemble  oil  paintings  on 
canvas.” — Dated  3rd  August,  1883. 

Notice  to  Proceed. 

1943.  Richard  Moser,  of  57,  Stallsehreiber  Strasse,  Berlin,  in 
the  German  empire,  Manufacturer,  for  an  invention  of  “ Certain 
new  and  useful  improvements  in  albums.” — Dated  17th  April, 

1883. 

Specification  Published  during  the  Week. 

101.  Charles  Denton  Abel,  of  28,  Southampton  Buildings, 
Chancery  Lane,  in  the  County  of  Middlesex,  “ Improvements 
in  the  application  of  eosine  in  photographic  processes.”  A 
communication  to  him  from  abroad  by  Pierre  Alphonse 
Attout,  called  Tailfer,  and  John  Clayton,  both  of  Paris, 
France. — Dated  8th  January,  1883. 

Waterhouse’s  experiments  in  the  year  1876  have  shown  the 
influence  of  the  introduction  of  colouring  matters  into  the 


collodion  film  of  photographs.  He  found  that  eosine  (tetra- 
bromised  phtaleine,  a substance  discovered  by  Bayer  of 
Strasbourg)  possessed  in  a high  degree  these  photogenic 
properties.  Upon  these  facts  Messrs.  Ducos  du  Hauron  and 
Cros  have  established  their  heliochromic  process.  The  practical 
results  of  this  process  have,  however,  hitherto  not  been  so 
successful  as  anticipated.  Mr.  Sarrault,  without  pretending  to 
solve  the  difficult  problem  of  direct  photography  in  colours,  has 
recently  occupied  himself  simply  with  reproducing  by  means  of 
eosine  the  relative  value  of  colours,  but  iu  limiting  his  ex- 
periments to  the  collodion  process,  which  process  is,  however,  at 
present  almost  universally  replaced  by  the  gelatino-bromide 
process.  The  present  invention  relates  to  the  application  of 
eosine  to  the  said  gelatino-bromide  process.  The  difficulty  ex- 
perienced in  this  application  arises  from  the  fact  that  eosine 
gives  no  result  unless  it  is  introduced  with  ammonia  as  a vehicle, 
and  it  is  the  combined  use  of  ammonia  with  eosine  that  forms 
the  essential  feature  of  the  present  improved  process.  According 
to  the  present  invention  the  gelatino-bromide  process  of  photo- 
graphy is  carried  out  by  two  different  methods,  according  as  it 
is  desired  to  prepare  the  gelatino-bromide,  or  to  use  plates  already 
prepared.  In  the  former  case  eosine,  by  preference  previously 
dissolved  in  ammonia,  is  poured  into  the  emulsion  of  gelatino- 
bromide  of  silver  at  the  moment  of  its  formation.  The 
proportion  of  eosine  employed  is  about  one  part  by  weight  to  one 
hundred  parts  of  the  compound.  The  eosinized  emulsion  is 
spread,  as  usual,  over  the  glass  plate,  and  after  exposure  to  the 
light  is  treated  in  the  usual  manner  for  the  development  and 
fixing  of  the  picture.  When  gelatino-bromide  plates  already 
prepared  are  available,  it  is  sufficient  to  pour  over  the  dry  film 
the  ammoniacal  solution  of  eosine  to  which  alcohol  is  added. 
The  plate  is  then  washed,  without  fear  of  the  removal  of  the 
eosine,  which  becomes  immediately  associated  with  the  gelatino- 
bromide.  This  improved  eosinated  gelatino-bromide  process 
produces  very  satisfactory  results.  On  the  photographs  produced 
thereby  the  relative  values  of  the  yellow,  blue,  and  violet  colours 
may  be  easily  distinguished.  Although  in  what  has  preceded 
only  eosine  has  been  mentioned,  it  is  to  be  understood  that  other 
acid  or  saline  colouring  matters  obtained  with  the  various  fluor- 
esceines  of  resorcine  combined  with  metalloids,  chlorine, 
bromine,  iodine,  may  be  included  under  the  same  generic  term. 
Also,  instead  of  ammonia  alone  being  applicable  as  a vehicle  for 
the  eosine,  other  alkalies  may  be  used  for  the  purpose.  Having 
thus  described  the  nature  of  the  said  invention,  and  in  what 
manner  the  same  is  to  be  performed  as  communicated  to  me  by 
my  foreign  correspondents,  I claim  : — In  photographic  processes 
of  the  gelatino-bromide  kind,  the  use  of  eosine  applied  with 
alkali  as  its  solvent  and  vehicle,  either  in  the  liquid  emulsion,  or 
on  the  dry  layer  of  a prepared  plate. 

Patents  Granted  in  Belgium. 

61,821.  G.  A.  Balagny,  of  Paris,  for  “ Bromo-gelatine  paper 
for  superseding  mirrors  in  photography.” — Dated  25th  Jane, 
1883. — French  Patent,  10th  February,  1883. 

61,871.  E.  T.  Stebbing,  of  Paris,  for  “ A photographic  camera, 
obscura.” — Dated  29th  June,  1883. — French  Patent,  26th 
May,  1883. 

61,962.  J.  de  Neck,  Jun.,  of  Brussels,  for  “ A photographic 
apparatus  with  a horizontal  focussing  screen.” — Dated  7th 
July,  1883. 


COMPARATIVE  EMULSION  EXPERIMENTS. 

BY  j.  VINCENT  ELSDEN,  I5.SC  (LOND.),  F.C.S.* 

General  Conclusions  based  upon  the  foie  going  Observation, 
concerning  the  Influence  oj  Iodide  in  Emulsions. — 1.  With  the 
ordinary  pyro  developer  the  shadows  are  kept  clearer  by 
the  use  of  iodide  ; green  fog  is  checked  to  a considerable 
extent,  even  under  a prolonged  development.  There  is  a 
slight  loss  in  density  as  the  proportion  of  iodide  increases. 
There  is  a loss  of  detail  aud  sensitiveness  when  the  iodide 
is  present  in  large  amount. 

2.  With  the  sulphite  developer,  the  same  results  as  above 
were  noticed  ; but  the  presence  of  iodide  has,  even  in 
small  quantities,  a great  influence  in  checking  green  fog. 

3.  With  the  oxalate  developer. — As  the  iodide  increases, 
there  is  a marked  difference  in  the  rapidity  of  development, 

• Continued  from  page  536. 


August  31,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


555 


compared  with  pure  bromide.  The  part  with  iodide  is 
invariably  slower  to  appear.  The  colour  of  the  film 
becomes  browner  with  increase  of  iodide.  The  loss  in 
density,  and  absence  of  fog,  with  increase  of  iodide,  is  still 
more  marked  in  this  case  than  with  ether  developers.  In 
fact,  ferrous-oxalate  does  not  seem  to  act  so  readily  upon 
bromo-iedide  films  as  the  pyro  developer  does.  Tbi3  is 


still  further  proved  by  the  fact  that  a film  composed  entirely 
of  iodide  of  silver  can  be  developed  to  a much  greater 
extent  by  means  of  sulpho-pyrogallol  than  by  ferrous- 
oxalate.  The  great  difficulty  in  fixing  films  containing 
much  iodide  is  a point  not  to  be  overlooked.  In  some 
cases,  where  the  bromide  parts  fix  in  a few  minutes,  the 
iodide  parts  required  three  or  four  hours.  Seeing  that 


Comparative  View  of  the  Effect  of  Variation  in  the  Proportion  of  Chloride  in  Emulsions. 


Number  of  Plate  and  Nature  of 
Emulsion. 

Ordinary  Pyro  Developer. 

Sulphite  Developer. 

Oxalate  Developer. 

Plate  1 — 

Portion  coated  with  AgBr  ... 
Ditto,  AgBr-t-2  o°/0AgCl 
Ditto,  AgBr+5%AgCl 

Over-exposed  and  thin. 

) No  difference,  except  slight 
> tendency  to  fog  in  last  divi- 
) sion. 

The  lines  of  division  between  the 
separate  portions  not  to  be  dis- 
tinguished either  by  reflected 
or  transmitted  light. 

Rather  under-developed,  other- 
wise good. 

\ Shadows  veiled  ; image  weaker 
f than  above  portion. 

The  separate  portions  are  scarcely 
to  be  distinguished. 

Image  stronger  than  rest  of  plate. 

1 Tendency  to  fog ; image 
/ weaker  than  above  portion. 

The  separate  portions  are  scarcely 
to  be  distinguished. 

Plate  2 — 

Portion  coated  with  AgBr  ... 
Ditto  AgBr+8°/0AgCl 
Ditto  AgBr+10#/oAgCl 

1 Rather  over-exposed  and  thin, 
but  otherwise  no  difference 
i visible  anywhere,  either  by 

) reflected  or  transmitted  light. 

Green  fog  on  shadow's  only. 

) Green  fog  over  whole  plate ; 
> on  the  shadows  the  fog  is 
) red. 

Better  than  rest  of  plate  ; no  fog. 
1 Inferior  to  above,  but  differ- 
S ence  is  very  slight ; no  fog. 

No  difference  in  colour  of  image. 

Plate  3 — 

Portion  coated  with  AgBr  ... 
Ditto  AgBr-fl4°/0AgCl 
Ditto  AgBr+18°/0AgCl 

Thin  ; clear  shadows ; distance 
clear. 

) Tendency  to  fog  ; distance  in- 
> distinct ; green  fog  in  last 
) division. 

No  green  fog  ; dense  ; good  con- 
trast. 

) Green  fog ; shadows  veiled ; 
J image  weak. 

Dense  and  brilliant. 

\ Weaker  and  less  contrast,  but 
/ no  fog. 

No  difference  in  colour  of  image. 

Plate  4 — 

Portion  coated  with  AgBr  ... 
Ditto  AgBr-f20°/0AgCl 

Ditto  AgBr-f25%AgCl 

Clear  shadows ; distance  distinct ; 
no  fog. 

'I  Fog  in  shadows ; distance 
1 much  fogged,  especially  in 
I last  portion  ; green  fog  in 
J the  last  division. 

1 Bad  throughout,  the  whole 
1 fogged ; but  the  chloride 
| parts  are  visible  from  greater 
J weakness  of  image. 

Dense,  clear  shadows. 

\ Image  generally  weak,  with 
/ slight  veil  over  shadows. 

No  difference  in  colour  of  image. 

Plate  5 — 

Portion  coated  with  AgBr  ... 
Ditto  AgBr-f29»/0AgCl 
Ditto  AgBr+33%AgCl 

Good,  clear  distance  and  shadows 
\ Slight  fog;  distance  very  in- 
) distinct,  but  no  green  fog. 

Slight  fog ; otherwise  fair. 

I Hopeless  green  fog:  image 
J weak  ; negative  bad. 

Good  density  ; clear  distance. 

\ Shadows  fogged  ; distance  in- 
i' distinct. 

Plate  6— 

Portion  coated  with  AgBr  ... 
Ditto  AgBr+660/0AgCl 

Ditto  AgBr-f  10O°/oAgCl 

Good,  bright  negative. 

Fogged,  without  detail  or  con- 
trast. 

&Inch  fogged : thoroughly  bad 
in  every  way. 

Fairly  good. 

[ Hopeless  green  fog ; tho- 
)’  roughly  bad  negative. 

Good,  but  slight  fog. 

\ Green  fog,  and  thoroughly  use- 
/ less. 

No  difference  in  colour  of  image: 

collodio-iodide  films  fix  readily  enough,  this  requires  ex-  i 
planation.  With  the  exception  of  the  difficulty  of  fixing, 
there  seems  to  be  considerable  latitude  in  the  amount  of 
iodide  that  may  be  employed  in  an  emulsion. 

PHOTOGRAPHY  ON  THE  RHINE. 

An  occasiona!  correspondent,  lately  returned  from  a visit  ! 
tbe  ™me.and  neighbouring  parts  of  Germany,  sends  , 

hLtinlfa°l0W1D»g‘t  \ou.may  Perchance  be  interested  in 
aving  a report  of  what  is  on  show  at  the  present  time  at 
the  chief  photographic  establishment  on  the  Rhine,  and  I 

fori  yn°r!I  ?n  imPre8810DS : premising,  however,  that  I may 
very  possibly  have  omitted  to  take  note  of  some  things 

hu  riP7^  mentf10niD^’.but  "hichdid  not,  from  the 

nWw-  tUrr  °f  V18lt>  haPPen  t0  come  under  my 

observation.  I went  both  up  and  down  the  Rhine,  spend- 

ing  an  intermediate  week  at  Eisenach,  in  Thuringia,  which, 
in  my  opinion,  is  even  better  worth  a visit  than  the  grand 
river  itself.  Of  course  I saw  the  Wartburg,  Annathal, 
I'uhla,  Gotha,  and  some  other  places  mentioned  in  your 
“Beauty  Spots  of  the  Continent”;  but,  excepting  the 
first,  these  do  not  seem  as  yet  to  have  attracted  as  much 
attention  as  they  deserve  at  the  hauds  of  photographers. 
Jagemaim,  of  Eisenach,  has  a good  Wartburg  series,  but 
I saw  little  artistic  work  besides  in  this  district. 

But  to  the  Rhine  ; commencing  at  Cologne,  one  finds  a 
row  of  shops  in  the  Dom  Kloster,  devoted  to  the  sale  of 
whole-sheet  prints  of  the  now  finished  Cathedral,  and  en- 
largements of  its  doorways,  pinnacles,  flying  buttresses, 
and  a variety  of  architectural  details  ; also  general  views 
of  town  and  churches  as  seen  from  the  river.  These  large 
prints  are  priced  six  marks  each,  and  arc  well  worth  the 
money ; but  some  of  the  more  ambitious  productions,, 
particularly  of  the  Cathedral  itself,  are  open  to  improve* 

556 


Photographic  news, 


[August  3i,  1883. 


ment  by  printing  in  a sky.  The  “Dom  Bild,”  and  Loch- 
ner’s  other  pictures  — indeed,  many  of  the  paintings 
exhibited  in  the  Museum — can  be  had  in  photo-transcript 
at  modest  prices,  a3  also  interiors  of  most  of  the  churches, 
including  the  dry  bones  and  relics  of  St.  Gcreon  and  St. 
Ursula.  Portraiture  of  the  best  character  is  undertaken 
•by  Carl  Westendarp,  of  7,  Combdienstrasse,  who  exhibits 
a handsome  collection  of  whole  plates,  panels,  and  enlarge- 
ments; whilst  Fritz  Heinz,  near  the  Artillery  Barracks, 
shows  a Dice  lot  of  very  clever  portrait  groups — students, 
cooks,  and  military  corps  detachments,  with  genre  acces- 
sories and  suitable  backgrounds. 

At  Bonn,  I heard  that  there  had  been  lately  exhibited  a 
sensational  photograph  illustrative  of  the  still  fashionable 
practice  of  duelling,  showing  in  detail  the  arrangement  of 
the  combatants  and  their  witnesses,  with  surgeons  in 
attendance.  The  names  of  Jean  Reuss  and  Muller 
(portraitists)  and  J.  Westhoven  (ditto)  were  appended  to 
specimens  of  very  good  average  work  at  their  studios 
opposite  the  University.  G.  Becker,  of  Kbnigswinter,  has 
some  carte  and  cabinet  Rhine  views ; but  I did  not  see 
amongst  them  any  of  the  Urachenfels  railway. 

At  BingeD,  I met  with  a special  feature  of  more  than 
local  interest  in  the  series  of  views  taken  by  F.  B.  Hilsdorf 
during  the  prevalence  of  last  winter’s  inundations.  There 
are  to  be  seen  boats  in  the  streets  and  railway  station, 
planks  and  temporary  causeways  erected  for  the  con- 
venience of  the  townspeople,  wharfs  flooded,  and  basement 
flats  all  but  submerged.  The  Great  National  Memorial 
(figure  of  Germania)  erected  on  the  Niederwald,  opposite 
Bingen,  comes  in  for  its  full  share  of  pictorial  representation, 
but  as  the  photographs  already  show  it  in  its  finished  state, 
whilst  as  yet  there  is  scaffolding  around,  we  must  assume 
that  they  have  been  taken  from  the  architect’s  model.  It 
is  approaching  completion,  and  will  be  unveiled  by  the 
Emperor  on  the  28th  September. 

Wiesbaden  may  be  said  to  be  the  head-quarters  of  photo- 
graphy on  the  Rhine.  L.  W.  Kurtz  has  lately  removed 
into  handsome  new  premises  at  2,  Friedrichstrasse,  where, 
on  pediments  in  the  front  elevation,  stand  full-length  statues 
of  Talbot  and  Daguerre,  remarkably  well  executed.  The 
portrait  enlargements  and  general  work  of  Herr  Kurtz  are 
of  first-class  excellence,  and  he  makes  a good  show  in  the 
towD.  The  same  remark  is  applicable  to  the  exhibits  of 
Carl  Borntraeger,  in  the  Taunusstrasse,  who  shows  as  a 
novelty  a series  of  railway  car  portrait  groups,  including 
many  members  of  the  Prussian  Royal  family.  Rhein- 
staedter,  of  Frankfort  and  Wiesbaden,  also  has  good  work 
of  all  kiuds — panel  portraits,  &c.— in  his  show-case  Lastly, 
it  may  be  noted  that  the  best  views  of  Rhine  scenery,  with 
natural  skies  and  instantaneous  effects,  are  now  those  of 
Mondel  and  Jacob.  They  have  also  taken  the  celebrated 
Greek  Chapel,  the  Kurhaus,  the  Synagogue,  the  Catholic 
Church,  and  the  new  red  brick  Episcopalian  Church  (with 
lofty  spires),  which  constitute  the  most  conspicuous 
buildings  in  this  beautiful  town. 


% iittaarg  of 

AFTER  EXPOSURE  AND  PRE-EXPOSURE.— It  has  fre- 
quently been  asserted  that  the  time  of  exposure  may  be  very  con- 
siderably shortened,  not  only  in  the  case  of  wet  plates,  but  also 
in  the  case  of  gelatino-bromide  plates  and  albumenized  paper,  by 
a general  exposure  of  the  sensitive  surface  to  light,  either  before 
the  photographic  image  is  impressed,  or  afterwards.  Some  recom- 
mend white  light,  and  others  coloured  light ; butialthough  it  seems 
that  the  general  exposure  occasionally  brings  out  details  which 
would  not  otherwise  have  appeared,  there  is  reason  to  believe  that 
this  is  ordinarily  at  the  expense  of  other  good  qualities  of  the 
resulting  negative. 

Levitzski  is  of  opinion  that  the  total  time  of  exposure  is  con- 
siderably diminished  by  a preliminary  “ knock  ” or  short  expo- 
sure followed  by  a rest.  He  contends  that  in  ordinary  cases,  a 1 
preliminary  “ knock  ” of  one  second  followed  by  a rest,  and  a I 


main  exposure  of  five  or  six  seconds,  is  equal  to  a single  exposure 
of  ten  seconds.  Mr.  W.  E.  Debenham  siys  that  by  pre-exposing 
a slow  gelatine  plate,  he  has  been  able  to  obtain  a sensitometer 
indication  which  corresponded  to  no  less  than  sixteen  times  the 
original  sensitiveness ; but  this  grain  was  not  real,  as  such  a plate 
gave  a far  worse  picture  than  it  would  have  done  had  no  pre- 
exposure been  given.  He  concludes  from  these  results  that 
sensitometer  observations  have  but  little  value,  unless  a medium 
number  is  taken  as  the  standard  of  comparison. 

Mr.  Ashman’s  experience  leads  him  to  conclude,  that  in  the  case 
of  wet  collodion  at  least,  it  is  far  better  to  give  a supplementary 
exposure  than  a preliminary  exposure  ;’and  by  carefully  adjusting 
this  supplementary  exposure  it  is  possible  to  reduce  the  main 
exposure  to  one-fourth  or  even  one-fifth. 

Dr.  Richard  says : — “ If  we  compare  two  equally  exposed 
negatives,  to  one  of  which  an  after-exposure  has  been  given,  we 
shall  notice  startling  differences  between  the  two  : one  will  be  a 
thoroughly  good  negative  of  great  intensity. 

“ The  short  exposure  which  the  plate  receives  during  the 
sitting  is  intensified  by  the  after-exposure,  so  as  to  yield  a good 
negative|;  but  this  after  exposure  should  never  exceed  three-fifths 
of  the  whole  exposure.  What  is  meant  is,  that  if  to  obtain  a good 
negative  in  the  ordinary  way  five  seconds  are  required,  then  three 
seconds  of  the  whole  may  be  given  by  after-exposure. 

“ It  is  conceivable,  if  the  after-exposure  has  not  been  carefully 
made,  and  in  a proper  ratio  to  the  first  exposure,  that  a fogged 
plate  will  be  inevitable.  A second  after-exposure  is  not 
permissible. 

“ In  this  way,  with  the  help  of  after-exposure,  we  can  increase 
the  exposure  of  two  seconds  tooneof  five  seconds,  which,  in  good 
light,  is  sufficient  as  a rule.  This  method  gives  more  perfect 
negatives  than  when  they  are  taken  in  the  ordinary  way.  The 
action  of  light  on  a simply  developed  picture  gives  the  necessary 
intensity  when  fixed.” 

The  after-exposure  may  be  given  either  by  exposing  the  plate 
to  feeble  gas-light  or  dim  daylight,  or  by  covering  the  lens  with 
a cap  of  tissue  paper  (either  white  or  coloured)  and  allowing  the 
light  to  reach  the  plate  through  this  medium.  Such  a method  is 
convenient,  as  it  generally  involves  less  loss  of  time  than  the 
former.  Some  photographers  prefer  to  use  an  ordinary  diaphragm, 
having  the  opening  covered  with  paper.  Experience  aione  can 
guide  as  to  the  extent  to  which  the  supplementary  exposure  may 
advantageously  be  carried. 

ALABASTRINE  OR  PEARL  PROCESS.— A method  of 

whitening  a collodion  positive  on  glass  or  a ferrotype,  and  by 
which  extremely  beautiful  results  may  be  obtained.  The  active 
ingredient  of  the  alabastrine  solution  is  mercuric  chloride  or  corro- 
sive sublimate,  and  if  the  solution  is  allowed  to  act  for  a sufficient 
length  of  time,  alabastrine  pictures  appear  to  be  remarkably 
permanent. 

The  following  directions  are  taken  from  an  early  volume  of  the 
Photographic  News.  After  having  fixed  the  positive  and  tho- 
roughly washed  away  all  traces  of  potassium  cyanide  with  cold 
water,  the  picture  should  be  placed  in  warm  water  for  a few 
minutes.  It  is  now  cooled  by  immersion  in  cold  water,  and  put 
on  a levelling  stand,  when  it  is  flooded  with  the  following 


solution — 

Distilled  or  rain  water 

1 onnee 

Saturated  solution  of  mercuric  chloride  in 

hydrochloric  acid  

12  minims 

Ferrous  sulphate  ...  

20  grains 

Nitrate  of  potash 

12  „ 

Alcohol  

J drachm 

In  about  ten  minutes  the  image  will  be  whitened  ; but  in  order 
to  ensure  the  permanence  of  the  picture,  it  is  well  to  pour  off  the 
solution  and  replace  it  by  a fresh  portion,  allowing  this  to  act  for 
about  the  same  time.  A third  treatment  is  advisable.  The  plate 
should  now  be  thoroughly  washed,  dried,  and  varnished  with  a 
varnish  composed  of  30  grains  of  gum-dammar  to  an  ounce  of 
benzoic. 

ALBERTYPE. — See  Collotype. 


SOLID  AND  LIQUID  ILLUMINATING  AGENTS. 

BY  LEOPOLD  FIELD,  F.C.S.* 

To  make  the  little  Christmas  tapers  and  wax  spills,  a method 
called  ” drawing  ” is  employed.  Here  the  wick  is  wound  off  ODe 
drum  on  to  another.  In  its  passage  it  passes  through  a basin  of 
melted  wax,  coloured  with  pigment,  leaving  which,  it  passes 

* Continued  from  page  513, 


August  81,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


557 


through  a die,  perforated  with  holes  varying  in  diameter  from 
7tj  to  £ inch.  The  wick  passes  and  repasses,  till  sufficiently  thick. 
The  large  sizes  are  cut  into  tapers  for  Christmas  trees,  the  thin 
wicks  into  lengths  of  about  8-12  inches,  and  are  made  up  into 
bundles  of  assorted  colours.  To  “ feather  ” the  ends,  to  facilitate 
lighting,  they  are  dipped  into  hot  water,  and  “ flipped  ” over  the 
arm,  the  melted  wax  flying  off,  and  the  ends  dispersing. 

Considering  the  expense  of  the  raw  material,  also  the  skilful 
labour  and  time  required  for  its  manufacture,  it  is  not  surprising 
that  wax  candles  should  be  dear,  and  highly  prized.  They  have 
long  been  the  currency  for  paying  spiritual  debts,  and  many  tons 
of  candles  are  devoted  to  this  purpose.  For  carriage  lamps, 
where  a hard  substance  is  required  to  resist  the  upward  pressing 
spring,  wax  “ moons  ” were  long  the  only  ones  adopted,  till 
ozokerit  literally  “ took  the  shine  ” out  of  wax  in  light  and  hard- 
ness. Many  quaint  and  obsolete  customs  were  connected  with 
the  candle,  as  “ selliog  by  candle,”  when  the  bid  was  knocked 
down  after  a certain  length  had  burnt;  “excommunication  by 
candle  ” — 

“ The  priest  called  for  candle,  for  bell,  and  for  book,” 
where  the  grace  and  time  for  penitence  were  adjudgel  by  the 
same  measure. 

The  introduction  of  cheaper  substitutes  has  enabled  many  to 
reconcile  piety  and  economy.  Vegetable  waxes  are  as  tai  ntless 
as  bees- wax,  and  being  some  of  them  harder,  last  longer.  Of  these 
the  name  is  legion,  and  we  can  only  consider  the  most  important ; 
but  first,  we  must  devote  some  little  time  to  the  beautiful  rival  of 
bees-wax,  spermaceti,  itself  a true  wax. 

Spermaceti  ( Wallratli , Germ.  ; hlanc  de  balaine,  Fr.)  is  written 
in  old  works  spermaceti,  testifying  to  the  belief  then  current  that 
it  was  the  spawn  of  the  whale.  The  history  of  the  rise  of  this 
industry  is  fraught  with  interest.  Till  nearly  1700,  men’s  ideas 
concerning  the  nature  of  the  substance  were  very  vague.  Sir 
Thomas  Browne  excuses  his  ignorance  on  the  plea  that  " the 
learned  Hoffmann  says,  “ nescio  quid  sit”  In  1680,  doubts  were 
set  at  rest  by  the  finding  of  a dead  whale  on  the  coast  of 
Norfolk,  from  which  unmistakeable  spermaceti  was  taken.  When 
this  solid  came  to  be  employed  in  candle  manufacture,  for  which 
it  is  so  eminently  adapted,  1 do  not  know.  It  seems  for  a long 
time  to  have  been  employed  in  pharmacy  alone.  Thomas 
Browne,  for  instance,  lauds  it  as  a “ground  for  compound  oyls 
and  balsams,”  and  another  old  savant  prescribes  it  in  all  cases 
“ where  acrimonious  humours  are  to  be  obtunded  ; ” and  so  in 
many  others.  It  is  still  very  largely  blended  in  ungixents,  as  I 
need  not  remind  you ; but,  of  course,  now  its  chief  use  is  for 
candles. 

The  black  or  Greenland  whale  fishery  was  carried  on  long 
before  the  haunts  of  the  sperm  or  caehelot-whale  had  been  dis- 
covered. The  earliest  mention  made  of  the  latter  is  by  one  Mr. 
Norwood  (ICG7),  who,  talking  of  the  Bermudas  black  whale 
fishery,  “ has  heard  from  credible  persons  of  another  whale  having 
great  teeth— from  which  they  got,  as  it  lay  dead  on  the  beach,  a 
quantity  of  spermaceti ; ” and  Mr.  Stafford,  several  years  after, 
speaks  of  the  difficulty  and  danger  of  catching  the  sperm  whale, 
“such  as  its  fierceness  and  swiftness.” 

But  the  matter  was  not  allowed  to  drop  there.  America  took 
to  the  chase  so  kindly  that,  between  1775  and  1779,  she  sent  out 
nearly  500  ships  to  both  North  and  South  Atlantic  Oceans,  which 
brought  in  over  30,000  tons  of  oil.  Mr.  Burke  remarked 
witheringly  on  the  sloth  of  the  English  in  this  matter,  as  com- 
pared with  the  activity  of  their  cousins.  “ No  sea,  but  is  vexed 
with  their  toils.”  This  appears  to  have  taken  effect,  for,  in  1776, 
the  Government  offered  a large  bounty  to  the  largest  cargo  of 
sperm  oil  brought  home  under  certain  specified  conditions.  From 
this  time  forward  the  cachalot  whale  must  have  been  surprised  to 
find  himself  the  recipient  of  such  marked  attentions.  In  the  year 
1786,  above  326  tons  of  pure  sperm  oil  were  introduced  into 
England.  The  bounty  was  increased,  and  almost  immediately 
afterwards  the  great  step  was  taken  of  doubling  Cape  Horn, 
hitherto  unaccomplished  feat,  and  carrying  the  war  into  the 
Pacific,  the  real  home  cf  the  sperm  whale.  The  captures  now 
doubled  and  quadrupled.  In  1819,  Mr.  Enderby,  who  had 
already  received  two  bounties  for  two  ships  which  had  made 
voyages  of  most  unprecedented  good  fortune,  fitted  out  the  Syren. 
This  vessel  chose  the  new  hunting  grounds  of  the  Japan  sea,  and 
with  such  judgment  that,  after  two  years’  absence,  she  returned 
with  the  enormous  cargo  of  346  tons  of  sperm  oil.  The  trade 
being  now  fairly  started,  the  Government  discontinued  the  bounty. 
But  the  impetus  given  received  no  cheek — the  gain  of  sale  was 
sufficient  inducement;  and  the  cargoes  increased  in  number  and 
tonnage,  till  1831,  when  7,065  tons  came  into  British  ports. 


It  is  difficult  for  even  a fertile  imagination  to  overpaint  the 
advantage  which  accrued  to  trade,  science,  and  navigation, 
through  the  enthusiastic  following  up  of  this  exciting  fishery. 
We  shall  find  a parallel,  perhaps,  in  the  palm  oil  trade,  though 
of  a different  scope.  When  one  considers  the  vast  extent  of  water 
over  which  these  leviathans  roam  at  will,  and  the  remote  fast- 
nesses to  which  they  fly  from  their  pursuer,  also  the  enormous 
yield  got  from  their  carcases  without  other  expenditure  than  the 
fire  to  “ dry  down,”  and  the  barrels  to  hold  the  oil,  it  needs  no 
dilating  to  show  how  universal  benefit  must  result. 

The  details  of  the  fishery  are  known  to  everyone.  Not  quite  so 
well,  perhaps,  the  difference  between  the  three  whales — the 
“right,”  the  “sperm,”  and  the  “ bottlenose.”  There  are,  of 
course,  innumerable  species  of  this  order  of  mammalia,  ranging 
from  the  seal  to  the  porpoise,  all  of  which  yield  oil ; but  we  can 
only  give  the  most  cursory  consideration  to  the  above-named 
three.  The  G reenland,  or  “ right  ’’  whale  ( Balcena  graenlandicus), 
also  known  as  the  “ blackwhale,”  yields  whale-oil,  which,  in  many 
ways,  differs  from  sperm  oil.  This  balsena  inhabits  northern 
lattitudes  chiefly,  but  is  found  astray  in  many  southern  regions. 
He  is  toothless  ; his  mouth  is  furnished  with  whalebone,  and  his 
head  is  rounded,  the  skull  being  of  an  entirely  different  form  to 
that  of  the  cachalot.  His  fat  is  also  more  readily  saponified,  and 
deposits  little  solid  on  cooling;  the  lighting  and  lubricating  pro- 
perties also  are  far  inferior.  The  cachalot,  or  sperm  whale 
(physter  macrocephalus),  so  called  from  its  enormous  head— nearly 
14  feet  high  by  25  feet  long — is  a denizen  of  the  south.  His 
skull  is  long,  depressed,  and  pointed.  The  great  bulk  of  the 
head  consists  of  a dense  cellular  tissue,  infiltrated  with  spermaceti. 
This  is  called  the  jtinck,  and  is  surmounted  by  the  case,  which 
holds  nearly  a ton  of  very  fine  oil  and  sperm.  This  is  termed 
the  head  matter,  and  it  is  still  asserted,  in  most  books  on  the  sub- 
ject, that  this  is  the  only  source  of  spermaceti.  The  error  — for 
such  it  is — has  arisen  from  the  fact  of  the  head  matter  being  full 
of  the  sperm  crystals  when  taken  from  the  head  ; while  the  body 
oil  does  not  deposit  till  after  melting  and  cooling  out.  The 
blubber  surrounds  the  whole  hody  in  a layer  of  about  18  inches 
thick.  It  is  a fine  fat,  much  resembling  the  fat  of  hot  roast  beef, 
and  is  hardly  solid  at  ordinary  temperatures.  This  is  stripped  off 
the  whale,  and  packed  into  barrels,  unless  “tried  down  ” on 
board  ship.  Trying  down  means  simply  melting,  to  clear  down 
the  fibre  and  skin  from  the  oil.  This  soon  deposits  thick  scales 
of  sperm,  aud  arrives  at  the  factories  in  a semi-solid  condition  ; 
in  winter  the  barrels  have  to  be  steamed,  to  extract  the  contents. 
The  mass  then  undergoes  several  filtrations  and  pressings.  At 
first  it  is  run  into  long  bags  of  hair  or  canvas,  and  allowed  to  filter 
simply  by  its  own  weight  ; any  pressure  at  that  stage  tending  to 
force  the  only  semi-solid  sperm  through  the  fibres  This  process 
is  called  “ bagging.”  When  as  much  oil  has  filtered  out  as 
possible,  the  flaky  mass  is  transferred  from  the  long  bags  to 
square  ones,  which,  placed  between  boards  in  layers,  are  subjected 
to  pressure  by  superposed  weights,  gradually  increasing  till  a 
certain  limit.  Hydraulic  pressure  is  then  applied,  in  the  cold  at 
first,  afterwards  with  the  aid  of  heat,  the  sperm  having  been 
melted  and  cast  into  moulds  once  or  twice  during  the  different 
pressings.  Finally,  the  almost  white  wax  is  warmed  and  agitated 
with  a little  caustic  potash,  which  removes  the  last  traces  of  colour, 
and  then  is  cast  into  blocks.  Thus  purified,  spermaceti  is  an 
almost  blue-white  glistening  semi-crystalline  substance,  melting 
at  113”  F.  Messrs.  Bicknells,  the  well-known  sperm  finers,  who 
kindly  placed  their  factory  at  my  disposal  for  the  above  informa- 
tion, have  prepared  this  block  of  sperm  for  exhibiting  the  crystals. 
The  interior  has  been  run  out  while  warm,  leaving  the  splendidly 
serrated  interior  displayed.  They  are  not  true  crystals — as  far  as 
I know,  no  distinct  form  has  been  isolated — but  are,  nevertheless, 
highly  structural  and  characteristic.  It  is  my  belief  that  palmi- 
tate  of  cetyl  itself  would  be  crystalline,  but  that  the  inseparable 
constituents  prevent  this. 

The  constitution  of  sperm  has  received  a good  deal  of  attention, 
though,  like  all  the  fats,  very  difficult  to  ascertain  exactly.  It 

OH  1 

mainly  consists,  as  I said,  of  cetyl  palmitate^,16^31^  | O'  which, 

on  distillation,  yields  a peculiar  substance,  called  ethal  (cetyl 
alcohol,  ClclI:i:1OH')  the  alcohol  of  ceteno  C1(iH32.  On  long  boil- 
ing with  potash,  sperm,  like  other  waxes,  forms  a quasi-soap,  but 
yields  no  glycerine,  cetyl  being  liberated  instead. 

Owing  to  the  pure  candition  to  which  it  can  be  brought,  and 
the  uniformity  of  its  constitution,  sperm  makes  the  finest  candles 
we  have  for  regularity  of  flame.  Having  large  wicks,  to  allow  of 
quicker  consumption  of  the  easily  melting  wax,  the  flame  of  a 
sperm  candle  of  ordinary  size  is  greater  than  those  of  others.  For 


558 


THE  PHOTOGRAPHIC  NEWS. 


[August  31,  1883. 


these  reasons,  the  spermaceti  candle,  burning  120  grains  per  hour, 
has  been  chosen  as  the  standard  measure  of  light  over  all  the 
scientific  world. 

The  “ bottle-nose  ” whale  has  been  a subject  of  much  doubt,  and 
great,  though  surreptitious  utility.  It  is  smaller  than  thebalaena 
and  cachalot,  seldom  exceeding  30  feet.  Although,  no  doubt, 
thousands  of  these  fish  have  been  caught,  and  their  oil  sold  as 
sperm  oil,  it  is  only  quite  recently  that  the  oil  has  been  made  a 
distinct  commercial  article.  Messrs.  Bicknell  have  taken  the 
matter  in  hand,  aud  extracted,  after  much  experiment, real  sperm- 
aceti therefrom,  of  a slightly  higher  melting  point  than  the 
cachalot  sperm.  Mr.  Allen  has  published  several  communications 
conceminy  this  oil,  on  which  I may  have  more  to  say  when  we 
speak  of  oils  proper. 

( To  be  continued.) 


QLmtagonbmc. 

THE  BRUSSELS  EXHIBITION. 

(A  Monsieur  le  Directeur  du  Photographic  News,  Londres.) 

Monsieur, — Nous  avons  le  plaisir  de  porter  it  votre  con- 
naissauce  que  le  jury  international  de  notre  Exposition 
vous  a decernt*  un  Diplome  d'Honneur.  Permettez-nous, 
Monsieur,  de  vous  adresser  toutes  nos  felicitations.— Pour 
le  Comite,  Alex,  de  Blockhouse,  Le  President. 

Alf.  Geruzet,  Le  Secretaire. 


CAUSE  OF  THE  INSENSITIVENESS  OF  COLLO- 
DION EMULSIONS.  " 

Dear  Sir, — Dr.  Vogel,  in  a recent  communication,* 
having  referred  to  some  of  my  experiments  bearing  on  this 
subject,  I venture  to  bring  before  the  readers  of  the  News 
the  theory— or,  rather,  explanation — which  these  experi- 
ments have  suggested  to  me  as  being  the  principal  cause 
of  the  great  differences  observed  iu  the  sensitiveness  of 
collodion  and  gelatine  emulsions.  It  may  briefly  be  stated 
as  follows  : — That  the  differences  iu  sensitiveness  are  due 
in  the  main  to  the  different  chemical  characters  of  the  two 
vehicles,  gelatine  aud  pyroxyline ; that  whereas  gelatine 
is  a substance  having,  if  anything,  a slight  reducing  action, 
pyroxyline  is  a powerful  oxydizing  agent,  and  behaves  as 
such  in  preventing  the  formation  of  a developable  image. 

It  may  appear  to  some  that  an  attempt  to  saddle  our 
old  friend  pyroxyline  with  the  property  of  being  a power- 
ful restrainer  is  against  all  previous  teaching  and  experi- 
ence. For  instance,  it  is  stated  in  Haidwich’s  Photo- 
Chemistry  that  pyroxyline  is  a strictly  neutral  substance, 
and  has  no  chemical  action  on  the  sensitive  salt,  and  other 
writers  have  expressed  similar  views.  In  all  these  cases, 
however,  films  prepared  with  excess  of  silver  nitrate  are 
referred  to,  and  this  is  where  a qualification  should,  I 
think,  come  in.  It  is  well  known  that  the  darkening  of 
silver  chloride  in  presence  of  excess  of  silver  nitrate  is  but 
little  retarded  even  by  the  presence  of  such  a powerful 
restrainer  as  free  nitric  acid ; and  the  same  may  be  said 
of  pyroxyline.  In  presence  of  free  silver  nitrate  its  re- 
straining power  is  masked  or  compensated  for  to  some 
extent ; but  let  a little  nitric  acid  be  added  to  an  emulsion 
without  excess  of  silver  nitrate,  gelatine  or  otherwise,  and 
a very  great  reduction  of  sensitiveness  at  once  takes  place. 
The  same  with  pyroxyline.  If  present  in  emulsions 
■without  free  silver  nitrate,  it  exerts  the  normal  restraining 
effect  which  might  be  expected  from  its  composition. 

There  are  one  or  two  facts  bearing  on  the  subject  which 
I will  also  mention  here.  It  is  known,  and  has  been  pro- 
minently brought  forward  by  Mr.  Binks,  that  the  sensi- 
tiveness of  collodion  emulsions  or  plates,  especially  if  they 
contain  gelatine,  increases  as  the  percentage  of  pyroxyline 
decreases — i e.,  the  sensitiveness  is  inversely  proportional 
to  the  quantity  of  pyroxyline  present ; and  again,  of  various 
samples  of  pyroxyline,  that  which  increased  least  iu  weight 

• Fhotoqbaphic  News,  p.  426. 


during  nitrification — or,  in  other  words,  contains  the  least 
percentage  of  nitric  acid — will  yield  the  most  sensitive 
emulsion.  How  this  rythmic  action  between  the  sensitive- 
ness and  the  quantity  of  nitro-cellulose,  the  one  increasing 
as  the  other  diminishes,  either  by  reducing  the  quantity 
of  pyroxyline,  or  using  one  with  a smaller  percentage  of 
the  substitution  compound,  is  explained  on  the  theory  of 
two  modifications  of  silver  bromide,  it  is  difficult  to  see. 

I will  also  offer  a few  remarks  on  the  points  of  difference 
pointed  out  by  Dr.  Vogel. 

1.  Spectroscopic  differences. — As  regards  the  different 
points  of  maximum  sensitiveness  observed  by  Dr.  Vogel  in 
silver  bromide  precipitated  in  collodion  and  gelatine  re- 
spectively, it  becomes  a question  as  to  whether  the  differ- 
ence invariably  goes  hand  in  hand  with  the  difference  in 
sensitiveness. 

I have  found  that  silver  bromide  precipitated  in  gelatine, 
and  then  emulsified  in  collodion,  is  even  slower  than  if  it 
had  been  originally  precipitated  in  collodion  ; and  Dr. 
Vogel  states  that  under  such  circumstances  he  found  no 
change  in  the  spectroscopic  behaviour  of  the  silver  bro- 
mide ; it  follows,  therefore,  that  silver  bromide,  which  by 
spectroscopic  examination  has  the  sensitive  form,  loses 
this  sensitiveness  when  emulsified  in  collodion. 

2.  The  unequed  capability  of  diffusion  of  the  two  bromides. 
—In  the  case  of  silver  bromide  precipitated  from  alcoholic 
solutions  not  diffusing  itself  in  gelatinous  solutions,  and 
silver  bromide  precipitated  from  aqueous  solutions  not 
diffusing  in  collodion,  it  would  appear  to  be  due  to  the 
liquid  from  which  the  bromide  i3  precipitated  not  being 
readily  miscible  with  the  other.  In  either  case  a little 
glycerine  will  abolish  the  difference.  There  must  also  be 
a certain  proportion  of  mixed  alcohol  and  water,  from 
which  it  must  be  a nice  point  as  to  which  modification 
will  be  precipitated. 

3.  Unequal  reducibility  of  the  two  bromides. — Dr.  Vogel 
finds  that  silver  bromide  prepared  in  gelatine  i3  .educed 
with  more  difficulty  than  when  prepared  in  collodion,  and 
cites,  as  evidence  of  the  difference  not  being  due  to  the 
greater  porosity  of  the  collodion  film,  the  fact  that  a 
collodion  plate  coated  with  gelatine  will  stand  a much 
more  powerful  developer.  It  seems  to  me  that  since  the 
silver  bromide  is  not  altered  iu  any  way  by  the  coating  of 
gelatine,  the  difference  observed  shows  that  the  vehicle, 
and  not  the  silver  bromide,  is  the  agent  which  allows  a 
stronger  developer  to  be  employed.  I imagine  Dr.  Vogel, 
in  these  experiments,  is  referring  to  collodion  emulsions 
prepared  with  excess  of  silver  on  the  one  hand,  and  gela- 
tine emulsion  prepared  with  excess  of  bromide  on  the 
other ; for  with  a number  of  collodion  emulsions  prepared 
with  excess  of  bromide,  I have  not  found  them  fog  any 
more  than  the  corresponding  gelatine  ones  with  the  same 
strength  of  developer,  and  I need  hardly  say  that  gelatine 
emulsions  prepared  with  excess  of  silver  fog  just  as  readily 
as  collodion  ones.  There  is,  it  is  true,  a thin  fog  frequently 
seen  on  collodion  plates,  even  if  prepared  with  excess  of 
bromide,  when  developed  with  strong  alkaline  developers  ; 
but  this  appears  to  be  due  to  the  exposed  condition  in  which 
the  silver  bromide  is  on  a dry  collodion  plate,  for  with 
collodion  emulsions  containing  small  quantities  of  camphor 
and  shellac  respectively,  to  render  the  films  more  homo- 
geneous, and  with  collodion  plates  coated  with  gelatine,  not 
a trace  of  fog  appeared. 

4.  The  unlike  behaviour  with  chemical  and  optical  sensitizers. 
— This  is  readily  explained  on  the  supposition  that  pyroxy- 
liue  is  a restrainer.  In  all  sensitive  preparations,  if  there  is 
no  restraining  substance  present,  the  action  of  sensitizers 
is  very  small ; for  instance,  in  gelatine  emulsions,  the 
addition  of  silver  nitrate  or  other  powerful  sensitzer — such 
as  the  hydrates  of  barium,  strontium,  or  calcium,  &c — has 
very  little  sensitizing  effect.  On  the  other  hand,  when  a 
restrainer  is  present,  the  actionof  sensitizers  is  very  marked, 
compensating  or  neutralizing,  as  it  were,  the  restrainer,  and 
restoring  the  sensitiveness  to  a greater  or  less  extent. 


August  31,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS 


559 


When  gelatine  emulsions  have  been  treated  with  bichro- 
mate of  potash  or  other  powerful  oxidiziug  agents, 
sensitizers  have  a remarkable  power  in  restoring  the 
sensitiveness. 

5 and  6.  Behaviour  of  the  bromides  with  the  developer , and 
their  different  behaviour  when  heated.—  These  are  closely  con- 
nected with  each  other,  so  I mention  them  together.  Silver 
bromide  in  its  finest  state  of  division — i.  e.,  when  orange  or 
ruby  red  by  transmitted  light — does  not  show  any  great 
difference  in  sensitiveness,  whether  in  gelatine  or  collo- 
dion, and  by  either  mode  of  development ; but  after 
digestion  with  a solvent,  the  bromide  emulsified  in  gelatine 
becomes  far  more  sensitive  to  alkakine  development.  Does 
this  prove  there  is  a fundamental  or  isomeric  difference  in 
the  two  bromides  ? I think  not : along  with  the  increased 
sensitiveness  there  is  an  invariable  increase  of  size  in  the 
particles  of  silver  bromide,  and  as  long  as  this  increased 
size  of  the  particles  is  brought  about,  it  does  not  matter 
whether  the  silver  bromide  is  boiled  with  excess  of  soluble 
bromide,  or  digested  cold  with  ammonia,  or  produced 
directly  in  aqueous  solutions  by  Capt.  Abney’s  method. 
Exactly  the  same  physical  changes  or  increased  size  of  the 
particles  occur  under  similar  conditions  with  the  silver 
bromide  in  collodion  emulsions,  and,  as  before  stated,  as  the 
amount  of  pyroxyline  employed  diminishes,  so  the  sensi- 
tiveness increases ; and  if  silver  bromide  prepared  and 
digested  in  collodion  could  be  separated  from  the  pyroxline 
and  emulsified  in  gelatine,  the  difference  in  sensitiveness 
would  probably  disappear. 

While  feeling  that  my  knowledge  of  the  photo-chemistry 
of  silver  bromide  in  different  media  is  very  imperfect,  1 
think  the  view  that  pyroxyline  is  a powerful  restrainer 
explains  many  facts  which  are  otherwise  difficult  to  under- 
stand.— Yours  faithfully,  E.  Howard  Farmer. 


PERMANENT  SILVER  PRINTS. 

Dear  Sir, — Adverting  to  an  article  in  the  News  of  the 
17th  inst.,  on  “Permanent  Silver  Printing,”  I wish  to 
remark  that  when  I used  Obernetter’s  collodion-faced  ready 
sensitized  paper  in  May,  1870, 1 found  it  work  uncommonly 
well  with  the  usual  toning  and  fixing  baths,  and  that  it 
was  unnecessary  to  go  in  for  the  complicated  formula  re- 
commended with  the  following  bath  : — 

Chloride  of  gold  2 grains 

Phosphate  of  soda 2 drachms 

Distilled  water  10  ounces 

I obtained  the  most  beautiful  results,  and  these  brilliant 
prints  are  as  good  to-day  (framed  under  glass  and  hung 
all  these  years  in  a strong  light)  as  when  produced.  I 
should  mention  that  the  fixing  bath  used  was  of  the 
strength  of  two  ounces  of  hypo,  of  soda  to  thirty-five 
ounces  of  water.  The  prints  were  well  washed  before 
toning,  as  the  collodion  surface  holds  the  extra  nitrate  of 
silver  very  firmly. 

Your  correspondent  says  the  printing  should  not  be  so 
deep  as  when  using  albumenized  paper ; but  1 found  the 
reverse  to  be  the  case,  and  had  to  over-print  a good  deal, 
as  the  above  toner  and  fixer  took  more  out  of  the  prints 
than  in  the  case  of  albumenized  paper. 

Mr.  J.  Solomon,  of  Red  Lion  Square,  used  to  be  an 
agent  for  Herr  Obernetter,  and  it  is  to  be  regretted  that 
there  is  now  no  agent  here  for  the  sale  of  this  excellent 
paper.  Mr.  Solomon’s  price  used  to  be  45s.  a quire.  The 
advantages  of  the  collodion-faced  paper,  at  least  for  an 
amateur  like  myself,  may  be  summed  up  as  follows  : — 

L It  is  ready  sensitized. 

2.  It  will  keep  for  months. 

3.  It  prints  very  rapidly. 

4.  Negatives  too  feeble  for  albumenized  paper  will  print 
much  better  on  it. 

5.  It  gives  marvellous  details  of  the  negative,  there 
being  no  texture  of  the  paper  to  interfere. 


6.  It  gives  lovely  tints  and  brilliant  prints,  although  as 
easily  toned  and  fixed  as  albumenized  paper. 

7 — and  last,  not  least.  The  prints  are  permanent,  so  far 
as  we  can  judge,  and  have  reason  to  believe. 

In  conclusion,  I would  appeal  to  some  of  your  pro- 
fessional readers  to  try  to  secure  an  agency  iu  this 
country  for  Ilerr  Linde’s  and  Herr  Obernetter’s  papers, 
and  so  supply  a want  much  felt  by  many  a photographer 
besides — Yours  very  faithfully,  C.  F.  Bailey. 

Lynton , North  Devon,  2Gth  August. 


A WATER  TARTY. 

Dear  Sir,— A party  of  photographers  are  anxious  to 
make  the  journey  down  the  river  Thames  from  Oxford  to 
Teddington  in  a House  Boat  (fitted  up  for  eating  and 
sleeping  on  board),  for  the  purpose  of  taking  negatives  en 
route ; and  in  order  that  the  individual  expense  may  be 
lessened,  would  be  glad  to  be  joined  by  two  or  three  more 
gentlemen,  aud  have  commissioned  me  to  ask  your  kind 
indulgence,  and  allow  this  to  appear  in  next  issue  of 
Photographic  News,  with  the  intimation  that  all  appli- 
cations be  made  as  early  as  possible  to — Yours  faithfully, 

W.  T.  Wilkinson. 

102,  Lower  Park  Road,  Peckham,  S.E. 

It  is  proposed  that  the  boat  be  towed  ten  or  twelve  miles 
each  day,  negatives  being  taken  of  the  scenery  en  route, 
and  as  the  boat  will  be  fitted  up  with  a dark  room,  develop- 
ment can  be  effected  on  the  spot.  The  wet  collodion  pro- 
cess will  be  used,  as  well  as  gelatine,  for  comparison  as  to 
quality  and  speed  ; and  pyro,  hydrokiuone,  and  ferrous 
oxalate  for  gelatine  development,  thus  offering  a grand 
opportunity  for  gaining  experience  and  passing  a pleasant 
holiday  in  the  company  of  congenial  spirits. 


DwcmMhqs  0J  gotuiut. 

Photographic  Society  of  Great  Britain. 

A meeting  of  the  Society  was  held  at  5,  Pall  Mall  East,  on 
Tuesday,  the  28th  inst.,  Mr.  Baden  Pritchard,  F.C.S.,  Vice- 
President,  in  the  chair. 

The  Assistant  Secretary  (Mr.  Cocking)  distributed  some 
notices  touching  the  exhibition  at  Newcastle-on -Tyne  to  be  held 
in  November. 

Mr.  Warnerke,  who  had  just  returned  from  the  Brussels 
Exhibition,  gave  a most  interesting  account  of  the  gathering  in 
the  Belgium  capital.  It  was  one  of  the  most  complete  exhibitions 
ever  held,  and  the  British  exhibitors,  Mr.  Warnerke  was  glad  to 
say,  were  decidedly  in  the  van  in  respect  to  pictorial  photography. 
This,  indeed,  must  be  evident  to  all,  Mr.  Warnerke  said,  from 
the  list  of  prize-winners  published  in  the  Photographic  News 
last  week.  The  picture  that  secured  the  gold  medal  given  by 
the  King  of  the  Belgians — Sir.  II.  P.  Robinson’s  “ When  the 
Day’s  Work  is  Done  ” — while  it  was  unanimously  chosen  for 
that  honour  by  the  judges,  had,  moreover,  called  for  the  special 
commendation  of  His  Majesty  himself,  who  declared  it  to  be  the 
best  photograph  in  the  collection.  Mr.  Warnerke  also  called 
attention  to  a matter  that  came  under  the  attention  of  the 
authorities  at  Brussels  and  of  the  judges  in  a very  marked 
manner : it  was  the  annoying  custom  that  prevailed  among 
photographers  of  calling  the  same  thing  by  different  names,  and 
employing  different  formula)  and  different  measurements  in 
different  countries.*  What  was  very  desirable  was  a unification 
of  terms  to  be  adopted  by  all  nations,  and  a congress  with  this 
end  in  view  it  was  determined  to  hold  in  Brussels  next  year. 
M.  Montefiore,  one  of  the  council  of  the  Belgian  Society,  and  a 
personal  friend  of  His  Majesty,  had  spoken  to  the  King  on  the 
subject,  and  the  latter  promised  the  affair  his  support.  An 
international  photographic  congress,  therefore,  under  the  auspices 
of  the  Belgian  Government,  may  be  considered  an  accomplished 
fact.  Mr.  Warnerke  instanced  the  process  of  collotype  as  one 
of  those  that  had  half-a-dozen  appellations  at  least,  such  as 
Lichtdruck,  l’hototypie,  Ileliotype,  Artotype,  &c. 

• See  our  leader  in  last  week's  News. 


THE  PHOTOGRAPHIC  NEWS. 


[August  31,  1883. 


The  Chairman  thanked  Mr.  Warnerke  for  his  interesting 
remai  ks  and  for  the  good  news  he  brought. 

Mr.  Dresser  enquired  from  whom  a supply  of  hydrokinone 
could  be  obtained,  and  asked  for  information  as  to  its 
employment. 

Mr.  Cowan  remarked  that  he  had  several  times  used  hydro- 
kinone, but  could  not  find  that  it  possessed  any  advantage  over 
pyrogallol  as  a developer  for  gelatin o-bromide  plates. 

The  Chairman  stated  that  hydrokinone  could  be  readily 
obtained  from  Hopkin  and  Williams  or  from  Burgoyne. 

A Member  stated  that  recently  he  had  purchased  it  as  low  as 
two  shillings  an  ounce. 

Mr.  Blanchard,  touching  the  development  of  over-exposed 
plates,  said  he  had  little  doubt  that  even  plates  which  had  re- 
ceived a most  prolonged  exposure  in  the  camera  could  be  saved, 
if  treated  judiciously.  By  having  recourse  recently  to  a very 
weak  developer,  with  a minimum  of  ammonia,  he  had  succeeded 
in  getting  pictures  from  gelatine  plates  that  had  probably  been 
exposed  twenty  times  as  long  as  they  should  have  been. 

The  Chairman  called  attention  to  the  fact  that  the  last  day 
for  sending  in  pictures  to  the  Pall  Mall  Exhibition  was  Friday, 
the  28th  September,  and  then  adjourned  the  meeting. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  Thursday,  23rd  inst.,  Mr.  J.  J.  Brigin- 
shaw  in  the  chair, 

It  was  announced  that  M.  Hutinet  and  Professor  Stebbing 
had  promised  a demonstration  with  golatino-bromide  paper 
prepared  by  the  former  gentleman. 

Mr.  F.  Piper,  of  Stoke  Newington,  was  elected  a member  of 
the  Association. 

Mr.  IIapdon  passed  round  a tube  containing  a small  quantity 
of  waste  emulsion,  which  had  been  boiled  with  carbonate  of 
potash,  sugar  beiog  afterwards  added  ; this,  in  his  opinion,  was 
simply  green  fog  in  a liquid  state,  and  he  asked  the  opinion  of 
the  meeting  thereon.  In  answer  to  questions,  he  said  that 
the  colour  was  discharged  by  the  addition  of  chromic  acid,  a 
yellowish  precipitate  being  formed.  Hydrochloric  acid  had  very 
little  effect,  and  nitric  acid  none  at  all. 

Mr.  Henderson  said  a simple  test  would  be  to  mix  a small 
portion  with  gelatine,  and  if  the  colour  was  insoluble  in  hypo  or 
cyanide,  then  it  was  green  fog. 

Mr.  Debenham  showed  two  slips  of  tinted  albumenized  paper 
as  illustrating  the  unreliability  of  such  paper.  Though  they 
had  been  exposed  to  light  for  only  four  days,  the  colour  (pink) 
had  in  one  case  almost  entirely  faded,  and  in  the  other  had 
slightly  reddened. 

Mr.  Henderson,  referring  to  a discussion  which  took  place  at 
a previous  meeting,  as  to  the  length  of  time  necessary  to  pre- 
cipitate bromide  of  silver  in  an  aqueous  solution,  said  he  had 
found  by  experiment  the  action  was  hastened  by  dilution. 
Thus,  if,  for  instance,  he  used  two  drachms  ammonia,  and 
neutralised  with  sulphuric  acid,  the  ripening  action  was  stopped, 
and  in  twenty-four  hours  all  had  precipitated,  and  the  top  of  the 
solution  could  be  poured  off  perfectly  clear,  the  acid  destroying 
all  trace  of  meta-gelatine,  and  diluting  the  solutions  at  the  same 
time. 

In  last  week's  report  of  Mr.  Henderson's  formula,  for  “ made 
up  to  three  ounces,”  read  ‘ 4 thirty-seven  ounces.” 


Mk  in  jsiubin. 

Woodbcrttype  Moulds  by  the  Rolling  Method. — The 
rolling  press  has  been  repeatedly  proposed  as  a means  of  making 
the  leaden  mould  for  the  Woodburytype  process,  but  it  does  not 
yield  a sufficiently  flat  block  to  be  of  much  practical  use.  If, 
however,  the  distorted  leaden  mould  is  laid  on  a perfectly  flat 
surface  and  cautiously  heated,  a point  is  reached  when  it  settles 
down  to  an  approximately  true  face  ; so  true,  indeed,  that  this 
mould  may  be  used  for  some  kinds  of  work.  A fundamental 
difficulty  which  seems  inherent  to  the  process  when  thick  lead  is 
used,  consists  in  the  lateral  extension  of  the  metal,  the  relief 
being  thereby  strained  ; but  in  Mr.  Woodbury's  Stannotype 
process  this  difficulty  is  overcome  by  reducing  the  thickness  of 
the  metal  to  a minimum.  Excellent  work  has  been  done  by 
o idbury’s  latest  method,  and  the  expensive  hydraulic  press  is 
not  required.  The  tin-foil  gives  a better  working  face  than  lead. 
Photographic  Club. — The  subject  for  discussion  at  the  next 


meeting  of  this  Club,  Sept.  5tb,  will  be  : — “ The  Slide  Rule  as 

applicable  to  Photographic  Calculation.”  On  Saturday  after- 
noon next,  the  Club  will  have  an  outdoor  meeting  at  Kew 

Bridge  ; will  meet  afterwards  at  the  “ Star  and  Garter.’’ 

-o- 

J.  J. — Wo  quite  agree;  it  would  be  better  ns  you  say.  Unfor- 
tunately, it  is  the  lair,  as  at  present  laid  down. 

Indian  Amateur. — See  article  by  Major  Waterhouse  in  the 
Year-Book  ; you  will  see  he  speaks  of  “London,”  “Challenge,” 
“XL,”  “ Biitannia,”  and  “Pall  Mall.”  “Instantaneous” 
appear  better  than  “ Ordinary,’’  he  says. 

Chas.  Search. — There  is  no  work  especially  devoted  to  the  subject, 
but  all  needful  information  may  be  gathered  from  back  numbers 
of  the  Photographic  News,  and  from  the  last  Year-Book. 

W.  G.  H. — We  cannot  tell  you  if  it  has  been  registered  ; but  there 
can  be  no  doubt  that  the  print  you  enclose  is  a copy  of  the  photo- 
graph. You  should  make  a claim. 

Opal  Painter. — It  is  quite  possible  that  the  colours  may  have  con- 
tained lead,  and  that  this  has  become  converted  into  sulphide  by 
the  aeiion  of  the  air.  This  is,  however,  a conjecture,  but  we 
might  be  able  to  form  a decided  opinion  if  we  were  to  see  the 
specimens. 

C.  J. — 1.  No,  but  it  will  keep  longer  than  if  no  acid  were  used. 

2.  They  are  not  myths,  by  any  means,  but  they  certainly  would 
not  take  an  order  for  one  hundredweight.  If  you  only  want  this 
quantity,  you  will  probably  have  to  pay  about  3d.  or  4d.  per  lb. 
Write  to  Burgoyne  and  Co.,  Coleman  Street,  London,  E.C. 

James  Menssly. — If  yon  are,  as  you  say,  a subscriber,  why  not 
look  through  the  back  numbers  yourself  ? 

C.  C.  Lyon. — It  would  please  us  to  be  able  to  do  it,  but  many  are  so 
long  and  so  circumstantial  as  to  render  it  impracticable. 

Enquirer. — Your  difficulties  are  duo  to  the  circumstance  that  the 
studio  is  not  high  enough,  and  it  appears  that  there  is  no  alterna- 
tive but  that  which  you  suggest.  1.  If  the  plate  is  well  washed 
to  free  it  from  all  traces  of  developer,  such  a course  becomes  just 
practicable  ; but  it  is  never  advisable  unless  circumstances  render 
it  impossible  to  do  otherwise.  2.  In  ordinary  cases  they  do,  when 
the  same  amount  of  contrast  is  required.  3.  Alone,  in  distilled 
water.  4.  In  all  probability  no  difference  worth  mentioning 
would  be  noticeable.  5.  The  latter.  (5.  See  the  Formulary.  7. 
They  will  probably  be  republished  in  book  form.  8.  It  has  been 
recommended,  but  we  have  not  found  its  use  to  be  advantageous. 

Guilio  Rossi. — Occasionally  the  same  thing  has  happened  in  our 
hands,  and  we  have  attributed  it  to  an  incipient  decomposition 
of  the  gelatine.  Gelatine  appears  to  be  especially  prone  to 
putrify  when  a thunder-storm  occurs.  A trace  of  decomposed 
gelatine  arising  from  the  use  of  imperfectly  cleaned  vessels 
will  frequently  cause  mischief. 

II.  D.  H. — Perhaps  the  corners  were  so  shaded  or  covered  as  to 
prevent  the  free  circulation  of  air  against  them.  To  verify  this 
conjecture,  dry  a plate  of  half  the  size  in  the  same  box. 

F.  Jorgenson. — We  believe  Messrs.  Negretti  and  Zambra, 
Holborn  Viaduct. 

A Subscriber.— 1.  Perhaps  you  had  better  be  content  with  one 
capable  of  working  up  to  12  by  15.  2.  There  should  be  none. 

3.  We  prefer  it.  4.  There  is  no  necessity,  as  all  that  is  required 
to  be  done  is  more  easily  accomplished  by  shifting  the  original 
in  its  frame,  and  koeping  it  in  position  by  small  wedges  of  wood. 
5.  Speaking  generally,  they  can. 

W.  II.  W. — Two  drachms  to  each  batch  of  “ stock”  will  be  suffi- 
cient. 

H.  G.  C.— If  you  wish  to  obtain  the  best  results,  you  cannot  work 
with  thinner  films. 

F.  P. — It  looks  like  collodio-chloride  paper,  but  you  can  test  it  by 
pouring  a little  ether  on  it,  which  will  dissolve  the  enamel  if  it  is 
collodion  (see  an  article  by  Mr.  Bruce  on  page  516  of  the  present 
volume). 

A.  Daniio. — Mr.  Philip  Magnus,  Gresham  College,  London,  E.C. 

Thos.  Garside. — Thanks  for  your  note.  We  will  ascertain  the 
particulars. 

Constant  Reader. — If  you  use  hot  water,  it  will  certainly  dis- 
solve, but  its  solubility  may  be  very  much  diminished  by  adding 
sulphate  of  soda  or  sulphate  of  magnesia  (Epsom  salts)  to  the 
water. 

P.  C.  T. — All  you  have  to  do  is  to  exclude  the  light;  why  not 
paste  brown  paper  over  the  chinks  ? 


PHOTOGRAPHS  REGISTERED. 

Mr.  F.  Downkb  (Watford)— Photo  of  Mrs.  Roberts. 

Mr.  J.  V.  Hatch  (Slough)— Photo,  of  the  Ruins  of  Dr.  Boyd’s  Asylum, 
Southall  Park. 

Mr.  W.  Clayton  (I.eiceiterJ—  Photo,  of  Sir  II.  St.  John'IIalford. 

Mr.  R.  Kkknk  (Burton-on-Trent)— l’hotos.  of  Sir  M.  A.  Bass  and  Officers 
of  2nd  North  Staffordshire  Rifles. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXYII.  No.  1305. — September  7,  1883. 


CONTENTS. 


PAOK 


Medico-Photofjraphy  561 

Silver  Prints  Mounted  on  Glass  : Medallions,  and  how  to  Pro- 
duce them 562 

Hutinet’s  Gelatino-Bromide  Paper 563 

Eastman’s  Apparatus  for  Coating  Plates  with  Emulsion 561 

Recording  Speech  by  Photography  564 

Comparative  Emulsion  Kiperiments.  By  J.  Vincent  Elsden, 

B.Sc.  (Lond.),  F.C.S 564 

Report  on  the  Progress  of  Photography.  By  J.  T.  Taylor 566 

Dr.  Vogel  on  Sensitometers 567 

Notes 567 

Patent  Intelligence  569 


PAGK 

The  Return  Journey  of  the  Eclipse  Expedition.  By  C.  Ray 


Woods  570 

Dr.  Vogel’s  Address  at  the  Milwaukee  Convention 571 

A Dictionary  of  Photography  572 

Instantaneous  Photography  573 

Note  on  Albumenized  Paper.  By  M.  Schlier 573 

Correspondence  573 

Proceedings  of  Societies  574 

Talk  in  the  Studio 575 

To  Correspondents 576 

The  Photographic  News  Registry 576 

Photographs  Registered 576 


MEDICO-PHOTOGRAPHY. 

The  analysis  of  movement  l>y  means  of  photography  has 
made  one  more  step  in  advance.  As  our  readers  know  very 
well,  already  two  important  methods  of  photographing 
motion  are  before  the  public ; the  first  is  that  of  Mr. 
Muybridge,  who  employed  for  the  purpose  a row  of 
cameras  in  front  of  which  a horse  galloped,  the  horse,  by 
means  of  threads  stretched  across  his  track,  exposing  the 
cameras  instantaneously  one  after  another ; and  the  second 


example  is  that  of  M.  Marey,  of  the  French  Academy,  who 
employs  only  one  camera,  but  photographs  the  moving 
object  in  various  parts  of  the  sensitive  plate,  successive 
exposures  of  the  lens  being  brought  about  by  a cog-wheel 
revolving  in  front  of  the  lens.  In  the  case  of  M.  Marey’s 
process,  a black  background  is  used,  the  moving  object 
being  white,  and  in  this  way  the  image  may  impress  itself 
in  a dozen  different  positions  on  the  plate,  while  the  back- 
ground leaves  no  record  of  itself  at  all  behind. 

A third  method  has  now  been  suggested  by  Professor 


Fig.  1.— Doctor  and  Patient.  Showing  apparatus  in  position  for  observing  a patient. 


Charcot,  of  the  Saltpetriere  Hospital,  in  Paris,  a gentle- 
man who  has  made  good  use  of  photography  in  recording 
the  progress  of  disease  in  his  patients.  Professor  Charcot’s 
object  was  to  obtain  some  record  of  the  rapid  changes 
that  come  over  a patient  suffering  from  hysteria  or  epilepsy, 
or,  indeed,  any  disease  of  a nervous  character,  the  attacks 
upon  the  invalid  in  these  cases  being  composed  of  perfectly  j 


distinct  periods,  each  consisting  of  a succession  of  rhythmi- 
cal and  characteristic  changes.  His  desire  was  to  de- 
compose, so  to  speak,  his  patient’s  movements,  and  to 
secure  the  various  phases  by  photography.  As  neither 
the  method  of  Muybridge  nor  of  Marey  was  applicable, 
an  apparatus  of  original  design  had  to  be  constructed. 
This  M.  Charcot  has  done ; his  camera  is  fitted  in  front 


562 


THE  PHOTOGRAPHIC  NEWS. 


^September  7,  1883. 


with  a number  of  small  lenses,  arranged  in  the  form  of  a 
circle,  all  possessing  the  same  focus.  A disc  of  blackened 


Fig.  2.— Photo-Electric  Apparatus  for  taking  Pictures  at  Regular 
Intervals.  A,' Camera  ; B,  battery  ; C,  metronome  ; D,  electric  key  ■ 
E,  mercury  bath. 


alumiuium  is  between  these  lenses  and  the  sensitive  plate, 
the  disc  being  revolvable  by  clockwork,  and  having  iu 
one  part  a rectangular  opening.  When  the  disc 
is  at  rest,  this  opening  is  in  one  of  the  intervals 
between  the  lenses,  and  therefore  the  sensitive 
plate  is  covered.  But  an  electric  communica- 
tion permits  of  releasing  the  disc  at  any 
moment,  and  this,  on  revolving,  unmasks  one 
lens  after  another. 

The  advantage  of  this  system  is  obvious.  The 
physician  can  stand  close  to  the  patient  and  watch 
every  movement,  while  the  camera  is  at  some 
distance.  With  one  hand  on  an  electric  key,  he 
makes  exposure  as  he  pleases,  and  thus  secures 
a series  of  photographs  which  present  all  the 
changing  phases  that  the  patient  undergoes. 
Fig.  1 shows  the  general  arrangement  of  camera, 
electric  battery,  key,  physician,  and  patient.  The 
rapidity  with  which  the  disc  revolves  governs 
the  intervals  between  the  successive  photo- 
graphs ; thus  a long  period  may  elapse  between 
each  exposure,  or  the  whole  nine  pictures 
may  be  taken  within  the  hundredth  part  of  a 
second,  or  even  less,  by  a quick  revolution  of 
the  disc.  In  a word,  by  means  of  an  automatic 
arrangement  any  desired  velocity  may  be  given 
to  the  revolving  disk. 

Another  apparatus,  for  securing  photographs 
at  equally  measured  intervals,  will  be  seen  in 


fig.  2.  In  this  case,  application  is  made  of 
the  electric  pendulum — or,  rather,  metro- 
nome— of  M.  Gaiffe.  The  front  of  the  camera 
is  shown  with  its  nine  lenses,  while  the  little 
needle  in  the  middle  indicates  which  of  the 
lenses  are  being  exposed  at  the  moment.  The 
exposures  take  place  automatically,  the  elec- 
tric current  from  the  battery  coming  with 
every  swing  of  the  metronome,  which  causes 
a metal  point  to  dip  into  a mercury  bath,  and 
thus  make  contact  at  every  oscillation. 

When  the  camera  has  been  focussed,  the 
metronome  is  regulated  to  the  desired  speed  ; 
the  latter  is  then  put  in  action,  and  as  soon 
as  the  time  arrives  for  the  experiment,  the 
electric  current  is  brought  iuto  circuit.  Not 
only  for  physiological  and  medical  research 
generally  is  this  photo-electric  camera  of  use, 
but  also  for  scientific  and  military  purposes. 
Thus,  in  the  discharge  of  torpedoes,  and 
possibly  even  in  that  of  modern  artillery, 
application  might  be  made  of  the  apparatus 
to  teach  us  something  more  of  the  force  of 
explosives  and  the  firing  of  a shot.  To  give 
our  readers  some  idea  of  the  results  of  the 
photo-electric  camera,  a series  of  photo- 
graphs is  here  shown  of  two  individuals  iu 
the  act  of  walking  during  the  exposure  of  the 
apparatus  (fig.  3). 


o.  — series  of  x'qotourafhs  OBTAINED  BY  I’iioto-Electric  Cameua 


mmM 

SILVER  PRINTS  MOUNTED  ON  GLASS - 
MEDALLIONS,  AND  1IOW  TO  PRODUCE  THEM. 
Thanks  to  the  energy  so  often  displayed  by  the  publishing 
houses,  combined  with  their  vast  resources,  ideas  which 
in  mauy  cases  originate  at  one  or  other  of  the  photographic 
society’s  meetings  are  so  far  modified  or  developed  into  a 
practical  shape  as  to  become  of  the  utmost  utility,  not 
only  to  the  fraternity,  but  to  the  general  public  also. 
Sometimes  an  idea  is  grasped  and  made  use  of  at  once,  or 
months  and  even  years  may  elapse  before  it  is  deemed  of 
sufficient  importance  to  warrant  serious  consideration. 
Such  has  been  the  case  in  the  subject  we  are  dealing  with 


— viz.,  attaching  as  a permanent  support,  silver  prints  in 
optical  contact  with  glass  plates.  Twenty  years  have 
elapsed  since  Mr.  Rawlinson,  a3  well  as  Mr.  Tunny  in 
Scotland,  mounted  photographs  on  glass  plates  by  means  of 
gelatine  much  in  the  same  manner  as  we  practise  the  pro- 
cess to-day ; and  shortly  afterwards  Mr.  V.  Blanchard 
described  his  method  of  stripping  the  photograph  from  a 
glass  plate  previously  collodionized.  The  method  pro- 
posed by  the  latter  geutleinan  has  been  in  use  all  over  the 
civilized  world  almost  daily  since  its  publication,  but  the 
former  was  allowed  to  lie  dormant,  or  nearly  so,  until  the 
energy  of  Mr.  Bayne  JenniDgs  aud  a few  other  exhibitors 
brought  it  once  more  to  the  fore.  Mr.  Jennings’  method 
of  mounting  has  already  been  described  in  these  columns, 


September  7,  1888.) 


THE  PHOTOGRAPHIC  NEWS. 


563 


as  well  as  in  the  Year-Book  for  1881.  Briefly,  the  prints 
to  be  treated  should  be  printed  darker  than  for  ordinary 
mounting,  care  beiDg  taken  not  to  tone  them  very  much,  or 
a cold  blue  or  grey  tone  will  be  the  result  when  finished. 
The  glass  plate  intended  for  the  reception  of  the  print 
should  be  free  from  scratches  or  blisters,  and  must  be  most 
carefully  polished  with  rouge,  tripoli,  or  the  usual  polishing 
mixture.  It  is  then  placed  on  a water  oven  or  heated  over 
a gas-flame  or  other  contrivance,  until  it  can  be  comfortably 
borne  on  the  back  of  the  hand.  Hot  gelatine  solution — 
1 part  gelatine  to  15  parts  of  water — should  next  be 
poured  in  a pool  on  the  warm  plate,  and  equally  dis- 
tributed over  its  surface  by  means  of  a glass  rod  ; the 
prints,  which  are  slightly  smaller  than  the  glass  plate, 
are  withdiawn  from  a weak  solution  of  gelatine  (1  part  gela- 
tine to  40  parts  of  water)  and  placed,  albumenized  side  down- 
ward, on  the  gelatinized  glass  plate,  when  it  will  be  found 
that  a good  squeegeeing  will  remove  the  excess.  When  dry, 
the  operation  is  complete.  As  a matter  of  fact,  so  largely 
have  photographers  availed  themselves  of  this  method  of 
exhibiting  their  own  productions  that  it  would  be  difficult 
to  find  a place  of  importance  where  the  process  is  not  em- 
ployed. And  here  we  may  mention  that  we  have  noticed,  in 
a few  instances  where  show-cases  have  been  exposed  to  con- 
siderable variations  of  temperature,  including  the  full  force 
of  the  sun's  rays,  portions  of  the  photographs  have  dragged 
away  from  the  glass  support,  and  in  a short  time  showed 
unmistakable  signs  of  fading,  while  the  parts  still  adhering 
appeared  comparatively  fresh.  There  is  always  a danger  of 
the  print  coming  up  in  patches  unless  the  glass  plate  is 
thoroughly  well  polished,  and  as  the  instances  we  speak  of 
were  all  pictures  of  large  size,  doubtless  the  defect  was  due 
to  imperfect  polishing. 

A further  development  of  this  process  is  to  be  seen  in 
the  medallions,  as  they  are  called  ; that  is  to  say,  photo- 
graphs surrounded  with  black  varnish  and  a metal  rim, 
which  at  the  present  time  ornament  nearly  every  fancy 
stationer’s  shop  w indow  throughout  the  couutry  and  abroad. 
Seeing  the  present  demand  for  these  pictures  is  so  enormous 
as  to  be  practicably  unlimited,  many  being  old  stock  sub- 
jects which  formerly  did  duty  for  photographic  scraps, 
while  many  others  are  of  purely  local  interest,  it  is  only 
reasonable  to  surmise  that  the  portraitist  could  add 
largely  to  his  revenues  by  mounting  the  photographs  of 
his  clientele  in  the  same  manner  as  the  landscapist  does 
his  views,  using  a suitable  metal  gilt  or  ormolu  frame  instead 
of  the  common  metal  rim  now  generally  employed. 

By  abrading  the  back  of  the  print  with  fine  glass  paper, 
as  recommended  in  the  crystoleum  process,  it  is  possible, 
especially  with  landscapes,  to  produce  a certain  amount  of 
coloured  effects  by  means  of  liquid  dyes  in  alcohol,  and 
in  many  cases  we  have  seen  good  results.  When  portraits, 
however,  are  so  treated,  they  are  seldom  all  that  can  be 
desired,  the  main  difficulty  being  to  get  the  proper  depth 
of  tint. 

The  only  difficulty  likely  to  be  encountered  in  the  pro- 
duction of  these  pictures  will  be  with  the  gelatine.  Tem- 
perature, as  in  carbon  printing,  plays  an  important  part  iu 
the  success  or  otherwise.  65p  F.  will  be  found  the  most 
satisfactory  temperature  for  the  coating  and  drying-room 
and  every  precaution  should  be  taken  to  obtain  that  result,’ 
or  failures  are  sure  to  follow.  Having  regulated  the  tem- 
perature, the  following  articles  will  be  required  : — A flat  tin 
dish  for  dissolving  the  gelatine,  arranged  over  a Fletcher 
air  burner  gas-stove,  and  a similar  dish  for  soaking  the 
prints  in  the  melted  and  filtered  gelatine  ; also  a jug  for 
pouring  the  solution  over  the  glass  plate,  arranged  over  a 
fine  jet  of  sufficient  heat  to  prevent  the  solution  cooling  ; 
a Wedgwood  funnel,  into  the  neck  of  which  is  placed  a 
piece  of  clean  wet  sponge,  answers  well  for  filtering  ; a 
glass  rod  for  distributing  the  gelatine  over  the  plate  ; a 
rubber  squeegee,  and  apiece  of  American  cloth  to  protect 
the  print  while  squeegeeing  ; strips  of  wood  an  inch  broad, 
of  any  length,  two  such  strips  joined  by  cross-pieces  forming 


racks  for  drying  ; padded  blocks  of  the  same  size  and  shape 
as  the  medallions  will  be  useful  (the  pad  forms  a cushion 
for  the  glass,  while  the  raised  surface  allows  of  passing  the 
burnishing  tool  quickly  round  when  fastening  down  the 
rim)  ; a stock  of  prints  trimmed  to  the  desired  size  and  shape. 
In  the  majority  of  cases,  from  one  to  two  inches  margin 
of  clear  glass  is  allowed,  this  margin  being  afterwards  filled 
in  with  Bates’  dead-black  varnish,  as  described  below.  A 
stock  of  oval  dome-top  or  other  shape  glasses  ; suitable  backs 
for  these  shapes  fitted  with  rings  ; metal  rims  to  fit ; Bates’ 
dead-black  varnish  ; Young’s  patent  size,  as  sold  at  the 
oilman’s,  completes  the  list. 

Melting  the  gelatine  : — Cover  the  bottom  of  the  tin 
with  size  broken  up  into  small  pieces.  Enough  cold 
water  is  poured  over  to  cover  the  pieces,  when  the 
temperature  is  raised  to  nearly  200°  Fahrenheit,  to  insure 
perfect  solution.  When  melted,  a portion  of  the  solution 
is  passed  through  the  sponge  into  the  second  dish  for 
soaking  the  prints,  and  the  remaining  portion  is  passed  into 
the  jug,  and  kept  hot  by  the  means  above  stated.  A well- 
polished  plate  is  heated  to  100°  F.,  placed  on  a level  slab, 
and  covered  with  a pool  of  hot  size.  Should  the  solution 
prove  refractory,  the  glass  rod  will  assist  spreading.  Quickly 
transfer  a soaked  print  from  the  second  dish  of  hot  size  to 
its  position,  face  down,  on  the  plate,  and  roughly  squeegee ; 
remove  the  excess  with  a sponge,  and  again  apply  the 
squeegee,  this  time  interposing  a piece  of  American  cloth 
to  protect  the  print.  If  no  air-bells  are  seen  when 
examined  from  the  front,  the  plate  is  placed  on  the  rack  to 
dry,  paper  side  uppermost,  which  in  a good  current  of  dry 
air  will  occupy  a couple  of  hours.  When  dry,  the  back 
should  receive  a second  coating  in  like  manner,  another 
two  hours  being  required  before  the  next  operation. 
When  the  second  coating  is  quite  dry,  a brush  well  charged 
with  Bates’  black  is  passed  round  the  margin,  completely 
coating  the  bare  glass,  care  being  exercised  not  to  allow 
the  varnish  to  overlap  the  photograph  more  than  is  really 
necessary  ; thirty  minutes'  drying  will  remove  the  last 
traces  of  tackiness,  and  no  more  remains  to  be  done  than  to 
fit  the  back,  adjust  the  metal  rim,  and  secure  it  down 
neatly  with  a burnishing  tool  on  the  padded  block. 

Landscapes  and  figure  studies,  nicely  vignetted  to  the 
edge  of  the  plate,  are  very  effective  when  mounted  as 
described  above,  on  oval  glass  plates,  in  which  case  the 
use  of  black  varnish  is,  of  course,  dispensed  with. 


HUTINET’S  GELATINO-BROMIDE  PAPER. 

In  response  to  the  announcement  in  our  advertising 
columns,  nearly  two  hundred  gentlemen  repaired  to  the 
“Golden  Cross”  Hotel  on  Monday  evening  last,  to  witness 
M.  Hutinet  demonstrate  his  method  of  making  enlarge- 
ments on  gelatino-bromide  paper. 

Before  the  appointed  time,  members  of  many  of  the 
leading  houses  occupied  all  the  available  space  ; the  room 
being  small,  those  who  arrived  late  left  again  without 
seeing  more  than  a crowded  room. 

After  a few  preliminary  remarks,  in  which  Professor 
Stebbing  alluded  to  similar  papers  in  the  market,  he  said 
it  was  the  intention  of  Mons.  D.  Hutinet  to  supply  his 
papers  slightly  tinted,  and  cheaper  than  similar  papers 
were  sold.  They  were  available  for  positive  printing,  as 
well  as  for  enlargements.  The  size  would  be  about  ten 
metres  by  one  metre,  and  the  cost  much  the  same  as  the 
ready  sensitized  paper  now  sold.  Comparing  the  cost 
against  the  list  of  the  highest  priced  manufactures  on  the 
English  market,  we  find  the  advantage  seems  to  be  on 
the  English  side ; thus  a quantity  equal  to  twenty-four 
sheets  of  English  paper  would  cost  about  seven  shillings 
more  than  paper  of  home  manufacture.  Specimens  of 
enlarging  were  on  view  to  all  those  who  could  get  near 
enough  to  see  them  ; but  as  several  demonstrations  are 
announced  to  take  place,  our  readers  will  no  doubt  have  au 


564 


THE  PHOTOGRAPHIC  NEWS.  [September  7,  1883. 


opportunity  of  seeing  any  advantages  the  new  paper  may 
possess. 

Mods.  D.  Hutinet  made  a 12  by  15  enlargement  from  a 
half-plate  negative  of  medium  density,  using  an  argand 
gas-flame,  reflected  on  a screen  of  ground  glass  placed 
behind  the  negative,  instead  of  the  usual  condenser  em- 
ployed by  Morgan  and  Kidd  in  similar  demonstrations. 
An  exposure  of  five  minutes  was  given,  the  resulting  pic- 
ture being  slightly  over-exposed  when  developed  with 
ferrous  oxalate  and  well  restrained  with  citric  acid. 

It  was  subsequently  announced  that  Mr.  Ackland  would 
be  in  a position  to  supply  samples  of  the  paper  in  a few 
days  at  416,  Strand. 


EASTMAN’S  APPARATUS  FOR  COATING  PLATES 
WITH  EMULSION. 


Although  we  have  more  thanonce  described  thi3  machine, 
we  believe  that  the  following  more  detailed  drawings, 
together  with  some  notes  which  we  abstract  from  the 
Photographisches  Archil ’,  will  be  acceptable  to  our  readers. 

Fig.  1 represents  a ground-plan  of  the  apparatus,  while 
fig.  2 is  a longitudinal  section,  and  fig.  3 a trausverse 
section. 

Each  drawing  shows  the  trough  (a)  which  contains  the 
emulsion,  and  the  roller  (6)  which,  in  revolving,  carries  up- 


Fig.  1. 


rally  convenient  to  employ  copper  or  a copper-alloy  thickly 
plated  with  silver. 

The  roller  (b)  may  be  made  of  vulcanised  caoutchouc, 
glass,  or  hard  wood  ; but  a metal  axis  should  run  through 
it ; the  projecting  ends,  which  work  in  bearings  at  the 
extremity  of  the  trough,  bemg  thickly  plated.  A con- 
venient method  of  constructing  the  roller  is  to  mount  a 
block  of  wood  on  the  metallic  axis,  turn  the  block  to  a 
truly  cylindrical  figure,  and  then  to  cover  the  wood  with 
a thin  tube  of  rubber. 

In  order  that  the  greatest  efficiency  may  be  maintained, 
the  supply  of  emulsion  should  be  so  regulated  that  about 
one-third  of  the  diameter  of  the  roller  is  immersed. 

The  hot  water  jacket  may  be  made  of  any  convenient 
metal — as  zinc,  tin-plate,  or  copper — and  it  should  be  so 
constructed  as  to  render  it  easy  to  fasten  the  machine  down 
to  a table  or  to  a heavy  block  of  wood.  The  spirit  lamp 
(c)  is  useful  when  it  is  desirable  to  maintain  the  tempera- 
ture of  the  water  constant  for  a long  time,  but  a small 
Bunsen  burner  is  to  be  preferred  in  many  cases,  and  a 
thermometer  is  shown  at  /.  The  jacket  is  filled  with  water 
at  the  opening  g, • and  the  trough  is  emptied  by  the 
tube  a h. 

The  driving  pulley  is  shown  in  section,  and  if  the  roller 
is  made  to  rotate  so  that  the  top  recedes  from  the  person  in 
charge,  the  plate  to  be  coated  must  be  drawn  forward  over 
the  top  of  the  roller,  care  being  taken  to  commence  the 
coating  operation  at  the  extreme  edge  of  the  plate,  as  it  is 
not  desirable  to  pass  the  plate  over  the  roller  twice. 


RECORDING  SPEECH  BY  PHOTOGRAPHY. 

A photo-telephone  has  recently  been  invented  by  Mr.  A. 
St.  George,  which,  according  to  the  limes,  is  to  write 
down  all  it  hears,  and  speak  it  again  at  a fitting  oppor- 
tunity. How  far  the  apparatus  practically  fulfils  the  inten- 
tion of  the  inventor  we  know  not,  but  so  far  the  informa- 
tion afforded  is  of  a very  meagre  description.  Its  object 
is  similar  to  that  of  the  phonograph,  but  photography  is 
made  use  of  as  the  recording  agent. 

Mr.  St.  George,  it  seems,  is  already  the  inventor  of  a 
telephone,  and  this  last  instrument,  we  are  told,  is  really 
supplemental  to  the  telephone,  and  will  enable  every  descrip- 
tion of  conversation  carried  on  through  the  instrument  to 
be  not  only  recorded,  but  reproduced  at  any  future  time. 
Briefly  stated,  Mr.  St.  George’s  invention  may  bo  thus 
described.  A circular  plate  of  glass  is  coated  with  collo- 
dion, and  made  sensitive  as  a photographic  plate.  This  is 
placed  in  a dark  box  in  which  is  a slit  to  admit  a ray  of 
light.  In  front  of  the  glass  is  a telephone  diaphragm, 
which,  by  its  vibrations,  opens  and  closes  a small  shutter, 
through  which  the  beam  of  light  is  constantly  passing  and 
imprinting  a daik  line  on  the  glass.  Vibrations  of  the 
shutter  cause  the  dark  line  to  vary  iu  thickness  according 
to  the  tones  of  the  voice.  The  glass  plate  is  revolved  by 
clockwork,  and  the  conversation,  as  it  leaves  the  telephone, 
is  recorded  on  the  sensitive  plate,  the  impriuted  words 
spoken  being  fixed  as  is  done  iu  photography.  The  plate 
can  be  brought  forward  afterwards,  aud  when  replaced  in 
the  machine  and  connected  with  a distant  telephone,  will, 
when  set  in  motion,  give  back  the  original  conversation. 


Fig.  3. 

wards  a constant  supply  of  the  fluid,  and  spreads  it  upon 
the  plate.  A jacket  (c)  surrounds  the  trough,  and  if  this 
is  filled  with  warm  water  the  emulsion  can  be  kept  in  a 
fluid  condition  for  a considerable  time. 

The  trough  (a)  must,  as  a matter  of  course,  be  made  of 
a material  which  exercises  no  chemical  action  on  the  emul- 
sion, and  although  glass  or  porcelain  might  at  first  sight 
appear  to  be  the  most  desirable  material,  it  is  more  gene- 


COMPARATIVE EMULSION  EXPERIMENTS. 

BY  J.  VINCENT  ELSDEN,  B.SC  (LOND.),  F.C.S.* 

General  Conclusions  based  upon  foregoing  Observations  con- 
cerning the  Inf  iience  of  Chloride  in  Emulsions. — 1.  With  the 

ordinary  pyro  developer,  a small  quantity  does  not  appear 
to  exert  so  much  influence  as  a similar  amount  of  iodide. 
Increase  of  chloride  causes  increased  tendency  in  the  film  to 
become  reduced  throughout.  The  presence  of  chloride  tends 

• Continued  from  page  555. 


565 


September  1,  1883.  ] THE  PHOTOGRAPHIC  NEWS 


to  produce  a veil  over  the  distance,  causing  it  to  become 
blende  d with  the  sky-line. 

2.  With  sulphite  developer,  green  or  red  fog  is  almost 
certain  to  occur  in  presence  of  chlorides.  Chloride  causes  a 
general  weakness  in  the  image. 

3.  With  oxalate  developer,  unless  chloride  is  largely 
present,  fog  is  not  necessarily  caused.  Increase  of  chloride 
causes  a marked  weakness  in  the  image.  Thera  is  not  any 
apparent  difference  in  the  colour  of  the  image  in  the  presence 
of  chloride,  as  there  was  in  the  case  of  iodide. 


On  the  whole,  it  is  difficult  to  see  where  the  advantage  of 
using  chloride  rxists.  In  all  the  above  cases,  the  results 
were  far  inferior  to  those  obtained  by  pure  bromide.  The 
oxalate  developer  gave  the  best  results. 

Probably,  many  who  imagine  the  presence  of  chloride  in 
their  films,  do  not  really  get  it  at  all,  as  silver  chloride,  when 
boiled  with  excr-SR  of  potassium  bromide,  passes  into  silver 
bromide.  Possibly  this  may  account  for  some  of  the  differ- 
ence of  opinion  respecting  the  use  of  chloride.  If  used  at 
all,  it  must  evidently  be  in  very  small  quantity  ; there  is  no 


Comparative  View  of  the  Effect  of  Variation  in  the  Relative  Proportions  of  Iodide  and  Chloride  in  Emulsions. 


Number  of  Plate  and  nature  of 
Emulsion. 

Ordinary  Pyro  Developer. 

Sulphite  Developer. 

Oxalate  Developer. 

Plate  1 — 

Portion  coated  with  AgBr  ... 

Ditto,  AgBr-f  2-5°/0AgI  + 
2'5%AgCl 
Ditto,  AgBr+5°/0AgI-f 
2-5%AgCl 

Green  fog  in  shadows;  a little 
thin ; otherwise  good. 

No  green  fog ; a trifle  more 
density  than  above. 

Green  fog  in  shadows ; not  so 
good  as  above. 

Sky  chocolate  brown  by  reflected 
light  in  2nd  and  3rd  portions. 

Not  good  ; shadows  veiled ; 
green  fog. 

Increased  green  fog. 

Still  more  green  fog. 

Whole  negative  bad,  but  2nd  and 
3rd  portions  much  worst. 

Much  quicker  in  developing. 

) Thin,  under-developed,  and 
> foggy  I image  browner  by 
) reflected  light. 

The  three  portions  clearly  dis- 
tinguishable. 

Plate  2 — 

Portion  coated  with  AgBr  ... 

Ditto,  AgBr-J-7%AgI-{- 
3°/„AgC) 

Ditto,  AgBr-f  l2%AgI  + 
3%AgC) 

Green  fog ; thin  ; lacks  detail. 

Only  trifling  green  fog  on  shad- 
ows ; vigorous ; good. 

F°ggy>  and  generally  bad. 

2nd  divisions  prominently  the 
best. 

Good  density  ; fair  negative. 

Not  so  dense  as  above ; slight 
green  fog. 

Slight  decrease  in  density ; slight 
green  fog. 

Good  density ; no  fog ; shadows 
clear. 

) Less  density ; each  portion 
> clearly  seen  by  decrease  in 
) density. 

Plate  3 — 

Portion  coated  with  AgBr  ... 

Ditto,  AgBr-f2-5%AgI-f 
60/oAga 

Ditto,  AgBr+3°/0AgI-f 
7%AgCl 

Less  density  ; greater  clearness 
of  shadows  and  distance  ; very 
slight  green  fog. 

) More  green  fog  ; greater  den- 
> sity,  but  less  clearness  of 
) shadows  and  distance. 

Distinction  not  very  prominent. 

Fair  density;  only  slight  green 
fog. 

I More  green  fog  than  above  ; 
>•  shadows  veiled ; density 
J same  as  above. 

Distinction  not  very  prominent. 

Good,  bright,  and  vigorous ; 
quicker  in  developing. 

Very  slow  in  developing ; 
/ green  fog  ; shadows  veiled. 

1st  portion  prominently  the  best. 

Plate  4 — 

Fortion  coated  with  AgBr  ... 

Ditto,  AgBr-f3ft/„AgI-f 
12°/0AgCl 
Ditto,  AgBr-f  6°/0AgI-f 
13°/0AgCl 

Less  density,  but  clearer  shadows 
and  distance ; greater  con- 
trast ; only  slight  green  fog. 

Denser ; more  green  fog ; dis- 
tance less  clear. 

Denser;  more  green  fog;  shad- 
ows and  distance  veiled. 

No  discernible  difference;  same 
• density  throughout,  and 
slight  green  fog  everywhere. 

Good  density  ; bright  and  vigor- 
ous ; no  fog. 

^ Thin  and  foggy,  as  if  much 
<~  over-exposed. 

Plate  5 — 

Port  on  coated  with  AgBr-f 
3»/0AgI+7o/0AgCl 
Ditto,  AgBr-f7°/0AgI-f 
3°/0AgCl 

Shadows  veiled ; slight  green 
fog. 

Less  dense  than  above,  but 
clearer  shadows  and  distance  ; 
no  green  fog. 

Distinction  very  prominent. 

Shadows  veiled  ; slight  red  fog. 

Shadows  clearer,  but  still  some 
red  fog  by  reflected  light. 

\ No  prominent  difference  be- 
( tween  the  two  portions  ; 

f fairly  good  throughout,  but 

) lacking  in  brilliancy. 

Plate  6 — 

Portion  coated  with  AgBr-f 
6%AgI-f  18n/oAgCl 

Ditto,  AgBr-f  18°/0AgI+ 
6u/0AgCl 

Foggy  in  shadows  and  distance ; 
flat,  and  wanting  in  density ; 
green  fog  abundant. 

Clearer  shadows;  better  contrast  ; 
no  green  fog ; less  density  in 
half-tones. 

No  prominent  difference  in  two 
portions ; green  fog  through- 
- ont ; shadows  veiled ; no 
brilliancy,  but  plenty  of 
density. 

\ No  prominent  distinction ; 
( equally  bad  throughout ; 
V plenty  of  density,  but  shad- 
) ows  veiled. 

such  latitude  in  this  respect  as  in  the  case  of  iodide.  Un- 
like the  iodide,  chloride  does  not  influence  the  time  taken 
in  fixing. 

General  Conclusions  based  upon  the  foregoing  Observations 
concerning  the  Influence  in  Emulsions  of  Mixed  Chlorides  and 
Iodides. — 1.  With  the  ordinary  pyro  developer,  iodide 
should  always  be  in  excess  of  the  chloride.  When  the  chlo- 
ride is  in  excess  of  the  iodide,  however,  there  is  apparently 


a gain  in  density.  Green  fog  does  not  appear  to  be  hindered 
by  iodide  in  presence  of  chloride,  unless  the  former  is  present 
in  large  excess. 

2.  With  the  sulphite  developer,  green  and  red  fog  appear 
to  form  readily  in  presence  ol  chloride,  whether  iodide  be 
present  or  not.  Pure  bromide  appears  better  than  bromo- 
iodo-ebioride  films,  even  where  iodide  is  in  excess.  Density 
appears  to  diminish  when  iodide  is  in  excess,  but  when 


566 


THE  PHOTOGRAPHIC  NEWS 


[September  7,  1883. 


chloride  is  in  excess,  the  density  is  about  the  same  as  with 
pure  bromide. 

3.  With  the  oxalate  developer,  a large  excess  of  either 
iodide  or  chloride  in  the  presence  of  both  seems  equally  in- 
jurious. Iodide  in  excess  causes  slowness  in  developing  and 
weakness  of  the  image.  The  presence  of  chloride  causes  a 
tendency  to  fog,  whether  iodide  be  present  or  not. 

Thus  it  appears  that  chloride  and  iodide,  when  mixed, 
do  not  counteract  each  other  as  much  as  might  be  expected. 

Finally,  the  above  experiments  seem  to  point  plainly  to 
the  greater  safety  of  the  oxalate  developer  in  almost  all 
cases,  although,  perhaps,  in  some  instances,  advantage  may 
be  found  in  using  a more  energetic  form  of  developer.  The 
sulphite  developer,  although  perfectly  safe  and  advantageous 
for  plates  containing  only  pure  bromide,  or  bromo-iodide, 
ia  absolutely  unsafe  in  the  presence  of  even  small  traces  of 
chloride ; while  for  films  containing  the  three  haloids, 
ordinary  alkaline  pyro  seems  to  give  good  results. 

One  of  the  most  striking  results  noticed  in  the  negatives 
procured  from  emulsions  with  iodide  was  the  far  greater 
clearness  of  the  distance.  This  is  an  important  point,  as  a 
foggy  distance  is  one  of  the  most  frequent  faults  in  land- 
scape photography  of  the  present  day. 

-o- 

REPORT  ON  THE  PROGRESS  OP  PHOTOGRAPHY. 

BY  J.  T.  TAYLOR. 

Sinck  arriving  in  England,  on  my  summer  holiday,  where  I 
write  the  present  jottings,  and  where  I have  met  numerous 
Americans  who,  like  myself,  do  not  take  kindly  to  the  summer 
heat  peculiar  to  so  many  parts  of  the  Great  Republic,  I have 
been  asked,  “ How  is  it  that  American  photographs  are  so  much 
clearer  than  English  ones  ? ” This  question,  you  will  perceive, 
savours  of  a considerable  degree  of  self-complaisance.  The  first 
stage  in  the  inquiry  is  to  ascertain  whether  or  not  the  alleged 
fact  be  correct.  I am  fortunate  enough,  through  the  courtesy 
of  several  American  photographers,  members  of  this  Association, 
and  others,  to  possess  specimens  of  American  photographic  work, 
and  upon  comparing  these  with  similar  productions  by  artists  of 
reputation  in  London,  am  compelled  to  admit  that  there  exist 
good  grounds  on  which  to  base  the  opinion  implied.  The 
popular  idea,  as  we  all  know,  is  that  the  climate  is  clearer,  which 
is  about  as  valid  a way  of  accounting  for  differences  in  the 
quality  of  portraiture  as  the  equally  popular  excuse  of  old-time 
Daguerreotypers  of  too  much  or  too  little  electricity  in  the  air. 
The  first  difference  that  strikes  me  as  existing  between  the  Old 
World  and  the  New  World  photographs  (by  the  Old  World,  in 
this  connection,  I mean  London)  is  the  greater  depth  to  which 
the  New  World  portraits  are  toned.  The  English  seem  to  prefer 
a warm,  brown,  sunny  tone  for  both  portraits  and  views ; and 
the  Americans  go  in  for  strength  and  vigour  ; delicacy  on  the  one 
hand,  bold  effect  on  the  other.  In  addition  to  the  richness  im- 
parted by  the  deep,  purple-black  tones  arising  from  strong 
printing  and  a generous  use  of  gold  in  toning — these  being 
doubtless  enhanced  by  ammonia  fuming,  which,  while  uni- 
versally practised  in  the  New  World,  is  but  little  employed  in  the 
Old — there  is  no  doubt  left  in  my  mind  that  the  fading  of  the 
prints  is  arrested  to  a degree  not  thoroughly  realized.  I have  had 
ample  opportunities  for  studying  this  question.  Some  years 
ago,  when  I was  editor  of  the  British  Journal,  I was  in  the  habit  of 
receiving  photographs  of  various  nationalities,  and  in  almost 
every  variety  of  style.  An  examination  of  these  proves  highly 
instructive  and  suggestive.  Some  which  elicited  the  encomiums 
of  the  world  on  account  of  their  rare  beauty  are  now  poor,  sickly, 
faded  things,  despite  of  the  pretensions  with  which  they  were 
ushered  in — prints  having  the  imprint  of  the  foremost  men  and 
most  eminent  firms  on  their  mounts.  Several  years  ago — how 
many  I do  not  at  present  recollect,  but  probably  eight  or  nine — 
I received  from  an  eminent  American  firm  a large  collection  of 
stereographs  of  American  scenery,  and  within  a few  months  of 
the  same  time  I received  a similar  collection  of  English  scenes 
from  an  English  firm.  While  I write  this  I have  both  spread 
out  upon  an  adjoining  table,  and  give  it  as  my  unqualified 
opinion  that  those  of  the  American  production  have  not  changed 
or  become  deteriorated  in  the  slightest  degree,  while  those  of  the 
Old  World  are  badly  faded. 

• Report  to  the  Milwaukee  Convention. 


Still,  silver  prints  being  liable  to  fade  occasionally,  even  when 
produced  by  American  photographers,  and  when  toned  in  the 
most  liberal  manner,  any  advance  in  the  perfecting  of  processes 
which  are  theoretically  as  well  as  practically  permanent  will  be 
gladly  welcomed  by  the  advanced  photographers  whom  1 am  now 
addressing.  In  1874  I had  the  pleasure,  in  my  capacity  as  a 
journalist,  of  giving  to  the  public  the  first  description  of  a 
process  emanating  from  a very  talented  and  modest  amateur 
chemist,  Mr.  William  Willis,  Jun.,  who  I was  aware  had  invented 
and  perfected  a process  of  printing  in  which  the  image  was 
formed  of  one  of  the  most  stable  compounds  known  in  science — 
platinum  black.  Thi3  process  fulfilled  all  the  requirements  of 
performance,  as  its  images  were  not  affected  either  with  cyanide 
of  potassium,  nitric  acid,  or  prolonged  exposure  to  a moist  and 
impure  atmosphere.  Of  the  platino  printing  process  in  general 
I need  now  say  nothing,  but  it  certainly  falls  within  the  scope  of 
a report  on  progress,  to  describe  an  improvement  which  has  been 
made  by  the  inventor  since  the  last  Convention  of  this  Associa- 
tion. The  improvement  to  which  I refer  is  in  relation  to  the 
colour  of  the  prints.  Although  a warm  engraving  black  commends 
itself  to  the  taste  of  most,  yet  there  are  some  who  prefer  some 
warmer  tone,  such  as  sepia.  Mr.  Willis  has  recently  introduced 
a sensitized  paper  for  contact  printing,  which,  when  developed  in 
an  ordinary  oxalate  bath  to  which  has  been  added  a small 
quantity  of  a special  solution,  the  nature  of  which  will  be 
eventually  published,  gives  prints  of  a very  rich  sepia  brown  and 
matt  surface.  The  prints  that  I examined  had  good  detail  both 
in  the  shadows  and  high-lights.  Large  portraits  and  landscapes 
in  this  colour  are  very  handsome.  The  tone  harmonizes  with  a 
large  number  of  the  tinted  mounts  in  common  use,  but  French 
grey,  delicate  creams,  and,  above  all,  the  now  fashionable 
“ yallery  greenery  ” grey,  are  the  most  suitable.  For  the  general 
artistic  quality  of  its  results  I have  rarely  seen  any  finer  process, 
and  when  the  permanency  of  the  results  are  considered,  I see 
every  reason  for  expecting  a great  future  for  it.  Specimens  of 
the  new  departure  may  be  expected  to  be  seen  in  the  United 
States  before  long.  Talking  of  platinotype  printing,  I am 
impressed  with  the  great  advance  made  by  the  English  company 
who  control  it  in  its  method  of  printing  on  fabrics,  such  as 
linen,  sateen,  and  fine  cotton  stuffs.  These  seem  to  be  largely 
manufactured  in  the  sensitized  state,  and  are  employed  for  a 
variety  of  decorative  purposes.  I saw  them  sewn  into  banner 
screens,  d’oyleys,  antimacassars,  &c.,  and  then  worked  around 
with  ornamental  needle  or  crewel-work.  I saw  working  plans 
for  engineer  and  architects,  and  also  maps.  These  when  soiled 
are  amenable  to  the  detergent  influences  of  soap  and  water.  As 
a basis  for  oil  painting  on  canvas,  it  will  prove  available.  I 
notice  that,  whereas  in  America  this  process  has  been  used 
almost  exclusively  for  the  production  of  enlargements,  it  has  in 
England  been,  up  to  the  present  time,  employed  almost  entirely 
in  the  production  of  small  prints  by  contact  printing. 

It  will  be  expected  that  I should  refer  to  that  process  which 
has  recently  effected  such  a revolution  in  our  methods  of  work- 
ing the  gelatine  emulsion.  The  advances  to  which  it  has  been 
subjected  during  the  past  year  belong  more  to  commerce  than 
technics,  that  is,  as  regards  the  preparation  of  plates.  Having 
a start  of  a couple  of  years  in  the  general  making  and  working  of 
gelatine  plates,  European  photographers  had  for  some  time  a 
higher  position  in  regard  to  them  than  their  American  brethren  ; 
but  it  may  now  be  pretty  fairly  conceded  that  in  no  respect  what- 
ever do  plates  manufactured  in  the  Old  World  now  display  any 
preponderating  advantage  over  those  of  the  New.  I observe  that 
there  is  a disposition  evinced  by  a few  to  supplant  hand  labour 
in  the  preparation  of  plates  by  automatic  machinery.  This,  if 
carried  out  in  every  department,  will  be  the  means  of  securing 
such  unfailing  similarity  between  one  batch  of  plates  and 
another,  as  to  insure  that  great  desideratum — uniformity.  To 
give  an  idea  of  what  may  very  easily  be  attained,  I have  just 
had  constructed  a case  (although  for  other  than  a photographic 
purpose)  in  which  I can  prepare  a gelatine  emulsion,  and  keep  it 
at  any  desired  temperature  for  eight  days,  if  necessary.  The 
source  of  heat  is  a kerosine  lamp ; and  such  is  the  regularity  of 
the  automatically-controlled  temperature  that  an  emulsion  placed 
inside  by  way  of  experiment  five  days  ago  has,  without  being 
touched,  remained  up  to  this  moment  at  a temperature  of 
100°  Fahr.,  from  which  it  has  never  deviated  more  than  one 
degree,  notwithstanding  great  and  sometimes  sudden  changes  in 
the  temperature  of  the  room  in  which  it  stands.  Those  of  you 
who  are  conversant  with  the  subject  of  incubators,  and  the 
various  forms  of  thermostats  by  which  their  temperature  is 
regulated,  will  not  have  difficulty  ia  seeing  the  application  of  the 


THE  PHOTOGHA.PHIC  NEWS. 


567 


September  7,  1883.  | 


thermostatic  principle  to  the  automatic  regulating  of  the  tem- 
perature in  connection  with  an  equally  delicate  operation— the 
preparation  of  gelatine  emulsion.  Automatic  machinery  is  not 
merely  labour-saving  ; it  effects  a more  important  purpose,  viz., 
eliminates  the  chance  of  misadventure  through  the  carelessness, 
inadvertence,  or  malice  of  an  assistant. 

Previous  to  making  any  remarks  of  an  aesthetic  nature  arising 
out  of  gelatine,  I may  here  allude  to  an  improvement  by  way  of 
intensifying  and  clearing  stained  gelatine  negatives  which  has 
just  been  worked  out  by  Mr.  B.  J.  Edwards,  of  London.  He 
makes  a decolourizing  solution  of  citric  acid  and  alum,  as  already 
well  known  ; but  to  these  he  adds  a large  proportion  of  proto- 
sulphate  of  iron.  Now  this  solution  possesses  a two-fold 
property — it  decolourizes  a stained  film  with  absolute  certainly 
and  great  rapidity,  and  also,  provided  the  image  be  found  to  be 
too  thin,  it  serves  as  an  effective  intensifier  by  the  addition  of  a 
few  drops  of  a solution  of  nitrate  of  silver.  There  is  no  stain- 
ing, provided  a moderate  degree  of  care  has  been  taken  to 
remove  the  hyposulphite  fixing  solution  by  washing,  but  the 
intensification  proceeds  with  regularity,  and  yields  a negative 
possessing  all  the  quality  of  a fine  wet  collodion  negative. 

What  will  be  of  the  highest  interest  to  the  practical  photo- 
graphers whom  I now  address  is  the  inquiry  : “ How  stands 
the  relative  position  of  processes  after  the  flush  of  the  brilliant 
successes  of  rapid  gelatine,  unaccompanied  with  its  original 
shortcomings,  such  as  the  want  of  brilliance  and  sparkle  ? The 
regrets  that  accompanied  the  change  from  the  old  and  well-tried 
collodion  process  to  gelatine,  I now  find  to  have  ceased  ; for, 
with  improved  working,  every  desirable  quality  previously 
obtained  by  wet  collodion  is  now  readily  secured  by  gelatine. 
Further,  the  regrets  for  the  collodion  process  are  not  now  as 
they  were,  for  the  enormous  convenience  of  having  the  plate 
always  ready,  and  the  capacity  of  indefinitely  postponing  the 
development,  together  with  the  larger  margin  for  correction  of 
errors  of  exposure  which  educated  practice  has  communicated 
to  even  average  operators,  raises  the  gelatine  process  to  an 
altitude  which,  for  practical  purposes,  no  negative  process  has 
previously  attained.  This  is  not  the  experience  of  mere 
enthusiasts,  but  of  solid,  hard-headed  men,  who  have  much  at 
stake,  and  who  have  reluctantly  changed  their  processes,  and  at 
an  early  period  regretted  the  change  because  of  the  vagaries  of 
gelatine.  But  all  this  is  surmounted.  Simultaneous  with  this, 
and  in  a degree  explanatory  of  it,  is  to  be  borne  in  mind  the 
fact  that  the  manufacturers  of  plates  (for  here  in  England, 
where  I write,  many  who  have  large  establishments  never  manu- 
facture their  own)  have  so  improved  the  process  of  plate- 
preparing,  that  plates  from  makers  of  repute  can  now  be 
depended  on  for  certainty  and  uniformity,  so  that  the  early 
troubles  of  frilling,  and  red,  green,  and  grey  fog,  are  things  of 
the  past,  being  never  found  in  the  productions  of  makers  of 
reputation. 

In  consequence  of  this,  the  aims  of  the  photographer  are 
higher  than  they  have  ever  been  before.  Subjects  are  attempted, 
and  successfully  so,  such  as  instantaneous  or  semi-instantaneous 
representations  of  objects,  scenes,  and  conditions,  which  pre- 
viously were  entirely  beyond  the  capacity  of  the  average  photo- 
grapher. 

In  consequence  of  the  ability  of  our  sensitive  surfaces  to 
embrace  a greater  range  of  colours,  including  those  previously 
deemed  non-photographic,  photography  has  now  become  more 
truthful  in  its  representation  not  merely  of  form,  but  of  colour. 

The  outcome  of  all  this  is  that  photographers  stand  in  a more 
elevated  position,  because  instead  of  being,  as  in  wet  collodion 
days,  the  slaves  of  their  plates,  the  plate  now  takes  its  proper 
position  as  being  the  servant  of  the  photographer. 


DR.  VOGEL  ON  SENSITOMETERS. 

Dr.  Vogel  exhibited  at  the  Milwaukee  Convention  a sensito- 
meter,  accompanied  by  the  following  remarks  : — 

We  have  sensitometers  enough  in  photography,  but  only  a 
few  which  are  useable  for  testing  our  modern  dry  plates.  A 
very  well  known  sensitometer  is  Mr.  Warnerke’s.  His 
sensitometer  is  a screen  of  different  thicknesses  of  coloured 
gelatine,  and  for  this  reason  it  is  of  different  transparency.  On 
this  screen  numbers  are  printed.  Number  one  is  the  most 
transparent;  number  two  less  so,  and  number  three  still  less, 
and  number  twenty-four  of  the  least  transparency.  You  expose 
the  dry  plate  under  those  screens  for  a certain  time — for  instance, 
twenty  seconds— and  you  develop  the  plate.  You  have  got  to 


observe  which  number  will  be  developed,  and  if  the  highest 
number  you  get  is  10,  you  have  an  idea  of  the  sensitiveness  of 
the  dry  plate  you  try.  The  only  difficulty  here  is,  you  have  no 
idea  what  is  No.  10,  what  is  No.  12,  or  No.  20,  in  Warnerke’s 
sensitometer.  There  is  not  a simple  proportion  between  the 
different  quantities  of  light  which  penetrates  the  film  or  screen. 
Therefore  Mr.  Warnerke  has  made  experiments  for  estimating 
the  quantity  of  light  which  is  going  through  the  different  layers 
of  this  coloured  gelatine  screen,  and  he  gives  a list  or  table  for 
the  practical  photographer.  For  myself,  I have  made  experi- 
ments with  Mr.  Warnerke’s  sensitometer,  and  I have  found  that 
this  instrument  in  general  is  good,  but  it  has  defects.  If  you  take 
any  coloured  screen,  and  the  light  penetrates  the  screen,  the 
light  itself  is  changed  in  its  qualities.  The  blue  light  is  absorbed 
by  the  yellowish  film.  The  yellow  light  is  not,  and  if  the  light  is 
going  through  the  screen,  the  light  is  changed,  and  does  not  con- 
tain the  rays  with  which  we  are  accustomed  to  work.  This  is  a 
failure.  For  this  reason  you  get  quite  different  results  by  War- 
nerke’s sensitometer  by  taking  pictures  in  your  studio.  I give 
you  an  instance.  I tried  the  sensitiveness  of  two  different  plates 
by  Warnerke’s  instrument.  I find  that  one  of  those  plates  is  six- 
teen times  as  sensitive  as  the  other.  Now,  I make  two  pictures 
in  my  studio,  and  I find  that  the  first  plate  was  only  four  times 
as  sensitive  as  the  other.  The  reason  is  that  the  quality  of  day- 
light is  quite  different  from  the  quality  of  light  which  has  pene- 
trated the  film  of  Warnerke’s  screen.  For  this  reason  I thought 
it  was  best  to  construct  a sensitometer  without  any  screen,  which 
could  absorb  and  change  the  quality  of  the  light.  Here  you  see 
such  a one.  I must  show  you  how  it  is.  I must  show  you  at 
first  the  front  side.  This  instrument  is  a double  one,  like  the 
stereo  box.  The  construction  of  the  two  sides  is  exactly  the 
same.  In  the  front  part  you  see  a plate  made  from  thin  brass, 
divided  in  twenty-four  fields.  In  the  first  field  is  drilled  one 
small  hole  three-fourths  of  a millimetre  in  diameter  ; in  the 
second  two  holes,  and  So  on  up  to  twenty-four.  This  plate  of 
brass,  with  this  different  arrangement  of  holes,  is  secured  on  a 
wooden  block,  and  under  each  of  the  above-mentioned  fields  are 
drilled  tubes,  each  tube  exactly  corresponding  with  each  one  field 
with  holes.  Now,  if  you  look  at  this  instrument  on  the  rear 
side,  you  observe  that  the  luminousness  is  different  in  the 
different  tubes  dependent  from  the  quantity  of  holes  in  the 
field  over  them.  Under  one  hole  you  have  a certain  quantity  of 
light ; under  two  holes  certainly  the  quantity  of  light  is 
doubled.  If  you  have  three  holes,  it  is  trebled,  &c.  In  this  way 
you  can  easily  calculate  how  intense  the  light  is  in  these 
different  tubes  from  the  quantity  of  holes  which  are 
drilled  in  the  field  above  it.  Now  the  back  side  of  the  tube 
is  covered  with  a thin  copper  plate,  in  which  numbers  are  cut. 
This  number  corresponds  exactly  with  the  number  of  holes  in 
the  front  plate.  If  I put  on  the  other  side  a sensitized  plate — 
for  instance,  a gelatine  plate — and  close  the  instrument,  and  bring 
that  into  a dark  room  and  put  it  opposite  to  a white  screen,  I 
can  make  any  white  screen  by  a sheet  of  paper.  I put  this  sheet 
of  paper  in,  the  distance  of  a meter  from  the  instrument.  I 
burn  in  front  of  the  instrument  about  half  an  inch  of 
magnesium  wire— that  is,  exactly  part  of  a French  gramme. 

The  light  of  the  screen  works  through  the  holes  on  the  plate,  and 
if  you  develop  the  plate  by-and-bye  you  can  easily  observe  which 
hole  is  developed  the  most.  You  can  observe  it  by  the  number 
on  the  plate  which  appears.  So,  if  I take  two  different  plates  and 
develop  them  together,  which  are  put  side  by  side  in  this  instru- 
ment, and  exposed,  I get  with  one  plate,  for  instance,  No.  5,  and 
with  the  other  plate  No.  3 ; then  1 can  say  No.  5 is  more  sensi- 
tive than  the  other.  In  the  inverse  proportion  of  the  numbers 
which  are  developed — that  is,  in  the  proportion  of  2 to  5 — so  I 
have  an  instrument  which  I think  is  more  valuable  than  the 
Warnerke  instrument,  because  I don’t  want  here  any  screen 
which  could  change  the  quality  of  the  light.  On  the  other 
hand,  I can  also  employ  daylight ; if  I have  a dark  room  and  a 
small  window  in  it,  the  screen  can  be  illuminated  by  daylight  for 
several  seconds. 


We  publish  to-day  for  the  first  time  “ The  Photo- 
graphic News  Registry,”  which  we  trust  will  be  of  use 
both  to  principals  and  assistants. 


568 


THE  PHOTOGRAPHIC  HEWS. 


[September  7,  1883. 


A grandson  of  Daguerre  is  still  living,  M.  Behon 
Daguerre,  a litterateur  on  the  scientific  press. 


Thanks  to  the  good  offices  of  our  Special  Correspondent  at 
the  Milwaukee  Convention,  we  are  enabled  to  place  before 
our  readers  the  more  interesting  portion  of  the  proceedings. 
The  newly-elected  President  of  the  American  Association  is 
Mr.  J.  H.  Kent,  a widely-known  portraitist  of  Rochester, 
New  York. 


Yet  two  other  awards  at  the  Brussels  Exhibition,  viz., 
a bronze  medal  to  Mile.  Marg.  Relvas,  of  Gollega, 
Portugal,  and  a similar  distinction  to  Mr.  William 
Gillard,  of  Gloucester. 

Says  the  Standard: — “There  were  many  attempts  to 
get  a portrait  of  Marwood,  but  he  always  refused.  An 
enterprising  photographer  offered  him  £50  one  day  for  a 
sitting,  but  he  declined,  his  explanation  being  that  one  of 
the  things  he  enjoyed  more  than  anything  else  was  to  go 
to  a town  by  an  earlier  train  than  he  was  expected,  and 
mix  in  the  crowd  that  was  awaiting  his  arrival.’’ 


Passing  by  the  works  of  the  Jablochkoff  Electric  Light 
Company,  we  have  observed  an  unusually  brilliant  electric 
light  outside,  and  men  inside  working  by  gaslight.  As  the 
Company  hold  that  electric  lighting  is  cheaper  and  more 
convenient  than  gas,  it  is  strange  that  they  should  put 
themselves  to  the  inconvenience  of  using  the  least  desir- 
able illuminant. 


An  astute  gentleman,  who  is  managing  director  of  one 
of  the  largest  photographic  companies,  started  off  to  buy 
a steam-engine.  His  friends  had  spoken  well  of  it,  its 
prime  cost  and  working  expense  being  less  than  the  old 
patterns,  while  the  fewness  of  its  parts  seemed  to  indicate 
a minimum  of  outlay  for  repairs.  He  arrived  at  the 
factory  with  a signed  cheque  in  his  pocket,  but  being 
attracted  by  a “ no  admission  ” notice  on  the  door,  he 
looked  in,  and  saw  that  the  driving  engine  of  the  works 
was  one  of  the  old  type.  A characteristic  smile  illumined 
his  features,  and  he  asked  the  foreman,  who  arrived  at 
this  instant,  if  he  could  give  him  any  information  about  a 
former  employe  named  Samuel  Perkins.  The  foreman  did 
not  recollect  the  name. 


Photography  in  connection  with  advertising  is  not  un- 
known, but  Messrs.  Pears — of  soap  celebrity — have  of  late 
made  a big  stride  in  the  art  of  combining  the  two.  A 
million  impressions  of  the  Prince  of  Wales  in  Migraine,  and 
half  a million  of  Mrs.  Langtry,  have  been  utilised  as  hand- 
bills, with  the  heading  “ Hold  this  sheet  up  to  the  light.” 
The  Migraine  portraits  were  produced  by  Messrs.  Brown, 
Barnes,  and  Bell,  and  are  probably  the  cheapest  photo- 
graphic impressions  that  have  ever  been  obtained. 


Touching  the  photo-mechanical  printing  process  of  this 
firm  — Luxotype — we  hear  that  an  endeavour  is  very 
wisely  boing  made  to  enlist  it  first  of  all  as  a moans  of 


illustrating  daily  papers,  before  taking  it  to  the  magazines 
where  of  course  much  finer  work  is  desirable.  A trial  por- 
trait was  printed  in  the  Liverpool  Echo  last  month,  and  now 
the  Bradford  Telegraph  is  making  experiment  with  the 
process.  Mr.  Levy  Lawson  has  also  given  his  consent  for  a 
trial  in  the  Daily  Telegraph  printing  office,  where  the 
machines  throw  off  many  thousands  of  copies  in  an  hour. 


Our  Spanish  contemporary,  the  Boletin  Foloqrafco,  being 
published  in  Ilavannah,  ought  to  know  something  about 
developing  gelatine  plates  in  a hot  climate,  and  this  is 
what  it  prescribes.  Get  two  dishes,  one  a little  larger  than 
the  other,  so  that  they  can  fit  into  one  another  with  half-an- 
inch  between.  The  inner  dish  is  to  receive  the  developer, 
while  the  outer  one  is  lined  with  felt,  or  thick  flannel,  or 
other  bad  conductor  of  heat.  When  all  is  ready  for  deve- 
lopment, some  crystals  of  nitrate  of  ammonium  are  spread 
upon  the  felt,  and  the  spaces  between  the  two  dishes  are 
also  filled  with  crystals ; water  is  then  added,  and  a 
lowering  of  the  temperature  at  once  succeeds  as  the  crystals 
dissolve.  This  is  a capital  way  of  cooling  photographic 
solutions,  says  our  contemporary,  when  ice  cannot  be 
obtained  in  the  tropics.  Nitrate  of  ammonium,  we  may 
add,  costs  but  a shilling  per  pound. 


A propos  of  the  subject  of  photography  and  tricycling, 
referred  to  in  another  column,  we  may  mention  that  Mr. 
John  Browning,  F.R.A.S.,  the  Chairman  of  the  London 
Tricycle  Club,  advocates  the  use  of  small  wheels  rather 
than  large  ones.  There  is  not  so  much  fatigue  in  driving 
small  wheels,  and  you  can  get  up  hill  better. 


A strange  attempt  at  suicide  in  a Berlin  studio  is 
narrated  in  the  Archiv.  A young  and  popular  actress  of 
one  of  the  Berlin  theatres  was  sitting  in  the  posing  chair, 
ready  for  a portrait  to  be  taken,  when  an  impressionable 
assistant,  overcome  by  the  charms  of  the  model  before  him, 
suddenly  threw  down  the  dark  slide  and  folded  the  lovely 
being  in  his  arms,  amid  a rhapsody  of  glowing  utterances. 
Naturally  enough  there  was  a scene ; the  young  lady 
shrieked  for  help,  and  the  love-struck  youth  was  dragged 
from  the  studio  to  the  dark  room.  Unfortunately,  a 
tragic  end  well  nigh  supervened ; the  impetuous  lover 
seized  a vessel  containing  bichloride  of  mercury  solution, 
and  had  almost  succeeded  in  swallowing  the  poison  when 
the  glass  was  wrenched  from  his  grasp.  He  is  now  “ with 
his  friends,”  as  they  say  in  the  police  reports. 


It  is  passing  strange  to  find  our  hard-headed  American 
cousins  seriously  discussing  the  feasibility  of  banding 
together  against  low  prices.  The  idea  formed  the  very  first 
subject  for  discussion  at  the  Milwaukee  Convention, 
several  members  visiting  their  displeasure  in  a marked 
manner  upon  those  who  dared  to  sell  photographs  at  cheaper 
rates  than  themselves  ; and  hard  words  fell  thick  and  fast  for 
some  time.  Surely  the  matter,  however  deplorable  it  may 
be,  is  not  to  be  improved  by  any  system  of  “ protection  ; ” 
indeed,  we  are  accustomed  to  look  to  a great  country  like  the 
United  States  for  broad  views  rather  than  narrow  ones. 


September  7,  1883.] 


THE  PHOTOGHAPHIC  NEWS. 


589 


Obviously,  nothing  could  be  more  beneficial  to  the  “cutting  ” 
photographer,  than  to  have  all  his  brethren  banding 
together  to  keep  up  high  prices  ; he  would  have  everything 
his  own  way  then. 


The  suggestion  of  one  protectionist  was  to  appoint  “ a 
committee  to  establish  a uniform  scale  of  prices  for  the  first, 
second,  and  third  class  work  for  card,  cabinet,  and  panel 
size.”  Fancy  a committee  attempting  to  do  this,  adjudica- 
ting on  a photographer’s  work,  and  saying  that  Mr. 
Oxalate’s  pictures  are  first-class,  while  those  of  Messrs. 
Firow  and  Bromide  are  only  second-class.  It  is  not  likely 
that  the  last  named  gentlemen  would  “ play  any  more  ” after 
that  decision,  but  would  be  in  favour  of  appointing  another 
committee.  We  are  glad  to  see  that  the  Milwaukee  Con- 
vention considered  the  idea  impracticable,  and  many 
members  added  further  that  they  did  not  assemble  for  the 
purpose  of  bewailing  their  troubles  and  quarrels  about 
prices. 


“I  think,"  said  one  member,  “if  a man  makes  good 
work  and  asks  fair  prices  for  it,  he  will  get  them.  I have 
adopted  a system  which  I would  like  to  call  the  attention  of 
the  meeting  to,  and  which  I think  is  practical.  I make  two 
negatives,  two  cabinet  negatives,  for  one  dollar.  I don’t 
consider  the  prints  at  all.  If  a man  comes  in  and  asks  how 
much  he  can  get  a picture  for,  I tell  him  two  cabinet  portraits 
for  one  dollar,  and  then  I will  finish  him  pictures  at  any 
price  that  he  desires.” 


A new  illuminating  substance,  the  invention  of  Lieuten- 
ant Diek,  of  the  Russian  army,  is  spoken  of  in  scientific 
journals.  Very  little  has  transpired  in  respect  to  the 
nature  of  the  mysterious  substance,  which  is  in  the  form 
of  a powder,  and  may  be  produced  in  three  colours,  viz., 
green,  yellow,  and  violet,  the  last  being  the  most  luminous. 
These  powders  impart  luminosity  to  any  object  to  which 
they  are  applied,  water,  in  a glass  vessel,  being  converted 
into  a luminous  fluid  by  admixture  with  the  compound. 
The  German  Government  and  other  authorities  have  been 
making  experiments  with  Lieut.  Diek’s  invention,  so  we 
can  hardly  suppose  it  is  our  old  friend  luminous  paint  in 
another  guise. 


A Belgian  electrician  has  been  studying  a thuuderstorm 
through  the  telephone,  and  the  continuous  noise  during 
the  height  of  the  storm  reached  him,  he  tells  us,  in  the 
shape  of  a sound  like  frying  over  a fire.  After  all,  the 
transmission  of  atmospheric  artillery  by  telegraph  is  not 
so  wonderful  as  the  fact  we  recorded  at  the  time  of  the 
bombardment  of  Alexandria,  when  the  firing  of  heavy 
guns  in  Egypt  was  heard  through  the  telephone  at  Malta, 
the  observers  on  the  island  actually  averring  that  they 
could  distinguish  between  the  stupendous  cannon  of  the 
Inflexible  and  other  guns  in  the  fleet  of  less  calibre. 


Those  who  employ  a gas  jet  in  their  dark  rooms 
may  like  to  know  that,  according  to  Captain  Douglas 
Gordon,  it  vitiates  the  air  as  much  as  six  human  beings. 


Therefore,  photographers,  when  practicable,  should  always 
arrange  for  gas  flames  to  be  outside  the  dark  room ; or, 
better  still,  might  employ  the  little  electric  incandescent 
lamp  which  we  described  some  months  ago  in  these 
columns. 


It  probably  will  not  be  long  before  an  important  addi- 
tion will  be  made  to  the  list  of  officials  forming  the  house- 
hold of  distingu’shed  personages.  Count  Sheremetieff,  a 
Russian  nobleman,  has  set  the  example.  He  was  married 
the  other  day  to  the  Countess  Heyden,  and  the  noble 
couple  spent  their  honeymoon  on  board  a steamer  which 
was  hired  to  take  them  up  the  Volga.  Numerous  wedding 
guests  accompanied  the  pair,  and  the  party,  besides, 
included  a band,  twenty  siugers,  a physician,  male  and 
female  cooks,  and — a photographer. 


An  experiment  of  interest  to  all  who  study  the  action 
of  light  has  been  recently  made  by  Herr  Meyer,  of  Zurich, 
and  is  thus  described  in  Les  Mondes.  A tube  nearly 
forty  inches  long,  and  about  an  inch  and  a-half  in  diameter, 
is  enclosed  by  parallel  planes  of  glass ; this  apparatus,  in 
a horizontal  position,  is  filled  with  distilled  water,  and  on 
looking  through  it  at  a black  ground  in  the  sunlight  it 
appears  of  a deep  intense  blue.  If  gaslight  is  employed 
instead  of  sunlight,  then,  curiously  enough,  the  colour  ia 
green. 


M.  Monnier,  the  director  of  the  official  gas  laboratory  in 
Paris,  has  been  comparing  the  European  standards  of  light 
by  means  of  electricity.  Many  authorities  consider  that 
the  Carcel  lamp,  adopted  by  the  French  as  a standard,  is 
equal  to  ten  standard  candles  (English) ; but  according  to 
M.  Monnier,  who  has  compared  both  standards  with  the 
electric  light,  the  Carcel  flame  is  but  8 33  times  as  brilliant 
as  the  candle.  Still,  it  will  not  do  to  take  M.  Monnier’s 
figures  as  decisive,  as  they  again  disagree  with  those  of 
German  authorities.  In  any  case,  however,  it  is  high  time 
we  had  some  definite  standard  of  light,  and  photography, 
we  hold,  would  be  a useful  aid  to  the  attainment  of  this 
end.  There  would  be  no  objection  to  continuing  the 
standard  candle  as  a unit,  only  in  this  case  it  should  be 
a theoretical  candle,  and  not  a real  one,  in  the  same  way 
as  we  still  reckon  the  power  of  a steam-engine  by  the 
“horse,”  meaning  not  the  animal,  but  a definite  pressure 
of  steam  on  the  piston. 


Datfnt  JtttfUigftttt. 

Applications  for  Letters  Patent. 

4152.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  in  the 
city  of  London,  for  an  invention  of  “An  improved  method  or 
process  of  producing  prints  or  transfers  of  photographic  pic- 
tures.”— Dated  28th  August,  1883. 

4.153.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  in  the 
city  of  London,  for  an  invention  of  “ An  improved  method  or 
process  of  producing  prints  or  transfers  of  photographic  pic- 
tures.”— Dated  28th  August,  1883. 

4.154.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  in  the 
city  of  London,  for  an  invention  of  “ An  improved  method  or 
process  of  producing  prints  or  transfers  of  photographic  pic- 
tures.”— Dated  28th  August,  1883. 


570 


THE  PHOTOGRAPHIC  NEWS, 


[September  7,  1883. 


Specifications  Published  during  the  Week. 
6,034.  Silvanus  Phillips  Thompson,  of  University  College’ 

’ Bristol,  Professor  of  Experimental  Physics,  and  Colman 
Charles  Starling,  Demonstrator  in  the  said  University  Col- 
lege, “ Improvements  in  photometric  apparatus.” — Dated  18th 
December,  1882. 

This  invention,  which  relates  to  improvements  in  photometric 
apparatus,  consists  in  the  employment  of  interchangeable  opaque 
screens  in  ascertaining  or  comparing  the  intensity  of  lights. 
These  screens  are  formed  of  two  members,  either  plain  or 
coloured,  and  attached  to  one  another  at  any  desired  angle,  the 
double  screens  thus  formed  resembling  wedges,  having  the  ends 
epposite  the  apix  open  to  admit  of  their  being  placed  on  a sup- 
port, either  fixed  to  or  adjustable  upon  the  horizontal  bar  of 
the  photometer. 

198.  Charles  James  Appleton,  of  Lower  Broughton,  Salford, 
and  David  Appleton,  of  Sackville  Street,  in  the  city  of 
Manchester,  both  in  the  county  of  Lancaster,  “ Improvements 
in  etching  on  rollers.” — Dated  12th  January,  1883. 

The  patentees  appear  to  claim  the  etching  of  rollers  by  the 
ordinary  process  of  galvanic  etching,  in  which  the  material  to  be 
etched  forms  the  anode  in  a decomposing  cell. 

Patents  Granted  in  France. 

152,983.  Barrault,  of  Nemours,  for  “A  photographic  appa- 
ratus for  employing  gelatino-bromide  and  other  dry  sensitive 
glasses  in  full  light.” — Dated  6th  January,  1883.  -Class  17. 
152,986.  ThiebaUT,  of  Paris,  for  “ Obtaining  pellicular  paper 
of  gelatino-bromide  of  silver  for  obtaining  photographic  nega- 
tives.”— Dated  8th  January,  1883. — Class  17. 

Patents  Granted  in  America. 

282,756.  Marion  W.  Newcomb,  of  Marysville,  Kans.,  for  “ A 
photographic  plate-holder.” — Application  filed  13th  March, 
1883. — No  model. 

This  apparatus  is  an  adjustable  inner-frame  with  sliding 
rebates. 

282,939.  Paris  H.  Wheeler,  of  Washington,  D.C.,  for  “ A 
machine  for  packing  dry  plates  for  photographers.” — Applica- 
tion filed  2nd  July,  1883. — No  model. 

An  apparatus  very  nearly  resembling  one  which  Mr.  Harrison 
has  exhibited.  The  following  ai  e the  claims  : — 

1.  The  method  of  preparing  dry  plates,  the  same  consisting  in 
interposing  between  them  a series  of  cords,  strings,  or  other 
pliable  materials  in  a continuous  length,  so  as  to  prevent  injury 
to  the  sensitive  surfaces. 

2.  The  combination  of  a base-board  having  guides  at  each 
side,  with  a continuous  strip  of  flexible  material. 

3.  The  combination  with  a movable  bar,  or  of  laterally  ad- 
justable carriers  adapted  to  arrange  the  apparatus  for  carrying 
different  sized  plates. 

283,689.  Mathias  Flammang,  ‘‘A  camera.”  The  special 
feature  is  a shifting  back  with  multiple  motions. 

283,455.  Anthony. — Plate-case,  a box  with  double  lid. 


THE  RETURN  JOURNEY  OF  THE  ECLIPSE 
EXPEDITION. 

BY  C.  RAY  WOODS. 

OncE  more  on  board  the  Hartford.  We  have  risen  from 
our  couches,  and  we  walk  about  on  deck.  We  do  not  sit 
down  ; oh,  dear  no ! We  are  too  sore  from  our  ride  to  and 
from  Kilauea,  and  never  was  a swinging  cot  more  welcome 
than  after  our  famous  (I  beg  pardon,  I mean  infamous) 
journey  to  see  the  volcano.  And  now,  the  morning  after, 
we  are  in  a great  state  of  commotion.  The  officers  and 
men  have  all  got  on  their  Sunday  clothes ; the  astrono- 
mers have  Dot,  but  are  skulking  about  doing  nothing,  in 
their  old  familiar  fashion.  The  band  is  on  deck  facing  the 
starboard  gangway,  and  the  signal  guns  are  being  got 
ready.  What  does  it  all  mean  ? A boat  puts  off  from  the 
shore,  reaches  the  side  of  the  vessel,  and  up  steps  His 
Majesty  King  Kalakaua,  ruler  of  the  Hawaii,  the  famous 
Beven  islands.  The  men  have  manned  the  yards,  the 
colours  are  run  up,  the  band  strikes  up  the  llawaiin 
National  Air  (a  bad  crib  from  “ God  save  the  Queen  ”)  as 
the  king  steps  on  board,  and  twenty-one  times  the  guns  are 
fired.  I have  a splitting  headache,  and  1 wish  the  kiDg 


was  at  the  place  the  volcano  reminded  me  of.  Although 
I do  not  quite  sympathise  with  the  republican  American 
seaman  who  muttered,  “ All  this  fuss  fora  cussed  nigger,” 

I think,  even  now,  that  it  was  too  much,  although  the 
Articles  of  War  set  it  down  as  correct  on  such  occasions. 
Then,  behind  the  king,  come  some  of  the  ladies  of  his  suite. 
Let  me  go  below  and  put  my  head  in  the  refrigerator, 
for  thoughts  of  “ the  time  when  first  we  met  ” still  rankle 
iu  my  breast,  and,  displaying  themselves  in  my  features, 
make  me  look  foolish.  We  had  been  on  a photographic 
excursion  to  Rainbow  Falls,  near  Hilo,  and  we  came  across 
three  of  these  “ king’s  relations.”  I photographed  them, 
and  showed  them,  one  by  one,  the  picture  on  the  ground 
glass,  myself  and  my  four  brothers  of  the  camera  making 
silly  and  personal  remarks  about  them  all  the  time.  Sand- 
wich Island  beauties  can  fully  appreciate  a joke,  and, 
pretending  they  could  not  speak  English,  they  stored 
our  11  funny”  sayings  in  their  minds.  Do  not  ask  me  to 
tell  you  any  of  them,  for  when  we  were  thrown  into 
their  company  the  same  evening,  after  an  introduction 
from  the  king,  they  repeated  to  us  often  enough  all  they 
remembered,  and  laughed  at  us  heartily.  We  shall  be 
more  careful  next  time,  and  we  warn  readers  of  the 
News  to  be  on  their  best  behaviour  when  travelling. 
When  1 summoned  up  courage  to  face  them  on  board, 
they  asked  me  to  develop  this  plate,  which  1 did,  and 
gave  them  60me  prints.  I sincerely  wish  that  I had  deve- 
loped the  rest  of  the  plates  at  the  same  time.  They  were, 
if  anything,  over-exposed,  but  on  getting  them  home  I was 
only  able  to  get  thin  spotty  negatives  from  them,  thanks 
to  the  salt  air. 

At  Honolulu,  two  days  from  Hilo,  we  had  to  say  good- 
bye to  the  Hartford  and  to  our  friends  on  board  her.  Aud 
here  I must  tender  my  hearty  thanks  to  them  all,  from 
Captain  Carpenter  downwards,  for  their  friendship,  their 
kindness,  their  attention,  and  their  help.  Both  Mr.  Law- 
rance  and  myself  were  very  sorry  to  leave  them,  and  we 
cannot  acknowledge  too  well  how  much  of  the  success  of 
the  expedition,  and  how  much  of  our  own  happiness,  was 
due  to  them.  We  may  never  see  any  of  them  again,  but 
may  they  carry  with  them  as  pleasant  thoughts  of  our 
society  as  we  do  of  theirs. 

I exposed  about  a dozen  plates  in  Honolulu,  the 
principal  photographer  there,  Mr.  Williams,  kindly  per- 
mitting me  to  change  my  plates  in  his  dark-room.  Not 
only  this,  but  at  some  trouble  to  himself  he  coaxed  two 
noted  eccentric  native  characters  into  his  studio  for  me  to 
photogiaph.  The  light  of  his  developing  room,  however, 
was  too  much  for  my  plates,  and  fogged  them.  His  light 
was  redder  than  is  required  for  wet  plates,  which  he 
usually  uses,  but  it  was  not  sufficiently  non-actinic  for 
my  owd,  the  atmosphere  there  being  very  clear.  On 
developing  my  plates  on  my  return,  I found  them 
all  worthless.  Those  that  retained  some  faint  semblance 
of  an  image  I have  kept.  I did  not,  as  most  of  your 
readers  would  have  done,  wash  the  rest  off ; I smashed 
them  with  a hammer.  There  is  some  satisfaction  in  that. 

The  vessel  that  carried  us  to  San  Francisco  was  the 
Zealaudia  ; but,  the  weather  being  a little  rough,  nothing 
was  done.  To  show  you  that  passengers  know  how  to 
enjoy  themselves,  1 may  mention  that  they  had  been  hav- 
ing concerts,  entertainments,  and  dances  all  the  way  from 
Australia,  and  having  Messrs.  Studd  and  Vernon,  the 
cricketers,  on  board,  even  played  that  game  on  the  upper 
deck,  the  ball  bemg  tied  to  a cord.  We  reached  San 
Francisco  on  the  11th  of  June.  Here,  too  many  things 
required  our  attention  to  leave  us  time  for  any  photo- 
graphic work,  though  there  was  one  scene  I should 
especially  have  liked  to  have  got.  In  a wide,  busy  street, 
was  a church  which  had  been  cut  in  half.  One  half  was 
still  standing,  and  the  other  was  in  the  middle  of  the 
road,  beiDg  moved  to  a more  eligible  site.  They  would 
not  have  cut  the  church  in  two  at  all  if  it  had  not  beeD  too 
big,  but  not  too  heavy,  to  get  through  the  streets  at  once. 
The  city  is  interesting  chiefly  on  account  of  its  extremely 


Septembee  7,  1888. 


THE  PHOTOGRAPHIC  NEWS. 


671 


rapid  growth  ; but  I certainly  consider  that  a great  deal 
of  the  admiration  bestowed  on  the  place  is  thrown  away- 
The  Golden  Gate,  the  entrance  to  the  harbour,  is  a 
beautiful  piece  of  coast  scenery  when  the  day  is  sufficiently 
good  to  do  it  justice;  but  it  is  surpassed  by  places  of 
which  we  hear  nothing.  Fogs  are  very  prevalent  along 
that  part  of  the  coast,  so  that  it  is  not  often  worth 
looking  at. 

On  June  15th  we  got  on  board  the  San  Jose  to  go 
down  the  coast  of  California  and  Mexico  to  l’anama.  The 
coast  is  very  rocky  and  picturesque,  so  that  if  you  are 
sufficiently  near  the  shore,  some  characteristic  views  may 
be  taken.  The  most  interesting  place  at  which  we  stopped 
was  Acapulco,  where  I went  on  shore  and  exposed  a few 
plates.  The  first  one  was  a view  of  the  church,  which, 
though  it  resembled  Spanish  churches  generally,  seemed 
to  have  an  air  about  it  peculiar  to  Mexico,  nevertheless. 
Then  I set  up  my  camera  in  the  principal  street,  at  a place 
where  the  road  sloped  gently  upwards,  giving  a good  view 
of  the  stone  and  plaster  houses  with  their  thatched  roofs. 
Just  as  1 was  going  to  expose,  six  or  seven  amiable  lunatics 
jumped  into  the  road  and  struck  attitudes,  hoping  to  make 
a comic  picture.  My  fellow-passengers  were  disappointed 
in  this,  for  their  dark  figures  came  iu  well,  and  the  figures 
were  too  small  to  allow  their  comic  antics  to  appear 
plainly.  Several  other  views  were  taken  of  the  Mexican 
town,  and  were  the  last  photographs  I obtained  on  that  side 
Fanama.  These  views  have  turned  out  pretty  well.  Since 
then  I gave  my  camera  a holiday  with  two  exceptions,  one 
being  an  instantaneous  shot  in  the  Bay  of  St.  Thomas,  with 
which  I am  rather  pleased,  and  the  other  being  an  attempt 
to  obtain  an  impression  of  the  phosphorescence  in  the  track 
of  the  vessel.  This  last  failed  completely,  the  exposure  of 
ten  minutes  not  being  long  enough  to  produce  the  faintest 
impression  on  a rapid  plate.  This  concluded  the  photo- 
graphic experiences  of  my  journey  ; but  beforo  bringing 
this  letter  to  a close,  several  matters  demand  some  slight 
mention. 

In  reference  to  the  accounts  of  the  Eclipse,  I find  that 
an  article  in  Nature  (which  you  copied)  speaks  of  the  red- 
end  plate  being  a failure.  Three  red-end  plates  were  ex- 
posed in  the  prismatic  camera,  only  one  of  which  failed. 
The  other  two  were  successes,  but  failed  to  give  such  good 
results  as  in  Egypt,  on  account  of  the  nature  of  the  Eclipse. 
Seeing,  too,  a note  in  the  News  on  the  use  of  AVillesden 
paper  for  dark  rooms,  I may  mention  that,  at  the  sugges- 
tion of  Captain  Abney,  who  was  the  first  I heard  propose 
this,  two  such  structures  were  prepared  for  Caroline  Island. 
The  dark  room  I had  made  too  small  for  a tropical  climate, 
but  the  other  one,  the  hut  that  protected  my  spectroscopes, 
was  much  admired.  It  is  now,  I believe,  doing  duty  on 
one  of  the  smallers  islands  as  a country  residence  of  our 
friend  Nikau,  or  Niau,  whichever  his  name  really  is.  The 
only  objection  to  this  paper  or  cardboard  is  its  price, 
which  really  seems  pretty  high. 

I must  thank  “ One  who  has  been  there  ” for  his  inte- 
resting letter  on  the  green  tree  of  Payta,  and  should  be 
glad  to  have  that  gentleman’s  address. 


DR.  VOGEL’S  ADDRESS  AT  THE  MILWAUKEE 
CONVENTION. 

Ocn  Special  Correspondent  sends  us  the  address  made  by 
Dr.  Hermann  Vogel,  of  Berlin,  on  his  reception  by  the 
American  photographers.  Dr.  Vogel,  as  our  readers  are 
aware,  was  specially  invited  to  the  United  States  to  take 
part  in  the  annual  Convention,  and  his  address  may  be 
regarded  as  the  main  feature  in  the  programme.  Dr.  Vogel 

It  is  the  third  time  in  my  life  that  I have  the  honour  to  attend 
the  meeting  of  the  National  Photographic  Association  of  the 
Uuited  .States.  I remember  with  pride  and  joy  the  days  as  I 
trod  American  soil  the  first  time,  as  I left  behind  me  European 
prejudices,  as  I was  bewildered  from  all  the  wonders  of  industry 


I met  here,  and  from  the  hearty  welcome  I found,  not  only  in 
your  Society,  but  also  with  every  photographer  I visited  in 
America.  Many  friends  I have  found  here,  not  only  friends  for 
the  short  time  of  my  visit,  but  for  the  whole  life.  I am  happy 
to  say  I am  not  a stranger  more  here.  I feel  homelike  on  your 
soil.  I felt  in  Germany  a longing  for  America,  and  with  more 
than  pleasure  I followed  your  kind  invitation ; for  I must 
confess  I have  learned  in  America  more  in  three  months  than  in 
Europe  in  three  years.  I learned  to  esteem  the  high  position  of 
American  photography,  and  what  I learned  here  I communicated 
to  my  countrymen,  and  I think,  since  that  time,  American  photo- 
graphy is  acknowledged  in  Europe  as  it  deserves. 

Thirteen  years  ago  but  a few  American  pictures  reached  us  in 
Europe.  To-day  we  find  in  the  art-shop  windows  of  Berlin, 
American  pictures,  and  they  are  bought  by  our  photographers  as 
master-pieces.  We  have  introduced  in  Europe  arrangements  of 
American  cameras  and  Seavey’s  American  backgrounds,  and  if 
you  have  learned  in  the  past  time  from  us,  we  learn  now  from 
you.  Very  often  I am  asked  what  is  the  difference  between 
American  and  European  photography  ? Is  there  any  in  general  ? 

It  is  true,  you  use  the  same  lenses,  the  same  apparatus,  the 
same  chemicals  and  papers  as  we  do.  The  main  field  of  photo- 
graphy is  in  America  and  Europe  the  same  : the  portrait,  the 
likeness ; you  touch  the  negative  as  we  do,  and  are  anxious  to 
improve  the  artistic  qualities  of  a picture.  But  in  America  you 
have  not  so  many  portrait  painters  as  we  in  Europe.  Life-size 
pictures  are  exceptions  in  Europe  for  photographers,  because 
our  painters  make  them  ; in  America  the  life-size  picture  is  an 
important  branch  of  portrait  photography,  and  I must  confess 
in  this  branch  American  photography  is  ahead. 

Still  more  difference  I observe  in  landscape  photography ; the 
stereo  picture  is  much  more  esteemed  in  America  than  in  Europe. 

I think  there  is  no  parlour  in  America  where  there  is  not  a 
stereoscope.  But  these  are  only  a few  instances.  The  main 
difference  is,  that  photography  in  America  is  much  more 
esteemed  by  the  scientific  men,  by  the  men  of  industry,  and  the 
people  in  general,  than  in  Europe.  When  a scientific  expedition 
is  sent  to  the  far  west,  or  to  any  part  of  the  world  from  America, 
certainly  a photographer  will  join  it.  More  than  that  : Ameri- 
can photographers  have  been  the  pioneers,  and  have  told  by  true 
pictures  to  the  world  the  wonders  of  the  Mammoth  trees,  of  the 
Yosemite  valley,  and  the  Columbia  river,  before  scientific 
men  reached  there.  American  photography  has  more  merits  for 
geographical  knowledge  than  big  hand-books.  In  Europe,  I am 
sorry  to  say,  the  scientific  value  of  photography  is  only  partly 
acknowledged. 

A great  many  scientific  men  who  intended  to  travel  in  Asia 
and  Africa  visited  me  a few  days  before  their  departure  to 
learn  in  the  hurry  something  from  photography  in  twenty-four 
hours,  and  because  photography  is  esteemed  more  in  America  by 
everybody,  its  position  is  a better  one,  and  the  photographer  is 
more  honoured  here  than  in  Europe. 

Certainly,  you  want  to  know  from  me  what  is  the  latest  news 
in  photography  in  Europe,  which  questions  are  now  discussed 
there  among  photographers.  I can  only  mention  some  points. 
In  general  similar  questions  as  here  are  arising  among  European 
photographers.  Yesterday  you  had  discussions  here  regarding 
the  low  prices  of  portraits,  over  blisters  in  albumen  paper  ; 
exactly  the  same  discussions  we  have  in  Germany  from  time  to 
time,  and  just  about  the  same  success  ; but  the  chief  point  of 
interest  for  photographers  at  present  is  the  gelatine  emulsion. 
The  gelatine  process  makes  progress  every  day,  and  in  conse- 
quence the  collodion  process  is  going  and  going.  It  is  true  we 
have  obtained  much  by  the  gelatine  plates — short  exposures,  more 
convenience  in  working — but  how  is  it  with  the  keeping  qualities 
of  our  negatives  now  ? 

There  is  much  more  difficulty  to  fix  and  to  work  out  a gelatine 
plate  than  a collodion  plate,  especially  if  the  first  is  intensified 
by  mercury  salts  ; and  many  careless  photographers,  who  look 
after  their  gelatine  negatives  of  the  past  year,  find  them  dis- 
coloured, and  useless  to  make  a print  from. 

A new  process  has  called  the  attention  of  the  German  photo- 
graphers ; that  is,  the  Obernetter  process.  I heard  yesterday 
an  unfavourable  opinion  of  it,  and  it  was  said  that  the  principles 
of  the  process  were  wrong.  I am  a chemist,  and  I must  confess, 
as  such,  that  we  don’t  know  yet  all  the  principles  of  the  gelatine 
process,  and  under  such  conditions  we  can  only  estimate  a pro- 
cess after  the  results  ; and  here  I must  certify  that  Obernetter’s 
results  are  perfectly  satisfactory,  so  that  I have  selected  for  my 
American  trip  Obernetter  plates.  The  advantage  of  the 
' Obernetter  plate  is,  that  it  is  very  quickly  developed,  fixed 


572 


THE  PHOTOGHAPfllC  NEWS. 


[September  7,  1883, 


dried,  and  washed.  The  only  mistake  Obernetter  has  made  was, 
that  he  gave  a too  short  description  of  his  process,  not  sufficient 
explanation  for  the  most  part  of  the  subscribers.  That  is  the 
reason  of  their  lack  of  success.  Some  time  ago  we  have  had  in 
Germany  an  amateur  question.  It  was  asserted  that  gelatine 
emulsion  favoured  amateur  photography,  and  that  must  injure 
the  practical  photographer.  We  have  observed  that  we  have 
nothing  to  fear  from  the  amateurs.  On  the  contrary,  we  are 
very  much  indebted  to  them.  Who  has  invented  photo- 
graphy ? An  amateur,  Daguerre.  Who  is  the  inventor  of 
the  positive  printing  process  ? An  amateur,  Talbot. 
Who  has  invented  the  collodion  process  ? A n amateur,  Archer. 
And  to  whom  are  we  indebted  for  the  gelatine  process  ? Two 
amateurs  at  first,  Kennet  and  Bennett.  God  bless  the  amateur ! 
We  have  a very  interesting  instance  in  Germany  that  amateurs 
elevate  the  art.  Why  is  Germany  the  musical  land  in  the 
world  ? Why  do  you  find  there  music  more  appreciated  than  in 
any  other  part  of  the  world?  Because  we  have  so  many 
musical  amateurs.  And  in  spite  of  the  numerous  amateurs,  the 
position  of  musicians  in  Germany  is  an  excellent  one.  They 
are  esteemed  there  more  than  in  any  other  country.  Another 
question  discussed  now  in  Germany  is  the  introduction  of  the 
electric  light.  Electricity  is  not  only  the  power  of  the  future, 
but  the  power  of  the  present.  It  forwards  our  thoughts  all 
round  the  world  by  wires  ; it  moves  the  engines  ; it 
illuminates  our  streets  and  rooms.  Electricity  furnished  to  the 
photographers  a light  of  powerful  chemical  action,  which 
is  cheaper  than  any  other  artificial  light.  It  makes  the 
photographer  independent  of  sunlight.  He  can  do  his  work  with 
electricity,  even  iu  the  night,  or  in  the  worst  weather.  That  is 
a great  advantage  for  all  the  sitters  whose  time  is  occupied  in 
day-time.  On  the  other  hand,  the  photographer  is  no  more 
obliged  to  do  his  work  on  the  roof  of  buildings.  He  can  work 
with  electric  light  even  in  a basement.  First-rate  work  is  al- 
ready done  in  photography  by  electricity — in  London,  St.  Peters- 
burg, Moscow,  Paris,  and  Berlin — and  I am  glad  to  see  Mr.  Kurtz, 
in  New  York,  has  introduced  as  the  first  in  America.  His 
system  is  quite  original,  different  from  the  European  one,  and  I 
think  his  example  has  called  already  the  attention  of  all  enter- 
prising photographers.  Electrical  light  is  extensively  used 
already  in  America.  May  it  be  introduced  more  generally  now 
in  photography ; then  we  can  say  for  every  time,  day  and  night, 
“ and  there  will  be  light.” 


ALBUMEN  AND  ALBUMENOUS  SUBSTANCES  ( Albumen , 
the  white  of  an  egg). — A number  of  bodies,  some  of  animal 
origin,  and  others  from  vegetable  sources,  are  roughly  classed 
together  under  the  general  denomination  albumenoids  or  alburaen- 
ous  substances  ; but  the  typical  albumen  is  that  characteristic 
principle  which  forms  about  12  per  cent,  of  the  white  of  egg. 
The  serum  of  blood  appears  to  contain  an  albumen  identical  with 
that  of  the  egg,  but  so  difficult  is  the  purification  of  this  latter, 
that  it  is  not  advisable  to  use  any  other  than  egg  albumen  for 
photographic  purposes. 

If  the  white  of  egg  is  well  beaten  in  order  to  break  up  the 
cellular  structure,  then  somewhat  diluted  with  water,  filtered,  and 
evaporated  at  a heat  not  exceeding  50°  0.  (122°  F.),  the  albumen 
is  obtained  in  a dry  state,  and  it  may  be  preserved  indefinitely  in 
this  condition.  One  part  dissolved  in  seven  or  seven  and  a-half 
parts  of  water  yields  a preparation  about  equivalent  in  strength 
to  white  of  egg.  Albumen,  besides  carbon,  hydrogen,  oxygen, 
and  nitrogen,  contains  between  one  and  two  per  cent,  of  sulphur, 
and  this  ingredient  is  supposed  to  be  the  active  agent  in  bringing 
about  the  fading  of  silver  prints.  One  of  the  most  remarkable 
properties  of  albumen  is  that  of  being  coagulated  by  heat,  this 
being  exemplified  in  the  ordinary  procoss  of  boiling  an  egg. 
Albumen  in  solution  is  coagulated  at  about  65°  C.  (149°  F.)  ; but 
when  dry,  it  may  be  subjected  to  a very  much  higher  temperature 
without  becoming  insoluble.  Alcohol,  and  many  metallic  salts 
— as,  for  example,  nitrate  of  silver — also  possess  the  property  of 
coagulating  albumen.  The  numerous  and  important  uses  of 
albumen  in  photography  will  be  treated  of  under  other  headings. 

ALBUMEN  PROCESS  ON  GLASS. — A once  popular  negative 
method,  but  capable  of  yielding  transparencies  of  exquisite  deli- 
cacy. It  may  be  summarized  as  follows.  To  6 ounces  of  well 
beaten  white  of  egg,  add  3G  grains  of  potassium  iodide,  dissolved 
in  G drachms  of  water,  also  1 drop  of  ammonia.  Beat  to  a froth 


once  more,  and  after  subsidence  and  filtration,  plates  are  coated 
with  the  mixture  and  dried  before  a fire,  it  being  advisable  to 
keep  them  in  motion  during  the  operation.  The  plates  are  sensi- 
tised by  immersion  for  two  or  three  minutes  in  an  aceto-nitrate 
bath  containing  50  grains  of  nitrate  of  silver  and  1 drachm  of 
glacial  acetic  acid  to  each  ounce,  after  which  the  plates  are  washed 
and  exposed.  If  well  washed  and  thoroughly  dried,  they  may  be 
preserved  for  some  days  or  even  weeks.  Development  generally 
occupies  nearly  half  an  hour,  and  a saturated  solution  of  gallic 
acid,  to  which  a few  drops  of  the  acetic  nitrate  bath  have  been 
added,  is  used.  The  ordinary  hyposulphite  fixing  bath  serves  to 
remove  unaltered  silver  iodide  from  the  film.  An  agreeable  tone 
may  be  produced  by  immersing  the  washed  but  unfixed  picture 
into  a bath  compounded  of  1 grain  of  sel  d’or  (double  hyposulphite 
of  gold  and  sodium)  and  20  drops  of  hydrochloric  acid  to  a couple 
of  ounces  of  distilled  water.  The  picture  should  remain  in  the 
toning  bath  until  the  shadows  assume  a slight  purplish  tint.—  See 
Collodio-albumen  Process. 

ALBUMENISED  PAPER,  PRINTING  ON.-That  method  of 

photographic  printing  which  has  for  years  past  formed  the 
staple  process  for  the  production  of  positive  photographic  pictures. 
Paper  is  coated  with  a solution  of  certain  chlorides  in  ablumen  ; 
this  is  sensitized  by  being  floated  on  a silver  solution ; the  image 
formed  by  the  action  of  light  is  toned  by  a gold  solution,  and  the 
picture  is  finally  fixed  in  a bath  of  sodium  hyposulphite. 

The  papers  known  as  Saxe  and  Rives  are  almost  universally 
used  for  albumenisingi  and  these  papers  are  ordinarily  sold  in 
sheets  measuring  about  18  inches  by  22  inches.  Generally 
speaking,  Rives  is  preferred  for  small  work ; but  many  persons 
regard  Saxe  paper  much  more  suitable  as  for  large  pictures. 

Take  the  white  portion  of  fresh  eggs,  free  from  traces  of  yolk 
or  germ,  and  to  every  gallon  add  the  following  : — 

Dissolve  in  8 ounces  of  water — 

2 „ ammonium  chloride 

1 ounce  of  barium  chloride 
To  which  add  2 ounces  of  glacial  acetic  acid 
Add  the  mixture  gradually  to  the  albumen,  and  whisk  the  whole 
to  a froth  with  a bundle  of  twigs.  Allow  it  to  remain  in  a cool 
place  for  twenty-four  hours,  for  the  froth  to  subside,  at  the  end  of 
which  period  it  may  be  strained  through  two  thicknesses  of 
muslin  or  cambric. 

Pour  the  albumen  into  a flat  dish,  being  careful  to  avoid  air- 
bells,  and  upon  this  lay  the  smooth  side  of  the  paper,  being  at  the 
same  time  careful  not  to  create  any  bubbles.  There  are  three 
ways  of  putting  the  paper  on  the  bath : the  first  is  by  holding 
the  opposite  corners  in  each  hand,  allowing  the  sheet  to  fall,  in  a 
convex  form,  gradually  on  to  the  solution,  viz.,  the  centre  first, 
and  corners  last ; the  second  is  to  lower  one  corner  first,  and 
slowly  drop  the  other  portion  ; the  third,  and  much  to  be  pre- 
ferred method,  is  to  place  the  extreme  edge  on  the  solution,  hold- 
ing it  lengthwise,  that  is  to  say,  the  size  that  measures  about 
twenty-two  inches  between  the  two  hands  ; then,  with  a quick 
and  even  motion,  carry  the  edge  across  the  dish ; the  whole  of  the 
sheet  will  now  be  on  the  bath.  Any  small  particles  of  dust  which 
may  have  fallen  on  the  surface  of  the  solution  will  thus  be  carried 
to  the  opposite  side.  If  the  operation  has  been  carefully  per- 
formed, the  sheet  may  be  drawn  slowly  off  at  the  expiration  of 
forty  seconds,  and  thrown  across  a wooden  rod,  albumenized  Bide 
outwards.  A number  of  these  rods  should  always  be  at  hand,  so 
that  sheets  need  not  be  taken  off  them  until  nearly  dry.  During 
the  time  of  floating  and  drying,  the  temperature  must  be  kept  up 
to  at  least  80°  F.,  or  a good  surface  is  not  obtained.  Great  care 
must  be  taken  to  keep  down  dust,  as  any  particles  settling  on  the 
paper  during  drying  will  be  sure  to  remain  there.  Doubly 
albumenized  paper  is  treated  similarly  to  the  foregoing,  but  the 
first  coating  is  coagulated  by  means  of  steam.  It  is  afterwards 
re-floated  and  dried. 

The  sensitizing  bath  is  essentially  composed  of  a solution  of 
nitrate  of  silver  in  water.  Many  additions  have  been  recom- 
mended, such  as  the  nitrates  of  soda  and  potash,  methylated 
spirits  of  wine,  camphor,  ordinary  potash,  alum,  sugar,  &c.,  also 
converting  it  into  ammonia  nitrate  of  silver  ; but  no  very  distinct 
advantage  appears  to  have  been  gained  thereby.  The  proportion 
of  nitrate  of  silver  per  ounce  of  solution  may  vary  from  30  to  GO 
grains  ; beyond  these  limits  it  will  not  be  at  all  necessary  to  go. 

The  character  of  the  negatives  to  be  printed  must  be  taken 
into  consideration.  Whereas  a properly-exposed  wet  plate  nega- 
tive would  produce  a bright  print  on  a bath  only  30  grains 
strong,  an  indifferent  gelatine  dry  plate  may  reqnire  the  strength 
to  be  60  grains ; then,  again,  with  albumenized  paper  containing 
10  to  12  grains  of  a chloride  salt  per  ounce  of  albumen,  from 


September  7,  1883.] 


THE  PHOTOGKAPHIC  NEWS. 


573 


50  to  GO  grains  per  ounce  would  invariably  produce  the  best 
results.  Negatives  which  have  very  dense  or  opaque  portions  and 
large  masses  of  clear  shadows  do  not  produce  good  prints,  even 
with  the  silver  bath  as  low  in  strength  as  30  grains  to  the  ounce 
in  all  cases ; but  they  will  give  excellent  prints  on  washed 
paper — that  means,  after  the  paper  has  been  floated  a sufficient 
time  on  a weak  bath,  the  paper  is  dried,  washed  for  two  or  three 
minutes  in  water,  and  again  dried. 

When  the  proportion  of  silver  is  much  below  thirty  grains  per 
ounce,  and  neutral  or  slightly  alkaline,  there  is  a great  tendency 
for  the  albumen  to  leave  the  paper  ; this  is  known  by  dull  lines 
and  patches  on  the  paper,  also  a slightly  opalescent  scum  floating 
on  the  bath  : the  effect  is  termed  stripping.  The  dish  employed 
for  sensitizing  should  not  be  used  for  any  other  purpose.  The 
requirements  are  that  it  should  be  flat  and  perfectly  clean.  When 
porcelain  dishes  have  been  used  a short  time,  the  enamel  or  glaze 
cracks  all  over,  the  dish  thereby  becoming  useless  for  the  purpose. 
Ebonite  dishes  of  large  size  are  seldom  flat  when  new,  and  warp 
very  much  after  a little  wear ; therefore  a strong  wooden  frame  of 
pine  or  teak,  with  a plate-glass  bed,  seems  to  last  better  than 
anything  else.  The  wood  should  be  well  rubbed  with  solid 
paraffin,  which  has  the  property  of  completely  resisting  the 
action  of  nitrate  of  silver.  Such  a dish,  well  made,  will  last  a 
lifetime.  A glass  rod  may  be  attached  to  the  end  of  such  a dish 
to  drag  the  paper  over,  which  not  only  allows  of  quicker  drying, 
but  prevents  waste. 

( To  le  continued.) 


INSTANTANEOUS  PHOTOGRAPHY. 

A PICTURE  FOP  WHICH  A HUSBAND  PAID  A HIOH  PRICE. 

Last  week  an  itinerant  photographer  of  this  city  brought  up  in 
a small  town  iu  New  Jersey,  and  at  once  proceeded  to  business. 
At  the  first  residence  he  asked  the  lady  of  the  house  if  he  could 
take  a view  of  her  house.  “ Don’t  want  any  views.  You 
couldn’t  take  a view  with  that  old  machine,  anyhow.  Suppose 
I was  out  in  the  front  yard,  nobody  would  know  me  in  the  pic- 
ture.” The  man  of  the  camera  explained  how  perfect  his 
machine  was  for  instantaneous  views,  but  the  woman  refused  to 
listen  to  him.  He  then  went  to  the  next  house,  and  there  got 
an  order  for  a view.  When  he  began  to  arrange  his  instrument, 
the  woman  No.  1 came  over,  her  curiosity  getting  the  better  of 
her,  and  the  lady  whose  house  wa3  to  be  taken  invited  her  to 
stand  in  the  front  yard  to  help  her  form  a group.  Woman  No.  1 
was  so  afraid  her  new  silk  dress  wouldn’t  show  to  good  advan- 
tage, that  she  seated  herself  on  the  step  of  a ladder  that  stood 
alongside  the  fence.  Just  before  everything  was  ready,  she  con- 
cluded that  the  flounces  would  show  better  if  she  stood  up,  and 
accordingly  rose  up.  Then  the  photographer  lifted  the  cloth 
from  the  muzzle  of  the  camera,  and  turned  his  back  from  the 
scene  just  as  the  woman  fell  from  the  top  of  the  ladder  to  the 
fence,  and  caught  her  foot  between  the  pickets.  She  hung  there 
all  through  the  exposure  of  the  plate,  and  the  photographer,  un- 
heeding her  cries  for  help,  proceeded  to  develop  the  negative, 
He  found  a splendid  picture  of  a fence.  The  woman  by  this 
time  had  got  loose  from  the  fence,  and  asked  to  have  a look  at 
the  plate,  when  she  almost  fainted  away.  That  night  her 
husband  called  on  the  photographer  and  paid  him  $50  cash  for 
the  picture.  Yet  why  a man  would  want  a picture  of  his  wife 
hanging  from  a fence  is  more  than  anybody  could  tell. — St. 
Louis  Photographer. 


NOTE  ON  ALBUMENIZED  PAPER. 

BY  M.  8CHLIER.* 

You  remember,  in  old  times,  when  albumen  paper  was  not  in 
America,  we  were  compelled  to  make  our  own  albumen  paper, 
and  my  experience  comes  from  there  ; and  il  those  albumenizers 
would  treat  the  paper  the  way  I did,  we  would  not  have  a single 
blister  to  complain  of.  It  is  simply  this.  In  the  first  place,  we 
want  pure  material — the  albumen  does  not  want  to  be  adulterated  ; 
and  the  next  mistake  with  o lr  albumenizers  is  that  they  want  to 
bring  to  the  market  a highly-glossed  paper,  and  they  run  it 
through  the  burnisher  or  rollers,  and  deceive  you  by  that  method, 
simply  showing  a paper  very  highly  glossed  or  glazed,  and  arti- 
ficially put  there,  and  when  you  have  put  the  paper  through  the 
solutions  you  have  a destroyed  surface. 

* Mihcaukee  Contention. 


Now  I may  point  out  that  the  one  and  main  object  in 
making  albumenized  paper  is  to  make  it  quickly,  and  the 
principal  part  is  that  it  be  dried  as  quickly  as  possible,  and 
for  that  reason  artificial  heat  is  to  be  used.  I got  at  it  accident- 
ally. I often  made  albumen  paper  so  that  it  would  last  me  a 
long  time,  and  I remember  once  in  the  winter  time  I got  short, 
and  I albumenized  some  paper,  and,  to  dry  it  quickly,  I dried  it 
immediately  around  the  stove.  The  paper  was  so  quickly  dried 
that  the  albumen  remained  on  the  surface,  and  I never  had  a 
finer  glossed  or  finer  paper  in  my  life  than  that,  and  from  that 
time  until  I went  to  buy  my  paper,  I used  it  in  that  way.  I 
can’t  exactly  give  you  the  technical  points  about  it,  but  that  is 
my  experience,  and  I have  tested  it  and  made  albumen  paper 
afterwards  where  I tried  it  in  the  usual  form,  and  hung  it  up  in 
a room  to  dry  in  half-a-day,  together  with  paper  dried  instantly  ; 
mine  was  far  superior,  and  never  showed  a blister ; it  had  a 
finer  surface  and  a finer  polish,  and  the  pictures  are  much  better 
and  don’t  take  so  much  silver,  because  the  albumen  has  not 
soaked  into  the  paper,  but  stayed  on  the  surface.  Now  it  is  a 
mistake,  and  I should  ten  times  rather  receive  the  paper  without 
the  pressing,  and  without  the  burnishing  and  gloss.  We  heard 
a little  while  ago  about  those  vexatious  black  spots  ; to  a great 
extent  they  come  from  that  source.  I believe  the  sheets  are  run 
through  steel  rollers  and  burnishers,  and  that  is  where  those 
black  spots  come  from  ; that  is  the  common  cause,  and  I would 
rather  have  my  paper  a little  rough  than  have  it  burnished  and 
not  run  through  burnishers  and  rollers  ; and  I wish  the  albumen- 
izers would  copy  that,  and  try  to  help  us  out  of  that  trouble. 


<E0mspni»ni«. 

A REDUCER  FOR  DENSE  FILMS. 

Sir, — Being  rather  troubled  with  over-dense  negatives, 
and  having  tried  the  common  ozone  bleach  reducer  with 
very  indifferent  success,  it  struck  me  a few  weeks  ago  to  try 
tincture  of  iodine  and  a solution  of  cyanide  of  potassium 
as  a reducer.  I had  previously  seen  iodine  and  cyanide 
used  for  another  purpose,  which  I shall  not  mention  just 
now.  I first  took  a uegativc  (unvarnished)  which  I did  not 
require,  and  soaked  it  thoroughly  in  cold  water.  I then 
took  tincture  of  iodine  f-oz.,  water  l^-ozs. ; then  put  the 
soaked  negative  in  the  developing  tray,  and  applied  the 
solution  of  iodine ; allowed  it  to  remain  on  for  three  or 
four  minutes  ; poured  the  iodine  back  into  its  own  glass, 
and  applied  a weak  solution  of  cyanide  of  potassium.  In 
a minute  or  two  the  image  had  almost  disappeared.  I then 
put  it  in  hypo  bath,  and  washed  as  usual.  The  stronger  the 
cyanide  the  quicker  the  action.  Should  the  first  attempt 
not  reduce  the  negative  enough,  the  iodine  may  be  re- 
applied, but  every  trace  of  cyanide  must  be  washed  away 
from  negative  and  tray,  else  the  iodine  will  be  eaten  up, 
and  so  make  the  reducer  rather  an  expensive  one.  With 
me  the  above  has  worked  well. 

As  I have  not  seen  the  above  in  print,  nor  heard  of  it 
before,  I hope  you  will  find  space  for  this  letter,  and  so 
give  photographers  a chance  of  trying  it.  I hope  it  may 
prove  useful  to  amateurs  like  myself.  I would  be  glad  to 
hear  how  it  acts  iu  the  Lands  of  others. — I am,  yours  truly, 
Thrusliville , Stirling,  N.B.  Thomas  Thorburn. 


PHOTOGRAPHY  AND  TRICYCLING. 

Sir,— I have  but  recently  taken  in  the  Photographic 
News,  and  it  was  with  a hope,  I must  confess,  that  some  of 
your  able  articles  would  treat  of  camera  work  combined 
with  tricycling.  I am  looking  forward  next  month  to  a 
little  tour  with  my  camera,  and  as  so  many  of  my  friends 
make  tempting  remarks  about  the  tricycle,  1 thought  that 
the  two  might  be  combined.  Now  although  I know  very 
little  of  photography,  I know  still  less  of  the  tricycle,  and 
so  I would  ask  if  you  could  give  me  advice  on  the  subject. 
My  camera  and  other  travelling  impedimenta  I estimate  at 
25  or  30  lbs.  Now  can  I get  a light  tricycle  to  carry  this 
and  myself  without  fatigue  to  the  rider,  who  is  not  a 


574 


THE  PHOTOGRAPHIC  NEWS. 


[September  7,  1883. 


’cyclist — I mean,  say,  twenty  or  thirty  miles  a day  ? What 
tricycle  would  you  recommend,  and  what  would  it  cost  ? 
Any  information  will  be  highly  valued  by 

Only  an  Amateur. 

[There  have  been  many  articles  on  photography  and  the 
bicycle  in  our  pages,  if  not  tricycle.  Personally  we  have 
no  experience,  but  we  have  no  doubt  some  of  our  readers 
will  kindly  give  “Only  an  Amateur”  the  advice  he 
requires. — Ed.  P.N.] 


BALLOON  PHOTOGRAPHY. 

Dear  Sir,— I now  send  you,  as  promised,  three  photo- 
graphic records  of  the  aerial  voyage  of  the  “ Suubeam  ” on 
the  7th  ult.  The  exposures  were  all  made  while  sailing  in 
mid-air  at  varying  altitudes,  and,  as  I have  already  informed 
you,  the  conditions  of  light  were  unfavourable  in  consequence 
of  the  absence  of  sunlight  and  the  lateness  of  the  hour.  The 
view  taken  over  Bexley  at  2,750  feet  altitude  comes  out  best, 
and  in  this,  besides  the  roads  and  houses,  the  various  crop- 
fields  can  be  seen  ; and  in  about  the  centre  of  the  picture, 
close  alongside  some  lawn-tennis  grounds,  the  distinct  and 
individual  rows  of  root  crops  in  a single  field  can  be  readily 
distinguished,  as  well  as  several  tall  trees  overhanging  the 
roadway  in  this  locality.  It  is  a most  curious  coincidence 
that  this  was  the  only  view  which  I found  it  impossible  to 
locate  on  the  maps  afterwards,  and  after  about  three  hours’ 
search  given  it  up  as  a bad  job.  Last  Tuesday  I happened 
to  go  to  the  Crystal  Palace  to  see  Mr.  Wright’s  balloons 
ascend,  and,  being  somewhat  unexpectedly  allotted  a seat  in 
the  car  of  the  l<  Gem,”  was  taken  straight  over  the  very  place 
depicted  in  the  photograph,  which  I happened  to  have  in  my 
pocket.  (P.S. — I never  had  such  a knocking  about  on 
coming  down  as  on  this  occasion  ; hat  knocked  off  as  the 
car  went  bungling  along  on  its  side  for  an  unpleasantly  long 
distance  before  a strong  gust  of  wind,  now  leaping  into  the 
air  some  twenty  or  thirty  feet  high,  and  wildly  tugging  the 
grapnel  over  the  ground,  and  then  bumping  down  on  the 
earth  again.  Not  sorry  my  camera  was  not  in  the  car  on  this 
occasion,  as  its  fate  would  have  been  somewhat  doubtful.) 
The  other  view  of  Bexley,  taken  from  a little  higher  altitude, 
I almost  hesitate  to  send,  as  I don’t  think  anything  of  it. 
The  Blackheath  viewshowsthe  groundsof  Magdalen  College, 
as  well  as  numerous  roads,  houses,  and  winding  footpaths  of 
curious  interest.  I would  recommend  the  use  of  a magnifying 
glass  for  examination  of  these  photographs. 

We  have  anotherascent  fixed  for  Wednesday,  at  about  5.30, 
from  the  Rosherville  Gardens  at  Gravesend,  but  the  present 
condition  of  the  weather  is,  to  say  the  lea1 1 of  it,  “somewhat 
unfavourable”  for  ballooning.-— Dear  sir,  yours  very  truly, 
BeechcroJ't,  Chiskhurst,  3rd  Sept.  Cecil  V.  Siiadbolt. 

[Mr.  Shad  bolt  sends  us  three  interesting  map-like  sketches, 
in  all  of  which  may  be  traced  roads  and  villa  residences  of 
certain  portions  of  Bexley  and  Blackheath.  Balloon  photo- 
graphs we  can  hardly  expect  to  have  so  sharp  and  bright  as 
pictures  taken  on  terra  tirma,  but  Mr.  Shadbolt’s  pluck  and 
perseverance  as  an  aerial  photographer  are  certainly  giving 
us  some  novel  and  important  results. — Ed.  F.N.] 


PERMANENT  SILVER  PRINTING. 

Dear  Sir, — It  seems,  from  the  experience  of  Mr.  Bruce 
and  others,  that  we  have  been  working  on  the  wrong  track, 
and  turning  out  faded  photographs  by  the  bushel,  when  we 
might  as  well  have  turned  out  permanent  prints  at  a little 
extra  cost  for  material.  For  my  own  part,  I have  been  sick 
of  albumenized  paper  a long  time  j in  fact,  it  has  been  a 
nightmare  to  me  ever  since  we  commenced  to  take  soft 
negatives,  and  to  me  warmly  toned  photos  have  shown  a 
decided  pronene6sto  fade  quickly.  So  long  as  we  took  the 
harsh  black-and-white  negatives,  and  toned  to  a blue  tone, 
they  stood  pretty  well  ; but  when  we  went  in  for  soft  deli- 
cate negatives  and  warm  tones,  then  they  quickly  began  to 
show  signs  of  decay.  Now,  if  all  this  could  have  been 


avoided  by  using  collodio-chloride  paper,  what  a boon  it 
would  have  beoD,  both  to  photographers  and  the  public ! It 
is  never  too  late  to  mend,  and  I should  be  glad  to  try  col- 
lodio-chloride, and  see  if  it  really  is  permanent.  But  to  be 
really  secure,  the  paper  should  be  free  from  albumen  in 
every  form.  What  I mean  is,  that  an  albumen  substratum 
should  not  be  used.  If  the  paper  requires  any  preparation 
to  keep  the  collodio-chloride  on  the  surface,  and  to  prevent 
a sunk-in  appearance,  something  like  arrowroot  should  be 
used.  I am  confident  that  albumen  in  any  form  would  be 
ruinous,  even  when  used  on  opal  as  a substratum  ; the  pic- 
tures fade  very  soon,  even  if  done  by  the  old  collodion  pro- 
cess. Albumen,  in  my  opinion,  is  the  bane  of  photographic 
permanence,  and  should  be  banished  at  once. — I am,  dear 
sir,  yours  &c.,  “ An  Old  Photo.” 


THE  BRUSSELS  EXHIBITION. 

Dear  Sir, — Could  you  inform  me  when  the  medals 
will  be  presented  to  the  successful  exhibitors  ?— Faithfully 
yours,  A Medallist. 

[The  honorary  secretary,  M.  Geruzet,  will  doubtless 
inform  us,  as  soon  as  the  date  is  fixed.— Ed.  P.N.] 


Drofeebings  0l  $0rieiiM. 

North  Staffordshire  Photographic  Association. 

The  ordinary  monthly  meeting  of  this  Society  was  held  at  the 
Town  Hall,  Hanley,  on  Thursday,  August  30th,  Mr.  Chas. 
Alfieri,  Vice-President,  occupying  the  chair. 

There  was  a good  attendance  of  members,  and  the  Vice- 
President,  in  addressing  them,  remarked  upon  the  loss  the 
Society  had  sustained  by  the  death  of  Mr.  John  Lockett,  one  of 
its  most  intelligent  and  persevering  members.  He  had  known 
Mr.  Lockett  a great  number  of  years,  and  had  found  him  a man 
who,  although  knowing  something  of  almost  every  science,  and 
well  versed  in  several  languages,  was  modest  and  reti.ing.  He 
had  been  an  enthusiastic  experimental  photographer  ever  since 
the  discovery  of  the  collodion  process  ; and  by  his  decease  the 
Society  would  lose  one  of  its  most  useful  members. 

On  the  proposition  of  the  Chairman,  seconded  by  Mr.  F.  J. 
Emery,  the  Hon  Secretary  was  desired  to  send  a letter  to  the 
friends  of  the  late  Mr.  Lockett,  expressing  sympathy  with  them, 
and  deep  regret  at  their  loss. 

The  Chairman,  reporting  upon  the  last  excursion  of  the  Society 
to  Ashbourne  and  Dovedale,  announced  that  in  conformity  with 
a resolution  passed  at  the  last  meeting,  sjme  of  the  members 
and  other  friends  who  were  invited  made  an  excursion  as  pre- 
arranged. The  party  assembled'at  Stoke  Station  at  8 a.m.,  and 
reached  Ashbourne  at  9.45.  After  looking  about  the  town,  they 
partook  of  an  excellent  luncheon  at  the  “ Green  Man  ” Hotel, 
and  then  proceeded  to  Dovedale  per  waggonette.  Arrived  there, 
cameras  and  sketching  materials  were  soon  unpacked,  and  the 
members  busily  employed.  Some  of  them  took  dry  gelatine 
plates,  whilst  he  used  his  old  “ Camera  Campestra,”  or  field 
camera,  made  by  himself  for  wet  plates,  and  consisting  of  camera, 
dark-room,  and  chemical  chest  combined,  occupying  no  more 
space  than  some  of  the  members’  dry-plate  apparatus,  as  some  of 
them  admitted.  The  party,  having  secured  a number  of 
excellent  negatives,  walked  to  the  “ I/.aak  Walton  ” Hotel,  and 
there  did  justice  to  an  excellent  tea,  after  which  they  were 
driven  to  Ashbourne  just  in  time  to  catch  the  last  train  for 
home.  The  weather  throughout  the  day  was  very  propitious, 
and  a more  beautiful  light  could  not  have  been  had. 

At  the  Chairman’s  request,  the  negatives  and  prints  resulting 
from  the  excursion  were  passed  round,  and  remarks  were  made 
upon  the  excellence  of  the  wet  plate  pictures  takeu  by  the 
Chairman.  The  gelatine  plate  workers  had  also  been  very 
successful. 

It  was  resolved  that  mounted  prints  be  shown  at  the  next 
meeting,  and  that  a half  day  excursion  be  made  to  Trentham  or 
Tutbury,  on  Saturday,  Sept.  8th  ; also,  that  ladies  and  friends  be 
invited  to  join  the  party,  so  as  to  make  it  as  great — or,  if 
possible,  a greater — success  than  the  last  excursion. 

Mr.  Allison  proposed,  and  Mr.  Hall  seconded,  that  the 
Chairman  be  asked  to  contribute  a paper  at  the  next  meeting. 


September  7,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


575 


Mr.  Alfieri  replied  that  he  should  have  great  pleasure  in 
obliging  the  members,  and  promised  a paper  upon  “ Pictorial 
Composition.”. 

Messrs.  Kirkby,  Henshall,  and  Turner  having  been  elected 
members  of  the  Association,  the  meeting  separated. 

London  and  Provincial  Photografhic  Association. 

At  the  meeting  held  on  Thursday,  August  30,  Mr.  A.  Cowan 
in  the  chair, 

The  Chairman  showed  a cutting-board  for  cutting  up  gelatine 
plates  to  smaller  sizes.  It  wa3  an  improvement  on  one  shown 
by  him  at  a previous  meeting,  the  top  board  being  made  of  bars 
— gridiron  fashion — so  that  a plate  placed  face  downwards  could 
be  cut  into  thirty-two  squares,  only  being  moved  once,  five 
cuts  being  made  each  way.  He  also  showed  a sliding  scale, 
marked  with  the  standard  diaphragms  as  recommended  by  the 
Photographic  Society  of  Great  Britain,  so  that,  knowing  the 
exposure  necessary  for  one  aperture,  the  equivalent  exposure  for 
a larger  or  smaller  diaphragm  could  at  once  be  seen  by  sliding 
the  scale  to  that  number. 

The  following  from  the  question-box  was  next  discussed,  viz., 
“ Why  is  a wet  gelatino-bromide  plate  more  sensitive  to  light 
than  a dry  one  ? ” 

Mr.  Debenham  thought  that  the  querist  assumed  as  a fact  an 
unproved  theory  ; he  had  heard  it  asserted  that  the  reverse  was 
the  case. 

Mr.  Henderson  said  if  a partially  dry  plate  was  exposed  to 
daylight,  the  wet  parts  would  be  found  much  more  sensitive  than 
the  dry  ones  ; and  he  thought  that  if  the  molecules  of  bromide 
were  most  sensitive  in  a soft  gelatine,  they  would  necessarily 
also  be  more  sensitive  when  the  gelatine  was  wet.  He  thought 
a great  deal  of  the  variation  in  the  speed  of  gelatine  plates  was 
due  to  the  degree  of  hardness  of  the  gelatine,  and  that  they  would 
be  much  more  uniform  if  soaking  were  always  resorted  to 
previous  to  development.  If  a very  hard  gelatine  was  used,  the 
plate  was  four  or  five  times  as  fast  wet  than  when  dry. 

Mr.  Debenham,  referring  to  the  effect  alcohol  was  said  to  have 
on  wet  gelatine  plates,  said  he  had  wetted  part  of  a negative, 
then  placed  it  in  alcohol,  and  could  not  detect  any  difference 
between  either  half. 

Messrs.  Haddon  and  Henderson  said  they  had  only  noticed 
the  effect  on  a negative  which  had  never  been  dried. 

It  was  asked  what  would  be  the  result  of  soaking  a wet  gela- 
tine plate  in  alcohol,  and  then  exposing. 

Mr.  Henderson  thought  the  picture  would  be  more  dense. 

Mr.  Ashman  said  that  he  had  recently  exposed  a plate  late  in 
the  day,  and  as,  after  remaining  some  considerable  time  in  the 
developer,  no  image  appeared,  it  was  laid  aside  in  the  sink  while 
a fresh  plate  was  exposed  and  developed.  It  was  then  tho- 
roughly washed,  re-exposed,  and  developed,  when  both  pictures 
appealed,  the  last  exposure  being  much  over-done,  whilst  the 
first  image  appeared  properly  exposed. 

Mr.  Haddon  said  he  had  noticed  that  comparatively  few 
members  took  part  in  the  discussions.  This,  he  thought,  was 
partly  due  to  many  not  being  sufficiently  well  acquainted  with 
the  subject  under  discussion  to  give  their  experiences.  He  was 
of  opinion  that  the  scope  of  a society  such  as  the  London  and 
Provincial  Photographic  Association,  was  not  only  for  its  mem- 
bers to  give  to  the  world  the  results  of  their  labours  in  new  soil, 
but  also  to  educate  the  weaker  of  its  members,  so  as  to  enable 
them  to  undertake  a certain  amount  of  new  work,  and  to  become 
acquainted  not  only  with  what  is  going  on  in  the  present,  but 
with  what  has  been  done  in  years  gone  by,  such  knowledge  being 
essential  to  every  good  photographer,  professional  or  otherwise. 
He  therefore  suggested  that  lecturettes  (with  illustrations)  of  at 
least  two  hours’  duration  be  given  once  a month,  to  be  followed 
by  discussions — more  being  often  learned  from  the  discussion 
than  the  lecture  itself.  lie  added  that  he  was  already  promised 
lectures  from  some  eight  or  nine  members  on  many  most  im- 
portant subjects  in  connection  with  photography. 

On  the  proposition  of  Mr.  Debenham,  it  was  resolved  that  a 
ccurse  of  lecturettes,  as  proposed  by  Mr.  Haddon,  should  be  given, 
Mr.  Haddon  being  entrusted  to  make  the  necessary  arrange- 
ments. 


Dundee  and  East  of  Scotland  Photographic  Association. 
A special  meetiug  was  held  in  Lamb’s  Hotel  on  Thursday, 
30th  of  August,  when  the  President,  Mr.  J.  C.  Cox,  read  a letter 
rom  Mr.  Chas.  Johnson,  resigning  the  office  of  Secretary. 


Mr.  G.  D.  Valentine  proposed  that  Mr.  D.  Ireland,  Jun.,  be 
appointed  Interim  Secretary,  which  was  unanimously  agreed  to. 

A sub-committee  was  appointed  to  draw  up  new  rules  to  bo 
submitted  to  the  next  meeting,  which  was  concluded  with  the 
usual  votes  of  thanks. 


The  Postal  Photographic  Society. 

A committee  meeting  was  held  September  6th,  Dr.  Horace  Day 
in  the  chair. 

After  the  minutes  of  the  previous  committee  and  general 
meetings  had  been  read  and  confirmed,  the  following  members, 
who  had  been  since  the  last  meeting  provisionally  admitted  by 
the  Hon.  Secretary,  were  declared  duly  qualified  and  elected : — 
Mr.  A.  Bryans,  Foots  Cray ; Lieut.  E.  C.  T.  Hawker,  R.E., 
Chatham  ; Messrs.  George  Brydges,  Cheltenham  ; G.  S.  Wilson, 
Broughton  Grange ; A.  R.  Dresser,  Norwood ; S.  S.  Partridge, 
Leicester ; Thomas  Blake,  Ross,  Hereford ; G.  H.  Hadfield, 
Ross,  Hereford  ; H.  G.  Clarke,  Amersham  ; A.  Youngman,  Sid- 
cup ; R.  Leventhorpe,  Folkestone;  H.  W.  Fell,  Temple,  E.C. ; 
H.  Noel  Malan,  Great  Grimsby ; J.  N.  Canning,  Southampton  ; 
J.  R.  Young,  Ellesmere  ; P.  Mathewson,  Dundee  ; and  Miss  H. 
Tylor,  Carshalton. 

It  was  resolved  that  the  Hon.  Secretary  be  empowered  to 
demand  a specimen  of  the  work  of  each  future  candidate  for 
election,  authenticated  by  his  signature. 

The  rules  for  the  Society’s  competitions  were  settled  as  fol- 
lows : — 

1 . All  work  sent  for  competition  must  be  members’  own  work 
(that  is,  taking  the  negative,  developing,  printing,  and  toning), 
and  must  be  “ noted  ” and  signed.  Double  printing,  spotting, 
and  retouching  are  allowed — only  if  done  by  the  exhibitor  him- 
self— but  must  be  stated  and  signed  by  the  exhibitor  on  the 
note  form  ; and  the  committee  reserve  the  right  to  themselves 
(should  they  deem  it  necessary)  of  examining  the  negatives  of 
winning  pictures,  previous  to  giving  the  prize. 

2.  The  prizes  are  to  be  decided  by  the  votes  of  the  members  ; 
their  value  is  determined  by  the  committee,  according  to  the 
available  funds,  and  quality  of  the  work  sent  in. 

3.  Each  member  may  send  three  exhibits  in  each  class.  The 
same  pictures  may  not  compete  twice.  Pictures  must  be 
mounted,  but  not  larger  than  “ half-royal.”  Each  collection  of 
competition  pictures  will  circulate  among  the  members,  accord- 
ing to  a list  prepared  by  the  Hon.  Sec. 

4.  An  entrance  fee  of  Is.  6d.  in  each  class  to  be  paid  by  ex- 
hibitors in  competitions. 

The  competition  No.  6 was  fixed  for  the  12th  April,  1884, 
in  the  following  subjects. 

Class  1.  The  best  set  of  four  quarter-plate  pictures  (any  sub- 
ject), to  be  mounted  four  on  one  card  ; three  such  cards  of  four 
pictures  admissible  from  each  competitor. 

Class  2.  Portrait  or  group. 

Class  3.  Winter  subject  (view  or  figure). 

The  pictures  sent  for  competition  No.  4 were  then  inspected, 
and  prizes  were  adjudged  to  be  of  value  as  follows  : — 

Class  1.  “Old  house  or  cottage”;  1st,  15s.  and  entrances; 
and  2nd,  10s. 

Class  2.  “ Marine,  lake,  or  river  view  ” ; 1st,  15.'.  and  entrances  ; 
and  2nd,  10s. 

Class  3.  The  pictures  sent  for  Pall  Mall  Exhibition  ; 1st,  20s. 
aDd  Is.  6d.  from  each  entrance  fee;  2nd,  10s.,  the  other  Is.  of 
the  entrances  to  go  towards  the  expenses  of  the  exhibition. 

Pictures  by  Messrs.  Adcock,  Tyndall,  Bankart,  Withall, 
Cunningham,  Roome,  Leigh,  Allison,  Watkins,  Mathewson,  and 
Dr.  Day,  were  selected  to  be  exhibited  in  the  Society’s  name, 
and  duplicates  of  these  were  required  to  complete  the  collection, 
previous  to  its  circulating  among  the  members. 

A grant  of  10s.  has  been  made  under  Resolution  10  of  the 
meeting  of  11th  May. 


Mk  in  ifre  Stu&w. 

Lord  Carlingford  on  Photo-Copying  Processes. — Speaking 
at  Manchester  on  Friday  last,  on  the  occasion  of  the  opening  of 
the  Manchester  Art  Gallery,  Lord  Carlingford  called  especial 
attention  to  the  value  of  reproductions  obtained  by  photography. 


IHE  PHOTOGRAPHIC  NEWS. 


[_Septeubeb  7,  1883. 


He  said  : “ You  have  already  got  a really  remarkable  and  valu- 
able collection  of  reproductions  of  the  best  specimens  of  art.  1 
think  it  is  hardly  recognised  generally,  although  we  know  it  very 
well  at  South  Kensington,  how  great  the  value  is  of  these  repro- 
ductions. I do  not  speak  of  copies  in  the  usual  sense  of  the 
word.  It  means  a copy,  it  may  be,  of  a great  picture  which  has 
passed  through  inferior  hands  and  inferior  minds  ; but  I speak 
of  actual  reproductions  of  great  works  of  art  by  those  processes 
which  are  so  valuable  in  our  day,  by  means  of  photography,  of 
electro-types,  and  of  casts.  These  are  methods  which  supply  the 
very  best  means  of  artistic  training,  and  of  the  very  best 
examples  of  art  in  a true  and  genuine  condition — reproducing,  as 
far  as  form  is  concerned,  the  very  works  of  art  themselves. 
These,  from  my  South  Kensington  point  of  view,  are  perhaps 
the  most  interesting  things  in  your  gallery,  because  they  carry 
with  them  so  much  hope  for  the  future,  and  have  so  great  a 
bearing  upon  the  industrial  interests  of  your  city  and  your 
neighbourhood.” 

The  Swiss  National  Exhibition  at  Zurich. — Photography 
is  extremely  well  represented  here,  and  this  collection  is  especi- 
ally interesting,  as  the  greater  part  of  the  exhibits  are  contri- 
buted by  Switzerland  itself.  Dr.  Krippendorf  has  fitted  up  a 
model  studio,  in  which  various  photographic  operations  are 
carried  on,  and  some  excellent  instantaneous  pictures  of  the 
exhibition  have  been  taken  here  with  M.  Klein’s  shutter. 
Transparencies  on  chloride  plates  are  also  produced  here,  and  the 
results  have  been  so  excellent  as  to  elicit  much  admiration. 
We  noticed  very  many  coloured  pictures,  this  class  of  work 
being  popular  in  Switzerland  at  the  present  time;  the  coloured 
work  of  A.  Wicky  (Bern),  Ossent-Hefti  (Lausanne),  S.  Vogel- 
sanger  (Basel),  and  Hbflinger  (Basel),  being  well  worthy  of  especial 
mention.  J.  Brunner,  of  Wintherthur,  shows  some  excellent 
collotypes  of  moderate  size,  while  Charnaux’s  large  collotypic 
views  of  Swiss  scenery  were  much  admired.  Tourists  will  doubt- 
less prefer  to  bring  away  these  permanent  prints,  rather  than 
silver  prints.  An  out-door  group  by  Lenz,  of  Ziiricb,  is  a good 
study  in  lighting,  and  we  imagine  that  he  must  have  used 
screens  rather  freely.  Pfenninger's  well-known  pictures  of  child- 
life,  and  some  charming  new  studies  from  the  studio  of  Boissonas, 
appeared  to  possess  remarkable  attractions  for  the  ladies,  and  we 
observed  one  party  of  English  who  returned  again  and  again  to 
these  pictures.  The  very  fine  group,  A Scene  from 
Wallenstein,”  which  is  contributed  by  Qanz,  of  Zurich,  attracted 
much  attention. 

Photographic  Club. — At  the  next  meeting,  September  12th, 
the  subject  for  discussion  will  be  on  “ Storing  landscape  nega- 
tives, with  special  regard  to  their  safety  and  accessibility.’’ 
Members  desirous  of  photographing  in  Kew  Gardens  may  obtain 
permission  by  application  to  the  Hon.  Secretary,  Mr.  E.  Dun- 
more,  28,  Oseney  Crescent,  Camden  Town,  N.W. 


©0  ®0msB0tt&ents. 

We  cannot  undertake  to  return  rejected  communications. 

J.  Bunn. — The  defect  you  allude  to  is  one  which  appeals  to  be 
inherent  to  the  process,  hut,  as  a rule,  those  plates  which  are  not 
extremely  sensitive,  yield  negatives  with  less  granularity  than 
those  obtained  on  highly  sensitive  plates.  The  ordinary  wet 
process  will,  if  skilfully  worked,  yield  pictures  with  much  less 
granularity ; but  if  you  wish  to  obtain  the  most  structureless 
negative  which  can  be  had,  you  had  better  try  the  collodio- 
albumen  process. 

R.  A. — You,  in  common  with  many  others,  appear  to  imagine  that 
when  you  register  a photograph  you  not  only  secure  a copyright 
in  your  own  picture,  but  also  in  the  objects  depicted  therein. 
Your  copyright  only  extends  to  your  own  photograph,  and  no 
penally  can  be  obtained  for  infringement,  unless  you  can  prove 
that  this  picture  was  copied. 

M.  Corbett. — Notwithstanding  all  that,  you  are  mistaken. 

P.  Secken. — In  working  with  so  large  a size  as  12  by  15  you 
would  do  well  not  to  sacrifice  too  much  to  extreme  portability  ; 
but  if  you  consider  a wooden  camera  too  heavy,  there  appears  no 
alternative  to  having  a camera  constructed  after  the  fashion  of  a 
“ scenograph; for  particulars  of  this  write  to  the  Sciopticon 
Company,  20,  Colebrooke  Row,  London,  N.  2.  The  simple 
drop  shutter.  3.  An  ordinary  folding  camera,  such  as  can  be 
obtained  from  any  dealer,  with  a finder  attached  to  one  side. 

J.  Harris.— 1 and  2.  Either  next  week  or  the  following  week  in 
the  “ Dictionary.’’  3.  See  the  Formulary. 


Geo.  Maycheli,. — It  will  answer  the  purpose  very  well,  butif 
you  wish  for  the  best  results  you  must  not  use  a very  large  stop. 

Amateur. — Rub  them  with  the  so-called  encaustic  paste, 
applying  the  preparation  with  a piece  of  flannel,  and  polishing 
off  the  excess.  A formula  for  making  the  encaustic  paste  will  be 
found  in  the  Formulary. 

C.  R.  B.  D. — Full  particulars  will  be  found  on  page  241  of  our 
volume  for  1882. 

C.  Peterson. — If  you  cut  them  on  the  film  side,  there  will  be  a 
considerable  probability  of  leaving  loose  particles  on  the  film  ; 
but  if,  on  the  other  hand,  you  cut  the  pi  ites  on  the  reverse, 
there  is  some  risk  of  stripping  the  film  at  the  edges  when  the 
glass  divides.  In  this  case  we  have  found  it  better  not  to 
seoarate  the  film  by  a repeated  hinge  movement,  but  by  one 
stretch  obtained  by  a forcible  back  movement  of  the  glass 
immediately  after  it  has  divided. 

0.  H.  B. — You  have  floated  your  paper  for  too  long  a time  on  the 
sensitising  bath,  and  the  consequence  is  that  the  picture  is  flat, 
and  rather  in  the  paper  than  on  the  surface. 

L.  Flancis. — You  have  pressed  far  too  heavily  on  the  pencil ; do 
not  forget  that  the  film  is  extremely  tender. 

Saunders. — Under  the  circumstances  it  is  quite  certain  that  you 
cannot  possibly  have  any  copyright  in  the  picture,  and  from  what 
you  say  we  imagine  that  no  copyright  exists. 

F.  P. — Add  enough  ether  to  cause  it  to  flow  with  sufficient  readi- 
ness, but  do  not  expect  it  to  be  nearly  so  sensitive  as  a more 
recently  prepared  sample. 

F.  Brighmen. — The  best  articles  on  the  subject  are  those  of  Major 
Waterhouse,  now  appearing  in  the  News. 


JlrDtcgrartk  ffleg isstnr. 

Employment  Wanted. 

Operator  or  Dark  Room  Assistant. — A.  J.  A , 10,  Stockbridge-tcr.,  Pimliao. 
Lady  Nog.  Retoucher  or  Artist.— Beta,  83,  Corrance-rd.,  Acre-lane,  Brixton. 
Lady  Mounter  and  Spotter.— A.  B.,  Mattocks,  17,  uoyal-hill,  Greenwich. 
Lady  as  Retoucher.— C.  Heinomann,  6,  St.  Peter’s-road,  Mile  End-road,  E. 
Operator  and  Retoucher,  to  manage.— F , c/oC.  E.  Elliot,  30,  Jcwin-st.,  EC. 
Reception  Room  or  Spotter.— K.  II.,  7,  Marlboro’-road,  Upper  Holloway. 
Operator,  Retoucher,  Posing,  and  Lighting.— Bromide,  Photo.  Newt  Office. 
Operator  and' Retoucher.— II.  H , 49,  High-street,  Buxton,  Derbyshire. 
Operator  and  Retoucher  (first-clas-). — W.,  e/,<  E.  Elliott,  30,  Jewin-st.,  E.C. 
Operator  or  Assist,  (dry  plates). — II.  J.,  c/o  Mr.  Pi  pe,  Brewer-st.,  Pimlico. 
Operator  (in  or  out-door). — F.  II.,  50,  Mordaunt- street,  Stockwell,  S.W. 
Lady,  Reception  Room. — R.  C.  Smith,  31, Tremlctt-grove, Upper  Holloway. 
Mounter,  Spotter,  &c.  (Lady).— A.  B.,  Mattocks,  17,  Royal-hill,  Greenwich. 
Retoucher,  Operator,  &c.— M.  E.  B , 34,  Willis-road,  Kentish  Town,  N.W. 
Reception  Room,  Mounting, &c.— Miss  Faulkner,  Purk-st.,  Camden  Town. 
Mounter, .Spotter,  Reception  Room,  Books. — Q.  Y.,  Ordnance-st.,  Chatham. 
Improver  and  all-roun  l hand. — M.  R.  C , 34,  Kingsland  High-street,  E. 
Painting  Photos,  and  Opals,  &c.  (Lady). — A.  11..  40,  Ship-street,  Brighton. 
Operator,  Retoucher,  &c.— W , 9.5,  The  Grove,  Hammersmith,  W. 

First  Operator  or  Manager. — L.  Sawyer,  Barras-bridge,  Newcastle-on-Tyne. 
Operator  & Retoucher,  or  manage.— E.  Austin,  6,  Lyndhurst-ter.,  Worthing. 
Operator  and  Retoucher,  £3  3s.  per  week. — W.,  c/o  Elliott,  36,  Jewin-st., E.C 
Operator,  for  copying.— A.  Butteral,  C,  Bull-and-mcuth-st.,  E.C. 

Improver  (studio  and  out-door  work).— W.  C,  Photographic  News  Office. 

Employment  Offered. 

Photographer,  to  manage. — A.  J.,  8,  York-street,  Hyde-park,  Southsea 
Apprentice  or  Improver  to  photography,  gilding,  &c.— C.  F.  Hewitt,  Walling. 
Assistant  Operator. — Manager,  91,  Kir.g's-road,  Brighton. 

Operator  & Retoucher. — G.  V.  Yates,  38,  Spital-hill,  Sheffield. 

Young  Man  to  print  and  tone. — J.  Wyles,  15,  Kingsgate-strcct,  Reading. 
Retoucher.— G.  Caldwell,  Rembrandt  Studio,  Carrington  St.,  Nottingham. 
Negative  Retoucher. — C.  E.,  Photographic  News  Office,  Caslle-st.,  Ilolbom. 
Club  Canvasser. — Bonus,  Photographic  News  Office,  Castle-street,  Holbom. 
Lady  for  Reception  Room. — T.  C.  Turner,  10,  Barnsbury-park,  N. 

Printer  an  l Toner,  good  vignetter. — J.  C.  Stodart,  Margate. 

Assistant  Printer. — H.  P.  Robinson,  Tunbridge  Wells. 

Operator,  Retoucher,  to  manage.— Franks  & Oo.,  c o Marion  & Co.,  Soho  Sq. 
Apprentice  or  Improver,  to  live  in  house. — T.  Vipond,  6,  Vine-st  .,  Grantham 
Pi  inter  and  Toner,  all-round  hand. — R.  Stewart,  153,  Iligli-street,  Elgin. 
Operator,  Retoucher,  & Printer. — A.  Kempton,  17,  Shepherd’s  bush-gr.,  W. 
Artist  and  Retoucher  (first-class).— Mr.  Winter,  Midland-road,  Derby. 
General  Assistant,  used  to  dry  plates. — E.  D.  L.,  8,  Castle-st.,  Cirencester. 
Colourers  (20,  for  home  work). — Peresia,  Silva,  and  Co.,  353,  Strand,  W.C. 
Retouchers  (3  first-class)  — J.  Lafayette,  30,  Westmoreland-st.,  Dublin. 
Dry  Plate  Maker  — W.  Barry,  7,  Park  Street,  Hull. 

Dry  Plate  Work  (first-class). — J.  Lafayette,  30.  Westmorcland-st.,  Dublin. 
Operator  for  Large  Work.— E.  Meyerstein,  84,  Newgate-street,  E.C. 
Reception  Room,  &c.  (Lady). — Mr.  Gandy,  5,  Bishopsgate-wilhout,  E.C. 
Printer,  who  can  take  negative.— J.  Long,  Crock herbtown,  Cardiff. 
Retoucher  (Lady),  at  £1  Is.  weekly.— 8.,  Photographic  News  Office. 

— — o 

PHOTOGRAPHS  REGISTERED. 

Mr.  C.  T Bulman  (Gateshead)  -Photo,  of  a Child  Seated  in  a Basket. 

Mr.  W.  II.  Honey  (Deviles) — Photo,  of  Lord  Weymouth  ; You’re  Another. 
Mr.  (J.  W.  Austen  ( Finsbury  Park)— Photo,  of  Superintendents  of  the 
Prudential  Assurance  Company. 

Mr.  J.  P.  Gibson  (Hexham)— Photo. of  a Flash  of  Lightning. 

Mr.  C.  J.  Ladmork  (Hereford)— Photo,  of  Pro-Cathedral, Belmont,  near 
Hereford. 


THE  PHOTOGRAPHIC  HEWS, 


Vol.  XXYII.  No.  1306. — September  14,  1883, 

1 M'.-lr'-  V 

CONTENTS. 


PACK 


Drying  Plates  with  Alcohol  577 

Achromatism  of  Lenses  578 

Jarman’s  Method  of  Printing  by  the  Electric  Light  57!) 

Luxotypc 580 

The  New  Physiological  Studio  in  Paris  581 

The  Woodburytyp  ? Process  582 

A Dictionary  of  Photography  583 

Royal  Cornwall  Polytechnic  Society  583 

Notes 584 

Patent  Intelligence  583 


PAOR 


Instantaneous  Photography.  By  Edward  A.  Robinson  586 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 587 

Colouring  Photographs  on  Paper  and  Porcelain 5S8 

CorrespondenceTricycles  for  Photographers— Use  of  Chloride 

— Pyro  Developer  589 

Proceedings  of  Societies  591 

Talk  in  the  Studio 591 

To  Correspondents 592 

The  Photographic  News  Registry 592 


DRYING  PLATES  WITH  ALCOHOL. 

The  summer  may  now  bo  regarded  as  almost  over.  The 
leaves  are  already  falling  fast  from  the  trees,  and  though 
we  may  now  and  again  have  a day  or  two  of  warm,  or  even 
of  hot  weather,  we  are  already  beginning  to  feel  the  damp- 
ness of  the  atmosphere  that  characterises  our  country  at 
most  seasons,  and  more  particularly  at  the  approach  of 
autumn.  Its  effects  are  not  to  be  passed  over  in  our  dark- 
rooms and  laboratories,  for  they  are  visible  on  every  hand. 
Especially  is  this  so  with  regard  to  our  gelatine  plates,  and 
the  patience  of  the  photographer  is  often  sorely  tried  when 
he  notes  how  long  they  take  in  drying.  The  amateur 
photographer  has  perhaps  been  taking  advantage  of  the 
decline  of  the  warm  weather  to  try  a new  emulsion,  or  to  pre- 
pare for  himself  a fresh  batch  of  plates  ; but  in  spite  of  all 
precautions  he  may  take,  dust  is  settling  on  them  before  they 
arediy.  The  professional,  may  be,  is  looking  askance  at  a 
negative  from  which  prints  are  wanted  in  a hurry,  but 
which  takes  an  unconscionable  long  time  in  drying  ; what 
with  this  and  the  cloudy  weather,  he  may  well  be  pardoned 
if  his  impatience  vents  itself  in  a growl  at  things  generally, 
and  gelatine  in  particular.  It  is  just  about  this  time  that 
alcohol  comes  most  promiuently  into  notice,  and  is  frequently 
brought  into  requisition  for  the  purpose  of  hastening  the 
desiccation  of  the  film,  and  its  use  is  worthy  of  more  than  a 
passing  mention,  for  many  of  our  readers  may  be  asking, 
“ What  is  its  action  on  the  film,  and  what  standard  of 
purity  is  needed  ? ” 

Alcohol,  as  our  readers  are  aware,  ha3  a strong  affinity  for 
water,  and  will  mix  with  it  in  any  proportions  ; absolute 
alcohol,  if  the  vessel  containing  it  be  left  open,  will  even 
absorb  moisture  from  the  atmosphere,  so  that  perfect  freedom 
from  water,  in  the  first  place,  is  not  to  be  attaiued  without 
some  trouble,  nor  is  it  necessary  for  the  purpose  in  hand. 
There  are,  roughly  speaking,  three  qualities  of  spirit  to  be 
obtained  in  the  market.  There  is  the  pure  spirit  sold  as 
absolute  alcohol,  and  containing  from  90  per  cent,  of 
alcohol  upwards  ; then  there  is  the  methylated  spirit  sold 
by  the  wholesale  chemists ; and  finally  the  methylated  spirit 
sold  by  oilmen  at  something  like  sixpenco  a pint.  This 
last  article  may  be  ignored  altogether  as  containing  too 
many  impurities  to  render  it  fit  for  photographic  use.  The 
second  article  is  a fairly  good  one,  and  is  good  enough  for 
most  photographic  operations.  The  pure  article  is  at  first  cost 
too  expensive  for  ordinary  use,  but  as  it  may  be  worked  up 
again  and  again  with  comparatively  little  loss,  the  careful 
worker  may  not  find  it  is  so  expensive  a reagent  as  would  at 
first  be  supposed.  The  first  thing  to  be  done  is  to  ascertain 
whether  the  strength  of  the  article  is  sufficient  for  the  pur- 
pose required,  for  it  is  not  advisable  to  use  spirit  containing 
much  water,  as  by  so  doing  the  purpose  for  which  it  is  used 
is  only  half  accomplished,  and  a tackiness  is  evident  in  the 
film  for  some  time  after  it  first  has  the  appearauce  of  being 


dry.  One  of  the  best  means  of  testing  the  strength  of 
alcohol  is  by  means  of  sulphate  of  copper.  If  a little  of 
this  substance  be  placed  in  a porcelain  dish,  and  heated  over 
a Bunsen  or  spirit  lamp,  the  water  of  crystallisation  is 
gradually  driven  off  till  a perfectly  white  powder  remains. 
This  white  powder  has  such  a strong  affinity  for  water,  that 
when  it  is  brought  into  contact  with  that  liquid,  great  heat 
and  a hissing  sound  is  produced,  the  sulphate  of  copper  re- 
gaining its  original  blue  colour.  If  some  of  the  alcohol  to 
be  tested  is  placed  in  a test-tube,  and  ehaken  up  with  a 
little  of  this  dehydrated  sulphate  of  copper,  the  powder  will 
turn  blue  if  the  alcohol  contains  more  than  a very  small  per- 
centage of  water.  On  the  other  hand,  if  the  alcohol  is 
nearly  pure,  the  powder  letains  its  white  appearance. 
Another  test,  but  one  far  more  delicate  than  is  required  for 
the  purpose,  is  to  take  a test-tube  and  mix  alcohol  with  a 
little  benzine,  or  benzole,  as  it  used  to  be  called.  A very 
small  quantity  of  water  present  turns  the  fluids  milky,  only 
a very  faint  trace  of  water  being  present  if  a clear  mixture 
is  formed.  If  much  water  appears  to  be  present,  take  some 
powdered  carbonate  of  potash,  from  which  all  water  has 
been  driven  off  by  heat,  and  shake  it  with  the  spirit ; the 
water  and  the  salt  will  form  a thick  or  pasty  fluid,  which 
will  sink  to  the  bottom  of  the  vessel,  and  the  almost  pure 
alcohol  above  may  be  poured  off.  This  furnishes  a very 
ready  method  of  obtaining  strong  spirit,  and  may  be 
applied  to  alcohol  that  has  already  been  used  for  drying 
plates,  and  that  has  grown  too  weak  for  the  purpose  required 
of  it.  This  method  was  discovered  as  far  back  as  the  thir- 
teenth century  by  Raimond  Lully,  the  celebrated  alchemist, 
and  spirit  so  rectified  possesses  a specific  gravity  of  0 815, 
containing  93  or  94  per  cent,  of  alcohol. 

When  a batch  of  newly-prepared  plates  are  required  in  a 
hurry,  we  find  the  best  method  of  procedure  to  be  as  follows . 
We  take  a good-sized  dipping-bath  of  glass  or  porcelain, 
the  former  being  preferred  on  account  of  its  greater  capacity 
in  proportion  to  the  size  of  plate,  furnished  with  a dipper 
of  the  same  material,  wood  or  ebonite  dippers  being  un- 
desirable. After  the  plates  have  been  coated  and  allowed 
to  set,  they  ate  taken  and  lowered  one  by  one  into  the 
alcohol,  where  they  are  permitted  to  remain  for  about  two 
minutes.  They  are  then  taken  out,  and  stood  up  on 
one  corner,  that  corner  resting  on  blotting-paper.  If  a 
large  number  are  hurriedly  required,  two  or  more  baths 
may  be  used,  and  the  drying  proceeds  very  expe- 
ditiously. If  the  spirit  is  strong,  they  are  dry  and 
may  be  stored  away  two  minutes  after  lifting  them  out 
of  the  bath.  If  plates  have  been  put  in  a drying  cupboard 
and  are  already  half  dry,  they  should  not  be  treated 
in  this  manner,  as  they  will  only  be  spoiled,  the  one  part  of 
the  plate  developing  more  rapidly  than  the  other.  After  a 
time  the  alcohol  becomes  weakened,  but  it  may  be  brought 
back  to  the  requisite  strength  by  the  carbonate  of  potassium 
method  already  mentioned,  or  by  distillation.  And  this 


578 


THE  PHOTOGRAPHIC  NEWS. 


[September  14,  1883. 


brings  us  back  to  methylated  spirit  and  its  treatment.  The 
methylated  spirit  sold  by  wholesale  chemists  may  often  be 
used  for  drying  purposes  just  as  obtained,  but  it  is  more 
desirable  that  it  should  be  freed  from  any  water  it 
contains  by  distillation.  After  distillation  it  is  equal  to 
pure  alcohol  (ethylic  alcohol  is  the  scientific  term)  for  many 
purposes  for  which  photographers  may  require  to  use  it, 
and  the  great  saving  in  cost,  if  much  of  it  be  used,  is  suffi- 
cient compensation  for  the  trouble  taken.  The  best  method 
is  to  place  it  in  a retort  with  a little  more  than  an  equal 
quantity  of  quicklime  broken  into  small  pieces,  and  allow 
it  to  digest  for  several  hours  before  distillation.  The  best 
retort  for  the  purpose  is  an  ordinary  tin  can,  6uch  as  work- 
men carry  their  beer  or  tea  in,  with  a piece  of  glass  tubing 
leading  out  of  the  cork.  A condenser  is  readily  made  with 
a yard  or  two  of  “ compo”  gas-piping  and  an  old  tin  pail  or 
preserved  meat  tin.  The  retort  is  placed  in  a water  bath, 
Eay  a saucepan  with  a few  pebbles  in  the  bottom  to  prevent 
it  coming  into  contact  with  the  metal,  and  so  receiving 
the  heat  direct.  The  cost  of  this  simple  piece  of  apparatus, 
and  the  trouble  in  using  it,  are  very  slight,  and  by  its 
means  the  alcohol  may  be  obtained  in  a highly  rectified 
state.  The  method  of  obtaining  its  strength  is  exceedingly 
simple.  Our  readers  have  only  to  take  a thin  flask  and  make 
a mark  on  the  neck  with  a file.  This  is  placed  in  the 
scales  (it  is  not  necessary  to  use  a chemical  balance),  and 
accurately  weighed.  It  is  then  filled  up  to  the  scratch  with 
the  alcohol,  and  weighed,  then  filled  up  to  the  mark  with 
distilled  water,  and  again  weighed.  Deducting  the  weight 
of  the  flask  in  each  case,  the  specific  gravity  of  the  spirit  is 
its  weight  divided  by  the  weight  of  the  corresponding 
volume  of  water.  The  specific  gravity  thus  obtained,  the 
strength  may  be  ascertained  by  a reference  to  the  tabhs  given 
at  the  end  of  aDy  of  the  standard  text-book9. 

To  dry  a plate,  after  fixing  and  washing,  we  prefer  to 
adopt  the  method  by  which  we  treat  freshly  coated  plates, 
using  a dipping  bath  in  preference  to  a dish,  the  latter 
allowing  too  large  a surface  for  evaporation  to  take  place. 
The  “ one  thing  necessary  ” is  to  see  that  the  plate  is 
thoroughly  washed.  If  this  is  not  done,  any  hypo  that  may 
have  been  left  in  the  film  is  far  more  perceptible,  though  it 
may  not  be  more  dangerous  to  the  negative  than  in  a plate 
which  has  been  dried  in  the  ordinary  manner.  After  wash- 
ing, the  plate  should  be  drained  to  free  it  from  as  much 
moisture  as  possible,  and  the  back  of  the  glass  should  be 
thoroughly  wiped  in  order  to  keep  back  the  deterioration  of 
the  alcohol  as  much  as  poesible.  If  the  operation  is  con- 
ducted with  care,  this  use  of  alcohol  is  a perfect  boon. 

Another  benefit  accruing  from  the  use  of  alcohol  for  dry- 
ing plates  has  recently  been  put  forward  by  Mr.  Henderson, 
who  expresses  his  opinion  that  density  is  thereby  added  to 
the  image  ; but  this  statement  must  be  received  with  extreme 
caution,  in  the  first  place,  as  far  as  we  at  present  know, 
there  is  nothing  in  the  compositon  and  chemical  properties 
of  alcohol  to  lead  us  to  believe  that  it  can  act  as  an  intensi- 
fier.  Secondly,  Mr.  Henderson’s  chief  argument  is  not 
sufficiently  convincing.  This  is  bated  on  the  fact,  for  it 
actually  is  the  case  in  most  instances,  that  if  a plate  be 
allowed  to  partially  dry,  and  then  be  treated  with  alcohol, 
the  part  treated  by  alcohol  is  denser  than  the  remainder. 
This  experiment  is  not  a sufficient  test,  for  the  part  that 
tikes  longest  in  drying  is  that  which  is  most  thickly  coated, 
and  which  is  naturally  most  likely  to  be  densest.  A fairer 
test  is  to  take  a plate  that  has  been  washed,  immerse  one 
half  of  it  in  alcohol,  and  then  allow  it  to  dry.  We  have 
done  this  both  with  iron  and  pyro  development,  aud  have 
failed  to  see  that  the  alcoholically-dried  part  has  gained 
density,  and  we  believe  that  most  of  our  readers  who  repeat 
this  experiment  will  come  to  the  same  conclusion. 


ACHROMATISM  OF  LENSES. 

About  a year  since  we  gave  our  readers  a short  descrip- 
tion of  what  we  consider  lenses  typical  of  the  four 


different  classes  most  used  by  photographers.  At  that 
time,  as  we  wished  our  explanation  to  be  as  simple  as 
possible,  we  omitted  all  mention  of  achromatism,  and 
showed  in  the  diagrams  lenses  without  correction  for 
chromatic  aberration. 

It  was  our  intention  then  to  give  shortly  afterwards  a 
set  of  diagrams  of  the  same  lenses,  showing  the  means 
used  to  secure  achromatism. 

Other  matters  intervened,  and  we  left  our  diagrams  on 
one  side. 

The  present  time,  when  the  admirable  papers  by  Capta:n 
Abney  are  appearing  in  our  columns  on  the  subject  of 
optics,  seems  a suitable  one  to  place  them  before  our 
readers.  The  papers  of  Captain  Abney  render  it  unneces- 
sary fer  us  to  say  more  than  a few  words  iu  explanation  of 
the  diagrams. 


E 


Fig.  1. 

Figure  1 shows  the  bending  of  a pencil  of  light  when  it 
passes  through  a dense  transparent  medium,  and  shows 
how  its  course  is  changed  when  the  surfaces  of  the  medium 
are  not  parallel.  As  is  well  known  to  all,  this  bending 
causes  those  parallel  rays  which  pass  through  a lens 
to  meet  together  approximately  at  a point. 

Were  the  pencils  of  light  only  bent  as  a whole,  chromatic 
aberration  would  not  exist.  They  are,  however  not  only 
bent,  but  are  dispersed— that  is  to  say,  are  bent  unequally. 
The  violet  rays  are  bent  the  most,  the  red  the  least. 

We  see  this  in  fig.  1,  where  the  pencil,  A B,  instead  of 
reaching  H,  is  bent  and  dispersed  so  as  to  spread  itself 
from  C to  D,  where  it  gives  rise  to  the  beautiful  pheno- 
menon known  as  the  spectrum. 

It  is  evident  that  this  inequality  of  bending  lenders  it 
impossible  that  parallel  rays  passing  through  a lens  formed 
of  one  glass  shall  focus  at  a point,  but  causes  them,  on  the 
contrary,  to  focus  in  a series  of  concentric  rings  ; in  fact,  in 
a sort  of  circular  spectrum. 

This  is  the  defect  known  as  chromatic  aberration.  Newton 

{(renounced  it  incurable.  He  had,  strange  to  say,  over- 
ooked  the  fact  that  with  different  transparent  media  the 
degree  of  dispersion  is  not  proportionate  to  the  angle  of 
refraction  or  bending.  For  example,  flint  and  crowu  glass 
refract  an  average  ray  to  about  the  same  extent,  but  the 
H 


former  disperses  or  splits  up  the  ray  to  about  double  the 
extent  that  the  latter  does.  It  is  thus  possible  to  correct 
the  defect.  A lens  is  so  constructed  that  each  ray  is  first 
bent  far  more  thau  is  required  by  a crown  glass  lens.  To 


September  14,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


579 


this  is  added  a flint  glass  lens,  which,  whilst  it  only 
partially  straightens,  so  to  speak,  tho  pencil,  entirely 
brings  the  dispersed  rays  together  again. 

We  have  an  illustration  of  this  in  fig.  2.  Here  we  have 
a double  prism,  F E G,  of  crown  glass.  We  see  the  ray 
A B bent  on  entering  the  prism,  and  were  it  to  issuo  from 
it  without  farther  treatment  it  would  produce  a spectrum. 
It  is  caused  to  pass,  however,  through  a prism,  E G II,  of 
flint  glass.  This  does  not  quite  bring  it  back  to  a course 
parallel  to  its  former  one,  but  does  cause  the  dispersing  rays 
to  meet  each  other  at  c,  where  they  again  combine  and 
produce  white  light. 

The  combination  shown  in  fig.  2 is  to  all  intents  and 


Fig.  3. 

purposes  the  one  which  is  used  in  every  achromatised  lens. 

Sometimes  glasses  of  the  same  name  are  used  in  a lens, 
but  in  every  case  the  two  pieces  forming  the  combination 


Fig.  4. 

exhibit  the  quality  referred  to  above;  that  is  to  say, 
they  refact  or  bend  and  disperse  rays  in  different  proportions. 

In  every  figure  the  glass  having  the  greatest  dispersing 
power  is  shaded  darker  than  the  others. 


Fig.  5. 

Figure  3 shows  the  wide  angle  landscape  lens.  It  requires 
a word  or  two  of  explanation,  inasmuch  as  three  glasses  are 
used  in  it  in  place  of  two.  The  principle  involved  is,  how- 
ever, the  same,  but  a somewhat  more  perfect  result  is 


obtained  by  the  use  of  two  condensing  lenses  in  place  of  one. 

Figure  4 is  the  rapid  rectilinear  or  rapid  symmetrical  lens, 
useful  for  landscape  subjects  where  it  is  desirable  to  give  the, 
shortest  possible  exposure. 

Figure  5 is  the  portable  symmetrical  or  rectilinear  lens, 
one  of  the  most  useful  of  any  for  general  landscape  woik 
where  great  rapidity  is  not  desired. 


Figure  C is  the  Fefzval  lens  intended  for  portraiture. 


JARMAN’S  METHOD  OF  PRINTING  BY  THE 
ELECTRIC  LIGHT. 

By  special  invitation,  several  members  of  the  London  and 
Provincial  Photographic  Association  were  present  at  the 
works  on  Monday  evening,  to  witness  in  action  Mr.  A.  J. 
Jarman’s  new  dynamo  machine  storage  batteries,  and 
arrangement  for  printing  by  the  arc  lamp. 

Several  printing  frames  were  exposed  under  the  large 
inverted  saucer-like  reflector  ; but  as  the  densities  varied, 
so  did  the  time  necessary  to  obtain  a fully-printed  proof 
Perhaps  the  most  interesting  result  was  obtained  by  Mr. 
W.  M.  Ashman;  the  negative  he  used  required  twenty 
minutes  in  diffused  daylight,  using  freshly  prepared  and 
fumed  paper,  the  colour  of  the  print  being  violet.  A 
similarly  prepared  piece  of  paper,  exposed  with  the  same 
negative  under  the  arc  lamp,  at  a distance  of  two  feet  four 
inches,  required  thirty  minutes,  the  colour  of  the  print  in 
this  case  being  red. 

The  white  light  emitted  from  the  arc  lamp  is  not  the 
lamp  Mr.  Jarman  intends  adopting  ; he  will  so  modify 
the  current  that  the  colour  of  the  light  will  be  steel-blue. 

It  may  be  assumed  that  any  extra  sensitiveness  gained 
by  the  fumed  paper  would  be  lost  in  Mr.  Ashman’s  test, 
owing  to  the  heat  produced.  Therefore  it  is  reasonable  to 
assume  that  with  a lamp  (the  rays  of  which  are  more 
actinic),  and  by  using  ammonia  pads  as  recommended 
in  these  columns,  the  advantages  should  be  on  the  side  of 
the  lamp.  Trade  priuters,  and  large  establishments, 
would  fiud  Jarman’s  apparatus  invaluable,  the  extra  cost 
incurred  being  the  lamp,  small  dynamo,  and  steam  or 
other  available  power  to  give  the  energy.  Thirty  storage 
batteries  of  2 volts  each  would  supply  sufficient  current  to 
work  the  lamp  half -an- hour,  and  could  be  recharged 
again  direct  from  the  dynamo  when  opportunity  occurred. 
One  arc  lamp  is  capable  of  illuminating  about  sixty 
printing  frames. 

As  a test  for  steadiness,  an  Edism  incandescent  lamp 
was  placed  over  a piece  of  sensitized  paper  ; a perfectly 
sharp  image  of  the  lamp,  showing  plenty  of  detail,  was 
obtained  in  five  minutes. 


580 


fHE  PHOTOGRAPHIC  NEWS. 


[September  14,  1883. 


LUXOTYPE. 

We  have  the  pleasure  of  placing  before  our  readers  an  ex- 
ample of  Luxotype,  the  photo-typographic  process  of 
Messsrs.  Brown,  Ilarnes,  and  Bell,  of  which  our  readers 
have  heard  a good  deal  of  late.  The  picture  resembles  in 
many  respects,  in  its  finished  aspect  at  least,  the  results 
furnished  by  the  Ives’  process,  of  which  we  have  given 
examples  both  in  the  columns  of  the  News  and  in  the 
Year-Book. 


As  a photo- mechanical  process,  Luxotype  is  not  yet  in 
a perfected  condition,  and  Messrs.  Brown,  Barnes,  and 
Bell  promise,  before  many  weeks  have  passed,  to  produce 
printing-blocks  from  photographic  negatives  far  superior 
to  the  one  from  which  our  print  to-day  is  taken.  There 
is  very  little  reason  to  doubt  this,  and  certainly  it  speaks 
well  for  the  energy  of  the  firm  that  they  have  brought 
matters  thus  far.  As  we  stated  last  week,  already  photo- 
pictures by  the  Luxotype  process  have  appeared  in  daily 
papers  in  Liverpool  and  Bradford,  and  although  the  prints 


cannot  yet  compete  in  clearness  aud  vigour  with  the 
ordinary  wood-cut,  the  former  possesses  the  eminent 
qualification  of  truth. 

The  problem  of  producing  from  photographs  printing 
blocks  that  may  be  machined  with  type  in  the  ordinary 
printing  press,  is  one  that  is  attracting  the  attention  of 
many  practical  men  just  now,  aud  very  shortly  we  shall 
show  examples  of  other  inventors.  In  the  meantime,  we 
would  point  out  that  progress  in  this  particular  branch  of 


photography  is  exceedingly  slow.  The  example  we  pub- 
lished the  other  day  by  the  Pretsch  process,  which  was 
produced  twenty-three  years  ago,  has  not,  so  far  as  we 
have  seen,  been  materially  excelled  by  any  photo-typo- 
graphical pictures  of  later  days,  although  Mr.  Dallas’  well- 
known  photo-blocks,  which  have  appeared  in  the  Garden 
with  tolerable  regularity  since  1872,  may  be  instanced  as 
one  of  the  best  commercial  method  at  present  before  the 
public.  • 


September  14,  1883.] 


THE  PHOTOGHAPHIC  NEWS. 


581 


THE  NEW  PHYSIOLOGICAL  STUDIO  IN  PARIS. 
Since  the  month  of  March  last  there  has  been  established 
in  Paris  a physiological  station,  or  studio,  as  it  may  be 
termed,  which  has  particular  interest  to  the  photographer. 
It  is  located  in  the  Avenue  des  Princes,  near  the  Auteuil 
Gate,  and  we  may  mention  that  so  important  was  considerd 
the  establishment  of  this  observatory,  that  the  Municipal 
Council  of  Paris  not  only  granted  the  necessary  land,  but 
gave  a contribution  towards  the  installation  of  the  build- 
ings. Furthermore,  M.  Jules  Ferry,  the  Minister  of  Public 
Instruction,  interested  himself  in  the  matter,  and  the  con- 
sequence was  that  in  the  space  of  a few  months  the  out- 
door studio  was  not  only  designed,  but  perfected. 


Fig.  1. 

the  background.  Round  the  course  is  an  electric  wire 
supported  by  poles,  and  every  time  the  moving  object 
passes  one  of  the  posts,  he  transmits  a signal  to  the  main 
building,  and  thu3  registers  the  celerity  of  his  pace,  and 
aid3  the  model  in  regulating  his  pace  and 
keeping  to  the  conditions  necessary  for 
the  experiment.  Of  course,  the  process  of 
photographing  only  goes  on  when  the  ob- 
ject passes  in  front  of  the  background ; but 
the  tour  of  the  station  by  the  moving  object 
is  of  considerable  value"  in  forming  a scien- 
tific estimate  of  the  movements. 

Figure  2 represents  the  movable  dark- 
room or  laboratory  that  contains  the 
camera  and  the  photographer.  It  is  a 
little  room  mounted  on  wheels  which  run 
along  a tramway,  as  shown  in  our  sketch. 

In  this  way  it  is  possible  to  approach  or 
recede  from  the  background,  according  to 
the  nature  of  the  lens  in  use,  or  the  size  of 
the  image  desired.  As  a general  rule,  it 
is  found  best  to  place  the  camera  at  some 
distance  from  the  screen,  say  about  forty 
yards.  At  this  distance,  the  angle  of  view 
does  not  alter  a very  great  deal  during  the 
passage  of  the  white  object  in  front  of 
the  black  background. 

A window  of  red  glass  will  be  seen  in  the  dark-room, 
permitting  the  photographer  to  watch  the  movements  of 
the  living  object  he  is  intent  on  depicting,  while  a speaking 
trumpet,  which  is  also  shown,  serves  to  convey  orders. 
In  the  case  of  fig.  2,  it  will  be  seen  that  the  front  wall  of 
the  laboratory  ha3  been  removed  to  show  a large  disc 
which  revolves  in  front  of  the  lens.  This  disc  has  a slit — 


The  sketch  of  the  physiological  studio  which  we  here 
present  to  our  readers  is  taken  from  La  Nature.  The 
station  is  constructed  from  a design  of  M.  Marey,  of  the 
Institute,  whose  researches  into  animal  locomotion  by 
means  of  photography  are  already  familiar.  A disciple 
of  Muybridge,  M.  Marey  has  now  far  surpassed  his  mentor, 
and,  with  scientific  apparatus  at  his  disposal,  he  is  at  present 
engaged  in  a long  series  of  investigations  by  means  of 
the  camera. 

Among  the  questions  which  M.  Marey  has  set  himself  to 
solve  are  : — 1.  To  determine  the  series  of  motions  that  go 
to  make  up  human  locomotion  during  the  act  of  running, 
jumping,  and  walking. 

2.  To  examine  the  external  conditions  that  modify 
motion — as,  for  instance,  the  rapidity  of 
the  pace  or  length  of  step — and  to  find  out 
iQ  ! the  favourable  or  unfavourable  influence 

these  modifications  exert  in  the  locomotion 
of  a man. 

. 3.  To  measure  the  work  done  at  every 
instant  during  the  different  phases  of  loco- 
motion, and  to  discover  the  most  advan- 
tageous way  of  utilising  this  work. 

In  fig.  1 we  see  the  general  view  of  the 
station.  We  have  already  described  to 
our  readers  how  M.  Marey  works ; how 
he  has  recourse  to  white  objects,  which  are 
photographed  against  a black  recessed  back- 
ground. Only  one  lens  and  one  camera 
is  employed,  a series  of  exposures,  how- 
ever, being  made  with  each  plate,  so  that 
on  development,  the  moving  object  is  re- 
presented in  successive  portions  of  the 
plate.  In  the  sketch  here  given  is  seen 
the  circular  path  on  which  the  object, 
whether  man  or  horse,  moves,  the  black 
background  with  its  overhanging  roof  being 
to  the  left.  The  camera— or,  rather,  the 
movable  dark  room  in  which  it  is  located — 
is  seen  on  a tramway  at  right  angles  to 
how  he  decreases  or  augments  his  speed.  On  the  top  of 
the  structure,  in  the  ceutre  of  the  circle,  is  a drum  beaten 
by  means  of  electricity,  so  that  the  beats  may  be  regulated 
with  rigid  exactitude.  The  beating  of  this  drum  obviously 


Fig.  2 . Fnj.  3. 

shown  in  the  picture —through  which  the  view  strikes  the 
lens,  an  exposure  being  made  every  time  the  disc  revolves. 
In  this  way  intermittent  exposures  are  secured,  and  as  the 
object  photographed  is  in  motion,  the  images  impress 
themselves  on  different  parts  of  the  plate.  The  disc  is  of 
large  dimensions,  more  than  four  feet  in  diameter,  and  the 
slit  represents  exactly  one-hundredth  of  its  circumference. 
From  this  it  follows  that  if  the  disc  revolves  ten  times 


582 


THE  PHOTOGRAPHIC  NEWS.  [September  14,  1883 


a second,  the  duration  ci  each  exposure  is  but  one- 
millionth  of  a second. 

The  revolution  of  the  disc  is  brought  about  by  a heavy 
weight,  which  is  shown  better  in  fig.  3,  the  cord  C being 
wound  up,  first  of  all,  by  the  winch,  and  then  permitted 
to  run  down.  There  is,  inside  the  carriage,  a break  and 
regulator  to  act  upon  the  disc  when  in  movement.  Fig.  3 
also  shows  something  of  the  interior  arrangements  of  the 
moving  laboratory.  The  camera,  which  is  seen  at  A,  is 
capable  of  taking  plates  of  sufficient  length  to  include  the 
whole  of  the  background,  and  thus  receive  images  of  the 
moving  model  as  this  progresses  across  the  field  of  the 
lens  ; B is  the  revolving  disc,  which  we  have  already  seen 
in  fig.  2 ; and  D is  a shutter,  which  is  lifted  vertically  at 
the  commencement  of  the  experiment,  and  lowered  at  its 
close,  to  prevent  any  extraneous  light  from  entering. 
E is  a large  opening  through  which  the  object  is  photo- 
graphed, serving  to  shade  the  lens  from  injurious  sun- 
light. 

The  darkness  that  reigns  in  the ' little  laboratory 
obviously  permits  the  photographer  to  work  with  great 
ease  and  certainty. 


THE  WOODBURYTYPE  PROCESS. 

First  Article. 

Before  proceeding  to  give  such  practical  details  as  shall 
place  success  in  Woodburytype  printing  within  the  reach 
of  any  careful  person,  we  will  briefly  outline  such  points 
as  are  necessary  for  a proper  comprehension  of  the  princi- 
ples upon  which  the  Woodbury  process  is  founded. 

The  so-called  carbon  print  is  a photo,  relief  of  tinted 
gelatine,  its  maximum  of  thickness  being  in  the  deep 
shades,  and  this  relief  is  ordinarily  attached  to  the  surface 
of  a sheet  of  paper  or  a plate  of  glass.  The  high  lights  of 
the  picture  are  those  points  where  the  layer  of  gelatine  is 
either  altogether  wanting,  or  possesses  a minimum 
thickness. 

A carbon  print  is  obtained  by  exposing  a film  of  tinted 
gelatine,  made  sensitive  by  means  of  an  alkaline  bichromate, 
to  the  action  of  light  under  a negative.  The  tinted  gela- 
tine is  thus  rendered  insoluble  to  a depth  corresponding  to 
the  action  of  light,  and  all  unaltered  gelatine  is  now  washed 
away  by  means  of  warm  water,  leaving  the  relief  or  picture 
in  tinted  gelatine.  An  essential  feature  of  the  carbon  pro- 
cess is,  however,  the  washing  away  of  the  unaltered  gela- 
tine from  that  side  of  the  sensitive  film  which  was  farthest 
from  the  negative  during  exposure,  and  Fargier  attained 
this  end  by  spreading  the  sensitive  mixture  on  collodion, 
and  exposing  through  the  film.  He  thus  obtained  a gela- 
tine relief  supported  upon  a basis  of  collodion.  The  pro- 
duction of  such  a relief  forms  the  first  step  in  the  Woodbury- 
type process,  and  from  this  relief  a mould  is  taken,  generally 
of  lead.  In  this  mould  any  number  of  fresh  pictures  are 
cast  in  tinted  gelatine.  Viewed  from  this  point  Of  view, 
the  Woodburytype  process  may  be  regarded  merely  a3  a 
method  by  which  carbon  prints  may  be  multiplied  by  the 
simple  process  of  casting.  As,  however,  the  mould  is 
taken  from  a dry  relief,  and  the  cast  is  made  in  wet  gela- 
tine, it  is  obvious  that  this  cast  must,  in  drying,  shrink 
down  to  very  much  less  than  its  original  thickness.  The 
practical  result  is,  that  the  original  print  from  which  the 
mould  is  made  must  stand  out  much  more  boldly  in  relief 
than  an  ordinary  carbon  print.  One  may  assume  one 
two-thousandth  of  an  inch  as  somewhere  about  the  thick- 
ness of  the  gelatine  of  a representative  carbon  picture  ; 
but  a mould  from  this  would  be  quite  useless  for  printing 
purposes. 

To  produce  a gelatine  cast  which,  when  dry,  shall,  like 
an  ordinary  carbon  print,  have  a thickness  of  about  one 
two-thousandth  of  an  inch,  it  is  necessary  to  use  a mould 
having  a maximum  depth  equal  to  about  ten  times  this,  or 
one  two-hundredth  of  an  inch  in  thickness. 


It  will  thus  be  seen  that  the  gelatine  relief,  from  which 
the  Woodburytype  mould  is  made,  differs  from  an  ordinary 
carbon  print  by  being  about  ten  times  thicker,  and  the 
consequence  is,  that  the  ordinary  difficulties  of  carbon 
printing  are  considerably  exaggerated  in  making  the 
reliefs. 

In  the  case  of  the  usual  carbon  print,  the  gelatine  is 
ordinarily  tinted  with  a considerable  proportion  of  very 
finely-divided  lamp  black  or  other  pigment,  aud  the 
presence  of  this  pigment  serves  to  so  far  block  the  progress 
of  the  rays  of  light  a3  to  prevent  the  production  of  a very 
high  relief  ; but  in  making  the  original  print  or  relief  for 
Woodburytype,  the  amount  of  pigment  is  reduced  to  a 
minimum,  or  sometimes  omitted  altogether. 

Carbon  printers  find  that  if  their  tissue  is  allowed  to 
dry  very  slowly,  the  bichromated  gelatine  becomes  insolu- 
ble, just  as  if  light  had  acted  on  it ; and  this  liability  to 
become  insoluble  would  become  a serious  difficulty  in 
dealing  with  the  thick  tissue  employed  for  Woodburytype, 
were  it  not  for  the  circumstance  that  it  is  possible  to  dry 
the  sensitive  gelatine  very  rapidly  by  means  of  a special 
cupboard  containing  chloride  of  calcium.  Before  giving 
details  as  to  the  means  of  preparing  the  tissue,  we  will 
describe  an  improved  drying  cupboard  which  we  have 
found  very  useful,  not  only  for  Woodburytype  tissue,  but 
also  for  many  other  photographic  purposes.  The  degree 
of  heat  applied  by  the  lamp  must  be  very  slight,  and  the 
interior  of  the  drying  box  should  never  attain  a higher 
temperature  than  30°  Centigrade  or  86°  F. 


A A is  a tin  box  or  cupboard,  with ’shelves  placed  alter- 
nately like  baffle-plates;  B,  B,  B,  B,  movable  trays  or 
dishes  containing  dried  calcium  chloride  ; C,  C,  C,  C,  the 
coated.glass  plates,  resting  in  grooves,  so  that  the  gelatinous 
coating  shall  be  directed  downwards  towards  the  calcium 
chloride ; D,  bent  tube,  which  is  so  heated  by  the  lamp, 
E,  as  to  cause  the  same  air  to  circulate  continually  in  the 
direction  indicated  by  the  arrows ; F,  F,  dotted  space 
showing  position  of  chloride  of  calcium  box  in  another 
form  of  the  apparatus. 

That  form  of  the  apparatus  in  which  the  trays  contain- 
ing chloride  of  calcium  are  replaced  by  a receptacle  in  the 
place  indicated  by  dotted  lines  (F  F),  is  especially 
effective,  as  in  this  case  the  air  is  desiccated  just  before  it 
is  heated  by  the  lamp,  an  obviously  advantageous  arrange- 
ment. 

The  drying-box  ordinarily  employed  for  Woodburytype 
tissue  consists  simply  of  a case  with  shelves,  a tray  of 
calcium  chloride  being  placed  on  each  tray,  aud  the  coated 
glass  plates  are  placed  over  the  calcium  chloride  as  shown 
in  our  drawing.  This  arrangement  makes  no  provision  for 
ensuring  a circulatiou  or  motion  of  the  air,  nearly  twenty 
hours  being  frequently  necessary  for  the  drying  of  the 
tissue.  The  circulating  desiccator  described  above  is 
much  more  effectual,  about  six  or  eight  hours  being 
sufficient. 

In  our  next  article  we  will  describe  the  method  of  pre- 
paring the  sensitive  Woodburytype  tissue. 


September  14,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


583 


& lirtaarg  of  Jjptupaeljg. 

ALBUMENIZED  PAPER  (Printing  on). — Continued. 

Sensitizing. —Having  dnsted  the  dish,  pour  out  the  solution  to 
the  depth  of  half  an  inch  equally  all  over  the  vessel  ; brush  the 
surface  of  the  paper  with  a large  flat  camel-hair  brush  ; lay  the 
paper  steadily  (albuinenized  side  downwards)  on  the  surface  of 
the  sensitizing  bath  in  such  a manner  that  air-bubbles  are  not 
formed,  neither  the  silver  allowed  to  touch  the  back  ; this  may 
be  accomplished  by  floating  in  the  manner  described  in  the  last 
chipteron  albumenizing.  As  soon  as  the  paper  has  been  laid 
down,  it  should  be  lifted  by  means  of  a glass  rod  at  one  of  the 
corners,  and  examined  ; if  the  operation  has  been  successful,  there 
will  be  no  air-bells  attaching  themselves  to  the  sheet,  but  should 
there  be  any,  they  mav  be  easily  removed  with  the  glass  rod,  or 
blown  off ; the  sheet  is  again  replaced  on  the  bath,  and  allowed  to 
remain  long  enough  to  become  fully  sensitized.  The  length  of 
time  will  be  found  to  vary.  For  instance,  if  we  are  using  paper 
which  has  been  albuinenized  for  a few  months,  three  minutes  will 
be  found  to  be  long  enough  ; but  if  the  paper  is  fresLl/  prepared, 
it  repels  the  solution,  and  will  take  as  long  as  five  minutes  in 
warm  weather ; also  in  cold  weather  a longer  -time  will  be  re- 
quired than  is  necessary  when  the  temperature  ranges  from  60°  to 
75°  F.  When  the  sheet  is  down  on  the  bath  it  will  be  seen  that 
it  does  not  lie  perfectly  flat.  After  the  space  of  a little  while  it 
becomes  absorbed  with  moisture,  and  will  present  an  even  surface. 
When  that  period  arrives,  whether  it  requires  three  minutes  or 
ten,  the  sheet  is  ready  for  removal.  Raise  the  farthest  corner  of 
the  sheet  to  the  left,  off  the  solution,  by  means  of  the  glass  rod. 
Seize  it  by  the  left  hand,  raising  the  sheet  slowly  ; now  take  the 
nearest  corner  with  the  right  hand  and  draw  the  sheet  steadily 
and  slowly  over  a glass  rod  fixed  at  the  end  of  the  dish  ; if  this  is 
carefully  done,  all  excess  will  be  removed,  and  the  sheet  will  be 
dry  in  a few  minutes  ; suspend  it  from  one  corner  (albnmenized 
side  outward)  by  means  of  one  of  the  American  clips  in  the 
drying  room. 

By  the  time  ten  sheets  have  been  floated,  about  290  grains  of 
silver  nitrate  will  have  been  converted  into  chloride  or  absorbed. 
This  should  be  replaced  by  means  of  4 fluid  ounces  of  a strong 
stock  solution  of  nitrate  of  silver,  made  by  adding  36  fluid  ounces 
of  water  to  C ounces  of  re-crystallized  nitrate  of  silver.  If  a less 
quantity  than  ten  sheets  are  floated,  a proportionate  quantity  of 
the  strong  solution  should  be  added. 

So  much  has  been  said  by  some  of  our  best  photographic  printers 
both  for  and  against  the  practice  of  fuming  the  paper  with 
ammonia,  and,  considering  that  our  American  cousins  adopt  it 
almost  exclusively,  we  will  briefly  describe  the  operation. 

When  ammonia  hydrate  (NII,OH),  known  as  liq.  aminon.  fort, 
s.g.  ‘880,  is  exposed  to  the  atmosphere,  pungent  fumes  of  gas 
are  given  off.  If  these  fumes  are  collected  in  a closed  box,  and 
sensitized  paper  subjected  thereto,  the  sensitiveness  will  he  nearly 
doubled  ; the  colour  of  the  print  will  be  inclined  to  violet,  of  course 
depending  on  the  length  of  time  it  is  acted  upon.  The  toning 
will  also  take  place  in  nearly  half  the  time  require!  for  uu-fumed 
paper.  Finally,  the  result  will  be  quite  equal  in  every  respect  to 
paper  not  so  treated.  The  reasons  why  we  think  fuming  is  not 
more  generally  adopted  in  this  country  are  : firstly,  because  the 
fuming  cupboard  or  box  is  a trouble  to  make  ; secondly,  because 
the  commercial  article  as  obtained  from  many  places  is  not  up  to 
the  standard ; and  thirdly,  partly  as  a result  of  the  two  first 
reasons,  because  many  of  those  who  have  tried  it  have  failed. 
We  have  seen  all  sorts  of  contrivances  used ; in  one  case  a cup- 
board was  requistioned,  the  sheets  were  hung  up  by  means  of 
clips  some  sixty  inches  from  the  floor,  whilst  a basin  containing  an 
indefinite  amount  of  the  liquid  was  placed  on  the  floor,  the  door 
shut,  and  the  action  continued  for  a quarter  of  an  hour ; the 
drawback  to  this  plan  was,  that  the  paper  was  not  acted  upon 
equally,  hence  a mixed  batch  of  prints  was  the  result.  We  have 
since  seen  an  arrangement  which  has  been  in  constant  use  for 
some  years,  therefore  can  speak  as  to  its  practicability.  An 
ordinary  pine  box  measuring  2.3  by  20  inches,  by  18  inches  deep, 
to  which  a lid  is  attached,  having  a piece  of  moulding  screwed  on  ; 
also  strips  of  felt  tacked  on  to  the  upper  edge  of  the  box  to  prevent 
the  escape  of  gas  when  shut ; inside,  and  a couple  of  inches  from 
the  top,  a light  wooden  frame  covered  with  coarse  netting  is  hinged 
so  as  to  allow  of  the  stock-bottles  being  taken  in  and  out ; a 
saucer  on  the  bottom  to  contain  the  liquid  completes  this  simple 
but  effective  arrangement.  To  prevent  failure  and  disappoint- 
ment, attention  should  be  given  to  one  or  two  essential  points. 


Purchase  the  ammonia  solution  in  Winchesters,  and  keep  them 
well  stoppered.  Pour  out  a measured  quantity  (say  one  ounce) 
into  the  saucer  just  before  starting  the  fuming  ; this  quantity  will 
be  found  sufficient  for  half-a-quire  of  paper.  Always  keep  the 
lid  on  the  box,  except  when  changing  paper.  Be  sure  the  paper 
is  quite  dry  before  it  is  placed  in  the  box.  Ascertain  from  each 
sample  the  correct  time  to  fume  ; give  it  that  time,  and  no  more. 

To  those  who  have  never  tried  fuming  we  would  say  : Give  the 
first  sheet  thirty  seconds ; cut  off  a small  piece,  and  expose  to 
daylight.  If  the  colour  be  reddish — as  it  darkens  in  the  light — 
the  time  has  been  insufficient ; it  will  be  quite  safe  to  put  it  back 
in  the  box  for  a minute  longer.  Another  small  piece  may  be  cut 
off  and  tried  as  before  ; this  time  it  may  first  print  grey,  after- 
wards becoming  purple  ; this  is  an  indication  that  the  paper  is 
sufficiently  fumed  for  all  ordinary  purposes.  When  there  is  much 
moisture  in  the  atmosphere,  some  samples  of  paper  show  a 
peculiar  mottled  effect,  although  the  purple  colour  has  been 
reached.  Such  a sample  of  paper  will  produce  the  very  best 
results  by  floating  five  or  six  minutes  on  a weak  sensitizing  bath, 
and  prolonging  the  fuming  until  the  paper  will  print  a slatey 
blue  ; this  may  require  from  five  minutes  to  twenty.  When  the 
paper  is  acted  upon  too  long,  also  when  not  quite  dry,  a metallic 
lustre  will  pervade  the  whole  print.  Such  prints  cannot  be  made 
to  give  a satisfactory  tone  ; neither  can  a good  surface  be  pro- 
duced by  the  after- operations  of  rolling  or  burnishing.  As  soon 
as  the  sensitizing  and  fuming  are  completed,  the  paper  should  be 
packed  away  in  a dry  place  ; for  if  it  is  allowed  to  remain  lying 
about  the  room,  it  will  soon  discolour ; but  if  it  is  rolled  up 
tightly,  or  cut  up  and  placed  under  a heavy  weight,  it  may  be 
preserved  seme  three  or  four  days  (except  in  sultry  weather) 
without  any  apparent  colouration.  Even  after  a week  it  will  do 
for  plain  printing.  If  it  is  thought  desirable  to  preserve  it  a 
longer  time  than  a few  days,  it  may  be  kept  white  between 
sheets  of  blotting-paper  which  have  been  passed  through  a six  or 
seven  per  cent,  aqueous  solution  of  sodic  carbonate. 

Both  the  sensitized  and  sodic  papers  require  to  be  dry  and 
kept  under  pressure  in  a dry  place.  The  great  advantage  in 
this  plan  is,  that  the  prints  du  not  require  any  longer  toning 
than  usual.  Another  plan  of  fuming  is  to  submit  the  felt  pads 
to  the  action  of  ammonia,  these  being  kept  in  an  ammonia 
cupboard  and  change!  from  time  to  time;  or  the  pads  may 
be  made  in  the  form  of  flat  bags,  to  hold  carbonate  of  ammonia. 
Ammonia  pads  are  used  a good  deal  in  Germany. 

There  is  a plan  of  preserving  by  re-floating  the  paper  after 
it  has  been  dried  on  an  acid  bath  for  a short  time ; it  is  then 
re-dried,  and  packed  away  under  pressure  ; citric  or  tartaric  acid 
is  usually  employed  for  this  purpose.  Some  photographers  pre- 
fer adding  the  acid  to  the  sensitizing  bath  to  save  time  ; but  we 
should  not  recommend  the  beginner  to  do  so.  If  he  wished  to  try 
an  experiment  in  that  direction,  the  following  will  be  found  to 


answer  ; — 

Picked  gum-arabic 

2 ounces 

Dissolve  in  water 

80 

J) 

Add  citric  acid 

2 

>> 

Tartaric  acid  

...  2 

Float  the  back  of  the  paper  on  the  above  mixture  for  two  minutes, 
dry,  and  pack  away  in  a dry  place  ; paper  so  prepared  should 
keep  for  one  year  at  least.  It  will  require  fuming  before  it  is 
used,  and  should  not  be  toned  in  the  same  gold  toning  bath  used 
for  freshly-prepared  paper.  One  thing  will  soon  become  evident 
to  the  tyro,  that  is,  that  freshly-prepared  sensitive  paper  is  not 
capable  of  withstanding  the  deleterious  action  of  the  atmosphere 
for  any  great  length  of  time  ; therefore,  whenever  he  desires  to 
preserve  it  as  white  as  freshly-prepared,  this  fact  must  be  borne 
in  mind. 


ROYAL  CORNWALL  POLYTECHNIC  SOCIETY. 
The  following  is  the  list  of  medals  awarded  in  the  photo- 
graphic section  on  the  10th  inst : — 

Professional : — 1st  silver,  McLeish  ; 2nd  silver,  H.  P Robin* 
son,  W.  J.  Byrne,  and  Cobb  and  Son.  1st  bronze,  Johnson 
Bros.,  and  J.  M.  Browne. 

Amateur  : — 1st  bronze,  E.  Brightman  and  J.  R.  Holmes  j 
2nd  bronze,  Rev.  A.  Malan. 

Photographic  Appliances : — 1st  silver,  Geo.  Hare ; 2nd 
bronze,  W.  H.  Oakley. 

Full  report  of  the  Exhibition,  which  has  been  very 
successful,  will  be  given  in  our  next. 


584 


THE  PHOTOGRAPHIC  HEWS. 


[September  14,  1883. 


The  British  Association  meets  next  week  at  Southport. 

We  commence  this  week  a short  series  of  practical 
articles  on  Woodburytype  and  its  recent  developments. 


The  Committee  of  the  Belgian  Association  have  issued 
their  official  list  of  awards  at  the  recent  Exhibition.  Mr. 
H.  P.  Robinson,  of  Tunbridge  Wells,  who  receives  the  gold 
medal  given  by  the  King  of  the  Belgians,  has,  we  learn, 
been  complimented  in  most  flattering  terms  by  His  Majesty. 


Mr.  Donkin,  for  whose  magnificent  pictures  of  Alpine 
scenery  a medal  was  awarded  by  the  Photographic  Society, 
has,  during  the  last  few  weeks,  accomplished  a daring  feat  — 
that  of  ascending  the  Dent  du  Geant,  in  the  Mont  Blanc 
chain,  with  his  camera.  He  has  succeeded  in  securing 
several  photographs  from  the  summit  of  the  mountain, 
which  will  be  looked  forward  to  with  interest  at  the  Photo- 
graphic Exhibition  next  month. 


There  is  a Society  for  photographing  Old  London,  as 
most  of  our  readers  know,  but  that  is  no  reason  why  photo- 
graphers, whether  professional  or  amateur,  should  not  take 
pictures  for  themselves,  for  profit  or  pleasure,  of  the  many 
interesting  features  that  still  abound  in  the  metropolis. 
Some  of  these  were  summarised  by  a contemporary  a few 
days  ago,  and  as  sight-seers,  our  American  cousins  especi- 
ally, aro  never  tired  of  tracing  the  spots  mentioned  by 
Swift,  Fielding,  Smollett,  Goldsmith,  Thackeray,  Dickens, 
&c.,  photographs  of  them  should  certainly  be  interesting. 


Thus,  we  are  told,  visitors  to  London  may  be  met,  guide- 
book in  hand,  trying  to  find  out  the  grimy  chambers  where 
Pip  and  Herbert  Pocket  lived,  which  was  Mr.  Grewgrious’ 
door  in  Staple  Inn,  and  the  locality  of  the  Sponging  house 
in  Cursitor  Street  that  Colonel  Kawdoa  Crawley  visited  so 
frequently.  Search  is  made  for  the  particular  house  in 
Russell  Square  where  Amelia  Sedley  was  born  ; for  the  house 
in  which  Dr.  Johnson  lived  in  Gough  Square  and  took  tea 
with  Mrs.  Thrale  ; nay,  foriegn  tourists  have  been  known  to 
wander  up  and  down  Fetter  Lane  looking  for  a likely  house 
in  which  Captain  Lemuel  Gulliver  may  have  lived  after  his 
return  from  Lilliput.  Leicester  Square  is  a favorite 
pilgrimage,  for  round  about  may  be  found  buildings 
hallowed  by  association  with  Sir  Isaac  Newton,  Sir  Joshua 
Reynolds,  Dr.  Oliver  Goldsmith, and  other  worthies.  Photo- 
graphers in  town  have,  consequently,  plenty  of  interesting 
subjects  for  the  camera,  if  they  delight  in  historical  London. 


Bitumen  of  Judma,  the  sensitive  material  with  which 
Nicephore  Niepce  produced  his  first  permanent  photo- 
graph, has  recently  been  analysed  by  Delachanal,  who 
tells  us  that  it  contains  about  314  per  cent,  of  sulphur; 
on  distillation  the  bitumen  yields  oils  having  a close 
analogy  with  those  obtained  from  crude  petroleum,  while 
a certain  amount  of  paraffin  is  also  produced. 


Nineteen  candidates  applied  for  the  post  of  observer  on 
Ben  Nevis,  the  appointment  being  conferred  upon  Mr.  R. 
T.  Omond,  of  Edinburgh  University.  The  post  is  not  an 
enviable  one,  for  the  observer,  in  his  three-roomed  house 
which  is  now  building,  is  scarcely  likely  to  see  much  com- 
pany, at  any  rate  in  the  winter.  Next  year,  however,  the 
barometrical  and  thermometrical  records  will  be  kept  by 
photography,  whose  ever- watchful  eye  neither  nods  nor 
sleeps. 

Von  Bibra,  well  known  for  his  photo-chemical  researches, 
publishes  in  the  Gewerbc  Zeilung  a safe  and  rapid  plan  of 
cleaning  pictures,  which  may  be  useful  to  some  of  our 
readers.  Remove  the  frame,  and  dust  the  surface  with 
brush  or  feather,  after  which  pass  a sponge  moistened  in 
spring  water  over  it.  Cover  the  picture  next  with  a 
shaving  soap  lather,  which  does  not  easily  dry,  and  in  ten 
minutes  wash  off  again  with  a brush  .and  as  little  water  as 
necessary.  When  dry,  rub  with  a clean  rag  moistened  in 
nitro-benzine  or  artificial  oil  of  bitter  almonds,  substituting 
a fresh  rag  occasionally,  and  not  desisting  from  the  process 
as  long  as  the  rags  get  dirty.  Treatment  with  fine  olivo 
oil,  and  afterwards  with  a quick  drying  varnish,  will 
revive  the  colours  if  dull. 

Our  contemporary  Engineering  deplores  the  fact  that 
we  are  no  farther  advanced  in  the  matter  of  light-measure- 
ment than  in  the  time  of  HerscheL  An  unit  of  actinism 
or  of  solar  radiation  is  still  an  unknown  quantity,  albeit 
actinometers  abound  on  every  hand.  This,  by  the  way, 
was  Ilerschel’s  view  of  the  matter: — “The  abstract  unit 
of  solar  radiation  to  be  adopted  in  the  ultimate  reduction 
of  the  actinometric  observations  is  the  actine,  by  which  is 
understood  that  intensity  of  solar  radiation  which,  at  a 
vertical  incidence,  and  supposing  it  wholly  absorbed t 
would  suffice  to  melt  one-millionth  part  of  a metre  in 
thickness  from  the  surface  of  a sheet  of  ice,  horizontally 
exposed  to  its  action  per  minute  of  solar  time."  Herschel, 
however,  never  went  so  far  as  to  put  this  way  of  measur- 
ing an  actine  into  practical  shape. 

The  United  States  Government  launched  last  month  a 
vessel — the  Albatioss—  that  has  been  specially  built  for 
deep  sea  exploration  and  surveying.  It  is  lighted  through- 
out its  'tween  decks  by  electric  light,  and  its  cabins  are 
specially  devoted  to  the  work  the  vessel  is  destined  to  ful- 
fil. Four  state  rooms  afford  sleeping  accommodation  for  the 
scientific  staff,  and  there  are  two  laboratories,  a photo- 
graphic dark-room  with  lead-lined  sinks,  furnished  with 
ruuning  water,  chemical  store-rooms,  & c.  The  Albatross 
is  the  first  craft  ever  built  specially  for  scientific  labour 
and  research  afloat. 


The  l’atents  Bill,  the  principal  features  of  which  we 
have  before  alluded  to,  has  now  become  law.  There  have 
been  several  minor  modifications  introduced  in  the  Bill 
during  its  passage  through  Committee,  but  the  leading 
ideas  remain  the  same — that  is,  the  reduction  of  fees,  and 
the  appointment  of  an  examiner.  Concerning  the  reduc- 
tion of  the  fees — from  .£150  to  £15— the  payment  of 


September  14,  1883.) 


THE  PHOTOGRAPHIC  HEWS. 


585 


which  may  be  extended  over  thirteen  years,  the  life  of  the 
Patent  being  fourteen,  there  can  only  be  but;  one 
opinion.  As  to  the  “ examiner,”  it  may  be  said  that  his 
success  is  somewhat  doubtful,  and  no  one  probably  will 
be  more  convinced  of  this  than  the  examiner  himself.  The 
first  part  of  his  duty  is  apparently  simple  enough,  since 
all  he  has  to  do  is  to  see  that  the  invention  is  fairly  des- 
cribed, that  the  title  properly  indicates  its  nature,  and 
that  the  requisite  papers  aud  drawings  comply  with  the 
prescribed  form.  But  how  can  he  tell  whether  an  inven- 
tion is  “ fairly  described,”  unless  he  is  thoroughly  well 
acquainted  with  the  science,  art,  or  manufacture  to  which 
it  relates  ? In  photography  alone  he  must  possess  the 
knowledge  of  a specialist,  and  it  must  be  the  same  with 
other  industries.  It  is  to  be  feared  the  post  of  the  ex- 
aminer will  not  prove  a bed  of  rose3. 

A correspondent,  in  answer  to  “ Only  an  Amateur, 
recommends  a back  steering  tricyclo  as  being  the  best  for 
carrying  baggage.  Tricycles  as  yet  are  aot  specially  con- 
structed for  weight  carrying,  and  some  kind  of  home  adap- 
tation has  to  be  devised  if  this  is  wanted.  The  “ backbono 
of  (say)  an  “Excelsior”  can,  by  a little  ingenuity,  be 
readily  fitted  with  an  arrangement  which  would  carry- 
photographic  apparatus.  Low  wheels  are  preferable  to 
high  ones.  It  is  impossible  to  say  the  distance  a tricycle  so 
loaded  would  travel  in  a day,  as  so  much  depends  upon  the 
road,  the  weight  and  strength  of  tho  rider,  and  whether  he 
is  in  “fit”  condition;  but  allowing  that  everything  i. 
favourable,  twenty  miles  should  be  an  easy  day’s  ride. 


How  history  is  written.  Last  week  died  the  most  famous 
of  our  electric  engineers,  Cromwell  Fleetwood  Varley,  the 
man  who,  among  other  valuable  discovories,  first  made  long 
distance  signalling  possible,  and  showed  us  the  way  to 
“localise”  a fault  in  ocean  cables,  so  that  these,  when 
defective  at  any  spot,  could  be  lifted  and  repaired.  The 
Times,  the  Telegraph,  the  Athenxum,  the  Engineer,  and  other 
authorities,  naturally  gave  an  obituary  notice,  in  which 
three  facts  were  prominently  set  forth  : that  the  late 
electrician  was  the  son  of  John  Varley,  well-known  as  the 
father  of  water-colour  painting  ; that  he  was  engineer-in- 
chief to  the  International  Telegraph  Company  until  the 
Post  Office  took  over  the  telegraphs  ; and,  finally,  that  the 
deceased  was  a descendant  of  the  great  Protector,  on  his 
mother's  side. 


Like  the  description  of  the  crab,  as  a red  fish  that  walks 
backwards— which  is  a very  good  one,  with  the  exception 
that  the  crab  is  no  fish,  it  is  not  red,  and  does  not  walk 
backwards— so  these  three  points  in  question  appear 
accurate  without  having  a vestige  of  truth.  Thus  the  late 
Mr.  Varley  was  not  a son,  but  a nephew,  of  the  renowned 
water-colour  painter  ; he  ceased  to  be  engineer  of  the 
International  Company  some  time  before  Government  took 
over  the  telegraphs,  which  just  made  the  difference  to  him 
of  a handsome  pension  which  he  would  otherwise  have 
received  ; and  thirdly,  although  he  was  a descendant  of 
Oliver  Cromwell,  it  was  through  his  father,  and  not  his 
mother.  None  of  these  matters  are  of  much  importance, 


except  as  showing  that  our  printed  histories  of  scientific 
men  are  sometimes  misleading. 

Some  time  ago  it  wa3  suggested  that  the  Corporation  of 
London  should  provide  a gallery  for  the  reception  of  such 
works  of  art  as  might  be  presented  for  exhibition  by  those 
public  spirited  and  generous  citizens  who  felt  so  disposed. 
Of  course  it  would  be  very  easy  to  provide  a gallery  for 
pictures;  the  question  is,  would  the  pictures  come?  Awaiting 
this  happy  period,  the  Corporation  might  meanwhile  place  in 
the  Guildhall  Library  a complete  collection  of  views  of 
London  in  Autotype.  Such  pictures  might  perhap3  not  be 
of  much  interest  to  Londoners  of  the  present  day  ; but  they 
would  be  invaluable  fifty  or  a hundred  years  hence.  No 
doubt  the  taking  and  printing  of  a complete  series  of  views 
would  be  expensive,  but  the  price  of  a single  banquet  would 
more  than  pay  the  cost. 

The  itinerant  photographer  is  a mysterious  personage. 
Generally,  he  is  an  individual  who  has  failed  in  everything, 
and  has  taken  up  photography  as  a last  resource,  and,  in 
nine  cases  out  of  teD,  his  ill-luck,  or  want  of  industry, 
pursues  him.  This  appears  to  have  been  the  case  with 
Mr.  Frank  Walters,  who  was  charged  at  the  Brighton 
Police  Court  recently  with  stealing  half  a cake.  Accord- 
ing to  Mr.  Walter’s  story,  he  had  originally  been  a chemist 
in  Boston,  in  America,  but  failed.  Then  he  came  to  Eng- 
land. and  acted  for  two  years  as  a chemist’s  assistant  in 
Bristol.  Finally,  he  drifted  into  photography,  and  going 
into  partnership  with  another  man,  they  tramped  the 
country  until  he  (Walters)  was  taken  ill,  whereupon  his 
partner  bolted  with  the  photographic  apparatus.  This  story 
may  be  correct,  but  as  Mr.  Walters  was  found  guilty  of 
the  theft  of  the  cake,  and  was  sentenced  to  a month’s  hard 
labour,  one  would  like  to  know  his  partner’s  version. 

Itinerant  photography,  though  profitable  enough  in  the 
summer  when  the  weather  is  fine,  does  not  pay  by  itself. 
For  some  reason  which  we  cannot  explain,  it  ha3  been 
found  convenient  to  unite  the  profession  of  an  acrobat 
with  that  of  a photographer,  and  many  who  pose  other 
people  in  the  summer  time,  take  to  posing  themselves  in  the 
winter.  Occasionally,  when  business  is  slack  in  tho 
“picture  line,”  some  other  profession,  generally  of  an 
“ entertaining  ” character,  is  worked  in.  An  odd  instance 
of  this  was  brought  the  other  day  before  a well  known 
artist  who  is  also  an  enthusiastic  boating  man.  Spending 
a few  days  at  Yarmouth,  he  was,  to  his  surprise,  accosted  on 
the  sands  by  a nigger.  “ Didn’t  expect  to  see  you  down 
here,  sir,”  said  the  nigger.  “ Well,  I might  have  expected 
to  have  seen  you,  though  I don’t  know  you  from  Adam  ! ” 
“I  know  you,  sir  ; seen  you  many  and  many  a time  on  the 
tow  path  at  Futney.  I often  takes  likenesses  there  ! ” and 
then  it  occurred  to  the  artist  that  he  had  met  the  black- 
faced gentleman  in  his  capacity  of  a photographer.  “ Saw 
you  at  Henley  too,  sir,”  continued  the  loquacious  nigger. 
“ Were  you  photographing  then  ? ” “ Bles3  you,  no  ; don’t 

pay  among  the  swells.  I was  pardners  with  another  man 
in  the  nigger  line.  I’m  ‘Spider,’  I am.  Too  many 
photos  in  the  field  for  me  at  these  seaside  places,  and 
singin’  a sight  easier.”  No  doubt  it  is. 


586 


THE  PHOTOGRAPHIC  NEWS  [September  14,  1883. 


attut  Jntdlignut. 


Notice  to  Proceed. 

3727.  Alfred  George  Brookes,  of  59,  Chancery  Lane,  in  the 
county  of  Middlesex,  Patent  Agent,  for  an  invention  of  “ Im- 
provements in  means  or  apparatus  for  use  in  packing  and 
preserving  polishing  or  abrasive  plates  or  discs  in  piles  or 
series  during  transport  or  otherwise.”  — A communication  to 
him  from  abroad  by  Luther  D.  Shephard,  of  Boston,  in  the 
county  of  Suffolk,  in  the  state  of  Massachusetts,  one  of  the 
United  States  of  America,  Dentist.— Dated  31st  July,  1883. 

Patents  Void  through  Non-payment  of  Duties. 
34G4.  Domenico  Coglievina,  Civil  Engineer,  of  Vienna, 
Louisengasse,  19,  for  an  invention  of  “A  centigrade  photo- 
meter. Dated  ‘2Gth  August,  1S80. 

My  invention  has  for  its  object  a more  accurate  and  reliable 
measurement  of  light  than  can  be  obtained  by  the  ordinary 
photometers,  which  compare  the  light  from  any  source  with  the 
light  of  a standard  candle,  or  similar  unit,  by  means  of  a 
movable  screen.  In  my  photometer  I adopt  as  unit  the  length 
of  the  extreme  beam  of  a light  source,  and  compare  the  intensity 
of  two  light  sources,  by  letting  the  light  from  both  sources  fall 
from  opposite  sides  upon  a ball,  which  produces  an  image  upon 
a mirror  placed  vertically  under  the  ball  (or  in  any  other 
suitable  position).  If  the  ball  is  lighted  equally  from  both  sides 
its  image  is  simply  a circle,  but  if  lighted  unequally,  the  limit 
between  the  two  opposite  hemispheres  is  visible,  and  appears  on 
the  mirror  as  a straight  line. 

3511.  Emii.e  Andreolt,  of  the  Strand,  in  the  city  of  West- 
minster, for  an  invention  of  “An  improved  process  for  orna- 
menting fictile  wares,  glass,  and  metallic  surfaces.” — A com- 
munication to  him  from  abroad  by  Jean  Baptiste  Germeuil- 
Bonnaud,  of  Paris,  in  the  republic  of  France. — Dated  EOth 
August,  1880. 

Theobject  of  thisinvention  is  to  reproduce  on  articles  of  china, 
faience,  earthenware,  and  similar  materials,  also  on  glass  or 
metal,  in  a simple,  effective,  and  economical  manner,  pictures 
and  devices  in  colours  without  the  aid  of  an  artist,  and  the 
invention  consists  in  the  mode  of  or  process  for  effecting  this 
object.  In  carrying  out  this  invention  photography  is  em- 
ployed to  give  the  outlines  and  the  shadows,  and  the  effect  is 
enhanced  by  the  addition  of  colours.  Let  it  be  supposed  that  it 
is  desired  to  reproduce  a portrait  in  colours  upon  a china  plate. 
The  outlines  and  details  of  the  portrait  are  traced  on  to  the 
plate  from  a photographic  print  in  any  convenient  manner,  and 
to  this  tracing  I may  apply  flat  tints  corresponding  to  the  natural 
tints  of  the  parts  represented,  and  also,  if  desirable,  to  form  a 
background.  The  plate  with  the  colour  thereon  is  then  fired  to 
fix  the  colours.  The  colours  used  are  the  usual  mineral  colours 
mixed  with  suitable  fluxes,  and,  by  preference,  ground  up  with 
an  essential  oil.  This  part  of  the  colouring  and  baking  process 
may,  however,  in  some  cases,  be  dispensed  with.  A plate  of  glass 
is  next  coated  with  a film  of  a sensitized  substance  composed  of 
distilled  water  100  grammes,  syrup  of  fecula  (C12H140,4) 
(grape  sugar)  30  grammes,  gum-arabic  15  grammes,  pure 
glycerine,  several  drops,  pure  bichromate  of  potash,  10  to  20 
grammes.  The  sensitized  film  is  then  exposed  to  the  action  of 
light  in  a printing-framo  under  a negative  of  the  portrait. 
After  sufficient  exposure  the  glass  plate  is  removed  from  the 
frame,  and  the  requisite  colours  to  obtain  the  desired  effect  are 
gently  laid  on  the  film  with  a soft  camel’s  hair  brus-h  in  the  form 
of  powder,  the  colours  to  form  the  shadows  being  first  applied, 
and  then  the  pervading  tints.  The  next  operation  is  to  diaengage 
the  coloured  film  from  the  glass  plate,  and  this  is  effected  by 
soaking  in  water.  As,  however,  the  water  would  disturb  the 
colours  on  the  picture,  a protecting  coating  of  “ normal  collo- 
dion ” is  first  applied  thereto.  The  coloured  film  is  then  plunged 
into  a bath  of  a 25  per  cent,  solution  of  caustic  potash.  The 
effect  of  this  bath  is  to  destroy  all  organic  matters  and  dissolve 
the  bichromate  of  potash.  At  the  same  time  the  fluxes  mixed 
with  the  colours  will  be  dissolved,  but  the  oxides  forming  the 
colours  remain.  The  action  of  the  caustic  bath  is  to  free  colours 
from  their  salts  of  chrome,  leaving  a photographic  image  in 
colours.  The  next  operation  after  a careful  washing  is  to  replace 
the  fluxes  washed  out  during  the  previous  operations,  and  by  the 
caustic  potash  bath.  This  is  effected  by  floating  the  film  with 
the  collodion  side  downwards  on  to  the  top  of  a regenerating 
bath  prepared  as  follows,  viz.  : — Dissolve  in  boiling  water  borate 


of  soda  to  saturation  ; to  10  litres  of  this  solution  add  25 
grammes  of  gelatine  and  100  grammes  liquid  ammonia  ; let  the 
mixture  stand  for  about  twenty-four  hours,  and  then  pass  it 
through  a filter.  After  subjection  to  the  regenerating  bath,  the 
film  picture  is  ready  to  be  placed  on  the  plate  of  semi-baked 
china  with  the  face  upwards.  This  may  b3  done  by  floating  it 
into  its  place  in  the  manner  well  known  to  photographers.  After 
leaving  the  regenerating  bath  the  photographic  picture  is,  if  re- 
quired to  be  retouched,  the  full  brilliancy  of  the  colours  being 
brought  out  by  the  application  of  spirits  of  turpentine.  The 
plate  is  then  fired  in  the  usual  manner,  the  resulting  picture 
having  all  the  appearance  of  hand-paintiDg. 

3396.  Frederick  Prince,  of  Patchairi,  in  the  county  of  Sussex, 
for  an  invention  of  “ Improvements  in  apparatus  for  displaying 
or  exhibiting  photographic  pictures  or  other  objects.” — Dated 
28th  August,  187G. 

A rotary  album,  not  differing  much  from  the  old  patterns. 
Patent  on  which  Stamp  Duty  of  £50  has  been  paid. 
3,702.  William  Morgan-Brown,  Patent  Agent,  of  38,  South- 
ampton Buildings,  London,  for  an  invention  of  “ An  improved 
method  or  process  for  obtaining  coloured  photographic  prints.” 
— A communication  to  him  from  abroad  by  Theodor  Pixi3,  of 
Munich. — Dated  11th  September,  1880. 

Patent  Granted  in  Italy. 

C.  Cros  and  A.  VergkraUd,  of  Paris,  for  “ Paper  for  photo- 
graphic positives,  and  its  manufacture.” — Dated  6th  June, 

1883. 

Patents  Granted  in  United  States. 

283,932.  “ Photographic  camera-box.” — E.  B.  Barker,  New 
York,  assignor  to  E.  and  H.  T.  Anthony  and  Co.,  same  place. 
— Filed  May  17,  1883. 

The  ends  of  a semi-circular  or  aich-like  metal  strip  are 
attached  to  diagonally  opposite  corners  of  the  camera,  and  this 
arch  of  metal,  which  extends  some  little  distance  outside  the 
camera,  is  gripped  by  a kind  of  vice  attached  to  the  base-board 
of  the  apparatus.  By  sliding  this  arch  of  metal  through  the 
jaws  of  the  vice,  the  camera  can  be  rapidly  adjusted  from  a verti- 
cal to  a horizontal  position,  or  vice-versa,  or  clamped  at  any 
intermediate  point. 

284,073.  “ Photographic  exposing  apparatus.” — R.  Schlotteb- 

hoss,  Vienna. — Filed  January  14th,  1883  (no  model). 

This  invention  is  a somewhat  complex  shutter  with  electric- 
magnetic  release. 

283,997.  ‘‘A  stereoscope.” — Charles  A.  Gartner,  Jersey  City. 
— Filed  April  23,  1883. 

The  inventor  claims  the  application  of  various  adjusting  pieces 
to  an  ordinary  stereoscope. 


INSTANTANEOUS  PHOTOGRAPHY. 

History  and  Development  of  a New  Art-Science. 

BY  EDWARD  A.  ROBINSON. 

The  most  conspicuous  application  of  light  to  the  purposes  of  art 
is  iu  photography.  Nothiug  in  the  whole  raDge  of  applications 
of  the  natural  forces  to  the  purposes  of  art  can  excel  the  results 
obtained  by  photography  for  exquisite  accuracy.  For  example, 
a plate  of  glass  is  covered  with  an  emulsion  of  gelatine.  The 
object  to  be  secured  is  focussed  in  the  camera  ; the  plate  is  put 
into  the  dark-slide,  placed  in  the  camera,  and  an  exposure  made. 
In  a few  seconds  a chemical  action  has  taken  place ; the  parts 
which  have  been  exposed  to  light  from  the  object  have  been 
affected,  while  those  in  the  dark  remain  unaffected,  as  is  proven 
in  the  development  which  follows. 

If  the  amount  of  light  admitted  to  the  camera  has  been  suffici- 
ent to  cut  into  the  sensitized  film  on  the  plate,  a good  result 
may  be  reasonably  expected  to  follow.  If,  however,  there  has 
not  been  a sufficient  quantity  of  light  admitted,  the  negative 
will  be  unsatisfactory.  It  is  a well-known  fact  that  Daguerre’s 
first  experiments  were  made  with  a single  achromatic  objective  ; 
a lens  whose  limited  power  of  light  enabled  him  to  photograph 
inanimate  objects  only.  Many  of  us  remember  the  early  period 
of  photography,  when  persons  were  obliged  to  sit  in  the  full 
sunlight,  and  allow  the  dazzling  rays  to  fall  directly  upon  the 
face,  a torture  which  is  clearly  marked  on  the  portraits  still  pre- 
served of  these  photographic  victims,  in  the  blackened  shadows, 
the  distorted  muscles,  and  the  half-closed  eyes. 

These  caricatures  could  certainly  not  bear  any  comparison 
with  a good  portrait  from  the  life,  nor  probably,  would  portrait 


Seftember  14,  1883.  J 


THE  PHOTOGEAPHIC’HEWS 


587 


photography  have  ever  had  success,  if  it  had  not  succeeded  in 
obtaining  the  exposure  to  a moderate  light.  This  was  obtained 
by  the  invention  of  a new  lens  — the  double  objective  portrait 
len3  of  Professor  Petzval,  of  Vienna. 

This  new  lens  was  distinguished  by  the  fact  that  it  produced 
a much  clearer  picture  than  the  old  lens  of  Daguerre,  because  it 
was  now  possible  to  take  impressions  from  less  dazzling-lighted 
objects.  This  lens  was  suggested  by  Petzval  in  1810.  Voight- 
lander  ground  the  lens  according  to  his  directions,  and  so  jn  cne 
of  the  Voightlander’s  lenses  became  indispensable  to  every 
Dnguerreotypist.  For  this  production,  among  the  many  other 
distinctions  bestowed  upon  them,  may  be  mentioned  the  silver 
medal  of  the  Society  for  the  Encouragement  of  Arts  in  Paris, 
which  established  the  priority  of  their  manufacture  of  portrait 
objectives  over  all  others,  and  a similar  honour  at  the  Paris 
International  Exposition  of  1S67,  the  repoit  of  the  jury  placing 
them  at  the  head  of  all  opticians  who  had  exhibited  photographic 
instruments,  and  regarding  their  lenses  as  unexcelled. 

Soon  after  the  production  of  this  lens,  Mr.  Benjamin  French, 
of  this  city,  recognizing  its  marvellous  worth  and  accuracy,  intro- 
duced it  into  America,  where  its  advent  was  hailed  with  joy. 
From  time  to  time,  acting  upon  many  valuable  suggestions  re- 
ceived from  Mr.  French.  Messrs.  Voightlander  and  Son  continued 
to  improve  in  their  specialities,  shortening  the  focus,  increasing 
the  field  of  vision,  and  continually  keeping  in  advance  of  all  others 
in  the  production  of  a lens  of  superior  illuminating  power  and 
accuracy,  until  in  the  improved  Euryscope  they  gave  to  the 
world  a lens  whose  excellence  has  been  abundantly  tested  by 
the  foremost  photographers  of  Europe  and  America. 

For  the  purpose  of  landscape  photography,  copying,  for  archi- 
tectural subjects  and  for  groups,  in  the  studio  as  well  as  outside, 
it  is  considered  unrivalled.  It  is  entirely  free  from  distortion 
and  difference  between  chemical  and  visual  focus,  and  the  picture 
produced  by  it  is  mathematically  correct.  The  most  important 
advantage  of  this  lens  in  comparison  with  others  of  a similar 
k;nd  consists  in  the  great  power  of  light  it  commands,  and  for 
this  reason  it  is  commended  especially  for  groups,  the  pictures 
produced  by  it  being  most  brilliant,  the  light  also  being  spread 
equally  all  over  the  plate. 

A quality  which  the  Euryscope  shows  in  common  with  Voight- 
lander’s portrait  lens  is  in  single  portraits  and  large  heads 
especially,  where  it  works  with  much  sweetness  in  flesh,  and 
discriminates  nicely  in  gradation,  giving  delicacy  of  detail  in  high 
light,  and  working  with  wonderful  softness  and  transparency  in 
shadow  ; in  short,  yielding  what  is  so  much  desired — flattering 
portraits. 

For  either  amateur  or  professional  there  is  something  in  these 
lenses  which  every  photographer  becomes  intensely  interested  in. 
The  amateur  possessing  an  ordinary  Euryscope,  in  connection 
with  a wide-angle  Euryscope,  will  have  a very  superior  outfit, 
that  cannot  be  excelled  ; for  he  will  then  possess  an  instrument 
of  great  mathematical  accuracy,  that  will  do  wonderful  things, 
will  never  deceive,  and  will  become  more  and  more  appreciated 
every  time  it  is  used.  Landscape  or  interior,  portraiture  or 
copying,  nature  in  repose  or  in  motiou,  are  grasped  in  its  power 
of  vision,  effecting  results  such  as  can  be  produced  by  no  other 
lens.  With  this  lens  the  operator  can  focus  all  points  with  the 
same  degree  of  sharpness,  thus  doing  away  with  the  blur  and 
indistinctness  common  to  other  lenses. 

Under  certain  circumstances,  particularly  in  making  repro- 
ductions, it  is  important  to  obtain  the  greatest  possible  angle  of 
view  ; in  such  cases  a modification  of  the  ordinary  Euryscope — 
whose  chief  aim  is  illuminating  power — is  necessary,  so  as  to 
secure  a picture  of  good  size  and  flatness  of  field,  an  advantage 
obtained  only  at  an  expense  of  illumination.  In  confined  situa- 
tions, where  the  ordinary  Euryscope  is  not  available,  these  wide- 
angle  Euryscopes  are  most  excellent,  as  they  embrace  objects 
not  accessible  with  the  former. 

Those  who  have  had  experience  in  copying  line-work  with 
the  more  expensive  lenses,  whose  flatness  of  field  is  relative 
rather  than  absolute,  know  the  embarrassment  and  difficulty  in 
focussing  the  image  satisfactorily  in  all  respects.  And  especially 
in  focussing  is  the  trouble  most  felt,  for,  if  the  middle  of  the 
field  is  made  sharp,  the  corners  will  be  out  ; and  if  the  corners 
are  focussed,  the  centre  field  will  be  out ; and,  finally,  to  split  the 
difference  and  focus  a point  on  the  diagonal,  somewhere  near 
midway  between  the  centre  and  a corner,  stopping  the  lens  down 
very  small  to  secure  planimetry,  and  thus  prolonging  the  expo- 
sure, to  find  that,  after  all,  the  negative,  on  very  close  examina- 
tion so  far  as  planimetry,  shows  only  a split-the-difference  kind 
of  result,  very  unsatisfactory,  especially  when  compared  with 


the  same  work  done  with  the  Euryscope,  whose  flatness  of  field 
may  be  said  to  be  absolute.  As  each  instrument  is  subjected  to 
a severe  and  accurate  test  by  Voightlander,  both  optically  and 
photographically,  before  being  delivered,  it  is  impossible  for  any 
but  perfect  instruments  to  get  into  the  market. 

Next  in  importance  to  the  Voightlander  come  the  Darlot  lenses, 
which  are  universally  acknowledged  to  be  superior  to  those 
manufactured  by  any  other  French  optician,  Darlot  having  re- 
ceived a large  number  of  awards  wherever  he  has  exhibited  them, 
the  latest  being  a medal  at  the  Vienna  Exhibition  of  1873, 
being  the  highest  award  given  for  photographic  lenses.  The 
view  lens  is  a single  combination,  and  good  only  for  landscapes. 
The  Darlot  wide-angle  hemispherical  lens  is  excellent  for  taking 
of  buildings,  interiors,  &c.,  in  confined  situations,  where  those  of 
longer  focus  cannot  be  used  to  advantage.  The  rapid  hemispheri- 
cal view  lenses  embrace  an  angle  of  from  sixty  to  seventy  degrees  ; 
are  quick-acting,  perfectly  rectilinear,  and  provided  with  central 
stops.  They  are  capital  for  landscapes,  out-door  groups,  instan- 
taneous work,  copying,  engraving,  architectural  subjects,  &c.  If 
the  amateur  can  afford  it,  let  him  get  the  Euryscope  by  all 
means  ; if  not,  do  the  next  thing,  and  get  a Darlot  Rapid  Hemi- 
spherical lens. — The  Boston  Times. 


PIIOTO-LITHOGRAPIIY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chap.  XIII. — Asphalt  Processes. 

Although  the  earlest  practical  process  of  photo-litho- 
graphy was  based  on  the  use  of  asphaltum  as  the  sensitive 
agent,  its  employment  for  this  purpose  has  always  been 
very  restrained  in  face  of  the  superior  rapidity  and  con- 
veniences offered  by  the  collo-chromate  methods.  In  spite 
of  its  slowness  and  uncertainty,  asphaltum  has,  however, 
two  special  advantages  over  the  latter  methods  in  superior 
clearness  and  sharpness  of  line,  especially  in  close  fine  re- 
ductions, and  its  power  of  resisting  acid,  which  renders  it 
peculiarly  suitable  for  typographic  etching  on  zinc  and 
other  etching  processes  of  photo-engraving.  It  is  chiefly 
in  this  direction  that  its  use  is  now  extending,  though  it  is 
possible  that  now  that  a ready  means  of  increasing  its 
sensitiveness  has  been  found,  it  might  also  be  turned  to 
more  useful  account  in  the  direct  methods  of  photo-litho- 
grapby  and  photo-zincography  than  has  been  the  case 
heretofore.  It  has  the  further  advantage  for  this  purpose 
that  the  bituminous  photographic  image  is  in  immediate 
contact  with  the  stone  ; while,  as  was  shown  in  the  last 
chapter,  the  collo-chromate  image,  though  receiving  the 
ink,  prevents  it  from  coming  into  actual  contact  with  the 
stone  or  zinc,  and  the  impressions  soon  become  worn. 

The  great  difficulty  in  working  the  asphaltum  processes 
is  the  fact  that  scarcely  any  two  samples  possess  the  same 
chemical  properties  or  sensibility  to  light  and  suitableness 
for  photographic  work  ; so  that  it  is  impossible  to  lay 
down  fixed  rules  for  exposure  and  working,  and  the  only 
way  of  ascertaining  the  photographic  properties  of  any 
particular  specimen  is  by  actual  trial.  Different  specimens 
of  asphaltum  vary  very  much  also  in  their  behaviour  with 
solvents.  By  eliminating  the  insensitive  constituents  of 
the  asphaltum  with  ether,  as  recommended  by  Dr.  Kayser, 
it  seems  possible  to  attain  more  rapidity  and  certainty  in 
working. 

The  properties  of  asphaltum  and  the  principles  of  its 
use  in  photography  have  already  been  briefly  noticed  in 
Chap.  V ; but  since  that  chapter  was  written,  the  writer 
has  seen  Dr.  Kayser’s  researches,  and  as  they  considerably 
modify  some  of  the  old  views  on  the  composition  and 
photographic  working  of  this  substance,  and  largely 
increase  our  hitherto  very  meagre  knowledge  of  it,  it  seems 
desirable  to  give  some  account  of  them  before  proceeding 
to  the  working  details  of  the  asphalt  processes. 

The  title  of  Dr.  Kayser’s  little  work  is  “ Untersuchungen 
liber  die  naturliche  Asphalte  mit  Beriicksichtigung  ihrer 
Photochcmischen  Eigenschaften  ” ( Researches  on  the 


588 


THE  PHOTOGRAPHIC  NEWS. 


'[SEPTEMBER  14,  1883. 


Natural  Asphalts  with  reference  to  their  Photo-ehemical 
Properties ),  published  at  Nuremberg  in  1879. 

The  terms  asphalt  or  bitumen  include  a large  group  of 
natural  bodies,  possessing  even  outwardly  very  different 
properties,  ami  known  by  different  names.  Some  are  hard 
and  compact,  others  soft  and  tarry,  and  some  fluid.  The 
only  properties  possessed  by  these  bodies  in  common  are 
that  they  contain  carbon  and  hydrogen,  have  a brownish 
black  colour,  and  more  or  less  of  a bituminous  smell  which 
is  peculiar  to  them.  They  are  divided  entirely  from 
different  kinds  of  coal  by  their  behaviour  with  solvents. 

The  term  asphaltuui  comes  from  the  Greek  word  for 
fossil  pitch,  r)a a<pa\ros  (and  o<pa\\onat'),  and  signifies  an 
unchangeable  body.  The  Latin  word  bitumen  is  derived 
from  pi.v  lumens. 

The  term  asphaltum  is  generally  applied  to  the  solid 
compact  bitumens,  such  as  are  used  in  photography ; while 
the  terra  bitumen,  besides  being  applied  to  those  and  the 
more  fluid  kinds,  is  also  used  in  a more  general  way  to 
signify  the  whole  class  of  bituminous  substances. 

The  supply  of  bitumen,  both  solid  and  fluid,  is  tolerably 
abundant,  and  it  i3  found  in  all  parts  of  the  world,  most 
frequently  in  volcanic  neighbourhoods,  accompanying  sul- 
phur, sulphuretted  hydrogen,  and  gaseous  or  liquid 
hydrocarbons. 

The  principal  sources  of  asphaltum  proper — i.e.,  with  a 
high  melting  point,  brownish  black  colour,  and  conchoidal 
fracture — are,  the  Dead  Sea  in  Syria,  the  Island  of  Trini- 
dad on  the  coast  of  Venezuela,  Coxitimbo  in  Peru,  and 
the  Island  of  Cuba. 

Bitumen  has  usually  been  considered  as  formed  by  the 
oxidation  of  petroleum,  and,  according  to  the  generally 
accepted  analysis  by  liegnault,  Boussingault,  and  others, 
is  composed  of  carbon,  hydrogen,  and  oxygen,  with,  in 
some  cases,  a small  proportion  of  nitrogen  and  a9h. 

In  1877,  Helm  discovered  the  presence  of  sulphur  in 
asphaltum  and  other  bituminous  products.  As  will  be 
seen,  Dr.  Ivayser’s  researches  show  the  constant  presence 
of  the  same  element  with  the  entire  absence  of  oxygen, 
and  from  experiments  made  by  distilling  solutions  of  sul- 
phur in  petroleum,  by  which  he  obtained  a brownish 
black,  tarry  mass,  soluble  in  ether,  chloroform,  and  partly 
in  alcohol,  without  separation  of  sulphur.  lie  concludes 
that  the  bitumens  are  produced  by  the  action  of  sulphur 
or  sulphur  compounds,  or  petroleum,  under  the  influence 
of  high  temperature,  pressure,  and  time,  possibly  with  the 
aid  of  volcanic  action. 

Some  samples  of  asphaltum  examined  by  the  writer 
give  a distinct  black  tarnish  to  polished  silver  when 
heated  on  it,  and  in  some  cases  similar  plates  coated  with 
solutions  of  asphaltum  in  ether  have  been  found  tarnished 
on  development. 

Dr.  Kayser  examined  five  different  kinds  of  asphaltum : 
Syrian,  Trinidad,  Bechelbronn  (Alsace),  Maracaibo  (Vene- 
zuela), and  Barbadoes  : but  he  specially  studied  the  two 
first,  as  being  the  kinds  generally  met  with  in  commerce, 
and  most  suitable  for  photography. 

Syrian  asphalt  comes  from  the  neighbourhood  of  the 
Dead  Sea,  and  is  found  on  its  banks,  or  floating  on  its 
surface,  as  well  as  in  beds  in  conjunction  with  sulphur  and 
other  volcanic  products. 

It  has  a conchoidal  fracture,  a peculiar  bituminous 
smell,  black  colour,  and  gives  a brownish  powder.  Its 
hardness  is  3 to  4,  according  to  Breithaupt ; specific  gravity, 
1T03  ; and  begins  to  melt  at  135^  C.  (275°  F.). 

It  is  partly  soluble  in  alcohol,  ether  ; more  in  benzole  ; 
completely  and  easily  in  chloroform,  bisulphide  of  carbon, 
turpentine,  and  the  different  earth  oils.  It  is  insoluble  in 
solutions  of  caustic  potash  or  soda,  weak  or  strong,  hot 
or  cold.  With  concentrated  sulphuric  acid,  Syrian  as- 
phaltum is  decomposed  only  by  heat,  with  evolution  of 
sulphurous  acid,  and  dissolves  into  a dirty  brown  fluid. 
Concentrated  nitric  acid  has  very  little  action  on  it,  even 
with  heat. 


Syrian  asphalt  comes  into  the  market  in  large  pieces, 
which  frequently  contain  small  lumps  of  earthy  substances, 
consisting  of  carbonate  of  lime,  gypsum,  clay,  and  sand, 
often  moist,  and  pasty  with  water. 

Qualitative  analysis  showed  thepresence,  besides  carbon 
and  hydrogen,  of  a large  proportion  of  sulphur,  as  well  as 
a small  quantity  of  nitrogen  and  mineral  substances  (iron, 
manganese,  and  calcium). 

Trinidad  asphaltum  comes  from  what  is  known  as  the 
Great  Bitch  Lake  on  the  Island  of  Trinidad.  It  forms  a 
basin  of  unknown  depth  about  half  a mile  long  and  110 
yards  broad.  At  the  sides,  the  pitch  is  hard  and  cold,  but 
increases  in  temperature  and  softens  towards  the  middle, 
where  it  i3  hot  and  fluid.  The  whole  surrounding  country 
is  covered  with  immcasureable  masses  of  asphalt-like  lava. 
Mud  volcanoes  are  found  in  the  neighbourhood,  and, 
according  to  some  writers,  the  whole  air  about  is  impreg- 
nated with  sulphurous  fumes.  Sulphur  and  petroleum  are 
aiso  found  on  the  island. 

Trinidad  asphaltum  is  in  most  points  very  similar  to  the 
Syrian,  only  its  colour,  especially  when  powdered,  is  lighter. 
Its  fracture  is  conchoidal ; specific  gravity,  TOG;  in  hard- 
ness, 3 ; it  begius  to  melt  at  130»  C.  (266^  F.). 

Its  behaviour  with  solvents  is  exactly  the  same  as  the 
Syrian.  It  comes  into  commerce  in  large  pieces,  which, 
however,  do  not  show  the  earthy  particles  found  in  the 
Syrian. 

It  also  is  composed  of  carbon  and  hydrogen,  with  a con- 
siderable quantity  of  sulphur,  as  well  as  a little  nitrogen 
and  ash,  tne  latter  an  iron  compound. 

Bechelbronn  asphaltum  is  a thick,  fluid,  tarry  substance, 
of  a peculiarly  weak  buturainous  smell,  and  a brownish 
black  colour.  It  is  found  near  Beckelbronn  in  Upper 
Alsace.  It  is  partly  soluble  in  alcohol,  almost  enterely  in 
ether,  and  entirely  in  chloroform  and  turpentine. 

Maracaibo  asphalt  comes  from  the  Lake  of  Maracaibo  in 
Venezuela,  and  is  also  found  in  connection  with  volcanic 
action.  Its  properties  are  very  similar  to  those  of  Trinidad 
asphaltum.  Its  specific  gravity  is  T091  ; its  hardness  3 ; 
it  begins  to  melt  about  130''  C.  (26G'J  F.). 

It  is  very  slightly  soluble  in  alcohol ; for  the  greater  part 
soluble  in  ether  and  benzole ; completely  soluble  in  chloro- 
form, turpentine,  and  petroleum. 

Barbadoes  asphalt  ha3  a light  brown  colour ; specific 
gravity,  1-011 ; hardness,  2;  and  begins  to  melt  at  110°  C. 
(2308  F.). 

It  is  partly  soluble  in  ether  and  alcohol  : completely  in 
chloroform,  turpentine,  and  petroleum. 

(To  be  continued.) 


COLOURING  PHOTOGRAPHS  ON  PAPER  AND 
PORCELAIN. 

IV II At  shall  I paint  ? is  the  first  question  asked  by  the  tyro. 
To  this  the  answer  is  : Let  the  first  essays  be  made  in  mono- 

chrome, on  the  glaze ; that  is  to  say,  with  one  colour  heightened 
by  one  or  two  others.  Photographs  of  casts  on  bas-reliefs  afford 
good  copies  for  this  purpose.  There  are  also  now  photographs 
of  flowers  to  be  obtained  at  many  of  the  best  photographers, 
which  are  eminently  suitable  for  the  beginner’s  first  lessons. 

Shall  I have  a background,  or  shall  I paint  on  a white  surface  ? 
i3  the  next  inquiry.  Backgrounds  soften  or  tone  down  the 
colours,  while  a white  ground  gives  force  to  the  subject  simply 
by  heightening  its  colours  by  contrast;  therefore,  if  a back- 
ground is  desired,  paint  the  subject  the  more  forcibly,  in  order 
to  overcome  the  softening  effect  of  the  ground ; if  a white 
ground,  let  the  treatment  of  the  subject  be  soft  and  light,  or  the 
work  will  lack  that  delicate  harmony  so  much  appreciated  by  all 
lovers  of  true  art.  Good  colours  for  this  purpose  (monochrome) 
are  red  shaded  with  Brunswick  or  chocolate  browns,  or  Vandyke 
shaded  with  German  brown.  Any  of  the  colours  which  will 
shade  themselves  are  suitable  ; but  the  learner  is  recommended  to 
confine  himself  in  his  earlier  efforts  to  red  and  brown,  those 
colours,  as  before  mentioned,  being  more  easily  used  than  some 
, others. 


September  14,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


589 


Having  worked  in  monochrome,  the  student  may  begin,  by 
slow  degrees,  to  introduce  himself  to  colours  by  carefully  using 
such  as  are  complementary  to  each  other.  By  pursuing  such  a 
course,  he  will  soon  find  out  which  colours  will  harmonize  when 
used  together;  and  having  done  so  he  will  be  instinctively  led 
in  like  manner  to  place  side  by  side  in  a subject  only  such  as 
will  produce  harmonious  results.  For  instance,  he  will 
naturally  place  in  a group  of  flowers,  the  purple-blue  cornflower 
next  to  the  glowing  buttercup,  if  he  wishes  to  heighten  either, 
or  the  delicate  blue  of  the  forget-me-not  with  the  pale  orange 
of  the  ear  of  barley.  The  result  will  then  be  a work  of  art, 
instead  of  a crude  copy. 

Although  the  complementary  colours  are  generally  known,  it 
may  be  as  well  to  repeat  them  here  for  reference  : 


Red,  complement  Green. 


Yellow, 

Blue, 

Violet, 

Orange, 

Green, 

Indigo  Blue 

Black, 


Violet. 

Orange. 

Pale  Yellow. 
Blue. 

Red. 

Ochre. 

White. 


probably  will  develop  it  for  himself,  according  to  the  exigencies 
of  particular  cases.  Buy  or  make  some  transferring  paper — 
common  (not  ceramic)  rose-pink  rubbed  on  paper,  carefully 
dusting  off  the  superfluous  piuk — or  some  crayon  rubbed  all  over 
the  paper  and  made  level  with  the  fingers,  will  answer  the  pur- 
pose. Rub  lightly  over  the  surface  of  the  article  to  receive  the 
tracing,  a soft  pad  of  linen  rag  on  which  is  a very  little  turpen- 
tine, with  perhaps  just  a drop  or  two  of  fat  oil  in  it,  unless  the 
turpentine  itself  is  a little  fat,  which  is  mostly  the  case  after  it 
has  been  kept  a little  while.  This  leaves  an  almost  imperceptible 
film,  which  must  dry  before  the  tracing  is  applied.  Now  place 
the  transferring  paper  with  its  embossed  side  downward  on  the 
ware — it  is  best  to  secure  it  with  bits  of  gum  paper,  ends  of 
postage  stamps  answer  well— put  the  drawing,  photograph,  or 
tracing  of  either  on  the  top  of  it,  and  with  a fine-pointed  stile 
go  over  the  whole  of  the  outline,  beiug  careful  not  to  press 
heavily,  nor  place  the  fingers  heavily  on  it,  as  finger-marks  will 
show  ; now  remove  both  papers  together,  and  the  outlines  will 
be  seen  on  the  ware.  Care  must  be  taken  not  to  go  over  the 
same  place  twice,  or  double  lines  will  bo  the  result.  Good 
tracing,  however,  is  only  a matter  of  a little  practice. — Revue  dcs 
Arts  Bccoratifs, 


This  is  the  natural  order  of  the  solar  spectrum.  All  comple- 
mentary colours  agree,  being  of  the  order  of  nature.  It  should 
be  borne  in  mind  that  the  rule  as  to  the  primary  colours  and 
their  immediate  complements  holds  good  to  the  remotest  tints, 
just  as  a positive  red  may  stand  by  a positive  green.  It  should 
always  be  remembered  that  a colour  standing  by  itself,  an  l the 
same  colour  placed  by  another,  have  a totally  different 
appearance,  and  this  difference  must  always  be  judged  of  and 
allowed  for.  For  instance,  as  already  stated,  red  is  always 
heightened  by  being  placed  next  to  green,  and  green  leaves  are 
always  intensified  by  warm  backgrounds  of  a rosy  or  reddish 
hue.  Every  one  will  have  noticed  how  a red  poppy  stands  out 
by  contrast  with  the  surrounding  green  of  the  cornfield.  These 
are  the  little  things  which  an  ordinary  observer  does  not  notice 
in  a seductive  little  picture,  but  they  are  the  things  which  give 
it  the  charms  which  he  acknowledges,  but  may  not  understand, 
and  frequently  gives  rise  to  the  expression  one  hears  so  often  at. 
a picture  gallery,  “ What  a charming  little  picture!  yet  there's 
nothing  in  it  at  all ! ” 

With  all  this,  however,  the  reader  must  bear  in  mind  that  all 
colours  in  nature  are  modified  and  softened  by  the  all-pervadiog 
grey  of  the  atmosphere.  Grey,  therefore,  may  be  used  with 
everything,  but,  as  in  nature,  it  should  give  both  tone  to  and 
take  tone  from  the  colours  which  it  modifies.  Thus,  for  the 
ox-eye  daisy,  pearly  grey  should  be  used  ; for  the  rose,  a pink- 
grey  ; and  for  the  distant  landscape,  a blue  grey.  These  broken 
tints  for  primitive  colours  containing  grey,  are  the  shadow 
colours  of  ceramic  art. 

There  are  three  modes  of  producing  the  outline  of  the  sub- 
ject upon  the  china.  The  first  which  will  be  mentioned  is  that 
ordinarily  employed  by  ceramic  artists  at  manufactories,  known 
by  the  term  “ sketebing-in.”  The  sketching  material  may  be 
the  ordinary  Indian  ink  of  our  water-colour  box,  or  smoke, 
which  is  simply  carbon  collected  on  any  spare  tile,  plate,  or 
saucer,  by  holding  it  over  a candle.  These  are  both  technically 
known  as  “ sketch.’’  The  writer  prefers  smoke,  as  Indian  ink 
is  sometimes  anything  but  pure,  and  consequently  does  not 
entirely  burn  away  in  the  kiln,  which  smoke  certainly  will  do. 
Smoke  must  be  used  with  turpentine,  Indian  ink  with  water  ; a 
fine  camel’s-hair  pencil  is  necessary.  The  subject  should  be 
sketched  carefully  and  lightly,  for,  if  too  much  sketch  is  used, 
its  depth  will  mislead  the  aitist  when  painting  over  it.  Another 
very  simple  and  handy  material  to  use  for  sketching  is  litho- 
graphic chalk,  which  will  mark  well  even  on  the  smooth  surface 
of  the  glazed  ware.  As  it  is  greasy,  and  soils  the  fingers,  it  is 
better  used  in  a crayon-holder.  Care  must  be  taken  not  to 
press  too  hard  upon  the  china  with  it,  as,  being  brittle,  it  will 
break  easily.  If  the  subject  is  to  be  painted  upon  a ground  of 
some  dark  colour,  previously  fixed,  of  course  light-coloured 
chalk  must  be  used.  It  is  obvious  that,  with  this  mode,  a 
previous  knowledge  of  drawing  is  necessary,  and  it  is  decidedly 
the  best  when  a subject  of  some  freedom  is  in  hand,  such  as 
flowers  or  landscapes  ; but  when  particular  work,  or  complicated 
ornamental  lines,  are  desired,  or  when  the  same  design  has  to 
be  repeated  on  a plate  or  other  article  more  than  once,  such  a 
mode  is  superseded  by  that  known  as  tracing. 

There  are  several  modes  of  accomplishing  this ; one,  however 
will  be  sufficient  to  indicate  the  general  idea,  and  the  student 


o 

TRICYCLES  FOR  PHOTOGRAPHERS. 

Dear  Sir, — As  you  have  kindly  referred  to  my  name  in 
your  pages  as  an  expert  in  tricycling,  I shall  be  glad  if  I 
can  assist  your  correspondent,  “Only  an  Amateur,”  with 
some  advice  with  regard  to  photography.  Your  correspon- 
dent will  find  a tr’cycle  very  much  better  than  a bicycle  for 
this  work.  Nearly  any  tricycle  can  be  used  for  the  pur- 
pose, but  the  best  method  of  carrying  the  apparatus  will 
depend  upon  the  tricycle  he  decides  to  adopt.  First,  I 
recommend  him  to  get  as  small  a tricycle  as  he  can — that 
is,  with  as  small  wheels  as  possible,  as  he  will  get  a lighter, 
safer,  and  stronger  machine,  and  this  will  prevent  him 
from  feeling  the  small  additional  weight  of  the  photo- 
graphic apparatus. 

The  outfit  I have  supplied  to  Mr.  Salmon,  the  Hon. 
Secretary  of  the  London  Tricycle  Club,  he  prefers  to  carry 
on  a very  small,  light  “Coventry  Rotary.”  The  apparatus 
is  packed  in  a solid  leather  case,  and  strung  underneath  the 
seat,  not  behind  it.  It  is  just  far  enough  from  the  ground  to 
clear  it  well,  and  thus  it  lowers  the  centre  of  gravity,  and 
steadies  the  machine.  The  tripod  stand  is  secured  with  two 
small  6traps  to  the  long  bar  on  the  side. 

If  one  of  the  regular  type  of  front  steerers  on  the  Salvo 
principle  be  used,  then  the  apparatus  is  best  carried  at  the 
back  of  the  seat  or  saddle,  and  the  tripod  stand  on  the  left 
hand  side,  just  behind  the  break,  and  parallel  to  the  driving 
chain.  If  a rear  steerer  be  used,  then  it  should  be  strapped 
on  to  the  backbone,  as  this  keeps  the  hind  wheel  down,  and 
makes  the  machine  steer  better  down  hill,  and  thus  actually 
increases  its  safety  and  improves  its  running. 

Now  for  the  photographic  apparatus.  This,  as  I have  said, 
should  be  packed  in  a solid  leather  case,  and  attardied  to  the 
tricycle  with  straps  carried  round  the  bottom  of  the  case  for 
the  sake  of  security,  as  jolting  over  rough  roads  is  a severe 
test  for  straps  sewn  on. 

A quarter-plate  set  for  dry  plate  photography,  with  three 
daik  backs  to  carry  six  plates,  aud  tripod  stand  complete, 
should  only  weigh  between  five  and  six  pounds;  a 5 by  4 
set  can  be  got  up  to  weigh  not  more  than  from  eight  to  nine 
pounds,  or  even  less  ; and  a half-plate  set  from  ten  to  twelve 
pounds.  I would  not  advise  anyone  who  wished  to 
thoroughly  enjoy ’cycling  to  handicap  themselves  with  a 
whole-plate  set  of  appaiatus. 

Your  correspondent  need  have  no  fear  but  that  when  he  is 
equipped  with  any  of  these  sets  of  apparatus  he  will  be  able 
easily  to  cover  twenty  or  thirty  miles  in  a day,  and  take  half 
adoz  nviews. — Yours  faithfully,  John  Browning. 

G3,  Strand,  W.C. 


590 


THE  PHOTOGRAPHIC  NEWS. 


[September  14,  1883. 


Sir,  —In  reply  to  “ Only  an  Amateur,”  I,  who  am  also 
only  an  amateur,  am  able  to  inform  him  that  it  is  quite 
possible  to  get  a light  tricycle  to  carry  his  camera,  and  his 
own  luggage,  too,  for  fifty  and  more  miles  a day  if  he  wishes. 

I,  in  fact,  very  seldom  ride  far  afield,  now  that  I have 
gone  in  for  photography,  without  my  camera,  &c.,  and  1 
have  only  just  finished  a five  weeks’  touring  through 
England,  and  also  in  Jersey  and  portion  of  Normandy 
and  Brittany. 

I myself  ride  an  Imperial  Club  machine,  made  by  the 
Coventry  Machinists  Company,  15,  Holborn  Viaduct;  but 
there  are  several  machines  that  may  be  said  to  be  equally 
good.  For  instance,  the  Premier,  made  next  door,  the 
Sparkbrook  National,  the  Coventry  Rotary,  or  the  front 
steering  Rucker,  made  at  Letchfords  Buildings,  Bethnal 
Green.  Any  of  these  machines  will  answer  the  purpose 
admirably,  and  can  be  fitted  with  luggage  carriers. 

I speak  from  fifteen  years’  experience  of  bicycles,  tricy- 
cles, and  latterly  the  Otto,  and  I should  strongly  recom- 
mend any  one  not  to  have  small  wheels  that  look  like  a 
child’s  toy-cart,  but  to  be  careful  not  to  have  wheels  less 
than  forty-eight  inches  in  diameter.  Mine  has  fifty-inch 
wheels,  and  I would  not  change  it  for  any  machine  in  the 
world,  as  it  has  served  me  so  faithfully  over  3,000  miles  of 
road,  and  is  as  good  as  ever.  It  weighs  between  sixty  and 
seventy  pounds,  and  recently  I have  been  carrying  over 
two  stone  of  baggage  upon  it. 

If  desired,  a large  wheel  can  be  what  is  termed  “geared 
down,”  and  this  very  materially  eases  the  work  of  propul- 
sion ; and  it  is  a fact  that  a fifty-inch  wheel,  geared  down 
to  (say)  forty-five  inches,  is  easier  to  drive  than  a machine 
with  only  forty-inch  wheels,  if  geared  level.  Geariug 
down  consists  in  enlarging  the  crank  cog  chain  wheel,  so 
that  the  cranks  go  round  more  slowly  than  the  driving 
wheels. 

Those  who  advocate  small  wheels  are,  as  a rule,  gentle- 
men whoprofe8s  to  be  satisfied  with  a maximum  speed  of 
about  four  or  five  miles  an  hour ; but  this  is,  of  course,  a 
needlessly  slow  pace,  and,  at  the  same  time,  it  is  more 
fatiguing  to  keep  it  up  with  very  small  wheels,  than  it  is  to 
travel  seven  or  eight  miles  an  hour  with  a larger  wheeled 
machine,  owing  to  the  very  rapid  movement  of  the  feet 
when  pedalling;  and  the  smaller  the  wheel,  of  course  the 
oftener  the  feet  have  to  pass  the  cranks  round  to  get  along. 

Be  sure  also  to  get  a machine  that  drives  both  wheels,  as 
this  it  a most  important  point.  Some  machines,  though 
not  many,  are  still  made  that  drive  one  wheel  only,  leav- 
ing the  other  to  be  dragged  as  dead  weight.  The  Coventry 
Rotary,  it  is  true,  drives  but  one  wheel,  but  it  is  an  ex- 
ception to  the  general  rule. 

Let  the  photo-cyclist  tourist  be  careful  to  carry  a small 
ruby  lamp  as  part  of  his  baggage,  so  as  to  be  able  to 
change  his  plates  in  his  room  at  night.  The  red  side  of 
his  tricycle  lamp  will,  however,  answer  the  purpose  if  the 
white  lights  are  carefully  covered. 

A photographer,  be  he  ever  so  old,  will  never  regret 
getting  a tricycle,  if  he  gets  one  of  ho  ;e  I have  mentioned, 
as  it  will  carry  him  anywhere  to  all  sorts  of  retired  nooks. 
—Yours,  & c.,  Photo-Cyclist. 

Dear  Sin,— In  answer  to  “ Only  m Amateur,”  I beg  to 
say  I can  give  him  all  the  information  he  requires,  as  I go 
out  often  on  a photographic  trip  on  a tricycle.  I use  both 
the  “ Rudge  Coventry  ” and  the  “ Cheylesmore  Coventry,” 
but  1 prefer  the  “ Rudge,”  as  it  goes  best.  1 have  a seat 
put  behind,  and  I can  carry  both  a whole-plate  and  half- 
plate camera,  but  think  the  whole-plate  rather  loo  large  if 
you  want  to  take  many  plates.  I use  mos'.ly  an  Enjalbert 
camera  with  two  backs  taking  sixteen  plates,  and  that  I 
fiud  quite  enough  for  one  day  ; of  course  1 develop  after  1 
come  home,  if  “ Only  an  Amateur”  will  send  me  his 
address,  1 will  give  him  all  the  information  ho  requires. — 
Yours  truly,  A.  Desser. 

Oak  Villa,  Beulah  Hill , Upper  Norwood,  S.E. 


Sir, — In  reply  to  “Only  an  Amateur,”  I should  recom- 
mend him  to  purchase  a “ Coventry  Rotary  ” tricycle, 
these  being  good  hill  climbers,  strongly  made,  and  the  best 
luggage-carriers  I know.  The  price  is  £20.  A neat 
basket  strapped  to  the  backbone  and  stay  will  carry  all  his 
impedimenta , and  after  a little  practice  he  will  be  able  to 
run  thirty  or  forty  miles  a day  easily. — I am,  sir, 
yours,  &c.,  A Tricyclist. 


Sir, —I  would  recommend  your  correspondent  “Only  an 
Amateur,”  to  write  Blenheim  and  Sons,  Englefield  Green, 
who  are  manufacturers  of  the  tricycle.  They  are  making 
an  arrangement  at  the  back  of  some  of  their  machines, 
specially  to  carry  photographic  apparatus. 

I should  say  this  would  be  the  sort  of  thing  “ Only  an 
Amateur  ” would  require.  I do  not  exactly  know  what 
their  prices  are  ; however,  a line  to  Messrs.  Blenheim  and 
Sous  would  doubtless  elicit  full  particulars. 

To  the  touring  amateur  photographer  who  develops  his 
plates  at  home,  the  tricycle  must  offer  extraordinary  facili- 
ties for  getting  through  the  country. — Yours,  &c., 

Chertsey , September  1 2th.  G.  Emberson,  Jun. 


Dear  Sir, — With  reference  to  “ Only  an  Amateur’s  ” 
letter  in  last  week's  issue,  I have  been  carrying  my  camera 
on  my  tricycle  during  this  season,  and  find  it  a very  great 
convenience.  My  machine  is  a “ Coventry  Rotary.”  The 
saddle  is  one  with  a back,  and  by  passing  the  two  straps  of 
an  ordinary  rug  strap  through  the  metal  loops  on  the  back 
and  on  the  Eaddlc,  and  strapping  them  round  the  camera 
case,  the  camera  can  bo  carried  in  perfect  safety,  as  by 
following  this  method  the  elasticity  of  the  spring  is  taken 
advantage  of.  I have  never  had  a broken  plate  since  adopt- 
ing this  method.  Previously,  when  touring,  I had  packed 
the  camera  and  slides  among  my  clothes  in  a travelling  bag, 
which  was  carried  strapped  to  a board,  on  tho  frame-work 
ot  the  machine  behind,  but  never  managed  to  get  home 
without  one  or  more  broken  plates,  owing  to  the  vibration 
and  sheets.  xYnother  advantage  the  Rotary  has  is,  that 
the  tripod  can  be  strapped  to  the  long  tube  which  supports 
the  two  small  wheels,  the  ordinary  luggage  being  carried  as 
above.  This  machine  is  light,  fast,  and  a good  hill  climber, 
and  besides,  is  narrow  enough  to  go  through  an  ordinary 
doorway. — I remain,  yours,  &e.,  F.  B. 

[PS  — The  cost  of  tho  Coventry  Rotary  Tricycle  is,  1 
think,  about  £19.] 


USE  OF  CHLORIDE. 

Sir, — In  the  excellent  article  by  Mr.  Vincent  Elsden 
in  your  last  issue  about  the  usefulness  of  chloride,  he 
implies  that  it  is  difficult  to  see  where  the  advantage  of 
using  it  exists.  From  my  observations,  I should  say  it 
may  be  very  useful ; as,  for  example,  in  my  process  given 
a few  months  back  in  your  paper.  In  the  formula  given 
there  is  a very  great  surplus  of  haloid  salt,  and  it  is  just 
the  chloride  that  is  so  useful  in  the  beginning  of  the 
emulsion  mixing.  As  given  in  the  formula,  the  emulsion 
is  so  prepared  that  the  silver  nitrate  is  in  excess  at  first, 
and  ouly  when  all  is  mixed,  is  the  haloid  salt  in  excess. 
In  this  way  it  is  natural  that  at  first  some  chloride  of 
silver  is  formed,  and  as  it  is  well  known  bromide  and 
iodide  will  turn  to  chloride  by  combination ; it  is 
this  formation  or  changing  that  will  give  a very  fine 
division  for  the  silver  compounds  in  the  emulsion. 
Hoping  you  will  not  see  prejudice  in  showing  this  use- 
fulness of  the  chloride, — I am,  yours  truly, 

Otto  Ptenxiger. 


PYRO  DEVELOPER. 

Sir, — Having  tried  various  forms  of  above  developer,  I 
•ound  the  following  to  answer  very  well  indeed,  giving 


Sept  eittvek  14,  1888.] 


THE  PHOTOGRAPHIC  NEWS 


591 


little  trouble,  no  fog,  and  will  keep  for  a great  length  of 
time  quite  clear  : — 

No.  1 Solution. 


Pyrogallic  acid  

...  1 ounce 

Sulphite  of  soda  

...  4 ounces 

Citric  acid 

...  60  grains 

Water  

...  16  ounces 

No.  2 Solution. 

Liquor  ammonia  

...  1 ounce 

Bromide  of  ammonia 

...  64  grains 

Water  

...  14  ounces 

In  mixing  No.  1 Solution,  care  must  be  taken  that  acid 
and  soda  are  dissolved  before  adding  pyro. 

For  use,  add  in  each  case  water  8 paits  to  1 part  of 
solution,  and  say  for  a properly  exposed  half-plate  take 
1 ounce  of  each,  and  mix  immediately  before  pouring  on. 
If  any  of  your  numerous  readers  will  give  their  opinion  on 
this  developer,  I shall  be  pleasod  to  hear  it. 

Kettering.  C.  H.  Ewen. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  held  on  Thursday,  Gth  inst,  Mr.  W.  E.  Deben- 
ham  occupied  the  chair. 

Mr.  Henderson  passed  round  two  negatives,  cabinet  and 
quarter-plate,  of  the  same  subject,  to  illustrate  the  advantages  in 
usiDg  a weak  developer.  The  conditions  were  similar  as  regards 
speed,  exposure,  duration  of  development,  &c.,  the  only  difference 
being  in  the  strength  of  the  developer  ; the  weaker  solution 
yielding  an  over-exposed  negative.  He  had  no  doubt  if  he  had 
prolonged  the  action  with  the  weaker  developer,  more  detail 
could  have  been  obtained,  as  well  as  the  necessary  opacity  in  the 
dense  portions.  The  normal  developer  was  composed  of  pyro- 
gallol  2 grains,  potassium  bromide  2 grains,  strong  liquor  am- 
monia 2 minims  per  ounce  ol  water. 

Mr.  Cowan  thought  the  gain  was  perhaps  attributable  to  the 
difference  in  the  size  of  the  figures  that  should  make  the  smaller 
plate  at  least  one-fourth  quicker  than  the  other.  He  found  that 
using  equal  proportions  of  pyro  bromide  and  ammonia,  it  acted 
very  well ; he  had  some  very  quick  plates  of  Mawdesley's,  which 
were  so  thin  under  ordinary  treatment  that  he  could  not  get  a 
good  result;  but  using  4 grains  of  pyro.,  4 grains  of  bromide, 
and  4 drops  of  ammonia,  he  was  enabled  to  get  excellent  nega- 
tives. 

Mr.  Brown  had  noticed,  when  testing  plates  in  company  with 
Mr.  Cobb,  that  some  would  show  signs  of  developing  at  least  five 
seconds  before  others  from  the  same  batch  ; he  should  like  to 
know  what  gain  there  would  be  in  diluting  the  developer  50  per 

cent. 

Mr.  Henderson  thought  the  exposure  need  only  be  one-half. 
The  sensitometer  might  be  used  to  determine  it ; but  it  would 
be  better  to  compare  the  plates.  Referring  to  Mr.  Haddon’s 
green  fog  experiments  brought  forward  on  the  23rd  ultimo,  he 
had  mixed  a small  quantity  of  the  so-called  green  fog  material 
with  gelatine  and  coated  the  plates,  which  he  now  handed  round  ; 
there  could  be  no  question  about  this  being  green  fog  of  some 
sort,  but  he  doubted  if  this  was  the  green  fog  we  are  usually 
accustomed  to  see,  because  the  plan  he  had  adopted  to  remove 
portions  of  the  fog  would  not  affect  the  silver,  supposing  any 
were  present. 

The  Chairman  doubted  whether  the  substance  used  by  Mr. 
Htnderson  to  obtain  the  clear  portions  could  only  act  when  silver 
is  not  present.  After  some  further  discussion  in  which  the 
merits  of  chlorine  and  bromine  water  followed  by  hypo  or 
cyanide  as  a means  of  destroying  green  fog  in  gelatine  negatives, 
it  was  stated  that  the  clear  portion  in  one  of  the  plates 
shown  was  produced  by  a gas.  The  Chairman  rt minded 
the  members  that  Mons.  Hutinet  would  demonstrate  his 
method  of  makiog  enlargements  before  them  on  Thursday, 
13  inst.  ; he  had  attended  the  meeting  at  the  Golden  Cross,  and 
he  thought  when  Mons.  Hutinet  came  to  their  large  hall  he 
would  find  more  room  to  work  in,  and  the  audience  would  be 
better  able  to  judge  of  the  results. 

It  wa  i decided  that  all  new  members,  on  their  first  attendance, 


shall  be  introduced  to  the  Chairman  aud  the  members.  Three 
gentlemen  were  proposed  for  election. 

Mr.  Jarman,  who  was  introduced  by  Mr.  Prestwich,  said  that 
he  had  a scheme  to  bring  before  the  members,  which  would 
enable  them  to  piint  albumenized  silver  paper  quickly  in  dull 
weather,  by  means  of  the  electric  light.  He  had  made  some 
important  improvements  in  storage  batteries  and  dynamo 
machines,  and  quite  recently  fitted  up  the  lamps  for  the  Direct 
Photo-Engraving  Company,  which  enable  them  to  make  the 
negative,  transfer,  and  block  under  three  hours,  a matter  of 
great  convenience  in  dull  weather.  For  photographic  printing, 
he  proposed  using  an  arc  lamp  with  a deposit  of  zinc  or  some 
other  suitable  metal  on  the  carbons,  to  obtain  the  most  actinic 
light.  By  having  a large  parabolic  reflector  some  four  or 
five  feet  in  diameter,  and  using  a current  of  high 
tension  (150  volts),  and  low  in  quantity  (8  or  10  amperes),  he 
would  get  a light  of  steel  blue  colour,  lie  had  long  considered 
this  matter,  and  was  anxious  practical  photographers  should 
assist  him  with  their  experience. 

Mr.  Wellington  showed  some  negatives  and  prints  from  an 
unwashed  emulsion  containing  a little  over  one  grain  of  silver  to 
each  half-plate.  He  thought  they  were  rather  slow,  exposure 
being  two  seconds—^- 

Mr.  Garrett  was  appointed  Chairman  for  next  meeting. 


3LaIk  in  t&i 

Me.  C.  James,  of  Vauxhall,  sends  us  an  elegant  little  camera- 
stand  made  of  straight -grained  pine,  which,  besides  being  well 
and  neatly  finished,  has  the  advantage  that  it  is  easily  adapted 
for  employment  on  sloping  ground,  a feature  that  may  well  be 
noted. 

Photographic  Society  op  Ireland.— The  Hon.  Secretary, 
Mr.  Alexander  Conan,  has  issued  the  following  circular  : — “ The 
Photographic  Society  of  Ireland  are  very  desirous  of  holding  an 
Exhibition  early  in  the  coming  year  ; and  with  the  view  of  form- 
ing as  correct  an  idea  as  possible  of  the  number  of  exhibits 
which  they  would  be  likely  to  collect,  I am  desired  to  ask  you 
if  you  would  co-operate  in  the  movement,  and  if  on  the 
accompanying  form  you  would  state  the  probable  amount  of 
space  you  would  require.  An  early  reply  would  be  esteemed  a 
favour  by  your  obedient  servant,  Alexander  Conan,  Hon.  Sec., 
Stephen’s  Green,  East,  Dublin,  1st  September,  18S3.” 

A Detective  Photographer. — A curious  discovery  of  a 
diamond  fraud  was  made  by  a photographer,  recently.  A 
diamond  expert  was  offered  a very  large  stone  for  £1,600.  He 
applied  to  it  all  the  tests  used  in  the  trade,  and  was  satisfied 
that  it  was  genuine.  After  he  had  purchased  it,  some  circum- 
stances occurred  which  led  him  to  suspect  that  he  had  been 
cheated,  notwithstanding  the  apparent  genuiness  of  the  diamond. 
He  took  the  stone  to  a photographer,  and  asked  him  to  send  a 
ray  of  sunlight  through  it  with  a lens.  Then  it  was  discovered 
that  there  was  an  obstruction  in  the  stone.  A ray  which 
passed  through  other  diamonds  clear  and  bright  was  stopped  in 
the  suspected  stone.  A powerful  microscope  was  used  upon 
it,  and  it  was  discovered  that  the  obstruction  'was  some  cement 
which  joined  two  small  stones  together,  the  two  forming  the 
magnificent  gem  the  merchant  had  bought.  The  two  stones 
were  separated  by  chemicals,  and  were  worth  about  £120  each. 
Tit  Bits. 

The  Photographer’s  Door-man. — Henry  Bunting,  photo- 
grapher’s assistant,  was  charged  at  Worship  Street  with  being 
drunk  and  disorderly  and  annoying  foot  passengers. — Police- 
constable  416H  stated  that  on  Saturday  evening  he  saw  the 
prisoner  follow  a respectably-dressed  person,  seize  hold  of 
him,  and  pull  him  into  the  doorway  of  the  establishment  of 
his  employer,  who  was  a photographer.  He  was  pulling  the 
person  in  question  into  the  house  in  order  to  make  him  sit 
for  a photograph,  and  the  gentleman  was  exclaiming,  “ I 
don’t  want  my  likeness  taken.”  The  witness  stated  that 
he  had  received  many  complaints  from  respectable  persons  of 
this  conduct  on  the  part  of  the  prisoner.  When  anybody 
passed  the  shop  who  was  a likely  subject  for  a photogiaph, 
the  prisoner  followed  and  solicited  them  to  go  in.  When 
charged  at  the  police-station,  the  prisoner  said  he  did  this  by 
the  order  of  his  master,  who  had  instructed  him  that  whenever 
a sailor,  or  a navvy,  or  such  like  passed  by,  he  was  to  “ make  on 
to  them.” — The  prisoner  was  discharged. 


592 


THE  PHOTOGRAPHIC  NEWS. 


[Sf.ptemrer  14,  1883. 


A New  Product  of  the  Slow  Combustion  of  Ether. — 
E.  Legler,  iu  a recent  number  of  the  Annalen,  describes  some 
interesting  researches.  When  ether  vapour  is  oxidised  in  a 
current  of  air  by  means  of  red-hot  platinum,  and  the  products 
of  the  imperfect  combustion  are  condensed,  a liquid  is  obtained 
which  yields  by  slow  evaporation  over  sulphuric  acid  a body 
forming  rhombic  crystals  and  melting  at  about  51°.  It  is  solu- 
ble in  water,  alcohol,  ether,  and  chloroform,  with  slight  decom- 
position, its  solution  rapidly  becoming  acid,  although  the 
crystals  themselves  have  a neutral  reaction.  It  volatilises  slowly 
at  ordinary  temperatures,  detonates  slightly  when  suddenly 
heated,  and  also  very  faintly  when  struck.  The  constitution  of 
this  body  is  not  understood,  its  formula  being  apparently 
CI,n33Ogl.  On  the  addition  of  alkalis  to  its  aqueous  solution, 
hydrogen  is  evolved,  whilst  formic  acid  and  methaldehyde  are 
produced ; with  ammonia  it  yields  oxygen,  formic  acid,  and 
methaldehyde,  and  with  ammoniacal  lead  solution,  oxygen  and 
lead  dioxide.  It  liberates  iodine  from  potassium  iodide,  especi- 
ally in  presence  of  sulphuric  acid,  and  with  lead  oxide  it  yields 
detonating  gas.  The  dioxides  of  lead  and  manganese  are  re- 
duced, with  evolution  of  gas  and  formation  of  formates  of  these 
metals ; with  acids,  however,  it  shows  greater  stability. — Journal 
of  the  Chemical  Society. 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
September  19,  the  subject  for  discussion  will  be,  “ What  is  the 
correct  proportion  of  gelatine  to  silver  in  a gelatine  emulsion, 
and  what  is  the  effect  of  increasing  the  proportions  ? ” On 
Saturday  afternoon  next  an  out-door  meeting  will  be  held  at 
Kew,  and  the  members  afterwards  meet  at  the  “ King’s  Arms  ” 
at  G o’clock. 


$0  ®0msB0tt&tttt*. 

%*  We  cannot  undertake  to  return  rejected  communications. 

E.  Williams. — The  arrangement  is  precisely  as  wo  described  it, 
and  the  results  were  good  ; but  if  a lens  of  very  short  focus  had 
been  used,  it  is  probable  that  the  results  would  not  have  been  so 
satisfactory. 

W.  Sterling. — An  exact  answer  cannot  be  given,  unless  full 
data  as  to  the  construction  of  the  lens  are  given;  but  in  ordinary 
cases  it  would  range  between  one-third  more  and  doable  ; it 
being  understood  that  the  aperture  is  the  same  in  each  case. 

P.  L.  T. — It  is  probable  that  you  have  contaminated  the  toning 
solution  with  a trace  of  hypo,  either  by  failure  to  properly  rinse 
your  fingers  when  transferring  prints,  or  by  the  indiscriminate 
interchange  of  dishes.  Make  up  a fresh  bath,  and  exercise  more 
care  in  future. 

F.  Gregory. — It  arises  from  the  oxidation  of  the  iron  salt  on  ex- 
posure to  the  air,  and  the  remedy  is  to  keep  it  in  a well-closed 
bottle. 

J.  E. — 1.  There  is  no  silver  in  the  developer.  2.  Add  a solution  of 
sulphide  of  potassium  until  no  more  black  precipitate  is  deposited. 
Collect  and  preserve  this,  and  when  a sufficient  quantity  has 
accumulated,  you  can  send  it  to  a refiner,  or  reduce  it  yourself 
by  fusion  with  carbonate  of  soda. 

W.  Holt. — Thanks  for  your  note  ; but  our  correspondent  rather 
wished  for  suggestions  as  to  construction  and  fittings,  than  par- 
ticulars as  to  those  now  offered  for  sale. 

A.  L. — Tho  rollers  you  enquiro  about  wero  formerly  manufactured 
by  the  Lanham  Holler  Company ; but  we  believe  that  the  busi- 
ness is  now  in  the  hands  of  the  proprietor  of  the  Daily  Telegraph 
newspaper. 

C.  J.  Dobbs. — We  shall  be  pleased  to  receive  particulars  as  to  the 
methods  of  working  which  have  kept  you  clear  of  the  troublos 
and  difficulties  alluded  to. 

II.  Howard. — 1.  The  angle  referred  to  will  answer  well.  2.  It 
would  bo  well  to  make  the  top-lights  a little  larger,  if 
practicable.  3.  It  is  not  too  fiat ; but,  if  you  like,  you  can  smear 
it  over  with  a thin  film  of  boiled  oil,  and  allow  this  to  dry.  4 
The  colour  is  about  right,  but  you  will  be  able  to  judge  best  by 
the  working  results.  If  it  answers  well,  make  no  change. 

An  Amateur. — You.-  question  could  only  be  answered  by  showing 
a picture  taken  under  definite  conditions  with  one  of  the  boat 
lenses  of  the  class  referred  to;  hut  no  lens  of  this  kind  will 
give  such  good  definition  at  the  margin  as  in  the  central  parts 
of  the  field.  Can  you  either  compare  your  pictures  with  those 
produced  by  means  of  better  lenses,  or  send  us  a few  of  them 
to  look  at  P 

M.  Lampeter. — Varnish  is  a great  protection,  as  it  guards  the 
delicate  wood-work  against  the  effect  of  moisture.  Ordinary 

',  1‘rench  polish  is  a solution  of  shellac  in  spirit. 


Charles  Buuford. — There  can  le  but  little  doubt  as  to  the  ad- 
vantages of  taking  such  precautions,  and  we  cannot  suppose  that 
the  remarks  to  which  you  refer  were  made  seriously. 

F.  W.  T. — 1.  The  proportion  of  glycerine  should  not  be  so  large. 
One  part  to  six  or  eight  of  gelatine  is  abundance.  2.  If  you  soak 
in  water  you  will  remove  the  free  nitrate  of  silver,  and  the  sensi- 
tiveness will  be  reduced  in  proportion.  3.  Yes. 

Bath. — From  the  appearance  of  your  plate,  wo  fancy  that  tho 
solution  merely  requires  to  be  filtered. 

S.  T.  J. — 1.  This,  like  most  colours  of  animal  or  vegetable  origin, 
fades  rapidly  on  exposure  to  a bright  light.  An  alizarine  lako 
would  bo  far  less  liable  to  change.  2.  About  five  grains  of  a 
tough  pyroxylino  to  each  ounce  of  mixed  solvents.  3.  Probably 
you  mean  bicarbonate.  4.  Not  altogether,  but  certainly  to  a very 
great  extent. 

Tuos.  Tyler.— 1.  It  dissolves  very  readily  in  benzole,  and  you 
will  find  GO  grains  to  each  ounce  to  be  a suitable  proportion. 
2.  It  is  due  to  tbe  presence  of  traces  of  iron. 

F.  Briglmen. — We  will  post  you  the  reference  to  a scries  of 
articles,  and  the  title  of  a book  on  tho  subject. 

H.  S. — You  would  do  well  to  employ  a lens  of  the  symmetrical 
or  rectilinear  type. 


Pjotff gothic  gtefors  gcgtsfrir. 


Employment  Wanted. 

Operator  and  Retoucher,  to  in  inage. — F , c/o  C.  E.  Elliot,  35,  Jewin-st.,  E.C. 
Reception  Room  or  Spotter. — K.  11.,  7,  Marlboro’-road,  Upper  llollowav. 
Operator,  Retoucher,  Posing,  and  Lighting. — Bromide,  Photo  News  Office. 
Operator  and  Retoucher.— H.  II , 49,  Iligh-strect,  Buxton,  Derbyshire. 
Operator  and  Retoucher  (first-class). — W., c/o  E.  Elliott,  3G,  Jewin-st. , E.C. 
Operator  or  Assist,  (dry  plates). — H.  J.,  c/o  Mr.  Fi.-pe,  Brcwer-st.,  Pimlico. 
Operator  (in  or  out-door). — F.  H.,  55,  Mordaunt-strcet,  Stockwell,  S.W. 
Lady,  Reception  Room. — R.  C.  Smith,  31, Tremlett-grovc,  Upper  Holloway. 
Mounter,  Spotter,  &c.  (Lady).— A.  1L,  Mattocks,  17,  Royal-hill,  Greenwich. 
Retoucher,  Operator,  &c. — M.  E.  B , 34,  Willis-road,  Kentish  Town,  N.W. 
Reception  Room,  Mounting, &c.— Miss  Faulkner,  Park-st.,  Camden  Town. 
Mounter,  Spotter,  Reception  Room,  Books.— Q.  Y.,  Ordnance-st.,  Chatham. 
Improver  and  all-nnin  I hand. — M.  It.  C , 34,  King-land  High-street,  E. 
Painting  Photos,  and  Opals,  &c.  (Lady). — A.  B.,  40,  Ship-street,  Brighton. 
Operator,  Retoucher,  &c. — W.,  93,  The  Grove,  Hammersmith,  W. 

First  Operator  or  Manager. — L.  Sawyer,  Barras-bridge,  NewcasMe-on-Tvne. 
Operator  A Retoucher,  or  manage. — E.  Austin,  0,  Lyndhurst-tcr.,  Worthing. 
Operator  and  Retoucher,  £3  3s.  per  week.— W , c/o  Elliott,  3G.  Jewin-st., E.C 
Operator,  for  copying. — A.  Butteral,G,  Bull-and-mouth-st.,  E.C. 

Improver  (studio  and  out-door  work). — W.  C , Photographic  News  Office. 
Manager  (first-class) — Pyro.,  50,  Gilbert-road,  Kennington,  S.E. 

Improver  (Lady). — R.  C.,  c/o  Edwin  Stevens, Stationer, Kentist  town. 
Printer  & Vignetter.— Bromide,  19,  South-street,  David-street,  Edinburgh. 
Printer  (permanency).  25/-  per  week. — Photo.,  4,  Gordon-rd.,  Hornsey,  N. 
Retoucher. — M.  M , Photographic  News  Office,  5,  Castle-st.,  llolborn,  E.C. 
Retoucher  (first-class).— J.  A.  Henstock,  3,  Regent-street,  Derby. 

Retouch.  & Recep.-room  (Lady). — M.  A.  Martin,  5,  Cranbourn-st.,  Brighton. 
Artist,  work  for  firms. — Vandyke,  Photographic  Nows  Office. 

Operator  and  Retoucher. — L.  Norman,  20,  South  Parade,  Chelsea- 
Portrait  Painter. — Silver,  232,  New  John-strect,  W.  Birmingham. 

Employment  Offered. 

Operator,  Retoucher,  to  manage.— Franks  & Co.,  o/o  Marion  & Co.,  Soho-sq. 
Apprentice  or  Improver,  to  live  in  house. — T.  Vipond,  G,  Vine-st,  Grantham . 
Pi  inter  and  Toner,  all-round  hand.— R.  Stewart,  153,  High-street,  Elgin. 
Operator,  Retoucher,  & Printer. — A.  Kempton,  17,  Sliepherd’s  bush-gr.,  W. 
Artist  and  Retoucher  (first-class).— Mr.  Winter,  Midland-road,  Derby. 
General  Assistant,  used  to  dry  plates.— E.  D.  L.,  8,  Castle-st.,  Cirencester. 
Colourers  (20,  for  home  work). — Peresia,  Silva,  and  Co.,  353,  Strand,  W.C. 
Retouchers  (3  first-class)  — J.  Lafayette,  30,  Westmoreland-st.,  Dublin. 

Dry  Plate  Maker. — W.  Barry,  7,  Park  Street,  Hull. 

Dry  Plate  Work  (first-class). — J.  Lifayctte,  30,  Westmoreland-st.,  Dublin. 
Operator  for  Large  Work. — E.  Meycrstoin,  84,  Newgate-street,  E.C. 
Reception  Room,  &c.  (Lady). — Mr.  Gandy,  5,  Bishopsgate-wilhout,  E.C. 
Printer,  who  can  take  negative.— J.  Long,  Crockherbtown,  Cardiff. 
Retoucher  (Lady),  at  £1  Is.  weekly  — S.,  Photographic  News  Office. 
Collotypist  Piinter.— M.  Billing,  Son,  & Co. , Livery-street,  Birmingham. 
Printer  (few  weeks). — T.  C.  Turner,  10,  Barnsbury-park,  Barnsbury,  N. 
Operator  or  Manager. — F.  M.  V.,  Lorctto  House,  Clacton-on-Sea. 
Chromotype  Printer.— Heath  & Bullingham,  24,  George-street,  Plymouth. 
Assistant  Operator  and  Retoucher. — J.  White,  Ipswich. 

Assistant  Retoucher.— Bull  and  Co.,  13,  Narrow-street,  Peterborough. 
Retoucher  (first-class).— J.  E.  Bliss,  7,  St.  Andrews  street,  Cambridge. 
Operator  and  Retoucher. — J.  E.  Bliss,  7,  St.  Andrews- street,  Cambridge. 
Operator  (iinmed.).— S.  Butler,  Montague-house,  N.  Station-rd.,  Colchester. 
Assistant  Operator. — Barnes  & Son,  422,  Mile  End  Road,  E. 

“Will  be  found  pleasant  and  entertaining  reading.’’ — Daily 
Chronicle. 

Price  2.t. , Per  Post  2s.  2d. 

\ BOUT  PHOTOGRAPHY  AND  PHOTO- 
XA.  GRAPIIERS.  A Series  of  Essays  for  the  Studio  and 
Study,  to  which  are  added  Continental  Rambles  with  a Cam?ra, 
by  li.  Baden  Pritchard,  F,C.S. — IVer  and  Carter, J5,  Castle 
Street,  llolborn,  E.C. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVII.  No.  1307.— September  21,  1883. 


CONTENTS. 


PAG* 

The  New  Regulation1?  of  the  Pall  Mall  Exhibition 503 

Point  of  View 594 

Science  at  the  Fisheries’  Exhibition 596 

Some  Foreien  Journals  1 496 

Photographic  Blocks  for  the  Letter-Press  Printer 598 

Organic  Compounds  in  the  Sun 598 

Notes 600 

Patent  Intelligence  602 

Royal  Cornwall  Polytechnic  Society  603 


PAGE 

Box  for  Rapidly  Drying  Gelatine  Negatives.  By  T.  G.  'WTiaite  604 


Royal  Cornwall  Polytechnic  Society. — Judges’  Report 604 

The  British  Association  605 

A Dictionary  of  Photography  606 

Correspondence  606 

Proceedings  of  Societies  607 

Talk  in  the  Studio 607 

To  Correspondents 608 

The  Photographic  News  Registry 608 


THE  NEW  REGULATIONS  OF  THE  PALL  MALL 
EXHIBITION. 

A careful  perusal  of  the  circular  issued  by  the  Photo' 
graphic  Society  of  Great  Britain,  concerning  the  Exhibition 
to  bo  held  next  month  in  Pall  Mall,  will  reveal  several 
points  of  importance,  to  which  wo  may  call  our  readers’ 
attention.  The  date  for  sending  in  pictures  is  Friday  next, 
the  28th  iust.,  and  a “ special  notice,”  printed  in  red  ink, 
warns  all  those  whom  it  may  concern,  that  this  date  is  to 
be  strictly  adhered  to.  This  is  as  it  should  be,  for  there 
caunot  be  a doubt  that  on  many  occasions,  pictures  have 
been  carried  into  the  Society’s  Rooms  at  the  last  moment,  to 
the  hindrance  of  officials  and  direct  prejudice  of  timely 
exhibitors. 

The  “new  departure”  in  the  regulations  is  twofold.  In 
the  first  place,  it  will  be  seen  that  medals  are  to  be  given 
not  simply  for  pictures,  but  may  bo  awarded  by  the  judges 
for  “ artistic,  scientific,  and  technical  excellence.”  In  a 
word,  the  scientific  and  technical  side  of  photography  is  to 
be  eligible  for  honours  as  well  as  the  artistic  aspect.  To 
this  new  state  of  things  we  feel  sure  our  readers  will  be 
agreeable,  for  if  the  Society  is  to  look  after  the  interests  of 
the  scientific  photographer,  as  well  as  the  art  photographer, 
its  honours  ought  to  be  equally  divided.  Of  late  years,  it 
is  true,  the  Society  has  done  something  for  the  scientific 
worker  by  the  institution  of  a silver  progress  medal ; but 
this  is  only  awarded  once  a year,  while  makers  of  pictures 
compete  annually  for  a round  dozen  of  medals  at  least. 
Unfortunately,  we  fear  the  new  regulations  will  not  be  so 
easy  to  carry  out  as  they  were  to  conceive.  The  discoverer 
of  a new  developer,  a new  sensitizing  medium,  or  vehicle 
for  the  same,  ii  would  be  easy  enough  to  reward,  no  less 
than  he  who  suggests  important  modifications  in  known 
formulae ; but  how  proof  of  these  are  to  be  submitted  at  an 
exhibition,  it  is  difficult  to  discover,  unless  the  judges  are 
prepared  to  constitute  themselves  a committee  of  investi- 
gation, and  to  undertake  lengthy  chemical  research.  It 
will  not  do,  obviously,  to  take  matters  for  granted,  without 
some  test  or  proof,  and  here,  we  suspect,  will  be  the  first 
difficulty  our  judges  will  encounter.  Even  in  the  simple 
case  of  a new  shutter  or  other  technical  matter,  the  gentle- 
men appointed  as  judges  are  likely  to  desire  some 
practical  trial  before  awarding  a medal,  so  that,  in  any  case, 
the  labours  of  the  judges  are  certain  to  be  much  more 
onerous  than  those  imposed  upon  former  bodies. 

Fortunately,  the  constitution  of  the  judges,  another 
novel  feature,  is  such  as  to  be  quite  capable  of  dealing 
successfully  with  the  scientific  and  artistic  sides  of  photo- 
graphy. There  are  no  painters  of  note,  no  Royal  Acade- 
micians; but  their  absence,  at  any  rate  in  this  particular 
instance,  is  not  to  be  deplored.  No  member  of  a jury,  so 
far  as  our  experience  goes,  ever  gave  so  much  attention  to 


the  awards  as  the  distinguished  painters  who  have,  year 
after  year,  consented  to  act  as  judges  of  our  Exhibition. 
Painstaking  to  a degree,  and  bringing  to  the  subject  in 
hand  a vast  amount  of  artistic  experience,  these  gentlemen 
have  loyally,  and  to  the  best  of  their  endeavours,  sought 
to  do  justice  to  the  varied  claims  set  up  for  medals.  But 
from  the  nature  of  things  they  could  not  be  supposed  to  be 
conversant  with  the  difficulties  that  beset  photography  and 
photographers  in  tha  making  of  pictures,  and  hence,  in 
some  cases,  these  difficulties  were  not  recognized  by  them  — 
or,  at  any  rate,  not  estimated  at  their  full  value.  Again, 
in  the  presence  of  two  distinguished  Academicians,  if  these 
happen  to  be  among  the  jury,  it  needs  a strong  man  to 
hazard  an  opinion  on  a question  of  art.  Ic  is  all  very  well 
to  argue  that  no  matter  the  rank  or  position  of  an  indi- 
vidual, he  is  only  a juror,  and  as  such  he  is  entitled  to  no 
more  voting  power  than  a brother  juror  ; but,  practically, 
since  you  have  invited  among  you  two  gentlemen  of  high 
rank  in  art,  to  give  you  their  advice,  you  can  hardly  do 
otherwise  than  accept  it.  In  any  case,  their  opinion,  if  ex- 
pressed decidedly — and  artists  are  not  given  to  mincing 
matters — is  very  likely  to  influence  that  of  other  jurors 
most  materially,  and  is  apt  to  remove  doubts  which  would 
be  more  duly  considered  if  masters  in  the  art  world  were 
not  present  with  their  high  prestige  and  responsible 
names. 

No  one,  especially  a juror,  is  likely  to  admit  that  he  has 
been  influenced  in  his  decision  by  the  dictum  of  a brother 
juror,  and  therefore  our  assumption  here  is  only  what  i3 
possible,  and  not  what  in  reality  does  take  place.  But,  at 
any  rate,  this  fact  is  patent : that  medals  have  occasionally 
been  awarded  on  the  score  of  art  excellence,  for  which  a 
photographer- juror  would  not  care  to  hold  himself  re- 
sponsible. The  result  of  a stain  on  the  plate,  or  of  un- 
steadiness in  the  apparatus,  have  been  known  to  be 
pointed  out  by  painters  as  adding  artistic  effect  to  a pic- 
ture, and  a medal  awarded  in  such  cases  goes  as  a premium 
to  faulty  technical  work,  aud  not  for  striving  after  artistic 
effect  by  the  aid  of  photography.  The  painter — and  he  is 
quite  right  from  his  point  of  view — tells  you  he  cares  not 
to  what  the  result  is  due ; it  has  the  effect  in  his  opinion 
of  bettering  the  picture,  and  so  he  accords  to  it  his  sup- 
port. The  matter  does  not  admit  of  argument  at  all,  for 
he  declines  to  go  into  technical  details  ; but  if  you  want 
his  opinion,  there  it  is. 

It  may  seem  to  many  that  we  are  taking  an  exaggerated 
view  of  matters,  and  so  doubtless  we  are  ; but  it  is  none 
the  less  a fact  that  technical  blemishes  in  photography  are 
frequently  estimated  as  virtues  by  the  non-photographer. 
A photograph  may  be  sharply  focussed,  or  it  may  be 
judiciously  out  of  focus;  the  background  may  be  brightly 
illuminated,  or  it  may  be  filled  in  with  delicate  haze. 
These  things,  and  many  others,  the  photographer  with  skill 


594  THE  PHOTOGRAPHIC  NEWS.  [Septembeh  21,  1883. 


and  taste  can  accomplish  as  he  desires  ; but  we  say,  to  fully 
appreciate — or  rather  appraise — his  result,  the  juror  should 
be  both  artist  and  photographer. 

For  all  this,  we  do  not  say  the  enrolment  of  Royal 
Academicians  or  distinguished  painters  among  the  jury  is 
a mistake.  Even  if  it  were,  since  jury  awards  are  always 
fraught  with  errors,  one  more  or  less  is  of  little  con- 
sequence. We  think,  however,  that  several  years  having 
now  passed,  during  which  we  have  invoked  the  assistance 
of  these  gentlemen,  we  may  very  well  try  the  experiment 
of  getting  on  by  ourselves  again.  No  award  will  give 
complete  satisfaction,  and  hence  the  change  need  not  lead 
us  to  any  sanguine  expectations.  Moreover,  as  years  go 
on,  painters  will  become  more  and  more  conversant  with 
photography,  and  we  shall  thus  be  in  a position  to  invite 
men  to  aid  us  in  coming  to  a decision,  who,  besides  their 
art  training,  know  something  of  the  ins  and  outs  of  photo- 
graphy, and  can  at  once  discriminate  between  gross  neglect 
and  praiseworthy  endeavour.  While  we  say,  therefore, 
that  for  the  nonce  it  is  well  to  confine  the  jury  to  photo- 
graphers and  photographic  experts,  we  sincerely  trust 
that  the  recent  state  of  things  will  not  be  cast  on  one  side 
altogether ; but  that  the  advice  of  painters  or  sculptors 
of  standing  will  be  from  time  to  time  invited  by  the 
council  of  the  Society. 

For  the  forthcoming  exhibition  the  number  of  the  judges 
is  seven,  as  heretofore ; the  president  of  the  Society,  as 
usual,  being  one  of  them.  But  Mr.  Glaisher,  we  believe, 
acts  more  the  part  of  disciplinarian  than  that  of  judge,  and 
is,  indeed,  more  referee  than  anything  else.  He  has  a large 
experience  of  judges  and  juries  in  medal  awards,  and  his 
assistance  is,  for  this  reason,  additionally  valuable.  The 
other  judges  are  Captain  Abney,  who  will  be  most  useful  in 
appraising  the  scientific  value  of  any  modifications  of 
formulae,  as  well  as  in  estimating  the  work  of  the  scientific 
photographer,  whether  in  the  realms  of  astronomy, 
physics,  medicine,  or  what  not.  Mr.  Warnerke  is  no  less 
competent  to  give  a sound  vote  upon  matters  scientific  and 
technical,  and  indeed,  the  way  in  which  these  two  gentle- 
men recently  acquitted  themselves  as  British  jurors  at  the 
Brussels  Exhibition  would  alone  suffice  to  insure  the 
confidence  of  their  brethren.  The  other  jurors  are 
Mr.  Francis  Bedford,  an  honoured  name  among  photo- 
graphers for  a quarter  of  a century;  Mr.  Joseph  Paget, 
whose  clear-sightedness  in  respect  to  the  wants  of  the 
photographer,  no  less  than  his  generosity  in  instituting  the 
Paget  prize,  speak  well  for  his  qualifications  as  a judge  ; 
Mr.  Robert  Slingsby,  who  has  himself  produced  some  of 
the  most  successful  pictorial  photographs,  whether 
regarded  from  an  artistic  or  commercial  point  of  view ; 
and  Mr.  Frederick  Hollyer,  whose  clever  and  artistic  work 
on  the  walla  of  past  exhibitions  at  Pall  Mall  is  alone 
sufficient  passport  for  admission  among  the  seven  elect. 
Altogether,  intending  exhibitors  may  look  forward  with 
considerable  confidence  to  the  due  appraisement  of  their 
work  by  a competent  jury  ; and  in  conclusion,  we  would 
simply  add  a word  of  advice  that,  inasmuch  as  year  by 
year  the  number  of  pictures  and  the  nntnber  of  exhibitors 
grow  apace,  the  latter  would  do  well  to  exercise  them- 
selves the  function  of  “ selection,”  so  that  this  duty  may 
not  fall  too  heavily  upon  the  Hanging  Committee,  a body 
which  for  some  time  past  has  been  unable  to  cope  satis- 
factorily with  the  large  number  of  woiks  forwarded  for 
exhibition. 


POINT  OF  VIEW. 

In  photographing  objects  having  vertical  straight  lines, 
photographers  who  pretend  to  any  knowledge  of  their 
business  are  most  careful  to  have  the  ground  glass—  as 
representing  the  sensitive  plate — vertical,  knowing  that 
such  is  the  only  way  in  which  to  obtain  parallel  lines  in 
the  resulting  picture.  They  either  use  the  swing-back,  or 
raise  the  front  of  the  camera  if  it  be  otherwise  im- 


possible to  include  all  the  picture  that  is  considered 
advisable. 

The  procedure  is  a perfectly  correct  one,  and  the  effect 
produced  is  at  least  conventionally  correct ; but  it  is,  we 
believe,  not  generally  known,  or  at  least  considered,  how 
merely  conventional  it  is  that  lines  vertical  in  fact  should 
be  represented  as  parallel  lines  on  paper. 

To  take  an  example  : if  we  place  ourselves  near  the  foot 
of  a couple  of  high  columns,  and  look  up  towards  the  top 
of  them,  it  is  quite  evident  that  there  is  quite  as  much 
appearance  of  convergence  as  exhibits  itself,  for  example, 
between  the  two  walls  of  a short  distance  of  street  along 
which  we  look.  The  tops  of  the  columns,  which  are  more 
distinct,  must  certainly  appear  nearer  to  each  other  than 
the  bases.  Yet  any  photographer  who  took  a photograph 
of  the  scene  would  make  every  endeavour  to  have  the 
columns  in  his  negative,  and  print  not  converging,  but 
parallel.  Here  it  would  at  first  sight  appear  that  there  is 
a distinct  mistake  made ; that  if  the  columns  appear  to 
the  eye  to  converge,  they  ought  also  to  be  made  on  paper 
to  converge. 

A further  consideration  of  the  matter  is,  however,  neces- 
sary. Let  us  suppose  the  print,  including  the  columns,  and 
showing  them  parallel,  to  be  hung  in  a vertical  plane  ; and 
let  us  suppose  that  we  look  at  this  print  from  the  same 
relative  point  of  view  that  we  looked  at  the  columns — 
that  is  to  say,  we  look  from  a distance  equal  to  the  focal 
length  of  the  lens  which  was  used  to  photograph  the 
object,  and  from  a point  horizontally  in  the  line  with  that 
point  of  the  columns  with  which  the  camera  was  horizontal. 
Now,  although  we  have  opposite  us  two  columns  repre- 
sented as  parallel,  the  top  of  the  representation  or  picture 
is  farther  from  the  eye  than  is  the  bottom,  and,  as  a conse- 
quence, the  tops  appear  nearer  each  other  than  the  lower 
ends,  and  this  to  precisely  the  samedegree  as  appeared  when 
we  looked  at  the  actual  columns  ; so  that,  in  fact,  the  same 
image  is  produced  upon  the  retina  by  the  picture  as  by  the 
object.  It  is,  therefore,  quite  evident  that,  the  conditions 
stated  being  observed,  we  have  a correct  picture. 

Let  us,  however,  look  at  the  picture  of  the  columns  from 
a point  level  with  the  middle  of  them.  Now  the  effect  is 
quite  different.  The  picture  is  further  from  our  eyes,  both 
at  the  top  and  at  the  bottom,  and,  as  a consequence,  the 
columns  appear  nearer  each  other  at  these  points  than  in 
the  middle.  This  is  distinctly  wrong,  and  from  theexample 
we  may  declare  the  following  fact.  The  representation  of 
an  object  which  shows  vertical  lines  parallel,  and  which  is 
obtained  by  keeping  our  sensitive  plate  vertical,  is  a correct 
representation  only  when  it  is  placed  in  a vertical  plane, 
and  is  looked  at  from  one  particular  point  of  view. 

A photograph  can  never  be  a correct  representation  of 
an  object  unless  it  is  looked  at  from  a point  of  view 
corresponding  to  the  equivalent  focus  of  the  lens  used  to 
take  it.  It  may,  however,  if  it  be  placed  in  a certain  plane 
differing  from  the  vertical,  be  a perfectly  correct  repre- 
sentation when  vertical  lines  are  not  shown  parallel. 

For  example : if,  in  photographing  the  columns  which  we 
have  taken  as  an  illustration,  we  had  given  way  to  the 
temptation  to  “ tip  ” the  camera  up,  we  could  have  had  a 
representation  of  them  in  which  they  converged  towards 
the  top.  Such  a picture,  being  in  a vertical  plane,  would 
give  a very  imperfect  representation  of  the  object  photo- 
graphed ; but  if  it  were  hung  in  a plane  slopiug  at  the 
top,  forward  from  the  vertical,  the  defect  would  be 
corrected.  The  top  of  the  picture  being  thus  nearer  the 
eye  than  the  bottom,  the  apparent  distance  between  the 
columns  at  the  top  would  be  increased,  and  the  outline  on 
the  retina  of  the  eye  would  again  be  the  same  as  that  pro- 
duced by  the  objects  themselves ; that  is  to  eav,  our 
representation  would  be  correct  when  hung  as  described, 
although  it  was  not  produced  according  to  photographic 
conventionality. 

It  is  true  that  the  effect  produced  would  probably  not 
be  very  pleasing  to  most;  but  this  is  not  for  any  better 


September  21,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


595 


reason  than  that  photographic  conventionality  demands 
that  pictures  should  always  be  produced  with  a view  to 
be  exhibited  in  a vertical  plaue.  Painters  are,  for  the 
most  part,  bound  by  the  same  rule,  and  it  appears 
difficult  that  in  ordinary  cases  it  should  be  otherwise,  as 
there  is  generally  no  means  of  securing  that  pictures  shall 
be  hung  at  the  angle  which  would  be  necessary  to  produce 
the  desired  effect. 

It  is  not  so,  however,  with  pictures  produced  for  fixing 
in  certain  positions.  For  example  : the  old  Italian  painters 
who  decorated  the  roofs  of  many  of  the  Italian  churches, 
having  to  draw  on  a plane  off  the  vertical,  modified  their 
perspective  to  suit  the  plane  they  were  working  on. 

Cases  are  quite  conceivable  when  the  same  effect 
might  be  desired  in  photographing  ; that  is,  where  a 
photographic  picture  might  be  destined  to  be  hung  in  a 
particular  position,  and  where  it  would  be  best  to  take 
the  negative  with  the  camera  so  placed  that'the  sensitive 
plate  would  be  far  out  of  the  vertical.  Possibly,  as  photo- 
graphy in  its  various  phases  becomes  more  generally  used 
for  home  decorations,  the  question  may  come  to  be  p Tacti- 
cally considered. 

The  possibility  of  looking  with  pleasure  at  pictures, 
eitherphotographicorotherwise,  as  they  are  usually  viewed 
when  placed  in  an  album  or  such  like,  is  only  the  result  of 
long,  if  unconscious,  education  of  a kind. 

It  is  unnecessary  to  say  that  pictures  so  viewed  never 
represent  objects  as  they  in  reality  are. 

The  impossibility  of  having  a picture  so  produced  as  to 
be  correctly  seen  from  more  points  than  one,  is  most 
distinctly  seen  in  the  case  of  interiors  painted  for  theatri- 
cal scenery.  All  are  familiar  with  the  distorted  appear- 
ance which  these  have  when  looked  at  from  either  too 
high  or  too  low.  So  much  is  the  defect  felt,  that  at  least 
many  scene-painters  resort  to  the  expedient  of  having— 
so  to  speak— a vanishing  line  instead  of  a vanishing 
point ; that  is  to  say,  the  lines  towards  the  top  of  the  pic- 
tures are  made  to  converge  towards  a higher  point  than 
those  lines  towards  the  bottom.  By  this  expedient  the 
distortion  is  somewhat  less  noticeable  than  it  would  other- 
wise be. 


SCIENCE  AT  THE  FISHERIES’  EXHIBITION. 
Since  we  last  reported  on  the  exhibits  here  of  Mr.  Thomas 
Bolton,  naturalist,  of  Birmingham,  we  find  he  is  quite  ful- 
filling our  expectations  in  making  the  Exhibition  most 
interesting  to  scientific  men,  and  we  should  very  much 
like  to  see  some  of  the  most  exquisite  works  of  nature, 
which  he  is  displaying,  adequately  portrayed  by  photo- 
graphy. Many  of  them  are  of  so  delicate  a nature  that  it 
is  impossible  to  preserve  them  in  a condition  in  the  least 
approaching  to  what  they  present  in  life.  The  graphic 
pen-and-ink  sketches  Mr.  Bolton  distributes  to  his  sub- 
scribers with  the  living  objects,  and  of  which  a selection 
is  shown  on  the  wall  behind  his  stand,  do  credit  to  the 
draughtsmen  as  diagrams ; but  such  beautiful  organisms 
deserve  the  very  best  artistic  illustrations  that  photo- 
graphy can  give.  Mr.  Bolton  shows  us  somo  good  instan- 
taneous photographs  taken  by  one  of  hi3  Spanish  corres- 
pondents by  sunlight ; but  we  think  that,  with  rapid 
dry  plates,  better  work  might  be  done  with  artificial 
light.  Much  has  been  done  of  late  in  micro-photography 
with  prepared  and  mounted  objects,  but  we  have  not  seen 
any  really  satisfactory  attempts  at  living  object*. 

One  of  Mr.  Bolton’s  most  popular  exhibits  of  late  has 
been  the  oyster  spat  just  extruded  from  the  parent  oyster. 
The  student  examining  these  in  the  small  aquarium  with 
the  very  lowest  magnifying  power  can  somewhat  realise 
the  enormous  number  produced  (reputed  to  be  over  a 
million  from  a single  oyster),  and  the  larvae  are  seen  swim- 
ming about  in  the  water  in  ceaseless  gyrations,  as  they  do 
in  their  natural  habitat,  seeking  for  a suitable  site  to  settle 
down  in  and  commence  their  ultimate  sedentary  life. 


The  oyster  culturist  has  much  to  learn  as  to  the  habits, 
means  of  distribution,  and  enemies  of  these  larvm,  so  as  to 
protect  them,  and  also  to  provide  them  suitable  localities 
to  attach  themselves  to.  The  statistics  furnished  by  Pro- 
fessor Hubrecht,  in  his  paper  read  before  the  conference, 
where  he  states  that  one  oyster  fishery  increased  in  fifteen 
years  from  £1,720  to  £28,705  annual  rent,  shows  how 
much  judicious  cultivation  will  do  even 'with  the  little 
knowledge  as  yet  obtained  in  this  direction. 

In  another  microscope,  Mr.  Bolton  shows  the  oyster 
spat  more  highly  magnified.  They  arc  now  seen  in  their 
beautiful  pearly  shells  with  head  protruded,  and  covered 
with  minute  vibratile  hairs  or  cilia  continually  lashing  the 
water,  like  oars,  in  their  efforts  to  swim,  and  with  a little 
care  the  oesophagus,  mouth,  and  elementary  canal  may  be 
traced  in  the  little  oyster  within  the  transparent  shell. 

In  a small  window  aquarium  Mr.  Bolton  shows  a sample 
of  a muslin  tow-net  gathering  from  the  large  tank  below 
the  Memorial  in  the  centre  of  the  gardens.  The  water  in 
this  aquarium  is  full  of  a wriggling  mass  of  water-fleas 
and  other  organisms  of  which,  in  another  microscope,  is 
shown  the  Dciphnia  pulex  in  its  transparent  carapace  or 
shell,  which,  bent  over  its  head  and  back,  covers  its  whole 
body  and  legs  like  a cloak,  and  might  easily  be  mistaken 
for  the  bivalve  shell  of  a mollusk.  The  tesselated  appear- 
ance of  this  shell  should  be  noticed,  and  the  continual 
vibration  of  the  legs  under  the  body  creating  a strong 
current  of  water  through  the  shell  directing  the  floating 
matter  to  its  mouth,  situated  just  under  its  prominent  beak. 
The  eye  is  very  conspicuous  with  its  mass  of  black  pigment 
surrounded  with  numerous  crystalline  lenses,  and  is  con- 
tinually rolled  about  by  the  muscles  which  are  seen  sur- 
rounding it.  Just  above  the  point  where  its  body  is 
attached  to  the  carapace  or  shell  is  seen  a little  transparent 
bladder,  which  is,  with  regular  pulsations,  alternately  con- 
tracting and  expanding.  This  is  its  heart,  and,  with  care- 
ful examination,  the  student  will  readily  perceive  the 
minute  granules  of  blood  flowing  in  streams  to  and  from  it 
in  various  well  marked  directions,  as  around  the  eye  and 
round  the  edge  of  the  extremely  thin  carapace  or  shell. 
Its  active  and  jerky  swimming  motions  are  carried  on  by  a 
very  large  and  strong  pair  of  bifurcated  antennae  or  feelers 
which  are  placed  on  each  side  of  its  head.  The  bifurcated 
extremities  are  fringed  with  numerous  feathery  plumes 
well  adapted  to  its  swimming  habits.  Between  the  body 
and  the  shell  below  the  point  at  which  they  are  attached 
together  may  be  seen  a number  of  eggs.  The  female 
carries  them  about  with  her  in  this  way  till  they  are 
hatched. 

In  another  microscope  is  shown  a very  beautiful  grouped 
Rotifer  Lacinularia  socialis.  This  most  interesting  example 
of  .the  wheel  animalcules  consists  of  a group  of  fifty  to  a 
hundred  or  more  individuals  attached  in  a radial  form  by 
their  tails  to  the  water  weed.  Around  this  central  point 
the  mature  animals  extrude  a gelatinous  material  which 
forms  a spherical  mass  into  which,  on  the  least  sign  of 
danger,  they  individually  or  simultaneously  retire,  in  a 
short  time  they  again  gradually  push  out  the  long  tail, 
stretching  out  to  more  than  double  their  length  when 
wrinkled  up  as  withdrawn,  and  allowing  the  body  to  wholly 
extend  beyond  the  gelatinous  sphere.  The  body  at  first 
shows  a nearly  oval  shape,  but  the  more  prominent  portion 
soon  expands,  or  rather  seems  to  open,  and  extend  into  a 
shape  like  two  petals  of  a flower,  round  the  edge  of  which 
is  seen  the  characteristic  wheel  giving  the  name  to  this 
class  of  animals.  It  looks  like  an  endless  ehain  rapidly 
travelling  round  the  periphery  of  the  lobes  of  these 
extended  petals.  All  floating  matter  is  soon  seen  to  be 
drawn  towards  this  line  as  to  a vortex,  and  to  be  carried 
along  in  the  channel  it  forms,  following  the  course  of  the 
chaiu  till  it  comes  to  a notch  in  the  periphery  just,  above 
the  mouth  of  the  animal  ; here  a selection  of  the  mateiial 
is  made,  a large  proportion  is  sent  away,  but  a smaller 
stream  goes  down  the  gullet,  by  the  side  of  which  gullet 


596 


THE  PHOTOGRAPHIC  NEWS. 


[September  21,  1883. 


may  be  seen  a large  muscular  mastax  or  gizzard,  which  is 
diligently  pounding  away  and  masticating  the  food  as  it 
passes  down  to  the  well-filled  stomach.  It  is  curious  how 
all  the  internal  anatomy  of  these  creatures  can  be  examined 
whilst  in  active  life.  Around  the  stomach  is  a much  larger 
sack,  which  is  the  ovary,  and  is  seen  to  contain  embryos  in 
various  stages  of  development,  and  most  likely  a nearly 
mature  egg  ready  for  extrusion.  The  extraordinary  size  of 
these  eggs  is  remarkable,  often  in  this  class  of  animals 
nearly  a quarter  of  the  size  of  the  mature  ones.  If  one  of 
these  groups  is  examined,  numerous  eggs  will  be  seen  in 
the  gelatinous  mass  amongst  the  tails  of  the  rotifers.  It 
is  also  interesting  to  watch  the  young  ones  as  they  come 
out  of  the  eggs  gradually  wriggling  their  way  out  of  the 
maternal  group,  and  before  long  an  independent  group  of 
them  will  be  seen  attached  together  by  their  tails.  In 
this  stage  the  ciliary  wreath  round  the  head  of  the  young 
rotifer  is  comparatively  much  smaller  than  iD  the  mature 
animal,  but  there  are  now  seen  in  their  heads  two  brilliant 
red  eyes,  which  disappear  after  the  group  has  attached 
itself  to  its  permanent  locality. 

Mr.  Bolton  has  shown  lately  a rotifer  asplanchna 
Ebbesbornii  (new  to  science),  of  which  he  has  sent  specimens 
to  his  subscribers,  accompanied  by  a drawing  and  descrip- 
tion, which  was  the  first  published  account  of  the  species. 


SOME  FOREIGN  JOURNALS. 

Our  readers  have  frequently  expressed  a desire  to  know 
something  of  our  foreign  contemporaries,  and  it  is  with  a 
view  of  placing  before  them  more  than  a mere  verbal 
description  of  the  principal  journals  devoted  to  photo- 
graphy in  Europe  and  America  that  we  here  reproduce  a 
page  from  each  of  them.  The  work  of  reproduction  has 
been  done  for  us  by  Mr.  J.  Swain,  of  Farringdon  Street, 
by  the  so-called  photo-zincotype  process,  and  we  need 
scarcely  point  out  how  exceedingly  well  the  task  has  been 
accomplished.  When  it  is  borne  in  mind  that  the  type  is 
in  every  case  different,  the  inking  and  machinery  in  no 
two  instances  alike,  and  that  the  size  of  the  reproductions 
are  microscopic,  there  can  be  nothing  but  praise  for  Mr. 
Swain’s  impressions,  which,  if  printed  on  fine  paper,  and 
in  a more  deliberate  manner  than  our  own  sheets  are 
machined,  would  be  found  to  be  quite  as  perfect  as  the 
large  type  from  which  they  are  reduced. 

The  process  of  photo-zincotype— or  photo-etching,  as  it 
is  sometimes  called — is  one  that  is  largely  used  now-a- 
days  in  connection  with  publications  of  all  kinds,  and 
every  year  sees  an  extension  of  the  work.  Its  importance 
will  be  seen  from  the  circumstance  that  an  artist’s  pen-and- 
ink  sketch,  or  a printed  cut  or  design  in  black  and  white, 
can  be  transformed  into  a type-block  ready  for  printing  in 
an  ordinary  printing  press  in  from  six  to  twelve  hours. 
Nay,  three  hours  is  the  time  in  which  some  photo-blocks 
are  prepared,  if  sunlight  or  electric  light  is  available.  The 
sketch  in  black  and  white  is  stretched  on  a screen,  and  a 
negative  taken  of  the  required  size  of  the  type-block  ; this 
reproduction  may  be  many  times  smaller  than  the  original, 
as  in  the  present  case  before  the  reader,  or  enlargements 
may  be  made  to  serve  for  coarse  placards  or  big  posters. 
The  negative  secured,  it  is  intensified  and  printed  forth- 
with upon  prepared  paper,  sensitized  by  means  of  a solu- 
tion of  bichromate.  This  print,  when  moistened,  receives 
ink  upon  its  surface — the  ink  adhering  to  the  transparent 
or  black  lines  of  the  sketch — and  thus  becomes  a transfer, 
which  is  laid  down  upon  stoue.  Here  it  is  carefully  rolled 
up  by  a skilled  lithographer,  who  thus  produces  a finely- 
inked  sketch  in  black  ink,  every  line  bold  and  clear,  and 
charged  with  fatty  ink.  A sheet  of  paper  having  a fine 
surface  is  now  used  for  taking  off  an  impression,  and  the 
impression  in  greasy  ink  is  placed  face  downwards  on  a 
plate  of  zinc.  It  is  this  zinc  plate  that  ultimately  becomes 
the  priming  block  j the  plate  is  put  into  acidified  water 


to  etch,  the  bath  being  made  more  strongly  acid  as  the 
work  goes  on,  and  the  etcher  taking  care  from  time  to 
time  to  strengthen  the  greasy  lines  on  the  zinc  surface  to 
prevent  the  action  of  the  acid  in  these  parts.  In  the  end, 
the  acid  eats  away  the  zinc  to  a considerable  depth,  and 
leaves  standing  in  relief  the  lines  of  the  sketch  or  design, 
or  other  reproduction. 

These  photo-etched  blocks  are  printed  from  in  precisely 
the  same  way  as  ordinary  type,  and,  as  in  the  case  of  our 
own  illustration,  may  be  machined  in  combination  with 
letter-press  set  up  by  the  compositor. 

One  important  journal,  to  our  regret,  has  been  omitted 
from  the  examples  we  set  before  our  readers  : we  mean 
the  Wochenblatt,  the  Berlin  weekly  journal,  so  ably  edited 
by  our  colleague  Dr.  Stolze.  Otherwise  all  the  principal 
foreign  journals  are  represented  in  the  seventeen  examples 
here  set  out.  To  commence  at  the  left  hand,  at  the  top  of 
the  page,  there  is  the  Journal  de  1' Industrie  Photographigue, 
a monthly  paper  that  represents,  in  Paris,  the  Chambre 
Syndicate  of  Photography,  or,  in  other  words,  looks  after 
the  commercial  aspect  of  photographhy  and  photographers. 
Next  to  it  is  the  Pliolographische  So tizen,  a monthly 
Viennese  paper,  noted  more  particularly  for  its  able  practi- 
cal article  by  our  friend  Dr.  Hermann  Vogel,  of  Berlin, 
that  usually  takes  precedence.  The  Bulletin  of  the  Belgian 
Association  comes  next,  also  a monthly  periodical , and  now 
the  only  photographic  paper  published  in  Brussels ; it  has 
of  late  earned  for  itself  a high  place  in  photographic  litera- 
ture by  reason  of  the  first-rate  writers  that  contribute  to 
its  pages,  and  the  energetic  editorial  supervision  exercised 
over  it3  contents.  Its  elder  brother,  the  Bulletin  of  the 
French  Society,  is  at  the  right  hand  top  of  the  page,  and 
is  the  organ  of  the  Paris  Society,  whose  transactions  are 
reported  monthly  after  the  fashion  of  our  own  Great 
Britain  Society. 

In  the  second  row  on  the  left  is  a page  of  Anthony's 
Photographic  Bulletin , a New  York  paper,  circulated  by  the 
well-known  firm  of  Messrs.  E.  and  II.  T.  Anthony,  of  New 
Yoik,  who  keep  their  readers  well  informed  on  the  pro- 
gress of  photographic  matters,  both  in  the  old  world  and 
in  the  new.  Anthony's  Bulletin  is  a monthly  paper.  The 
Deutsche  Pholographen  Ztilung  shares  with  the  excellent 
Wochenblatt  (of  which  we  regret  having  no  illustration)  the 
honour  of  beiug  the  only  weekly  photographic  journal 
outside  Great  Britain ; the  Zeitung  is  printed  at  Weimar 
under  the  clever  editorship  of  Herr  IL  Schwier.  Next  to 
it  is  an  Italian  organ,  the  Camera  Oscura,  a monthly 
journal  established  many  years  ago,  and  which  of  late  has 
come  forth  with  renewed  life  and  energy.  Of  the  Rioista 
Fotografica,  the  other  Italian  paper,  we  are  sorry  to  say  we 
have  no  example.  On  the  right  of  the  Camera  Oscura  is 
a 6heet  of  the  Photograplusche  Mittheilungen , Dr.  Hermann 
Vogel’s  admirable  fortnightly  journal,  which  reports  the 
doings  of  the  Berlin  Society  for  the  Advancement  of 
Photography,  and  keeps  well  apace  with  the  scientific  pro- 
gress of  our  art. 

In  the  third  row  on  the  left  is  the  St.  Louis  Photographer, 
an  energetic  monthly  paper  which  formerly  had  Mr.  Fitz- 
gibbon  for  its  editor,  and  beside  it  the  only  photographic 
newspaper  published  in  Spanish,  viz.,  the  Boletin  Fotagrafico, 
which  emanates  from  Ilavannah  ; it  also  appears  monthly. 
The  Photographische  Correspondenz  is  next,  one  of  the  most 
scientific  of  photographic  organs,  taking  high  rank  by 
reason  of  the  many  contributions  to  its  pages  from  our 
talented  colleague  Dr.  J.  M.  Eder,  no  less  than  from  tie 
circumstance  that  its  editor,  Dr.  Emil  Hornig,  is  without 
doubt  the  best  living  authority  on  the  history  of  photo- 
graphy. The  Correspondenz  appears  monthly,  while  its 
neighbour  to  the  right,  Dr.  Liesegang’s  well-known  Archiv, 
is  a sprightly  fortnightly  that  emanates  from  Diuseldorf. 

In  the  last  row  on  the  left  is  the  Philadelphia  Photo - 
grapher,  a familiar  monthly  journal  to  many  of  our  readers, 
edited  by  Mr.  E.  L.  Wilson,  well-known  both  as  author 
and  traveller  j and  next  to  it  the  Photographer,  a Russia  a 


598 


THE  PHOTOGRAPHIC  HEWS. 


[SErTEMBEB  21,  1883. 


monthly  paper,  that  has  but  recently  come  into  existence, 
but  is  nevertheless  one  of  the  most  able  and  energetic  of 
the  continental  organs.  The  Revue  Photographique,  a Paris 
monthly,  occupies  itself  with  photography  in  connection 
with  the  museums,  monuments,  and  archives  of  France. 
The  Photographic  Times,  on  the  right  of  our  page  at  the 
bottom,  is,  we  need  scarcely  say,  a New  York  monthly  of 
considerable  reputation,  which  has,  since  our  friend  Mr.  J. 
T.  Taylor  assumed  the  editorial  chair,  widely  increased  in 
popularity.  Last,  but  not  least,  comes  M.  Leon  Vidal’s 
paper,  the  popular  Moniteur  dc  la  Photographic , whose 

21*  Add£o  I"  SepiembrS  1883  t , N- 17 


print  was  then  bleached  with  mercuric  chloride,  so  as  to 
leave  a line  and  dot  picture.  Ordinary  and  easy  methods 
serve  now  to  make  a block  from  such  a picture. 

Mr.  Dallas  sends  us  two  blocks  of  the  same  subject,  (see 
next  page)  the  second  being  re-bitten,  in  order  to  show 
how  much  difference  can  be  effected  by  this  simple  opera- 
tion. Re-biting  is  a method  of  deepening  a plate,  and  so 
causing  it  to  print  with  increased  vigour,  the  operation 
being  performed  as  follows. 

A somewhat  hard  roller  is  charged  with  a strong  ink — 
one  in  which  resinous  constituents  predominate — and  the 
plate  is  lightly  rolled  so  as  to  ink  the  face  only,  the 


•IE  MONITEUR  DE  LA  PU0T0GRAPU1E 


’JtEYlE  tNTEKMTIOXAll  EES  riiOGRES  DU  NOU.VEL  ART 


T 


AVIS 

Toutea  lea  lettrea  et  coromuoicaitona  relatives  t 
la  redaction  dolvent  etre  adreaasea  frenen  ft*  M 
vL*->o  VIDAL,  redoctcur  eu  chef.  rue  Talmo.  3.  C 
• t*»aey-Pnri#. 


S 0 M M A 1 R E 


j.»r  M tHmrrr  — Now.  r«l»n»*%  (4lall*o4Minr*  d 

U U t*p>'alo»  Hmy.  - Ph»i«*r%|.h>»  «u.  eul.r*.  pi'  M U 
, a\y,t  1 — Qv«I*»m  lonuaU*  undW  — C»rr-»- 

,.ondM^--  d*Aa(U«m.  p«r  u l«  d..ow«r  - f*>w  a.* 

••r.  • Port? ail  | l noo>m« 

blt  -*  Mojm.  d.  t+firJrm  u drwlopfaUaf  » l*oi.Ul»  d*  lr». 
r-  AddlUno  dr  Iannis  A*  fi.AlaWur.  — Ad  l.unci  d »tid*  .-Inf  i<i>« 
,an  ntiliiwr.  — pjUd<  At  JixeKliuo  4 IWJc  — 

Citr.w  dr  Twit  dao.  lo  r.rrUlwir. 


REVUE  DE  LA  QUINZAINE 


Noul  oTon*  opprl*  atec  unc  ylve  utlrfaeUnn  quo  m 
.’NVilson.  le  savant  dlreeleuf  du  Philadelphia  phologra- 
l phtr,  avail.  Ion  d*  ton  relour  ft  I'hiUdelphie  aprt»  uo 
(long  voyago  de  *Jv  moit  cn  figyptn,  Syrlc.  Polcsline  cl 
dCvrloppiS  aver  un  coniplct  sucr.'s  lr*  pDquoj  au 
.gMallnoiromurc  qn’il  I'.iit  ei;ip.irtfc$  d' \ratrlque 
M Wilson  a accompli  a-nc  longue  peregrination  jihw 
. t'xrr.vpbujue  cn  *c  cpntentaul  dc  vCrlflcr  de  temp*  ro 
v irinpt,  par  lo  dCvr{nppement  di>  ijuelquc*  plaque*  *eu* 
f lomcnt  la  vale  nr  nornialr  do  *cs  op6r.iil«ci*.  prolcranl 

• verm-yrr  ft  *a  rcotrVe  chcr  lui  lc  d'Hcloppomcnl  de  tuu* 
' *o*  rxNgatifvt  nc  lolle  p.iiionre  inlriUvit  d »Mrc  ficuni- 

( pen<ec  . olio  I n C»C.  paralt-ll,  par  un  cueriS  complvt 

* — M Perrot  dc  Cluuinruv  \ ienl.de  falro  parallrc  ft  la 
.libratfle  Gaulhicr-YiUar*.  U 4*  coition,  revue  cl  iur 


menl/o.  devon  c'cclloni  trallc  intitule  P'cmtrrri  tenons 
de  photographic.  * 

M.  I’errul  dc  Qtftiuncuv  tout  en  chcrchibt  ft  .uiUliorer 
cette  nou voile  edition  ot  ft  la  rendro  au*»1  complete  quo 
possible  neatest  pas  6rarl6<lu  cadre  restraint  qu'il  «Vst 
tracO.  il  » i*4  ilAnc.  Comme  dan* Ireproccdentet  edition*, 
Icnu  .iuv  sculcS  manipulation*  relatives  ft  IVrnplol  du 
prorC'ie  an  collodion  liuraj(l<*.  sail*  (aire  la  ruoinilro  m- 
cur»it>n  an  *cln  dc*  nous  olios  met  bodes  ft  In  gelatine. 

O livre  cnnlicnt  done  snrtoul  le*  notion*  fldincnUi- 
re>.  cLiitiquc*  pour  aind  dire  dc  I art  phoi»gr.iphiqnc . 
e«**t.  alnsi  quo  l a j. rouse  la  lavour  ftvec  |aqu<*llv  m |t. 
vie  a ctft  arouoiin  dcpuis  s«  publication,  un  nvccllcnl 
maiiucl  do  debut  pour  les  operateur*,  libres.  spr*»  quilt 
onl  acqui'Ua  praliquo  du  bon  pmo-dr,  indlquc  p.u  no. 
Ire  savant  confrftr’e.  de  chui.tr  ft  leur  gre.  dans  lc  ilo- 
maine  »i  v.inr  aujourd  hul  de  li  pbotugr  tpluc  Optra* 
toire;  eclul  dcs  prure<l<  » qui  lour  convienl  le  nileut. 
Le»  prciuiAras  lof/»n*  de  phon^raphio  eoastilitent  done 
un  excellent  tuiU*  d‘«pprcniiv».u;c.  on  ne  >aur.iil  If - p 
cu  contrillcr  l usqn*  .m»  dcbuUnu 
— Lr  souscrlptinn  Poilevin  continue  ft  sutvrr  va  m.tr- 
chc  progressive:  de  nouvellc*  adbC*sion»  on  •«*«*/  ertnj 
nouibrn  s<>nl  pvrvenuet  au  romilo  drpui*  la  poblo  ..li.n 
de  la  denm're  lisle,  nous  It*  pubberuns  Uj"»  lc  pm* 
cbdiit  b'itot  ro  du  Momltitr. 

. * Lbo.v  VlOAt. 


ACADtMlE  DCS  SCIENCES 

Extra"  tin  romplo  ren./ut  Ot  i if  l 

Em fil»i  de  la  photograph te  pour  determiner  In  tea /re- 

chagne  et  tr-rt  pmilroin  rrlatieei  Apptan 

Horn  a la  Tic*  in  gut  anuria  te,  j.|fr  M Matey 
l‘n  dc*  pnjnlp  V>  plus  iinporl.ini.  dans  limalyVi  dc  i > 
locomotion  animalc.  c'r»t  la  dt termination  dc  in  tt.ijco 


proportions,  much  resembling  our  own,  will  not  permit 
of  its  being  placed  alongside  its  colleagues.  The  Moniteur 
appears  fortnightly,  and  that  it  is  ably  conducted,  those 
who  read  our  Faris  letters  regularly  need  not  be  told. 


minute  channels  between  the  projecting  portions  being 
thus  left  uncovered.  A suitable  acid  or  mordant  is  now 
poured  over  the  plate,  and  allowed  to  act  until  the  deepen- 
ing is  sufficient,  lle-biting  is  a purely  mechanical  process, 
and  must  not  be  confounded  with  such  operations  as 
stippling  or  retouching,  which  necessitate  artistic  skill. 

It  is  probable  that  we  may  shortly  commence  a series 
of  articles  on  the  history  of  photographic  block  printing. 


PHOTOGRAPHIC  I5LOCKS  FOR  THE  LETTER- 
PRESS PRINTER. 

As  much  interest  appears  to  be  taken  in  this  subject  just 
at  present,  we  now  place  before  our  readers  some  speci- 
mens of  Dallastint.  The  method  of  producing  the  blocks 
has  not  yet  been  made  public,  although  Mr.  Dallas  has 
been  constantly  supplying  them  to  printers  during  a period 
of  more  than  ten  years.  That  they  are  genuine  photo- 
typic  blocks,  aud  not  mere  reproductions  of  hard  stipplings, 
no  one  can  doubt  who  looks  carefully  into  them,  as  the 
grain  or  stipple  incorporates  itself  completely  into  the 
smallest  details  of  the  subject. 

Our  readers  must  not  confound  the  transferring  of  a 
photograph  to  wood,  and  the  working  upon  the  block  by 
nn  engraver,  with  true  phototypic  work,  as  in  this  case 
photography  takes  the  place  of  the  draughtsman  only,  not  of 
the  engraver.  A method  of  making  blocks  in  which  both 
draughtsman  and  engraver  were  done  away  with,  was 
introduced  some  time  ago,  and  still  the  blocks  were  not 
truly  automatic.  A print — let  us  suppose  on  albumenized 
paper — was  stippled  over  with  a suitable  fatty  ink,  the 
shades  beiDg  thus  translated  into  dots  or  lines.  This 


ORGANIC  COMPOUNDS  IN  THE  SUN. 

The  third  volume  of  the  Royal  Engineers’  Institute  Occasional 
Papers,  recently  published,  contains  a very  interesting  com- 
munication from  Captain  Abney,  upon  a new  method  of  spectro- 
scopic analysis  as  applied  to  the  investigation  of  solar  physics. 
Captain  Abney’s  and  Colonel  Festing’s  combined  investigations 
referred  to  that  part  of  the  spectrum  lying  beyond  the  extreme 
visible  limit  at  the  red  end,  the  energy  of  which  can  be  made 
apparent  under  certain  conditions,  and  the  dark  lines  beyond 
this  limit  may  be  photographed,  and  thus  accurately  mapped 
out.  As  an  illustration  of  the  practicability  of  this,  Captain 
Abney  described  a very  beautiful  experiment  suggested  by  the 
permeability  of  ebonite  to  the  energy  of  certain  rays,  as  shown  by 
experiments  with  the  photophone.  He  arranged  an  arc  light  so 
that  the  image  of  the  carbon  points  and  of  the  arc  were  thrown 
on  the  focussing  screen  of  the  camera,  and  he  then  interposed 
between  the  light  and  the  plate,  which  was  sensitive  to  dark 
radiation,  a screen  of  ebonite.  The  success  of  this  interesting 
experiment  proved  that  ebonite  is  transparent  to  the  dark  rays 
beyond  the  red  end  of  the  spectrum.  Experiment  showed  that 
in  this  region  very  few  metals  have  auy  lines,  those  fusing  at  very 
low  temperatures — such  as  sodium,  potassium,  and  calcium — 
alone  giving  indications,  and  this  suggested  that  the  dark  lines 
seen  must  be  due  to  other  and  probably  compound  bodies. 
Commencing  with  water,  Captain  Abney  and  Colonel  Festing 
examined  the  spectra  of  a large  number  of  compounds,  some  of 


September  21,  1883.] 


Tail  PHOTOGRAPHIC  NfiWS. 


599 


Da  lla  stint  Photograph  (block  re-bitten).  i. — Dallastint  Photograph 


600 


THE  PHOTOGRAPHIC  NEWS. 


'[Sf.PTEMBEE  21,  1883. 


them  highly  complicated,  and  after  their  experiments  had  been 
completed,  they  compared  the  spectra  they  had  obtained  with 
the  solar  spectrum.  The  coincidence  observed  by  these  com- 
parisons led  to  the  “inevitable  conclusion  that  we  must  have 
some  derivation  of  benzine  and  ethyl  present  either  in  our 
atmosphere  or  in  the  sun.’’  Solar  spectra  taken  at  different 
times  of  the  day  proved  the  former  supposition  to  be  untenable, 
although  Captain  Abney  states  that  recent  experiments  lead 
him  to  believe  that  such  derivations  exist  in  space.  These 
investigations  largely  confirm,  and  are  confirmed  by,  those  of 
Dr.  Huggins,  on  the  composition  of  cometary  matter.  Dr. 
Huggins  has  shown  by  the  spectrum  the  existence  of  hydro- 
carbons not  only  in  comets,  but  also  in  nebulous  matter,  and  his 
results  accord  with  those  of  Captain  Abney  and  Colonel  Festing, 
whence  Captain  Abney  deduces  “that  there  is  no  doubt  what- 
ever in  my  mind  that  as  spectroscopic  science  advances,  so  we 
fhall  be  able  to  place  more  and  more  compounds  in  the  stars,  in 
the  sun,  and  in  cometary  matter.” — Engineering. 


IfotlJL 

A Limited  Liability  Company  for  working  Mr.  Wood- 
bury’s stannotype  process  was  formed  last  week.  It  is 
called  Woodbury,  Treadaway,  and  Co. 


The  late  president  of  the  Manchester  Photographic 
Society,  Mr.  Leader  Williams,  is  set  down  to  read  a paper 
on  the  Manchester  Canal  before  the  British  Association. 


No  picture  will  be  received  after  nine  p.m.  on  Friday 
next  for  the  Pall  Mall  Exhibition ; frames  by  hand  are  to 
be  sent  to  the  Gallery,  5,  Pall  Mall  East,  but  packing- 
cases  must  be  forwarded  to  Mr.  James  Bourlet,  17,  Nassau 
Street,  Middlesex  Hospital. 


The  Eye,  a Chicago  paper,  with  Mr.  Gentile  as  its  ener- 
getic photographic  editor,  seems  to  be  taking  a forward 
position  in  the  States  ; its  published  account  of  the  Mil- 
wauke  Convention  appeared  many  days  in  advance  of  other 
journals. 


Should  the  Dead  Sea  Canal  be  constructed,  we  are  likely 
to  have  bitumen  of  J udea  very  cheap,  for  this  substance, 
so  frequently  used  now  in  photo-etching  processes,  is  found 
in  large  quantities  in  the  bed  and  shores  of  the  Dead  Sea. 


Luminous  photographs  are  being  spoken  of  once  more 
as  a means  of  house  decoration,  so  we  may  as  well  remind 
our  readers  how  they  are  made.  A photograph — collotype 
or  carbon  prints  are  preferable,  as  they  are  not  liable  to 
fade— is  brushed  over  with  a mixture  of  castor  oil  and 
turpentine,  the  superfluous  liquid  being  removed  by  a soft 
rag  or  cotton-wool.  Then  the  luminous  paint  is  applied — 
this  is  now  included  in  Judson’s  series  of  cheap  dyes  and 
paints — and  the  picture  is  finished.  Such  photographs 
may  be  either  rendered  luminous  by  daylight,  or  by  burn- 
ing an  inch  of  magnesium  wire  close  to  them. 


The  decision  of  the  London  and  Provincial  Photographic 
Association,  that  all  new  members  on  their  first  attend- 
ance shall  be  introduced  to  the  chairman  and  the  members, 
is  an  excellent  idea.  It  is  no  uncommon  thiDg  to  see  men 


who  are  reserved  by  nature  holding  aloof,  or  holding  their 
tongues,  simply  for  the  want  of  the  personal  introduction 
which  would  at  once  make  them  at  home.  It  also  often 
happens  that  these  quiet  meu  possess  much  information, 
which  is  never  unearthed  for  the  want  of  “ drawing-out.’’ 
At  the  same  time,  this  official  introduction,  to  be  effective, 
must  be  done  with  some  tact.  To  the  nervous  man,  a 
formal  introduction  to  the  chairman,  followed  by  a series 
of  introduction  to  the  members,  would  be  rather  formid- 
able, and  at  the  end  of  the  ceremony  might  leave  him  in 
rather  a bewildered  condition. 


So  far  as  we  can  make  out,  the  principal  feature  of  the 
balloon  journey  to  Cherbourg,  undertaken  last  week  by 
Mr.  Simmons  and  his  photographic  friend  Mr.  C.  J.  Small, 
was,  that  at  one  stage  of  their  journey  they  observed  the 
balloon  most  distinctly  upon  the  focussing-screen  of  the 
camera,  apparently  upside  down.  This  fact,  and  the  cir- 
cumstance that  the  snap-shutter  of  the  camera  failed  to 
act,  are  indeed  the  only  two  experiences  of  a definite  nature 
contained  in  a whole  column  of  the  Times  ; though  what 
strikes  the  reader  most  forcibly  is  the  puzzle  why  two 
gentlemen  should  choose  an  evening — or,  rather,  night — 
excursion  for  taking  photographs  from  a balloon. 


Mr.  R.  Welch,  of  Belfast,  very  justly  calls  our  attention 
to  the  “ wrongs  ” Ireland  suffers  at  the  hands  of  photo- 
graphers, and  especially  tourist  photographers.  Their 
cold  neglect  of  Erin’s  beauties  is  all  the  more  to  be 
regretted  since  the  north  of  Ireland,  with  its  Giants’ 
Causeway,  Crosses,  Cashels,  Cisternian  abbeys,  Crom- 
lechs, &c.  (they  all  begin  with  C,  apparently),  may  now  be 
included  in  a circular  tour,  to  be  taken  on  the  railway  for 
less  than  a sovereign.  Moreover,  adds  Mr.  Welch,  “ the 
hotels  are  excellent,  and  the  charges  very  moderate,  for 
there  is  good  competition.” 


The  moat  interesting  feature  of  Messrs.  Brown,  Barnes, 
and  Bell's  Luxotype  invention,  of  which  we  publish  the 
details  on  another  page,  consists  in  imprinting  a grain  or 
stipple  over  a photographic  picture,  and  then  subjecting 
the  combination  device  “ to  artistic  manipulation.”  In 
this  way  is  obtained  something  which  acts  as  a “mother 
print,”  from  which  a block  can  be  made  by  the  usual 
phototype,  zincotype,  or  Woodbury  type  methods. 

It  must  be  understood  that  the  production  of  a “ mother 
print  ” in  definite  grain  or  stipple  is  the  main  problem  in 
making  blocks  from  ordinary  negatives,  as  the  production 
of  the  type  becomes  now  easy  and  certain,  only  well- 
known  modes  of  working  being  involved.  If  the  “ mother 
print  ” is  made  in  a fatty  or  transfer  iuk,  as  in  one  form  of 
the  Ives’  process  (page  498  present  vol.),  the  work  is  much 
simplified,  as  no  re-photographing  is  required,  the  transfer 
being  merely  put  down  on  zinc  and  etched  at  once  into 
relief. 


One  word  more  about  the  patent  of  Messrs.  Brown, 
Barnes,  and  Bell.  They  take  “ any  half-tone  picture  or 
photograph,  and  give  it  a stippled,  grained,  or  tinted 


September  21,  1883.] 


TflE  TH^TOGHAmiC  NEWS 


601 


surface,  which  is  effected  under  one  method  by  hand — 
artistic  manipulation,  by  stippling,  lining,  hatching, 
roughening  or  breaking  up  the  surface  or  any  portion  of 
the  surface ; for  example,  by  stippling  with  pigments  or 
inks,  or  by  abrading  the  surface,  &c.,  &c.” 

Some  months  ago'a  circular' was  issued  by  the  above- 
mentioned  firm,  cautioning  the  public  against  infringing 
their  patents.  We  hope  they  will  be  lenient  with  respect 
to  those  who  have  unwittingly  infringed,  as  the  above 
claim  appears  to  cover  every  kind  of  retouching  on  a 
photograph  or  picture  intended  for  phototypic  repro- 
duction. 


An  announcement  of  interest  to  our  lady  readers,  culled 
from  the  latest  blossoming  of  the  Photographcn  Zeitung. 
“A  young  lady  practised  in  all  branches  of  photographic 
work,  and  in  a position  to  undertake  the  direction  of  a 
studio,  is  hereby  given  the  opportunity  to  take  part  in 
founding,  extending,  and  furnishing  the  capital  for  a 
photographic  establishment  in  a large  town  in  North  Ger- 
many. In  the  event  of  their  being  mutually  disposed, 
marriage,  at  a future  time,  with  the  advertiser  is  not  im- 
possible. Ladies  favourably  inclined  are  requested  to  send 
full  address,  portrait,  and  particulars  as  to  capital,  &c., 
confidentially  to  the  office  of  the  Zcitutuj,  to  G.  R.,  503.” 
We  must  ask  our  Publishers,  however,  not  to  copy  this 
announcement  into  the  “ Photographic  News  Registry,” 
for  we  cannot  be  responsible  for  breach  or  blighted  hopes 
in  the  event  of  bad  faith,  though  the  fact  of  the  advertiser 
being  a careful,  prudent  man  is  very  obvious  from  the 
method  of  his  announcement. 


Those  who  now  make  use  of  “optical  sensitizers”  claim 
far  more  for  them  than  ever  did  their  originator,  Dr.  Vogel. 
The  most  successful  of  recent  workers  seems  to  be  M.  C.  V. 
Zenger,  who  has  just  brought  his  results  before  the  Aca- 
demy of  Sciences.  He  ha3  been  busy  with  solar  photo- 
graphy, employing  for  the  purpose  bromide  plates  stained 
with  chlorophyll.  Dried  peppermint  leaves  were  treated 
with  sulphuric  ether,  and  the  resulting  dark  green  fluid,  on 
evaporation  of  the  ether,  became  a black  friable  aromatic 
body ; from  this,  by  means  of  benzine,  pure  alcohol,  and 
paraffin,  three  colouring  matters  were  obtained,  viz.,  green 
chlorophyll,  indigo  chlorophyll,  and  the  reddish  yellow 
xanthophyll.  Each  of  these  has  its  peculiar  spectrum  of 
absorption,  and  a bromide  film  impregnated  with  all  three 
absorbs  very  nearly  the  whole  of  the  solar  spectrum. 


M.  Zenger  claims  to  have  secured  pictures  of  the  corona 
and  chromosphere,  occasionally  with  the  red  and  yellowish 
tint  of  the  original.  “I  even  obtained,”  he  says,  “a 
photograph  of  a solar  halo,  very  vividly  coloured,  on  the 
10th  January,  1875,  having  all  the  tints  visible  to  the 
naked  eye,  and  to  this  day  the  colours  on  the  plate  have 
not  changed.”  M.  Zenger  assures  the  Academic  that  it  is 
possible  to  obtain  everything  around  the  solar  disc  upon 
collodio-bromide  emulsion  plates  treated  with  an  ethereal 
solution  of  chlorophyll  such  as  he  describes. 


If  Earl  Cairns  is  really  trying  to  buy  up  all  the  photo- 
graphs of  the  beautiful  Miss  Eortescue — one  of  the  three 
dainty  fairies  in  lolanthe,  whom  his  lordship’s  son  and  heir 
is  about  to  marry — we  do  not  envy  him  his  Herculean  task. 
To  get  the  photographers  to  whom  Miss  Fortescue  sat  to 
surrender  their  negatives  is  a comparatively  easy  matter, 
but  to  prevent  the  circulation  of  piracies  i3  quite  another 
thing.  The  more  portraits  Lord  Cairns  buys,  the  greater 
will  be  the  supply ; and  if  only  the  demand  is  keen  enough, 
the  photographs  will  be  on  every  hawker’s  barrow  in  the 
street,  retailed  at  a penny  a-piece. 

By  far  the  best  plan  is  to  let  things  be.  The  lady 
having  once  given  permission  for  her  portrait  to  be  pub- 
lished, for  the  purpose  of  advertising  and  making  herself 
generally  known  as  an  artiste,  it  is  very  foolish  to  seek  to 
withdraw  it  from  circulation.  Any  attempt  to  do  this  is 
sure  to  frustrate  the  very  end  her  friends  have  in  view. 
As  many  thousands  have  paid  a shilling  to  see  the  lady 
perform,  surely  the  payment  of  the  same  sum  for  her 
photograph  cannot  be  so  very  derogatory. 


“ You  say  that  your  photographs  are  permanent ; yet 
when  I put  them  in  water,  the  surface  comes  away  at  a 
touch!”  ejaculated  an  indignant  young  lady  who  occupies 
her  leisure  with  crystoleum  painting.  The  photographer, 
who  prides  himselt  on  sending  out  nothing  but  carbon 
work,  tried  to  explain,  but  he  failed. 


Dr.  Tromholt,  who  has  erected  an  observatory  in  the 
extreme  north  of  Norway,  for  the  purpose  of  observing 
the  aurora  borealis,  where  this  phenomenon  is  seen  at  its 
best,  says  that  “ to  photograph  the  aurora  borealis  is  an 
impossibility.”  “ Not  even,”  he  assures  us,  “ by  using  the 
most  sensitive  English  dry  plates,  and  exposing  them  from 
five  to  seven  minutes,  have  1 obtained  a trace  of  a nega- 
tive. The  cause  of  this  is,  I believe,  the  exceedingly 
limited  substance  of  light  possessed  by  the  aurora  ; were 
thus  the  entire  heavens  flooded  by  the  most  intense  aurora, 
their  aggregate  lighting  power  would  not  equal  that  of  the 
moon  when  full.” 


We  cannot  accept  Dr.  Tromholt’s  verdict— at  any  rate, 
on  the  evidence  adduced.  As  our  readers  know  very  well, 
not  only  is  it  common  enough  now-a-days  to  produce  pic- 
tures of  the  moon,  but  also  of  landscapes  illumined  by 
moonlight.  Of  course,  these  are  not  to  be  secured  in 
“ from  five  to  seven  minutes,”  and  we  cannot  help  think- 
ing that  by  mounting  a camera  on  an  equatorial,  and  ex- 
posing some  hours,  Dr.  Tromholt  would  be  successful  in 
getting  some  kind  of  result  from  the  aurora.  Whether 
the  aurora  in  a high  north  latitude  remains  constant  suf- 
ficiently long  to  impress  an  image  of  its  shape  upon  a 
bromide  film,  we  know  not ; but  if  it  shines  vividly  for 
four  or  five  hours  together,  we  have  no  doubt  that  its 
light,  and  even  its  spectrum,  could  be  recorded  in  the 
camera. 


The  spring  is  the  time  generally  chosen  for  re-painting 
the  outside  of  houses,  partly  because  the  weather  enables 


1 


602 


THE  PHOTOGRAPHIC  NEWS, 


[September  21,  1883, 


the  paioter  to  get  on  with  outside  work,  and  partly  because 
the  advent  of  bright  days  makes  the  accumulated  grime 
and  dirt  of  the  winter  more  visible.  So  far  as  photo- 
graphic studios  are  concerned,  however,  the  autumn 
would  seem  to  be  the  best  season  for  work  of  this  kind. 
The  summer  heat  has,  by  that  time,  dried  up  the  sashes, 
and  the  cracks  so  caused  are  plainly  to  be  seen,  and  can 
be  readily  filled  up  with  putty,  and  painted  over.  Many 
a studio  is  a source  of  constant  annoyance  throughout  the 
winter  from  neglecting  thi3  autumn  overhauling. 


Datfiti  Jafclligm*. 

Patent  Filed  15th  September,  1883. 

1380.  Richard  Brown,  and  Robert  William  Barnes,  and 
Joseph  Bell,  all  of  the  city  of  Liverpool,  in  the  county  of 
Lancaster,  for  an  invention  of  “ Improvements  in  and  relating 
to  the  preparation  of  pictures  and  photographs  to  be  used  in  the 
production  of  pictures  by  the  art  of  photography  and  photo- 
engraving, and  in  the  production  of  gelatine  reliefs  and  print- 
ing surfaces  therefrom.” — Application  filed  15th  March,  1883. 
Our  invention  relates  to  certain  improvements  hereinafter  more 
particularly  mentioned  in  the  preparation  of  pictures  and  photo- 
graphs to  be  used  in  the  production  of  pictures  by  the  art  of 
photography  and  photo-engraving,  and  in  the  production  of 
gelatine  reliefs  and  printing  surfaces  therefrom. 

The  object  of  our  invention  is  to  produce  pictures  or  photo- 
graphs with  a grained  or  lined  surface,  so  that  they  are  suitable 
for  use  in  the  production  of  pictures  by  the  art  of  photography 
and  photo-engraving  and  photo-lithography. 

Previous  to  our  invention  in  the  art  of  photo-engraving  or 
photo -lithography,  amongst  other  methods  it  has  been  the 
practice  to  produce  metal  type  surfaces,  or  other  surfaces  such  as 
plaster  of  Paris,  and  litho-surfaces  from  gelatine  reliefs,  and  then 
to  grain  the  surface  of  the  metal  or  plaster  impression.  The 
surface  on  the  metal  type  has  also  been  produced  by  the  process 
known  as  zinco-graphy,  photo-etching,  photo-type,  photo- 
lithography, and  the  like,  which  processes  have  hitherto  been 
chiefly  confined  to  reproducing  from  what  are  technically  known 
as  point  pictures.  We,  in  our  application  for  Letters  Patent 
No.  5086,  A.D.  1882,  describe  a means  of  preducing  a grained 
surface  for  the  type  by  the  aid  of  a gauze  or  perforated  sheet,  or 
by  graining  the  type  surface  by  the  use  of  fine  wire  gauze  muslin, 
soaked  in  glue,  or  sand  paper,  the  grain  of  such  material  being 
imbedded  into  the  type  by  pressure. 

Our  present  invention  consists  in  preparing  and  producing 
pictures,  photographs,  and  grained  type  by  the  following 
methods : — 

First,  we  take  the  picture,  which  may  be  any  half-tone  picture 
or  photograph,  and  we  give  it  a stippled,  grained,  or  lined  sur- 
face, which  is  effected  under  one  method  by  hand  artistic  manipu- 
lation, by  stippling,  lining,  hatching,  roughening,  or  breaking 
up  the  surface  or  any  portion  of  the  surface  ; for  example,  by 
stippling  with  pigments  or  inks,  or  by  abrading  the  surface  ; or 
by  imparting  a grained  or  lined  surface  to  the  picture,  by  pres- 
s ire  from  a grained  or  lined  gelatine  relief,  a sheet  of  wire  gauze, 
or  a sheet  of  perforated  metal ; or  from  a grained  or  lined  steel 
plate,  stone,  or  the  like.  After  imparting  the  grain  to  the 
picture,  it  is  rubbed  over  with  a soft  pigment,  which  shows  the 
grain  up. 

Another  method  consists  in  lining  or  graining  the  surfaces  of 
tli  3 picture  by  printing  the  stippling,  graining,  or  lining  on  the 
picture,  from  a copper-plate  or  other  printing  medium,  by  the 
use  of  printer’s  inks.  Having  so  produced  tho  stippled  or  lined 
surface  on  the  picture,  it  is  submitted  to  artistic  manipulation, 
whereby  it  is  perfected  into  condition  for  use  in  many  of  the 
processes  at  present  known.  The  picture  so  prepared  can  be 
used  for  producing  printing  surfaces  by  such  processes  as  Wood- 
burytype, zinco-graphy,  photo-etching,  photo-engraving,  photo- 
lithography, and  the  like  on  metal,  stone,  or  other  surface,  which 
processes  have  hitherto  been  chiefly  confined  to  reproducing  from 
what  are  technically  known  as  “ point  pictures  ” ; whereas,  by 
our  process,  printing  surfaces  can  be  produced  from  natural 
objects,  animate  and  inanimate ; for  example,  having  obtained  a 


negative  or  a positive  photograph  from  the  picture  prepared  as 
above  described,  we  produce  a gelatine  relief  in  the  manner  well 
known  in  the  art  of  photography.  This  gelatine  relief  will  have 
a grained  surface  over  the  picture  and  background,  and  when 
applied  in  the  production  of  metil  type  printing  surfaces,  as  by 
the  Woodbury  process,  or  as  by  tlie  process  patented  to  us 
No.  5086,  A.D.  1882,  the  metal  type  printing''  surface  resulting 
from  the  above  described  operations  has  a grained  or  lined  sur- 
face, such  as  is  suitable  for  printing  from  with  ordinary  printer’s 
inks. 

We  utilize  that  part  of  our  invention  where  the  grained  or 
lined  surface  is  produced  upon  a photograph  by  pressure  from  a 
grained  or  lined  surface,  such  as  a sheet  of  wire  gauze, 
perforated  metal,  or  a gelatine  relief  for  other  purposes  than  the 
processes  hereinbefore  mentioned,  namely,  for  framing  or  lining 
ordinary  photographs  for  direct  sale,  or  otherwise. 

Under  the  second  part  of  our  invention,  we  take  a grained  or 
lined  object,  such  as  a finely-grained  or  lined  paper,  or  other 
material,  or  the  natural  grain  or  lines  of  any  material,  such  as 
leather  or  linen.  From  this  object  we  take  a negative  photo- 
graph ; we  also  take  a negative  photograph  of  the  picture.  In 
printing  a positive  on  sensitive  paper,  or  glass,  or  gelatine,  we 
first  expose  the  grained  or  lined  negative,  or  the  negative  of 
the  picture,  and  before  the  positive  is  fixed,  we  expose  the  other 
negative.  We  thus  produce  a positive  having  the  picture  and 
likewise  a grained  or  lined  surface  over  the  picture  ; or  we  take 
a negative  photograph  of  the  half-tone  picture  ; and  in  printing 
a positive  on  sensitized  paper,  or  glass  or  gelatine,  we  expose 
such  sensitive  paper,  glass,  or  gelatine  with  a sheet  of  fine  wire 
gauze,  or  like  perforated  material,  so  that  the  mesh  of  the  gauze 
is  photograped,  so  to  speak,  on  the  paper,  glass,  or  gelatine,  and 
then,  before  the  photograph  of  the  gauze  is  fixed,  we  expose  it 
with  the  negative  of  the  half-tone  picture.  Or  we  expose  the 
sensitized  paper,  glass,  or  gelatine  with  the  negative  of  the  half- 
tone picture,  and  before  the  photograph  of  the  picture  is  fixed, 
we  expose  the  sensitized  paper,  glass,  or  gelatine  with  a sheet  of 
fine  wire  gauze,  or  like  perforated  material.  The  result  is  that 
the  positive  picture  produced  bears  not  only  the  photograph  of 
the  half-tone  picture,  but  bears  likewise  a grained  or  lined  or 
dotted  surface  over  the  pictures  caused  by  the  wire  gauze  or 
perforated  material.  Positive  photographs  on  glass,  paper,  and 
gelatine  thus  produced,  can  be  utilized  for  the  processes 
described  under  the  first  part. 

Under  another  method,  we  take  a piece  of  paper  the  surface 
of  which  has  been  printed  over  with  lines  or  dots.  The  paper 
may  be  sensitive  paper,  or  may  be  sensitized  after  the  lines  or 
dots  have  been  printed  on  it ; and  on  this  paper  we  print  a photo- 
graph. Such  photograph  can  be  used  for  the  processes  before 
described  under  the  first  part. 

Under  the  third  part  of  our  invention  we  produce  a geiatine 
relief  from  a negative  photograph  taken  from  any  grained  or 
lined  object,  such  as  before  mentioned  uDder  the  second  part. 
We  then  take  a gelatine  relief  of  the  negative  picture.  In  pro- 
ducing the  metal  type,  we  place  the  grained  gelatine  relief  and 
the  gelatine  relief  of  the  picture  one  over  the  other  upon  the 
surface  of  the  type  metal,  and  by  the  Woodburytype  process, 
or  by  our  process  before  referred  to,  we  produce  a grained  or 
lined  surface  and  picture  such  as  is  suitable  to  be  used  for 
printing  from  with  ordinary  printer’s  inks. 

Under  the  fourth  part  of  our  invention,  in  using  plates  of  thin 
lead  and  also  lead  plates  of  large  size,  it  is  found  that  such 
plates  are  liable  to  become  bent  and  uneven.  This  is  particularly 
the  case  when  the  type  is  produced  by  processes  other  than  by 
even  direct  pressure  applied  simultaneously  over  the  whole  sur- 
face. We  rectify  this  defect  by  the  application  of  heat.,  which  is 
conveniently  effected  by  placing  the  lead  plate  which  is  to  be 
levelled  on  a true  and  even  surface,  such  as  a steel  face  plate. 
The  heat  is  applied  by  heating  the  plate  on  which  the  lead  rests 
by  a heating  medium,  such  as  a gas  flame,  or  placing  tho  lead 
plate  and  the  face  plate  in  a heated  oven,  care  being  taken  not 
to  over-heat.  This  part  of  our  invention  is  alike  applicable  to 
tracing  or  making  level  the  surfaces  of.  lead  sheets  used  in  the 
carrying  out  of  this  present  invention,  application  No.  5086,  A.D. 
1882,  before  referred  to,  and  to  the  Woodburytype  when  thin  or 
large  sheets  are  used,  when  they  become  bent  and  uneven. 

Having  now  described  our  invention,  and  shown  how  the  same 
may  be  carried  into  effect,  we  claim — 

First.  The  method  substantially  herein  set  forth  of  preparing 
pictures  and  photographs  on  paper,  glass,  or  gelatine  to  be  used 
for  the  production  of  printing  surfaces  by  the  arts  of  photography, 
zincography,  phototype,  photo -lithography,  photo-engraving,  and 


September  21,  1883. | 


tHE  PHOTOGRAPHIC  NEWS. 


6C3 


the  like,  and  by  the  Woodbury  process,  for  printing  from  in 
printing  processes  in  which  are  employed  fatty  or  greasy  ink, 
which  method  consists  in  giving  to  half-tone  pictures,  or  photo- 
graphs on  paper,  glass,  or  gelatine,  stippled  or  grained  or  lined 
surfaces  substantially  in  the  manner  as  herein  set  forth. 

Second.  The  method,  substantially  herein  set  forth,  of  prepar- 
ing pictures  and  photographs  to  be  used  for  the  production  of 
printing  surfaces  by  the  art  of  photography,  zincography,  photo- 
type, photo-lithography,  photo-engraving,  and  the  like,  and  by 
the  Woodbury  process  for  printiug  from  in  printing  processes  in 
which  are  employed  fatty  or  greasy  iuks  ; which  method  con- 
sists of  giving  to  the  picture  or  photograph  an  indented  surface 
by  impressing  into  the  picture  or  photograph  a grained  or  lined 
material  or  substance,  such  as  wire  gauze,  substantially  in  the 
manner  herein  set  forth. 

Third.  The  method  substantially  herein  set  forth  of  preparing 
photographs  on  paper,  glass,  or  gelatine  to  be  used  for  the  pro- 
duction of  printing  surfaces  by  the  arts  of  photography,  zinco- 
graphy, phototype,  photo-lithography,  photo-engraving,  and  the 
like,  and  by  the  Woodbury  process  for  printing  from  printing 
processes  in  which  are  employed  fatty  or  greasy  inks,  which 
method  consists  of  giving  to  a photograph  a grained  or  lined  sur- 
face, substantially  in  the  manner  as  herein  described  in  reference 
to  tho  second  part  of  this  specification. 

Fourth.  The  method  substantially  herein  set  forth  of  giving 
to  metal  type  a grained  or  lined  surface,  as  herein  described  in 
reference  to  the  third  part  of  the  specification. 

Fifth.  The  method  substantially  herein  set  forth  of  levelling 
lead  plates,  which  method  consists  of  treating  lead  plates  in  the 
manner  substantially  as  herein  described  in  reference  to  the 
fourth  part  of  this  specification. 

Grant  of  Provisional  Protection. 

3018.  Joseph  Julitts  Sachs,  of  8,  Union  Court,  Old  Broad 
Street,  in  the  city  of  London,  for  an  invention  of  “ Improve- 
ments in  the  manufacture  of  pliable  plates  and  surfaces  as  a 
substitute  for  glass  for  photographic  and  other  purposes.”  — A 
communication  to  him  from  Messieurs  Fickeissen  and  Becker, 
resident  at  Villengen,  Baden,  Germany.— Dated  14th  August, 
1883. 

Patent  Granted  in  France. 

21,189.  R.  B.  and  B.  C.  West,  of  Quilford,  Conn.  (U.S.A.),  for 
“ A photographic  copying  process.”— Dated  27th  February, 
1883.— Class  57. 

Patents  Granted  in  Belgium. 

62,139.  H.  J.  H.  Mackenstein,  of  Brussels,  for  “ Photographic 
apparatus.”— Dated  26th  July,  1S83.— French  Patent,  24th 
July,  1883. 

62,248.  T.  Samuels,  of  Moken  (England),  for  “ Apparatus  for 
maintaining  and  replacing  negatives  or  dry  plates  in  photo- 
graphic cameras.”— Dated  7th  August,  1883.— French  Patent, 
4th  August,  1883. 

Patents  Granted  in  France. 

153,563.  Kelleh  and  Guerin,  of  Lundville,  for  “ Photoglyptic 
impressions  on  fayence,  porcelain,  glass,  &c.,  and  on  pottery 
in  general.”— Dated  10th  February,  1883.— Class  13. 

153,634.  Balagny,  for  “ Gelatino- bromic  paper  for  photo- 
graphy.”—Dated  10th  February,  1883.— Class  17. 

153,704.  Mader,  for  “ A duplicate  box  for  photographers.” — 
Dated  14th  February,  1883. — Class  17. 

Patents  Granted  in  United  States. 

284,269.  “ Folding  tripod  or  support.”  William  J.  Bishop, 
1 hiladelphia  l’a.  (No  model).  This  stand  consists  of  a central 
stall  consisting  of  a metal  tube,  and  light  metal  legs  brauch 
out  somewhat  after  the  fashion  of  an  umbrella  frame.  Wire 
brace-rods,  connecting  the  legs  and  the  central  staff,  give 
rigidity  to  the  stand. 


ROYAL  CORNWALL  POLYTECHNIC  SOCIETY. 
Ihe  doors  of  the  above  Society  were  opened  for  the  fifty- 
first  annual  exhibition  on  Tuesday,  September  11th,  the 
lught  Honourable  the  Earl  of  Mount  Edgcumbe  (presi- 
dent) in  the  chair,  who  was  supported  by  Sir  John  St. 
Aubyn,  Part.,  M.P.,  the  Rev.  Canon  Saltern  Rogers,  M.A. 
(ex-president),  Rev.  Canon  Phillpotts,  Dr.  Barham,  Rev. 
I.  Hole,  Professor  Warrington  Smyth,  E.R.S.,  Messrs,  li. 


Fox,  T.  S.  Bolitho,  Dr.  Jago,  F.R.S.,  Messrs.  Alfred  Lloyd 
Fox,  Sydney  Hodges,  W.  Brooks,  R.  N.  Worth,  F.G.S. 
(curator),  N.  Curne,  Rev. — Bull,  J.  Lanyon,  J.  P.  Bennetts, 
F.  W.  Mitchell,  II.  Lilly,  and  E.  Kitto  (secretary).  In 
the  body  of  the  hall  and  galleries  were  Lord  Robartes, 
Major  Parkyn  (Hon.  Sec.  Royal  Institution  of  Cornwall), 
Colonel  Tremayne,  the  Revs.  A.  II.  Malan,  J.  S.  Tyacke, 
C.  Christopherson,  and  Messrs.  W.  L.  Fox,  R.  G.  Crees- 
man,  E.  D.  Anderton,  E.  Bulmore,  &c.  The  whole  building 
was  well  filled  with  a very  brilliant  gathering. 

The  noble  earl  at  one  o’clock  rose  to  deliver  his  presi- 
dential address,  and  was  received  with  great  applause. 
When  it  had  subsided,  he  thanked  the  company  for  the 
cordial  reception  they  had  given  him,  and  commenced  hia 
address  by  saying  that  it  gave  him  very  great  pleasure  to 
be  associated  with  that  old  Society,  the  Royal  Cornwall 
Polytechnic,  which  had  for  more  than  the  last  fifty  years 
endeavoured  to  encourage  the  arts  and  industries  of  the 
country  ; he  had  also  to  congratulate  them  on  the  present 
exhibition.  After  the  special  effort  made  last  year  to 
commemorate  the  J ubilee  of  the  Society,  it  might  not  be 
unreasonably  supposed  there  (would  be  something  of  a 
reaction  felt  this  year,  and  rather  a falling  off  in  the  exhi- 
bition generally  ; that,  he  was  happy  to  tell  them,  was  not 
the  case — certainly  not  in  the  most  important  departments 
of  the  exhibition.  It  was  a Polytechnic  Exhibition  in 
every  sense  of  the  word.  There  were  represented 
mechanics,  ventilation,  mining,  engineering,  pottery,  fishing 
appliances,  ornamental  art,  sculpture,  painting  (oil  and 
water),  and  photography , which  was  a grand  success, 
far  surpassing  previous  years — a success  which  was  due 
mainly  to  the  exertions  of  Mr.  William  Brooks,  who  had 
conducted  him  over  the  department,  and  had  shown  him 
some  of  the  finest  productions  he  had  ever  seen.  The 
works  of  professional  photographers  were  eligible  for  the 
prizes  in  the  art  union. 

His  Lordship  then  called  attention  to  Mr.  McLeish’s 
view  of  Durham  Cathedral  called  “ A Misty  Morning  on 
the  Wear,”  which  he  considered  a wonderful  example  of 
happy  selection  and  artistic  feeling.  Mr.  H.  P.  Robinson 
and  others  exhibited  some  wonderfully  good  figure  group- 
ing, which  showed  a great  advance  in  that  branch  of  the  art. 
In  instantaneous  photography,  Messrs.  Cobb  and  Son 
exhibited  some  most  interesting  works  of  the  streets  of 
London,  which  he  was  told  were  taken  from  the  top  of  an 
omnibus.  Messrs.  Johnson  Bros.,  of  Henley-on-Thames, 
exhibited  some  very  interesting  pictures  of  Henley  Regatta, 
which  were  gems  of  the  photographic  art ; and  the  Rev. 
A.  11.  Malan,  a local  clergyman,  had  some  good  pictures  of 
express  trains  going  at  full  speed.  On  the  whole,  the  dis- 
play in  this  department  was  far  in  advance  of  all  former 
ones.  Mr.  Brooks  had  informed  him  that  next  year  he  in- 
tended to  try  to  induce  some  of  our  American  brethren  to 
exhibit  and  compete  for  the  prizes.  There  was  also  added 
to  the  photographic  department  a photographic  appliance 
department,  which  was  full  of  interest.  Mr.  Geo.  Hare,  of 
London,  had  been  awarded  the  Society’s  first  silver  medal 
for  his  excellent  new  patent  camera,  which  showed  many 
excellent  improvements,  which  he  thought  would  be  fully 
appreciated  by  photgraphers  ; there  were  also  exhibits  in 
another  branch,  and  that  was  appliances  for  the  magic 
lantern  by  Messrs.  W.  H.  Oakley,  who  exhibited,  amongst 
other  things,  a double  regulating  cock  which  was  a great 
acquisition. 

The  president’s  address  was  followed  by  speeches  from 
several  eminent  gentlemen,  including  Sir  John  St.  Aubyn, 
Bart,  M.P.,  Professor  Warrington  Smyth,  F.R.S.,  and 
several  others ; after  which  the  exhibition  was  declared 
open,  and  the  company  then  proceeded  to  view  the  objects 
of  interest.  The  photographic  department  came  in  for  the 
patronage  of  the  company,  for  during  the  remainder  of 
day  and  evening  it  was  so  crowded  that  there  was  scarcely 
any  getting  in.  Several  of  the  pictures  soon  found 
purchasers,  and  there  is  no  doubt  that  many  will  go  in  the 


. 


604 


THE  PHOTOGRAPHIC- NEWS 


[SEPTEMBER  21,  1883. 


Art  Union  as  prizes.  If  this  department  was  only  brought 
before  photographers  they  might  be  induced  to  take  shares, 
as  by  its  means  they  and  their  brothers  in  art  might  be 
able  to  dispose  of  their  works. 


A BOX  FOR  RAPIDLY  DR1ING  GELATINE 
NEGATIVES. 
by  t.  g.  whaite. 

I enclose  you  sketch  of  a drying  box  I have  recently  con- 
structed for  rapidly  drying  gelatine  negatives.  Where  it 
is  necessary  to  dry,  varnish,  and  print  proofs  from  the 
negatives  on  the  day  of  sitting,  it  will  be  found  a safe  and 
useful  apparatus,  especially  iu  damp  weather.  I find  1 
can,  in  from  twenty  minutes  to  half-an-hour,  thoroughly 
dry  from  seventy  to  one  hundred  10  by  8 negatives  iu  a 
box  about  2 feet  deep  by  2 feet  6 inches  long.  The  top  of 
box  is  connected  with  a fine  by  a tube  about  4 inches  in 
diameter,  in  which  are  kept  burning  four  gas  jets.  When 
the  door  is  closed,  these  cause  a rapid  change  of  air 
(previously  warmed  in  chamber  below)  to  pass  through 
the  box  into  the  chimney,  the  fire-place  having  been 
sealed  up.  The  bottom  of  the  wooden  box  is  made  of 


A,  tube  to  flue ; 33,  4 gas  jets  in  tube  ; C C,  negatives ; D,  sheet  iron  ; E, 
gas  jets  to  warm  the  air  passing  through  wire  gauze ; F,  wire  gauze  to  box ; 
G,  gas  tubing. 

fine  zinc  gauze,  and  the  negatives  are  put  on  two 
skeleton  shelves,  the  upper  row  a step  back,  to  prevent 
the  moisture  from  the  lower  row  coming  in  contact  with 
the  upper  ones  in  its  passage  to  the  flue.  The  gas  jets 
under  the  warm  air-chamber  are  made  very  small,  to  pre- 
vent the  air  supplied  to  the  box  becoming  too  hot.  The 
gas  is  lighted  in  the  tube  before  the  negatives  are  put  in, 
the  negatives  having  been  previously  drained  for  a few 
minutes  on  blotting-paper,  the  door  (which  must  fit  closely 
on  draught  tubing)  closed,  and  the  lower  row  of  gas  jets 
lighted,  and  the  negatives  will  be  found  to  be  safely  dried 
in  twenty  or  thirty  minutes. 


ROYAL  CORNWALL  FOLYTECI1NIC  SOCIETY. 

The  Judges’  Official  Report — Photographic 
Department. 

The  judges  have  great  pleasure  in  congratulating  the 
Society  on  the  success  of  the  display  in  the  department  this 
year.  The  number  of  the  exhibits  is  unusually  large,  and 
there  is  also  a very  marked  improvement  in  the  quality 
and  general  excellence  ot  all  the  pictures  submitted.  The 
judges  also  wish  to  note  the  entire  absence  of  anything 
approaching  to  careless  and  slovenly  work,  which  was  very 
prevalent  a few  years  since. 

In  professional  portraiture  the  exhibits  are  far  below 
the  average  as  regards  numbers ; the  professional  landscape 


section  is  exceedingly  well  represented ; there  are  also  a 
large  number  of  instantaneous  works  ; in  some  instances 
there  is  a very  high  degree  of  merit. 

The  amateur  work  is  also  good.  In  the  photographic 
appliance  department  there  are  several  very  clever  inven- 
tions and  improvements  which  are  well  worthy  of  notice. 
This  year  there  are  several  exhibits  of  lantern  appliances, 
some  of  which  are  very  ingenious. 

Section  1 ; Professional  Photography.— The  W oodbury 
Permanent  Printing  Company,  of  London,  exhibit  some 
very  important  works  of  a very  high  order,  most  notably 
No.  703,  “ Madame  Modjeska ; ” they  also  exhibit  two 
charming  examples  of  enlargements  on  opal,  which  are  very 
fine  indeed.  Mr.  H.  P.  Robinson,  of  Tunbridge  Wells,  is 
very  strong  this  year,  and  the  judges  are  very  pleased  to 
note  the  marked  improvement  over  his  exhibits  of  last  year. 
To  his  picture  “ A Merry  Tale,”  a second  silver  medal  has 
been  awarded.  Mr.  R.  Slingsby,  of  Lincoln,  also  sends  a 
similar  class  of  work  to  Mr  H.  P.  Robinson,  several  pitures 
being  very  clever.  There  are  two  exhibitors  of  lantern 
slides,  viz.,  Mr.  Fincham  and  Mr.  G.  Groyer,  whose  pro- 
ductions show  clean  and  careful  work  ; they  are  mostly  by 
wet  collodion,  which  gives  rather  to©  cold  a tone.  Mr. 
Adam  Distin  sends  three  examples  in  his  well-known  style, 
the  best  of  which  is  “ Gloamin'.”  Messrs.  G.  West  and 
Son  send  a frame  of  studies  of  yachts  which  evidently  are 
elaborately  retouched.  Mr.  G.  Higginson  has  two  pleasing 
pictures,  “The  Lych  Gate,”  and  “ An  Old  Water  Mill.” 
Mr.  F.  M.  Sutcliffe  sends  some  of  his  pleasing  little  studies 
of  shipping,  & c.,  similar  to  last  year.  Messrs.  Cobb  and 
Son,  of  Woolwich,  send  some  extraordinary  examples  of 
instantaneous  work  of  the  streets  of  London — many  of  them 
taken  from  the  top  of  an  omnibus — to  which  a second  silver 
medal  has  been  awarded.  An  old  exhibitor,  Mr.  J.  Milman 
Brown,  has  been  awarded  a first  bronze  medal  for  his  pic- 
ture “ A Misty  Morning,”  which  shows  great  artistic 
taste,  it  being  full  of  atmosphere,  and  generally  effective. 
Mr.  R.  Walter  has  a few  careful  little  bits  of  Epping 
Forest. 

Mr.  II.  Chubb  sends  two  effective  productions  in  por- 
traiture. John  Chaffin  and  Son’s  exhibits  this  year  would 
have  been  better  if  they  had  received  double  the  expo- 
sure, being  somewhat  heavy.  Mr.  F.  W.  Broadhead  is 
represented  by  two  exhibits  in  portraiture,  and  a frame  of 
views  in  Bradgate  Park.  The  chief  award  in  landscape 
has  been  made  to  Mr.  McLeish  (for  his  charming  and 
effective  production,  “A  Misty  Morning”) — first  silver 
medal.  Mr.  Norman  May  is  represented  by  several  exam- 
ples of  very  careful  work.  Mr.  George  Renwick  sends 
eight  frames  of  snow  scenes  ; being  all  of  the  same  nature, 
they  are  somewhat  monotonous.  Mr.  J.  Jackson  sends 
examples  of  his  work,  the  best  of  which  is  “ An  Old 
Norman  Doorway.”  Mr.  James  S.  Catford  has  some  very 
pretty  views,  which  show  careful  study.  Mr.  J.  Byrne, 
whose  former  exhibits  are  well  in  the  memory  of  the  judges, 
is  awarded  a second  silver  medal  for  his  excellent  frame  of 
panel  portraits;  the  judges  would  like  to  see  a larger 
style  of  portraiture  from  him.  Mr.  Luke  Berry  sends  a 
few  examples  of  very  careful  work.  Mr.  E.  S.  Ellery  sends 
some  creditable  examples  of  portraiture.  Messrs.  Day 
and  Son  contribute  some  specimens  of  vignette  portrai- 
ture, which  are  very  soft  and  delicate.  Messrs.  Johnson 
Bros.,  of  Henley-on-Thames,  exhibit  some  very  perfect 
specimens  of  instantaneous  photography  of  Henley 
Regatta;  afirstbronze  medal  has  been  awarded  to  No.  809 
as  being  the  best.  They  have  also  some  exceeding  good 
pictures  of  harvest  fields  ; the  whole  of  their  work  is  very 
soft  and  delicate.  Mr.  F.  Argali,  of  Truro,  contributes  a 
capital  enlargement  of  “ Boathouse  in  the  River  Fel.” 
He  also  contributes  a good  enlargement  of  the  late  Bishop 
of  Truro — Dr.  Benson — now  Archbishop  of  Canterbury. 
Mr.  Harrison,  of  Falmouth,  sends  some  very  pleasing  speci- 
mens of  fancy  portraiture.  Mr.  \V.  W.  Winter  contri- 
butes a frame  of  cabinet  portraits,  which  are,  in  the 


September  21,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


G05 


opinion  of  the  judges,  spoilt  in  the  mounting,  being  too 
gaudy.  Mr.  Lyddell  Sawyer  sends  two  pleasiDg  out-door 
studies,  “The  Rivals”  being  the  best.  Mr.  G.  T.  Whaite 
sends  several  frames  of  his  well-known  studies,  which  are 
well  worthy  of  attention. 

Amateur  Photography. — Some  very  interesting  pictures 
of  life  and  scenery  in  the  wilds  of  Labrador  and  Hungary 
by  J.  B.  Holmes  have  taken  the  first  bronze  medal ; the 
manipulation  is  very  good,  considering  the  difficulties 
under  which  they  must  have  been  taken.  Mr.  J.  G. 
Horsey  sends  several  examples  of  his  work,  some  of  large 
size ; but  they  are  a little  too  black  and  cold,  and  in  many 
instances  the  subject  is  down  too  low  in  the  plate,  which 
makes  the  hills  appear  dwarfed.  We  are  sure  that  Mr. 
Horsey  can  do  better  work,  and  hope  that  he  will  profit 
by  these  remarks. 

Mr.  T.  M.  Brownrigg  sends  a goodly  number  of  ex- 
amples of  his  work  (which  are  soft  and  delicate)  of  Italian 
and  English  scenery.  Mr.  C.  V.  Shadbolt  sends  some 
very  careful  work.  Mr.  A.  G.  Tagliaferro  contributes 
some  instantaneous  examples,  which  are  very  good. 
Mr.  W.  R.  Ridgway  sends  one  frame  of  views  in  North 
Wales,  which  are  fairly  good.  Mr.  C.  A.  Eernely, 
of  Reigate,  appears  to  be  not  so  well  represented 
as  we  have  seen  him  in  past  years.  Mr.  C.  Brightman 
again  sends  some  of  his  careful  work  ; to  frame  No.  872  a 
first  bronze  medal  has  been  awarded.  Mr.  P.  H.  Emerson 
sends  a selection  of  views  which  are  fairly  good.  The 
Rev.  A.  Malan  has  Leeu  awarded  a second  bronze  medal 
for  some  instantaneous  pictures  of  express  trains,  which 
are  very  good.  This  class  of  picture  has  one  great  feature, 
and  that  is,  it  gives  no  idea  of  motion. 

Photographic  Appliances. — Mr.  Geo.  Hare,  of  London, 
comes  off  with  first  silver  medal  for  his  new  patent 
camera,  which  appears  perfect  in  every  way,  with  great 
range  of  focus,  and  every  conceivable  action,  as  swing- 
back  and  swiug-front,  leaving  nothing  to  be  desired. 
Mr.  G.  W.  Tweedy  sends  an  instantaneous  shutter, 
similar  to  Mr.  J.  P Jackson's  instantaneous  shutter,  only 
this  one  has  four  openings  instead  of  two  passing  one 
another.  Messrs.  J.  F.  Shew  and  Co.,  of  London,  send  a 
shutter  also  similar  to  that  of  Mr.  S.  P.  Jackson,  with  a 
regulating  screw  to  regulate  exposure  of  camera;  their 
other  exhibits  are  of  ordinary  make,  possessing  no  special 
feature.  Messrs.  W.  H.  Oakley  are  rather  strongly  repre- 
sented in  regard  to  lantern  appliances ; their  model  of 
portable  lantern  screen  is  a capital  arrangement,  and  the 
judges  recommend  it  to  the  special  attention  of  lauternists. 
They  also  send  a very  portable  and  ingenious  reading 
lamp,  which  seems  very  perfect.  They  send  specimens  of 
their  interchangeable,  mixed,  or  blow-through  jet,  which 
is  extremely  well  made,  the  notable  feature  about  it  being, 
that  it  is  fitted  with  a double  regulation  cock,  whereby, 
when  the  gases  are  once  adjusted,  a screw  plug  can  be 
turned,  which  shuts  off  all  the  gas,  aud  then  can  be  turned 
on  instantly  without  any  re-adjustment,  which  is  a very 
novel  feature.  A second  bronze  medal  has  been  awarded  to 
this  cock.  They  have  also  some  good  substantial  camera 
atands.  Mr.  Cheney  has  several  exhibits,  viz  , changing 
bag  for  dry  plates,  tripod  stand,  aud  lantern  screen 
elevator ; the  latter  does  not  seem  very  substantial,  and 
appears  far  too  complicated  to  come  into  general  use. 


THE  BRITISH  ASSOCIATION. 

Pkofessob  Cayley,  in  speaking  from  the  presidential  chair 
on  Wednesday,  referred  to  the  rise  and  piogress  of  pure 
science — of  those  labours  in  which  the  human  intellect  deve- 
lopcs  great  truths,  without  drawing  upon  facts  I arned  from 
experience  and  observation. 

I hose  who  doubt  that  mathematical  inductions  are  in- 
tuitive, and  not  the  result  of  generalisations  derived  from 
experience,  are  thus  addressed  by  the  Cambridge  Professor : 


“We  can  each  of  U3  appreciate  the  truth  of  a proposi- 
tion in  regard  to  numbers ; and  we  cannot  but  see  that  a 
truth  in  regard  to  numbers  is  something  different  in  kind 
from  an  experimental  truth  generalized  from  experience. 
Compare,  for  iustance,  the  proposition  that  the  sun,  having 
already  arisen  so  many  times,  will  rise  to-morrow,  and  tho 
next  day,  and  the  day  after  that,  and  so  on  ; and  the  pro- 
position that  even  and  odd  numbers  succeed  each  other 
alternately  ad  infinitum , tho  latter,  at  least,  seems  to  have 
the  characters  of  universality  aud  necessity.  Or,  again, 
suppose  a proposition  observed  to  hold  good  for  a long 
series  of  numbers,  1,000  numbers,  2,000  numbers,  as  the 
case  may  be,  this  is  not  only  no  proof,  but  it  is  absolutely 
no  evidence,  that  the  proposition  is  a true  proposition  hold- 
ing good  for  all  numbers  whatover  ; there  are  in  the  thoory 
of  numbers  very  remarkable  instances  of  propositions  ob- 
served to  hold  good  for  very  long  series  of  numbers,  and 
which  are  nevertheless  untrue.” 

Of  late  years  the  address  from  the  Chair  has  been  the 
main  feature,  and  the  most  interesting  characteristic,  of  the 
meetings  of  the  British  Association,  as  the  communicated 
papers  are — as  a result  of  the  existing  competition  among 
scientific  men  for  early  publication — ordinarily  either  un- 
important or  stale. 

To  pause  in  the  race  of  gathering  together  material  facts, 
and  to  view  tho  past  and  present  of  scientific  research,  is  in- 
structive and  profitable  ; especially  when  a man  like  Pro- 
fessor Cayley  leads  our  thoughts  iuto  those  channels  where 
his  mind  has  been  especially  active. 

Professor  Cayley  says  : — 

“ I think  it  may  be  at  once  conceded  that  the  truths  of 
geometry  are  truths  precisely  because  they  relate  to  and  ex- 
press the  properties  of  what  Mill  calls  ‘purely  imaginary 
objects'’  That  these  objects  do  not  exist  in  Mill’s  sense, 
that  they  do  not  exist  in  nature,  may  also  be  granted  ; that 
they  are  ‘not  even  possible,’  if  this  means  not  possible  in 
an  existing  nature,  may  also  be  granted.  That  we  cannot 
* conceive  ’ them  depends  on  the  meaning  which  we  attach 
to  the  word  conceive.  I would  myself  say  that  the  puiely 
imaginary  objects  are  the  only  realities,  the  ovi-wr  uvra,  in 
regard  to  which  the  corresponding  physical  objects  are  as 
tho  shadows  in  the  cave  ; and  it  is  only  by  means  of  them 
that  we  are  able  to  deny  the  existence  of  a corresponding 
physical  object.  If  there  is  no  conception  of  straightness, 
then  it  is  meaningless  to  deny  the  existence  of  a perfectly 
straight  line.” 

In  the  confession  of  mathematical  faith  which  immedi- 
ately precedes  this  remark,  the  Professor  boldly  avows  his 
genuine  kinship  to  the  philosopher  who  would  allow  no 
man  uuversed  in  geometry  to  enter  iuto  his  school.  It  is, 
however,  when  the  President  proceeds  to  develop  his  views 
on  those  notions  of  imaginary  magnitude  aud  imaginary 
space  which,  as  he  tells  us,  underlie  and  pervade  the  whole 
of  modern  analysis  and  geometry,  that  we  reach  the  most 
interesting  and  suggestive  portion  of  his  address.  The 
conception  of  a negative  magnitude  becomes,  with  a little 
reflection,  intelligible  enough.  It  is  used,  as  the  Professor 
incidentally  remarks,  in  a very  refined  manner  in  book- 
keeping by  double  entry  ; and  from  a negative  magnitude 
to  the  conception  of  an  imaginary  magnitude  the  transition 
is  not  really  very  difficult.  Its  interpretation  is  another 
matter;  that  belongs  to  a region  to  which  common  ex- 
peiience  furnishes  no  clue,  which  is  penetrable  by  analysis 
alone,  and  which  is  therefore  not  inappropiiately  termed 
imaginary  or  transcendental.  A similar  but  not  identical 
process  leads  to  the  conception  of  imaginary  space — ofspace, 
that  is,  of  more  dimensions  than  those  of  which  experience 
furnishes  the  evidence.  A pure  line,  length  without  breadth, 
is  the  type  of  space  of  one  dimension,  a plane  superficies  of 
space  of  two  dimensions,  and  an  ordinary  solid  of  space  of 
three  dimensions.  As  we  certaiuly  can  think  of  or  imagine 
space  of  less  than  three  dimeusions,  though  experience  gives 
us  no  direct  evidence  of  its  existence,  why  should  we  not 
also  imagine  space  of  more  than  three  dimensions,  and  if  of 


606 


THE  PHOTOGRAPHIC  NEWS. 


more  than  three,  then  of  any  number  of  dimensions?  “ I 
need  hardly  say,”  says  the  Professor,  with  a touch  of  un- 
conscious irony,  “that  the  first  step  is  the  difficulty,  and 
that  granting  a fourth  dimension,  we  may  assume  as  many 
more  dimensions  as  we  please. ’ 

, “The  achievements  of  Euclid,  Archimedes,  and  Appolo- 
nius  are  as  admirable  now  as  they  were  in  their  own  days. 
Descartes’  method  of  co-ordinates  is  a possession  for  ever. 
Never  in  the  history  of  the  world,  however,  have  mathe- 
matics been  more  assiduously  or  more  successfully  cultivated 
than  in  the  Victorian  age.” 


& §ittmwg  oi  f fratajjnelw. 

ALBUMENIZED  PAPER  (Printing  on).— Continued. 

Mr.  W.  E.  Debenham  has  found  that  sensitized  paper  may  b e 
preserved  for  a longtime  in  a satisfactory  condition,  if  it  has  been 
sensitized  upon  a nitrate  bath  to  which  a small  proportion  of  per- 
chloric acid  has  been  added.  In  ordinary  cases,  some  six  or  ten 
drops  to  each  ounce  answers  well.  Only  yellow  light  should  be 
admitted  into  the  printing  apartment  when  the  sensitive  paper  is 
uncovered,  because  the  delicate  whites  of  the  print  will  not  be 
found  to  suffer  in  the  slightest  degree  by  the  continued  action  of 
even  a bright  yellow  light. 

The  accompanying  sketch,  A,  indicates  what  is  called  the 


printing  or  pressure  frame,  such  as  usually  employed  for  nega- 
tives up  to  by  4|-  inches  (half-plate) ; attached  is  a label  or 
tablet,  as  shown,  with  the  number  of  prints  required,  and  one 
stroke  is  inscribed  each  time  the  frame  is  re-charged,  thus  forming 
a convenient  mode  of  registering  the  number  of  prints  executed. 
Perhaps  a better  plan  may  suggest  itself  to  many,  such  as 
attaching  a label  permanently  to  the  negative,  narrow  strips  of 
albumenized  paper  being  well  suited  for  the  purpose.  The  sketch, 
B,  shows  a frame  which  is  provided  with  a plate-glass  bed 


B 


whereon  the  negative  is  laid,  so  that  any  smaller  sized  negative 
than  the  plate-glass  may  be  printed  in  it.  As  a rule,  however, 
these  frames  are  employed  for  the  larger  sizes  only. 

When  the  frame  is  open,  light  is  free  to  pass  through ; but 
when  closed,  as  in  the  sketch,  light  can  only  pass  through  the 
negative  on  to  the  sensitive  paper.  The  back  is  made  in  two 
halves  hinged  together,  so  that  the  pressure  may  be  retained  on 
one-half,  while  the  other  half  may  be  opened  to  examine  the 
progress  of  printing.  Very  little  danger  of  altering  the  position 
of  the  print  exists  if  only  ordinary  care  be  exercised,  and  sufficient 
pressure  be  retained  on  the  other  half. 

We  will  supposo  we  are  working  with  a quarter-plate  negative 
in  a quarter-plate  frame,  size  4 j by  3j  (glass  beds  are  seldom 


[September  21,  1883. 


fitted  to  this  size) ; the  negative  must  lie  quite  flat  in  the  rabbet ; 
if  it  does  not  do  so,  either  the  rabbet  is  not  true,  or  the  negative  is 
not  flat.  If  the  frame  is  at  fault,  and  cannot  be  easily  corrected, 
it  will  be  wise  economy  to  discard  it,  or  a number  of  valuable 
negatives  may  be  broken  in  consequence  ; but  if  the  negative  is 
not  flat,  which  may  be  seen  by  looking  along  the  edge,  we  must 
gum  one  or  two  narrow  strips  of  paper  on  the  portion  that  does 
not  touch  the  rabbet ; if  the  negative  no  longer  rocks  in  the  frame 
when  pressed  at  each  end,  it  may  be  considered  safe  to  apply  the 
pressure. 

Place  the  negative  down  on  the  rabbet  of  the  printing-frame, 
varnished  side  being  uppermost ; pass  a camel-hair  brush  once  or 
twice  over  the  surface  to  remove  any  adhering  particles  of  dust ; 
then  place  one  of  the  pieces  of  paper  cut  to  size  down  on 
the  negative,  albumenized  side  in  contact  with  the  varnished 
surface  of  the  negative;  upon  this  lay  evenly  one  or  moro 
thicknesses  of  blotting-paper,  each  piece  as  large,  or  larger,  than 
the  piece  of  sensitive  paper ; this  forms  a padding  to  increase  and 
equalise  the  pressure  (a  better  article  for  the  purpose  is  the  red 
sheet  rubber,  which  does  not  affect  the  print,  nor  cause  dust,  like 
paper,  felt,  and  padding,  of  that  description ; it  is  manufactured 
any  size  and  thickness) ; place  the  back  of  the  frame  in  its  proper 
position,  and  close  the  springs.  If  the  negative  can  be  moved 
about  easily  after  the  springs  are  closed,  the  pressure  is  insufficient, 
and  more  padding  must  be  added.  Blurring  in  the  print  is  a proof 
that  negative  and  paper  have  not  been  pressed  into  contact.  Let 
the  printing  board  or  bench  be  erected  out  in  the  open  air,  as  far 
away  from  the  surrounding  buildings  as  found  convenient:  con- 
struct it  with  a sufficient  angle  for  rain  to  run  off  sharply,  and  let 
it  face  due  north.  Photographs  may  be  printed  in  direct  sunlight  ; 
but  any  imperfections  in  or  on  the  glass,  such  as  blisters,  scratches, 
&c.,  will  be  faithfully  reproduced,  unless  the  sunlight  be  filtered 
through  a semi-opaque  substance,  such  as  tissue  paper  or  ground 
glass.  Moreover,  many  varnishes  will  not  stand  the  heat  pro- 
duced— they  become  tacky  ; on  the  whole,  it  is  better  not  to  use 
direct  sunlight,  especially  as  nearly  as  much  work  can  be  produced 
by  having  a good  expanse  of  north  light.  When  it  is  desired  to 
print  in  wet  weather,  the  frames  should  be  exposed  to  light  under 
glass.  Printing  takes  place  much  slow’er  than  as  previously 
described  ; we  will  assume  the  weather  osench  for  printing  to  be 
fine. 

(To  be  continued.) 

— o 

THE  PHOTOGRAPHIC  CONVERSAZIONE. 

Sir, — In  your  issue  of  8th  June  there  appeared  a letter 
suggesting  that  some  attempt  should  be  made  to  enliven 
the  too  overpoweringly  dreary  nature  of  our  annual  con- 
versazione. I do  hope  that  some  leading  member  of  the 
Society — if  the  Council  as  a body  will  not  condescend  to 
move — svill  take  the  initiative  in  the  matter.  A few  dances, 
or  even  a little  music  alone — and  the  available  talent 
among  our  fair  guests  must  bo  more  than  sufficient  for 
either  purpose — will  render  the  meeting  a success,  and 
cause  it  to  be  more  agreeably  remembered  than  former 
ones  have  been.  Quieta  non  movere  is  a very  good  rule, 
but  when  quiet  degenerates  into  unutterable  dulness,  any 
change  is  for  the  better. —Your  obedient  servant, 

8 A.  T. 

[P.S.— There  was  at  one  time,  I believe,  a rumpus  about 
tail-coats.  I always  feel  inclined  to  be  sulky  wheu  I am 
obliged  to  don  my  own  tail-coat : but  ours  is,  I believe, 
the  only  Society  of  any  pretensions  where  gentlemen  are  to 
be  seen  on  such  au  occasion  dressed  in  the  “ go-as-you- 
please  ” style.] 


PHOTOGRAPHY  AND  TRICYCLING. 

Dear  Sir, — “ Only  an  Amateur"  writes  as  if  it  were 
but  amateurs  who  are  interested  in  tricycles ; but  if,  as 
somo  of  your  correspondents  mako  out,  as  much  as  fifteen  or 
twenty  pounds  could  be  carried  without  difficulty,  I think 
a machine  would  suit  me  for  country  wotk.  My  only  fear 
is  that  I should  not  be  able  to  work  the  thing  without  dis- 
comfort, and  this,  after  spending  fifteen  or  twenty  pounds, 


September  21,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS 


607 


would  be  rathet  unsatisfactory  to  a business  man.  Now 
that  there  is  no  need  to  carry  a dark  tent,  it  is  very  likely 
that  a tricycle  could  convoy  all  required  for  whole-plate 
work  ; only  I do  not  care  to  try  until  I have  heard  the 
experiences  of  others. — Yours  faithfully, 

Canterbury,  18th  September.  A Hard  Worker. 

I Dear  Sir,— Mr.  Browning  mentions  that  a half-plate  set 

can  be  got  up  to  weigh  not  more  than  ten  to  twelve  pounds. 

I have  weighed  mine,  and  find  the  whole,  including 
stand,  three  dark-slides  with  two  plates  in  each,  lens, 
instantaneous  shutter,  cover,  and  straps  complete,  to  weigh 

(seven  pounds  and  n-half.  The  cost  of  the  whole  was 
£4  4s.,  with  a double  slide,  and  the  apparatus  has  had 
rough  treatment  in  India  and  in  travelling,  and  has  stood 
it  well. — Yours  truly,  J.  C.  Hannyngton. 


Deab  Sir, — I have  novor  used  a trioycle  for  carrying 

!>hotographic  apparatus,  but  a “ sociable  ” machine  I have 
ound  very  comfortable  this  year  during  a sketching  tour  to 
Scotland.  My  son  and  myself  travelled  forty-four  miles  by 
tricycle  from  Edinburgh  on  our  first  day  out,  and  as  many 
as  fifty-five  the  next  without  any  fatigue.  Besides  our 
sketching  materials,  we  had  two  knapsacks  with  us,  weigh- 
ing together  about  forty  pounds,  which  I presume  is  as 
much  as  any  photographer  requires  to  take  with  him. — 
Yours  faithfully,  Crayon. 


PYRO  DEVELOPER.— ERRATUM. 

Sir, — On  page  591  of  last  issue,  in  No.  2 solution,  for 
14  ounces  please  read  15  ounces.  A mistake  has  got  in 
somehow.  Kindly  insert  correction,  and  you  will  oblige 
yours  truly,  0.  II.  Ewen. 


EXHIBITION  OF  THE  PHOTOGRAPHIC  SOCIETY 
OF  GREAT  BRITAIN. 

Dear  Sir, — Will  you  kindly  permit  me  to  remind  intend- 
ing exhibitors  that  packing-cases  from  the  country  must 
reach  our  Agent,  Mr.  Bourlet,  at  17,  Nassau  Street, 
Middlesex  Hospital,  London,  not  later  than  Friday  next, 
September  28th  ; also  that  pictures  delivered  by  hand  must 
be  left  at  the  Gallery,  5,  Pall  Mall  East,  on  the  same  day, 
Friday,  September  28th  (open  until  9 p.m.). 

Any  information  respecting  the  Exhibition,  as  also  slides 
for  the  Monday  evenings  with  the  optical  lantern,  inay 
be  obtained  from  yours,  &c., 

Edwin  Cocking,  Assistant  Secretary. 

57,  Queen's  Road,  Peckham,  S.E. 


of  gomlifj. 

London  and  Provincial  Photographic  Association. 

At  a meeting  held  on  Thursday,  the  13th  inst.,  Mr.  A.  L.  Hen- 
derson occupied  the  chair. 

The  Chairman  said  that  seeing  so  many  visitors  present,  who 
had  no  doubt  attended  to  witness  Mons.  Hutinet  demonstrate 
his  method  of  enlarging,  he  would  ask  the  members  to  cut  short 
the  usual  proceedings,  and  give  as  much  time  as  possible  to  Mons. 
Hutinet;  he  had  great  pleasure  in  introducing  Mons.  Hutinet 
and  Professor  Stebbiug  to  the  meeting. 

Professor  Stebbing,  on  behalf  of  Mons.  Hutinet,  said  they  felt 
highly  gratified  at  being  introduced  to  so  many  photographers 
and  amateurs  ; their  best  thanks  were  due  to  the  Association  for 
giving  them  this  opportunity,  and  for  placing  such  a large  room 
at  their  disposal. 

Mons.  Hutinet,  on  being  called  upon  to  exhibit  his  gelatino- 
bromide  paper,  focussed  the  image  on  white  paper,  placed  in 
a printing  frame  attached  to  an  easel.  The  room  was  darkened, 
and  the  sensitive  gelatino-bromide  paper  substituted  ; an  expo- 
sure of  five  minutes,  followed  by  nine  minutes’  immersion  in 
ferrous  oxalate  developer,  was  found  to  be  the  correct  exposure, 
the  enlargement  having  all  the  elements  of  success  ; but  owing 
to  slight  movement  during  exposure,  it  was  not  quite  sharp. 


Fixing  occupied  a quarter  of  an  hour.  To  illustrate  rapid  posi- 
tive printing,  a piece  of  paper  was  exposed  undor  a negative  less 
than  one  second,  a foot  away  from  an  ordinary  gas-burner,  and 
was  said  by  some  to  be  quite  sufficient,  but  slightly  under- 
developed. Others  thought  it  was  slightly  under-exposed,  print 
being  rather  poor. 

Mr.  Debknham  asked  what  remedy  would  they  suggest  for  a 
proof  when  under-exposed  ? 

Prof.  Stebbing  thought  it  waste  of  time  trying  to  bolster 
up  an  under-exposed  print  ; he  thought  it  would  be  better  to 
expose  another  a little  longer. 

Mr.  Cobb  asked  what  cure  they  had  in  cases  of  over-exposure. 

Prof.  Stebbing  replied  that  a remedy  would  be  found  in 
taking  the  print  out  of  the  developer  a little  quicker  ; but  the 
most  harmonious  pictures  were  obtained  with  full  exposures. 

Mr.  Kiemann  thought  over-  or  full  exposure  would  result  in 
flat  images. 

Prof.  Stebbing  showed  a camera  he  had  designed  for  using  his 
films  or  dry  plates.  It  was  set  at  a fixed  focus,  so  that  auy 
object  between  the  horizon  and  five  yards  in  front  of  the  lens 
would  always  be  in  focus.  A finder  fixed  on  the  top  would 
enable  the  operator  to  ascertain  if  his  view  were  in  the  right 
position.  By  a simple  contrivance  of  rollers,  the  sensitive  film 
passes  across  the  camera,  behind  a glass  plate  in  situ.  A block 
is  provided  with  screw  to  pi  ess  the  film  in  contact  with  the 
glass  plate  ; an  index  of  the  exposed  portions  is  obtained  by  in- 
cision, and  is  afterwards  passed  on  to  the  second  roller. 

Messrs.  Slater,  Austen,  and  Walker  were  elected  members  of 
the  Association.  Several  names  were  handed  in  of  gentlemen 
wishing  to  become  members. 

The  Chairman  said  he  had  been  very  much  interested  this 
evening,  and  asked  for  a vote  of  thanks  to  Prof.  Stebbing  and 
Mons.  Hutinet.  He  had  the  pleasure  of  announcing  Mr.  Iladdon 
as  chairman  on  the  next  occasion. 


Sheffield  Photographic  Society. 

The  monthly  meeting  was  held  September  4tb,  Mr.  TnOMAS 
H.  Morton,  M.D.,  presiding. 

The  ordinary  business  was  preceded  by  an  interesting  demon- 
stration given  by  Professor  Stebbing  and  M.  Hutinet,  of  Paris, 
the  subject  being  the  development  of  their  new  gelatino-bromide 
paper. 

Professor  Stebbing,  in  his  preliminary  remarks,  said 
that  the  method  he  adopted  was  similar  in  many  respects  to 
that  hitherto  employed  in  this  country.  The  enlargement 
was  effected  by  an  ordinary  rectilinear  lens  fixed  in  a camera 
enclosed  in  a box  attached  to  the  lantern ; a printing-frame 
with  plate-glass,  placed  on  au  easel,  served  to  hold  the  sensitive 
paper  face  towards  the  lens.  The  exact  focal  distance  being 
ascertained  beforehand,  and  the  room  of  course  darkened,  an 
exposure  was  made  of  three  minutes.  The  Professor  said  he  had 
giving  five  minutes  when  in  London,  but  the  gas  appeared  more 
brilliant  and  actinic  in  Sheffield.  The  exposure  was  correctly 
timed,  as  on  development  by  M.  Hutinet  a fine  enlarged  portrait 
resulted.  A trial  of  paper  by  contact  printing,  exposed  under  a 
negative  of  average  density  for  two  seconds  to  gas-burners, 
was  also  successful,  ferrous  oxalate,  Hutinet’s  formula,  employed 
both  cases. 

Dr.  Morton  said,  after  seeing  such  splendid  pictures  made  by 
bromide  paper  from  small  negatives,  it  was  a question  if  large 
cameras  in  the  field  would  be  often  used,  or  even  requisite  ; he 
congratulated  Professor  Stebbing  and  M.  Hutinet  on  their  suc- 
cess, and  proposed  a cordial  vote  of  thanks  to  them,  which  was 
carried  unanimously. 

The  following  gentlemen  were  elected  members  : Mr.  F 
Parker,  and  Mr.  Dalton. 

It  was  resolved  that  the  Society’s  Exhibition  be  held  at  the 
Cutlers’  Hall  early  in  the  month  of  January,  1884.  Messrs. 
Hadfield  and  Yeomans  were  appointed  auditors,  as  this  meet- 
ing closes  the  financial  year.  A number  of  enlargements  on 
Hutiuet’s  paper  were  exhibited  by  Mr.  Seaman,  stereos  of 
Cornish  scenery  by  Mr.  Eawson,  and  contributions  from  other 
members. 


SLalk  in  tfro  Siubio. 

Photographic  Society  of  Great  Britain.— The  next 
monthly  technical  meeting  of  this  Society  will  take  place  on 
Tuesday  next,  September  25th,  at  the  Gallery,  5,  Pall  Mall  East. 
The  chair  will  be  taken  at  8 p.m. 


608 


THE  PHOTOGRAPHIC  NEWS. 


[September  21,  1883. 


Mkdaillon  Pictures. — Mr.  James  S.  Catford,  of  Ilfracombe, 
referring  to  our  recent  article  on  Medaillons,  or  Glass-mounted 
Photographs,  is  good  enough  to  forward  half  a dozen  charming 
productions  of  his  own  ; the  photographs  include  scenes  on  the 
Lynn,  at  Ilfracombe  and  Clovelly,  the  semi-transparency 
imparted  to  the  pictures  by  their  close  contact  to  the  glass 
adding  much  to  the  general  appearance.  In  elegant  brass  frames 
and  fitted  with  cloth  backs  and  suitable  rings,  the  purchaser 
has  them  fit  and  ready  for  hanging. 

A Taking  Book. — Mr.  Baden  Pritchard’s  interesting  volume 
about  “ Photography  and  Photographers  ” ought  to  have  a wide 
circulation  among  the  brethren  of  the  craft,  who  naturally  are 
possessed  more  than  other  men  by  the  spirit  of  camera-derie. — 
Funny  folks. 

It  is  said  that  Lord  Cairns  has  bought  up  all  the  shop  portraits 
of  his  future  daughter-in-law,  and  that  she  has  promised  not  to 
sit  again.  She  is  not  to  sit,  because  the  family  could  not  stand 
— that  is,  conld  not  stand  the  idea  of  seeing  her  in  theatrical  attire 
side  by  side  with  other,  but  perhaps  less  correct,  lnminaries  of  the 
stage,  all  to  be  had  for  the  small  charge  of  one  shilling. — Referee. 

To  Test  Anilin  Colours. — Mineral  adulterants  are  readily 
detected.  Pure  anilin  colours  leave  no  appreciable  residue  after 
ignition.  Fifty  per  cent,  of  sugar  is  sometimes  found  the 
most  common  adulterant.  To  detect  it,  dissolve  the  sample  in 
a mixture  of  alcohol  and  ether,  in  which  sugar  is  insoluble. 
Even  pure  colours  vary  in  quality.  The  practical  test  for  this  is 
a standard  kept  on  hand.  Equal  amounts  of  this  and  of  the 
sample  to  be  tested  are  made  into  similar  solutions,  and,  into 
these,  poitions  of  white  woollen  yarn,  merino,  or  cassimere  are 
dipped,  and,  after  heating  a sufficient  time,  removed,  washed, 
and  dried.  The  difference  in  colour  will  show  the  relative  values 
of  the  two  substances.  Instead  of  making  a test-solution  of 
the  standard  each  time,  the  fragments  of  stuffs  dyed  with  it 
may  be  pasted  in  a book  for  reference.  But  care  must  be  used 
to  exclude  light,  which  will  in  time  cause  the  colour  to  fade. — 
New  Remedies. 


©0 

***  We  cannot  undertake  to  return  rejected  communications. 

E.  M. — If  you  will  send  us  a piece  of  the  unsensitized  paper  we 
will  examine  it  microscopically,  and  compare  the  surface  with  that 
of  the  finished  prints. 

A Constant  Reader. — The  only  method  of  which  we  know  is 
to  well  wax  the  surface  of  the  dry  gelatine  film. 

C.  R.  B.  D. — It  is  out  of  print,  but  you  may  obtain  a copy  by 
advertising  for  it.  Some  chloride  is  probably  present  as  an 
impurity. 

II.  R.  Warrington. — 1.  If  the  rich  colour  of  the  print  as  it  comes 
from  the  frame  could  be  retained,  toning  would  often  be  un- 
necessary. 2.  See  the  “ Dictionary.”  3.  Do  not  U9e  it  too  hot, 
as  it  swells  the  grain  of  the  paper,  and  makes  the  prints  mealy. 
When  we  wish  to  expedite  the  washing,  we  frequently  use  alter- 
nate baths  of  warm  water  and  cold  water. 

C.  E.  Aldridge. — 1.  One  could  hardly  call  the  definition  good, 
but  we  fancy  that  much  of  the  blurring  of  the  lines  arises  from 
movement  of  the  camera.  Make  your  stand  as  steady  as  you  can, 
and  take  care  not  to  shake  it  when  you  expose  ? 2.  We  can  only 
explain  it  by  assuming  that  there  is  no  gold  left  in  the  solution. 
A sheet  of  paper,  if  deeply  printed  and  fully  toned,  takes  about 
four  times  as  much  gold  as  you  appear  to  suppose.  3.  You  will 
find  that  the  precipitate  will  dissolve  readily  in  acetic  acid;  but 
as  it  is  not  desirable  to  make  the  liquid  permanently  acid,  you  had 
better  consent  yourself  with  mere  filtration. 

V.  Ridgeway. — 1.  It  is  merely  a form  of  starch,  and  we  have  not 
tried  the  experiment,  but  we  imagine  that  there  would  bo  no 
advantage  in  using  it  for  the  purpose.  2.  Nothing  which  we 
havo  ever  seen  is  absolutely  black.  3.  Only  half  the  quantity  is 
required. 

M.  M. — We  think  that  they  can. 

A Learner. — 1.  It  is  convenient  to  put  it  on  stone  first,  as  it  is 
then  easy  to  retouch  either  by  addition  or  subtraction.  2.  It  is 
not  exactly  either  one  or  the  other,  as  you  may  find  by  carefully 
reading  the  description.  Wo  shall  shortly  publish  a detailed 
article  on  the  management  of  the  velvet  roller. 

W.  H.  M. — At  the  Gallery,  Pall  Mall,  unless  they  are  packed.  See 
Note  in  Ihe  present  issue. 

Climax. — Sulphuric  acid  will  answer  very  well,  but  we  prefer 
chloride  of  calcium. 

Constant  Reader. — You  may  just  as  reasonably  ask,  which  is 
the  larger — a lump  of  chalk,  or  a piece  of  flint  ? All  depends  on 
circumstances  ; and  if  you  will  explain  the  object  you  have  in  view, 
we  will  endeavour  to  advise  you. 


D.  Davis. — Although  ebonite  contains  about  half  its  weight  of 
sulphur,  it  is  so  far  fixed  as  to  be  harmless  in  such  a case. 

Benjamin  C . — 1.  Hot  nitric  acid  oxidizes  it  rapidly,  oxalic 

acid  being  formed ; but  the  roaction  of  cold  nitric  acid  is  quite 
different,  a portion  of  the  hydrogen  being  replaced  by  the  radical 
of  nitric  acid.  2.  Why  not  ? 

M.  B.  Caplin. — Judging  from  your  description,  we  think  that  tho 
instrument  was  not  constructed  for  photographic  purposes  ; possi- 
bly it  may  be  an  old-fashioned  lantern  lens. 

W.  Brandsfokd. — Probably  the  amount  of  silver  recovered  will 
not  be  sufficient  to  pay  for  the  loss  of  time  involved  in  treating 
it  separately  ; but,  if  you  keep  your  paper  cuttings,  you  might 
burn  it  along  with  the  next  batch. 

E.  D.  G. — A weak  solution  of  the  so-called  “ chloride  of  lime,”  or 
bleaching  powder,  will  answer  the  purpose,  its  activity  being 
increased  by  the  addition  of  a small  proportion  of  acetic  acid. 

Z.  Wood. — Perhaps  you  used  methylated  finish ; we  can  only 
account  for  the  spots  by  assuming  this. 

Ciias.  Sutton. — It  is  no  use  obtaining  it  ready  sensitised,  as  it 
seldom  remains  in  good  condition  more  than  two  days  after 
having  been  sensitized. 

W.  T.  P. — Thank  you  for  the  offer. 

B.  A. — More  space  would  be  required  than  we  can  spare  in  this 
place ; but  a leader  upon  the  subject  will  appeal  either  in  the 
next  or  the  following  number. 


lire  Ipliotagn^bic  $letw  gUgisfrtr. 

Employment  Wanted. 

Retoucher,  Operator,  &c — M.  E.  B.,  31,  Willis-road,  Kentish  Town,  N.W. 
Reception  Room,  Mounting, &c.— Miss  Faulkner,  Park-st.,  Camden  Town. 
Mounter,  Spotter,  Reception  Room,  Books.— Q.  Y.,  Ordnance-st.,  Chatham. 
Improver  and  all-roun  l hand. — M.  R.  C , 31,  Kingsland  High-street,  E. 
Painting  Photos,  and  Opals,  Ac.  (Lady). — A.  li.,  10,  Ship-street,  Brighton. 
Operator,  Retoucher,  &c.— W.,  9a,  The  Grove,  Hammersmith,  W. 

First  Operator  or  Manager. — L.  Sawyer,  Barras-bridge,  Ncwcastle-on-Tync. 
Operator  A Retoucher,  or  manage.— E.  Austin,  6,  Lyndhurst-ter.,  Worthing. 
Operator  and  Retoucher,  £3  3s.  per  week.— W.,  c/o  Elliott,  30,  Jcwin-st.,E.C 
Operator,  for  copying. — A.  Butteral,  C,  Bull-and-mouth-st.,  E C. 

Improver  (studio  and  out-door  work).— W.  C , Photographic  News  Office. 
Manager  (first-class)  —Pyro.,  50,  Gilbert-road,  Kennington,  S.E. 

Improver  (Lady). — R.  C.,  c/o  Edwin  Stevens, Stationer, Kentist-town. 
Printer  & Vignetter. — Bromide,  19,  Soulh-street,  David-street,  Edinburgh. 
Printer  (permanency).  25/-  per  week. — Photo.,  1,  Gordon-rd.,  Ilomscy,  N, 
Retoucher.— M.  M.,  Photographic  News  Office,  5,  Castle-st.,  llolborn,  E.C. 
retoucher  (first-class). — J.  A.  Henstock,  3,  Regent-street,  Derby. 

Retouch.  & Recep.-room  (Lady). — M.  A.  Martin,  5. Cranbourn-st.,  Brighton.  1 
Artist,  work  lor  firms. — Vandyke,  Photographic  News  Office. 

Operator  and  Retoucher.— L.  Norman, "20,  South  Parade,  Chelsea. 

Portrait  Painter. — Silver,  232,  New  John-strect,  W.  Birmingham. 

Reception  Room  or  Spotter  (Lady).— K.  H.,  7,  Marlbro’-rd.,  Up.  Holloway.  • 
Assistant  (Youth).— M.  J.,  Photo.  News  Office,  5,  Castle-st.,  llolborn,  E.C. 

Pi  inter  and  Toner.— Photo.,  1,  Gordon-rd.,  Hornsey,  N. 

Operatorand  Retouchcr(£3  3s.  weekly).— W., c/o  Elliott,  36,  Jewin-st.,  E.C. 
Operator  or  Assist,  (dry  plates).— A.  j.  A.,  10,  Stockbridge-tcr.,  Pimlico. 
Printer  and  Toner. — Nemo,  c/o  Newsagent,  9,  Balls  Pond-rd.,  N. 

Retoucher  & Assistant  Operators— A.  B.,  106,  Haxton-rd.,  Scarborough. 
Operator  or  Manager.— Operator,  Photo.  News  Office. 

Operator  & Retoucher  (35s.). — D.  Moll,  c/o  J.  Moll,  35,  Iligh-st.,  Chatham. 
Printer  (2fis.  weekly).— W.  H.  R.,  c/o  Emil  Vielcr,  Photo , Huddersfield. 

Employment  Offered. 

Dry  Plate  Maker.— W.  Barry,  7,  Park  Street,  Hull. 

Dry  Plate  Work  (first-class)".— J.  Lafayette,  30,  Westmoreland-st.,  Dublin. 
Operator  for  Large  Work. — E.  Meyerstein,  81,  Newgate-street,  E.O. 
Reception  Room,  &c.  (Lady).— Mr.  Oandy,  5,  Bishopsgate-wilhout,  K.C. 
Printer,  who  can  take  negative.— J.  Long,  Crockherbtown,  Cardiff. 

Retoucher  (Lady),  at£l  Is.  weekly.— 8.,  Photographic  News  Office. 
Collotypist  Printer.— M.  Billing,  Son,  & Co.,  Livery-street,  Birmingham. 
Printer  (few  weeks). — T.  C.  Turner,  10,  Barnsbury-park,  Barnsbury,  N. 
Operator  or  Manager. — F.  M.  V.,  Loretto  House,  Clacton-on-Sea. 
Chromotype  Printer.— Heath  & Bullingham,  24,  Georgc-street,  Plymouth. 
Assistant  Operator  and  Retoucher. — J.  White,  Ipswich. 

Assistant  Retoucher.— Bull  and  Co.,  13,  Narrow-street,  Peterborough. 
Retoucher  (first-class). — J.  E.  Bliss,  7,  St.  Andrewsstrect,  Cambridge. 
Operator  and  Retoucher. — J.  E.  Bliss,  7,  St.  Andrews- street,  Cambridge. 
Operator  (imtned.). — S.  Butler,  Montague-house,  N.  Station-rd.,  Colchester. 
Assistant  Operator. — Barnes  & Son,  422,  Milo  End  Road,  E. 

Transfers  in  Oil  (Lady). — F."_J.  Robinson,  South  Lowestoft. 

Assistant  he  Portrait  Painter.— Personally,  43,  Piccadilly. 

Reception  Room  and  Retouching. — Personally,  43,  Piccadilly. 

Artist,  for  club  work,  tec. — Messrs.  Stuart,  47,  Brompton-rd.,  S.W. 

Artist  and  Retoucher  (Lady). — F.  Charles,  Belgrare-villa,  Knock,  Belfast, 
Entire  Duties  of  Studio. — T.  T.,  19,  Moor-st.,  Chepstow. 

Operator  (dry-plate).— A.  Z.,  Photo.  News  Office. 


“ Will  be  found  pleasant  and  entertaining  reading.” — Daily 
Chroni'lc. 

Price  2s.,  Per  Post  2s.  2d. 

About  photography  and  photo- 

graphers. A Series  of  Essays  for  the  Studio  and 
Study,  to  which  are  added  Continental  Rambles  with  a Camera, 
by  U.  Baden  Pritchard,  F.C.S. — Piper  and  Carter,  5,  Castle 
Street,  llolborn,  E.C. 


THE  PHOTOGRAPHIC  HEWS, 

- ^1;-  X ■ 

Vot.  XXYII.  No.  1308.— September  28,  1883. 


CONTENTS. 


PAGE 


The  Intensification  of  Gelatine  Plates  

On  Backgrounds 

Coloured  Photographs  on  Glass 

610 

611 

The  British  Association  

Photographic  Copyright  

Photo- Lithography  and  Photo-Zincography. 
‘Waterhouse,  B.S.C 

612 

613 

By  Major  J. 

. 615 

Notes 

616 

Patent  Intelligence  

618 

PAGE 

Lessons  in  Optics  for  Photographers.  By  Capt.  Ahnev 618 

Solid  and  Liquid  Illuminating  Agents.  By  L.  Field,  F.C.S.  619 

A Dictionary  of  Photography 620 

Correspondence  621 

Proceedings  of  Societies G22 

Talk  in  the  Studio 623 

To  Correspondents 623 

The  Photographic  News  Registry 621 

The  Every-Day  Formulary  621 


THE  INTENSIFICATION  OF  GELATINE  PLATES. 

Among  the  many  subjects  brought  forward  at  the 
Technical  Meeting  of  the  Photographic  Society  last 
Tuesday,  was  the  subject  of  intensifiers.  The  discussion 
resolved  itself  into  one  on  “ Which  is  the  best  intensifier  ? ” 
and  it  was  most  noticeable  what  different  opinions  were 
expressed  by  different  members,  amounting  in  many 
instances  to  direct  contradictions. 

It  has  often  been  regarded  as  a drawback  to  the  gelatine 
process,  that  a perfectly  satisfactory  intensifier  cannot  be 
found  for  it.  There  have  been  and  are  intensifies  innu- 
merable, but  a vast  difference  of  opinion  exists  as  to  their 
respective  merits,  whilst  the  majority  of  good  workers  are 
apt  to  regard  all  alike  with  disfavour,  and  prefer  to  throw 
away  a defective  negative,  unless  its  subject  is  of  special 
interest  to  themselves,  or  possesses  pecuniary  value,  rather 
than  submit  it  to  the  somewhat  uncertain  and  usually 
disagreeable  process  of  intensification.  Nor  is  this  to  be 
wondered  at,  for — and  here  arises  a point  often  lost  sight 
of  by  photographers — intensification  occupies  altogether  a 
different  position  in  regard  to  gelatine  than  it  does  to 
collodion.  With  the  old  wet  plate  process,  intensification 
(or  redevelopment,  as  it  was  often  called)  was  part  and 
parcel  of  the  production  of  a good  picture.  The  first  thing 
to  be  attained  was  a good  clear  negative  with  sufficient 
detail,  and  then  this  was  built  upon  till  it  attained  suffi- 
cient printiug  density.  With  regard  to  gelatine,  the  case 
is  very  different.  Not  only  is  it  possible  to  obtain  suffi- 
cient density  by  the  reduction  of  the  haloid  salt  within  the 
film,  but  the  best  result  is  obtained  when  the  negative 
requires  no  subsequent  treatment.  In  fact,  the  necessity 
for  intensification  is  in  itself  a defect,  and  can  in  most 
cases  be  put  down  to  one  of  the  following  causes  : — 

A thinly  coated  plate. 

Insufficient  development. 

Under-  or  over-exposure. 

In  the  early  days  of  gelatine,  recourse  was  had  to  silver 
intensifiers,  but  it  was  soon  found  that  there  was  extreme 
danger  of  spoiling  the  negative  by  staining  it.  Then  the 
many  intensifiers  containing  the  salts  of  mercury  were  re- 
suscitated, and  found  to  give  fairly  satisfactory  results  with 
gelatine.  There  are  many  drawbacks  to  the  use,  however, 
of  nearly  every  one  of  them,  nearly  all  of  them  giving  us 
scarcely  sufficient  control  over  the  density,  and  some  of 
them  being  affected  by  the  air  and  other  causes.  How 
many  negatives  intensified  by  mercury  have  been  rendered 
almost  useless  by  the  change  produced  in  them  after  having 
been  kept  for  sometime!  Although  we  now  possess  a 
knowledge  of  a few  formula!  which  auswer  their  purpose 
sufficiently  well,  it  cannot  be  that  photographers  are 
perfectly  satis  led  with  the  existing  state  of  things. 

Relative  to  the  question  of  getting  an  intensifier  the  re- 


sults of  which  should  be  permanent,  we  recently  tried  to 
apply  the  old  lead  intensifier  to  gelatine  plates.  Our  ex- 
periments met  with  but  indifferent  success,  and  of  them- 
selves would  scarcely  be  worth  recording,  but  they  demon- 
strated so  well  the  difficulties  involved  in  intensification 
generally,  that  we  think  it  desirable  to  record  them. 

The  intensifier  in  question,  which  was  brought  before  the 
photographic  world  by  Eder  and  Toth  before  the  discovery 
of  the  gelatine  process,  consists  of  20  grains  of  nitrate  of 
lead  and  30  grains  of  red  prussiate  of  potash  dissolved  in 
1 ounce  of  water.  After  a plate  had  been  treated  with 
this,  it  was  washed,  and  flooded  with  dilute  ammonium 
sulphide,  a permanent  brown  deposit  of  sulphide  of  lead 
being  the  result.  We  used  the  first  solution  only  half  the 
strength  of  the  above. 

We  first  took  plates  whose  thinness  was  due  to  the  coat- 
ing of  the  emulsion  itself,  and  others  whose  lack  of  density 
was  due  to  insufficient  development.  In  all  cases  the 
whites  were  perfectly  clean.  After  thorough  washing  in  tap 
water  and  a good  rinse  in  distilled,  to  remove  all  sulphates, 
they  were  treated  with  the  lead  ferricyanide  solution  till 
they  were  of  a whitey- brown  colour  throughout.  They 
were  then  well  washed  in  distilled  water,  and  treated  with 
the  sulphide.  A remarkably  dense  image  was  the  result. 
Even  the  thinnest  images,  provided  the  whites  were 
perfectly  pure,  could  be  brought  up  to  printing  density, 
[f,  however,  the  plates  were  insufficiently  washed,  or  washed 
with  water  containing  a slight  trace  only  of  sulphates,  a 
yellow  veil  was  produced  which,  though  not  absolutely 
interfering  with  the  printing,  was  of  a remarkably  non- 
actinic  nature.  So  much  care  had  to  be  taken  in  the  wash- 
ing that  it  wasplainly  evident  that  the  use  of  this  iutensifier 
was  quite  out  of  the  question  for  ordinary  purposes,  though 
it  might  answer  in  special  cases. 

With  plates  that  have  been  under-  or  over-exposed,  in- 
tensification is  always  more  or  less  unsatisfactory.  An 
over-exposed  plate  is  necessarily  veiled,  and  an  under- 
exposed one  is  usually  veiled  on  account  of  its  being  left  in 
the  developer  till  the  photographer  is  sure  that  he  can  get 
nothing  more  to  appear.  Not  only  is  the  image  rendered 
denser,  but  the  veiled  portion  is  also  intensified,  though 
to  a somewhat  less  degree ; the  picture  requires  a long 
time  to  print,  and  it  sometimes  loses  a little  in  sharpness. 
Our  experiments  with  the  lead  intensifier  gave  the  same 
results,  but  to  an  exaggerated  extent. 

In  the  course  of  our  experiments,  we  met  with  one 
result  that  astonished  us  in  no  small  degree,  and  which  is 
of  considerable  interest  on  account  of  the  light  it  may 
throw  on  the  phenomenon  of  reversal,  borne  time  since, 
we  had  produced  some  reversed  negatives  direct  from  the 
original  negative  by  over-exposure.  Chancing  to  take  up 
one  of  these  that  was  capable  of  giving  a fair  print,  yet 
would,  nevertheless,  be  the  better  for  a little  in  tensifica- 


610 


THE  PHOTOGRAPHIC  NEWS.  [Septembeh  28,  1883. 


tioD,  we  placed  it  in  the  lead  ferri-cyanide  solution.  On 
taking  it  out  and  holding  it  up  to  the  light,  it  still  appeared 
as  a negative.  On  flowing  ammonic  sulphide  over  it,  how- 
ever, we  found  that  the  sky  refused  to  turn  brown,  and 
we  had  a positive  picture  instead  of  a negative.  It  had 
previously  looked  merely  like  a plate  that  had  been  slightly 
over-exposed,  and  had  been  often  shown  to  friends  as  a 
good  example  of  reversal.  This  experiment  tends  to  show 
that  there  is  something  essentially  different  between  the 
characters  of  an  image  produced  by  reversal,  and  one  pro- 
duced in  the  ordinary  way;  and  it  opens  up  an  interesting 
series  of  experiments. 


ON  BACKGROUNDS. 

It  would  be  very  easy  to  write  a book  on  backgrounds — 
much  easier,  fot  instance,  than  to  recommend  one  that  is 
perfect  in  construction  and  colour.  For  while,  on  the 
one  hand,  there  is  plenty  of  material  for  description  and 
discussion  ; on  the  other,  you  can  scarcely  find  two  photo- 
graphers, known  to  fame,  whose  ideas  upon  the  subject 
coincide.  Anyone  who  has  glanced  through  the  “ Photo- 
graphic Studios  of  Europe’’  must  have  remarked  this,  and 
noted  how  unlike  the  backgrounds  in  one  establishment 
are  to  those  in  another.  Yet  there  is  not  a studio  described 
therein  from  which  good  pictures  do  not  emanate — one 
proof  the  more,  be  it  said,  that  photographic  art  is  not 
altogether  a species  of  manufacture,  as  some  of  its  detrac- 
tors would  make  out. 

Putting  aside  the  question  of  light  backgrounds  or  screens 
necessary  for  the  production  of  vignettes,  and  also  of  dark 
ones  that  serve  for  the  taking  of  so-called  Cartes  Russes— 
we  remember  M.  Lejeune,  of  Paris,  who  is  celebrated  for 
his  charming  black  vignettes,  employs  a dark  red  back- 
ground, so  dark,  indeed,  that  the  red  is  almost  invisible — 
we  will  come  first  of  all  to  the  use  of  “real”  back- 
grounds, which  are,  we  think,  growing  in  favour  among 
photographers.  A good  example  of  this  we  noted  the 
other  day  in  Mr.  William  Mayland’s  delightful  little  studio 
in  Deal.  This  was  no  other  than  a modern  fire-place,  with 
marble  fender  and  glazed  tiles,  the  latter  of  very  light  clay, 
and  with  massive  bronze  ornaments  ; it  was  a fire-place  in 
which  a fire  could  have  been  kindled,  and  it  was  so  placed 
in  the  studio  that  either  a standing  or  sitting  figure,  nay, 
even  a fire-side  family  group,  could  have  been  posed  and 
lighted  with  advantage  in  front  of  it.  The  difference 
between  a “property"  of  this  kind,  and  the  chimney  flat 
painted  in  distemper  that  one  finds  in  many  studios,  is 
very  obvious  as  soon  as  the  photograph  is  taken,  for  the 
brush  marks  of  the  scenic  painter,  let  them  be  ever  so 
vague  and  uncertain  to  the  eye,  are  sharpened  up  in  a 
wonderful  manner  by  the  lens.  Besides,  the  uneven  sur- 
faces presented  by  the  real  thing  have  this  particular  ad- 
vantage, that  they  permit  the  light  to  come  behind  the 
sitter  unequally,  and  thus  the  latter  does  not  seem  to  be 
adhering  to  the  background,  as  is  often  the  case  when  he 
is  placed  against  a smooth  wall.  Herr  Piiimm,  of  Berlin, 
we  recollect,  entertained  a great  dislike  for  artificial  back- 
grounds, and,  indeed,  had  Dot  a painted  screen  of  auy 
sort  in  his  studio.  lie  employs  the  end  wall  of  his  studio, 
which  is  suitably  pauelled  and  decorated,  and,  with  ordinary 
carpet  and  ordinary  furniture,  thus  makes  up  a mostsuitable 
background.  To  cite  another  description  of  “ real  ” back- 
ground, we  may  mentiou  a feature  in  the  studio  of  Messrs 
Valentine  and  Sons,  of  Dundee,  where  a change  from  ordi- 
nary flat  grounds  is  secured  by  fitting  up  one  of  the  angles  in 
the  room  as  a kind  of  rustic  arbour.  This  is  done  in  a simple 
and  inexpensive  manner  by  the  employment  of  coik  bark, 
ivy,  creepers,  &c.,  with  a few  logs  and  branches.  If  arti 
ficial  ivy  is  undesirable  for  such  a purpose,  we  may  mention 
that  branches  of  the  living  plant,  if  potted  and  tended  with 
care,  will  remain  green  and  fresh  for  three  weeks  and  more, 
bo  that  there  is  no  need  to  go  to  the  expense  and  trouble 


of  ivy  plants,  which  may  not  prosper,  after  all,  in  their  new 
locality. 

The  alcove  background  has  many  upholders,  the  late  M. 
Adam-Salomon,  it  will  be  remembered,  producing  most  of 
his  charming  portraits  with  its  aid.  The  possibility  of 
securing  plastic  modelling  and  soft  deep  shadows  is  easily 
afforded  by  a recessed  background,  and,  moreover,  little 
trouble  is  experienced  in  getting  a very  extensive  rauge  of 
lighting.  The  model  need  not  move  if  the  background  is 
a mobile  one,  for  this  can  be  shifted  round  a little  to  the 
right  or  left  by  an  assistant,  while  the  photographer,  from 
his  position  at  the  camera,  j udges  of  the  effect.  M.  Adarn- 
Salomon’s  alcove  or  semi-circular  background  was  very 
lightly  constructed  ; it  measured  some  twelve  feet  across, 
and  was  inside  of  a chocolate  colour,  which,  according  as 
the  light  struck  it,  was  reproduced  in  almost  every  tint, 
but  yielded  pre-eminently  those  rich  dark  shadows  for 
which  M.  Adam-Salomon  was  so  famous.  Not  only  did 
the  renowned  French  photographer  revolve  his  back- 
ground, to  a certain  extent,  round  his  sitter,  but  he  would 
advance  and  recede  it,  thus  modifying  the  illumination  in 
a wonderful  manuer.  Herr  Rriimm,  of  Berliu,  of  whom 
we  have  just  spoken,  has  also  a concave  background  in  his 
studio— in  fact,  he  had  only  one  of  any  sort  at  the  time  of 
our  visit  two  years  ago.  This  was  a very  solid  structure 
to  look  at,  aud  only  when  you  put  a hand  to  it  was  its  ex- 
treme mobility  apparent,  being  simply  a wooden  framework 
on  castors  covered  with  grey  cloth.  On  one  side  of  the 
structure  the  cloth  was  stretched  flat,  while  on  the  other 
it  was  of  convex  form,  not  unlike,  therefore,  the  back- 
ground of  Adam-Salomon. 

In  fact,  the  desirability  of  having  a cloth  background, 
either  flat  or  concave,  has  been  deemed  of  such  importance 
that  not  six  months  ago  a patent  was  taken  out  in  Austria 
for  a background  which  could  be  modified  in  this  way  at 
the  wish  of  the  photographer.  This,  many  of  our  readers 
will  remember,  was  brought  about  very  simply,  as  shown 
in  the  annexed  sketch.  The  structure  is  designed  by  Herr 


Luck.  Fig.  1 shows  the  front  of  the  screen,  and  fig.  2 the 
back.  In  tig.  2 the  background  is  set  up  flat,  in  fig.  1 it  is 
iu  its  concave  position.  The  frame-work  of  the  background, 
which  is  supported  on  two  feet,  a a,  consists  of  a row  of 
wooden  supports,  b b b b,  which  above  and  below  are 
fastened  to  two  flexible  steel  bands,  c c.  The'cross  support, 
d,  which  may  be  turned  in  a vertical  direction  upon  its 
pivot,  makes  the  background  a flat  one  when  iu  the  position 
indicated  in  the  sketch  (fig.  2).  If  you  desire  to  make  the 
background  concave,  the  cross-piece,  </,  is  shifted  from  its 
position  and  turned,  aDd  then  the  cords,  e (fig.  1),  are 
diawn  as  tightly  as  may  be  to  give  the  background  the 
required  bend.  These  cords,  e,  are,  as  indicated  on  fig.  1, 
fastened  to  the  background  both  above  and  below,  and, 
passing  through  rollers,  f f are  thus  easily  manipulated. 
There  are  convenient  hooks  at  the  side  of  the  background 
frame  for  receiving  the  cords,  so  that  after  the  necessary 
concavity  has  been  secured,  there  is  no  risk  of  motion. 

Another  plan  of  securing  concave  backgrounds  is  that 
adopted  by  Mr.  J.  E.  Mayall,  in  his  studio  at  Brighton, 
which  is  perhaps  the  simplest  of  all.  He  uses  a wooden 
screen  constructed  of  jointed  laths  or  rods  in  an  upright 


September  28,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


611 


position.  This  articulated  or  jointed  wooden  screen  stands 
some  eight  feet  high,  and  it  is  so  plastic  that  it  will  form 
and  retain  any  curve  by  being  simply  bent  with  the  hand. 
Thus  it  can  be  placed  in  a semi-circle  round  the  model,  or 
form  a recess,  and  consequently  shadow,  to  the  right  or 
left ; or,  if  necessary,  a column  may  be  shaped  at  one  side 
by  bending  round  the  plastic  screen.  Mr.  Mayall  covers 
his  screen  with  grey  cloth,  and  this  grey  obviously  is 
lightened  or  darkened  according  to  the  angle  at  which  the 
rays  impinge  upon  it. 

In  respect  to  the  employment  of  flat  backgrounds,  it  is 
curious  how  very  few  photographers  agree  as  to  the 
method  of  mounting  them.  Thus,  in  Sarouy’s  studio  at 
Scarboro’,  they  are  made  to  rise  out  of  the  floor  by  means 
of  counterweights ; the  screens  are  so  well  balanced  that 
you  may  shift  them  with  one  hand,  and  change  the  scene 
as  at  a theatre  with  the  least  trouble.  Mr.  Bassano,  in 
Old  Bond  Street,  has  a background  in  his  principal  studio 
measuring  no  less  than  eighty  feet.  This  is  mounted  on 
two  perpendicular  rollers,  oue  on  each  side  of  the  apart- 
ment, and  as  it  rolls  off  one  pillar,  it  is  rolled  on  to  the 
other.  This  is  a very  handy  method ; it  is  so  coloured, 
that  as  you  pass  it  in  review,  the  tint  changes  from  warm 
to  cold,  the  scenes  from  outdoor  to  indoor.  In  the  whole 
length  of  eighty  feet  there  are  at  least  a dozen  different 
positions,  in  which  the  panoramic  screen  would  serve  as 
background. 

Again,  Messrs.  Hills  and  Saunders  have  a liking  for 
backgrounds  moving  in  grooves  like  the  wings  at  a 
theatre ; while  Mr.  Slingsby,  of  Lincoln,  stretches  his 
backgrounds  on  wood  frames,  but  does  not  fix  them  in 
position  ; he  prefers  to  be  able  to  adj  ust  them  as  he  pleases, 
and  by  inclining  them  slightly  towards  or  against  the  light, 
thus  modifies  their  character.  Herr  Schaarwiichter,  of 
Berlin,  as  our  readers  may  remember,  hangs  his  back- 
grounds one  behind  another,  drawing  them  sidewards  for 


use.  The  bottom  of  the  screens  does  not  touch  the  floor, 
the  top  having  attached  to  it  two  reels  which  run  upon  a 
stout  wire  (of  which  there  is  one  for  every  screen)  running 
across  the  studio.  The  join  between  background  and  floor 
is  rendered  invisible  by  a fringe  of  grass  or  narrow  skirt- 
ing board. 

Mr.  Abel  Lewis,  of  the  Isle  of  Man,  as  also  Herr 
Angerer,  of  Vienna,  sometimes  employ  Indian  straw 
matting  and  screens  of  Chinese  and  Japanese  make  for 
backgrounds.  These  have  not  only  the  advantage  of  being 
pleasing  and  unconventional — giving  the  appearance  of  a 
nook  or  corner  of  a drawing  room  — but,  as  they  permit  of 
being  bent  at  angles  and  formed  into  a recess,  they,  like 
the  alcove  backgrounds,  supply  soft  and  deep  shadows,  and 
thus  add  plasticity  to  the  model.  These  grass  and 
painted  screens  are,  indeed,  among  the  most  pleasing  of 
backgrounds. 


COLOURED  PHOTOGRAPHS  ON  GLASS. 

We  notice  in  last  Friday's  Engineer  an  important  modifi- 
cation in  the  method  of  colouring  photographs  from  the 
back  the  second  glass  upon  which  the  opaque  pigments 
are  laid  is  substituted  by  a series  of  thin  layers  of  paraffine. 


There  is  likely  to  be  some  little  difficulty  in  applying  the 
successive  coatings  over  surfaces  upon  which  oil  colours 
have  been  laid,  owing  to  the  tendency  of  the  under  coat- 
ing to  melt  if  the  temperature  is  raised  above  1209  F. 
Nevertheless,  if  a hard  sample  of  paraffine  is  used  in  the 
process  of  cleariug,  requiring  a temperature  of  130 9 F. 
to  liquefy  it,  and  usiug  an  inferior  sample,  which  melts  at 
120*  F.,  for  the  after  operations,  there  is  less  danger  of 
spoiling  the  work  already  done.  It  might  even  be  found 
convenient  to  use  an  equal  proportion  of  ozokerit  and 
paraffine  in  the  first  instance,  adding  a proportion  of 
paraffine  previous  to  each  successive  dip.  Necessarily,  the 
time  required  to  finish  the  picture  will  be  prolonged,  to 
allow  time  for  the  pigments  to  dry ; but  if  the  artistic  effect 
is  enhanced,  the  rest  is  a secondary  consideration,  and  there 
appears  to  be  less  chance  of  fading  from  atmospheric 
causes.  The  Engineer  says  : — 

“ The  exceedingly  delicate  coloured  photographs  on  glass  which 
have  come  into  fashion  somewhat  of  late,  are  produced  by  fixing 
a paper  photograph  upon  a cushion-shaped  glass  with  transparent 
cement,  and  when  it  is  dry  rubbing  away  two-thirds  of  the  thick- 
ness of  the  photograph  with  sandpaper.  The  thin  film  left  is  then 
rendered  transparent  by  soaking  in  melted  paraffine  wax,  after 
which  transparent  colours  are  applied,  which  appear  softened 
down  when  looked  at  from  the  front.  The  background  and 
heavier  portions  of  the  picture  are  then  painted  in  body  colonr 
upon  the  face  of  another  cushion -shaped  piece  of  glass,  which  is 
afterwards  fixed  behind  the  first  one.  An  improvement  in  this 
process  has  just  been  made  by  Mrs.  Nelson  Decker,  daughter  of 
the  late  Mr.  C.  F.  Varley,  F.R.S.,  and  the  first  of  the  young 
members  of  his  family  to  have  produced  a scientific  novelty.  She 
has  just  discovered  that  the  second  sheet  of  glass  may  be  abolished, 
a better  artistic  effect  produced,  and  the  picture  rendered  more 
permanent  by  being  protected  from  the  action  of  the  air  and  dele- 
terious gases  by  being  wholly  embedded  in  paraffine.  She  does 
this  by  quickly  dipping  the  photograph  in  paraffine  a second  time 
after  the  transparent  colours  have  been  applied,  and  painting  the 
heavier  colours  upon  the  back  of  this  second  coat.  A third  layer 
of  paraffine  is  then  applied,  and  the  background  painted  upon 
that ; this  third  coat  may  be  finally  protected  by  yet  another  layer 
of  paraffine.  Some  practice  is  necessary  to  acquire  the  ‘knack’ 
of  doing  this  efficiently.  It  must  be  done  quickly  enough  not  to 
re-melt  previous  layers,  and  the  plate  must,  after  each  dipping, 
be  quickly  tilted  on  end  in  such  a manner  that  the  paraffine  does 
not  run  into  ridges  and  thickened  lines,  but  forms  an  even 
coating.” 

The  usual  method  of  producing  these  pictures  has  been 
fully  described  (pages  4GG,  G78,  71G  of  our  last  volume)  ; 
but  as  some  of  our  readers  may  not  remember  the  details, 
we  give  a br  ief  sketch  here  to  euable  them  at  a glance  to 
see  the  important  improvement  devised  by  Mrs.  Nelson 
Decki  r. 

A silver  print,  slightly  smaller  than  the  convex  glass 
used,  is  soaked  in  water,  blotted,  and  a mixture  of  starch 
and  gelatine,  or  some  similar  substance,  applied  to  the 
albumen  surface,  also  to  the  concive  side  of  glass.  The 
two  surfaces  are  brought  in  contact,  and  the  print  well 
squeegeed  to  remove  air-bells  (a  strip  of  vulcauite  sheet 
doubled  forms  a convenient  squeegee  for  this  purpose). 
When  dry — eight  or  ten  hours  will  be  required — rub  with 
fine  glass  paper,  as  much  of  the  paper  from  back  as  can  be 
conveniently  done  without  making  holes ; place  the  pic- 
ture in  melted  paraffin,  allowing  it  to  remain  until  free  from 
opaque  patches  ; the  print  should  clear  in  less  than  an 
hour.  When  cool  enough,  remove  excess  from  both  sides, 
and  commence  painting. 

Eyes,  lips,  hair,  high-lights,  ornaments,  and  small  details 
are  painted  on  the  print,  using  a liberal  proportion  of 
poppy  oil  or  megilp.  When  dry,  a second  glass,  which 
should  fit  nicely,  is  attached  at  the  edges  to  the  first  one, 
by  means  of  gummed  paper. 

Mix  white  with  all  the  colours  to  be  laid  on  (he  second 
glass,  to  render  them  opaque,  and  apply  roughly  over  the 
surface,  no  part  being  left  uncovered ; but,  to  prevent  a 
blurred  effect,  it  is  necessary  not  to  paint  beyond  the  out- 
lines ; back  up  with  white  paper,  and  frame  suitably. 


612  THE  PHOTOGRAPHIC  NEWS.  [September  28,  1883. 


THE  BRITISH  ASSOCIATION  AT  SOUTHPORT. 
As  is  now  ordinarily  the  case,  the  meeting  had  but  few 
features  to  considerably  interest  those  who  were  not 
present;  the  boliday-makiDg  being  certainly  more  to  the 
fore  than  the  strictly  scientific  work. 

The  inhabitants  of  Southport  entered  heartily  into  the 
work  of  putting  the  town  into  festive  trim,  Lord  Street 
being  decorated  with  some  taste,  and  the  Pavilion  was 
lighted  with  a very  large  number  of  Swan’s  incandescent 
lamps. 

Mr.  J.  Glaisher  presented  the  report  on  mathematical 
tables,  and  although  much  detailed  work  has  been  done,  it 
is  impossible  at  the  present  time  to  make  any  final  recom- 
mendations. 

One  of  the  best  attended  lectures  was  that  of  Sir  F. 
Bramwell,  on  the  telephone,  and  the  discourse  was  well 
illustrated  by  apparatus  and  experimental  demonstrations. 

Sir  F.  Bramwell  pointed  out  that  the  telephone  was  one  of 
the  newest  instances  of  the  application  of  science  for  the  pur- 
poses of  man,  as  it  was  only  six  years  ago  that  it  was  first  ex- 
plained at  the  Plymouth  meetiug  of  the  Association  by  its 
inventor,  Mr.  Graham  Bell,  assisted  by  Mr.  Preece,  the  elec- 
trician to  the  Post  Office.  New,  however,  as  the  telephone  was, 
it  depended  upon  the  application  of  well-known  natural  laws,  the 
first  of  which  was  the  generation  and  transmission  of  sound.  Sir 
Frederick  gave  a variety  of  experiments  to  show  how  sound  was 
produced  by  setting  the  air  into  vibration,  and  how  it  could  be 
reproduced  ai  a considerable  distance  by  some  mechanical  con- 
nection between  the  sounding  body  in  vibration  and  another 
body  capable  of  being  put  into  vibration  and  of  acting  on  the  air 
in  its  neighbourhood.  It  might  be  expected  that  the  vibrations 
of  the  air  accompanying  a sound  would  in  their  turn  put  a surface 
into  vibration,  and  that  this  vibration,  as  it  originated  from  a 
sound,  should  for  the  same  surface  always  be  the  same  for  the 
same  sound.  But  the  logograph,  or  word  writer,  invented  ten 
or  twelve  years  ago  by  Mr.  Barlow,  past  president  of  the  civil 
engineers,  although  the  principle  was  correct,  failed  in  producing 
uniformity,  and  it  wa3  reserved  for  the  American  inventor,  Mr. 
Edison,  to  produce  an  instrument  capable  of  repeating  intelligibly 
all  the  complex  vibrations  into  which  articulate  speech  could  be 
put,  reproducing  at  one  end  of  a tube  or  rod  a speech  delivered 
at  the  other.  But,  obviously,  the  power  of  connection  was 
limited  to  very  short  distances,  while  what  was  wanted  in  the 
telephone  was  sound  at  a distance  not  of  feet  or  yards,  but  of 
miles.  The  difficulty  had  been  got  rid  of  by  the  employment  of 
electricity,  and  the  discovery  by  Faraday  that  if  a coil  of  insulated 
wire  were  moved  in  the  neighbourhood  of  a magnet,  electricity 
would  be  induced  in  that  wire  ; that  the  circuit  would  be  in 
one  direction  when  the  wire  was  moved  towards  one  pole  of  the 
magnet,  and  in  the  opposite  direction  when  moved  away  from 
that  pole.  It  was  to  the  practical  application  of  this  great  dis- 
covery of  Faraday’s  that  we  owed  the  whole  of  the  industrial 
uses  to  which  electricity  was  being  now  so  largely  applied,  for 
by  reason  of  it  we  were  no  longer  compelled  to  generate  elec- 
tricity by  the  employment  of  batteries,  but  could  obtain  It  by 
means  of  a steam-engine,  of  water-power,  or  by  the  use  of  a 
windmill,  keeping  in  motion  coils  of  wire  in  the  neighbourhood 
of  electro-magnets.  It  was  on  this  cheap  and  powerful  source 
of  electricity  that  we  depended  for  the  electric  light,  for  tbe 
deposition  of  metals  in  plating,  and  for  the  working  of  railways 

Another  discourse  of  some  interest  was  one  by  Professor 
McKendrick,  on  Galvani  and  animal  electricity,  and  a 
very  large  assembly  gathered  together  in  the  Pavilion  to 
hear  what  the  Professor  had  to  say  on  the  subject. 

After  galvanic  experiments  came  the  notion  that  the  nerves 
conveyed  electricity  from  the  brain  and  cord  to  the  muscles,  and, 
following  the  law  that  the  new  concepts  of  a man  of  science 
originate  from  ideas  of  familiar  things,  tbe  muscle  was  forthwith 
compared  to  a Leyden  jar,  the  inner  surface  of  which  became 
positive  by  nervous  action,  whilst  the  surface  was  negative. 
Motion  was  caused  by  the  irritation  of  a kind  of  discharge,  the 
positive,  internal,  surface  being  connected  with  the  negative, 
external,  surface.  Volta  doubted  this,  and  held  that  the  pheno- 
mena observed  by  Galvani  were  due  to  very  feeble  currents  of 
artificial  electricity  produced  by  the  application  of  heterogeneous 
metals  to  the  limbs  of  animals.  In  a critical  inquiry  made  bv 
Volta  into  this  question,  he  was  led  to  the  invention  of  the  Voltaic 
pile,  which  not  only  for  a time  threw  into  neglect  the  question 


of  animal  electricity,  but  also  was  the  starting  point  of  the  elec- 
trical science  of  the  present  day. 

Matteucci,  of  Pisa,  investigated  the  matter,  and  found  that 
currents  could  be  obtained  from  animal  structures,  even  where  all 
suspicion  of  thermo-electric  or  chemical  action  was  removed.  He 
also  discovered  that  the  interior  of  muscles  was  negative  to  their 
surface,  and  that  it  was  possible  to  make  a kind  of  battery  of  the 
thighs  of  newly-killed  frogs,  which  could  produce  chemical  effects 
similar  to  those  caused  by  Voltaic  elements.  Then  came  the 
labours  of  Du  Bois  Iteymond,  the  present  professor  of  physiology 
in  the  University  of  Berlin,  which  will  always  mark  the  com- 
mencement of  an  epoch  in  the  history  of  animal  electricity. 
Recognizing  that  the. detection  of  the  feeble  currents  from  animal 
structures  depended  on  the  delicacy  and  accuracy  of  the  apparatus 
employed,  he  made  many  improvements  in  the  construction  of 
galvanometers,  and  in  the  arrangeinentsfor  leading  off  the  currents 
from  living  textures  into  the  galvanometer.  Such  gal vanometeis 
must  he  exquisitely  sensitive,  and  it  is  evident  that  just  in  pro- 
portion as  they  are  so,  so  will  be  the  difficulty  of  making  an 
arrangement  which  will  lead  off  any  current  that  may  exist,  say 
in  living  muscles,  without  causing  a current  itself.  That  is,  the 
e tetrodes  of  the  galvanometer  must  be  non-polarizablc,  even  when 
touching  muscle.  Du  Bois  Reymond  found  that  little  troughs  of 
zinc,  filled  with  a saturated  solution  of  sulphate  of  zinc,  fulfilled 
these  requirements.  Into  these  are  placed  hits  of  blotting-paper, 
also  wet  with  sulphate  of  zinc  solution,  and  on  the  bits  of 
blotting-paper  are  placed  morsels  of  clay  moistened  with  saliva. 
When  the  hits  of  clay  are  put  into  contact  so  as  to  make  a 
circuit,  no  current  passes  through  the  galvanometer.  If  we  now 
take  a muscle  from  the  back  of  the  leg  of  a frog,  cut  it  across, 
and  place  it  on  the  clay  pads,  so  that  the  section  of  the  muscle 
touches  one  pad,  and  the  surface  of  the  muscle  the  other,  a 
current  of  electricity  passes  through  the  galvanometer,  as  shown 
by  the  swing  of  the  needle. 

Similar  currents  may  be  obtained  from  nerve,  although  they 
are  very  much  weaker.  Much  discussion  has  taken  place  as  to 
wbat  these  currents  really  mean  ; but  the  majority  of  physiologists 
agree  with  Hermann,  of  Zurich,  in  thinking  that  the  current 
obtained  on  cutting  or  injuring  the  muscle  or  nerve,  is  really  due 
to  the  dying  of  the  muscle  or  nerve  substance  at  the  point  of 
section,  and  that  the  so-called  “ negative  variation  ” is  the  current 
indicating  functional  activity.  That  is,  living  substance  dies  at 
the  plane  of  section,  and  in  dying  it  acquires  a tower  potential 
than  the  living  matter,  thus  giving  rise  to  a current.  Again, 
suppose  a living  muscle  giving  no  current,  on  stimulating  it,  by 
irritating  its  nerve,  so  as  to  cause  the  muscle  to  contract,  a lower 
potential  is  produced  at  the  points  in  the  muscle  where  the  nerve 
fibres  end,  and  there  is  thus  a negatve  variation.  Further,  it  has 
been  shown  that  this  negative  variation  passes  like  a wave  through 
the  muscle  substance,  and  that  the  wave  has  disappeared  before 
the  muscle  contracts.  If,  then,  electric  changes  occur  during  the 
activity  of  muscle  and  nerve,  it  is  natural  that  physiologists  might 
expect  to  detect  changes  in  the  beating  heart.  This  is  the  case. 
It  was  shown  by  projecting  its  image  on  a screen,  that  the  un- 
injured frog’s  heart,  isolated  from  the  body,  still  lives,  and,  whilst 
beating,  gave  with  each  beat  an  electrical-variation,  as  shown  by 
the  swing  of  the  galvanometer  needle.  The  uninjured  heart  gives 
no  current,  but  when  slightly  injured  there  is  a variation  in  its 
electrical  state  with  each  beat. 

Then  the  lecturer  showed  that  light  causes  an  electrical  change 
in  the  eye.  Placing  the  eye  of  a frog  in  the  galvanometer 
cushions,  it  was  shown  that  there  was  a current  passing  from  the 
cornea  to  the  back  of  the  eye.  In  the  dark,  little  or  no  change 
could  be  seen  except  what  might  be  due  to  the  drying  of  the 
living  structures  forming  the  eye  ; on  allowing  light  to  fall  on 
the  eye,  there  was  at  once  an  increase  in  the  current.  This  con- 
tinued for  a time,  then  began  to  fall  off,  and,  on  light  being  re- 
moved, there  was  another  increase,  and  then  a sudden  and  rapid 
fall  off.  This  action,  first  shown  by  Professor  Holmgren,  Pro- 
fessor Dewar,  and  the  lecturer,  showed  a specific  influence  of  light 
on  the  retina.  It  could  not  be  called  a negative  variation.  It 
indicated  chemical  changes  occurring  in  the  retina.  Lrstly,  the 
lecturer  showed  the  production  of  currents  from  the  living  man. 
Placing  the  hands  in  two  vulcanite  troughs  communicating  by 
platinum  plates  with  the  galvanometer,  and  filled  with  a weak 
solution  of  salt,  he  showed  that  on  contracting  one  arm,  a deflec- 
tion of  the  galvanometer  needle  was  produced.  When  both  aims 
were  quiet  there  was  no  current,  on  contracting  one  arm  a current 
was  at  once  produced.  This  current  the  lecturer  w’as  inclined  to 
think  was  due  to  action  of  the  fluid  on  the  skin,  and  not  to 
currents  from  the  muscles,  and  that  the  differences  were  due  to 
differences  of  contact,  In  summing  up,  after  a few  remarks 


September  28,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


613 


regarding  electric  fithes,  the  lecturer  said  that  all  of  these 
electrical  changes  were  really  expressions  of  the  vital  changes 
occurring  in  living  tissues  under  the  action  of  stimuli.  It  was  no 
part  of  the  functions  of  nerves,  muscles,  or  af  the  retina  of  the  eye 
to  produce  currents  under  the  action  of  their  relative  stimuli,  but 
such  currents  indicated  chemical  changes  in  the  organs  or  tissues  ; 
for  example,  the  contraction  of  a muscle  is  a movement  following 
or  consequent  upon  many  chemical  changes,  among  the  results  of 
which  were  the  production  of  heat  and  differences  of  electrical 
potential.  Thus  there  was  no  special  production  of  electricity, 
except  in  the  case  of  electrical  fishes,  and  possibly  of  some  other 
animals.  In  most  animals,  including  man,  the  production  of 
currents  was  an  incidental  phenomenon,  indicating  chemical 
operations  and  nothing  more.  Besides,  the  currents  so  produced 
were  feeble  and  evanescent,  and  bore  no  relation  to  the  general 
well-being.  Consequently  all  attempts  to  influence  the  living 
body  by  magnets  had  no  rational  basis.  The  lecturer  had  tested 
this  question  by  powerful  electro-magnets,  and  had  not  been  able 
to  detect  that  they  had  the  slightest  influence  on  any  vital  phe- 
nomena. 

Papers  on  the  standard  of  white  light  and  on  the  relation 
between  temperature  and  radiation  were  read  by  Dr.  Schuster,  for 
Captain  Abney,  and  Sir  W.  Siemens  respectively.  Captain  Abney 
suggests  as  a high  temperature  standard  an  incandescent  lamp. 
The  light  of  this  is  compared  by  means  of  the  spectro  photometer, 
with  that  from  Professor  Vernon  Harcourt’s  standard  lamp,  after- 
wards described.  The  green  light  in  the  neighbourhood  of  E 
should  be  about  one  and  a-half  times  that  of  the  gas  standard, 
while  the  red  light  should  be  the  same  in  the  two.  In  a recent 
paper  Captain  Abney  criticised  some  of  Sir  W.  Siemen’s  experi- 
ments of  a similar  nature.  Sir  William  had  used  platinum  wire 
in  air  instead  of  carbon  in  a vacuum,  and  the  paper  read  was  a 
reply.  In  the  discussion  Dr.  Schuster  pointed  out  that  a similar 
method,  free  from  many  of  the  difficulties  under  consideration, 
had  been  suggested  by  the  late  Professor  Clark  Maxwell,  and 
apparatus  for  making  the  experiments  was  constructed  by  him 
shortly  before  his  death. 

Professor  Vernon  Harcourt  gave  a description  of  a lamp  for 
producing  a standard  light.  It  was  arranged  for  burning  air  and 
the  vapour  of  petroleum,  mixed  in  the  proportion  of  three  cubic 
inches  of  vapour  at  a temperature  of  60°  Fahrenheit,  to  one 
cubic  foot  of  air.  The  mixed  gas  is  allowed  to  escape  from  a hole 
of  a quarter  of  an  inch  in  diameter,  and  burn  in  a flame  inches 
high.  Professor  Harcourt  showed  that  the  height  of  the  flame 
was  an  index  of  the  proportion  in  which  the  gases  mixed,  and  was 
constant  when  the  mixture  remained  constant. 

Professor  S.  P.  Thompson  spoke  on  the  importance  of  having  a 
standard  of  white  light. 

Professor  Stokes  read  an  important  paper  by  Dr.  Huggins  on 
coronal  photography  without  an  eclipse.  In  a paper  read  before 
the  Royal  Society  some  time  back,  Dr.  Huggins  had  shown  that 
it  was  possible  by  isolating,  by  means  of  properly  chosen  absorbing 
media,  the  light  of  the  sun  in  the  violet  part  of  the  spectrum,  to 
obtain  photographs  of  the  sun  surrounded  by  an  appearance  dis- 
tinctly coronal  in  its  nature.  These  researches  have  been  con- 
tinued, using  a reflecting  telescope,  by  the  late  Mr.  Lassells,  and 
a film  of  silver  chloride  as  the  sensitive  plate,  on  which  the  photo- 
graph is  taken.  These  plates  are  sensitive  to  the  violet  light 
only,  and  therefore  it  was  unnecessary  to  use  absorbing  media 
which  had  proved  a source  of  difficulty  to  sift  the  light.  Fifty 
photographs  in  all  were  taken  and  examined  afterwards  by  Mr. 
Wesley,  who  made  drawings  of  them  for  the  paper.  The  details 
shown  agree  well  with  the  photographs  of  the  corona  made  during 
the  late  solar  eclipse,  the  agreement  being  specially  marked  in 
two  cases,  dated  April  3rd,  and  June  5th.  The  photographs  have 
been  seen  by  the  observers  sent  to  Caroline  Island  to  observe  the 
eclipse,  and  one  of  these  writes  that  Dr.  Huggins’  coronas  are 
certainly  genuine  up  to  8'  from  the  sun’s  limb. 

Dr.  Ball,  who  was  in  the  chair,  examined  some  of  the  plates, 
and  spoke  of  the  interest  and  importance  of  this  communi- 
cation. 

Professor  Schuster  gave  a short  abstract  of  an  important  paper 
on  the  internal  constitution  of  the  sun.  He  had  calculated 
mathematically  the  volume  of  the  sun  from  its  mass,  assuming 
that  it  consisted  of  a gas,  subject  to  the  gaseous  laws,  and  in  the 
state  of  convectional  equilibrium  discussed  by  Sir  William  Thom- 
son. The  paper  showed  that  if  the  rates  of  the  specific  heats  of 
the  gas  were  less  than  1*2,  the  volume  of  the  sun  would  be  im- 
mensely larger  than  at  present ; while  if  greater  than  2'0,  the 
sun’s  volume  would  be  far  smaller  than  it  is.  The  result,  that 
the  rates  of  the  specific  heats  must  lie  between  l-2  and  2-0,  is  so 


far  in  agreement  with  received  theories  of  the  constitution  of  the 
sun. 

At  the  conclusion  of  the  business  proceedings,  some  of  the 
most  important  members,  by  invitation,  were  photographed  by 
Mr.  Silas  Eastham,  of  Lord  Street. 

The  next  meeting  is  to  be  held  at  Montreal,  commencing  on  the 
27th  of  August. 


PHOTOGRAPHIC  COPYRIGHT. 

Mr.  W.  S.  Bird  thus  writes  on  the  subject  of  photo- 
graphic copyright  in  Autotype  Notes : — 

Copyright  law  is  not  an  easy  subject;  and  probably  no 
lawyer,  unless  his  practice  was  in  that  direction,  would  without 
consideration  and  a search  for  the  interpretations  given  by 
the  judges  to  various  clauses,  furnish  an  opinion  upon  a question 
submitted.  Previous  to  inditing  this  article,  the  writer  fortified 
himself  by  conferences  with  solicitors  and  opinions  of  a 
“ counsel  ” noted  in  copyright  cases. 

The  existing  Act  dates  from  July  29th,  1862,  and  is  known  as 
Victoria  25  and  26,  Cap.  68.  It  is  entitled,  “ An  Act  for 
amending  the  law  relating  to  Copyright  in  Works  of  the  Fine 
Arts,  and  for  repressing  the  commission  of  fraud  in  the  pro- 
duction and  sale  of  such  works.” 

Previous  to  this  Act  the  authors  of  paintings,  drawings,  and 
photographs  had  no  copyright  in  their  works.  It  was,  indeed, 
the  growing  power  of  photographic  art  as  a factor  in  the  cheap 
multiplication  of  copies  of  art  work  that  rendered  protection 
necessary  to  the  painter,  and  led  to  steps  being  taken  to  secure 
legal  rights  to  all  the  parties  concerned. 

The  Act  was  prepared  by  a Committee  of  the  Society  of  Arts  ; 
the  views  of  painters,  photographers,  publishers,  and  persons 
interested,  were  collected  and  investigated,  and  although  the 
Act  is  obscure  and  intricate  enough,  it  has  at  least  the  merit  of 
establishing  for  the  first  time  copyright  property  in  the  work  of 
painter  and  photographer.  Its  shortcomings  are  largely  due  to 
the  fact  that  when  the  Act  was  framed,  photography  had  not 
developed  large  commercial  firms  employing  many  skilled 
assistants,  but  was  rather  an  affair  of  individual  professors  of 
the  art. 

Throughout  the  Act  under  consideration  paintings,  drawings, 
and  photographs  are  classed  together  and  share  the  same  treat- 
ment ; so  for  convenience  sake  we  may  omit  mention  of 
anything  but  the  photograph,  although  to  comprehend  the 
meaning  of  certain  conditions  the  reader  must  sometimes  think 
more  of  the  painter’s  productions  than  of  his  own. 

Copyright  in  the  words  of  the  Act  consists  in  “ the  sole  and 
exclusive  right  of  copying,  engraving,  reproducing,  and 
multiplying  a photograph  and  the  negative  thereof  by  any  means 
and  of  any  size,”  and  it  accrues  to  the  author  of  every  original 
negative  for  his  life  and  for  seven  years  after,  upon  certain  con- 
ditions, of  which  the  most  important  is  registering  the  work  at 
Stationers’  Hall. 

This  is  plain  sailing  so  far  ; but  difficulties  arise.  The  very 
first  clause  of  this  Act,  after  conferring  copyright  in  the  manner 
stated  above,  continues  with  a “ provided  that  when  the 
negative  of  any  photograph  shall  be  made  to  order  for  a valuable 
consideration,”  the  copyright  in  the  said  negative  shall  not 
belong  to  its  author  or  producer  unless  it  be  specially  reserved 
to  him  by  agreement  in  writing,  made  at  or  before  the  time  of 
sale  or  disposition,  but  that  it  shall  belong  to  the  person  who 
commissions  and  pays  for  the  work. 

Now  this  seems  excellent  sense,  and  not  unfair.  A man,  for 
example,  purchases  a painting,  and  in  so  doing  acquires  copy- 
right in  the  same,  unless  he  agrees  in  writing  to  give  the  artist 
the  copyright.  But,  unfortunately,  the  first  clause  of  the  Act 
runs  its  unwieldy  length  without  an  interposing  period,  and 
here  reaches  its  second  semicolon  ; at  that  pause  the  vendee  (or 
purchaser)  is  to  possess  the  copyright : but  the  clause  continues 
and  concludes,  “ nor  shall  the  vendee  be  entitled  to  any  such 
copyright  unless  at  or  before  the  time  of  such  sale  or  disposition 
an  agreement  in  writing  signed  by  the  person  so  selling  shall 
have  been  made  to  that  effect.” 

Those  best  qualified  to  judge  consider  that  the  semicolon 
referred  to  should  have  the  force  of  a full-stop : that  it 
terminates  the  definition  of  rights  as  between  the  person  who 
com  mission  a the  work  and  the  artist  who  executes  it,  and  that 
the  last  sentence  of  this  intricate  clause  defines  the  status 
of  the  buyer  who  does  not  commission  and  the  artist  who  sells. 
In  the  first  case,  if  n*  agreement  is  made,  the  commission 


614 


THE  PHOTOGRAPHIC  NEWS 


[Septembek  28,  1883. 


carries  the  copyright ; in  the  second,  if  no  agreement  is  made, 
the  copyright  is  lost. 

Practically  this  has  been  a pitfall  for  the  unwary,  and  this 
operation  of  the  law  has  inflicted  a wrong  on  the  painter 
and  on  the  purchaser  of  his  work  alike.  If  no  agree- 
ment at  all  is  entered  into,  which  has  been  of  the  most  common 
occurrence,  the  copyright  is  lost ! After-thoughts  are  of  no  use ; 
no  remedy  is  possible. 

Copyright  accrues  to  the  author  of  every  original  negative, 
and  in  this  privilege  he  is  classed  with  the  artist  who  creates  a 
work  of  genius.  This  distinction  has  proved  disadvantageous  ; 
for  in  the  growth  of  important  photographic  industries  the  legal 
bearing  of  this  individual  authorship  has  escaped  notice.  In  the 
ordinary  business  of  life,  work  done  to  the  order  of  an  employer 
is  the  property  of  that  employer,  and  a successful  photographer 
who  finds  the  capital,  trains  the  assistants,  and  personally 
conducts  and  creates  a large  business,  may  well  stand  excused 
for  supposing  himself  the  legal  author  of  negatives  produced 
under  his  direction,  with  his  own  materials,  and  for  his  sole  use 
and  employment.  If  in  a partnership,  he  would  credit  the 
authorship  to  his  firm. 

Common  sense,  however,  is  not  always  a reliable  guide  through 
the  mazes  of  an  Act  of  Parliament.  There  has  been  a rude 
awakening  to  this  fact,  through  the  decision  on  appeal  in  the 
recent  case  of  the  Stereoscopic  Company,  plaintiffs.  The  writer 
of  these  notes  is,  however,  bound  to  acknowledge  that  the  judicial 
decision  considered  in  relation  to  the  terms  of  the  Act  appears  a 
reasonable  interpretation,  and  consonant  to  its  meaning  and 
intention.  It  leads  also  to  the  conclusion  that  the  present 
Copyright  Act  is  very  imperfect  ; that  the  need  of  amendment 
is  urgent ; and  that,  pending  such  amendment,  photographers 
must  scrupulously  conform  to  the  existing  conditions  in 
registering  copyright. 

What,  therefore,  are  the  means  of  acquiring  secure  title  to 
photographic  copyright?  is  the  question  to  be  answered. 

1 . Copyright  accrues  to  the  author  of  an  original  negative  (or 
a painting)  by  virtue  of  authorship.  The  primary  title  is 
personal ; it  cannot  be  originated  by  a Company.  But  this 
inherent  title  of  authorship  is  inoperative  till  the  copyright  is 
registered.  Before  registration,  no  action  for  infringement  can 
be  maintained.  Registration  is  not  essential  till  an  artist  sells 
his  picture,  or  a photographer  publishes  his  photograph ; but,  as 
a matter  of  prudence,  registration  should  be  effected  when  the 
work  is  produced.  A photographer,  of  his  own  choice  and  with 
his  own  hands,  produces  a negative  of  a view,  building,  or  of  any 
object  in  which  no  copyright  exists,  and  is  unquestionably  the 
author  of  such  photograph.  If  before  or  at  the  time  of  dispos- 
ing of  the  negative,  he  procures  for  a penny  at  Stationers’  Hall,  a 
printed  form,  and  enters  in  the  proper  columns  a sufficient 
description  of  the  photograph  to  secure  its  identification,  enters 
his  name  and  place  of  abode,  both  as  the  owner  of  the  copyright 
and  the  author  of  the  work,  fills  up  and  signs  the  rest  of  the  form 
duly,  and  hands  it  in  at  Stationers’  Hall  with  one  shilling  fee, 
the  particulars  will  be  entered  in  the  book  provided  for  the  pur- 
pose, a receipt  will  be  given,  and  he  may  depart  with  a sense  of 
having  secured  an  unimpeachable  title  to  the  copyright  for  the 
term  of  his  life  and  seven  years  beyond.  He  will  have  found 
in  the  registration  form  a couple  of  columns,  headed,  “ Date  of 
Agreement  or  Assignment  ” and  “ Names  of  Parties  to  Agree- 
ment ; ” but  these  do  not  concern  him  at  present. 

2.  An  original  negative  of  a group  of  persons,  or  a portrait 
study  done  at  his  own  cost,  does  not  earn  the  privilege  of  copy- 
right by  authorship  alone,  for  by  the  common  law  every  man  has 
a property  in  his  own  likeness,  and  the  only  safe  method  of  pro- 
cedure is  to  have  a written  agreement  from  the  sitter,  reserving 
the  copyright  to  the  photographer.  It  is  for  such  an  agreement, 
and  for  formal  assignments  of  copyright  to  purchasers  of  the 
same,  that  the  two  columns  referred  to  above  relate. 

3.  If  a negative  be  produced  for  a valuable  consideration,  the 
copyright  can  belong  to  the  photographer,  if  the  customer  so 
agrees  in  writing ; if  no  agreement  is  made,  the  copyright,  it  is 
believed,  accrues  to  the  person  commissioning  the  work  ; but  in 
registering  the  photograph  it  is  essential  the  name  and  address 
of  the  actual  author  of  the  negative  is  given.  Conversely,  sup- 
posing a photographer  has  produced  of  his  own  impulsion  some 
splendid  negative  of  “ Sea  and  Cloud,”  and  wishes  to  dispose  of 
the  same,  unless  a written  agreement  passes  as  to  copyright,  and 
it  be  reversed  either  to  vendor  or  vendee,  the  copyright  will  be 
lost.  Caveat  cmjitor  ! 


4.  If  a work  of  art  in  which  copyright  exists  be  photographed 
copyright  in  the  original  covers  or  conveys  copyright  in  the 
resulting  photograph.  In  all  probability  it  so  completely  con- 
veys protection,  that  the  photograph  need  not  be  registered,  but 
as  a matter  of  extra  caution  it  is  advisable  that  the  photograph 
should  also  be  duly  registered.  In  registering  there  is  no  need 
to  refer  to  the  previous  registration  of  the  original  work  ; but 
there  is  special  need  when  the  photograph  is  done  by  a firm,  that 
the  individual  author  be  correctly  referred  to,  and  not  the  firm 
itself. 

5.  It  follows  from  what  has  been  already  said,  that  persons 
employing  assistants  have  no  need  to  enter  into  any  agreement  by 
which  copyright  accruing  in  their  work  is  reserved  to  the  em- 
ployer. They  are  commissioned  and  paid  by  the  employer.  If 
there  is  any  copyright  in  a negative  produced  by  an  assistant,  it 
belongs  to  the  employer.  The  unfortunate  defeat  of  the  Stereo- 
scopic Company  was  not  caused  by  the  want  of  any  such  agree- 
ment, it  was  only  a question  of  informal  registration  as  to  author- 
ship. The  defeat  was  sustained  entirely  on  this  point. 

6.  Finally  comes  the  question  of  assignments  of  copyright 
An  artist,  after  painting  a picture  and  registering  the  copyright 
can  sell  such  copyright.  He  formally  assigns  it  for  an  agreed 
sum  ; such  assignment  must  be  registered,  and  it  must  be 
stamped,  and  ad  valorem  duly  paid. 

The  purchaser  of  the  copyright  can  publish  copies  by  any 
method  ; if  by  photography,  he  must  take  care  to  remember  in 
registering  the  photograph  the  importance  of  its  author.  Copy- 
right in  a photograph  can  in  the  same  way  be  assigned.  Sup- 
posing a photographer  sells  his  business,  the  purchaser  must 
receive  a written  assignment  of  each  copyright,  and  register  such 
assignment  at  Stationers’  Hall,  or  the  copyright  will  be  lost ; and 
the  assignment  must  be  executed  “at  or  before”  the  time  of 
sale.  Copyright  in  a great  many  negatives  has  vanished  from 
ignorance  of  these  conditions. 

To  complete  this  exposition  of  the  Act  as  a whole  requires 
three  or  four  more  short  paragraphs. 

Works  of  art,  on  which  no  copyright  exists,  can  be  copied  by 
any  number  of  photographers,  and  each  can  register  his  particu- 
lar view  of  the  subject ; but  copying  registered  copies  infringes 
the  Act. 

Copyright  is  made  personal  estate;  so  that  on  the  death  of 
the  proprietor  it  can  be  dealt  with  by  his  representatives  like 
any  other  personal  property. 

The  penalties  on  infringement  of  the  copyright  are  sufficiently 
severe.  To  unlawfully  copy  or  multiply  for  sale,  to  import  for 
sale,  to  exhibit  for  sale,  and  to  sell,  are  offences  that  may  be 
visited  with  a fine  of  ten  pounds  for  every  individual  copy  pro- 
duced, imported,  or  sold,  with  forfeiture  of  all  negatives  and 
copies  to  the  proprietor  of  the  copyright. 

Heavy  penalties  are  also  prescribed  for  persons  forging  an 
artist’s  name,  initial,  or  monogram,  of  much  more  interest  to 
painters  than  to  photographers.  The  penalties  would,  however, 
apply  to  any  person  who  should  follow  a Bedford  or  a Frith  in 
search  of  the  picturesque,  and  publish  his  landscape  views  with 
the  imprint  of  their  names  instead  of  his  own.  The  penal  clauses 
carry  the  additional  weight  of  action  for  damages. 

The  protection  is  evidently  sufficient  if  the  title  to  copyright  is 
unimpeachable ; but  there  is  enough  obscurity  in  the  Act  to 
have  allowed  business  men  for  years  past  to  register  insufficiently, 
leading  to  a nonsuit  with  heavy  expenses  in  an  action  where  sill 
the  moral  right  was  on  the  side  of  the  plaintiffs,  and  placing 
within  the  reach  of  pirates  property  fondly  believed  to  be  under 
the  protection  of  a special  law. 

Nevertheless  the  weak  points  in  the  law  have  been  long 
apparent  to  legists  and  others.  So  long  ago  as  1869  Lord  West- 
bury  drafted  a Bill  to  amend  the  law,  which,  if  passed  at  that 
time,  would  have  prevented  the  present  mischief.  It  struck  at 
the  anomaly  of  the  servant’s  authorship,  made  copyright  belong 
to  the  person  ordering  and  paying  for  the  work,  unless  otherwise 
agreed  at  the  time,  and  proposed  thirty  years  for  the  duration  of 
copyright,  which  rendered  it  independent  of  an  individual  life. 
Thus  the  two  weakest  points  would  have  been  remedied. 

The  draft  of  a new  Bill  to  amend  the  law  of  copyright  has  for 
a long  time  been  prepared.  It  is  endorsed  with  the  names  of 
Mr.  Hastings,  Mr.  Hanbury-Tracey,  Sir  Gabriel  Goldney,  and 
Mr.  Agnew,  and  adopts  most  of  the  improvements  suggested  by 
Lord  Westbury,  and  suggests  others  ; but  as  there  is  little  chance 
of  its  early  consideration  by  Parliament,  we  may  reserve  for  a 
future  occasion  examination  of  its  details. 


September  28,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


615 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chap.  XIII.— Asphalt  Processes— (continued). 
From  the  results  of  analysis  of  these  five  asphalts,  Dr. 
Kayser  gives  the  following  as  representing  their  average 


composition 

Carbon  ... 
Hydrogen 
Sulphur ... 
Nitrogen 
Ash 


Syrian 

Trinidad 

Bechelbronn  Maracaibo  Barbadoes 

80-00  . 

..  78-80 

...  86-00  . 

..  81  65  .. 

. 87-04 

9.00  . 

..  9-30 

...  11-40  . 

..  9-59  .. 

. 9-56 

10  00  . 

..  1000 

...  1-40  . 

..  8 03  .. 

. 2.67 

0-40  . 

..  1-40 

...  0 30  . 

..  .. 

. 

0 60  . 

..  0-50 

...  0-50  . 

..  0-34  .. 

. 0 24 

100  00 

100  00 

99  60 

99  61 

99  51 

The  Syrian,  Trinidad,  and  Maracaibo  asphalts,  which  are 
hard  and  solid,  may  be  considered  as  sulphuretted  hydro- 
carbons, and  those  from  Bechelbroun  and  Barbadoe3, 
which  are  viscous  and  softer,  as  solutions  of  sulphuretted 
hydro-carbons  in  solid  or  fluid  hydro-carbons. 

By  successive  treatment  with  boiling  alcohol  (sp.  gr. 
8 35),  boiling  ether  (sp.  gr.  0-725),  and  chloroform,  Dr. 
Kayser  found  that  the  Trinidad  and  Syrian  asphalts  may 
be  separated  into  three  components,  differing  in  their 
chemical  composition  and  photographic  properties. 

Syriau  asphaltum,  powdered  and  treated  several  times 
with  boiling  spirit  (sp.  gr.  0-835),  as  long  as  any  colour 
appeared,  yielded,  on  evaporation  of  the  spirit,  4 per  cent, 
of  a yellow  oily  substance,  with  an  intensely  bituminous 
smell ; slightly  soluble  in  cold  spirit,  more  easily  in  boiling ; 
easily  soluble  in  ether,  benzole, chloroform,  and  turpentine  ; 
insoluble  in  solutions  of  caustic  alkalies. 

By  heating  it,  fluid  decomposition  products  and  sulphu- 
retted hygrogen  are  formed,  with  a small  residue  of  carbon. 

Analysis  shows  this  substance  to  be  composed  of — 


Carbon  

83  08 

Hydrogen  

9-95 

Sulphur  

6-97 

100-00 

with  a formula  C3-H,6S. 

Trinidad  asphaltum  treated  in  the  same  way  with  boiling 
spirit  yielded  5 per  cent,  of  a similar  sub3tauce  of  different 
composition,  viz. — 

Carbon  ...  70-47 

Hydrogen  9-93 

Sulphur  1095 


99-35 


with  the  formula  C^H^S. 

If  the  residue  left  by  extracting  Syrian  asphalt  with 
alcohol  be  treated  in  the  same  way  with  boiling  ether 
(sp.  g.  -725),  on  evaporation  of  the  ether  a brownish  black, 
resinous,  brittle  mass  remains.  It  is  almost  odourless,  aud 
begins  to  melt  at  65°  C.  (149°  F.). 

It  is  insoluble  in  cold  or  hot  alcohol,  but  soluble  in  the 
other  solvents.  Weak  solutions  of  it  are  yellowish  brown 
with  a green  fluorescence. 

Syrian  asphalt  contains  44  per  cent,  of  it,  its  composi- 
tion being — 

Carbon  80-33 

Hydrogen  9-62 

Sulphur  1004 

with  the  formula  C64Ii02S3. 

Trinidad  asphalt  treated  in  the  same  way  contains 
57  per  cent,  of  a similar  substance,  commencing  to  melt  at 
54Q  C.  (129-2°  F.).  Its  composition  is — 


Carbon  ...  ...  80-70 

Hydrogen  9-94 

Sulphur 9-35 

99-99 


with  the  formula  C23H34S. 

Maracaibo  asphalt  contains  a similar  substance,  melting 
about  50Q  C.  (122°  F.),  and  containing  G 88  per  cent  of 
sulphur. 

The  substance  obtained  by  treating  Barbadoes  asphaltum 
with  ether  has  a yellowish  brown  colour,  melts  about 
40°  C.  (104°  F.),  and  contains  no  sulphur. 

The  residue  remaining  after  extraction  of  the  parts  solu- 
ble in  alcohol  and  ether  is  dissolved  in  chloroform,  filtered, 
aud  the  chloroform  removed  by  distillation. 

With  Syrian  asphaltum  there  remains  52  per  cent,  of  a 
resiuous,  very  brittle,  shiny-black,  odourless  mass,  with  a 
melting  point  about  156°  C.  (313°  F.).  It  is  easily  soluble 
in  chloroform  and  turpentine,  with  difficulty  in  benzole 
and  petroleum.  Weak  solutions  are  brownish  yellow,  with 
green  fluorescence.  Ether  precipitates  it  from  its  solution 
in  chloroform.  By  beating  it,  fluid  products,  sulphuretted 
hydrogen,  and  charcoal  are  formed.  Its  composition  is — 


Carbon  

78.37 

Hydrogen 

8-57 

Sulphur 

1306 

10000 

with  the  formula  C3JHI2S2. 

Trinidad  asphaltum  treated  in  the  same  way  yields 
38  per  cent,  of  a substance  similar  to  and  identical  in  com- 
position with  the  last,  but  melting  at  150°  C (302°  F.). 

Maracaibo  asphaltum  also  contains  a component  insolu- 
ble in  ether,  melting  at  160°  C.  (320°  F.),  and  containing 
11-49  percent,  of  sulphur. 

In  Barbadoes  asphalt,  this  component  melts  at  1618  C. 
(322°  F.),  and  contains  11-09  per  cent,  of  sulphur. 

According  to  John,  asphaltum  treated  in  the  same  way 
with  anydrous  alcohol  and  ether  yields  5 per  cent,  of  a 
yellow  resin  soluble  in  rectified  spirit  and  ether ; by  digest- 
ing the  residuum  in  ether,  a further  70  per  cent,  of  a brown- 
ish black  resin  is  obtained,  which  is  freely  soluble  in  the 
volatile  oils,  aud  is  about  five  times  its  weight  of  mineral 
naphtha.  The  portion  (25  per  cent.)  left  undissolved  by 
ether  is  very  soluble  in  the  oils  of  turpentine  and  petro- 
leum. 

The  proportion  of  the  substance  insoluble  in  ether 
appears  to  be  very  variable  in  different  samples.  The 
writer  found  that  four  specimens  gave  respectively  60  per 
cent.,  55  per  cent.,  45  per  cent.,  and  30  per  cent. 

According  to  Dr.  Kayser,  the  component  insoluble  in 
ethers  is,  as  a rule,  easily  soluble  in  chloroform  and 
turpentine,  less  so  in  benzole  and  petroleum.  John  also 
notea  its  easy  solubility  in  turpentine.  The  writer  has 
found,  however,  that  in  the  case  of  five  different  samples 
of  asphaltum  of  unknown  origin,  the  residue  remaining 
after  extraction  with  ether  lost  its  solubility  in  turpentine, 
although  iu  three  cases  it  was  easily  and  perfectly  soluble 
in  it  before  extraction,  and  was  also  less  soluble  iu  other 
solvents.  Of  chloroform,  benzole,  turpentine,  oils  of 
lavender,  rosemary,  marjoram  and  lemon,  chloroform 
appeared  to  be  the  only  perfect  solvent.  In  some  cases 
the  addition  of  ten  per  cent,  of  thymol  to  the  turpentine 
greatly  increased  its  solvent  powers,  some  of  the  extracts 
dissolving  entirely  iu  it,  others  partially,  but  more 
abundantly  than  they  did  without  the  thymol. 

The  solution  in  chloroform  seemed  to  leave  a brittle,  in- 
coherent coating,  which  cracks  on  drying. 

It  seems,  therefore,  that  the  action  of  the  ether  and 
alcohol  is  to  extract  the  oily  and  softer  constituents  which 
bind  the  mass  together,  leaving  a hard,  dry,  pulverulent 
residue,  much  less  soluble  in  most  solvents  than  the 
1 asphaltum  from  which  it  was  extracted.. 


616 


THE  PHOTOGRAPHIC  NEWS. 


[September  28,  1883. 


ItotM. 

Nine  o’clock  this  evening  is  the  latest  time  for  sending 
in  pictures  for  the  Annual  Exhibition,  at  5,  Pall  Mall 
East. 

It  is  not  impossible  that  Mr.  Alderman  Nottage,  of  the 
Stereoscopic  Company,  may  be  chosen  Lord  Mayor  on 
Saturday  next.  There  is  only  one  Alderman  senior  to 
Mr.  Nottage,  and  it  is  not  by  any  means  certain  that  the 
election  will  go  by  seniority  this  year. 

Our  friend  Dr.  Hermann  Vogel,  who  is  now  returning 
to  Europe,  has  every  reason  to  be  satisfied  with  his  recep- 
tion by  American  photographers  ; the  enthusiasm  over  the 
Berlin  professor  reached  its  height  on  the  occasion  of  a 
serenade,  to  which  Dr.  Vogel  seems  to  have  been  un- 
expectedly treated  by  his  Yankee  admirers. 


Vulcan,  that  mysterious  planet  between  Mercury  and 
the  sun,  to  the  existence  of  which  French  astronomers 
hold  so  tenaciously,  has  turned  up  again.  M.  Trouvelot, 
during  the  last  eclipse,  observed  in  the  neighbourhood  of 
the  sun  a red  star,  which,  despite  all  subsequent  research, 
he  is  unable  to  identify  with  any  other  known  body.  Ergo , 
he  concludes,  it  is  the  long-sought-for  planet  Vulcan.  M. 
Janssen,  it  may  be  remembered,  who  searched  all  round 
the  sun  with  a camera  during  the  period  of  the  eclipse  on 
Caroline  Island,  was  unable  to  secure  on  his  photographic 
plate  any  image  of  a heavenly  body  answering  to  the 
description. 


A Vienna  paper,  the  Neue  Freie  Presse,  speaks  of  a 
photograph  taken  by  Herr  Robert  Haensel,  of  Reichen- 
berg,  Bohemia,  of  a flash  of  lightning,  showing  actually  its 
contact  with  the  earth,  and  the  nature  of  its  discharge. 
The  landscape  was  photographed  at  the  same  time,  and 
from  it  a calculation  has  been  made  of  the  length  of  the 
flash.  This  is  said  to  be  no  less  than  1,700  metres — 
rather  more  than  a mile — pretty  good  for  an  electric  spark. 
The  picture  was  shown  this  week  at  the  British  Association 
by  Sir  W.  Thompson. 


The  meeting  of  the  British  Association  at  Southport 
has  been  the  dullest  and  most  uninteresting  for  many  a 
year.  Scarcely  a paper  of  importance  was  read,  and  none 
of  the  subjects  brought  forward  seem  to  have  created  the 
least  interest,  either  among  visitors  or  townsmen.  One  or 
two  more  such  meetings,  and  the  British  Association, 
which  has  been  long  on  the  wane,  will  cease  to  exist. 


Professor  Henrici,  in  his  opening  remarks  to  the  Mathe 
matical  Section  of  the  British  Association,  tells  us  that  on 
reading  over  the  addresses  delivered  by  his  predecessors 
in  the  chair,  he  was  struck  by  the  fact  that  in  nearly  every 
case  the  speaker  began  with  a lamentation  over  his  unfit- 
ness for  the  work  before  him.  The  circumstance  certainly 
is  striking,  for  it  at  once  stamps  former  presidents  cf  the 
section  as  being  not  only  modest,  but  essentially  original 
in  their  observations. 


At  the  Paris  Observatory  they  have  made  excavations 
to  a considerable  depth  for  the  magnetic  rooms.  The 
reason  of  this,  obviously,  is  that  the  swinging  bar  magnet, 
whose  observations  will  be  watched  by  photography,  shall 
be  influenced  as  little  as  possible  by  surface  vibrations  of 
the  earth.  The  bar  magnet  carries  a little  concave  mirror, 
which  reflects  a spot  of  light  (from  a neighbouring  lamp) 
upon  a moving  sheet  of  sensitized  paper ; any  movement 
of  the  magnet  due  to  an  earth  current  deflects  [the  mirror, 
and  thus  causes  the  spot  of  light  to  move  over  the  sensi- 
tized paper,  making  a longer  or  shorter  mark  according  to 
the  energy  of  the  earth  disturbance  upon  the  magnet. 


M.  Scamoni  has  been  good  enough  to  forward  us  a mag- 
nificent collection  of  photographs,  emanating  from  the 
well-known  studio  of  M.  K.  Chapiro,  the  photographer  to 
the  Imperial  Academy  of  Arts  in  St.  Petersburg.  One 
series  is  particularly  interesting,  not  only  to  the  artist  and 
photographer,  but  also  to  the  psychologist,  being  no  less 
than  the  “ Memoirs  of  a Manaic,”  a number  of  pictures 
for  which  the  eminent  actor  M.  Andreyev-Bourlach  has 
sat.  These  maniacal  studies  are  presented  most  graphi- 
cally, and,  thanks  to  M.  Chapiro’s  skill  and  taste,  their 
artistic  merit  is  well  worthy  of  the  subject. 


Two  ingenious  individuals,  reviving  an  old  trick,  have 
recently  been  swindling  the  unsuspecting  householders  in 
the  north  of  London.  The  individuals  in  question — a man 
and  a woman — call  at  your  residence  and  persuade  you  to 
have  it  photographed.  The  negative  is  taken,  shown,  and 
payment  requested  in  advance.  The  price  charged  is  5s. 
for  three  copies  to  be  delivered  within  a week  ; but  the 
money  once  obtained,  nothing  more  is  seen  of  the  operators. 
In  this  case  the  victims  do  not  get  the  passing  satisfaction 
which  one  of  the  earliest  perpetrators  of  the  dodge  used  to 
afford  his  patrons.  This  gentleman  not  only  took  the 
negative,  but,  to  the  surprise  and  delight  of  his  customers, 
produced  in  less  than  half  an  hour,  if  the  sun  was  shining, 
half  a dozen  prints  or  so.  The  drawback  to  the  paper 
pictures  was  that  the  longer  you  admired  them  the  more 
obscured  they  became,  until  they  were  finally  buried  in  a 
blackened  veil.  The  fact  was  the  photographer  delivered 
the  prints  just  as  they  came  from  the  frame,  and,  besides 
making  a comfortable  profit,  was  saved  all  the  bother  of 
toning,  fixing,  and  washing. 


We  are  glad  to  see  that  in  his  paper  read  before  the 
British  Association,  Captain  Abney  has  again  been  advo- 
cating the  employment  of  an  incandescent  electric  lamp  as 
a standard  of  white  light,  an  idea,  it  may  be  remembered, 
we  discussed  at  some  length  in  these  columns  in  Jane  of 
last  year. 

The  American  astronomers  who  took  an  active  part  in 
the  observation  of  the  recent  solar  eclipse  have  published 
a review  of  the  work  done  in  one  of  the  American 
papers.  Special  notice  is  taken  of  Dr.  Hastings’  observa- 
tions, which,  it  is  asserted,  have  led  to  the  production  of 
a new  theory  of  the  corona.  This  theory  is,  briefly,  that 
the  light  seen  around  the  sun  during  a total  eclipse  is  not 


September  28,  1883.] 


THE  THOTOGHAEHIC  NEWS. 


61? 


due  to  a material  substance  enveloping  the  sun,  but  is  a 
phenomenon  of  diffraction.  Dr.  Hastings  gives  his  reason 
for  this  theory  at  some  length,  and  points  out  that  in 
taking  photographs  ot  the  corona  it  is  seen  to  be  larger  as 
the  time  of  exposure  is  longer,  showing  that  the  corona 
extends  indefinitely,  while  it  decreases  in  brilliancy  in 
exact  accordance  with  the  mathematical  laws  of  diffrac- 
tion. 


According  to  the  Athenceum , M.  Antony  Guyard  has 
devised  a photometer  of  considerable  delicacy,  dependent 
on  the  decomposition  of  iodide  of  nitrogen  placed  in 
aqueous  ammoni  i,  which  is  proportional  to  the  intensity 
of  light.  The  volume  of  nitrogen  evolved  in  a given  time 
is  a measure  of  the  amount  of  luminous  radiation. 


We  see  that  the  Academy  of  Sciences  in  Paris  have 
accorded  a hearty  reception  to  M.  Janssen,  the  French 
astronomer,  and  his  friends,  on  their  return  from  Caroline 
Island.  It  would  not  be  amiss  if  some  little  official  recog- 
nition were  made  to  Mr.  Woods  and  Mr.  Laurence,  seeing 
that  they,  too,  have  made  a long  and  perilous  journey  on 
behalf  of  the  scientific  authorities  of  this  country. 


Herr  Stein’s  suggestion  to  employ  a Geissler  tube  of 
red  glass  for  the  illumination  of  the  dark  room  is  scarcely 
likely  to  find  adoption,  at  any  rate  in  the  ordinary  studio 
of  the  photographer.  A Iluhmkorff  coil  necessary  to  the 
working  of  such  an  apparatus  could  scarcely  be  purchased 
for  less  than  three  or  four  pounds  ; and  there  would,  more- 
over, be  the  trouble  and  expense  of  a small  electric  battery. 
Far  better  would  be  a tiny  Swan  lamp  of  red  glass  worked 
by  a bichromate  battery,  a suggestion  also  made  by  Herr 
Stein,  but  which  we  brought  before  our  readers  eighteen 
months  ago. 

Senor  Carlos  Relvas,  of  Gollega,  Portugal,  whose  name 
is  well  known  as  that  of  an  ardent  amateur,  recommends 
the  careful  preservation  of  old  oxalate  developer.  To 
obtain  negatives  of  great  density,  he  uses  first  an  old 
oxalate  developer,  then  a fre3h  one,  and  finally  the  old  one 
again. 


When  his  late  Majesty  King  George  IV.  was  about  to  sail 
north  in  a new  craft,  upon  which  he  had  spent  much  time 
and  money,  a wag  is  said  to  have  remarked  that  “ on  the 
fitting  up  of  his  yacht  the  king  showed  a great  deal  of 
taste — and  deuced  bad  it  was.”  We  were  reminded  of  this 
dictum  the  other  day  on  looking  at  a grand  collection  of 
“club  ” portraits,  brought  to  us  by  a traveller,  who  would 
not  rest  until  we  had  closely  examined  the  whole  number 
of  gorgeously  coloured  and  gilded  pictures.  He  was  at 
some  trouble,  too,  to  assure  us  they  were  not  mere  show 
specimens,  but  simply  the  ordinary  work  of  the  firm  he 
represented. 


Dr.  Stolze  warns  photographers  not  to  place  too  much 
reliance  upon  a coloured  spirit  flame  in  the  dark  room,  like 
the  flame,  for  instance,  produced  by  alcohol,  in  which 


bromide  of  strontium  has  been  dissolved.  Salt  dissolved 
in  alcohol  will  impart  to  the  spirit  lamp  a flame  innocuous 
under  most  circumstances,  but  then  if  the  light  does  no 
harm,  it  is  so  faint  as  to  do  no  good  either. 


Photographing  the  vocal  chords  is  now  an  accomplished 
fact,  and  it  is  not  likely  that  enquiring  physiologists  will 
stop  here.  The  Journal  of  the  Microscopical  Society  gives 
some  interesting  engravings  of  an  apparatus  devised  by 
Herr  Leiter  and  Dr.  J.  Mikuliez,  for  allowing  the  walls  of 
the  stomach  to  be  illuminated  and  examined  by  tho  aid  of 
lenses.  The  electric  light  is,  of  course,  the  source  of  illu- 
mination, and  this  is  placed  at  the  end  of  a bent  tube,  and 
inserted  into  the  stomach,  the  observer  placing  his  eye  at 
an  objective  at  the  other  end  of  the  tube,  through  which 
the  image  is  conveyed  by  means  of  a right-angled  prism, 
which  acts  as  a reflector  to  transmit  the  rays  from  the  side 
of  the  instrument  up  the  tube.  In  tho  same  paper,  Dr.  J. 
Oliver  desciibes  a successful  experiment  of  examining  the 
interior  of  the  liver  by  means  of  a small  Swan  incandescent 
lamp,  and  by  an  arrangement  which  is  said  to  give  a better 
light,  and  develop  less  heat  than  Leiter’s  system.  What- 
ever can  be  seen  by  the  eye  can  also  be  photographed  (grant- 
ing, of  course,  that  the  illumination  is  of  actinic  quality)  ; 
the  photographing  of  tho  interior  of  tho  stomach  would 
seem  to  be  but  a matter  of  ingenuity  in  regard  to  tho 
apparatus. 


We  recently  spoke  with  a photographer  over  the  palmy 
days  of  photography,  that  halycon  time  of  1851-51.  His 
experience  was  limited  to  the  West  Country,  but  in 
Plymouth,  even  so  late  as  the  last  year,  the  charge  made 
for  a Daguerreotype  portrait,  quarter-plate,  was  £2 12s.  6d., 
while  a half-pUte  picture  brought  in  four  guineas.  From 
twenty-five  to  thirty  guineas  a week  was  then  the  average 
takings  single-handed.  And  even  when  paper  photographs 
came  first  into  vogue,  a single  print  from  a quarter-plate 
negative  was  charged  two  guineas. 

But  it  wasn’t  all  honey,  even  in  the  good  old  times.  “ 1 
remember  well  my  first  start  with  the  collodion  process,” 
said  our  friend.  “ I took  a first  floor  drawing-room  with 
four  windows,  which,  with  the  aid  of  a sheet  mirror,  made 
a capital  studio,  while  my  dark  closet  was  a handy 
cupboard  in  the  bedroom  adjoining.  1 remained  there  a 
fortnight,  and  although  with  some  experience  of  the  collo. 
dion  process,  I never  produced  a satisfactory  negative  the 
whole  time.  The  plates  one  and  all  were  covered  with 
spangles,  and  the  film  had  irregular  vine-like  markings. 
The  latter,  of  course,  were  due,  as  I learnt  subsequently, 
to  insufficient  bathing  of  the  plate — streaks  in  the  direction 
of  the  dip,  they  were  afterwards  called — and  the  former 
arose  from  iron  particles  in  the  water.  I paid  a fortnight’s 
rent  and  left,  but  this  was  not  all  my  loss  ; the  landlady 
requested  my  attendance  in  the  bedroom,  and  invited  me 
to  explain  the  presence  of  certain  inky  splashes  over  the 
furniture  which  defied  all  scrubbing  with  soap  and  water. 
My  next  studio  was  improvised  in  less  showy  quarters,  1 
remember.” 


618 


TttE  PHOTOGRAPHIC  NEWS. 


[September  28,  1883, 


patent  Intelligent. 

Specification  Published  during  the  Week. 

896.  J.  R.  Meihe,  “Production  of  printing  plates  or  blocks 
bv  photographic  means.’’— A communication  from  J.  Allgeyer 
and  C.  Bolhoevener. 

We  have  already  published  the  text  of  this  specification,  p.  638. 

Application  for  Letters  Patent. 

4557.  Edward  Griffiths  Brewer,  of  33,  Chancery  Lane,  iu 
the  county  of  Middlesex,  for  an  invention  of  “ A new  or  im- 
proved apparatus  or  electro  appliance  for  touching  up  photo- 
graphic pictures  and  other  objects,  also  applicable  for  engraving 
purposes.” — A communication  to  him  from  abroad  by 
Messieurs  J.  Geesbergen,  and  La  Socieid  Geruzet  Freres,  all 
of  Brussels,  Belgium. — Dated  24th  September,  1883. 


point  lying  near  the  direction  of  the  axis  will  be  less  pro- 
portionally displaced  than  the  image  of  a point  lying  further 
away  from  the  axis  ; whilst  when  the  diaphragm  is  in  front, 
the  image  of  the  first  point  would  be  more  proportionally 
displaced  than  that  of  the  latter. 

Suppose  we  have  to  photograph  a square  cut  up  into 
four  small  squares,  as  in  tig.  30.  If  E be  kept  in  the  centre 


Notice  to  Pi’oceed. 


Fig.  30. 


2677.  Alexander  Melville  Clark,  of  the  firm  of  A.  M.  and 
W.  Clark,  of  63,  Chancery  Lane,  in  the  county  of  Middlesex, 
Fellow  of  the  Institute  of  Patent  Agents,  for  an  invention  of 
“ Improvements  in,  and  injapparatus  for  changing  and  storing, 
photographers’  backgrounds  and  other  moveable  scenery.” — 
A communication  to  him  from  abroad  by  William  Evans 
Lindop,  of  St.  Thomas,  in  the  province  of  Ontario  and 
dominion  of  Canada. — Dated  30th  May,  1883. 

Patents  Granted  in  Austria-Hungary. 

J.  Allgeyer  and  C.  Bolhovener,  of  Munich,  for  “ Typographic 
photography.” — Dated  24th  April,  1883. 

H.  Mader,  of  Isny  (Wiirtemberg),  for  “ A photographic  dark 
slide  for  exchanging  plates.” — Dated  20th  April,  1883. 

Patent  Granted  in  America,  September  11,  1881. 
284,645.  David  M.  Little,  Boston,  Mass.,  filed  May  18,  1883 
(no  model).  “ A shutter  for  photographic  cameras.” 

Two  perforated  discs,  which  can  be  made  to  revolve  in  opposite 
directions,  are  mounted  between  the  glasses  of  the  objective. 
The  exposure  takes  place  when  the  perforations  are  in  line  with 
themselves  and  with  the  lens.  The  revolving  discs  are  mounted 
ike  the  ordinary  rotating  diaphragms. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.R.S. 

Lesson  VI. 

Distortion  with  a Single  Lens. — In  the  last  lesson  it  was 
shown  that  a stop  or  diaphragm  can  be  inserted  either  in 
front  of  or  behind  the  lens,  in  order  to  minimize  astigma- 
tism ; but  there  is  a point  in  connection  with  these  positions 
which  must  be  considered.  We  have  seen  that  when  the 


Fig.  29. 

stop  is  placed  beween  the  lens  and  the  focussing  screen 
the  image  of  a distant  point  lying  in  a direction  oblique 
to  the  axis  of  the  lens  is  formed  near  F — that  is,  by  the 
rays  falling  on  the  lens  from  A to  B— and  it  will  be  seen 
that  if  the  diaphragm  is  placed  in  the  front  of  the  lens,  the 
image  will  be  formed  near  K ; that  is,  by  rays  falling  on 
the  lens  from  D to  E.  Evidently,  then,  the  position  of 
the  image  of  the  point  on  the  screen  will  be  shifted  nearer 
to  the  axis  of  the  lens  or  further  from  it,  according  to  the 
position  of  the  diaphragm,  instead  of  remaining  in  the 
position  where  the  line,  passing  through  the  object  and  the 
optical  centre  of  the  lens,  cuts  the  screen.  On  the  other 
hand,  the  image  of  a point  lying  in  the  direction  of  the 
axis  of  the  lens  will  remain  unaltered  in  position  on  the 
screen,  on  whichever  side  the  diaphragm  may  be  placed. 
When  the  diaphragm  is  behind  the  lens,  the  image  of  a 


of  the  plate  (that  is,  in  the  direction  of  the  axis),  then  A, 
B,  C,  and  1)  will  be  more  or  less  proportionally  displaced 
from  the  axis  than  FGH  K,  according  to  the  position  of 
the  diaphragm.  When  the  diaphragm  is  between  the  lens 
and  the  focussing  screen,  from  what  has  just  been  pointed 
out,  the  image,  instead  of  remaining  square,  must  take  the 
form  of  fig.  31,  or  cushion-shaped  distortion;  whilst  if  in 


Fig.  31.  Fig.  32. 


front  of  the  lens,  the  form  of  fig.  32,  or  barrel-sbaped  dis- 
tortion. This  latter  is  that  usually  met  with  in  single 
lenses,  as  the  diaphragm  is  almost  always  in  front  of  the 
lens. 

Suppose  we  have  two  exactly  similar  lenses  at  a small 
interval  apart,  and  centrally  between  them  put  a stop,  one 
lens  has  the  diaphragm  in  front,  and  the  other  the 
diaphragm  behind,  and  the  distortion  of  one  lens  will 
destroy  the  distortion  of  the  other,  and  give  straight  lines. 
This  i3  the  condition  of  symmetrical  doublet  lenses. 

The  reader  should  now  reflect  on  the  cause  of  astigma- 
tism, as  it  has  been  put  before  him,  and  endeavour  to  see 
whether  all  lenses  should  give  the  same  amount  of  it,  and 
consequently,  the  same  distortion.  It  is  first  of  all  appa- 
rent that  the  larger  the  diameter  of  the  leDs  in  proportion 
to  the  focus,  the  more  there  will  be ; and  that,  therefore, 
a small  lens  of  long  focus  should  give  very  little. 

Again,  it  will  be  seen  that  the  most  exaggerated  distor- 
tion will  be  when  a double  convex  lens  is  used,  whilst  the 
more  nearly  that  the  two  surfaces  of  a lens  are  parallel,  and 
also  the  more  nearly  the  surfaces  of  the  margins  of  the  lens 
used  to  bring  the  excentrical  rays  to  a focus  are  at  right 
angles  to  the  direction  of  the  rays,  the  less  astigmatism 
there  will  be. 

The  meniscus  form  of  the  lens  answers  this  most  nearly, 
and  opticians  employ  it  for  this,  amongst  other  reasons. 
With  certain  single  lenses  it  is  almost  impossible  to  detect 
distortion,  even  when  taking  architectural  subjects,  and 
it  is  with  these  lenses  that  astigmatism  is  least,  for  distor- 
tion is  principally  the  result  of  astigmatism. 

Depth  of  Focus. — This  term  is  very  often  used  by  photo- 
graphers, without  their  having  any  very  distinct  idea  of 
what  it  implies.  It  is  proposed  to  consider  on  what  it 
depends.  First  of  all,  depth  of  focus  implies  that  points  at 
different  distances  from  the  lens  can  be  brought  to  a 
sharp  focus  on  the  same  focussing  screen.  Now  it 
may  be  taken  as  a rule,  that  the  focus  of  any  point  distant 
100  tithes  the  focal  length  of  the  lens  is  at  the  principal 


September  28,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


619 


focus,  and  that  the  rays  comiDg  from  it  are,  practically, 
parallel  rays,  and  of  course  all  points  beyond  that  distance 
are  brought  to  a focus  on  the  same  plane,  provided  that 
they  are  situated  near  the  axis  of  the  lens,  or  that  the  lens 
is  aplanatic,  a term  we  shall  very  shortly  explain.  Depth 
of  focus,  however,  means  bringing  points  nearer  than  the 
above  distance  into  focus,  e.rj.,  on  a screen  placed  at  the 
same  distance  as  gives  a focus  for  parallel  rays.  Let  us 
see  how  this  can  be  accomplished. 


Fig.  33. 


Suppose  we  have  rays  coming  from  a distant  poiut,  and 
also  from  another  point  near  the  lens,  falling  on  a lens  cor- 
rected for  spherical  aberration,  the  former  will  have  their 
true  focus  nearer  the  lens  than  the  latter  (see  fig.  33). 
It  is  manifest  that  any  plane,  a,  b , which  moves  between 
the  two  foci,  will  never  show  sharp  images,  because  the 
discs  of  confusion  will  always  be  greater  than  T^y  of  an 
iDch  in  diameter.  If  the  image  of  the  distant  point  be 
sharp,  the  image  of  the  near  point  will  be  represented  by 
a disc  having  a breadth  a,  b.  How,  then,  can  this  be  cor- 
rected ? Let  us  place  a small  stop  iu  front  of  the  lens 


Fig.  34. 


(fig.  34),  and  immediately  the  angle  of  the  rays  forming  the 
images  are  narrowed,  and  between  the  two  true  foci  there 
will  be  a plane  on  which  the  discs  of  confusion  of  the 
images  of  the  the  two  points  will  not  be  more  than  T^j  inch 
diameter.  Hence,  depth  of  focus  is  attained  absolutely 
by  using  a small  diaphragm.  There  is  no  inherent  quality 
in  the  form  of  any  lens  which  will  give  depth  of  focus ; 
diminishing  the  ratio  of  the  aperture  to  the  focal  length 
alone  will  effect  it.  Another  point  worthy  of  attention's, 
that  by  the  introduction  of  a smaller  stop,  the  position  of 
best  focus  is  altered,  as  a rule  becoming  longer. 

Aplanatic  Lenses.—  The  term  “ aplanatic”  is  one  which  we 
now  propose  to  explain.  Suppose  we  take  a convex  lens, 
and  use  a small  portion  of  its  centre  from  what  has  been' 


shown  for  central  oblique  rays,  the  focus  will  lie  approxi" 
mately  on  the  arc  of  a circle,  ABC,  the  centre  of  the  circle 
being  the  optical  centre.  It  is  evident  that  no  plane  sur- 
face which  is  placed  behind  the  lens  can  ever  be  in  such  a 
position  as  to  make  the  image  of  central  and  oblique  lying 
points  in  focus  on  it.  The  receiving  surface  would  have 


Jo  be  curved  If,  however,  the  margin  of  the  lens  is  used 
for  the  oblique  rays,  and  the  centre  of  the  axial  rays,  then 
't  is  possible  to  give  the  lenses  such  curves  that  the  foci 
will  lie  on  the  same  plan.  An  instance  of  this  is  seen  in 
Fig.  28. 

(To  be  continued.) 


SOLID  AND  LIQUID  ILLUMINATING  AGENTS. 

BY  LEOPOLD  FIELD,  F.C.S.* 

I WILL  now  pass  on  to  those  of  the  vegetable  waxes  which 
their  importar.ee  entitles  to  a brief  consideration.  There  are  four 
that  may  fairly  be  deemed  regular  visitors  of  the  British  markets. 
The  first,  for  beauty  and  purity,  is  Chinese  wax,  or  pela. f This 
exquisite  substance  has  a longitudinal  crystalline  fibre,  much  re- 
sembling pure  stearine,  and  yet  with  something  of  the  flakiness  of 
sperm  about  it.  It  is  a cerotic  ether,  having  the  seldom  varying 

composition  | 0,  cerotate  of  ceryl,  corresponding  to  the 

true  cerotic  ether  j 0,  or  cerotate  of  ethyl.  Its  melts 

at  180?  F.,  and  can  be  crystallised  unchanged  from  boiling  alcohol. 
The  maker  of  this  beautiful  compound  is  a certain  little  insect, 
the  Coccus  sinensis,  inhabiting  China.  The  body  of  the  grown 
insect  varies  in  diameter  from  ^-fin.  Its  cultivation  demands  as 
much  care  as  that  of  the  silkworm.  The  cocoons  with  eggs  are 
attached  carefully  to  certain  trees  ; after  a short  time  the  young 
insects  emerge,  and  commence  operations  on  the  bark ; this 
speedily  becomes  covered  with  a white  waxy  film,  in  which  the 
insects  imbed  themselves  ; the  branches  are  then  scraped  care- 
fully of  the  adhering  crust,  which  is  readily  purified,  by  boiling, 
from  the  dirt  and  insects.  Some  portions  of  the  wax,  with  the  in- 
cerated  chrysalee,  are  kept  for  breeding  purposes.  The  trees  on 
which  this  insect  feeds  are  for  the  most  part,  probably  all,  them- 
selves wax  producers.  Its  favourite  pasture  appears  to  be  the 
Rhus  suceedanea,  from  the  root  of  which  Japan  wax  is  obtained. 
This  circumstance  renders  it  doubtful  whether  the  insect  could 
produce  wax  upon  any  tree,  given  proper  climate.  My  opinion 
is,  that  the  wax  is  the  result  of  a mutual  understanding  between 
the  two— a product  to  which  insect  and  tree  are  equally  essential 
factors. 

The  amount  of  this  wax  realized  is  very  large,  averaging  about 
•200  tons.  This  the  Chinese  consume  all  themselves,  the  price  not 
allowing  it  to  compete  with  equally  useful  English  products.  A 
little  comes  over  now  and  then,  but  the  sales  are  never  large.  Its 
chief  use  is  to  “ break  the  grain  ” of  epermaceti,  the  two  crystal, 
lisations  neutralizing  each  other ; but  as  cheaper  substances 
answer  equally  well,  there  cannot  be  much  demand.  But  the 
Chinese,  who  eat  all  the  animal  fat  they  can  get,  are  very  glad  of 
the  material  for  their  candles.  Their  lobchocks  are  made  from  it ; 
this  one  is,  quite  characteristically,  thicker  at  the  top  than  the 
base,  tapering  downwards,  and  coloured  bright  scarlet. 

Carnauba,  or  stone-wax.— This  peculiar  wax  is  intensely  hard, 
and  its  melting  point  very  high — too  high  for  utility,  as  regards 
candles  at  least  (185°  F.).  It  is,  however,  I believe,  used  largely 
on  the  Continent  as  an  adulterant,  or,  perhaps  legitimately,  a 
hardening  mixture,  and  enters  largely  into  the  composition  of 
varnishes,  heel-balls,  &C.  The  colour  varies  from  light  yellow  to 
deep  grey  green,  and  it  can  be  bleached  to  an  intense  white. 
Carnauba  wax  is  found  adhering  as  a thin  film,  like  varnish,  to 
the  leaves,  stalks,  and  the  berries  especially,  of  a Brazilian  palm, 
the  Coper nicia  cerifera.  From  these  the  wax  is  boiled  oft,  and 
skimmed  into  moulds.  When  congealed,  its  likeness  to  stone  is 
so  great  that,  were  it  not  for  the  low  sp.  gr.  (999),  one  might 
easily  class  it  with  minerals.  The  composition  of  stone-wax  is 
very  uncertain.  Lewy,  a great  authority  on  waxes,  finds  it  to 
contain  80  per  cent,  of  carbon ; and  Allen  vouches  for  the  presence 

of  a notable  quantity  of  fieemyricylormelissic  alcohol  30  |j  j o. 

The  quantity  produced  is  very  large,  but  I am  not  in  posaession 
of  trustworthy  statistics. 

The  next,  and  last,  of  the  true  waxes  is  Myrtle  wax  (Myrica 
tallow).  This  soft  green  substance  is  formed  on  the  berries  of  the 
Myrica  cerifera,  an  American  tree  shrub.  The  berries  grow  in 
small  clusters  along  the  stem,  and,  when  ripe,  are  coveie  l with  a 
tolerably  thick  rind  of  the  wax,  which  is  removed  by  boiling. 
This  substance  is  also  used  chiefly  in  adulteration,  though  from  the 
very  low  melting  point  (123°  F.),  the  use  must  be  limited.  The 

• Continued  from  page  558. 
t Chinese,  Chung-pih-la.  Insect  white  wax. 


620 


THE  PHOTOGRAPHIC  NEWS. 


[September  28,  1883. 


composition  is  chiefly  palmitic  and  myristic  acids,  with  a little 
glycerine,  but  has  never  been  accurately  determined.  Japan  wax, 
also  called  “tree  wax,”  ought  properly  to  rank  as  a fat,  being 
a palmitate  of  glycerine,  which  latter  it  yields  upon  saponification. 
It  is  derived  from  the  roots  of  several  trees  of  genus  Rhus, 
chiefly  from  the  Rhus  saccedanea  of  the  East  Indies.  The  use  of 
this  wax  as  an  adulterant  is  checked  by  its  disagreeable  odour 
— otherwise,  it  is  a very  useful  substance  ; it  enters  largely  into 
the  composition  of  vegetable  wax  candles,  much  used  as  a subsi- 
tute  for  those  of  genuine  beeswax.  Its  sp.  gr.  is  about  -999, 
the  m.p.  120°  F.  There  are  several  other  waxes,  of  great 
use  in  their  native  countries,  as  palm  wax,  from  the  stem  of  the 
Ccroxylon  andicola,  Biazil,  and  ocuba  wax,  from  the  Myriea 
ocuba,  of  the  same  country  ; also  Andaquies  wax,  Cuba  wax,  and 
others  of  uncertain  animal  origin.  The  two  first-named  furnish 
a large  portion  of  the  candle  power  of  northern  South  America. 

I shall  have  to  defer  to  next  lecture  the  consideration  of 
vegetable  oils  and  fats,  which  are  also  very  numerous.  For  the 
present,  I will  conclude  with  drawing  your  attention  to  this 
unique  collection  of  all  kinds  of  waxes,  with  a number  of 
different  candles  with  crude  wicks,  made  by  island  savages  as  they 
best  knew,  for  the  most  part  of  which  I am  indebted  to  the 
courtesy  of  Mr.  Holmes,  of  the  Pharmaceutical  Society’s  Museum. 

Continuing  the  consideration  of  those  bodies  which  can  be 
converted  into  candles  without  alteration  of  their  chemical 
nature,  we  will  discuss  palm  and  cocoanut  oils  : although,  like 
tallow  in  an  unmanufactured  condition,  their  application  is  very 
limited.  The  family  of  palms  is  exceedingly  large  ; and  of  the 
number  many  varieties  contribute  to  the  domain  of  light.  I 
have  mentioned  the  wax  palm,  which  perhaps  remits,  next  to 
those  two  which  we  are  now  discussing,  the  largest  subsidies  to 
the  candle  pan  ; but  all  other  vegetable  sources  scarcely  furnish 
a tithe  of  the  quantity  which  is  yielded  by  the  Elais  guineenis, 
the  oil  palm,  and  the  Elais  melanococcus,  the  cocoanut  tree.  The 
former  is  distributed  mainly  through  the  West  Coast  of  Africa, 
sometimes  penetrating  pretty  far  into  the  interior.  Its  chief 
habitat  is  along  the  Senegal  and  Gambia  rivers,  which  are  lined 
with  the  rude  factories  where  the  natives  extract  the  oil.  The 
fruit  of  this  palm  weighs  about  twenty  pounds,  and  much 
resembles  a large  artichoke  intersected  with  small  golden  plums. 
The  dried  specimen  I exhibit  can  give  you  little  idea  of  the 
beauty  of  this  highly  oleaginous  fruit  as  it  grows  on  the  tree. 
The  berries  are  separated  from  the  husks,  and  by  boiling  in 
water,  are  divested  of  their  unctuous  integuments.  The  deep 
golden  oil  floats  on  the  top,  is  skinned  off,  and  put  into  casks, 
where  it  assumes  a granular  semi-solid  condition.  There  are 
many  varieties  of  this  oil,  of  which  I have  about  thirty  in  these 
glass  bottles,  varying  from  a deep  greyish  brown  to  a lemon 
yellow.  The  best  is  that  known  as  “Lagos”  oil.  Originally, 
before  the  discoveries  of  Chevreul  and  Wilson,  palm  oil,  from  its 
soft  nature,  was  of  little  use,  as  by  pressing  it  does  not  become 
harder  ; but  a certain  kind  of  candle,  which  was  called  the 
“ decimal  ’’  candle,  from  the  fact  of  ten  going  to  the  pound,  was 
manufactured  from  the  “bagged”  palmitin,  bleached  partially 
by  exposure  to  the  air.  Messrs.  Hempel  and  Blundell,  in  1836, 
took  out  a patent  for  making  candles  from  pressed  fats  alone. 
These,  however,  are  little  used.  Cocoanut  candles  or  candles 
from  pressed  cocoanut,  were  made,  but  it  cannot  be  said  with 
any  success.  Whenever  candles  from  the  unmanufactured 
vegetable  oils  have  been  introduced,  the  glycerine  present  has 
proved  almost  as  strong  an  objection  in  such  cases  as  in  tallow. 
In  1840,  Mr.  J.  P.Wilson  took  out  a patent  for  making  the 
original  “ composite  ” candle,  which  was  a mixture  of  the 
pressed  cocoanut  oil  and  stearic  acid.  These  were  the  result  of 
the  demand  for  cheap  self-snuffing  candles  which  arose  on  the 
occasion  of  the  Queen’s  marriage. 

(7  o be  continued ) 


% iicticrmtrg  of  iMaflraefe. 

ALBUMENIZED  PAPER  (Printing  on). — Continued. 

Having  charged  the  frame  with  a negative,  paper,  and  padding, 
and  secured  the  pressure,  place  it,  glass  side  uppermost,  on  the 
bench  out  in  the  daylight.  After  the  lapse  of  five  minutes,  the 
progress  of  printing  should  be  examined  ; until  the  student  is 
master  of  the  art,  he  should  do  this  in  the  printing-room,  or  he 
may  find  the  whites  of  his  print  very  much  degraded,  more 
especially  the  vignettes.  Unfasten  the  spring  nearest  the  head 


(if  it  be  a portrait)  with  the  right  hand,  holding  the  frame, 
glass  side  inwards,  by  means  of  the  left  hand  ; with  the  right, 
gently  open  the  released  half  of  the  back  outwards.  Next  raise 
the  pad,  and  print  by  one  corner  ; the  paper,  previously  white,  will 
now  have  a picture  printed  on  it,  perhaps  deep  enough,  or  it  may 
be  only  just  marked,  depending  upon  the  density  of  the  negative 
and  the  strength  of  the  light ; it  should  be  closed  up  with  care,  or 
the  paper  may  not  find  its  way  to  the  position  from  which  it  was 
lifted.  Such  an  effect  is  observable  when  we  get  a double  im- 
pression. Turn  the  frame  upside  down,  release  the  other  spring, 
now  at  the  top,  and  examine  the  other  half  cf  the  print.  If  it  is 
progressing  satisfactorily,  close  it  up  carefully,  and  again  place 
it  out  in  the  light.  This  operation  may  be  repeated  at  short 
intervals  until  the  print  is  finished.  Any  portion  becoming  too 
dark  may  be  covered  with  a piece  of  yellow  paper  rather  smaller 
than  the  shadow  to  be  blocked,  the  most  convenient  mode  of 
procedure  being  to  gum  it  on  to  a piece  of  glass  the  same  size  as 
the  printing-frame,  the  position  of  the  paper  being  just  over  the 
shadow.  The  proper  time  to  stop  the  action  of  printing  can  only 
be  determined  by  individual  taste  ; but  we  may  say  that,  as  a rule, 
the  printing  may  be  continued  until  there  is  slight  shading  or  tone 
exhibited  through  all  the  lights — that  is,  where  the  dense  parts  of 
the  negative  have  been— excepting  the  extreme  high  lights  in 
portraits,  such  as  the  most  opaque  parts  of  forehead,  chin,  &c. ; 
we  shall  then  have  a print  just  a trifle  deeper  than  we  require 
when  finished  ; the  reason  why  we  print  deeper  will  be  seen  when 
we  tone  our  print.  It  will  be  sufficient  here  to  mention,  that 
the  prints  become  lighter  in  the  after  operations,  depending  on 
the  treatment  adopted. 

In  the  case  of  dense  and  under-exposed  negatives,  sometimes 
the  shadows  will  be  bronzed  before  the  lights  are  barely  touched  ; 
this  is  very  noticeable  in  some  early  attempts  at  landscape  nega- 
tives. We  may  be  desirous  of  printing  them,  although  they  arc 
not  up  to  the  mark  ; and  exposing  the  paper  to  the  light  before 
or  after  printing,  either  to  the  front  or  back,  has  been  found 
useful  by  some  printers.  But  if  several  prints  are  required,  and 
harmonious  results  expected,  we  have  recourse  to  further  dodging, 
and  recommend  the  following  : — Cover  the  back  of  the  negative 
with  papier  mineral  or  a similar  substance,  securing  it  to  the  edges 
of  the  negatives  by  means  of  gum ; cut  tho  paper  away  from 
above  the  dense  portions,  so  that  light  is  not  obstructed.  Secure 
the  cut  portion  to  the  negative  with  a touch  of  gum,  and  apply 
sparingly  some  powdered  plumbago  to  that  portion  of  the  paper 
which  covers  the  deepest  shadows.  Cloud  effects  may  likewise  be 


produced  in  r iew  pictures  by  stumping  in  with  plumbago  where 
necessary.  Sometimes  negatives  are  exactly  opposite  to  the  fore- 
going in  printing  qnality  ; the  lights,  not  being  dense  enough, 
will  be  printed  fully  before  sufficient  strength  has  been  gained  in 
the  shadows  ; such  prints  look  weak  and  flat  when  finished.  In 
such  a case,  a stronger  sensitizing  bath  and  more  fuming  are  both 
resorted  to.  We  can  also  make  satisfactory  prints  by  stippling 
over,  within  the  lights  on  the  back  of  the  negative,  a little  car  • 


September  28,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


621 


mine  or  Prussian  blue.  When  it  is  expected  the  negative  wil 
have  a little  wear,  it  will  be  better  to  use  oil  colour,  applied  with 
the  ball  of  the  finger,  until  an  even  density  is  obtained.  There 
are  only  two  things  to  guard  against — that  is,  putting  the  colour 
on  too  densely,  and  allowing  the  colour  to  overlap  the  lights.  In 
the  first,  we  produce  flatness,  although  obtaining  density  ; in  the 
second,  we  get  a halo  vignetted  on  the  surrounding  parts.  Por- 
traits and  views  are  sometimes  printed  in  oval,  cushion,  dome,  and 
other  shapes,  having  a sharply-defined  line  between  the  subject 
and  the  white  margin  which  surrounds  the  picture.  This  is 
brought  about  by  placing  what  is  termed  a mask  on  the  negative, 
previous  to  the  sensitive  paper,  and  securing  it  in  position  by 
means  of  gummed  paper,  so  that  all  prints  may  be  in  the  same 
position.  In  adjusting  oval  masks  to  portrait  negatives — say 
bust  pictures — arrange  them  so  that  the  shoulders  are  evenly 
balanced,  and  do  not  ascend  higher  than  one-third  up  the  oval ; 
also  where  possible  let  an  equal  distance  exist  between  the  sides 
of  the  head  and  the  outer  line.  The  sketch  shows  some  of  the 
various  sizes  that  are  sold  by  any  of  the  stock  dealers,  and  as  they 
may  be  obtained  very  cheaply,  it  will  be  found  more  convenient 
to  procure  a stock  than  to  attempt  cutting  them. 

The  term  vignette,  as  applied  to  photographic  printing,  is 
understood  to  mean  a gradual  softening  or  blending  of  the  picture 
into  the  background,  or  a portion  of  any  picture,  from  the  deepest 
shades  into  white  surroundings. 

Two  definite  shapes  are  mostly  in  use  for  this  purpose,  and  take 
the  form  either  of  an  egg  or  a pear.  If  we  cut  a hole  the  size  and 
shape  of  a pigeon’s  egg  in  a piece  of  cardboard,  and  place  it  on 
the  outside  of  a quarter-plate  printing-frame  containing  a nega- 
tive and  sensitized  paper,  we  shall  find,  after  the  frame  has  been 
exposed  to  the  daylight  some  minutes,  the  light  which  has  passed 
through  the  hole  in  the  cupboard  has  produced  on  the  sensitive 
paper  what  we  term  a vignette  ; by  placing  the  cardboard  close 
j i the  negative  we  should  obtain  a harsh  vignette,  the  effict  of 
which  is  somewhat  similar  to  the  medallion  ; but  the  outline, 
instead  of  being  sharp,  would  be  undecided  or  blurred  in  proportion 
to  the  thickness  of  the  negative  plate.  Such  an  effect  is  both  un- 
desirable and  inartistic.  Place  a piece  of  thick  glass  between  the 
same  negative  and  cardboard,  also  a fresh  supply  of  sensitive  paper, 
and  print  as  before  ; upon  examination  it  will  be  noticed  that  this 
second  print  will  exhibit  far  more  gradation  than  the  first. 
Within  reasonable  limits,  the  more  we  increase  the  distance 
between  the  two,  the  softer  and  more  perfect  will  the  gradation 
be.  Having  become  acquainted  with  the  meaning  of  a vignette, 
and  an  easy  mode  of  producing  it,  we  will  mention  some  of  the 
arrangements  employed  by  photographic  printers  to  obtain  similar 
results. 

(To  be  continued.) 

® 

(fcomsgonto*. 

PHOTOGRAPHY  AND  TRICYCLING. 

Dear  Sib,  — I have  great  pleasure  in  giving  my  testimony 
as  to  the  utility  of  the  tricycle  in  connection  with  out-door 
photography  from  a professional  point  of  view. 

I have  ridden  one  for  the  last  twelve  months,  and  consider 
I have  saved  half  the  cost  of  the  machine  in  the  hire  of  con- 
veyances, to  say  nothing  of  the  pleasure  derived  from  the 
pursuit,  and  the  inducement  held  out  to  have  a run  for  two 
or  three  hours  in  the  country,  resulting  in  a renewal  of 
“ force  ” after  a fatiguing  day’s  work.  I ride  a “ Cheyle6- 
more,”  an  excellent  machine,  rear-steering  ; and  to  carry  ti  e 
load  have  had  made  an  iron  tray  15  inches  by  10  inches  by 
3 inches  deep,  which  screws  on  the  back  bone,  and  is  easily 
removable  when  notrtquired.  A good  leather  case— contain- 
ing 10  by  8 camera,  three  double  dark  slides,  lenses,  tripod 
top  screw,  and  focussing  cloth —exactly  fits  the  tray,  to 
which  it  is  further  secured  by  means  of  straps  on  each  side. 
The  legs,  folded  and  strapped  to  the  top  of  the  bag,  com- 
plete the  arrangement,  which  weighs  (with  six  plates) 
forty-eight  pounds.  With  this  load  I find  no  difficulty  in 
travelling  easily,  and  have  ridden  thirty-six  miles  in  ten 
hours;  exposing  all  six  plates  upon  different  views  on  the 
road,  and  arriving  home  considerably  Lss  tired  than  if  I had 
walked  six  milea  (with  the  same  weight  to  carry)  in  the 
same  time. 


If  I have  not  been  sufficiently  explicit,  I shall  be  pleased 
to  enter  more  fully  into  details  for  the  benefit  of  “ A Hard 
Worker,”  or  will  send  him  a photograph  of  my  tricycle 
packed,  if  he  will  forward  me  his  address. — I am,  dear  sir, 
yours  very  truly,  Cuas.  P.  Richards. 

205,  Duke  Street,  llindpool,  Barrow-in-Furness. 


Sir.,— If  “ Only  an  Amateur”  will  refer  back  to  the 
Photographic  News,  page  379,  he  will  see  an  article  en- 
titled, “ A Tour  in  Kent,”  by  “ Photo-Cyclist,”  which 
will  probably  interest  him.— Faithfully  yours, 

A Man  or  Kent. 

Dear  Sir,  — I am  a professional  photographer,  and  use 
a tricycle  for  out-door  work,  so  very  probably  I can  give 
“ Only  an  Amateur  ” a wrinkle. 

My  machine  is  a “ Monarch  ” made  by  the  Monarch 
Tricycle  Company,  liirraingham  ; wheels  40-inch,  aud 
cost  eighteen  guineas  less  10  per  cent.  I carry  whole-plate 
camera,  oue  single  and  one  double  slide  in  a leather  bag 
suspended  underneath  seat,  just  clearing  my  feet  when  in 
stirrups.  A strap  is  affixed  on  each  side  arm  of  frame,  with 
a brass  spring  hook  or  clip  at  end  of  each  ; a third  is 
round  the  backbone.  On  the  bag  are  sewn  (very  strongly) 
three  metal  D’s,  these  latter  the  spring  clips  take  hold  of, 
and  the  camera  is  secured.  On  the  outside  of  camera  bag 
is  the  changing  bag  and  focussiug  cloth,  while  inside  the 
camera  are  Cadett’s  shutter,  aud  three  or  four  small 
symmetricals,  camera  screw,  and  spirit  level. 

The  tripod  — Kenneti’s  make,  large  size — I close 
by  strap  at  bottom  of  legs  only,  thus  obviating  tie 
taking  to  pieces  (sometimes  the  legs  swell  after  working 
in  moist  places,  so  that  I find  it  always  better  to  keep  the 
stand  intact),  and  secure  by  two  straps  along  the  left  hand 
side  (break  side)  of  the  machine.  Of  course  it  projects 
a little  in  front  of  wheel  aud  also  behind,  but  1 do  not 
find  that  any  drawback. 

I carry  plates  either  in  a satchel  on  my  back,  or 
secured  to  back  rest  of  saddle;  I prefer  the  former 
plan.  Ihus,  when  fully  equipped  for  out-door  work, 
including  landscape  and  portraiture,  my  traps  weigh 
nearly  forty  pounds  (my  own  weight  is  ten  stone),  and 
with  this  weight  I travel  an  average  of  six  miles  per  hour 
over  very  hilly  roads ; and  I find  the  machine  travels  more 
safely  with  the  load  than  without  it. 

When  on  a job,  I frequently  le.ave  traps  and  run  home 
light,  goiug  next  day  to  finish.  I have  not  done  any  big 
journies  on  business,  as  most  of  my  work  lies  within  a 
radius  of  eight  or  ten  miles  away  from  the  studio  ; but  have 
travelled  over  fifty  miles  after  11  a.m.  without  much 
fatigue. 

The  “Monarch”  is  a very  simple  machine,  direct 
driven,  and  the  40-inch  wheels  are  an  immense  boon.  Of 
course  the  feet  travel  more  quickly  than  on  other  machines, 
but  that  you  soon  get  use  I to,  and  can  do  easily  eight  or 
nine  miles  per  hour,  and  for  a long  day’s  work,  I venture 
to  say,  would  run  another  make  of  machine  off  the  road. 
I frequently  ride  out  with  bicyclists,  and  on  a spin  of 
twenty  to  thirty  miles  am  well  to  the  fore.  I ride  all  hills, 
some  of  which  are  too  stiff  for  the  bicycle.  Cestrian. 

RS. — Be  careful  to  dust  plates  before  transferring  to 
slides ; also  before  developing.  I do  all  changing  in  a 
dark  bag  of  ample  size,  and  feel  no  discomfort  whatever. 


ROYAL  CORNWALL  POLYTECHNIC  EXHI- 
BITION. 

Sir, — We  notice  in  last  week’s  Photographic  News  the 
Judges’  official  report  of  the  Cornwall  Polytechnic  Exhibi- 
tion, in  which  they  state  that  the  studies  of  yachts  taken 
by  us  were  evidently  elaborately  retouched.  We  beg  to  say 
that  neither  the  negatives  nor  photographs  have  been  re- 
touched in  any  way,  but  are  correct  and  truthful  represen- 
tations of  yacht  racing.  Further,  that  these  photographs 


622 


THE  PHOTOGRAPHIC  NEWS. 


[September  28,  1883, 


•were  taken  from  a little  sailing-boat,  which  is  well  known 
to  be  a difficult  matter,  especially  in  a rough  sea. 

By  inserting  this  in  your  next  week’s  issue,  you  will 
greatly  oblige  yours  faithfully,  G.  West  and  Son. 


of  Sflriflus. 

Photographic  Societt  of  Great  Britain. 

A meeting  was  held  on  Tuesday  last,  the  25th  instant,  Mr. 
John  Spiller  in  the  chair. 

The  Chairman  opened  the  proceedings  by  remarking  that 
nothing  of  special  interest  to  photographers  had  taken  place  at 
the  meeting  of  the  British  Association  ; but  that  the  members 
had,  as  usual,  passed  a very  pleasant  time.  He  (the  Chairman) 
was  much  gratified  to  now  see  twelve  familiar  faces  round  the 
table— more,  indeed,  than  he  expected  to  see  collected  together 
during  the  off  season. 

The  question-box  was  next  brought  forward,  and  was  found 
to  contain  an  enquiry  as  to  the  reason  of  the  film  on  agelatino- 
bromide  plate  frilling  up  with  a limp  and  incoherent  jelly  during 
the  process  of  fixation. 

Several  members  related  their  experiences  as  to  obstinate 
cares  of  frilling,  and  the  Chairman  remarked  that  when  he,  on 
one  occasion,  attempted  to  fix  a plato  in  a solution  of  ammonium 
sulphocyanate,  the  film  became  jellified  almost  instantaneously  ; 
but  no  other  gentleman  preseut  appeared  to  have  had  any 
experience  with  sulphocyanato  as  a fixing  agent. 

Mr.  Dunmoiie  said  that  he  had  occasionally  found  that  a 
film  would  dissolve  away  in  patches,  even  in  cold  weather  ; but 
he  had  not  been  able  to  trace  out  the  immediate  cause. 

Some  remarks  by  the  Chairman  on  the  return  of  Mr.  Woods 
led  to  a discussion  of  the  peculiar  style  of  portraiture  which 
prevails  in  San  Francisco,  and  Mr.  Ashman  sa<d  that  the 
peculiarity  consists  in  making  the  negatives  dense— printiug 
to  a deep  shade,  and  prolonging  the  operation  of  toning. 

The  Chairman  then  called  attention  to  the  value  of  a final 
wash  in  alcohol  as  a means  of  expediting  the  drying  of  plates, 
and  the  advantages  to  be  realised  by  the  use  of  alcohol  as  a 
preventive  of  frilling  ; and  as  the  result  of  a discussion  which 
followed,  it  appeared  that  Mr.  E.  W.  Foxleo  was  the  first  to 
call  attention  to  the  advantage  of  using  alcohol  for  these 
purposes. 

Another  question  taken  from  the  box  referred  to  curtain-like 
markings  on  the  developed  film,  and  old  pyrogallic  deposits  on 
dishes  were  referred  to  as  a fruitful  source  of  such  stains. 

Mr.  Ashman  referred  to  the  difficulty  of  effectually  cleaning 
ebonite  dishes,  a strong  acid  being  generally  required  to  removo 
deposits. 

Mr.  England  had  found  an  ordinary  house-painter’s  brush 
very  convenient  for  cleaning  out  dishes  when  he  was  travelling, 
as  a good  mopping-out  of  the  dish  after  each  time  of  using 
served  to  prevent  the  accumulation  of  any  deposit. 

The  Chairman,  however,  said  that  when  he  travelled,  he 
found  it  best  to  use  cardboard  dishes  saturated  with  paraffin 
wax.  When  these  became  dirty,  they  could  be  rendered  fit  for 
use  by  being  held  near  the  fire  so  as  to  melt  the  paraffin  and 
make  a new  surface. 

The  Chairman  now  announced  that  Mr.  Geruzet,  of  Brussels, 
would  shortly  exhibit  to  the  Society  a new  electrical  retouching 
machine  (see  page  018.) 

Mr.  Debenham  asked  how  the  material  of  the  image  could 
best  bo  removed  in  retouching. 

Mr.  Ashman  said  that  one  of  the  most  successful  retouchers 
adopted  the  simple  plan  of  cutting  a portion  of  the  film 
entirely  away,  and  ho  then  stippled  in  fresh  details. 

Mercurial  intensification  was  then  discussed  (see  pago  G09). 


London  and  Provincial  Photographic  Association. 

At  a meeting  held  on  Thursday,  the  20th  inst.,  Mr.  A.  IIaddon 
occupied  the  chair. 

Mr.  Cowan,  referring  to  Mr.  Henderson’s  remarks  at  a previous 
meeting  on  the  advantages  of  using  a weak  developer  to  obtain 
more  detail,  said  he  was  unable  to  corroborate  Mr.  Henderson’s 
statement,  although  he  made  several  experiments  in  that  direc- 
tion. Two  plates  shown  were  equally  exposed.  One  re- 
quired 135  seconds  in  a normal  developer  (i.e.,  1 grain  of  pyro 
per  ounce)  to  bring  out  the  detail,  the  resulting  plate  being  much 


too  dense  ; the  other,  developed  with  a four  times  stronger  solu- 
tion, gave  a harmonious  negative,  fully  developed,  in  twenty 
seconds. 

Mr.  Coles  asked  if  an  advantage  was  not  usually  gained  by 
diluting  the  developer  when  plates  were  known  to  be  under- 
exposed. 

Mr.  Cowan’s  experience  was  the  reverse. 

The  Chairman  said  it  would  be  more  convenient  for  the 
members  who  wished  to  take  part  in  the  discussion,  if  illustrations 
in  duplicate  could  be  shown  whenever  practicable  ; it  frequently 
happened  before  examples  reached  the  end  of  the  room,  another 
subject  had  already  started. 

Mr.  Hare  exhibited  a shutter  for  exposing  by  hand,  for 
attachment  to  the  front  of  lenses.  Two  parallel  laths,  each 
pierced  with  heart-shaped  openings  (one  inverted),  are  made  to 
piss  each  other  across  the  centre  of  the  lens  ; the  tops  of  laths  are 
so  attached  to  a lever,  that  when  the  lever  is  depressed,  the  laths 
travel  somewhat  on  the  parallel  rule  principle  ; thus  opening 
and  closing,  rapid  or  slow  exposures  can  be  made  at  will,  if  you 
can  find  sufficient  room. 

Mr.  W.  E.  Debenham  considered  that  the  shatter  would  pro- 
duce uneven  illumination,  owing  to  the  centre  of  the  lens  doing 
all  the  work. 

Mr.  W.  M.  AsnMAN  passed  round  two  transparencies  made 
with  collodio-chloride,  a3  published  for  paper  in  the  standard 
formulae  of  the  Photographic  News  Almanac,  and  developed 
with  ferrous  oxalate  and  ammonia-citrate  solutions,  1 part  of  the 
former  to  10  parts  of  the  latter,  and  1 part  to  15  parts  respec- 
tively. The  plate  which  had  been  developed  with  the  largest 
proportion  of  citrate  approached  very  nearly  a ruby  tint ; both 
tints  were  good,  and  suitable  for  the  lantern. 

The  following  questiou  from  the  box  was  read  : — “ Has  any 
member  tried  reducing  negatives  by  means  of  chloride  of  copper, 
fixing,  and  re-developing  with  ferrous  oxalate  ? ” 

Mr.  Cole  had,  and,  so  far,  failed  ; he  obtained  a yellow  colour 
in  re-developing.  He  also  found  it  difficult  to  stop  the  action  at 
the  proper  lime. 

Mr.  Barker  asked  for  information  on  the  best  way  to  coat 
paper  with  gelatino-bromide  emulsion  ; he  tried  brushing  on  the 
back  of  albumen  paper,  but  was  not  satisfied. 

Mr.  \V.  E.  Debf.nham  said  the  commercial  papers  were  coated 
like  transfer  papers. 

Mr.  W.  M.  Ashman  suggested  the  method  published  by  Mr. 
T.  G.  Whaite;  an  illustration  of  it  will  be  found  in  the  current 
Year-Book. 

Mr.  Sutchfield  suggested  damping  the  paper,  laying  it  flat 
on  a glass  plate,  and  pouring  on  the  emulsion. 

The  Chairman  suggested  lowering  one  end  of  a roll  of  paper 
on  to  a dish  containing  the  melted  emulsion,  gradually  drawing 
the  whole  roll  over  the  surface. 

Messrs.  Ashman  and  Debenham  had  each  tried  the  method 
suggested  by  the  Chairman,  and  obtained  wavy  lines. 

I iThe  Chairman  thought  the  failure  was  caused  by  an  insuffi- 
cient quantity  of  gelatine  ; a stronger  emulsion  just  above  the 
setting  point  he  thought  would  answer. 

Mr.  \V.  M.  Ashman  had  coated  some  paper  the  previous  day, 
in  which  three  times  the  quantity  of  gelatine  was  added  to  that 
contained  in  a rich  and  rapid  emulsion  ; he  had  not  a sample 
with  him,  but  showed  samples  coated  in  the  way  suggested  by 
Messrs.  Sutchfield,  Barker,  and  the  Chairman. 

Messrs.  G.  A.  Baker,  F.  J.  Brent,  F.  E.  Burnham,  A.  J. 
Jarman,  F.  Miller,  H.  E.  Mone,  and  Ernest  E.  White,  were 
elected  members  of  the  Association. 

Mr.  Bedchamber  was  proposed  for  election. 

Mr.  Hare  was  announced  to  take  the  chair  on  the  next  occa- 
sion. 


Newcastle-on-Tvne  and  Northern  Counties’  Photographic 
Association. 

Very  indifferent  weather  favoured  the  August  excursion  of  the 
above  Society.  Messrs.  Auty,  Borrows,  Dodds,  Day,  Gibson, 
Pike,  and  Robinson  proceeded,  as  arranged,  to  Stocksfield 
Station,  and  in  the  neighbourhood  of  Bywell,  during  intervals, 
exposed  several  plates.  Considering  the  weather,  very  fair 
results  were  obtained.  The  party  diced  at  Riling  Mill  in  the 
evening. 

On  Wednesday,  the  19th  instant,  the  Durham  excursion 
attracted  ten  members,  viz , Messrs.  Auty,  Balsdon,  Borrows, 
Dodds,  Gibson,  Gould,  Pike,  Ridley,  Robinson,  and  Campbell 
Swintou.  Cameras  were  at  work  from  24  by  18  to  half-plates, 
and  about  six  dozen  sensitive  surfaces  were  exposed  amidst  the 


September  28,  1883. J 


THE  PHOTOGEAPHIC  NEWS. 


G23 


beautiful  river  scenery.  Members  met  at  6.15  p.m.  for  tea,  and 
after  an  enjoyable  repast  returned  to  Newcastle. 

The  outdoor  meetings  have  this  year  attracted  a fair  average 
number  of  members,  and  a good  show  of  work  may  be  expected 
at  the  forthcoming  exhibitions  in  November,  in  competition 
for  the  special  medal  offered  for  photographs  taken  at  these 
gatherings. 


Mk  in  lire  StuMo. 

South  London  Photographic  Society. — The  first  meeting 
Of  the  above  Society  after  the  recess  will  be  held  at  the  Ilouse 
of  the  Society  of  Arts,  on  Thursday,  October  4th,  at  eight  o'clock, 
when  Mr.  J.  T.  Taylor  will  read  a paper  on  Photographic 
matters  connected  with  America  ; ” and  the  following  (from  the 
qnestion-box)  will  be  discussed: — “ What  is  the  best  method  of 
reducing  over-dense  gelatine  negatives  ? ” 

The  Fire  at  Cortachy  Castle.— Mr.  W.  J.  Anckorn, 
photographer,  Arbroath,  has  taken  a number  of  views  of  Cortachy 
Castle  for  the  Countess  of  Dudley.  He  has  taken  six  views 
before  the  fire  yesterday  week,  and  these  are  the  last  negatives 
of  the  Castle  as  it  stood  previous  to  that  calamity.  Since  the 
fire  Mr.  Anckorn  has  taken  four  views,  some  of  them  of 
interiors,  which  show  well  the  extent  of  the  damage  done  by  the 
conflagration.  All  these  views  of  this  fine  house  are  artistically 
executed.  Five  of  them  are  panel  pictures,  measuring  12  inches 
by  10  ; the  others  are  smaller.  — Arbroath  Guide. 

Lenses  Manufactured  by  M.  Suter,  of  Basel. — Our  atten- 
tion has  been  called  to  a series  of  photographic  objectives  recently 
manufactured  by  this  optician.  In  examining  them,  we  did  not 
notice  any  characteristic  departure  from  the  usual  forms ; but 
those  of  the  rectilinear  or  symmetrical  type  appeared  to  be  con- 
structed with  somewhat  larger  working  apertures  than  the  lenses 
ordinarily  made  in  this  country. 

A Studio  blown  down. — The  photographic  studio  of  Mr. 
Thomas  Gilfillan,  situated  on  the  top  of  a four-storied  building 
in  Trongate,  Glasgow,  was  last  week  completely  wrecked  by  the 
wind.  Part  of  the  structure  was  blown  into  the  street  below, 
which  is  one  of  the  most  thronged  in  the  city.  Three  persons 
were  seriously  injured  by  the  falling  glass  and  timber.  Of  these, 
two  were  conveyed  to  their  homes,  and  the  other  was  taken  to 
the  infirmary.  Many  passers-by  had  narrow  escapes. 

The  Artificial  Light  of  the  Future.— The  ordinary  light 
of  the  future  must  be  cheap.  In  order  to  be  cheap  it  must  not 
be  a result  of  physical  or  chemical  violence,  as  all  such  violence 
is  destructive  of  material,  and  consequently  expensive.  This 
is  the  vital  and  necessary  defect  of  the  electric  light.  Let  us 
rather  study  the  machinery  of  the  glow-worm  than  that  of  the 
thunderstorm.  Let  some  industrious  German  collect  a small 
colony  of  glow-worms,  weigh  them  carefully,  then  measure  the 
amount  of  light  they  emit  in  a given  time  without  taking  food, 
and  then  weigh  them  again.  I have  little  doubt  that  he  will 
find  that  their  consumption  of  material  in  the  production  of  a 
given  amount  t)f  light  is  marvellously  smaller  than  that 
demanded  by  any  of  our  methods  of  chemical  violence.  May 
we  not  isolate  these  hydrocarbons  and  aldehydes  (turpentines 
and  incipient  vinegars)  and  make  them  phosphorize,  by  the  aid  of 
alkalies  and  oxygen  rendered  active  or  ozonised  as  ordinary 
atmospheric  oxygen  is,  by  mere  contact  with  the  vapour  of  such 
bodies  ? The  faintness  of  phosphorescence  may  be  suggested  as 
an  objection  ; if  so,  let  the  objector  capture  a glow-worm, 
measure  the  dimensions  of  the  little  specks  that  form  its  lamps, 
then  put  it  in  a fern  case,  as  I have  done,  and  observe  the 
illumination  of  the  fronds.  Now  suppose  a room  to  be  hung  with 
curtains  dipped  in  a solution  of  glow-worm  fuel,  so  that  every 
fibre  of  the  drapery  shall  radiate  as  much  light  as  a corre- 
sponding surface  of  the  glow-worm  lamp.  Such  lovely  radiance, 
diffusible  at  pleasure,  would  by  comparison  render  the  electric 
light  a glaring  intolerable  barbarism.  Here,  then,  is  a 
magnificent  field  for  research  ; the  gate  is  opened,  it  may  be 
entered  at  once  ; and  step  by  step,  little  by  little,  in  ever 
widening  area,  it  may  be  explored  with  definite  promise  of  rich 
fruits ; their  possibilities  of  attainment  being  demonstrated  by 
the  achieved  success  of  the  humble  glow-worm. — Gentleman's 
Magazine. 

To  Prevent  Fading  of  Colours  in  Show  Windows. — The 
Swiss  Gewerbe-Blatt  recommends  the  use  of  glass  having  a 
slight  yellow  tint.  Where  colourless  glass  is  already  in  use,  a 
coating  of  copal  varnish  will  accomplish  the  same  purpose. 


Accelerated  Precipitation  of  Chloride  of  Silver. — Ac- 
cording to  Whittel,  the  precipitation  of  chloride  of  silver  may 
be  hastened  if  a few  drops  of  chloroform  be  added  to  the  liquid. 
The  effect  is  purely  mechanical,  and  may  be  useful  also  in  the 
case  of  other  precipitates  which  might  require  some  time  to 
separate. — Scientific  American. 

Photography  and  Publicity.— We  think  that  there  are  many 
actors  and  actresses  who  obtain  the  largest  share  of  their  popu- 
larity from  the  advertising  they  get  from  being  extensively  photo- 
graphed.— The  Eye. 

The  Spotted  Sun. — By  means  of  the  'micrometer,  a delicate 
appliance  that  is  placed  under  the  lens  in  the  eye. piece,  we  are 
enabled  to  measure  the  diameter  of  those  spots  by  comparison 
with  the  known  diameter  of  the  sun’s  disk.  The  average  size 
is  from  12,000  to  18,000  miles.  The  largest  I have  ever  seen 
crossed  the  sun  last  year.  It  was  in  April,  and  there  were  two 
of  them,  one  35,000  miles  in  diameter,  and  the  other  30,000. 
They  occupied  thirteen  days  in  crossing — that  is,  about  the 
average  time,  as  the  passage  ranges  from  twelve  to  fifteen  days. 
Nothing  more  was  seen  uutil  October  of  the  same  year,  when 
there  appeared  what  was  evidently  one  of  the  same  pair  that  I 
had  seen  six  months  before.  At  all  events,  it  was  of  the  same 
size  and  shape,  and  having  made  careful  observations  of  both, 
I couldn’t  help  believing  they  were  the  same.  I had  also  seen  at 
different  times  cavities  that  could  be  looked  into  as  you  look 
into  the  cavity  of  a cup,  and  again  I have  seen  clearly  defined 
conical  peaks.  Do  these  forms  change  rapidly  ! Not  so  rapidly 
as  to  be  perceptible,  unless  one  were  to  stand  for  a long  time  at 
the  glass.  In  a few  hours,  however,  the  difference  becomes 
very  marked,  and  ten  or  twelve  hours  show  great  changes.  In 
one  case  I was  watching  what  appeared  a perfectly  black  spot, 
when  I saw  a light  film  begin  to  form  at  the  edge  and  stretch 
toward  the  centre.  It  passed  the  centre  and  extended  two- 
thirds  of  the  way  across  to  the  opposite  side  from  which  it 
started.  Then  it  began  to  retreat,  having  reached  what  I 
estimated  to  be  a distance  of  9,000  miles  from  the  starting  point, 
and  in  five  hours  from  the  time  it  began  to  form  it  wholly 
disappeared.  This  intense  and  rapid  action  is  not  commonly 
observed. — A Boston  Astronomer  Interviewed. 

Photographing  Letters. — t;  The  oddest  customer,”  said  the 
photographer,  “I  ever  had  was  a Tennesseean  who  came  in  and 
had  himself  taken  with  a sign  across  his  chest,  on  which  was 
printed,  in  large  letters,  ‘J.  C.  K.,  The  father  of  thirty-four 
children.’  He  was  in  sober  earnest,  and  wanted  fifty  copies. 
He  was  dumbfounded  when,  by  way  of  a joke,  1 showed  him  the 
negative  on  which  the  sign  read  : ’’  ’.nerdlihe  ruof-ytriht  fo  rehtaf 
ehT  ,.K.C  .J‘ 

Photographic  Club. — At  the  next  meeting  of  this  Club, 
October  3rd,  the  subject  for  discussion  will  be,  “ On  the  cause  of 
spots  in  gelatine  plates;  1st.  Transparent  spots  after  develop- 
ment, not  visible  before  exposure,  and  not  attributable  to  surface 
dust ; 2nd.  Black  spots  with  and  without  neuclei.” 

♦ 

©o  &crres£0H&fttts. 

We  cannot  undertake  to  return  rejected  communications. 

C.  E.  G. — We  should  recommend  you  to  obtain  No  2,  No.  3,  and 
No.  0.  You  will  find  No.  2 the  most  generally  useful  lens,  while 
the  capability  of  No.  3 to  include  a moderately  wide  angle  will 
render  it  of  great  value  in  many  cases.  By  using  either  combi- 
nation of  this  lens  by  itself  (an  extending  piece  being  attached 
to  the  camera  if  necessary),  you  will  be  able  to  secure  many  charm- 
ing pieces  of  landscape,  which  would  be  considerably  marred  were 
a lens  of  short  focus  employed.  No.  5 will  be  used  less  frequently, 
but  in  the  narrow  streets  of  old  cities  it  will  prove  of  great  value. 
You  must  not  expect  to  obtain  equality  of  , l'uminntion  up  to  the 
edges  of  the  plate. 

W.  B. — You  will  find  full  directions  for  practically  working  the 
process  in  our  volume  for  1882,  pp.  673,  690,  706,  738,  770.  One 
of  the  best  works  on  the  subject  is  the  “ Haudbuch  der  Chemi- 
graphie,”  by  W.  F.  Toifel,  published  by  Hartleben,  of  Leipzig. 
Our  impression  is  that  the  cost  is  about  half-a-crown.  1.  It  will 
answer,  but  a gelatinised  paper  is  more  convenient.  2.  Ordinaiy 
printer’s  ink  will  answer  if  the  transfer  is  put  down  on  the  zinc 
at  once,  otherwise  it  is  best  to  use  a special  transfer  ink.  3.  Dilute 
nitric  acid,  about  one  part  to  four  of  water.  Write  again  if  you 
fail  to  obtain  all  the  information  you  require  from  the  articles 
referred  to. 

C.  J.  Truscott. — Use  one  and  a half  times  its  weight  of  dry  car- 
bonate of  soda.  This  is  very  much  more  than  the  quantity  which 
is  theoretically  necessary,  but  it  is  convenient  to  use  an  excess. 


624 


IHE  PHOTOGRAPHIC  HEWS. 


[September  28,  1883. 


H.  P. — Convert  the  silver  into  iodide  by  soaking  in  a solution  made 
by  dissolving  forty  grains  of  potassium  iodide  and  twenty  grains 
of  iodine  in  an  ounce  of  water,  and  then  dissolve  away  the  iodide 
in  a usual  cyanide ]or  hypo  bath. 

W.  S. — By  sprinkling  a black  material  on  the  face  of  the  varnished 
negative.  Rub  up  some  Indian  ink  with  water  to  a moderately 
stiff  consistency,  and  slightly  charge  a rather  hard  shaving  brush 
with  the  ink,  and  by  now  drawing  back  the  bristles  and  allowing 
them  to  spring  forward  suddenly,  a line  spray  of  ink  can  be  pro- 
jected upon  the  negative.  Those  parts  where  no  “snow’’  is 
required  may  be  covered  with  tissuo  paper,  or  the  pigment  may  be 
cleared  off  with  a moist  camel’s-hair  brush. 

J.  B.  Ebarts. — The  “ Moniteur”  is  published  fortnightly,  and  the 
“Revue  Photographique  ” monthly.  Either  may  be  obtained 
direct,  or  through  a foreign  bookseller. 

H.  IIolborn. — Your  view  of  the  case  is  a very  proper  one,  and  we 
think  that  most  workers  would  agree  with  you. 

J.  Kennerell. — All  you  require  is  a simple  note  to  the  effect  that 
the  picture  has  been  taken  by  you,  and  at  your  own  expense. 

Frederick  W.  Gregory. — You  are  quite  right ; it  should,  obvi- 
ously, be  one-thousandth. 

Samuel  Bolsover. — 1.  As  it  is  almost  insoluble  in  absolute  alco- 
hol, there  is  no  alternative  but  to  use  a somewhat  diluted  spirit  ; 
but  it  is  not  desirable  that  the  proportion  of  water  should  exceed 
one-sixth.  2.  The  glass  may  either  be  rubbed  over  with  French 
chalk,  or  it  may  be  slightly  waxed.  For  the  latter  purpose  it  is 
warmed  to  a temperature  a trifle  over  that  required  to  melt  the 
wax,  and  the  excess  is  then  polished  off  with  a flannel  rubber. 

3.  One  deposit  consists  of  metallic  gold  in  a finely-divided  state. 

4.  Dissolve  it  in  a mixture  of  alcohol  in  ether;  equal  volumes  of 
these  liquids  may  be  used  in  ordinary  cases.  5.  If  you  add  five 
per  cent,  of  alcohol,  the  liquid  will  flow  readily  enough. 

L.  J. — Full  particulars  were  given  in  the  Photographic  Nrws 
at  the  time. 


!/[)f  Dliotagntpljic  $>egi;itrit. 

Employment  Wanted. 

Operator  and  Retoucher,  £3  3s.  per  week. — W.,c/o  Elliott,  3G,  Jewin-st.,E.C 
Operator,  for  copying.— A.  ttutteral,  6,  Bull-and-mcuth-st.,  E.C. 

Improver  (studio  and  out-door  work).— W.  C,  Photographic  News  Office. 
Manager  (first-class).— Pyro.,  50,  Gilbert-road,  Kennington,  S.E. 

Improver  (Lady).— R.  C.,  c/o  Edwin  Stevens, Stationer,  Kentist  town. 
Printer  & Vignetter. — Bromide,  19,  Soulh-street,  David-street,  Edinburgh. 
Printer  (permanency).  25/-  per  wet  k. — Photo.,  4,  Gordon-rd.,  Hornsey,  N. 
Retoucher. — M.  M.,  Photographic  News  Office,  5,  Ca-tle-st.,  IIolborn,  E.C. 
Retoucher  (first-class). — J.  A.  Henstock,  3,  Regent-street,  Derby. 

Retouch.  & Rccep.-room  (Lady). — M.  A.  Martin,  5,  Cranbourn-st.,  Brighton. 
Artist,  work  for  firms.— Vandyke,  Photographic  News  Office. 

Operator  and  Retoucher. — L.  Norman,  20,  South  Parade,  Chelsea. 

Portrait  Painter. — Silver,  232,  New  John-street.  W.  Birmingham. 
Reception  Room  or  Spotter  (Lady).— K.  IL,  7,  Marlbro’-rd.,  Up.  Holloway. 
Assistant  (Youth). — M.  J.,  Photo.  News  Office,  5,  Castle-st.,  IIolborn,  E.C. 
Pi  inter  and  Toner.— Photo.,  4,  Gordon  rd„  Hornsey,  N. 

Operatorand  Retoucher (£3  3s.  weekly). — \V., cd  Elliott, 30,  Jewin-st.,  E.C. 
Operator  or  Assist  (dry  plates).— A.  J.  A.,  10,  Stockbridge-ter.,  Pimlico. 
Printer  and  Toner.— Nemo,  c/o  Newsagent,  9,  Balls  Pond-rd.,  N. 

Retoucher  & Assistant  Operator. — A.  li.,  100,  Haxton-rd.,  Scarborough. 
Operator  or  Manager.— Operator,  Photo.  News  Office. 

Operator  & Retoucher  (35s.). — D.  Moll,  c/o  J.  Moll,  35,  High-st.,  Chatham 
Printer  (26s.  weekly).— W.  II.  R.,  c/o  Emil  Vieler,  Photo,  Huddersfield 
Operator,  Retoucher,  or  Manager. — F.  E , Phot  graohic  News  Office. 
Operator,  high-class. — Veritas,  Photographic  News  Office. 

Toner  and  Printer. — A.  W.,  1,  Lee-st.,  Kingsland. 

Reception  Room  (Lady). — W.  P.,  40,  Netherwood-rd.,  Shepherd’s  Bush. 
Manager.— Bonafide,  llartington-ter.,  E.  Dcreham. 

Printer  and  Toner.— W.  M.,  105.  Longmorc-st.,  Birmingham. 

Retouching,  Tinting  (Lady).— H.  J.  A.,  Iiuckingham-st.,  Brighton. 
Landscape  Operator. — A.  B.,  Post  Office,  Aberdeen. 

Retoucher  (German).— Louis  Bruere,  Myrtle-villa,  Puller-rd.,  W.  Bamet. 

Employment  Offered. 

Collotypist  Printer.— M.  Billing,  Son,  & Co.,  Livery-street,  Birmingham, 
l’rinter  (few  weeks). — T.  C.  Turner,  10,  Barnsbury-park,  Barnsbury,  N. 
Operator  or  Manager.— F.  M.  V.,  Loretto  House,  Clacton-on-Sea. 
Chromotype  Printer.— Heath  & Bullingham,  24,  Gcorge-etreet,  Plymouth. 
Assistant  Operator  and  Retoucher. — J.  White,  Ipswich. 

Assistant  Retoucher.— Bull  and  Co.,  13,  Narrow-street,  Peterborough. 
Operator  and  Retoucher.— J.  E.  Bliss,  7,  St.  Andrews- street,  Cambridge. 
Operator  (immed.).— S.  liutler,  Montague-house,  N.  Station-rd.,  Colchester. 
Assistant  He  Portrait  Painter. — Personally,  43,  Piccadilly. 

Reception  Room  and  Retouching. — Personally,  43,  Piccadilly. 

Artist,  for  club  work,  &c. — Messrs.  Stuart,  47,  Brompton-rd  , S.W. 

Artist  and  Retoucher  (Lady). — F.  Charles,  Belgrave-villa,  Knock,  Belfast. 
Entire  Duties  of  Studio. — T.  T.,  19,  Moor-st. , Chepstow. 

Operator  (dry-plate) .—A.  Z.,  Photo.  News  Office. 

Young  Man  to  keep  books,  &c. — H.  Spink,  Brighton. 

Ladies  to  Paint  club  pictures. — F.  J.  Robinson,  s.  Lowestoft. 

Assistant,  lor  large  work. — P.  W.,  c/o  Marion  & Co.,  Soho-sq. 

Negative  Retoucher  (Lady). — W.  H.  Midwinter,  Park  st.,  Bristol. 
Assistant  (for  two  uc nths). — Mr.  Thompson,  Omagh,  Ireland. 

A 1 IjumiN.iiL'rs. — *»  Sun  ” AlbumeuizingCo.,  37,  Westcroft-sq  , Hammersmith 
Artist  (to  w„rk  up  colour.-). — T.  C.  Turner  & Co.,  Barnsbury'. 

Operator,  wet  and  dry. — A & G.  Taylor,  Queen  Victoria-st.,  E.C. 

Artistic  Retoucher. — W.  Lawrence,  Upper  Sackville-st.,  Dublin. 

Reception  Room  (woman).— Bames  A Son,  422,  Mile  End-rd  , E. 

Printer  & loner.— Barnes  & Son,  422,  Mile  End  Road,  E. 


THE  EVERY-DAY  FORMULARY. 

The  Gelatino-Bromide  Process. 

Emulsion. — A — Nit.  silver  100  grains,  dist.  water  2 oz.  B — Bromide 
potassium  85  grains,  Nelson’s  No.  1 gelatine  20  grains,  dist.  water  14  oz.,  a 
one  per  cent,  mixture  of  hydrochloric  acid  and  water  50  minims.  C — Iodide 
potassium  8 grains,  dist.  water  J oz.  D— Hard  gelatine  120  grains,  water 
several  oz.  W hen  the  gelatine  ^"thoroughly  soaked,  let  all  possible  water  be 
poured  off  D.  A and  B are  now  heated  to  about  120°  Fahr.,  after  which  B 
is  gradually  added  to  A with  corstant  agitation ; C is  then  added.  Heat  in 
water  bath  for  half  an  hour,  and  stir  in  D.  After  washing  add  j oz.  alcohol. 

Pyro.  Developer.— No.  1— Strong  liq.  ammonia  1J  oz.,  bromide  potas- 
sium 240  grains,  water  80  oz.  No.  2 — Pyro.  30  grains,  water  10  oz.  In  case 
of  an  ordinary  exposure  mix  equal  vol. 

Iron  Developer.— Potassium  oxalate  sol.  (1  and  4)  80  parts,  ferrous 
sulphate  sol.  (1  and  4)  20  parts,  dist.  water  20  parts.  To  each  4 oz.  of  the 
mixed  developer  add  from  5 to  30  drops  ten  percent,  sol.  potassium  bromide, 
anil  30  drops  sol.  sodium  hyposulphite  (1  and  200). 

Substratum  or  Preliminary  Preparation.— Soluble  silicate  of 
soda  1 part,  white  of  egg  5 parts,  water  60  parts.  Beat  to  froth  and  filter. 

Fixing.— Sat.  sol.  of  sod.  hypo.  1 pint,  sat.  sol.  of  alum  2 pints,  mixed. 

Cowell’s  Clearing  Solution.— Alum  1 part,  citric  acid  2 parts, 
water  10  parts.  Edwards  makes  this  sherry  coloured  with  perchloride  iron. 

Eder’s  Method  of  Intensification.— The  negative  is  whitened  by 
soaking  in  sat.  sol.  of  mercuric  chloride,  and  after  thorough  rinsing  immersed 
in  potass,  cyan.  10  parts,  potass,  iod.  5 parts,  mercuric  chloride  5 parts,  water 
2,000  parts.  As  film  becomes  dark  brown,  the  actinic  opacity  is  increased  ; 
but  prolonged  action  causes  brown  tint  to  become  lighter,  until  at  last  the 
negative  is  no  denser  than  at  first. 

Pol’s  Backing  Sheets.— A chrcmographic  paste  is  prepared  with 
gelatine  1 part,  water  2 parts,  glycerine  1 part,  and  a very  small  addition 
of  Indian  ink.  Strong  paper  or  shitting  is  coated,  and  the  sheets  are  laid, 
face  downward,  on  waxed  glass  to  set.  Press  to  back  of  glass  plate. 

The  Wet  Collodion  Process. 

The  Nitrate  Bath.-Water  14  oz.,  nit.  silver  1 oz., nitric  acid  1 drop. 
Before  using  coat  a small  plate,  and  immerse  it  for  20  minutes. 

Cleaning  Preparation  for  New  Plates.— Alcohol  4 oz.,  Jewel- 
ler’s rouge  (-oz.,  liquid  ammonia  J-oz. 

Film-removing  Fickle  for  Old  Plates.— Water  1 pint,  sulphuric 
acid  4 fluid  oz.,  bichromate  potassium  4 oz. 

Substratum.— Whites  of  2 eggs  well  beaten,  6 pints  of  water,  and  1 dr. 
liq.  ammon. 

Negative  Collodion  for  Iron  Development.— Alcohol  1 pint, 

pyroxylins  of  suitable  quality  250  grains,  shake  well  and  add  ether  2 pints. 
Iodize  this  by  mixing  with  one-tliird  of  its  volume  of  alcohol  1 pint,  iod. 
atnmon.  80  grains,  iod.  cailni.  80  grains,  brom.  ammon.  40  grains. 

Normal  Iron  Developer.— Water  10  oz., proto-sulphate  iron  J oz., 
glacial  acetic  acid  J oz.,  alcohol  J oz.  The  amount  of  proto-sulphate 
iron  may  be  diminished  to  j oz.  when  full  contrasts  arc  desired,  or  increased 
to  1 oz.  when  contrasts  are  unduly  marked.  With  new  bath  quantity  of 
alcohol  may  be  reduced  to  ] oz. ; but  when  bath  is  old  more  is  wanted. 

Intensifying  Solution.— Water  C oz.,  citric  acid  75  grains,  pyro.  30 
grains.  When  used,  add  a few  drops  of  the  silver  bath  to  each  ounce. 

Lead  Intensification.— After  neg.  washing,  immerse  in  dist.  water 
100  parts,  redpruss.  potash  6 parts,  and  nit.  lead!  parts.  When  it  is  yellowish 
white  wash  and  immerse  in  liquid  sulphide  ammon.  1 part,  water  4 parts. 

Fixing  Solution. — 1.  l’otass.  cyanide  200  grains,  water  10  oz.  2.  Sat. 
sol.  of  sud.  hypo. 

Varnish.— Shellac  2 oz.,  sandarac  2 oz.,  Canada  balsam  1 dr.,  oil  of 
lavender  1 oz.,  alcohol  10  cz. 

Printing  Processes. 

Albumen  Mixture  for  Paper.— White  of  egg  18  oz.,  500  grs. 

ammon.  chlor.  in  2 oz.  of  water.  Beat  to  a froth,  stand,  and  filter. 

Sensitizing  Solution.— Nit.  silver  50 grs.,  water  1 oz.,  sod.  carb.  J gr. 

Acetate  Toning  Bath.— Chi.  gold  1 gr.,  acet.  soda  20  grs.,  water  8 oz. 

Lime  do.— Chi.  gold  1 gr.,  whiting  30  grs. , boiling  water  8 oz.,  sat.  sol. 
chi.  lime  1 drop.  Filter  cold. 

Bicarbonate  do. — Chi.  gold  1 gr.,  bicarb,  soda  3 grs.,  water  8 oz. 

Fixing  Bath.- Sodium  hypo.  4 oz..  water  1 pint,  liq.  ammon.  30  drops. 

Reducer  for  Deep  Prints.— Cyan,  potass.  6 grs.,  liq.  ammon.  5 drops, 
water  1 pint. 

Encaustic  Paste.— Best  white  wax  1 oz.,  oil  of  turpentine  5 oz. 

Sensitizing  Bath  for  Carbon  Tissue.— Bichromate  potash  1 j oz., 

water  30  oz.,  ammonia  1 dr.,  methylated  spirit  4 oz. 

Enamel  Collodion.— Tough  pyroxyline  120  grs.,  methylated  alcohol 
10  oz.,  ether  10  oz.,  castor  oil  20  drops. 

Mountant.— 1.  Fresh  solution  of  best  white  gum.  2.  Fresh  starch. 

Collotypic  Substratum.— Soluble  glass  8 parts,  white  of  egg  7 parts, 
water  10  parts. 

CoUotypic  Sensitive  Coating.— Bichromate  potash  J oz.,  gela- 
tine 24  oz.,  water  22  oz. 

CoUotypic  Etching  Fluid.— Glycerine  150  parts,  ammonia 50 parts, 

saltpetre  o parts,  water  25  parts. 

Printing  on  Fabric.— Remove  all  dressing  from  fabric  by  boiling 
in  water  containing  a little  potash,  dry,  and  albumenize  with  ammonium 
chloride  2 grammes,  water  250  cubic  cents.,  and  the  white  of  2 eggs,  all 
being  well  beaten  together.  A 70-grain  silver  bath  is  used,  and  the  remain- 
ing operations  are  as  for  raper. 

Cyanotype  Printing.— Water  1 oz.,  red  prussiate  of  potash  (ferri- 

cyamde)  1 dr.,  ammonio  citrate  of  iron  1 dr.  Prepare  and  preserve  in  the 
dark.  Float  the  paper  and  dry.  Fixation  bj  mere  soaking  in  water. 

Various. 

Luckardt’s  Retouching  Varnish.— Alcohol  300  parts,  sandarac 
50  parts,  camphor  5 parts,  castor  oil  10  parts,  Venice  turpentine  5 parts. 

Matt  Varnish.— Sandarac  18  parts,  mastic  4 parts,  ether  200  parts, 
benzoic  80  to  100  purts. 

Encaustic  Paste.— Best  white  wax, in  shreds,  1 oz.,  turpentine  5iz. ; 
dissolve  in  gentle  heat,  and  apply  cold  with  piece  of  flannel. 

Ferrotypes. 

Collodion.  — Ammonium  iodide  35  grains,  cadmium  iodide  25  grains, 
cadmium  bromide  20  grains,  pyroxyline  70  graiDs,  alcohol  5 oz.,  ether  5 oz. 

Bath.  - Silver  nitrate  1 Cz.,  water  10  oz.,  nitric  acid  1 drop. 

Developer. — Ferrous  sulphate  1 oz.,  glac.  acetic  acid  1 oz.,  water  IGoz. 

Fixing  and  Varnish,— Same  as  wet  collodion  process. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVII.  No.  1309.—  October  5,  1883. 


— 

CONTENTS. 


i C 


TAOR 

Printing  on  Gclatino-Bromidc  Paper . 625 

The  Action  of  Electric  Light  upon  Colours  iA;..  626 

Marey’s  Photo-Physiological  Studio  ......  626 

A Range-Finder  on  the  Camera  62“ 

Notes  by  a Peripatetic  Photographer . 628 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

■Waterhouse,  B.S.C 630 

A Dictionary  of  Photography 030 

Notes 632 

Patent  Intelligence  633 


A New  Form  of  Selenium  Cell,  with  some  Remarkable 


Electrical  Discoveries  made  by  its  Use 634 

Solid  and  Liquid  Illuminating  Agents  634 

Stereoscopic  Transparencies  applied  to  Portraiture  635 

Utilization  of  the  Sun’s  Rays  for  Warming  and  Ventilating  630 

Correspondence  637 

Proceedings  of  Societies 638 

Talk  in  the  Studio 639 

To  Correspondents 640 

The  Photographic  News  Registry 640 


PRINTING  ON  GELATINO-BROMIDE  PAPER. 

Wu  have  frequently  noticed,  when  conversing  with  amateurs 
on  tho  splendid  scenery  of  this  or  that  holiday  resort,  how 
often  they  are  in  ecstacies  over  the  quality  of  some  nega- 
tives secured  on  the  occasion  of  their  last  visit  with  a 
shutter  of  their  own  construction,  differing  in  principle  from 
anything  yet  published,  or  some  especially  good  and  tapid 
plates  of  their  own  make. 

So  great  are  the  praises  bestowed  on  these  negatives,  that 
one  is  often  tempted  to  enquire  whether  the  author  is  likely 
to  catalogue  the  results  at  the  next  exhibition,  and  thereby 
enable  friends  to  admiie  or  criticise  his  treatment  of  the 
subjects.  Sometimes  we  say,  “ Could  you  show  us  some 
prints  from  these  negatives?”  But  tho  reply  is  invariably, 
“I  have  never  taken  any  prints  from  them.  Printing  is  such 
a bother.  I have  no  time  during  the  day,  and,  of  course,  as 
you  know,  there  is  not  light  enough  in  the  evening ; of  course 
they  will  be  printed  some  day,  and  you  shall  have  copies.’’ 

These  and  sundry  other  excuses,  perhaps  pardonable  with 
a few,  are  .in  the  majority  of  cases  more  difficult  to  substan- 
tiate than  the  difficulties  attending  printing  by  any  of  the 
known  means;  and  we  have  no  hesitation  in  saying  that 
among  that  vast  army  of  photographers — i.e.,  the  amateurs 
— some  hundreds  of  plates  exposed  during  tho  season  never 
find  their  way  to  the  printer,  not  because  they  are  faulty 
negatives,  hut  because  plinting  is  a bother.  Granting  that 
the  excuses  have  some  slight  resemblance  to  fact,  and  oppor- 
tunities do  not  occur  to  utilize  daylight,  there  is  no  valid 
reason  why  proofs  could  not  be  taken  by  other  means  than 
direct  printing  in  daylight.  Those  who  have  the  oppor- 
tunity to  make  use  of  the  electric  light  will  fiud  an  arc  lamp 
with  suitable  rtflector  very  useful  for  tho  purpose.  In  a 
recent  experiment  it  was  found  that  at  a distance  of  28 
inches,  negatives  required  only  one-third  longer  to  produce 
good  silver  prints  than  on  exposure  to  diffused  daylight. 

Arc  lamps  are  not  found  in  every  house,  therefore  we  wish 
to  bring  prominently  before  our  readers,  and  more  especially 
our  amateur  friends,  the  method  of  printing,  direct  from 
the  negative,  on  gelatino-bromide  paper,  afterwards  deve- 
loping with  ferrous  oxalate  solution.  By  this  meaus  the 
impact  of  light  need  be  only  of  the  weakest  character  ; just 
a few  seconds  to  a gas  jet  or  paraffin  lamp  usually  suffices 
for  negatives  of  medium  density.  An  approximate  time 
necessary  for  negatives  of  varying  density  can  soon  be  ascer- 
tained by  a few  trials,  only  it  is  a nutter  of  importance  that 
the  distance  selected  from  the  source  of  light,  for  the  pur- 
pose of  making  the  exposure,  should  always  be  taken  into 
consideration  when  calculating  the  tima  requirt  d. 

It  is  a woil  known  fact  that  the  power  of  light  decreases 


in  tho  exact  ratio  as  tho  squares  of  the  distance  increase 
from  the  source  of  illumination.  Thus,  if  the  exposure 
necessary  for  a given  negative,  placed  exactly  one  foot  from 
a batswing  burner,  is  known  to  be  five  seconds,  the  same 
negative  placed  twenty-four  inches  from  the  same  source  of 
light  would  require  twenty  seconds. 

It  is  scarcely  necessary,  or  perhaps  desirable,  that  we 
should  give  a lengthy  description  of  the  operations,  because 
they  are  so  veiy  simple  that  the  whole  can  be  put  in  a very 
few  words.  To  the  uninitiated,  we  may  say,  tho  paper  being 
very  sensitive  to  actinic  rays,  only  orange  and  ruby  (or 
other  non-actinic)  light  may  be  admitted  to  the  paper, 
before  and  after  exposure  under  tho  negative,  or,  indeed, 
until  after  the  priut  is  in  the  fixing  bath.  After  the  paper 
has  been  exposed  in  the  printing  frame,  it  is  taken  from 
under  the  negative  and  placed  in  cold  water,  and  soaked  two 
or  three  mioutes  ; the  excess  of  water  is  then  poured  off  as 
much  as  possible,  so  as  not  to  dilute  the  developer  to  any 
appreciable  extent,  and  freshly  mixed  ferrous  oxalate  solution 
applied.  In  less  than  a miDuto  the  picture  will  appear, 
gradually  gaining  strength  until  fully  developed. 

The  time  required  to  attain  the  full  detail  may  be  five 
minutes,  more  or  less,  dependant  upon  exposure,  rapidity  of 
paper,  as  also  temperature  ; when  the  picture  is  fully  out, 
it  is  slightly  rinsed,  and  fixed  in  the  ordinary  hyposulphite 
of  soda  bath,  used  at  the  same  strength  as  recommended  for 
fixing  albumenized  paper  prints.  Although  the  prints  will 
appear  fixed  in  three  or  four  minutes,  and  may  be  examined 
in  an  actinic  light,  it  is  safer  to  put  them  again  into  the 
fixing  bath  for  ten  minutes;  after  which  they  are  washed 
in  a running  stream  of  water  for  a few  hours;  then  passed 
two  or  three  times  through  an  acid  bath,  similar  to  one  of 
those  recommended  for  clearing  the  shadows  of  dry  plates : 
washed  again  for  an  hour,  dried,  trimmed,  mounted,  and 
rolled  in  the  usual  manner. 

It  is  generally  considered  that  prints  produced  by  the 
means  we  have  described  are  more  permanent  than  ordinary 
silver  prints  ; but  they  lack  the  warmth  of  tone  and  trans- 
parency which  silver  prints  possess  in  sncU  a high  degree. 
Still  tho  neutral  tint  obtained  is  very  pleasing,  and  sought 
after  hv  many. 

We  have  on  a former  occasion  published  in  these  columns 
the  method  of  preparing  gelatino-bromide  paper ; but 
as  it  is  now,  and  has  for  some  time  been  an  article  of  com- 
merce manufactured  on  a large  scale,  and  of  excellent 
quality,  only  those  who  have  time  at  their  disposal  will  care 
about  the  trouble  of  making  their  own.  improvements 
could  be  made,  and  no  doubt  will  be,  in  the  direction  of 
greater  transparency  ; hut  as  an  expeditious  and  easy 
method  of  printing,  either  in  tho  evening  by  artifioial  light, 
or  during  the  day,  this  process  is  worthy  of  serious  con- 
sideration by  amateurs  eipecially,  as  well  as  their  pro- 
fessional brethren. 


626  THE  PHOTOGRAPHIC  NEWS.  [Octobee  5,  1883. 


TIIE  ACTION  OF  ELECTRIC  LIGHT  UPON 
COLOURS. 


The  chemical  action  of  electric  light  upon  photographic 
bodies  has  frequently  been  recorded  ; but,  strange  to  say, 
there  have  been  published  as  yet  no  results  of  experiments 
undertaken  to  ascertain  the  action  of  electric  rays  upon 
pigments,  whether  of  organic  or  inorganic  origin.  At  the 
recent  exhibition  at  Munich,  Professor  Miller  showed 
some  interesting  results  he  had  secured  in  this  connection, 
and  seeing  that  we  are  every  day  growing  more  and  more 
used  to  the  employment  of  electricity  in  our  buildings, 
Professor  Miller’s  researches  are  likely  to  have  a wide 
interest. 

The  story  of  his  research  is  easily  told.  To  make  proper 
comparison,  Professor  Miller  arranged  two  series  of 
samples : one  collection  consisted  of  so  many  pieces  of 
fabric  dyed  of  different  colours,  while  the  other  collection 
were  pigments  applied  to  paper  by  an  artist-painter.  These 
specimens  were  submitted  to  light  of  the  following  nature  : 

1.  To  an  electric  light  (Brush  system)  with  opal  globe, 
for  a period  of  164£  hourp. 

2.  To  an  electric  light  (Siemens’  system)  under  the  same 
conditions  for  236  hours. 

3.  To  sunlight  for  a period  of  357  hours,  of  which  90 
were  to  sunshine. 

At  the  same  time,  a specimen  of  each  pigment  was  kept 
carefully  in  the  dark  for  comparison. 

Although  the  unequal  periods  of  these  three  experiments 
allowed  but  an  approximate  comparison,  the  results  were 
of  such  a decided  character  as  to  permit  some  very  impor- 
tant deductions  being  arrived  at.  Thus,  it  may  be  con- 
cluded that  electric  rays  have  not  anything  like  the  same 
action  in  many  instances,  and  do  not  bring  about  the  same 
changes,  as  does  the  sun.  For  all  that,  during  the  short 
length  of  time  the  various  colours  were  under  the  influence 
of  electricity,  some  definite  changes  were  certainly 
remarked. 

Of  the  red  pigments,  the  best  to  keep  its  colour  in  the 
electric  light  was  found  to  be  brilliant  red ; then  followed 
eosin,  fuchsin,  grenate,  safranin,  erythrin,  Bengal  rose, 
and  phloxin. 

Of  the  blues,  alkaline  blue  and  Indulin  remained  un- 
changed. 

New  Victoria  green  also  remained  untouched,  while 
methylgreen  became  a little  lighter. 

Certain  varieties  of  methylviolet  became  a little  redder, 
but  others  were  unchanged. 

Metanilyellow  and  naphtolyellow  changed  slightly  under 
the  action  of  electric  rays,  while  uranin  suffered  in  a most 
marked  fashion.  Brown  Vesuvine  green  became  a little 
darker. 

All  these  changes  were  likewise  noticeable  in  the  samples 
exposed  to  sunlight,  but  to  a greater  degree,  and  unequally. 
Only  in  the  case  of  metanilyellow  and  naphtolyellow  had 
sunlight  and  electric  rays  acted  with  equal  force.  The  sun- 
light was  without  action  upon  Indulin  ; alkaline  blue,  new 
Victoria  green,  melaoilyellow,  and  naphtolyellow  were 
slightly  changed,  while  brilliant  red,  grenate,  and  fuchsin 
became  rather  browner.  The  fluorescent  colours,  safranin 
and  uranine,  very  nearly  disappeared  altogether  under  the 
influence  of  the  sun’s  action. 

If  we  compare  these  changes  with  the  chemical  consti- 
tution of  the  colours,  it  will  be  found  that  the  nitrogenous 
pigments  are  the  most  stable. 

Touching  the  artist’s  pigments,  applied  by  means  of  a 
brush  to  paper,  it  was  found  that  here  also  the  electric  light 
exercised  less  influence  than  sunlight.  The  earth  colours 
remained  unchanged ; of  the  mineral  colours,  chrome  yellow 
cinnabar  green,  1’russian  blue,  and  Bremen  blue  underwent 
a slight  change.  Of  the  lake  colours,  Dutch  pink  and  Vau- 
dyk-brown  underwent  a slight  change  iu  electric  light,  and 
a very  great  one  in  sunlight.  Alizarine  lake,  both  artificial 
and  natural,  retained  its  colour  very  well. 


^ uo  MO  ot/icutiiuu  Vrt  1UC,  1 1 

must  be  remembered.  If  colours  do  not  alter  so  much 
under  the  influence  of  electric  light  as  they  do  under  the 
action  of  sunlight,  then  we  may  justly  conclude  that  if  our 
picture  galleries  were  illuminated  by  electricity,  there 
would  be  less  chance  of  paintings  being  ruined  than  is  at 
present  the  case.  For  some  years  past,  the  attention  of 
painters  has  been  given  to  the  fleeting  character  of  many 
of  the  pigments  now  in  everyday-day  use,  and  many  have 
been  the  efforts  directed  towards  securing  the  same  durable 
colours  as  were  employed  by  artists  of  former  generations. 
But,  despite  the  appointment  of  a professor  of  chemistry  to 
the  Royal  Academy  to  impart  to  our  artists  some  know- 
ledge of  science,  the  same  complaints  are  still  rife  in  respect 
to  the  change  modern  pigments  undergo.  We  trust  Pro- 
fessor Miller’s  recent  researches  may  be  of  some  assist- 
ance in  solving  the  problem,  if  not,  perhaps,  in  the  way 
in  which  most  of  us  would  wish  to  see  it  solved. 


MAREY’S  PHOTO- PHYSIOLOGICAL  STUDIO. 
We  are  nowin  a position  to  supply  further  details  of 
M.  Marey’s  photographic  studio,  and  the  means  by  which  he 
has  been  enabled  to  secure  his  interesting  photographic 
results.  Three  weeks  ugo,  our  readers  will  remember,  we 
gave  a sketch  of  the  circular  path  and  photographic 
waggon*  employed  by  M.  Marey  in  his  work,  and 
explained  the  manner  in  which  the  successive  photographs 
of  a moving  figure  were  obtained  upon  one  plate,  the 
figure,  clothed  in  white,  moving  iu  front  of  a black 
background. 

Further  interesting  details  are  now  furnished  by  a Paris 
contemporary,  and  in  fig.  1 we  have  a sketch  of  the 


Fig.  1. 


white  model,  represented  in  front  of  the  dark  background. 
The  path  upon  which  the  model  moves  slopes  slightly  away 
from  the  camera,  so  that  the  lens,  so  to  speak,  just  grazes 
the  surface  of  the  path  without  actually  showing  it ; that 
i3  to  say,  the  white  feet  of  the  model  are  rendered  on  the 
plate,  but  not  the  path. 

This  path — the  circular  path  previously  shown— is 
raised  about  20  centimetres  above  the  rest  of  the  ground, 
and  bordering  it  is  abroad  scale  painted  black  and  white, 
which  is  shown  in  our  sketch,  and  is  included  in  the  photo- 
graph taken.  This  scale  shows  how  the  model  progresses 
across  the  plate,  each  division  measuring  150  metre. 

• Sei  page  581. 


Octobeb  5,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


627 


Further,  to  calculate  the  speed  at  which  the  model  moves 
M.  Marey  has  recourse  to  another  ingenious  device.  The 
exposures  in  the  camera  are  made,  our  readers  will  recollect, 
by  means  of  a disc  revolving  in  front  of  the  lens,  which 
disc  has  at  a certain  point  of  its  diameter,  a slit  to  uncap 
the  lens  for  a brief  period.  Naturally  enough,  if  this  disc 
is  made  to  revolve  at  an  even  speed,  the  exposures  take 
place  at  stated  intervals  — say  every  tenth  of  a second — and 
if  we  find  that  the  model,  between  each  exposure,  has 
moved  forward  precisely  half  a metre,  then  it  is  very 
evident  his  speed  is  equal  to  five  metres  per  second. 

But  a better  plan  still,  is  to  make  the  photo- 
grapic  plate  record  the  speed  of  the  experi- 
ment itself.  To  do  this  is  very  simple.  M. 

Marey  has  attached  to  the  background  a round 
dial  with  a movable  white  hand  (see  fig.  1). 

The  dial  is  of  black  velvet,  with  bright  nails 
studded  round  it  at  stated  intervals.  The 
white  needle  takes  exactly  one  second  to  get 
round  the  whole  circumference  of  this  dial,  so 
that  if  a photograph,  or  succession  of  photo- 
graphs, be  taken  during  a fraction  of  a second 
— say  or  T% — we  shall  find,  when  we  look  at 

the  photograph  of  the  dial,  that  the  needle 
is  shown  to  have  traversed  three-tenths  or 
four-tenths  of  its  circumference. 

To  understand  the  matter  better,  let  the 
reader  look  at  fig.  2.  Here  is  the  represen- 
tation of  a figure  jumping  over  a bar.  The 
first  figure  is  that  of  a man  beginning  the 
run  prior  to  jumping ; in  the  last  figure  he  is 
represented  not  only  as  having  taken  the  leap, 
but  recovering  himself  from  the  feat.  It  will 
be  seen  that  there  are  here  nine  images  of  the 
man,  so  that  there  were  nine  rotations  of  the 
disc  in  front  of  the  camera,  the  slit  appear- 
ing nine  times  before  the  lens,  aDd  allowing 
nine  photographs  to  be  taken  during  the  experiment.  The 
nine  images  are  produced  successively  in  different  parts 
of  the  plate,  because,  obviously,  the  jumper  had  taken  up 
different  positions  before  the  background  as  the  lens  was 
exposed  time  after  time.  The  distance  traversed  by  the 
model,  whether  on  the  ground  or  in  the  air,  is  easily 
measured  by  the  scale  at  the  feet  of  the  model,  and  which 
is  represented  in  the  photograph  (see  fig.  2).  It  will  be 


Fig.  2. 


seen  that  this  interval  is  not  always  the  same  ; the  greatest 
speed  is  recorded  before  the  jump  when  the  run  is  taken  ; 
a slackening  of  speed  is  observable  while  the  jumper  is  in 
the  air,  and  a still  further  retardation  of  his  progress  is 
obvious  after  he  has  touched  the  ground. 

To  know  whether  the  figures  have  been  taken  at  equal 
intervals,  and  to  discover  the  duration  of  these  intervals, 
we  must  consult  the  dial,  or  photographic  chronograph,  as 
M.  Marey  calls  it,  which  is  also  shown  in  fig.  2.  It  will  be 
seen  that  the  hand  is  represented  by  the  number  of  ex- 
posures, viz , nine,  and  it  is  further  possible  to  calculate 
the  exact  periods  between  each  by  studying  the  exact 


position  of  the  hand  upon  the  dial.  As  the  hand  rotates 
with  the  utmost  accuracy,  its  angle  on  the  dial  permits 
of  the  nicest  calculations. 

In  fig.  3 we  show  the  image  of  a man  running,  the  model 
here  being  also  dressed  in  white ; and  in  fig.  4,  we  have  like- 
wise a running  man,  but  only  the  outline  of  his  legs 
photographed.  In  this  case  M.  Marey  dressed  his  model  in 
black,  of  the  same  colour,  therefore,  as  the  background,  the 
model,  however,  having  the  outline  of  his  limbs  edged 
with  a narrow  band  of  shining  white.  In  this  last  instance 
the  exposures  were  made  not  every  tenth  of  a second,  bu 


every  hundredth,  so  that  the  jrosition  of  leg  and  foot  may 
be  followed  very  closely. 


A RANGE-FINDER  ON  THE  CAMERA. 

Few  photographers  appreciate  the  considerable  advantage® 
to  be  realised  by  the  use  of  a finder  in  conjunction  with 
the  camera,  or  the  ease  with  which  a thoroughly  efficient 
finder  may  be  attached  to  any  ordinary  camera.  The  value 
of  the  range-finder  is  most  apparent  in  cases  where  it  be- 
comes desirable  to  follow  a moving  object,  and  to  expose 
directly  a suitable  position  is  attained. 

Let  E represent  an  ordinary  camera  provided  with  the 
usual  bellows-body.  Bolted  to  the  front,  and  in  the 
position  shown  in  the  diagram,  is  a duplicate  objective,  B ; 
this  objective  must  be  of  the  same  equivalent  focal  length 
as  the  working  objective,  A,  but  it  is  by  no  means  essential 
that  it  should  correspond  as  regards  construction  or  as  re- 
gards excellence  of  optical  work.  Indeed,  it  is  not  by  any 
means  essential  that  this  finder  lens  should  be  achromatic ; 
although,  should  the  working  lens  be  one  of  a pair,  it  is 
desirable  to  use  the  twin  lens  as  a finder  objective.  The 
image  formed  by  the  finder  object  glass  is  either  viewed 
by  means  of  an  astronomical  eye -piece  (c),  or,  if  preferred, 
an  erecting  eye-piece  may  be  used.  In  either  case,  the 
most  copvenient  method  of  obtaining  the  eye-piece  is  to 


628 


THE  PHOTOGRAPHIC  NEWS. 


[Octobeb  6,  1888, 


purchase  a low-priced  second-hand  telescope  (not  a 
Galileo  telescope  or  opera  glass),  and  to  appropriate  the 
eye-piece  ; either  retaining  or  rejecting  the  erecting  lenses 
as  may  seem  convenient.  The  eye-piece  is  bracketed  on 
to  the  side  of  the  camera  as  shown  in  the  sketch,  and  it  is 


E,  an  ordinary  bellows  camera  with  objective  at  A,  and  dark  slide  atD. 
B,  duplicate  objective,  bolted  to  the  front  of  the  camera  by  meansof  a flange 
rovided  with  an  extension  piece,  1'.  C,  eye-piece,  bracketed  on  to  tha 
ack  of  the  camera. 

convenient  to  retain  a small  piece  of  the  outer  mounting 
tube,  so  that  the  eye-piece  will  slide  to  the  extent  of  about 
a quarter  of  an  inch. 

Having  now  put  the  apparatus  together,  the  necessary 
adjustments  must  be  made  so  that  the  finder  shall  work 
with  the  required  accuracy,  both  as  regards  position  and 
focus. 

Considering  everything,  it  is  generally  best  to  so  adjust 
the  two  objectives  that  their  axes  are  strictly  parallel  ; 
and  although  this  will  introduce  a constant  error  of  a 
few  inches  with  respect  to  position,  this  fault  is  less 
objectionable  than  the  variable  error  which  results  if  the 
axes  converge  slightly.  To  adjust  the  finder,  a card  is 
marked  with  two  distinctive  characters — say  a cross  and  a 
circle — the  centres  of  these  being  as  far  apart  as  the 
centres  of  the  two  objectives.  This  is  placed  at  about 
thirty  feet  from  the  apparatus,  and  the  camera  is  shifted 
until  that  character  which  is  opposite  the  working 
objective  is  focussed  exactly  on  the  centre  of  the  ground 
glass.  The  finder  objective  and  its  eye-piece  are  now 
shifted  either  by  packing  small  pieces  of  paper  under  the 
supporting  plates,  or  by  other  suitable  means,  until  that 
character  which  is  opposite  the  finder  is  seen  sharply 
defined  in  the  middle  of  the  field. 

Assuming  this  adjustment  to  be  made  with  exactness,  it 
will  be  found  that  whenever  any  point  is  focussed  by  the 
finder,  the  position  focussed  on  the  centre  of  the  plate 
will  be  situated  as  many  inches  to  one  side  of  it  (the 
right-hand  side  if  the  apparatus  is  constructed  as  shown 
in  our  diagram)  as  is  equal  to  the  distance  between  the 
centres  of  the  objectives. 

The  final  adjustment  for  focus  is  best  made  as  follows, 
and  it  corrects  all  errors  as  to  adjustment  of  the  ground 
glass  in  its  frame,  the  actinic  correction  of  the  lenses, 
and  the  personal  characteristics  of  the  user’s  vision.  Place 
a number  of  cards  one  behind  the  other,  and  each  a little 
higher  than  the  previous  one ; the  arrangement  being 
similar  to  the  risers  of  a staircase,  and  focus  the  middle 
card.  Without  disturbing  the  apparatus,  now  take  a 
photograph  of  the  cards,  and  note  which  card  appears 
most  sharply  defined  in  the  series.  Next  adjust  the  eye- 
piece in  its  sliding  tube  until  that  card  which  was  best 
defined  on  the  picture  appears  to  the  eye  with  the  best 
definition.  This  being  done,  it  is  merely  necessary  either 
to  fix  the  eye-piece  in  its  sliding  tube  by  a touch  of  a 
solder,  or  to  rule  a line  so  that  the  position  may  be  found 
again  when  required.  If  several  persons  are  likely  to  have 
occasion  to  use  the  apparatus,  a line  must  be  made  for 
each,  and  the  eye-piece  must  be  adjusted  to  the  required 
position  before  the  apparatus  is  used. 

I he  free  passage  of  light  between  the  object  glass  and 
the  eye-piece  of  the  finder  does  not  render  the  instrument 
less  useful  than  if  a tube  were  provided. 


NOTES  BY  A PERIPATETIC  PHOTOGRAPHER. 

BY  H.  J.  PALMEK,  M.A.* 

The  philosophy  of  the  peripatetics  is  a well-worn  subject,  and  one 
which  would  hardly  find  acceptance  in  a society  like  our  own, 
which  is  not  wont  to  bestow  its  attention  upon  the  wearisome 
word-splittings  of  metaphysics  ; but  the  photography  of  a peri- 
patetic is  another  matter  entirely,  and,  although  also  well  worn, 
still  I think  that  there  are,  or  ought  to  be,  very  few  wandering 
photographers  whose  experience  and  practice  in  their  artistic 
quests  and  results  should  not,  in  the  recital,  possess  some  amount 
of  interest  to  their  compeers. 

At  all  events,  I propose  this  evening,  in  default  of  any  more 
important  and  interesting  matter  to  lay  before  you,  to  give  you 
some  account  of  my  this  year’s  peripatetises  abroad,  in  the  com- 
pany of  my  camera  and  friends.  Under  the  impression  that 
ingrata  scnccttts  was  now  to  deprive  me  of  this  annual  holiday 
among  the  Alps,  I this  year  carried  with  me  for  my  final  visit  to 
Switzerland  an  unusually  large  number  of  plates,  my  quarter- 
plate  apparatus,  and  what  one  of  my  facetious  friends  is  wont  to 
call  “ the  dog  kennel  ” — that  is,  a heavy  9 by  7 camera.  But,  so 
far  from  feeling  too  old  for  the  toils  and  travails  of  photographing 
among  the  mountains,  I found  that  I was  able  to  do  more  hard 
work  than  I have  ever  done  before.  I have  come  back  from  the 
Alps  feeling  at  least  ten  years  younger  than  when  I left  home, 
and  bringing  with  me,  in  addition,  a considerable  number  of 
good  pictures. 

We  crossed  the  Channel  by  night,  and  thus  had  no  opportunity 
for  the  taking  of  seascapes ; but  a seascape  of  another  kind  un- 
doubtedly was  secured  by  a member  of  our  party.  We  had 
betaken  ourselves  to  our  berths,  in  tolerable  comfort  and  confi- 
dence, my  camera  being  safely  stowed  above  my  head,  and  the 
whole  of  the  passengers  were  blissfully  sleeping  in  defiance  of  the 
winds  and  the  waves,  when  a sudden  and  tremendous  crash 
awoke  overy  snorer  in  the  saloon.  My  first  thought  was  for  my 
camera  and  plates  ; but  they  were  happily  in  safety  above  my 
head. 

My  next  impulse  was  to  look  after  my  friend,  and  I saw  him 
insensible  on  the  floor  of  the  cabin.  He  had  turned  over  on  his 
lofty  perch,  in  the  weitement  of  a first  dream,  and  under  the 
incitement  of  a heavy  supper,  and  had  fallen  headlong  to  the 
floor.  Happily  his  insensibility  proved  to  be  merely  heavy  sleep, 
and  not  concussion  of  the  brain  ; for,  notwithstanding  a fall  of 
five  feet,  it  was  some  seconds  before  he  awoke  to  the  sense  of  his 
position.  But  by  that  time  he  had  successfully  aroused  himself, 
and  all  besides,  to  the  sensation  of  the  motion  of  the  steamer,  and 
we  will  draw  a kindly  veil  over  the  horrors  of  the  hours  of  agony 
for  himself  and  the  other  passengers  which  followed. 

A halt  at  Rouen  resulted  in  the  obtaining  of  many  excellent 
pictures,  one  of  which,  the  “ West  Front  of  the  Cathedral,”  I 
pass  round.  While  my  friends  were  “ lionizing  ” Paris,  I took 
my  departure  for  a day’s  work  in  an  old,  out-of-the-way  French 
cathedral  town.  Chartres  is  only  some  fifty  miles  west  of  Paris, 
and  it  contains  the  most  superb  cathedral,  inside  and  out,  in 
Northern  Europe.  Its  external  peculiarity  lies  in  its  splendid 
north  and  south  portals.  Usually,  the  greatest  glory  of  external 
decoration  and  sculpture  is  heaped  upon  the  west  front  of  a 
cathedral.  This  is  not  so  at  Chartres.  The  western  doors  are 
certainly  fine,  though  there  is  a quaint  Byzantine  character  about 
the  sculptures  and  their  adornment.  But  on  passing  to  the 
facades  of  the  north  and  south  transepts,  the  photographer  will 
find  subjects  for  his  pencil  and  camera  of  an  exquisite  beauty 
which  it  would  be  impossible  to  equal  or  describe.  Unhappily,  at 
my  visit,  the  southern  portal  was  a good  deal  blocked  up  by  the 
scaffolding  of  the  restorers,  and  I was  only  able  to  include  in  my 
negative  two  of  the  three  superbly-sculptured  doorways.  Time 
will  not  allow  of  my  dwelling  on  the  splendour  of  the  exterior  in 
other  respects,  or  of  the  many  gloiies  of  the  interior,  with  its  365 
w indows  of  thirteenth  century  stained  glass  ; but  we  pass  down  to 
the  little  river  Euro  to  glance  at  some  of  the  many  pictures  it 
affords  of  the  distant  cathedral  and  the  old  houses  on  its  banks. 
There  is  a tower-gate  remaining  from  the  town  walls  which  makes 
a capital  picture  from  seveial  points  of  view,  and  the  bridge  at 
the  bottom  of  the  principal  strett,  with  the  gabled  houses  and  the 
spired  cathedral  in  the  background,  supplies  a tout  ensemble  which 
it  would  be  difficult  to  surpass. 

The  journey  from  Baris  to  Switzerland  suggests  a subject  of 
the  utmost  importance  to  travelling  photographers.  I have 
usually  met  with  no  difficulty  in  passing  my  plates  through  the 
Custom  Houses  and  the  clutches  of  the  douaniers.  These  people 

* Bead  before  the  Liverpool  Amateur  Photographic  Association. 


October  5,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


629 


I 

have  invariably  accepted  my  word,  as  they  did  this  year,  that  my 
packets  contained  nothing  of  a contrabandjcharacter.  But  a mis- 
fortune befel  me  on  my  last  journey  for  which  I was  quite  un- 
prepared. My  large  plates  were  in  my  portmanteau,  and  this 
was  locked  and  registered  in  Paris  for  Lausanne.  On  arrival, 
I found  that  a tool  had  been  inserted  and  the  lock  wrenched 
open  and  broken.  Some  valuable  papers  and  other  belongings 
had  been  abstracted,  a packet  of  large  plates  opened,  a parcel  of 
hypo,  untied  and  its  contents  scattered  over  everything,  and, 
worse  than  all,  a bottle  of  silver  solution,  which  had  been  most 
securely  fastened,  uncorked  (I  sincerely  hope  the  scoundrel 
imbibed  a portion  of  it  aud  blackened  his  lips  and  face),  and  its 
contents  spilt  over  my  books  and  clothes.  The  Swiss  official  to 
whom  I showed  the  wreck  was  politeness  itself,  but  he  assured 
me  that  the  thief  was  a Frenchman,  aud  that  the  burglary  had 
been  committed  on  the  other  side  of  the  frontier.  I saw  at  once 
that,  had  I made  ray  complaint  in  Franco,  I should  be  promptly 
shuttlecocked  into  Switzerland  again,  and  therefore  made  up 
my  mind  to  make  the  best  of  it,  and  bear  my  misfortune  philo- 
sophically, as  a peripatetic  should.  The  only  remedy  for  this 
kind  of  thing,  as  regards  sensitive  plates,  is  to  see  that  they  be 
packed  in  packets  of  sixes,  and  carried  in  a parcel  or  parcels  in 
the  hands,  and  with  the  traveller  in  the  railway  carriage. 
Perhaps  the  number  of  travelling  amateurs  will  one  day  increase 
to  such  an  extent  as  to  enable  us  to  obtain  an  international 
arrangement  that  photographic  plates  be  treated,  in  the  Custom 
House,  at  all  events,  as  inviolable  as  letters  are  in  the  Post  Office. 

We  halted  at  Montreux  for  the  sake  of  the  picture  in  the  gorge 
of  La  Baie,  and  also  that  I might  walk  to  Chillon  for  a large 
negative  of  the  Ca3tle,  to  surpass  that  of  Mr.  Elleibeck.  In  this 
laudable  intention,  however,  I signally  failed.  My  centre  of 
action  this  year  among  the  Alps  was  at  Brieg — at  the  foot  of  the 
Simplon  on  the  one  hand,  and  of  the  Bel  Alp  on  the  other — and 
a better  centre  for  this  part  of  Switzerland  could  hardly  be  found. 
The  town  itself  is  most  picturesque,  being  somewhat  Oriental  in 
its  appearance  from  the  strange  number  of  miuaret-like  towers  to 
be  seen  in  all  parts  of  it,  many  of  which  art  terminated  by 
cupolas.  Then,  in  every  direction,  the  mountain  forms  rise 
grandly  in  the  background,  with  sufficient  snow  on  their  slopes 
to  remind  one  of  the  proximity  of  the  Aletschhorn  and  the  Ober- 
land  on  the  one  hand,  and  of  Monte  Rosa,  the  Matterhorn,  and 
the  Italian  Alps,  on  the  other.  Our  first  walk  was  to  the 
Bel  Alp  and  the  Sparrenhorn,  and  then,  via  the  great  Aletsch 
Glacier  and  the  Eggischorn,  to  Viesch,  aud  so  back  to  Brieg. 

I had  left  home  with  the  full  intention  of  completing  my  un- 
finished experiments  of  last  year  on  the  Rigi  as  to  the  mode  of 
dispelling  heat-haze  by  means  of  the  interposition  in  front  of  the 
lens  of  tinted  films  of  transparent  glass  or  gelatine;  but  during 
the  whole  of  my  three  weeks’ stay  in  and  about  the  Rhone  Valley, 
on  the  Eggischorn,  at  Macuguaga,  and  at  Zermatt,  the  atmosphere 
remained  perfectly  bright  and  clear.  At  Bel  Alp,  where  Professor 
Tyndall  has  built  a nice  little  cottage  for  his  investigations  as  to 
the  origin  of  life-germs,  and  also  into  the  unsolved  problems 
of  glacial  action,  it  occurred  to  me  that  the  camera  would  be  a most 
useful  assistant  as  an  unerring  witness  as  to  the  progress  and 
character  of  glacial  phenomena.  The  great  Aletsch  Glacier  is 
visible  from  Bel  Alp  in  its  entire  length.  It  certainly  does  not 
present  a very  artistic  aspect ; but  nowhere  else  that  I know  of  is 
the  majesty  of  an  ice  river,  with  all  its  wonderful  concomitants 
and  surroundings,  spread  out  before  the  eyes  as  it  is  here. 

One  of  my  objects  in  visiting  the  Eggischorn  once  more  was  to 
secure  a photograph  of  a singular  earth-tower,  to  be  found  in  a 
gully  about  half-way  up  the  mountain,  between  Viesch  and  the 
Hotel  Jung  Frau.  Unhappily,  the  hard  morning’s  work  of  an 
ascent  to  the  summit  of  the  Eggischorn,  aud  a visit  to  the  ice- 
lake — the  Marjelin  See — delayed  our  walk  to  Viesch  till  so  late, 
that  on  discovering  the  column  (which,  by-the-bye,  is  by  no 
means  easy  to  find)  it  was  close  upon  sunset.  I scrambled  along 
the  side  of  a perilous  slope  of  crumbling  moraine,  and  gave  a very 
prolonged  exposure.  The  result  is  not  worth  the  danger  to  life 
and  limb  by  which  it  was  attained  ; but  it  gives  some  idea  of  this 
singular  pile.  It  is  about  thirty  feet  high,  by  five  feet  in  diameter, 
and  fifteen  feet  in  circumference.  Sir  Charles  Lyell  called  the 
attention  of  geologists  to  this  tower  in  the  visitor’s  book  at  the 
hotel ; and  I had  fully  intended  presenting  a print  from  my 
negative  to  the  Liverpool  Geological  Society. 

The  Simplon  Pass,  the  Val  Ansasca  to  Macugnaga  and  over 
the  Monte  Moro  to  Saas  and  Visp,  supplied  us  with  our  second 
excursion  of  a week's  duration.  The  Simplon  is  not  a very 
interesting  Pass  to  the  photographer.  On  the  Swiss  side  the 
views  are  all  enhanced  in  their  grandeur  by  the  distant  Bernese 


Oberland  ; but  there  are  but  few  really  good  pictures.  The  best 
are  those  to  be  found  near  the  Caltwasser  glacier  and  galleries — 
about  a mile  from  the  summit.  The  Hospice  is  only  interesting 
for  its  size  and  for  the  splendid  work  of  humanity  which  it  is 
doing ; but  from  the  village  of  Simplon,  all  through  the  gorge  of 
Gondo,  right  down  to  Domo,  the  difficulty  lies  in  making  a 
selection  from  the  multitude  of  tempting  subjects  before  the 
pedestrian. 

The  very  best  place  in  all  Switzerland,  in  my  judgment,  for 
photographic  work  is  Macugnaga.  Chalets,  churches,  waterfalls, 
foliage — everything  one  looks  for  of  beauty  in  this  wonderful 
country — may  be  combined  as  a foreground  in  a picture  in  which 
the  unrivalled  snowy  precipices  of  Monte  Rosa  bring  up  the  rear. 

I am  glad  to  bear  testimony  to  the  exceeding  usefulness  of  Mr. 
Chapman’s  combination  of  albumen  and  gelatino-bromide  in  his 
plates  for  this  class  of  subject.  The  slowness  of  these  films,  com- 
bined with  the  considerable  latitude  of  exposure  which  they 
allow,  are  of  the  greatest  advantage  when  snow  peaks  appear  in 
the  background.  Our  climb  over  the  Monte  Mora  Pass  gave  ns 
somo  two  hours’  work  among  the  snow,  and  it  was  somewhat 
alarming,  after  ten  hours’  walking,  on  arriving  at  nightfall  at  the 
one  inn  at  Saas,  to  find  the  door  besieged  by  travellers,  weary  and 
worn  as  we  were,  entreating  for  admittance  and  beds.  The  place 
was  crowded  to  the  doors  with  English,  and  there  was  nothing  for 
it  for  most  of  these  poor,  belated  people  but  to  walk  back  to 
Stalden  or  on  to  Mattmark — in  each  case  an  addition  of  ten  miles 
to  the  day’s  work.  We  were  more  fortunate,  in  that  we  found  a 
“ roost  ” for  the  night  at  the  house  of  the  village  cure. 

A mishap  which  befel  me  at  the  inn  of  Mattmark  may  be  a 
warning  to  other  photographers  with  “dog  kennels.”  I had 
engaged  a porter  at  Macunaga  to  carry  our  “ belongings  ” over 
the  Moro  to  Saas,  but  the  rascal  (I  suspect  at  the  instigation  of 
the  landlady  at  Mattmark)  struck  at  an  inn  ten  miles  short  of  our 
journey’s  end,  and  refused  to  proceed  any  further.  This  happened 
to  me  once  before  at  the  same  place,  and  I am  uncharitable 
enough  to  think  that  the  desire  to  retain  us  for  the  night,  and  so 
secure  the  payment  of  a bill  to  his  friend  the  landlady,  was  at  the 
bottom  of  the  porter’s  action. 

At  Saas,  there  is  a splendid  picture,  about  half-an-honr  from 
the  village,  at  the  entrance  of  the  Valley  of  Fde.  In  the  fore- 
ground of  the  composition  there  is  a pretty  Swiss  chapel,  and 
behind  it,  above  rocks  and  firs,  there  rises  the  highest  mountain  in 
Switzerland — the  Dom,  with  gleaming  glaciers,  quite  free  from 
moraine  and  debris,  streaming  down  its  slopes. 

I will  not  weary  you  further  by  describing  any  of  tho  un- 
numbered subjects  between  Saas  and  Visp,  nor  will  I describe  our 
next  week’s  excursion  to  Zermatt  and  up  the  Gornergrat.  I 
have  already  recounted  former  photographic  experience  within 
sight  of  that  most  wonderful  of  all  mountain  forms  and  most 
fascinating  of  all  mountain  peaks — the  Matterhorn.  The  “ dog 
kennel  ” was  carried  in  safety  by  a porter  to  the  summit  of  the 
Gornergrat,  and  some  good  pictures  were  secured  ; but,  alas!  on 
the  descent,  my  porter,  scenting  his  supper,  bounded  down  the 
slope  beyond  my  reach  and  sight,  and  dashed  my  apparatus  to  the 
ground,  smashing  a double  dark  slide  and  two  9 by  7 pictures  of 
the  Matterhorn  into  many  small  pieces.  Here  is  a specimen  of  a 
disaster  which  has  happened  to  two  more  of  my  Zermatt  pictures, 
and  of  which  I have  never  before  had  experience.  These  two 
negatives  were  too  thin,  and  I took  them  to  the  tap  to  give  them 
a thorough  .washing  before  treating  them  with  mercury  and 
ammonia.  After  washing,  they  were  placed  in  a rack  to  dry,  and 
left  for  a day  or  two.  When  I next  took  them  into  my  hand, 
with  a view  to  intensification  in  the  usual  way,  I found  them 
both  hopelessly  spoilt,  as  you  see. 

I will  only  show  you  one  more  picture  to-night,  aud  that  shall 
be  one  of  a by  no  means  pleasing  character,  though  not  at  all  a 
bad  picture.  This  is  the  Ossuary  at  Naters— a charming  little 
village  about  a mile  from  Brieg.  In  this  part  of  Switzerland, 
when  the  dead  have  lain  in  the  grave  for  the  requisite  time,  the 
bones  are  exhumed  and  placed  in  the  Ossuary,  and  the  skull, 
neatly  whitewashed  (and  in  some  cases  with  the  name  written  on 
the  brow),  is  placed  as  you  see  in  my  picture.  The  skulls  of  the 
clergy  usually  wear  the  biretta  or  priest’s  cap,  and  those  of  child- 
ren are  crowned  with  garlands  of  flowers,  natural  or  artificial.  I 
found  my  quarters  at  Brieg  thoroughly  well  adapted  for  the  deve- 
lopment of  my  plates.  Sheets  of  orange  tissue  pinned  upon  the 
window  of  my  room  gave  me  a flood  of  light  to  work  by  without 
trace  of  fog,  and  the  supply  of  water  was  unlimited  on  each  floor 
of  the  hotel. 

Should  any  of  my  friends  seek  a fitting  centre  in  Switzerland 
with  a view  to  becoming,  like  myself,  a peripatetic  photographer, 


630 


THE  PHOTOGRAPHIC  NEWS. 


[October  5,  1883, 


I can  cordially  recommend  Brieg  for  the  purpose ; and  1 hope 
that  these  hurried  notes  may  be  of  some  service  to  brother 
amateurs  in  their  quest  of  comfortable  quarters  in  this  wonderful 
country. 


PHOTO  LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chap.  XIII. — Asphalt  Processes— (continm/). 

I)r.  Kayser  gives  also  tho  results  of  the  distillation  of 
some  of  the  different  kinds  of  asphaltum,  and  an  analysis 
of  the  Bechelbronn  bitumen  with  reference  to  the  products 
obtained  in  it  by  Boussingault,  and  called  by  him  petrolene 
and  asphaltene;  but  these  maybe  left  unnoticed,  as  not 
immediately  concerning  photography,  and  we  pass  on  to 
the  consideration  of  the  action  of  light  upon  asphaltum. 

Under  the  idea  that  asphaltum  itself  was  a product  of 
the  oxidation  of  petroleum  and  other  heavy  hydro-carbons, 
it  has  generally  been  assumed  that  an  oxidation  of 
asphaltum  takes  place  under  the  influence  of  light,  and 
that  the  asphaltum  so  oxidised  loses  its  solubility  in  the 
usual  solvents.  Under  this  impression  Niepce  de  St. 
Victor  and  other  workers  with  asphaltum  have  laid  stress 
upon  the  necessity  for  the  exposure  to  light  taking  place 
with  free  contact  with  the  air.  Niepce  de  St.  Victor, 
working  with  M.  Chevreul,  found  that  of  two  plates 
similarly  prepared,  and  coated  with  asphaltum,  one,  ex- 
posed to  light  with  free  access  of  air,  became  insoluble, 
while  the  other,  exposed  in  a vacuum,  retained  its 
solubility. 

Bayer  likewise  states  that  if  a collodion  film  be 
gummed  down  on  a plate  coated  with  asphaltum,  so  as  to 
prevent  the  access  of  air,  the  action  of  light  is  entirely 
prevented.  The  writer  has,  however,  obtained  good 
images  upon  plates  on  which  collodion  films  have  been 
squeegeed  down  with  the  aid  of  a mixture  of  glycerine 
and  water,  and  he  believes  that  this  is  a common  practice 
when  working  with  asphaltum. 

The  foregoing  analyses  by  Dr.  Kayser  of  Syrian  and 
Trinidad  asphalts  have  shown  that  they  do  not  contain  any 
oxygen,  but  are  to  be  considered  as  sulphuretted  hydro- 
carbons ; and  he  considers,  therefore,  that  the  fact  of  an 
oxidation  of  asphalt  under  the  influence  of  light  is  scarcely 
probable,  or  at  any  rate  not  fully  proved. 

By  a very  careful  series  of  experiments  with  solutions  of 
Syrian  asphaltum  exposed  to  light  in  well  filled  and  closed 
vessels,  and  with  thiu  films  of  the  same,  carefully  weighed 
before,  during,  and  after  exposure  to  light,  Dr.  Kayser 
proved  that  during  the  exposure  to  light  no  oxygen  what- 
ever was  absorbed,  though  the  asphaltum  became  in- 
soluble. He  concludes,  therefore,  that  asphaltum  does  not 
become  insoluble  under  the  influence  of  light  by  oxidation, 
but  rather  by  a molecular  change  brought  about  in  its 
composition,  by  which  its  physical  properties  are  altered. 
Instances  of  this  are  not  uncommon ; for  example, 
anthracene  is  changed  into  para-anthracene  under  the 
influence  of  sunlight,  losing  its  solubility  and  becoming 
converted  into  an  isomorphus  or  polymorphus  body, 
behaving  quite  differently  with  chemical  reagents  to  what 
it  did  before.  Further,  in  the  same  way  as  para-anthracene 
may  be  re-converted  to  anthracene  by  melting,  so 
asphaltum  which  has  lost  its  solubility  regains  it  when 
heated  to  fusion. 

This  agrees  with  Bayer’s  observation  that  asphaltum 
is  more  sensitive  at  a high  temperature  ; the  greater  the 
heat,  the  more  sensitive  the  film  ; but  Niepce  de  St.  Victor, 
on  the  contrary,  states  that  heat  impairs  the  sensitiveness 
of  asphaltum. 

On  the  strength  of  the  experiments  made  by  Niepce  de 
St.  Victor  and  Chevreul,  Dr.  Eder  seems  inclined  to  uphold 
the  oxidation  theory,  and,  in  connection  with  this  theory, 
the  experience  of  the  writer  that  plates  that  have  been  i 


coated  with  asphaltum,  and  laid  by  for  a long  time,  are 
more  sensitive — t’.e.,  more  insoluble  on  development— than 
similar  plates  freshly  coated,  seems  worthy  of  note.  This 
effect  may,  however,  be  due  to  a hardening  of  the  film 
caused  by  the  gradual  evaporation  of  the  oily  and  softer 
constituents  of  the  asphaltum  soluble  in  alcohol  and  ether. 
This  could  only  be  proved  by  a careful  series  of  delicate 
weighings. 

From  the  fact  that  the  most  sensitive  constituent  of 
asphaltum  contains  the  largest  proportion  of  sulphur,  it  is 
possible  that  the  presence  of  this  element  may  exert  an 
influence  on  its  photographic  sensibility  or  power  of 
becoming  insoluble  under  the  influence  of  light.  Dr. 
Kayser  does  not  seem  to  have  investigated  this  point, 
though  he  instances  the  formation  of  coloured  resinous 
bodies  or  hydrocarbons  in  commercial  petroleum,  when 
exposed  to  light  with  complete  exclusion  of  air — and  this 
more  quickly  and  strongly  in  direct  sunshine — and  says 
that  the  question  whether  this  is  brought  about  by  the 
sulphur  they  contain,  even  though  it  is  in  minute  quantity, 
cannot  be  answered  at  present. 

Dr.  Kayser  finds  that  the  action  of  light  upon  asphaltum 
is  not  confined  to  thin  dry  films  of  if,  but  extends  to  its 
solutions  causing  precipitates  of  insoluble  resiuous  matter, 
which  adhere  to  the  sides  of  the  vessel,  or  remain  in  sus- 
pension. Solutions  of  asphaltum  should,  therefore,  be 
kept  in  the  dark. 

The  writer  has  exposed  solutions  of  two  or  three  speci- 
mens of  ordinary  and  fairly  sensitive  asphaltum  in  turpen- 
tine to  the  full  glare  of  an  Indian  sun  for  a whole  day,  and 
longer,  without  observing  any  precipitation  or  turbidity, 
except  in  the  case  of  Husnik’s  solution  of  sensitive  as- 
phaltum, which,  exposed  at  the  same  time  as  the  others, 
became  turbid,  and  the  sides  of  the  vessel  covered  with  an 
insoluble  coating. 

Niepce  de  St.  Victor  found  that  the  sensitiveness  of  a 
solution  of  asphaltum  was  doubled  and  trebled  by  exposing 
it  to  the  air  and  sunshine  for  two  or  three  hours.  Longer 
exposure  to  five  or  six  hours  further,  increased  the  sensi- 
tiveness to  a certain  extent ; but  after  ten  or  twelve  hours, 
the  solution  became  useless. 

From  a series  of  experiments  on  the  sensitiveness  to 
light  of  the  three  different  components  of  Syrian  and 
Trinidad  asphaltums,  obtained  by  treating  them  with 
alcohol  and  ether — 

a.  Soluble  in  alcohol, 

b.  Soluble  in  ether, 

c.  Insoluble  in  ether — 

Dr.  Kayser  found  that  in  both  cases  the  substance  (c)  in- 
soluble in  ether,  with  the  composition  C3JH42S4,  showed 
the  highest  sensitiveness ; the  substance  ( b ) soluble  in 
ether  showed  less  ; and  the  oily  substance  (a)  extracted  by 
alcohol  was  quite  insensitive. 

It  follows  from  this  that  the  most  sensitive  asphaltum, 
and  therefore  the  most  suitable  for  photographic  use,  is 
that  which  contains  the  largest  amount  of  the  sensitive 
component  (c).  Syrian  asphaltum,  as  we  have  seen,  con- 
tains 52  per  cent,  of  it,  while  Trinidad  only  contains 
38  percent.  Actual  trial  showed  that  the  former  is  the 
most  sensitive,  and  this  kind  is  to  be  preferred  when 
obtainable,  though  it  will  be  better  to  separate  the  most 
sensitive  constituent,  and  work  with  that  alone. 

(To  be  continued.) 


& Dictiotiarti  of  g&otoflra^. 

ALBUMEN1ZED  PAPER  (Printing  on). — Continued. 

The  vignetting  glass  is  an  article  of  commerce ; it  can  be 
easily  made  by  removing  the  coloured  film  from  flashed  ruby 
glass  by  means  of  hydro-fluoric  acid.  Very  good  results  may 
be  obtained  with  it,  even  though  in  contact  with  the  negative, 
provided  duo  care  has  been  taken  in  its  preparation.  Vignetting 
papers  (also  au  article  of  commerce)  arc  excellent  for  the  purpose  ; 


October  5,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


631 


they  may  be  prepared  by  stippling  oil  colour,  the  shape  required, 
on  tissue  paper  which  has  been  previously  soaked  in  melted 
paraffin,  the  colour  becoming  denser  as  the  shape  is  enlarged. 
The  width  of  stippling  need  not  exceed  half-an-inch  ; while  the 
part  intended  to  be  opaque  can  be  covered  with  yellow  paper.  A 


Fig.  1. 


result  almost  identical  can  be  attained  by  cutting  a series  of 
openings  in  tissue  papers,  the  openings  being  progressive,  as  in 

figure  No.  1. 

Empire  cloth,  the  material  sometimes  used  for  backgrounds,  is 
an  excellent  article  for  the  manufacture  of  vignette  shapes.  Those 
who  wish  to  use  it  should  proceed  as  follows  : — Fora  quarter-plate 
frame,  the  piece  measuring  six  inches  by  two  and  a-half  should 


Fig.  2. 

be  cut,  and  an  opening  made  about  a quarter-of-an-inch  large,, 
all  round  than  would  be  necessary  with  cardboard ; cover  this 
orifice  with  some  thin,  light  material,  such  as  cambric,  securing  if 


with  paste  ; when  dry,  cutout  the  centre,  and  Vandyke  the  edges 
as  in  fig.  No.  2.  Grind  the  edges  of  two  quarter  plates,  and  bind 
them  together  at  the  sides  by  means  of  the  same  material,  leaving 
the  top  and  bottom  open  with  sufficient  room  between  the  plates 
for  the  vignetting  shape  to  be  moved  about;  the  advantage  of 
these  shapes  being,  that  they  are  not  affected  by  damp,  like  paper. 
The  opening  can  be  easily  shifted  to  any  part  of  the  negative 
during  the  progress  of  printing,  by  either  raising  or  lowering  the 
slip,  or  moving  it  from  side  to  side;  and  it  will  be  found  advan- 
tageous to  alter  the  position  of  the  opening  during  printing  in  the 
case  of  thin  negatives,  in  order  to  obtain  a still  greater  degree  of 
softness.  The  whole  arrangement  can  be  secured  to  the  printing- 
frame  by  a couple  of  buttons,  as  in  fig.  3.  Very  fine  vignettes 
may  be  obtained  with  an  ordinary  oval  opening  in  cardboard  or 
sheet-lead,  secured  in  the  required  position  to  the  priuting-frame, 
the  latter  being  made  to  revolve  by  means  of  a turn-table.  One 
advantage  the  sheet-lead  has  over  paper  is,  that  it  can  be  easily 
hammered  to  any  shape,  and  it  will  last  a very  long  time. 

Among  other  plans  of  vignetting,  wre  may  mention  that  when 
it  is  desired  to  print  only  vignettes  from  a negative,  coat  the  back 
with  a mixture  of  equal  parts  of  gold  size  and  turpentine ; while 
tacky,  rub  powdered  plumbago  wherever  it  is  intended  to  keep  the 
paper  white,  softening  off  gradually  to  the  requisite  shape  ; very 
fine  vignettes  are  obtained  in  this  manner.  Another  plan  of  a 
similar  nature  is,  to  thin  Bates’  black  varnish  with  turpentine. 
Coat  the  baek  of  the  negative  with  this  mixture ; when  nearly 
set,  remove  (by  means  of  a rag  dipped  into  turpentine)  the  varnish 
from  over  the  parts  that  are  to  be  printed,  softening  off  the  edges 


Fig.  3. 

D D is  the  printing-frame ; B B,  Empire  cloth  binders ; A A A A,  move- 
able  slip,  passing  through  two  glass  plates. 

at  the  same  time  by  dabbing  them  with  a rag.  Clouds  aro 
effectively  produced  by  means  of  either  the  plumbago  or  black 
varnish  methods.  Returning,  again,  to  the  cardboard  shape,  we 
should  mention  that  some  printers  cover  the  opening  with  tissue 
paper;  printing  in  direct  sunlight  is  then  advisable.  Others 
soften  the  sharp  line  of  the  cardboard  by  Vandyking  it  out  like 
the  teeth  of  a saw,  as  in  fig.  2,  or  attaching  (so-called)  cotton- 
wool by  the  means  of  a touch  with  the  gum-brush,  and,  when 
dry,  pulling  it  out  into  the  finest  threads  possible.  There  are 
other  methods,  but  the  foregoing  are  the  most  practical,  and  one 
or  other  of  them  will  be  found  in  use  in  most  establishments 
having  any  vignetting  to  do.  Perhaps  convenience  will  determine 
the  method  our  student  will  adopt,  for  it  matters  little  which  one 
it  is,  so  long  as  the  desired  softening  off  or  blending  is  attained. 
A toned-in  vignette  signifies  a vignette  which  is  surrounded  by  a 
neutral  grey  tint  instead  of  white ; they  are  suitable  for  three- 
quarter  length  portraits,  and,  when  nicely  executed,  are  a very 
pretty  style  of  photographic  printing.  Make  a vignette  shape 
capable  of  showing  so  much  of  the  figure  as  will  look  well,  always, 
where  possible,  including  some  of  the  background  on  each  side  of 
the  figure  to  balance  the  picture.  It  will  be  advisable  to  make  a 
trial  print  with  the  shape,  and,  if  suitable,  use  it  as  a shield  for 
the  other  prints.  Cut  away  all  the  white  margin,  leaving  only 
the  vignetted  portion,  and,  in  doing  so,  it  is  better  to  keep  well 
within  the  vignetting,  so  that  the  shield  or  mask  may  be  a little 
smaller  than  the  vignette. 

Gum  the  shield  to  a piece  of  glass  at  least  as  large  as  the  print 

to  be  treated,  albuminized  surface  being  outwards ; when  dry,  it 


632 


THE  PHOTOGRAPHIC  NEWS 


[October  5,  1883. 


is  ready  for  use.  Make  a second  print  exactly  as  before ; but 
this  time,  instead  of  cutting  it,  place  it,  printed  side  upwards, 
between  two  glass  plates.  The  inner  portion  must  now  be  pro- 
tected by  placing  the  shield  already  cut  immediately  over  it ; 
over-lapping  must  not  be  permitted  ; the  soft  gradation  should 
be  seen  equally  all  round  the  shield.  Now  place  it  out  in  a 
subdued  light,  moving  the  shield  gently  until  the  white  paper 
has  darkened  to  a deep  grey  ; remove  it  to  the  printing-room, 
and  examine  it;  if  perfect,  the  tone  should  be  even,  and  blend 
into  the  vignetting.  A line  of  light  over  any  portion  of  it  will 
be  due  to  the  mask  being  too  large ; halation  surrounding  the 
figure  may  be  from  the  same  cause,  or  from  not  printing  the 
surrounding  or  second  portion  to  match  the  first, 

{To  be  continued.') 


Halts. 

The  usual  soiree  on  the  inauguration  of  the  Photographic 
Exhibition  takes  place  to-morrow  evening  at  eight  o’clock 
at  the  Gallery,  5,  Pall  Mall  East ; the  exhibition  opens  to 
the  public  on  Monday. 

The  Exhibition  will  remain  open  until  the  15th  of 
November,  but  as  the  days  rapidly  shorten  at  this  time  of 
the  year,  we  earnestly  recommend  all  who  can  to  pay  an 
early  visit.  Even  now  the  daylight  fails  so  soon  in  town, 
that,  after  three  o’clock,  pictures  in  the  corners  of  the 
gallery  cannot  be  satisfactorily  seen. 


It  is  exactly  ten  years  since  the  last  visit  of  Royalty  to 
the  Photographic  Exhibition.  In  1873,  the  Prince  and 
Princess  of  Wales  honoured  the  Society  by  passing  an 
hour  and  a-half  in  the  Pall  Mall  Gallery,  examining,  with 
much  interest,  the  whole  range  of  pictures,  the  prince,  we 
remember,  taking  especial  notice  of  Rejlander’s  collection 
of  studies.  Indeed,  His  Royal  Highness  begged  the 
secretary  to  ask  Mr.  Rejlander  to  send  up  his  albums  to 
Marlborough  House,  so  that  a closer  inspection  of  the  same 
could  be  made.  The  Princess,  on  the  other  hand,  was 
most  taken  with  Mr.  Mayland’s  case  of  enamels,  which 
included,  among  other  specimens,  portraits  of  several  of 
her  children. 


The  question  naturally  arises  whether,  after  this  lapse 
of  years,  the  time  has  not  come  again  to  invite  their  Royal 
Highnesses  to  another  visit.  The  Queen  and  the  late 
Prince  Consort  were  among  the  earliest  supporters  of  the 
Photographic  Society,  Prince  Albert,  in  many  ways,  taking 
a lively  interest  in  the  Society’s  proceedings.  When  the 
Prince  Consort  died,  the  Prince  of  Wales  was  invited  to 
become  patron,  and  it  was  simply  by  calling  the  latter’s 
attention  to  the  circumstance  that  since  the  death  of  his 
lamented  father  the  Society  bad  not  had  an  opportunity 
of  receiving  Royalty,  that  the  visit  in  1873  was  brought 
about.  We  feel  sure  that  if  His  Royal  Highness  is  in 
town  during  the  next  six  weeks,  he  would  favourably 
respond  to  an  invitation  to  visit  the  present  Exhibition. 

Reciprocating  the  support  which  the  Brussels  Exhibi- 
tion received  from  British  visitors,  a deputation  from  the 
Belgian  Society  is,  so  we  hear,  to  visit  the  Pall  Mall 
Exhibition  this  year. 


Among  the  grants  of  money  made  this  year  by  the  British 
Association  is  one  of  ten  pounds  to  Professor  (Idling  for 
work  connected  with  photographing  the  ultra-violet  spark 
spectra,  and  another  of  twenty  pounds  to  Captain  Abney 
for  assistance  in  elaborating  a standard  of  white  light. 


Already  it  has  been  found  that  there  is  a difference  in 
the  absorption  of  light  by  collodion  and  gelatine  films,  the 
two  vehicles  in  general  use  by  the  photographer  to  carry  bis 
sensitive  salts ; and  now  M.  J.  Z.  Soret  gives  ns  informa- 
tion on  the  subject  of  albumen,  which,  some  years  ago.  at 
any  rate,  was  employed  a good  deal  in  the  production  of 
photographic  plate3.  M.  Soret  concludes  that  all  albu- 
menoid  substances  contain  a common  principle  to  which  is 
due  their  characteristic  absorptive  band.  Gelatine,  which 
is  a very  different  substance,  behaves  also  very  differently 
under  the  action  of  the  spectrum.  It  is  much  more  trans- 
parent, says  M.  Soret,  and  gives  rise  to  no  bands.  As 
albumen  is  used  both  in  the  collotype  and  photo-litho- 
graphic processes,  as  well  as  in  albumenized  papers,  any 
research  in  connection  with  it  is  of  interest  to  photo- 
graphers. 


“ Dogberry,”  in  the  City  Press,  has  been  much  exercised 
in  its  mind  concerning  some  mysterious  photographic 
proceedings  which  were  carried  on  in  Guildhall  Yard  one 
day,  two  or  three  weeks  ago.  A rather  fine-looking  horse, 
having  the  appearance  of  a hunter,  was  standing  having 
its  photograph  taken.  “He  was  standing,”  says  “ Dog- 
berry,” “ quite  alone,  and  really  seemed  as  if  putting  on 
that  feeble,  sickly,  imbecile  look  that  we  all  assume  under 
similar  trying  circumstances.  1 noticed  that  the  poor 
animal  was  what  I believe  is  called  easing  his  near  fore 
foot,  so  he  may  possibly  have  been  brought  to  Guildhall  to 
bear  his  silent  testimony  against  his  cruel  master.  If  so, 
I trust  full  justice  was  done  to  both  animals.  But  why 
photographed,  no  reading-roomer  could  explain.”  Is  it 
such  an  unusual  thiDg  to  have  a horse  standing  to  be 
photographed,  that  “Dogbery”  was  surprised?  Now, 
had  the  horse  been  sitting  for  his  photograph,  there  would 
have  been  reason  for  astonishment. 


A photographic  curiosity  is  recorded  by  the  Liverpool 
Mercury.  The  hills  in  the  Isle  of  Man  aro  discernible  from 
Blackpool,  a distance  of  some  sixty  miles,  only  at  sunset  in 
the  early  summer,  and  on  May  17tb,  Mr.  Banks,  a photo- 
grapher of  Manchester  and  Blackpool,  attempted  to  photo- 
graph the  far-away  summits.  The  attempt  was  perfectly 
successful,  but  of  a necessity  the  picture  of  the  hill  ranges 
was  extremely  minute,  and  had  to  be  enlarged  many  times 
to  reach  the  carte  size.  The  result  is  a proof  of  the  extreme 
clearness  of  the  atmosphero  on  the  evening  when  the  negative 
was  secured. 


I’hotography  is  now  the  advanced  guard  of  theatrical 
advertising.  It  is  stated  that  the  London  Stereoscopic 
Society  have  sent  thirty  thousand  sets  of  photographs  of 
Mr.  Irving,  as  Mathias  in  “The  Bells,”  to  New  York. 
There  are  twelve  portraits  in  each  set.  Mr.  Abbey,  in 


October  5,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


633 


addition,  takes  out  ten  thousand  copies  of  a medallion. 
What  the  number  of  pirated  copies  will  be  is  not 
announced. 

Our  American  cousins  are  so  ingenious  in  their  way , that 
when  one  hears  of  the  manufacture  of  eggs  in  the  United 
States,  it  i3  with  some  surprise  that  the  thing  hasn’t  been 
done  before.  However,  now  they  have  commenced,  the 
work  goes  on  in  right  down  earnest,  for  we  hear  of  one 
establishment  that  turns  out  a thousand  eggs  an  hour.  It 
is  in  the  whites  that  photographers  will  be  most  interested, 
and  these,  we  are  told,  are  of  pure  albumen,  without  any 
admixture  even  of  sulphur.  What  a boon  for  the  prepara- 
tion of  albumenized  paper,  and  how  vastly  superior  to 
common  eggs,  therefore,  will  be  these  artificial  ones,  if 
only  because  they  are  sulphurless  ! The  yolks,  we  may 
mention,  are  composed  of  cornflour,  starch,  and  “other 
materials,”  a somewhat  vague  description,  it  must  be 
admitted ; while  the  inner  skin  is  a film  of  gelatine,  and 
the  shell  consists  of  plaster  of  Paris. 


Yet  another  new  form  of  card  portrait,  coming  this 
time  from  Germany.  It  is  yclept  the  “ Grand,”  and  its 
Brobdingnagian  porportions  seem  to  be  about  twenty 
inches  by  twelve. 

We  promised  to  inform  our  readers  of  the  success  attend- 
ing the  training  of  pigeons  to  fly  from  the  top  of  Ben 
Nevis,  with  the  eight  o’clock  readiugs  of  thermometer, 
barometer,  &c.  The  moot  question  was,  our  readers  will 
remember,  whether  the  winged  messengers  could  find 
their  way  to  Fort  William  through  the  mist  and  cloud 
that  usually  veil  the  top  of  the  mountain,  or,  in  other 
words,  whether  the  bird  flies  by  sight  or  instinct.  We 
regret  to  say  that  one  by  one  the  pigeons  have  been  lost, 
the  last  of  all  disappearing  after  having  been  safely  trained 
to  fly  from  a height  of  2,500  feet.  So  that  cloud  has 
been  found  to  be  more  effective  in  scaring  the  birds  than 
were  all  attempts  of  the  German  soldiers  to  prevent  pigeons 
flying  back  into  beleagured  Paris  with  their  precious 
burdens  of  micro-photographic  despatches. 


The  distance  of  the  3un  from  the  earth  is  calculated  to 
be,  from  the  last  Transit  of  Venus  observations,  92,700,000 
miles,  according  to  Dr.  Ball,  the  Astronomer-Royal  for 
Ireland  ; this  is  about  a million  and  a-half  of  miles  further 
off  than  most  of  our  school-book3  used  to  tell  us,  and  the 
worst  of  it  is  that  by  the  time  these  are  corrected,  it  is 
more  than  likely  a still  further  modification  of  the  distance 
will  be  decided  upon  by  astronomers. 


Our  French  neighbours  have  now  put  into  practice  the 
idea  of  employing  a camera-obscura  to  watch  military 
operations  of  danger,  such  as  the  proof  of  guns  and  testing  of 
armour-plate  targets.  The  plan  in  this  country,  for  some 
quarter  of  a century  past,  has  been  to  take  photographs 
at  the  end  of  an  experiment,  and  thus  to  place  on  record 
the  result,  say,  of  bombarding  an  ironclad  with  heavy 
artillery.  Such  photographs  are  obviously  of  considerable 


importance,  as  showing  us  how  stout  a ship’s  side  must 
be  built  to  keep  out  armour-piercing  projectiles. 


But  our  artillery  experimentalists  do  not  witness  the 
actual  firing,  except  in  so  far  as  they  may  get  a peep  of  it 
from  some  retired  corner.  This  the  French  artillerists 
hold  to  be  a mistake ; they  think  as  much  almost  may  bo 
learnt  from  actually  observing  the  experiment,  noting  how 
the  shot  strikes  the  target,  and  how  the  target  behaves 
when  struck,  as  from  the  results  afterwards.  For  this 
reason,  a camera-obscura  is  erected  with  bomb-proof  walls, 
overlooking  the  proof  and  experimental  ground,  and  hero 
the  whole  affair  may  be  watched  in  safety.  The  only  por- 
tions of  the  building  exposed  to  injury  are  the  lens  and 
mirror,  but  these  are  too  small  and  placed  too  high  to  run 
much  danger.  In  any  case,  the  plan  is  found  to  be  a practi- 
cable one,  and  the  French  officers,  thanks  to  the  aid  of  the 
camera,  are  able  to  watch  the  behaviour  of  both  shot  and 
target  at  the  moment  of  impact. 


By  the  way,  the  use  of  a mirror,  if  not  of  a camera- 
obscura, , is  always  to  be  recommended  whenever  there  is 
danger  to  the  photographer.  It  is  rarely  that  the  reversal 
of  the  image  is  of  importance,  but  this  matter  can  always 
be  put  straight  afterwards,  if  necessary.  It  is  not  so  long 
ago  that  we  successfully  photographed  a “blow-up  ; ” by 
screening  self  and  camera  safely  behind  an  iron  mantelet, 
and  only  having  a small  mirror  exposed  to  the  risk  of  a 
flying  splinter  or  errant  brick-bat.  Even  in  the  event  of 
the  mirror  being  broken,  this  does  not  affect  the  photo- 
graphic result,  for  in  any  case  the  shutter  has  acted,  and  the 
photograph  has  been  secured,  long  before  the  arrival  of  any 
missile. 


1 atfnt  Jutflligctttt. 

Grant  of  Provisional  Protection. 

358 i.  John  Frederic  Cooke,  of  6,  Oxford  Court,  Cannon  Street, 
London,  for  an  invention  of  “ Improvements  in  frames  for 
photographs  and  other  pictures.” — Dated  21st  July,  1883. 

3709.  Francesco  Antonio  Marra,  of  69,  New  Bond  Street,  in 
in  the  county  of  Middlesex,  Artist,  for  an  invention  of  “Im- 
provements in  the  manufacture  or  production  of  backgrounds 
for  photographic  and  other  pictures.” — Dated  30th  July,  1883. 

Patents  Sealed. 

1650.  Richard  Reynolds  and  Frederick  Woodward  Bran- 
son, of  the  firm  of  Reynolds  and  Branson,  of  Leeds,  in  the 
county  of  York,  for  an  invention  of  “Improvements  in  photo- 
graphic ‘ shutters  ’ for  instantaneous  photography.” — Dated 
2nd  April,  1883. 

Specification  Published  during  the  Week. 

748.  John  Henry  Johnson,  of  47,  Lincoln’s  Inn  Fields,  in  the 
county  of  Middlesex,  Gentleman,  “ Improvements  in  the  manu- 
facture of  bichromates  of  potash  and  soda.” — A communication 
to  him  from  Otto  Neuhaus,  Adolf  Nenhaus,  and  Albert 
Neuhaus,  all  residing  at  Elberfeld,  in  the  empire  of  Germany. 
The  patentee  claims  the  manufacture  of  bichromate  of  potash 
or  of  bichromate  of  soda  by  adding  carbonic  acid,  under  pressure 
and  heat  if  necessary,  to  the  chrome  melt  obtained  by  furnacing 
a mixture  of  chrome  ore  with  lime  and  carbonate  (or  caustic) 
potash  (or  soda). 

Patents  Granted  in  Germany. 

24,296.  G.  Bracn,  of  Berlin,  for  “ Interior  obturators  for  photo- 
graphic object  glasses.” — Dated  8th  December,  1882.  Class 
57. 


634 


THE  PHOTOGRAPHIC  NEWS. 


[October  5,  1883. 


Patents  Granted  in  Prance. 

153,892.  Neubek,  for  “ A portable  mount  for  transparent  photo- 
graphs.”— Dated  22nd  February,  1883.  Class  17. 

163,984.  Messrs.  West,  for  “ Reproduction  of  photographs.” — 
Dated  27th  February,  1883.  Class  17. 

Patent  Granted  in  America,  September  18, 1883. 
285,008.  John  Thomas  Burke,  Nebraska  city,  for  “ Photo- 
grapher’s electric  retouching  point.”-  Filed  June  1st,  1883. 
No  model. 

A retouching  needle  is  connected  with  the  vibrating  spring  of 
an  electrical  motor,  similar  to  that  ordinarily  used  for  actuating 
electric  bells. 


name  indissolubly  connected  therewith.  The  principal  object  of 
this  lamp  to  quote  his  own  words,  is  “ to  give  neither  * smoak  ’ 
nor  smell,  and  to  give  considerably  more  light  than  any  lamp 
hitherto  known.”  His  first  structure  had  simply  a chimney*  of 
iron  suspended  over  the  flame,  which  was  afterwards  exchanged 
for  one  of  glass.  The  wick  was  circular  and  hollow,  thereby 
admitting  of  a current  of  air  on  both  sides  the  flame.  The  up- 
rush  of  heated  products  of  combustion  from  the  top  of  the 
chimney,  induces  an  equal  ingress  of  fresh  air  below  (Fig.  2). 


NEW  FORM  OF  SELENIUM  CELL,  WITH  SOME 
REMARKABLE  ELECTRICAL  DISCOVERIES  MADE 
BY  ITS  USE. 

BY  C.  E.  FRITTS  OF  NEW  YORK.* 

Professor  Mendenhall  stated  that  in  the  absence  of  the 
author  he  was  able  to  give  only  a brief  summary  of  the  paper. 
In  the  ordinary  method  of  making  selenium  cells,  they  are 
constructed  of  a great  many  portions  put  side  by  side  ; the 
resistances  are  necessarily  very  high  in  these  cells,  and  the  light 
is  allowed  to  strike  in  the  direction  of  a right  angle  to  the 
direction  of  the  passage  of  the  current.  Mr.  Fritts  seems  to 
have  devised  a different  mode  of  operating  these  cells  by  using 
a very  large  surface,  and  in  that  way  has  succeeded  in 
diminishing  the  resistance  very  greatly,  which  is  very  desirable. 
He  has  resistance  as  low  as  nine  or  ten  ohms  in  the  dark.  The 
radical  point  of  difference  is,  that  in  this  case  the  light  is 
allowed  to  strike  upon  the  cell  in  the  same  direction  as  the 
current.  He  states  that  he  has  discovered  many  remarkable 
properties  by  means  of  his  investigations  with  the  instrument. 
When  a cell  of  this  kind  breaks  down,  it  can  easily  be  remedied 
and  repaired  ; in  fact,  there  is  no  danger  or  difficulty  of  their 
breaking  down  permanently. 


SOLID  AND  LIQUID  ILLUMINATING  AGENTS. 

BY  LEOTOLD  FIELD,  F.C.S.f 
Passing  now  to  oils  actual,  and  vegetal  oils  in  particular — for  I 
take  the  palm  and  cocoanut  oils  to  hold  an  intermediate  position 
between  solid  fats  and  liquid  oils — we  come  to  an  immense  class 
of  seeds,  used,  some  only  in  their  native  countries,  and  many 
universally,  for  producing  illuminating  oils.  The  chief  oil  of 
the  old  time  was  olive  oil,  which  now,  however,  is  rapidly  being 
promoted  to  the  rank  of  an  edible,  there  being  nothing  special, 
either  in  its  price  or  its  light,  to  authorise  its  further  supremacy 
I have  here  several  specimens  of  the  olive,  but  this  small  dark 
berry,  the  Olea  Europcea,  is  the  olive  of  Italy  and  the  East : the 
fruit  of  those  silver-grey  forests  so  familiar  to  all  who  have 
travelled  along  the  Riviera  and  Palestine.  The  finest  oil — what 
is  called  virgin  oil — is  obtained  from  the  berries  by  gentle 
crushing  ; the  inferior  qualities  are  the  result  of  harder  pressure 
and  ultimate  boiling.  But  little  olive  oil  is  now  obtained  pure, 
and  that  which  is,  is  almost  entirely  devoted  to  culinary 
purposes.  It  is  noteworthy  that  the  Italian  mill-owners  them 
selves  find  it  cheaper  to  burn  petroleum  in  their  lamps,  than 
their  own  produce.  After  the  invention  of  Argand,  colza  oil 
from  the  seeds  of  the  Bratsica  Europcea,  was  very  largely 
employed,  as  giving  a brilliant  light  at  a small  cost,  and  this 
vied  with  sperm  oil  for  a long  time  ; but  as  olive  is  now 
adulterated  with  colza,  so  colza,  in  its  turn,  was  adulterated 
with  rape,  and  all  of  them  find  rivals  in  Continental  countries  in 
ground  nut,  sesame,  poppy,  and  other  oils,  all  of  which  have 
characteristics  more  or  less  desirable. 

Perhaps  no  link  of  importance,  from  the  old  bronze  lamp  of 
Herculaneum,  to  the  exquisite  combination  of  high  art  and 
supreme  light  lent  me  by  Messrs.  Williams  and  Bach,  in  their 
Ibis  lamp,  is  omitted.  I will,  however,  not  dilate  upon  beauty 
or  quaintness  of  form,  but  content  myself  with  expounding  the 
principles  of  such  as  appear  to  me  to  constitute  an  essential  link 
or  step  forward.  The  first  invention  of  note  must  be  considered 
that  of  Ami  Argand,  who,  in  July,  1784,  took  out  a patent,  which 
rendered  the  lamp  practicable  as  a domestic  luminant,  and  his 

• Communication  to  tbo  American  Association  for  the  Advancement 
Science. 

t Continued  from  page  620. 


Principle  of  Argand  Burner. 

The  arrows  show  direction  of  air  currents. 

By  discreet  adjustment  of  size  and  position  of  the  chimney  and 
wick,  the  supply  of  air  is  regulated  to  exactly  impinge  on  the 
portion  of  the  flame  where  the  heated  vapours  come  into  contact 
with  the  atmosphere,  and  consumes  the  excessive  carbon,  which 
would  otherwise  appear  as  smoke.  This  invention  underwent 
numerous  modifications,  at  the  hands  both  of  the  originator  and 

• The  chimney  had,  however,  been  suggested  previously  by  Quinquet. 


October  5,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


635 


others,  but  the  principle  remained  unaltered.  Argand’s  lamp, 
after  successive  improvements,  consisted  of  the  following  parts : — 
An  annular  tube,  on  which  the  wick  was  stretched  ; a reservoir 
which  contained  the  oil ; a pipe  leading  from  the  reservoir  to 
the  wick,  and  a holder  for  the  glass,  which  imparted,  on  turning, 
a spiral  motion  to  the  wick,  and  thereby  adjusted  the  flame. 
The  reservoir  was  of  the  kind  known  as  the  “ bird  fountain,’’ 
whereby  a bubble  of  air  entering  the  small  orifice  at  the  base  allows 
the  egress  of  a small  quantity  of  oil.  This  was  first  put  into 
practice  by  Miles,  in  1781 ; and  has  since  been  applied  to  a very 


Hero’s  Bird  Lamp. 


A B E F,  reservoir  of  salt  water,  which,  flowing  into  the  air-tight 
chamber  C D E F,  through  the  tap  E,  forces  the  air  up  the  tube  M,  into 
the  oil  reservoir  K L.  The  air,  again,  pressing  upon  the  oil  in  K L,  it  is 
forced  up  tube  0,  into  the  beak  of  the  bird,  whence  it  drops  into  the  reser- 
voir P,  and  hence  is  drawn  off  by  the  wick  to  burn  at  the  tail. 

numerous  class  of  lamps,  especially  those  known  as  “ reading 
lamps,”  where  the  reservoir  is  higher  than  the  wick.  Argand’s 
lamp  was  suitable  for  both  colza  and  sperm  oils.  As  the  shape 
was  ungainly,  many  expedients  were  devised  whereby  the  flame 
could  be  fed  from  a reservoir  below.  Carcel,  in  1798,  brought 
out  a lamp  which  was  almost  universally  used  for  many  years 
in  France.  The  principle  of  this  was  pumping,  by  two  little 
clockwork  pumps,  a supply  of  combustible  to  the  wick.  The 
only  objection  to  this  is  the  constant  need  of  repair  to  which  the 


delicate  mechanism  is  liable.  The  supply,  when  in  good  order, 
however,  was  so  extremely  steady  as  to  cause  this  lamp  to  be 
taken  on  the  Continent  as  a standard  of  illumination.  The 
problem  of  securing  an  unvarying  supply  of  oil  without  such 
complicated  mechanism  was  one  which  taxed  the  ingenuity  of 
many  makers.  A very  favourite  means  was  that  of  hydrostatic 
power,  whereby  a heavier  liquid  solution  was  made  to  raise  the 
lighter  oil  equably,  as  it  consumed.  This  idea  was  evolved  from 
the  fertile  brain  of  Hero  of  Alexandria,  200  b.C.  In  Fig.  3,  a 
device  is  shown  for  solving  the  paradox  of  causing  a liquid  to 
rise  above  its  own  level,  by  the  flow  of  a heavy  salt  solution,  into 
an  air-tight  chamber,  the  air  being  driven  into  the  oil  reservoirs 
above,  and  forcing  out  the  oil  into  the  lamp. 

(To  be  continued.) 


STEREOSCOPIC  TRANSPARENCIES  APPLIED 
TO  PORTRAITURE.* 

The  time,  we  think,  has  arrived  when  the  profession  for  their 
profit,  and  amateurs  for  their  pleasure,  may,  by  concerted  action, 
bring  about  a renaissance  of  stereoscopic  portraiture,  more 
especially  in  the  direction  of  transparencies. 

It  is  generally  conceded  by  photographers  themselves  that 
stereoscopic  transparencies,  when  well  executed,  form  the  very 
highest  and  most  captivating  of  the  numerous  applications  of 
the  photographic  art.  And  when  feeling  this  themselves, 
it  does  not  appear  an  exceedingly  difficult  matter  for  photo- 
graphers, by  making  an  effort,  to  get  a portion,  at  any  rate,  of 
their  patrons  to  become  similarly  imbued  with  love  for  a thing 
that  is  really  excellent  in  itself.  That  an  attempt  to  introduce 
this  class  of  work  would  in  many  cases  prove  successful  will  be 
seen  from  the  following  incident,  which  occurred  only  a few 
weeks  ago. 

A professional  friend  who  takes  all  his  carte  negatives  with 
a binocular  camera,  and  selects  for  finishing  or  retouching  the 
best  of  the  two  images  thus  obtained,  had  occasion  to  take  a 
portrait  of  a young  lady  with  her  father  standing  behind  leaning 
upon  her  chair.  The  proof  when  submitted  was  approved. 
Knowing  that  the  photographer  had  several  years  ago  been 
very  skilful  as  an  amateur  in  transparency  work,  we  urged  upon 
him  the  expediency  of  making  an  experiment  with  the  negative 
of  the  gentleman  and  his  daughter.  He  demurred  a good  deal 
at  first,  admitting  that  while  the  negative  was  quite  perfect  for 
producing  a stereoscopic  picture,  he  was,  he  said,  quite  sure 
that  it  was  so  much  a thing  of  the  past  that  no  one  would 
care  for  it.  We  overruled  his  scruples,  and  this  is  what 
resulted  . a note  having  been  sent  requesting  the  gentleman  to 
call  to  see  something  concerning  the  cartes  when  finished,  he 
accordingly  visited  the  photographer,  who  with  a few  words  of 
apology  of  a nature  flattering  to  the  parties  concerned,  explained 
that  he  had  been  induced  to  prepare  a stereoscopic  transparency 
from  the  negative,  at  the  same  time  handing  him  a stereoscope 
containing  the  transparency.  We  were  present  at  this  interview^ 
and  can  testify  to  the  ejaculations  of  wonder  and  admiration 
indulged  in.  The  result  was  gratifying  to  the  artist,  and  in  one 
sense  unexpected,  for  the  gentleman  insisted  on  having  both 
the  transparency  and  the  stereoscope,  paying  for  them  with  the 
utmost  readiness  a sum  very  greatly  in  excess  of  that  given  for 
the  original  order.  And  when,  within  two  days  after,  the 
mother  and  one  of  the  sons,  and  soon  after  that  other  friends  of 
the  family,  came  to  sit  for  stereoscopic  transparencies,  the  artist 
became  convinced  that  there  was  really  something  in  our 
suggestion,  and,  like  a man  of  sense,  he  will  profit  by  it  to 
the  full. 

But  to  insure  a real  success  the  work  must  be  done  thoroughly 
well.  An  indifferently  executed  stereoscopic  transparency  is 
worse  than  a print  on  albumenized  paper.  And  having  said  so 
much  by  way  of  introduction,  we  now  grapple  with  the  great 
practical  question  : What  is  the  best  method  of  making  stereo- 
scopic transparencies  ? 

First  of  all,  we  would  advise  such  of  our  readers  as  have  never 
seen  a first-class  transparency  to  make  an  earnest  endeavour  to 
do  so.  This  is  by  no  means  an  easy  thing  now  on  account  of 
their  scarcity.  Occasionally  some  specimens  by  the  late  firm  of 
Ferrier  and  Soulier,  Paris,  are  to  be  met  with,  but  this  is  only 
seldom  ; and  a recommendation  of  those  chef  d’teuvres  of  photo- 
graphic art  is  at  the  present  time  rather  unsafe  from  the  sad 
fact  of  several  having  lost  the  lovely  tone  which  constituted  one, 
and  not  the  least,  of  their  charms. 

* rhvtograjihic  Times. 


636 


TEE  PHOTOGKAMIC  NEWS. 


The  transparencies  of  the  late  Mr.  Breese,  of  England,  are 
models  of  excellence,  and,  so  far  as  we  are  aware,  none  of  them 
have  faded ; but  alas  ! it  is  impossible  to  obtain  them  through 
the  usual  channels  of  commerce.  One  might  offer  four  or  even 
six  times  their  original  price  for  a single  specimen,  only  to 
receive  a 6hake  of  the  head  by  way  of  reply.  And  the 
significant  fact  is  that  in  most  cases  they  are  in  the  possession 
of  photographic  amateurs.  Fifteen  years  ago  Mr.  John  Stuart, 
of  Hammersmith,  bade  fair  to  be  the  “ coming  man  ” as  regards 
the  beauty  of  the  tones  of  his  stereoscopic  transparencies  ; but 
in  an  evil  hour  (or  good,  as  the  case  may  be)  he  was  at  the 
beginning  of  his  career  absorbed  by  a large  optical  firm,  of 
which  at  this  day  he  is  the  chief  manager.  Stuart’s  trans- 
parencies were  permanent,  and  therein  have  the  advantage  over 
those  of  Ferrier.  On  the  processes  employed  by  these  respective 
representative  men  we  shall  speak  presently. 

For  obtaining  negatives  suitable  for  steoeoscopic  trans- 
parencies, or  stereoscopic  pictures  of  any  kind,  any  camera 
exceeding  seven  inches  in  width  will  answer.  The  camera 
which  we  prefer,  as  combining  the  greatest  number  of  advantages 
is  one  adapted  for  5 by  8 plates,  having  two  fronts,  one  containing 
a pair  of  lenses  for  stereoscopic  purposes,  and  one  lens  alone  for 
covering  full  size  of  plate  being  affixed  to  the  other  front. 

Suppose,  then,  that  we  have  got  a stereoscopic  negative  on  a 
plate  of  the  dimensions  just  given,  what  is  the  next 
proceeding  ? Transparency  printing  must,  to  be  successful,  be 
effected  in  a camera.  A stereoscopic  transparency  camera  may 
be  formed  of  the  camera  in  which  the  negatives  were  taken,  but 
it  is  infinitely  better  and  more  convenient  that  one  be  con- 
structed specially  for  the  purpose.  It  consists  of  a long  box, 
having  ends  capable  of  sliding  in  and  out  for  adjustment, 
although  in  the  case  of  the  individual  who  makes  a regular 
business  of  such  work,  and  has  no  desire  to  step  aside  for 
experimenting,  such  is  not  really  required.  At  one  end  of  this 
box  must  be  a frame  in  which  to  place  the  negative  to  be 
printed  from,  and  at  the  other  a recess  for  containing  an 
ordinary  dark  slide  of  the  usual  construction  capable  of  holding 
a plate  3|  by  6|  inches — this  being  the  standard  dimensions  of 
the  stereoscopic  transparency.  Midway  between  these  ends  is 
a frame  which  divides  the  entire  body  of  the  camera  into  two, 
and  into  this  frame  are  screwed  two  lenses,  accurately  paired, 
situated  so  as  to  be  just  twice  their  solar  focus  from  each  end. 
Many  of  the  French  stereoscopic  artists  employ  single 
achromatic  lenses  of  three  and  a half  inches  focus,  and  the 
distance  between  the  lenses  and  either  end  is  seven  inches, 
making  the  camera  fourteen  inches  long  altogether.  Whatever 
lenses  be  employed,  it  is  only  necessary  to  multiply  the  focus  by 
fou  r,  and  the  total  length  of  the  camera  is  at  once  ascertained, 
provided  it  is  intended  to  limit  the  scale  of  the  image  on  the 
transparency  to  that  of  the  negative.  If,  as  will  be  found  very 
desirable,  it  is  intended  that  the  transparency  be  a little  smaller 
or  larger  in  scale  than  the  negative,  then  it  is  necessary  that 
the  ends  of  the  copying  camera  shall  not  be  placed  at  a hard  and 
fast  fixed  line,  but  be  capable  of  being  moved  in  or  out  to  allow 
of  a slight  departure  from  the  scale  of  representation  on  the 
negative.  The  lenses  should  not  be  screwed  on  the  central 
division  itself,  but  upon  movable  pieces  capable  of  sliding  in  a 
horizontal  direction  so  as  to  adjust  with  the  utmost  degree  of 
nicety  the  positions  of  the  respective  halves  of  the  negative  upon 
the  ground  glass.  To  facilitate  such  adjustment,  and  also  to 
insure  the  picture  being  of  the  shape  desired,  whether  square, 
cushion  shaped,  oval  or  dome  shaped,  it  is  advisable  that  two 
masks  of  the  form  desired  be  placed  immediately  in  front  of 
the  dark  slide,  and  that  the  centres  of  the  openings  in  these 
masks  shall  be  a less  distance  apart  than  the  distance  between 
the  average  human  eyes.  The  penalty  one  has  to  pay  for 
having  the  pictures  to  exceed  this  is  the  great  difficulty  that 
will  be  experienced  by  the  observer  in  getting  such  pictures  to 
coalesce  when  examined  in  the  stereoscope.  For  want  of  this 
knowledge,  some  photographers  have  produced  stereoscopic 
work  which  was  excellent  in  every  other  respect,  yet  because  of 
this  became  a “ drug  in  the  market  ” and  acquired  a bad 
reputation.  The  greater  the  distance  existing  between  the 
centres  of  pictures  mounted  for  examination  (and  this  docs  not 
apply  to  the  negative  or  the  lenses  on  the  camera  in  any  way), 
the  more  of  the  subject  it  is  possible  to  include  in  the  picture, 
and  vice  versa.  The  individual  parts  of  the  subject  in  a 
mounted  picture  should  never  exceed  3 J inches.  But  in  many 
of  the  choicest  stereoscopic  pictures  iu  our  possession  by 
Kilburn,  Frank  Nowell,  and  others,  we  find  3J  inches  to  be  the 
distance  apart  which  comes  best  to  the  eye  and  insures 


[October  5,  1883. 


coalition  without  any  straining.  This  latter  distance,  therefore, 
is  what  we  would  advise  as  the  maximum. 

In  that  half  of  the  copying  camera  nearest  to  the  sensitive  plate 
there  must  be  a longitudinal  partition  dividing  the  camera  into 
two.  A partition  of  this  nature  may,  if  so  preferred,  be  made 
to  divide  the  camera  throughout  its  entire  length  from  front  to 
back,  but  it  is  not  at  all  necessary  in  the  front  half.  No 
anxiety  need  be  entertained  concerning  the  reversion  of  the  two 
images,  as  the  lenses  will  effect  this ; hence  no  cutting  or 
preparation  of  the  negatives  is  required.  The  lenses  must  now 
be  separated  from  or  brought  nearer  each  other  until  the 
precise  portions  of  the  picture  desired  to  be  shown  are  properly 
adjusted  on  each  end  of  the  ground  glass.  A very  small  stop 
should  be  employed  in  the  lens. 

Next,  as  to  process : most  of  the  French  transparencies  are 
taken  on  albumen,  developed  with  gallic  acid,  and  toned  with 
mercury.  It  is  for  this  reason  we  have  expressed  a doubt  as  to 
the  condition  of  the  once  fine  transparencies  of  Ferrier,  for  we 
regret  to  say  that  several  of  the  finest  productions  of  this  artist 
in  our  possession,  which  at  one  tima  had  a charming  degree  of 
transparence  in  the  rich  brown  shadows,  are  now  of  a smudgy 
black  tone,  with  indications  of  eventually  passing  into  a sickly 
yellow.  Stuart’s  transparencies  were  made  by  the  wet  collodion 
process,  developed  with  iron,  fixed  with  cyanide,  and  toned  with 
persulphate  of  uranium  and  ferri-cyanide  of  potassium.  These, 
we  are  glad  to  say,  still  retain  the  rich  brown  purplish  bloom 
they  originally  had,  and,  so  far  as  we  can  perceive,  have  not, 
during  the  fifteen  years  they  have  been  in  our  possession, 
suffered  change  in  the  slightest  degree.  A colder  tone,  and  one 
equally  durable,  can  be  obtained  by  immersion  in  a greatly 
diluted  solution  of  chloride  of  platinum. 

Although  we  are  well  aware  that  many  admirable  trans- 
parencies may  be  and  are  produced  on  gelatine  films,  yet  we 
find  that  those  who  make  a speciality  of  transparency  work  seem 
to  prefer  collodion,  whether  wet  or  dry.  The  great  bulk  of 
transparency  printing  is,  we  believe,  effected  by  wet  collodion. 

We  have  referred  to  Breese’s  stereoscopic  transparencies. 
These  we  understand  were  all  made  on  wet  collodion,  and 
developed  by  pyrogallic  acid  instead  of  iron.  The  tone  required 
was  obtained  by  the  developer  alone,  no  subsequent  toning 
being  had  recourse  to. 

The  backing  of  a transparency  is  a powerful  factor  in  securing 
for  it  a favourable  reception.  A fine  transparency  if  backed  by 
a plate  of  ground  glass  is  simply  spoilt  unless — which  is  not 
likely  to  be  the  case — the  ground  surface  of  the  glass  be  so  fine 
as  not  to  show  its  grain  even  when  examined  by  a magnifying 
glass  having  a moderate  degree  of  power.  If  a stereoscopic 
transparency  be  mounted  upon  a plate  of  the  average  sort  of 
ground  glass  and  then  examined,  it  will  be  found  to  have  A 
coarse  granularity  all  over,  with  an  offensive  snowy  appearance 
in  the  whites.  Now  remove  the  ground  glass  and  substitute 
for  it  a plate  of  opal  glass,  and  notice  how  the  whole  character 
of  the  picture  has  become  changed.  The  whites  are  now  pure 
and  soft,  and  the  most  delicate  details,  which  were  formerly 
obscured  by  the  ground  glass,  are  now  plainly  visible.  Besides, 
it  is  not  now  necessary,  as  it  was  before,  to  hold  up  the  picture 
directly  against  the  light  in  order  that  it  should  be  plainly  seen, 
for  with  an  opal  backing  the  picture  can  be  quite  plainly  seen 
when  it  is  turned  away  from  the  light  to  the  extent  of  even 
eighty  degrees. 

Both  these  advantages  can  also  be  secured  by  other  and  less 
expensive  means  than  opal  glass.  The  easiest  to  prepare  is  an 
emulsion  of  either  gelatine  or  collodion  and  finely-sifted 
carbonate  of  lead  applied  to  a plain  glass  plate  to  be  used  for 
the  backing.  If  collodion  be  employed  as  the  medium,  it  is 
desirable  to  add  to  every  four  ounces  a few  drops  of  castor  oil, 
and  as  much  Canada  balsam  as  will  fill  the  half  of  a walnut  shell. 
Until  one  has  tried  the  effect  of  mounting  a stereoscopic  trans- 
parency in  this  manner,  he  is  altogether  unaware  of  the  beauty 
that  is  inherent  in  such  pictures. 


THE  UTILIZATION  OF  THE  SUN’S  RAYS  FOR  WARM- 
ING AND  VENTILATING  APARTMENTS. 

BY  E.  8.  MORSE  OF  SALEM,  MASS.* 

Mr.  Morse  drew  attention  to  this  device  a year  ago,  before  the 
National  Academy  of  Sciences.  At  that  time  he  was  able  to 

* Communication  to  the  American  Association  for  thej Advancement  of 
Science. 


October  5,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


637 


offer  only  crude  computations  as  to  the'operations  of  the  heaten 
derived  from  its  use  at  the  museum  of  Salem,  Mass. 

The  device  consists  mainly  of  a slaty  surface  painted  black, 
standing  vertically  on  a wall,  outside  the  building,  with  flues  to 
conduct  warmed  air  to  the  inside.  The  slates  are  inserted  in  a 
groove,  much  as  one  might  place  glass  in  a frame.  One  made 
within  the  last  year  was  three  feet  wide  and  eight  long.  It  was 
laced  where  it  received  the  sun’s  rays  as  directly  as  practicable, 
ts  service  was  to  warm  a room  used  for  a library.  During  an 
entire  winter  the  room  was  thus  made  comfortable,  except  on  a 
few  of  the  coldest  days.  The  current  of  air  passing  through  it, 
when  the  sun’s  rays  impinged  directly  upon  it,  was  raised  about 
30° ; it  discharged  3,20(1  feet  of  warmed  air  in  au  hour. 
This  was  in  the  morning.  At  11.45  the  air  of  the  apartment 
was  raised  29°,  with  3,326  cubic  feet  of  air  discharged  ; at 
12.45,  29°  and  4,119  feet;  at  1.55,  24°  and  3,062  feet;  at  2.  (5, 
20°  and  1,299  feet.  The  room  measured  20  by  14,  and  was  10 
feet  high. 

The  apparatus  works  to  most  advantage  in  a room  that  is 
ventilated  by  an  open  chimney.  But  some  very  good  results 
have  been  obtained  in  closed  rooms.  One  was  cited,  where  the 
air  in  a public  building  was  raised  by  such  means  to  nearly  40° 
above  the  outside  temperature.  In  general,  a difference  of  30° 
to  35°  can  thus  be  secured  during  four  or  five  working  hours  of 
the  day. 

Professor  Mendenhall  stated  that  he  had  seen  the  working  of 
the  apparatus,  and  it  proved  very  satisfactory.  Professor 
Rogers  gave  similar  testimony. 

o 

PHOTOGRAPHY  AND  TRICYCLES. 

Dear  Sir, — Having  read  with  great  interest  the  letters  in 
reply  to  “ Only  an  Amateur,”  on  the  use  of  tricycles  for  out- 
door photography,  and  as  your  correspondent  “ Hard 
Worker  ” does  not  wish  tospend  his  £20  on  a tricycle  until  he 
has  heard  the  experience  of  others  as  being  satisfactory,  to 
him  and  others  who  may  think  of  using  the  machine  next 
season  for  that  purpose,  I offer  my  experience  of  four  years  on 
different  styles  of  machines — on  front-steerers,  hind-steerers, 
and  a Sociable — having  journeyed  from  fifty  to  sixty  miles 
in  a day,  exposing  on  those  days  about  one  dozen  whole- 
plates  ; and  on  smaller  journeys,  about  three  dozen  whole- 
plates.  My  apparatus  weighs  about  forty-six  pounds,  in- 
cluding changing  tent.  The  machine  I recommend  to  an 
average  sized  man  is  a “46-inch”  double-driver  hind- 
steerer,  such  as  the  “ Cheylesmore  ” and  other  good  makes 
of  that  type,  of  which  there  are  several.  My  outfit  is  rigged 
thus  : whole-plate  camera  and  two  slides  are  strapped  on 
the  back  of  the  seat,  with  a bag  hung  over  them  containing 
the  lenses,  &c. ; changing  tent  (which  measures  when  closed 
two  feet  long,  four  inches  deep),  in  which  I carry  my  plates 
in  the  same  boxes  as  they  come  from  the  makers  ; and  an 
empty  one  to  put  them  in  when  exposed.  This  is  strapped 
under  the  seat,  hanging  down  within  six  inches  of  the 
round,  but  is  perfectly  out  of  the  way.  When  in  use,  it 
ts  on  the  seat  of  the  tricycle,  and  saves  an  extra  tripod. 
The  camera-stand  is  strapped  to  the  steering-iod,  and 
everything  is  complete  and  out  of  the  way  of  your  arms  and 
legs,  which  is  a great  boon. 

I travel  at  an  average  speed  of  eight  miles  an  hour  without 
fatigue.  To  those  photographers  who  have  not  yet  got  a 
machine,  and  do  not  mind  making  their  legs  do  a little  extra 
work,  1 would  say,  buy  a tricycle,  and  it  will  be  a source 
of  enjoyment  after  being  shut  up  in  the  studio  best  part  of 
the  day. 

As  to  holidays,  you  will  make  them  pay  by  pulling  up  at 
a gentleman’s  residence,  photographing  it,  groups,  scenery, 
&c.,  which  you  would  not  have  been  able  to  do  had  you  not 
got  a tricycle. 

Any  further  information  of  my  experience  on  photographic 
tricycling,  I will  give  to  a brother  photographer  on  his 
writing  to  G.  Beales,  Photographer, 

Olydist  louring  Club,  £c.,  Spalding. 


Dear  Sir, — It  has  been  with  great  interest  that  I have 
been  watching  the  correspondence  in  answer  to  the  letter 
of  “ Only  an  Amateur,”  in  the  Photographic  News  a few 
weeks  ago,  and  two  points  in  it  have  particularly  attracted 
my  notice.  They  are,  first,  that  all  your  correspondents 
seem  under  the  impression  that  one  cannot  travel  at  a 
greater  rate  than  three  or  four  miles  per  hour,  and  that 
forty  miles  is  the  utmost  that  can  be  covered  in  one  day  ; 
secondly,  not  the  slightest  mention  has  been  made  of  the 
bicycle  as  a means  of  locomotion.  In  my  opinion,  if  the 
roads  are  anything  like  passable,  the  bicycle  is  iufiuitely 
preferable  for  the  worker  of  quarter-plates,  both  on  account 
of  the  less  labour  required  in  propulsion,  and  also  in  the 
greater  distance  which  can  be  covered.  The  camera  and 
backs  may  be  strapped  on  to  the  backbone  just  below  the 
saddle,  whilst  the  stand  can  be  dispensed  with  by  tying 
one  end  of  a four-yard  length  of  whipcord  to  the  head  of 
the  machine,  aud  the  other  end  to  any  convenient  stick, 
stone,  or  bush.  By  means  of  a ball-and-socket  joint 
clamped  on  to  one  of  the  handle  bar3,  the  camera  may  be 
made  to  turn  in  any  direction,  and  will  be  free  from  the 
slightest  vibration.  An  objection  was  raised  the  other 
day  to  this  stand,  or  rather  absence  of  one,  on  the  ground 
that  it  might  be  impossible  to  find  anything  to  which  the 
whipcord  might  be  tied  ; but  I think  that  a moment’s  con- 
sideration will  show  that  there  is  always  a something  that 
will  answer  the  purpose. 

If,  however,  “Only  an  Amateur”  works  a larger  size 
than  quarter-plate,  or  objects  to  bicycles,  I should  advise 
him  to  get  either  a “Salvo”  or  an  “Omnicycle.”  The 
former  will  stand  almost  any  amount  of  rough  work,  whilst 
the  latter,  though  not  so  strong,  is,  owing  to  the  fact  that 
it  has  three  “speeds,”  very  good  for  hill  work.  With 
either  of  these  two  machines,  sixty  or  seventy  miles  a day 
can  be  covered  with  ease  after  a very  little  practice  ; photo- 
graphing on  the  road  being  a very  little  impediment,  since 
at  every  stop  a rest  also  is  obtained,  which  generally 
enables  the  rider  to  make  up  for  lost  time.  Hoping  these 
few  remarks  may  be  of  use  to  your  correspondent, — I 
remain,  yours  truly,  C.  J.  Hyne. 

Bierley  Vicarage,  Bradford,  Yorks. 


Dear  Sir, — It  would  ill  become  me  not  to  send  a word  of 
thanks  to  several  of  your  correspondents  for  their  kindly 
words  of  advice.  I hope  ere  this  letter  sees  the  day  in  your 
paper  to  be  travelling  along  the  pleasant  Warwickshire  lan68 
on  a “Cheylesmore”  which  I have  just  purchased.  The 
hint  about  keeping  dark  slides  and  plates  from  the  dust,  I 
have  carefully  noted. 

One  word  more.  I am  sorry  I have  raised  the  ire  of  any 
professional  photographer.  I had  no  idea,  at  the  lime  I 
wrote,  that  the  tricycle  was  already  in  U3e  by  gentlemen  in 
the  profession,  or  I would  have  turned  direct  to  one  of  these 
for  advice  and  assistance.  Albeit  I have  heard  many 
favourable  accounts  of  tricycle  riding,  I must  own  to  being 
something  of  a sceptic  ; but  from  my  maiden  ride  yesterday, 
I really  am  beginning  to  be  a true  disciple. — Faithfully 
yours,  Only  an  Amateur. 

1st  October,  1883. 

PS.  — I have  looked  back  at  “ A Tour  in  Kent”  by 
Photo-Cyclist,”  but  I find  he  rode  a Bicycle. 


PHOTOGRAPHIC  OPTICS. 

Dear  Sir, — I have  been  looking  at  the  “Lessons  in 
Optics  for  Photographers,”  by  Captain  Abney,  Lesson  VI., 
in  your  last  number,  and  b -g  to  offer  some  remarks  on  points 
which  I think  call  for  notics. 

In  the  explanation  of  “ Distortion  with  a Single  Len',” 
the  reader  is  requested  to  “reflect  on  the  cause  of  astig- 
matism, as  it  has  been  put  before  him,  and  endeavour  to  see 
whether  ail  lenses  should  give  the  same  amount  of  it,  and, 
consequently,  the  same  distortion,”  and  the  concluding  re- 
mark is,  “ for  distortion  is  principally  the  result  of  astig- 
matism.” 


638 


THE  PHOTOGRAPHIC  HEWS. 


[October  5,  1883. 


I think  Capt.  Abney  will  find  he  is  mistaken,  if  he 
will  re-consider  the  subject.  Astigmatism  concerns  the 
form  of  an  oblique  pencil,  distortion  the  direction  of  au 
oblique  pencil.  The  modern  treatment  of  this  subject  com- 
mences with  Airy,  who  employed  the  directions  of  the  axes 
of  excentrical  pencils  to  explain  the  distortion  of  images  in 
the  paper,  which  induced  Coddington,  the  father  of  modern 
optics,  to  re-write  his  treatise.  There  is  no  distinction  more 
essential  to  bear  in  mind  than  this  between  the  investigation 
of  the  form,  and  of  the  direction,  of  a pencil.  For  the  form 
governs  the  distinctness  of^images,  which  may  be  considered 
away  fiom  their  centre  as  loci  of  least  circles  of  confusion, 
and  can  only  affect  the  relative  places  of  points  in  the  image 
by  the  varying  position  of  focal  lines,  or  the  more  or  less 
symmetrical  arrangement  of  rays  round  their  axis  within 
these  circles.  But  it  is  direction  which  governs  the 
places  of  points  in  the  image,  and  which  alone 
has  to  be  practically  considered  with  reference  to 
distortion.  This  is,  as  Airy  viewed  it,  the  effect  produced 
by  the  refraction  of  a lens  on  the  axes  of  excentrical  pencils  ; 
and  this  body  of  axes  should  themselves  be  considered  as 
forming  a pencil  converging  towards  and  diverging  from 
the  stop.  The  form  of  this  pencil  is  the  sum  of  the  direc- 
tions of  all  the  pencils,  and  is  affected  by  aberration  in  a 
manner  generally  quite  different  to  the  form  of  the  indi- 
vidual pencils,  which  are  brought  by  the  lens  to  a focus  at 
the  image  ; whereas  the  approximate  and  only  focus  of  this 
pencil  is  at  the  stop.  Thus  a meniscus  lens  with  the  stop 
on  its  concave  side  gives  somewhat  less  distortion  than 
other  single  lenses  ; not  because  there  is  less  astigmatism, 
but  from  the  peculiar  qualities  of  meniscus  lenses  in  relation 
to  the  aberration  of  such  pencils  so  incident ; the  aberration 
frequently  becoming  negative,  and  so  reducing,  instead  of 
increasing,  what  might  be  called  the  normal  distortion. 

Again,  depth  of  focus,  though  mainly  obtained  only  by 
reducing  the  stop,  is  yet  certainly  affected  to  some  exteut 
by  aberration,  as  in  Dallmeyer’s  patent.  The  practical 
advantages  of  his  plan  are  fairly  open  to  general  criticism, 
as  matter  of  opinion  ; but  its  theoretical  soundness  is  a well- 
known  fact.  A common  practical  test  for  telescopes  is  that 
of  coming  sharply  to  focus.  With  a given  aperature  or  stop, 
this  quality  is  proportional  to  the  accuracy  with  which  the 
aberrations  have  been  corrected,  and  depth  of  focus  is 
obviously  in  an  inverse  ratio. 

The  explanation  of  “ aplanatic  lenses,”  being  incomplete, 
is  not  a fair  subject  for  remark. — I am,  dear  sir,  yours  truly, 

106,  High  Street,  Oxford.  W.  S.  Wuebler. 


OPERATORS’  SPECIMENS. 

Sir, — Not  long  ago,  seeing  an  advertisement  in  your 
paper  for  an  operator  and  retoucher,  I applied  for  the 
situation,  sending  specimens,  &c.  Not  getting  any  reply, 
I sent  again  a courteous  note,  asking  that  specimens  be 
returned  if  1 was  uot  suitable,  and  this  was  done,  but  without 
a word,  and  minus  three  specimens.  In  my  letter  I mentioned 
the  number  of  photographs  sent,  and  I wrote  again  about 
the  deficiency,  but  got  no  answer.  It  is  not  always  easy  for 
operators  to  get  specimens,  and  I think  it  is  anything  but 
kind  of  masters  keeping  them.  1 trust  this  is  an  exceptional 
case  of  like  treatment,  else  how  could  masters  expect  gentle- 
manly employds?  Can  anyone  tell  me  how  to  get  my 
specimens  bact? — Yours  truly,  Retoucher. 

PS. — I enclose  the  name  of  the  advertiser. 

PHOTOGRAPHIC  DEPARTMENT,  ROYAL  CORN- 
WALL POLYTECHNIC  SOCIETY. 

Dear  Sir,  - It  was  to  my  surprise  to  find  that  at  the 
Tccent  exhibition  of  the  above  Society  the  yacht  studies  of 
Messrs.  West  and  Son,  of  Gosport,  were  not  awarded  any 
medal,  tin  y being  in  my  opinion  (as  well  as  in  the  opinion 
of  others)  the  most  deserving  instantaneous  photographs  in 
the  exhibition. 

I was  told  by  an  amateur  photographer,  who  obtained  a 


medal,  that  the  pictures  were  retouched  ; this  I denied  at 
the  time.  But  my  surprise  was  still  greater  on  seeing  the 
“Judges’  Report  ” in  the  Photographic  News,  which  ap- 
pears as  follows  : — “ Messrs.  G.  West  and  Son  send  a frame 
of  studies  of  yachts,  which  evidently  are  elaborately  re- 
touched.” 

I am  at  a loss  to  imagine  why  such  a verdict  has  been 
given.  It  is  certain,  and  can  be  proved,  that  neither  the 
negatives  nor  the  prints  were  retouched  in  any  way  what- 
ever, but  were  truthful  representations  of  yacht  racing,  and 
that  they  were  taken  from  a small  sailing  boat,  and  in  a 
rough  sea,  making  it  a matter  of  more  difficulty.  It  is 
certain  that  the  local  judges,  with  their  London  colleague 
in  this  department,  have  proved  themselves  incapable  of 
discriminating  between  a retouched  photograph  and  an  un- 
touched one.  — I am,  yours  truly,  W.  M.  Harrison. 

40,  Church  Street,  Falmouth,  2bth  September. 

PS. — This  letter  is  a copy  of  one  which  appeared  in  the 
local  paper  of  Falmouth. 


Drottibmgs  at  Soriftifi. 

London  and  Provincial  Photographic  Association. 

At  a meeting  held  on  Thursday,  the  27th  inst.,  Mr.  J.  H.  Hare 
chairman, 

Mr.  T.  II.  Norris  said  that  through  the  courtesy  of  the 
“ Toughened  Glass  Company,’’  he  was  enabled  to  show  some  new 
beakers  and  evaporating  dishes,  much  thicker,  and  about  six  times 
stronger,  than  those  in  ordinary  use.  They  were  said  to  resist 
fracture  to  a very  considerable  extent.  Water  could  be  boiled  in 
them  over  a naked  flame,  after  making  a diamond  cut  across  the 
bottom,  and  they  could  be  thrown  down  with  impunity.  As  an 
example,  an  evaporating  dish  half  filled  with  cold  water,  and 
boiled  over  the  naked  flame  of  a Fletcher’s  improved  patent  solid- 
flame  burner,  was  plunged  quickly  into  a vessel  of  cold  water. 
Although  the  test  was  a severe  one,  the  dish  withstood  the  trial. 

Mr.  Prestwich  suggested  boiling  water  as  before,  end  quickly 
replacing  it  with  cold  water,  and  while  still  warm  dropping  the 
vessel  a distance  of  three  feet  on  to  the  floor.  No  fracture 
occurred. 

A Member  thought  it  unsafe  to  try  severe  methods  of  breaking 
the  vessels.  In  some  cases  severe  treatment  would  not  fracture 
them,  but  in  others  an  ordinary  blow  was  sufficient.  With  Mr. 
Norris’s  permission,  he  would  knock  a beaker  off  the  table.  [Upon 
striking  the  floor,  it  flew  into  innumerable  pieces.  The  vessel 
appeared  about  a quarter  of  an  inch  thick.] 

Mr.  A.  Haddon  found  many  advantages  in  using  toughened 
glass,  and  some  disadvantages  when  it  did  break.  There  was  no 
possibility  of  getting  all  the  parts  together  again,  any  more  than 
it  was  possible  to  collect  all  the  fragments  in  the  familiar 
“ Rupert  drop  ” experiment. 

Mr.  Ashman’s  graduated  measures  were  of  toughened  glass, 
lie  had  not  lost  one  for  more  than  a year. 

Mr.  A.  Haddon  (the  promoter  of  the  idea  of  introducing  new 
members),  after  a few  suitable  remarks,  said  he  would  initiate  the 
custom  by  introducing  two  gentlemen,  who  were  elected  on  the 
last  occasion,  first  to  the  chairman,  and  then  to  the  members 
collectively.  The  gentlemen  introduced,  as  well  as  the  members, 
seemed  favourably  impressed,  each  new  member  addressing  a few 
words  of  sympathy  with  the  objects  of  the  Association. 

Referring  to  a recent  experiment  in  printing  by  means  of 
Mr.  A.  J.  Jarman’s  arc  lamp,  Mr.  W.  E.  Dedexhau  found  that 
if  the  negative  had  been  placed  18j  inches  instead  of  27  inches 
distant,  the  result  would  have  been  similar  to  the  print  made  in 
daylight. 

Mr.  A.  Cowan  thought  there  would  be  a danger  of  making 
the  varnish  tacky  if  the  negatives  had  been  any  nearer  the  lamp. 

Mr.  T.  II.  Norris  suggested  interposing  an  alum  bath,  as  used 
in  microscopic  work  with  oxy-hydrogen  light ; the  heat  rays 
would  be  cut  off  without  stopping  the  actinic  rays.  The  general 
opinion  was  in  favour  of  this  plan. 

Mr.  ILuker,  in  a discussion  on  gelatino-bromide  generally, 
said,  by  adding  a small  quantity  of  gum  ammoniac  dissolved  in 
alcohol,  he  obtained  a splendid  emulsion,  very  vigorous,  but 
having  a tendency  to  clot.  He  thought  if  the  clots  were  broken 
up  or  sifted,  it  would  make  an  excellent  addition  when  making 
bromide  paper. 


October  5,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


639 


Mr.  Bellchamber  was  elected  a member  of  the  Association. 

The  Chairman  announced  that  Mr.  A.  Haddon  bad  arranged 
for  the  first  lecture  of  the  series,  to  be  given  on  the  second 
Thursday  in  October.  The  subject  selected  would  be  “ Emul- 
sions,” by  Mr.  W.  K.  Button,  C.E.  The  Chairman,  having 
thanked  Mr.  Norris  for  the  trouble  he  had  taken,  and  the  ex- 
periments shown,  announced  Mr.  F.  W.  Hart  as  Chairman  on  the 
next  occasion. 


Bury  Photographic  and  Arts  Club. 

The  members  of  the  above  Club  held  their  last  out-door  meeting 
of  the  season  at  Warsley  on  Wednesday,  September  2Gth. 

The  members  having  mustered  in  good  force,  proceeded,  per 
waggonette  and  pair  of  horses,  provided  by  Mr.  Smith,  of  the 
Knowsley  Hotel,  through  Agecroft  and  Swinton,  arriving  at 
Warsley  in  good  time.  The  light  being  good,  numerous  cameras 
were  soon  at  work  taking  views  of  the  Court  House,  Old  Mill, 
and  various  choice  bits  on  the  Bridgewater  Canal.  Having 
viewed  the  monument  erected  to  the  memory  of  the  late  Earl  of 
E.lesmere,  the  members  then  proceeded  to  the  Old  Hall,  the 
residence  of  the  Hon.  Algernon  Egerton.  Having  secured  re- 
minders of  this  place  and  the  new  church,  the  members  then 
adjourned  to  the  Bridgewater  Hotel  and  partook  of  a substantial 
repast,  provided  by  the  landlord,  to  which  they  did  ample  justice. 
The  weather  was  all  that  could  be  desired  at  this  season  of  the 
year,  the  photographs  secured  being  considered  good.  Groups 
of  the  members  having  been  taken  by  the  Hon.  Secretary, 
Mr.  F.  W.  Livsey,  and  Mr.  Dearden,  the  members  returned  home, 
arriving  in  Bury  at  7**l0,  p.m.,  after  sperding  a very  enjoyable 
day. 


Liverpool  Amateur  Photographic  Association. 

A meeting  of  this  Association  was  held  in  the  Free  Library,  on 
Thursday,  the  27th  ult.,  the  Rev.  G.  J.  Banner  in  the  chair. 

The  minutes  of  the  August  meeting  were  read  and  confirmed, 
and  Mr.  G.  H.  Wilkinson  was  elected  a member  of  the 
Association. 

The  Hon.  Secretary  made  the  following  report  of  the 
Society’s  exhibition  of  pictures  at  Southport : — 

On  the  return  of  the  Hon.  Secretary  from  Switzerland,  he 
found  a note  awaiting  him  from  Mr.  Morgan,  asking  for  a photo- 
graphic exhibition  at  Southport  during  the  visit  of  the  British 
Association.  Thinking  that  our  Society  should  accept  the  invita- 
tion of  the  Southport  Committee,  a large  number  of  specimens  of 
photographic  work  were  mounted  or  got  together  ; and  the  Hon. 
Secretary,  accompanied  by  Mr.  J.  A.  Forrest,  went  down  to 
Southport,  on  Tuesday,  September  14th,  with  the  view  of 
arranging  the  exhibits.  The  President,  Mr.  B.  Boothroyd,  met 
the  party  at  the  station,  and  escorted  them  to  the  Skating  Rink 
— the  exhibition  room  of  the  British  Association  soireet.  Much 
to  their  disappointment,  however,  none  of  the  fittings  of  the 
hall  were  in  their  places,  and  the  work  had  to  be  postponed  till 
the  following  day.  On  Wednesday,  the  15th  ult.,  the  President 
and  Secretary  met  in  the  exhibition  hall,  and,  after  a bard  day’s 
work,  by  night  the  exhibits  were  arranged  satisfactorily  by  them, 
in  five  bays  of  the  west  side  of  the  hall.  The  first  series  con- 
sisted of  a number  of  large  views  by  Messrs.  A.  Tyrer,  Booth- 
royd, and  H.  N.  Atkins,  and  enlargements  by  Mr.  W.  Bedford 
and  the  Autotype  Company.  In  the  second  bay  were  placed  a 
collection  of  micro-photographs  by  Mr.  F.  Higgins.  The  third 
group  of  pictures  had  in  the  centre  the  composition  picture, 
“ Wayside  Gossip,”  by  Mr.  Robinson,  exhibited  by  Mr.  H.  Green- 
wood ; Mr.  R.  Crowe’s  series  of  instantaneous  pictures  ; some 
views  of  Ely  Cathedral,  from  calotype  negatives  thirty  years’ 
old,  and  exhibited  in  the  Great  Exhibition  of  1851,  by  Mr.  Crad- 
dock ; four  views  of  Tal-y-Cafu,  by  Mr.  J.  A.  Forrest;  some 
prints  by  the  Rev.  H.  J.  Palmer ; and  an  enlargement  by  Mr. 
Bedford.  Bay  four  consisted  entirely  of  prize  pictures  by  mem- 
bers of  the  Amatenr  Society  of  Great  Britain,  exhibited  by 
Mr.  Watling.  In  the  fifth  compartment  were  the  Rev.  H.  J. 
Palmer’s  collection  of  views  in  France,  Switzerland,  and  Italy, 
taken  in  1883;  and  Mr.  Ellerbeck’s  framed  enlargements  for 
last  year’s  presentation  print  were  shown  on  one  of  the  tables 
in  the  centre  of  the  hall.  The  pictures  remain  at  Southport  on 
view  until  Saturday  next. 

On  the  whole,  the  Society  may  be  congratulated  on  the  dis- 
play of  so  large  a number  of  pictures  of  the  highest  excellence 
on  an  occasion  of  such  interest  and  importance  as  the  visit  of 
the  British  Association  to  Southport  in  1883. 

The  Rev.  H.  J.  Palmer  then  read  the  paper  of  the  evening 


— “Notes  by  a Peripatetic  Photographer  ” (see  page  G28),  illus- 
trating his  remarks  by  passing  round  a large  number  of  nega- 
tives and  prints. 

The  Chairman,  having  referred  in  complimentary  terms  to  the 
communication,  preposed  a vote  of  thauks  to  Mr.  Palmer. 
Mr.  J.  H.  T.  Ellerbeck  seconded  the  resolution,  and  it  was  carried 
unanimously 

The  proposal  for  a last  excursion  of  the  season  was  introduced 
by  the  Hon.  Secretary,  but  after  some  discussion,  in  which 
Messrs.  Corkhill,  Day,  Ellerbeck,  Twigge,  the  Chairman  and 
other  members  took  part,  it  was  found  impracticable  to  make  any 
definite  arrangement. 

Mr.  J.  A.  Forrest  exhibited  a number  of  prints  from  nega- 
tives taken  by  him  at  Knaresborough,  Fountains,  Bolton,  and 
Ripon,  and  presented  the  pictures  to  the  collection  of  the  Society. 

Mr.  A.  Beer  showed  a collection  of  specimen  pictures  illus- 
trating his  work  among  the  old  halls  of  Cheshire  and  Lancashire. 

Mr.  H.  N.  Atkins  exhibited  a fine  transparency  enlarged  from 
a small  negative  in  the  camera. 

The  meeting  shortly  after  adjourned  to  the  last  Thursday  in 
October. 


Mk  itt  4&t 

A Photographic  Action. — At  the  Metropolitan  County 
Court  of  Bloomsbury,  the  Woodbury  Permanent  Printing 
and  Photographic  Company,  carrying  on  business  at  157,  Great 
Portland  Street,  sued  to  recover  from  the  defendants,  Messrs. 
Thompson,  of  85,  Gracechurch  Street,  City,  thesnm  of  £6  13s  2d., 
for  copying,  printing,  and  mounting  a sketch  of  some  apparatus 
executed  by  the  defendant’s  order.  The  defendant  did  not 
appear  ; but  the  plaintiff's  manager,  called,  said  that  he  received 
the  order  in  question  from  the  defendant  Thompson,  who  was  an 
engineer.  The  order  was  given  in  September  1882,  and  was 
to  reproduce,  by  means  of  their  process,  some  drawings  of  appara- 
tus. Mr.  West,  the  defendant’s  collector,  called,  said  he  received 
the  order  from  the  former  witness,  but  he  did  not  execute  it,  as 
it  was  printed  at  their  works  at  Ealing.  The  witness  was  able  to 
produce  a witness  as  to  the  delivery  of  the  order,  and  that  he 
had  called  upon  the  defendants,  who  had  more  than  once  promised 
to  send  on  a cheque.  At  this  stage  of  the  case,  the  learned 
Judge  said  it  was  unnecessary  to  call  any  witness  to  prove  the 
delivery  of  the  goods,  as  the  defend  mts  had  promised  to  pay; 
and  he  ruled  in  favour  of  the  plan  tiff  for  the  full  amount  claimed, 
together  with  the  costs  of  solicitor  and  witnesses,  amounting  in 
the  aggregate  to  £2  5s. 

Seeing  in  the  Dark. — The  following  cases  are  well  authenti- 
cated : (1)  Dr.  Seiler  relates  that  a clergyman  was  one  pitch-dark 
night  attacked  by  a couple  of  foot-pads.  One  of  them  dealt  him 
so  violent  a blow  on  the  right  eye  that,  owing  to  the  surexcitation 
of  the  optic  nerve,  he  was  enabled  to  identify  his  assailants  and 
bring  them  to  justice.  (2)  Suetonius,  speaking  of  the  Emperor 
Tiberius,  says  : “ The  expression  of  his  face  was  noble ; he  had 
very  large  eyes,  with  which,  strange  to  say,  he  was  able  to  see  at 
night  and  in  the  dark,  though  only  for  a short  time  and  immedi- 
ately on  waking  out  of  sleep  ; they  afterwards  grew  dim  again.” 
(3)  Cumenius  relates  the  case  of  a young  fiddler  who  received  a 
sudden  blow  on  his  right  eye  by  the  snapping  of  one  of  the 
strings  of  his  instrument.  He  suffered  great  pain,  and  on  awaking 
the  following  night,  the  bedroom  appeared  lighted  up,  and  he  could 
distinctly  trace  the  pattern  of  the  wall-paper ; on  closing  his  right 
eye,  all  was  dark  again  ; on  re-opening  it,  he  saw  as  before.  (4) 
Feuerbach  reports  the  same  of  Caspar  Hauser,  the  wild  man  of 
the  woods.  (5)  Scblichtegroll,  in  his  “ Necrology  of  the  Germans,” 
informs  us  that  Dr.  Michaelis  in  his  latter  years  could  read  at 
intervals  in  the  dark.  (6)  Kusiner  says  in  his  “ Archives  of  the 
Natural  Sciences,”  that  he  could  generate  sufficient  light  in  his 
eyes  to  enable  him  after  one  of  his  botanical  excursions  to  read  in 
the  dark  a few  passages  from  “ Hoffmann’s  Flora  ’’  to  his  pupils. 
(7)  Siebenhaar  declares  in  his  “ Handbook  of  Judicial  Medicine,” 
that  by  rubbing  and  pressing  his  eyes  he  cculd  obtain  sufficient 
light  to  distinguish  the  steps  of  the  staircase. — Daheim. 

The  Manufacture  of  Celebrities. — There  is  a shop  in  a 
frequented  West-end  thoroughfare  which  exhibits  a notice  that 
the  photograph  of  any  member  of  the  royal  family  can  be  had  for 
Is.  8d. ; but  Miss  Fortescue  is  2s.,  on  account  of  the  supply 
being  limited.  Now  why  should  the  public  rush  madly  to  buy 
photographs  of  an  estimable  young  lady  because  she  happens  to 
have  been  on  the  stage,  and  is  going  to  marry  a well-connected 
y oung  gentleman?  This  wholesale  manufacture  of  celebrities 


640 


THE  PHOTOGRAPHIC  NEWS.  [0cTOBEB  5»  l8s8- 


at  a moment’s  notice  is  one  of  the  features  of  the  age.  I think 
I would  be  photographed  myself  if  I were  sure  that  I had  been 
well  enough  advertised  to  create  a demand.  1 should  stand  in 
front  of  a shop  window  for  an  hour  and  swell  with  pride  to  see 
the  Prince  of  Wales  ticketed  Is.  Sd.,  while  fourpence  extra  was 
asked  for  “Dagonet.” — Referee. 

Keetisg  Time. — Professor  Ball,  of  Dublin,  placed  on  record 
a fine  specimen  of  an  Irish  Bull  in  his  speech  at  the  meeting  of 
the  British  Association.  He  was  talking  about  the  correctness 
of  time-keepers,  and  he  told  his  audience  that  none  of  their 
watches  kept  exact  time,  “for,”  said  he,  “ some  of  them  lose 
one  way,  and  some  lose  the  other.” — Truth. 

Photo.  Portraits  on  Linen. — On  the  d’oyleys  used  at  the 
dinner  given  to  Mr.  Irving  was  a beautiful  photograph  of  the 
eminent  tragedian  himself,  encircled  with  an  attractive  design  in 
embroidery.  The  many  favourable  newspaper  comments  upon 
this  purely  British  notion  have  evidently  fired  the  national 
enthusiasm  of  the  Yankee,  for  the  manufacturers,  Messrs.  Bay’is, 
Gillies,  and  Co.,  of  Newgate  Street,  London,  inform  us  that 
they  have  received  an  order  from  one  house  in  America  (probably 
in  anticipation  of  Mr.  Irving’s  visit)  for  this  same  d’oyley,  that 
will  amount  to  upward  of  £1,600.  The  same  firm  supply  toilet 
sets,  night-dress  cases,  and  table-covers,  as  well  asd’oyleys,  upon 
which  is  photographed  some  one  or  more  celebrity,  the  collection 
forming  a series  of  all  the  principal  men  and  women  of  the  day. 
The  portraits  are  perfectly  fast  in  washing. — Journal  of  Fa  brics. 

Photographic  Club. — The  subject  for  discussion  at  the  next 
meeting  of  this  Club,  October  10,  will  be  “On  the  Best  Methods 
of  Toning  Readv-Sensitized  Paper.” 


$0  &0ms80Bit*ttis. 

***  We  cannot  undertake  to  return  rejected  communications. 
Observer. — You  are  quite  light.  Yrou  will  see  that  this  week 
we  let  them  rest,  and  have  given  some  of  the  other  old  ones  a 

turn. 

Retoucher. — You  had  better  use  either  dilute  gum-water,  or  ono 
part  of  white  of  egg,  with  four  or  five  of  water.  Let  it  tho- 
roughly dry  before  you  proceed  with  the  work. 

J.  W.  B. — A pigmented  tissue  is  made  up  with  vitrifiable  colour 
instead  of  the  usual  carbonaceous  colours,  and  the  print  is  deve- 
loped upon  the  surface  of  the  porcelain.  The  gelatine  becomes 
burned  away  during  the  process  of  firing.  You  may  obtain 
suitable  colours  either  from  a manufacturer  of  potters’  colours, 
or  from  an  artists’  colourman. 

M. — Apply  to  Messrs.  Maclure  and  Macdonald,  Queen  Victoria 
Street. 

C.  R.  O. — Details  shall  be  published  next  week. 

B.  A. — You  will  find  what  you  require  in  another  column. 

B.  J.  T. — When  a transparency  is  to  be  made  for  enlarging,  it  is 
usual  to  use  a tissue  somewhat  more  highly  pigmented  than  that 
required  for  making  ordinary  prints.  The  exposure  should  be 
sufficient  to  give  full  force  to  the  details  in  the  lights,  and  care 
should  be  taken  that  there  are  no  floating  particles  in  the  water 
used  for  developing  the  transparencies. 

Beginner. — Nitrate  of  potassium  is  not  at  all  likely  to  answer  the 
purpose.  You  have  perhaps  made  some  mistake  in  the  name. 
Litho. — 1.  Soak  it  thoroughly  before  applying  the  ink.  2.  Not 
unless  a trace  of  acid  is  present  to  decompose  the  soap.  3.  In  the 
proportion  of  one  part  of  ammonium  bichromate  to  five  parts  of 
elatine.  4.  It  is  liable  to  cause  the  gelatine  to  become  insoluble 
uring  the  time  of  drying. 

Operator. — 1.  Unless  we  misunderstand  the  position  of  affairs,  we 
should  think  you  would  do  well  to  give  up  the  negatives  at  once. 
2.  It  seems  to  us  that  unless  the  damage  was  done  intentionally — 
and  this  can  be  very  clearly  proved — it  will  be  impossible  to  do  as 
you  propose.  3.  We  can  form  no  opinion.  4.  Yes. 

Amateur. — 1.  Coat  it  with  a thick  layer  of  bitumenous  varnish. 

2.  Increase  the  proportion  of  alcohol. 

Warwick  Grey. — Either  of  the  lenses  will  do  your  work 
thoroughly,  and  they  are  about  the  same  price. 

F.  Denman  — The  sensitizing  solution  becomes  weaker  by  use, 
owing  to  the  abstraciion  of  silver;  and  if  you  constantly  make 
up  its  volume  with  an  eighty-grain  solution  of  nitrate  of  silver,  it 
will  not  be  likely  to  go  far  wrong. 

Photo.  Experimentalist. — If  you  place  the  stop  behind  the 
lens,  as  you  propose,  the  direction  of  the  distortion  will  be 
reversed ; so  t mt  of  a square  Would  appear  as  a pincushion- 
shaped figure. 

C.  Johnson  — Tuere  is  not  any  advantage  gained  by  so  doing,  and 
we  recoin irn nd  you  not  to  make  the  proposed  change. 

Bath. — Four  cuntcs,  dissolved  in  a pint  of  water. 

Nitrate. — "1  he  chalk  simply  serves  to  neutralise  the  free  acid. 


Learner. — You  will  find  all  your  questions  answered  in  the 
“ Dictionary  ” this  week. 

J.  Barwick. — 1.  There  can  be  no  doubt  as  to  the  correctness  of 
your  view.  2.  The  proportion  of  sulphuric  acid  must  be  in- 
creased; try  one-third  more.  3.  We  fear  that  it  is  so  far 
damaged  as  to  be  worthless,  but  you  had  belter  take  it  to  a 
camera  maker  and  obtain  his  opinion.  4.  You  are  too  late,  as  a 
patent  which  covers  the  idea  has  been  already  taken  out.  5.  Not 
unless  free  sulphur  is  present.  6.  Eighteen  grains  of  potassium 
bichromate,  dissolved  in  one  ounce  of  water. 

G.  C.  Gripfin. — The  marks  arise  from  the  use  of  a collodion  which 
is  over-iodized  in  relation  to  the  bath  employed ; and  you  may 
remedy  the  mischief  either  by  increasing  the  strength  of  your 
silver  bath,  or  by  diluting  your  collodion  with  a little  plain  collo- 
dion. 

R.  Yomans. — You  must  dry  your  tissue  more  rapidly,  as  bichro- 
mate invariably  tends  to  became  insoluble  if  kept  for  a long  time 
in  a moist  condition. 

Charles  Beverley. — He  would  probably  either  decline  to  give 
you  the  information,  or  endeavour  to  mislead  you ; as  the  m-Hhcd 
is  a trade  secret  of  considerable  commercial  value. 

Printer. — As  far  as  we  can  judge  from  your  description,  the 
negative  is  hopelessly  ruined  ; and  we  imagine  that  your  best 
course  will  be  to  obtain  a reproduction  by  photographing  one  of 
the  prints. 

Puzzled  Assistant. — It  is  merely  another  name  for  collotype,  or 
the  usual  method  of  printing  directly  from  a gelatinous  film. 

A.  B. — We  think  it  is  likely  to  be  due  to  the  accumulation  of  an 
incrustation  of  dirt  inside  the  dishes  used. 

E.  Williams.— 1.  The  lens  to  which  you  refer  is,  although 
excellent,  not  by  any  means  better  than  the  objectives  of  English 
manufacture  to  which  you  refer.  2.  It  is  quite  similar  in  con- 
struction and  general  qualities.  3.  Over  a very  limited  area  they 
will  define  quite  as  well,  but  there  is  a rapid  falling  off  towards 
the  edges.  4.  You  cannot  have  a lens  more  suitable  for  the  pur- 
pose than  that  you  mention,  unless  you  are  prepared  tosacnfico 
definition  at  the  margin  of  the  plate. 


Ilit  Ipliotognyjnc  Itffos  Jtfgistrir. 

Employment  Wanted. 

Reception  Room  or  Spotter  (Lady).— K.  U . , 7,  Marlbro’-rd.,  Up.  Ilolloway. 
Assistant  (Youth)-— M.  J.,  Photo.  News  Office,  5,  Castle-st.,  Jiolborn,  E.C. 
Printer  and  Toner. — Photo.,  4,  Gordon-rd.,  Hornsey,  N. 

Operator  and  Retoucher  (£3  3s.  weekly). — \V.,  c,  o Elliott.  36,  Jewin-st.,  E.C. 
Operator  or  Assist,  (dry  plates).— A.  J.  A.,  10,  Stockbridgc-ter.,  Pimlico. 
Printer  and  Toner. — Nemo,  c/o  Newsagent,  9,  Balls  Pond-rd.,  N. 

Retoucher  & Assistant  Operator. — A.  B.,  106,  Haxton-rd.,  Scarborough. 
Operator  or  Manager.— Operator,  Photo.  News  Office. 

Operator  & Retoucher  (35s.). — D.  Moll,  c/o  J.  Moll,  35,  High-st.,  Chatham 
Printer  (26s.  weekly). — W.  H.  R.,  c/o  Emil  Yieler,  Photo,  Huddersfield 
Operator,  Retoucher,  or  Manager. — P.  E , Photcgraohic  News  Office. 
Operator,  high-class. — Veritas,  Photographic  News  Office. 

Toner  and  Printer.— A.  W.,  1,  Lee-st.,  Kingsland. 

Reception  Room  (Lidy). — W.  P.,  10,  Netherwood-rd.,  Shepherd’s  Bush. 
Manager.— Bonatide,  Hartington-ter.,  E.  Dereham. 

Printer  and  Toner.— W.  M.,  105.  Longmore-st.,  Birmingham. 

Retouching,  Tinting  (Lady).— II.  J.  A.,  Buckingham-st.,  Brighton. 
Landscape  Operator. — A.  B.,  Post  Office,  Aberdeen. 

Retoucher  (German).— Louis  BruOre,  MyrtIc-viHa,  Puller-rd.,  TV.  Barnet. 
Finishing  Enlargements  (Lady). — L.  E.,  Spring  House,  Merton,  S E. 
Collotypic  Piinter  (first-ciass). — F.  R.  D , Photographic  News  Office. 
Improver;  print,  tone,  mount,  Ac  — Z.,  \V.  Gregory,  High-st.,  Marlboro*. 
Operator,  Retoucher,  and  Gen.  Assist. — Edwards,  6,  1'eU  r’s-st.,  Gravesend. 
Woodburytype  AStannotype.-F.  H.  R.,  6,  Upton-  villas,  Norwood  Junction. 
First  Operator  or  Manager  (first-class). — G.  E.  L.,  4,  Ball-st.,  Kensington. 
Operator  (first-class).— 1,  St.  John’s-place,  St.  Peter’s, near  Ramsgate. 

Employment  Offered. 

Assistant  & Portrait  Painter.— Personally,  43,  Piccadilly. 

Reception  Room  and  Retouching. — Personally,  43,  Piccadilly. 

Artist,  for  club  work,  Ac  — Messrs.  Stuart,  47,  Brompton-rd  , S.W. 

Artist  and  Retoucher  (Lady). — F.  Charles,  Belgrave-villa,  Knock,  Belfast. 
Entire  Duties  of  Studio. — T.  T.,  19,  Moor-st.,  Chepstow. 

Operator  (dry-plate).— A.  Z.,  Photo.  News  Office. 

Young  Man  to  keep  books,  Ac. — H.  Spink,  Brighton. 

Ladies  to  Paiut  club  pictures.— F.  J.  Robinson,  s.  Lowestoft. 

Assistant,  for  large  work.— T.  W.,  c/o  Marion  A Co.,  Soho-sq. 

Negative  Retoucher  (Lady).— W.  H.  Midwinter,  Park  at.,  Bristol. 

Assistant  (for  two  months). — Mr.  Thompson,  Omagh,  Ireland. 
A'.bumeniiers,  Floaters. — “ Sun  ” Alb.  Co.,  37,  Westcroft-sq.,  Hammersmith 
Artist  (to  work  up  colours). — T.  C.  Turner  & Co.,  Barnsbury. 

Operator,  wet  and  dry.— A A G.  Taylor,  Queen  Victoria-st.,  E.C. 

Artistic  Retoucher.— W.  Lawrence,  Upper  Sackville-st.,  Dublin. 

Reception  Room  (woman).— Barnes  Jk  Son,  42 1,  Mile  End-rd  , E. 

Printer  A Toner. — Barnes  A Son,  422,  Mile  End  Road,  13. 

Operator  (s  ngle)  for  Bombay.— II.  li„  Marion  end  Co.,  Soho-sq  , W. 
Portrait  Painter  in  Oil. — W.  W. , 3,  Norfolk- vi lias,  Larkhall-rise,  Clapbam. 
Printer,  Vigr.etter,  A Toner  (30/-).— T.  C.  Turner,  In,  Bamsbury-park,  N. 
Improver,  immediately  (board  found). — J.  Willis,  Manor-rd  , Gravesend. 
Artist  (first-class)  for  occasional  work. — A.  B.,  Photographic  News  Office. 
Operator  and  Retoucher  for  Oxford. — Taunt  A Co.,  Oxford. 

Transfer  Hand  (first-class).— A.  A G.  Taylor,  Queen  Victorii-st.,  E.C. 
Operator  A Retoucher,  A Young  Lady  (Kecep.-rm.  j — tJ-Laurcnce-la.,  E.C. 
Assistant  or  Man.  Pliilosoph.  Instrum,  Makers,— Pyro.,  Photo,  News  Office. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVII.  No.  1310. — October  12,  1883. 


CONTENTS. 


FAG* 

The  Photographic  Exhibition  641 

Apparatus  at  Pall  Mall  644 

The  Exhibition  of  Lantern  Slides  at  Fall  Mall  646 

The  Exhibition  Catalogue 64G 

Photographic  Matters  connected  with  America.  By  J.  Traill 

Taylor  64G 

Notes 647 


Patent  Intelligence  

Press  Notices  of  the  Photographic  Exhibition 

Correspondence  

Proceedings  of  Societies 

Talk  in  the  Studio 

To  Correspondents 

The  Photographic  News  Registry 


PAOF 

..  640 
..  650 
..  652 
..  654 
..  65G 
..  656 
..  656 


THE  PHOTOGRAPHIC  EXHIBITION. 

A SOIREE  of  unusual  brilliancy  inaugurated  the  photo- 
graphic exhibition  this  year.  A few  minutes  after  eight 
o’clock  a goodly  company  had  assembled,  and  before 
nine  the  crowd  of  members  and  their  guests  was  so 
numerous  that  in  many  portions  of  the  room  locomotion  wa3 
exceedingly  difficult  There  was  much  to  see  and  much  to 
talk  about,  apart  from  the  pictures,  for  the  annual  soiree 
has  now  become  a recognized  reunion,  where  photographers 
see  more  of  themselves  and  their  friends  in  an  hour  than 
they  do  in  the  whole  preceding  twelvemonth.  Scarcely 
have  half-a-dozen  words  been  exchanged  with  one  acquaint- 
ance than  another  turns  up  at  your  elbow,  and  as  you  begin 
listening  to  the  conversation  of  this  new-comer,  your  eye 
catches  a third  friend  making  his  way  to  you  across  the 
room.  In  these  circumstances  any  careful  inspection  of 
pictures  is  out  of  the  question,  and  if,  by  chance,  you  do 
linger  ten  minutes  over  a frame,  it  is  not  from  choice,  but 
because  you  are  a close  prisoner,  firmly  wedged  against 
one  of  the  screens,  and  unable  to  move. 

That  visitois  will  be  highly  pleased  with  the  collection 
this  year,  we  have  not  the  least  doubt.  If  there  are  no 
very  striking  pictures  in  the  way  of  big  portraits  aDd  ex- 
tensive landscapes,  there  is  much  work  of  high  excellence. 
Not  ten,  but  fifty  amateurs  at  least  have  sent  in  pictures 
alike  distinguished  for  their  artistic  merits  and  their  photo- 
graphic qualities;  while  the  professional  photographer, 
whether  as  a portraitist  or  landscapist,  is  scarcely  repre- 
sented by  a single  frame  of  mediocre  work.  That  the 
hanging  of  the  exhibits  might  have  been  better  in  many 
instances  is  obvious  to  all  who  have  but  casually  glanced 
round,  and  a great  many  pictures  that  fringe  the  floor  and 
ornament  the  cornice  should  doubtless  have  beeu  omitted 
altogether ; still,  the  circumstance  that  room  could  not  be 
found  as  it  was  for  a large  number,  may  be  taken  as  a 
reason  why  some  anxiety  was  felt  to  find  a place,  if  but  a 
humble  one,  for  most  of  the  exhibits. 

Attention  naturally  centres  upon  the  prize  pictures,  or, 
rather,  those  to  which  medals  have  been  adjudged.  The 
awards  were  fifteen  in  number.  To  one  of  the  negatives 
a double  award  seems  to  have  been  made,  viz.,  Mr.  William 
Mayland’s  glorious  sea  study,  “ There  is  sorrow  on  the  sea  ; 
it  cannot  be  quiet”  (23  and  271).  This  is  certainly  the 
finest  photograph  of  the  sea  ever  taken.  The  wonderful 
sense  of  boisterous  motion,  of  rising  and  upheaving,  of 
petulance  and  storm,  of  foaming,  chafing,  turbulent  dis- 
quiet, is  admirably  rendered  in  (.vjry  line  of  Mr.  May  land's 
study.  There  is  the  breaking  wave,  with  its  pouring 
torrent  and  blinding  spray,  and  the  wave,  already  broken, 
whose  creamy  summit  of  white  foam  grows  high  once 
again,  only  to  overturn  presently  nearer  shore  with  yet 
more  violence  and  deafening  roar.  Far  away,  the  black 


waves  are  flecked  with  white  foam,  while,  as  if  in  sympathy 
with  the  angry  waters,  the  threatening  cloud  masses  over- 
head are  eminently  dark  and  low’ring.  Mr.  Mayland  takes 
a medal  for  this  picture,  and  the  Autotype  Company  a 
medal  for  most  skilfully  enlarging  it  to  some  four  or  five 
feet  in  length. 

Mr.  Mayland  exhibits  several  other  studies  of  high  merit. 
There  is  “ Gathering  Clouds,”  for  instance,  a most  charm- 
ing study  of  cloudland,  the  foreground,  in  this  case,  being 
a row-boat  near  the  strand,  whose  deep  shadows  balance 
most  effectively  the  dark  masses  of  cloud  beyond.  The 
“Return  from  a Wreck”  shows  the  Walmer  life-boat 
beating  its  way  to  the  shore  through  surf  and  breakers, 
while  afar  off  in  the  offing  lies  the  craft  she  has  befriended. 

Passing  round  the  gallery  to  the  work  of  the  next 
medallist,  we  reach  the  familiar  name  of  Mr.  H.  P.  Robin- 
son, of  Tunbridge  Wells.  We  are  not  sure  whether  the 
medal  in  this  case  is  given  for  a haymaking  scene,  “ Under 
the  Haycock  Fast  Asleep,”  or  “ A Nor’easter,”  but 
either  of  them  is  well  worthy  of  the  distinction.  “ Under 
the  Haycock  ” (65)  shows  us  two  chubby  babes,  half 
hidden  in  the  brown  hay,  about  which  they  have  no  doubt 
been  playing,  before,  overcome  by  fatigue,  they  made  their 
cosy  nests  and  sank  down  to  sleep.  A group  of  haymakers 
have  discovered  the  little  ones,  and  stand  looking  at  the 
tired  little  figures.  The  idea,  no  less  than  the  execution,  of 
the  picture  proves  that  Mr.  Robinson’s  artistic  ability  has 
lost  none  of  its  cunning,  and  that  he  is  still  to  the  fore  as 
our  highest  authority  in  picture-making.  “ Carrying  Hay  ” 
(62)  is  a companion  study  ; the  haymakers  are  here 
grouped  round  a Kentish  waggon  piled  high  with  hay,  per- 
haps the  last  load  of  home,  for  all  are  resting  from  their 
labours  prior  to  the  carter  making  a start.  Beyond  the  cart 
is  seen  an  open  weald  of  country,  bright  and  sunny  as  in 
June,  such  as  one  often  sees  in  leafy  England,  but  rarely 
elsewhere.  Iu  “A  Nor’easter ” (59),  Mr.  Robinson  has 
gone  to  the  sea-shore  for  his  subject ; a girl  leans  against 
the  weather-beaten  planks  of  an  old  boat,  and  looks  out 
afar  on  the  silv’ry  sea,  the  sharp  crested  waves  telling 
eloquently  of  the  driving  wind  and  biting  weather.  Tbe 
figure,  alone  in  the  landscape,  imparts  a deep  pathos  to  the 
picture  that  the  spectator  cannot  fail  to  appreciate. 

Mr.  Seymour  Conway  wins  his  medal  with  a frame  con- 
taining many  excellent  pictures,  and  not  a single  indifferent 
one.  They  are  briefly  labelled  in  the  catalogue,  “Views 
iu  Switzerland”  (83),  but  no  Swiss  tourist  will  have 
difficulty  in  recognising  the  spots,  so  cleverly  has  Mr.  Con- 
way chosen  his  points  of  view.  The  most  delightful  of 
these  little  sketches  is,  to  our  thinking,  the  Matterhorn, 
where  the  jagged  spire  of  the  famous  peak  is  seen  piercing 
a fleecy  cloud.  In  the  Jungfrau  from  Interlaken,  the 
huge  snow  mouutaiu  is  reudered  with  exquisite  softness 
and  delicacy,  and  the  same  harmony  aud  perfection  pf 


642 


THE  PHOTOGRAPHIC  NEWS. 


[October  12,  1883. 


detail  in  shadow  as  in  sunshine  is  noticeable  in  the  Staub- 
bach  at  Lauterbrunnen.  In  Mr.  Conway  we  have  an 
artist  who  thoroughly  understands  intelligent  development, 
and  who  is  thus  able,  by  his  inuate  technical  knowledge, 
to  produce  just  what  ho  desires.  In  a word,  his  practical 
knowledge  and  ready  hand  permit  him  well-nigh  to  secure 
his  ideal.  This  intelligence  and  happy  skill  in  development 
is  shared  by  two  neighbours — Mr.  Manfield,  of  North- 
ampton, and  Mr.  Brightman,  of  Biistol— whose  beautiful 
work  equals  that  of  Mr.  Conway,  and  about  which  we 
shall  have  something  to  say  later. 

“Noontide”  (132)  is  the  picture  of  Mr.  Herbert 
Berkeley’s  collection  to  which  the  jurors  have  attached 
their  green  label.  We  have  repeatedly  called  attention  to 
Mr.  Berkeley’s  engraving-like  pictures,  and  it  is  with  no 
little  satisfaction  that  we  hail  him  as  one  of  the  victorious 
this  year.  “Noontide,”  we  venture  to  say,  would  not  be 
recognized  at  all  as  a photograph  except  by  an  expert,  so 
free  is  it  from  all  photographic  blemishes.  Printed  in 
platinotype,  it  has  all  the  tone  and  clearness  of  a rare  en- 
graving, its  quiet  harmonious  composition,  no  less  than  the 
absence  of  disturbing  art  canons,  still  further  inducing  the 
belief  that  it  is  the  work  of  a careful  painter  or  etcher. 
A placid  stream,  with  cattle  knee-deep  in  the  water,  a high 
bank  surmounted  by  foliage  beyond  the  ford,  and  a grey 
old  church  in  the  background,  are  the  materials  out  of 
which  Mr.  Berkeley  contrived  the  tiny  drawing  that  has 
secured  him  a medal ; but  he  exhibits  other  pictures 
scarcely  less  taking.  “ A Quiet  Spot  ” (111),  to  wit,  is  a 
sweet  little  nook ; some  limpid  river  here  makes  a lazy 
bend,  and  glides  noiselessly  under  shadow  of  a high  bank 
made  picturesque  by  the  gnarled  roots  of  the  trees  above. 

Professor  W.  F.  Donkin  justly  receives  a medal  for  his 
High  Alp  pictures.  There  is  apparently  no  peak  too  high 
no  summit  too  difficult,  for  this  enterprising  member  of  the 
Alpine  Club,  who  plants  his  camera  on  every  crag  the 
foot  can  reach.  The  “Dent  de  Geant  (140),  of  which 
Professor  Donkin  shows  us  two  magnificent  views,  are 
wonderful  illustrations  of  that  solitary  ice  kingdom  that 
man  penetrates  at  but  rare  and  uncertain  intervals.  In 
one  picture,  we  have  but  the  dark  spire  of  granite  or 
needle,  which  remained  a virgin  peak,  we  believe,  till  last 
year.  It  was  only,  as  may  be  seen  from  the  picture,  by 
roping  the  pyramid,  and  using  other  artificial  aids  of 
ascent,  that  man  at  last  was  able  to  put  it  under  his  foot. 
The  other  picture  of  the  Geant  shows  us  a very  beautiful 
Alpine  scene,  the  soft  snow  ridge  from  which  the  black 
spire  rises  having  that  satin-like  sheen  and  glitter  only  to 
be  seen  in  the  Alps  in  early  morning,  when  the  first  rays 
of  sunshine  strike  aslant  the  crystal  slope  of  virgin  white. 

The  picture  of  Lord  Francis  Cecil’s  yacht  Chittywee  (223), 
that  gaiDS  for  Messrs.  G.  West  and  Son  their  distinction, 
is  more  like  an  exquisite  water-colour  sketch  in  mono- 
chrome than  a photograph.  There  is  the  element  of  racing 
shown  in  every  line  of  the  raking  craft  as,  with  every  stitch 
of  her  broad  canvas  set,  she  dashes  through  the  white- 
crested  waves.  The  figure  at  the  tiller  adds  much  to  the 
artistic  finish  of  the  picture,  as  also  does  the  group  of 
yachts  in  the  distance,  that  gives  so  good  a balance  to  the 
composition.  This  happy  photograph,  Messrs.  West  tell 
us,  was  taken  from  a boat  following  in  the  wake  of  the 
Chiltywee , the  wind  blowing  half  a gale,  and  the  sea  so  rough 
that  to  make  an  exposure  was  found  to  be  exceedingly 
difficult.  Every  one  of  Messrs.  West’s  yachts  will  repay 
close  study. 

The  Autotype  Company,  of  whose  other  work  we  must 
speak  later,  well  deserve  a medal  for  the  skilful  manner  in 
which  they  have  enlarged  Mayland’s  “There  is  sorrow 
on  the  sea;  it  cannot  be  quiet.”  The  tone  and  vigour  of 
the  print  are  excellent,  and  the  original  cloud  shadows,  no 
less  than  the  glorious  changes  in  wave  and  foam,  are 
developed  to  a wonderful  degree.  We  should  have  pre- 
ferred a darker  and  heavier  frame,  but  this  is  a detail 
easily  to  be  remedied, 


The  touching  pathos  of  Mr.  Adam  Diston’s  “ Industry  ’ 
(291)  will  be  acknowledged  by  all.  An  old  woman,  bent 
with  age,  in  black  gown  and  widow’s  cap,  is  busy  at  work 
in  her  lonely  cottage.  Beside  her,  on  a low  stool,  is  her 
basket  of  work,  and  behind,  in  the  background,  is  a spinning- 
wheel.  The  repose  and  quiet  that  mark  the  little  work 
greatly  enhance  its  simplicity,  which  is  not  marred  by  any 
striving  after  the  elaborate,  or  straining  for  effect.  “ After 
the  Storm  ” (290)  is  scarcely  less  finished,  and  of  the 
“ Poor  of  the  Village  ” (292),  another  tiny  composition  of 
Mr.  Diston’s,  one  may  say  the  same. 

Mr.  T.  G.  Whaite  has  already  gained  so  much  distinction 
for  his  artistic  groups,  that  there  is  little  surprise  in  find- 
ing his  name  once  more  among  the  medallists.  This  year 
he  shows  us  life  in  Brittany  among  the  French  proven^als. 
“ A Corner  of  the  Market”  (317)  is  very  quaint,  for  half 
the  picture— or,  one  might  almost  say,  two-thirds  of  it — 
is  empty,  while  the  remainder  is  crowded  with  bloused 
Britou  peasantry  ; one  almost  seems  to  stand  iu  the  empty 
village  street,  looking  on  at  the  crowd  huddled  up  at  one 
end,  and  one  realizes  to  the  full  that  it  is  fair  time,  and 
that  everyone  has  gone  to  the  gathering.  “ The  Market- 
place at  Quimperle”  (316)  is  no  less  life-like : indeed,  the 
same  Hogartliian  character  pervades  every  picture  of 
Mr.  Whaite,  who,  by  the  way,  we  see,  produces  all  his 
work  with  self-made  emulsion. 

Mr.  William  Cobb  may  well  be  compared  to  Mr.  Whaite, 
for  if  the  latter  has  given  us  sleepy  Brittany,  the  former 
shows  us  London  awake,  both  geutlemen  supplying  pic- 
tures redolent  with  life  and  truth.  “ From  the  Top  of  an 
Omnibus”  (372)  Mr.  Cobb  tells  us  his  sketches  were 
secured,  and  it  was  decidedly  a happy  idea  to  choose  this 
point  of  vantage  for  his  observations.  The  most  delight- 
ful of  Mr.  Cobb’s  pictures,  to  our  thinking,  is  Westminster 
Bridge  ; the  foreground  here  is  taken  up  by  a City  omni- 
bus, which  supplies  a massive  shadow,  that  is  in  effective 
contrast  with  the  tall,  softly-limned  towers  of  the  Palace 
of  Westminster  we  see  beyond,  veiled  in  evening  mist. 
“ Fleet  Street,”  if  more  of  a sketch  than  a picture,  would 
be  of  wonderful  assistance  to  any  painter  or  engraver 
desirous  of  giving  a truthful  rendering  of  the  busy  metro- 
polis. Another  photograph,  taken  just  outside  the  Gallery, 
is  full  of  life  and  go ; so  vivid,  indeed,  is  the  motion  and 
traffic  here,  that  you  feel  likely  to  be  run  over  if  you  look 
at  it  too  long. 

Mr.  Bullock,  of  Leamington,  secures  a medal  fora  fine 
portrait  printed  in  carbon  (335).  It  is  that  of  a young 
lady— three-quarter  length  — who  stands  with  a curtain  in 
her  hands,  this  drapery  forming  a simple  and  effective 
background.  The  picture  exhibits  one  of  the  best,  as  it  is 
one  of  the  most  genuine,  ways  of  getting  over  the  back- 
ground difficulty,  since  we  have  the  photograph  with  the 
least  admixture  of  artificial  adjuncts.  The  sweet  face  of 
the  girl,  its  quiet  pensive  look,  render  the  portrait  a very 
charming  one,  while  its  engraving-like  tone  is  exceedingly 
attractive. 

The  new  Staunotype  process  (185)  earned  for  Mr.  Walter 
Woodbury  a medal,  that  gentleman  exhibiting  not  only 
some  exceedingly  good  priuts  by  this  latest  perfection  of 
Woodburytype,  but  also  a ease  of  specimens  showing  the 
whole  process,  from  first  to  last,  of  transforming  the  negative 
into  a printing  block.  So  quickly,  too,  cau  this  transforma- 
tion be  made,  that  in  tiie  case  of  one  picture  Mr.  Wood- 
bury shows — that  from  a uegative  taken  by  the  Chatham 
Engineers— the  negative  was  received  one  evening,  and 
despatched  back  by  noon  on  the  morrow.  These  excellent 
Stannotype  prints,  we  may  remark,  are  not  of  carte  or 
cabinet  size,  but  measure,  several  of  them,  ten  and  twelve 
iuches  in  length. 

Auother  photo-mechanical  process  takes  a medal,  the 
photo-engraving  method  of  Klic,  of  Vienna,  which,  in  the 
hands  of  Messrs.  T.  and  R.  Annan,  of  Glasgow,  who  have 
purchased  the  British  patent,  is  being  woiked  with  most 
excellent  results.  Messrs.  Annan  exhibit  several  examples 


October  12,  1883. 


THE  PHOTOGRAPHIC  NEWS. 


G43 


of  their  photo-engraving  work,  a photograph  of  “ Melrose 
Abbey  ”(476)  beingso  perfect  that  it  would  be  quite  impos- 
sible to  say  off-hand  whether  it  is  the  result  of  camera 
work  or  no.  In  portraiture,  Messrs.  Annau  also  show 
what  they  can  do  by  this  excellent  process,  which  was 
successfully  employed,  our  readers  may  remember,  in  pro- 
ducing the  portrait  of  Mungo  Ponton  which  served  as  a 
frontispiece  to  the  Year-Book  of  Photography  1882. 

It  is  not  very  apparent  why  M.  Lugardon  is  among  the 
distinguished,  for  his  feats  of  rapid  photography  are 
scarcely  novel.  Whether  we  regard  his  leaping  man  and 
galloping  horse  (592)  from  a technical  or  artistic  point  of 
view,  there  is  little  to  attract  attention.  The  falling 
athlete,  for  instance,  exhibited  some  time  ago  by  Messrs. 
Hills  and  Saunders,  was  ten  times  as  good  a picture,  and 
ten  times  a3  wonderful  as  the  dark  ungainly  creature 
M.  Lugardon  shows  leaping  a gate  at  the  moment  of 
casting  his  pole  away. 

Last,  but  not  least,  Mr.  Common,  of  Ealing,  i3  very 
justly  awarded  a medal  for  his  masterly  photograph  of  the 
“Nebulae  of  Orion  ” (472)  taken  in  January  of  this  year 
with  an  exposure  of  thirty-seven  seconds.  The  picture  is 
certainly  the  finest  specimen  of  astronomical  photography 
that  has  yet  hung  on  the  walls  of  a Pall  Mall  Exhibition, 
and  we  trust  that  the  example  set  this  year  in  this  branch 
of  photography  will  be  followed  hereafter,  so  that  visitors 
may  have  an  opportunity  of  viewing  the  deeply  interesting 
pictures  which  the  photo-astronomer  day  by  day  is 
gradually  securing  of  the  wonders  of  the  heavens. 

Our  space  is  too  limited  to-day  to  notice  other  of  the 
pictures  at  any  length  ; but  we  may  here  briefly  sum- 
marise the  exhibitors  and  the  nature  of  their  exhibits. 
Thus,  Captain  W.  de  W.  Abney  shows  landscapes  and  a 
specimen  of  Goupil’s  photo- engraving  process  ; Mr.  Charles 
Audrae,  of  Clapham,  forwards  several  views  of  Cowes ; 
Mr.  E.  H.  Griffiths,  of  Cambridge,  sends  views  on  the 
Thames  ; Mr.  William  Muller,  of  London,  forwards  a col- 
lection of  Swiss  landscapes  ; Mr.  Robert  Murray,  London, 
exhibits  “ Milton’s  Monument  ” and  other  pictures  ; Mr. 
G.  S.  Edwards,  of  Oxford,  sends  a collection  of  sea  views  ; 
the  Autotype  Company  exhibit  a large  collection  of  enlarge- 
ments and  technical  examples ; Mr.  William  Bedford, 
Camden  Road,  has  four  fine  landscapes  ; Mr.  Seymour 
Conway  shows  one  frame  of  pictures  from  Switzerland  ; 
Mr.  W.  Mayland,  of  Deal,  has  sea  studies ; Mr.  Manfield, 
Northampton,  forwards  several  frames  of  Italian  and  Swiss 
scenery;  Mr.  P.  II.  Buxton,  of  Weybridge,  shows  a 
goodly  collection  of  large  landscapes  ; Mr.  E.  Fox,  of 
Brighton,  forwards  many  views  from  his  neighbourhood  ; 
Mr.  T.  M.  Brownrigg  is  represented  by  a numerous  series 
of  Italian  and  English  scenes  ; the  Platinotype  Company 
show  multifold  examples  of  printing  by  their  process ; 
Messrs.  J.  Chaffin  and  Sons,  Taunton,  exhibit  some  studies  ; 
Mr.  Edward  Brightman,  of  Bristol,  forwards  several  frames 
of  little  landscapes ; Mr.  II.  J.  Godbold,  of  Hastings, 
exhibits  numerous  sea  studies,  and  Mr.  W.  Davies,  Ripley, 
Derby,  “ watering  flowers  and  ferns."  Mr.  George  llen- 
wick,  Burton-on-Trent,  sends  a series  of  snow  scenes ; 
Mr.  H.  P.  Robinson,  of  Tunbridge  Wells,  exhibits  a col- 
lection of  studies;  Mr.  W.  England,  St.  James’ Square, 
sends  a fine  series  of  Swiss  views ; from  Brighton,  Mr. 
II.  Pointer  sends  a frame  of  studies ; Mr.  H.  Everett, 
London,  is  represented  by  a variety  of  Welsh  views  ; and 
Mr.  W.  Cotesworth,  Winchester,  sends  some  “Reminis- 
cences of  Cannes.” 

Mr.  J.  Norman,  of  Burgess  Hill,  exhibits  landscapes  ; 
Mr.  J.  Thorn,  of  Cornwall,  has  two  views  of  the  “ Life- 
Boat  ” ; Mr.  John  Crosby,  Rotterdam,  sends  a pic- 
ture, “ What  the  Journals  Say”;  from  Oxford,  Mr.  H. 
Dyke-Ackland  forwards  several  landscapes  ; Mr.  J.  Gale, 
of  London,  is  represented  by  enlarged  views  ; Mr.  W. 
McLeish,  of  Darlington,  exhibits  river  studies ; from 
Chorley,  Mr.  E.  Berry  forwards  pictures  of  country  life  ; 
Mr.  V.  Sand  Montero,  Paris,  sends  landscapes ; Mr.  W.  P. 


Marsh,  of  Bognor,  exhibits  views  of  “ Goodwood  Races, 
1883  ” ; Mr.  John  Jackson,  of  Bristol,  is  represented  by 
an  architectural  study;  Mr.  W.  Vanner  sends  a fine  col- 
lection of  sea  views  off  Lowestoft ; Mr.  J.  Catford,  Ilfra- 
combe, exhibits  medallion  landscape  studies  ; landscapes 
also  come  from  Mr.  A.  C.  Reynolds,  Scarborough ; Mr.  H. 
B.  Berkeley,  London,  exhibits  landscapes  in  platinotype  ; 
from  Bradford,  Mr.  J.  Reffitt  forwards  a collection  of  sea- 
side studies  ; M.  J.  F.  G.  Glossop  exhibits  a picture  of  a 
Hastings  lugger ; Lieut.  C.  E.  Gladstone,  R.N.,  of  Rick- 
manswortb,  forwards  several  landscape  studies,  some  of 
them  being  in  platinotype  ; from  Hull,  Messrs.  Turner  and 
Drinkwater  forward  portraiture  ; Mr.  T.  A.  Green,  of 
Grassmere,  is  represented  by  a frame  of  landscapes  ; from 
Dandee,  Messrs.  Valentine  forward  some  fine  snow  scenes, 
&c.  ; Mr.  Andrew  Pringle,  Laugholm,  N.B.,  exhibits  views 
of  California  ; Mr.  F.  Beasley,  Jun,,  of  London,  sends 
views  of  Devonshire  scenery,  &c. ; Messrs.  Marsh  Bros.,  of 
Henley,  are  to  the  fore  with  their  pictures  of  the  Henley 
Regatta  ; from  the  same  town,  Messrs.  Johnson  Bros,  send 
a study,  “ The  Harvest  Field  ” ; portraiture  is  also  sent  by 
Messrs.  J.  Russel  and  Sons,  Chichester  ; Mr.  W.  J.  Byrne, 
of  Richmond,  sends  some  studies  of  children  ; Messrs.  G. 
Tuohy  and  Co.,  of  the  same  place,  send  portraiture.  Views 
of  the  Egyptian  campaign  are  forwarded  by  Captain  G. 
N.  Clarke,  R.E. ; the  Postal  Photographic  Society  is  re- 
presented by  several  frames  ; from  Southampton,  Messrs. 
Adams  and  Stilliard  send  some  good  portraiture,  and  Mr. 
George  Bruce,  of  Duns,  forwards  portraits  and  landscapes 
printed  in  collodio-chloride. 

M.  Chapiro,  of  St.  Petersburgh,  forwards  some  mag- 
nificent portraits  and  a most  interesting  collection  of 
studies  representing  the  “ Memoirs  of  a Maniac”;  Messrs. 
G.  West  and  Son,  of  Gosport,  show  some  wonderful  racing 
yachts  ; Mr.  Robert  Faulkner,  of  Baker  Street,  has  ex- 
amples of  his  winsome  infant  portraiture  ; Mr.  W.  Trene- 
men  shows  a fine  series  of  views  ; Mr.  L.  Berry,  Chorley, 
has  also  views ; Mr.  B.  B.  Turner  exhibits  a scene  on  the 
Moselle ; Mr.  W.  N.  Malby  sends  several  studies ; Mr. 
J.  E.  Mayall  forwards  many  excellent  examples  of  electric 
light  photography;  Mr.  P.  H.  Emerson,  13. A.,  of  Cam- 
bridge, shows  a West  Indies  scene ; Mr.  Norman  May,  of 
Malvern,  has  much  excellent  portraiture  ; Mr.  J.  Bullock, 
of  Leamington,  has  a pair  of  fine  portraits  in  carbon ; 
Messrs.  Marion  and  Co.  show  examples  of  “ the  Plaque  ” 
and  “ the  Grand,”  two  of  the  newer  styles  ; Mr.  H.  F. 
McConnell  has  some  river  scenes  ; Messrs.  Morgan  and 
Kidd  send  many  fine  examples  of  gelatino-bromide  on 
opal ; Mr.  J.  Garson  forwards  a fine  study  of  immense 
proportions ; and  Mr.  Valentine  Blanchard  forwards 
several  excellent  portraits. 

Mr.  Roland  Blackett  exhibits  “ Dolce  far  niente,”  &c. ; 
Mr.  W.  Gillard,  of  Gloucester,  has  several  exceedingly 
good  studies ; Mr.  T.  G.  Whaite,  Scarborough,  forwards 
many  group  pictures  from  Brittany  ; Mr.  E.  A.  Maxwell, 
Barnet,  sends  a capital  railway  study,  “ All  Tickets, 
please  ” ; Messrs.  Portbury  and  Co.  forward  portraits ; 
Mr.  F.  Thurston  shows  several  “ At  Home  ” pictures ; 
Mr.  S.  E.  Phillips  exhibits  some  “ Photographs  taken  in 
my  garden  ” ; Mr.  W.  Adcock,  of  Leicester,  has  several 
good  studies ; Mr.  J.  T.  Blair,  of  Scarborough,  shows 
“South  American  Vistas”  ; Mr.  W.  Cobb,  of  Woolwich, 
a series  of  London  scenes  “from  the  top  of  an  omni- 
bus ” ; the  Rev.  A.  Johnson  sends  several  Welsh  scenes  ; 
Mr.  H.  G.  M.  Conybeare,  Ingatestone,  “Disappointed 
Hopes,”  &c. ; Mr.  S.  W.  Rouch  has  some  views  of  park 
scenery  ; and  Dr.  W.  II.  Plaister  shows  a capital  frame  of 
Swiss  scenes. 

Messrs.  Perkins  and  Sons  contribute  views  from  the  Isle 
of  Wight,  &c. ; Mr.  Bedford  Lemere  has  a large  series  of 
interiors;  Mr.  G.  A.  Garrett  forwards  a “Souvenir  of 
Winchester ” on  opal;  Mr.  A.  Johnson,  of  Wick,  N.B., 
shows  “ Threatening  Weather”  ; Mr.  J.  C.  Cohen  gives  a 
fine  picture  of  Vossewangen,  Norway  ; Mr.  Fred.  Barlow, 


644 


THE  PHOTOGRAPHIC  NEWS. 


(_Octobeh  12,  1883. 


of  Sheffield,  sends  a most  interesting  picture  of  a huge  ice- 
berg; Mr.  P.  Burgis,  of  Bristol,  has  some  views  in 
Gloucestershire;  Mr.  J.  A.  Kay,  Bolton,  a series  of  land- 
scapes ; Mr.  A.  Common,  Ealing,  a picture  of  the  Nebulae 
of  Orion ; Messrs.  T.  and  It.  Annan  exhibit  examples  of 
photo-gravure ; and  Mr.  E.  Fay  phew  a view  in  Kew 
Gardens. 

Messrs.  IT.  and  E.  J.  Dale,  Ludgate  Hill,  send  photo- 
graphic apparatus;  Mr.  Edward  Darke,  1C,  Rochester 
Terrace,  Camden  ltoad,  exhibits  studies  ; Mr.  W.  Davies, 
Greaves  Street,  Ripley,  Derby,  shows  landscapes  and 
studies ; Mr.  YV.  Dawson,  The  Cedars,  Chiswick,  sends 
boating  studies ; Mr.  YV.  E.  Debenham,  Massingham 
House,  Haverstock  Hill,  is  represented  by  two  frames  of 
excellent  portraits  ; Mr.  W.  Denham,  54,  Briggate,  Leeds, 
forwards  landscapes ; Mr.  Alfred  Dismore,  Gravesend, 
has  several  studies ; Mr.  Adam  Diston,  Leven,  Fife, 
N.B.,  exhibits  three  fine  compositions  ; Mr.  Henry  Dixon, 
112,  Albany  Street,  Regent’s  Park,  sends  two  frames  of 
pictures,  and  Mr.  T.  J.  Dixon,  also  of  Regent's  Park, 
forwards  several  animal  studies  ; Mr.  A.  Donald,  Welling- 
ton Street,  Dundee,  shows  landscapes  ; Professor  W.  F. 
Donkin,  Malvern  Lodge,  Upper  Tulse  Hill,  has  a 
magnificent  series  of  Alpine  pictures ; Mr.  F.  Downer, 
97,  High  Street,  Watford,  has  two  worthy  frames ; Mr. 
A.  R.  Dresser,  Dresser  Oak  Villas,  Beulah  Hill,  Norwood, 
shows  views  in  Goodwood  Park  ; Mr.  J.  Renton  Dunlop, 
Thirlmere  Terrace,  Streatham,  exhibits  some  village  sceces. 

Mr.  G.  Hadley,  36,  Castle  Hill,  Lincoln,  has  several 
studies;  Mr.  G.  YV.  Hale,  M.A.,  Trinity  College,  Cam- 
bridge, shows  “Exmouth  Sands,”  and  other  pictures ; Mr. 
G.  E.  Hall,  Jun.,  St.  Mary’s  Hospital,  Paddington,  has 
marine  views;  Mr.  H.  T.  Hall,  Manor  House,  Alton, 
Hants,  shows  portraits,  &c. ; The  Hon.  Mrs.  Holden 
Hambrough,  Pipewell  Hall,  Kettering,  has  two  views  of 
Haddon  Hall  ; Lieut.  E.  C.  Tyrell  Hawker,  R.E.,  Fort 
Monckton,  Gosport,  has  a photograph  of  Fort  Moncktou 
taken  at  night ; Mr.  A Hendrey,  Godmanchester,  exhibits 
many  fine  winter  scenes ; Mr.  Arthur  Hill,  Hayes  Common, 
Kent,  has  an  interior  of  Ely  Cathedral ; Mr.  W.  J.  Ilolle- 
bone,  Lynwood,  St.  John’s  Road,  Putney  Ilill,  sends  views 
of  Scotland  and  Cumberland ; Mr.  Fred  Ilollyer,  9, 
Pembroke  Square,  Kensington,  has  many  charming  panels, 
portraits  ; &c.,  Mr.  J.  G.  Horsey,  The  Elms,  Catford  Hill, 
Catford,  sends  many  fine  coast  views;  Messrs.  Houghton  and 
Son,  89,  High  Holbom,  exhibit  photographic  appliances  ; 
Mr.  YV.D.  Howard,  Lordship  Lane,  Tottenham,  shows  two 
Cathedral  views ; Mr.  Edmund  Hyde,  Hill  Crest,  Castle 
Bar,  Ealing,  forwards  views  in  Devonshire  and  other 
pictures  ; Mr.  R.  Murray  Lawes,  33,  Grosvenor  Street, 
shows  both  portraits  and  landscapes;  Messrs  Lemere, 
Bedford,  and  Co.,  147,  Strand,  exhibit  a series  of  interiors ; 
Mr.  Abel  Lewis,  Douglas,  Isle  of  Man,  exhibits  a fine 
portrait  of  Dean  Stanley ; Messrs.  Lombardi  & Co.,  12, 
Pall  Mall  East,  show  many  portraits;  The  London 
Stereoscopic  Company,  57,  Cheapaide,  is  represented  also 
by  portraits  ; M.  Albert  Lugardon,  Promenade  du  Pin,  1, 
Geneva,  has  instantaneous  studies;  Mr.  J.  YV.  Lumley, 
Cumberland,  shows  landscapes,  and  The  Luxograph 
Company,  39,  North  End,  Croydon,  a series  of  portraits  by 
artificial  light. 

Mr.  Frank  Salter,  20,  Christchurch  Road,  Streatham 
Hill,  shows  “Herring  Boats”  and  other  studies;  Mr. 
Thomas  Samuels,  Mouken  Hadley,  Middlesex,  has  two 
exhibits ; Mr.  Lyddell  Sawyer,  Newcastle-on-Tyne,  shows 
half  a dozen  studies;  Messrs.  B.  Scott  & Son,  18,  Devon- 
shire Street,  Carlisle,  have  enlargements  on  opals  ; Mr.  A. 
Seaman,  Chesterfield,  ferraa  cattle-market  scene,  and  others  ; 
Mr.  George  Shaw,  I/.YuutsiLdd  Links,  Edinburgh, is  repre- 
sented by  two  portrait  studies  ; Messrs.  J.  F.  Shew  & Co., 
88,  Newman  Street,  Oxford  Street,  have  photographic 
appliances  ; Mr.  Robert  Slingsby,  Lincoln,  shows  several 
studies  ; Mr.  Arnold  Spiller,  2,  St.  Mary's  Road,  Canou- 
bury,  exhibits  his  photographs  of  a Dene  hole  ; Mr.  J.  C. 


Stenning,  Oakfield,  Beckenham,  sends  “Spring-time’  ; 
Mr.  Henry  Stevenp,  Addlestone  Lodge,  Addlestone,  Surrey, 
exhibits  flower  pictures,  and  many  studies  of  peasant  life  ; 
Mr.  A.  Stewart,  16,  Vanbrugh  Park,  Blackheatb,  shows 
several  portraits;  Mr.  Frank  M.  Sutcliffe,  YVhitby,  has  a 
flue  collection  of  marine  studies  ; and  Mr.  H.  P.  Swaine, 
Broadband  Manor,  Guildford,  Surrey,  forwards  two  river- 
side pictures. 

Mr.  II.  YVainwright,  Jun.,  Hoe  Place,  WokiDg,  has 
views  from  Devonshire ; Messrs.  YVatson  and  Sons,  314, 
High  Holborn,  show  photographic  appliances;  Mr.  Mat- 
thew YVhiting,  1,  Lavender  Hill,  YYrandsworth,  exhibits  a 
fine  series  of  landscapes,  &c. ; Mr.  B.  G.  YVilkinson.  Jun., 
151,  Bermondsey  Street,  shows  “ Outward  Bound,”  and 
another  picture;  Mr.  Augustus  YVilson,  77,  De  Beauvoir 
Road,  exhibits  portraiture ; Mr.  Charles  F.  YY’ing,  Tun- 
bridge YVells,  shows  a group  of  two  ladies;  Mr.  YV.  YV. 
YViuter,  Midland  Road,  Derby,  has  two  studies ; Mr.  H. 
Trueman  YY’ood,  Society  of  Arts,  sends  a frame  of  charm- 
ing little  landscapes ; the  Woodbury  Company,  157,  Great 
Portland  Street,  show  many  flue  enlargements ; Mr.  YYL 
B.  YYroodbury,  Java  House,  Manor  Road,  South  Norwood, 
illustrates  the  new  Stanuotype  process ; Mr.  C.  Ray  YVoods, 
Percy  House,  Elthorne  Road,  Hornsey  Rise,  shows  pic- 
tures taken  during  his  voyage  to  Caroline  Island  ; Col.  H. 
Stuart  YY’ortley,  Itosslyn  House,  Grove  End  Road,  for- 
wards three  of  his  fine  studies. 

Dr.  Morton,  of  Sheffield,  exhibits  a series  of  landscapes  ; 
Mr.  J.  Mdman  Brown,  of  Shanklin,  has  several  views  from 
“The  Island  ”;  Mr.  YV.  Adkins,  shows  views  in  Norfolk  ; 
Mr.  YV.  Pouncy,  Dorchester,  has  photographs  of  orna- 
mental windows  ; Mr.  J.  H.  Knight,  Farnham,  sends  some 
agricultural  scenes ; Mr.  Thomas  Griffm,  of  YY’eybridge, 
contributes  some  views  from  the  YVey  ; Mr.  C.  E.  Abney, 
Derby,  forwards  a fine  frame  of  landscapes  ; Captain  Tur- 
ton,  R.N.,  Florence,  exhibits  “ Bits  from  Italy  ’’  ; Major 
J.  Board,  YVesterham,  shows  some  excellent  landscapes  and 
sea  views  ; Mr.  J.  YV.  Lumley,  of  Kirby,  Moorside,  sends 
a series  of  pictures  from  the  Yorkshire  Moors  ; Mr.  Chas. 
Reid,  of  YVishaw,  exhibits  hunting  scenes  ; Mr.  G.  E. 
Alder,  of  Croydon,  “ The  Artist  and  his  Daughter  ” ; Mr. 
Auty,  of  Tynemouth,  sends  several  sea  studies  ; Mr.  Cecil 
V.  Shadbolt,  Chislehurst,  exhibits  a series  of  Swiss  views, 
andhis  famous  balloon  pictures;  Mr.  A.  H.  S.  Bailey  has 
a river-side  study  ; Mr.  James  Malins,  of  Aberystwith, 
sends  some  scenes  from  the  Thames,  and  Mr.  YYr.  Aubrey, 
of  Horsham,  a collection  of  studies. 

On  the  tables  are  several  examples  of  foreign  and  Britieh 
photography  which  have  not  yet  been  catalogued,  while 
of  the  apparatus  and  appliances  exhibited  we  speak  in  a 
special  article. 


APPARATUS  AT  PALL  MALL. 

Thb  annual  exhibition  of  the  Photographic  Society  of  Great 
Britain  is  primarilv  one  of  pictures,  and  not  of  apparatus, 
and  it  is  seldom  that  anything  like  a representative  collec- 
tion of  photographic  appliances  is  shown. 

This  may  partly  arise  from  the  circumstance  that  but 
little  encouragement  is  given  to  exhibitors  to  send  in  any- 
thing but  pictures.  On  the  opening  night,  no  mention 
of  apparatus  was  to  be  found  in  the  catalogue,  although 
one  of  the  tables  was  tolerably  crowded  with  photographic 
appliances  of  various  kinds,  and  Dot  a few  pieces  of  appa- 
ratus were  to  be  found  collected  together  Dear  the  stove. 
The  fact  of  the  greater  part  of  the  exhibits  being  without 
any  descriptive  tickets,  combined  with  the  circumstance 
that  perfect  freedom  of  handling  is  the  rule,  rather  tended 
to  the  disorganisation  of  some  of  the  complex  and  delicately 
constructed  changing  and  exposing  arrangements. 

YVe  shall  not  attempt  to  give  any  kind  of  systematic 
notice  of  the  exhibits,  but  rather  to  discursively  note  down 
a tc  w matters  which  seem  of  especial  interest  and  importance. 
It  must  be  premised,  however,  that  very  few  actual  novelties 


October  12,  1883.) 


THE  PHOTOGRAPHIC  HEWS, 


645 


are  shown,  the  advance  being  almost  entirely  confined  to 
matters  of  detail.  Still  the  electric  retouching  apparatus  of 
Geesbergen  and  Geruzet  fibres  is  a novelty,  and  may  prove 
of  considerable  value  to  those  who  have  occasion  to  retouch 
extensively.  An  ordinary  pencil  is  used,  but  it  is  held  in  a 
holder  to  which  a vibratory  movement  is  communicated  b) 
means  of  an  oscillating  electric  motor.  The  crayon  holder 
is  so  balanced  by  an  ingenious  contrivance,  as  to  render  it 
quite  easy  to  manipulate  with  the  pencil  ; and  the  batteries 
are  contained  in  a case  which  forms  the  pedestal  of  the 
apparatus.  The  advantage  of  the  electric  retoucher  arises 
from  the  circumstance  that  the  stipple  is  produced  auto- 
matically, the  hand  having  to  merely  guide  the  crayon  ; and 
by  placing  a greater  or  less  number  of  cells  in  circuit,  the 
quality  of  the  stipple  may  be  changed  at  will.  Any  pencil 
can  be  used,  a matter  of  some  importance,  as  manv 
retouchers  become  so  accustomed  to  certain  qualities  of 
pencil,  that  a change  would  be  undesirable. 

An  inspection  of  the  photographic  cabinet  work  shown 
indicates  how  far  competition  and  a largely  increased 
demand  have  served  to  improve  the  general  standard  of 
excellence.  We  were  particularly  struck  by  a folding- 
stand  exhibited  by  Mr.  F.  W.  Shew.  It  is  built  up  of 
strips  of  French  polished  mahogany,  the  strips  being  only 
three-quarters  of  an  inch  by  one  quarter ; it  not  only 
slides,  but  also  folds,  so  that  a four  feet  two  inch  leg 
becomes  reduced  to  eighteen  inches.  The  lightness  of  the 
stand  may  be  judged  of  when  it  is  stated  that  two  of  the 
above-mentioned  strips,  placed  side  by  side,  form  the 
total  substance  of  the  leg,  excepting  at  the  lapping  part  of 
the  slide.  The  brass  work  is  of  a character  similar  to  that 
usually  employed  for  camera  fittings.  When  put  together, 
the  stand  is  as  firm  and  rigid  as  many  stands  of  six  or 
eight  times  the  weight.  It  is  interesting  to  see  that  kind 
of  fine  work  which  one  ordinarily  expects  in  a camera, 
applied  to  the  stand.  Such  a stand  as  we  have  described 
will  certainly  not  bear  the  rough  usage  which  stands  often 
receive ; but  it  will  go  in  an  ordinary  hand-bag  or  knap- 
Back.  We  think,  however,  that,  like  the  camera,  it  should 
be  fitted  into  a leather  case.  With  the  complex  and 
highly  finished  stand  of  Mr.  Shew,  the  simply-constructed 
t and  elegant  brattice  stand  of  Mr.  G.  Smith 
LpnJ  contrasts  strikingly.  The  delicate  lance-like  legs 
of  Mr.  Smith’s  stand,  being  constructed  of  clean, 
dry  pine,  feel  as  nothing  in  the  hand  ; but  there 
is  the  inconvenience  of  the  full  length.  Mr.  G. 
Smith  also  shows  a camera  which  has  some 
novel  features.  Not  only  does  the  base-board 
turn  up  at  the  back,  as  in  ordinary  cameras,  but 
also  in  the  front,  and  while  the  back  extension 
of  the  base-board  is  provided  with  the  usual 
rack-and-pinion  arrangement,  the  front  ex- 
tension of  the  base-board  serves  a double 
purpose.  The  front  segment  of  the  camera  may 
be  rigidly  clamped  to  any  position  on  the  front 
extension,  rendering  it  practicable  to  use  lenses 
of  long  focus,  or  a conical  tube  of  black  material 
may  be  so  mounted  upon  it  as  to  constitute  a 
very  effective  sunshade.  An  excellent  arrange- 
ment for  reducing  the  space  required  for  the 
accommodation  of  dark  slides  is  to  be  noticed  on 
some  slides  exhibited  by  Messrs.  Sands  and 
Hunter.  The  draw  shutter,  instead  of  pro- 
jecting beyond  the  top  of  the  slide,  is 
planed  off  level,  and  a small  strip  of  brass  is 
screwed  down  upon  it  as  shown  in  the  accom- 
panying  figure.  The  top  of  the  slide  is 
recessed  so  that  the  thumb-nail  can  be  readily  placed  under 
the  brass  strip  for  drawing  the  slide. 

Numerous  exhibitors  show  cameras  of  excellent  work- 
manship, and  these  may  be  roughly  classified  into  ex- 
tremely light,  and  moderately  light ; and  on  which  side  the 
advantage  rests  will  depend  upon  the  uses  to  which  the 
apparatus  is  to  be  put.  In  general,  the  rack-and-pinion 


focussing  arrangement  is  used  ; indeed,  we  only  noticed 
a screw  focussing  adjustment  in  one  case,  that  of  a camera 
shown  by  Mr.  Moorse.  An  adaptation  of  the  principle  of 
the  Melhuish  roller  slide  to  a camera  is  shown  by  M. 
Stebbing,  of  Paris,  but  the  roller  arrangement  is  one  with 
'he  camera,  and  not  removable  like  a dark  slide.  There 
is,  however,  a provision  for  using  small  slides  of  ordinary 
construction  with  this  camera.  A camera  for  lenses  of 
long  focus  is  contributed  to  the  Exhibition  by  Mr.  Shaw, 
the  tail-board  of  this  camera  being  made  of  double  the 
usual  length,  and  so  constructed  as  to  fold  back  upon  itself 
when  the  camera  is  closed.  Fitted  to  this  camera,  we 
noticed  an  adaptation  by  which  smaller  dark  slides  could  be 
used  with  it.  It  is  oftentimes  a matter  of  extreme  con- 
venience to  be  provided  with  adapters  by  which  the 
number  of  dark  slides  available  for  use  with  any  particular 
camera  is  increased.  We  need  not  refer  in  this  place  to 
Samuel's  multiple  back,  as  it  is  fully  described  and  illus- 
trated on  page  649. 

Extremely  convenient,  but  somewhat  bulky,  is  Cowan’s 
changing  tent  or  box.  It  resembles  the  old-fashioned  sleeve 
tent  which  was  occasionally  used  by  wet  plate  workers. 
Less  convenient,  but  more  portable,  is  the  accordion-like 
ebanging-box  of  Shew.  This  neat  little  apparatus  seems  to 
us  to  be  constructed  of  lighter  material  than  formerly. 

The  rocking-tray  for  developing,  shown  by  Messrs. 
Marion,  is  a reproduction  in  papier  viache  of  the  well  known 
wave  bath  of  Burton,  and  its  special  advantage  consists  in 
the  circumstance  that  when  the  bath  is  tilted  up  so  that  the 
liquid  leaves  the  plate,  the  pi  ogress  of  the  development  may 


be  seen  through  the  window  which  is  at  the  bottom  of  the 
bath  A.  The  plate  rests  on  the  ledge  at  B.  C is  the  axis 
upon  which  the  bath  turns. 

The  subjoined  figure  represents  a front  view  of  the  bath. 


Instead  of  letting  a window  into  the  bottom  of  the  bath, 
and  leaving  an  inconvenient  recess,  Messrs,  Marion  would 
have  done  well  to  make  the  whole  bottom  of  one  slab  of 
fluted  glass,  an  arrangement  which  Mr.  Burton  generally 
prefers.  The  plate  does  not  adhere  to  the  fluted  glass. 

We  must  postpone  a Dotice  of  other  exhibits, 


the  photographic  hews. 


646 


[October  12,  1883. 


THE  EXHIBITION  OF  LANTERN  SLIDES  AT 
PALL  MALL. 

On  Monday  evening  the  first  show  of  lantern  slides  in  con- 
nection with  the  Exhibition  of  the  Photographic  Society 
took  place  ; and  this  new  feature  of  the  Pall  Mall  Exhi- 
bition made  a generally  favourable  impression. 

The  gelatino-chloride  slides  of  Mr.  Bedford  exhibited 
some  considerable  variety  of  tone,  but  not  the  extremes  of 
which  the  process  is  capable,  as  Mr.  Bedford  sought 
rather  to  make  effective  pictures  than  to  exhibit  the  capa- 
bilities of  the  process.  Mr.  Bedford’s  delightful  pictures  of 
Devonshire  are  well  known,  and  they  lost  nothing  by  being 
represented  on  the  screen.  The  tone  Mr.  Bedford  seems  to 
prefer  is  a deep  brown,  not  too  warm. 

Mr.  Beasley’s  “Farrier”  was  much  admired,  and  the 
special  characteristics  of  the  picture  became  very  noticable 
on  the  screen,  details  in  the  deep  shadows  which  are  diffi- 
cult to  distinguish  in  the  case  of  the  print  becoming 
remarkably  clear.  We  have  here  a good  example  of  photo- 
graphy as  an  exponent  of  the  Dutch  school  of  painting. 

Some  charming  spots  in  the  county  of  Surrey  were  well 
illustrated  by  the  slides  of  Mr.  Gale ; and  Mr.  Pringle 
exhibited  a dozen  pictures,  these  latter  being,  however, 
somewhat  cold  in  tone. 

Mr.  George  Smith,  of  the  Sciopticon  Company,  exhibited 
Barber’s  “ Iceberg,”  and  the  full  modelling  and  surprising 
transparency  which  can  be  obtained  by  the  Woodbury 
process  of  lantern-slide  making  was  abundantly  demon- 
strated. 

-o 

THE  EXHIBITION  CATALOG  DE. 

BY  ONE  WHO  HAS  NOT  SEEN  THE  EXHIBITION. 

THOSE  unlucky  folks  who  are  kept  away  from  our  cheerful 
London  at  this  time  of  the  year ; or  those  yet  uuluckier 
who,  like  your  present  correspondent,  are  held  in  the  relent- 
less clutches  of  the  family  doctor,  may  derive  much 
valuable  instruction  from  a careful  perusal  of  the  Exhibition 
catalogue,  pending  the  arrival  of  the  time  when  a good 
excuse  for  a run  up  to  town  or  relaxed  vigilance  on  the  part 
of  their  doctor  may  enable  them  to  give  a look  in  at  Pall 
Mall. 

After  having  wondered  at  the  gross  total  of  pictures, 
and  making  due  allowance  for  the  fact  that  over  twenty 
pictures  do  not  seem  too  many  to  be  received  from  a single 
contributor,  one  naturally  turns  to  the  details.  The  award 
of  medals  is  pronounced  satisfactory,  with  the  exception,  if 
one  is  oneself  an  exhibitor,  of  a single  curious  oversight  on 
the  part  of  the  judges  ; and  the  fact  that  the  various  appli- 
cations of  photographing  to  scientific  and  other  purposes 
are  duly  honoured  is  noted.  Here  we  are  permitted  a 
grunt  of  satisfaction  at  the  result  of  doing  without  the 
artists  who,  bless  them  ! think  want  of  definition  the  greatest 
merit  a photograph  can  possess,  and  admire  beyond  every- 
thing the  effects  produced  by  a kick  at  the  camera  leg 
during  the  time  of  exposure.  We  then  go  on  to  a study 
of  the  titles,  and  try  to  elaborate  therefrom  a mental  image 
of  the  pictures.  Sometimes  one  can  do  this  satisfactorily 
(to  oneself).  To  know  what  Mr.  Donkin’s  Swiss  views  are 
like  one  has  but  to  summon  up  recollections  of  happy  hours 
on  the  ice,  snow,  and  rock.  The  point  from  which  No.  1 
was  taken  is  puzzling,  but  probably  the  view  from  Mount 
Mallet  is  much  the  same  as  that  from  the  better  known 
Mount  Maudit.  Mr.  Robinson  has  broken  out  in  a new 
place  in  his  seaside  views,  but  one  fancies  one  can  recognise 
the  style  of  the  “ Haymakers’  Dinner.”  Why  will  they  put 
Mr.  Robinson’s  pictures  all  together?  Does  he  like  it?  He 
should  have  seen  how  well  his  “ Wayside  Gossip  ” looked 
the  other  day  at  Southport  in  the  midst  of  the  productions 
of — say,  of  some  other  photographers. 

“ There  is  Sorrow  on  the  Sea,  &c.  ” is  a good  title.  It 
conveys  an  idea,  though  I am  not  going  to  commit  myself 
by  saying  what  the  idea  is.  But  what  shall  we  say  of  the 


poets,  for  the  poets  are  strong  in  this  year’s  list  V First 
comes  Mr.  llonwick,  with  his  snow  or  frost  scenes,  which, 
after  recent  correspondence  in  a contemporary,  nothing  shall 
induce  me  to  admit  are  “ well-known.”  Mr.  Renwick  6eems 
to  have  got  a sort  of  proxime  access'd  to  a medal,  for  the 
judges  (or  the  printer),  after  having  bestowed  a medal  on 
him,  blotted  it  out  with  a kind  of  inky  tear,  or  smudge,  as 
all  may  see  who  consult  the  cd'itio  princeps  of  the  catalogue. 
Mr.  Renwick  is  great  in  poetry  and  in  prose,  for  verse 
suffices  not  to  describe  one  of  his  pictures ; let  me  for  onco 
be  candid,  and  confess  that  I do  not  know  the  source  of  these 
quotatious.  Perhaps  Mr.  Renwick  made  them  himself ; I 
know  I should  ; it  is  quite  easy  to  make  quotations.  As  soon 
as  you  are  bothered  for  a rhyme  you  leave  off,  and  your 
quotation  is  finished;  experlo  crede.  Mr.  Gale,  too,  has 
dropped  into  verse,  and  certainly  he  has  not  made  all  his 
own,  for  some  of  his  quotations  may  be  traced,  by  one  having 
a knowledge  of  English  literature,  to  the  poet  Gray.  The 
Laureate’s  Brook  (how  sick  the  Laureate  must  be  of  it),  is 
laid  heavily  under  contribution.  Mr.  Berry  is  content  with 
the  usual  reading,  but  Mr.  Davies  prefers  a revised  version, 
of  which  two  lines  are  worth  quoting  : — 

“ I chatter  over  stony  ways,  in  little  sharps  and  ehhles  ; 

I bubble  into  edding  ways,  I bubble  on  the  pebbles.” 

I must  say  I prefer  the  original.  The  two  now  words> 
‘‘ebble8”and  “ edding  ” certainly  sound  as  if  they  ought 
to  have  a meaning,  but  they  have  not  yet  got  into  tho 
dictionaries,  and  the  other  minor  alterations  are  hardly  im- 
provements. Also  I think  I like  Mr.  Tennyson’s  metre 
better  than  Mr.  Davies’. 

In  the  more  technical  details  one  would  be  glad  of  further 
information.  What  is  a “ Photograph  on  anasv  C 
(No.  468)?  Of  course  lam  chemist  enough  to  know  that  C 
stands  for  carbon,  so  1 suppose  the  new  process  is  a carbon 
one ; but  what  is  anasv  ? I would  write  to  ask  Messrs. 
England,  but  I hardly  know  them  well  enough.  In  the 
name  they  have  adopted  for  562,  “The  New  ‘Plague’ 
Portrait,”  Messrs.  Marion  and  Co.  have  surely  shown  a little 
want  of  judgment.  Many  portraits  are  plagues,  and  many 
portraitists  (amateurs)  are  worse.  If  not  too  late,  1 would 
advise  Messis.  Marion  to  change  the  name:  “ The  Little 
Teaser,”  if  you  like,  but  not  the  “ New  Plague.”  Wo 
have  quite  enough  old  ones,  thank  you  Messrs.  M.*  There 
are  a few  other  interesting  points  regarding  the  catalogue, 
but  I hear  tho  doctor’s  carriage,  and  must  submit  to  tho 
usual  programme  of  proddings,  digs,  stethoscopings,  and 
all  the  rest  of  it.  Why  cannct  we  be,  like  “ Grandpa  ” 
(No.  106),  developed  with  hydrokinone,  and  set  right  at 
once?  From  recent  personal  experience,  I am  beginning  to 
look  with  mistrust  on  mercurial  intensification,  at  all  events 
when  lig2Cl2  is  employed  in  the  crude  form  of  calomel. 


PHOTOGRAPHIC  MATTERS  CONNECTED  WITH 
AMERICA. 

BY  J.  TRAILL  TAYLOR. t 

Questioning  the  wisdom  of  my  having  complied  with  the  per- 
sistent request,  made  on  the  occasion  of  the  pleasant  dinner  of  the 
Society  at  their  recent  out-door  meeting  at  Hampstead  Heath, 
that  I should  open  the  sessional  proceedings  by  discoursing  con- 
cerning American  photography,  I yet  do  not  shrink  from  the  task, 
knowing,  as  I do,  the  widespread  interest  that  exists  in  all  things 
connected  with  the  great  Western  Continent.  For  the  more  facile 
treatment  of  my  subject,  it  will  be  better  that  I assume  myself  to 
be  an  American  citizen,  although  four  months  have  yet  to  elapse 
ere  this  event  can  be  completed. 

Let  me  at  once  disarm  you  of  any  prejudices  of  an  international 
nature  which  may  exist,  by  stating  that  we  in  America  freely, 
cordially,  and  unhesitatingly  give  you  full  credit  for  the  skilful, 
scientific  research  you  have  brought  to  bear  upon  photography. 
Life  there  exists  under  too  high  a degree  of  pressure  to  permit  of 
any  professional  photographer  cultivating  research,  and  amateurs 
are  only  now  being  created.  In  tho  course  of  a few  years  you 

• A friend  suggests  that  it  only  means  a picture  of  the  last  baby,  and 
this  view  seems  likely  to  be  correct . 

t Abstract  of  a communication  to  the  South  London  Photographic  Society. 


October  12,  1 683. | 


THE  PHOTOGRAPHIC  HEWS. 


647 


will  reap  the  benefits  arising  from  what  is  now  being  sown  ; for 
it  is  a peculiarity  of  the  American  mind  that  if  it  be  sometimes  a 
little  tardy  in  initiating  novelties,  it  is  quite  at  home  in  rapidly 
effecting  improvement  when  once  the  discovery  or  invention  has 
been  initiated. 

Americans— and  among  them  American  photographers — ate 
sometimes  twitted  with  entertaining  large  ideas  in  connection  with 
theircountry  and  its  institntions ; but  when  one  realizes  the  immen- 
sity of  the  countiy,  a little  “tail-talk,”  or  “spread-eagleism,”  is 
scarcely  to  be  wondered  at.  Everything  there  is  on  a large  scale. 
It  is  a country  divided  into  or  composed  of  many  states,  and  among 
these  states  are  some  as  large  as  three  or  four  European  kingdoms. 
Yon  will  see  the  bearing  of  these  remarks  on  photography  before 
I conclude. 

The  enlarged  work  of  New  York  photographers  is,  in  a gront 
degree,  produced  upon  a solar  camera  basis,  and  is  usually  elabo- 
rately finished  in  crayons.  I am  qaite  aware  of  an  objection  you 
may  here  take  by  saying  that  solar  camera  work  will  fade,  and  I 
remark  thereon  that  American  artists  are  just  as  wide  awake  in  a 
matter  of  this  kind  as  you  are.  If  the  solar  work  be  in  silver,  the 
artist  uses  it  as  a base  of  operations  only,  and  if  in  after  years  the 
photographic  portion  fade  away  altogether,  the  crayon  work  re- 
mains unchanged.  But  when  the  work  is  executed  in  platinum, 
the  crayon  artist  modifies  his  operations  accordingly,  knowing  full 
well  that  the  base  upon  which  he  works  is  as  endurable  as  the 
crayon  itself.  The  highest  class  of  crayon  work  issued  by  the 
chief  photographers  is  not,  however,  done  on  a photographic  basis 
at  all,  or,  if  so,  only  to  an  extremely  limited  extent,  much  of  this 
higher  work  being  done  by  free  hand.  It  is  quite  surprising  in 
how  perfect  a manner  a freehand-crayon  picture  can  be  produced, 
having  all  the  likeness  and  character  of  the  photograph  from 
which  it  is  reproduced,  yet  free  from  such  excrescences  as  are  often 
unavoidable  in  camera  work.  Bear  this  in  mind : that  there  is 
plenty  of  money  in  New  York,  and  mediocre  work  will  not  go 
down  with  the  middle  and  upper  classes  there.  Those  who 
imagine  New  York  to  be  merely  a commercial  city  of  people  who 
have  no  thought  save  that  of  acquiring  wealth,  make  a grand 
mistake.  There  is  as  much  artistic  and  literary  refinement  and 
culture  there  as  are  to  be  met  with  in  any  city  in  the  globe,  and, 
in  some  senses,  more  so. 

What  I have  said  about  enlargements  applies  only  to  por- 
traiture. If  I am  asked  as  to  the  state  of  enlarged  landscapes  : 
when  I view  this  branch  under  the  light  of  the  magnificent  works 
of  this  class  which  for  several  years  past  have  emanated  from  the 
Autotype  Company’s  works,  I unhesitatingly  answer : — “ We  are 
nowhere.”  It  will  be  a good  day  for  American  photography 
when  some  one  is  enterprising  enough  to  start  a carbon  enlarging 
business  in  the  United  States  on  the  Autotype  lines. 

The  climate  in  America  is  dry,  even  if  the  temperature  be 
extreme,  which  may,  in  some  degree,  account  for  my  having  been 
enabled  to  hint,  as  I did  in  my  recent  annual  Report  of  Progress 
to  the  Convention  of  American  Photographers  at  Milwaukie,  that 
in  the  permanence  of  silver  prints  America  possessed  some  slight 
advantage  over  England  ; for  here  the  moisture  of  the  air  is 
naturally  conducive  to  fading — the  fading  of  silver  prints,  be  it 
well  understood — for  with  an  experience  of  carbon  prints  dating 
from  1864,  I have  not  found  one  in  my  collection  to  have  faded. 

But  if  the  climate  in  America  conduce  to  the  permanence  of 
silver  prints,  it  is  terrible  upon  some  of  those  colours  that,  five 
years  ago,  were  employed  in  such  works  as  collodion  transfers. 
Several  of  the  transparent  oil  pigments — even  those  of  the  finest 
English  manufacture — with  which  these  photographs  were  washed 
were  found  to  succumb  to  a New  York  sun  in  a few  hours  com- 
paratively, necessitating  tha  recognition  of  body  colours  (for  face 
work,  at  any  rate)  to  an  extent  not  found  to  have  been  at  all 
necessary  for  England.  The  American  system  of  transfer  paint- 
ing consists,  in  contradistinction  to  the  English  system,  in  using 
body  colours  on  the  face,  hair,  and  background,  instead  of  the 
English  transparent  glazing  with  only  a touch  of  body  colour  for 
subsequently  strengthening  the  shadows  or  touching  up  the 
eyes.  The  former  indubitably  costs  more  and  demands  a higher 
degree  of  skill  from  the  painter  ; but  it  is  the  only  system  by 
which  satisfaction  can  be  guaranteed.  Much  of  the  transfer 
work  which  I have  seen  in  England  during  the  past  few  weeks 
would  beat  once  rejected  by  the  New  York  citizen.  An  English 
transfer  painter,  who  had  arrived  in  New  York,  made  for  me  a 
series  of  strips,  three  inches  loDg,  on  a sheet  of  mounting-board, 
from  each  of  the  pigments  employed  by  him  in  his  vocation,  and 
upon  one  half  of  this  being  covered  up  with  an  opaque  card,  and 
the  whole  then  exposed  to  sunshine  for  fifty  hours,  several  of  the 
most  important  and  beautiful  of  the  face  colours  were  found  to 


have  suffered  greatly— their  record  including  “half  gone,” 
“much  faded,”  “ nearly  gone,”  and  in  a face  coiour  composed  of 
more  than  one  material  the  artist  reported  “ lake  quite  gone." 

I mention  this  to  indicate  points  of  difference  between  the 
English  and  American  climate. 

Very  highly  is  it  to  the  credit  of  English  camera-makers  lliat 
their  work  is  found  to  resist  successfully  the  terribly  dry  climate 
of  America.  I shall  not  here  institute  any  comparison  between 
either  the  construction  or  finish  of  the  cameras  of  the  Old  and 
New  Worlds,  but  may  say  that,  granting  the  exquisite  beauty  and 
finish  of  a first-class  English  camera,  there  are  still  certain 
features  about  the  (perhaps)  more  utilitarian,  if  less  elegant, 
American  cameras  which  arc  worthy  of  attention.  Among  these 
I may  mention  the  cut-off  or  light  trap  in  the  dark  shutter. 
This  is  not  English,  but  essentially  American.  Among  English 
inventions  which  have  taken  firm  root  in  America,  is  the  Archi- 
median  camera-stand  of  Mr.  Jabez  Hughes,  and  it  would  gratify 
that  gentleman  if  he  could  seethe  innumerable  changes  that  have 
been  rung  upon  his  invention  with  a view  to  cheapen  and  simplify 
its  construction. 

Carbon  printing  is  but  little  practised  in  the  States,  for  what 
reason  I cannot  well  say.  No  work  on  the  process  has  been  pub- 
lished there  except  the  “American  Carbon  Manual,”  which  is  a 
reprint  of  Mr.  G.  Wharton  Simpson’s  work  “ On  the  Production 
of  Photographs  in  Pigments,”  published  here  in  1867,  but  to 
which  is  attached  the  name  of  another  as  author — a proceeding 
which  you  will  recollect  occasioned  much  surprise  here.  As  the 
system  of  carbon  printing  was  revolutionised  very  soon  afterwards, 
the  work  became  passe.  The  process  was  then  allowed  to  lie 
dormant  (I  refer  to  America)  until  the  famous  process  vendor, 
Sarony-Lambert,  in  company  with  the  clever  French  artist, 
Claude  Leon  Lambert,  reinstated  it,  after  subjecting  it  to  certain 
improvements,  uuder  the  name  of  “ Lambertype.” 

Mechanical  printing  processes — especially  those  of  the  collo- 
typic  order — are  worked  in  America  in  a state  of  great  perfection. 
As  Lambert  and  his  confreres  managed  to  secure  all  the  patents 
that  are  in  force  for  America,  and  sold  the  licences  for  territories, 
the  process  is  somewhat  limited  as  regards  extent  of  practice.  I 
may  say,  however,  that  the  work  generally  is  of  a high  class. 
From  such  specimens  as  I now  submit  for  exhibition,  it  will  be 
for  you  to  say  whether  America  or  Europe  excels  in  this  class  of 
work. 

The  Woodbury  process  has  been  somewhat  unfortunate  in 
America.  Some  good  work  was  done  by  Mr.  John  Carbutt  whilst 
it  remained  in  his  hands  ; but  for  some  reason  he  parted  with  his 
interest  in  it,  and  nothing  appears  since  to  have  been  made  of  it 
The  experience — of  both  a business  and  technical  experience— 
Mr.  Woodbury  has  had  in  America  will  be  useful  to  him  in 
effecting  the  proper  introduction  of  his  new  stannotype  process 
there. 

Gelatine  is,  in  some  measure,  superseding  collodion  for  gallery 
work.  The  question  will  naturally  arise — “ Of  what  quality  are 
the  plates  of  American  manufacture  ? ” 1 have  tried  many  of 
them  side  by  side  with  those  of  English  make,  and  I fail  to  dis- 
cover any  special  difference  between  the  several  nationalities, 
either  as  regards  quality  or  rapidity.  Owing  to  the  higher  price 
of  glass  in  the  States,  the  plates  are  sold  at  a slightly  higher  price 
there  than  here  ; but  it  will  not  pay  to  send  them  from  here  to 
America,  owing  te  the  duties  and  expenses.  I say  this  from  being 
conversant  with  trade  prices  in  both  countries. 

This  Society  occupies  a high  position  in  all  matters  which  con- 
cern the  lantern,  both  in  its  construction  and  its  application  to  the 
projection  of  photographs  in  lectures  or  other  entertainments. 
This  is  one  departmeat,  especially  in  its  commercial  application, 
in  which  you  are  far  ahead  of  us ; and  I may  inform  the  more 
enterprising  among  you  that  there  are  fortunes  to  be  made  in 
America  by  pushing  this,  as  yet,  scarcely-known  branch  of 
business  there. 


The  Year-Book  of  Photography— published  now  for 
a quarter  of  a century — will  appear  as  usual  on  the 
20th  of  December.  For  the  past  two  years  our  editions 
have  run  out  of  print  before  the  summer,  and  as  our  space 
grows  annually  more  restricted,  those  of  our  readers  who 
kindly  favour  us  with  contributions  will  help  much  by 
rendering  their  articles  as  brief  and  practical  as  possible. 


648 


THE  PHOTOGRAPHIC  NEWS, 


[October  12,  18  S3. 


We  present  our  readers  this  week  with  a genuine  Exhi- 
bition number,  and  only  hope  they  will  be  satisfied  ; it 
would  have  been  difficult  to  print  very  much  more  on  the 
subject. 

The  Pall  Mall  Gazelle  published  the  first  notice  of  the 
Photographic  Exhibition  ; it  was  issued  on  Saturday  after- 
noon, two  hours  after  the  press  view  commenced. 


“ After  all,  it  is  only  mechanical,  you  know,”  said  the 
critic  of  one  of  the  London  dailies  on  Saturday,  referring 
to  the  art  by  which  Mr.  Robinson’s  “ Under  the  Haycock, 
fast  asleep,”  was  produced.  And  then  he  naively  added, 
after  remarking  that  he  himself  thought  seriously  of  buy- 
ing a photographic  apparatus  and  doing  likewise,  “Now, 
how  much  would  a lens  cost  to  do  a thing  like  that  ? ” We 
hazarded,  five  and  twenty  pounds.  “ Really  ? ” responded 
our  critic ; and  his  respect  for  the  picture  substantially 
increased. 


The  Standard  critic,  in  his  notice  of  the  Exhibition,  lays 
down  the  law  about  art  much  to  his  satisfaction,  but  says 
very  little  about  the  pictures.  This  last  we  may  be  thank- 
ful for,  since,  as  he  speaks  of  “ a quite  first-rate  photo- 
graph ” and  “ a quite  third-rate  etching,”  we  must  presume 
he  is  altogether  quite  too  much  of  an  artist  to  know  any- 
thing about  camera  pictures. 


We  are  glad  to  see  that  the  Times  critic  is  open  to  con- 
viction. At  one  time  he  says  “photography  is  and  must 
remain  far  behind  the  art  of  the  painter,  who  succeeds  in 
rendering  the  infinite  variety  of  human  movements  and 
expression  in  a manner  which  the  photographer,  tied  as  he 
is  to  the  exact  reproduction  of  details,  can  never  approach.” 
Further  on,  however,  he  says  that  Mr.  Diston’s  “ Industry  ” 
is  “one  of  a set  which  display  the  finish  and  smoothness 
of  an  old  Dutch  picture  ” ; while  of  Mr.  Berkeley’s  “ Noon- 
tide,” he  says,  it  “can  hardly  be  distinguished  from  the 
very  finest  engraving.”  Photographers  are  quite  satisfied 
to  approach  the  painter  thus  far. 


Earl  Somers,  who  died  last  week,  was  one  of  the  first 
Vice-Presidents  of  the  Photographic  Society,  having  been 
elected  a member  in  1853. 


A new  and  practical  way  of  producing  hydrobromic 
acid  is  described  by  Griming.  He  heats  in  a flask  100 
grammes  of  bromide  of  potassium  and  280  grammes  of 
phosphoric  acid,  of  specific  gravity  T304  ; at  first,  distilled 
water  comes  ofi,  later  on  aqueous  hydrobromic  acid,  and 
finally  pure  hydrobromic  acid  gas,  which  is  conducted  into 
distilled  water. 


Some  photographic  amateurs  do  not  appear  to  be  satis- 
fied with  buying  their  chemical  preparations  ready  made, 
but,  like  the  boy  who  cut  open  the  bellows,  want  to 
know  what’s  inside.  Here  is  the  experience  of  an  ama- 
teur who,  on  the  strength  of  a receipt  for  making  pyro- 
gallol,  at  once  proceeded  to  do  a little  chemical  cookery. 


Writing  to  a contemporary,  he  says: — “I  obtained  a tin 
saucer  and  put  in  a little  sand  ; I then  took  a 2 oz.  gallipot 
and  put  in  the  glycerine,  then  the  gallic  acid,  and  stirred 
together ; put  them  (the  gallipot,  it  is  to  be  hoped  the 
writer  means)  into  the  sand,  and  then  stood  them  all  on  a 
small  paraffin  stove,  turned  up  the  burner,  and  when  the 
bubbles  began  to  rise,  turned  it  down  so  as  just  to  keep 
the  bubbles  rising ; kept  it  so  for  about  half  an  hour  (I 
had  no  centigrade  thermometer)  ; when  cold  I tried  a plate, 
but  got  no  result.”  He  goes  on  to  say  that  with  double 
the  amount  of  “ ammo.”  he  got  a very  faint  image,  but  no 
better  result  when  the  quantity  of  pyro.  was  doubled  ; and 
further  adds,  “I  can  take  very  good  negatives  with  pyro- 
gallic  acid  bought  at  a chemist’s.”  Why,  then,  could  he 
not  have  been  contented  ? 


No  less  than  9,000  persons  paid  half  a franc  each  for 
admission  to  the  Exhibition  at  Brussels,  one  hundred  and 
eighty  pounds  having  been  thus  realised. 


Our  pictorial  supplement,  “There  is  sorrow  on  the  sea, 
it  cannot  be  quiet,”  by  Mr.  William  Mayland,  of  Deal 
is  the  most  striking  picture  in  this  year’s  Exhibition,  as 
it  certainly  is  the  finest  photograph  of  the  sea  that  has 
ever  been  taken.  During  the  period  of  the  Exhibition 
we  propose  to  present  our  readers  with  a weekly  supple- 
ment, representing  the  choicest  medal  pictures. 


Among  the  curiosities  of  the  Exhibition  may  be  men- 
tioned Mr.  Common’s  wonderful  photograph  of  the  Nebulas 
of  Orion,  on  the  right  of  the  entrance  and  close  to  the 
door,  and  Lieut.  Hawker’s  photograph  of  Fort  Monckton, 
which  has  been  secured  during  the  night  by  reflecting  upon 
it  the  rays  of  an  electric  light.  Another  little  picture  of 
note  is  Mr.  C.  Ray  Woods’  view  of  Caroline  Island,  from 
which  an  excellent  idea  is  obtained  of  the  luxuriant 
tropical  vegetation  of  that  tiny  spot  in  the  mid-Facific. 


The  electric  light  has  frequently  been  used  in  warfare, 
one  of  the  best  instances  being  its  application  in  the  out- 
lying Paris  forts  during  the  siege  of  that  capital.  The 
French  garrisons  employed  the  searching  rays  at  night 
time  to  sweep  the  glacis  in  front  of  the  out-works,  and  dis- 
cover attacking  parties.  Lieutenant  Hawker  now  shows 
how  it  may  be  employed  for  taking  photographs  in  the 
dark ; and  one  obvious  advantage  of  the  plan  is  that  there 
is  no  need  for  the  photographer  to  show  himself.  He 
works  quite  under  cover  of  the  darkness,  which  is  doubly 
welcome  to  him,  since  it  protects  both  him  and  his  sensi- 
tive plate. 


Two  other  exhibits  will  have  particular  interest  for 
many,  the  first  being  a series  of  pictures  taken  above  the 
earth,  and  the  second  of  pictures  taken  under  the  earth. 
The  latter  shows  how  successfully  Mr.  Arnold  Spiller  was 
able  to  photograph  one  of  the  Dene  Holes,  eighty  feet 
underground,  by  the  judicious  use  of  an  oxy-magnesium 
light  and  proper  reflectors.  The  frame  of  balloon  pic- 
tures, on  theother  hand,  by  Mr.  Cecil  V.  Shadbolt,  pro- 


October  12,  1883.] 


TflE  PHOTOGKAPfiTC  MW8 


649 


claims  that  gentleman  to  be  facile  princeps  in  this  branch  of 
the  art  in  Great  Britain  ; in  fact,  these  balloon  photo- 
graphs are  the  first,  worthy  of  the  name,  that  have  been 
taken  in  this  country.  Mr.  Shadbolt’s  photographs,  if  they 
prove  nothing  else,  demonstrate  how  map-making  may 
be  reduced  to  a certainty. 


The  Daily  Telegraph  printed  a long  rigmarole  about 
Felons’  photographs  last  week.  The  pictures  were  of  no 
value,  our  contemporary  averred,  because  if  the  prisoner 
only  took  the  precaution  to  look  like  somebody  else  at  the 
moment  he  was  photographed,  the  portrait  would  not  be 
like  him.  If  the  writer  had  paid  a visit  to  Millbank,  or  had 
taken  the  trouble  to  enquire  how  the  photography  is 
managed  at  that  and  similar  establishments,  he  would  have 
learnt  that  the  work  is  invariably  carried  on  in  the  presence 
of  an  experienced  warder,  who  has  some  acquaintance  with 
the  tricks  and  manners  of  his  sitters.  Moreover,  the  photo- 
graphs must  all  pass  the  governor,  who  does  not  give  his 
approval  unless  the  portrait  fairly  represents  the  prisoner. 


The  writer  sums  up  his  experience  thus:  “From  time 
to  time  I have  had  opportunities  of  narrowly  comparing 
dozens  of  recently  executed  convict  photographs  with  the 
originals,  and  I can  positively  say  that  in  not  more  than 
one  instance  in  six  is  the  resemblance  so  unmistakable  as 
to  leave  no  room  for  doubt.”  If  this  be  true,  may  not  the 
reason  be  that  the  prisoner  very  possibly  during  the  com- 
parison made  “ faces,”  and  not  when  he  was  photographed? 


latent  Intelligent*. 

Application  for  Letters  Patent. 

4705.  Richard  Brown  and  Robert  William  Barnes  and 
Joseph  Bell,  all  of  Liverpool,  in  the  county  of  Lancaster,  for 
an  invention  of  “ Improvements  in  and  relating  to  the  art  of 
obtaining  by  photography  definite  photographs  to  be  used  in 
production  of  typographic  blocks  and  in  the  art  of  photo- 
lithography and  like  arts.” — Dated  3rd  October,  1883. 

4732.  John  Edwin  Atkinson,  of  Greenwich,  in  the  county  of 
Kent,  for  an  invention  of  “ Improvements  in  apparatus  for 
use  in  transporting  and  exposing  sensitized  photographic  plates 
or  films.” — Dated  4th  October,  1883. 

4735.  Walter  Bentlet  Woodbury,  of  South  Norwood,  in  the 
county  of  Surrey,  for  an  invention  of  “ Improvements  in 
methods  of  producing  printing-blocks  by  means  of  photo- 
graphy.”— Dated  5th  October,  1883. 

Specifications  Published  during  the  Week. 

306. — H.  Vander  Weyde, — “ Electric  signs  or  apparatus  for 
illuminating  and  signalling  purposes.”  (Text  of  Specification 
in  our  next.) 

843.  T.  Samuels, — “ Apparatus  for  holding  dry  plates  or  films 
before,  during,  and  after  exposure,  and  for  changing  them  in 
the  photographic  camera.” 

My  invention  relates  to  an  improved  apparatus  in  the  nature 
of  a combined  dark  back  and  holder  for  containing  a number  of 
dry  plates  or  films  superposed  or  placed  in  front  of  one  another, 
and  for  automatically  bringing  the  said  plates  or  films  successively 
up  to  the  same  plane  or  position  for  exposure  and  for  receiving 
and  packing  away  the  said  plates  or  films  after  exposure.  The 
said  apparatus  is  applicable  to  any  ordinary  camera,  and  is 
serviceable  also  as  a convenient  and  compact  means  of  transport- 
ing the  plates  or  films  both  before  and  after  exposure.  By  means 
of  this  apparatus  a number  of  exposures  in  very  rapid  succession 
may  be  easily  obtained  without  the  possibility  of  accidentally 
exposing  the  same  plate  twice  over,  which  is  liable  to  happen 


with  double  backs  and  some  existing  changing-box  cameras’ 
there  being  with  my  apparatus  no  manipulation  beyond  the  mere 
sliding  out  and  iu  of  the  dark  shutter,  the  operations  of  bringing 
up  the  plates  or  films  to  position  for  exposure  and  packing  them 
away  after  exposure  being  entirely  automatic,  except  in  so  far  as 
they  are  dependent  on  the  working  of  this  slide. 

My  invention  further  comprises  an  envelope  or  sheath  for  the 
plate  by  means  whereof  the  contact  of  the  plates  or  films  with 
one  another,  when  superposed  in  my  holder,  is  avoided,  and  the 
light  is  prevented  from  passing  through  a plate  when  under  ex- 
posure to  those  behind  it.  The  apparatus  consists  of  a pair  of 
plate  holding  boxes  corresponding  in  area  to  the  dimensions  of 
the  plates,  and  identically  similar  in  construction,  which  are 
adapted  to  be  fitted  close  together  side  by  side  (in  a groove  or 
otherwise,  so  as  to  be  light-tight)  upon  a board  or  frame  hinged 
or  otherwise  attached  to  the  body  of  the  camera  in  a position 
corresponding  to  that  of  the  ordinary  dark  back,  and  secured 
thereto  with  a light-tight  joint.  One  of  these  plate-holding  boxes 
I denominate  the  “ container,”  as  it  contains  the  supply  of  plates 
previous  to  exposure,  and  the  other  I denominate  the  “ receiver,” 
it  being  intended  to  receive  the  same  plates  after  exposure.  The 
container  is  placed  behind  an  opening  in  the  side  board  or  frame 
rather  smaller  in  one  direction  than  the  size  of  the  plate,  so 
that  the  surface  of  the  board  may  form  a supporting  plane, 
against  which  the  plate  may  be  held  for  exposure  whilst  the 
receiver  is  placed  opposite  a solid  part  of  the  said  board  or  frame. 
The  container  and  receiver  are  each  grooved  to  fit  a light-tight 
sliding  lid  working  flush  with  tbe  edges  of  the  box,  only  one  lid 
being  used,  however,  when  the  boxes  are  mounted  on  the  camera, 
this  lid  then  sliding  in  the  grooves  of  the  container,  and  covering 
the  exposing  aperture,  the  lid  thus  serving  the  purpose  of  the 
ordinary  dark  shutter,  and  also  as  the  means  of  propelling  the 
exposed  plate  from  the  container  into  the  receiver,  the  recess  in 
the  boxes  in  which  the  lid  works  affording  also  a passage  for  the 
plate  from  the  one  box  to  the  other.  Each  box  is  provided  with 
a spring-propelled  false  bottom,  that  in  the  container  serving  to 
propel  the  plates  forward,  and  bring  them  successively  up  to  the 
exposing  aperture  ; whilst  that  in  tbe  receiver  serves  to  hold  the 
plates  steady  in  the  box.  To  enable  each  plate  to  be  slid  in 
front  of  its  predecessors  in  the  receiver,  springs  are  affixed  to 
the  board  opposite  the  receiver,  which  yield  as  the  plate  is  pushed 
in,  and  which  tend  to  cant  the  plate,  or  make  it  stand  obliquely 
after  it  has  entered  the  receiver  to  enable  the  next  following 
plate  to  slide  in  front  of  it  and  force  it  backwards  into  the  re- 
ceiver against  the  pressure  of  the  spring  bottom.  Instead  of 
these  springs  forcing  the  near  edge  of  the  plate  backwards,  there 
may  be  a shallow  well  in  front  of  the  far  edge  of  the  plate  into 
which  the  spring  bottom  may  force  that  edge  forwards,  thus 
canting  the  near  edge  backwards  sufficiently  to  admit  the  next 
plate  in  front  of  it.  Or  instead  of  an  automatic  device,  I 
may  employ  a lever  or  other  device  operated  by  the  hand 
at  the  required  moment.  To  enable  this  forcible  displacement 
of  a plate  to  be  effected  without  injury  to  the  sensitive 
film,  each  plate  is  encased  in  a sheet  metal  or  other  sheath 
covering  the  back  of  the  plate  and  embracing  three  edges  thereof 
so  as  to  form  a sort  of  frame  for  the  plate,  which,  by  its  pro- 
jection from  the  front  surface  of  the  plate,  prevents  the  contact  of 
one  plate  with  another.  This  envelope  or  sheath  fits  the  plate 
spring  tight,  so  that  it  may  be  readily  inserted  and  withdrawn. 
The  inner  surface  of  this  sheath  or  envelop  is  preferably  coated 
with  a non- actinic  varnish.  These  sheathes  or  envelopes,  and  the 
boxes  or  holders,  may  also  be  used  by  the  makers  of  dry  plates 
for  packing  the  same  for  sale.  Instead  of  two  separate  and 
detachable  boxes,  they  might  be  made  in  one  together 
with  the  board  upon  which  they  are  mounted.  For  out- 
side work,  a convenient  number  of  boxes,  each  filled  with 
dry  plates  encased  in  their  sheaths  as  above  described  and  closed 
by  a sliding  lid,  and  an  empty  box  without  any  lid,  are  all  that 
are  needed  for  transport  besides  the  camera  and  the  usual 
accessories.  The  empty  box  and  a full  one  having  been  fitted 
side  by  side  in  their  proper  relative  positions  upon  their  support- 
ing board  or  frame,  the  apparatus  is  ready  for  use.  The  appara- 
tus being  hinged  to  one  side  of  the  camera  as  above  described, 
it  can  be  readily  swung  back  out  of  the  way  of  the  focussing 
screen,  which  may  be  hinged,  or  otherwise  attached,  to  the  top  or 
bottom  of  the  camera,  so  as  to  be  quickly  placed  in  position  for 
focussing  immediately  the  plate  holding  apparatus  is  swung  back 
out  of  the  way.  The  focussing  screen  is  so  constructed  that  when 
in  position  it  shall  coincide  in  position  with  the  plane  of  the 
surface  against  which  the  plates  are  held  during  exposure  as 
above  described.  The  operations  of  sliding  out  and  in  the 


650 


TEE  PHOTOGRAPHIC  NEWS. 


[October  12,  1883. 


dark  shutter,  thereby  successively  exposing  and  pushing  the 
plates  into  the  receiving  box  (alternated  or  not  with  the 
operation  of  focussing,  as  may  be  necessary)  having  been  con- 
tinued until  all  the  plates  in  the  container  are  used,  the  dark 
shutter  is  pushed  into  the  grooves  of  the  now  filled  receiver,  for 
which  it  now  serves  as  a cover.  Both  boxe3  are  now  removed, 
and  the  empty  one,  which  was  previovsly  the  container,  now 
takes  the  place  of  the  other  to  serve  as  a receiver,  a full  holder 
containing  a fresh  supply  of  plates  being  placed  next  to  it  as 
before  described.  All  these  operations  may  be  performed  in 
the  studio  or  field  with  only  the  precautions  usually  taken  in 


exposing  plates.  The  arrangement  is  represented  by  the  above 
cut. 

1229. — A.  H.  Dawes, — “ Producing  permanent  coloured  photo- 
graphic card  pictures.”  (Text  of  Specification  in  our  next.) 

Patents  Granted  in  Austria-Hungary. 

J.  B.  Feilner,  of  Bremen,  for  “A  process  of  obtaining  photo- 
graphic negatives  for  making  tinted  vignets  of  gelatine,  collo- 
dium,  &c.,  for  photography.” — Dated  11th  May,  1883. 

P.  C.  Moller,  of  Leipzig,  for  “ Obtaining  manifold  printing- 
plates  for  typography,  lithography,  engraving,  and  for 
drawings  and  etchings.” — Dated  20th  May,  1883. 


THE  PHOTOGRAPHIC  EXHIBITION. 

( from  the  Times.] 

The  walls  which  we  are  accustomed  to  see  glowing  with 
colour,  and  covered  with  the  minute  and  delicate  handiwork  of 
some  of  our  best  English  painters,  are  now  given  up  to  a different 
class  of  art,  in  which  colour  has  no  place,  and  which  depends  for 
its  success  partly  indeed  upon  individual  skill,  but  mainly  upon 
the  perfection  of  a mechanical  process.  Yet  this  mechanical 
process  has  displayed,  and  is  displaying,  such  immense  improve- 
ment ; its  results  are  approximating  so  nearly  to  the  delicacy  of 
Nature  herself,  that  it  is  every  year  exercising  a more  powerful 
fascination  for  persons  themselves  endowed  with  artistic  sensi- 
bility, so  that  the  finest  photographic  work  is  more  and  more 
coming  within  the  sphere  of  fine  art,  properly  so  called,  and  is 
steadily  becoming  more  worthy  of  serious  criticism.  It  is  but 
some  thirty  years  since  photography  began  to  be  at  all  generally 
practised,  and  already  its  manner  of  action  has  been  more  than 
once  revolutionized.  There  is  little  relation  between  the  rapid 
and  certain  manipulation  of  a finished  photographer  of  to-day 
and  the  rude  and  experimental  methods  of  his  predecessor  less 
than  a generation  ago.  Such  work  as  that  exhibited  in  these 
rooms  is  so  far  ahead  of  the  work  which  we  can  all  remember, 
that  it  seems  scarcely  right  to  call  it  by  the  same  name.  It  is 
hardly  necessary  to  dwell  on  the  influence  that  this  improve- 
ment in  photographic  processes  has  already  exercised,  and  will 
continue  to  exercise,  on  art  in  general.  Already  there  are  few 
departments  of  the  art  of  book  illustration  which  photography 
has  not  invaded.  The  exquisite  woodcuts  which  the  Americans 
have  taught  us  all  to  admire  are  largely  photographic  in  their 
method,  and,  as  all  collectors  of  ancient  prints  are  aware,  some 
of  the  processes,  like  that  called  “heliogravure,”  by  MM. 
Amand- Durand,  are  capable  of  reproducing  the  original  so  exactly 
that  it  requires  a first-rate  judge  to  know  the  difference  between 
the  print  and  the  copy.  Nor  are  our  painters  at  all  too  proud  to 
avail  themselves  of  the  help  which  photography  gives  them. 
Some  of  the  most  famous  portrait  painters  habitually  spare  their 
sitters  trouble,  and  secure  a model  which  will  not  suffer  from 
fatigue,  by  having  the  hands  and  the  drapery  photographed,  and 
working  in  the  details  from  these  faithful  copies.  Nor  can  the 
landscape  painter  be  blamed  if  he  occasionally  seizes  a fleeting 
moment  of  cloud  effect,  or  of  light  upon  his  trees,  and  perpetuates 
it  by  photography,  so  that  he  may  refresh  his  memory  at  his 
leisure,  and  finish  in  the  studio  what  he  began  in  the  field.  The 
exhibition,  however,  contains  quite  enough  to  satisfy  the  visitor 


who  goes  there  to  enjoy  the  pictures  themselves  without  any 
thought  of  their  subordinate  uses.  It  is  strong  in  landscape, 
and  still  more  so,  perhaps,  in  views  of  the  sea,  some  of  the  latter 
being  really  astonishing  for  their  fidelity  and  beauty.  No.  15, 
a group  of  Norfolk  coist  and  sea  views,  by  Mr.  Selwyn  Edwards, 
is  excellent ; and  still  more  so  is  the  neighbouring  group  (23)  by 
Mr.  Mayland,  to  whom  the  judges  have  very  properly  assigned  a 
medal ; while  Mr.  Matthew  Whiting’s  Dover  scenes  (92),  a very 
brilliant  group  of  yachts  by  Messrs.  G.  West  and  Sons  (223),  and 
some  of  those  exhibited  by  Messrs  Perkins  and  Son  (415),  are 
charming.  Qiie  of  the  most  elaborate  of  these  sea  pieces  is  “ A 
Nor’easter”  (59),  by  Mr.  H.  P.  Robinson,  a mem- 
ber of  the  Council  of  the  Society,  and  a highly 
skilled  photographer.  This  artist’s  work,  how- 
ever, of  which  there  are  numerous  examples,  all 
technically  very  brilliant,  seems  to  reveal  the 
limitations  as  well  as  the  possibilities  of  the  art  of 
photography,  pictorially  considered.  He  is  fond 
of  scenes  in  which  figures  play  a part  as  important 
as  the  landscape,  especially  scenes  of  hay  making 
and  of  other  operations  of  country  life  ; and  we  can 
imagine  that  such  a picture  as  No.  62,  “Carrying 
Hay,”  will  be  highly  appreciated  by  many  visitors  for  the 
fidelity  with  which  it  reproduces  a charming  moment. 
But  it  must  be  owned  that  there  is  a stiffness  about  the 
figures  which  show  that  photography  is,  and  must  remain, 
far  behind  the  art  of  the  painter,  who  succeeds  in  render- 
ing the  infinite  variety  of  human  movement  and  expression 
in  a manner  which  the  photographer,  tied  as  he  is  to  the  exact 
reproduction  of  details,  can  never  approach.  No  criticism  of 
this  kind,  however,  need  be  pissed  upon  the  better  examples  of 
pure  landscape  in  the  exhibition.  These  are  of  all  sorts  and 
sizes,  and  are  rendered  by  many  different  processes.  Among 
them  we  may  select  a few,  though  by  no  means  all  that  we  might 
wish  to  name,  such  as  the  Alpine  views,  generally  large,  of  Mr. 
W.  F.  Donkin,  an  accomplished  chemist,  or  as  the  large  land- 
scapes of  Mr.  Vernon  Heath  and  of  the  Autotype  Company  ( e.g.), 
the  fine  Derwentwater  view  (No.  126),  and  the  extremely 
beautiful  small  views  of  Mr.  H.  B.  Berkeley  (114  to  118,  and 
especially  No.  132,  “Noontide”).  These  last  are  mostly  by  the 
platinotypc  process,  which  in  Mr.  Berkeley’s  hands  gives  results 
that  can  hardly  be  distinguished  from  the  very  finest  engraving. 
Of  ordinary  portraits  there  is  no  lack,  and  the  improvement 
which  every  year  shows  in  this  branch  of  the  art  still  goes  on. 
We  have  been  especially  struck  by  the  “ Studies  ” (233)  of  Mr.  W. 
N.  Malby,  and  by  some  of  Mr.  Mayall’s  portraits  taken  by  the  elec- 
tric light.  Mr.  Abel  Lewis  exhibits  the  last  photograph  that 
Dean  Stanley  ever  sat  for  ; Mr.  Bullock  has  a medal  for  his  un- 
named portrait  (335).  Our  brethren  of  the  animal  world  are 
fully  represented  in  the  portraits  of  lions  and  tigers,  dogs  and 
cats,  exhibited  by  Mr.  Henry  Dixon  and  Mr.  T.  G.  Dixon,  whose 
achievements  in  this  branch  of  art  have  already  gained  them 
celebrity.  Nor  ought  we  to  omit  to  notice  one  or  two  fancy 
portraits,  such  as  Mr.  W.  GiUard’s  charming  picture  “ Day 
Dreams”  (308),  and  Mr.  Adam  Diston’s  “Industry”  (291),  one 
of  a set  which  display  the  finish  and  smoothness  of  an  old  Dutch 
picture.  We  may  conclude  this  notice  by  calling  attention  to  the 
new  “ Stannotype  ” (i.c.,  tin-type)  process  invented  by  Mr. 
Woodbury,  whose  name  is  already  well  known  in  connection  with 
another  method  of  photographic  reproduction.  In  No.  485  we 
have  examples  of  all  the  stages  of  the  process,  from  the  carbon 
positive  transparency  to  the  finished  print,  while  below  hangs  a 
case  of  prints  produced  in  this  manner,  in  which  the  negative 
relief  has  been  covered  with  tinfoil  before  the  printing  takes 
place.  This  ingenious,  cheap,  and  simple  process,  by  which  some 
400  prints  can  daily  be  produced  from  a single  negative,  seems 
destined  to  play  a considerable  part  in  the  art  of  book  illustra- 
tion. 


[From  the  Daily  News.] 

The  Exhibition  of  the  Society  shows  a good  collection 
of  upwards  of  six  hundred  works.  Though  there  are  perhaps 
fewer  striking  productions  than  on  some  previous  occasions, 
owing  to  the  absence  of  many  names  that  usually  figure  in  the 
list  of  contributors,  progress  is  discernible  in  nearly  every 
branch.  To  an  inexperienced  eye  photography  may  have 
seemed  long  ere  this  to  have  reached  the  consummation  of 
exceUence ; but  to  those  initiated  in  its  technicalities  it  has, 
like  most  other  branches  of  science,  a road  to  perfection  of  which 
the  end  is  yet  distant.  The  last  few  years  have  seen  a 


Octobee  12,  1883.] 


THE  PHOTOGRAPHIC  HEWS. 


651 


cotrplete  revolution!  both  in  the  methods  employed  and  the 
results  attained,  the  old  process  of  using  a plate  of  glass  coated 
with  collodion  and  afterwards  immersed  in  salts  of  silver,  being 
now  almost  entirely  thrown  aside  for  the  more  rapid  and  facile 
method  of  a prepared  gelatine  plate,  which  takes  its  impressions 
while  dry,  and  is  thus  invaluable  for  out-door  work.  Two  years 
ago  the  productions  by  both  methods  were  about  equally 
balanced  in  number;  last  year  the  gelatine  plates  were  so  widely 
used  that  the  cases  where  wet  collodion  was  employed  were 
specified  in  the  catologue  as  exceptional,  and  in  the  present 
exhibition  there  are  not  more  than  half  a dozen  such  examples 
to  be  found.  The  novelty  of  the  season  is  the  Stannotype 
process — an  outcome  of  the  Woodbury  type.  It  consists  iu 
applying  tinfoil  to  the  gelatine  relief,  giving  a priming  surface 
equal  to  the  type  metal  formerly  employed,  and  from  which  a 
thousand  copies  can  be  taken.  Mr.  W.  B.  Woodbury  has  been 
awarded  a medal  for  his  successful  experiments  in  this  direction. 
Another  new  process  is  the  photo-engraving,  for  which  Messrs. 
T.  and  R.  Annan  take  a like  honour.  A large  work  occupying 
a prominent  place  in  the  gallery  is  Mr.  W.  Mayland’s  “ There  is 
sorrow  in  the  sea ; it  cannot  be  quiet,”  enlarged  by  the 
Autotype  Company,  for  which  a medal  has  been  justly  awarded  ; 
similar  distinction  being  given  to  his  beautiful  series  of  sea 
studies,  with  breaking  waves,  gathering  clouds,  and  morning 
effects,  which  are  excellent  both  from  a pictorial  and  technical 
point  of  view.  Mr.  H.  P.  Robinson,  whose  “ Wayside  Gossip 
was  one  of  the  prettiest  things  in  the  last  exhibition,  and  who, 
together  with  Mr.  Stevens,  has  lately  received  honours  at  the 
Brussels  International  Photographic  Exhibition,  is  represented 
this  year  by  a variety  of  pleasing  pictures,  and  takes  a medal 
for  “ A Nor’easter,”  a girl  leaning  on  a boat  looking  out  to  sea, 
in  which  the  light  on  the  water  where  the  sun  has  burst  through 
ths  heavy  clouds  is  very  effective.  Other  medals  have  been 
awarded  to  Messrs  G.  West  and  Sons  for  studies  of  yachts, 
which  are  remarkably  clear  and  bright,  having,  moreover,  the 
merit  of  being  taken  from  a vessel  in  motion  ; to  Mr.  Berkeley 
for  land  and  river  scenes  ; to  Mr.  W.  Cobb  for  some  clever 
views  of  London  streets  taken  from  the  top  of  an  omnibus  ; and 
to  Mr.  A.  Lugardon  for  studies  of  horses  in  motion.  These 
latter  clearly  prove  that  it  is  posable  to  produce  instantaneous 
photographs  of  animals  in  action  which  shall  represent  them  as 
they  appear  to  the  naked  eye  without  producing  ludicrous 
effects,  as  was  the  case  in  the  photograph  of  a galloping  horse 
by  Muybridge  of  San  Francisco.  The  remaining  honours  are 
taken  by  Mr.  W.  F.  Donkin,  for  a “ View  of  the  Dent  de  Geant 
near  Chamouni and  by  Messrs.  Adam  Diston,  J.  Bullock, 
A.  Common,  and  T.  G.  Whaite.  Mr.  George  Renwick  takes  a 
medal  for  a beautiful  snow  scene.  Mr.  Henry  Steveos  has  some 
of  his  excellent  reproductions  of  flowers  and  plants  ; Mr.  T.  G. 
Dixon  several  fine  studies  of  animals  ; and  Mr.  F.  M.  Sutcliffe  a 
large  number  of  coast  scenes  cleverly  chosen.  There  are  some 
charming  little  bits  of  Continental  scenery  by  Mr.  England, 
who,  being  on  the  jurors’  committee,  sacrifices  the  honour  of  a 
medal  which  would  presumably  have  again  been  his  as  one  of 
the  most  successful  of  our  landscape  photographers.  Other 
works  demanding  attention  are  Mr.  Henry  J.  Godbold's  very 
artistic  views  of  Hastings ; Mr.  Fred  Barlow’s  “ Atlantic 
Iceberg,”  taken  from  the  deck  of  the  s.s.  Circassian  ; portraits 
by  electric  light  nearly,  if  not  quite,  equal  to  those  taken  by 
sunlight,  by  Mr.  J.  E.  Mayall,  F.C.S.  ; Mr.  W.  E.  Debenham’s 
excellent  portraits,  and  Mr.  R.  Slingsby's  series  of  figure  studies. 
Mr.  Arnold  Spiller  contributes  the  *'  Interior  of  a Dene  Hole  at 
Gray’s  Thurrock,  Essex,”  interesting  from  a geological  point  of 
view,  and  taken  by  oxy-magnesium  light. 


[From  the  Standard.] 

By  the  innocent  lovers  of  beautiful  things,  the  admirable 
mechanical  art  of  Photography  is  often  mistaken  for  a Fine  Art, 
because  it  reproduces  Fine  Art,  or  deals  directly  with  the  objects 
with  which  Fine  Art  is  accustomed  to  deal.  But  it  is  not  only 
those  who  look  at  photographs, with  an  erroneous  and  too  exalted 
idea  of  the  power  that  produced  them  who  will  find  an  interest 
in  the  Exhibition  of  the  Photograpic  Society,  which  is  now  opeD 
at  the  rooms  of  the  Royal  Society  of  Painters  in  Water  Colours. 
For  there  can  be  gathered  a very  complete  notion  of  the  resources 
that  photography  at  present  possesses,  and  of  the  subjects  with 
which  it  best  may  cope,  and  of  the  relative  skill  of  many  of  the 
most  successful  practitioners  of  the  craft.  It  is  obvious  that 
in  the  direct  reproduction  of  natural  scenes  the  craft  has  the 
greatest  chance  where  the  beauty  of  the  scene  is  less  dependent 


upon  colour,  and  where  the  light  and  shade  are  at  all  events 
in  large  masses.  Thus,  though  there  are  of  course  remarkable 
exceptions,  as  in  the  photographs  by  Mr.  Vernon  Heath,  photo- 
graphy is  generally  least  successful  when  it  is  engaged  with 
the  intricacy  of  foliage,  and  most  successful  when  it  records,  in 
Nature,  the  bolder  features  of  cliff  or  sea  ; or,  in  Art,  the  cold 
contours  of  sculpture.  Mr.  Whiting’s  Kentish  views — views  on 
the  Kentish  coast — and  Mr.  Sutcliffe’s  views  of  the  seaboard  of  the 
North  Hiding,  may  perhaps  be  especially  remarked ; so  may 
Mr.  Debenham's  portraits,  and  the  fancy  portrait  subjects  of  Mr. 
Gillard,  in  which  the  art  of  “composition”  plays  an  important 
part.  The  Woodbury  reproductions  and  the  works  of  the 
Autotype  Company  remind  the  visitor  of  some  of  the  latest  and 
most  ingenious  successes  of  the  craft,  and  in  more  than  one 
work  the  delicate  manual  labour  of  engraving  allied  to  photo- 
graphy produces  a result  which  is,  in  the  real  sense,  artistic. 
About  photography  there  are  two  mistaken  views.  One  is  the 
view  of  those  ignorant  of  Art,  and  of  the  mental  processes  by 
which  Art  is  created.  That  view  always  over-rates  it.  The 
other  is  the  view  of  those  who  have  studied  artistic  things  in 
too  old  a school.  That  is  the  view  of  those  who  cheerfully 
deny  to  a quite  first-rate  photograph  that  merit  of  honest  re- 
production which  they  too  willingly  allow  to  a quite  third- 
rate  etching. 


[From  the  Echo.] 

The  exhibition  is  scarcely  up  to  the  standard  of  recent  years. 
There  is  no  falling  off  in  quantity — indeed,  the  hanging 
committee  have  had  to  deal  with  two  hundred  more  pictorial 
claimants  than  last  year — but  many  of  the  best  art  photo- 
graphers have  not  sent  contributions,  and  altogether  the  display 
is  strikingly  destitute  of  “eye-catchers.”  There  are  few  central 
points  in  the  exhibition  to  which  the  visitor  is  insensibly- 
attracted,  as  a relief  from  the  evenness  of  mechanical  merit. 
Still,  an  exhibition  that  illustrates  the  progress  of  rapid  photo- 
graphy cannot  fail  to  be  instructive,  nor  with  Mr.  H.  P. 
Robinson,  of  Tunbridge  Wells,  and  Mr.  May  land,  among  the 
contributors,  can  it  fail  entirely  in  artistic  value.  The  two 
photographic  facts  asserted  by  the  exhibition  are,  that  a very 
short  distance  separates  the  amateur  from  the  best  professionals, 
and  that  the  more  laborious  branch  of  portrait  photography 
does  not  keep  pace  in  excellence  with  landscapes.  The  first  of 
these  is  illustrated  by  many  foreign  and  Continental  views 
taken  by  travellers  and  naval  officers  on  the  Mediterranean,  in 
Brazil,  and  in  the  peak-sentried  vale  of  Yosemite.  The  fact 
that  only  one  medal  is  given  for  a portrait  speaks  for  the  second. 
Every  visitor  versed  in  photographic  lore  will  naturally  go  first 
to  the  set  of  nine  contributed  by  Mr.  H.  P.  Robinson.  The 
best  of  them  is  “ A Nor’  easter,”  which  looks  like  a square 
foot  of  Nature  in  miniature  taken  bodily  out  of  a beach.  A 
wave  is  sinking  back  with  frothy  reluctance,  the  pebbles  stand 
singly  out  with  humid  sheen,  and  against  a boat,  out  of  which 
the  fishers'  nets  are  sprawling,  his  daughter  leans,  shading  her 
eyes  and  peering  out  into  the  storm.  Mr.  Robinson  always 
endeavours  to  get  something  of  fine  art  into  his  camera  pictures, 
and  in  the  “Nor’easter”  he  has  risen  above  technicality,  like 
an  artist  above  systems  of  construction  and  tricks  of  colour. 
Like  every  originator  of  a school,  Mr.  Robinson  has  his  imitators. 
Mr.  Lyddell  Sawyer  is  a clever  photographist,  and  deservedly 
takes  high  rank  among  the  followers  of  the  art,  but  no  one  can 
study  his  attractive  series  of  rustic  views,  juvenile  tyrants  on 
country  gates,  or  love-makers  in  a setting  of  hayfields  and  nut- 
woods, without  feeling  that  he  has  been  largely  influenced  by 
Mr.  Robinson.  The  same  may  be  said  of  Mr.  Slingsby,  whose 
subjects  are  autumnal,  and  bristle  with  ears  of  barley.  Re- 
markable as  these  examples  are,  the  exhibition  presents  many 
more  remarkable  illustrations  of  the  extraordinary  enlargement 
of  photographic  possibilities  by  the  adoption  of  gelatine  plates. 
Mr.  Mayland’s  views  of  Henley  Regatta  were  taken  amidst  the 
rapid  motion  of  a race-scene,  but  under  an  artist’s  hand  they 
flashed  upon  the  film  of  gelatine,  and  there  there  they  are, 
bright  and  vivid  vistas  of  regatta  life.  Mr.  W.  Cobb  took  his 
scenes  on  the  London  streets  from  the  top  of  an  omnibus  while 
the  omnibus  was  moving,  and  yet  there  is  not  the  slightest  in- 
distinctness, not  the  faintest  trace  of  haste  about  them.  When 
such  facts  as  these  are  possible,  one  is  inclined  to  pay  some 
attention  to  the  theory  of  Professor  Janssen,  who  says  he  takes 
pictures  of  the  sun  by  submitting  a sensitive  plate  to  the  solar 
rays  for  the  brief  space  of  one-twenty-thousandth  part  of  a 
second.  We  have  not  space  to  speak  of  Messrs.  Marsh  Brothers 


652 


THE  PHOTOGRAPHIC  NfcWS 


[October  12,  1 883. 


or  Mr.  Bedford,  or  Mr.  England,  all  of  whom  make  a creditable 
show ; nor  of  the  enlarged  photographs,  the  finest  of  which  is 
Mr.  Mayland’s  exquisite  “ Sorrow  on  the  sea  that  cannot  be 
quiet,”  a wonderful  suggestion  of  remorseful  wave  forms,  and 
melancholy  murmuring.  They  all  call  for  patient  study  from 
the  man  who  believes  in  art.  Although  the  exhibition  is 
dissapointing  as  a whole,  more  especially  as  to  portraits,  the 
examples  we  have  indicated  will  bear  comparison  with  any 
former  achievements  in  photography.  Another  year,  perhaps, 
when  the  new  devotees  to  gelatine  have  recognised  the  necessity 
of  finish,  and  seize  upon  their  success  with  less  of  greed  and 
more  of  fastidiousness,  a more  even  standard  of  merit  may  be 
displayed.  As  it  is,  the  exhibition  holds  out  a rich  promise  of 
future  service  to  artists. 


[From  the  Morning  Advertiser.] 

It  consists  of  photographs  and  of  the  paraphernalia — mechanical 
and  scientific—  of  the  photographer.  There  are  some  200  more 
exhibits  than  there  were  last  year.  These  are,  with  very  few 
exceptions,  printed  from  negatives  taken  on  gelatine  plates,  which 
have  now  almost  entirely  superseded  wet  plates,  as  used  in  the 
collodion  process.  The  introduction  of  dry  plates  a few  years 
ago  has  completely  revolutionized  the  practice  of  photography, 
and  attracted  to  it  a large  number  of  amateurs,  the  result  being 
very  apparent  in  the  present  exhibition.  Photography  has  always 
had  its  “ distinguished  amateurs,”  and  its  development  is  greatly 
due  to  them,  but  it  has  been  so  simplified  of  late  years  that  it  has 
come  to  be  regarded  as  a mere  scientfic  toy,  with  which  any- 
body may  play  with  a certain  amount  of  success.  Of  course  in 
this,  as  in  other  things  requiring  tact  and  judgment,  as  well  as 
refined  taste,  there  are  many  failures.  No  doubt  that  which  is 
positively  bad  or  indifferently  good  is  kept  from  the  public  eye  ; 
but  this  Society  is  enabled  each  year  to  display  examples  con- 
tributed by  amateurs  which  equal  the  best  productions  of  the 
professional  practitioner.  This  year  the  Society  has  welcomed 
a large  number  of  new  exhibitors,  members  and  noD -members, 
amateur  and  professional  ; and  the  high  character  of  the  Society 
is  well  maintained,  notwithstanding  the  absence  of  some  of  those 
who  have  previously  figured  as  the  most  conspicuous  contributors, 
notably  Mr.  Payne  Jennings  and  the  Paynes  of  Aylesbury.  It 
is  in  the  beauty  and  refinement  of  the  landscapes  and  marine 
views  that  the  present  Exhibition  particularly  excels.  Most  of 
the  medals  have  been  awarded  for  this  kind  of  out-door  work. 
In  figure  subjects  no  real  advance  is  apparent.  The  photographer 
apparently  thinks  he  has  acquitted  himself  satisfactorily  when 
he  has  obtained  a faithful  record  in  monochrome  of  some  bit  of 
natural  scenery,  defining  the  multitudinous  details  of  the  fore- 
ground, and  the  delicate  gradations  of  the  half-tones  and  distance. 
No  doubt  this  is  an  achievement  commendable  in  itself,  but  it 
has  been  accomplished  so  often  that  it  has  become  a matter  of 
course,  and  the  observant  on-looker  begins  to  ask  for  something 
more,  and  this  he  is  denied.  Subjects  of  dramatic  interest,  for 
instance,  or,  indeed,  of  simple  genre,  are  conspicuous  by  their 
absence.  There  are  no  works  involving  imaginative  effort. 
Poetry,  history,  the  drama,  offer  themselves  as  handmaids  to  the 
photographer,  and  he  abjures  them  all ; whereas  there  seems  to 
be  no  legitimate  reason  why  the  one  should  be  a stranger  to  the 
other.  Mr.  Adam  Diston,  in  his  “Industry”  (291),  which  has 
been  awarded  a medal,  shows,  by  the  single  figure  of  an  old  lady 
seated  by  her  spinning-wheel,  what  can  be  done  in  this  direction, 
and  what  a field  lies  open  for  photographic  productions  of  a 
superior  kind.  For  figures  in  combination  with  landscape,  Mr. 
H.  P.  Robinson,  of  Tunbridge  Wells,  has  a special  aptitude,  and 
his  “ Nor’easter  (59)  is  a poem  in  itself.  “ What  Luck  ? ” (60) 
is  another  remarkably  good  example.  A step  further,  and  what 
is  here  hinted  at  would  be  an  accomplished  fact.  The  frame  of 
sea  studies  (23),  by  Mr.  W.  Mayland,  though  devoid  of  human 
interest,  has  in  it  life  and  motion,  the  one  study,  “ There  is  a sorrow 
on  the  sea,  it  cannot  be  quiet,”  being  highly  praiseworthy.  This 
instantaneous  view  of  waves  tumblingon  the  shore  has  been  enlarged 
with  astonishing  results  by  the  Autotype  Company.  Both  the 
original  and  the  enlargement  have  been  adjudged  a medal.  Mr. 
Valentine  Blanchard  is  represented  by  some  effective  specimens 
of  portraiture,  in  which  department  Mr.  W.  J.  Byrne,  of 
Richmond,  holds  his  own  against  all  competitors,  bis  photo- 
graphs of  children  printed  in  red  carbon  being  remarkably  deli- 
cate and  beautiful.  “Views  in  Switzerland”  (83),  by  Mr. 
Seymour  Codway  ; “ Noontide”  (132)  (plantinotypel,  by  Mr.  H. 
B.  Berkeley;  “ View  of  the  Dent  de  Geant,  near  Chamouni  ” 
•(140),  by  Mr,  W.  F.  Donkin  ; “Yachts”  (223),  by  Messrs. 


G.  West  and  Sons;  “ Views  in  Brittany”  (319),  by  Mr.  T.  G. 
Whaite  ; “ A Portrait  ” (335),  by  Mr.  J.  Bullock  ; “Streets 
of  London  ” (372),  taken  from  the  top  of  an  omnibus,  by  Mr. 
W.  Cobb,  have  each  received  a medal.  Mr.  Henry  Stevens,  of 
King  Street,  Covent  Garden,  exhibits  three  frames,  one  con- 
taining “ Studies  of  Orchids”  (125),  silver  prints  untouched, 
which  are  not  merely  artistic  illy  grouped,  but  exceedingly 
successful  in  the  finish  and  delicacy  of  the  printing. 
The  markings  of  the  maidenhair  ferns  are  singularly  beautiful. 
As  a curious  result  of  instantaneous  photography  a year  or  more 
ago,  the  legs  of  horses  galloping  were  made  to  appear  twisted  and 
crossed  in  a most  grotesque  fashion,  and  it  was  thought  that 
artists  had  always  been  wrong  in  their  delineations  of  animals  in 
motion.  Mr.  Muybridge,  of  San  Francisco,  was  the  first  to  pro- 
duce these  crooked  limbs,  and  he  obtained  his  results  by  placing 
black  horses  against  a white  background,  the  animals  being  thus, 
as  it  were,  silhouetted  in  order  the  more  certainly  to  record  their 
movements.  The  fidelity  of  the  prints  obtained  in  this  way 
has  been  generally  accepted  ; but  it  is  singular  that  in  this  exhi- 
bition a French  photographer,  Mons.  A.  Lugardon,  contributes  a 
frame  of  horses  leaping  over  bars  and  racing,  in  which  the  limbs 
are  not  in  the  least  distorted,  while  the  shadows  and  half-tints 
are  quite  natural  and  perfect,  and  this  result  has  been  arrived 
at  without  the  aid  of  artificial  contrasts  of  black  aud  white.  So 
highly  do  the  Society  think  of  M.  Lugardon 's  results,  that  they 
have  awarded  him  a medal.  Amongst  other  specialities  may  be 
noticed  a photograph  (472)  of  the  great  nebula  in  Orion,  taken 
with  a three-foot  reflector  at  Ealing,  January  30  last,  by  Mr.  A. 
A.  Common ; also  some  specimens  of  photo-engraving  on 
copper  (476)  by  Herr  Klic’s  process,  the  photos  being  printed 
by  the  ordinary  copper-plate  press,  and  exhibited  by  Messrs. 
T.  and  R.  Annan.  Mr.  W.  B.  Woodbury,  the  inventor 
of  the  well-known  Woodburytype,  exhibits  a frame  illus- 
trative of  his  new  process  of  printing,  called  “ stannotype.” 
The  first  stage  shown  is  the  carbon  positive  transparency, 
then  the  negative  relief  tissue,  the  negative  relief,  the  nega- 
tive relief  covered  with  tinfoil,  and  finally  the  print.  These 
prints,  which  are  produced  altogether  independently  of  sunlight, 
present  all  the  characteristics  of  the  finest  photographs,  are 
altogether  permanent,  and  can  be  produced  in  any  required  tint. 
The  specimens  shown  are  exceedingly  delicate.  Stannotype  will 
be  most  useful  for  book  illustrations,  the  number  of  impressions 
which  can  be  worked  off  being  dependent  upon  the  p-eparation 
of  the  printing  surface,  which  may  be  either  of  simple  tin-foil, 
or  a coating  of  steel  or  nickel.  This  process  is  a distinct  advance 
in  the  art  of  photo-printing,  and  Mr.  Woodbury  has  been  awarded 
a medal  for  his  interesting  and  valuable  invention. 


PHOTOGRAPHIC  OPTICS. 

Dear  Sib, — I am  obliged  by  Mr.  Wheeler’s  criticism  on 
my  last  lesson  on  Optics,  as  it  shows  that  on  some  points  I 
have  apparently  not  made  myself  clear.  Regarding  distor- 
tion, 1 would  ask  him,  before  finally  condemning  what  I 
have  written  regarding  it,  to  wait  till  the  effect  of  the 
thickness  of  lenses  on  their  focal  length,  &c.,  is  printed.  I 
must,  however,  differ  with  him  regarding  depth  of  focns. 
The  example  he  quotes  is  not  an  example  of  depth  of  true 
focus,  but  an  example  of  depth  of  possible  focus  ; which  is  a 
very  different  matter. — Yours  faithfully,  W.  de  W.  Abnet. 


Sir, — In  common  with  Mr.  W.  S.  Wheeler,  1 noticed  the 
extraordinary  statement  made  by  Captain  Abney  in  Lessons 
in  Optics  for  photographers  on  page  618  of  the  News,  but 
this  is,  unfortunately,  not  the  only  serious  error  that  occurs 
in  the  same  article. 

To  take  first  Captain  Abney’s  statement  that  “ distor- 
tion is  principally  the  result  of  astigmatism.”  This 
assertion  is  altogether  mistaken.  Distortion  is  due  to  the 
fact  that  a marginal  portion  of  a lens,  acts  not  only  as  an 
objective  in  collecting  rays  of  light  to  a focus,  but  also 
as  a prism,  in  bending  these  rays  towards  the  thicker  edge 
of  such  marginal  portion.  In  the  case  of  a stop  in  front  of 
a single  photographic  objective,  as  it  is  generally  used,  the 


October  12,  1883.] 


THE  PHOTOGBAPHIC  NEWS. 


653 


rays  from  an  object  not  lying  in  the  axis  of  the  lens  fall  upon 
a margins!  portion  of  the  lens,  and  are  bent  towards  the 
thicker  edge  of  that  marginal  portion,  which  thicker  edge 
is  of  course  towards  the  centre  of  the  lens.  The  farther 

Fig.  J. 


causing  barrel-shaped  distortion. 

removed  from  the  axis  are  any  rays  of  light,  the  nearer 
the  edge  of  the  lens  will  these  rays  fall,  and  the 
greater  will  be  the  inclination  of  the  two  surfaces 
— the  inner  and  outer— of  the  part  of  the  lens  in  action  ; 
that  is  to  say,  the  more  wedge-shaped  will  it  be,  and  the 
more  will  the  resulting  part  of  the  image  be  bent  inwards 
towards  the  axial  line,  or  distorted.  When  a stop  is  placed 
behind  the  lens,  the  same  effect  of  bending  marginal  rays 


Fig.  2. 


towards  the  thicker  edge  of  the  portion  of  lens  in  action 
comes  into  play  ; but  as  the  image  is,  in  this  case,  formed 
by  a part  of  tbe  lens  not  on  the  same  side  of  its  axis  as 
the  image  itself,  but  on  the  opposite  side,  this  bending  of 
the  marginal  rays  produces  a distortion  of  an  opposite 
character,  and  objects  towards  the  side  of  a picture  are 
represented  farther  from  its  centre  than  they  should  be. 
By  placing  a diaphragm  between  two  such  lenses,  these 
disturbing  causes  neutralize  each  other,  and  a non-dis- 
torting doublet  or  rectilinear  objective  is  produced.  In 


Fig.  3. 


The  distortions  of  two  single  lenses  mutually  correcting  each  other.  The 
axis  of  the  emc rgent  ray  is  parallel  to  that  of  the  immergent  one,  and  true 
projection  is  the  result. 

such  an  instrument,  however,  astigmatism  may,  and  some- 
times doep,  exist  to  a very  large  amount. 

Another  astounding  statement  that  Captaiu  Abney 
makes  in  the  same  paper,  is  this : he  says,  “ When  the 
diaphragm  is  behind  the  lens,  the  image  of  a point  lying 


near  the  direction  of  the  axis  will  be  less  proportionally  dis- 
placed than  the  image  of  a point  lying  further  away  from 
the  axis ; whilst,  when  the  diaphragm  is  in  front,  the  image 
of  the  first  point  would  be  more  proportionally  displaced 
than  that  of  the  latter.” 

There  is,  in  fact,  no  such  contrast  as  Captain  Abney  asserts 
to  exist  between  the  proportional  displacement  of  the  rays 
near  to  aud  distant  from  the  axis  in  the  two  cases  of  a 
diaphragm  in  front  of  and  behind  the  leus.  In  both  cases 
tbo  image  of  a point  lying  near  tbe  direction  of  tbe  axis 
will  be  less  proportionally  displaced  than  the  image  of  a 
point  lying  further  away  from  the  axis.  This  is  shown  even 
in  the  familiar  diagrams  which  Captain  Abney  makes  use 
of  to  illustrate  barrel  and  cushion-shaped  distortions ; 
where,  as  is  evident,  the  further  the  bounding  lines  of  the 
figures  are  from  the  axial  point,  the  more  they  are  affected 
iu  their  curvature. 

On  one  point  in  which  Mr.  Wheeler  assumes  to  correct 
Captain  Abney,  be  is  himself  in  the  wrong.  The  late  Mr. 
Thomas  Grubb  demonstrated  some  years  ago  that  it  was 
wrong  in  principle  to  suppose  that  depth  of  focus  could  be 
gained  by  tbe  sacrifice  of  absolute  sharpness  associated  with 
spherical  aberration.  Mr.  Wheeler  says:  “A  common 
practical  test  for  telescopes  is  that  of  coming  sharply  to 
focus.  With  a given  aperture  or  stop,  this  quality  is  pro- 
portional to  the  accuracy  with  which  the  aberrations  have 
been  corrected,  and  depth  of  focus  is  obviously  in  an  inverse 
ratio."  There  is  no  “obviously”  at  all  in  the  matter, 
and  the  fact,  indeed,  is  rather  the  other  way.  If 
the  difficulty  of  coming  to  an  exact  focal  point  is 
due  to  smallness  of  aperture,  then  with  the  small  aperture 
there  will  be  some  “ depth  of  focus”  and  loss  of  light,  of 
course;  but  with  lenses  of  equal  aperture,  the  difficulty  of 
comiDg  to  an  exact  focus  indicates  inferior  definition  at  the 
focal  point,  without  any  gain  whatever,  but  on  the  other 
hand  some  loss,  of  definition  in  tbe  planes  not  focussed  upon. 

W.  E.  Dbbenham. 


AFAR-OFF  PHOTOGRAPHY. 

Sir, — My  attention  was  attracted  by  the  account  contained 
in  tbe  Liverpool  Mercury,  concerning  the  ‘‘triumph  in 
photography  ” supposed  to  have  been  achieved  by  Mr. 
Banks — viz  , tbe  tuccess  attending  his  efforts  to  secure  a 
photograph  of  the  “ hills  in  the  Isle  of  Man,”  which  are 
discernible  from  Blackpool  only  at  sunset,  and  are  distant 
some  sixty  miles. 

Being  a lover  of  the  photographic  art,  and  eager  to  in- 
crease my  knowledge  by  every  available  means,  I lo6t  no 
time  in  procuring  a “print”  from  the  wonderful  and  oft- 
enlarged  negative. 

Picture  my  surprise  and  disappointment  when,  becoming 
possessed  of  the  coveted  treasure,  I found  I had  fallen  a 
victim  to  a piece  of  artifice;  in  short,  the  first  glance 
assured  me  that  the  negative  had  been  secured,  not 
from  nature,  but  from  a painting,  more  remarkable  from  its 
display  of  “buoys”  and  “sea-gulls”  than  from  any  idea 
of  perspective. 

Seeing  in  your  last  issue  a reference  to  this  “ photo- 
graphic curiosity,”  I at  once  concluded  you  could  not  have 
seen  the  result  of  Mr.  Banks’  endeavours  to  secure  a view  of 
these  bills  from  Blackpool,  and  that  you  were  innocently 
lending  your  assistance  in  carrying  out  a piece  of  deception 
which  is  more  calculated  to  afford  profit  to  Mr.  Banks  than 
satisfaction  to  the  general  public.  I therefore  beg  to  en- 
close you  a copy,  in  order  that  you  may  see  and  judge  for 
yourself  as  to  whether  it  is  worth  while  making  any  com- 
ment on  this  subject  in  your  next  issue. — I am,  yourp,  &c., 

L.  F. 

[Our  correspondent  is  quite  right,  and  we  thank  him  for 
the  correction.  The  picture  sent  us  shows  across  the  sea  a 
series  of  Monts  Blanc,  which  do  duty  for  the  Isle  of  Man. 
Tbe  sketch  is  what  the  artist  thinks  the  island  shou'd  be 
like,  not  what  it  is  in  reality. — Ep.  P.  N.] 


654 


■THE  PHOTOGRAPHIC  JTEWS. 


[October  12,  1883. 


OPERATORS’  SPECIMENS. 

Sir, — “Retoucher’’  should  send  advertiser  a bill 
(say  10s.  6d.)  for  the  specimens  retained,  and  in  case  the 
money  or  specimens  were  not  forthcoming  in  two  days,  sue 
him  in  the  County  Court  for  the  amount.  Such  shabby 
conduct  should  be  put  a stop  to. — Yours,  &c.,  Employer. 


IPmubingj  of  $ofulu*. 

South  London  Photographic  Society. 

The  first  ordinary  monthly  meeting  of  the  session  was  held  at 
the  House  of  the  Society  of  Arts,  John  Street,  Adelphi,  W.C., 
on  Thursday  evening,  the  4th  inst.,  the  Rev.  F.  F.  Statham, 
M.A.,  President,  in  the  chair. 

The  minutes  of  the  last  ordinary  meeting  in  June  were  read 
and  confirmed,  and  allusion  was  made  to  a successful  out-door 
meeting  held  at  the  “ Bull  and  Bush,’’  Hampstead,  on  Friday, 
the  28th  of  July,  on  which  occasion  several  members  sat  down 
to  tea ; two  photographs  were  also  taken  of  those  present  by 
Mr.  P.  Mawdsley. 

The  Chairman  then  presented  the  Society’s  diploma  to 
Mr.  E.  Dunmore,  for  his  picture,  “ Cattle,”  sent  in  for  competi- 
tion at  the  May  meeting,  and  congratulated  that  gentleman  on 
his  repeated  successes.  He  was  very  glad  to  see  that  the 
members  were  beginning  to  take  up  the  matters  of  competition 
with  more  enthusiasm,  as  was  shown  by  the  increased  number 
of  examples  sent  in  for  competition  during  the  holiday  months 
since  they  last  met.  Mr.  P.  Mawdsley  was  also  awarded  a 
diploma  for  his  picture  “ An  Open  View  with  Clouds." 

The  names  were  announced  of  the  members  who  had  been 
successful  in  the  artistic  competitions  for  J une,  J uly,  August, 
and  September,  as  follows : — June,  “ A country  road  with 
a finger-post,”  Mr.  John  Nesbit;  July,  “Fisher-folk,”  Mr. 
Matthew  Whiting ; August,  “ A Good  Place  for  a Rest,”  Mr.  E, 
Dunmore ; “ Moving  Figures,”  Messrs.  Cobb  and  Son  ; Septem- 
ber, “ A River  View,”  Mr.  F.  A.  Bridge  ; and  “ The  Milkmaid,” 
Mr.  John  Nesbit.  The  subjects  for  the  October  competition 
were  then  ballotted  for,  the  result  being — Landscape,  “ Gnarled 
Oaks  ; ” and  Figure,  “ Cat  and  Kittens.” 

The  Chairman  announced  that  their  next  meeting,  on  the 
1st  of  November,  would  be  the  annual  technical  meeting,  and 
the  committee  were  anxious  to  make  it  as  great  a success  as 
possible  by  getting  promises  of  new  apparatus,  &c.,  to  be  dis- 
played on  that  occasion  ; also  demonstrations  of  new  processes 
or  formula),  or  anything  which  might  prove  interesting,  and  he 
called  upon  the  members  individually  to  aid  in  making  the 
meeting  a success.  The  proceedings  on  this  occasion  would 
commence  at  7.30  p.m.,  instead  of  at  8. 

Mr.  J.  Traill  Taylor,  of  New  York,  then  read  a paper 
entitled,  “ Photographic  matters  connected  with  America  ” (see 
page  646),  and  commenced  by  disclaiming,  on  the  part  of  American 
photographers,  any  prejudices  of  an  international  character,  and 
remarked  that  if  Ameiicans  did,  as  a rule,  entertain  large  ideas 
of  their  country,  they  might  be  pardoned  fiorn  the  fact  of  the 
immensity  of  the  country,  causing  them  insensibly  to  form 
colossal  ideas.  He  touched  upon  the  methods  and  dimensions 
of  enlarging  in  America,  as  compared  with  the  same  in  England  ; 
spoke  of  the  artistic  and  literary  culture  to  be  met  with  there, 
and  referred  to  the  fact  of  Germany  and  France  providing 
artists  for  America  to  a much  greater  degree  than  Great  Britain. 
With  regard  to  landscape  enlargements,  Mr.  Taylor  readily 
admitted  the  supremacy  of  England ; he  also  spoke  of  the  rela- 
tive merits  and  de-merits  of  climate  in  the  two  countries,  and  of 
the  apparatus  manufactured  in  each.  Referring  to  the  American 
studios,  he  described  the  gorgeous  way  in  which  some  of  those 
in  the  chief  cities  were  fitted  up,  and  read  an  extract  from  the 
Photographic  Times,  descriptive  of  the  magnificent  studio  of  Mr. 
Richard  Walzl,  in  Baltimore.  In  alluding  to  mechanical  printing 
processes,  Mr.  Taylor  passed  round  some  American  specimens 
for  inspection  ; he  remarked  that  the  Woodbury  process  had 
been  somewhat  unfortunate  in  the  States,  and,  iu  connection 
with  transparencies,  referred  to  the  beautiful  work  produced  by 
Mr.  John  Carbutt.  After  a brief  allusion  to  gelatine  plates,  Mr. 
Taylor  concluded  by  expressing  his  willingness  to  reply  to  any 
questions  referring  to  American  photographic  matters  which 
might  be  put  to  him. 

A paper  containing  the  following  questions  was  then  handed  up 
to  Mr.  Taylor  : — What  is  the  state  of  photographic  journalism 


m America  ? Which  journal  is  the  best  ? Is  there  a prospect  of 
a photographic  weekly  ? What  about  the  independence  of 
journalism  ? How  about  Carey  Lea  ? 

In  replying,  Mr.  Taylor  said  that  when  such  a question  as 
the  best  journal  was  propounded,  the  querist  either  forgot  that 
one  of  them  was  edited  by  an  old  member  of  their  own  South 
London  Society,  or  else  what  he  meant  was,  “ Which  journal 
next  to  the  Photographic  Times,  is  best?”  He  (Mr.  Taylor) 
would  give  a general  reply  to  these  questions.  In  addition  to 
Times  there  was  a second  journal,  Anthony's  Bulletin 
published  in  New  \ork.  It  was,  in  a large  degree,  the  com- 
mercial  organ  of  the  well-known  stock  house  whose  property  it 
was.  Its  technical  literature  consisted  for  the  most  part  of 
selections  from  the  English  journals.  It  was  edited  by  Mr. 
Henry  Anthony,  a gentleman  getting  on  in  years,  but  who  enjoys 
the  respect  and  esteem  of  all  who  know  him.  The  Philadelphia 
Photographer  at  one  time  held  a good  position  in  America ; it 
was  still  in  existence,  but  he  was  unable  to  speak  concerning  its 
merits,  and  he  did  not  know  whether  it  had  an  editor  at  present 
the  former  one,  Mr.  E.  L.  WilBon,  having  gone  in  for  the  more 
lucrative  employment  of  lecturing  along  with  magic  lantern  ; 
this  gentleman,  however,  now  belongs  to  the  stag1  of  the  Photo- 
graphic Times.  A quarterly  journal,  Photographic  Bays  of 
Light,  emanates  from  the  establishment  of  Mr.  Walzl,  of  Balti- 
more, himself  a man  of  considerable  literary  ability,  and  well  up 
in  photography.  The  St.  Louis  Practical  Photographer  was  dis- 
continued on  the  death  of  Mr.  J.  H.  Fitzgibbou,  but  his  widow 
had  started  another  journal  with  a nearly  similar  name.  Some 
of  the  English  journalists  whom  Mr.  Taylor  saw  present  had  com- 
plained that  their  articles  frequently  appeared  in  this  journal 
without  acknowledgment  of  the  source  whence  they  emanated. 
The  Eye  is  a weekly  Chicago  newspaper,  one  edition  of  which 
devotes  special  attention  to  photographic  matters.  Mr.  GentiM, 
the  photographic  editor,  is  a man  of  culture  and  literary  ability, 
and  a practical,  if  not  a professional,  photographer.  Concerning 
the  Tunes,  Mr.  Taylor  said  that  four  years  ago  it  was  a very 
small  periodical  indeed,  appearing  as  an  appendage  to  the  Phila- 
delphia Photographer,  and  from  the  specimen  copy  he  handed 
round  they  would  be  able  to  judge  to  what  a stage  it  had  now 
advanced.  With  respect  to  Mr.  Carey  Lea,  Mr.  Taylor  regretted 
his  inability  to  reply  to  the  question  put.  Mr.  Lea  had  kept 
aloof  for  some  years  from  all  public  utterances  in  photography  ; 
but  Mr.  Taylor  expressed  a hope  that  he  would  soon  startle 
the  world  with  some  new  outcome  of  his  great  talents  and 
capacity  for  original  research.  With  regard  to  amateur  photo- 
graphy,. Mr.  Taylor  further  said  that  they  were  a little 
nehind  in  America,  although  in  New  York  amateurs  are  being 
created  very  rapidly  in  connection  with  the  advent  of  gelatine, 
and  are  of  a somewhat  superior  class  as  regards  intelligence. 
I here  is  a purely  Amateur  Photographic  Society  recently 
established  in  Chicago,  and  another  in  Brooklyn  ; in  the  latter 
of  which  he  had  the  pleasure  of  knowing  some  of  the  members, 
men  who  could  produce  beautiful  work. 

Mr..  W.  Brooks  said  he  had  had  letters  from  several  gentle- 
men in  America  who  told  him  they  succeeded  very  well  with  the 
collodio-bromide  process. 

Mr..  Taylor  remarked  that  Mr.  Newton,  President  of  the 
American  Institute,  had  bestowed  considerable  attention  upon 
the  collodio-bromide  process ; but  he  had  discarded  it  in  favour 
of  gelatine,  though  he  was  ashamed  to  say  that  gentleman  pur- 
chased his  plates  instead  of  making  them. 

- Mr.  A.  L.  Henderson  wished  to  ask  Mr.  Taylor  what 
position  club  photography  held  in  America,  and  whether  it  was 
true  that  some  of  the  club  photographers  practised  the  art  on 
Sunday  ; also  whether  it  was  the  humidity  of  the  atmosphere 
which  prevented  the  carbon  process  being  practised  there.  He 
had  been  told  that  the  reason  the  Woodburytype  was  not 
practised  in  America  was  on  account  of  the  dampness  of  the 
climate. 

Mr.  Taylor  said  he  had  conversed  with  Mr.  Woodbury  on 
this  subject  only  yesterday,  and  that  gentleman  had  said  that 
he  was  now  prepared  with  a gelatine  which  would  obviate  all  the 
difficulties  experienced  in  America  in  connection  with  his  process. 
He  had  grappled  the  matter  successfully,  and  when  the  Stanno- 
type  process  was  ushered  in,  it  would  be  a success.  About  the  club 
business,  when  he  (Mr.  Taylor)  first  went  to  America  five  years 
ago,  it  was  in  full  swing  everywhere  on  Sundays  as  well  as  week 
days,  rather  more  so  perhaps  in  the  former.  He  thought,  with 
regard  to  the  Sunday  trade  generally,  that  though  there  were 
some  photographers  who  did  not  practise  it,  still  there  were  a 
great  many  who  did. 


October  12,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


655 


In  reply  to  a question  from  the  Chairman,  Mr.  Taylor  said 
that  enamelling  was  not  much  practised  in  America  ; people  as 
a rule  preferred  enlargements. 

The  question -box  being  handed  up,  it  was  found  that  there 
was  a query  in  it,  ‘‘  What  is  the  best  method  of  reducing  over- 
dense  negatives”? 

Mr.  A.  L.  Henderson,  being  called  upon  by  the  Chairman, 
said  that  from  experiments  he  had  made  lately,  he  had  dis- 
covered a peculiar  property  in  hydrocyanic  acid,  or  the  fumes 

Siven  off  from  cyanide  of  potassium,  on  a very  intense  negative. 

[e  found  that  a gelatine  negative  when  wetted  and  surface-dried, 
and  placed  over  the  fumes  of  hydrocyanic  acid  or  cyanide  of 
potassium,  would  very  rapidly  decrease  in  intensity,  completely 
clearing  the  shadows  of  the  negative,  and  removing  any  trace  of 
green  or  other  fog  that  might  be  present.  He  would  like  to  ask 
Mr.  Spiller  if  he  could  explain  the  state  in  which  the  silver  was 
left,  whether  volatilised,  or  if  it  still  remained  there  in  a different 
form,  and  if  so  in  what  form. 

Mr.  John  Spiller,  in  reply,  suggested  that  the  reduction  of 
the  image  might  possibly  be  accounted  for  by  the  escape  of 
hydrocyanic  acid  by  the  action  of  the  carbon  of  the  air  ; but 
that,  inasmuch  as  the  cyanide  of  silver  is  insoluble  in  water,  it 
appeared  likely  that  ammonia  also  present  in  commercial  cyanide 
might  take  part  in  the  reaction. 

In  reply  to  a remark  from  Mr.  Brooks,  to  the  effect  that  he 
had  always  had  an  idea  that  green  fog  was  sulphite  of  silver, 
Mr.  Henderson  said  that,  as  a matter  of  fact,  he  thought  sulphite 
of  silver  kept  away  green  fog. 

The  proceedings  terminated  with  a vote  of  thanks  to  Messrs. 
J.  T.  Taylor,  A.  L.  Henderson,  and  John  Spiller. 

London  and  Provincial  Photographic  Association. 

At  a meeting  held  on  Thursday,  the  4th  inst.,  Mr.  F.  W.  Hart 
chairman, 

Mr.  W.  E.  Debenham  passed  round  a negative  intensified  with 
mercury,  followed  by  Schlippe’s  salt  (sulphantimoniate  of 
sodium)  ; during  drying  the  plate  was  slightly  warmed,  which 
caused  an  alteration,  having  the  effect  of  clearing  and  enlarging 
the  deepest  shadows  without  apparently  distorting  the  picture. 
The  effect  wa3  particularly  noticeable  in  the  eyes,  which  appeared 
much  larger  and  sharper  in  the  print  taken  after  the  negative 
had  been  so  treated. 

Mr.  W.  Coles  showed  an  example  of  intensification  by  the 
acid,  pyro,  silver,  and  alum  method  ; so  far  he  had  been  success  - 
ful  with  it. 

Mr.  Ashman  enquired  if  the  deposit  could  be  easily  rubbed 
off  when  wet,  and  whether  Mr.  Coles  noticed  any  difference  in 
the  result  if  ferrous  sulphate  were  employed  in  lieu  of  pyro- 
gallol,  as  in  either  case  a layer  of  metallic  silver  would  be  depo- 
sited. 

Mr.  Coles  had  not  tried  ferrous  sulphate ; he  thought  acid 
silver  intensification  was  not  known  as  well  as  it  should  be,  hence 
his  reason  for  bringing  it  forward.  The  deposit  could  not  be 
easily  rubbed  off. 

Mr.  Debenham  noticed  where  the  intensifier  hadjacted  the 
surface  was  matt,  the  other  portion  of  the  plate  being  bright. 

The  Chairman  said,  while  on  the  subject  of  intenaifiers,  he 
would  6ay  something  about  getting  rid  of  too  much  intensity.  A 
short  time  since  an  intensified  negative  came  under  his  notice, 
bo  dense  that  he  could  see  no  better  through  it  than  he  could 
through  millboard.  He  finally  decided  to  immerse  it  in  a bath 
of  chlorine  water  until  the  film  was  completely  penetrated,  occu- 
pying between  two  and  three  hours  ; following  this  with  another 
bath  composed  of  alcohol  aud  water  in  equal  proportions. 
There  was  no  frilling.  He  (the  Chairman)  had  previously  tried 
reducing  other  plates  by  means  of  hypo-chlorite  of  soda,  but, 
owing  to  the  alkaline  condition,  frilling  often  occurred.  After 
chlorine  water,  plates  would  stand  any  amount  of  washing. 
The  action  taking  place  when  the  plate  is  treated  with  chlorine 
water,  supposing  a mercurial  compound  to  be  present, 
would  be  to  form  corrosive  sublimate,  a substance  very 
soluble  in  alcohol,  and  to  some  extent  in  water.  When  two  equal 
parts  of  each  are  used,  it  allows  of  reducing  the  negative  to  any 
desired  extent. 

Mr.  A.  II addon  said  chlorine  had  in  aqueous  solutions  the 
property  of  hardening  gelatine  films.  Negatives  showing  no  signs 
of  frilling  in  chlorine  water  would  be  a result  which  might  be 
expected. 

Mr.  Coles  asked  the  Chairman  if  water  alone  would  not 
answer  for  the  second  bath. 

The  Chairman  said  it  would,  but  it  acted  very  slowly ; he 


much  preferred  the  addition  of  alcohol.  Chloride  of  ammonium 
could  also  be  used,  but  he,  the  Chairman,  had  an  objection  to 
use  salts  not  necessary  for  the  reaction. 

The  following  question  from  the  box  was  read.  With  a 
12  by  10  camera  having  already  a lens  of  12  inch  focus,  giving 
an  angle  of  53  degrees,  which  would  be  the  best  two  lenses  to 
get,  out  of  the  following  : — 

1.  Len3  having  a focus  of  17-5  inches  and  an  angle  of  38°. 

2.  Focus  16  inches  with  an  angle  of  42  degrees. 

3.  ,,  12  „ ,,  „ 52  ,, 

L ,»  7 ,,  ,,  „ 82  „ 

The  angles  being  those  included  on  a 12  by  10  plate. 

Mr.  W.  K.  Burton  said  by  a curious  coincidence,  the  writer 
of  the  question  had  described  a case  similar  to  his  own;  he  had  a 
lens  of  10-inch  and  another  of  IG-inch  focus  fitted  to  his  12  by  10 
camera.  He  should  prefer  having  18  inch  focus  only  for  his  work, 
as  he  seldom  attempted  photographing  interiors.  It  was 
generally  considered,  in  answer  to  the  question,  that  Nos.  1 and  4 
would  be  most  suitable. 

Mr.  W.  Ackland  was  elected  a member  of  the  Association. 


Edinburgh  Photographic  Society. 

The  ninth  meeting  of  the  current  session  was  held  in  5,  Si. 
Andrew  Square,  on  the  evening  of  Wednesday,  3rd  of  October. 
The  president  being  still  too  ill  to  attend,  the  chair  was  occupied 
by  Norman  Macbeth,  Esq.,  R.S.A. 

The  minutes  of  the  last  meeting  having  been  approved,  the 
following  gentlemen  were  unanimously  elected  ordinary 
members; — Messrs.  D.  Petrie,  F.S.A.  Scot.,  John  Duncan, 
William  Bertram  Millar,  Hume  Nisbet,  Robert  Frier,  William 
Dixon,  and  T.  D.  Pope. 

Mr.  Tunny,  by  means  of  a map,  indicated  the  extent  of  his 
tour,  and  pointing  out  the  magnificent  views  with  which  he  had 
adorned  the  walls,  paid  a high  tribute  to  the  untiring  industry 
and  artistic  ability  of  Mr.  Watkins,  who,  with  nearly  two  tons  of 
impedimenta,  mounted  on  sixteen  mules,  secured  under  the 
most  trying  circumstances  these  first  photographs  of  the  wonder- 
ful Yosemite  Valley. 

The  Chairman,  in  proposing  a vote  of  thanks  to  Mr.  Tunny 
for  his  interesting  communication,  said  he  hoped  that  on  a future 
occasion  he  would  favour  the  Society  with  matter  more  directly 
affecting  the  photographic  profession,  as  the  many  men  with 
whom  he  had  been  brought  in  contact,  and  the  number  of  studios 
he  had  visited,  must  have  enabled  him  to  pick  up  many  items  of 
utility  which  would  well  occupy  another  evening  in  discussing. 

Dr.  Thompson  hoped  that  Mr.  Tunny  would  entertain  the 
suggestion  of  Mr.  Macbeth,  as  oae  of  his  experience  must  have 
met  with  many  things  specially  valuable  to  photographic  practice 
— many  things  both  chemical  and  manipulative  which  he  was 
not  able  to  introduce  into  a descriptive  paper. 

Mr.  William  Dougall  hoped  that  transparencies  could  be 
made  from  the  wonderful  views,  to  be  available  for  a “ Popular 
Evening.” 

Mr.  Macbeth,  R.S.A.,  read  an  account  of  a sky  shade  that  Mr. 
John  Parker,  president  of  the  Glasgow  Photographic  Society, 
had  devised. 

Mr.  Alex.  Mathison  suggested  that  a rubber  band  might 
be  substituted  for  the  brass  ring,  and  so  allow  the  same  appa- 
ratus to  be  used  for  lenses  of  differing  diameters. 

Mr.  Wane  exhibited  a contrivance  to  prevent  the  sliding  of 
the  tripod  on  a slippery  floor,  for  securely  holding  the  tripod  in 
a rigid  position,  and  preventing  accidental  shocks  from  over- 
turning the  camera.  Mr.  Wane  had  seen  the  device  at  the 
Brussels  Exhibition,  and  thought  it  well  worth  bringing  before 
the  Society.  The  contrivance  consisted  of  three  strips  of  wood 
united  at  one  end  by  a screw.  The  length  of  the  strips  was 
governed  by  the  maximum  stretch  of  the  legs  of  the  tripod, 
and  a series  of  holes  in  each  strip  allowed  the  points  of  the  legs 
of  the  tripod  to  be  held  firmly  in  any  desired  place. 

The  Secretary  intimated  that  he  had  received  from  the 
Secretary  of  the  Photographic  Society  of  Great  Britain  a numbt r 
of  complimentary  tickets  for  their  Exhibition,  and  would  te 
glad  to  distribute  them  among  members  who  might  be  able  to 
use  them. 

Intimation  was  also  given  that  through  a mistake  on  the  part 
of  the  printer,  it  was  feared  the  presentation  print  for  the 
current  year  would  not  be  ready  for  next  month,  as  promised. 

Cordial  votes  of  thanks  to  the  gentlemen  who  had  contributed 
to  the  proceedings  of  the  evening,  and  to  the  Chairman,  termm« 
ated  the  proceedings. 


656 


THE  PHOTOGRAPHIC  NEWS, 


Halifax  Photographic  Club. 

The  Annual  Meeting  was  held  on  October  9th,  Mr.  J.  E.  Jones, 
in  absence  of  the  President,  taking  the  chair. 

Mr.  E.  Gledhill  (Secretary),  after  minutes  of  last  meeting 
had  been  confirmed,  read  the  report  for  the  past  year,  and  also  the 
balance  sheet,  which  showed,  after  paying  expenses,  £2  17s.  18d. 
in  hand. 

Several  complimentary  votes  were  passed,  when  officers  for  the 
ensuing  year  were  elected  as  follows : — 

President — Mr.  F.  Birtwhistle. 

Vice-Presidents— Rev.  W.  E.  Hancock  and  Councillor  J. 
Smith. 

Treasurer — Mr.  J.  E.  Jones.  Secretary — Mr.  W.  C.  Williams. 

The  Diploma  Certificates  were  then  distributed  as  follows:— 
Mr.  W.  C.  Williams,  1st  for  technical  excellence,  and  1st  for 
artistic  merit ; Mr.  Councillor  John  Smith,  2nd  for  technical 
excellence  ; Mr.  Edward  Huntriss,  2nd  for  artistic  merit. 

Mr.  WniTELEY  exhibited  a shutter  for  instantaneous  pictures, 
the  exposure  being  made  by  the  shutter  sliding  behind  the  lens, 
and  capable  of  being  used  for  slow  as  well  as  quick  exposures. 

Mr.  W.  H.  Boscock  was  elected  a member  of  the  Club. 


Dundee  and  East  of  Scotland  Photographic  Association. 
The  first  regular  meeting  for  the  winter  season  was  held  in 
Lamb’s  Hotel,  on  Thursday,  4th  inst. 

The  President  (Mr.  J.  C.  Cox)  congratulated  the  members 
on  meeting  again  for  the  winter  session,  and  referred  to  the  pro- 
minent place  chemistry  was  to  occupy  in  the  New  College.  The 
membership  of  the  Association  was  rapidly  increasing,  and  he 
was  glad  to  see  so  many  amateurs  coming  forward.  The 
President  also  mentioned  that  he  was  in  communication  with 
several  gentlemen  of  high  scientific  standing  with  a view  to 
getting  them  to  lecture.  It  was  arranged  to  hold  a series  of 
competitions  onset  subjects  ; the  one  appointed  for  October  was 
“ Sky,”  and  that  for  November  “Reflections.” 


SLalk  in  tfre  Stubiff. 

The  Fisheries  Exhibition  Diploma.— The  design  of  the 
diplomas  to  be  awarded  in  connection  with  the  Fisheries  Exhibi- 
tion is  to  be  reproduced  by  photo-engraving. 

Royal  Cornwall  Polytechnic  Society. — “A  Judge,”  writing 
to  the  Falmouth  Packet,  says,  with  regard  to  the  letter  of  Mr. 
W.  M.  Harrison  (which  was  quoted  in  our  last  issue)  : — “ In 
writing  such  a letter,  I think  to  say  the  least  of  it  very  bad  taste 
on  his  part ; I do  not  intend  entering  into  any  explanation  upon 
the  technical  points  of  the  case,  but  I fail  to  see  why  Mr. 
Harrison  should  know  so  much  about  the  exhibits  of  Messrs.  G. 
West  and  Son,  of  Gosport ; and  as  to  his  opinion  as  to  the  award 
they  ought  to  have  received,  it  is  of  very  little  consequence,  as 
he  was  not  one  of  the  judges  in  that  department.  I may  add 
that,  as  a rule,  all  exhibitors  who  send  to  exhibitions  are  dis- 
appointed if  they  do  not  obtain  an  award,  and  are  not  backward 
in  writing  letters  to  that  effect.  The  tone  of  Mr.  Harrison’s 
letter  throughout  is  very  bitter,  and  I think  he  shows  his  weak- 
ness when  he  pretends  and  predicts  the  failure  of  the  depart- 
ment. There  is  one  thing  I may  add,  and  that  is,  for  the  last 
few  years  the  department  has  improved.” 

The  Brussels  Exhibition.— Captain  Maycock,  Instructor  in 
Photography  at  the  School  of  Military  Engineering,  Chatham, 
and  Sergeant-Major  Doyle,  will  proceed  to  Brussels  for  the 
purpose  of  visiting  and  reporting  on  the  International  Photo- 
graphic Exhibition. — Daily  Teleyraph. 

Photographic  Club. — At  the  next  meeting  October  17th,  the 
subject  for  discussion  will  be  the  adjourned  discussion,  on  “ The 
Toning  of  Ready-sensitized  Paper.” 


$0  ftomsgonbents. 

*«*  We  cannot  undertake  to  return  r°jected  communications. 

G.  IIotteuges. — Write  to  the  publisher  of  the  Ttdschrift  voor 
Photographic,  Amsterdam.  It  is  a monthly  periodical. 

William  Lamp. — 1.  Most  likely  the  air  supply  is  defective,  and 
that  nil  will  be  well  if  you  ullow  a little  more  space  for  air  to  enter. 
7'  I'11 1°  prepared  ox-gall  with  the  colours,  or  apply  the  gall 

first  to  the  surface  of  the  print. 


[October  12,  1883. 


G.  W.  G. — The  mount  probably  contains  either  hypo  or  some  sub- 
stance destructive  to  the  picture.  Cut  a picture  in  half,  mount 
one  half  on  the  questionable  mount,  and  the  other  half  upon  a 
mount  supplied  by  another  maker.  If,  when  the  pictures  are  kept 
under  precisely  the  same  conditions,  one  becomes  spotted  and  faded , 
while  the  other  remains  good,  you  will  have  excellent  grounds  for 
making  a claim  on  the  firm  who  supplied  the  faulty  mounts. 
When  an  article  is  sold  for  a specific  use,  there  is  an  implied 
guarantee  that  it  is  fit  for  this  use. 

N.  J.— It  is,  we  think,  the  result  of  damp,  and  imperfect  washing. 

W.  Francis. — We  have  no  doubt  that  you  have  considerably  over- 
heated the  mixture.  Exercise  more  care  in  future. 

A Constant  Subscriber. — Supposing  that  you  took  the  original 
as  a commission,  the  copyright  would  not  be  yours  ; and  assum- 
ing that,  as  is  probable,  the  copyright  of  this  original  photo- 
graph was  allowed  to  lapse,  the  lithographer  might  have  a good 
title  to  copyright  in  his  reproduction.  It  is  probable  you  would 
be  quite  safe  in  doing  as  you  propose,  but  it  is  quite  conceivable 
that  in  strict  law  you  might  make  yourself  liable  to  a penalty. 

G.  W.  Hale. — See  the  Dictionary  the  week  before  last. 

W.  M.  W. — We  do  not  think  that  the  prices  differ  very  much  from 
those  charged  in  this  country. 

H.  Howard. — 1.  It  will  no  doubt  answer  fairly  well,  but  not  so 
well  as  if  it  had  been  constructed  for  the  purpose.  2.  The  former 
are  generally  made  of  flint  glass,  and  the  latter  of  crown  ; but  wo 
have  met  with  exceptions  to  this  rule. 

Samuel. — A glass  plate  is  rubbed  over  with  powdered  French  chalk, 
and  after  all  excess  has  been  wiped  off,  the  plate  is  coated  with 
collodion.  The  print  is  now  squoegeed  face  downwards  on  the 
collodionised  surface,  a ten  per  cent,  solution  of  gelatine  being 
used  as  a cementing  medium.  When  dry,  the  print  may  be 
detached. 

%*  Several  answers  stand  over  for  want  of  space. 


Skfre  ifiotagmplnc  gUfos  gfajisfeg. 

Employment  Wanted. 

Operator,  Retoucher,  or  Manager. — F.  E.,  Photograohic  News  Office. 
Operator,  high-class. — Veritas,  Photographic  News  Office. 

Toner  and  Printer. — A.  W.,  1,  Lec-st.,  Kingsland. 

Reception  Room  (Lady). — TV.  P.,  40,  Netherwood-rd.,  Shepherd’s  Bush. 
Manager.— Bonatide,  Hartington-ter.,  E.  Dereham. 

Printer  and  Toner.— W.  M.,  105.  Longmore-st.,  Birmingham. 

Retouching,  Tinting  (Lady).— II.  J.  A.,  Buckingham-st.,  Brighton. 
Landscape  Operator.— A.  B.,  Post  Office,  Aberdeen. 

Retoucher  (German).— Louis  Brue're,  Myrtle-villa,  Puller-rd.,  TV.  Barnet, 
Finishing  Enlargements  (Lady). — L.  E.,  Spring  House,  Merton,  8 E. 
Collotypic  Piinter  (first-class).— F.  R.  1)  , Photographic  News  Office 
Improver;  print,  tone,  mount,  Ac  — TV.  Gregory,  High-st.,  Marlboro’. 
Operator,  Retoucher,  and  Gen.  Assist.— Edwards,  6,"  Peter’s-st.,  Gravesend. 
W oodbury  type  A Stannotype F.  II.  R.,6,U  pton-  villas,  Norwood  J unction . 
First  Operator  or  Manager  (first-class). — G.  E.  L.,  4,  Ball-st.,  Kensington. 
Operator  (first-class).— 1,  St.  John’s-place,  St.  Peter’s, near  Ramsgate. 
Printer,  Toner,  could  operate  — E.  TV.,  71,  Sutherland -st.,  Pimlico. 
Reception  Room,  first-class,  all  duties. — 11.,  Photo.  News  Office. 

Operator,  wet  A dry,  good  copyist. — C.  O.,  11,  Jamcs-st.,  Covent-gdn.,  W.C. 
Reception  Room  (Lady),  re-engagement. — A.  B.,  Swan’s  Nest,  Rydc,  I. TV. 
Operator,  Ac. — Williams,  138,  Maithcw-pl.,  Smethwick,  nr.  Birmingham. 
Assistant  Operator.— L.,  23.  Orbel  st.,  Oastle-st.,  Battersea. 

Neg.  Retoucher  of  exper. — Louis  Hruere,  4G,  Duke-st,  Manchester-sq  , TV. 
Operator,  at  present  managing.— TV.,  59,  Tredegar-rd.,  E. 

Operator  (experienced  lighter  A-  poser).— F.  C.,  18G,  Mount  Pleasant,  L’pool 

Employment  Offered. 

Young  Man  to  keep  books,  Ac.— H.  Spink,  Brighton. 

Ladies  to  Paint  club  pictures. — F.  J.  Robinson,  S.  Lowestoft. 

Assistant,  for  large  work.— P.  W.,  c/o  Marion  & Co.,  Soho-sq. 

Negative  Retoucher  (Lady). — TV.  H.  Midwinter,  Parkst.,  Bristol. 

Assistant  (for  two  months).— Mr.  Thompson,  Omagh,  Ireland. 

Artist  (to  work-up  colours). — T.  C.  Turner  A Co.,  Barnsbury. 

Operator,  wet  and  dry.— A & G.  Taylor,  Queen  Victoria-st.,  E.O. 

Artistic  Retoucher.— TV.  Lawrence,  Upper  Sackville-st.,  Dublin. 

Reception  Room  (woman). — Barnes  & Son,  422,  Mile  End-rd  , E. 

Printer  A Toner. — Barnes  & Son,  422,  Mile  End  Road,  E. 

Operator  (single)  for  Bombay.— R.  B.,  Marion  and  Co.,  Soho-sq.,  TV. 
Portrait  Painter  in  Oil. — TV.  TV.,  3,  Norfolk  villa0,  Larkhall-rise,  Clapham. 
Printer,  Vignetter,  A Toner  (30/-). — T.  C.  Turner,  10,  Bamsbury-park,  N. 
Improver,  immediately  (board  found).— J.  Willis,  Manor-rd.,  Gravesend. 
Artist  (first-class)  for  occasional  work. — A.  B.,  Photographic  News  Office. 
Operator  and  Retoucher  for  Oxford. — Taunt  A Co.,  Oxford. 

Transfer  Hand  (first-class).— A.  A G.  Taylor,  Queen  Victoria-st.,  E.C. 
Operator  A Retoucher,  A Young  Lady  (Recep.-rm.) — 4 j-Laurcncc-la  , E.O. 
Assistant  or-Man.  Pliilosoph.  Instrum.  Makers.— Pyro , Photo.  News  Office. 
Operator,  Retoucher  and  Manager  (first-class).— Everest,  Royal  Worthing. 
Operator  (first-class,  wet  A dry).— A.  A G.  Taylor,  70,  Qu.  Victoria-st.,  E.C. 
Printer  (female  preferred).— Lowrie,  83,  Fleet-st.,  E.O. 

Operator  for  all-round  work. — Tune  A Co.,  Warmington  House,  Tottenham 


“ The  Gem  of  the  Exhibition.” 

MAYLAND’S  magnificent  picture  “ There  is  Sorrow  on  the 
Sea,”  for  which  a double  medal  was  awarded,  will  be  for- 
warded, packed  in  boards,  on  application  to  Mr.  \V.  Mayland, 
Art  Studio,  Deni,  enlarged  to  18  inches  (to  photographers), 
eighteen  shillings. 


PAT 


r-  » , 


w 4 i 


sznxny 


SUPPLEMENT  TO  "THE  PHOT«IA?n 


' 


There  is  Sorrow  on  he  Si 


RAPHIC  NEWS"  I2TH0CT0BER.  1883. 


Wf  MAYLAND,  DEAL.  COPYRIGHT 


■ Sea,  it  Cannot  be  Quiet. 


patent  :rr 


;i  LI3RARY 


THE  PHOTOGRAPHIC  HEWS, 


Vol.  XXVII.  No.  1311. — October  19,  1883. 


CONTENTS. 


PAOR 

Photography  and  Tricycling V,  057 

The  Action  of  Ammonia  in  Alkaline  Development  658. 

The  Photographic  Exhibition  659 

Apparatus  at  Pall  Mall  660 

The  Present  Condition  of  Amateur  Photography,  and  its  Pro- 
bable Future.  By  J.  V.  Robinson CGI 

On  the  Art  of  Pictorial  Composition  as  applied  to  Landscape 

Photography.  By  C.  Alfieri 6G1 

Reduction  of  Oelatine  Negatives  Over-Intensified  with  Mer- 
cury. By  C.  Alfieri 662 


FAOE 

Mr.  Burton’s  Leetute i 663 

Notes  ' 664 

Patent  Intelligence  665 

A Few  Notes  of  a Tour  from  Maine  to  California.  By  J.  Q. 

Tunny  666 

Correspondence  607 

Proceedings  of  Societies  669 

Talk  in  the  Studio 671 

To  Correspondents 672 

The  Photographic  News  Registry 6"2 


PHOTOGRAPHY  AND  TRICYCLING. 

The  voluminous  correspondence  that  has  appeared  for 
some  weeks  past  in  our  columns  on  this  subject  sufficiently 
proves  how  interesting  it  is  to  many  photographers. 
Historically,  it  is  not  the  first  time  the  camera  and  ’cycle 
have  been  coupled.  When  Nicephore  Niepce  and  his  brother 
Claude,  early  in  the  century,  began  their  co-operative 
labours,  which  ended  in  the  invention  of  camera  photo- 
graphy, it  was  to  the  contrivance  of  an  improved 
velocipede  that  they  first  directed  their  attention.  A sum 
of  money  had  been  promised,  or  was  popularly  supposed  to 
be  promised,  for  solving  the  problem  of  perpetual  motion, 
and,  like  other  ingenious  minds  of  the  age,  the  brothers 
Niepce  determined  to  win  the  reward.  The  outcome  of 
their  labours  was  the  so-called  Pyreolophore,  a description 
of  velocipede  that  was  worked  by  hand  and  foot ; and  so 
sanguine  were  the  partners  that  a goodly  sum  could  be 
obtained  in  a proper  market,  that  Claude  started  with  the 
inventiou  to  England,  where,  however,  he  unfortunately 
died  shortly  afterwards.  He  lived,  nevertheless,  long 
enough  to  have  sent  him  by  letter  a description  of  his 
brother’s  successful  photographic  experiments,  which  were 
started  immediately  the  pyreolophore  was  finished. 

So  that  it  is  not  unfitting,  photography  having  pretty 
well  arrived  at  perfection,  for  the  photographer  to  turn  to 
the  ’cycle  for  help,  now  this  mode  of  conveyance  has  been 
perfected  also.  A month  ago,  “ Only  an  Amateur  ” asked 
for  informatiou  in  our  columns  on  the  subject  of  a con- 
veyance to  take  him  and  his  photographic  outfit  on  a tour 
through  England,  and  while  he  has  been  in  the  end  enabled 
to  get  a suitable  machine  and  start  off  on  his  journey,  our 
readers  have  been  presented  with  ’cycling  experiences  by 
competent  authorities  from  every  quarter. 

It  is  satisfactory  to  learn  how  very  suitable  these 
machines  are  to  both  professional  and  amateur  photo- 
graphers who  have  work  to  do  at  some  distance  from  home. 
Thu3  “ Photo-Cyclist,”  who  speaks  “from  fifteen  years’ 
experience  of  bicycles  and  tricycles,”  tells  our  corres- 
pondent that  “it  is  quite  possible  to  get  a light  tricycle  to 
carry  his  camera — aud  his  own  luggage,  too— for  fifty  or 
more  miles  a day,  if  he  wishes,”  and  further  adds  that  he 
himself  has  “ only  just  finished  a five  weeks’  tour  through 
England,  and  also  in  Jersey  aDd  portions  of  Normandy 
and  Brittany.”  In  fact,  he  says,  “ a photographer,  be  he 
ever  so  old,  will  never  regret  getting  a tricycle”  ; but  then 
he  stipulates  “ to  be  careful  not  to  have  wheels  less  than 
forty-eight  inches  in  diameter.”  “Mine,”  says  “Photo- 
Cyclist,”  “ has  fifty-inch  wheels,  and  I would  not  change 
it  for  any  machine  in  the  world,  as  it  has  served  me  faith- 
fully over  3,000  miles  of  road,  and  is  as  good  as  ever.  It 
weighs  between  sixty  and  seventy  pounds,  and  recently  I 
have  been  carrying  over  two  stone  of  baggage  upon  it. 


Mr.  John  Browning,  a well-known  name  in  ’cycling,  as 
in  astronomical  science,  is  rather  at  variance  on  the  sub- 
ject of  the  wheels.  He  will  have  nothing  to  do  with  big 
wheels ; his  recommendation  to  “ Only  an  Amateur  ” is 
“ to  get  as  small  a tricycle  as  he  can — that  is,  with  as  small 
wheels  as  possible — as  he  will  get  a lighter,  safer,  and 
stronger  machine,  and  this  will  prevent  him  from  feeling 
the  small  additional  weight  of  the  photographic  apparatus.” 
Mr.  Browning  also  recommends  photographers  to  carry 
the  apparatus  “ strung  underneath  the  seat,  and  not  behind 
it.”  The  tveight  should  be  far  enough  from  the  ground  to 
clear  the  latter,  but  still  hung  as  low  as  possible,  as  it 
thus  lowers  the  centre  of  gravity  and  steadies  the  machine. 
Another  point  of  importance  Mr.  Browning  refers  to, 
which  should  be  especially  attended  to  in  long  journies — 
the  straps  of  packages  should  be  secured  round  the  bottom 
of  them,  for  jolting  over  rough  roads  is  a severe  test  for 
straps  that  are  sewn  on. 

The  reader  will  scarcely  be  able  to  make  up  his  mind  as 
to  the  best  kiud  of  machine  to  purchase  from  the  letters  of 
our  correspondents,  although  it  is  true  several  of  them  are 
unanimous  as  to  the  advantages  of  one  or  two  of  the  ’cycles 
named ; the  Arion,  Challenge,  Extraordinary,  Apollo, 
Traveller,  Velociman,  Carrier,  Back-steerer,  Front-steerer, 
Cheylesmore,  Monarch,  Otto,  Blenhiem,  lludge, 
Coventry,  &c.,  &c.,  all  seem  to  have  their  advocates,  so 
that  the  only  sound  plan  would  appear  to  be  either  to  try  a 
machine  oneself,  or  to  take  the  opinion  of  a trustworthy 
friend  of  experience.  But  in  respect  to  the  way  of  packing 
and  carrying  one’s  photographic  equipment,  all  may  well 
take  a hint  from  our  correspondents.  The  notion  to  pack 
in  a small  and  compact  basket  is  decidedly  good,  for  a 
basket  package  will  often  keep  its  contents  from  breakage 
under  the  vicissitudes  of  a collision  or  upset.  Others  em- 
ploy leather  cases,  which  are  less  bulky,  and  no  doubt  very 
convenient.  Mr.  Charles  P.  Richards,  who  has  ridden  a 
tricycle  for  a twelvemonth,  and  speaks  favourably  of  the 
saving  in  cost  of  comveyances  which  would  otherwise  have 
been  required  to  convey  his  apparatus  to  its  destination, 
gives  a very  clear  idea  as  to  his  mode  of  packing.  He  has 
a Cheylesmore  rear-steering  machine,  aud,  with  a load  of 
apparatus  weighing  forty-eight  pounds,  has  no  difficulty  in 
riding  thirty-six  miles,  exposing  six  plates  upon  different 
views  on  the  road,  and  arriving  home  considerably  less 
tired  than  if  he  had  walked  six  miles  carrying  the  apparatus 
himself. 

To  convey  his  load,  Mr.  Richards  says,  “ I have  had  made 
an  iron  tray  15  by  10  inches  by  3 inches  deep,  which 
screws  on  the  backbone,  and  is  easily  removable  when  not 
required.  A good  leather  case,  containing  10  by  8 camera, 
three  double  dark  slides,  leuses,  tripod  top  screw,  and 
focussing  cloth,  exactly  fits  the  tray,  to  which  the  case  is 
further  secured  by  means  of  straps  on  each  side.  The  legs, 


658 


THE  PHOTOGRAPHIC  .NEWS. 


[Octobie  19,  1883. 


folded  and  strapped  to  the  top  of  the  bag,  complete  the 
arrangement,  which  weighs,  with  six  plates,  forty-eight 
pounds.” 

“Cestrian,”  another  correspondent,  also  an  experienced 
tricyclist  and  professional  photographer,  has  a different 
plan  of  carrying  his  impedimenta.  He  uses  a “ Monarch,”  and 
gives  a hint  in  his  postscript— which  is  often,  as  every- 
body knows,  the  most  important  part  of  a letter — to 
beware  of  dust  on  a photo-cycling  journey.  He  carries  a 
whole-plate  camera,  and  his  method  is  to  put  this,  with  the 
slides,  in  a leather  bag  suspended  under  the  seat,  just 
clearing  the  feet  when  in  the  stirrups.  A strap  is  affixed 
on  each  side  arm  of  frame,  with  a brass  spring  hook  or 
clip  at  end  of  each ; a third  is  round  the  backbone.  On 
the  bag  are  sewn  (very  strongly)  three  metal  D’s  ; these 
latter  the  spring  clips  take  hold  of,  and  the  camera  is 
secured.  On  the  outside  of  the  camera  bag  are  the  chang- 
ing bag  and  focussing  cloth,  while  inside  the  camera  are 
Cadett’s  shutter,  and  three  or  four  small  symmetricals, 
camera  screw,  and  spirit  level.  “ The  tripod — Kennett’s 
make,  large  size— I close  by  strap  at  bottom  of  legs  only, 
thus  obviating  the  taking  to  pieces  (sometimes  the  legs 
swell  after  working  in  moist  places,  so  that  I find  it 
always  better  to  keep  the  stand  intact),  and  secure  by 
two  straps  along  the  left  hand  side  (break  side)  of  the 
machine.  Of  course  it  projects  a little  in  front  of  wheel 
and  also  behind,  but  I do  not  find  that  any  drawback. 

I carry  plates  either  in  a satchel  on  my  back,  or  secured 
to  back  rest  of  saddle  ; I prefer  the  former  plan.  Thus, 
when  fully  equipped  for  out-door  work,  including  land- 
scape and  portraiture,  my  traps  weigh  nearly  forty  pounds 
(my  own  weight  is  ten  stone),  and  with  this  weight  1 travel 
an  average  of  six  miles  per  hour  over  very  hilly  roads  ; and 
I find  the  machine  travels  more  safely  with  the  load  than 
without  it.” 

Most  of  our  correspondents  recommend  high  wheels  in 
preference  to  Mr.  Browning’s  low  ones ; but  the  latter 
gentleman,  we  must  remember,  is  one  of  those  who  has 
only  adopted  wheels  of  lesser  circumference  after  a long 
practical  trial  ot  bigger  ones.  Mr.  G.  Beales,  whose  letter 
we  printed  last  week,  is  content  with  46-inch  wheels,  and 
he  travels  at  an  average  speed  of  eight  miles  an  hour  with- 
out fatigue.  He  is  very  enthusiastic  on  the  subject,  and 
shows  how  business  may  well  be  combined  with  pleasure. 
“ As  to  holidays,  you  will  make  them  by  pulling  up  at  a 
gentleman’s  residence,  photographing  it,  with  groups, 
scenery,  &c.,  which  you  would  not  have  been  able  to  do 
bad  you  not  had  a tricycle.”  It  certainly  seems  to  us  that 
the  photographer  is  able  in  this  way  very  easily  to  extend 
the  circle  of  his  usefulness. 

Mr.  Beales  has  no  difficulty  in  the  matter  of  making  his 
tricycle  carry  all  the  apparatus  required  for  work.  He,  too, 
takes  with  him  a whole-plate  camera,  which  with  two  slides 
are  strapped  on  the  back  of  the  seat  with  a bag  hung  over  them 
containing  the  lenses,  &c. ; “ changing  tent  (which  measures 
when  closed  two  feet  long,  four  inches  deep),  in  which  I carry 
my  plates  in  the  same  boxes  as  they  come  from  the  makers  ; 
and  an  empty  one  to  put  them  in  when  exposed.  This  is 
strapped  under  the  seat,  hanging  down  within  six  inches 
of  the  ground,  but  is  perfectly  out  of  the  way.  When  in 
use,  it  fits  on  the  seat  of  the  tricycle,  and  saves  an  extra 
tripod.  The  camera-stand  is  strapped  to  the  steering- 
lod,  and  everything  is  complete  and  out  of  the  way  of  your 
arms  and  legs,  which  is  a great  boon.” 

Some  photo-cyclists  do  not  take  a tripod,  but  employ  their 
machines  as  a stand  ; but  if  it  is  taken,  it  is  generally  out 
of  the  way  when  strapped  to  the  steering-rod. 

As  to  the  rate  of  travelling  on  a tricycle,  we  have 
various  opinions,  from  twenty  miles  to  eighty  miles  a day 
being  mentioned.  Now,  to  be  able  to  go  eighty  miles  is  all 
very  well,  because  it  proves  that  a machine  travels  easily 
without  fatiguing  the  rider  too  much.  But  no  tourist,  much 
more  a photographer,  would  ride  at  this  rate  through  pic- 
turesque country.  Thirty  or  forty  miles  a day  would 


in  all  probability  be  the  utmost  any  amateur  would 
desire  to  travel,  while  the  professional  photographer  rarely 
has  a job  to  do  so  far  away  from  home.  If  photographic 
apparatus  can  be  conveyed  at  the  same  time  without  any 
appreciable  addition  of  fatigue,  then  it  follows  that  the 
tricycle  must,  under  many  circumstances,  be  au  object  of 
pleasure  and  profit  to  those  who  carry  on  their  work  out  of 
doors. 

— © 

THE  ACTION  OF  AMMONIA  IN  ALKALINE 
DEVELOPMENT. 

As  our  readera  are  aware,  the  primary  action  of  ammonia 
in  the  development  of  the  plate  is  to  facilitate  the  action 
of  the  pyrogallic  acid,  which  is  the  actual  reducing  agent. 

A solution  of  plain  pyro  will  absorb  oxygen  from  the  air 
very  slowly,  compared  with  its  rapid  effect  when  an  alkali 
is  added,  and  the  same  is  the  case  with  regard  to  its 
absorption  of  the  halogens  set  free  from  a sensitive  plate 
by  the  action  of  light.  We  would  here  raise  the  question, 
however,  whether  the  presence  of  ammonia  in  the  deve- 
loper has  not  another  less  marked,  but  equally  necessary, 
action  in  reducing  the  silver  salt  in  the  film. 

In  considering  the  action  of  the  developer  on  the 
different  haloid  salts,  we  shall  find  that  we  have  several 
sets  of  phenomena  running  in  parallel  lines,  and  we  pro- 
pose to  point  out  that  these  phenomena  run  parallel  to  the 
action  of  ammonia  pure  and  simple  on  the  silver  compounds 
in  question.  Let  us  look,  in  the  first  place,  at  the  reduc- 
tion of  these  compounds,  and  we  can  do  so  best  by  dis- 
carding the  use  of  gelatine  or  any  other  vehicle  to  hold 
the  salts,  and  making  our  experiments  on  the  halogens 
suspended  in  water.  Take  three  test-tubes,  for  instance, 
and  pour  a small  quantity  of  solution  of  silver  nitrate  iu 
each.  To  the  first  add  a soluble  chloride,  to  the  second  a 
bromide,  and  to  the  third  an  iodide,  taking  care  that  the 
chloride,  &c.,  &c.,  is  in  excess.  To  render  the  experiment 
more  marked,  let  our  original  solutions  of  silver  nitrate, 
and  of  the  haloid  salts  of  the  alkalies,  be  of  the  same 
strength,  or,  in  other  words,  let  them  be  made  up  of  the 
same  number  of  grains  to  the  ounce  of  water.  The  test- 
tube  containing  the  silver  chloride  will  then  have  a larger 
excess  of  the  soluble  haloid  than  will  the  bromide,  and  the 
bromide  will  have  a larger  excess  than  will  the  iodide. 
Taking  them  into  the  light,  pour  into  each  tube  a portion  of 
the  solution  of  pyro  and  ammonia  without  any  restrainer, 
as  we  have  that  already.  The  chloride  will  be  reduced 
immediately,  the  bromide  will  be  reduced  more  gradually, 
whilst  the  iodide  will  remain  almost  unaffected  until  an 
excess  of  nitrate  of  silver  is  added,  when  it  will  rapidly 
blacken. 

Now  take  the  development  of  a gelatine  plate.  Pure 
chloride  of  silver  in  gelatine  requires  a weak  developer, 
or  it  will  be  fogged.  Captain  Abney  and  Mr.  H.  B. 
Berkeley  have  shown  that  it  can  be  developed  clean  by 
alkaline  pyro,  if  the  proportion  of  ammonia  be  cut  down. 
The  development  of  gelatino-bromide  of  silver  is  too  well 
known  to  our  readers  to  need  any  repetition  here.  Pure 
iodide  of  silver,  according  to  Captain  Abney,  is  suscepti- 
ble to  alkaline  development,  but  requires  some  sensitiser, 
such  as  nitrite  of  potash,  an  absorbent  of  iodine  ; the  image, 
however,  is  faint. 

Again,  chloride  of  silver  is  far  more  prone  to  green  fog 
than  is  bromide  of  silver.  How  far  pure  iodide  of  silver 
would  be  likely  to  give  green  fog  if  a developer  capable 
of  giving  an  image  of  sufficient  density  were  found  for  it, 
it  would  be  difficult  to  say  ; but  we  have  not  yet  heard  of  its 
being  obtained  at  all  on  a pure  iodide  plate.  There  are 
not  wanting  some  experimenters,  indeed,  to  assert  that 
when  iodide  is  mixed  with  bromide,  there  is  a less  tendency 
to  green  fog  than  when  pure  bromide  is  used. 

It  will  be  seen  at  a glance  that  the  aforementioned  results 
have  in  all  probability  some  connection  with  the  well- 
known  effect  of  ammonia  on  the  chloride,  bromide,  and 


October  19,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


659 


iodide  of  silver.  Chloride  of  silver  is  exceedingly  soluble 
in  ammonia,  bromide  of  silver  is  slightly  soluble,  and 
iodide  of  silver  almost  entirely  insoluble. 

There  is  no  doubt  that  this  has  an  important  bearing 
on  the  whole  question  of  alkaline  development,  and 
though  it  doe3  not  materially  affect  the  generally  accepted 
theory  of  development,  we  have  to  take  into  account  a 
factor  hitherto,  we  believe,  unrecognised— namely,  that  it 
is  not  merely  the  reducing  agent  that  links  the  particles  of 
silver  salt  together,  and  passes  ou  the  action  of  light  from 
molecule  to  molecule,  but  also  an  actual,  though  small 
quantity,  of  silver  in  solution. 

IVe  may  regard  the  action  as  a continuous  process  of 
dissolving  silver  haloid,  throwing  down  the  silver,  then 
again  dissolving  silver  haloid  aud  throwing  down  its  silver, 
this  silver  being  attracted  to  the  particles  of  silver  already 
formed  by  the  action  of  light  and  development.  Should 
the  silver  be  precipitated  quicker  than  that  already  in  the 
film  can  attract  it — as,  for  instance,  when  we  have  a salt  as 
soluble  in  ammonia  as  the  chloride,  or  when,  with  bromide, 
ammonia  is  in  excess,  we  of  course  get  the  surplus  quan- 
tity deposited  in  the  film  ; that  is  to  say,  we  fog  the  plate. 
We  get,  in  fact,  an  action  resembling  the  development  of 
a wet  plate.  Whether  the  ferrous  oxalate  development  of 
dry  plates  is  as  analogous  to  wet  plate  development  as  that 
of  alkaline  pyro  seems,  we  have  not  yet  sufficient  evidence 
before  us  to  say.  None  of  the  haloid  salts  of  silver  seem 
much,  if  at  all,  soluble  in  potassic  oxalate,  and  the  question 
of  their  solubility  or  insolubility  in  the  developer  is  not 
readily  determined  on  account  of  their  accompanying  re- 
duction to  the  metallic  state. 

One  more  question  arises,  and  that  is  in  reference  to  the 
iodide.  Iodide  of  silver  is  readily  developed  after  it  has 
been  exposed  in  contact  with  nitrate  of  silver,  which,  as 
wet  plate  workers  are  aware,  must  have  a certain  quantity 
of  iodide  of  silver  dissolved  in  it. 

Unfortunately,  we  cannot  use  excess  of  silver  with  gela- 
tine. But  if  the  insolubility  of  iodide  of  silver  in  ammonia 
is  one  of  the  chief  causes  of  its  lack  of  readiness  to  develop, 
cannot  we  get  one  of  its  solvents  to  replace,  wholly  or  in 
part,  the  ammonia  ? Cyanide  of  potassium,  hyposulphite  of 
soda,  and  iodide  of  potassium,  are  its  best  known  solvents, 
but  they  are  all,  for  some  reason  or  another,  unsuitable. 
Iodide  is  too  powerful  a restrainer;  the  other  two  cannot 
be  used  because  a reducing  agent  caunot  precipitate 
metallic  silver  from  its  iodide  when  dissolved  in  them.  If, 
however,  we  should  ever  be  able  to  practically  work 
gelatino-iodide  of  silver,  we  believe  that  it  will  be  brought 
about  in  the  manner  here  indicated,  by  the  use  of  some 
substance  in  which  it  is  slightly  soluble,  but  capable  of 
bemg  thrown  down  by  a reducing  agent. 


THE  PHOTOGRAPHIC  EXHIBITION 
Second  Notice. 

Of  Mr.  Lyddell  Sawyer’s  pictures,  we  may  mention  as 
most  praiseworthy  “ The  Rivals  ” (4),  two  young  men 
officiously  helping  a lady  across  a stream,  and  “ Pay  Toll 
First  ” (6),  a little  girl  kept  from  passing  through  a gate 
by  a couple  of  boys,  one  of  the  lads,  who  is  sitting  by  on 
a stone,  being  most  humorously  rendered.  The  School  of 
Military  Engineering  at  Chatham  sustain  their  high  re- 
putation in  a fine  frame  of  landscapes  (8).  Of  these, 
“ Study  of  Trees”  and  “Tree,  Leigh  Park,”  are  magnifi- 
cent ; in  the  former,  some  grand  old  cedars  are  depicted 
with  much  force  and  vigour,  the  transparent  brown  shadows 
below  the  foliage  adding  greatly  to  the  effect ; while  in 
the  latter  picture  the  same  trauslucent  shade  upon  a mighty 
tree  trunk  lends  additional  charm  to  a very  clever  photo- 
graph. Mr.  E.  H.  Griffiths  is  at  his  best  in  “ Backwater 
at  Cookham  ” (9),  where  he  shows  us  a quiet  stream  fringed 
with  pollards,  and  in  “ Cliefden  Woods  ” (29),  which  are 
rendered  with  much  art  and  quiet  grace.  His  Alhambra 


scenes  (473,  &c.)  are  also  well  worth  looking  at.  Mr. 
Charles  Andrete  shows  a goodly  collection  of  good  work, 
one  of  his  most  taking  pictures  being  “Old  Cottages, 
Yalding”  (156),  a wonderful  bit  of  Kentish  village  scenery, 
the  mullioned  windows  and  quaint  doorways  of  the  old- 
fashioned  tenements  being  treated  in  most  artistic  fashion, 
while  the  technical  details  are  faultless.  “ Cowdray  Castle  ” 
(11),  with  its  ivy-hung  masonry,  and  cattle  feeding  in  the 
foreground,  is  also  very  pleasiug. 

Mr.  John  G.  Horsey  sends  several  frames.  His  “ Rocks 
near  Lulworth  ” (192)  is  a most  striking  picture,  the  bold 
grey  cliff  with  its  natural  arch,  through  which  the  fretful 
sea  washes  unceasingly,  making  a most  effective  subject  ; 
the  moss  and  lichen  and  growing  grass  that  cling  here  to 
the  massive  headland  give  fine  detail  to  the  picture,  which, 
however,  has  a rival  in  “ Stainhole  Rocks”  (193),  a3  broad 
a rendering  of  a fine  coast  scene  as  we  have  ever  seen.  In 
Mr.  William  Muller’s  Swiss  scenes,  the  exhibition  has  a 
decidedly  welcome  accession;  looking  at  “ Miirren  ” (14), 
the  traveller  may  fancy  himself  upon  the  mountain  road, 
protected  with  its  rough  fir  poles,  glancing  up  at  the  mar- 
vellous snow-clad  panorama  visible  from  this  spot,  which 
used  atone  time  boast  to  be  the  highest  village  in  Switzer- 
land. The  snow  mountains  here  are  not  afar  off,  as  the 
camera  often  makes  them,  but  apparently  over  the  way 
close  to  the  spectator,  an  illusion,  as  every  Swiss  tourist 
knows,  very  frequently  met  with.  Again,  Mr.  Muller’s 
view  from  the  Chapeau  (13)  is  really  a genuine  scene,  like 
it  is  in  reality,  and  that  cannot  be  said  of  every  Swiss 
photograph.  “ Yachts  on  the  Norfolk  Rivers  ” (15)  pleases 
us  most  of  Mr.  G.  Selwyn  Edwards’  exhibits,  for  it  is  least 
conventional  ; the  reed-banked  water  and  the  picturesque 
low-lying  country  with  its  shipping  beyond  reminds  one  a 
good  deal  of  Dutch  scenery,  and  makes  a good  picture.  Of 
Mr.  Robert  Murray’s  interiors,  “ Milton’s  Monument  ” is 
the  best,  a clear  and  clever  bit  of  photography. 

Mr.  Henry  Stevens  shows  a large  collection  of  pictures 
this  year  ; his  frame  of  orchids  (125)  embraces  a mag- 
nificent series  of  photographs  ; the  delicate  waxen  struc- 
ture of  the  flowers  is  marvellously  preserved,  while  their 
artistic  arrangement  deserves  high  praise.  You  might 
almost  handle  the  rare  exotics,  so  plastic  and  real  are  stem 
and  blossom.  Mr.  Stevens  also  shows  what  he  can  do  in 
portraiture  (222),  exhibiting  some  clever  and  forcible 
studies  of  peasantry,  which  he  tells  U3  are  entirely  un- 
touched ; if  only  the  faces  of  his  models  were  not  all 
of  them  so  sad,  these  also  would  be  eminently  satisfactory. 
The  reason  why  Mr.  William  Bedford’s  graceful  studies 
of  silver  birch  (19,  20)  did  not  secure  a medal  was,  we 
suppose,  the  fact  of  Mr.  F.  Bedford  being  among  the 
jurors ; the  sharply  limned  feathery  twigs  are  a most 
delightful  foil  to  the  soft  country  beyond,  the  broad  up- 
lands dotted  here  and  there  with  homestead  and  farm,  and 
decked  with  tufted  foliage.  For  foreground  we  have  the 
dark  slender  stems  of  the  birch  themselves  planted  in  a 
garden  of  ferns. 

Mr.  Manfield’s  dozen  little  prints  afford  a wholesome 
lesson  to  amateur  and  professional  alike.  All  twelve  views 
are  apparently  exposed  and  developed  to  the  nick  of  time. 
Now,  as  some  were  taken  in  Switzerland  and  some  in  Italy, 
even  if  we  suppose  the  same  stop  and  the  same  shutter  to 
have  been  used,  it  would  have  been  perfectly  impossible  to 
have  impressed  all  the  plates  exactly  alike ; hence  we 
must  conclude  that  these  highly  successful  results,  one  and 
all,  could  only  have  been  secured  by  intelligent  develop- 
ment ; that  is  to  say,  it  is  very  certain  that  Mr.  Maufield 
must  not  only  work  sufficiently  slow  to  keep  his  develop- 
ment under  control,  but  he  must  also  be  able  to  watch 
his  work  closely  as  it  progresses.  This  is,  of  course,  only 
as  it  should  be,  but  as  it  is  not,  in  nine  cases  out  of  ten ; for 
generally  speaking,  the  exposed  plate  is  plunged  into  a 
developing  dish  for  a few  seconds  in  a dim  light,  where  it 
takes  its  chance ; aud  it  is  only  when  this  haphazard  process 
of  development  is  over  that  it  is  brought  under  view  and 


660 


THE  PHOTOGRAPHIC  NEWS. 


[October  19,  1883. 


adjudged  successful  or  unsuccessful.  If  it  turns  out  the 
former,  the  photographer  takes  great  credit  to  himself  ; if 
the  latter,  he  blames  the  plate-maker. 

Mr.  Manfield,  we  are  happy  to  say,  has  promised  to  ex- 
plain his  mode  of  development  in  the  coming  Year-Book  ; 
meanwhile,  we  ask  visitors  to  the  Exhibition  to  look  at  the 
tiny  picture,  No.  3,  in  views  in  Hospenthal  (24),  to  note 
the  delicate  transparent  shadows  under  the  cottage  roofs  in 
this  bright  little  print,  and  to  admire  the  clear  soft 
mountains  beyond.  Let  them  look,  too,  at  the  lake  views 
from  Italy  (27),  as  clear  and  sunny  as  the  fair  land  of  fig 
and  vine  itself,  as  photographs  of  Italy  should  be,  but  very 
rarely  are.  Mr.  Edward  Brightman,  whose  pictures  are 
close  by  (43,  44,  45),  furnishes  another  not  less  notable 
example  of  what  artistic  ability,  combined  with  intelligent 
and  practised  development,  can  bring  forth.  His  style  of 
work — the  dark  massive  shadows  and  rich  harmonious 
colouring  of  his  tiny  pictures  has  already  secured  several 
medals — is  different  from  that  of  Mr.  Manfield,  but  is  se- 
cured by  the  same  means.  If  Meissonier  were  a land- 
scape photographer,  he  would  produce  the  same  exquisite 
detail  as  that  shown  in  “ Evening  ” (43),  and  we  can  give 
no  higher  praise. 

Mr.  P.  H.  Burton’s  best  works  are  his  woodland  scenes 
(456,  457)  in  winter  time,  although  his  frame  of  Colum- 
bian pictures  (28)  are  not  without  interest ; while  of  Mr. 
Edward  Fox’s  exhibits  we  prefer  Sheffield  Park  (414),  with 
its  two  fantastic  oaks,  standing  like  giant  sentries  over  the 
domain.  Mr.  T.  M.  Brownrigg  forwards  a most  numerous 
collection,  that  take  up  a line  and  a half  of  numbers  in  the 
catalogue ; his  views  of  Italy  are  particularly  good — to 
wit,  the  Rialto  (119),  and  the  Grand  Canal  from  the  Rialto 
(159).  The  Platinotype  Company  show  varied  examples 
of  printing,  both  landscapes  and  portraits,  which  secure 
many  admirers,  especially  among  painters ; but  as  the 
process  has  now  been  regularly  adopted  by  photographers 
of  note,  who  exhibit  their  work  printed  by  it,  there  is 
little  need  to  criticise  in  detail  the  examples,  most  perfectly 
printed  though  they  be,  exhibited  by  the  Company  itself, 
since  the  photographs  themselves  are,  for  the  most  part, 
well-known. 

Mr.  A.  Seaman  shows  several  hunting  groups,  and  a 
lively  market  scene  (68)  ; Mr.  W.  D.  Howard  has  two  fine 
examples  of  cathedral  interiors  (39,  69)  ; these  are  lighted 
in  a most  harmonious  manner,  and  the  tone  of  the  prints 
is  well  in  keeping  with  the  subjects ; Messrs.  J.  Chaffin 
and  Sons  have  narrowly  missed  making  a pair  of  capital 
pictures  in  “ The  Truants  ” (40)  and  “Chat-Chat  ” (70). 
In  the  first,  there  is  a dainty  little  maiden  looking  up  into 
the  branches  of  a tree,  where  two  boys  are  perched ; the 
girl’s  figure  is  excellent  and  thoroughly  well  posed,  and  the 
avenue  in  which  she  stands  makes  a delightful  background  ; 
but  the  boys  in  the  tree  supply  a disturbing  element  to  the 
picture.  In  “ Chit-Chat,”  the  idea  is  a good  one,  and  the 
grouping  also  all  that  could  be  wished  ; but  Messrs.  Chaffin 
have  not  been  particularly  happy  in  one  of  the  models,  or 
else  the  lighting  of  the  face  is  at  fault.  Mr.  II.  J.  Godbold 
is  represented  by  a series  of  storm  pictures  taken  at  Hast- 
ings, several  of  which  are  excellent  in  their  way.  “ A 
Storm,”  and  “What  are  the  Wild  Waves  Saying?”  for 
instance,  are  very  real,  the  fierceness  of  the  raging  waters 
being  well  depicted ; but  the  whole  series  would  have  been 
better  if  not  quite  so  dark  and  dreary.  Mr.  W.  Davies 
sends  three  pictures  ; “ Crossing  the  Wye  ” (50),  should 
rather  have  been  “Standing  in  the  Wye,”  for  the  little 
girl  seems  certainly  to  be  standing  still  ankle  deep  in  the 
river  while  her  picture  is  taken. 

Mr.  George  Renwick  exhibits  snow  scenes,  one  of  the  best 
being  a pathway  (53)  where  the  hoar  frost  sparkles  from 
every  twig,  and  trees  and  shrubs  are  laden  with  their  white 
wintry  burden.  Messrs.  Valentine,  of  Dundee,  also  show 
some  winter  landscapes  (175),  and  have  taken  care  to  show 
the  wintry  sky  as  well.  A solitary  tree  in  a flat  landscape, 
the  whole  covered  with  freshly  driven  snow,  with  leaden 


clouds  for  background,  make  up  a most  effective  December 
picture,  and  of  these  Messrs.  Valentine  have  several  striking 
examples.  The  work  of  Mr.  W.  England  is  so  well  known 
that  we  need  scarcely  say  another  word  in  praise  of  his  soft 
bright  landscapes ; this  year  he  exhibits  a fine  series  of 
views  of  the  St.  Gotthard  route,  and  shows  us  the  wonderful 
mountain  gorges,  the  torrents,  precipices,  and  wild  scenery 
through  which  the  railway  passes.  Wasen  in  winter  (322), 
and  Wasen  in  summer  (325),  the  last  village  of  importance 
before  the  tunnel,  is  a pair  of  pictures  that  many  will 
admire  and  compare. 

Mr.  H.  Pointer  makes  his  mark  again  in  a frame  of 
Brighton  cats  (230),  showing  us  pussy  as  the  most  plastic 
and  patient  of  models  under  many  trying  circumstances. 
Mr.  Everett’s  little  landscapes  (72)  are  many  of  them  ex- 
ceedingly successful  ; to  wit,  the  two  views  of  Peel  Castle 
and  Burnham ; but  we  should  have  preferred  them 
of  a less  cold  tone.  Mr.  W.  Cotesworth’s  sea 

views  (72)  are  a little  too  dark  to  please  ; we  like  much 
better  his  Italian  porch  with  trellised  vine  (145),  which  has 
all  the  appearance  of  a Southern  picture.  Mr.  S.  Norman’s 
harvest  photographs  (85)  are  very  good  ; the  wheat  is  wheat 
upon  Broad’s  farm  ; and  in  the  Whiteland  Farm  picture, 
where  the  yellow-brown  corn  is  lying  in  trusses,  and  a 
tired  harvester  resting  from  his  work,  we  have  a 
composition  of  much  taste.  The  harvest  field  is 
usually  too  dark  in  a photograph,  but  Mr.  Norman,  by  his 
careful  choice  in  lighting,  has  avoided  this  defect.  Mr.  A 
Dyke  Acland  sends  a dozen  or  so  of  little  studies,  some  of 
which  deserve  high  praise.  “ Looking  Back  ” (343),  and 
“Fox-gloves”  (345),  are  among  his  happiest  efforts,  his 
way  of  managing  light  and  shade  showing  the  possession  of 
much  skill  and  forethought.  Mr.  J.  Gale,  if  he  has  aban- 
doned small  pictures  for  large  ones,  has  lost  none  of  his 
cunning  and  care  in  picture  making  ; “ Horses”  (243),  the 
dappled  teamsters  harnessed  to  a plough,  is  a capital  study, 
and  represents  an  element  in  English  farming  life  with 
much  truth  and  knowledge  of  the  picturesque. 


APPARATUS  AT  PALL-MALL. 

Second  Notice. 

On  the  occasion  of  our  second  visit,  we  found  that  the 
apparatus  had  been  catalogued ; but  the  attempts  of 
previous  visitors  to  gather  information  by  a study  of  the 
articles  themselves  had  led  to  the  complete  disorganisation 
of  many  of  the  more  delicately-constructed  exhibits,  and 
especially  of  the  quick  shutters. 

The  subjoined  list  of  technical  exhibits  will  serve  to 
indicate  the  general  character  of  the  show  as  regards 
photographic  appliances : — 

P.  Boca,  instantaneous  shutter ; James  Cadett,  new 
studio  pneumatic  shutter ; H.  and  E.  J.  Dale,  instan- 
taneous shutter  and  patent  multiplex  back ; Dring  and 
Fage,  new  automatic  cameras  (by  Stebbing)  ; Geesbesgen 
and  Geruzet  Brothers,  electric  retouching  apparatus  ; G. 
Houghton  and  Son,  new  portrait  frame  ; Marion  and  Co., 
plaque  press,  British  army  album,  rocking  developing  tray, 
and  Cole’s  retouching  desk ; H.  Moorse,  new  model  dry 
plate  camera  (12  by  10  plates),  tourist  camera,  and  drop 
shutter ; Reynolds  and  Branson,  the  Phoenix  shutter ; T. 
Samuels,  patent  camera  back  for  changing  plates,  port- 
manteau for  photographic  apparatus,  improved  tourist 
cameras,  exhibition  cameras,  Sands’  instantaneous  shutter, 
and  lantern  for  developing  ; Sands  and  Huuter,  exhibition 
camera,  with  patent  shutter  and  view  meter  ; The  Sciop- 
ticon  Company,  improved  brattice  stand  (by  Geo.  Smith), 
portable  cameras,  3£  by  3J,  and  6J  by  4f ; J.  F.  Shew 
and  Co.,  camera  (£)  with  Shew’s  extension  front  and 
lengthening  body,  changing-box,  Shew’s  perfected  double 
back,  eclipse  instantaneous  shutter,  and  long  focus  cameras, 
folding  ruby  lantern,  rule  joint  stand  for  large  camera,  and 
new  sliding  camera  stand  ; W.  Watson  and  Son,  new 
portable  cameras  and  slides, 


. 


October  19,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


661 


Although  the  most  noteworthy  and  interesting  exhibits 
were  noticed  last  week,  some  other  articles  are  well 
worthy  of  notice. 

The  multiplex  back  exhibited  by  Messrs.  II.  and  E.  J. 
Dale  forms  a convenient  arrangement  for  rapidly  bringing 
a number  of  plates  into  position  for  exposure,  but  it  is 
subject  to  the  disadvantage  of  loading  the  camera  with 
the  whole  batch  of  plates  taken  out.  Our  readers  will  find 
a full  description  of  the  arrangement  on  page  270  of  the 
present  volume. 

Among  the  shutters  we  do  not  notice  any  which  have 
not  been  already  described  in  the  Photographic  News; 
but  modifications  in  detail  are  to  be  noticed  iu  the  case 
of  the  shutters  shown  by  Cadett,  Reynolds,  Branson,  and 
Shew.  The  brake  arrangement  on  this  latter  acts  so  well, 
that  it  becomes  practicable  to  so  set  the  shutter  that  no 
less  than  a minute  is  occupied  by  the  automatic  opening 
and  closing. 

The  photographic  portmanteau  of  Sands  and  Hunter  is 
fitted  up  in  the  most  complete  and  convenient  fashion,  and 
contains  a large  non-actinic  curtain  calculated  to  be  very 
useful  to  the  traveller.  We  have,  however,  found  that  a 
roll  of  cherry  fabric,  used  in  conjunction  with  a few  pins 
or  slips  of  gummed  paper  for  holding  it  in  position,  is  much 
lighter  and  more  convenient  than  any  ordinary  curtain. 

Show’s  folding  ruby  lantern  is  extremely  light  and 
portable,  and,  being  entirely  made  of  flexible  materials,  is 
not  likely  to  be  seriously  damaged  during  a tour ; while 
the  much  more  complex  and  perfect  dark-room  lantern  of 
Sands  and  Hunter  will  be  found  extremely  convenient  for 
use  at  home. 


THE  PRESENT  CONDITION  OF  AMATEUR  PHOTO- 
GRAPHY, AND  ITS  PROBABLE  FUTURE. 

BY  J.  V.  ROBINSON.* 

Although  it  is  my  intention  this  evening  to  more  particularly 
examine  amateur  photography  of  the  present  and  probable  future, 
I must,  of  necessity,  make  some  slight  reference  to  amatent  photo- 
graphy of  the  past — not  only  the  past  of  the  last  three  or  four 
years,  but  a much  longer  past,  namely,  that  of  the  earlier  days 
when  collodion  held  universal  sway  in  the  production  of  photo- 
graphic pictures.  At  the  same  time,  it  is  not  my  intention  to  go 
into  the  history  of  photography,  but  simply  to  recall  the  past  and 
put  it  side  by  side  in  as  powerful  contrast  with  the  present  as  I am 
able  ; then  to  see  if,  from  what  was  and  from  that  which  is,  I can 
in  any  fair  way  indicate  the  future.  I may,  perhaps,  definitely  lay 
down,  if  not  what  the  future  will  be,  yet  what  I think  the  future 
ught  to  be,  and  what  I feel  to  he  the  proper  direction  for  amateurs 
to  work 

To  mg  these  intentions  embrace  so  many  wide  and  extensive 
points  o contrast,  and  suggest  so  many  probabilities— some  most 
desirnble  ones — that  I know  the  time  at  my  disposal  this  evening 
will  only  allow  me  to  enter  upon  some  one  or  two  ; but  I think 
it  better  to  leave  many  unreferred  to,  and  to  at  once  go  into  the 
points — known  facts — and  put  forward  the  conclusions  to  be 
derived.  So  wonderful  has  been  the  progress  of  amateur  photo - 
graphy ^during  the  past  few  years , one  is  apt  to  be  engrossed  with 
the  present.  I think  it  well  to  pause  now  and  then  to  see  are  we 
better  than  before — are  we  on  the  right  track.  Let  us  examine 
one  great  point— that  of  the  substitution  of  gelatine  for  collodion. 

If  we  ask  ourselves  the  question,  in  a full,  all-round  way — are 
we  better  for  the  change?  I think  we  must  decide  in  favour  of 
gelatine  ; while  if  we  look  in  a minuter  way  many  of  the  smaller 
points  must  be  decided  in  fovour  of  collodion.  On  the  points  of 
onvenience  and  sensibility  to  light,  gelatine  has  the  advantage  ; 
while  for  brightness,  clearness,  and  sparkle,  the  advantage  lies 
with  collodion.  As  a rule,  the  prints  obtained  from  a gelatine 
negative  are  disappointing.  Keeping  these  points  in  mind,  it  is 
easy  to  indicate  that  the  direction  of  our  efforts  should  be  to  re- 
tain the  sensitiveness  of  gelatine,  and  add  to  it  the  brightness  of 
collodion.  There  is  no  doubt  on  my  mind  that  gelatine  is  more 
uniformly  sensitive  to  the  varying  degrees  of  light  and  shade,  and 
gives  a more  faithful  reproduction  of  detail. 

Another  point — the  leading  one  which  induced  me  to  address  you 
this  evening — is  the  size  of  the  negative.  We  will  even  readily 
admit  that  mass,  weight,  and  convenience  have  all  much  to  do 


with  the  practice  of  amateur  photography.  Take  a given  result : 
if  there  he  two  ways  in  securing  it , we  are  always  ready  to  take  tho 
easier  one.  I think  I may  safely  assert  that  we  are  anxious  to 
pioduce  larger  photographs,  but  are  deterred  from  attempting  to 
secure  them,  as  we  see  no  way  of  obtaining  them  except  accom- 
panied by  these  points  of  inconvenience — mass,  weight,  and 
expense. 

Well,  I venture  to  express  the  opinion  that  the  day  is  close  upon 
us  when  we  shall  be  able  to  secure  enlargements  of  a large  size 
with  not  only  the  excellence  of,  but  with  many  points  of  excellence 
over,  direct  large  photographs.  I feel  this  is  a strong  assumption  to 
put  forward ; but,  all  the  same,  I do  not  hesitate  to  venture  it, 
and  to  add  that  from  our  present  knowledge  we  can  say  that  on 
some  points  the  enlargements  now  obtained  are  superior  to  direct 
photographs.  Until  quite  recently  our  enlargements  have  been 
faint,  washed-out-looking  things ; now,  thanks  to  the  constant 
working  of  experimenters — notably  to  M.  Ilutinet,  of  Paris,  whose 
brilliant  gelatino-bromide  paper  is  almost  all  that  can  be  desired 
— the  quality  has  been  constantly  improving,  and  gelatino- 
bromized  enlargements  can  now  be  had  with  nearly  all  the  vigour, 
brightness,  and  excellence  of  direct  photographs,  while  on  the 
points  of  perspective,  uniform  sharpness  over  the  various  planes 
cr  distances  in  a subject,  they  are  certainly  much  superior  to  direct 
photographs.  If  this  be  our  certain  present  condition,  it  is  cer- 
tainly evident  that  the  future  of  amateur  photography  will  be  the 
taking  of  small  negatives  and  their  subsequent  enlargements. 

There  are  numerous  other  points  I could  go  into,  but  1 rather 
rely  upon  what  a discussion — which  will  follow — will  bring  out 
as  to  the  size  of  the  negative,  its  requirements,  and  necessary 
qualifications,  the  method  of  enlargement,  the  quality  of  results 
obtainable,  permanence,  expense,  and  many  other  points  ; and  so 
in  hope  of  these  few  notes  eliciting  such  a discussion,  I now  leave 
the  matter  in  the  hands  of  the  meeting. 


ON  THE  ART  OF  PICTORIAL  COMPOSITION  AS  APPLIED 
TO  LANDSCAPE  PHOTOGRAPHY. 

BY  C.  ALFIERI.* 

The  lover  of  the  picturesque  in  our  exceptionally-favoured 
country  has,  fortunately,  not  far  to  go  to  find  subjects  either  for 
the  pencil  or  the  camera  ; but  it  is  to  the  votaries  of  the  latter 
chiefly  that  I desire  to  say  a few  words  this  evening,  confining 
my  remarks  to  landscape  photography. 

The  subject  of  pictorial  composition  is  wide  and  varied,  and, 
although  the  canons  of  art  are  unalterably  fixed,  they  are  by  no 
means  universally  understood.  I would,  therefore,  humbly 
treading  in  the  steps  of  abler  writers  than  myself,  endeavour  to 
lay  down  a few  rules,  by  followiog  which  my  younger  brethren 
of  the  camera  may  at  least  avoid  glaring  errors. 

The  lens  of  the  photographer,  although  theoretically  analogous 
to  that  of  the  human  eye,  is  in  truth  very  different  ; for  no  opti- 
cal lens  can  represent  on  a plane  surface  what  the  eye  sees — or, 
rather,  what  the  brain  feels— when  the  successive  images  formed 
on  the  retina  are  presented  to  it.  Moreover,  the  human  eye  has 
the  power  of  ranging  in  every  direction  over  objects  at  varying 
distances  and  of  focussing  them  as  it  goes  whatever  be  their 
nearness  to,  or  their  distance  from  it,  and  of  clearly  distinguish- 
ing each  object  in  its  relative  proportion  to  others,  provided  only 
that  there  be  nothing  to  obstruct  the  view. 

The  lens  of  the  photographer,  nevertheless,  possesses  the  power 
of  representing  natural  objects  with  marvellous  exactness,  and, 
although  scenes  projected  by  it  may  be  sometimes  untrue  to 
nature,  so  far  as  true  perspective  is  occasionally  exaggerated,  and 
because  objects  in  different  planes  cannot  be  brought  equally 
into  focus,  yet  this  latter  failing  is  often  a virtue  in  disguise,  as, 
by  the  indistinct  rendering  of  extreme  distance,  a suggestion  of 
atmosphere — so  prized  in  the  work  of  the  painter — is  fairly 
stimulated. 

Pictorial  composition  may  be  defined  as  the  art  of  arranging 
the  forms  or  objects  that  constitute  a picture,  in  a manner  at 
once  natural  and  agreeable  to  the  cultivated  eye.  This  defini- 
tion applies  almost  as  much  to  the  work  of  the  photographic 
artist  as  to  his  brother  of  the  palette  ; and  I need  only  refer  to 
the  productions  of  such  well-known  masters  of  photographic  art 
as  Rejlander,  Slingsby,  Bedford,  Frith,  Robinson,  and  a host  of 
others,  to  prove  the  correctness  of  my  assertion. 

It  is  true  that  the  power  of  producing  artistic  effect  in  a land- 
scape is  somewhat  limited  in  photography,  because  the  photo- 
grapher cannot  build  his  picture  up,  nor  materially  alter  any 


* Read  before  the  Photographic  Society  of  Ireland. 


Read  before  the  North  Staffordshire  Photographic  Association, 


662 


THE  PHOTOGRAPHIC  NEWS. 


^October  19,  1883. 


I 


natural  scene  or  object  which  lies  within  the  range  of  his  lens ; 
but  by  selecting  the  best  point  of  view,  and  by  choosing  the 
most  suitable  time  of  day  for  the  lighting  of  his  subject,  he  may 
produce  a picture  worthy  of  the  name,  while  another  person  less 
skilled  or  less  painstaking  would  produce  a mere  mechanical 
representation. 

But  the  faculty  of  seeing  natural  beauty  with  an  artist’s  eye 
is  only  to  be  acquired  by  the  diligent  study  of  those  well-defined 
principles  upon  which  the  art  of  composition  is  based  ; and  the 
evident  superiority,  in  an  artistic  sense,  of  the  works  of  one 
photographer  over  those  of  another — although  both  may  be 
equal  in  mere  technical  ability — will  not  be  denied.  It  is  quite 
evident  that,  whatever  subject  be  chosen  for  the  photographic 
picture,  there  must  exist  some  aspect  of  it  which  excels  all  others 
in  pictorial  attractiveness  ; this,  then,  is  the  aspect  to  be  studied 
and  selected.  It  is  equally  certain  that  there  must  be  some 
conditions  of  atmosphere  and  of  light  which  suit  it  better  than 
any  other  ; these,  then,  the  artist  should,  if  possible,  secure. 
Moreover,  every  natural  scene  worthy  of  his  attention  should 
contain  some  elements  of  pictorial  beauty  ; and  if  it  be  admitted 
that  the  true  artist  can  present  even  the  most  unpicturesque 
subject  in  an  attractive  guise,  what  shall  be  thought  of  the 
photographer  who,  with  a scene  displayed  before  him  possessing 
almost  every  element  of  pictorial  beauty,  succeeds  only  in  pro- 
ducing a stale,  unprofitable,  and  soulless  rendering  of  such  a 
landscape  ? 

I will  now  proceed  to  show  that  pictorial  composition  is  based 
upon  laws,  the  correctness  of  which  is  generally  admitted  by  all 
cultivated  persons.  These  are  exemplified  in  the  works  of  great 
artists  of  all  nations.  It  is,  therefore,  of  the  first  importance  that 
the  student  should  know  in  what  artistic  excellence  consists,  and 
the  rules  which  govern  its  production. 

To  proceed  to  examples : I would  premise  that  the  general 
tendency  of  lines  in  a picture  should  be  that  which  will  lead  up 
to  its  chief  feature  of  interest.  On  looking  at  any  scene  whatever 
the  eye  determines  for  itself  the  range  of  subject  and  its  line  of 
elevation.  This  latter  is  called  the  “ horizontal  line,”  and  upon 
this  is  placed  what  is  termed  the  “ point  of  sight.” 

The  “ horizontal  line  ” is  usually  placed  transversely  at  about  a 
third  of  the  width  of  the  picture  from  the  bottom  ; but  its  posi- 
tion will  vary  according  to  the  height  at  which  the  spectator  is 
supposed  to  stand. 

The  “ point  of  sight  ” is  placed  on  this  line,  and  should 
generally  be,  more  or  less,  removed  from  the  centre  of  it  to  avoid 
formality  and  inartistic  arrangement. 

The  point  of  sight  being  determined  the  student  will  next  pro- 
ceed to  group,  as  it  were,  the  various  objects  in  the  scene  before 
him  around  it,  shifting  it,  if  necessary,  from  one  side  to  the  other 
until  the  various  objects  in  the  view,  balance  one  another,  or,  as 
it  is  called,  “ compose  artistically.”  Time  and  material  should 
never  be  wasted  upon  scenes  or  objects  utterly  devoid  of  beauty 
or  pictorial  interests ; but,  having  found  a subject  worthy  of 
reproduction,  his  aim  should  be  to  present  it  in  its  most  attrac- 
tive aspect,  and  to  secure  this  he  should  be  guided  by  the 
following,  among  many  other,  laws  of  composition  Firstly,  his 
picture  should  be  evenly  balanced.  By  this  I do  not  mean  that 
there  should  bo  just  as  much  of  the  subject  on  one  side  of  the 
plate  as  on  the  other,  but  that  the  lines  of  the  composition  should 
not  all  run  in  one  direction,  and  be  so  arranged  that  they  may 
support  each  other  and  lead  the  eye  to  the  chief  points  of 
interest  in  the  composition.  He  should  carefully  exclude  objects 
that  tend  to  distract  the  eye  from  these,  especially  inappropriate 
figures  in  unnatural  positions  or  even  appropriate  ones  brought 
obtrusively  into  the  foreground.  If  his  subject  be  an  avenue 
of  trees,  or  a church,  or  other  building  supported  by  pillars  or 
arches,  he  should  not  stand  in  the  centre  of  the  road  or  building,  as 
the  case  may  be,  but  on  one  side  or  the  other.  A street  or  other 
view,  having  a wide  expanse  of  roadway  or  water  in  the  im- 
mediate foreground,  will  not  make  a picture  unless  some  object 
— such  as  a portion  of  rock  or  herbage,  or  some  picturesque 
object  on  the  margin  of  the  river  or  lake,  or,  in  the  case  of  the 
roadway,  some  rustic  figure  or  accessory — be  introduced  to  break 
the  monotony  of  the  view  and  give  value  to  the  middle  and 
extreme  distances  of  the  picture.  Finally  : the  photographic 
artist  should  make  the  best  possible  use  of  his  judgment  as  well 
as  of  his  materials,  and,  by  the  well-timed  exposure  and  care- 
ful development  and  manipulation  of  his  negatives,  endeavour  to 
approach  as  near  perfection  as  possible,  both  in  a photographic 
and  in  an  artistic  sense  ; as  Mr.  Robinson  has  justly  said  : — 
“ Interest  may  be  imparted  to  the  poorest  materials,  in  the  hands 
of  a true  artist,  by  judicious  selection  of  the  point  of  view,  so 


that  the  elements  of  the  picture  may  compose  picturesquely  and 
artistically,  and  by  skilful  distribution  of  suitable  light  and 
shade.” 

Whatever  form  or  size  the  photographer  may  select  for  his 
picture,  he  should  always  endeavour  to  include  within  its 
boundary  lines  all  that  is  most  interesting  or  picturesque  in  the 
scene  before  him,  and,  as  I have  said  before,  to  exclude  whatever 
would  tend  to  mar  its  general  effect.  A picture  may  vary  in 
form  according  to  the  subject  of ; but  its  boundary  should  not 
be  a square,  nor  should  it  be  so  mounted  as  that  a line  drawn 
diagonally  across  it  from  any  of  its  four  corners  shall  exactly 
intersect  the  corners  of  the  mount  also.  No  prominent  object 
in  the  foreground  should  occupy  exactly  the  centre  of  the 
picture,  as  such  an  arrangement  is  very  formal  and  inartistic. 

If  the  subject  of  a view  be  limited  to  a few  trees  by  a pond, 
a rustic  scene  with  a few  figures,  or  other  simple  subject,  the 
vignette  form  wherein  no  boundary  line  exists,  is  often  very 
effective  and  pleasing.  I must  be  remembered,  however,  that 
the  most  artistic  arrangement  and  natural  grouping  of  objects 
in  the  scene  chosen  by  the  photographer,  are  at  the  best  flat 
and  uninteresting  without  effective  lighting.  Here  the  great 
luminary  which  gives  light  to  and  vivifies  the  whole  earth  does, 
even  more  for  the  photographer  than  for  the  painter  ; for  it 
enables  the  former  to  seize  and  record  the  reflection  of  nature’s 
varied  moods — the  play  of  the  swift  shadows  coursing  each  other 
on  the  mountain  side,  the  roll  of  the  sea  wave  on  the  shore,  or 
the  sparkle  of  the  dewdrop  on  the  heather ; and  in  this  way 
almost  compensates  the  photographer  for  the  lack  of  colour  in 
in  his  pictures,  while  the  marvellous  transparency  in  the 
shadows  of  a good  photograph  excels  that  of  the  best  engravings. 

In  selecting  the  fittest  time  of  the  day  for  the  lighting  of  his 
view,  the  landscapist  should,  if  possible,  visit  the  scene  before- 
hand ; for  pictures  taken  at  haphazard  are  rarely  pleasing  or  of 
real  pictorial  value.  He  should  avoid  too  glaring  a light, 
however,  as  tending  to  produce  violent  contrasts  and  a spotty 
or  chalky  appearance  in  his  work.  The  source  of  light  should 
seldom  be  immediately  behind,  but  a little  to  the  right  or  left 
of  the  camera,  and  in  the  rear  of  it.  Very  fine  effects  are,  how- 
ever, sometimes  obtained  by  skilful  workers  against  the  light, 
especially  in  cloud  and  marine  pictures. 

While  on  the  subject  of  clouds,  I would  say  that  no  photo- 
graphic landscape  can  properly  be  regarded  as  a work  of  art 
without  these,  either  faintly  suggested  in  the  sky  or  printed 
boldly  from  a separate  negative  where  they  do  not  exist  in  the 
negative.  It  has,  I know,  been  objected  that  no  clouds  can  be 
natural  to  a picture  but  those  secured  at  the  same  time  with  it. 
I think  this  is  an  error,  since  a landscape  is  not  visibly  affected 
by  clouds  far  behind  it,  and  not  in  any  appreciable  degree  by 
any  others,  unless  the  sun  be  shining  and  their  shadows  be  cast 
here  and  there  directly  upon  it. 

In  addition  to  the  dilligent  study  of  grouping,  arrangement, 
and  light  and  shade,  the  earnest  student  should  take  every 
opportunity  of  analysing  the  works  of  the  best  painters,  as  well 
as  those  of  the  most  eminent  photographers.  Let  him  care- 
fully (Ximine  such  works  as  the  Liber  Studiorum  of  Turner— 
the  greatest  landscape  painter,  perhaps,  that  has  ever  existed — 
copies  of  whose  works  produced  by  photography  can  now  be 
had  for  a few  shillings.  Let  him  compare  the  works  of  our  best 
photographers  with  his  own,  and  endeavour  to  discover  in  what 
their  excellence  consists.  Let  him,  then,  do  his  best  to  produce 
their  equal,  and  he  will  thus  be  led  by  degrees  to  the  dis- 
crimination and  appreciation  of  the  beautiful  both  in  nature 
and  in  art,  aud  the  works  which  he  shall  leave  behind  him  will, 
in  their  turn,  afford  treasures  of  artistic  beauty  and  excellence 
for  the  admiration  and  imitation  of  those  who  shall  come  after 
him. 


REDUCTION  OF  GELATINE  NEGATIVES  OVER- 
INTENSIFIED  WITH  MERCURY. 

BY  C.  ALFIERI.* 

Having  successfully  converted  intogood  printing  negatives  some 
of  those  which,  after  mercuric  intensification  and  subsequent 
varnishing,  had  been  found  to  be  too  dense  to  give  a good  and 
delicate  print,  a description  of  the  modus  operands  by  which  I 
succeeded  may  prove  interesting  to  the  members  present. . 

The  first  negative  in  question  had  been  painted  black  in  the 
sky  with  Brunswick  black.  This  I removed  with  turpentine  and 
a soft  rag.  I then  removed  as  much  of  the  varnish  as  possible 

• Read  before  the  North  Staffordshire  Photographic  Association. 


THE  PHOTOGRAPHIC  HEWS. 


063 


October  19,  1883.] 


with  methylated  spirit,  and  afterwards  soaked  the  plate  in  a 
solution  of  sodic  carbonate,  to  decompose  and  remove  any  adher- 
ing portious  of  varnish.  The  negative  was  then  washed,  and 
transferred  to  a bath  of  iodo-cyanide  of  potassium  (made  by 
adding  a dram  of  tincture  of  iodine  to  a pint  of  a weak  solution 
of  cyanide  of  potassium),  and  then  allowed  to  remain  until 
sufficiently  reduced.  The  reduction  took  place  equally  over  the 
film,  leaving  a delicate  and  quick  printing  negative. 

Some  of  you  wi.1  doubtless  have  noticed  in  various  makes  of 
gelatine  plates  numbers  of  iridescent  markings,  accompanied  by 
a certain  amount  of  green  fog.  I have  succeeded  in  removing 
both  by  first  intensifying  the  negative  in  the  usual  manner  with 
mercuric  perchloride  and  ammonia,  and  then  subjecting  it  to  the 
iodo-cyanide  treatment. 


MR.  BURTON’S  LECTURE.* 

If  the  lecturer  had  properly  understood  Mr.  Haddon,  when  he 
announced  the  lectures  to  be  given  before  the  London  and  Pro- 
vincial Photographic  Association,  the  idea  was  not  to  treat  the 
various  matters  in  such  a way  as  would  instruct  the  more  ad- 
vanced members  of  the  Association,  but  to  give  information  to 
such  members  as  might  be  diffident  in  joining  in  discussions  on 
aceouni  of  their  comparative  ignorance  of  the  subject. 

That  being  the  case,  he  would  bring  forward  nothing  new, 
but  would  give  a demonstration  of  two  most  ordinary  methods 
of  m iking  gelatine  emulsion — the  one,  the  boiling  process,  the 
other,  the  ammonia — and  would  endeavour  to  give  practical  hints, 
such  as  might  be  useful  to  those  working  on  a small  scale — say 
amateurs  or  professional  photographers  manufacturing  for  their 
own  daily  requirements. 

A few  words  he  would  first  of  all  say  on  the  formula}  which 
were  before  the  meeting. 

First,  as  regards  excess  of  bromide,  he  had  found  the  quantity 
he  recommended  a good  amount  with  the  boiling  process.  In  the 
other  (the  ammonia)  he  considered  this  amount  of  excess 
of  less  importance,  so  long  as  it  was  not  too  small. 

He  preferred  using  a little  iodide,  although  some  preferred  to 
work  without  it ; he  thought  there  was  less  chance  of  fog,  whilst 
the  same  degree  of  rapidity  could  be  had  with  as  without  it. 

He  used  somewhat  more  gelatine  during  emulsification  than 
some  did,  but  the  result  was  not  to  retard  the  acquisition  of 
sensitiveness,  whilst  the  larger  quantities  appeared  to  give 
greater  density  of  negative. 

A point  very  worthy  of  notice  was  the  quantity  of  water  used, 
or  the  amount  of  concentration  of  the  solutions.  He  found  that 
with  very  concentrated  solutions,  it  was  impossible  to  get  all  the 
bromide  suspended.  With  very  dilute  ones,  it  was  impossible 
to  get  great  sensitiveness  without  very  long  boiling.  It  was, 
however,  to  be  noted  that  when  concentrated  solutions  were  used, 
it  was  necessary  to  use  some  acid  ; where  very  weak  solutions 
were  used,  the  presence  of  acid  was  not  necessary. 

In  this  formula  there  was  marked  four  ounces  of  water  to  each 
of  the  two  solutions  ; but  as  a matter  of  convenience,  he  would 
place  the  whole  eight  ounces  of  water  in  one  vessel,  and  add  the 
silver  nitrate  in  crystals.  He  considered  that  there  was  no 
necessity  to  exercise  the  very  great  caution  which  some  did  in 
emulsifying.  In  an  ammonia  process  it  would  be  noticed  that 
he  used  a quantity  of  ammonia,  which  was  large  considering  that 
the  power  of  this  agent  depended  on  the  percentage  of  the  whole 
solution  which  was  used,  not  on  the  proportion  between  the 
ammonia  and  silver  bromide.  A great  many  persons  advocate 
the  boiling  process,  and  probably  as  many  prefer  the  ammonia 
process  ; among  others  the  Chairman  was  a strong  advocate  for 
ammonia.  For  every-day  work  he  (the  lecturer)  gave  his  prefer- 
ence to  boiling  in  the  presence  of  a slight  trace  of  acid.  He  could 
obtain  the  highest  quality  in  that  way.  With  the  ammonia  pro- 
cess he  had  succeeded  in  producing  plates  of  extreme  rapidity ; 
more  rapid  than  by  any  reasonable  length  of  boiling  ; and  when 
extreme  rapidity  is  desired,  the  ammonia  process  is  to  be 
preferred. 

An  emulsion  by  the  ammonia  process  was  then  made, 
Solution  B having  been  heated  to  150°  F.  ; instead  of  four  ounces, 
the  quantity  shown  on  the  chart,  8 ounces  of  water  was  used, 
and  the  silver  added  in  crystals,  this  being  a very  easy  method  of 
emulsifying.  The  silver  added,  and  the  vessel  shaken  vigo- 
rously until  dissolved,  a fine  emulsion  of  red  colour  was 
obtained,  specimens  of  which  were  passed  round  for  examination. 

* Read  before  the  London  and  Provincial  Photographic  Association. 


C next  added,  and  the  temperature  raised  to  150°  F.,  the 
mixture  being  constantly  stirred. 

E added,  the  whole  being  well  stirred  until  the  temperature 
fell  to  120p  F.,  when  the  remaining  gelatine,  D,  was  added,  and 
the  emulsion  set  aside.  With  this  process,  the  amount  of  excess 
of  soluble  bromide  was  unimportant,  so  long  as  it  was  not  too 
small ; but  in  the  boiling  process,  after  numerous  experiments, 
40  grains  to  the  above  quantity  of  silver  nitrate  was  found  to 
give  the  best  results. 

An  emulsion  by  the  boiling  process  was  next  made.  Crystals 
of  silver  nitrate  were  added  as  before,  at  a temperature  of 
150°  F.,  to  the  solution  B,  and  cooked  until  a satisfactory  emul- 
sion was  obtained.  Upon  this  matter  the  lecturer  said  : — “ It 
is  not  possible  to  fix  any  particular  time  as  the  most  suitable  to 
boil,  so  much  depending  on  the  nature  of  the  emulsion  required, 
and  the  uncertainty  how  long  the  particles  are  subjected  to  any 
given  temperature ; therefore,  in  practice  it  will  be  found  ad- 
visable to  cook  until  the  blue  stage  arrives,  which  may  be  twenty 
minutes,  or  an  hour.  For  emulsions  of  ordinary  commercial 
rapidity,  the  cooking  may  be  stopped  at  this  stage  ; but  for 
very  quick  plates  the  length  of  time  an  emulsion  may  be  boiled 
after  reaching  the  blue  stage  can  be  doubled  with  impunity,  no 
fog  would  be  likely  to  result.  These  methods  of  making  emul- 
sion are  suitable  up  to  quantities  of  half-a-gallon.  Beyond  that 
quantity  some  mechanical  means  must  be  employed  in  mixing,  &c. 
It  was  a mistake  to  emulsify  at  too  low  a temperature,  although 
it  is  considered  that  the  lower  the  temperature  the  finer  the 
particles  of  silver  bromide.  If  he  emulsified  below  100°  F.,  he 
would  get  a blue  useless  emulsion,  giving  flat  and  poor  images  ; 
on  the  other  hand,  if  he  exceeded  180°  F.,  a course  granular 
emulsion  would  again  result,  the  viscous  liquid  being  too  thin 
to  hold  the  particles  in  suspension.  It  is  also  noteworthy  that 
boiled  emulsions,  being  more  opaque  than  those  by  the  ammonia 
process,  more  gelatine  may  be  used  with  boiled  emulsions  than 
is  practicable  with  ammonia. 

Washing. — The  principle  of  washing  emulsions  depends  on  the 
fact  that  gelatine  solutions  are  insoluble  in  cold  water,  and 
soluble  in  hot ; there  are  several  methods  of  washing,  one  an 
elaborate  piece  of  apparatus  belonging  to  the  Chairman,  who 
who  would  describe  it  himself  presently.  The  rough  one  he  (the 
lecturer)  used,  answered  quite  as  well,  and  he  would  use  it  on  this 
occasion.  He  passed  cold  emulsion  through  fine  wire 
gauze  into  a beaker  of  cold  water ; the  shreds  sank  to 
the  bottom,  leaving  the  soluble  salts  in  suspension.  Filtering 
was  shown  by  means  of  the  Chairman’s  filter,  which  has  been 
frequently  described — a glass  vessel  with  two  apertures,  one 
covered  with  wash  leather,  the  other  (by  which  the  emulsion  is 
poured  in)  closed  with  a bung  having  a rubber  tube  through  it 
terminating  in  a flexible  ball,  thus  forming  an  air-pump  to  force 
the  liquid  rapidly  through  the  wash  leather. 

Coating. — Emulsion  at  140°  F.  was  poured  from  a small  teapot 
on  the  centre  of  plate,  and  dexterously  twisted  to  obtain  a level 
coating  ; these  were  placed  on  wires  stretched  over  a length  of 
plate  glass  three  feet  by  six  inches  levelled,  thus  avoiding  a 
coaling  on  each  side.  Another  method  was  also  shown— i.e.,  a 
plate  with  three  shots  cemented  on  each  side  in  the  form  of  a 
triangle,  forming  an  excellent  tripod  on  which  to  stand  the  plates 
during  coating,  which  was  done  by  means  of  a glass  rod. 

The  lecturer  said  it  would  be  found  much  easier  to  coat  plates 
when  alcohol  was  added  to  the  emulsion ; and  those  who  were.skil- 
ful  in  coating  with  collodion  would,  no  doubt,  adopt  that  plan. 
But  amateurs  who  had  not  yet  practised  coating  extensively  would 
do  well  to  pour  a pool  of  emulsion  on  the  centre  of  the 
plate,  and  equalize  it  by  means  of  a glass  rod. 

It  was  necessary  to  leave  more  emulsion  on  the  plate,  when 
using  the  ammonia  process,  than  with  a boiled  emulsion.  For 
that  purpose,  the  lecturer  suggested  the  use  of  glass  ladle3 
containing  given  quantities.  He  should  only  coat  three  half- 
plates with  an  ounce  of  ammonia  emulsion  ; but  he  could  coat 
four  with  an  ounce  of  boiled  emulsion.  With  regard  to  the 
capacity  of  the  ladle  passed  round,  he  should  expect  to  coat  a 
quarter-plate  with  ammonia  emulsion,  and  a 5 by  4 with  boiled. 

In  the  matter  of  drying,  the  requirements  were — a brisk 
current  of  air  at  a low  temperature,  the  plates  being  arranged 
back  to  back,  and  far  enough  apart  for  air  to  freely  circulate. 

If  a drying-box  is  used,  it  should  be  kept  in  a dry  place. 

In  bringing  his  demonstration  to  a close,  he  particularly 
desired  his  audience  to  understand  that  he  did  not  emphasize 
anything.  No  one  could  say  such  and  such  a thing  is  so, 
although  he  saw  many  emulsion  workers  present  who  were  well 
able  to  demonstrate. 


664 


THE  PHOTOGRAPHIC  NEWS 


[October  19,  1883. 


Ammonia  Process. 

A. — Silver  nitrate  

Water  ...  

13. — Potassium  bromide  

Potassium  iodide  

Nelson’s  No.  1 gelatine  ...  ... 

Water  ...  

C.  — Heinricb’s  gelatine 

Water 

D.  — Heinrich’s  gelatine 

Water  

E.  — Liq.  ammonia  fort. 

Water  (to  dilute)  

Boiling  Process. 

A.  — Silver  nitrate  ...  

Water 

B.  — Potassium  bromide  

Potassium  iodide  

Nelson’s  No.  1.  gelatine 
Water  ... 

Hydrochloric  acid 

C.  — Heinrich’s  gelatine 


Water 


400  grains 
4 ounces 
320  grains 
20  „ 

100  „ 

4 ounces 

...  200  grains 

enough  to  soften  the  gelatine 
...  ...  ...  200  grains 

enough  to  soften  the  gelatine 

880  5 drachms 

an  equal  volume 

400  grains 
4 ounces 
320  grains 
10  „ 

100  „ 

4 ounces 

enough  to  make  it  perceptibly  acid 
600  grains 


enough  to  soften  this 


New  York.  A Broadway  shopkeeper,  interviewed  on  the 
subject,  averred  that  Madame  Nilsson’s  picturo  was  most  in 
demand;  but  that  of  Oscar  Wilde  “sold  first-class  when 
first  he  came  over;  but  there  is  nothing  doing  in  him  now. 
Irv'mg  will  sell  big  ; and  I guess  Ellen  Terry  will  be  a big 
go.  We’re  badly  in  want  of  something  new.” 


We  have  already  spoken  highly  of  the  photographs  in 
the  American  section  of  the  Fisheries’  Exhibition,  though 
why  they  should  have  been  awarded  a gold  medal  we  are 
at  a loss  to  know.  All  of  the  larger  pictures,  we  may 
mention,  were  made  by  the  aid  of  the  platinotype  process 
and  the  electric  light,  being  direct  enlargements  from 
10  by  8 negatives.  Some  of  the  photographs  are  ex- 
ceedingly good  examples  of  this  mode  of  working,  and 
if  a medal  be  awarded  at  all,  it  should  certainly  go  to  the 
Platinotype  Company. 


Uflteu. 

We  have  to  remind  our  readers  that  the  Photographic 
Exhibition  remains  open  but  five  weeks ; it  closes  on  the 
15th  of  November. 


We  regret  to  say  that  space  compels  us  to  postpone  the 
details  of  the  November  Exhibition  in  Glasgow  till  next 
week.  But  we  may  mention  that  it  is  ody  open  to 
members  of  the  Glasgow  Association,  who  may  join  as  late 
as  the  end  of  this  month,  and  that,  as  in  the  last  exhibition 
at  Edinburgh,  the  members  will  be  their  own  judges. 


Mr.  H.  P.  Robinson’s  summer  picture  “ Under  a Hay- 
cock” forms  our  illustration  this  week;  our  next  will  be 
Lord  Cecil’s  yacht  “ Chittywee ,”  the  charming  study  of 
Messrs.  G.  West  and  Son,  which  secured  a medal. 


Major  Waterhouse  writes  that  preparations  are  in  active 
progress  for  the  Calcutta  Exhibition,  and  that  apartments  in 
the  City  will  be  at  fancy  prices  during  the  cold  weather. 
Photography  will  be  represented,  if  not  in  a very  pro- 
nounced form  ; but  the  main  attraction  will  be  the  Indian 
collection  of  art  ware,  fabrics,  and  jewellery. 


When  Irving  arrives  to-day  in  New  York,  he  is  to  be 
offered  a thousand  dollars  for  the  right  to  photograph  him 
by  Sarony.  This  is  the  sum  paid  to  Patti,  but  rather  less 
than  that  offered  to  Sarah  Bernhardt.  We  will  hazard  the 
opinion  that  Irving  will  not  accept  the  offer,  for  seeing  that 
he  is  pretty  well  advertised  by  photography  already,  he  has 
nothing  to  gain  except  the  two  hundred  pounds,  which  he 
does  not  want.  Should  he  agree,  however,  he  will  certainly 
follow  Patti’s  example,  and  stipulate  that  only  such  pictures 
as  he  approves  shall  be  published.  Patti  ordered  all  the 
negatives  but  one  of  herself  to  be  broken,  so  that  Sarony 
only  had  the  sale  from  a single  pose  of  the  illustrious 
prima  donna. 


theatrical  portraits,  it  seems,  sell  more  than  any  other  in 


“The  faces  of  photographers  always  seem  to  me  to  be  so 
full  of  anxiety,”  said  a visitor  at  the  Photographic  Exhibi- 
tion soiree.  There  may  bo  a grain  of  truth  in  the  remark. 
The  photographer — at  least,  if  he  be  a portraitist — has  need 
of  much  philosophy.  When  the  weather  is  fine,  sitters  do 
not  come  ; when  it  is  dull,  they  make  their  appearance. 
The  sitter  over  whom  he  takes  much  trouble  is  the  most 
difficult  to  satisfy.  The  very  best  technical  negative  of  a 
series  is  always  the  worst  as  a likeness,  or  vice  versa.  With 
people  whom  he  is  anxious  to  please,  matters  go  contrary. 
The  portrait  which  the  photographer  thinks  is  the  best,  is 
generally  regarded  by  the  sitter  as  the  worst.  If  there 
happens  to  be  a picture  which  a general  consensus  of  opinion 
has  determined  is  a chef  cT oeuvre,  its  fate  is  to  be  smashed  in 
the  printing  frame  or  let  fall  by  a clumsy  assistant. 
Should  he,  in  the  trustfulness  of  his  nature,  not  ask  for  the 
money  at  the  time  of  sitting,  he  either  is  saddled  with  a 
dead  horse  (if  the  expression  may  be  used)  in  the  shape  of 
a re-sitting,  or  never  gets  paid  at  all.  Yes,  the  photographer 
has  much  to  make  him  look  anxious. 


A photographer  in  Orkney  has  distinguished  himself. 
On  the  occasion  of  Mr.  Gladstone’s  visit  to  the  chief  town, 
all  the  shopkeepers,  in  honour  of  their  guest,  shut  up  their 
shops,  with  one  exception.  This  exception  was  a photo- 
grapher, who,  being  a sturdy  Tory, considered  himself  bound 
to  maintain  his  principles  by  a non- recognition  of  the  great 
liberal  statesman.  Mr.  Gladstone,  however,  called  upon  the 
politician  in  question,  and  so  ingratiated  himself  by  the 
urbanity  of  his  manners,  that  if  the  photographer  did  not 
change  bis  politics,  he  at  all  events  changed  his  mind,  and 
shut  up  his  shop  with  the  rest. 

If  a Woodburytype  relief  is  made  from  a line  negative, 
and  this  relief  is  moulded  in  lead  by  means  of  the  hydraulic 
press,  a reverse  is  obtained,  which  yields  a printing  block 
when  electrotyped.  The  lines  are,  however,  rounded 
on  the  top,  and  it  is  very  much  better  to  make  use  of  a 
positive  instead  of  a negative.  In  this  case  the  lines  are 
intaylio  on  the  relief,  and  the  leaden  reverse  obtained  is 
itself  an  actual  printing  block,  the  lines  being  sharp  and 


October  19,  1883.] 


THE  PHOTOGBAPHIC  NEWS. 


665 


square  on  the  face.  Instead  of  using  ordinary  lead,  type 
metal  may  be  employed,  only  more  pressure  will  of  course 
be  required.  In  any  case,  it  is  well  to  have  the  block  re- 
duplicated by  the  electrotype  process  when  it  is  likely  to 
be  much  used. 


There  has  been  a green  sun  at  Madras,  and  a blue  sun  at 
Port  of  Spain  in  Trinidad.  The  phenomena,  it  is  said, 
were  due  to  the  atmosphere  being  inordinately  charged  with 
watery  vapour.  No  photometrical  experiments  seem  to  have 
been  made  at  the  time,  neither  are  any  photographic  ex- 
periences forthcoming  ; but  all  accounts  agree  as  to  the  mag- 
nificent colours  assumed  by  terrestrial  objects  during  the 
period  of  the  abnormal  tint  of  the  solar  orb. 


At  the  Vienna  Electric  Exhibition  an  arc-light  of  extra- 
ordinary intensity  was  exhibited  to  the  Crown  Prince  by 
Herr  Uppenborn.  Its  luminosity  was  estimated  at  160,000 
candles,  the  dynamo  producing  it  being  driven  by  a forty- 
horse  power  engine.  A curious  phenomenon  was  observed 
at  the  time.  During  the  experiment  there  was  an  eruption 
of  red  tongues  of  flame,  emanating  from  all  sides,  exactly 
as  they  are  seen  in  the  photosphere  of  the  sun,  these  flames 
being  distinctly  visible  through  a screen  of  blue  glass. 


The  specific  gravity  of  ammonia  solutions  as  given  by 
Carius,  Wacbsmuth,  Ure,  Dalton,  and  Davy  varies  very 
considerably,  and  for  this  reason  Lunge  has  recently  taken 
upon  himself  to  verify  the  different  results  given  by  these 
chemists.  According  to  Lunge,  the  table  given  by  Carius 
approaches  nearer  the  truth  than  any  other,  and  ought, 
therefore,  to  be  exclusively  used  in  future. 


fatfut  Jntclligfwa. 

Application  for  Letters  Patent. 

4794.  Alexander  Melville  Clark,  of  the  firm  of  A.  M.  and 
W.  Clark,  of  63,  Chancery  Lane,  in  the  county  of  Middlesex, 
Fellow  of  the  Institute  of  Patent  Agents,  for  an  invention  of 
“ Improvements  in  rotary  stands  for  exhibiting  photographs, 
samples,  and  articles  for  sale.” — A communication  to  him  from 
abroad  by  Christian  Augustus  Schmidt,  of  the  city,  county, 
and  state  of  New  York,  United  States  of  America. — Dated  9th 
October,  1883. 

Notice  to  Proceed. 

4152.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  in  the  city 
of  London,  for  an  invention  of  “An  improved  method  or 
process  of  producing  prints  or  transfers  of  photographic 
pictures.” — Dated  28th  August,  1883. 

4153.  Eugenio  de  Zuccato,  of  Ch  arterhouse  Street,  in  the 
city  of  London,  for  an  invention  of  “ An  improved  method  or 
process  of  producing  prints  or  transfers  photographic  of  pic- 
tures.”— Dated  28th  August,  1883. 

4154.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  in  the 
city  of  London,  for  an  invention  of  “ An  improved  method  or 
process  of  producing  prints  or  transfers  of  photographic 
pictures.” — Dated  28th  August,  1883. 

Patent  Sealed. 

1971.  William  Cooke,  of  43,  Southampton  Buildings,  Holborn, 
in  the  county  of  Middlesex,  Civil  Engineer  and  Patent  Agent, 
for  an  invention  of  “ An  apparatus  for  automatically  exposing 
bodies  or  articles  to  the  action  of  the  sun’s  rays  or  to  light 
otherwise  produced.” — A communication  to  him  from  abroad 
by  Richard  Schotterhols,  of  Vienna,  in1  the  empire  of  Austria, 
Engineer. — Dated  18th  April,  1883. 


Specifications  Published  during  the  Week. 

306.— II.  Vander  Wevde. — “ Electrical  signs  or  apparatus  for 

illuminating  and  signalling  purposes.”  Provisional  protection 

not  allowed. 

My  invention  relates  to  improvements  in  the  construction 
and  arrangement  of  electric  incandescence  lamps,  and  in  the 
composition  therewith  of  letters,  words,  figures,  signals,  and 
designs  for  the  purposes  of  publicity  signalling  and  illumination. 
In  carrying  out  my  invention,  I form  the  letters,  or  design  of 
single  lines  of  light,  by  forming  the  carbons  of  incandescence 
lamps  of  straight  angled  or  curved  form  according  to  the  con- 
figuration of  the  letter,  word,  figure  or  design,  or  of  the 
component  part  thereof  which  the  carbon  is  to  represent,  and 
the  conducting  wires  are  sealed  into  the  tube  or  bulb  at  the  back, 
so  that  a number  of  such  lamps  may  be  so  assembled  together 
as  to  collectively  represent  letters,  words,  figures  or  designs  in 
apparently,  but  not  necessarily,  continuous  lines  of  light. 
For  signalling  on  railways,  steamships,  harbours,  and  in ' other 
situations  two  or  more  letters,  signs,  or  words  produced  or 
composed  as  above  described,  and  contained  in  the  same  vacuum 
chamber  or  in  separate  tubes  may  be  placed  the  one  in  front  of 
the  other,  so  that  by  means  of  a suitable  switch  any  one  may  be 
illuminated  whilst  the  rest  remains  invisible. 

1229. — A.  H.  Dawes, — “ Producing  permanent  coloured  photo- 
graphic card  pictures. 

The  object  of  this  invention  is  the  production  of  coloured 
photographic  pictures  which  will  more  nearly  resemble  the  long- 
desired  effect  of  natural  colouring  produced  by  the  camera,  and, 
being  mounted  upon  paper,  card,  or  other  convenient  substance 
(without  the  use  of  glass),  they  are  suitable  for  “ portrait 
albums,”  or  such  like  places  or  purposes.  In  carrying  my  inven- 
tion into  effect,  I take  an  ordinary  unmounted  paper  photograph, 
and,  after  reducing  it3  thickness,  if  necessary,  I immerse  it  in 
a bath  of  oil,  varnish,  and  spirit,  and  allow  it  to  remain  therein 
until  it  assumes  a horny  and  transparent  state  and  appearance. 
I then  take  the  picture  from  the  bath  and  carefully  remove  any 
surplus  quantity  of  the  bath  mixture,  and — with  oil  paint  by 
preference— I paint  the  desired  colours  and  effects  upon  one  side 
or  face  of  this  loose  traDsparented  photograph.  I now  prepare 
the  mounting  paper,  card,  or  base,  for  the  before-described  pic- 
ture, and  this  (the  picture)  being  coloured  with  oil  paint,  I face 
or  prepare  the  “mount,”  whatever  it  may  be,  with  similar 
material ; and,  in  so  doing  I prefer  to  repeat  (reversed)  the  out- 
line and  colours  of  the  picture  upon  the  mount,  to  produce  purity, 
definition,  and  clearness,  and  to  prevent  confusion  or  alteration  of 
the  colours,  according  to  the  nature  of  the  picture  and  other  cir- 
cumstances. The  paint  upon  both  the  foregoing,  having  attained 
a certain  consistency  or  spissitude,  I then  carefully  lay  the 
picture  upon  the  so  prepared  “ mount,”  paint  to  paint,  and 
apply  sufficient  pressure  to  cause  them  to  adhere  to  each  other, 
and  I afterwards  continue  and  increase  this  pressure,  between 
polished  surfaces,  until  the  whole  (photo,  paint,  and  mount)  are 
thus  thoroughly  and  permanently  united.  In  some  cases,  I 
afterwards  enamel  the  surface,  or  apply  thereto  a clear,  hard 
varnish  ; and  thus,  by  the  foregoing  process,  with  the  colours 
between  the  photograph  and  the  “ mount,”  upon  or  before  which 
it  is  laid,  I obtain,  without  the  use  of  glass,  what  may  be  called  a 
coloured,  naturally  shaded  card  or  other  photographic  picture  for 
albums  or  other  similar  uses  or  purposes.  Having  now  described 
and  particularly  ascertained  the  nature  of  the  said  invention,  and 
the  manner  in  which  the  same  is,  or  may  be  used,  or  carried  into 
effect,  I wish  it  to  be  understood  that  I do  not  confine  or 
restrict  myself  to  the  precise  details  which  I have  described  or 
referred  to,  as  the  same  may  be  modified  without  deviating  from 
the  principles  or  main  features  of  the  said  invention  ; but  what 
I consider  to  be  novel  and  original,  and  therefore  claim  as  the 
invention  secured  to  me  by  the  herein-before  in  part  recited 
Letters  Patent,  is  : — The  production  of  oil  paint  or  other  coloured 
photographic  pictures,  wherein,  by  the  hereinbefore  described 
process  or  system,  or  any  mere  modification  thereof,  embodying 
the  placing  of  the  colouring  matter  between  the  transparented 
photograph  and  the  paper,  card,  or  other  substance  upon  or 
before  which  it  is  laid  or  mounted,  the  natural  lights  and  shades 
produced  by  the  camera  are  preserved,  and  full  tone,  and  well 
defined  permanent  coloured  photogrrphic  pictures,  without  the 
use  of  glass,  are  obtained,  virtually  as  or  after  the  manner  herein- 
before explained  and  set  forth. 

J.  H.  Hare,  and  H.  J.  Dale. — “ Apparatus  for  supplying  sensi* 

tive  plates  in  photographic  cameras.” 

The  arrangement  referred  to  in  this  patent  is  deseribed  On  page 
270  of  the  present  volume. 


666 


THE  PHOTOGRAPHIC  NEWS. 


[Octobee  19,  1883, 


I 


W.  R.  Lake.— “ Sensitizing  photographic  paper  and  developing 
pictures  thereon.”  A communication  from  R.  B.  and  B.  C. 
West.  (Text  of  Specification  in  our  next.) 

Patents  Granted  in  Belgium. 

62,535.  Benecke,  Fischer,  and  J.  Frank,  of  Saint  Louis 
(U.S.A.),  for  “Obtaining  relievo  printing-plates  by  photo- 
graphy.”— Dated  8th  September,  1883. 

62,604.  M.  Bauer,  of  Paris,  for  “An  apparatus  for  obtaining 
pictures  by  electric  light.” — Dated  17th  September,  1883. — 
French  Patent,  11th  September,  1883. 


A FEW  NOTES  OF  A TOUR  FROM  MAINE  TO 
CALIFORNIA. 

BT  J.  O.  TUNNY.* 

ON  the  5 th  of  September  of  last  year  I left  home  to  make  a tour 
of  the  Continent  of  America.  The  passage  across  was  very 
pleasant,  although  we  had  some  rough  weather. 

The  principal  sights  around  Boston  are  Bunker  Hill  Monument, 
Faniel  Hall,  The  Common,  Public  Garden,  State  House,  Library, 
and  the  old  South  Church,  famous  for  its  historical  associations. 

The  old  quaint  street  views  are  well  fitted  for  the  camera,  but 
the  photographers  in  America  have  not  done  very  much  in  street 
photograph}''.  The  terrible  conflagration  of  1872  swept  away  a 
large  proportion  of  the  business  houses.  The  burnt  district  is 
now  all  rebuilt  on  a more  magnificent  scale.  I looked  in  on  my 
old  friend  Mr.  Black,  who  still  continues  to  retain  his  high  place 
in  the  profession.  I found  him  busy  at  work,  still  using  the 
strong  acid  bath.  Dr}'  plates  not  yet  having  become  a favourite 
with  him,  he  appears  to  be  doing  a large  business  in  magic 
lantern  transparencies.  Messrs.  Allan  and  Rowell,  of  Winter 
Street,  still  continue  to  print  all  their  large  pictures  in  carbon. 
There  is  very  little  of  this  work  done  in  the  States. 

I left  Boston  to  have  a run  through  the  State  of  Maine,  visit- 
ing, among  other  places,  Portland,  the  commercial  metropolis  of 
Maine  ; Gardiner,  noted  for  its  extensive  manufactories  and  fine 
water-power,  furnished  by  the  Cobbossecontee,  across  which  are 
eight  stone  dams  in  the  space  of  one  mile ; the  scenery  all  round 
Gardiner  is  very  beautiful.  Augusta,  the  capital  of  the  State, 
derives  much  of  its  beauty  from  the  great  abundance  of  trees 
and  shrubbery.  After  spending  some  little  time,  we  left  for 
Massachusetts  again,  and  made  some  little  stay  in  the  city  of 
Worcester,  one  of  the  most  beautiful  in  New  England.  It  is  about 
forty-five  miles  from  Boston,  and  is  in  the  centre  of  one  of  the 
finest  agricultural  regions  of  Massachusetts.  It  is  also  noted  for 
its  public  schools  and  manufactories.  In  the  suburban  parts  the 
merchants  have  erected  magnificent  homes.  It  is  said  that 
more  patents  are  taken  out  for  Worcester  than  for  any  other 
place  in  New  England.  From  Worcester  I went  to  New  York, 
which  is  distant  about  190  miles.  The  railroad  passes  through 
a lovely  tract  of  country. 

On  my  arrival  in  the  great  Babylon  of  the  West,  I had  a quiet 
saunter  along  Broadway,  taking  note  of  the  photographic  dis- 
plays on  my  way.  Nothing,  however,  very  striking  arrested  my 
attention.  I found  many  of  the  familiar  names  above  the  show- 
cases, telling  me  that  the  old  pioneers  were  still  in  harness.  A 
visit  to  the  Scovill  Manufacturing  Company’s  establishment  will 
never  be  forgotten.  On  entering,  I saw  within  the  desk  enclo- 
sure, the  old  familiar  face  of  our  friend,  J.  T.  Taylor,  he  who 
was  the  soul  of  this  Society  for  many  years,  and  whose  contri- 
butions to  our  art  have  been  many  and  valuable.  You  may  be 
sure  our  meeting  was  an  enthusiastic  one.  I can  tell  by  the 
shake  of  the  hand  how  the  heart  beats.  I found  him  busily 
correcting  the  last  proofs  of  the  Photographic  Times.  After  all 
sorts  of  enquiries  about  old  friends,  we  started  on  an  inspection 
of  the  establishment,  every  turn  presenting  new  surprises.  My 
attention  was  arrested  by  a thudding,  thumping  noise,  which 
turned  out  to  be  the  unloading  of  camera  stands.  I do  not  ex- 
aggerate when  I say  that  I saw  as  many  stands  received  that 
day  as  have  been  manufactured  in  Scotland  for  the  last  ten  years 
(more  or  less).  Mr.  Adams  received  me  with  a cordiality  and 
kindly  warmth  that  made  me  feel  quite  at  home.  He  told  me 
to  come  in  to  write  my  letters,  or  do  any  business  I might  have 
in  hand  ; in  fact,  to  make  it  a call-house  as  long  as  I remained  fn 
the  city. 

After  going  through  the  labyrinths  of  the  Scovill  Company’s 
factory,  friend  Taylor  said,  pointing  to  a huge  pile  of  packing 
cases,  “ These  are  my  traps ; I am  going  off  to  England.”  I had, 

* Abstract  of  a communication  to  the  Edinburgh  Photographic  Society. 


however,  the  pleasure  of  spending  two  or  three  days  with  him 
before  he  sailed.  In  my  peregrinations  tlnough  New  York  I 
visited  Messrs  Anthony’s  photographic  material  establishment, 
and  found  both  my  old  friends  in  excellent  health,  and 
vigorously  pushing  forward  their  business.  Everything  that  the 
photographer  requires  is  to  be  found  here.  They  do  a large 
business  in  photographic  prints,  stereoscopic  and  other  sizes.  A 
stranger  is  made  thoroughly  welcome,  and  courteously  shown  over 
their  large  establishment. 

My  next  resting  place  was  Philadelphia.  The  route  from 
New  York  thence  is  not  very  interesting.  Philadelphia  is  the 
largest  city  but  one  in  the  Union.  Photography  is  well  repre- 
sented. Many  of  those  present  will  remember  the  splendid 
specimens  sent  to  our  last  Exhibition  by  Gutekunst.  He  still 
keeps  abreast  with  his  compeers.  No  doubt  his  superior  artistic 
work  has  caused  others  to  be  ambitious  to  get  alongside  of  him, 
and  I was  glad  to  observe  that  many  of  them  had  been 
successful. 

My  next  journey  was  to  Baltimore,  the  city  of  monuments  and 
oysters.  Photography  stands  well  here.  The  specimens 
exhibited  show  careful  manipulation  and  considerable  artistic 
ability. 

The  next  place  of  attraction  was  Washington.  The  first  view 
of  the  capitol  in  approaching  is  very  fine.  It  is  perhaps  the 
finest — indeed  it  is  probably  the  most  magnificent — public  edifice 
in  the  world.  It  crowns  the  summit  of  Capitol  Hill,  which  has 
an  elevation  of  90  feet.  The  main  building  is  352  feet  long,  and 
121  feet  deep,  and  two  wings  or  extensions  each  238  feet  by  140 
feet.  Its  whole  length  is  751  feet.  The  central  building  is  of  a 
light  yellow  freestone  painted  white,  and  the  extensions  are  of 
pure  white  marble.  The  whole  surroundings  are  beautifully  laid 
out,  and  embellished  with  fountains  and  statuary.  It  is  not  with- 
in the  range  of  my  paper  to  give  a lengthened  description  of 
public  buildings  and  other  details  ; but  these  can  be  found  in  the 
ordinary  guide  books  which  are  plentifully  supplied.  I know  no 
city  of  the  Union  that  presents  such  a smiling  face  on  a Bunny 
day  as  the  city  of  Washington. 

Our  footsteps  were  now  directed  to  the  Baltimore  and  Potomac 
depot.  We  took  a Pullman  sleeping  car,  which  runs  through  to 
Louisville  without  change,  by  the  Chesapeake  and  Ohio  Railway. 
Along  this  route  the  scenery  is  grand  beyond  all  description. 
We  had  beea  comfortably  snoozing  away  the  dark  hours  of  the 
night  in  our  bunk  in  the  Pullman  car,  and  awoke  with  the  dawn 
to  view  a panorama  of  enchanting  loveliness.  As  the  dark- 
ness takes  flight  we  pull  up  at  the  Kanawha  Falls,  perhaps  a 
little  disappointed  through  the  over  exaggeration  of  the  pen-and- 
ink  enthusiast  that  we  had  been  reading.  But  all  this  made  up 
ere  we  proceed  far  by  the  banks  of  this  winding  river,  the  ever- 
changing  beauty  of  this  turn  and  that,  clinging  to  cliff  and  crag, 
and  whirling  by  precipitous  heights  that  seemed  to  have  been 
erected  by  nature  as  battlements  for  the  defence  of  the  valleys 
below.  The  train  hurried  on  till  we  reached  the  Ohio  river.  We 
followed  its  course  for  fifteen  miles,  and  entered  the  Swiss-like 
mountain  scenery  of  Eastern  Kentucky.  The  city  is  well  laid 
out,  the  streets  are  lined  with  shady  trees,  and  the  residences  are 
noted  for  their  beauty.  Our  next  place  was  Cave  City,  upwards 
of  eighty  miles  south  of  Louisville.  We  then  had  a journey  of 
eight  miles  by  stage  in  order  to  reach  the  famous  Mammoth 
Cave  of  Kentucky.  So  much  has  been  written  about  its  wonder- 
ful caverns,  rivers,  and  lakes,  eyeless  fish  and  fish  with  eyes  that 
have  no  sight.  Artists  have  been  engaged  in  picturing  its  domes 
and  pits,  but  all  have  confessed  inability  to  do  so.  The  raging 
sea  and  the  rising  sun  from  the  mountain  peak  have  not  been 
more  difficult  to  place  on  canvas  than  the  wonders  of  this  under- 
ground labyrinth.  We  spent  four  or  five  hours  in  exploring  its 
endless  caverns,  and  found  after  this  fagging  journey  that  it 
would  have  taken  six  or  seven  hours  more  to  have  explored  its 
greatest  wonders.  One  curious  fact  with  regard  to  the  tempera- 
ture is  that  it  never  varies ; the  thermometer  stands  at  559 
throughout  the  year. 

We  crossed  the  boundary  line  into  Colorado,  and  soon  got  a 
glimpse  of  the  Rocky  Mountains,  still  upwards  of  90  miles  dis- 
tant. Pike’s  Peak  soon  comes  in  sight,  which  is  computed  to  be 
at  a distance  of  1 50  miles.  When  we  reached  Pueblo,  the  great 
mountain  range  came  better  into  view,  and  the  black  fissures 
became  more  distinct.  Pueblo  is  the  chief  city  of  Southern 
Colorado.  From  here  we  took  the  Denver  and  Rio  Grande  Rail- 
way. This  line  has  been  the  means  of  rapidly  developing  the 
resources  of  Colorado.  The  route  being  so  picturesque,  it  has 
been  designated  the  scenic  line  of  America.  It  runs  North  and 
South  from  Denver  to  Santa  Fe,  a distance  of  more  than  300 


October  19,  1883. ( 


THE  PHOTOGRAPHIC  NEWS. 


667 


miles.  The  Denver  and  Rio  Grande  R.  R.  crosses  the  Rocky 
Mountains  eight  times,  some  of  the  passes  reaching  an  elevation 
of  nearly  12,000  feet.  In  four  instances  it  reaches  a greater 
height  than  any  other  railway  in  the  world.  The  next  place  we 
come  to  is  Manitou,  passing  the  Colorado  Springs.  I u this  de- 
lightful retreat  we  spent  some  little  time  enjoying  carriage  drives 
to  the  Iron  Spring,  the  Ute  Pass,  and  Garden  of  the  Gods.  At 
every  turn  we  saw  some  curious  freak  of  nature  in  a blind  effort 
at  architecture  and  sculpture— stupendous  castles  clinging  to  the 
cliffs — towers  and  minarets — Gothic  pulpits  in  niches — all  kinds 
of  silaceous  formations  balancing  rock-cone  colossal  columns, 
and  a thousand  other  forms  that  excited  wonder  and  admiration. 
The  Garden  of  the  Gods  is  a lovely  park  of  500  acres,  peopled 
with  strange  rock  caricatures,  some  of  them  standing  at  a height 
of  nearly  <550  feet.  The  sandstone  out  of  which  these  various 
Carvings  have  been  effected  is  a brilliant  red  colour. 

We  were  all  on  the  tip-toe  of  expectation  on  entering  the  City 
•of  the  Angels  and  Oranges.  It  has  a population  of  about  18,000, 
and  is  situated  on  the  southern  slope  of  the  Sierra  Manvre  and 
Santa  Susanna  range.  We  came  in  contact  with  groves  of  lemon 
and  pomegranate  orchards  in  every  direction.  One  orchard  in 
the  centre  of  the  city  consists  of  100  acres.  This  is  the  centre  of 
the  tropical  fruit-growing  district  of  California.  Ou  leaving  Los 
Angeles,  the  train  ascends  the  San  Fernando  Mountains,  and 
passes  them  by  the  mammoth  tunnel,  which  is  about  7,000  feet 
in  length.  After  passing  through  a beautiful  rich  agricultural 
country,  we  reached  Maderia,  the  station  from  which  we  took 
the  stage  for  the  Yosemite.  This  journey  was  the  most  fatiguing 
that  I encountered.  Here  and  there  are  streams  of  water 
forming  cataracts  of  unsurpassed  loveliness.  The  views  that  I 
have  the  pleasure  of  showing  you  will  give  you  a better  idea  of 
that  wonderful  valley  than  any  word  painting  I could  indulge 
in.  If  the  eye  is  delighted  with  looking  up  to  the  mighty  crags, 
it  is  equally  so  by  the  flower  carpet  beneath  our  feet ; it  is  per- 
fectly dazzling,  and  the  air  is  fragrant  with  perfume.  The  noble 
warder  of  the  Valley  El  Capitan,  though  not  so  high  as  some  of 
its  neighbours,  from  its  vertical  side  a plummet-line  could  be 
dropped. 

On  our  return  journey  we  went  through  the  Mariposa  Grove 
of  big  trees.  This  grove  of  giants  now  belongs  to  the  State. 
The  grove  itself  is  about  two  miles  square.  N o one  can  have  the 
least  conception  of  these  mighty  monarchs,  when  I tell  you  the 
Grizzly  Giant  is  94  feet  in  circumference,  although  the  vandal’s 
hand  has  been  at  it.  The  first  branch  is  about  200  feet  from  the 
ground,  and  is  6 feet  in  diameter.  Another  giant  has  had  an 
archway  cut  throught  it.  We  reached  Madeira,  and  the  iron 
horse  sped  on  to  San  Francisco.  San  Francisco  excites  the 
wonder  of  everyone.  Its  rapidity  of  growth  has  outdistanced 
every  other  city,  surpassing  even  Chicago.  It  stands,  like 
New  York,  on  the  extremity  of  a peninsula,  extending  to 
the  bay.  Excepting  Alexandria,  it  is  perhaps  the  most 
cosmopolitan  city  in  the  world.  There  are  Asiatic,  German, 
French,  Spanish,  Italian,  Mexican,  and  Chinese  quarters, — 
all  those  can  be  encountered  in  a forenoon  stroll.  The 
Chinese  quarter  consists  of  several  solid  blocks  said  to  be 
inhabited  by  about  60,000  Celestials,  who  are  clustered  together 
like  bees  in  a hive,  having  scarcely  breathing  room.  They  have 
subterranean  opium  and  gambling  dens,  filthy  in  the  extreme. 
Here  they  sit  around  greasy  tables  in  a smoky  atmosphere, 
smoking  and  gambling  night  and  day.  They  sleep  on  shelves 
with  wooden  pillars,  stowed  away  like  bundles  in  a pawnbroker’s 
shop. 

Photography  in  San  Francisco  stands  very  high,  both  in  regard 
to  portraiture  and  landscape  work.  I was  fortunate  enough  to 
gain  the  friendship  of  Mr.  Tabor  and  Mr.  Watkins,  names  that 
are  known  all  over  Europe,  the  latter  from  the  magnificent  views 
of  the  Yosemite  Valley,  and  the  former  from  the  beautiful  por- 
trait photography  that  he  has  sent  out  from  his  large  establish- 
ment, which  is  on  a magnificent  scale.  I owe  to  both  Mr.  Tabor 
and  Mr.  Watkins  a deep  feeling  of  gratitude,  not  only  for  their 
personal  kindness,  but  also  for  the  opportunity  they  have  given 
me  for  making  the  display  on  the  walls  this  evening.  These 
magnificent  views  will  convey  to  the  members  of  the  Society  a 
better  idea  of  the  inexhaustible  beauty  and  grandeur  of  the 
Yosemite  Valley  and  Pacific  Slope,  than  a volume  of  word  paint- 
ing. 

After  our  somewhat  prolonged  journeying  along  the  Pacific 
coast,  we  had  to  bid  good-bye  to  the  scenes  that  had  thrilled  us 
with  wonder  and  admiration,  r.nd  bid  adieu  to  the  many  kind 
friends  who  had  so  greatly  enhanced  our  pleasure  and  enjoyment. 
On  the  18th  of  June  we  began  our  return  journey  on  the  Cen- 


tral Pacific  R R.,  to  pass  through  Nevada,  Utah,  Nebraska,  Iowa, 
Illinois,  and  Canada. 

The  scenery  was  varied,  magnificent,  and  exciting.  At 
Summit  we  reached  the  highest  point  on  the  Central  Pacific 
line.  Fifty  miles  from  there  is  the  town  of  Trokee,  situated  in 
the  centre  of  a picturesque  region.  From  there  we  entered  the 
snow  sheds,  which  are  erected  for  the  protection  of  the  track, 
and  extend  a distance  of  28  miles ; the  erection  of  these  sheds 
must  have  been  a herculean  task . We  were  then  230  miles 
from  San  Francisco,  and  proceeded  through  Nevada,  the  youngest 
of  the  States,  and  reached  Ogden,  from  which  point  we  started 
for  Salt  Lake  City.  We  crossed  the  great  American  Desert, 
which  is  upwards  of  100  miles  square.  Nothing  grows  there 
but  a sapless  weed,  5 or  6 inches  high  ; there  is  nothing  that 
could  sustain  animal  life  for  any  length  of  time.  The  earth  is 
very  alkaline  ; the  dust  came  in  whirling  clouds,  blinding  us  all. 
Some  terrible  devastation  must  have  passed  over  this  region. 

On  the  Rio  Grande  Railway  we  made  our  way  to  Zion  or  Salt 
Lake  City,  which  is  about  thirty-six  miles  distant.  It  lies  at  the 
southern  extremity  of  the  great  Salt  Lake.  The  enormous  taber- 
nacle was  the  first  object  that  attracted  our  attention.  Its 
length  and  width  is  about  250  feet,  and  is  one  of  the  ugliest 
buildings  I have  seen,  but  its  acoustic  properties  are  most  per- 
fect. We  left  Salt  Lake  City  after  spending  a very  pleasant 
time  and  gaining  a great  deal  of  information  about  their  peculiar 
social  institutions.  On  leaving  the  city,  we  ran  along  the  Jordan 
Valley,  which  runs  into  the  Salt  Lake.  We  enjoyed  the  views 
along  its  banks  for  fifteen  miles.  From  Provo  we  made  the 
ascent  of  the  Wasatch  range.  Soldier  Summit,  is  the  name  given 
to  the  spot  where  the  railway  reaches  its  greatest  height.  In 
passing  through  Castle  Valley,  its  fantastic  and  wonderful  forma- 
tions excite  every  emotion  of  the  soul,  its  kaleidoscopic  pictures 
being  presented  at  every  turn. 

We  next  made  the  ascent  of  Cedar  Creek  Summit.  We  then 
traversed  the  black  canon  of  the  Gunnison,  which  is  30  miles. 
This  canon  is  one  of  the  grandest  in  the  Rocky  Mountains. 
The  famous  Marshall  Pass  had  to  be  overtaken,  upwards  of 
10,000  feet.  It  is  far  higher  than  any  of  the  waggon  passes  of 
the  Alps.  The  train  proceeded  on  it  way  eastward,  and  we 
entered  the  never-to-be-forgotten  Royal  Gorge.  This  is  the 
most  stupendous  piece  of  railway  engineering  that  has  been 
attempted.  The  track  runs  for  200  feet  on  a shelf  laid  upon 
iron  brackets  morticed  into  the  perpendicular  rock.  We  had 
the  surging  river  below,  and  3,000  feet  of  a perpendicular  rock 
above.  Every  voice  is  hushed,  and  the  soul  filled  with  awe. 
The  photographer  has  not  yet  been  here.  I was  more  over- 
whelmed with  the  awful  grandeur  of  this  mighty  canon  than  with 
the  Yosemite  Valley,  and  when  the  photographer  has  ac- 
complished his  task,  the  world  will  become  acquainted  with 
scenes  overwhelmingly  grand.  From  the  Royal  Gorge  we  got 
back  to  Denver,  and  rapidly  reached  Chicago.  We  did  not 
tarry  long  there.  The  last  time  I saw  that  city  a large  pro- 
portion of  it  was  lying  in  ashes.  Now  its  public  buildings 
surpass  any  on  the  American  Continent.  From  Chicago  we 
went  on  to  Detroit,  in  Michigan,  a beautiful  city  situated  on  the 
banks  of  the  Detroit  river.  It  has  many  large  manufactories 
and  foundries.  Photography  here  is  flourishing.  Dry  plates 
were  not  much  in  vogue,  but  before  I left  I saw  their  adoption 
in  four  or  five  of  the  leading  galleries.  On  our  way  we  stopped 
at  Niagra  Falls  to  see  how  they  stood  after  seeing  the  Yosemite 
Valley,  and  I must  confess  that  they  excited  my  woDder  and 
admiration  more  than  all  I had  seen  in  the  valley. 


TWO  UNSUCCESSFUL  TRIALS. 

Sir, — Early  this  summer  there  appeared  in  the  News  two 
new  methods  of  emulsion  making.  According  to  the  first, 
it  is  quite  unnecessary  to  wash  the  emulsion  ; and  the 
second  vouched  that  it  is  quite  a waste  to  use  the  average 
quantity  of  haloid  and  silver  salts. 

I first  made  an  emulsion  (eight  ounces)  with  the  usual 
quorum  of  gelatine,  adding  only  half  the  haloid  and  silver 
salts,  which  otherwise  go  to  my  emulsion,  and  did  not  wash. 

The  plates,  when  dry,  were  exceedingly  transparent,  and 
to  the  touch  as  rough  as  sandpaper.  They  weie  quite  in- 
sensitive; an  exposure  of  several  minutes  in  the  camera,  or 


668 


THE  PHOTOGRAPHIC  NEWS. 


[October  19,  1833. 


of  one  or  two  minutes  under  a negative  in  a printing  frame 
in  the  daylight,  followed  by  an  hour’s  immersion  in  the 
oxalate  developer,  failed  to  give  even  a trace  of  an  image. 

I made  a second  emulsion,  the  quantities  exactly  as  for  the 
first,  only  with  this  difference,  that  it  was  washed.  The 
dried  plates  were  very  smooth,  and  only  slightly  more  trans- 
parent than  those  prepared  in  the  orthodox  way.  Still  they 
were  lar  less  sensitive  — I should  say  no  more  than  a not  very 
sensitive  collodion — and  the  resulting  pictures  were  clear,  but 
rather  bard.  With  an  oxalate  developer,  this  kind  of  emul- 
sion might  do  for  the  reproduction  of  black  and  white,  en- 
gravings, & c.  In  one  respect,  they  are  far  superior  to  the 
ordinary  plates ; they  fix  almost  as  quickly  as  collodion 
negatives.  H.  L.  T,  Haaicman. 


NOVELTIES. 

Sir,— Will  you  allow  me  a word  on  a matter  that  re- 
quires the  serious  attention  of  professional  photographers  : 
1 mean  the  continual  introduction  of  new  shapes  and  sizes 
and  styles.  They  are  a trouble  and  expense  to  the  photo- 
grapher, and  a puzzle  to  his  customer.  Only  this  morning 
a man  came  to  me  for  his  portrait ; he  had  decided  to  have 
a cabinet,  when  my  assistant,  not  being  able  to  let  well 
alone,  showed  him  a promenade.  He  was  lost  from  that 
moment.  He  would  ask  his  wife  which  she  preferred.  1 
shall  never  see  that  man  again ; they  seldom  come  back 
when  they  are  allowed  to  escape. 

Amongst  others,  we  have  now  the  following  sizes  and 
styles : cartes,  cabinets,  promenades,  malvems,  midgets, 
boudoirs,  imperials,  panels,  large  panels,  and  we  are 
threatened  with  a still  larger  panel,  20  by  10  in  size. 
Besides  these,  we  are  to  have  plaques  or  cabinets,  and  a 
ridiculous  sham  done  on  cardboard,  but  pretending  to  look 
like  a photograph  on  a china  plate,  called  opal  plaque?. 

All  these  things  are  not  introduced  for  the  good  of  the 
profession,  but  to  compel  them  to  spend  money  in  the 
different  materials  required  for  the  various  kinds.  And 
there  is  a kind  of  compulsion  about  it.  In  these  com- 
petitive times,  every  photographer  must  show  the  last  new 
thing,  although  he  may  hate  the  name  of  novelty.  I have 
no  doubt  that  a large  number  of  cny  professional  readers 
have  by  them,  nearly  useless  for  any  purpose  whatever,  a 
quantity  of  materials,  cameras,  mounts,  gelatine  plates, 
frames,  presses,  and  that  immoral  fraud,  bought  specimens, 
that  they  were  compelled  to  buy,  and  find  no  further  use 
for,  because  their  opponent,  up  and  down  the  street,  was 
exhibiting  the  very  last  thing  out. 

Photographers  could  easily  stamp  this  disease  out  by 
firmly  refusing  to  show  the  new  sizes,  and  sticking  to  cartes, 
cabinets,  and  enlargements.  That  they  would  do  none 
the  less  business,  and  that  their  profits  would  be  larger, 
is  the  firm  conviction  of  A Victim  to  Novelty. 


PHOTOGRAPHIC  OPTICS. 

Dear  Sir, — I am  glad  to  see  Captain  Abney’s  courteous 
acknowledgment  of  my  criticism,  and  shall  await  with 
interest  his  promised  remarks  on  the  thickness  of  lenses, 
although,  from  what  I have  observed  myself  in  using  a 
modification  of  the  Petzval  back  combination,  where  the 
effect  of  thickness  was  unusually  exaggerated,  I do  not 
thiuk  it  will  be  found  to  materially  affect  the  point  at  issue. 
But  1 write  now  especially  to  suggest  that  an  observation 
of  distortion  with  a fairly  large  stop,  and  again  with  one 
so  small  as  to  practically  eliminate  astigmatism,  would  be 
directly  to  the  purpose,  for  I consider  that  the  direction  of 
the  axes,  and  with  them  the  distortion,  would  remain 
sensibly  unaffected  by  such  chaDge  of  stop.  May  I sug- 
gest that  if  Captain  Abney  would  take  the  trouble  to 
experiment  himself,  and  to  choose  a single  lens  from  one  of 
Ross’  wide  angle  doublets,  using  it  both  with  and  without 
the  adapter  which  the  makers  recommend,  his  observations 
on  the  comparative  values  of  the  greater  flatness  of  field 
obtained  with  the  adapter,  as  compared  with  the  reduced 


distortion  by  dispensing  with  it,  as  also  directions  for 
mitigating  the  effect  of  distortion  by  modifying  the  verti- 
cality  of  the  swing-back,  could  not  fail  to  be  useful  to 
many  workers. 

The  practical  bearing  of  my  general  contention  is  that 
distortion,  as  affected  almost  solely  by  direction,  needs  to 
be  guarded  against  as  carefully  with  small  pictures  as  with 
large,  although  the  importance  of  all  oblique  errors  investi- 
gated as  form,  and  therefore  affecting  the  distinctness  of 
images,  confusion,  astigmatism,  and  convexity  of  field 
(especially  the  last),  increases  extremely  with  the  size  as 
we  rise  from  10  by  8 and  12  by  10  to  24  by  18  and  upwards. 
Vet  it  is  only  with  these  large  sizes  that  really  wide-angle 
pictures  are  thoroughly  satisfactory,  as  with  them  only  can 
we  comfortably  look  at  the  picture  from  a point  of  view 
not  more  distant  than  the  focal  length  of  the  lens  used.  I 
am  myself  an  advocate  for  large  direct  views,  and  practise 
what  I preach. 

As  regards  depth  of  focus,  I think  the  fact  is  still  over- 
looked that  it  is  always  and  at  best  but  a compromise. 
“ Diffusion  of  focus  ” seems  to  me  a happy  phrase,  ex- 
pressing alike  the  softening  of  the  true  focal  plane,  and 
the  assimilation  to  it  of  other  planes,  some  of  the  rays 
from  which,  when  affected  by  aberration,  may  cross  their 
axis  at  the  image  ; though,  were  the  lens  strictly  aplanatic, 
none  could  do  so  out  of  the  one  plane  focussed  on.  I 
certainly  did  not  contemplate  the  “ difficulty  of  coming  to 
an  exact  focal  point  as  due  to  smallness  of  aperture,’’  for 
were  the  pencil  small  enough  to  show  diffraction,  sensible 
aberration  would  disappear,  and  depth  of  focus  be  well 
nigh  absolute.  With  a focal  length  of  12£  inches,  and  an 
aperture  of  1 inch,  the  utmost  indistinctness  due  to 
diffraction  is  less  than  of  an  inch ! Only  ^ of 

the  permitted  error  Captain  Abney  has  suggested  as  a 
fair  compromise  for  accurate  definition.  But  will  sharp 
eyes  be  always  contented  with  this? — I am,  dear  sir,  yours 
truly,  W.  H.  Wheeler. 


Dear  Sir, — In  my  brief  reply  to  Mr.  Wheeler  which 
appeared  in  your  last  issue,  there  is  a printer’s  error  which 
renders  a sentence  unintelligible  ; “ the  depth  of  possible 
focus  ” should  read  “depth  of  diffused  focus.” 

In  the  same  issue  appears  a letter  from  Mr.  Debenham, 
written,  no  doubt,  with  good  intent,  but  somewhat  deficient 
in  accuracy,  so  far  as  his  explanation  is  concerned.  In  one 
part  of  his  letter  he  says,  “ on  one  point  in  which  Mr. 
Wheeler  assumes  to  correct  Captain  Abney,  he  is  himself 
in  the  wrong.”  If  Mr.  Wheeler  writes  a reply,  I should 
imagine  that  he  would  use  the  same  form  of  sentence, 
subsituting  for  “ one  point”  “ the  several  points,”  and  for 
“Mr.  Wheeler,”  “ Mr.  Debenham.”  I have  no  great 
desire  to  appear  in  print,  and  I had  almost  determined  to 
let  the  two  gentlemen  settle  their  little  difference  of  opinion 
between  themselves  ; but  had  I done  so,  it  might  perhaps 
have  been  thought  that  I agreed  with  Mr.  Debenham, 
which  I certainly  do  not ; and  that  his  authoritative 
decision  as  to  my  “ serious  errors  ” was  unchallenged. 
He  has  endeavoured  to  expose  my  ignorance  as  to  the  true 
cause  of  distortion.  Let  us  hear  what  he  says  himself  re- 
garding it.  lie  says  : “ Distortion  is  due  to  the  fact  that 
a marginal  portion  of  a lens  acts  not  only  a3  an  objective  in 
collecting  rays  of  light  to  a focus,  but  also  as  a prism  in 
bending  these  rays  towards  the  thicker  edge  of  such 
marginal  portion.”  Parenthetically  I would  remark  that 
Figs.  I.  and  II.  of  his  illustrations  are  slightly  contradic- 
tory in  this  last  respect,  if  he  means  they  are  bent  more  than 
the  dotted  line  marked  P.  If  he  does  not  mean  that,  it  is 
hard  to  see  what  his  illustrations  mean  at  all.  There  is  a 
problem  that  might  be  set  in  regard  to  these  illustrations. 
Assuming  his  explanation  of  distortion  correct,  what  kind 
of  distortion  would  there  be  if  the  convex  face  of  the  lens 
faced  the  diaphragm  in  figs.  1 and  2,  page  653  ? Now  let 
us  consider  the  explanation  as  a whole.  In  an  early  lesson 
in  optics,  I showed  that  every  portion  of  a lens  might 


October  19,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


669 


be  considered  as  made  up  of  an  infinite  number  of  small 
portions  of  prism,  each  of  which  had  different  refractiug 
angles  so  adjusted  that  the  rays  of  a pencil  were  bent  very 
nearly  towards  one  point  which  we  call  a focal  point. 
Now  if  it  be  true  that  a portion  of  a lens’acts  as  a series 
of  prisms  would  do,  it  is  rather  hard  to  see  how,  besides 
that,  it  can  also  act  as  one  prism.  If  Mr.  Debenham  will 
read  the  continuation  of  Lesson  VI.  with  the  same  critical 
care  which  he  bestowed  on  that  portion  already  in  print,  he 
will  find  the  explanation  of  that  cause  of  distortion  to 
which  I suspect  he  is  referring. 

In  the  last  paragraph  but  one  of  his  letter,  Mr.  Deben- 
ham  is  equally  wide  of  the  fact  as  to  my  being  mistaken 
about  the  “more'1  or  “less  proportional  displacement” 
of  the  image  of  a point,  according  as  it  lies  angularly 
nearer  to  or  further  from  the  axis  of  a lens,  and  according 
to  the  position  of  the  diaphragm.  The  “familiar  dia- 
grams” of  mine  he  has  scarcely  studied  with  sufficient 
care.  He  says: — “In  both  cases  (diaphragm  in  front  and 
behind  the  lens)  the  image  of  a point  lying  near  the 
direction  of  the  axis  will  be  less  proportionally  displaced  than 
the  image  of  point  lying  further  away  from  the  axis”  (the 
italics  are  mine).  If  that  were  the  case,  distortion  would 
always  be  cushion  shaped,  and  his  illustrations  would  land 
him  in  an  absurdity. 

With  these  remarks,  I leave  Mr.  Debenham’s  optics. 
They,  with  such  explanatory  matter  as  I could  put  before 
your  readers,  speak  for  themselves.  If  I have  misinter- 
preted him,  I am  sorry  for  it.  For  a friendly  criticism  1 
am  always  thankful.  I hope ; but  for  a criticism  so  dog- 
matically given,  and  made  with  such  wonderful  self- 
assurance,  I feel  the  reverse. — Yours  faithfully, 

W.  de  W.  Abney. 


THE  PHOTOGRAPHIC  EXHIBITION. 

Sir, — In  giving  a list  of  the  exhibits  at  Pall  Mall,  you 
state  that  “some”  of  Lieut.  C.  E.  Gladstone’s  landscapes 
are  “printed  in  platiuotype.”  The  whole  of  this  gentle- 
man’s prints  are  produced  by  this  process,  and  we  presume 
that  some  of  the  “ sepia  ” prints  were  taken  for  silver 
prints. 

The  Times  critic,  in  a few  flattering  remarks  upon  Mr. 
H.  B.  Berkeley’s  pictures,  falls  into  a similar  error,  for  he 
writes:  “These  last  are  mostly  by  the  platinotype  pro 
cess.”  As  in  the  previous  case,  all  these  prints  are  platino- 
type, some  being  “sepia”  and  some  black. 

We  may,  perhaps,  be  permitted  to  add  that  since  these 
and  other  pictures  exhibited  were  made,  we  have  been  able 
to  make  a great  improvement  in  the  preparation  of  the 
“sepia”  paper. — Yours  faithfully, 

The  Platinotype  Company. 


THE  EXHIBITION  CATALOGUE. 

BY  ONE  WHO  HAS  NOT  SEEN  THE  EXHIBITION. 

Dear  Sir, — Permit  me  to  thank  your  correspondent  of 
the  above,  which  appeared  in  your  last  week’s  issue,  for 
calling  attention  to  what  appears  to  me  a misprint  or 
printer’s  error  in  the  lines  he  quotes  (I  presume)  from  the 
catalogue  of  the  exhibition.  The  two  words  which  he 
calls  special  notice  to  ar e—trebbles  and  eddying.  In  the 
first  word,  the  first  two  letters,  t,  r,  and  in  the  second,  the 
letter  y,  are  omitted,  making  the  words  un-English. 

The  lines  written  by  me  on  my  views  at  the  Exhibition 
are  copies  of  the  original,  just  as  Tennyson  has  them.  By 
inserting  this  in  this  week's  News  you  will  kindly  oblige, 
— Yours  faithfully,  W.  Davies, 


Sir, — If  the  writer  of  the  article,  “ The  Exhibition 
Catalogue,”  will  refer  to  the  new  one,  he  will  see  that  the 
error  has  been  rectified.  The  large  number  of  pictures 
left  very  little  time  for  the  compiling  of  the  catalogue, 
which  was  no  doubt  the  cause  of  the  mistake.  — We 
remain,  yours  truly,  England  Bros. 


Dear  Sir, — I visited  the  Exhibition  yesterday,  and  as  I 
had  not  received  a catalogue  by  po3t,  demanded  one  at  the 
door  in  my  capacity  of  “member.”  Thi3,  however,  was 
refused,  and  I had  to  pay  sixpence  for  it  like  the  rest  of  the 
public.  As  time  is  getting  on— the  Exhibition  closes  the 
middle  of  next  month— I thought  aline  to  you  might  help 
to  hasten  matters. — Faithfully  yours, 

A Member  of  the  Photographic  Society. 

17 ill  October,  1883. 


groccfbings  0I  Sfffulifs. 

London  and  Provincial  Photographic  Association. 

At  a meeting  held  on  Thursday,  the  11th  inst.,  Mr.  A.  L. 
Henderson  occupying  the  chair, 

The  Chairman,  after  a few  preliminary  remarks,  called  upon 
Mr.  W.  K.  Burton,  C.E.,  to  deliver  his  lecturette  on  “ Emul- 
sions ” (see  page  663),  this  being  the  first  of  a series  of  short 
lectures  or  papers  to  be  given  at  regular  intervals  during  the 
winter  months.  The  attendance  was  very  good. 

The  Chairman  disagreed  with  Mr.  Burton  on  two  or  three 
points.  In  the  first  place,  he  thought  his  solutions  much  too 
strong ; he  should  reduce  the  silver  and  the  gelatine  in  the 
ammonia  process,  and  abolish  the  iodide.  He  should  increase 
the  water  and  the  quantity  of  gelatine  to  be  subsequently  added. 
He  found,  when  using  iodide  with  his  present  formula,  he  could 
not  get  either  the  speed  or  quality  he  obtained  without  it,  the 
yellow  colour  of  the  film  preventing  light  permeating  it  as  it 
should  do.  Even  one  per  cent,  would  make  a difference.  Twice 
a3  much  gelatine  as  silver  would  give  a plate  of  good  speed.  His 
experience  with  boiling  processes,  he  was  sorry  to  say,  led  him 
to  denounce  that  method  as  uncertain.  He  mixed  his  solutions 
cold,  using  ten  grains  of  gelatine  to  the  amount  of  silver  given 
on  the  chart.  He  was  indebted  to  Mr.  Haddon,  who  recently 
made  some  important  discoveries  concerning  the  form  molecules 
of  silver  haloids  assume  under  varying  conditions  in  aqueous 
colloid  solutions.  If  it  were  desirable  the  ultimate  particle  be 
hexagonal,  it  should  be  formed  hexagonal  at  one  operation. 
Instead  of  ladling  out  a measured  quantity  of  emulsion  for  each 
plate,  he  would  suggest  a pipette  ; or,  attaching  air- balls  of  varying 
capacity’  to  his  emulsion  filter,  pressure  would  release  a given 
quantity  on  each  plate.  It  was  undesirable,  when  coating  from 
a teapot,  to  return  the  excess  into  the  same  vessel  without 
previously  filtering  it.  For  this  purpose  he  devised  a glass 
funnel,  with  a very  broad  neck,  over  which  he  secured  wire 
gauze,  about  150  diameters  to  the  inch;  this  gauze  made  a 
perfect  emulsion  filter.  He  was  acquainted  with  a manufacturer 
who  adopted  this  guaze  for  filtering,  and  obtained  excellent 
results.  Calling  attention  to  a process  of  emulsifying  described 
by  Professor  Stebbing,  he  said  he  had  succeeded  fairly  well; 
as  more  gelatine  was  added,  the  particles  became  finer.  He 
should  like  to  know  whether  the  method  had  been  tried  by  any 
of  the  members ; also  whether  they  had  any  questions  to  put 
to  the  lecturer. 

Mr.  Cowan  said  he  could  substantiate  the  Chairman’s  remarks 
concerning  weak  solutions,  and  could  emulsify  with  only  a few 
shreds  of  Nelson’s  No.  1 gelatine.  He  was  surprised  the  solu- 
tions recommended  were  so  concentrated,  and  should  have 
expected  a sandy  deposit  with  anything  like  that  strength.  He 
could  only  attribute  the  fineness  of  the  emulsion  to  the  large 
amount  of  gelatine  in  which  the  silver  was  suspended. 

A Member. — Does  Mr.  Burton  dilute  with  water,  to  obtain  a 
certain  quantity’,  or  trust  to  the  water  absorbed  in  washing  ? 

Mr.  Burton  added  water  in  the  winter,  and  gelatine  in  the 
summer.  The  total  quantity  by  the  ammonia  should  measure 
twenty  ounces ; that  by  the  boiling  process  thirty  ounces. 

Mr.  W.  Cobb  thought  the  proportion  of  ammonia  small  for 
very  rapid  emulsions.  Had  Mr.  Burton  found  any  disadvantage 
in  mixiQg  hard  and  soft  gelatines  ? He  attributed  scum  markings 
to  this  cause. 

Mr.  Burton  could  not  say  how  scum-markings  arose.  He  had 
noticed  them  occasionally,  but  always  in  the  latter  portion  of  a 
batch. 

Mr.  W.  Coles  asked  if  Mr.  Burton  experienced  frilling  with 
his  plates  ? 

Mr.  Burton  had  not ; he  considered  frilling  often  the  result  o 
imperfect  drying  arrangements  ; the  use  of  soft  water  had  some- 
thing to  do  with  it. 


, 


670 


THE  THOTOGBAPaiC  NEWS. 


[October  19,  1883. 


Mr.  W.  E.  Debenham  corroborated  the  latter  statement.  A 
gentleman  of  his  acquaintance  developing  some  plates  in  Scotland, 
where  the  water  is  softer  than  in  London,  obtained  frilling  ; 
developing  some  of  the  same  batch  in  Loudon,  no  traces  of  the 
frilling  occurred. 

Mr.  Burton  said  in  Edinbrugh,  it  was  customary  to  soak 
plates  in  a very  dilute  solution  of  magnesic  sulphate,  previous  to 
developing,  thus  arresting  any  tendency  to  frill.  Plates  known 
to  frill  should  be  stored  in  a dry  place  for  some  time. 

Mr.  Starnes  exhibited  an  apparatus  constructed  to  agitate 
the  particles  of  silver  bromide  during  emulsification  by  the  boil- 
ing process.  He  believed  fog  was  produced  by  decomposed  gela- 
tine surrounding  those  particles  of  silver  bromide  which,  being 
nearer  the  flame,  had  become  more  brittle  than  the  other  parti- 
cles ; they  finally  split  up,  and  were  diffused  throughout  the 
emulsion.  To  obviate  this,  he  caused  the  steam  emitted  from 
the  boiler  to  rotate  a metal  cowl  ; attached,  and  passing  into  the 
interior  cooking  vessel  by  means  of  a shaft,  was  a metal  rod, 
carrying  two  bevelled  glass  plates.  According  to  the  pressure  of 
steam,  so  the  plates  would  rotate  in  the  liquid,  thus  equalising 
the  temperature. 

Mr.  F.  W.  Hart  showed  specimens  of  a suitable  material  for 
photographers,  understood  to  be  celloidine.  Some  developing 
dishes  made  of  this  substance  he  proved  to  be  unbreakable  by  any 
ordinary  means.  He  cleaned  them  with  strong  acid,  and  washed 
prints  in  them,  using  boiling  water.  They  would  soon  be  in  the 
market  at  prices  much  the  same  as  ebonite. 

A vote  of  thanks  having  been  passed  for  the  lucid  manner  in 
whclx  Mr.  Burton  had  described  each  operation  in  making  emul- 
sion, he  briefly  responded,  thanking  the  members  for  their  attend- 
ance ; he  thought  more  facts  could  be  elicited  from  such  a large 
meeting  by  discussion,  than  in  any  other  way.  As  regards  the 
proportion  of  iodide,  it  might  perhaps  be  too  high  for  portraiture, 
but  for  landscape  work  he  could  not  see  his  way  to  use  any  less. 

Mr.  Osman  was  announced  to  be  chairman  at  the  next  meeting 


Glasgow  and  West  of  Scotland  Amateur  Photographic 
Association. 

A meeting  of  this  Association  was  held  in  the  Religious  Institu- 
tion Rooms,  Glasgow,  on  Tuesday,  the  9th  of  October,  Mr.  Reid, 
President,  in  the  chair. 

The  minutes  of  previous  meetings  were  read  and  confirmed,  and 
eleven  new  members  admitted.  The  question  box  was  then 
opened,  and  contained  the  following  : — 

1st.  Are  purely  architectural  subjects  admissible  for  competi- 
tion under  the  head  of  landscapes  at  the  forthcoming  exhibition  ? 
This  question  was  decided  in  the  aflfiirmative. 

2nd.  Wanted  an  intensifier  for  gelatine  plates  other  than 
mercurial. 

Mr.  Parker  recommended  the  formula  of  Wratten  and  Wain- 
wright,  composed  of  protosulphate  of  iron,  gelatine,  acetic  acid, 
and  nitrate  of  silver.  In  his  hands  it  had  given  very  satisfactory 
results. 

Mr.  Hume  had  used  Werner's  intensifier  with  success. 

Mr.  Goodwin  very  strongly  recommended  the  formula  given  by 
Mr.  W.  Brooks.  It  consists  of  a saturated  solution  of  alum  with 
citric  acid,  pyrogallic  acid,  and  nitrate  of  silver  added. 

3rd.  Are  bought  cloud  negatives  allowed  to  be  used  for  printing 
skies  in  pictures  for  the  forthcoming  exibition  ? This  question 
was  decided  in  the  negative,  it  being  one  of  the  rules  that  the  ex- 
hibits must  be  entirely  the  work  of  members. 

A question  put  by  Mr.  Hume  as  to  whether  a professional 
printer  might  be  employed  for  printing  members’  negatives  for 
exhibition  was  auswered  in  a similar  way. 

4th.  Has  any  member  used  the  sal  soda  developer,  and  with 
what  results  ? 

Mr.  Hume  had  tried  it,  but  condemned  it  on  account  of  its 
decided  tendency  to  cause  frilling. 

Mr.  Reid's  experience  was  similar  to  Mr.  Hume’s. 

Mr.  Goodwill  had  used  sal  soda  in  conjunction  with  hydro- 
kinone,  and  had  experienced  no  frilling.  He  preferred  hydro- 
kinone  to  pyro,  on  account  of  the  greater  latitude  it  allowed  in  the 
exposure. 

Mr.  Park  found  the  sal  soda  developer  very  slow  in  action. 

These  being  all  the  questions,  Mr.  Park  handed  round  a full- 
plate  carbon  print  on  glass  coloured  behind  with  oil  colour  some- 
what in  the  style  of  crystoleum.  The  result  was  considered  very 
effective. 

Mr.  Reid  showed  a plate  that  had  been  by  mistake  exposed 
twice  on  different  landscapes  ; the  result  was  a complete  picture, 


the  two  landscapeshaving  so  fitted  into  each  other  as  to  give  the 
appearance  of  only  one  exposure  having  been  made.  He  also 
exhibited  a Scovil  combination  printing  frame  for  vignetting.  It 
was  intimated  that  next  meeting  being  the  one  prior  to  the 
annual  meeting,  alteration  of  rules  or  changes  in  the  office- bearers 
be  proposed  at  that  meeting. 

It  was  also  intimated  that  Mr.  J.  Y.  McLellan  would  at  the 
November  meeting  read  a paper  on  “ Lens  Diaphragms.” 

Tickets  for  the  Exhibition  of  the  Photographic  Society  of 
Great  Britain,  kindly  presented  to  the  Association,  were  then 
distributed  amongst  the  members  present. 

The  usual  votes  of  thanks  concluded  the  meeting. 


North  Staffordshire  Photographic  Association. 

The  ordinary  monthly  meeting  of  this  Association  was  held  on 
Wednesday  evening,  October  3rd,  in  the  Town  Hall,  Hanley, 
Mr.  C.  Alfieri  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  the  prints  and  negatives  resulting  from  the  last 
excursion  were  passed  round,  and  some  pronounced  excellent. 
The  excursion  was  agreed  to  have  been  a perfect  success.  A 
print  from  one  of  the  negatives  exhibited  by  Mr.  Allison  was 
ordered  to  be  placed  in  the  Society’s  portfolio. 

Mr.  Burgess  exhibited  one  of  Blaike’s  patent  pocket  dark 
slides  for  carrying  a single  plate,  and  made  of  black  cardboard, 
weighing  about  one  ounce. 

The  Chairman  read  a short  paper  upon  the  “ Reduction  of 
Negatives  which  had  been  Intensified  with  Mercury  ” (see 
page  662). 

Mr.  Allison  said  he  had  employed  the  same  means  for 
removing  the  yellow -green  fog  due  to  forced  development,  with 
the  difference  that  he  had,  after  the  iodo-cyanide  treatment, 
flowed  over  the  plate  some  ordinary  wet-plate  ferrous  sulphate 
developer  ; the  result  had  been  very  satisfactory. 

The  Chairman  then  read  a paper  upon  the  “ Art  of  Pictorial 
Composition  as  applied  to  Landscape  Photography  ” (see 
page  661). 

A vote  of  thanks  to  the  Chairman  having  been  unanimously 
passed,  Messrs.  Hills,  Hampton,  Willat,  and  Dr.  Griffiths  were 
duly  elected  members  of  the  Society. 

The  meeting  was  then  adjourned. 


Bristol  and  West  of  England  Amateur  Photographic 
Association. 

The  August  excursion  meeting  of  this  Association  took  place  on 
the  25th  of  the  month,  and  an  old  haunt  of  the  Association  was 
revisited,  Tyntern  being  made  the  destination  for  the  day’s 
outing. 

The  members  assembled  at  Clifton  Down  and  Montpellier 
Stations,  and  left  by  an  early  morning  train,  the  day  promising 
fairly  well,  although  one  or  two  of  the  older  stagers  who  knew 
the  little  “freaks  ” of  the  atmosphere  in  the  neighbourhood  of 
Tyntern  predicted  “ blue  mist.”  However,  all  were  bent  upon 
a day’s  pleasure  so  far  as  it  could  be  realised,  and  the  run  by 
rail  to  the  New  Passage  was  accomplished,  the  time  soon  slipping 
by,  aided  by  the  usual  chat  which  commences  such  excursion 
days  as  that  in  question.  Unfortunately,  however,  the  genial 
face  and  entertaining  anecdotes  of  the  Vice-President,  who  in  so 
constant  a manner  presides  at  nearly  all  meetings — both  ex- 
cursion and  evening — were  absent.  It  is  not  too  much  to  say 
that  everyone  present  regretted  such  an  unusual  occurrence, 
and  felt  as  if  there  was  “ something  amiss  ; ” but  we  all  know 
that  now  and  then  the  exigencies  of  business  prove  insurmount- 
able, and  so  it  was  in  the  present  case. 

New  Passage  being  reached,  the  pretty  run  by  the  Great 
Western  Railway  Steam  Ferry  across  the  Severn  (in  the  future, 
the  near  future,  to  be  abandoned  in  favour  of  the  new  Severn 
Tunnel  route)  was  much  enjoyed,  the  fresh,  salt  breeze  blowing 
the  city  cobwebs  clear  away  from  the  members'  eyes,  and  at  the 
same  time  making  each  feel  (although  breakfast  had  been  but  a 
short  time  before  “ sent  below  ”)  that,  prior  to  setting  up 
cameras,  lunch  would  be  a most  desirable  institution.  The 
journey  being  continued  through  Chepstow  (the  railway  station 
of  which  place,  by-the-bye,  was,  by  an  enterprising  local 
contractor,  raised  some  feet  “ in  toto  ” not  long  since,  the 
foundation  walls  being  built  up  to  it  from  below  in  a most 
successful  manner),  Tidenham,  &c.,  lovely  scenery  abounding  on 
all  sides,  Tyntern  (or  Tyntern  Station  rather,  the  Great 
Western  Railway,  in  their  usual  how-not-to-do-it  style,  having 


October  19,  1883.] 


THE  PHOTOGRAPHIC  HEWS 


671 


placed  the  station  a mile  further  on  than  the  village  and  the 
abbey)  was  reached.  A pretty  drive  brought  the  party  to  the 
“Beaufort  Arms”  Hotel,  Tyntern — a house  greatly  improved 
of  late,  and  at  which  the  Association  has  always  been  well 
catered  for,  and  certainly  not  less  by  the  pleasant  manageress, 
Miss  Jones,  on  the  present  occasion. 

But  time  was  passing,  and  after  a welcome  little  lunch, 
cameras  were  set  up  and  work  commenced.  Some  of  those 
present  repaired  to  the  hill  to  the  east  of  the  hotel,  from  whence 
a charming  composition,  with  the  Abbey  as  a leading  object, 
may  be  obtained  ; others  at  once  entered  the  Abbey  and  “ shot 
off”  some  plates  on  the  interior,  the  light  just  then  being 
particularly  good,  and  the  beautiful  pillars,  arches,  and  tracery 
standing  out  in  delightful  relief. 

To  those  well  acquainted  with  this  most  glorious  old  ruin 
(and  yet  in  such  splendid  preservation  as  to  almost  belie  such  a 
term)  there  is  a grandeur  which  is  always  new  ; but  to  a 
person  who  sees  it  in  such  a light,  with  the  rich  verdure  and 
lovely  hills  around,  the  meandering  and  picturesque  Wye  at  its 
feet,  the  whole  scene  is  most  impressive,  and  the  effect  one  not 
easily  forgotten.  The  lofty  pillars  and  arches ; the  great 
windows  so  richly  carried  out  in  design,  with  the  greatest  of 
them  in  marvellously-perfect  condition  ; the  massiveness  of  the 
walls,  on  the  bare  tops  of  which  quite  broad  paths  exist,  so  that 
the  visitor  can  walk  on  them,  getting  a full  idea  of  the  vastness 
of  the  original  structure  ; tho  peacefulness  of  the  quiet  little 
village,  with  its  aged,  time-honoured,  and  lofty  pile,  head  and 
shoulders  above  everything,  as  if  quietly  watching  the  coming 
and  going  of  generation  after  generation — all  these  carry  the 
mind  back  ages  and  ages,  till  a voice  from  one  of  the  party  wakes 
us  from  our  reverie,  and  we  remember  that  photography,  not 
fancy,  is  the  order  of  the  day.  Wide-angle  rectilinear  lenses  in 
such  a building  are  indispensable  ; and  although  the  fiue  gables 
and  windows  at  the  furthest  distance  get  somewhat  dwarfed, 
still  with  an  ordinary  angle  lens  so  much  of  the  idea  of  the 
great  length  of  the  Abbey  is  lost  that  the  former  are  chiefly 
used.  The  Abbey,  which  is  the  property  of  the  Duke  of 
Beaufort,  is  most  carefully  kept,  and  a source  of  not  an  in- 
significant amount  of  pocket-money  to  those  friends  of  the  Duke 
to  whom  he  may  generously  “let”  it. 

The  afternoon  wearing  on,  it  got  time  for  the  pictures  which 
may  be  got  from  the  opposite  side  of  the  river.  I hey  are  not 
many  in  number,  but  most  charming  in  composition.  The 
“ Job’s  comforters  ” of  the  morning  were  now,  however,  having 
their  words  verified  ; for,  on  reaching  the  opposite  bank  of  the 
river,. the  blue  mist  which  had  arisen  was  very  noticeable,  and 
but  few  plates  were  exposed.  The  time  for  “high  tea”  hid 
arrived ; and  on  adjourning  to  the  “ Beaufort  Arms  ” all  did 
full  justice  to  the  Wye  salmon  and  other  good  things  provided. 

Traps  were  “ limbered  up  ’’  and  the  return  journey  com- 
menced, and  the  members  and  their  baggage  being  safely 
“ aboard, ’’  the  break  swung  round  the  corner  into  the  main 
road,  a cheery  “ Good  day  ! ” from  the  aforesaid  ever-attentive 
manageress  sending  the  cameraites  on  their  road  rejoicing — on 
good  terms  with  themselves,  the  result  of  her  successful  efforts 
as  regards  “ in  tenor  surroundings,”  and  of  fine  weather  and 
lovely  scenery  as  regards  “exterior  surroundings.” 

The  train  being  once  more  boarded,  the  usual  programme  of 
tobacco,  puns,  and  yarns  made  the  journey  seem  no  sooner 
begun  than  finished;  and,  from  all  we  can  barn,  the  results 
are  far  from  unsatisfactory,  the  blue  mist  having  “ more  bark 
than  bite.” 

) 

Coventry  and  Midland  Photographic  Society. 

The  ordinary  meeting  was  held  at  the  Dispensary  on  Thursday 
October  4th,  Mr.  V.  P.  Jones  in  the  chair. 

The  Chairman  read  a short  paper,  describing  his  method  of 
colouring  transparencies.  He  used  a varnish  of  dammar  dissolved 
in  benzole  for  writing  and  colouring  upon.  There  was  nothing 
new  in  the  process,  and  as  the  meeting  was  rather  small,  it  closed 
earlier  than  usual. 


Photographic  Society  of  Ireland. 

The  opening  meeting  of  the  Society  was  held  on  Friday  last,  in 
the  Royal  College  of  Science,  Mr.  Greenwood  Pim  iu  the  chair. 
The  minutes  of  the  last  meeting  having  been  read  and  signed, 
Mr.  J.  V.  Robinson  read  a paper  “ On  the  Present  Condition 
of  Amateur  Photography,  and  its  probable  Future”  (see  p.  661). 
A very  animated  discussion  followed,  clearly  showing  that  at 


least  a wide  divergence  of  opinion  existed  amongst  even  those 
members  most  likely  to  be  able  to  judge  of  the  subject. 

Mr.  Robinson  also  exhibited  a camera  of  his  own  construction, 
also  a new  one  by  Watson  and  Son,  of  London. 

Mr.  Samuel  Baker  showed  a series  of  views  of  cromlechs,  in 
the  county  of  Sligo,  which  he  had  taken  during  a recent  tour  in 
the  West. 

Two  new  names  were  then  handed  in  as  candidates  for  member- 
ship to  be  balloted  for  at  the  next  meeting. 


Photographers’  Benevolent  Association. 

The  Board  of  Management  held  its  usual  monthly  meeting  at 
181,  Aldersgate  Street,  on  the  3rd  inst. 

The  minutes  of  the  previous  meeting  having  been  passed  as 
read,  the  Board  confirmed  the  list  of  members  enrolled  since  last 
meeting. 

The  Secretary  then  submitted  the  reply  of  the  Photographic 
Society  granting  an  evening  at  their  Exhibition  in  aid  of  the 
funds  of  the  Association. 

A vote  of  thanks  was  passed  to  the  President  and  Council,  and 
Friday,  November  the  2nd,  settled  a3  the  date.  The  Gallery 
will  be  open  from  7 till  10  p.m.,  and  it  is  hoped  that  as  large  a 
number  of  friends  as  possible  will  attend  on  that  evening. 

A proposition  was  then  carried,  that,  instead  of  the  charge  of 
6d.  for  the  rules  of  the  Association,  they  be  supplied  free  on 
application. 


Newcastle-on-Tyne  and  Northern  Counties’  Photographic 
Association. 

The  ordinary  meeting  of  the  above  Association  took  place  on 
Tuesday,  the  9th  inst.,  in  the  College  of  Physical  Science,  New- 
castle-on-Tyne, Mr.  P.  M.  Laws  in  the  chair. 

The  minutes  of  the  last  ordinary  meeting  were  read  and  passed. 
Mr.  Day  and  Mr.  Balsdon  were  elected  members  by  ballot. 
Several  questions  found  in  the  box  were  discussed. 

A lantern  exhibition  was  then  given  by  Mr.  Payne  of  slides 
lent  for  the  occasion  by  Mr.  Stapleton  and  Mr.  Welford.  Some  by 
the  latter  gentleman,  showing  the  kind  and  quality  of  piotures 
which  can  be  taken  with  a guinea  set  of  apparatus,  were  much 
admired. 

The  meeting  terminated  with  votes  of  thanks  to  the  Chairman 
and  Mr.  Payne. 


3LaIk  m j$tu£ri0. 

Photographic  Society  of  Great  Britain. — The  next 
Monthly  Technical  Meeting  of  this  Society  will  take  place  on 
Tuesday  next,  October  23rd,  at  8 p.m.,  in  the  Exhibition  Gallery, 
oa,  Pall  Mall  East,  when  the  apparatus  exhibited  will  be  ex- 
plained, and  other  matters  brought  forward. 

Monday  Evenings  with  the  Optical  Lantern. — These 
have  now  become  most  rapidly  popular,  434  persons  having  been 
present  last  Monday,  when  transparencies  were  shown  by  A. 
Pringle,  Views  in  Rome  and  Venice ; F.  Barber,  On  Board  an 
Atlantic  Steamer ; W.  M.  Ayres,  The  Moon,  from  negatives  by 
Dr.  W.  Huggins,  F.R.S. ; C.  Ray  Woods,  Views  in  Caroline 
Island  and  Kingston,  Jamaica  ; Sciopticon  Co.  (G.  Smith),  Views 
in  West  Indies.  The  Amateur  Field  Club  will  attend  in  a body 
next  Monday,  when  a series  of  transparencies  by  its  members  will 
be  exhibited. 

The  Illustrated  Sporting  and  Dramatic  News  gives  a half-page 
wood-cut  of  the  Exhibition  soirde,  and  it  is  easy  to  recognize  the 
portraits  of  the  President,  Assistant  Secretary,  and  some  half- 
dozen  of  the  members. 

Charge  for  Re-sittings — Hugo  v.  Tune.— In  the  case 
heard  at  the  Edmonton  County  Court  on  Monday  last,  the 
loth  inst,,  before  J.  T.  Abdy,  Esq.  (Mr.  Avery  appearing 
for  the  defendants),  the  plaintiff,  a solicitor,  sued  Messrs.  Tune 
and  Co.,  photographers,  of  Tottenham,  for  os.  6d.,  money 
paid  for  half-a-dozen  photographs  of  his  little  boy, 
taken  about  six  months  since.  Mr.  Hugo,  who  appeared 
in  the  witness  box  with  his  son,  stated  that  he  paid  the 
defendants  the  sum  in  question  for  half-a-dozen  cartes- 
de-visite  of  his  little  boy,  and  upon  the  pioof  being  sent,  be 
found  it  did  not  represent  his  child  at  all — in  fact,  was  not  a bit 
like  him  ; and  as  Messrs.  Tune  would  not  take  him  again,  he  sued 
for  the  money  paid.  Cross-examined  by  Mr.  Avery,  he  could 


672 


THE  PHOTOGRAPHIC  NEWS. 


[October  19,  1883. 


not  tell  in  what  respect  the  postrait  was  not  like  his  little  boy. 
It  was  much  too  large.  Mrs.  Hugo  was  thenTplaced  in  the  witness 
box,  and  was  examined  by  Mr.  Avery.  She  took  her  son  to 
Mr.  Tune.  She  ordered  the  portrait  to  be  as  large  as  possible  on 
the  card.  Mr.  Tune  offered  to  re-take  the  child  upon  the  pay- 
ment of  two  shillings,  but  she  would  not  pay  it.  She  had  re- 
ceived one  of  Messrs.  Tune  and  Co.’s  price  lists.  At  this  stage  his 
Honour,  after  examining  the  portrait,  stopped  the  case,  saying 
that  the  portrait  was,  he  considered,  an  exceedingly  good  one, 
and  quite  a work  of  art ; it  was  taken  large  to  suit  Mrs.  Hugo,  and 
as  she  was  supplied  with  a price  list  with  the  charges  for  re- 
sittings in  it,  that  charge  constituted  part  of  the  contract ; there- 
fore he  entered  a verdict  for  the  defendants,  with  costs  for  three 
witnesses  who  were  in  attendance. 

Death  from  Inhaling  the  Fumes  of  Nitric  Acid.— On 
Monday,  September  17th,  while  a carboy  of  nitric  acid  was 
being  placed  in  the  store  of  Messrs.  C.  H.  Codman  and  Co.,  the 
well-known  stock-dealers  in  Boston,  it  was  accidentally  broken. 
Instantly  the  store  was  filled  with  its  suffocating  fumes.  Mr. 
Codman,  with  several  employ^  and  firemen,  now  arrived,  made 
effort  to  save  properly,  and  several  of  them  fell  upon  the  floor 
stifled.  Mr.  Codman  recovered,  however,  and  remained  at  his 
post  from  the  time  of  the  accident,  10  a.m.,  until  nearly  2 p.m., 
when,  complaining  of  feeling  ill,  he  was  carried  to  his  home.  He 
suffered  during  the  night,  but  next  day,  towards  dusk,  rallied 
and  expressed  a desire  for  a drive  in  the  open  air.  He  expired 
shortly  afterwards. 

Mr.  Robert  Hunt,  F.R.S.,  for  so  many  years  associated  with 
the  Mnseum  of  Economic  Geology  as  the  keeper  of  mining 
records,  has  now  retired  on  his  well-earned  pension.  It  is  not 
probable  that  his  enforced  leisure  will  generate  idleness  —although, 
if  it  did,  as  he  has  long  since  passed  his  three-score  years  and 
ten — he  has  well  earned  it.  Mr.  Hunt  was  at  one  time  associated 
with  Cornwall  as  Secretary  of  the  Polytechnic  Society,  and  by 
the  geniality  of  his  manners,  by  his  fulnees  of  scientific  knowledge, 
by  his  readiness  of  speech,  by  the  aptitude  with  which  he  realized, 
and  the  facility  with  which  he  explained,  every  new  invention 
that  was  brought  into  the  hall  for  exhibition,  made  the  meetings 
of  his  day  amongst  the  most  agreeable  scientific  assemblies  that 
were  ever  held.  He  also  had  the  pleasure,  along  with  those  local 
friends  who  gladly  aided  him  in  all  his  work — Sir  Charles  Lemon, 
the  Messrs.  Fox  and  Enys,  and  a number  of  other  eminent  people 
of  his  time— of  bringing  into  the  county  many  of  the  most 
brilliant  philosophers  of  the  day.  An  anecdote  in  connection 
with  an  exhibitor  when  he  was  secretary  is  worth  repeating.  It 
is  as  follows  : — “ A gentleman  who  has  long  since  attained  to  a 
high  position  in  art,  in  his  boyhood  exhibited  a picture  at  the 
Polytechnic,  but  on  finding  that  it  had  received  no  prize,  nor 
even  an  honourable  mention,  he  burst  into  tears.  Mr.  Hunt 
seeing  him,  patted  him  on  the  head,  and,  sympathising  with  him, 
put  his  hand  into  his  pocket  and  drew  forth  a shilling,  placing 
it  in  his  hand,  and  cheeringly  telling  him  to  go  and  buy  a new 
pencil  and  persevere.  This  so  cheered  the  boy  that  he  did 
persevere,  and  since  then  he  has  worthily  won  all  the  honours 
that  the  Society  has  had  to  bestow. — Falmouth  Packet. 

Photographic  Club. — At  the  next  meeting,  Oct.  24th,  the 
subject  for  discussion  will  be  “Iron  Development  of  Gelatine 
Plates.’’  The  nomination  of  officers  for  ensuing  year  will  take 
place,  and  notice  of  any  alteration  of  the  rules  must  be  given. 


$0  &0msg0c&£nl8. 

A.  S.  D. — 1.  A symmetrical  or  rectilinear  lens.  For  copying, 
a,  about  18  inches  focus  ; b,  about  22  inches  focus.  For  enlarg- 
ing to  either  of  the  sizes  you  mention,  you  will  merely  need  an 
objective  capable  of  well  covering  a plate  the  size  of  the  nega- 
tive from  which  you  make  the  enlargement.  2.  They  havo 
been,  but  we  cannot  now  tell  you  whether  the  patent  is  still  in 
force  ; we  will,  however,  ascertain.  3.  You  had  better  enquire 
of  the  manufacturers,  as  they  can  give  you  more  reliable  in- 
formation than  we  now  possess  ; it  is,  moreover,  to  their 
interest  to  assist  you.  4.  Considering  everything,  we  should 
prefer  the  collotype  method.  5.  A simple  drop  shutter  with  a 
long  drop  and  adjustable  opening.  6.  It  can  bo  effectually  re- 
moved by  repeated  treatments  with  warm  methylated  spirit,  but 
we  strongly  recommend  you  to  secure  a good  copy  before  you 
commence  experimenting  on  the  original. 

Enlargement. — 1.  We  should  prefer  to  use  a lens  of  the 
rectilinear  or  symmetrical  type,  and  having  an  equivalent  focus 
of  10  or  12  inches  ; but  excellent  results  may  be  obtained  with 
a portrait  lens  stopped  down.  2 That  which  you  place  second 
on  your  list. 


G.  F.  Ramsay. — They  are  by  no  means  identical,  or  even  similar, 
although  the  names  so  neirly  resemble  each  other.  The'  former 
is  a mtrogenised  organic  body,  while  the  latter  is  a metallic 
oxide. 

Thomas  Erwin. — 1.  It  is  quite  possible  that  the  lens  may  be  a 
good  one,  notwithstanding  your  failure,  as  the  flare  spot  may  be 
due  to  reflection  from  some  part  of  the  mount,  or  from  the  edges 
of  the  glasses.  Direct  the  camera  towards  a well-lighted  land- 
scape, and  remove  the  focussing-screen.  Having  now  shaded 
your  head  by  means  of  the  focussing  cloth,  look  out  for  any  re- 
flection from  the  lens,  mount,  or  fittings.  Lining  tube  with  black 
velvet,  and  the  use  of  a dead  black  made  of  lamp  black  and 
starch  paste,  are  the  ordinary  remedies.  It  is  often  advantageous 
to  paint  a dark  ring  round  each  glass — say,  about  one-eighth  of  an 
inch  wide — and  to  fit  a few  dark  shades  in  the  camera,  so  that  the 
coneot  rays  may  be  just  cut  off  at  the  extreme  edges. 

A Dry  Plate  Negative. — The  paper  should  have  been  tho- 
roughly fumed  with  ammonia  in  order  to  neutralise  the  acid  con- 
tained in  the  paper.  Our  Dictionary  contains  full  details  as  to 
the  best  method  of  fuming.  2.  The  second  quality  mentioned 
contains  more  acid  than  most  commercial  samples. 

Wanderer. — The  water  doubtless  contains  a large  proportion  of 
lime,  and  this  is  precipitated  by  the  oxalic  acid.  You  can  get 
some  notion  of  the  proportion  of  lime  present  in  any  sample,  by 
adding  a few  drops  of  the  oxalate  developer,  and  noticing  how 
much  turbidity  is  produced. 

W.  J.  W.  S. — 1.  Apply  to  Messrs.  Horne  and  Thornthwaite. 
2.  Write  to  the  Secretary’,  at  the  Gallery,  5a,  Pall  Mall  East.  A 
solution  of  the  so-called  chloride  of  lime,  or  bleaching  powder,  will 
remove  the  stains. 

M.  Rudman. — 1.  We  do  not  consider  that  there  is  any  advantage 
whatever  iu  so  doing,  and,  moreover,  the  presence  of  lead  is  liable 
to  occasion  blackening.  2.  Ordinary  earthenware,  which  is 
merely  glazed  over  a porous  body,  is  no  use  at  all  for  the  purpose  ; 
either  glass  or  porcelain  should  be  used. 

B.  L.  Colman. — As  far  as  is  known  at  present,  light  is  without 
action  upon  it. 

Photo.  Artist.— Quite  a matter  of  opinion;  but  our  view  of  the 
case  is  by’  no  means  identical  with  yours. 

***  “Lessons  in  Optics,”  and  several  articles  are  crowded  out. 


j)lj0t00ragj)ic  gtdw  ^Icgistrir. 

Employment  Wanted. 

Collotypic  Pi  inter  (first-class).— F.  It.  D , Photographic  Net os  Office. 
Improver  ; print,  tone,  mount,  Arc — Z.,  W.  Gregory,  High-st.,  Marlboro’. 
Operator,  Retoucher,  and  Gen.  Assist. — Edwards,  6,  Peter’ s-st.,  Gravesend. 
Woodburytype  & Stannotype.-  F.  II.  It.,C,  Upton- villas,  Norwood  Junction. 
First  Operator  or  Manager  (first-class). — G.  E.  L.,  4,  Ball-st.,  Kensington. 
Operator  (first-class). — 1,  St.  John’s-place,  St.  Peter’s, near  Ramsgate. 
Printer,  Toner,  could  operate  — E.  W.,  71,  Sutberland-st.,  Pimlico. 
Reception  Room,  first-class,  all  duties. — 11.,  Photo.  Net cs  Office. 

Operator,  wet  & dry,  good  copyist. — C.  0.,  11,  James-st.,  Covent-gdn.,  W.C. 
Reception  Room  (Lady),  re-engagement. — A.  B , Swan’s  Nest,  Ryde,  I.W. 
Operator,  &c. — Williams,  138,  Matthew-pl„  Smethwick,  nr.  Birmingham. 
Assistant  Operator.— L.,  23.  Orbel  st..  Oastle-st.,  Battersea. 

Neg.  Retoucher  of  exper. — Louis  Bruere,  46,  Duke-st.,  Manchester-sq  , W. 
Operator,  at  present  managing.— W.,  59,  Tredegar-rd.,  E. 

Operator  (experienced  lighter  A:  poser).— F.  C.,  186,  Mount  Pleasant,  L’pool 
Photographer’s  Son,  to  be  useful.  — Photo.  As«it.,  c/o  Marion  & Co.,  Sobo-sq. 
Operator  of  ability  in  lighting  A posing. — F.  C.,  186,  Mt  -Pleasant,  Liverpool 
Young  Man  well  up  in  dry  plates,  &c.,  25/-. — E.  A.,  1,  New  North-rd.,  N. 

Employment  Offered. 

Artist  (to  work-up  colours). — T.  0.  Turner  Ar  Co.,  Bamsbury. 

Operator,  wet  and  dry.— A & G.  Taylor,  Queen  Victoria-st.,  E.C. 

Artistic  Retoucher.— W.  Lawrence,  Upper  Sackville-st.,  Dublin. 

Reception  Room  (woman). — Bames  k Son,  422,  Mile  End-rd , E. 

Printer  & Toner.— Barnes  & Son,  422,  Mile  End  Road,  E. 

Operator  (single)  for  Bombay.— R.  B.,  Marion  and  Co.,  Soho-sq.,  W. 
Portrait  Painter  in  Oil. — W.  W.,  3,  Norfolk -villa*,  Larkhall-rise,  Clapham. 
Printer,  Vigngtter,  A:  Toner  (30/-).— T.  C.  Turner,  16,  Bamsbury-park,  N. 
Improver,  immediately  (board  found). — J.  Willis,  Manor-rd.,  Gravesend. 
Artist  (first-class)  for  occasional  work. — A.  B.,  1‘hotographic  News  Office. 
Operator  and  Retoucher  for  Oxford.— Taunt  & Co.,  Oxford. 

Transfer  Hand  (first-class). — A.  At  G.  Taylor,  Queen  Victoria-st.,  E.C. 
Operator  & Retoucher,  At  Young  Lady  (Recep.-rm.) — lA-I.aurence-la  , E.C. 
Assistant  or  Man.  Philosoph.  Instrum.  Makers. — Pyro  , Photo.  Newt  Office. 
Operator,  Retoucher  and  Manager  (first-class).— Everest,  Royal  Worthing. 
Operator  (first-class,  wet  & dry). — A.  & G.  Taylor,  70,  Qu.  Victoria-st.,  E.C. 
Printer  (female  preferred). — Lowrie,  83,  Fleet-st.,  E.C. 

Operator  for  all-round  work. — Tune  A:  Co.,  Warmington  House,  Tottenham 
Artist  in  Oils,  good  Retoucher. — Argentic,  Photographic  Netot  Office. 
Young  Man  or  Woman  to  Polish,  Ate. — A.  Ocffelein,  Percy  st.,  W. 

Printer,  Toner,  and  Vignetter.  first-class.— Winter,  Midland-rd.,  Derby. 
Improver,  to  learn  dry-plate  work. — II.  Spink,  109,  Western-rd.,  Brighton. 
Assist,  or  Manage  Optical  Inst.  Man. — Pyro.,  Photographic  News  Office. 
Operator  (good)  for  Bombay. — Marion  A:  Co.,  Soho-sq. 

“ The  Gem  of  the  Exhibition.” 

MAYLAND'S  magnificent  picture  “ There  is  Sorrow  on  the 
Sea,”  for  which  a double  medal  was  awarded,  will  be  for- 
warded, packed  in  boards,  on  application  to  Mr.  \V.  Mayland, 
Art  Studio,  Deal,  enlarged  to  18  inches  (to  photographers), 
eighteen  shillings. 


patf.nt  ofhoz  library 


SUPPLEMENT  TO  "THE  PHOTOCAP*1 


Havcoc 


Under 


a 


\PHIC  NEWS”  19™  OCTOBER,  IB83. 


P 


H P ROBINSON,  TUNBRIDGE  WELLS.  COPYRIGHT. 


)OCK  FAST 


Asleep . 


THE 


PHOTOfl^PHIC 

LwWT 

Vol.  XXVII.  No.  iilJL-fOetober  26,  1883. 

CONTENTS. 


HEWS, 


PAGE 


The  Nature  of  Green  Fog  (573 

The  Preparation  of  Glass  Plates  before  Coating  with  Emulsion  674 

The  Application  of  Electric  Light  to  Photography 675 

The  Photographic  Exhibition 675 

Photographs  Transformed  into  Typographic  Blocks  676 

How  the  Chittywte  was  Taken.  By  A.  J.  West 678 

French  Correspondence.  By  Leon  Vidal 679 

Notes 680 

Patent  Intelligence  681 


PAGE 

Lessons  in  Optios  for  Photographers.  By  Captain  W.  do  W. 


Abney,  R.E..F.R.S 682 

Glasgow  and  West  of  Scotland  Amateur  Photographic  Associa- 
tion’s Exhibition  684 

Correspondence 684 

Proceedings  of  Societies 686 

Talk  in  the  Studio 688 

To  Correspondents 68s 

The  Photographic  News  Registry 688 


THE  NATURE  OF  GREEN  FOG. 

This  defect  in  gelatine  plates  still  occupies  a prominent 
place  in  photographic  discussion,  and  any  new  light  that 
may  be  thrown  upon  the  subject,  photographers  will  no 
doubt  gladly  welcome.  The  causes  of  its  appearance  and 
how  to  avoid  it,  and  getting  rid  of  it  when  once  it  has  ap- 
peared and  threatens  to  ruin  the  printing  qualities  of  a 
negative,  are  matters  of  no  small  moment  to  both  amateurs 
and  professionals.  The  actual  nature  of  the  deposit  itself 
may  interest  a smaller  number,  but  it  is  of  no  less  impor- 
tance. “ Never  mind  what  it  is,  but  tell  me  how  to  get  rid 
of  it,”  is  the  remark  of  a rapidly  diminishing  class  of 
workers  when  such  matters  are  brought  under  their  notice  ; 
but  there  are  probably  few  indeed  who  would  say  this  in 
reference  to  the  subject  of  this  article.  Probably  all  will 
be  prepared  to  acknowledge  that  when  it  can  be  decided 
beyond  dispute  or  cavil  as  to  what  green  fog  really  consists 
of,  the  difficulty  will  be  more  than  half  overcome.  The 
question  can  only  be  decided  when  the  substance  itself  can 
be  separated  in  considerable  quantities  from  the  gelatine 
with  which  we  usually  find  it  in  contact,  or,  better  still, 
when  it  can  be  prepared  chemically  in  a manner  that  shall 
show  not  only  that  it  is  actually  green  fog,  but  shall  also 
resemble  the  way  in  which  photographers  are  in  the  habit 
of  preparing  it,  unintentionally  or  otherwise. 

Several  experimenters  have  at  times  thought  they  were 
in  a fair  way  of  thus  deciding  the  question,  but  as  in  most 
cases  they  were  rather  wide  of  the  mark,  there  is  no  neces- 
sity to  repeat  their  observations  here.  Of  the  opinions  ex- 
pressed by  those  who  had  carefully  experimented  on  green 
fog  in  gelatine  plates,  but  had  not  met  with  it,  or  thought 
they  had  met  with  it  apart  from  gelatine,  that  of  Captain 
Abney  received  most  attention.  His  opinion  was  that 
green  fog  was  simply  a finely-divided  form  of  silver,  and 
be  pointed  out  several  experiments  tending  to  confirm  his 
views,  notably  the  method  by  which  he  was  able  to  convert 
it  into  a light  greyish  veil  which  had  less  detrimental  effect 
on  the  printing  quality  of  the  negative.  His  method, 
which  is  often  put  into  practice,  consists,  as  our  readers 
are  aware,  in  soaking  the  negative  in  a solution  of  some 
ferric  salt,  and  blackening  it  again  by  the  application  of 
fresh  iron  developer.  Since  Captain  Abney’s  opinion  was 
put  forward,  photographers  have  been  divided  into  two 
parties  on  the  subject — those  who  do,  and  those  who  do  not, 
think  that  green  fog  is  metallic  silver  or  a silver  compound. 
Which  party  holds  the  more  correct  view  we  shall  speedily 
be  able  to  demonstrate,  for  in  this  article  we  purpose  show- 
ing our  readers  how  they  may  produce  what  is  practically 
green  fog,  in  a test-tube,  beaker,  or  bucket,  whichever  the 
experimenter  may  prefer. 

Before  doing  so,  however,  we  must  ask  the  reader  to 
follow  us  into  a brief  repetition  of  the  conditions  under 


which  green  fog  appears  in  working  gelatine  plates,  for  not 
only  has  that  an  important  bearing  on  the  truth  of  the 
statement  we  have  to  make,  but  it  will  also  explain  how  we 
arrived  at  our  result. 

In  the  first  place,  green  fog  accompanies  alkaline  deve- 
lopment, and  is  undoubtedly  due  in  some  way  or  other  to 
the  ammonia,  for  as  Mr.  Woods  once  pointed  out  at  a 
technical  meeting  of  the  Farent  Society,  dense  green  fog 
may  be  produced  by  the  iron  developer  if  only  a slight 
trace  of  ammonia  be  present.  Again,  it  is  most  prominent 
when  the  plate  has  been  under-exposed,  for  on  such  occa- 
sions the  film  is  in  the  developer  for  a longer  period,  even 
if  more  ammonia  is  not  added  to  force  up  the  image ; the 
smaller  the  proportion  of  ammonia  used,  the  less  chance  is 
there  of  fog.  Finally,  we  must  again  draw  attention  to  a 
matter  which  wo  noticed  last  week,  that  chloride  of  silver, 
which  is  more  soluble  in  ammonia  than  the  bromide,  has  a 
greater  tendency  to  produce  green  fog. 

With  these  facts  before  us,  the  actual  nature  of  green 
fog  should  have  been  readily  solved  ; but,  in  company  with 
photographers  generally,  we  have  had  a very  simple  thing 
staring  us  in  the  face  for  some  time  without  having  been 
able  to  see  it,  until  certain  matters  already  discussed  in 
connection  with  alkaline  development  suddenly  thrust  it 
before  us.  And  here  we  beg  to  draw  the  reader’s  atten- 
tion to  a little  experiment.  Precipitate  some  chloride  or 
bromide  of  silver,  using  an  excess  of  the  haloid  salt,  and 
add  a large  excess  of  ammonia.  Pour  off  into  another 
vessel  a portion  ot  the  clear  liquid,  and  add  to  it  a grain 
or  two  of  pyro.  A dense  brown  precipitate,  very  similar 
in  colour  to  that  of  exaggerated  green  fog  by  reflected 
light,  is  produced.  If  the  experiment  has  been  conducted 
in  a glass  vessel,  a film  of  it  will  be  found  clinging  to  the 
sides  ; but  unless  it  is  very  thin  and  fine,  it  will  appear  of 
a brownish  green  tinge.  Use  a test  tube,  and,  if  a solution 
of  chloride  is  being  used,  dilute  with  water  ; then  drop  in 
the  pyro.,  place  the  thumb  over  the  tube,  and,  giving  it 
just  one  shake,  pour  out  the  contents,  and  rinse  the  tube 
with  water.  If  the  film  on  the  side  of  the  tube  is  suffi- 
ciently fine,  a green  colour  by  reflected,  and  a pink  by 
transmitted,  light  will  be  well  marked.  This  we  believe 
to  be  green  fog.  If  a large  quantity  be  prepared,  the 
ordinary  characteristics  of  green  fog  appear  less  marked, 
but  we  must  remember  that  we  are  producing  it  in  a very 
rapid  manner,  whereas  its  production  in  a plate  is  com- 
paratively slow  ; moreover,  we  are  in  this  experiment 
using  no  gelatine  to  keep  it  in  the  fine  state  of  division 
requisite.  As  the  production  of  green  fog  iu  a gelatino- 
bromide  plate  coincides  exactly  with  this  experiment,  that 
fact  alone  would  be  almost  sufficient  to  show  that  the  two 
things  are  identical.  We  have,  however,  a number  of 
experiments  which  we  think  will  leave  no  doubt  in  the 
minds  of  our  readers  that  our  view  is  correct,  but  cannot 


674 


THE  PHOTOGRAPHIC  NEWS. 


[Octobpb  26,  1893. 


detail  them  here,  as  it  would  make  this  article  too  lengthy. 
We  must,  therefore,  reserve  them  for  another  occasion,  as 
well  as  a few  experiments  showing  that  the  precipitate 
produced  in  the  manner  mentioned  is  nothing  more  nor 
less  than  metallic  silver,  though  the  latter  is  a question 
that  the  chemist  is  hardly  likely  to  doubt. 

Granted  that  this  precipitate  is  identical  with  green  fog, 
it  throws  considerable  light  on  various  questions  connected 
with  that  defect,  of  which  we  can  only  indicate  a few,  on 
account  of  the  space  at  our  disposal.  It  explains,  for 
instance,  why  some  emulsion  makers  do  not  get  green  fog 
with  plates  prepared  by  ammonia  methods,  whilst  others, 
following  out  the  same  instructions,  get  a plentiful  crop 
of  it.  In  the  latter  case,  the  emulsion  has  not  been 
sufficiently  washed,  and  the  films  have  contained  ammoni- 
acal  bromide  of  silver  ready  to  produce  green  fog  immedi- 
ately on  coming  into  contact  with  the  developer.  Again, 
with  boiled  emulsions,  when  one  is  found  particularly  prone 
to  give  green  fog,  it  may  possibly  be  connected  with  a very 
fine  state  of  subdivision  of  the  bromide.  The  reason  why 
green  fog  is  not  found,  or  is  leas  prominent  on  those  parts 
of  the  plate  which  have  been  exposed  to  light,  will  readily 
appear  from  an  aiticle  in  the  preceding  number.  In  such 
cases,  the  particles  of  silver  already  beginning  to  form  the 
image  attract  the  particles  thrown  down  by  pyro  from  the 
minute  quantity  of  bromide  of  silver  which  the  ammonia 
has  been  able  te  dissolve. 


THE  PREPARATION  OF  GLASS  PLATES  BEFORE 
COATING  WITH  EMULSION. 

The  cleaning  of  the  glass  plates  to  be  coated  with  collodion 
was  one  of  the  most  troublesome  parts  of  the  wet  process, 
any  dirt  which  might  be  left,  resulting  in  a deposit  of 
silver  on  the  part. 

When  plates  are  to  be  coated  with  gelatine  emulsion, 
there  is  not  by  any  means  so  great  care  necessary  as  with 
collodion.  In  fact,  we  have  often  coated  with  emulsion, 
glass  plates  which  were  perceptibly  dirty,  without  any  evil 
resulting  to  the  negative  which  was  afterwards  produced. 
This  is  not  always  the  case,  however.  Very  often,  very 
slight  diitiness  of  a plate  results  in  green  fog  on  the 
negative,  especially  if  these  have  been  under-exposed.  If 
glass  is  carelessly  cleaned,  it  is  by  no  means  uncommon  to 
see  lines  and  smears  after  the  plate  is  developed,  these 
clearly  following  the  direction  of  the  cloth  which  was  used 
for  polishing. 

In  spite  of  this,  it  may  be  said,  in  respect  of  markings 
produced  by  imperfect  cleaning,  that  these  are  less  likely  to 
appear  in  the  case  of  a gelatine  plate  than  in  that  of  a 
collodion  plate.  There  is,  however,  another  point  to  be 
considered,  and  this  appears  to  be  one  in  which  gelatine 
emulsion  is  even  more  exacting  than  is  collodion. 

All  who  have  used  loth  collodion  and  gelatine  emulsion 
must  have  observed  that,  as  a rule,  the  former  flowed  over  a 
plate  much  more  easily  than  the  hatter,  and  that  whereas 
the  former  almost  always  flowed  with  the  same  degree  of 
ease,  there  are  great  variations  in  the  case  of  the  latter.  At 
one  time  it  will  flow  almost  as  easily  as  collodion  does  ; at 
another  it  is  almost  impossible  to  make  it  cover  the  plate  at 
all. 

The  fact  is  that  in  the  case  of  plates  to  be  coated  with 
emulsion  we  have  to  give  quite  as  much  consideration  to  so 
operating  as  to  produce  a surface  on  which  emulsious  will 
freely  flow,  as  to  the  mere  removal  of  dirt. 

It  must  be  understood,  in  connection  with  this,  that  the 
surface  produced  must,  in  a certain  sense,  be  looked  upon 
as  a substratum.  Different  methods  of  cleaning  produce 
plates  which  may  be  coated  with  greater  or  less  ease.  It 
is  perfectly  certain  that,  if  these  methods  all  produced  per- 
fect and  absolute  cleanness  or  absence  from  foreign  matter 
on  the  surface  of  the  glass,  then  there  would  be  no 
difference  in  the  ease  with  which  emulsions  would  flow. 


The  fact  would  appear  to  be  that  a thin  film  of  the  sub- 
stance used  for  cleaning  is  left  on  the  glass. 

We  had,  some  time  ago,  an  experience  which  will  illus- 
trate this  matter  well. 

We  were  about  to  coat  some  dozen  12  by  10  plates  with 
gelatine  emulsion.  We  had  about  a couple  of  dozen  use- 
less negatives,  and  we  removed  the  films  from  these,  after- 
wards polishing  the  glass  in  the  manner  which  we  shall 
presently  describe.  We  also  ordered  from  a glass  mer- 
chant a couple  of  dozen  of  plates  of  the  same  size  ready 
polished. 

These  latter  were  most  beautifully  cleaned,  and,  on 
comparison  with  those  polished  by  ourselves,  the  usual 
test  of  breathing  on  the  surface  being  used,  appeared  to  us 
by  far  the  cleanest. 

We  commenced  coating,  the  plates  being  placed  all  in  a 
pile,  those  of  our  own  cleaning  uppermost.  We  coated 
in  the  ordinary  way,  pouring  the  emulsion  on  to  the  centre 
of  the  plate,  and  guiding  it  by  “tipping,”  as  with 
collodion. 

So  long  as  we  were  coating  the  top  two  dozen  of  plates, 
all  went  well,  the  emulsion  flowed  almost  like  oil,  and 
scarcely  a drop  was  spilled  into  the  flat  dish  which  was 
placed  below  to  prevent  waste. 

When  we  took  the  first  of  the  second  batch  of  plates, 
all  was  changed ; the  emulsion,  on  tipping  the  plate, 
instead  of  gently  spreading  itself  in  the  desired  direction, 
suddenly  darted  off  the  plate,  forming  a streak  from  the 
central  pool  to  the  edge.  After  several  trials  we  had  to 
stop  coating  till  we  could  re-polish  the  plates. 

An  enquiry  as  to  the  method  used  to  clean  the  plates 
elicited  the  fact  that  dry  sawdust  had  been  employed. 
Doubtless,  in  spite  of  the  apparently  perfect  cleanness  of 
the  glass,  there  was  a very  thin  film  of  some  resinous  sub- 
stance on  the  surface  of  it,  and  this  repelled  the  emulsion. 

We  have  tried  all  the  various  substances  which  have 
from  time  to  time  beeu  recommended  for  giving  such  a 
polish  to  glass  that  emulsion  will  readily  flow  on  it,  and 
have  found  the  best  to  be  the  homely  whitening,  the  same 
that  enters  into  the  composition  of  whitewash. 

We  have  tried  substrata,  French  chalk,  acids,  and 
methylated  spirit,  and  none  of  these  ha3  given  us  so  good 
a surface  as  whitening. 

Before  applying  the  polishing  agent,  it  is  necessary,  of 
course,  if  old  negatives  be  used,  to  strip  the  films  from  the 
glass. 

If  these  be  collodion,  or  varnished  gelatine  films,  then 
soda  bath  has  to  be  used.  The  plates  are  placed  in  a hot 
saturated  solution  of  washing  soda,  after  which  the  films 
may  readily  be  removed.  If  the  negatives  be  on  dry 
plates,  and  be  not  varnished,  an  acid  bath  will  remove  the 
films.  This  may  consist  of  an  ounce  of  hydrochloric  or 
sulphuric  acid  to  a pint  of  water. 

If  glass,  as  it  comes  from  the  glass  merchant  unpolished, 
be  used,  it  is  necessary  to  remove  the  evident  dirt — putty 
and  such  like — which  is  on  it.  This  can  generally  be  done 
by  mere  friction  with  a cloth,  especially  if  a little  soda 
solution  be  used  ; or  the  sawdust,  as  mentioned  above,  may 
be  made  use  of. 

When  the  glass  is  fairly  clean,  whitening  is  applied  in 
the  form  of  a mixture  with  water,  having  about  the  con- 
sistency of  cream.  A cloth  may  be  used  to  smear  this  on 
the  glass.  An  old  shaving-brush  is  an  excellent  imple- 
ment. Only  a thin  coating  should  be  given,  otherwise  un- 
necessary trouble  is  involved  in  removing  it. 

'The  whitening  may  be  at  once  rubbed  off  with  one  dry 
cloth,  a second  cloth  being  used  to  thoroughly  polish  the 
plate.  The  best  method,  however,  if  many  plates  are  to 
be  cleaned,  is  the  following.  The  plates  are  smeared  with 
whitening  one  by  one,  as  described,  and  are  reared  against 
the  wall,  or  in  racks,  to  dry.  The  first  will  possibly  be 
dry  by  the  time  the  last  is  coated  with  whitening.  A 
slightly  damp  cloth  is  now  taken,  and  the  whitening  is  by 
its  means  removed  from  the  glass.  Immediately  after- 


October  26,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


675 


wards,  and  whilst  the  plate  is  still  very  slightly  damp,  a 
dry  cloth  is  applied,  and  polishing  is  continued  till  the 
plate  is  bright  and  dry.  It  is  necessary  to  be  careful  to 
remove  all  whitening  from  the  edges  of  the  plates,  as  other- 
wise, when  these  are  piled  one  on  the  top  of  another, 
particles  of  the  chalk  will  get  between  the  glasses,  and,  by 
getting  into  the  emulsion,  may  cause  spots. 

The  method  of  cleaning  which  we  have  described  does 
not  tend  to  frilling. 


THE  APPLICATION  OF  ELECTRIC  LIGHT  TO 
PHOTOGRAPHY. 

Tiie  official  report  of  the  Munich  Electric  Exhibition  which 
has  just  been  issued  is  illustrated  by  numerous  “Auto- 
types”; that  is  to  say,  Ilerr  G.  Meissenbach  calls  his 
newly-patented  process  for  producing  printing-press  blocks 
direct  from  photographs  by  the  title  of  autotypes,  a name 
most  unfortunately  chosen,  so  far  as  this  country  is  con- 
cerned, since  for  a dozen  years  past  the  same  title  has  been 
employed  by  the  Autotype  Company  to  signify  carbon 
prints.  We  have  even  mechanical  autotypes,  which  are 
prints  produced  by  the  collotype  process,  so  that  here  is  a 
very  good  illustration  of  that  long-felt  want  by  photo- 
graphers, viz.,  an  agreement  on  all  sides  to  call  similar 
things  by  the  same  name.  Let  us  hope  that  the  Conference 
which  is  to  be  held  next  year  in  Brussels  under  the  auspices 
of  the  King  may  effect  its  purpose. 

Herr  Meissenbach’s  results  are  not  unlike  those  produced 
by  the  Ives’  process.  The  impressions  are  printed  from  type- 
metal.  The  halftones  in  the  photographic  negative  are 
decomposed  into  lines  and  points,  and  then  transferred  to 
metal,  when  etching  with  acid  completes  the  process.  In 
the  Meissenbach  method  the  process  of  transferring  neces- 
sitates keen  direct  rays.  For  this  reason  experiments  have 
been  made  with  the  electric  light,  and  it  has  been  found 
that  the  bichromated  gelatine  film  requires  an  exposure  of 
from  five  to  five  and  a-half  hours’  exposure  to  an  arc  light 
in  order  to  be  properly  impressed.  Exposure  to  sunlight 
lasts  but  from  two  and  a-half  to  three  hours,  but  as  the  arc 
light  employed  was  a comparatively  weak  one,  estimated  at 
but  1,200  candles,  it  is  hoped  that  by  increasing  the  latter, 
as  short  an  exposure  may  be  given  as  in  sunlight. 

The  Autotype  establishment  of  Meissenbach  has  been  at 
work  since  last  year  with  electric  light,  and  ha3  now  at  its 
disposal  four  of  Shukert’s  arc  lights,  each  of  the  value  of 
1,200  candles.  Lowy,  of  Vienna,  we  may  also  state,  makes 
use  of  electrity  in  his  establishment.  He  has  printed  some 
of  his  collotype  blocks  by  the  electric  light,  and  it  is 
possible  he  may  adopt  electricity  for  the  purpose  perma- 
nently. A collotype  film  (bichromated  gelatine)  exposed 
for  fifteen  minutes  to  a 2,000  candle  arc  lamp  is  sufficiently 
well  printed,  and  when  inked  up  is  found  capable  of  furnish- 
ing most  satisfactory  impressions. 

One  most  interesting  feature  to  photographers  of  the 
Munich  Report,  we  may  further  mention,  among  the  photo- 
graphic illustrations,  is  one  of  the  interior  of  a chapel,  the 
negative  of  which  was  secured  by  means  of  electric  illumi- 
nation. Therefore,  inasmuch  as  the  photo-engraved  block 
was  also  produced  by  the  electric  light,  we  have  here  a 
picture  which  from  first  to  last  is  the  result  of  electricity. 
Judging  from  this,  there  can  be  little  doubt  that  photo- 
graphers and  electricians  will  hereafter  have  much  work  in 
common. 


THE  PHOTOGRAPHIC  EXHIBITON. 

Third  Article. 

Mr.  Vernon  Heath  is  not.  so  happy  this  year  with  his  ex 
hibits.  Loch  Scavig  (390)  is  one  of  the  boldest  of  his  land' 
scapes,  and  Loch  C'oruisk  (391)  will  also  fiud  admirers  ; 
but  they  are  rather  bald  and  monotonous,  and  certainly  do 
not  do  justice  to  the  famous  spots  in  the  Isle  of  Skye. 


Mr.  McLiesh,  of  Darlington,  whose  “Misty  Morning  on 
the  Wear”  will  still  be  remembered  with  pleasure,  shows 
us  the  same  view  on  a clear  May  morning  (91),  and  very 
beautiful  is  the  peep  we  get  of  Durham  Cathedral  under  the 
circumstances.  Another  picture  of  Mr.  McLiesh’s  that 
deserves  careful  study  is  Fountain  Abbey  (351).  Mr. 
Matthew  Whiting,  an  indefatigable  amateur,  exhibits  two 
fine  frames  of  views,  the  first  “ Sea  Views,  Dover  " (92), 
and  the  second  depicting  “ Henley  Regatta  ” (93)  ; the 
evenness  of  Mr.  Whiting’s  work  says  much  not  only  for  his 
good  taste,  but  also  for  his  patience  as  a clever  photo- 
grapher, the  crisp  seas  and  curling  waves  with  their  busy 
shipping  in  shadow  and  shine,  he  shows  us  here,  being 
most  excellently  rendered.  Mr.  V.  Saud  Montero  has  two 
pictures,  of  which  we  prefer  “The  Mill  Stream,  Arundel  ” 
(95). 

Mr.  Robert  Slingsby  shows  a series  of  paddock  and 
harvesting  sketches;  “l’se  Coming”  (97),  is  a little  child 
seated  on  the  fork  of  a tree  about  to  mount  the  shoulders  of 
a girl  who  is  a most  delightful  model.  The  latter’s  sweet 
face  is  turned  towards  us,  and  one  hardly  knows  which 
lightens  the  picture  more,  her  bright  comely  features,  or 
the  sunlight  in  the  orchard,  with  its  clear  brown  shadows 
and  glinting  patches  of  light.  “Getting  Under  Weigh” 
(433),  a capital  sea  study  of  Mr.  Slingsby,  also  deserves 
honourable  mention.  Mr.  Edward  Darke  contributes  a 
“ Spaniel  ” (102),  and  a portrait  (151).  Mr.  W.  P.  Marsh’s 
best  picture  is  “ High  Tide  at  Bognor”  (198),  in  which  a 
huge  wall  of  water  is  seen  rising  against  the  embankment 
in  a most  weird  and  fantastic  fashion  ; but  the  result  would 
have  been  better  if  the  water  were  not  quite  so  black.  Mr. 
G.  Hadley’s  best  portrait  is  “ Grandpa  ” (106),  which  re- 
presents not  only  good  photography,  but  demonstrates 
clearly  that  hydrokiuone  is  an  excellent  developer.  The 
“ Old  Norman  Door  " (107),  of  Mr.  John  Jackson,  is  a 
tasteful  photograph,  the  structure  being  harmoniously 
lighted,  and  rendered  with  much  technical  skill.  Mr.  W. 
Vanner,  who  shows  a large  number  of  good  pictures,  is  at 
his  best  in  “ Off  Lowestoft  ” (167),  where  we  have  a fine  sea 
running.  The  shipping  shown  in  “ Regatta  Day,  Lowes- 
toft,” is  also  attractive,  and  rendered  with  considerable  taste 
and  skill. 

Mr.  Henry  Dixon  sends  “ Two  Beauties  ” (11 1),  a pair  of 
dogs  most  effectively  grouped,  and  a series  of  portraits  of 
other  canine  and  feline  sitters  (363).  Mr.  J.  Catford  sends 
a characteristic  view  of  the  Sea  Walk  at  Ilfracombe  (112), 
round  Lantern  Hill,  and  a number  of  his  “ Medallion  ” 
landscapes,  of  which  we  recently  had  occasion  to  speak  in 
high  terms.  Mr.  A.  C.  Reynolds’  most  attractive  exhibit  is  a 
series  of  courtship  pictures  (139),  in  the  first  of  which  we 
are  shown  a rather  forward  young  lady  waviug  her  handker- 
chief to  attract  attention  ; in  the  second  picture  we  see  the 
signal  has  been  instrumental  in  bringing  a young  man  on 
the  scene,  who,  in  subsequent  photographs,  is  proved  to  be 
successfully  caught.  As  the  end  justifies  the  means,  there 
is,  of  course,  nothing  to  be  said,  and  the  pictures,  if  they 
do  nothing  else,  will  at  any  rate  serve  to  put  marriageable 
young  men  on  their  guard.  Mr.  C.  Ray  Woods  sends  a 
country  lane  in  Jamaica  (.118),  which  rather  inclines  us  to 
3tay  at  home  in  our  own  country  lanes,  and  an  interesting 
photograph  of  Caroline  Island  (183).  Mr.  B.  G.  Wilkin- 
son shows  two  pictures,  of  which  we  prefer  the  “ Mill 
Stream,  Dorking”  (123). 

The  Woodbury  Company,  as  usual,  rqake  a grand  show  ; 
the  life-size  portrait  of  Mrs.  Kendal  (124)  is  a very  fine 
work,  and  “Rortraitof  a Lady  ” (191)  is  even  better  ; the 
tones  here  are  eminently  rich  and  soft,  and  there  is  none  of 
that  harshness  which  often  characterizes  big  portraits.  All 
is  harmonious,  while  yet  the  vigour  of  the  shadows  aud 
delicacy  of  the  high  lights  are  exceedingly  perfect.  Of  the 
Autotype  Company’s  work  we  may  speak  not  less  highly  ; 
besides  the  fine  enlargement  of  Mayland’s  “There  is 
Sorrow  on  the  Sea,”  of  which  we  have  already  spoken, 
“The  Friars’  Crag,  Derwentwater,”  and  “ Oxborough 


676 


THE  PHOTOGRAPHIC  NEWS. 


[October  26,  1883. 


1 


Castle,”  are  magnificent  works.  Of  enlarged  portraits’ 
all  must  admire  “The  Countess  of  Ross”  (143)  and  “ Mrs- 
Manners”  (166),  which  are  exceedingly  perfect  in  detail 
and  effect,  the  latter,  from  a negative  of  Mendellsolm, 
having  all  the  exquisite  finish  of  a delicate  crayon.  The 
Autotype  Company  has  also  some  specimens  of  Major 
Waterhouse’s  photo-engraving  process,  which  demonstrate 
marked  progress  in  this  interesting  method.  Of  Mr. 
Reffitt’s  collection  of  views,  we  like  best  “ Catching  a 
Trout”  (128).  The  Hon.  Mrs.  Holden  Ilambrough  shows 
us  the  ivy-veiled  terrace  and  picturesque  walls  of  Haddon 
Hall  (133,  134),  the  last  numbered  picture  being  decidedly 
the  better. 

Mr.  Frank  Salter  is  represented  by  three  pictures, 
“ Herring  Boats  ” (238)  being  most  to  our  liking  ; while  of 
Mr.  J.  F.  G.  Glossop’s  contributions,  “ Studies  of  Trees  ” 
(548)  may  be  awarded  the  palm.  Mr.  Arthur  Hill  sends 
“Interiors  of  Ely  Cathedral”  (138)  ; and  Mr.  Alfred 
Hendrey  shows  several  groups  of  roses  and  other  flowers 
(401-4),  some  of  which  are  exceedingly  successful ; Lis 
landscape  in  “ Young  Fisherman’s  First  Bite  ” is  too  dark 
to  please  us.  The  pick  of  Lieutenant  Gladstone’s  photo- 
graphs we  consider  to  be  “Near  Ardgrootn”  (179),  repre- 
senting a magnificent  cascade  descending  among  mighty 
boulders  in  most  picturesque  fashion ; all  of  Mr. 
Gladstone’s  exhibits  are  printed  in  platinotype,  a process 
he  seems  to  understand  to  perfection.  “ The  Group  of 
Ladies,”  of  which  both  enlargement  aud  original  are 
exhibited  by  Messrs.  Turner  and  Drink  water  (232,  336), 
represents  very  good  photography  and  very  good  posing, 
but  is  marred  by  that  sit-still-for-your-life-don’t-move-an- 
eyebrow  feeling  that  pervades  the  composition.  In  the 
enlargement,  this  sense  is  so  oppressive,  that  one  feels 
tempted  to  cry,  “ Now  you  may  move!  ” after  looking  at 
the  picture  and  passing  on. 

Colonel  Stuart  Wortley  exhibits  a vigorous  piece  of 
photography  in  “St.  Wanna  Rrayiug  for  a Wreck,” 
the  lowering  darkness  of  the  same  adding  considerable 
power  to  the  composition ; further  examples  of  the 
Colonel’s  art  are  shown  on  the  table,  but  he  only 
sends  three  pictures  in  all.  Mr.  George  Shaw’s  frames 
(163-4)  include  some  capital  portraiture — there  is  very 
little  on  the  walls  this  year — best  among  his  pictures 
being  the  dapper  Highland  lassies,  whom  he  has  rendered 
with  much  verve  and  go.  In  Mr.  William  Adcock’s  work, 
we  must  own  to  being  disappointed,  not  on  account  of 
quantity  or  quality,  but  because  he  is  one  of  the  very  few 
who  can  depict  quiet  humour  in  the  camera,  and  yet 
shows  nothing  in  this  direction.  If  he  would  only  con- 
tinue his  domestic  scenes — we  still  laugh  heartily  as  we 
think  of  his  “ Giving  Warning  ” of  last  year,  where 
master  is  confronted  in  his  quiet  study  by  cook  and 
housemaid — we  will  promise  him  plenty  of  success  and 
few  rivals.  His  Chair- mender  (165)  is  a good  study,  and 
so,  too,  is  the  platinotype  print  (354). 

Mr.  T.  A.  Green  shows  a frame  of  excellent  little  views 
of  the  English  lake  district  (169).  Langdale  pikes,  seen 
at  a turn  in  a country  lane,  is  a delightful  picture,  the 
dark  foliage  of  the  lane  in  forcible  contrast  with  the  deli- 
cate outliue  of  the  distant  pikes.  Wastwater,  with  its 
foreground  of  huge  boulders,  its  limpid  lake  reflecting  the 
dark  fringed  shore  and  grand  mouutainous  backgrouud, 
is  another  perfect  little  study.  Mr.  Feter  Thellusen,  of 
Brodsworth  Hall,  contributes  a series  of  yacht  sketches 
(170),  many  of  which  display  considerable  taste,  while  all 
exhibit  a masterly  knowledge  of  photography.  The 
exhibits  of  Mr.  H.  J.  Hall  are  catalogued  a little  loosely 

to  use  a mild  term — but  if  “The  Sierra  Nevada  from 
the  Alhambra  ” (171)  is  from  his  camera,  Mr.  Hall  is  capa- 
ble of  very  good  work  indeed,  The  snowy  range  of  the 
Nevada  here  shown  beyond  the  Alhambra  contributes  to 
a very  charming  picture.  Mr.  H.  J.  Hall  is  also  credited 
W1[‘'  some  picturesque  views  of  Medmenham  (538). 

Mr.  Edmund  Hyde  sends  several  views  in  Devonshire 


(461-3),  and  a portrait  “ Zoe  Defending  her  Master  ” (173)' 
all  of  them  creditable  examples  of  photography.  Mr. 
Arthur  Pringle  is  represented  by  a series  of  fine  landscapes 
from  California  (186),  giving  a vivid  idea  of  the  mighty 
firs  and  forest  primeval  of  that  renowned  district  the 
Yosemite.  The  “ North  Dome,”  a curiously  rounded  peak 
of  grey  granite,  aud  “ From  Photographer’s  Point,”  are 
two  of  the  best  of  Mr.  Pringle’s  pictures.  Mr.  F.  Beasley, 
a well-known  name,  like  that  of  Mr.  Pringle,  in  landscape 
work,  exhibits  two  frames  of  Devonshire  pictures  (187, 
188),  the  last  containing  a wonderful  little  study  of  English 
peasant  life ; we  have  a thatched  cottage  with  its  tiny  fore- 
court, and  a rose-bine  trained  over  the  rough  stonework 
of  the  picturesque  tenement.  A woman,  pitcher  in  hand, 
is  standing  near  the  doorway,  and  imparts  life  to  the  com- 
position, which  has  all  the  detail  and  perfection  of  a Dutch 
painting. 

Messrs.  Marsh,  Brothers,  of  Henley,  show  us  the 
busy  river  at  Henley,  alive  with  pleasure  (194),  together 
with  a group  of  the  Berkely  Hounds  (389).  Messrs.  John- 
son, Brothers,  exhibit  a large  number  of  pictures,  of  which 
“ Reaping  ” (195)  and  “ Cornfield  ” (580)  are  two  of  the 
best.  Messrs.  J.  Russell  and  Sons  show  some  excellent 
examples  of  portraiture,  but  unfortunately  they  are  por- 
traits and  nothing  else.  Thus  the  frame  of  “ Cabinets  ” 
(199)  includes  some  first-rate  work,  which  is  a good  deal 
marred  by  the  monotonous  mounts  ; the  two  ladies’  por- 
traits (311,  312)  are  the  most  pleasing,  because  the  least 
conventional.  Mr.  W.  J.  Byrne,  who  also  shows  a large 
collection  of  portraits,  has  printed  them  all  in  red  carbon 
(201).  He  would  have  done  better  to  have  sent  fewer 
examples,  for  they  would  then  have  made  a better  presence  ; 
still,  it  cannot  be  denied  that  the  whole  of  the  pictures  re-‘ 
present  high-class  work,  and  some  of  them  are  indeed  most 
charming  studies.  The  portraits  on  opal  of  the  Duke  and 
Duchess  of  Albany,  shown  by  Messrs.  G.  Tuohy  and  Co. 
(207),  aro  rather  conventional,  but  we  may  well  say  a good 
word  for  the  portrait  work  of  Messrs.  Adams  and  Stilliard 
(214),  many  of  whose  pictures  betoken  much  skill  aud 
taste. 

The  “ Lines  of  Tel-el-Kebir  ” (208),  by  Captain  G.  S. 
Clarke,  ll.E.,  will  have  deep  interest  for  many  who  bear 
in  mind  the  story  of  Lord  Wolseley’s  last  success.  The 
loose  wall  of  brown  earth,  some  eight  or  nine  feet  high, 
over  which  our  soldiers  had  to  climb  to  reach  their  enemy, 
is  shown  very  well  in  Captain  Clarke’s  photographs, 
which  convey  to  the  mind,  too,  a good  idea  of  the  dull 
monotonous  wilderness  in  which  the  fight  took  place.  Of 
the  Postal  Photographic  Society’s  show,  we  may  select  for 
honorable  mention  “ Dovedale,”  by  Mr.  W.  B.  Allison 
(209)  ; “ Pike  Pool,”  a very  characteristic  picture,  by  G. 
Bankart  (210)  ; and  “ Thorpe  Old  Mill,”  by  J.  W.  Leigh  ; 
but  there  is  much  other  good  work  besides  in  the  frames 
sent  by  the  indefatigable  secretary  of  the  Society,  Mr.  H. 
II.  Cunningham.  Mr.  George  Bruce,  of  Duns,  has  several 
striking  studies,  all  printed,  we  believe,  upon  collodio- 
chloride  paper  ; the  most  taking  is  “ Father’s  Coming  ” 
(217),  a chubby  little  girl  who  has  climbed  upon  a rustic 
stile,  and  whose  laughing  face  clearly  tells  of  the  welcome 
approach  of  “ father.”  Mr.  T.  G.  Dixon’s  best  exhibit  is 
his  “ Tiger’s  Head”  (493)  enlarged,  so  he  tells  us, 
seventeen  diameters.  This  is  a most  life-like  and  vigorous 
study,  and  quite  equal  to  the  finest  of  Mr.  Dixon's  well- 
known  wild-bea3t  series. 


PHOTOGRAPHS  TRANSFORMED  INTO 
TYPOGRAPHIC  BLOCKS. 

We  have  often  referred  to  the  Ives’  method  as  one  of  the 
most  practica'ly  successful  of  the  numerous  block  methods 
now  before  the  public,  and  we  now,  through  the  kindness 
of  Mr.  Ives,  place  before  our  readers  a very  fine  specimen 
of  block  work. 

It  must  be  remembered  that  to  do  full  justice  to  the 


October  26,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


677 


admirable  work  of  Mr.  Ives,  a more  careful  style  of 
printing  than  our  own  would  be  required.  The  block  is 
made  from  a brush  drawing,  and  Mr.  Ives  writes  as 
follows : — 

“ The  ‘ Trouble  ’ plats  was  intended  for  book  illustration, 
and  is  rather  closely  lined  for  newspaper  printing.  It 
may  be  well  for  you  to  mention  the  fact  that  fine  ink,  fine 
paper,  and  careful  printing  are  necessary  to  do  justice  to 
any  fine  engraving.  The  only  large-edition  publications 


which  fulfil  these  requirements  are  a few  like  Harper’s  and 
Scribner’s  (Century)  magazines.” 

Mr.  Ives  also  writes  with  reference  to  his  process  as 
follows : — 

“The  relief  which  I now  employ  is  a plaster  cast  from 
swelled  gelatine,  which  is  secured  so  easily  that  a seventeen 
year  old  apprentice  makes  them  acceptably  for  Crosscup 
and  West.  On  this  relief  the  lines  and  stipple  are  impressed 
by  means  of  a printing  film  of  elastic  V-shaped  stippled 


lines,  in  a manner  which  gives  the  operator  considerable 
control  of  the  effect.  The  line  and  stipple  picture  on  the 
plaster  relief  is  then  stripped  off  for  lithographic  transfer 
or  etching,  by  a method  so  simple  and  perfect  that  it 
astonishes  all  who  see  it  done.  Formerly,  1 had  to  repro- 
duce the  impression  by  photography  in  the  camera,  and  by 
this  operation  could  not  avoid  losing  much  of  the  delicacy 
of  the  original,  which  is  wonderfully  delicate,  sharp,  and 
clear  in  line.  I have  to  secure  ruled  plates  for  moulding 
closer  lined  printing  films  before  1 can  apply  the  transfer 
method  of  reproduction  for  fine  work  ; so  it  may  be  months 
before  I shall  show  you  what  fine  results  I can  secure  in 
this  way.  I could  make  more  rapid  progress  if  I had  more 
time  for  experiment ; I have  very  little.  The  plates  I 
send  you  are  electrotypes  from  plates  made  by  reproduc- 
tion in  the  camera.  After  awhile  I will  send  some  made 
by  direct  transfer  of  the  inked  picture  on  plaster  relief.” 

It  is  interesting  to  look  back  upon  the  block  work  done 
about  twelve  years  ago  by  Mr.  Woodbury,  especially  as 


Mr.  Woodbury’s  early  blocks  very  nearly  resemble  those 
obtained  by  the  method  of  Mr.  Ives. 

Mr.  Woodbury  patented  his  method  in  1873  ; but  the 
patent  is  not  now  in  force,  so  we  quote  for  the  benefit  of 
our  readers. 

“ I prepare  sheets  of  bichromatized  gelatine  such  as  are  used  in 
, the  process  called  ‘ Woodburytype,’  and  expose  these  under  a 
I photographic  positive  to  the  action  of  light,  but  interposing 
between  the  positive  and  the  gelatine  film,  a transparency  on 
collodion  or  mica,  of  what  is  known  as  mosquito  netting, 
Brussels  net,  tulle,  and  so  forth,  which  has  the  effect  of  breaking 
up  the  resulting  relief  into  a multitude  of  fine  square  hexagonal 
lines  ; or  for  some  subjects  I interpose  a transparency  on  mica 
or  collodion  of  any  design  of  a similar  nature  that  will  have  the 
same  effect,  such  a3  an  impression  from  a grained  stone,  or  the 
same  from  a number  of  fine  ruled  lines.  This  sheet  of  gelatine 
. when  washed  will  give  a relief  having  the  positive  photograph 
represented  by  a number  of  lines,  instead  of  the  simple  half- 
I tone  it  originally  possessed ; I then  take  an  impression  from 
this  by  means  of  hydraulic  or  other  pressure  in  any  soft  metal 


678 


THE  PHOTOGRAPHIC  NEWS. 


[October  26,  1883. 


and  use  the  block  so  obtained  for  printing  at  a type  press  where 
only  a few  copies  are  wanted ; but  where  large  numbers  are 
required,  I electrotype  the  same  in  the  ordinary  way.  I prefer 
to  use  diffused  daylight  or  sunlight  through  ground  glass  or 
tissue  paper  to  produce  the  relief,  as  in  that  case  the  light  in  the 
parts  that  represent  the  whites  creeps  around  the  lines,  thus 
partially  obliterating  them  in  that  part,  and  leaving  them 
strongest  only  in  the  parts  printing  dark.  I sometimes  adopt 
another  method.  I take  a negative  of  the  network  by  trans- 
mitted light,  and  copy  this  together  with  the  negative  to  be 
reproduced,  thus  producing  a positive  with  the  lines  already 
thereon,  from  which  I proceed  to  make  a relief  and  blocks,  as 
stated.” 

The  accompanying  block  is  one  which  Mr.  Woodbury 
made  at  the  time  he  took  out  bis  patent,  and  we  have 


selected  this  as  possessing  an  open  grain  suited  for  machine 
printing.  A very  much  finer  block  is  in  our  hands,  and 
we  hope  to  place  impressions  from  it  before  our  readers 
before  long  ; but,  to  do  justice  to  the  block,  it  will  be 
necessary  to  print  it  separately. 

It  may  be  noted  that  the  nature  of  the  graining  medium 
selected  serves  to  determine  whether  the  block  can  be 
readily  printed  on  a rough  machine,  or  whether  careful 
hand- printing  will  be  required.  An  open  grain  for  rough 
printing  can  always  be  obtained  by  using  a coarse  net- 
work. 

It  is  interesting  to  note  that  photo-block  printing  even 
for  ordinary  newspaper  work  is  not  altogether  a thing  of 
the  present  tune.  Excellent  blocks  by  Mr.  Leggo  appeared 


in  a Canadian  newspaper  in  1873,  and  a portrait  of  Nordens  j 
Kiold  appeared  in  Le  Monde  Jllustre  in  1877,  this  latter 
block  having  been  made  by  Carloman,  of  Stockholm.  At  ; 
the  present  time  a series  of  photo-block  portraits  are  I 
appearing  in  the  St.  Stephen's  Review , under  the  heading  of  J 
the  “ St.  Stephen’s  Portraits.”  This  series  is  interesting 
as  affording  the  first  example  of  the  regular  use  of  photo- 
blocks from  half-tone  negatives,  for  the  reproduction  of 
portraits  in  a general  London  newspaper. 


“HOW  THE  CIlllTYWEE  WAS  TAKEN.” 
Instantaneous  Photography  from  a Sailing  Boat. 

by  A.  J.  WEST. 

It  was  a roogh  and  stormy  day  on  the  11th  of  August, 
when  I. got  ou  board  our  boat  for  the  purpose  of  taking 
some  instantaneous  photographs  of  the  Osborno  Bay 


Regatta ; the  weather  looked  very  threatening,  and  now 
and  then  could  be  heard  a peal  of  distant  thunder.  Our 
old  fisherman  Williams,  who  is  captain,  mate,  and  crow 
combined,  predicted  a squally  voyage,  but  as  I was  very 
desirous  of  getting  some  of  the  yachts  that  would  be  racing, 
I told  him  to  up  sail  and  away  as  quickly  as  possible. 

We  started  with  a double-reefed  mainsail,  and  soon  passed 
along  the  coast  of  Ilaslar  ; after  we  had  rounded  Gillkicker 
Point,  we  had  what  is  called  a dead  muzzier.  However,  by 
hugging  the  shore  of  Stokes  Bay,  to  avoid  the  west  tide, 
which  was  running  very  strong,  we  managed  to  get  ahead 
very  fairly.  It  was  then  about  10  a.m.,  and  presently 
Williams  called  my  attention  to  some  yachts  which  had 
; just  started,  and  which  were  making  straight  for  us.  I at 
once  prepared  for  action,  rigged  up  the  camera,  and  got  the 
focus  all  complete  ready  to  capture  the  first  vessel  that  came 
within  range.  I had  not  to  wait  long  before  a yacht  came 
| scudding  along,  her  Ice  gunwale  under  water,  and  every 


t 


October  26,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


679 


stitch  of  canvas  set.  I was  just  prepared  to  put  the  dark 
slide  in,  when  Williams  shouted,  “ Hold  on,  sir  ! ” It  was 
well  that  I did,  for  a sudden  squall  came  which  made  our 
crart  heel  over ; we  shipped  a lot  of  water,  and  I hastily 
threw  a spare  sail  over  all  my  gear,  and  let  go  the  peak  hal- 
yards, to  ease  her.  While  making  everything  snug  as  far  as 
it  was  possible,  the  yacht  which  1 intended  to  take  had  got 
far  away  in  the  mist,  and  the  rain  came  down  a regular 
deluge.  Foitunately,  the  slides  were  in  a waterproof  bag, 
but  the  camera  was  a little  wet ; but  the  sun,  coming  out 
shortly  after,  dried  up  everything. 

We  then  sailed  towards  Ilyde,  tho  wind  going  down  as 
quickly  as  it  came  up.  Wo  tacked  along  tho  shore  of  the 
lslo  of  Wight  until  we  reached  Osborne  Bay,  about 
1-30  p.m.,  having  taken  five  hours  to  get  there.  The  6un 
now  kept  out  splendidly,  but  tho  wind  had  freshened  again 
until  it  blew  half  a gale.  There  were  only  twe  more  races 
to  start,  so  I determined  to  get  something  of  them  if  possi- 
ble. Threo  double  slides  were  loaded,  the  mainsail  was 
lowered  to  steady  the  boat,  Williams  was  at  the  helm,  and 
we  were  ready  for  work  ; the  first  gnu  had  fired,  and  we 
were  waiting  for  the  second  in  order  for  the  race  to  begin. 

Boom  ! 

“Here  they  come,  sir!”  cries  Williams.  “Steady  your 
helm  ; luff ; now  round  with  her — right — keep  her  so!” 

My  position  was  now  perfect.  I took  the  sight, 
and,  with  my  finger  on  the  trigger,  fired.  The  shot  was 
successful,  and  in  the  space  of  TJu  of  a second  the  Chittywee 
was  mine.  I was  unable  to  say  positively  if  there  was  more 
water  than  sky,  or  more  sky  than  water,  or,  in  fact,  anything 
at  all,  as  the  yacht  passed  so  close  that  the  swell  made 
our  little  craft  rock  with  so  much  violence  that  it  was  im- 
possible to  sight  the  centre  accurately  ; however,  as  I say, 
it  turned  out  all  right.  I then  made  five  other  (xposures, 
all  of  which  were  very  satisfactory. 

Williams,  who  is  not  a teetotaller,  suggested  “splicing 
the  main  brace,”  which  was  accordingly  done,  although,  I 
may  add,  not  for  the  first  time.  We  then  packed  up,  and 
set  sail  for  home,  which,  thanks  to  a fair  wind,  we  soon 
reached. 

I do  not  use  a finder,  but  guess  the  centre  of  my  subject, 
also  the  exact  distance,  in  which,  after  some  considerable 
practice,  I seldom  make  a mistake. 

There  is  a small  cuddy  in  the  boat  with  just  room  enough 
to  crawl  inside  to  change  the  plates,  and  also  for  stowing 
away  the  camera  and  slides.  At  the  masthead  we  have 
our  burgee,  with  the  name  of  our  firm  in  bold  letters.  We 
are  known  as  the  only  profestional  pirates  at  present  infest- 
ing the  shores  of  Hampshire.  We  have  captured  a good 
many  vessels  in  one  way  or  another,  and,  iu6tead  of  being 
punished  for  such  deeds,  have  now  been  awarded  a medal 
for  our  exploits,  a strong  encouragement  for  others  who 
hare  the  same  piratical  intentions. 


FRENCH  CORRESPONDENCE. 

How  History  is  Recorded  at  Cormeilles-in-Parisis— 
Practical  Experiments  on  Instantaneous  Piioto- 
GRAriiY— French  Translation  of  Pizzigiielli  and 
Hubl’s  Treatise  on  Platinotype. 

Ilow  History  is  Recorded  at  Cormtillcs  in-Parisis. — It  is 
surprising  that  justice  has  not  been  accorded  at  Cormeilles 
to  the  inscription  on  the  monument  of  Daguerre,  for  here 
are  cut  out  in  large  letters  these  words : lnventeur  de  la 
Photoyraphie.  Such  a grave  error  ought  not  to  be  passed 
over  without  protest  Is  it  necessary  to  explain  to  our 
enlightened  readers  that  Daguerre  was  the  colleague  of  the 
inventor  of  photography,  Nicphore  Niepce?  He  has 
certainly  contributed  to  popularise  and  improve  the  art, 
but  it  is  neither  just  nor  true  to  say  that  he  was  the  in- 
ventor. This  seems  to  be  slighting  the  veritable  father  of 
photography,  and  the  question  naturally  arises,  why  sup- 
press Nicephore  Niepce  from  history,  to  attribute  the  in- 
vention solely  to  Daguerre  ? The  best  way  of  inscribing 


it  would  have  been  “ one  of  the  inventors.”  In  short, 
Daguerre  has  been  put  in  opposition  to  Nicephore  Niepce, 
and  the  Photographic  Society  of  France,  the  Syndical 
Chamber,  and  all  those  claiming  position  in  the  photo- 
graphic world  of  France,  have  refrained  from  taking  an 
active  part  in  subscribing  to  what  would  engender  a spirit 
of  antagonism.  This  explains  the  absence  at  the  inaugura- 
tion of  the  monument  of  representative  men  in  photography 
of  France.  The  words  engraved  are  a direct  violation  of 
historic  truth  of  the  inveution  of  photography  ; neverthe- 
less, history  cannot  be  falsified  on  this  point,  and  it  will 
not  be  forgotten  that  Nicephore  Niepce  was  the  man  with 
whom  that  honour  rests.  The  town  of  Chfdons  will  soon 
unveil  a statue  of  Nicephore  Niepce  by  the  celebrated 
sculptor  Guillaume : will  the  same  words  figure  on  tho 
pedestal  as  those  at  Cormeilles  ? 

Instantaneous  Photography. — My  holiday  having  been 
spent  in  the  south  of  France,  on  the  sunny  shores  of  the 
Mediterranean,  1 have  made  some  practical  experiments  on 
instantaneous  pictures.  For  the  moment,  this  application 
of  photography  is  the  most  interesting,  and  has  the  greatest 
attraction  for  amateurs.  My  experiments  lead  me  to  state 
that  the  use  of  the  drop-shutter,  without  its  action  being 
accelerated  by  a spring,  although  the  slide  may  fall  evenly 
and  freely,  is  ineffectual  in  giving  clear  impressions,  except 
for  objects  in  motion  situated  a good  distance  away  from 
the  lens,  and  consequently  of  small  dimensions.  The 
spring  is  iudispensable  if  it  is  desired  to  reproduce  moving 
objects  of  a fair  size,  and  a speed  is  required  more  than 
twice  that  of  the  simple  drop-shutter,  at  least.  I have 
been  obliged  to  place  above  the  moving  slide  a propelling 
spring  to  effect  an  increase  of  the  initial  speed  of  the  drop 
from  its  commencement,  and,  moreover,  the  rapidity  still 
being  insufficient,  the  aperture  of  the  shutter  was  reduced 
to  the  length  of  the  diameter  of  the  lens.  It  is  preferable, 
however,  to  leave  the  length  of  the  opening  twice  the 
diameter  of  the  objective,  and  to  augment  the  propelling 
force  of  the  spring  at  the  top  of  the  slide.  Thus  placed, 
the  spring  is  more  effectual  then  india-rubber  strings,  as 
they  only  act  at  the  actual  starting  moment,  and  after  a 
short  time  lose  their  elasticity ; a curved  spring  of 
tempered  steel  is  the  best.  Monckhoven’s  plates  were  em- 
ployed, marking  about  14  on  Wamerke’s  sensitometer,  of 
medium  sensitiveness,  sufficient  to  give  intense  images  with 
exposures  varying  from  T£,y  to  x|5  of  a second  in  full  sun- 
light between  about  ten  a.m.  and  two  p.m.  I have  taken 
sailing  vessels  clearly  at  60  metres  distance  in  foreshortened 
positions  in  a high  wind.  The  development  was  con- 
sidered assisted,  as  M.  Lugardon  suggested,  by  the  addition 
of  two  or  three  drops  of  iodine  water  in  100  c.c.  of  deve- 
loper. Its  composition  was  as  follows : — 

Saturated  solution  of  neutral  oxalate 

of  potash 80  cub.  cents. 

Saturated  solution  of  sulphate  of  iron, 

slightly  acid  20  „ 

2£  to  3 drops  of  iodine  water. 

French  Translation  of  Pi:zighelli  and  Iliibl's  Treatise  on 
Platinotype. — The  French  translation  of  this  work  is  pub- 
lished by  Gauthier-Villars.  It  has  been  translated  by 
M.  Henri  Gauthier-Villars.  It  is  to  be  hoped  that  this 
theoretical  and  practical  treatise  will  contribute  to  render 
this  excellent  and  permanent  process  popular  in  France. 
The  objection  raised  against  the  cold  tone  of  platinotype 
prints  can  be  of  no  account  when  used  for  scientific  repro- 
ductions, monuments,  archaeological  views,  natural  history 
subjects,  &c.  On  the  other  hand,  the  certitude  of  the 
permanence  of  images  produced  in  soft  grey  and  black 
cannot  be  but  agreeable.  It  is  true  that  portraits  are  more 
pleasing  of  a warmer  tone,  and  on  that  account  alone  is 
the  silver  albumenized  print  preferable ; but  as  portraits 
take  up  but  one  branch  of  photography,  the  application  of 
platinotype  will  certainly  be  valuable  for  all  other 
branches. 

I hope  now  to  take  up  my  fortnightly  correspondence 
assiduously  on  my  return  to  Faris.  Leon  Vidal. 


680 


ME  PHOTOGRAPHIC  NEWS. 


[October  26,  1883. 


In  connection  with  the  illustration  we  give  this  week, 
our  readers  will  feel  some  interest  in  “ How  the  Chittywee 
was  Taken,”  in  which  Mr.  West  describes  photography 
from  a sailing  boat. 


Next  Friday  evening,  November  2nd,  the  Photographic 
Exhibition  will  be  specially  opened  for  the  benefit  of  the 
Photographers’  Benevolent  Association. 


The  Exhibition  register  was  cast  up  on  Tuesday  last,  and 
the  number  of  visitors  was  found  to  be  no  less  than  1,171 
in  excess  of  those  who  came  during  the  corresponding 
period  last  year ; while  the  cash  taken  is  £17  7s.  6d.  in 
excess. 


We  havo  to  acknowledge  the  receipt  from  the  Belgian 
Association  of  the  “ Diploma  of  Honour  ” recently  awarded 
to  the  Photographic  News. 

The  art-critic  of  the  Daily  Chronicle  evidently  imagines 
that  he  has  discovered  the  true  philosopher’s  stone  of 
photographic  progress.  He  thus  concludes  a singularly 
inconsequent  and  dogmatical  notice  of  the  exhibition  :— 
“ With  the  sincere  wish  to  encourage  the  development  of 
any  discovery  which  posseses  certain  artistic  elements,  we 
would  say  to  the  professor  of  photography— Study  well 
the  relation  between  cause  and  effect.  Remember  that 
mere  imitation  is  but  a low,  if  not  the  lowest,  form  of  art. 
In  suggesting  generally  sound  artistic  training  for  those 
who  would  practise  photography,  we  cannot  but  think  we 
have  supplied  the  true  means  for  the  fulfilment  of  the  pur- 
pose of  that  yet  undeveloped  art.” 

It  is  the  general  custom  to  varnish  all  gelatine  plates  in 
the  New  York  studios,  such  a varnish  as  that  made  by  dis- 
solving 360  grammes  of  bleached  lac  in  a litre  of  spirit  being 
employed.  The  retouching  of  the  negative  is  done  before 
varnishing,  the  gelatine  film  being  moistened,  when  neces- 
sary, with  turpentine  or  other  medium.  But  in  some  of  the 
American  studios— Rocher’s,  of  Chicago,  for  instance — no 
varnishing  nor  retouching,  or  very  little,  takes  place  until 
a print,  untoned  aDd  unfixed,  has  been  seen  and  approved 
by  the  customer.  Thus,  Dr.  Vogel. 

At  the  last  meeting  of  the  French  Academy  of  Sciences 
a discovery  was  announced  which,  if  confirmed,  will  have 
particular  interest  for  photographers.  A French  physicist 
affirms  that  he  is  able  to  analyse  the  sun’s  rays  and  sepa- 
rate the  heating  medium  from  the  luminous  and  actinic 
medium  in  a very  simple  fashion.  It  suffices  simply  to 
allow  a sunbeam  to  fall  upon  a plate  of  glass  covered  with 
an  exceedingly  thin  and  even  layer  of  selenium,  the  latter 
having  been  melted  at  a temperature  of  250°  C.,  in  order  to 
effect  the  separation. 


The  Patent  Office  has  the  right  to  refuse  a patent, 
though  the  right  is  seldom  exercised.  In  the  case  of  Mr. 


Van  der  Weyde’s  last  application  for  protection,  a refusal 
has  been  given,  and,  to  our  thinking,  most  improperly. 
Taking  into  consideration  the  many  trivial  matters  that 
are  patented  now-a-days,  Mr.  Van  der  Weyde’s  idea  to 
employ  incandescent  wires  for  night  signalling  is  decidedly 
a rational  suggestion.  A carbon  wire  or  platinum  wire, 
like  those  in  the  electric  incandescent  lamp,  is  bent  in  the 
form  of  a big  letter  or  figure,  and  a series  of  these  dis- 
played, say,  at  the  masthead  of  a vessel,  or  signalling 
tower.  One  letter  after  another — just  as  the  operator 
likes — is  rendered  incandescent  by  an  electric  current,  and 
the  letter  starting  into  life  and  light  may  be  read  at  a 
distance. 


Words  might  be  quickly  and  easily  spelt  in  this  fashion, 
and  the  signals  read  by  a telescope.  Nay,  with  a little 
arrangement,  the  bright  letters,  as  they  appear  one  after 
another  in  the  darkness,  might  be  photographed,  and  thus 
written  down.  In  the  case  of  signalling  on  board  a 
steamer,  whether  this  is  a man-of-war  or  a mail  packet,  the 
steam  power  on  board  would  always  supply  plenty  of 
electricity. 

Dr.  Koch,  of  Berlin,  who  described  his  process  of  micro- 
photography in  these  columns  two  years  ago,  has  made 
another  most  important  discovery,  llow  he  successfully 
photographed  the  bacteria  incidental  to  gangrene,  inter- 
mittent fever,  &c.,  as  they  appear  in  animal  tissue,  is  well 
known  to  our  readers,  and  how  he  was  thus  enabled  to  con- 
nect distinct  organisms  with  distinct  diseases  we  have  also 
described.  Dr.  Koch  has  now  discovered  the  deadly 
animalcule  that  go  hand  in  hand  with  cholera,  if  they  do 
not  represent  cholera  itself.  These  bacteria  he  finds  in  no 
other  portion  of  a subject  but  the  bowels,  the  only  organs, 
be  it  remembered,  that  are  attacked  ; the  liver,  heart,  and 
other  portions  of  the  body  are  quite  free.  Strange  to  say, 
too,  these  terrible  little  bacteria  only  attack  man ; Dr. 
Koch  conveyed  them  to  other  living  creatures — mice,  dogs, 
guinea-pigs — but  all  of  these  escaped  cholera. 

The  Stannotype  Process  is  now  fairly  established  at  the 
works  of  Messrs.  Woodbury,  Treadaway,  and  Company, 
and  according  to  their  present  system  it  appears  as  easy  to 
make  a printing  mould  as  to  make  an  ordinary  carbon 
print.  In  this  mould  a practically  unlimited  number  of 
prints  can  be  cast;  the  Woodbury  print  is  actually  a cast- 
ing in  coloured  gelatine,  not  a print  in  the  old-fashioned 
sense  of  the  term ; but  the  thickness  of  the  casting  is  so 
small  that  when  the  picture  is  dry  it  is  difficult  to  detect 
the  circumstance  that  the  picture  stands  out  from  the 
surface  of  the  paper. 

Mr.  Robert  Hunt,  the  oldest  living  authority  on  matters 
photographic,  is  retiring  from  his  post  of  Keeper  of  the 
Mining  Records. 

In  issuing  the  Exhibition  catalogue,  it  was  quite  right 
to  adopt  the  plan  of  the  Royal  Academy,  and  publish  two 
editions,  one  as  early  as  the  day  of  the  press  view,  and 
another,  a corrected  edition,  afterwards.  But  it  would 
have  been  better  still  to  have  followed  out  the  Royal 


October  26,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


681 


Academy  plan  in  its  entirety,  which  is  to  print  the  words 
“under  revision  ” upon  the  first  edition,  leaving  this  out 
in  the  second.  In  the  case  of  the  Photographic  Society’s 
catalogue,  unfortunately,  there  are  no  warning  words  upon 
the  first  issue,  but  upon  the  second  appears,  “ revised 
edition.”  This  is  a very  different  way  of  putting  it,  for 
naturally  enough  people  cry  out  directly  they  find  mistakes 
in  an  edition  marked  “ revised.” 


By-the-way,  why  are  some  of  tli9  Exhibition  pictures 
marked  “ hors  concours,"  iustead  of  “ not  for  competition  ” ? 
It  looks  as  if  the  frames  had  just  come  back  from  some 
French  or  Belgium  exhibition,  with  the  old  labels  still 
sticking  to  them. 


Last  week  the  observatory  on  Ben  Nevis  was  inaugurated 
with  pomp  and  circumstance.  Much  space  was  devoted  in 
the  English  press,  and  more  still  in  the  Scotch  press,  to  the 
glorification  of  the  grandees  who  were  so  good  as  to  take  part 
in  the  ceremony,  and  in  some  of  the  newspapers  the  name 
of  Mr.  W ragge,  the  first  to  climb  the  mountain  daily  to  take 
observations,  was  mentioned.  But  in  none  of  the  accounts 
that  reached  us  was  any  allusion  made  to  the  insignificant 
beings  who  have,  during  the  past  two  years,  laboriously 
toiled  to  the  top  of  the  rugged  summit  through  storm  and 
wind,  biting  frost,  and  freezing  rain.  Starting  away  every 
morning  in  the  keen  nipping  twilight,  at  the  expense  of 
every  comfort,  and  often  at  considerable  risk  to  life  and 
limb,  they  visited  the  mountain  side  stations  on  the  way, 
and  arrived  at  the  summit  at  eight  o’clock,  when,  with 
frigid  fingers  and  benumbed  features,  the  records  were 
scrupulously  noted.  These  young  observers — one  of  them, 
Mr.  William  M.  Whyte,  is  a Glasgow  undergraduate — were 
not  only  considered  unworthy  of  a line,  but  beneath  notice 
altogether.  This  suppression  of  the  names  of  the  men 
who  do  the  work,  to  the  advautage  of  others,  is  unfortu- 
nately not  uncommon  now-a-days.  We  noticed  at  the 
last  meeting  of  the  British  Association  that  in  one  of  the 
papers  read — we  believe  that  of  Ur.  Huggins — it  was 
deemed  not  worth  while  to  refer  by  name  to  Mr.  Woods  and 
Mr.  Lawrence,  who  bore  the  heat  and  burden  of  the  eclipse 
expedition  to  Caroline  Island,  but  they  were  briefly  referred 
to  as  “ the  observers.”  This  reward,  after  a six  months’ 
voyage,  undertaken  at  some  risk  and  inconvenience,  must 
have  been  eminently  gratifying  to  these  gentlemen. 


Photography,  according  to  Mr.  Howard  Vincent,  is  not 
so  useful  for  the  detection  of  criminals  as  most  people 
suppose.  He  observes,  in  his  paper  read  at  the  Social 
Science  Congress,  that  “the  law  only  sanctions  photo- 
graphy after  conviction,  and  failing  the  possession  of  a 
photograph  or  the  prisoner’s  consent,  his  portrait  cannot 
be  sent  round  on  route  forms  for  identification.”  Probably, 
from  Mr.  Vincent’s  point  of  view,  it  might  be  better  if 
everybody  who  was  charged  with  an  offence  were  at  once 
photographed,  but  this  would  be  an  extension  of  police 
supervision  which  the  public  would  never  endure. 


Still  Mr.  Vincent’s  complaint  is  conceivable.  Scarcely 
so  is  his  statement  that  “ it  was  generally  found  that  an 


engraved  portrait  was  more  accurate  and  economical  than 
a photograph.”  More  economical,  doubtless,  an  engraving 
would  be,  but  surely  not  more  accurate,  unless,  perhaps,  the 
detectives  had  a man  in  their  eye,  and  wanted  a picture 
like  him.  The  prisoners,  when  photographed,  universally 
“ make  up”  an  expression  which  is  not  their  own. 

The  bichromate  process  applied  to  bill -sticking ! Some 
months  ago  we  suggested  to  a bill-sticker  that  the  addition 
of  a small  proportion  of  bichromate  of  potassium  to  the 
paste  would  make  his  work  much  more  effectual,  and  be 
writes  as  follows  : — “1  fiud  that  a quarter  of  a pound  of 
the  bichromate  to  each  gallon  of  paste  is  enough  ; it  should 
be  stirred  in  when  the  paste  is  quite  cold.  After  the  bill 
has  been  up  for  ten  minutes,  and  the  composition  has 
become  thoroughly  hardened  by  the  action  of  light, 
the  most  determined  boy  cannot  tear  it  down  neither 
has  rain  any  effect  upon  it.  White  paper  becomes 
slightly  tinted  by  the  bichromate,  but  the  colour  is  not 
a disagreeable  one.  I fixed  a bill  in  a railway  station  as 
an  experiment,  and  heard  that  a porter  soaked  and  mopped 
it  for  some  three  hours  without  any  result.” 


$ ateut  Jutclligencf. 

Grants  of  Provisional  Protection. 

4557.  Edwakd  Gkiffitiis  Brewer,  of  33,  Chancery  Lane,  in 
the  county  of  Middlesex,  for  an  invention  of  “ A new  or  im- 
proved apparatus  or  electro-appliance  for  touching  up  photo- 
graphic pictures  and  other  objects,  also  applicable  for  en- 
graving purposes.” — A communication  to  him  from  abroad 
by  Messieurs.  J.  Geesbergen,  and  La  Societe  Geruzet  Freres, 
all  of  Brussels,  Belgium. — Dated  24th  September,  1883. 

Patents  Granted  in  America. 

286,343.  Nathan  L.  Stone,  Potsdam,  N.Y.  “Method  of  and 
means  for  finishing  photographic  pictures.” — Filed  June  30, 
1883.  (No  model). 

Claim. — 1.  That  method  of  darkening  or  softening  photo- 
graphic prints  or  pictures  and  printing  in  a new  background  at 
one  operation,  which  consists  in  placing  a background  negative 


over  the  print  or  picture,  covering  certain  light  portions  of  the 
figure  or  of  the  figure  and  draperies  with  some  opaque  substance, 
which  may  be  applied  to  the  background  negative  or  to  a trans- 
parent plate  laid  over  the  same,  and  then  exposing  the  background 
and  the  uncovered  portions  of  the  figure  and  draperies  of  the 
print  or  picture  to  the  action  of  diffused  light,  substantially  as 
described. 

2.  That  method  of  forming  groundwork  for  new  figures  or 
dresses  and  accessories,  which  consists  in  first  printing  the  head 
of  the  figure,  and  subsequently  forming  groundwork  for  a new 


682 


THE  PHOTOGRAPHIC  NEWS. 


[_ October  26,  1883 


figure  by  arranging  a properly-shaped  pattern  over  said  head  in 
correct  relation  to  the  3ame,  and  then  exposing  that  portion  of 
the  print  on  which  the  new  groundwork  is  to  be  formed  to  the 
action  of  light,  substantially  as  set  forth. 

3.  That  method  of  forming  groundwork  for  new  figures  or 
dresses,  or  for  darkening  the  latter,  which  consists  in  placing  a 
transparent  plate  over  a photographic  print,  laying  a cut-out  or 
pattern  in  proper  position  over  said  print  on  said  plate,  then 
securing  said  pattern  in  place  by  a second  transparent  plate,  and 
finally  exposing  said  print  with  its  superposed  plates  and  pattern 
to  the  action  of  light,  substantially  as  described. 

4.  That  method  of  rendering  a photograph  of  a light  or  rough 
dress  dark  or  smooth  in  appearance,  which  consists  in  c ivering  a 
photographic  print  with  a pattern,  which  is  cut  away  so  as  to 
expose  only  such  dress,  and  then  subjecting  the  exposed  picture 
of  the  dress  to  the  action  of  light  to  darken  or  smooth  the  same, 
substantially  as  set  forth. 

5.  A cut-out  or  pattern  for  forming  groundwork  for  new 
figures  in  photographic  prints,  such  pattern  having  a cut-away 
portion  conforming  exactly  in  shape  to  the  outline  of  the  pro- 
posed new  figure,  substantially  as  described. 

286,447.  Benjamin  W Kilburn,  Littleton,  N.  H.,  assignor  to 

the  Scovill  Manufacturing  Company,  Waterbury,  Conn., 

“ Photographic  camera.” — Filed  March  30, 1883.  (No  model). 

Claim. — 1.  In  an  apparatus  for  taking  instantaneous  photo- 
graphs, the  combination  of  a photographic  camera  and  a support 
therefor  having  the  form  of  a guD,  and  provided  with  a shoulder- 
piece,  the  camera  being  mounted  on  the  support  in  such  a posi- 
tion that  a photographic  plate  placed  in  it  will  be  approximately 
at  right  angles  to  the  length  of  the  support,  substantially  as 
specified. 

2.  In  an  apparatus  for  taking  instantaneous  photographs,  the 
combination  of  a photographic  camera  and  a support  therefor 
having  the  form  of  a gun,  the  camera  being  so  arranged  upon 
the  support  that  a photographic  plate  placed  in  it  will  be  approxi- 
mately at  right  angles  to  the  length  of  the  support,  and  being 


detachably  connected  with  the  support,  so  that  it  can  be  removed 
and  used  on  a different  support,  substantially  as  specified. 

3.  In  an  apparatus  for  taking  instantaneous  photographs,  the 
combination  of  a photographic  camera  and  a support  therefor 
having  the  form  of  a gun,  the  camera  being  mounted  above  the 
support  in  such  position  that  a photographic  plate  placed  in  it 
will  be  approximately  at  right  angles  to  the  length  of  the  support, 
and  the  camera  being  elevated  sufficiently  to  leave  between  it 
and  the  support  an  unobstructed  passage,  affording  provision  for 
sighting  along  the  barrel-like  portion  of  the  support,  substanti- 
ally as  specified. 

4.  In  an  apparatus  for  taking  in«tantaneous  photographs,  the 
combination,  with  a photographic  camera  provided  with  a fly- 
shutter,  of  a support  having  the  form  of  a gun,  on  which  the 


camera  is  mounted  in  such  a position  that  a photographic  plate 
placed  in  it  will  be  approximately  at  right  angles  to  the  length 
of  the  support,  the  said  support  being  provided  with  a shoulder- 
p:ece,  and  means  connected  to  the  shutter  and  extending  along 
the  support  nearly  to  the  shoulder-piece,  so  that  they  may  be 
actuated  to  effect  the  release  of  the  shutter,  substantially  as 
specified. 

Specification  Published  during  the  Week. 

1095.  J.  W.  Tattkusall,  “Apparatus  for  washing  photographs.” 
The  object  of  this  invention  is  to  wash  photographs  on  paper 
and  glass  more  expeditiously  and  more  effectually  than  hitherto. 
I accomplish  my  object  in  the  following  manner  : I construct  a 
casing  of  zinc,  tin,  wood,  or  other  suitable  material  for  a small 
business,  and  for  large  businesses — I fit  up  a room.  Into  the 
case  or  room  as  the  business  requires,  I so  arrange  piping  con- 
nected with  the  town's  main  or  other  water  supply,  with  jets,  so 
constructed  as  to  break  up  the  water  issuing  from  6uch  jets 
into  fine  spray  ; this  spray  is  brought  into  either  direct  or  indirect 
contact  with  the  photographs,  which  in  one  case  I place  upon 
trays  above  the  outlet  for  overflow,  and  in  the  other  somewhat 
below,  such  overflow.  I know  of  no  mode  of  washing  by  aby 
apparatus  which  will  accomplish  the  effectual  washing  in  less 
than  four  hours ; by  my  improved  apparatus  I can  effectually 
wash  photographs  in  les3  than  thirty  minutes. — Provisional 
protection  only. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.R.S. 

Aplanatic  lenses  awl  Jlalness  of  field. — This  gives  a flat- 
ness of  field,  which  is  secured  by  the  use  of  a diaphragm 
placed  at  a proper  distance  from  a lens.  We  have  brought 
this  example  forward,  since  we  have  found  that  the 
common  idea  of  an  aplanatic  lens  is  that  of  a lens  which 
gives  a flatness  of  field.  An  aplanatic  lens  is  one  in  which 
spherical  aberration  is  corrected  for  rays  parallel  to  the 
axis ; that  is,  a lens  with  which  the  whole  aperture  of  the 
lens  can  be  used  for  bringing  a distaut  point  lying  on  or 
near  its  axis  to  a sharp  focus.  It  is  formed  by  the  com- 
bination of  two  or  more  lenses,  the  simplest  form  being 
a combination  of  a convex  with  a concave.  In  treating 
of  spherical  aberration,  we  stated  that  the  rays  refracted 
from  the  margin  of  a lens  meet  on  the  axes  closer  to  the 
lens  than  those  coming  from  the  central  portion,  and  we 
took  an  example  of  a convergent  lens.  If,  however,  a con- 
cave lens  be  used,  the  rays  from  the  margins  of  the  lens  cut 
the  axis  of  the  lens  closer  to  the  lens  than  do  the  central  rays. 
Suppose  we  combine  a concave  lens  and  a convex  lens 
together,  we  may  still  have  a convergent  lens,  but  one  in 
which  the  central  rays  and  the  rays  from  the  margins  may 
meet  at  the  same  point  on  the  axis,  and  therefore  have  the 
same  focus.  This  can  be  effected  by  properly  adjusting 
the  curves  of  each  lens.  A lens  so  corrected  is  an  aplanatic 
lens.  We  shall  see  in  another  lesson  that  there  is  another 
aberration  besides  spherical  (viz.,  chromatic)  which  has  to 
be  corrected.  It  sometimes  happens  that  in  correcting  one 
aberration,  the  other  is  over-  or  under-corrected.  If  the 
negative  (i.c.,  concave)  lens  makes  the  marginal  rays  of  the 
combination  cut  the  axis  further  from  the  lens  than  where 
the  central  rays  cut,  it  is  over-corrected,  and  the  lens  is  said 
to  have  negative  spherical  aberration.  If  the  marginal  rays 
cut  the  axis  closer  to  the  lens  than  the  central  rays,  it  is 
corrected  too  little,  and  is  said  to  have  positive  spherical 
aberration.  A lens  can  be  tested  by  using  diaphragms 
such  as  given  in  figs.  23  and  24,  Lesson  IV. 

The  effect  of  the  thickness  of  lens  on  its  focal  length. — We 
have  hitherto  treated  a simple  lens  as  if  it  had  no  thick- 
ness, that  is,  as  if  it  were  a plate  made  up  of  very  miuute 
concentric  rings  each  having  a section  of  a minute  prism. 
Practically  (and  unfortunately,  too,  for  some  things),  a lens 
has  a sensible  thickness  which  one  cannot  afford  to  neglect. 
Photographic  single  lenses  are,  however,  as  a general  rule, 
thin,  and  a rule-of-thumb  correction  can  be  made  for  the 
thickness  which  gives  tolerably  correct  results,  viz.,  to 

* Continued  from  page  619. 


Octoter  26,  1883.] 


THE  PHOTOGHAPHIC  NEWS. 


683 


add  half  the  thickness  of  the  lens  from  the  theoretical 
focal  length  mcafured  from  the  back  surface  of  the  lens. 

[In  Lesson  IV.,  it  was  stated  that  with  a lens  of  no 
thickness  — 


where  / is  the  principal  focus,  and  r1  and  r the  radii  of  the 
spherical  surfaces  (reckoned  negative,  if  on  the  opposite 
side  of  the  lens  to  the  incident  ray),  ^ tlie  index  of  refrac- 
tion. It  can  also  be  shown,  where  the  thickness  of  a lens 
is  small,  that  if  /'  be  the  practical  focal  distance  of  the 
lens,  the  thickness  of  the  lens  being  t — 


fig.  37.  At  these  two  points,  fig.  37,  draw  M M and  N N 
tangent  to  the  circles.  Then,  as  far  as  the  two  rays  are 
concerned,  we  have  two  prisms,  through  which  the  rays 


/■=/+  (vy 


tp 

/* 


which  shows  that  the  thickuess  of  a lens  alters  the  focal 
length  by 

&)"■? 

And  it  also  shows  that  it  is  very  material  as  to  which 
surface  the  rajs  fall  on,  as  only  r'  is  iuvolved  in  the 
expression. 

Example. — Let  us  take  as  an  example  a lens  whose  radii 
of  curvature  are  + 6 inches  and  <o  , or  a plano-convex  lens, 
and  let  the  light  in  one  case  fall  on  the  plane  surface, 
and  /i=l-5.  Then  by  the  theoretical  formula 


■ (4-  -i) 


X -5  = — 


Or  the  theoretical  focal  length  is  12  inches  on  the  opposite 
side  of  the  lens  to  the  incident  ray.  Now  let  the  thickness 
in  the  centre  be  -25  inch,  then 


/'=  12  + 


ay 


t f- 

-^—  = 12  + 0= — 12  inches. 


Or  the  focal  distance  is  not  altered,  the  focus  being 
measured  from  exterior  or  concave  surface  of  the  lens. 
Next  let  the  ray  of  light  fall  on  the  convex  side,  the  theo- 
retical focal  length  remains  the  same,  but 


/'=■*+ ay 


|X144 

1-5 


12+-1GG=12-166 


So  the  focal  distance  is  lengthened  by  'ICG  inches,  reckoning 
the  focus  from  the  exterior  or  flat  surface  of  the  lens.  If 
reckoned  from  the  optical  centre  which  lies  on  the  convex 
side  of  the  lens  (see  Lesson  III.),  the  length  of  focus 
would  be  12166-p25=12-4:l6  inch,  -25  being  the  thickness 
of  the  lens. 

Distortion  caused  by  die  curvature  and  thickness  of  a lens. — 

e have  shown  how  astigmatism  and  distortion  run  to- 
gether in  a single  lens.  There  is  also  increased  distortion 
produced  by  the  fact  that  a lens  must  have  thickness,  and 
cannot  be  treated  altogether  as  a lens  having  none.  The 
following  example  will  illustrate  the  distortions  due  to 
thickness  and  to  the  curvature.  Let  us  take  a plano- 
convex lens  L,*  fig.  36.  At  right  angles  to  the  axis,  and 
at  some  distance  from  it,  place  a square  figure,  of  which 
the  central  point  is  K,  lying  in  the  axis.  Let  us  also  place 
a diaphragm,  0,  in  the  axis,  and  consider  the  effect  of  the 
lens  on  two  points  a1  and  bx,  a1  being  in  the  same  hori- 
zontal plane  as  the  centre  of  the  axis.  The  rays  of  light 
from  o'  and  b' , passing  through  0,t  will  strike  the  lens  at 
a and  b respectively,  and  let  f b and  d a c be  the  section 
of  the  lens  at  those  points.  If  we  were  to  look  down  on 
the  lens  as  in  a plan,  we  should  see,  as  in  fig.  37,  the  rays 
b‘  0 bi  and  a'  O a,  as  one  straight  line,  0 a b,  and  the 
sections  of  the  lens  as  shown. 

Ihe  ray  a'  O a,  b'  0 b,  fig.  36,  would  stop  at  a and  b in 


th*  diapl!ra^inS  su^^ose^  seen  *n  perspective,  the  convex  face  next 


Fig.  36. 

0 a and  0 b are  refracted.  Now  the  prism  of  which  M M 
and  d c forms  two  sides  has  a less  vertical  (i.  e.,  refracting) 
angle  than  the  prism  of  which  N N and  f N form  the  sides ; 
therefore,  the  ray  0 a will  be  less  refracted  towards  tho 


Fig.  37. 


perpendicular  than  the  ray  O b,  and  if  S be  the  screen  on 
which  a focus  is  obtained,  the  image  of  the  point  V (from 
which  the  ray  O b proceeds)  will  usually  be  nearer  to  the 
axis  horizontally  than  the  image  of  the  point  a'  (from  which 
the  ray  0 a proceeds),  and  be  respectively  at  B and  A.  In 
this  case  it  is  clear  that  the  distance  of  B from  the  axis  is 
dependent  on  the  distance  of  P from  Q,  which  is  itself 
partly  dependent  on  the  thickness. 

If  we  trace  the  course  of  the  rays  in  a vertical  plane,  we 
shall  still  have  the  same  difference  in  the  positions  of  the 
images  of  a'  and  t',  and  the  image  of  the  square  will  have 
the  form  given  in  fig.  32.  If  the  diaphragm  were  placed 
behind  the  lens,  we  should  get  distortion,  as  in  fig.  31. 

Let  us  take  a numerical  example.  Let  the  distance  from 
O to  a is  2-5  inches,  the  radius  of  the  spherical  surface  be 
7-7  inches,  the  thickness  of  the  lens  be  £-incb,  and  the  index 
of  refraction  1-G.  Let  two  rays,  passing  through  the  stop, 
come  from  two  distant  points,  each  making  an  angle  of 
30°  with  the  axis  in  the  horizontal  plane,  one  lying  in  this 
plane,  and  the  other  making  the  same  angle  in  the  verti- 
cal plane.  These  two  rays  will  correspond  with  the  points 
a'  and  b\  fig.  36.  If  the  path  of  these  two  rays  be  traced, 
it  will  be  found  that  the  ray  corresponding  to  a’  0 will 
emerge  from  the  flat  side  of  the  lens  in  the  horizontal 
plane  at  an  angle  of  21e  29',  whilst  the  ray  corresponding 
to  b‘  O will  emerge  at  an  angle  of  20^  37'.  Now  the 
direction  in  which  there  would  be  no  distortion  would  be 
30°  from  the  point  opposite  the  optical  centre  (the  point 
where  the  axis  cuts  the  spherical  surface).  Suppose  the 
screen  to  be  placed  at  the  true  focus  for  direct  parallel 
rays : using  the  formula  in  the  preceding  paragraph, 
we  shall  find  that  distance  to  be  13 T inches. 

The  image  of  the  two  points,  if  there  were  no  distortion, 
would  be  7 6 inches  from  the  axis  on  the  screen  S in  the 
horizontal  plane.  The  ray  Oa'  would  cut  at  a distance 
6-72  inches,  and  the  ray  Ob'  6-5  inches  from  the  axis  on 
the  screen  S in  the  horizontal  plane.  This  shows  that 
the  distortion  is  barrel-shaped. 

This  indicates  that  the  further  a point  is  away  from  the 
axis,  the  less  proportionally  is  it  displaced  from  the  axis. 
If  the  diaphragm  w'ere  behind  the  lens,  the  point  o'  would 


684 


THE  PHOTOGRAPHIC  NEWS. 


[October  26,  1883. 


be  nearly  9 inches,  and  of  b'  nearly  9-4  from  where  the  axis 
cut  the  lens,  the  place  of  no  distortion,  as  before,  being 
7-56  inches.  In  this  case  the  images  ate  more  proportion- 
ally displaced  the  further  they  are  from  the  axis.  If  we 
take  an  equi-convex  lens  of  the  same  focus,  the  respective 
distances  of  o'  and  b'  on  the  screen  would  be  nearly  5-4  and 
4-4  inches  respectively,  from  axis  of  the  lens,  again  showing 
that  the  distortion  is  barrel- shaped,  and  more  pronounced 
than  in  the  plano-convex  lens.  From  these  two  examples 
it  will  be  gathered  that  the  form  of  lens  materially  alters 
the  amount  of  distortion,  and  points  to  the  employment  of 
a meniscus  form. 

Now  let  us  see  the  effect  of  thickness  of  a lens  of  double 
curvature  on  the  distortion. 


Fig.  38. 

Let  EHGF  be  a double  convex  lens,  and  let  AB  be  a ray 
refracted  to  C in  the  lens,  and  emerging  along  CD.  In  a 
theoretical  lens  the  point  E would  be  in  contact  with  B, 
and  having  the  same  curvature  as  it  has  at  that  point,  the 
ray  would  be  slightly  differently  placed,  and  at  the  same 
time  the  ray  is  lineally  displaced  by  the  difference  between 
CC'and  EE',  viz.,  CK.  This  shows  that  the  thickness 
of  a lens  makes  some  difference  in  the  distortion  that 
arises  from  the  curvatures.  The  following  diagram  shows 
graphically  the  displacements*  that  take  place  in  the  case 
of  the  plano-convex  lens  which  we  have  taken  as  an  ex- 
ample. The  rays  are  all  supposed  to  strike  the  convex 
surface  at  the  same  angle  of  30®. 


Fig.  39; 

If  a lens  be  used  without  a diaphragm  for  oblique 
'rays,  the  astigmatism  is  such  that  the  focus  is  confused  ; 
but,  at  the  same  time,  the  rays,  whose  direction  in  passing 
through  the  lens  also  pass  through  the  optical  centre,  will 
form  part  of  that  confused  image.  If  such  rays  could  be 
picked  out,  there  would  be  no  distortion,  except  a small 
amount,  which  would  be  due  to  the  thickness  of  the  lens. 
Such  could  be  used — and  are — when  the  diaphragm  is  in 
contact  with  the  lens  ; but  unfortunately,  in  such  a posi- 

* There  would  be  also  a slight  displacement  (caused  by  the  thickness) 
of  the  ray  passing  through  the  optical  centre. 


tion,  the  curvature  of  the  field  is  such  that  no  focus  on  a 
plane  surface  can  be  obtained  unless  the  aperture  in  the 
diaphragm  be  very  small  indeed. 


GLASGOW  AND  WEST  OF  SCOTLAND  AMATEUR 
PHOTOGRAPHIC  ASSOCIATION’S  EXHIBITION. 

The  Annual  Exhibition  of  work  done  entirely  by  members  of 
the  Association  will  be  held  about  the  middle  of  November,  when 
the  following  prizes  will  be  competed  for  : — 

Section  A. — Limited  to  Prints  from  Negatives  taken  since  the 
formation  of  the  Association  in  January,  1883.  1.  Best  Land- 
scape, size  of  print,  7|  by  44,  and  under,  £2  2s.  ; 2.  Second  Best 
Landscape,  size  of  print,  74  by  4 1,  and  under,  £1  Is.;  3.  Best 
Landscape,  size  of  print,  above  74  by  4 4,  £2  2s. ; 4.  Second  Best 
Landscape,  size  of  print,  above  by  4j,  £1  Is.;  5.  Best  Figure 
Study,  size  of  print,  7|  by  4£,  and  under,  £2  2s. ; 6.  Second  Best 
Figure  Study,  size  of  print,  74  by  44,  and  under,  £1  Is.  ; 7.  Best 
Figure  Study,  size  of  print,  above  by  4J,  £2  2s.  ; 8.  Second 
Best  Figure  Study,  size  of  print,  above  74  by  4 j,  £1  Is.  ; 9.  Best 
Instantaneous  Picture  of  Moving  Objects,  size  of  print,  74  by  4 j, 
and  under,  15s. ; 10.  Best  Instantaneous  Picture  of  Moving 
Objects,  size  of  print,  above  by  4 j,  15s. 

Section  B. — For  Prints  from  Negatives  of  any  size,  taken  at 
any  time.  11.  Best  Landscape,  £2  2s. ; 12.  Second  Best  Land- 
scape, £1  Is.  Certificates  of  Merit  will  be  awarded  for  the  Best 
Transparency , Enlargement , and  Fortrait  taken  in  the  Open  Air. 

Conditions. 

1 . The  prizes  will  be  awarded  by  vote  of  members.  A voting- 
paper  will  be  given  to  each  member  before  the  Exhibition,  to  be 
tilled  up  according  to  the  instructions  on  the  voting-paper. 

2.  The  money  value  of  the  various  prizes  is  given  opposite,  but 
successful  competitors  must  select  some  piece  of  apparatus,  &c., 
of  the  prize  value,  upon  which  an  inscription  may  be  put. 

3.  Each  exhibit  must  be  suitably  framed,  and  bear  the  name 
of  subject,  class  for  competition,  and  member’s  name  on  the 
front. 

4.  Not  more  than  four  pictures  for  competition  in  each  class 
to  be  exhibited  by  any  member  ; but  there  is  no  limit  to  the 
number  of  pictures  not  for  competition  sent  in  by  any  member. 
Such  pictures  must  be  marked  distinctly  “ Not  for  competition.” 

5.  No  picture  that  has  been  previously  shown  at  a public 
exhibition  will  be  admitted  for  competition. 

6.  The  Exhibition  will  be  open  for  two  days,  from  10  a.m.  till 
10  p.m.,  and  the  admission  will  be  by  ticket  only.  Tickets  for 
members  and  friends  may  be  had  free  of  charge  at  the  October 
Ordinary  Meeting,  or  on  written  application  to  the  Secretary. 

7.  The  term  “ Landscape  ” includes  seascapes,  tree  studies, 
river  views,  waterfalls,  ruins,  &c.  A “ Figure  Study  ” may  be 
defined  as  a picture  containing  at  least  one  human  figure,  or 
group  of  figures,  with  accessories,  the  essential  points  being,  firstly, 
that  the  whole  composition  shall  suggest  some  definite  idea,  or 
tell  its  own  story.  Secondly,  that  the  figures  form  the  most 
prominent  part  of  the  picture.  Portraits  pure  and  simple  are 
not  included  under  this  head. 

8.  Members  joining  the  Association  in  October,  1883,  will  be 
permitted  to  compete ; but  the  proposal  forms,  duly  filled  up, 
must  be  sent  to  the  Secretary  at  least  a fortnight  before  the 
second  Tuesday  in  October  (Rule  X.). 


®0ms£0nj&£tttt. 

PHOTOGRAPHIC  COPYRIGHT. 

Sir, — Enclosed  I beg  to  hand  you  form  of  instructions 
for  registration  of  photographs,  &c.,  which  can  be  obtained 
here,  and  which  you  may  think  of  sufficient  interest  to 
your  readers  to  notice  in  one  of  your  issues. — Yours 
obediently,  Ciias.  Robekt  Rivington, 

Stationers'  Hall,  E.C.,  October  12th.  Registrar, 
Copyright. — The  author,  being  a British  subject  or  resident 
within  Her  Majesty’s  dominions,  of  aDy  original  painting,  draw- 
ing, or  photograph  (not  sold  before  29th  July,  1862),  has  the 
exclusive  right  of  copying,  engraving,  reproducing,  and  multi- 
plying such  painting  or  drawing,  and  the  design  thereof,  or  such 
photograph,  and  the  negative  thereof,  by  any  means  or  size, 
whether  made  in  the  Queen's  dominions  or  not,  for  his  life  and 


October  26,  1883. | 


THE  PHOTOGRAPHIC  NEWS. 


seven  years  after  ; but  any  other  person  may  represent  the 
scene  or  object  represented  by  such  painting.  The  copyright  of 
any  painting,  drawing,  or  negative  of  a photograph  made  for 
valuable  consideration  belongs  to  the  person  giving  the  considera- 
tion. Upon  transferring  the  ownership  of  painting,  the  copyright 
should  be  transferred  or  reserved  by  agreement  in  writing,  or  it 
will  cease  to  exist. 

Necessity  for  Registration. — No  proprietor  of  copyright  is 
entitled  to  the  benefit  of  the  Act  until  registration,  and  no  action 
can  be  maintained  nor  any  penalty  recovered  in  respect  of  any- 
thing done  before  registration. 

Registration. — Every  copyright  must  be  registered  at 

Stationers’  Hall  by  the  proprietor  lodging  a signed  memorandum 
of  such  copyright  at  the  Copyright  Office,  with  a fee  of  Is. 
Special  care  should  be  taken  to  describe  the  work  as  either 
“Painting,”  “Drawing,”  or  “Photograph,”  adding  a short 
description  of  the  nature  and  subject  of  the  work,  and,  whenever 
practicable,  a sketch  outline  or  photograph  should  be  annexed. 

Assignments  should  be  registered  by  lodging  at  the  Registry 
for  entry  in  the  -Register  Book  a memorandum  signed  by  the 
proprietor  with  a fee  of  Is. 

The  memorandum  for  registration  of  a copyright  or  assign- 
ment should  be  in  the  form  printed  on  the  back  hereof. 

Certified  Copies  of  entries  can  be  obtained  on  payment  of  a fee 
of  6s.,  and  such  copies  are  primd  facie  proof  of  the  matters 
alleged  therein. 

Applicants  not  conversant  with  the  mode  of  registration  are 
recommended  to  apply  personally,  or  by  their  London  agent,  as 
any  error  in  the  statement  delivered  may  invalidate  the  entry, 
and  no  alteration  can  be  made  in  the  Register  Book,  except  by  an 
order  of  the  High  Court  of  Justice  or  one  of  the  Judges  thereof. 

A stamped  and  addressed  envelope  should  be  enclosed  with  all 
written  applications  requiring  an  answer. 


PALL  MALL  EHHIB1TION. 

Dear  Sir, — In  your  interesting  notice  of  above  in  to-day’s 
issue  you  say  : Mr.  Charles  Andrea  shows  a goodly  collec- 
tion of  good  woik,  one  of  his  most  taking  pictures  being 
“ Old  Cottages,  Yalding  ” (15G),  a wonderful  bit  of  Kentish 
village  scenery ; the  mullioned  wiudows  and  quaint  door- 
ways of  the  old-fashioned  tenements  being  treated  in  most 
artistic  fashion,  while  the  technical  details  are  faultless.” 

Permit  me  to  say  that  the  frame  thus  referred  to  (156), 
including  the  “ Old  Cottages,  Yalding,”  is  mine.  By  in- 
serting this  correction  you  will  oblige,  yours  truly, 

John  G.  Horsey. 

[We  congratulate  Mr.  Horsey,  and  regret  that  his  name 
did  not  appear  in  the  Catalogue  opposite  this  frame  of 
perfect  little  prints. — Ed.  P.N.] 


PHOTOGRAB HIC  OPTICS. 

Dear  Sir, — Capt.  W.  de  W.  Abney,  in  his  reply  to  my 
strictures  upon  two  statements  that  were  made  in  the  last 
of  his  “Lessons  in  Optics,”  avoids  either  defending  or 
abandoning  the  first  referred  to,  viz.,  “ that  distortion  is 
principally  the  result  of  astigmatism  ” ; and  as  to  the 
second,  “ When  the  diagram  is  behind  the  lens,  the  image 
of  a point  lying  near  the  direction  of  the  axis  will  be  less 
proportionally  displaced  than  the  image  of  a point  lying 
farther  away  from  the  axis;  whilst  wheu  the  diaphragm  is 
in  front,  the  image  of  the  first  point  would  be  more  pro- 
portionally displaced  than  that  of  the  latter.”  I am  sur- 
prised that,  having  bad  the  opportunity  of  retracting  it,  he 
should  have  thought  proper  to  defend  it.  The  statement 
is  a self-evident  absurdity  to  all  who  can  grasp  the  whole 
of  a long  sentence,  and  at  the  same  time  carry  in  their 
minds  the  diagrams  of  pin-cushion  and  barrel-shaped 
distortion. 

It  may  make  the  matter  clearer  to  put  the  two  diagrams 
together.  The  square  represents  the  true  projection  by  a 
non -distorting  lens  of  a square  object ; the  outer,  orpin- 
cushion,  represents  the  form  given  to  such  an  object  by  a 
lens  with  a diaphragm  behind  ; and  the  inner,  or  barrel- 
shape,  the  form  given  by  a lens  with  the  diaphragm  in  front. 
Now  the  proper  place  of  the  image  of  each  point  in  the 
object  is  a point  in  the  straight  lines  of  the  square.  By 


distortion  they  are  displaced,  and  in  both  cases  are  more 
proportionally  displaced  towards  the  corners,  or,  as  1 stated 
in  contradiction  to  Capt.  Abney,  the  image  of  e j oint 


lying  near  the  direction  of  the  axis  will  be  less  propor- 
tionally displaced  than  the  image  of  a point  lying  farther 
away  from  the  axis,  whether  the  diaphragm  is  behind  the 
lens  or  in  front  of  it. 

As  to  the  cause  of  distortion,  after  accusing  my  diagrams 
of  a contradiction  which  does  not  exist,  Capt.  Abney 
enquires,  “Assuming  his  (Mr.  Debenham’s)  explanation 
of  distortion  correct,  what  kind  of  distortion  would  there 
be  if  the  convex  face  of  the  lens  faced  the  diaphragms?  ” 
The  answer  is  very  simple.  The  kind  of  distortion  re- 
mains the  same,  however  much  its  amount  might  be 
affected  by  such  a position. 

Capt.  Abney  charges  me  with  dogmatic  “ expres- 
sion of  criticism  and  wonderful  self-assertion.”  Pass- 
ing over  the  question  of  the  good  or  bad  taste 
of  introducing  such  personalities  into  a discussion, 
I would  observe  that  the  science  of  optics  is  a tolerably 
exact  one,  and  that  the  matters  under  consideration  are 
matters  not  of  opinion,  but  of  fact ; withiu  the  knowledge, 
actual  or  easily  attainable,  of  every  scientific  man.  In 
matters  of  opinion  a certain  diffidence  is  proper  and 
becoming,  which  would  be  out  of  place  when  dealing  with 
mathematical  facts. — Yours  truly,  W.  E.  Debenhaji. 


Dear  Sir, — Through  your  courtesy,  I am  enabled  to 
reply  to  Mr.  Debenham’s  letter  at  once.  I leave  the  matter 
as  it  stands,  however,  remarking  that  he  has  taken  upon 
himself  to  alter  my  meaning  in  the  quotation  he  made  from 
my  lesson.  My  displacement  of  image,  as  the  context  shows, 
was  measured  from  the  axis— his  is  not.  1 fully  agree  with 
the  last  sentence  of  his  letter. 

Regarding  Mr.  Wheeler's  correspondence,  I shall  be 
glad  to  investigate  the  problem  he  proposes,  and  have  to 
thank  him  for  pointing  out  a necessary  verbal  correction 
to  make  as  regards  distortion. — Yours  faithfully, 

W.  de  W.  Abney. 


THE  EXHIBITION  CATALOGUE. 

Dear  Sir, — Referring  to  the  letters  of  Mr.  W.  Davies 
and  England  Bros,  in  your  issue  of  last  week,  I do  not  see 
that  the  misquotation  from  Tenuyson  has  been  rectified. 
I hope  he  will  not  see  the  hash  that  has  been  made  of  his 
beautiful  lines,  which  in  the  revised  edition  of  the  catalogue 
now  before  me  are  made  to  read  as  follows — 

I cliatter  over  stony  ways,  in  little  sharps  and  ebbles  ; 

I bubble  into  eddying  ways,  I bubble  on  the  pebbles  ; 

I chatter  chatter  as  I flow  to  join  the  brimming  river ; 

For  men  may  come  and  men  may  go,  but  I go  on  for  ever. 

A very  casual  reference  to  the  poems,  which  are  in  the 
hauds  of  most  educated  people,  would  show  the  lines 
to  be — 

I chatter  over  stony  ways, 

In  littlo  sharps  and  trebles, 

I bubble  into  eddying  bays, 

I babble  on  the  pebbles. 

I chatter,  chatter,  as  I flow, 

To  join  the  brimming  river 
For  men  may  come  and  men  may  go, 

But  I go  on  for  ever. 

The  “ sharps  and  trebles  ” are  of  course  suggested  by  the 


686 


THE  PHOTOGRAPHIC  NEWS. 


[October  26,  1883. 


mu3ic  of  the  brook.  It  bubbles  into  the  bays ; it  babbles  on 
the  pebbles.  It  really  seems  incredible  that  in  quoting 
four  lines  from  a well-known  poem,  so  many  mistakes  could 
possibly  bo  made.  “Ebblos"  for  “trebles;”  “ways” 
for  “bays;”  “bubble”  for  “babble.”  It  is  enough  to 
make  the  author  tear  from  his  head  the  little  hair  of  which 
his  photographs  show  him  still  to  be  possessed. — Yours 
obediently,  F.  H.  Carter. 

Wood  Vale,  Forest  Ilill. 


PHOTOTYPE  BLOCKS  AND  OUR  PATENT  LAWS. 

Dear  Sir,— Having  just  received  Nos.  1,306  and  1,307 
of  the  News,  I am  astonished  at  the  possibility  of  the 
“ interesting  feature  ” of  the  Luxotype  of  Messrs.  Brown, 
Barnes,  and  Bell,  mentioned  in  the  Notes,  being  tenable  as  a 
patent,  seeing  that  most  of  these  methods  for  breaking  up 
the  half-tones  iu  a phot  ograpli  have  been  published  loug 
ago. 

In  the  first  instance,  Mr.  W.  B.  Woodbury  published  in 
1870,  in  answer  to  a letter  by  Mons.  Davanne,  means  for 
giving  a grain  or  stipple  to  gelatine  reliefs  by  the  aid  of 
emery  and  other  powders;  and  the  Brothers  Bullock  pub- 
lished their  method  of  graining  negatives  by  laying  a 
transparent  grained  medium  upon  the  picture  or  negative, 
and  taking  a copy  therefrom,  so  that  the  resulting  picture 
would  be  grained.  Or  they  proposed  making  a picture 
upon  transfer  paper  which  had  been  previously  grained  by 
any  means  whatever— vide  “ Handbuch  der  Emailphoto- 
graphie,  &c,”  by  the  late  A.  Martin,  1872. 

There  the  lining  or  stippling  from  a printing  medium 
by  the  use  of  printers’  ink  is  already  protected  by  patent 
No.  1535,  a.d.  1879,  the  results  of  which  invention  is,  the 
rapid  production  of  printing  and  copying  surfaces,  etched 
blocks  for  printing,  and  for  the  making  of  printing  blocks 
by  photographic  agency. 

F urther,  patent  No.  3732,  a.d.  1881,  says : — “The  exposed 
prints  are  of  two  kinds;  if  the  photograph  is  a reproduc- 
tion of  lines,  it  requires  no  special  treatment,  but  if  it  be 
a photograph  from  nature  or  an  artistic  drawing  in  half- 
tone, it  is  first  covered  with  a thin  pellicle  to  give  the 
necessary  grain.  It  will  be  evident  that,  instead  of  produc- 
ing a uniform  grain,  it  will  be  easy  to  produce  for  the 
purpose  of  a photographic  negative,  either  artistically  an 
original  of  any  kind,  or  mechanically,  by  employing  wire 
or  other  cloths  combined  in  various  ways  in  order  to  pro- 
duced the  effect  indispensable  in  certain  kinds  of  engrav- 
ings, &c. 

If  the  Luxotype  patent  is  valid  after  the  above,  then  the 
patent  laws  still  permit  vast  monopolies,  as  intimated  by 
Mr.  D.  C.  Dallas,  twenty  years  past,  in  his  letter  to  the 
Journal  of  the  Society  of  Arts,  anent  his  photo-electric 
engraving. 

Here  is  another  example  in  confirmation  of  the  above. 
Mr.  John  Moss  has,  through  his  representatives,  applied 
for  a patent  for  Russia  for  his  improved  method  of  trans- 
ferring designs,  &c.,  as  laid  down  in  Specification  No.  388, 
a.d.  1882.  But  there  is  very  little  novelty  in  it.  The  im- 
provement consists  in  impressing  the  design  upon  a gelatine 
tissue  by  the  action  of  light,  raising  the  unchanged  portions 
by  moisture,  inking  in  and  finally  pressing  it  to  the  surface 
which  is  to  be  etched.  Further,  he  claims  the  dusting-on 
of  a resinous  powder  as  a protecting  medium,  and  the  use 
of  perchloride  of  iron  for  etching  upon  copper  substantially 
as  described. 

As  the  above  has  been  published  over  and  over  again, 
no  novelty  was  found,  and  I imagine  that  patents  would 
not  be  granted  so  easily  in  England  if  the  specifications 
were,  while  in  the  provisional  protection  stage,  hauded 
over  to  competent  authorities.  For  instance,  over  here 
the  applications  for  patents  are  all  forwarded  to  the  council 
of  the  Imperial  Polytechnical  Society,  whence  they  are 
distributed  to  the  several  sections,  according  to  the  subjects 
treated,  who  in  their  turn  determine  their  validity  as 
patents.  In  a recent  issue  of  the  Polygrajdtische  Centralblatt, 


a great  future  is  prophesied  for  the  above  process  iu 
Germany,  where  a full  patent  has  been  granted  on  the 
strength  of  the  English  one.  Very  likely  the  Patent  Com- 
missioners grant  patents  indiscriminately. — Respectfully 
Yours,  C.  Chestekman. 

St.  Petersburg,  Oct.  10th.  1883. 

[Patents  are  constantly  granted  for  old  inventions,  and 
the  consequence  is  that  but  a moderate  proportion  of  them 
are  valid.  Agents  draw  a well-marked  distinction  between 
“ fighting  patents  ” and  “ ordinary  patents.” — Ed.  P.N.] 

AFAR-OFF  PHOTOGRAPHY. 

Dear  Sir,— In  the  Photographic  News  of  the  12th 
inst.  you  insert  a letter  and  issue  strictures  on  my  enlarged 
photograph  of  the  Isle  of  Man  as  seen  from  Blackpool, 
evidently  to  some  extent  the  result  of  misrepresentation  or 
misapprehension,  if  not  also  for  the.  ulterior  purpose  of 
injuring  my  reputation  as  an  artist. 

I beg  to  enclose  you  a copy  of  the  original  negative,  and 
also  a memorandum  given  with  each  photograph  sold,  in- 
forming the  purchaser  that  it  did  not,  and  does  not,  abso- 
lutely represent  the  original  negative  as  taken,  but  that  it 
is  an  enlargement  made  to  bring  out  more  strikingly  the 
contour  of  the  hills.  The  buoy  (not  buoys)  and  the  sea- 
gulls are  simply  an  artistic  manipulation  to  give  more  depth 
and  interest  to  the  picture,  and  do  not  in  any  way  impugn 
the  integrity  or  originality  of  the  photograph. 

Trusting  to  your  fairness  to  insert  this  in  your  next 
issue,  I am,  yours  respectfully,  li.  Banks. 

PS. — 1 may  add  that  it  is  no  uncommon  thing  to  see  the 
Isle  of  Man  from  Blackpool,  as  many  can  testify. 


§r0«ibia03  0i  j&omfus. 

Photographic  Society  of  Great  Britain. 

A meeting  was  held  in  the  Gallery,  5a,  Pall  Mall  East,  on 
Tuesday  last,  the  23rd  instant,  Capt.  Abney  in  the  chair. 

After  some  formal  business,  those  gentlemen  who  had  con- 
tributed apparatus  to  the  Exhibition  were  invited  to  explain  any 
points  of  interest  relating  to  their  exhibits. 

The  multiplex  back  (see  p.  270)  was  first  explained  by  Mr. 
Dale,  who  considered  it  to  afford  a practical  solution  to  the 
question  of  changing-boxes  v.  slides. 

The  Chairman,  however,  pointed  out  the  undesirability  of 
unduly  loading  the  camera,  and  appeared  to  consider  that  the 
use  of  the  clianging-box  iu  question  would  necessitate  a very 
much  heavier  and  less  convenient  stand  than  would  suffice  for 
an  ordinary  camera  and  back.  He  then  commented  on  the 
desirabilty  of  adopting  the  standard  screw  of  Photographic  Society 
for  new  forms  of  apparatus. 

Mr.  Samuels  next  explained  the  action  of  his  changing-box 
(page  649).  T he  ease  and  rapidity  with  which  he  manipulated 
the  apparatus  produced  a favourable  impression  upon  those 
present ; still  it  was  urged  that  the  main  disadvantage  of  such 
an  apparatus  consists  in  the  circumstance  that  it  would  require 
an  especially  heavy  stand. 

Mr.  George  Smith  next  called  attention  to  an  improvement 
in  his  brattice-stand.  Instead  of  hinging  only  one  end  of  the 
top  stretcher  into  the  bifurcation  of  the  leg,  and  adowing  the 
other  end  to  merely  push  against  its  seating,  he  now  not  only 
hinges  each  end  of  the  stretcher,  but  also  provides  a kind  of 
toggle  joint  in  the  middle  of  the  stretcher.  By  this  arrangement 
the  stand  can  be  more  quickly  set  up,  and  the  legs  are  tied  more 
firmly  to  the  top  of  the  stand.  He  also  showed  his  long-focus 
portable  camera. 

Mr.  Shew  called  attention  to  slides  so  constructed  as  to  be 
charged  through  a slot  instead  of  the  usual  manner,  and  he 
wished  to  gather  the  opinion  of  those  present  as  to  the  relative 
advantage  of  this  form,  resembling,  as  it  did,  a pattern  in  use 
many  years  ago,  and  the  kind  usually  met  with. 

Mr.  Sands  next  called  attention  to  his  adjustable  finder,  which 
could  not  only  be  readily  adapted  to  any  camera,  but  could  bo 
so  adjusted  as  to  indicate  the  field  of  a lens  of  any  focus.  It  can, 
moreover,  be  readily  folded  up  so  as  to  lie  flat  in  the  pocket. 

Mr.  Stebbings’  roller  camera  was  next  handed  round. 


October,  26  1883.] 


TEE  PHOTOGRAPHIC  NEWS. 


687 


The  Chairman  remarked  that  it  was  not  quite  satisfactory  to 
measure  off  tissue  for  each  exposure  by  rotating  one  of  the  rollers 
through  a constant  angle,  as  one  roller  became  virtually  larger, 
while  the  other  became  smaller,  as  the  work  proceeded. 

Mr.  Watson  showed  some  examples  of  excellent  photographic 
cabinetwork,  and  alluded  to  the  advantage  of  employing  Russian 
leather  for  camera  bellows,  when  the  apparatus  was  to  be  used 
in  India. 

The  Chairman  said  that  his  personal  experience  in  India  had 
led  him  to  regard  the  supposition  that  insects  would  not  attack 
Russian  leather  as  a popular  delusion. 

Mr.  Cowan  demonstrated  the  ease  with  which  plates  could 
be  transferred  from  slide  to  plate-box,  and  vice-versa,  in  com- 
plete darkness,  his  sleeve-tent  being  used  for  the  purpose. 

Sheffield  Photographic  Society. 

The  annual  meeting  of  the  above  Society  was  held  in  the 
Masonic  Hall,  on  Tuesday,  October  2nd,  Dr.  Morton,  the  presi- 
dent, in  the  chair.  • 

The  minutes  of  the  last  meeting  having  been  read  and  con- 
firmed, and  business  arising  thereout  discussed,  the  accounts  for 
the  past  year  were  presented  to  the  meeting,  having  been 
audited  by  Messrs.  Collinson  and  Yeomans,  and  showed  a sub- 
stantial balance  in  favour  of  the  Society. 

The  election  of  officers  was  then  proceeded  with,  with  the 
following  result : — 

President— Councillor  T.  Firth. 

Vice- Presidents — Dr.  MortoD,  G.  V.  Yates. 

Treasurer — W.  B.  Hatfield. 

Council — Messrs,  llawson,  J.  Yeomans,  and  the  Officers. 

Hon.  Secretary — J.  Taylor,  Holland  Place,  London  Road. 

The  thanks  of  the  Society  were  voted  to  the  retiring  officers 
for  their  past  services,  to  which  Dr.  Morton  briefly  responded. 

Mr.  Firth  then  took  the  chair,  and,  in  doing  so,  expressed  the 
hope  that  the  next  year  would  be  more  prosperous,  photo- 
graphically speaking,  than  the  last,  and  that  some  good  work 
would  be  shown  at  the  approaching  exhibition. 

The  proposed  exhibition  then  came  up  for  discussion,  and  a 
committee  was  appointed,  together  with  the  officers,  to  make  all 
necessary  arrangements.  The  exhibition  will  be  held  early  in 
January.  It  was  also  resolved  that  the  next  meeting  be  pre- 
ceded by  a substantial  tea,  to  be  provided  by  the  steward. 

The  meeting  then  adjourned. 


London  and  Provincial  Photographic  Association. 

At  a meeting  of  this  Society  held  on  Thursday,  the  ISth  inst , 
Mr.  W.  J.  Osman  in  the  chair, 

Mr.  Cowan  exhibited  a frame  of  transparencies  illustrating  the 
latitude  of  colours  obtainable  by  the  gelatino-chloride  process. 
When  a suitable  developer  is  used,  the  colours  ranged  from  the 
cold  slatey  blue  to  red,  without  any  alteration  in  the  time  of  ex- 
posing. The  exposure  was  five  seconds  to  daylight,  all  the 
plates  being  from  the  same  batch  of  emulsion.  The  difference 
in  colour  was  obtained  by  the  use  of  various  citrates  and  modifi- 
cations with  ferrous  sulphate  aud  ferrous  oxalate.  In  reply  to 
questions,  he  (Mr.  Cowan)  had  experimented  with  all  the  citrates  ; 
the  citrates  of  soda  and  calcium  were  not  suitable. 

The  Chairman  asked  if  Mr.  Cowan  had  used  tungstate  of  soda 
or  any  of  the  tartrates. 

Mr.  Cowan  had  not  experimented  with  either,  but  thought 
some  of  the  tartrates  might  be  found  useful. 

Mr.  A.  L.  Henderson,  in  following  some  of  Mr.  Carey  Lea’s 
experiments,  had  tried  ammonia-tartrate,  but  was  not  successful ; 
he  questioned  whether  the  red  colour,  or  auy  of  the  warm  tones 
exhibited  by  Mr.  Cowan,  would  be  auy  more  permanent  than 
silver  prints  on  albumenized  paper. 

Mr.  Cowan  had  produced  some  more  than  eighteen  months 
ago,  and  could  discover  no  change  in  them. 

Mr.  Henderson  desired  to  know  which  colours  exhibited  the 
finest  deposit.  In  his  experience,  with  wet  collodion  transparen- 
cies, he  could  get  warm  colours  by  over-exposing  and  develop- 
ing less  : but  the  deposit  was  not  regular. 

Mr.  W Ellington  said  silver  would  be  depo-ited  much  finer  in 
the  dark  tones  than  it  would  in  those  of  warmer  colour. 

Mr.  Henderson  passed  round  some  negatives  showing  pin- 
holes, and  asked  if  any  member  was  familiar  with  them.  When 
the  plates  were  sent  to  him  by  one  of  the  country  members,  he 
attributed  the  cause  to  imperfeot  filtration,  so  he  obtained  some 
of  the  emulsion,  filtered  it,  and  coated  more  plates  with  very 
little  better  success.  Mr.  Starnes  had  given  him  a clue  to  the 


mysteiy,  and  he  should  probably  find  it  due  to  some  partic 
of  a compound  present  which  is  not  sensitive  to  light. 

Mr.  Barker  thought,  from  the  character  of  the  pinholes, 
iodide  of  silver  was  present.  The  effect  of  iodide  in  emulsions 
depended  much  on  how  the  double  salt  was  formed. 

Mr.  Haddon  thought  if  it  were  due  to  iodide,  the  same  spots 
would  be  seen  in  any  emulsion  in  which  iodide  is  present ; he 
should  suspect  the  gelatine. 

Mr.  Henderson  replied  that  other  samples  of  gelatine  gave 
a similar  result ; sulphate  of  silver  might  be  present. 

Mr.  E.  Debenham  said  if  it  were  sulphate  of  silver,  the  quantity 
would  be  infinitesimal,  and  the  excess  of  iodide  or  bromide 
would  tend  to  prevent  any  such  formation,  an  opinion  supported 
by  several  other  gentlemen. 

Mr.  Henderson  a?ain  brought  forward  a method  of  reducing 
the  image,  and  clearing  away  green  fog,  by  exposing  the  plates 
to  the  fumes  of  strong  cyanide  of  potassium  solution,  or  hydro- 
cyanic acid  (Scheele’s).  A very  intense  negative  lent  by  Mr. 
Cowan  had  been  equally  reduced,  and  was  now  of  good  printing 
density.  If  a plate  were  left  long  enough,  it  would  become  per- 
fectly clear,  showing  the  evanescent  state  of  silver  under  certain 
conditions.  A cold  saturated  solution  of  cyanide  of  potassium 
should  be  used,  so  that  air  can  freely  pass  between  the  surfaces 
of  the  plate  and  the  solution.  The  plate  should  be  in  a moist 
condition.  In  reply  to  Mr.  Brown,  the  green  fog  disappeared 
first,  and  the  image  by  prolonged  action. 

Mr.  Debenham  said  as  cyanide  of  silver  is  transparent,  it 
might  remain  in  the  film  without  being  observed. 

The  Chairman  should  expect  the  green  fog  to  go  first,  then 
the  image  ; but  it  was  not  clear  that  upon  the  application  of  a 
suitable  developer  the  image  could  not  be  restored. 

Mr.  Hart  had  formed  a theory  to  account  for  this.  Suppose 
the  components  of  cyanide  to  be  split  up,  and  carbon  disengaged 
to  form  carbon  dioxide  with  ah-  or  water  ; ammonia  might  in  the 
latter  case  be  formed,  which,  being  volatile,  would  evaporate, 
carrying  the  silver  w ith  it. 

Mr.  Golding  asked  if  any  member  could  suggest  an  effective 
and  reliable  method  for  reducing  negatives  locally. 

The  Chairman  treated  the  dense  parts,  while  still  wet,  with  a 
solution  of  perchloride  of  iron,  afterwards  re-fixing  in  hypo- 
sulphite ; he  applied  the  iron  by  means  of  a camel  hair  pencil. 

Mr.  Henderson  said  Mr.  Barber,  of  Sheffield,  had  been  very 
successful  with  a cutting  powder  for  local  reduction. 

Mr.  Barker  had  used  fine  emery  aud  rotten  stone  with 
excellent  results. 

Mr.  Hart  had  tried  perchloride  of  iron,  but  gave  his  pre- 
ference to  iodine  and  cyanide. 

Mr.  Debenham  used  a mixture  of  ozone  bleach  and  chrome 
alum  ; he  found  by  applying  it  withabiush  carefully  there  was 
little  danger  of  its  acting  beyond  the  part  desired,  and  it  was 
easily  washed  off. 

Mr.  Barker  called  attention  to  a plate  showing  some  apparent 
insensitive  markings,  which  he  had  proved  to  be  caused  by 
examining  it  too  close  to  the  dark  room  window.  Emulsion  on 
the  back  had  acted  as  a screen  in  each  case,  the  major  portion 
being  light-fogged. 

The  following  questions  from  the  box  were  read  : — 

Why  is  sulphide  of  calcium  whiter  in  daylight  than  in  a dark 
room  ? How  much  flux  is  required  to  reduce  an  ounce  of  silver 
chloride  to  the  metallic  state  ? 

The  Chairman  said,  theoretically,  one-third  the  weight  of 
chloride  ; but  in  practice,  more  would  be  required. 

Mr.  Cowan  said  equal  parts  of  each  would  be  a safe  formulae. 

Mr.  Barker  found  less  flux  was  required  if  a small  portion 
were  first  placed  in  the  crucible,  then  a layer  of  chloride,  followed 
by  a layer  consisting  of  equal  portions  of  chloride  and  flux. 

The  following  gentlemen  were  elected  members  of  the  Associa- 
tion : — Messrs.  J.  Burgess,  E.  Morrow,  E.  S.  Scranbrook,  and 
W.  T.  Wilkinson. 

Mr.  Henderson  passed  round  a cabinet  group  of  some  of  the 
prominent  members  of  the  British  Association,  taken  by  Mr. 
Silas  Ea-tham. 

Mr.  Wellington  called  attention  to  a transparency  he  in- 
tensified in  three  sections  : first  portion  with  bichloride  of 
mercury  ; second  portion  with  bromide  of  potassium  added  ; and 
the  third  portion,  ammonium  chloride  added  to  bichloride  of 
mercury.  The  first  and  third  portions  darkened  when  subse- 
quently treated  with  ammonia  ; the  second  portion  did  not 
darken,  but  it  readily  blackened  in  a solution  of  cyanide  of  silver. 

Mr.  Prestwich  was  announced  to  occupy  the  chair  on  the  next 
occasion. 


688 


THE  PHOTOGRAPHIC  NEWS  [October  26,  1883. 


The  Secretary  announced  that  the'receipts  on  Friday  even- 
ing, November  2nd,  at  the  Pall  Mall  Exhibition,  were  to  be 
devoted  to  the  funds  of  the  Photographers’  Benevolent  Associa- 
tion. Members  requiring  tickets  could  obtain  them  from  him. 


Mfc  in  tfet 

Photographic  Society  of  Great  Britain — Optical  Lantern 
Evenings. — Last  Monday  evening  the  Gallery  was  again  filled 
with  visitors  (462),  the  Amateur  Field  Club  having  arranged  to 
show  a large  quantity  of  their  transparencies,  consisting  princi- 
pally of  English  scenery,  &c.  Frequent  bursts  of  applause 
greeted  the  appearance  on  the  screen  of  some  pretty  bits  of  land- 
scape and  sea  views,  the  exhibitors  being  Messrs.  G . Andrew,  F. 
Beasley,  Seymour  Conway,  J.  Gale,  Frank  Howard,  J.  Nesbit, 
and  Matthew  Whiting.  A very  interesting  picture  was  shown 
by  Mr.  Frank  Howard,  where  through  the  “ reversal  ” action  of 
light  the  “ sun  ” appeared  as  a black  spot. 

South  London  Photographic  Society.— The  annual  Techni- 
cal Exhibition  Meeting  of  the  South  London  Photographic 
Society  will  be  held  in  the  large  room  of  the  Society  of  Arts, 
John  Street,  Adelphi,  on  Thursday  evening,  November  1st,  at 
8 p.m.  Admission  free.  The  sub-committee  beg  to  call  atten- 
tion to  the  rules  framed  to  facilitate  business,  in  order  that  all 
subjects  brought  before  the  meeting  may  receive  adequate 
attention:  1. — That  papers  be  allowed  to  be  read  (which  must 
be  as  short  as  possible,  and  as  much  to  the  purpose  as  can  be 
written),  such  papers  to  be  sent  to  the  Secretary  on  or  before 
October  31st.  2. — That  opportunity  be  granted  for  practically 

working  a process,  or  making  an  experiment,  consistently  with 
the  time  at  the  disposal  of  the  committee.  3. — That  secret  pro- 
cesses or  patented  articles,  with  the  names  of  the  inventors,  and 
their  objects,  be  only  briefly  stated  by  the  Secretary  or  by  a 
member  of  the  committee.  4. — That  explanations  be  allowed, 
but  only  absolutely  in  reference  to  the  practical  uses  of  the 
articles  shown.  5. — That  questions  may  be  asked  of  exhibitors, 
referring  only  to  a clearer  understanding  of  the  subject ; but 
that  no  discussion  be  allowed  respecting  objections  or  differences 
of  opinion  on  any  matter.  6. — That  packages  be  delivered,  free 
of  charge,  by  six  o’clock  on  the  evening  of  the  meeting,  the 
exhibitor  to  arrange  for  clearing  away  the  same.  The  meeting 
for  members  will  commence  at  7.30  p.m.  for  the  nomination  of 
' officers  for  the  ensuing  year. 

H.R.H.  the  Duke  of  Albany.— Mr.  Vincent  Hatch  had  the 
honour  of  attending  at  Whitley  Hall,  the  seat  of  Mr.  H.  F. 
Beaumont,  M.P.,  and  taking  a portrait  of  the  Duke  of  Albany. 

Photographic  Club. — The  subject  for  discussion  at  the  next 
meeting  of  this  Club,  October  31st,  will  be  “ On  the  Reproduc- 
tion of  Negatives.” 


Sto  ®0msB0u&ents. 

***  We  cannot  undertake  to  return  rejected  communications. 

J.  C.  O’Loan. — We  are  much  interested  in  your  experiences,  and 
we  hope  to  gather  further  information  regarding  the  mat  ter. 

John  Westonbrooke. — 1.  Very  full  particulars  will  be  found  in 
Pritchard’s  “ Studios  of  Europe.”  2.  Try  a weaker  solution  ; say 
four  or  five  grains  to  the  ounce. 

James  Annelley. — 1.  You  are  quite  right ; and  in  ordinary  cases 
it  is  much  better  to  preserve  the  parallellism  of  front  and  back. 
2.  Lenses  of  the  symmetrical  or  rectilinear  type. 

H.  Neame. — A solution  of  the  so-called  bleaching  powder,  or  chlo- 
ride of  lime,  answers  the  purpose  very  well,  and  you  can  increase 
its  bleaching  power  by  adding  a small  proportion  of  acetic  acid  or 
hydrochloric  acid. 

Pentagraph. — 1.  Although  the  arrangement  to  which  you  refer 
is  rather  a crude  one,  it  in  reality  embodies  the  characteristic 
features  of  the  enlarging  camera  of  the  present  day.  2.  The 
frame  or  board  which  carries  the  objective  must  be  so  fitted  as  to 
prevent  any  light  passing  except  that  which  actually  passes 
through  the  lens. 

J.  E.  B. — One  might  be  developed  satisfactorily  with  the  quantity 
you  refer  to,  but  we  very  much  doubt  whether  it  would  be 
practicable  to  develop  a second  negative  with  the  same  solution. 

A--  V.  Z. — Take  care  to  use  the  water  as  cool  as  piacticable,  and 
add  a small  proportion  of  Epsom  salts ; say  an  ounce  to  each  pailful 
of  the  washing  water. 


Canvas. — We  have  already  written  to  you  privately,  and  done  as 
you  desired. 

Burnisher. — 1.  Rolling  is  easier,  but  much  superior  results  can 
can  be  obtained  by  careful  burnishing.  2.  That  you  mention  is 
as  cheap  as  any  well-made  instrument ; and  our  own  experience 
is  that  it  is  better  to  do  without  altogether  than  to  purchase  an 
inferior  article.  3.  Under  the  circumstances  we  should  recom- 
mend you  to  try  a landscape  lens  of  the  old  construction 
(meniscus)  ; such  a lens  can  generally  be  obtained  second-hand 
for  a trifle.  If,  however,  you  are  prepared  to  spend  £12  or  £15, 
you  can  obtain  a rectilinear  or  symmetrical  lens.  3.  We  know  of 
none  other  which  are  equal  to  those  you  mention  ; but  if  you  can 
distinguish  a good  lens  from  a bad  one,  you  may  perhaps  select  a 
good  one  from  the  stock  of  a second-class  maker.  5.  We  believe 

| |there  is  absolutely  no  ground  for  preferring  either  one  to  the  other. 

Leeds. — We  will  ask  him  to  tell  us  something  about  them  in  the 
Year-Book. 

A.  Brothers. — We  have  forwarded  your  note,  although  as  a rule 
we  do  not  send  on  sealed  communications. 

F.  J.  Russell. — 1.  If  you  took  the  negatives  as  a commission,  the 
coyyright.  of  the  pictures  belongs  to  your  customer ; but  if,  on 
the  other  hand,  you  engaged  them  to  sit,  the  copyright  is  yours. 
In  the  former  case  you  would  be  likely  to  get  into  trouble  if  you 
were  to  dispose  of  copies  of  the  photographs  without  permission. 

2.  Supposing  that  the  actual  picture  or  oopyright  belongs  to  the 
customer,  the  value  of  the  materials  would  be  a fair  estimate  ; or 
at  most,  the  cost  of  reproducing  a negative  from  one  of  the  prints. 
But  if  the  copyright  is  yours,  the  value  may  be  estimated  at  the 
probablo  profit  to  be  realised  by  a sale  of  the  prints. 

J.  W.  B. — Quite  possible,  but  the  ground  glass  is  likely  to  give  you 
trouble,  as  it  gets  dirty  or  obstructs  very  much  light.  It  is,  more- 
over, very  difficult  to  clean ; blinds  are  far  better. 

X.  O. — 1.  The  first  or  the  second.  2.  The  first  or  the  third. 

3.  From  10  a.m.  till  10  p.m.  You  enclosed  six  stamps,  which 
will  be  returned  if  you  will  let  us  have  a sufficient  address. 

S.  J.  Morgan. — It  is  extremely  probable  that  the  surface  of  tho 
glass  has  been  so  attacked  or  etched  by  the  alkaline  solution  as 
to  render  it  difficult ; but  we  should  advise  you  not  to  attempt  it 
yourself  unless  you  are  accustomed  to  optical  work. 

P.  Burton. — Why  not  use  oil  of  turpentine?  Itsecms  to  us  that 
you  imagine  that  by  making  a variation  you  will  become  an  in- 
ventor. A variation  which  is  also  an  improvement  constitutes  an 
useful  invention. 

Commercial. — The  opinion  of  the  District  Surveyor  may  bo  alto- 
gether wrong,  but  the  magistrate  is  likely  to  act  upon  it.  Per- 
haps it  would  boas  well  for  you  to  make  a ompromise. 

Ariel. — 1.  Very  thick  gum,  sparingly  applied.  2.  Tbe  last- 
mentioned.  3.  The  same.  4.  The  latter. 


SDJt  gljotogntpjnc  Jfcjjistrir. 

Employment  Wanted. 

Printer,  Toner,  could  operate  — E.  W.,  71,  Sutberland-st.,  Pimlico. 
Reception  Room,  first-class,  all  duties. — II.,  Photo.  News  Office. 

Operator,  wet  & dry,  good  copyist. — C.  O.,  11,  James-st„  Covcnt-gdn.,  W.C. 
Reception  Room  (Lady),  re-engagement. — A.  B.,  Swan’s  Nest,  Rydc,  I.W. 
Operator,  &c. — Williams,  138,  Matthew-pl.,  Smethwick,  nr.  Birmingham. 
Assistant  Operator.— L.,  23,  Orbel-st.,  Oastle-st.,  Battersea. 

Neg.  Retoucher  ol  exper. — Louis  Brucre,  40,  Duke-st,  Manchestcr-sq.,  W. 
Operator,  at  present  managing. — W.,  59,  Tredegar-rd.,  E. 

Operator  (experienced  lighter  A poser). — F.  C.,  186,  Mount  Pleasant,  L’pool 
Photographer’s  Son,  to  be  useful.  — Photo.  Assit.,  c/o  Marion  & Co.,  Soho-sq. 
Operator  of  ability  in  lighting  A posing. — F.  C.,  186,  Mt.-Pleasant,  Liverpool 
Young  Man  well  up  in  dry  plates,  &c.,  25/-.— E.  A.,  1,  New  North-rd.,  N. 
Manager  & Operator.— T.  O.  Whaite,  West  Bank,  Scarboro’  (till  Nov.  1st). 
Operator. — Art,  Adeline  Cottage,  West  Earring,  Worthing. 

Retoucher  & Finisher.— Pencil,  17,  Cranboume-st.,  Brighton. 

Employment  Offered. 

Artist  (first-class)  for  occasional  work. — A.  B.,  Photographic  News  Office. 
Operator  and  Retoucher  for  Oxford.— Taunt  & Co.,  Oxford. 

Transfer  Hand  (first-class).— A.  & O.  Taylor,  Queen  Victoria-st. , E.C. 
Operator  A Retoucher.  & Young  Lady  (Recep.-rm.) — IJ-Laurcnce-la  , E.C. 
Assistant  or  Man.  Philosoph.  Instrum.  Makers.— Pyro.,  rhoto.  News  Office. 
Operator,  Retoucher  and  Manager  (first-class).— Everest,  Royal  Worthing. 
Operator  (first-class,  wet  & dry). — A.  & G.  Taylor,  70,  Qu.  Victoria-st.,  E.C. 
Printer  (female  preferred). — Lowrie,  83,  Fleet-st.,  E.C. 

Operator  for  all-round  work. — Tune  & Co. , Warmington  House,  Tottenham 
Artist  in  Oils,  good  Retoucher. — Argentic,  Photographic  News  Office. 
Young  Man  or  Woman  to  Polish,  Ac. — A.  Octfelein,  Pcrcy  st.,  W. 

Printer,  Toner,  and  Vignetter.  first-class. — Winter,  Midland-rd.,  Derby. 
Improver,  to  learn  dry-plate  work. — II.  Spink,  109,  Western-rd.,  Brighton. 
Assist,  or  Manage  Optical  Inst.  Man. — Pyro.,  Photographic  News  Office. 
Operator  (good)  for  Bombay. — Marion  &Co.,  Soho-sq. 

Silver  Printer. — F.  Treble  & Son,  371a,  Brixton-road,  S.W. 

Spotter  A-  Mounter  (Young  Lady). — Treble  & Son,  371a,  Brixton-rd.,  S.W. 
Chromotype  Printer.— A.,  Photographic  News  Office. 

Reception  Room  (Lady). — E.  J.  Bright,  Arcade,  Bournemouth. 

Operator,  all-round,  for  country.— T.  B.,  Photographic  News  Office. 

Youth,  tor  a few  weeks.— Webster  Bros  , 4,  Porchcster-rd.,  Bayswatcr. 
Operator,  good  lighter  and  poser. — R.  E.,  Photographic  News  Office. 
Retoucher,  efficient. — Brown,  Barnes,  A BeH,  31,  Bold-st.,  Liverpool. 

Artist  (first-class)  for  Calcutta.— T.  E.  A.,  19,  Wigmore-st.,  CaYcadish-sq. 


Lord  F.  Cecils  Yacht  "Chittywee" 


PAT"'  " OFFICE  LIBRARY 


THE  PHOTOGRAPHIC  HEWS, 


VOL.  XXVII.  Mo.  1313. — November  2,  1883. 


.•  a’.  I , 

CONTENTS 


Photographic  Tracing  Methods 

Distortion  in  Portraiture  

Practical  Notes  on  Retouching.  By  W.  D.  Ashman. 

The  Photographic  Exhibition 

The  Dent  du  GOant.  By  Professor  W.  F. 

M.A.,  F.C.S 

A Dictionary  of  Photography 

French  Correspondence.  By  Leon  Vidal 

Notes 


PAOR 

6S9 

089 

enn 

692 

DonkiD, 

693 

691 

695 

C9G 


Patent  Intelligence  

An  Autumn  Ramble  in  Shropshire.  By  H.  J.  Palmer 

Among  the  Mountains  with  a Camera.  By  Professor  IV. 

Donkin,  M.A  , F.C.S 

Correspondence  

Proceedings  of  Societies 

Talk  in  the  Studio 

To  Correspondents 

The  Photographic  News  Registry 


PAOR 

..  698 

..  699 

' 699 
..  700 
..  701 
..  703 
..  701 
..  701 


PHOTOGRAPHIC  TRACING  METHODS. 

We  have  received  from  the  publishing  house  of  Liesegaug, 
in  Diisseldorf,  a very  compact  and  useful  hand- book*  of 
such  photographic  methods  as  have  proved  to  be  of  prac- 
tical value  for  the  direct  reproduction  of  tracings  or 
writings,  and  feel  sure  that  some  particulars  regarding 
these  processes  will  be  acceptable  to  our  readers. 

The  most  important  of  all  photographic  tracing  methods 
is  the  cyanotype  of  Pellet,  a process  depending  upon  the 
reduction  of  an  organic  ferric  salt  to  the  condition  of  a 
ferrous  salt  by  the  action  of  light ; and  so  far  it  is  analogous 
to  the  platiuotype.  Ferric  compounds  react  with  ferro- 
cyanide  of  potassium  to  form  Prussian  blue,  while  ferrous 
compounds  form  a white  salt  with  the  same  reagent,  if 
the  prepared  paper  of  Pellet  were  introduced  into  the 
ferrocyanide  developer  without  exposure,  it  would  become 
blue  all  over,  in  consequence  of  the  uniform  deposition  of 
Prussian  blue  ; but  should  any  part  have  been  sufficiently 
exposed  to  the  light,  the  paper  will  remain  white,  owing  to 
the  complete  reduction  of  the  ferric  salt  to  the  condition 
of  the  ferrous  salt  It  will  be  thus  obvious  that  the  Pellet 
process  will  therefore  reproduce  a positive  as  a positive, 
and  a negative  as  a negative ; this  circumstance  giving  it 
an  especial  value  for  copying  tracings  or  drawiuga  by 
direct  contact  printing. 

The  paper  for  the  Pellet  method  is  supplied  commercially 
by  the  patentees  of  the  process  ; but  it  is  convenient  for 
those  who  wish  to  practise  it  experimentally  to  be  able  to 
prepare  their  own  ; and  the  following  directions  will  be 
found  amply  sufficient. 

A solution  is  made  of — 

Common  salt  ...  3 parts 

Perchloride  of  iron 8 „ 

Tartaric  acid  ...  ...  ...  4 ,, 

in  100  parts  of  water ; and  this  mixture  is  thickened  by 
stirring  in  25  parts  of  powdered  gum-arabic.  The  paper 
should  be  a well-sized  and  rolled  paper,  that  known  as 
cream  laid  note  paper  being  the  most  suitable.  It  is  easy 
to  obtain  this  paper  in  the  original  sheets  from  a wholesale 
Btationer. 

The  sheet  to  be  coated  must  be  laid  on  a drawing-board, 
and  it  is  desirable  to  fasten  it  down  by  means  of  two  pins, 
after  which  the  mixture  is  applied  as  evenly  a9  possible  with 
a broad  camel’s  hair  brush.  This  operation  should  be 
performed  in  a subdued  light,  and  it  is  desirable  to  dry  the 
paper  as  quickly  as  practicable,  in  order  that  the  sensitive 
coating  may  remain  as  much  as  possible  upon  the  surface 
of  the  paper.  When  quite  dry,  the  paper  may  be  stored 
awoy  for  future  use. 

The  tracings  from  which  copies  are  to  be  taken  should 

* Die  Modernen  Lichtpaus  Verfahren,  zur  herstellung  cx  icter  Copien 
Dach  Zeichnungcn,  Stichen,  <&c.  ; Zweite  Autiago,  85  Seiten  ; 2 M irk. 


consist  of  well-defined  opaque  lines  upon  a ground  of  clean 
tracing  paper  or  tracing  cloth,  and  many  prefer  to  use 
Indiau  ink  into  which  a little  gamboge  has  been  rubbed. 
It  is  unnecessary  for  us  to  say  anything  with  respect  to  the 
kind  of  printing  frames  suitable  for  the  process  ; but  it 
may  be  mentioned  that  largo  frames  on  swing  stands  aro 
requiied  in  establishments  where  the  cyanotype  process  is 
canicd  on  commercially,  as  the  drawings  to  be  copied  are 
often  as  much  as  four  feet  loDg. 

In  sunlight  an  exposuto  of  one  or  two  minutes  is  gene- 
rally sufficient,  and  in  dull  weather  it  may  be  necessary  to 
give  as  long  an  exposure  as  one  hour.  Electric  light  is 
often  used  for  work  of  this  character,  the  time  of  exposure 
varying,  according  to  the  intensity  of  the  light,  from  twenty 
minutes  to  half  an-hour.  To  develop,  the  print  is  trans- 
ferred direct  from  the  copying  frame  to  a saturated  solution 
of  ferrocyanide  of  potassium  ; but  it  is  not  immersed  in 
this,  being  merely  floated  upon  it  face  downwards.  In  order 
to  prevent  the  developing  solution  reaching  the  back  of  the 
paper,  it  is  usual  to  fold  back  the  edges  so  that  the  paper 
forms  a kind  of  dish,  and  this  dish  floats  boat-fashion  upon 
the  developer.  In  ordinary  cases,  the  development  is  com- 
plete in  less  than  a minute  ; and  as  soon  as  the  paper  is  once 
thoroughly  wetted  on  the  face,  it  may  be  lifted  off  the  bath, 
as  the  solution  adhering  to  the  face  will  complete  the  deve- 
lopment. A blue  colouration  of  the  ground  indicates  an 
insufficient  exposure,  while  weakness  of  the  lines  indicates 
over-exposure. 

The  development  being  complete,  the  print  is  floated, 
face  downwards,  upon  clean  water,  and  in  about  two 
minutes  it  is  plunged  into  an  acid  bath  containing  8 parts 
of  hydrochloric  acid  and  3 parts  of  sulphuric  acid,  with 
100  parts  of  water.  From  six  to  eight  minutes  is  sufficient 
time  to  allow  for  the  removal  of  redundant  iron  com- 
pounds by  the  acid,  and  all  that  is  now  required  is  to 
thoroughly  wash  the  print  with  water,  and  to  dry  it.  Any 
blue  spots  may  be  readily  removed  from  the  finished  print 
by  means  of  a dilute  solution  of  caustic  potash,  applied 
with  a camel’s  hair  brush  ; 1 part  of  potash  dissolved  in 
28  parts  of  water  answers  the  purpose  admirably. 

When  cyanotype  prints  are  to  be  used 'Tin  the  workshop 
as  a guide  to  w_orkiog  engiimers,  it  is  an  excelleht  -j)lan  to 
saturate  then^  w^Awdiite  lrabd  varnish,  as  this  prevents 
the  penetration’bf  oiRRW'tliT  adhesion*  of  dirt. 

Other  photographic  tracing  methd^s  Will  be  described 
in  future  articles.  A ” . * '■  • 


DISTORTION  IN  PORTRAITURE. 

In  nine  cases  out  of  ten,  where  it  is  said  that  a portrait 
exhibits  “ distortion,”  it  in  reality  does  not  do  so,  but 
merely  shows  the  exaggerated  perspective  which  is  due 
to  the  use  of  a leus  of  too  short  focus,  or,  what  is  the  same 


690 


THE  PHOTOGRAPHIC  NEWS 


[Noyembeb  2,  1883. 


thing,  the  use  of  a plate  larger  than  the  lens  ought  to  be 
made  to  cover. 

The  exaggerated  feet  and  hands— or  even  nose,  and  so 
forth,  where  a large  head  is  taken — do  not  constitute  true 
distortion,  inasmuch  as  these  portions  of  the  person  are 
represented  precisely  as  they  would  appear  to  the  eye  of  a 
person  who  would  look  at  them  from  the  same  point  as 
the  lens  is  placed  at.  As  a matter  of  fact,  no  person  who 
had  the  means  of  retiring  to  a further  distance  would 
take  up  such  a point  of  view,  because  he  would  only  with 
difficulty  get  a general  view  of  the  subject  if  he  did,  the 
angle  which  it  subtended  being  too  great. 

Indeed,  it  may  be  said  that,  so  far  as  the  lens  is  con- 
cerned, there  is  not  in  portraiture  such  a thing  as  distor- 
tion brought  about.  It  is  true  that  certain  lenses  (and, 
among  them,  many  portrait  lenses)  do  give  actual  distor- 
tion, straight  marginal  lines  in  the  subject  being  shown 
as  curved  lines  in  the  negative.  This  distortion  is,  how- 
ever, so  slight  when  the  lens  is  used  for  a moderate 
angle,  that  in  the  case  of  a portrait  it  is  quite  inappreciable. 

If  the  angle  of  view  be  not  greater  than  that  given  by  a 
portrait  lens  of  one  of  our  best  English  makers,  used  on 
the  size  of  plate  mentioned  by  him,  it  is  safe  to  say  that 
even  in  the  case  of  a large  print,  no  point  will  be  misplaced 
by  as  much  as  a hundredth  of  an  inch. 

Actual  distortion,  although  never  the  fault  of  the  lens 
itself,  may  often  be  caused  by  the  combined  efforts  of  the 
lens  and  the  swing  back.  The  swing  back,  when  used  for 
architectural  work,  is  generally  employed  merely  as  a 
means  of  getting  parallel  vertical  lines  in  the  negative, 
whilst  the  camera  is  tipped  so  as  to  include  all  the  view 
that  is  wanted.  In  portraiture,  however,  it  is  different. 
The  swing  back  is  used,  as  a rule,  simply  to  get  different 
portions  of  the  sitter  into  focus,  and  is  used  quite  regardless 
of  whether  or  not  it  is  kept  in  a vertical  plane.  We  all 
know  that  of  two  lenses  the  longer  focus  one  gives  the 
larger  image.  Now  when  we  use  a swing  back,  this 
means  that  we  have  what  may  be  styled  different 
lengths  of  focus  given  by  the  same  lens.  The  top 
portion  of  the  plate  will  be  further  from  the  lens  than 
the  bottom  portion,  and  the  picture  then  will  as  a 
consequence  be  to  a larger  scale,  or  the  matter  will  be 
vice  versa.  In  either  case,  no  one  portion  of  the  picture 
will  be  to  precisely  the  same  scale  as  another  portion,  and 
the  result  will  be  actual  distortion. 

Such  distortion  only  becomes  very  evident  when  it  is 
added  to  the  apparent  distortion,  which  is,  as  has  been 
explained,  produced  by  the  use  of  a lens  of  too  short  focal 
length.  The  true  distortion  is  then  at  its  greatest,  and 
generally  tends  in  the  same  direction  as  the  exaggerated 
perspective  which  amounts  to  almost  the  same  thing  as 
distortion. 

The  manner  in  which  the  paper  on  which  prints  are 
made  stretches  is,  as  is  well  known,  the  cause  of  an 
amount  of  actual  distortion  which  is  most  noticeable.  The 
paper  stretches  more  in  one  direction  than  in  the  other, 
and  if  we  print  two  copies  from  a negative  of  a large  head, 
and  let  the  length  of  one  be  cut  parallel  to  the  length  of 
the  sheet  of  paper,  whilst  the  length  of  the  other  is  cut 
parallel  to  the  breadth,  the  difference  in  the  fiuished  prints 
is  most  noticeable.  In  fact,  it  will  be  remarked,  even  by 
one  who  is  by  no  means  accustomed  to  the  critical  exami- 
nation of  photographic  or  other  portraits.  The  peculiarity 
is  most  of  all  noticable  when  the  prints  are  mounted  in 
optical  contact  with  glass.  The  operation  of  so  mounting 
is  done  when  the  print  is  wet,  and  the  support  does  not 
give  even  to  the  small  amount  that  a card  does. 

This  distortion  is  not  confined  to  albumenized  paper, 
but,  at  any  rate  at  times,  makes  itself  evident  in  the  case 
of  the  paper  from  which  carbon  tissue  is  manufactured. 
Recently  there  wa3  shown  at  a meeting  of  the  London 
and  Provincial  Photographic  Association,  by  Mr.  W.  E. 
Debenham,  a species  of  actual  distortion  which  we  think 
will  be  new  to  many  of  our  readers, 


This  form  of  distortion  makes  itself  evident  in  the  nega- 
tive, and  is  peculiar  to  negatives  taken  with  gelatine  plates. 
It  is  caused  by  what  can  scarcely  be  called  running  of  the 
gelatine,  but  to  an  action  slightly  akin  to  this. 

Many  must  have  noticed  that  if  the  attempt  be  made  to 
dry  negatives  by  heat,  even  if  the  heat  be  far  short  of  that 
which  will  produce  running  of  the  gelatine,  a peculiar 
action  takes  place.  This  action  appears  to  be  due  to  a 
sort  of  surface  tension  of  the  dense  portions  of  the  image 
which  have  been  hardened  and  rendered  comparatively  in- 
soluble by  the  action  of  the  pyro  developer.  These  are,  to 
a certain  extent,  drawn  together,  the  result  at  times  being 
a sort  of  chalkiness  in  prints  taken  from  the  negative. 
The  effect  is  particularly  noticeable  in  the  case  of  a nega- 
tive in  which  there  have  been  transparent  pin  points  in  any 
of  the  high  lights.  These  pin  points  were  perhaps  almost 
invisible  before  the  heat  was  applied.  When  the  plate  is 
warmed,  the  film  appears  to  be  drawn  together  as  described, 
and  is  drawn  from  the  transparent  spots,  leaving  them 
much  larger,  and  in  fact  often  rendering  useless  a uegative 
which  would  otherwise  scarcely  have  suffered  from  the 
pinholes. 

In  the  example  shown  by  Mr.  Debenham,  the  action  had 
not  gone  the  length  of  causing  chalkiness  in  the  lights,  or, 
indeed,  anything  which  would  at  first  sight  have  been 
termed  distortion ; that  is  to  say,  no  one  simply  looking 
at  the  portrait,  even  had  he  known  the  original,  would  have 
detected  any  error  ; yet  in  viewing  a print  taken  before 
and  after  the  drying,  there  was  a most  marked  difference 
in  the  expression.  The  picture  was  that  of  a child  with 
dark  eyes  taken  front  face.  In  the  print  taken  after  the 
drying  process  had  been  performed,  the  eyes  appeared 
somewhat  larger  and  finer,  than  in  the  other,  and  the  face 
had  somewhat  of  an  expression  of  childish  astonishment 
about  it  which  was  far  from  displeasing.  Indeed,  we 
can  quite  understand  that,  as  Mr.  Debenham  stated,  the 
parents  like  the  picture  particularly. 

As  a print  had  been  taken  from  the  negative  before  the 
drying  took  place,  it  is  evident  that  the  negative  had  been 
dried  and  wetted  again,  either  to  undergo  clearing  or  some 
other  process,  before  the  drying  which  had  caused  the 
change  took  place  ; and  we  may  mention  in  this  connec- 
tion that  the  use  of  at  all  a strong  acid  bath  for  clearing 
the  yellow  stains  from  negatives  pre-disposes  to  the  effect 
which  we  have  described. 

Mr.  Debenham  was  fortunate  in  having  his  negative 
rather  improved  than  otherwise  in  the  special  case  which 
we  have  cited,  but  we  fear  that  photographers  must  not 
look  to  the  process  of  drying  negatives  at  too  high  a tem- 
perature as  a means  of  obtaining  flattering  portraits  of 
their  customers,  but  that,  on  the  contrary,  we  must  con- 
sider the  action  which  we  have  described  as  one  which 
causes  distortion,  and  that  by  no  means  only  apparent, 
but,  on  the  contrary,  very  real. 


PRACTICAL  NOTES  ON  RETOUCHING. 

BV  W.  M.  ASI1MAN. 

Ten  years  ago,  as  probably  most  of  my  readers  are  aware, 
there  was  a great  outcry  against  negative  retouching. 
Those  gentlemen  who  as  usual  knew  all  about  it,  con- 
demned the  practice  as  being  calculated  to  do  all  sorts  of 
mischief;  in  a word,  to  be  thoroughly  bad.  Such  opinions 
or  prognostications  were  freely  expressed  in  the  current 
literature  of  that  time  ; but  by  degrees  these  writers  have 
been  drawn  into  the  meshes,  and  put  as  much  work  on  their 
negatives  as  other  folks  do.  Certainly  with  the  advent 
of  gelatino-bromide  plates,  some  few  made  a futile  attempt 
to  abolish  the  art ; but  they  will  scarcely  try  it  again.  The 
few  enemies  retouching  has  at  the  present  day  are  invari- 
ably found  among  those  artists  who,  after  pencilling  away 
at  the  negative  for  half  an  hour,  find  it  looks  none  the 
better  for  the  treatment  it  has  received. 

Among  the  exhibits  at  the  Photographic  Society  of 


November  2,  1883.] 


THE  PHOTOGRAPHIC  HEWS 


691 


Great  Britain,  in  Pall  Mall,  is  au  electric  retouching 
apparatus  seut  from  Belgium  by  Geesbergen  and 
Geriuet  Brothers ; those  who  are  not  experienced  re- 
touchers would  probably  find  this  simple  apparatus 
extremely  useful. 

A pencil  of  any  degree  of  hardness,  according  to  the 
operator’s  fancy,  is  fixed  iu  a metal  holder  somewhat 
resembling  the  ordinary  retouching  pencil-holder,  but  at 
least  three  times  longer  ; this  holder  is  caused  to  vibrate 
rapidly  by  means  of  a spring  attached  to  an  oscillating 
electric  motor  set  in  action  by  switchiug  on  one  or  more 
cells  of  a battery.  When  fine  work  and  light  touches  are 
required,  one  cell  is  employed  ; to  obtaiu  more  pronounced 
effect,  two  or  three  cells  are  added  to  the  circuit.  Having 
obtained  a suitable  touch,  and  adjusted  the  balance  for  the 
convenience  of  working,  the  operator  guides  the  pencil 
over  those  parts  of  a negative  lie  wishes  stippled. 

In  this  article  it  is  not  intended  to  teach  the  art  of  re- 
touching in  such  a manner  that  the  tyro  will  be  enabled  to 
produce  at  once  effects  of  the  highest  order,  or  to  lay 
down  any  strict  directions  as  to  the  mode  of  proceeding, 
but  rather  to  relate  the  modus  operandi  practised  by  many 
professionals  in  their  daily  work,  and  be  a chapter  of 
guidance  to  those  who  have  no  experience  whatever. 
Doubtless  anything  herein  written  is  well  known  to  ac- 
complished retouchers,  though  possibly  a few  of  the  less 
fortunate  of  the  craft  may  pick  up  a hint. 

The  first  requisite  is  a suitable  easel,  upon  which  to  rest 
the  negative  while  working  on  its  surface.  The  most 
simple  contrivance  is  obtained  by  screwing  the  end  of  a 
strip  of  wood  on  each  of  two  sides  of  au  ordinary  printing 
frame  to  form  struts  or  legs  ; stand  this  in  au  oblique  posi- 
tion on  a table  of  convenient  height,  covered  with  card- 
board, light  blue  wall-paper,  or  other  suitable  reflector, 
near  a window  or  other  source  of  light.  Place  the  nega- 
tive in  the  rabbett  of  the  frame,  film  upwards,  and  it  is 
ready  to  receive  as  much  work  as  the  skill  of  the  operator 
permits.  Upon  this  crude  principle  the  idea  of  construct- 
ing all  retouching  desks  has  hitherto  been  based,  many  of 
them  being  very  elaborate  in  construction  ; the  quality  of 
the  easel,  however,  has  little  to  do  with  the  effect  of  the 
stipple ; the  main  feature  to  be  aimed  at  is  comfort  iu 
working. 

The  second  consideration  is  the  surface  to  receive  the 
work.  Gelatine  negatives  readily  take  a coating  of  plum- 
bago ; but  some  retouchers  find  a difficulty  in  building  up, 
as  it  is  termed,  with  the  same  degree  of  labour  as  on  a 
varnish  suitably  prepared.  Others  prefer  applying  a 
liquid  or  a cutting  medium  on  the  part  to  be  worked,  thus 
obtaining  a tooth  of  definite  hardness  or  bite  for  the  pencil. 
This  work  is  varnished,  and  any  additional  touching  that 
may  be  required  is  put  on  the  varnish,  either  with  or  with- 
out the  aid  of  a medium. 

Cutting  mediums  in  general  use  comprise  such  sub- 
stances as  finely-pulverised  gum  resiu  alone  or  with 
dextrine,  cuttlefish- bone,  bath-brick,  emery,  putty 
powder,  and  other  substances  of  like  nature  ; the  former  is 
mostly  in  favour,  and  the  manner  of  applying  the  powder 
is  to  take  a very  small  quantity  on  the  ball  of  the  finger, 
and  rub  with  a circular  motion  the  part  to  be  worked, 
taking  care  not  to  extend  the  friction  beyond  the  outline. 

Liquid  mediums  are  composed  principally  of  volatile 
oils  which  are  solvents  of  the  gums  used  in  varnishing, 
such  as  turpentine  or  spike  oil,  with  the  addition  of  a gum, 
such  as  resin  or  myrrh  ; half  an  ounce  of  gum  resiu  dis- 
solved in  two  fluid  ounces  of  turpentine  and  filtered  makes 
a very  good  medium,  and  will  be  found  sufficient  to  last  a 
very  longtime.  Only  the  smaihst  quantity  should  be  taken 
on  a clean  piece  of  cambric  and  lightly  smeared  over  the 
parts  to  be  worked. 

Among  the  many  aids  used  in  practice  are  the  following, 
and  their  uses:— Finely  pulverized  graphite,  rubbed  on 
parts  of  a film  by  means  of  stumps  to  strengthen  clouds, 
foliage,  waves,  draperies,  &c.,  or  applied  on  the  back  of  the 


negative  previously  prepared,  either  for  the  same  purpose, 
or  to  form  clouds,  vignettes,  &c. 

A suitable  preparation  consists  of  a coating  of  varnish, 
made  by  mixing  equal  parts  of  gold  size  and  turpentine 
together  ; when  this  has  sufficiently  set,  apply  the  powder 
with  a dabber  for  the  opaqne  portions,  using  a stump  to 
produce  proper  blending. 

Fapier  mineral  and  tracing  papers  are  useful  for  gumming 
on  the  back  of  those  portions  of  a negative  which  print  too 
pronounced,  and  in  cases  of  under-exposure  the  back  of 
the  negative  may  be  entirely  covered  with  this  material, 
both  pencil  and  stump  being  freely  used  when  necessary, 
either  on  the  negative  or  paper,  or  both. 

An  assortment  of  finely-pointed  drawing  pencils  of  vary- 
ing hardness  should  bo  always  at  hand  ; also  a few  cakes  of 
water  colours,  comprising  Prussian  blue,  vermilion,  Chinese 
white,  Indian  ink,  carmine,  &c.,  together  with  a few  small 
sablejbrushes  having  good  points,  for  the  purpose  of  spotting- 
out  defects  requiring  greater  opacity  than  can  be  ob- 
tained with  the  pencil,  aud  again  for  filling  up  to  the  sur- 
rounding opacity  any  portions  of  the  film  which  may  have 
been  cut  away  to  improve  the  general  outline.  It  often 
happens  in  portraiture  that  the  outlines  of  high  cheek  bones 
and  other  portions  of  the  face,  the  arms,  figure,  or  some  part 
of  the  drapery,  does  not  present  as  true  a curve  as  might  be 
desired,  the  symmetry  of  the  lines  being  marred  bv  some 
projection  overlooked  or  impossible  to  avoid  altogether  in 
posiug.  Under  the  e circumstances  it  is  usual  for  the  offend- 
ing portion  to  be  removed  by  means  of  a sharp  scraper  or 
an  old  lancet,  the  incision  being  filled  up  with  a pigment ; 
this  is  a delicate  operation,  and  one  in  which  long  practice 
is  often  necessary  to  perform  effectively  ; still  it  is  daily 
practised  by  some  of  the  best  retouchers.  Portrait  photo 
graphers  catering  for  the  public,  although  conscientious  and 
truthful  in  their  representations,  find  it  imperative  to  remove 
all  obnoxious  protuberances,  or  lose  reputation  and  clientele 
as  well. 

Oftentimes  too  much  opacity  is  obtained  in  certain  por- 
tions of  a negative  ; this  opacity,  if  treated  by  a skilful 
operator,  can  easily  be  subdued  by  chemical  means. 
Generally,  however,  the  work  is  left  to  the  skill  of  the  re- 
toucher to  correct  by  mechanical  means.  Almost  any  finely- 
divided  powder  similar  to  those  suggested  as  being  suitable 
cutting  mediums,  answer  well  for  this  purpose,  provided 
both  gelatiue  negative  and  abrading  powder  be  fairly  dry  ; 
only  so  mach  friction  should  be  employed  as  will  remove  a 
portion  of  the  film,  care  being  taken  not  to  rub  beyond  the 
outlines  of  density,  or  to  grind  off  too  much  at  one  opera- 
tion. 

The  ordinary  ink-eraser  will  be  very  useful  if  the  opacity 
is  confined  to  a space  of  small  dimensions.  All  work  of  this 
kind  should  be  done  on  the  unvarnished  gelatine.  Those 
negatives  which  have  been  already  varnished  should  be 
steeped  in  alcohol  until  the  varnish  has  been  dissolved  off. 
As  soon  as  they  are  dry,  they  are  ready  for  treatment  as 
above  described. 

Those  unaccustomed  to  retouching  will  doubtless  attain 
efficiency  quicker  by  adopting  the  touch  known  as  stippling, 
than  cross-hatching  or  lining,  as  practised  by  some  of  the 
most  rapid  workers  ; besides,  the  effect  as  the  work  pro- 
gresses can  bo  more  readily  seen.  Very  finely-pointed 
pencils  should  be  employed  when  working  faces  and  hands 
of  small  dimensions,  the  stipple  being  of  the  finest  character 
on  the  faces  of  children  and  young  persons,  gradually  in- 
creasing the  size  of  the  stipple  as  the  dimensions  of  the 
flesh  parts  grow  larger,  and  the  character  of  the  face  indi- 
cates. 

The  first  work  should  always  be  the  removal  of  freckles 
and  skin  markings,  following  this  with  a stipple,  the 
fineness  of  which  should  be  dependant  on  the  nature  of 
the  subject.  Persons  of  mature  age  exhibit  very  character- 
istic lines  in  the  negative,  which  require  different  treat- 
ment to  the  foregoing,  a series  of  intersected  lines  being 
far  more  effective,  aud  quicker  in  execution. 


692 


THE  PHOTOGRAPHIC  NEWS. 


After  tbe  usual  stippling  to  remove  spots  and  freckles 
has  been  done,  the  negative  should  be  so  fixed  on  the  easel 
that  a pencil  not  too  sharply  pointed  may  be  freely  worked 
with  a sort  of  scumbling  motion  up  and  down  the  deep 
shadow  lines  and  wrinkles,  without  in  any  way  crossing  or 
interfering  with  the  lights  ; the  intensity  of  these  shadows 
will  thus  be  lessened  by  several  degrees.  Stippling  this 
class  of  negative  does  not  produce  the  best  results  unless 
most  carefully  done,  the  face  becoming  an  uninteresting 
model,  more  suited  to  represent  a reproduction  of  some 
wax  effigy,  than  an  art  copy  of  real  life.  For  the  reason 
just  given,  it  is  customary  in  practice,  after  the  shadows 
have  been  softened,  to  make  a series  of  fine  lines  or  curves 
over  the  face  in  such  a manner  that  they  shall  run  in  the 
same  direction  as  the  muscles,  never  allowing  the  strokes 
at  the  termination  of  a shadow  to  continue  over  another 
muscle  in  order  to  get  the  next  shadow  lined  more  quickly. 
Harmonizing  the  lines  made  over  a light  with  the  neigh- 
bouring lines — or  levelling,  as  it  is  often  termed— demands 
that  the  utmost  care  is  observed  ; the  touches  should  not 
be  heavy,  or  there  is  a danger  of  removing  any  individu- 
ality the  negative  may  possess.  The  same  remark  also 
applies  to  joining  up  lights  and  shadows  by  the  stippling 
method.  It  is  well  also  to  remember  that  as  the  size  of 
the  figure  increases,  so  also  should  the  magnitude  of  the 
dot,  line,  or  curve.  It  will  be  found  advantageous  to 
have  a print  from  the  negative  before  any  work  is 
attempted  ; it  not  only  serves  to  indicate  how  much  work 
is  required,  but  an  occasional  glance  shows  where  to  put 
it. 

Rapid  exposures  record  rapid  movements,  and  one  of 
these — winking — always  permissible  in  collodion  days,  is 
scarcely  a safe  operation  now.  Eyes  which  are  not  well 
defined  through  rapid  movement  may  be  corrected  quite 
easily  after  a little  practice.  It  is  usual  to  cut  away  the 
film  to  form  the  pupil ; working  in  a line  of  light  to  form 
the  colouring  matter  in  the  iris,  strengthen  the  reflected 
spot  in  tbe  top  of  iris  nearest  the  source  of  light,  or  put  a 
little  pigment  there  if  the  spot  is  absent ; but  this  must  be 
done  cautiously,  or  it  is  better  left  undone.  A slightly 
curved  line  placed  along  the  edge  of  the  lower  eyelids  often 
adds  to  the  sparkle,  without  damage  to  the  work. 

Cutting  away  the  film  in  this  operation  is  best  performed 
with  a steel  knitting-needle  reduced  to  a good  point ; make 


A,  revolving  table  fitted  with  cabinet  opening,  turn*  d round  to  show  cod- 
venience  of  working  ; B,  negative  in  rabbet ; larger  negatives  rest  on  C,  or 
pass  under,  and  arc  clamped  ; C.  sliding  support  with  mill-headed  clamping 
screws;  D,  body  of  desk;  E,  sliding  support  similar  to  0;  F,  dotted 
lines  indica'e  position  of  laths  when  pinned  together  ; a portable  attach- 
ment to  the  squaie-headei  screws  running  in  the  samj  slots  as  E.  permits 
Uii8  frame,  on  which  the  reflector  res's,  being  raised  or  lowered  at  will ; 
0 G,  bra  s curtain  rods  capable  of  rotating  in  sockets.  When  turned  out- 
wards they  support  an  opaque  covering  which  cuts  off  all  light  not  passing 
through  the  negative ; 11,  arranged  for  argand  lump  to  replace  daylight 
reflector,  also  for  pencils,  brushes,  Ac.;  I,  moveable  struts  allowing  easel 
when  folded  to  occupy  less  room. 

an  incision  in  the  centre  of  the  iris,  and  work  the  needle 
round  this  small  hole  until  a sufficiently  ltrge  and  true 
circle  has  been  obtained  ; jagged  edges  are  not  permissible. 
A suitable  arrangement  for  revolving  the  negative  can  be 


[November  2,  1883. 

obtained  by  fitting  the  front  of  the  easel  with  a turn-table 
movement,  see  fig. 

Negatives  once  fixed  in  the  grooved  frame,  or  clamped, 
might,  by  a slight  movement  to  the  right  or  the  left,  rotate 
into  any  required  position  without  the  risk  of  falling. 


THE  PHOTOGRAPHIC  EXHIBITION. 

Fourth  Notice. 

Mr.  Trueman  Wood  sends  four  little  pictures  (116),  two 
of  them  sketching  with  much  delicacy  the  white  cliffs  of 
Albion,  and  other  two  depicting  in  deep  rich  tones  a 
cottage  and  lane  in  Devonshire : the  two  latter  show  us 
genuine  English  scenery.  In  “ Powderham  Castle  ” Mr. 
G.  W.  Hale  has  given  us  too  much  foreground  ; better  is 
the  “ Yacht  Coral ” (379),  and  better  still  “Exmonth 
Sands  ” (378),  by  reason  of  its  uncouventionality.  The 
last,  with  its  group  of  ladies  and  camera,  might  have  been 
termed  “ Waiting  to  be  Taken.”  Mr.  Robert  Faulkner 
again  delights  us  with  a frame  of  his  baby  models,  half 
roguish,  half  coy  (221),  which  will  well  repay  half-au-liour’s 
study.  Messrs.  B.  Scott  and  Son  send  several  enlarge- 
ments. “Stranger  in  a Strange  Land”  (227)  represents 
two  wandering  Italian  boys,  and  is  a very  good  bit  ot  com- 
position ; while  “Mrs.  Wyndham  and  Daughter”  is  a 
capital  enlargement,  and  would  also  be  a most  successful 
picture  if  the  lady  and  her  young  ones  were  not  all  of  them 
in  doleful  dumps.  Mr.  Treueman  has  a frame  (229)  that 
contains  several  choice  views,  notably  the  quaint  cottage 
at  the  corner  of  Castle  Lane,  Warwick,  and  an  old- 
fashioned  street  in  Tarring  ; the  Great  Hall  at  Kenilworth, 
and  Gray’s  Mill,  Warwick,  are  also  two  bright  little 
sketches.  Mr.  L.  Berry  exhibits  several  pictures,  most  of 
which  are  too  dark  to  please  us  ; the  best,  to  our  thinking, 
is  “ The  Brook  ” (505),  the  overhanging  trees  and 
feathery  bracken  in  the  foreground  affording  a most 
picturesque  composition. 

Of  Mr.  B.  B.  Turner’s  pair  of  frames,  we  prefer  the 
group  of  Belgian  children  (336),  quaintly  grouped  in  an 
angle  of  a church  wall ; Mr.  Alfred  Dismorr’s  castellated 
“ Avila  ” (235)  and  cathedral-capped  Salamanca  (234) 
are  the  best  of  a series  of  most  creditable  Spanish  views, 
that  smack  of  the  land  whence  they  come.  One  of  the 
portraits  in  Mr.  Malby’s  collection  (235)  is  perfect ; 
we  mean  the  portrait  of  the  demure  little  charity  girl,  who, 
with  muslin  cap  and  prim  mittens,  sits  there  so  quietly  with 
her  clasped  hands  and  crossed  feet.  The  sweet  unassuming 
face  makes  a most  delightful  little  portrait.  Mr.  J.  E.  Mayall 
also  shows  several  fine  examples  of  portraiture  executed  by 
electric  light.  Two  of  the  best  are  the  Rev.  A.  Ainger 
(294),  a very  forcible  life-like  portrait,  and  that  of  Frof. 
Adams,  of  Cambridge  (295),  truly  a speaking  likeness.  Of 
Mr.  P.  H.  Emerson’s  work,  the  best  is  the  sea  series  (516) 
taken  from  the  beach,  with  some  fine  frothy  waves  in  the 
foreground. 

Mr.  Norman  May  exhibits  several  excellent  portraits. 
“ Patience  ” (293)  is  a little  too  fine  for  a dairy-maid,  with 
her  lace  handkerchief  and  flowered  polonaise,  but  then  she 
belongs  to  the  Gilbertian  drama,  and  not  to  a common-place 
farmyard.  The  London  Stereoscopic  Company  send  a 
series  of  forcible  portraits  upon  opal,  the  best  undoubtedly 
being  that  of  Mr.  Biggar,  M.P.,  which  is  a wonderful  like- 
ness. Haufstaengl,  of  Dresden,  through  Messrs.  Marion 
and  Co.,  forward  a series  of  “ Grand  Panel  ” portraits  (255), 
the  prints  measuring  about  20  by  12  inches,  and  mouuted 
upon  black  boards  ; IIaurstaengl  has  a high  reputation  as 
a portrait  photographer  in  Germauy,  and  these  pictures, 
brilliant  and  vigorous  to  a degree,  are  well  worthy  of  his 
name.  Messrs.  Marion  send  also  specimens  of  the  plaque 
portrait  and  some  beautiful  concave  opal  pictures,  the  pro- 
duction of  which— they  are  apparently  carbon — will  set 
many  heads  thinking. 

Mr.  H.  F.  McConnell  is  represented  by  a view  on  the 
river  Grivan  (258),  and  some  coast  scenes  (405).  Mr.  F. 


November  2,  1883. J 


THE  PHOTOGRAPHIC  NEWS 


693 


Downer’s  “ Nobody  asked  you,  sir,  she  said  ” (259)> 
though  a very  good  picture,  does  not  impress  the  spec- 
tator with  the  idea  that  the  model’s  fortune,  as  represented 
by  her  face,  is  a very  remarkable  one  ; and  we  think,  too, 
that  the  Countess  of  Clarendon’s  face  (412)  is  scarcely  of 
the  kind  to  carry  off  “beauty  spots”  with  advantage; 
however,  Mr.  Downer  will  probably  hold  there  is  no 
pleasing  some  critics.  Mr.  Augustus  Wilson’s  portrait  of 
a lady  (260)  has  not  been  done  justice  to  by  the  haugers; 
it  is  a most  successful  direct  negative,  the  -white  drapery 
of  the  full-length  model  being  depicted  with  all  that  soft- 
ness and  absence  of  glare  so  rarely  seen  in  a photograph 
of  this  type.  Moreover,  the  pose  and  modelling  leave 
little  to  be  desired.  Strange  to  say,  the  other  exhibit  of 
Mr.  Wilson,  “ Lorie  ” (632),  which  is  not  so  good,  is  well 
placed. 

Messrs.  Morgan  and  Kidd  exhibit  some  capital  por- 
traits (263,  &c.)  enlarged  on  matt  opal,  covered  with  a film 
of  gelatino-bromide ; the  toue  of  many  of  these  is  ex- 
ceptionally good,  while,  both  on  the  score  of  vigour  and 
softness,  the  gelatino-bromide  film  leaves  nothing  to  be 
desired.  Messrs.  Lombardi  show  also  a large  number  of 
portraits,  some  of  which  would  be  better  for  a little  less 
monotony  in  the  half-tones.  Of  Mr.  John  Crosley’s  ex- 
hibits, “ Nelly  Sanders  ” (264),  and  “ Head  of  an  Actor  ” 
(307),  are  the  best,  while  of  the  pictures  of  Mr.  A.  Stewart 
we  prefer  the  portraits  of  Mr.  and  Mrs.  Baker  (358  and 
359) ; but  Mr.  Stewart’s  work  would  be  better  if  it  were 
not  quite  so  smooth  and  white.  Mr.  Gerson’s  big  picture 
of  Madonna  aud  Child  (270)  is  a good  example  of  what 
can  be  done  in  su  'cessfully  reproducing  old  canvases. 

Mr.  Valentine  Blanchard’s  series  of  portraits  naturally 
attract  considerable  attention  ; that  of  Mr.  C.  E.  Pearce, 
editor  of  Funny  Folks,  is  one  of  the  most  successful  of  the 
series,  as  acquaintances  of  Mr.  Pearce — and  there  are  many 
among  photographers — will  readily  testify.  Miss  Marion 
Johnson,  in  “Patience,”  is  another  first-class  portrait,  all 
of  which  are  printed  in  the  rich  brown  toue  that  Mr. 
Blanchard  has  adopted  for  some  years  past.  Mr.  Roland 
Blackett  sends  but  one  contribution,  “ Dolce  far  Niente” 
(281),  which,  however,  is  of  a very  modest  character. 
Mr.  W.  Winter’s  “Meditation”  (282)  is  an  agreeable 
study  of  a girl’s  head,  well  posed  aud  tastefully  lighted  ; 
Mr.  Winter  evidently  thinks  highly  of  it,  too,  for  he 
includes  a second  copy  of  it  in  a frame  of  portraits  (484). 
where  it  is  decidedly  the  best  of  the  bunch.  Mr.  H.  T. 
Hall’s  Thames  views  (495)  are  rather  dark,  and,  to  make 
matters  worse,  they  are  hung  in  a dark  corner ; the  portrait 
(289)  is  better  photography.  Mr.  Fred  Hollyer  exhibits 
some  careful  work,  priuted  iu  platinotype ; “ Eudymion  ” 
(302),  after  Mr.  Watts,  R.A.,  shows  us  a very  difficult 
problem  in  photography  solved ; but  Mr.  Hollyer’s 
chef  d'ceuvrc  is  the  pair  of  elegant  flower  panels  on  one  of  the 
screens  (593),  in  which  the  stem  and  petals  of  the  Iris  are 
rendered  in  exquisite  taste.  Mr.  C.  F.  Wing  has  a group 
of  two  ladies  (303)  with  lawn-tennis  bats,  evidently  com- 
paring notes  over  a match. 

Mr.  Frank  M.  Sutcliffe  is  largely  represented  this  year, 
and  his  works  enjoy  a fine  position  at  one  end  of  the  gallery. 
His  clever  and  artistic  sea  studies  are  already  well  known  at 
Pall  Mall,  and  his  high  reputation  will  be  further  enhanced 
by  this  year’s  display.  Iu  “Stranded  ” (421),  the  huge 
black  hull  of  a beached  schooner  is  made  to  contrast  most 
effectively  with  the  bright  sea,  silvered  with  the  early  dawn 
of  morning.  “ With  Wind  and  Tide”  (422),  a procession 
of  fisher  boats  on  their  way  to  early  work,  their  dark  sails 
bent  to  the  breeze  and  their  crew  astir  in  the  grey  morning 
glimmer,  is  another  not  less  pleasing  composition,  of  which, 
as  we  have  said,  Mr.  Sutcliffe  sends  a goodly  number.  The 
portrait  of  Dean  Stanley  (310),  the  only  exhibit  of  Mr. 
Abel  Lewis,  is  such  a fine  and  forcible  bit  of  light-painting, 
that  admiration  for  it  is  tempered  with  regret  that  the  well- 
known  Isle  of  Man  artist  is  not  more  abundantly  represented. 

Mr.  W.  Gillard’s  “ Blondes  ” are  a pair  of  very  creditable 
portraits,  the  lady  in  the  hat  being  especially  well  posed 


(309).  with  much  quiet  grace  and  dignity.  Taken  direct 
on  fifteen  inch  plates,  the  work  denotes  considerable  care 
and  skill  ; “ H.M.S.  Sunbeam  ” (320),  a little  lad  peering 
through  a porthole,  is  also  a good  composition  of  Mr.  Gil- 
lard’s. Mr.  E.  A.  Maxwell  shows  a clever  photograph  in 
“ All  Tickets,  please  ” (331),  the  inside  of  a railway  carriage 
with  the  guard  at  the  door  ; the  best  feature  about  it  is  that 
it  is  not  overdone,  not  overloaded  with  incident,  while 
several  of  the  characters  are  pourtrayed  wilh  a good  deal  of 
humour.  Messrs.  Portbury  and  Co.  (333)  are  represented 
by  a frame  of  portraits,  and  Captain  Abney,  R.E.,  shows  a 
whole  series  of  leafy  English  landscapes.  It  is  evidently  a 
dangerous  practice  to  quote  poetry  in  connection  with  photo- 
graphy, but  one  of  Captain  Abney’s  tweet  little  woodland 
scenes  (341)  well  illustrates  the  line  “ There’s  a path  by  the 
river  o’ershadowed  by  trees.”  A sylvan  lane  in  Devonshire 
(340)  and  Windsor  Castle — a most  difficult  subject  to  render 
well  in  photography,  for  the  castle  always  seems  to  the  eye 
to  want  raising  a bit,  while  the  lens  is  invariably  the  other 
way  of  thinking — are  both  rendered  by  Captain  Abney  with 
all  the  touch  of  an  artist. 

The  “ At  Home”  (349)  pictures  of  Mr.  Fred  Thurston 
are  exceedingly  creditable  ; there  are  none  of  those  chalky 
high  lights  and  inky  shadows  unfortunately  not  unknown 
in  out-door  portraits,  while  the  stout  tree  trunk  with  its 
rugged  bark  makes  a famous  background.  Mr.  S.  E.  Phil- 
lips’s photographs  “Taken  in  my  Garden  ” (350)  have  not 
been  done  justice  to  in  hanging  ; the  woodlaud  study  with 
its  bowery  foliage  deserves  a word  of  praise,  and  so  too,  does 
that  of  house  and  grounds,  which  is  clear  and  bright  without 
garish  high  lights.  Mr.  A.  Donald  exhibits  some  good 
studies  of  shipping,  but  better  still  are  his  landscapes  taken 
on  emulsion  plates  of  his  own  preparation.  Edradour  (352), 
with  its  cottage  and  brook,  is  a delightful  picture.  Messrs. 
T.  and  11.  Annan  show  a most  forcible  and  harmonious 
portrait  of  the  Duke  of  Buccleuch  (355)  printed  in  carbon, 
and  having  the  appearance  of  a first-class  engraving  ; it  is 
one  of  the  best  portraits  in  the  Exhibition. 

Mr.  W.  E.  Debenham  sends  two  frames  of  portraits, 
one  of  them  (357)  containing  a gem  ; it  is  a bust  picture 
of  a lady  in  white,  and  is  altogether  a very  elegant  and 
pleasing  study.  The  white  tulle,  the  diaphanous  lace,  the 
delicate  modelling  of  neck  and  shoulders,  together  with 
the  clear  bright  eyes  of  the  model,  are  all  subjects  for 
admiration.  Mr.  Debenham’s  own  portrait  is  in  the  same 
frame,  and  a very  good  one  it  is.  Of  Mr.  J.  T.  Blair’s 
South  American  Vistas  (367),  the  most  quaint  is  the 
Avenue  of  Palm  Trees  at  Rio,  and  the  group  of  “ Wild 
Ostriches,”  which  we  presume  are  more  or  less  tame  in 
preseuce  of  the  camera.  Mr.  G.  E.  Hale  has  several  sea 
sketches,  one  of  them  (377)  being  “ taken  from  a yacht 
sailiog  ” ; while  we  find  that  Loch  Scavig  (390)  and  Loch 
Coruisk  (391),  which  the  first  edition  of  the  catalogue  set 
down  as  the  work  of  Mr.  Vernon  Heath,  are  now  claimed 
for  an  amateur,  Mr.  Donald  McFarlane,  M.P.  We  did 
not  deem  either  of  these  quite  equal  to  the  high  class  work 
usually  associated  with  Mr.  Vernon  Heath,  and  we  said  so ; 
we  are  glad  to  find  that  it  was  a mistake  to  put  his  name 
against  them.  Mr.  McFarlane  also  shows  “ Glencoe  ” 
(445),  and  “ Rual  of  Bengal  ” (444).  Of  Rev.  A.  John- 
son's pleasing  little  sketches,  the  best  is  the  mouth  of  the 
Llyn  (393),  which  represents  both  careful  and  tasteful 
work  ; but  there  is  not  very  much  to  admire  in  “ Disap- 
pointed Hopes,”  a series  of  dog  pictures  by  Mr.  H.  G.  M. 
Conybeare  (398).  Dr.  Plaister  has  three  Alpine  sketches, 
of  which  the  massive  Jungfrau  (411),  rendered  yet  more 
massive  by  the  clouds  of  vapour  about  it,  is  most  suc- 
cessful. 


THE  DENT  DU  GEANT. 

BY  PROFESSOR  W.  F.  DONKIN,  M.A.,  F.C.S., 

Member  of  the  Alpine  Club. 

The  Dent  du  Geant,  or  “ giant’s  tooth,”  near  (Jhamouni, 
is  unique  among  the  lock  pinmacles  of  the  Alps.  It  juts 


694 


THE  PHOTOGRAPHIC  NEWS.  [Noyembeb  2,  1883. 


out  of  the  high  ridge  which  tuns  eastwards  from  Mont 
Blanc,  and  forms  part  of  the  frontier  between  France  and 
Italy,  and  is  a conspicuous  object  from  the  Mer  de  Glace 
and  the  glaciers  and  peaks  on  the  north  side,  as  well  as  from 
Courmayeur  and  the  valleys  on  the  south  or  Italian  side. 
A few  years  ago  several  of  the  rocky  peaks  near  Mont  Blanc 
remained  unclimbed,  but  they  succumbed  one  by  one  to  ti  e 
repeated  attacks  of  mountaineers,  until  they  had  all  been 
decorated  with  flagstaffs,  except  the  apparently  unassailable 
Dent  du  Geant.  The  mightiest  of  guides  and  the  most 
determined  of  British  climbers  had  tried  it  in  vain,  and 
had  declared  that  it  never  would  be  climbed  by  legitimate 
means.  Last  year,  however,  it  was  almost  vanquished  by 
an  Italian  gentleman,  Signor  Sella  (a  brother,  we  bel'eve, 
of  the  celebrated  photographer  of  Biella,  Signor  Vittorio 
Sella,  whose  magnificent  Alpine  views,  some  of  them  as 
large  as  15  by  12,  are  attracting  much  attention).  Signor 
Sella,  however,  like  his  predecessors,  found  it  impossible  to 
get  up  the  mountain  without  artificial  help,  and  it  was  only 
after  his  guides  had  spent  much  time  in  the  preliminary 
work  of  driving  in  iron  pegs  in  one  or  two  of  the  worst 
places,  and  affixing  ropes  in  others,  that  the  party  succeeded 
in  reaching — no,  not  the  top  ! They  only  reached  the 
lower  peak,  which  is  divided  from  the  highest  peak 
by  a gap  about  fifteen  yards  wide.  The  top  itself  is 
only  some  twenty  feet  higher  than  the  lower  peak, 
and  perhaps  barely  thirty  yards  away  ; but  they  did  not 
complete  the  ascent,  and  the  mountain  remained,  technically 
speaking,  unclimbed.  Shortly  afterwards  Mr.  Graham,  an 
energetic  young  Englishman,  and  his  two  guides,  making 
partial  use  of  Signor  Sella’s  ropes  and  pegs,  climbed  the 
lower  peak,  and  then,  without  serious  difficulty,  crossed  the 
gap  and  reached  the  real  summit,  and  transferred  to  it  the 
flagstaff  left  on  the  lower  peak  by  Signor  Sella.  Since  then 
it  has  been  climbed  several  times,  once  even  by  a lady,  for 
whose  assistance  several  extra  lengths  of  rope  were  fixed  by 
her  guides,  and  were  left  on  the  peak. 

The  view  is  taken  from  the  top  of  Mont  Mallet,  a rocky 
peak  nearly  as  high  as  the  Dent  du  Geant  itself,  and  about 
900  yards  away  to  the  north-east.  The  Dent  du  Geant  is 
13,150  feet  above  the  sea,  and  the  height  of  the  vertical 
precipice  on  the  left  from  the  top  down  to  the  snow  ridge,  is 
about  330  feet,  the  whole  height  above  the  lowest  point 
represented  in  the  foreground  of  the  picture  being  about 
1,500  feet.  The  way  up  lies  entirely  behind  the  peak  as 
seen  from  Mont  Mallet,  on  the  side  towards  Mont  Blanc, 
and  as  the  two  summits  of  the  peak  are  nearly  in  the  line  of 
sight,  the  gap  between  them  is  not  seen  in  the  photograph 


& Iwtaarg  of  g&otojjr^g. 

ALBUMENIZED  PAPER  (Printing  on). — Continued. 

Views  with  figures,  and  portraits  with  fancy  backgrounds,  such 
as  exterior  or  interior,  conservatory,  &c.,  are  sometimes  con- 
siderably improved  by  vignetting,  and  some  charming  results 
can  be  obtained  by  blending  gradually  from  the  figure  to  the 
edges  of  the  plate.  To  do  this  nicely  the  vignette  shape  is  made 
as  usual  to  print  the  figure  or  figures  as  the  case  may  be.  When 
printed  sufficiently  the  mask  is  removed,  and  the  whole  exposed 
to  a good  light  for  a minute  or  two ; the  time  to  stop  the 
action  may  be  known  by  all  the  deep  shadows  showing  on  the 
print. 

If  we  desire  to  put  a plain  background  into  a print  from  a 
negative  (say)  with  a landscape  in  the  distance,  and  figures  in 
the  foreground,  we  cut  out  tbe  background  close  to  the  figures  ; 
this  we  carefully  adjust  on  the  varnished  side  of  the  negative, 
touching  the  edges  with  a trace  of  gum ; the  inner  portion,  which 
should  be  an  exact  counterpart,  is  gummed  to  a sheet  of  glass, 
as  in  toned-in  vignettes.  If  we  take  a print  from  the  negative 
now,  the  background  will  be  white  ; to  obtain  a neutral  tint,  we 
have  only  to  place  the  cut-cut  figure  portion  over  the  figures,  to 
shield  them  from  the  further  action  of  the  light,  when  we  are 
enabled  to  print  in  a background  of  any  depth  we  choose.  By 


substituting  negatives  for  plain  glass,  it  will  be  found  quite  easy 
to  block  out  the  original  background,  and  print  in  another ; 
besides  backgrounds,  we  advise  an  attempt  on  foregrounds,  figures, 
accessories,  and  skies,  for  these  may  be  successfully  accomplished 
after  a little  practice  and  a few'  failures 

Toning  is  the  operation  which  ultimately  determines  the 
colour  of  the  finished  print.  Briefly  described,  the  print  is  com- 
posed, as  stated,  of  silver  subchloride  (Ag.Cl),  together  with  free 
silver  nitrate  in  the  paper.  The  greater  portion  of  the  latter  salt 
can  be  easily  removed  by  soaking  in  water,  leaving  the  image 
unaltered.  By  submitting  the  washed  print  to  the  action  of  a 
diluted  solution  of  gold  terchloride  (AnClj),  a chemical  change 
will  take  place.  A portion  of  the  sub-chloride  will  be  acted  upon, 
re-converting  it  into  silver  chloride,  and  receiving  a deposit  of 
gold  dependent  upon  the  time  the  action  is  continued,  and  th^ 
restraining  power  of  the  compounds  added  ; likewise  the  amoun® 
of  free  silver  nitrate  left  in  the  print.  * 

Rule. — Tbe  longer  the  print  is  subjected  to  the  toning  bath, 
the  more  gold  will  be  deposited,  and  the  tone  will  be  colder  in 
consequence. 

According  to  this  rule,  if  warm  brown  tones  are  required,  the 
prints  should  remain  only  a short  time  in  the  toning  solution  ; 
purple  tones  will  be  obtained  by  continuing  the  action  a little 
longer,  and  blue  tones  by  prolonged  immersion.  It  will  be 
noticed  that  prints  become  somewhat;  reduced  in  vigour  while 
thus  being  acted  upon,  due  to  the  bleaching  action  of  chlorine,  but 
not  nearly  to  the  extent  produced  in  the  after  operation  of 
fixing  in  sodium  thiosulphate,  w’rongly  called  “hypo,”  w'herc  the 
silver  chloride  is  dissolved  out,  leaving  the  image  composed  of 
metallic  silver,  upon  which  is  deposited  metallic  gold.  When  the 
fixing  salt  has  been  eliminated  by  copious  washing,  the  print  may 
be  said  to  be  unalterable  by  light,  although  we  do  not  wish  the 
student  to  understand  that  silver  prints  are  absolutely  permanent, 
for  experience  leads  us  to  regard  their  stability  with  a great  deal 
of  suspicion. 

Cutting. — It  will  be  found  more  convenient  to  trim  the  prints 
to  the  required  shape  before  putting  them  in  the  water.  This 
should  be  done  in  the  printing  room,  using  only  yellow  light. 
The  cutting  shape  is  a piece  of  plate  glass  cut  and  ground,  or 
polished  at  the  edges,  and  exact  size  and  shape  the  print  is  to  be. 
Take,  for  instance,  a cabinet  mount  with  line  round  the  margin,  or 
one  of  the  stout  bevelled  edge  mounts,  the  cutting  shape  should 
measure  about  6 inches  by  3|  ; an  ordinary  cabinet  mount 
measures  between  the  lines  6^  by  4 inches  ; when  mounted,  the 
print  will  show  T’5th  of  an  inch  margin  at  the  top  and  sides,  and 
•2th  of  an  inch  at  the  bottom  beyond  the  print.  Cutting  shapes 
of  all  sizes  may  be  obtained  at  the  dealers  in  photographic 
materials.  Lay  the  prints  face  upward  on  a piece  of  plate  glass, 
place  the  shape  on  the  top  of  it,  and  adjust  it  in  position  in  such  a 
manner  that  the  centre  is  equally  balanced ; that  means,  if  the 
photograph  be  a portrait  group  of,  say,  three  persons,  the  centre 
figure  should  be  midway  between  the  two  sides.  For  a head  and 
shoulder  vignette,  let  the  chin  be  the  centre  ; for  a three-quarter 
length  portrait,  the  centre  should  be  a little  lower,  reaching  to 
the  chest ; this  admits  of  sufficient  background  or  space  above  the 
head  to  balance  the  rest.  When  adjusted,  cut  away  the  excess  of 
paper  by  passing  a sharp  penknife  round  the  edges  ; Robinson’s 
cutting  wheel  is  much  used  for  the  purpose,  on  account  of  tho 
great  case  by  which  ovals,  dome-top,  and  round  corners  may  be 


cut,  a sketch  of  the  little  instrument  being  here  appended ; 
scissors  may  be  used,  but  a little  practice  is  required,  or  the  lines 
will  not  be  cut  true  to  the  shape. 

Mr.  \V.  Thompson,  of  Aberdeen,  uses  a steel  cutter,  such  as  is 
employed  in  cutting  out  envelopes ; the  two  principal  advantages 
of  this  method  being  the  rapidity  with  which  a large  number  of 
prints  may  be  cut  out,  and  the  uniformity  of  size  which  is  ensured. 

Suitable  dies  or  cutters  can  be  obtained  to  order  in  London  and 
most  large  towns  at  a moderate  rate — we  believe,  from  6d.  to  9d. 
per  linear  inch  of  cutting  edge — and,  if  carefully  used,  they  will 
remain  in  good  order  for  years.  Mr.  Thompson  says  : — 

I use  a die,  a block  of  lead,  and  a mallet ; and  the  figure 
on  p.  694  will  give  some  idea  of  the  various  articles  in  use.  For 
C.D.  V.  size  I cut  a whole  sheet  of  paper  into  cartes  with  one 
stroke  of  the  mallet,  this  being  a very  great  saving  of  time,  and 
also  makes  very  much  superior  work  to  the  knife  and  cutting  glass  ; 
moreover,  the  corners  are  nicely  rounded  to  suit  the  round- 
cornered  card  mounts. 


November,  2 1883/] 


TEE  PHOTOGRAPHIC  NEWS. 


695 


It  is  scarcely  necessary  to  say  that  the  prints  must  be  so  piled 
up  as  to  ensure  the  exact  superposition  of  the  corresponding  parts 
of  the  various  impressions  ; and  Mr.  Thomson’s  method  of 
working  to  a register  paper  attached  to  the  negative  is  easy,  and 
will  be  found  very  convenient ; but  we  have  found  a slightly 
modified  system  rather  more  convenient  in  actual  practice. 


A A. — The  die. 

B. — The  moulded  lead  block  or  plate,  10  by  f in. 

C.  — Block  of  cast  iron,  which  is  not  required  if  a good  solid 
table  is  at  hand  to  lay  the  lead  on. 

D.  — The  mallet. 

F. — The  cut  paper  as  it  falls  out  of  the  die.  The  round  hole  in 
the  centre  of  the  die,  A,  is  to  admit  a pencil  for  pushing  out  the 
cut  paper.  One  of  more  elaborate  construction  could  be  made , 
with  a spiral  spring,  for  the  same  purpose. 

E.  — Negative  showing  the  register  paper  in  position.  Any 
number  of  these  papers  can  be  cut  from  waste  albumenized  paper. 

Two  small  patches  of  black  varnish  (say,  about  one-eighth  of  an 
inch  in  diameter)  are  painted  on  the  negative,  just  beyond  the 
limits  of  the  portion  required  to  be  included  in  the  stamped-ont 
picture,  one  of  these  patches  being,  let  us  suppose,  at  the  top,  and 
the  other  at  the  bottom.  In  the  centre  of  each  black  patch  a 
small  round  hole  is  cleared  out  with  a pointed  tool,  so  that  the 
main  patch  prints  white,  and  the  central  spot  black.  The  prints 
which  are  to  be  cut  at  one  time — perhaps  three  or  four  dozen— are 
now  impaled  on  a couple  of  pins,  care  being  taken  that  all  face 
in  the  same  direction,  and  that  the  pins  run  exactly  through  the 
register  dots.  The  circumstance  of  the  paper  expanding  rather 
more  in  one  direction  than  the  other  affects  the  register  to  a trifling 
extent,  but  not  so  much  as  to  occasion  any  inconvenience. 

Instead  of  cutting  on  a leaden  plate,  many  persons  prefer  to  use 
a board  or  slab  of  lime-wood,  which  has  been  sawn  transversely, 
so  that  the  end  of  the  grain  shall  be  directed  towards  the  cutting 
edge  of  the  die. 


FRENCH  CORRESPONDENCE. 

MM.  Encausse  and  Canesie's  New  Toning  Solution 
and  Printing  Ink— M.  Stebbing’s  Automatic  Camera 
— Increase  in  Rapidity  oe  Taillfer  and  Clayton’s 
ISOCHROMATIC  PLATES  — SCHLEICHER  AND  SCIIULL’S 

Fabric— M.  Francais’  Lens. 

New  Toning  Solution. — I have  lately  had  occasion  to 
experiment  upon  a new  double  salt  of  gold  and  calcium, 
manufactured  by  Encausse  and  Canesie,  for  toning  pur- 
poses, requiring  no  secondary  salt  to  assist  its  action.  It 
is  used  in  the  proportion  of  one  gramme  of  the  double  salt 
to  a litre  of  ordinary  water  ; it  is  not  necessary  to  have 
distilled  water.  The  solution  keeps  well,  and  its  toning 
properties  increase  with  age.  It  is  not  affected  by  sun- 
light, therefore  a large  quantity  may  be  prepared  iu 
advance ; the  only  precaution  to  be  taken  is  to  let  it  stand 
forty-eight  hours  before  using,  and  it  lasts  until  the  bath 
is  exhausted.  With  five  grammes  of  this  salt  dissolved 


in  five  litres  of  water,  more  than  a ream  of  paper  hits 
been  toned.  The  advantages  of  this  toning  bath  are 
therefore  very  great,  and  1 may  add  that  no  previous 
washing  of  the  prints  is  necessary,  as  the  nitrate  of  silver 
is  transformed  into  chloride  of  silver,  and  is  recovered  by 
filtering.  This  product,  thus  simplifying  one  of  the  most 
important  operations  in  printing,  deserves  to  be  taken 
into  notice  from  an  economical  point  of  view. 

Printing  Ink. — The  same  firm  also  makes  a special  print- 
ing ink  having  the  advantage  of  drying  very  quickly  on 
paper,  while  it  remains  moist  on  the  slab  and  the  rollers.  The 
manufacturers  have  utilised  the  absorbent  power  of  paper 
to  effect  the  drying,  while  the  slab,  rollers,  and  other 
materials  used  in  the  machinery  do  not  absorb  it.  After 
experimenting  with  this  production  I do  not  hesitate  to 
recommend  its  use  in  phototype  work. 

Camera  for  Endless  Bands. — M.  Stebbing  has  effectually 
improved  Bertsche’s  automatic  camera  so  that  it  can  be 
used  with  the  endless  bands  of  gelatino-bromide  paper. 
The  band  is  rolled  on  a reel  placed  at  the  left-hand  side, 
and  rolls  up  on  another  at  the  right,  passing  across  a fixed 
plate  of  glass,  the  posterior  surface  of  which  is  at  the  exact 
focal  length  from  the  lens.  Each  time  a fresh  portion  of  the 
band  is  unrolled  and  appears  behind  the  glass,  it  is  pressed 
against  it  by  a slide  at  the  back.  This  little  apparatus 
only  gives  pictures  six  centimetres  square,  but  large  enough 
to  be  seen  by  using  a magnifying  glass,  and  they  may  be 
enlarged  from  four  to  eight  times  their  size.  Pieces  of 
M.  Thiebaut’s  reversible  pellicle  paper  make  excellent  end- 
less bands  by  gumming  them  ou  to  a strip  of  suitable 
material.  Rollers  are  to  be  had  ready  fitted  with  the  bands 
capable  of  taking  one  hundred  pictures.  I think  a camera 
and  apparatus  of  this  description  will  be  of  great  use  to 
those  desiring  to  carry  as  little  weight  as  possible,  besides 
avoiding  the  necessity  of  conveying  fragile  plates.  I have 
adopted  an  automatic  arrangement  by  which  each  exposure 
made  may  be  counted.  This  apparatus  is  not  a plaything, 
but  an  accurate  instrument  to  be  used  and  relied  upon  by 
anyone  desiring  to  have  a portable  method  of  taking  photo- 
graphs. 1 take  a greater  delight  in  describing  M.  Steb- 
bing’s camera,  because,  although  constant  improvement  is 
being  made  in  large  ones,  no  one  makes  an  advance  in 
these  small  apparatus  of  a really  useful  and  substantial 
nature. 

Jsochromatic  Plates. — These  Anglo-French  plates  of 
Taillfer  and  Clayton  have  been  lately  improved,  and  are 
equal  to  Monckhoven’s  in  rapidity.  Results  obtained  by 
me  from  these  plates  are  perfect.  One  cau  now  no  longer 
hesitate  to  use  them  when  pictures  are  to  be  reproduced,  or 
subjects  containing  certain  refractory  colours,  as  the  rela- 
tive tone  is  preserved. 

Schleicher  and  SchulTs  Fabric. — Patterns  have  been  sent 
me  of  a special  fabric  suitable  for  printiog  upon.  I have 
examined  it  from  a photographic  point  of  view,  and  find 
that  it  is  supplied  in  rolls  of  0 96  metres  in  width 
and  32  metres  in  length,  and  will  be  very  useful  for  carbon 
transfers,  enlargements  of  all  kinds,  and  phototypes.  The 
agent  for  it  in  Paris  is  M.  Eugene  Charavay  fils,  8,  Quai 
du  Louvre ; but  I daresay  the  house  of  Schleicher  and 
Sehull  has  an  English  depot.  The  cloth  is  made  in  various 
colours— pink,  blue,  yellow,  grey,  and  green,  as  well  as 
white. 

Multiple  Focus  Lens. — During  my  summer  holiday,  I 
used  a lens  by  M.  Francais.  It  was  rectilinear,  and  had 
nine  distinct  combinations  varying  in  focus  between  13 
and  40  centimetres.  My  pictures  have  been  taken  at  all 
these  different  focal  lengths,  while  preserving  the  qualities 
of  a good  lens  ; it  cannot,  therefore,  be  too  highly  recom- 
mended. In  this  case,  one  lens — or  even  two — would 
not  have  sufficed.  A set  of  these  various  combinations  is 
indispensable  to  the  serious  worker,  and  this  of  M.  Fran- 
qais  is  best  constructed  to  satisfy  various  requirements. 

Leon  Vidal. 


696 


THE  PHOTOGRAPHIC  NEWS. 


[Novembib  2,  1883. 


$0tM. 

We  regret  we  are  unable  to  briog  our  notice  of  the 
Exhibition  to  a close  this  week,  but  we  promise  those 
exhibitors  whose  work  has  yet  to  be  considered,  that  they 
shall  not  have  to  wait  longer  than  our  next  issue.  The 
Exhibition  remains  open  nearly  a fortnight  longer,  so 
there  will  still  remain  some  days  to  view  the  pictures,  after 
our  final  notice  has  appeared. 


Manchester  is  making  arrangements  to  hold  an  exhibi- 
tion this  season,  probably  in  January.  Last  time,  if  we 
remember  aright,  the  Manchester  Society  paid  all  the 
carriage  expenses  of  exhibitors ; but  on  the  present  occa- 
sion such  geuerous  treatment  is  hardly  likely  to  be  repeated. 
We  will  give  our  readers  further  particulars  as  soon  as 
they  have  been  decided  upon. 


Exhibitions  will  be  rife  during  the  winter,  for  other 
collections  are  spoken  of  besides  those  in  Bristol,  Glasgow, 
and  Manchester.  Coming  after  the  London  Exhibition, 
these  are  usually  successful,  for  photographers  who  have 
framed  pictures  for  the  Annual  Show  in  Pall  Mall  are  not 
unwilling  to  send  them  elsewhere  afterwards.  In  vaunting 
the  excellence  of  their  exhibitions,  the  authorities,  however, 
sometimes  overlook  this  little  fact,  and  think  it  is  the 
attractions  of  their  town  that  has  alone  secured  the  success. 
Like  the  boy  on  the  ladder,  who  cries  out  “ Look,  I am 
taller  than  the  ladder ! ’’  they  forget  it  is  the  ladder  that 
has  made  them  so  tall. 


Mr.  II.  P.  Robinson’s  “ Pictorial  Effect  in  Photography  ” 
is  to  be  translated  into  French  by  M.  Hector  Colard,  a 
clever  Belgian  litterateur.  We  can  only  wonder,  by  the 
way,  why  the  translation  has  not  been  undertaken  before, 
as  it  is  not  only  the  best  book,  but  the  only  one  that  has 
been  published  on  the  subject. 


One  of  the  most  important  points  connected  with  Mr. 
Common’s  beautiful  photograph  of  the  Nebula  of  Orion 
and  the  map  of  the  heavens  around  it,  is  that  years  hence 
astronomers  may  regard  it  as  an  infallible  record,  and  so 
note  any  changes  that  occur  in  this  group  of  heavenly 
bodies.  Says  Nature,  very  truly,  an  astronomer  hereafter 
will  “prefer  the  single  photograph  taken  by  Mr.  Common 
in  thirty-seven  minutes  to  all  the  literature  on  the  subject 
so  admirably  brought  together  by  Professor  Ilolden  ; and 
if  the  world  must  in  the  meantime  lose  either  the  memoir 
(Prof.  Holden’s)  and  the  records  of  human  effort  of 
two  and  a-half  centuries  on  which  it  is  based,  or  the 
photograph,  then  it  is  to  be  hoped  the  photograph  will  be 
spared.” 


This  element  of  truth  in  photography — the  reflection  of 
a fact  permanently  fixed  in  the  camera — is,  as  we  have 
pointed  out  many  a time,  the  mainstay  of  our  art.  Not 
only  in  photo-astronomy,  but  in  almost  every  other  phase 
of  photography,  is  this  circumstance  to  the  fore.  Thus, 
not  only  a century  hence  will  the  photograph  of  Orion’s 


nebula  be  of  the  highest  value,  but  every  other  photo- 
graph of  importance,  personal  or  material,  will  increase  in 
worth.  As  we  at  the  present  day  should  value  a little 
brown  piint  of  Shakespeare  or  of  Daniel  Defoe,  to  take  as 
instances  the  two  widest-read  of  English  authors,  above 
a'l  the  fine  paintings  in  Christendom,  so  hereafter,  pos- 
terity is  likely  to  set  a far  higher  worth  upon  a carbon 
portrait  of  Darwin,  or  a platinotype  of  Thackeray,  than 
upon  any  likenesses  of  these  worthies  on  canvas  or  in 
marble. 


Montgolfier’s  first  balloon  was  made  of  paper  from  the 
Annonay-Rives  Mill,  the  establishment  which  now  supplies 
the  well-known  Rive  photographic  paper;  and  it  is 
interesting  to  observe  that  the  establishment  is  still  in  the 
hands  of  the  Montgolfier  family.  The  monument  recently 
erected  at  Annonay  to  commemorate  the  ascent  of  the 
Montgolfier  Brothers’  first  balloon  is  spoken  of  as  a much 
more  pleasing  memorial  than  the  bare  statue  of  Daguerre 
at  Cormeilles. 


Great  Britain,  though  one  of  the  last  to  join  the  Geo- 
detic Coogress  which  has  been  sitting  at  Rome,  seems 
likely  to  absorb  all  the  glory  thereof,  for  the  upshot  of  the 
international  meeting  is  that  the  meridian  of  Greenwich 
will  probably  be  adopted  universally  by  European  nations 
and  by  the  United  States.  Xhi3  is  a real  tribute  to  Great 
Britain,  though  perhaps  it  is  only  as  it  should  be,  since 
the  Secretary,  Professor  Hirsch,  in  his  official  report,  says 
that  we  employ  40,000  ships  and  370,000  sailors,  numbers 
surpassing  the  sum  total  of  all  other  nations.  If,  there- 
fore, the  report  of  the  Congress  be  adopted,  every  navi- 
gator throughout  the  world  will  calculate  his  longitude  by 
the  meridian  of  Greenwich. 


But  the  Conference  is  not  going  to  make  the  concession 
without  some  return.  We  in  this  country  have  not  yet 
adopted  the  metrical  system,  and  metres  and  centimetres, 
grammes  and  kilogrammes,  still  sound  foreign  to  our  ears  ; 
albeit,  chemists  and  photographers  have  some  knowledge 
of  them.  A resolution  passed  by  our  neighbours  runs  : — 
“ The  Conference  hopes  that  if  the  whole  world  is  agreed 
upon  the  unification  of  longitude  and  hours  in  accepting 
the  Greenwich  meridian  as  the  point  of  departure,  Great 
Britain  will  find  in  this  fact  an  additional  motive  to  take 
on  her  side  new  steps  in  favour  of  the  unification  of 
weights  and  measures,  by  joining  the  Metrical  Conven- 
tion.” 


Artists  who  do  “ coloured  work  ” for  photographers  are 
often  hardly  dealt  with.  All  they  have  to  go  by  are  a few 
instructions  mote  or  less  definite  as  to  colour  of  eyes,  hair, 
and  complexion,  and  they  are  expected — at  least,  by  the 
sitter — to  turn  out  a faithful  portrait.  This  appears  to  have 
been  the  case  in  an  action  heard  last  week  in  the  City  of 
London  Court,  where  a photographer  sought  to  recover 
XI  10s.  for  copying  a carte-de-visite.  Fortunately,  the 
judge  was  able  to  decide  by  ocular  demonstration  whether 
the  portrait  was  like  the  defendant,  and  he  gave  a verdict 
in  favour  of  the  plaintiff,  despite  the  statement  of  defend- 


November  2,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


697 


ant's  solicitor  that  “he  had  a boy  in  court  who  knew 
defendant  very  well,  and  when  the  portrait  was  sent  home 
he  could  not  recognize  it.”  This  was  a powerful  but  not 
quite  convincing  argument,  because,  although  the  boy 
might  not  recognize  the  portrait,  ‘.t  did  not  necessarily 
follow  that  it  was  the  fault  of  the  portrait — it  might  have 
been  the  fault  of  the  boy. 


On  another  column,  Professor  Donkin  is  good  enough  to 
tell  us  something  about  his  photograph  of  the  “ Dent  du 
Ueant,”  which  forms  our  illustration  for  this  week. 


Two  views  of  the  Exhibition.  1.  On  Monday  last,  before 
the  lantern  show  commenced  : Amateur,  looking  at  Mr. 
Robinson’s  pictures : “ A professional,  of  course  ; you  see 

they’re  at  it  all  day  long — never  do  anything  else — one  can’t 
hope  to  rival  them."  2.  After  the  gas  is  turned  down. 
Professional,  looking  at  Mr.  Gale’s  slides  on  the  screen  : 
“ Oh  ! amateur,  I daresay : nothing  else  to  do — of  course  he 
can  make  slides.”  Moral  (from  Burns)  : “ Ob,  wad  some, 
&c.,  &c.” 


Photography  in  colours.  Many  a photographic  student 
would  like  to  know  what  has  really  been  done,  and  what  has 
not  been  done,  to  solve  the  problem.  Dr.  Liesegang  has  bad 
the  happy  idea  to  issue  a little  volume  on  the  subject, 
“ Die  Heliochromie,”  which  places  before  the  reader  all 
that  Becquerel,  Niepce,  and  Poitevin  discovered  in  this 
interesting  field  of  research.  The  labours  of  these  three 
investigators,  who  worked  with  most  success  to  reproduce 
colours  in  the  camera,  are  succinctly  reported  in  Dr. 
Liesegang’s  book,  as  well  as  the  early  essays  of  Sir  John 
Herschel  and  Robert  Hunt,  the  former  of  whom,  it  may  be 
remembered,  succeeded  in  producing  the  tints  of  the 
spectrum  upon  a Daguerreotype  in  1839,  colours  that 
disappeared  again  very  rapidly,  even  in  the  dark. 

The  annual  value  of  the  sun’s  heat,  according  to  Profes- 
sors Roscoe  and  Balfour  Stewart,  is  greater  at  Kew  than  at 
London  in  the  proportion  of  100  to  58.  It  does  not,  of 
course,  follow  that  there  is  the  same  tremendous  falling  off 
of  actinic  power  in  London  sunshine,  but  this  is  more  than 
probable.  Certainly  London  photographers  seem  to  bear 
out  the  view,  for  there  are  not  many  first-clas3  firms  that 
do  their  printing  in  the  metropolis.  Most  of  them  have 
printing  and  copying  establishments  in  the  suburbs,  where, 
in  all  likelihood,  there  is  nearly  fifty  per  cent,  more  light. 
It  was  only  the  other  day  that  the  Kew  statistics  told  us 
on  the  sea  coast  there  was  much  more  sunshine  than 
inland. 


An  interesting  table  of  velocities  has  been  drawn  up  by 
Mr.  James  Jackson,  the  librarian  of  the  Paris  Geographi- 
cal Society.  He  begins  with  the  velocity  of  a man  walk- 
ing two  miles  and  a half  an  hour,  and,  after  alluding  to 
the  respective  velocities  of  an  ordinary  wind,  of  a race- 
horse, of  an  express  train,  of  a carrier-pigeon,  of  a hurri- 
cane, of  sound  in  air  and  water,  he  brings  us  at  last  to 
the  velocity  of  heavenly  bodies,  of  electricity,  and  finally, 


of  light.  But  Mr.  Jackson  has  left  out  one  important 
velocity,  which  has  only  been  recently  computed,  and 
which  is  of  singular  interest,  since  it  represents  the  only 
earthly  agent  known  to  man  with  a velocity  quicker  than 
sound  in  water,  although  naturally  less  quick  than  elec- 
tricity and  light : we  mean  the  detonation  of  the  photo- 
grapher’s old  friend,  guncotton.  Abel  and  Noble  have 
computed  that  a train  of  guncotton,  fired  with  a fulminate 
fuse,  will  transmit  the  detonating  action  at  a speed  of  from 
17,000  to  19,000  feet  per  second.  In  other  words,  deto- 
nation travels  at  the  rate  of  200  miles  a minute,  while  next 
in  order  comes  electricity  travelling  through  a submarine 
wire  at  a speed  of  some  12,000,000  feet  per  second. 


Mr.  Crosby's  photographs  of  the  St.  Leger  should  augur 
a good  time  coming  for  photographers.  The  horses  aie 
going,  we  are  told,  “ at  their  highest  speed,  and  absolutely 
sharp,  the  features  of  the  jockeys  being  recognizable  in  two 
or  three  instances.”  If  good  racing  pictures  can  be  pro- 
duced with  the  jockeys  recognizable,  these  will  have  a 
ready  sale,  and  must  command  a high  price. 


A country  photographer  writes : — “ Yesterday  I visited 
the  Exhibition,  and  was  pleased  with  it,  except  the  appa- 
ratus, as  I had  looked  forward  to  seeing  a more  represen- 
tative show  of  the  various  appliances,  with  some  one  to 
explain  the  working  of  the  various  shutters,  &c.  Many 
were  the  questions  asked,  but  no  one  appeared  able  to 
answer  them.” 


A few  weeks  ago  we  referred  to  a proposition  which 
had  been  laid  before  the  Corporation  of  London,  that  a 
picture  gallery  should  be  added  to  the  Guildhall  Library. 
It  now  appears,  from  a statement  made  by  the  Chairman 
of  the  Libraries  Committee  last  week,  that  the  Committee 
had  taken  no  steps  to  provide,  or  even  to  suggest,  a pic- 
ture gallery.  The  chairman  was  good  enough  to  say  that 
the  time  was  very  opportune,  but  hinted  that  the  merchants 
and  traders  of  the  City  of  Loudon  should  bear  the  expense, 
rather  than  the  Corporation.  His  argument  was  an  odd 
one.  He  remarked  that  “ the  scientists  weie  the  true 
warriors  of  the  present  day  ; they  conquered  the  forces  of 
nature,  and  laid  them  at  the  feet  of  the  merchants.  If 
the  merchants  were  to  do  themselves  justice,  they  would 
seek  to  raise  a picture  gallery,  and  place  at  the  disposal 
of  the  Corporation  funds  for  a building  and  for  memorials 
to  the  men  of  this  century  by  whom  they  had  profited  so 
largely.”  In  other  words,  because  science  had  assisted 
the  merchant,  he  should  return  the  compliment  by  honour- 
ing art.  But  if  the  merchant  really  wished  to  honour 
science  in  au  artistic  way,  he  could  very  easily  do  it,  as  we 
have  before  suggested,  by  providing  a gallery  for  a com- 
plete collection  of  views  of  London,  not  only  of  old  build- 
ings— the  interiors  of  the  City  Halls,  for  instance — but 
also  of  the  streets  as  they  are  now  seen.  No  city  in  the 
world  is  so  full  of  associations,  and  no  city  is  undergoing 
change  so  rapidly.  An  exhaustive  series  would  be  of 
intense  interest. 


698 


THE  THOTOGHAPHIC  NEWS. 


[Novembeb  2,  1883. 


Nor  is  it  necessary  to  stop  at  streets  and  buildings. 
The  City  companies  must  possess  a host  of  treasures  in 
the  way  of  quaint  documents  and  relics.  Probably  these 
would  not  be  parted  with,  but  in  many  instances  photo- 
graphy could  be  made  use  of,  and  thus  a collection  unique 
and  valuable  could  be  built  up. 


Dateitt  Jtttdligm*. 

Grants  of  Provisional  Protection. 

4705.  Richard  Brown  and  Rorert  William  Barnes  and 
Joseph  Bell,  all  of  Liverpool,  in  the  county  of  Lancaster,  for 
an  invention  of  “ Improvements  in  and  relating  to  the  art  of 
obtaining  by  photography  definite  photographs  to  be  used  in 
the  production  of  typographic  blocks,  and  in  the  art  of  photo- 
lithography and  like  arts.” — Dated  3rd  October,  1883. 

4732.  John  Edwin  Atkinson,  of  Greenwich,  in  the  county  of 
Kent,  for  an  invention  of  11  Improvements  in  apparatus  for  use 
in  transporting  and  exposing  sensitized  photographic  plates  or 
films.” — Dated  4th  October,  1883. 

4735.  Walter  Bentlev  Woodbury,  of  South  Norwood,  in  the 
county  of  Surrey,  for  an  invention  of  “ Improvements  in 
methods  of  producing  printing-blocks  by  means  of  photo- 
graphy.”— Dated  5th  October,  1883. 

Specification  Published  during  the  Week. 

W.  R.  Lake. — “Sensitizing  photographic  paper  and  developing 
pictures  thereon.”  A communication  from  R.  B.  and  B.  C. 
West. 

This  invention  relates  to  photography,  and  has  special 
reference  to  the  sensitizing  of  the  paper  before  printing,  and  the 
development  of  the  print,  the  object  of  the  said  invention  being 
principally  to  avoid  the  necessity  for  using  the  expensive  silver 
solution  now  generally  employed  in  this  class  of  work.  The 
said  invention  consists  in  subjecting  the  paper  to  be  sensitized 
to  a bath  composed  of  potassium  bichromate,  magnesium 
sulphate,  and  mercuric  chloride,  and  then,  after  the  exposure  of 
the  sensitized  paper  for  printing  in  the  usual  manner,  subjecting 
the  print  for  development  to  a bath  composed  of  gallic  acid, 
ferrous  sulphate,  aluminium  and  ammonium  sulphate,  and 
sodium  hyposulphite,  as  more  fully  hereinafter  described. 

In  carrying  tbe  said  inven'ion  into  practice,  I provide  a bath 
for  rendering  the  paper  sensitive  to  light  as  f fllows  ; that  is  to 
say,  I take  of  potassium  bichromate  three  parts,  magnesium 
sulphate  one  part,  mercuric  chloride  one  part,  and  I mix  and 
dissolve  in  the  smallest  quantity  of  boiling  water  for  solution  and 
crystallizing.  Of  this  compound  I take  seventy-five  grains  to 
each  ounce  of  water  employed  in  the  bath.  The  paper  is  floated 
in  this  bath  for,  say,  three  minutes,  and  is  then  dried  in  the 
dark  ; when  required  for  printing  it  is  placed  under  the  negative 
a sufficient  time  to  make  the  lighter  shades  in  the  print  visible, 
the  time  varying,  say,  from  three  to  ten  minutes  under  direct 
sunlight.  The  exposed  portions  of  the  print  will  be  a light 
brown,  upon  a yellow  ground.  So  soon  as  this  condition  is 
attained,  the  paper  is  taken  from  beneath  the  negative,  and  soaked 
in  pure  water,  say  for  twenty  minutes  ; if  the  negative  be  very  in- 
tense, such  as  to  require  ten  or  more  minutes  of  direct  exposure 
to  the  sunlight,  the  soaking  should  be  continued  longer,  say  for 
about  half-an-hour ; this  i3  desirable  because  it  facilitates  the 
subsequent  developing.  The  excess  of  bichromate  being  re- 
moved leaves  the  whites  of  a faint  yellow  tint ; where  pure 
whites  are  required,  it  becomes  necessary  to  destroy  all  traces  of 
bichromate  where  the  light  has  not  acted,  and  which  are  not 
easily  removed  by  soaking  ; for  this  purpose  the  print  is  im- 
mersed in  a one  per-cent  solution  of  acid  sulphite  of  sodium  for 
one  or  two  minutes. 

To  prepare  the  developer,  I take  of  gallic  acid  two  parts, 
ferrous  sulphate  three  parts,  aluminium  and  ammonium  sulphate 
three  parts,  and  sodium  hyposulphite  twenty-four  parts,  the 
ferrous  sulphate ; aluminium  and  ammonium  sulphate  and 
sodium  hyposulphite  are  each  dried  separately  until  free  from 
water  of  crystallization,  and  are  then  pulverized  aud  mixed  with 
the  gallic  acid.  This  compound  will  keep  and  retain  all  its 
properties  if  protected  from  dampness.  Of  this  composition  I 
take  fifteen  grains  to  each  ounce  of  water. 

To  develop  the  print  I lay  it  in  a suitable  dish,  aud  pour  upon 


it  the  developing  solution  to  cover  it,  say  a quarter  of  an  inch  in 
depth,  or  if  several  prints  are  to  be  developed  at  the  same  time, 
I take  enough  of  the  solution  to  cover  all  the  prints.  While 
they  are  in  the  solution  I move  them  frequently,  so  as  to  expose 
them  equally  to  the  developing  solution.  When  the  develop- 
ment of  the  print  is  completed,  which  will  generally  require 
about  ten  minutes,  the  excess  of  the  developer  absorbed  by  the 
paper  is  removed  by  soaking  the  print  for  half  an  hour  in 
water  slightly  acidulated  with  acetic  acid,  after  which,  and  when 
dry,  the  picture  can  be  mounted.  Its  subsequent  treatment 
may  be  substantially  that  usually  applied  to  photographic  prints. 
l'he  sodium  hyposulphite  and  alum  in  the  developer  exert 
a reducing  action,  which  prevents  the  ferrous  salt  from 
becoming  oxidized  readily  when  in  solution  and  exposed  to  the 
air,  and  enables  the  bath  to  be  used  repeatedly  for  several  days 
if,  after  use,  the  precaution  is  taken  of  putting  it  in  a tightly- 
corked  bottle,  which  should  be  filled  by  the  solution.  Ally 
colour  from  black  to  brown  can  be  obtained  after  soaking 
out  the  developer,  by  immersing  the  print  from  one  to  five 
minutes  in  a bath  composed  of  one  part  taken  from  the 
sensitizing  bath  and  two  parts  of  water,  the  time  of  contact  with 
the  bichromate  determining  the  shade,  and  after  such  treatment 
soaking  in  water  until  the  yellow  tint  is  entirely  removed.  If 
desired  to  change  the  colour  of  a print  to  reddish  brown,  I 
subject  it,  after  development,  to  a bath  composed  of  a solution 
of  carbonate  of  soda  (one  ounce  of  carbonate  to  one  quart  of 
water),  and  dry  immediately.  In  case  it  is  necessary  to  bleach 
the  picture,  it  should  be  done  after  development,  and  before  any 
change  of  colour  is  effected,  and  may  be  well  done  by  subjecting 
the  print  to  a solution  of  one  partof  citrate  of  ammonia  in  twenty 
parts  of  water.  The  paper  may  be  prepared  for  sensitizing  by  any 
of  the  known  processes,  but  I obtain  a very  good  result  from  the 
following  treatment;  that  is  to  say,  I take  paper  of  a good  quality, 
coat  it  with  a mixture  composed  of  starch  seven  parts,  white 
sugar  two  parts,  glycerine  two  parts,  boiling  water  two  hundred 
parts,  and  solution  of  pure  caustic  potash  sufficient  to  cause 
the  coating  to  dry  with  an  even  surface,  which  will  require 
about  one-fourth  part  potash ; the  first  three  ingredients  are 
mixed  with  a little  cold  water,  and  then  stirred  iuto  the  boiling 
water.  The  coating  is  applied  by  floating  the  paper  upon  the 
mixture  in  the  manner  usually  employed  in  the  application  of 
albumen  to  paper.  After  drying,  the  paper  is  dipped  in  a two 
per-cent  solution  of  acetic  acid  and  water,  and  when  again 
dried  it  is  ready  for  use.  In  cases  where  the  intensity  and 
appearance  of  the  print  is  of  little  importance,  paper  may  be 
used  without  this  treatment.  Albumen  paper  does  not  under 
this  improved  process  produce  so  good  results,  chiefly  on  account 
of  its  density.  From  experiments  it  is  believed  the  proportions 
for  the  sensitizing  and  developing  baths  above  given  produce 
the  best  results,  but  these  proportions  may  be  varied  to  some 
extent  without  departing  from  the  nature  of  this  invention.  By 
this  process  photographic  prints  are  produced  fully  equal  to 
those  produced  by  the  employment  of  silver,  and  it  will  be 
evident  that  the  cost  of  the  production  is  very  much  less  than 
by  the  usual  process  employing  nitrate  of  silver.  The  printing 
is  also  more  rapid  than  by  the  usual  process,  and  colours  may  be 
more  readily  applied  to  the  print  than  when  the  print  is 
prepared  under  the  usual  process. 

Having  thus  fully  described  the  said  invention,  as  com- 
municated to  me  by  my  foreign  correspondents,  and  the  manner 
of  performing  the  same,  I wish  it  understood  that  I claim — 

First — The  improved  process  of  sensitizing  paper  for  photo- 
graphic printing,  consisting  in  subjecting  the  paper  to  a bath 
composed  of  potassium  bichromate,  magnesium  sulphate,  and 
mercuric  chloride,  in  the  proportions  substantially  as  described. 

Second — The  improved  process  of  developing  pictures  printed 
upon  sensitized  paper,  consisting  in  subjecting  the  print  to  a 
bath  composed  of  gallic  acid,  ferrous  sulphate,  aluminium  and 
ammonium  sulphate,  and  sodium  hyposulphite,  in  the  pro- 
portions substantially  as  described. 

Third — The  improved  process  of  sensitizing  paper  for  photo- 
graphic purposes,  and  developing  pictures  thereon,  consisting  in 
subjecting  the  paper  upon  which  the  print  is  to  be  made  to  a 
bath  composed  of  potassium  bichromate,  magnesium  sulphate, 
and  mercuric  chloride,  and  then,  after  printing,  to  a bath  com- 
posed of  gallic  acid,  ferrous  sulphate,  aluminum  and  ammonium 
sulphate,  and  sodium  hyposulphite  in  same  manner,  and  the 
said  baths  in  the  proportions,  substantially  as  described. 

Patents  Granted  in  America. 

286,632.— Oscar  H.  Park,  and  William  H.  Elliott,  Clarinda, 


November  2,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


699 


Iowa.  “ Vignetting  attachment.'’  Filed  April  25,  1883.  (No 
model). 

Claim. — The  combination  with  a photographic  printing- frame 
having  pins  or  studs  projecting  from  its  ends,  a vignetting 
attachment,  consisting  of  a box-like  frame  having  an  opening  in 
the  top,  flanges  adjoining  Baid  opening,  holding-springs  adjoining 
the  ends  of  said  flanges,  vertical  slots  in  the  ends  of  the  vignetting- 
frame,  and  the  fprings  covering  the  said  slots,  and  having 
perforations  to  receive  the  pins  in  the  ends  of  the  printing-frame, 
as  set  forth. — Specification  Published 


AN  AUTUMN  RAMBLE  IN  SHROPSHIRE. 

BY  H.  J.  PALMER,  M.A.* 

My  photographic  starting-place  was  at  Condover — a short  four 
miles’  walk  from  Shrewsbury  ; and  nothing  of  photographic 
interest  tempted  me  to  unlimber  my  paraphernalia  until  I reached 
the  village  itself.  * Tbe  church  has  but  recently  passed  through 
the  restorer’s  hands,  and  is  too  “ spick  and  span  ” to  tempt  the 
exposure  cl  a plate  upon  it.  But  in  the  north  chapel,  in  the  in- 
terior, there  is  a subject  of  great  interest  in  a group  of  monumeuts, 
ancient  and  modern.  The  most  beautiful  of  these  is  a recumbent 
figure  of  a mother  and  baby,  by  Roubiliac.  The  light  was  too 
bad  to  enable  me  to  obtain  a good  picture  of  this  subject  ; but 
the  print  gives  a faint  idea  of  the  grouping  of  the  cluster  of  tombs. 
The  baby  nestling  at  the  mother's  side  ; the  lovely  face  of  the 
dead  Lady  Cholmondeley ; the  alabaster  figure  of  the  Knight 
kneeling  sword  in  hand  behind ; and  to  the  left  an  elaborate 
monument  of  the  Jacobian  period  crowded  with  quainty-clad 
kneeling  figures — all  this  made  me  resolve  to  pay  another  visit  to 
Condover  with  a larger  camera  and  under  more  favourable  auspices 
of  light  and  weather. 

Behind  the  church  a door  opens  in  the  wall  into  the  gardens  of 
Condover  Hall — a superb  Elizabethan  mansion  terraced  in  front 
like  Haddon  Hall,  and  surrounded  by  a garden  of  the  old  fashion, 
with  the  little  trout  stream,  the  Connd,  babbling  along  in  the 
front,  and  in  the  distance  the  fine  range  of  Wenlock  Edge,  with 
the  very  respectable  mountain  peak  of  Caer  Caradoc  rearing  itself 
proudly  against  the  sky. 

The  wind  was  blowing  a small  hurricane;  but  I attempted  a 
picture  of  two  of  the  facades  of  the  hall.  At  the  entrance  of  the 
village  is  Condover  Grange— one  of  the  most  picturesque  timbered 
honses  I have  ever  seen.  The  greater  portion  of  it  was  built  in 
the  reign  of  Edward  III. ; and  when  I saw  the  splendid  old  dining- 
room, with  its  huge  fire-place  and  chimney  and  ingle  seats  of 
antique  fashion,  1 regretted  much  that  I was  obliged  to  defer  the 
exposure  of  any  more  plates  till  another  visit,  and  hurry  off  to 
Acton  Burnell. 

Just  outside  the  village  of  Condover,  the  river  Cound  supplies 
many  a tempting  scene  of  “wood  and  water,  sweetly  interming- 
ling.’’ The  gothic  rustic  bridge  over  the  stream  made  up,  with 
its  surroundings,  as  perfect  a picture  as  could  be  imagined  ; but  it 
is  now,  alas ! a thing  of  the  past,  and  has  given  place  to  a hideous 
iron  structure. 

A pleasant  ramble  of  four  miles  brought  me  to  Acton  Burnell, 
which  I was  anxious  to  see  on  account  of  its  half-ruined  church 
and  the  splendid  old  castle  in  the  grounds  of  the  Park.  The 
church  and  churchyard  are  in  a disgraceful  state  of  decay  and 
neglect,  and  for  that  very  reason  form  a good  subject  for  the 
camera  ; hut  in  a churchyard  belonging  to  the  Roman  Catholics, 
kept  in  the  most  perfect  order,  I found  another  most  tempting 
subject  before  me.  In  the  background  are  the  ivy-clad  towers 
of  the  picturesque  old  castle ; while  the  front  of  the  picture  is 
filled  by  a graveyard  crucifix,  most  artistically  and  beautifully 
wrought.  My  little  photograph  does,  I am  glad  to  say,  give  a 
fair  idea  of  this  striking  scene,  although  there  was  a drizzling 
rain  falling  when  -it  was  taken,  and  the  hour  was  close  upon  four 
o’clock  on  a dull  and  wet  autnmn  day. 

The  castle  behind  is  of  the  thirteenth  century,  and  the  windows 
are  filled  with  rich  geometrical  tracery.  Some  historic  interest 
attaches  to  the  building,  for  Edward  I.  held  his  parliament  here 
in  1283.  I hurried  off,  after  securing  four  negatives  in  Acton 
Burnell,  to  get  over  the  two  miles  to  Pitchford  before  the  light 
had  altogether  departed. 

The  village  of  Pitchford  takes  its  name  from  a singular  bitumen- 
ous  spring  hard  by — I suppose  the  only  spring  of  this  kind  in  the 
North  of  Europe.  While  trudging  wearily  along  after  my  six- 
teen miles’  walk,  a kindly  collector  of  curiosities  came  trundling 
along,  with  a very  frisky  and  lively  pony  in  his  cart.  He  most 

• Condensed  from  a paper  communicated  to  the  Liverpool  Amateur  Photo- 
graphic Association. 


kindly  pulled  up  at  the  sight  of  a heavily-laden  and  weary  parson 
plodding  along  in  the  wet,  and  gave  me  a lift  into  Shrewsbury. 
I found  him  a most  pleasant  companion,  and  full  of  antiquarian 
lore.  I recounted  to  him  the  story  of  my  day’s  doings,  and  also 
told  him  of  our  photographic  visits  to  the  Shropshire  Abbeys  of 
Lillieshall,  Wenlock,  and  Buildwas.  This  elicited  from  him  the 
somewhat  important  information  that  at  Moreton  Corbet,  not  very 
far  from  the  scene  of  the  battle  of  Shrewsbury,  I should  find — in 
a picturesque  old  ruin  there — as  fine  a subject  for  the  camera  as 
anything  1 had  yet  seen  in  Shropshire. 


AMONG  THE  MOUNTAINS  WITH  A CAMERA. 

BY  PROFESSOR  W.  K.  DONKIN',  M.A.,  F.C.S.* 

My  destination  this  year  was  the  Montanvert  Hotel,  above 
Chamonix,  and,  after  spending  three  days  with  some  friends  at 
their  charming  country  house  near  Geneva,  we  took  our  places 
early  one  morning  on  the  diligence.  After  an  eight  hours’  drive 
we  pulled  up  among  the  crowd  of  hotel  porters  in  the  main  street 
of  Chamonix.  We  reached  the  large  new  hotel  on  the  Montanvert 
by  dinner-time,  and  joined  the  rest  of  the  large  party  which  had 
been  made  up  in  London  duriDg  the  winter  months.  The 
Montanvert  is  a superb  p.ace  to  stay  at. 

“ What  shall  we  do  to-morrow  ? ” was,  of  course,  the  first 
question  discussed.  The  weather  was  lovely,  and  the  wealth  of 
excursions  to  choose  from  the  only  difficulty.  The  Jardin  was 
ultimately  fixed  on  as  a good  and  not  too  exacting  an  expedition 
to  start  with.  Early  next  morniDg  a party  of  nearly  twenty 
(counting  guides  and  porters)  started  for  that  desolate  patch  of 
rock  in  the  midst  of  ice  and  snow,  scantily  covered  with  grass 
and  a few  Alp>ine  flowers,  known  as  the  “Jardin.”  Of  course 
the  camera  went  too ; and  now  began  that  very  unpleasant 
process — getting  into  training. 

I can  recommend  as  a most  effectual  beginning  a walk  to  the 
Jardin  with  a twenty-pound  knapsack  on  your  back.  Mine 
contains  a Hare’s  74  by  5 camera,  four  double  slides,  and  a case 
containing  four  lenses.  These  are  Dallmeyer’s  eleven-inch  rapid 
rectilinear  and  seven -inch  single  landscape  leDs,  and  two  Ross’s 
portable  symmetricals  of  eight  inches  and  five  inches  focus.  The 
two  former  screw  into  the  same  flange,  and  a single  adapter,  of 
course,  does  for  the  other  two.  The  tripod  is  one  of  Mawdsley’s, 
with  sliding  legs,  this  arrangement  being  essential  for  mountain 
work.  The  legs  go  in  a waterproof  case,  which  is  carried  on  top 
of  the  knapsack,  and  the  metal  traingle  is  secured  by  passing  one 
of  the  straps  of  the  knapsack  through  it  before  buckling. 

To  attempt  to  describe  scenery  is  futile,  as  we  all  know ; so  I 
must  leave  it  to  the  photographs  which  accompany  this  paper  to 
indicate,  so  far  as  they  may,  the  kind  of  views  one  gets  during 
expeditions  among  the  higher  Alps.  No.  75  is  the  familiar  view 
of  the  Mer  de  Glace,  taken  from  my  bedroom  window  at  the 
Montanvert  Hotel.  No.  7G  is  one  of  the  views  on  the  way  to 
the  Jardin.  I have  not  any  of  or  from  the  Jardin  itself,  as  we 
were  much  too  busy  opening  tins  of  potted  meat  and  making 
claret  cup,  when  once  we  got  there,  to  think  about  photography. 
No.  77  is  a view  similar  to  No.  76,  but  taken  from  another  point 
on  the  way  back. 

A few  days  later,  having  got  into  good  training,  I went  with  a 
friend  on  a more  serious  expedition.  This  was  the  ascent  of  the 
Moine — a rocky  peak  of  about  1 1,200  feet,  the  base  of  which  is 
close  to  the  Jardin.  When  on  a regular  climbing  expedition,  I 
arrange  my  apparatus  somewhat  differently.  The  camera  goes  in 
a waterproof  canvas  case  by  itself,  and  either  the  guide  or  porter 
carries  it,  while  I take  the  plates  and  lenses  in  another  similar 
case,  together  with  the  tripod.  These  are  all  arranged  in  knap- 
sack form,  hanging  low  down  in  the  small  of  the  back.  With 
this  arrangement  I generally  take  a changing-box  with  twelve 
plates  instead  of  the  four  double  slides.  By  this  means  I can 
carry  more  plates,  with  a better  distribution  of  weight.  We 
had  a glorious  day  for  the  Moine,  and  I exposed  two  plates  on 
the  way  up,  six  on  the  top,  and  one  more  on  the  way  down.  On 
the  way  up  we  were  overtaken  by  three  friends  and  their  two 
guides  while  I was  taking  the  two  first  views,  and  we  kept 
together  the  rest  of  the  way. 

We  were  nearly  two  hours  on  the  top  of  the  Moine,  and  between 
photographing,  singing  songs,  and  eating,  the  time  went  all  too 
quickly.  The  views  all  round  are  superb,  but  they  require  judg- 
ment in  [the  use  of  one’s  lenses  to  get  the  best  effects.  My 
camera  extends  to  seventeen  inches,  and  I often  use  the  front 
lens  of  the  eight-inch  Ross’s  symmetrical  (equivalent  to  a sixteen- 
inch  single  lens)  with  good  effect  where  a distant  mountain  is  the 


700 


THE  PHOTOGRAPHIC  NEWS, 


[November  2,  1883. 


chief  point  of  interest,  which  would  look  dwarfed  if  taken  with  a 
short-focus  lens. 

No.  88  is  the  view  taken  one  evening  at  six  p.m.  from  the 
rocks  we  selected  for  our  gitc  before  the  ascent  of  Mont  Mallet. 

My  friend  H and  I,  with  our  guide  and  two  porters,  had 

come  up  the  glacier  and  climbed  up  some  steep  and  broken 
rocks,  among  which  we  found  a sort  of  platform  and  some  holes 
and  crevices  amoDg  the  piled-up  granite  boulders,  which,  by  a 
considerable  stretch  of  the  imagination,  we  thought  were  con- 
vertible into  kitchen,  supper-table,  and  bedrooms  respectively. 
While  the  guides  busied  themselves  in  making  a fire  and  melting 
some  snow,  I set  up  the  camera,  with  considerable  difficulty 
finding  three  firm  rocks  within  range  of  the  camera  legs,  and 
another  to  stand  on  ; and,  having  selected  by  means  of  the  view- 
meter  the  Dallmeyer  seven-inch  single  lens,  I focussed  the 
magnificent  precipices  of  the  Grandes  Jorasses  immediately 
facing  us  on  the  opposite  side  of  the  glacier — more  than  a mile 
away.  After  puttiug  in  the  smallest  stop  (about  -/z)  and  a 
Wratten  and  Wainwright’s  “ ordinary  ” plate,  I gave  four 
seconds’  exposure. 

It  was  nearly  six  p.m.  and  the  sun  was  getting  low,  so  this 
comparatively  long  exposure,  as  the  result  shows,  was  none  too 
much.  My  companion — who  had  constituted  himself  chef  in 
the  culinary  department— now  announced  that  the  soup  was 
ready  ; so  I packed  up  the  camera  and  helped  to  lay  the  table 
for  supper  and  set  out  the  glass  and  plate. 

After  supper — which  we  finished  with  a brew  of  mulled  wine 
— we  sat  round  the  fire  telling  stories,  and  watching  the  lovely 
red  sunset  tints  on  the  snow  fading  into  cold  grey,  and  did  not 
go  to  bed  till  the  stars  were  out  and  the  moon  had  risen  over 
the  crags  of  the  Grandes  Jorasses.  We  slept  (or  pretended  to 
do  so)  till  about  midnight,  when  1 was  roused  by  feeling  a little 
cold  spot  on  my  face.  Soon  came  another,  and  then  several 
more,  and  I looked  up  to  find  the  stars  all  gone,  and  rain  begin 
ning  to  fall.  Afterwards  we  heard  rumblings  of  distant 
thunder,  and  the  rain  began  to  come  down  in  earnest.  The 
knapsacks  and  photographic  things  were  all  lying  about,  so  I 
wriggled  out  of  the  hole,  and,  scrambling  at  some  risk  over  the 
rocks  in  the  dark,  I found  the  guides  had  already  put  them  under 
shelter.  By  the  first  gleams  of  daybreak  the  rain  had  stopped  ; 
so,  although  we  were  wet  and  miserable,  and  the  sky  still  threaten- 
ing, we  decided  not  to  give  in,  but  to  go  for  our  mountain.  The 
guides  got  a fire  lit  somehow,  and  we  made  a brew  of  chocolate, 
and  managed  to  eat  some  bread  and  cheese,  and  then  we  got 
ready  to  start. 

I was  very  doubtful  about  taking  the  camera,  as  the  weather 
looked  so  uncertain  ; but,  remembering  my  rule  never  to  leave 
it  behind  on  account  of  the  weather  only,  I decided  to  take  it, 
and  at  4.30  a.m.  we  left  our  bivouac  and  clambered  down  the 
rocks  on  to  the  glacier  again.  I need  not  describe  in  detail  our 
climb  up  Mont  Mallet.  To  those  who  have  not  been  “ on  a 
rope”  among  the  High  Alps,  such  a description  would  be  almost 
meaningless,  and  it  would  be  certainly  out  of  place  in  a photo- 
graphic journal.  Suffice  it  to  say  that  we  duly  reached  the  top 
(13,000  feet  high)  at  10'30  a.m. ; the  weather,  to  our  great 
sa*  sfaction,  had  cleared  up  entirely,  and  the  day  was  perfect. 

Mont  Mallet  stands  up  between  the  Grandes  Jorasses  and  the 
Dent  du  Geant,  and  commands  superb  views,  the  most  striking 
being  those  of  the  peaks  just  named.  Turning  westwards  we 
see  the  grand  mass  of  Mont  Blanc,  five  miles  away,  with 
the  dark  spire  of  the  Dent  du  Grant  immediately  in  front 
of  it,*  and  comparatively  near  at  hand  (900  yards) ; while 
facing  round  to  the  east  one  sees  the  precipices  of  the  Grandes 
Jorasses  from  above  instead  of  from  below,  as  on  the 
previous  day.  The  latter  view  was  taken  with  the  Dallmeyer 
seven-inch  lens,  and  the  two  former  ones  with  Ross’s  eight-inch 
symmetrical,  the  exposure  being  in  each  case,  with  the  smallest 
stop,  about  one  and  a-half  seconds. 

Having  packed  up  the  camera,  wc  auused  ourselves  by  watdiing 
with  the  telescope  another  party  of  our  f riends  from  the 
Montanvert,  who  were  just  then  on  the  top  of  the  Aiguille  du 
Midi — one  of  the  high  rock  peaks  clote  to  Mont  Blanc, ' and 
nearly  four  miles  away  from  us  across  the  Glacier  du  Goant. 
The  air  is  so  clear  at  these  heights  that  it  is  very  difficult  to 
estimate  distance  and  size,  and  it  is  the  chief  fault  of  small 
photographs  of  the  Alps,  that  they  give  so  little  idea  of  the  vast 
scale  of  these  mountains  and  glaciers,  owing  to  the  absence  of 
atmospheric  haze.  Down  in  the  valleys  there  is  generally  more 
haze,  so  there  this  fault  is  not  so  conspicuous.  Our  descent  to 


the  Montanvert  calls  for  no  particular  remark,  except  that  on 
reaching  the  foot  of  the  Glacier  du  Geant  we  fell  in  with  our 
riends  from  the  Aiguille  du  Midi,  and  with  them  threaded  the 
now-familiar  crevasses  of  the  Mer  de  Glace,  reaching  the  hotel 
in  time  for  dinner  at  seven  o’clock. 

(To  be  continued.) 


GDomspniuntc. 

PHOTOGRAPHY  AND  TRICYCLING. 

Sir, — If  you  do  not  consider  the  subject  entirely  thrashed 
out,  perhaps  you  would  allow  me  to  add  my  mite,  not  as 
to  form  of  tricycle,  but  as  to  means  of  carrying  one’s  appa- 
ratus. 

1 obtained  what  is  known  a3  “a  tricycle  bag,”  which 
exactly  holds  my  camera  (7£  by  5),  four  double  backs, 
focussing  cloth,  a couple  of  lenses,  shutter,  &c.  It  is  made 
of  red  waterproof  canvas,  with  a longitudinal  division  in 
the  body,  forming  two  large  pockets ; one  of  them  holds 
the  slides,  the  other,  camera,  &c. ; while  sundry  small 
articles  can  be  stowed  in  some  of  the  smaller  receptacles, 
while  the  stand  (folding)  straps  on  the  top.  It  is  readily 
attached  to  the  back  of  the  seat,  and  over  level  ground 
adds  nothing  to  the  fatigue  of  driving,  which,  resembling 
in  size  an  ordinary  tourist  knapsack,  the  addition  of  two  or 
three  morash  straps  enables  it  to  be  readily  attached  to  the 
back,  or  carried  in  the  hand  under  circumstances  when 
for  any  reason  the  tricycle  is  unavailable. 

These  bags  can,  I believe,  be  had  of  various  sizes,  and  I 
think  intending  photo- tdcyclists  might  do  worse  than  look 
at  such  arrangements  before  deciding.  1 can  bear  witness 
to  its  convenience. — Yours  truly,  Greenwood  Pim. 


See  our  Pictorial  Supplement  this  week.— Ep.  I’.N, 


THE  PHOTOGRAPHIC  EXHIBITION. 

Hear  Sib, — In  your  third  notice  of  the  Exhibition  you 
say:  “Mr.  Vernon  Heath  is  not  so  happy  this  year  with  his 
exhibits,”  and  then  you  instance  certain  views  in  the  Isle  of 
Skye.  Let  me  explain  that  these  are  not  mine,  and  that, 
unfortunately  lor  myself,  I am  not  this  year  an  exhibitor. 

How  such  an  error  occurred  I know  not;  but  in  the 
original  edition  of  the  catalogue  I was  named  as  the  author 
of  the  subjects  you  refer  to,  and  it  was  this,  doubtlessly,  that 
misled  you.  1 greatly  regret  that  I am  unrepresented  in 
the  Exhibition,  but  the  time  of  year  it  is  held  is  the  most 
difficult  of  all  for  me  to  prepare  new  work,  for  it  is  then, 
and  for  three  months  previously,  I am  in  the  country. — Youis 
faithfully,  ' Vebnon  Heath. 

PHOTOGRAPHY  AT  THE  ANTIPODES. 

Dear  Sir, — Your  issue  of  June  29th,  just  to  hand,  con- 
tains a short  account  of  some  photographs  produced  by 
Thomas  Francis,  Esq.,  of  Sydney,  N.S.W.  1 am  delighted 
to  know  that  the  clever  work  of  this  gentleman  is  at  last 
known  in  England.  I can  fully  endorse  all  contained  in 
your  notice.  I believe  he  has  brought  this  branch  of  photo- 
graphy nearer  to  perfection  than  it  has  been  done  before. 

Mr.  Francis,  after  much  labour,  has  devised  and  con- 
structed with  hisjown  hands  the  most  perfect  machanism 
for  making  exposures,  and  with  a reliable  arrangement  for 
registering  the  time  of  exposures  beyond  doubt.  He  has 
also  made  a valuable  discovery  relative  to  developing  out 
with  full  detail  these  pictures,  and  I sincerely  hope  his 
modesty  will  not  prevent  him  from  coming  forward  in  re- 
gard to  these  matters.— I am,  yours  truly,  D.  Scott. 

Stanmore,  near  Sydney,  N.  S.  JFafot. 

[We’trustMr.  Francis  will  be  induced  to  give  our  readers 
the  benefit  of  bis  experiences. — Ed.  P.N.] 


“HOW  THE  CJ11  TTY  WEE  WAS  TAKEN.” 
Dear  Sir, — I read  with  much  interest  Mr.  West's  short 
account  of  how  he  photographed  bis  yachts.  At  the  same 


November  2,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


701 


^ime,  I felt  much  disappointed,  for  many  details  which 
would  have  been  of  the  greatest  interest  (to  an  amateur, 
at  any  rate)  were  omitted.  Perhaps  Mr.  West  would  be  so 
kind  as  to  tell  us  them.  Such  as — “ How  did  he  place  his 
camera;  did  it  stand  on  its  tripod  simply,  or  was  it 
arranged  on  boxes  or  other  supports? ” “What  plates 
were  used?”  And,  above  all,  “ What  instantaneous 
shutter  ? ” 

If  it  is  not  asking  him  to  “show  his  hand  too  much,” 
1,  for  one,  would  be  grateful  for  the  information. — Yours 
sincerely,  An  Amateur. 


THE  NEWCASTLE  EXHIBITION. 

Dear  Sib, — Kindly  allow  me,  thiough  the  News,  to 
remind  intending  contributors  to  our  Exhibition  that 
■notices  of  exhibits  should  be  sent  in  by  the  12th  November. 
Pictnres  will  be  received  at  the  Central  Exchange  Art 
Gallery  up  to  9 p.m.  on  the  20ih  November. 

The  Exhibition  will  be  opened  on  the  23rd  inst.,  and  will 
be  closed  on  the  8th  Dec.  I shall  be  glad  to  supply  further 
particulars,  forms,  &c.,  to  anyone  desiring  them. — Yours 
very  truly,  J.  Pike,  lion.  Sec. 


^mabiags  at  $ocu tits. 

London  and  Provincial  Photographic  Association. 

At  a meeting  of  this  Society  held  on  Thursday,  the  25th  iust., 
Mr.  W.  Ackland  occupied  the  chair. 

Mr.  A.  J.  Brown  enquired  if  any  of  the  members  had  succeeded 
in  reducing  dense  negatives  by  Mr.  Henderson’s  method  ? He 
could  not  succeed  either  with  hydrocyanic  acid,  or  cyanide  of 
potassium,  and  desired  information. 

Mr.  Debenham  said  a gentleman  mentioned  at  the  last  meeting 
that  he  had  failed. 

Mr.  A.  L.  Henderson  could  not  account  for  failure  ; if  any- 
one would  bring  him  some  negatives,  he  would  reduce  them. 

Mr.  Barker  showed  samples  of  Coignet’s  gold  label  and  special 
photographic  gelatines,  said  to  be  free  from  spots  or  pitting ; he 
wished  some  members  would  try  the  samples,  and  report  then- 
results. 

Mr.  Debenham  defined  the  true  Coignet  spot  as  distinguished 
from  others. 

Mr.  T.  Bolas  had  not  met  with  a sample  of  Coignet’s  gelatine 
free  from  spots  ; the  most  severe  test  would  be  coating  a clean 
glass  plate  with  plain  gelatine  solution  ; pits,  if  present,  could  be 
discerned  as  the  gelatine  set : the  addition  of  salts,  as  in  emulsion 
making,  would  rather  tend  to  prevent  their  formation. 

Mr.  Henderson  differed  in  this  respect ; he  could  cure  the 
gelatine  by  the  addition  of  bicarbonate  of  potash  solution, 
exhausting  the  air,  re-charging  the  vacuum,  and  exhausting  a 
few  times. 

Mr.  Bolas  said  exhausting  dissolved  air  from  an  aqueous  solu- 
tion of  gelatine  or  other  colloid  body  was  often  practised  by 
collotypers ; possibly  Mr.  Henderson  might  remember  an  appa- 
ratus he  (Mr.  Bolas)  used  in  one  of  his  lectures  at  the  Society  of 
Arts,  in  connection  with  this  subject.  There  would  be  less 
tendency  to  spots  of  the  kind  mentioned  by  Mr.  Debenham,  but 
the  physical  character  of  the  gelatine  would  be  changed.  In 
point  of  hardness,  Coignet’s  might  be  considered  at  the  top  of  the 
gamut,  and  common  glue  at  the  bottom.  Watchiug  the  forma- 
tion of  pits,  they  would  be  noticed  to  rise  to  a pyramid,  then 
fall  in,  leaving  a hollow,  with  a wall  of  gelatine,  as  setting  takes 
p'a^e. 

Mr.  Brown  enquired  the  best  means  of  reducing  gelatine  to  a 
powder. 

Mr.  Bolas  said  gelatine  could  be  ground  similar  to  other  sub- 
s’aices,  if  a suitable  mill  be  employed.  Bailey’s  would  be  found 
useful  in  the  laboratory,  being  geared  to  produce  a difference  in 
speed  between  the  muller  and  the  pan. 

Mr.  F.  \V.  Hart  attributed  pitsto  a fungus,  and  wou'd  like  to 
know  if  carbolic  acid  had  been  used  as  a remedy.  He  had  ex- 
perimented in  this  diieetion,  and  was  of  the  opinion  that  a 
i ui  .able  antiseptic  would  entirely  prevent  the  evil. 

Air.  Barker  had  a bottle  of  emulsion  which  has  been  corked 
up  for  five  years,  and  was  still  perfect ; the  nitrate  of  potash  salt 


not  being  washed  out,  had  preserved  it.  He  found  the  addition 
of  a small  quantity  of  alcohol  or  water  assisted  in  reducing  gum- 
arabic  and  similar  substances  to  a powder. 

Dr.  Steval,  a gentleman  whose  name  is  well  kno  wn  among 
the  students  of  Continental  photography,  gave  a brief  descrip- 
tion of  the  state  of  dry  plate  photography  in  Germany.  He 
attributed  some  of  the  difficulties  of  emulsion  work  to  the  care- 
lessness in  the  manufacture  of  the  chemicals  used.  In  one  case, 
40  per  cent,  of  nitrate  existed  in  a sample  of  ammonium  bro- 
mide. Cold  emulsification,  according  to  the  formula;  published 
by  Mr.  HendersoD,  is  worked  almost  exclusively  in  Germany. 
The  silver  medal  awarded  at  the  late  exhibition,  for  plates  of 
German  manufacture,  were  produced  by  the  cold  method.  With 
regard  to  speed,  German  photographers  were  anxious  for  greater 
speed  ; but  many  of  them  could  scarcely  work  such  extremely 
rapid  plates  as  was  customary  there.  Anything  quicker  than 
fifteen  times  collodion  would  be  considered  in  Germany  very 
rapid. 

Mr.  Barker  showed  a plate  exposed  one  minute  to  day-light 
to  obtain  a reversed  action  of  light ; upon  developing,  the 
corered  portion  was  reversed  also. 

Mr.  Cowan  demonstrated  the  easy  manner  in  which  gelatino- 
chloride  transparencies  may  be  produced  for  the  lantern  or  en- 
largement. The  emulsion  was  the  slowest  he  could  make  ; exposed 
through  a negative  one  foot  from  a gas  jet  for  ten  minutes 
would  not  suffice  to  obtain  an  image,  whereas  one  inch  of  mag- 
nesium wire,  burnt  at  a distance  of  eighteen  inches,  would  be 
sufficient.  After  such  an  exposure,  the  plate  was  put  into  a 
mixture  comprising  the  residues  of  all  the  developers  used  in 
Mr.  Cowan’s  recent  experiments — that  is,  all  the  citrates,  with 
ferrous  oxalate.  The  image  developed  in  five  minutes,  and  fixed 
in  one  minute,  the  length  of  time  for  developing  depending  on 
the  proportion  of  ferrous  oxalate  present. 

Mr.  Debenham  said  at  the  last  meeting  Mr.  Cowan  showed 
variety  of  tone  by  varying  the  citrates  ; Dr.  Eder  showed  the 
alteration  of  exposure  and  using  the  same  developer  obtained 
changed  results.  That  afternoon  he  exposed  one  plate  sixty 
seconds,  and  another  thirty  seconds,  developing  in  a mixture 
composed  of  citrate  of  magnesia  two  parts  to  one  part  of  ferrous 
oxalate  ; and  ferrous  oxalate  two  parts,  with  magnesia  citrate  one 
part,  respectively.  The  plate  receiving  sixty  seconds  was  a warmer 
tone,  and  developed  quickly ; the  thirty  second  plate  developed 
slowly,  and  was  colder  in  tone.  He  (Mr.  Debenham)  considered 
that  variety  of  tone  could  be  obtained  by  varying  either  expo- 
sure or  development. 

Mr.  Brown  agreed  with  Mr.  Debenham  ; some  experiments  of 
his  nearly  two  years  ago  tended  to  prove  it. 

A photograph  of  the  St.  Leger  race  was  shown  by  Mr.  Crosby 
The  horses  were  represented  going  at  their  highest  speed,  and 
absolutely  sharp,'  the  features  of  the  jockeys  being  recognizable 
in  two  or  three  instances. 

Messrs.  H.  S.  Starnes  and  E.  Twiss  were  elected  members  of 
the  Association. 

Mr.  J.  Traill  Taylor  was  announced  to  deliver  a lecturette 
on  Thursday,  Nov.  8th;  the  subject  will  be  “ Lens  Grinding.” 


Glasgow  Photographic  Association. 

The  second  general  meeting  of  the  Institution  was  held  in  the 
Religious  Association  Rooms,  on  Tuesday,  the  23rd  of  October, 
Councillor  Robertson  in  the  chair. 

The  minutes  of  the  last  meeting  were  re  id  and  approved  of. 

The  Secretary  also  read  letters  from  Messrs.  Parkin  and 
Dickie,  acknowledging  receipt  of  their  awards,  and  thanking  the 
donors  for  the  same. 

Councillor  Robertson  then  proposed  that  a small  committee 
be  appointed  to  select  a photograph  to  be  engraved  for  the  pre- 
sentation print ; he  named  three  gentlemen,  Messrs.  John  Parker, 
Andrew  McLear,  and  Thomas  Annan,  who  were  accordingly  ap- 
pointed. 

The  question-box  was  then  opened,  and  the  following  questions 
were  found  : — 

1 st.  “ Has  the  winner  of  the  medal  for  the  transparency  com- 
petition complied  with  the  rules  by  sending  in  a written  descrip- 
tion of  the  method  by  which  they  were  prepared  for  the  use  of 
the  members  of  the  Society,  and  if  so,  why  has  it  not  been  dis- 
tributed among  them  ? ” 

Mr.  Parker  said  that  he  was  not  aware  that  that  was  one  of 
the  rules,  but  that  he  would  be  very  glad  to  give  a description  of 
Lii  process. 

2nd.  “ Has  any  member  tried  the  [collodio- chloride  printing 


702 


THE  PHOTOGRAPHIC  NEWS. 


[November  2,  1883. 


paper,  as  mentioned  in  this  week’s  journal,  and  with  what  re- 
sults ? ” 

None  of  the  members  present  had  used  it,  but 

Mr.  T.  Annan  said  that  Mr.  Bruce,  of  Duns,  had  used  it  for 
many  years,  and  with  great  success. 

The  Treasurer  then  read  his  report  for  the  session  1882-83, 
which  showed  that  the  income,  including  balance  from  last 
session  of  £9  17s.  8d.,  had  been  £35  Os.  2d.  The  expenditure 
was  £19  4s.  lid.,  leaving  a balance  on  hand  of  £15  15s.  3d. 

Councillor  Robertson,  in  a few  words,  in  which  he  thanked 
the  treasurer  (Mr.  Bell)  for  the  conscientious  manner  in  which 
he  had  fulfilled  the  duties  of  treasurership  during  the  fifteen 
years  he  had  held  that  office,  moved  the  adoption  of  the  report, 
which  was  seconded  by  Mr.  Hume,  and  agreed  to. 

The  Chairman  then  called  upon  Mr.  Norman  Macbeth,  R.S.A., 
to  read  his  paper  entitled  “ Sky  Shade  to  Secure  Foreground  and 
Clouds  in  the  same  Negative.”  This  paper  has  already  been 
published,  and  need  not  now  be  commented  upon. 

A number  of  very  fine  prints  by  Mr.  Parker,  illustrating  the 
action  of  the  shade,  were  then  handed  round. 

Mr.  Parker  said  that  in  doing  these  views  he  had  used 
AVratten  and  AVainwright’s  slow  plates,  and  also  that  when  using 
it  the  exposure  required  to  be  about  twice  as  long 

Mr.  McLear  said  that  he  considered  the  combination  of  cloud 
and  landscape  in  one  negative  to  be  a great  stride  in  landscape 
photography.  He  said  that  he  had  seen  Mr.  Sam  Bough,  R.S.A., 
in  painting  some  of  his  pictures,  paint  the  sky  first,  and  then,  in 
painting  the  picture,  he  adapted  the  lighting  of  the  foreground 
to  suit  the  cloud. 

Several  other  members  spoke,  and  expressed  their  satisfaction 
with  the  shade.  Mr.  Lang  asked  how  he  could  procure  such  a 
shade,  as  Mr.  Macbeth’s  ? 

Mr.  Macbeth  said  he  would  leave  his  shade  with  the  secretary, 
so  that  any  of  the  members  might  get  it  for  a pattern. 

The  Chairman  then  called  upon  Air.  Macbeth  to  read  his 
second  paper  on  a “ Ferrous  Oxalate  Developer.” 

Mr.  Macbeth  then  exhibited  several  negatives  by  this 
developer,  which  seemed  highly  satisfactory.  He  also  exhibited 
a number  of  interesting  prints. 

Mr.  Parker  asked  him  to  explain  why  his  prints  were  so  red 
in  tone. 

Mr.  AIacbeth  replied  that  no  toning  bath  had  been  used  in 
the  preparation  of  these  prints  ; he  disliked  the  ordinary  tone  of 
photographs  very  much,  they  were  so  cold  and  blue  and  photo- 
graphic looking.  He  much  preferred  the  beautiful  rich  brown 
he  obtained  by  merely  washing  the  prints  with  water,  and  then 
fixing  in  the  hypo  bath  for  not  more  than  five  minutes. 

Mr.  T.  Annan  asked  whether  he  used  an  old  fixing  bath,  as 
very  rich  sepia  tones  can  be  obtained  by  so  doing. 

Air.  Macbeth  said  he  always  prepared  a new  bath  when  the 
old  one  began  to  colour.  One  of  the  prints  he  showed  was 
rather  a curiosity.  The  plate  was  exposed  and  developed  in  the 
usual  manner,  but  instead  of  being  a negative  it  turned  out  a 
positive  perfect  in  every  respect ; the  subject  was  a sandy 
beach,  on  which  a number  of  children  were  playing. 

Mr.  Lang  said  it  might  be  the  result  of  hypo  getting  into 
his  oxalate  develeoper. 

Air.  Macbeth  said  this  could  not  be  in  this  case,  as  he  had 
developed  another  plate  at  the  same  time.  He  expressed  his 
desire  to  know  the  experience  of  the  members  in  regard  to 
oxalate  developer. 

Air.  Lang  said  he  had  used  Capt.  Abney’s  ferro-citric-oxalate 
with  great  success.  It  was  too  slow  for  professi  mals  ; he  had 
developed  a plate  for  an  hour  and  a half,  and  at  the  end  of  that 
time  got  a good  negative. 

Councillor  Robertson  then  proposed  a vote  of  thanks  to  Mr. 
Macbeth  for  his  papers,  and  to  Mr.  Parker  for  his  readiness  in 
giving  his  invention  to  the  Society  and  to  the  public  generally. 
This  was  heartily  accorded. 

Air.  AIcLear  then  proposed  a, vote  of  thanks  to  the  treasurer 
for  the  conscientious  manner  in  which  he  had  fulfilled  his  duty 
as  shown  by  his  report.  This  was  also  heartily  accorded. 


Manchester  Photographic  Society. 

TnE  annual  meeting  of  this  Society  was  held  at  the  Manchester 
Technical  Schools,  on  Thursday,  the  11th  ult.,  Air.  John  AY. 
Leigh,  President,  in  the  chair. 

The  minutes  of  the  previous  meeting  were  read  and  passed. 
The  Annual  Report  was  then  read,  followed  by  the  Balance 
Sheet,  of  which  a copy  was  given  to  each  member. 


Annual  Report. 

“ This  is  the  twenty-eighth  annual  meeting  of  this  Society, 
and  your  Councii  have  great  pleasure  in  congratulating  you  upon 
the  great  success  of  the  year,  now  ebbing  away. 

“If  we  have  not  added  quite  so  many  new  members  as  we  did 
in  the  previous  year,  we  have  fewer  resignations  to  record.  Our 
present  numerical  strength  is  113  against  104  last  year. 

“ It  is  very  satisfactory  to  find  the  average  attendance  at  our 
meetings  has  increased  to  51  this  year,  against  46J  last  year  ; 
and  although  we  cannot  boast  of  an  advance  iu  the  number  of 
papers  read  before  the  Society,  we  arc  able  with  pleasure  to 
reflect  upon  the  general  interest  that  has  pervaded  our 
gatherings. 

“ One  of  the  principal  events  of  the  year  was  a most  successful 
exhibition,  in  November  last,  of  the  work  of  our  members,  and 
illustrated  the  great  progress  which  has  been  made  amongst  us, 
showing  how  much  art  can  lend  itself  to  the  pleasures  of 
holiday  rambles. 

“ At  our  December  meeting  a lantern  exhibition  was  given,  at 
which  over  three  hundred  slides,  produced  from  the  negatives  of 
our  members,  were  thrown  upon  the  large  screen.  In  this  fasci- 
nating branch  of  photography  great  strides  in  progress  were 
manifest,  and  the  exhibition  closed  with  a large  collection  of 
slides  by  York,  AVoodbury,  and  others. 

“ Next,  we  had  a sale  by  auction  of  the  apparatus  of  members. 
This  was  more  successful  than  ever  contemplated. 

“ Mr.  G.  J.  Johnson  read  a most  interesting  paper  on  photo- 
micrography. He  exhibited  the  apparatus  he  had  devised  for 
this  special  work,  and  also  a series  of  slides  of  microscopic  objects. 

“ Amongst  other  matters,  instantaneous  shutters  and  pictures 
taken  by  their  aid  have  been  exhibited  and  discussed. 

“ Air.  Openshaw  gave  a very  interesting  demonstration  of  the 
platinotype  manipulation. 

“ Mr.  John  Schofield  gave  an  account  of  how  he  made  gelatino- 
bromide  enlargements,  and  showed  the  apparatus  he  used. 

“ Air.  A.  Coventry  exhibited  his  new  drying-box,  and  gave 
some  highly-appreciated  hints  on  the  manufacture  of  gelatino- 
bromide  plates.  AA’hilst  Alessrs.  Smith,  Greatorex,  McKellen, 
and  many  others  have  always  had  plenty  of  novelties  in  appa- 
ratus to  exhibit,  Messrs.  Leigh,  Ooote,  Pollitt,  and  others  have 
come  forward  with  abundant  results  of  their  labours  in  other 
ways. 

“ Before  concluding  this  restrospective  survey  of  our  proceed- 
ings, we  must  acknowledge  the  success  of  our  out-door  meetings. 
Of  the  whole  twelve  meetings  arranged,  only  one  has  fallen 
through.  Alost  of  the  others  have  been  well  attended,  and  in 
every  case  proved  enjoyable  to  those  present. 

“ Now  last,  but  not  least,  we  have  a word  or  two  to  say  upon 
our  financial  status.  Perhaps  not  in  the  annals  of  this  Society 
has  there  been  such  a balance  in  its  favour  ; for,  notwithstanding 
the  calls  that  have  been  made  upon  our  exchequer,  and  the 
number  of  outstanding  subscriptions,  we  have  a larger  balance 
than  ever. 

“ And  now,  in  resigning  our  respective  offices,  we  must  again 
congratulate  you  upon  the  sound  basis,  not  only  of  the  finan- 
cial and  general  working,  but  the  harmonious  feeling  which 
seems  to  characterise  the  whole  of  our  proceedings.” 

Dr.  BaHIN,  moved,  and  Rev.  H.  Ar.  AIacdona  seconded,  that 
the  report  be  accepted,  which  was  carried. 

The  next  business  was  the  election  of  officers  for  the  ensuing 
year,  resulting  as  follows:  — 

President — Air.  Pollitt. 

Vice-Presidents — The  Rev.  Canon  Beechy,  Alfred  Brothers, 
E.  Openshaw,  John  AA’arburton,  John  Schofield,  and  Dr.  Bahin. 

Council — S.  D.  AlcKellen,  Joseph  Greatorex,  It.  Atherton,  AAr. 
Broughton,  J.  T.  Chapman,  John  Chadwick,  Thomas  Sefton, 
S.  F.  Flowers,  A.  Coveutry,  and  John  Kershaw. 

Hon.  Treasurer — AA1.  G.  Coote.  Hon.  Sec. — AAr.  J.  Chadwick. 

AVhilst  the  voting  papers  were  beiug  arranged,  the  Chairman 
called  attention  to  the  albums  and  portfolios  of  the  Society,  and 
particularly  to  the  new  question-box.  These  proved  objects  of 
great  interest  to  many  new  members  who  had  not  seen  them 
before. 

The  Chairman  acknowledged  the  receipt  of  a packet  of 
complimentary  tickets  from  the  President  of  the  Photographic 
Society  of  Great  Britain,  to  view  the  exhibition  now  open  in  Pall 
Mall,  and  these  were  distributed  to  those  members  who  the  light 
they  might  be  able  to  avail  themselves  of  the  opportunity. 

Air.  S.  1).  McKellen  called  attention  to  a few  splendid 
pictures— views  in  Derbyshire — he  had  taken  recently  by  means 


November  2,  1883.) 


THE  PHOTOGRAPHIC  NEWS, 


703 


of  a Suter  lens.  The  negatives  were  whole-plate,  taken  with  an 
8 A -inches  focus  lens,  and  they  were  remarkable  for  the  splendid 
definition  right  to  the  very  corners.  In  reply  to  a question,  he 
(Mr.  McKellen)  said  he  found  the  lens  very  rapid  ; but  in  the 
present  case  he  had  used  a small  stop. 

Mr.  W.  Broughton  exhibited,  on  behalf  of  his  friend 
Mr.  Bent,  a series  of  lantern  pictures  from  his  own  negatives, 
taken  in  South  Africa,  and  they  were  very  much  admired. 

Mr.  J.  Kershaw  exhibited  a remarkable  little  picture— a boy 
blowing  soap-bubbles.  This,  he  said,  was  taken  iu  the  studio  on 
a not  very  bright  day. 

Mr.  A.  Brothers  proposed  that  the  council  take  into  con- 
sideration the  possibility  of  holding  an  exhibition  of  photo- 
graphs in  the  Royal  Institution  at  the  close  of  the  present 
exhibition  of  paintings. 

The  Rev.  H.  V.  Macdona  seconded  this  motion.  He 
endeavoured  to  show  the  advantages  of  giving  prizes,  and  gave 
some  of  his  experience  in  connection  with  dog  shows,  Ac. 

The  following  gentlemen  were  duly  elected  members  of  the 
Society  : — Messrs.  John  Huison,  H.  O.  Hutchinson,  John  Mars- 
den,  Isaac  S.  Moss,  W.  S.  Fidler,  Thomas  Emmett,  J.  A.  Chad- 
wick, Otto  Moth,  Frank  Edwards,  T.  Scott,  J.  W.  Kenwortby, 
and  A.  C.  Farnsworth. 

After  a pleasant  and  busy  evening  the  meeting  was  adjourned. 

Liverpool  Amateur  Photographic  Association. 

The  October  meeting  of  the  above  Association  was  held  on 
Thursday  evening,  the  Sloth  ult.,  the  President,  Mr.  B. 
Boothroyd,  in  the  chair. 

The  minutes  of  the  September  meeting  having  been  read  and 
confirmed,  Messrs.  A.  AY.  Cornish,  R.  \V.  Hill,  \V.  Punshon,  \V. 
Paris,  and  Dickenson  were  elected  members  of  the  Association. 

Mr.  J.  H.  T.  Ellerbeck  asked  for  information  as  to  the  rule 
of  the  Society  with  regard  to  the  appointment  of  honorary 
members. 

The  Hon.  Secretary  read  the  rule  as  follows: — “Honorary 
members  shall  be  nominated  by  the  Council,  but  their  election 
must  be  with  the  consent  of  the  members  present  at  the  meeting. 
Honorary  members  shall  be  entitled  to  attend  the  meetings,  but 
not  to  serve  on  the  Council  or  vote  on  any  question  whatever.” 

The  Chairman  alluded  with  much  feeling  to  the  heavy  loss 
sustained  by  the  Society  during  the  past  month  by  the  death  of 
one  of  its  oldest  members,  Mr.  \V.  H.  Wilson  ; and  also  by 
that  of  Mr.  G.  F.  Chantrell,  who,  though  but  recently  elected', 
had  been  on  terms  of  intimacy  and  friendship  with  many  a 
member  of  the  Association.  He  (the  Chairman)  next  announced 
that  the  Council  would  decide  upon  the  presentation  print  for 
the  current  year  during  the  ensuing  month.  Members  having 
negatives  suitable  for  enlarging  for  this  purpose  were  requested 
to  send  them  to  Mr.  J.  H.  T.  Ellerbeck,  54,  Bold  Street,  on  or 
before  the  15th  of  November  next.  The  Chairman  then  called 
attention  to  some  fine  enamels  and  some  instantaneous  pictures 
kindly  sent  for  exhibition  by  Mr.  A.  L.  Henderson,  of  London, 
and  expressed  the  thanks  and  appreciation  of  the  members  for 
these  exhibits.  He  (the  Chairman)  then  referred  to  a letter 
which  he  had  received  from  M.  Letellier,  of  Paris,  appealing  for 
a subscription  to  the  proposed  monument  at  Chalons -sur-Sabne 
to  the  memory  of  Daguerre. 

Mr.  Ellerbeck  proposed  that  the  Society  should  present  a 
donation  to  the  fuuds  of  this  memorial,  the  amount  of  such 
donation  to  be  decided  by  the  Council. 

Mr.  J.  L.  Cork  hill  seconded  the  resolution,  and  it  was  carried 
unanimously. 

The  Hon.  Secretary  said  that  Mr.  W.  F.  Donkin  was  un- 
happily unable  to  be  present  in  person,  but  had  sent  a most 
interesting  and  valuable  paper,  which  he  would  proceed  to 
read  (see  page  699).  Mr.  Donkin’s  paper  was  illustrated  by  the 
whole  of  his  splendid  series  of  photographs  of  the  Alps,  and 
among  them  were  some  magnificent  enlargements  by  the  Auto- 
type and  Woodbury  Companies.  The  picture  of  the  marvellous 
Peak  of  the  Dent  du  Gdant  was  especially  admired. 

The  Chairman  proposed  a cordial  vote  of  thanks  to  Mr. 
Donkin,  not  only  for  his  capital  paper,  but  also  for  his  great 
kindness  in  affordiug  the  Society  the  treat  of  the  sight  of  his 
truly  wonderful  pictures. 

So  great  was  the  applause  and  enthusiasm  in  response  to  the 
Chairman  s proposal,  that  it  was  not  thought  necessary  to  put 
the  resolution  formally  before  the  meeting. 

The  Rev.  H.  J.  Palmer  gave  a demonstration  illustrating  the 
mode  of  enlarging  with  the  lantern  on  Messrs.  Goodall  and 


Stephen’s  new  enamelled  collodio-bremide  paper.  The  negative 
chosen  for  the  purpose  was  one  taken  by  Mr.  Palmer  in  his 
summer  tour  abroad,  and  consisted  of  a view  of  the  Cathedral  of 
Chartres,  with  the  River  Eure  and  some  quaint  old  houses  in 
the  foreground.  After  exposure  of  ten  minutes  in  the  Sciop- 
ticon  lantern,  with  Dallmeyer's  lantern  lens  and  a small  stop, 
the  development  was  accomplished  by  the  light  of  a Scovill 
lamp,  and  the  result  was  a very  beautiful  and  brilliant  picture, 
having  all  the  appearance  of  a silver  print  on  doubly-albu- 
meuized  paper.  In  answer  to  questions  on  the  subject,  he  (the 
Rev.  H.  J.  Palmer)  said  that  his  developer  consisted  of  the 
saturated  solution  of  oxalate  of  potash  three  parts,  and  one 
part  of  a saturated  solution  of  sulphate  of  iron.  After  fixing 
in  the  usual  way,  he  recommended  flowing  over  with  a solution 
of  alum  and  citric  acid,  and  then  a very  thorough  washing  with 
many  changes  of  water.  Mr.  Palmer  passed  round  two  views 
of  Antwerp  Cathedral  to  illustrate  the  exceeding  beauty  of 
pictures  enlarged  upon  this  new  enamelled  paper.  One  of  these 
pictures  had  beeu  enlarged  upon  ordinary  gelatino-bromide 
paper,  and  the  other  upon  Messrs.  Goodall  and  Stephen’s 
enamel,  the  latter  being  greatly  superior  to  the  former. 

During  the  exposure  of  the  enlargement,  Mr.  Palmer  read  a 
paper  on  “ An  Autumn  Ramble  in  Shropshire  (see  page  699)  and 
showed  a number  of  pictures  taken  on  the  occasion  and  under 
the  circumstances  detailed. 

Mr.  Ellerbeck  exhibited  the  presentation  prints  of  the 
South  London  Photographic  Society. 

After  a hearty  vote  of  thanks  to  Mr.  Palmer  for  his  useful  and 
successful  demonstration,  and  also  for  his  paper,  the  meeting — 
which  was  the  most  crowded  ordinary  gathering  which  bad  ever 
assembled  under  the  auspices  of  the  Liverpool  Amateur  Photo- 
graphic Association — adjourned  to  the  last  Thursday  in 
November. 


SLalk  i»  t&e  Stuirw. 

A Portrait  in  Court. — In  the  City  of  Loudon  Court,  before 
Mr.  Commissioner  Kerr,  the  case  Johnson  v.  White  was  heard. 
The  plaintiff  was  Mr.  Henry  Johnson,  photographer,  2,  Dovecot 
Terrace,  Green  Lanes,  Wood  Green,  who  sued  the  defendant,  Mr, 
W.  White,  printer,  Bridge  Chambers,  Blackfriars,  to  recover  the 
sum  of  £1  10s.  for  copying  a carte-de-visite.  The  solicitor  who 
appeared  for  the  defendant  said  his  client  declined  to  pay  the 
money  because  the  alleged  copy  of  the  carte  was  not  at  all  like 
the  gentleman.  Amid  considerable  amusement,  the  portrait 
was  handed  up  to  the  Bench,  and  the  defendant  was  called  into 
the  witness-box  in  order  that  his  honour  might  have  the 
opportunity  of  comparison.  His  Honour : I don't  sit  here  as 
a judge  of  art;  but  I would  like  to  know  when  the  carte  was 
taken.  Plaintiff : It  was  taken  about  five  years  ago.  You  will 
understand  that  I was  not  employed  to  take  the  photograph, 
but  to  reproduce  the  carte.  His  Honour  : I think  you  have 
done  your  work  very  well.  Plaintiff : My  instructions  were  to 
make  the  eyes  dark  blue,  and  the  whiskers  not  too  grey. 
Defendant’s  Solicitor : I have  a boy  in  court  who  knows  the 
defendant  very  well,  and  when  the  portrait  was  sent  home  he 
could  not  recognise  it.  His  Honour : That  may  be ; but 
recollect  that  five  years  had  elapsed.  Defendant's  Solicitor: 
Then  your  honour  holds  that  the  portrait  is  a good  reproduction 
of  the  carte.  His  Honour : Yes ; there  will  consequently  be 
judgment  for  the  plaintiff,  with  costs. 

Painted  Portraits  versus  Photographic  Portraits. — 
When  Ouless  was  painting  Mr.  Bright,  he,  observing  very  few 
things  in  the  studio  beyond  an  easel,  a maulstick,  and  some 
pigment  of  paint,  said,  “ You  do  business,  Mr.  Ouless,  on  a very 
small  capital.”  Mr.  Bright  being  an  artist  in  oratory,  none 
know  better  than  he  that  a painter’s  capital  was  his  skill.  The 
orator  does  bus  iness  on  the  platform  with  less  sign  of  capital 
than  the  painter,  for  there  is  nothing  to  be  seen  but  himself. 
My  townsmen  in  Birmingham,  wanting  a photograph  of  Mr. 
Bright  at  full  length,  for  a sculptor  to  refer  to  in  working  on  a 
marble  statue,  induced  Mr.  Bright  to  sit  to  Mayall,  who 
produced,  with  his  accustomed  aptness,  a work  of  art.  Though 
of  almost  life  size,  it  has  no  exaggeration.  Seeing  my  interest 
in  it,  Mr.  Mayall  gave  me  a copy  of  it,  which — framed  in  a 
strong  case  with  a movable  lid,  in  which  the  portrait  could  be 
seen  at  will,  yet  calculated  to  bear,  without  risk,  a sea  voyage — I 
took  to  America.  Mr.  Millais  has  painted  Mr.  Gladstone  in  a 
manner  worthy  of  descending  to  posterity,  who  will  see  the 


704 


THE  PHOTOGRAPHIC  NEWS. 


[November  2,  1883, 


great  premier  as  this  age  has  known  him  ; but  his  portrait  of 
Mr.  Bright  is  a very  different  thing.  Excepting  that  it  would 
sell  for  more,  I would  for  all  purposes  of  pleasure  and  reality 
have  Mayall’s  portrait.  It  is  the  great  orator  just  as  we  have 
seen  him  in  his  day  of  power  on  the  platform,  or  as  the  House 
of  Commons  has  seen  him  him  when  the  cry  goes  through  the 
corridors  “Bright’s  up.”  The  attitude  is  his  unaffected  and 
resolute.  His  lips  are  compressed,  as  they  are  when  the  in- 
spiration of  passion  is  on  him.  His  look  is  daring  and  defiant, 
with  the  sense  of  conscious  power.  Age  has  changed  his 
physical  aspect,  and  he  will  no  more  appear  the  same,  though 
his  fire  is  not  yet  abated.  It  could  only  be  to  oblige  his  con- 
stituents that  he  recalled  that  platform  expression  before  the 
camera. — Mr.  G.  J.  Holyoake  in  Co-operative  News. 

A Young  Lady’s  Dilemma. — T.  H.  Mink,  a photographer  at 
715,  South  Halsted  Street,  swore  out  warrants  before  Justice 
Meech  yesterday  against  Nathan  and  Cecelia  Goldstone  for 
“ conspiracy  to  steal  and  defraud  him  out  of  a picture  valued  at 
$5.”  This  action  is  a sequel  to  Mr.  Mink’s  suit  against  Nathan 
Goldstone  for  threats,  which  grew  out  of  Mink's  putting  a picture 
of  Nathan’s  sister  Cecelia  in  close  proximity  to  one  of  her  former 
lovers,  and  exhibiting  them  in  his  show-case.  Nathan,  as 
attorney  for  his  sister,  objected  to  this  display,  and  made  threats 
against  Mink,  and  was  arrested,  and  gave  bonds  for  his  appearance 
on  the  14th  in  Justice  Lyon’s  court.  Meanwhile  the  photo- 
grapher persists  in  keeping  the  two  pictures  on  exhibition,  and, 
it  is  alleged  by  the  defendants,  has  painted  the  picture  of  Cecelia 
in  a mauner  to  bring  ridicule  and  calumny  on  that  young  lady, 
inasmuch  as  she  is  now  shown  in  the  picture  with  very  red  hair 
and  intensely  black  eyebrows.  The  case  will  be  heard  the  14th 
in  it.  Rumour  has  it  that  the  former  lover,  about  whom  the 
original  disturbance  occurred,  is  about  to  come  forward  and  take 
a hand  in  the  row. — The  Chicago  Eye. 

Photographic  Club. — On  Wednesday  last  the  subject  brought 
under  discussion  was  “The  Reproduction  of  Negatives,”  and 
Mr.  Foxlee  remarked  that  one  special  advantage  of  a carbon 
transparency  over  a contact  positive  on  a gelatino-bronnde  plate 
is  the  circumstance  that  the  tissue  lies  so  closely  against  the  nega- 
tive that  there  is  but  little  fear  of  any  considerable  loss  of  sharp- 
ness. In  the  case  of  a gelatino-bromide  plate  it  not  unfrequently 
happens  that  inequalities  of  the  glass  prevent  perfect  contact,  and 
some  parts  of  the  resulting  transparency  are  consequently  unsharp. 
— The  Annual  General  Meeting  will  take  place  next  Wednesday 
evening,  when  the  election  of  officers  for  the  ensuing  year,  and 
other  business,  will  be  transacted. 


Wo  Gflmspon&tnts. 

*»*  We  cannot  undertake  to  return  rejected  communications. 

John  Lund. — No  doubt  the  hills  are  shown  in  the  negative,  but 
the  negative  is  not  taken  from  nature ; at  any  rate,  this  was  not 
the  case  in  the  photograph  submitted  to  us.  You  can  photograph 
Mont  Blanc  from  Geneva  very  well,  a distance  of  fifty  miles,  and 
get  something  very  like  the  hills  shown  in  the  picture  you  refer 
to ; but  the  Isle  of  Man  coast  from  Blackpool  would  come  out  very 
differently  in  a photograph. 

Lessons  in  Optics. — Mr.  W.  E.  Debenham  desires  us  to  say,  in 
reference  to  the  correspondence  that  has  appeared  on  this 
subject,  that  he  does  not  admit  having  altered  the  meaning  of 
any  sentence  in  the  “Lessons.”  We  regret  that  we  cannot 
insert  any  more  correspondence  on  the  subject  just,  now  for  the 
simple  reason  that  our  space  is  fully  occupied  at  the  present 
moment,  and  the  lengthy  letters  with  thpir  illustrative  diagrams 
were  taking  the  place  of  the  “Lessons”  themselves.  When 
the  Lessons  are  finished,  no  doubt  Captain  Abney  will  be  ready 
to  continue  the  controversy  with  Mr.  Debenham  on  the  subject 
of  distortion,  aberration,  or  any  other  point  in  optics. 

Photographic  Exhibition— Erratum. — In  our  last  notice  we 
spoke  of  No.  171  as  the  work  of  Mr.  H.  T.  Hall;  the  revised 
catalogue  now  mentions  it  as  the  work  of  Mr.  E.  H.  Griffiths,  as, 
indeel,  Mr.  Griffiths  tells  us  it  is. 

R.  F.  Bertolle. — We  hope  to  insert  yours  next  week,  but  our 
columns  are  very  full  just  now. 

Pentaqraph. — It  depends  upon  the  focus  of  the  lens  which  you 
intend  to  employ,  the  distances  being  one  and  a-balf  times  the 
equivalent  focus  between  tho  original  and  the  optical  centre  of 
tl  e lens ; while  tho  distance  between  the  optical  centre  of  tne  lens 
and  the  ten<dtive  plate  will  be  three  limes  the  equivalent  focus. 

Un  .e*a.raPle>  we  may  mention  that  a six-inch  lens  would  require 
a total  distance  of  twenty-seven  inches  between  negative  and 
sensitive  surface ; this  distance  being  fixed,  the  correct  posilion 
for  the  lens  can  be  determined  by  trial. 


J.  Fenton. — A solution  of  iodine  will  not  answer  the  purpose,  but 
the  following  will  give  a good  result: — 

Ammonium  iodide  35  grains 

Cadmium  iodide  25  ,, 

Cadmium  bromide  20  „ 

Alcohol 2.1  ounces 

Mix  one  volume  with  three  volumes  of  the  collodion. 

Jim  Hampton. — 1.  A bath  for  positives  should  be  a trifle  more 
acid  than  that  for  negatives,  as  in  the  latter  case  a very  slight 
veil  or  fog  is  not  so  injurious  to  a negative  as  in  the  case  of  a 
ferrotype  or  a positive  upon  glass.  2.  Make  an  iodizer  ac- 
cording to  the  formula  given  to  J.  Fenton  (above)  and  mix  one 
volume  of  this  with  three  volumes  of  a plain  collodion.  Tho 
plain  collodion  may  consist  of — 

Pyroxyline  CO  grains 

Alcohol  7 2£  ounces 

Etliei  5 ounces. 

F.  Warner.— 1.  The  picture  is  very  much  over-exposed.  2.  Use 
a developer  of  the  ordinaiy  s'rength  as  regards  pyro  and  Iromide, 
but  add  the  ammonia  very  gradually. 

P.  B. — We  will  write  to  you,  and  arrange  for  an  interview. 

J.  J. — 1.  A plrin  square  tube  of  leather,  linad  with  black  calico,  is 
first  made,  and  this  is  folded.  2.  Convex  side  next  the  ground 
glass.  3.  It  is  rather  a matter  of  taste,  but  we  agree  with  you 
that  it  is  better. 

Russell  Steele. — The  Stannotype  process  is  in  the  hands  of 
Messrs.  Woolbury,  Treadaway,  and  Co. ; write  to  them  at  Java 
House,  Manor  Road,  Lower  Norwood. 

Pyro. — We  have  never  experienced  anything  similar,  and  cannot 
suggest  a cause. 

%*  We  regret  to  say  that  pressure  on  our  space  compels  us  to 
postpone  “Lessons  in  Optics”  this  week. 


A QUARTER  OF  A CENTURY 

OF  PUBLICATION. 


The  simple  fact  that  the  flf  IJfyohjgrajiljir 

has  run  out  of  print  during  the  past  two  years  within 
six  months  of  its  publication,  is  proof  sufficient  of  its 
popularity  and  wide  circulation,  and  Messrs.  Piper  and 
Carter,  in  announcing  its  appearance  for  1884,  need 
put  forward  no  better  claim  as  to  its  value  as  an  adver- 
tising medium. 

Intending  Advertisers  in  the  JJtar-§aoIt  X)f  plioTa- 
grapbiT  anix  ^|otograp^ijC  |pfos  Almanac  should  com- 
municate with  them  at  once  at  the  Office,  5,  Castle 
Street,  Holborn,  London,  E.C. 


IJit  flrotagnjiljic  itetus 

Employment  Wanted. 

Photographer’s  °on,  to  be  useful.  — Photo.  Assit.,  c/o  Marion  & Co.,  Sobo-sq. 
Operator  of  ability  in  lighting  A posing.— F.  C.,  186,  Mt  -Pleasant,  Liverpool 

Young  Man  well  up  in  dry  plates,  &c.,  25/ E.  A.,  1,  New  North-rd.,  N. 

Manager  & Operator.— T.  G.  Whaite,  West  Bank.  Scarboro’  (till  Nov.  1st). 
Operator. — Art,  Adeline  Cottage,  West  Farring,  Worthing. 

Retoucher  & Finisher  — Pencil,  17,  Cranbourne-st.,  Brighton. 

Retoucher  and  Colourist  — L.  T.,  28,  Sherlock -rd.f  Mansfield-rd.,  N.W. 
Reception  Room.  Spot,  &c. — E.  8.,  Cambridge  Hou^e,  Amhurst-park,  N. 
Operator  and  Retoucher. — G.,  6,  Ann-st , Tettenhall-rd.,  Wolverhampton. 
Printer  and  Toner,  or  Assist.  Operator. — A.  Z.,  151,  Sandringham-rd.,  N. 
Optical.— Manager  or  Principal  Assist.— Optic,  Photographic  News  Office. 

Employment  Offered. 

Artist  in  Oils,  good  Retoucher. — Argentic,  Photcgraphic  News  Office. 
Young  Man  or  Woman  to  Polish,  &c. — A.  Oetfelein,  Pcrcyst.,  W. 

Printer,  Toner,  and  Vignctter,  first-class. — Winter,  Midland-rd.,  Derby. 
Improver,  to  le^rn  dry-plate  work. — H.  Spink,  109,  Western-rd.,  Brighton. 
Operator  (good)  for  Bombay. — Marion  &Co.,  Soho-sq. 

Silvrr  Printer. — F.  Treble  & Son,  371a,  Brixton-road,  S.W. 

Spotter  & Mounter  (Young  Lady).— Treble  & Son,  371a,  Brixtcn*rd., S. W. 
Chromotype  Printer.— A.,  Photographic  News  Office. 

Reception  Room  (Lady). — F.  J Bright,  Arcade,  Bournemouth. 

Operator,  all-round,  for  country.  — T.  B.,  Photographic  News  Office. 

Youth,  for  a few  weeks. — Webster  Bros  , 4,  Porchester-rd.,  Bayswater. 
Operator,  good  lighter  and  poser. — R.  K.,  Photographic  News  Office. 
Retoncher,  efficient. — Br*wn,  Barnes,  A Bell,  31,  Bold-st,  Liverpool. 

Artist  (first-class)  for  Calcutta. — T.  E.  A.,  19,  Wiginore-st , Cavendish-fq. 
Youth,  to  Sensitize  Paper. — T.  J.  Turner,  10,  Barmbury,  N. 

Hctouchcr  (Lady)  for  permanency.— Turner  and  Ki Hick,  17,  Upper-st.,  N. 
Photo- Lithographer,  used  to  Wood  bury  type. — Z V.,  150,  Queen  Vic. -st., E.C. 
Silver  Printer,  also  Assist.— Boning  and  Small,  22,  Baker-st.,  Portman-sq. 
Operator  and  Retoucher  — D.  and  G.,  1.58,  Kogent-st.,  W. 

Printer  & Toner,  good  Vignetter  (perm.).— Acetate,  Photo.  News  Office. 
Assistants,  A.  G.  B.  Enlarging  Department.— Morgan  & Kidd,  Richmond. 


PATENT  OFFICE  LIBRARY 


SUPPLEMENT  TO  "THE  PHOTOGRAPHIC  NEWS"  21° NOVEMBER  1883. 


Mont  Blanc  and  the  Dent  du  Geant. 

from  Mont  Mallet. 


PATENT  OFFICE  LIBRARY 


I 


THE  PHOTOGRAPHIC  HEWS, 

_/■ '**-\r+r\ 

Vol.  XXYII.  No.  1314. — November  9,  1883. 


CONTENTS. 


PACK 


Scamoni’s  Electrotype  Method  of  Reproducing  Photo-reliefs  ...  705 
Development— Should  the  Developing  Dish  be  Rocked,  or 

Not!  706 

The  Production  of  a Constant  Supply  of  Oxygen  by  the  Action 

of  Light  on  Growing  Vegetable  Organisms 707 

The  Photographic  Exhibition 707 

Among  the  Mountains  with  a Camera.  Bv  Professor  W.  F. 

Donkin,  M.A  , F.C.S 709 

Parker's  Sky  Shade.  Br  Norman  Macbeth,  R.S. A 710 

Enlarging  on  Argentic  Paper  and  Opals.  By  A.  Goodall  711 


p Aon 

Notes 712 

Lessons  in  Optics  for  Photographers.  By  Captain  W.  De  W. 

Abney,  R.E.,F.lt.S  714 

Patent  Intelligence 715 

How  to  Glaze  Photographs.  By  E.  Wideman 710 

Correspondence 716 

Proceedings  of  S' cietics  718 

Talk  in  the  Studio 719 

To  Correspondents 720 

The  Photographic  Ni  ws  Registry 720 


SCAMONI’S  ELECTROTYPE  METHOD  OF  RE- 
PRODUCING PHOTO-RELIEFS. 

The  question  of  producing  photo-relief  plates  for  photo- 
gravure and  other  mechanical  printing  methods  is  one 
that  is  occupying  considerable  attention  just  now.  The 
most  promising  way  of  utilizing  the  relief  of  the  photo- 
graphic image  is  to  use  the  electrotyping  process,  and  this 
is,  in  fact,  done  in  the  case  of  the  most  successful  photo- 
graphic printing  blocks.  The  relief  may  be  built  up  upon 
the  photographic  image  by  placing  this  vertically  or  hori- 
zontally in  an  electrotyping  bath,  and  either  the  Poggen- 
dorff  or  Smee  battery,  or  the  thermo-electric  battery  of 
Clamond,  as  well  as  the  dynamo-electric  machine,  may  be 
used  in  the  process. 

M.  George  Scamoni,  the  director  of  the  photographic 
establishment  in  connection  with  the  Russian  State  Paper 
Office,  produces  his  heliographic  plates  by  electrotyping 
in  the  manner  following.  He  employs,  and  has  done  so 
for  years  past  for  plates  of  medium  size,  an  electrotyping 
trough  measuring  four  feet  long  and  eighteen  inches  in 
breadth  and  height.  The  trough  is  made  of  wood,  and 
is  fitted  up  as  shown  in  the  accompanying  sketch. 


C 


a,  The  top  of  the  perforated  zinc  element;  b.  The  clay  porous  cell; 

c,  Connecting  wire,  covered  with  rubber  solution  to  insulate  it,  except 
where  It  is  brightened  at  the  ends.  One  end  is  made  fast  to  the  perforated 
zinc  at  o,  and  the  other  is  placed  carefully  in  contact  with  the  relief  plate, 

d,  the  plate  being  coated  with  wax  and  graphite ; e is  the  lattice  work  at 
the  bottom  of  the  battery. 

The  wooden  sides  and  bottom  are  lined  with  lead,  and 
then  covered  with  a hot  mixture  of  old  gutta-percha  and 
pitch,  the  film  of  the  latter  being  about  a quarter  of  an 
inch  thick,  and  applied  carefully  and  uniformly.  One 
inch  from  the  bottom  of  the  trough  is  a lattice,  which  is 
kept  in  its  place  by  leaden  weights  ; under  the  lattice  the 
impurities  of  the  bath  accumulate. 

The  strength  of  the  sulphate  of  copper  solution  should 
always  be  maintained  from  35  to  38n  Baume,*  and  to  en- 


•  In  the  case  of  new  apparatus,  the  sulphate  of  copper  solution  is  often 

not  of  greater  strength  than  19  to  20°  Baumd,  and  then  it  is  usual  to  add 
as  much  sulphuric  acid  as  will  raise  one  or  two  degrees.  Cnless  sulphuric 
acid  is  added  in  this  way,  the  copper  particles  precipitated  are  of  a powdery 
reddish-brown  character,  and  will  not  bind. 


sure  this  strength,  some  perforated  vessels  of  lead  are 
placed  inside  the  trough  full  of  sulphate  of  copper  crystals. 

If  it  is  found  that  the  deposit  on  the  edges  of  the  relief 
plate  is  the  reddish-brown  amorphous  copper  instead  of 
the  flesh-coloured  metal,  this  is  a sign  that  too  much  sul- 
phuric acid,  impregnated  with  zinc,  ba3  come  from  the 
porous  cell  into  the  copper  solution.  In  this  case  there 
is  no  help  for  it  but  to  pour  the  fluid  into  a wooden  tub 
and  to  add  powdered  chalk  so  long  as  any  effervescence  is 
perceived.  After  treatment  in  this  way  the  liquid  is  well 
stirred  occasionally  during  a few  hours,  and  permitted  to 
rest  through  the  night,  when  it  may  be  filtered  and  poured 
back  into  the  electrotyping  trough,  and  brought  up  to 
its  proper  strength  by  the  addition  of  more  sulphate 
crystals. 

The  porous  cell,  which  contains  well-amalgamated  zinc, 
Rhould  shortly  before  use  be  filled  with  sulphuric  acid  of 
2£  to  3°  Baume,  and  according  to  the  size  of  the  plate  to 
be  electrotyped,  two  or  four  such  cells  are  placed  opposite 
one  another.  'I  he  top  of  the  iclief  plate  should  coincide 
with  the  top  of  the  zinc. 

If,  as  is  required  in  the  treatment  of  delicate  gelatine 
reliefs,  the  whole  surface  of  the  plate  is  to  be  quickly 
covered  with  precipitated  coppe',  the  porous  cells  should 
be  replaced  during  the  day  with  others,  duly  rinsed  in 
water  and  freshly  filled.  Moreover,  the  ends  of  the  wires 
must  be  maintained  bright  by  frequent  rubbing  with 
emery  cloth. 

The  plates  to  be  electrotyped,  before  being  put  into  the 
trough,  should  be  rinsed  uniformly  with  strong  spirit,  so 
that  the  formation  of  air-bubbles  is  avoided,  and  then  as 
quickly  as  possible  immersed  in  the  solution,  and  the  wires 
connected  up.  If  a plate  has  already  received  a deposit  of 
copper  over  its  surface,  then,  before  a second  treatment  in 
the  electrotyping  trough,  it  should  be  rinsed,  and  lightly 
brushed  with  dilute  sulphuric  acid  to  facilitate  the  binding 
of  the  new  deposit  of  copper. 

Sometimes  certain  parts  of  the  surface  of  a plate  are  a 
long  time  getting  covered,  and  an  oxidizing  action  is  set 
up  ; in  this  case  some  little  attention  is  necessary.  The 
plate  is  raised  from  the  trough  in  a horizontal  position  and 
covered  with  a sheet  of  blotting-paper  dipped  in  the  sul- 
phate of  copper  solution,  a piece  of  the  blotting-paper 
being  torn  off  where  the  defective  parts  are,  and  these  bare 
gelatine  portions  carefully  dried  with  tissue  paper.  These 
same  defective  parts  of  the  plate  are  then  carefully  covered 
with  a solution  of  rubber  in  benzole.  After  this  varnish 
has  dried — it  dries  very  rapidly— more  graphite  is  applied, 
by  dabbing  carefully  with  a muslin  bag  containing  this 
powder.  The  whole  operation  must  be  conducted  with  the 
greatest  care,  so  that  the  surface  afteiwards  has  the  ap- 
pearance of  a perfect  mirror. 

Ihe  finest  Siberian  graphite,  which  has  been  rendered  a 


706 


THE  PHOTOGRAPHIC  MEWS. 


[Notembik  9,  1883. 


good  conductor  by  treatment  in  a chloride  of  gold  solution, 
is  the  best  that  can  be  employed  for  the  purpose.  More- 
over, it  is  desirable  frequently  to  shift  the  plate  in  the 
trough  and  to  turn  it  over,  as  otherwise  there  will  not  be 
an  equal  deposition  of  copper  if  the  battery  is  a powerful 
one. 

The  depositing  action  may  be  accelerated  by  hanging 
inside  the  trough  a little  bag  of  sal-ammoniac  crystals. 

The  cleaning  of  the  relief  plates,  when  of  sufficient  thick- 
ness, and  freeing  them  from  the  gelatine  film  in  hot  water, 
is  done  by  Scamoni  with  the  aid  of  caustic  potash,  prepared 
chalk,  oil,  and  charcoal  powder ; or  in  the  case  of  very 
delicate  objects  by  means  of  benzole  and  india-rubber. 

In  conclusion,  it  may  be  remarked  that  generally  speak- 
ing, notwithstanding  the  enormous  progress  that  has  lately 
been  made  in  electrotyping,  and  in  the  deposition  of 
various  metals,  the  moulding  of  fine  gelatine  reliefs  still 
requires  much  experience,  great  skill,  and  extraordinary 
patience. 


DEVELOPMENT— SHOULD  THE  DEVELOPING 
DISH  BE  ROCKED,  OR  NOT? 

When  dry  plates  first  became  aiticles  of  commerce,  the 
earliest  manufacturer  in  his  instructions  directed  that 
after  the  solution  wa3  poured  over  the  plate,  it  should  be 
kept  in  constant  motion  by  rocking.  A second  manu- 
facturer directed  that  the  solution  be  kept  quite  still  till 
development  was  complete,  and  moreover  declared  that 
any  motion  or  rocking  of  the  solution  was  not  only  useless, 
but  was  detrimental  to  the  result. 

Since  that  time  the  matter  has  been  but  little  discussed, 
probably  because  it  was  considered  to  be  of  little  conse- 
quence which  course  was  taken.  Photographers  have 
followed  tbeir  own  sweet  wills  in  the  matter,  most,  how- 
ever, we  believe,  adopting  the  rocking  motion. 

That  there  is  in  the  result  produced  not  only  a differ- 
ence, but  a very  considerable  one  according  as  the  solu- 
tion is  kept  in  motion  or  not,  is  very  easily  proved.  Any 
photographer  who  performs  for  the  first  time  the  following 
experiment  will,  we  think,  be  somewhat  astonished  at  the 
result. 

A considerable  quantity  of  developing  solution  is  pre- 
pared— we  will  say  six  ounces — of  the  strength  that  would 
give  a good  result  with  the  plates  to  be  worked  if  the 
method  of  rocking  the  dish  were  adopted.  Two  plates 
are  exposed  for  the  same  length  of  time.  It  is  best  in  this 
case,  as  indeed  in  almost  any  case  where  it  is  desired  to 
compare  the  results  of  developers,  to  slightly  under- 
expose. 

Two  developing  dishes  are  taken,  and  into  each  is  put 
one  of  the  plates.  Over  one  is  poured  four  ounces  of  the 
developing  solution,  and  it  is  afterwards  allowed  to  stand 
quite  still,  no  motion  at  all  being  giveu  to  it.  Over  the 
other  is  poured  the  remaining  two  ounces  of  the  solution. 
This  time  the  solution  is  kept  moving  as  rapidly  over  the 
film  as  possible. 

The  first  plate  and  dish  are  placed  in  such  a position  that 
the  progress  of  development  may  be  watched.  When  the 
second  plate  appears  to  be  completely  developed,  the  first 
will  not  be  nearly  so,  but  this  is  little  other  than  might  be 
expected.  What  is  not  at  first  quite  so  readily  accounted 
for  is  that,  even  when  the  first  plate  has  been  allowed  to 
develop  as  long  as  is  required,  the  result  is  by  no  means 
equal  to  what  has  been  produced  in  the  second  case. 

When  the  first  plate  appears  to  be  completely  deve- 
loped, it  is  lifted  from  the  solution,  and  both  are  fixed. 
They  may  now  be  compared.  If  the  developer  have  been 
such  that  it  gave  a plucky  image  in  the  second  case,  when 
the  dish  was  rocked,  it  will  be  found  that  in  the  other 
case  it  Ins  given  a foggy-looking  negative,  with  quite  in- 
sufficient contrast. 

At  first  sight  this  appears  somewhat  inexplicable,  but  a 
little  consideration  will  show  that  it  is  only  what  is  to  be 


anticipated.  If  we  considerthe  process  of  development,  wc 
shall  see  that  it  consists  of  a reduction  of  silver  bromide  to 
the  condition  of  metallic  silver,  bromine  being  freed.  Now 
it  is  evident  that  where  a certain  portion  of  a plate  blackens 
under  the  developer,  there  is  given  off  bromine,  which, 
probably,  combining  with  the  fiist  ammonia  which  itmeets, 
forms  bromide  of  ammonium.  This,  as  we  well  know,  is 
a powerful  restrainer.  Now  it  will  be  seen  that  in  the 
development  of  a plate,  if  the  solut:on  be  not  kept  in 
motion,  we  have  the  following  state  of  affairs.  Wherever 
the  image  has  commenced  to  .appear,  there  will  be  over  the 
darkening  part  a thin  film  of  solution  of  bromide  of  ammo- 
nia, and  probably  the  interstices  of  the  gelatine  will  be 
filled  up  with  the  same.  It  is  natural  that  the  accretion 
of  density  is  almost  entirely  stopped.  At  the  same  time, 
the  developer  is  acting  with  its  full  energy  on  that  por- 
tion of  the  film  which  has  not  yet  been  reduced.  So  long 
does  it  take  for  deusity  to  be  gained  in  the  high  lights,  that 
before  this  takes  place  the  deeper  shadows  are  sure  to  be 
more  or  lees  fogged. 

There  are  several  other  indications  of  the  same  action  to 
be  met  with  at  times,  and  they  are  very  instructive. 
Where  we  have  a case  of  a very  bright  object  in  close  juxta- 
position with  a dark  object — for  example,  a piece  of  white 
drapery  against  a dark  curtain— the  whiteness  not  being 
so  intense  as  to  produce  halation,  we  have  seen  in  the  case 
of  a gelatine  negative  the  very  reverse  of  what  is  often  seen 
in  the  case  of  a collodion  negative  under  the  same  con- 
ditions. 

The  appearance  is  well  known  in  the  case  of  a collodion 
negative.  The  silver  solution  is  floating  over  it  during 
development,  and  if  the  motion  be  not  quite  enough,  that 
which  comes  from  a part  not  acted  upon  by  light  is  quickly 
reduced  on  its  first  passing  the  edge  of  a part  which  is. 
Consequently,  around  the  deep  shadow's  there  will  bo  a 
portion  of  the  high  light  denser  in  the  negative  and  whiter 
in  the  print  than  the  rest.  In  the  gelatine  negative  it  is 
the  very  reverse,  if  the  solution  be  left  without  motion, 
the  bromide  of  ammonia,  as  explained,  already  causes  the 
high  lights  to  acquire  density  very  slowly.  At  the  same 
time,  a small  quantity  of  the  solution  spreads  itself  later- 
ally, and  as  a consequence,  it  may  be  found  that  there  is  a 
narrow  portion  of  the  shadow  close  to  the  high  lights,  where 
no  detail  appears ; in  fact,  a narrow  strip  of  transparent 
glass  fringing  the  high  light. 

There  is  still  another  case  of  similar  action.  It  mus^ 
have  been  noticed  by  many  that  iu  the  case  of  certain  plates, 
and  indeed  in  the  case  of  almost  any  plates  if  a strong 
enough  developer  be  used,  there  appears  on  the  back  of 
the  negative,  before  it  is  fixed,  a positive  image.  It  may 
not  have  been  also  noticed,  but  it  is  a fact,  that  this  ap- 
pearance is  much  more  liable  to  show  itself  when  the  plate 
is  held  motionless  than  when  it  is  rocked.  The  cause  of 
the  appearance  is  readily  understood  if  we  consider  that 
the  film,  wherever  reduction  has  taken  place,  becomes 
saturated  with  bromide  of  ammonia,  probably  quite  to  the 
back  of  the  film.  Here  the  silver  bromide  has  scarcely 
been  acted  upon  by  light,  and  if  it  were  to  be  reduced  at 
all,  it  would  be  by  molecular  action.  In  the  presence  of 
the  bromide  of  ammonia,  and,  be  it  noted,  the  absence  of 
ammonia,  the  reduction  cannot  take  place. 

On  tbe  other  hand,  the  developer  has  penetrated  to  the 
back  of  the  rest  of  tbe  film  with  at  least  its  normal  energy. 
We  siy  at  least,  because  we  believe  that  as  a matter  of 
fact  it  reaches  the  back  of  the  film  with  its  energy 
increased  — that  is  to  say,  with  the  ratio  of  the  ammonia 
and  bromide  of  ammonium  altered.  We  will  at  a future 
time  give  our  reasons  for  believing  that  ammonia  diffuses 
itself  through  a gelatine  film  more  rapidly  than  does 
bromide  of  ammonia ; in  the  meantime  we  may  assume 
this.  It  follows  that  there  reaches  the  back  of  the  film,  in 
those  portions  of  the  plate  which  are  not  acted  upon  by 
light,  a developer  with  reduced  quantity  of  restrainer, 
the  natural  result  being  that  fog  is  produced. 


THE  PHOTOGRAPHIC  NEWS. 


707 


November  9,  1883.  | 


The  conditions  which  are  first  described  when  the 
developer  is  not  kept  in  motion,  and  the  results  which  are 
brought  about,  might  be  useful  under  certain  conditions. 
In  the  case  of  an  under-exposed  plate,  or  of  a plate  which 
tended  to  give  a hard  image,  there  might  be  produced 
some  useful  result ; but  it  will  readily  be  seen  that  no 
effect  could  be  brought  about  which  might  not  be  better 
effected  by  modifying  the  developer  either  by  adding 
ammonia  or  reduction  of  the  quantity  of  bromide  or 
pyro. 

It  must  be  borne  in  mind  that  lifting  the  plate  from  the 
solution  has  much  the  same  effect  as  rocking  the  dish, 
indeed  agitates  the  solution  iu  a most  thorough  manner. 
If,  therefore,  we  were  trusting  to  rest  or  stillness  of  the 
solution  to  bring  about  what  we  may  style  forcing,  we 
would  have  to  look  f or  some  other  method  of  examining  the 
density  of  our  plat.e  than  lifting  it  out  of  the  dish. 


THE  PRODUCTION  OF  A CONSTANT  SUPPLY  OF 
OXYGEN  BY  THE  ACTION  OF  LIGHT  ON 
GROWING  VEGETABLE  ORGANISMS. 

Some  recent  investigations  of  Dr.  Phipson,  which  are 
published  in  the  last  number  of  the  Chemical  News,  tend  to 
elucidate  in  a remarkable  manner  the  circumstances  under 
which  oxygen  is  evolved  when  light  acts  on  growing 
plants.  Dr.  Phipson  says  : — 

In  almost  all  text-books  it  is  stated  that  plants  have  the  power 
of  decomposing  carbonic  acid  and  liberating  its  oxygen,  whilst  the 
carbon  is  “ fixed  in  the  vegetable  tissue."  This  statement  is 
quite  incorrect ; plants  have  no  power  of  decomposing  carbonic 
acid  into  oxygen  and  carbon,  or  into  oxygen  and  carbonic  oxide. 
Even  in  the  laboratory,  the  decomposition  of  carbonic  acid  is  an 
arduous  undertaking  requiring  violent  methods,  such  as  that 
which  I showed  formerly  in  my  paper  on  magnesium  by  the 
action  of  that  metal  on  carbonate  of  soda  at  a great  heat.  Plants 
absorb  carbonic  acid  from  water  or  air  when  it  is  present  in  the 
proper  proportions  (in  large  quantities  it  appears  to  poison  them), 
and  oxygen  is  evolved  from  their  tissues  as  a consequence  of  this 
absorption  ; but  the  carbonic  acid  is  not  decomposed. 

On  a fine  summer  morning,  when  the  sun  has  been  above  the 
horizon  for  four  or  five  hours,  we  see  the  Zygnema  and  Conferva 
borne  up  to  the  surface  of  pools  of  stagnant  water  by  thousands 
of  minute  gas-bubbles.  When  this  gas  is  collected  and  analysed 
it  is  found  to  be  very  pure  oxygen.  The  Protoeocvus  pltivialis 
and  P.  palustris,  which  are  among  the  simplest  of  unicellular 
algre.  I have  found  to  be  very  remarkable  in  this  respect. 

Expose  a saucer  to  the  rain  for  a few  months,  or  leave  it,  full 
of  pump-water,  exposed  to  air  and  light  for  some  weeks,  and  it 
soon  contains  Protococcus  pluvialis  in  abundance.  Place  some 
small  dead  branches  of  poplar  in  the  saucer,  and  both  P.  pluvialis 
and  P.  palustris  develop  rapidly  upon  them  in  the  course  of  a 
week  or  two. 

These  small  branches  can  then  be  placed  in  a flask  full  of 
pump-water,  and  the  evolution  of  oxygen  observed  under  the 
influence  of  the  solar  rays. 

When  higher  plants,  such  as  Achillea  millefolium,  are  experi- 
mented on  in  this  way,  the  gas  accumulates  at  the  extremities 
of  the  leaves,  sometimes  in  bubbles  of  considerable  size,  which 
finally  escape  and  come  to  the  suface  in  quantities  varying  from 
the  size  of  a pin’s  head  to  that  of  a pea  or  a bean.  But  with  the 
Protococcus  pluvialis  and  P.  palustris  the  escape  of  gas  is  con- 
stant, and  each  bubble  is  of  the  minutest  size.  No  sooner  do  the 
sun’s  rays  strike  the  flask,  then  a series  of  these  microscopic 
bubbles — veritable  atoms  of  oxygen — commence  rising  in  all 
directions,  and  from  their  great  number  create  quite  a froth 
upon  the  surface.  The  flask  being  turned  upside  down  for  the 
purpose  of  collecting  and  ascertaining  the  composition  of  the 
gas,  this  state  of  things  will  continue  for  about  three  days  ; after 
that  time  all  the  carbonic  acid  contained  in  the  water  is  ab- 
sorbed, and  the  escape  of  oxygen  gas  ceases.  (A  minute  quan- 
tity of  caustic  soda  will  cause  it  to  cease  on  the  first  day,  by 
depriving  the  plant  of  carbonic  acid). 

When  the  water  is  renewed,  the  same  phenomenon  recom- 
mences, so  that  by  keeping  up  a constant  supply  of  pump-water, 
the  production  of  oxygen  may  be  kept  up  for  months,  and 
probably  years  together. 


This  is  effected  by  means  of  the  simple  apparatus  now  to  be 
described : — 

The  water  used  is  pump-water  (water  that  has  been  boiled  or 
distilled  will  not  answer,  nor  will  the  phenomenon  occur  if  the 
slightest  quantity  of  alkali  of  any  kind  be  present  in  the  water). 
The  tank  A is  of  slate  or  earthenware  ; it  is  full  of  pump-water 
on  which  the  sun’s  rays  cannot  act  on  account  of  the  opacity  of 
the  sides;  it  is  kept  fillea  and  covered.  B is  a large  wide-mouthed 


and  tubulated  glass  flask,  in  which  are  placed  the  dead  branches 
of  poplar  covered  with  Protococcus  pluvialis  and  P.  palustris. 
(These  microscopic  plants  are  almost  invisible,  save  that  here  and 
there  on  the  dark  epidermis  of  the  branches  little  patches  of  green 
matter  are  observable.)  The  flask  B is  exposed  to  the  direct  rays 
of  the  sun.  The  flow  of  water  from  the  tank  A is  regulated  by 
the  tap  E,  and  that  from  the  flask  by  the  tap  C,  so  that  the  contents 
of  the  latter  are  completely  renewed  in  the  course  of  three  days  ; or 
the  water  in  B may  be  completely  drawn  off  every  third  or  fourth 
day. 

In  these  conditions  any  quantity  of  o'xvgen  may  be  produced  in 
a short  space  of  time  ; the  quantity  yielded  in  any  given  interval 
of  time  depends  solely  upon  the  size  of  the  apparatus. 

The  oxygen  can  be  received  in  a gasometer  by  means  of  the 
tube  D,  or  into  a graduated  tube.  In  the  latter  case,  the  appa- 
ratus appears  capable  of  being  transformed  into  an  excellent 
actinomcter  ; the  number  of  divisions  (cubic  centimetres  of  gas) 
taken  on  the  graduated  tube  every  day  from  8 to  9,  or  12  to  1, 
giving  the  exact  measure  of  the  actinism  for  the  day  in  question. 
But  the  present  form  of  the  apparatus  is  not  suitable  for  this 
purpo-e ; for,  supposing  there  were  five  hundred  thousand  dis- 
tinct individuals  of  P.  palustris  present  in  the  flask  on  any 
given  day,  this  number  might  be  six  hundred  thousand  or  more 
on  the  following  day,  and  so  the  results  would  not  be  compar- 
able. 

The  small  dead  poplar  branches  form  a very  convenient  medium 
for  transferring  the  Protococcus  from  one  flask  to  another  (for 
instance,  when  the  flask  first  used  becomes  dull  or  opaque  and 
requires  cleaning) . Having  been  exposed  to  the  rain  for  a long 
period  of  time,  they  are  invariably  covered  with  P.  pluvialis  and 
P.  palustris,  though  the  presence  of  these  minute  plants  is  not 
easily  recognised,  and  when  placed  in  pump-water,  exposed  to 
the  light,  the  latter  develop  rapidly,  and  multiply  enormously 
during  the  whole  year. 

Two  analyses  of  the  gas  produced  by  Protococcus  pluvialis  and 
P.  palustris  in  these  experiments  gave  me  : — 

Oxygen  987  and  98  0 per  cent. 


THE  PHOTOGRAPHIC  EXHIBITION. 

Final  Notice. 

The  pictures  of  Heinrich  Graf,  of  Berlin,  are  on  the  table, 
and  hence  do  not  receive  their  fair  share  of  attention ; 
indeed,  they  get  no  attention  at  all  in  the  catalogue.  They 
are  nevertheless  a very  fine  collection,  and  most  of  them 
denote  the  true  artist  in  respect  to  pose,  lighting,  and 
general  effect  throughout.  The  photographs  represent  for 
the  most  part  ehaiacteis  from  the  historical  processions  on 
the  occasion  of  the  recent  silver  wedding  of  the  Crown 
Prince  of  Germany  which  attracted  considerable  attention 
even  here,  it  may  be  remembered.  It  was  Herr  Graf’s 


THE  PHOTOGRAPHIC  NEWS. 


[Novembeb  9,  1883. 


photographs  that  called  forth  high  encomiums  from  our 
own  Princess  Royal)  and  even  the  distinguished  German 
painters,  under  whose  auspices  the  spectacle  was  organized, 
have  expressed  unqualified  approbation  of  his  pictures, 
which  photographers  in  this  country  will  do  well  to 
study. 

The  frame  of  views  forwarded  by  Messrs.  Parkins  and 
Son  (415)  contains  several  noteworthy  pictures ; Alum 
Bay,  for  instance,  is  a very  truthful  rendering  of  this  de- 
lightful spot  on  a clear  quiet  day.  Mr.  Bedford  Lemere’s 
interiors  (416)  are  for  the  most  part  exceedingly  good, 
especially  if  the  difficulties  in  obtaining  some  of  them  are 
taken  into  consideration  ; to  secure  a good  photograph  of 
the  dining  saloon  on  board  a P.  and  O.  steamer,  to  wit, 
is  not  an  easy  matter,  and  this  Mr.  Letnere  has  accom- 
plished ; his  “ Long  Gallery,  Charlton  House,”  is  also 
worth  attention.  Mr.  Garrett’s  picture  of  the  grey  cathe- 
dral of  Winchester  (425),  with  its  picturesque  foreground 
of  fir  trees,  is  a success,  and  better  than  his  views  on  the 
Thames  (589).  Mr.  H.  Wainwright,  .Tun.  (429,  529),  it 
seems,  has  levelled  his  cam  era  at  the  same  composition  as  his 
friend  Mr.  Beasley,  producing  the  same  Devonshire  cottage, 
with  its  forecourt  and  its  figures,  of  which  we  spoke  so  highly 
on  a former  occasion.  Comparisons  are  to  be  deprecated, 
but  since  two  gentlemen  submit  the  same  composition 
with  the  same  models  at  an  exhibition  simultaneously,  it 
can  only  be,  we  suppose,  to  court  comparison,  and  so  we 
frankly  say  we  prefer  Mr.  Beasley’s  work  to  Mr.  Wain- 
wright’s  work.  Still,  Mr.  Wainwright’s  two  frames  of 
landscapes  contain  much  that  is  pleasing,  a series  of 
Clovelly  being  particularly  good.  Mr.  A.  Johnson,  of 
Wick,  sends  but  one  picture,  “Threatening  Weather” 
(432).  Mr.  S.  W.  Rouch  contributes  several  fine  interiors 
(434,  &c.),  taken  as  interiors  ought  to  be  taken,  with  no 
garish  high  lights,  and  no  inky  undeveloped  corners.  The 
work  throughout  is  even  and  harmonious,  and  if  some  of 
the  rooms  are  too  crowded  with  furniture  and  nicknacks, 
this  is  the  fault  of  the  room,  and  not  of  the  photographer. 
Two  of  Mr.  J.  R.  Dunlop’s  little  village  pictures  (438)  are 
exceedingly  good — to  wit,  the  gate  and  the  church  pic- 
ture, and  with  a little  more  attention  to  the  filling  up  of 
foregrounds  he  should  do  capital  work  ; his  opal  portraits 
are  also  creditable. 

Vossewangen,  with  its  church  (439),  is  a capital  render- 
ing of  the  Norway  village,  by  Mr.  J.  C.  Cohen ; a most 
picturesque  point  of  view  has  been  selected  of  the  little 
spot,  which  we  personally  remember  very  gratefully,  as 
affording  us  once  upon  a time  a supply  of  black  bread, 
when  nothing  but  the  thin  oat-cake  of  Norway  had  been 
our  food  for  a week.  The  “ Iceberg  ” (441)  of  Mr.  Fred 
Barber  is  an  instance  of  the  value  of  photography  as  a 
graphic  art  of  unimpeachable  veracity.  How  many  times 
have  we  stay-at-homes  heard  of  these  floating  mountains, 
and  listened  to  travellers’  stories  about  their  wondrous 
height  and  mighty  aspect,  about  their  shipwrecks  and  cast- 
aways. Mr.  Barber  here  shows  us  an  iceberg  some  thousand 
feet  in  length,  and  250  feet  in  height,  that  brings  well 
home  to  us  all  the  dangers  of  such  erratic  islands. 

Mr.  P.  Burgis’s  tiny  pictures  of  wood  and  water  (454, 
502)  are  pleasing,  and  the  same  may  be  said  of  views  in 
Goodwood  Park,  &c.  (460),  sent  by  Mr.  A.  R.  Dresser. 
The  “ Hardwick  House”  series  of  Mr.  J.  P.  Clarke  is  a 
little  conventional,  so  far,  at  any  rate,  as  the  outside  group 
is  concerned  ; the  interiors  are  better,  and  two  or  three  of 
them,  indeed,  first  rate.  Messrs.  England  Brothers  ex- 
hibit some  transparencies  taken  by  Mr.  W.  England 
(624a),  whose  perfect  little  pictures  need  no  further 
praise  from  us,  and  also  send  some  platinotype  prints  on 
linen  (468).  These  latter  would  be  perfect  but  for  a few 
coarse  threads  in  the  fabric ; we  have  found  a dense 
batiste  muslin  one  of  the  best  materials  for  photographic 
printing,  for  the  threads  here  are  generally  very  close  and 
uniform. 

Ihe  Alhambra  series  of  Mr.  £.  H,  Griffiths  is  one  of  the 


most  attractive  features  of  the  exhibition.  We  have 
already  spoken  of  his  work,  but  we  must  do  so  again. 
Painted  iu  platinotype,  the  pictures  have  a most  delicate 
and  refined  appearance ; look  at  the  Court  of  Myrtles,  with 
its  limpid  water  (474),  or  the  several  views  of  the  Court 
of  Lions,  magnificent  subjects  treated  in  a magnificent 
manner.  We  cannot  pass  them  by  without  once  more  con- 
gratulating Mr.  Griffiths  warmly  on  the  success  of  his 
labours.  Mr.  W.  Denham’s  views  (471,  569)  are  a little 
too  dark  to  please,  those  of  the  Isle  of  Man  being,  however, 
the  best ; of  Mr.  Arnold  Spiller’s  photograph  of  a Dene 
Hole,  and  Lieut.  E.  C.  Tyrell  Hawker’s  photograph  at  night 
by  the  electric  light,  we  have  already  spokeu.  Mr.  E. 
Dunmore  sends  a single  picture  (489),  a silent  pool  in  Kew 
Gardens,  its  placid  face  picturesque  with  rushes  and  water 
lilies. 

Dr.  T.  H.  Morton  shows  a most  interesting  series  of 
pictures  of  the  Suez  Canal  (517),  and  a collection  of  Indian 
prints  (501)  that  are  well  worth  looking  at.  Of  Mr.  Mil- 
man  Brown’s  contributions  we  like  best  Autumn  Sunshine 
(512),  in  which  the  bold  headland  of  Luccombe  projects 
seaward,  veiled  in  hazy  mist ; the  Tower  Cottage,  Shanklin 
(504),  of  Mr.  M.  Brown,  is  also  a creditable  picture.  The 
undergrowth  of  fern  and  bramble  beside  the  lazy  stream 
of  a Devonshire  Dell  (503)  makes  a very  pretty  picture, 
but  Mr.  H.  P.  Swaine,  the  author  of  it,  has  not  succeeded 
so  well  in  “The  Angler’s  Good  Bite"  (511);  we  should 
have  called  it  “ Weeds.”  The  beechen  foliage  in  Ivnole 
Park  (508)  is  well  interpreted  by  Mr.  Albert  Clout,  one  of 
whose  pictures,  showing  a group  of  fallen  trees  lying  deep 
in  fern  and  bracken,  is  a charming  composition.  The  “ High 
Beeches”  (510)  of  Mr.  B.  G.  Wilkinson,  Juo.,  their  giant 
stems  dappled  with  sunlight,  also  deserve  a word  of  praise. 
Mr.  W.  Atkins  sends  some  “Views  in  Norfolk."  Mr. 
Walter  Pouncey  (535)  shows  a series  of  staiued-glass 
windows,  in  which  the  design  of  the  latter,  as  well  as  the 
stone  setting,  are  desired  to  be  shown — no  doubt  a very 
difficult  problem,  which  has  been  satisfactorily  solved.  Mr. 
J.  H.  Knight  sends  two  frames  of  views  (536,  537) ; a 
harvest  scene  with  waggon  and  horses,  and  Farnham 
Bridge,  with  its  ivy  drapery,  are  two  of  the  best  of  these. 
Of  Mr.  Thomas  Griffin’s  contributions,  the  winter  sketches 
(459)  are  best ; one  picture  showing  us  the  village  church 
with  a harvested  field  as  foreground  would  have  been  more 
successful  if  the  camera  had  stood  inside  the  iron  fence. 
This  latter,  close  to  the  camera,  gives  a “town-cut”  look 
to  the  picture  and  spoils  its  rusticity  ; moreover,  it  could 
easily  have  been  avoided.  Mr.  J.  NY.  Barry's  “ Views  in 
Corsica  ” (549)  are  decidedly  good  pictures,  and  in  Mr. 
W.  Dawson’s  frame  of  “ Studies  taken  from  small  sailing 
and  rowing  boats  ” (550)  there  are  several  excellent 
photographs,  notably  the  white  sea,  where  a steam-tug  is 
towing  a huge  merchantman  through  the  crisp  waves. 
The  Luxograph  Company  exhibit  some  clever  portraits 
(560)  taken  by  the  aid  of  their  light. 

Mr.  C.  E.  Abney  shows  some  capital  little  sketches 
(567);  that  of  Whitby  with  its  shipping  is  exceedingly 
good,  and  so,  too,  is  “ In  Miller’s  Dale.”  Captain  Turton 
has  “ Bits  from  Italy  ” in  two  frames  (568,  587)  ; a pic- 
ture of  Florence,  and  another  of  a group  of  two  ladies,  are 
the  best  in  the  collection,  some  of  which,  however,  appear 
very  yellow  in  the  excellent  light  in  which  they  are 
hung.  Major  J.  Board,  in  Limpsfield  Village  (571),  shows 
us  a delightful  village  picture,  which  would  have  been 
improved  if  horses  and  waggon  were  more  in  the  fore- 
ground. His  wintry  scene,  with  the  dark  shadows  of 
December  reflected  on  the  snow,  deserves  high  praise,  and 
so,  too.  does  Brasted  Mill  (573),  which  is  bright,  smooth, 
and  harmonious.  Of  Mr.  J.  W.  Lumley's  series,  “On  the 
Yorkshire  Moors”  (575)  is  one  of  the  best,  only  there  is 
no  moor  in  the  picture,  but  a leafy  dell,  through  which  a 
silvery  torrent  meanders  over  shiniiig  pebbles ; “ Easly 
Abbey  ” (576)  is  rather  spoilt  by  the  meaningless  bank 
of  stones  iu  the  foreground.  Mr.  Charles  Reid  has  two 


I 


THE  PHOTOGRAPHIC  NEWS 


709 


November  9,  1883.] 


pictures  of  the  Lanark  Fox-hounds  (582,  583),  and  Mr. 
G.  E.  Alder  sends  a study  called  “The  Artist  and  his 
Daughter,”  which  we  cannot  quite  understand,  except 
that  it  looks  rather  uncanny. 

Of  Mr.  M.  Auty’s  little  studies  (585),  we  prefer  that  of 
a stormy  sea,  in  which  there  is  a most  characteristic  wild- 
ness. Miss  E.  M.  Cotesworth  sends  “ On  Lake  Como,” 
and  Mr.  J.  C.  Stenning  forwards,  among  others,  a group 
of  little  people  in  a woodland  scene  (597)  that  makes  a 
pleasant  picture.  Of  Mr.  R.  Keene’s  exhibits,  the  most 
taking  is  a “ Fir  Tree  at  Alton  Towers  ” (84),  its  elegant 
stem  and  soft-spreading  branches  being  a picture  in  itself. 
Guest  House  (598)  is  also  an  agreeable  composition  ; but 
we  do  not  care  for  “Playing  Nap”  (600).  Mr.  David 
Green  sends  “sea-views”  (597a),  of  which  the  top 
one,  with  its  fretful  waves  and  breaking  foam,  is  the 
most  successful.  Mr.  Cecil  V.  Shadbolt’s  balloon  photo- 
graphs we  have  already  spoken  of ; he  sends  also  a 
frame  of  Swiss  studies  (603),  of  which  Grindelwald,  with  its 
massive  glacier,  and  Thun  as  seen  from  the  lake,  are  two  of 
the  finest,  though  all  of  them  indicate  true  aitistic  feeling 
and  intimate  technical  knowledge.  Mr.  W.  J.  Rollebone 
sends  two  frames,  one  of  Cumberland  and  the  other  of 
Scotch  views  (605,  606)  ; several  of  the  little  sketches  are 
pleasing,  but  they  would  be  the  better  for  a little  more 
brightness  and  vigour.  Mr.  A.  H.  S.  Bailey  contributes 
half-a-dozen  prints  (608-613),  of  which  “ Wilberforce’s  Seat 
atHolwood”  is  one  of  the  most  creditable.  The  Old 
Park,  Dover  (614),  of  Mr.  R.  Murray  Lawes,  the  silver-grey 
mansion  seen  beyond  a foreground  of  foliage  and  shrub  is 
artistically  treated,  and  makes  a good  picture ; in  “The 
Portrait  of  a Fisherman,”  Mr.  Lawes  has  scarcely  been  so 
happy.  Mr.  James  Malins’  pictures  (617)  suffer  for  the 
most  part  from  under-exposure,  being  too  dark  at  the  edges  ; 
the  flock  of  geese  that  is  labelled  “ Our  Christmas  Friends” 
is  the  most  favourable  of  the  sketches.  Mr.  H.  Aubrey 
shows  a picture  of  a “ Centre  Cycle  for  photographers  ” 
(620)  which  is  probably  less  complicated  than  it  seems, 
together  with  half-a-dozen  studies. 

M.  Chapiro,  of  St.  Petersburg,  exhibits  a most  interesting 
series  of  twenty-nine  cabinet  pictures,  entitled  “ The 
Memories  of  a Maniac”  (659) — a wonderful  representa- 
tion. They  are  studies  for  which  the  great  Russian  actor 
Andreyev  Bourlack  has  posed,  and  may  be  regarded  as  a 
triumph  from  an  artistic  as  well  as  pyschological  point  of 
view.  The  finish  and  delicacy  of  the  photograph  speak 
greatly  in  praise  of  M.  Chapiro,  whose  skill  is  more  power- 
fully shown  still  in  the  large  direct  portraits  of  the  late  M. 
Turgenieff,  the  Russian  novelist  of  woild-wide  renown,  and 
of  the  historical  painter,  Professor  Koeller.  Mr.  Matthew 
II.  Chubb  exhibits  on  the  table  some  studies  on  opal,  ol 
which  Harmony  (650)  and  Rebecea  (649)  are  the  best. 
Mr.  Newall  shows  the  portrait  of  a live  parrot  (105)  ; and 
Mr.  Kay  contributes  a frame  of  portraits  (458)  which 
includes  some  very  creditable  work. 

There  are  several  excellent  examples  of  lantern  trans- 
parencies on  the  table  ; those  of  Mr.  Fincham  have  secured 
much  admiration,  their  fineness  and  delicacy  being  wonder- 
ful. Messrs.  England  Brothers  also  distinguish  themselves 
in  this  branch  of  photography,  as  do  the  Sciopticon 
Company  and  Mr.  Alexander  Cowan.  The  latter  has 
employed  the  gelatino-chlorideprocess  in  making  his  slides, 
which  are  for  this  reason  doubly  interesting.  “ Brighton 
on  a Bank  Holiday,”  a box  of  photographs  by  F.  G.  O. 
Stuart,  we  were  unable  to  find  at  the  time  of  our  visit,  and 
so  cannot  pass  an  opinion  upon. 


AMONG  THE  MOUNTAINS  WITH  A CAMERA. 

BY  PROFESSOR  W.  K.  DONKIN’,  M.A.,  F.C.S.* 

The  next  three  days  the  weather  was  rather  uncertain,  and  I 
took  the  opportunity  of  developing  the  plates  I had  exposed. 
My  bedroom  could  be  converted  into  a dark  room  during  the 

* Continued  from  page  700. 


day  by  closing  the  outside  shutters,  pinning  up  a large  thick 
shawl  over  the  window  with  carpet  pins,  and  stuffing  brown 
paper,  socks,  comforter,  towels,  or  anything  handy,  into  the 
somewhat  widely  gaping  cracks  round  the  doors.  This  is 
generally  such  a troublesome  job  that  I seldom  develop  during 
the  day  ; but  it  requires  much  self-denial  to  leave  a genial 
party  after  dinner  to  immure  oneself  in  one’s  bedroom,  when 
everybody  turns  out  to  drink  their  coffee  and  smoke  and  chat 
outside  the  hotel  in  the  brilliant  starlight,  and  discuss  plans 
with  their  guides,  especially  if  those  plans  involve,  as  they 
generally  do  in  fine  weather,  breakfasting  at  1.30  or  2 a m.  next 
morning.  In  bad  weather,  however,  it  is  an  easier  matter,  and 
there  is  no  question  that  it  is  much  more  convenient  to  develop 
at  night. 

I clear  the  bedroom  table,  and  set  it  against  the  wall  under- 
neath a peg  or  nail,  on  which  I hang  the  jug  (such  a little  one!) 
full  of  water,  and  put  a syphon  in  the  jug  ; then  on  the  table  I 
spread  a piece  of  waterproof  sheeting,  and  set  out  the  basin  and 
three  papier-machd  dishes  and  three  square  six-ounce  bottles, 
containing  respectively  ten  per  cent,  solutions  of  pyro.  (the 
Platinotype  Company’s  sulpho-pyrogallol  solution),  ammonia, 
and  potassium  bromide.  The  bottles  are  fitted  with  dropping- 
tubes.  the  upper  ends  of  which  are  closed  with  india-rubber 
teats,  the  little  holes  in  the  teats  being  stopped  up  by  a touch 
of  india-rubber  solution.  The  alum  and  hypo  I carry  in  ting, 
and  make  solutions  in  empty  wine  bottles  as  required.  I use 
Shew's  folding  lantern  and  a little  oil  lamp  with  a screw  cap  for 
travelling.  This  is  a great  convenience,  and  far  better  than  any 
candle  or  nightlight. 

I strongly  recommend  a good  large  lantern,  as  it  keeps  cool 
and  does  not  smoke.  I have  a row  of  four  little  lanterns  of  vari- 
ous patterns  on  a shelf  somewhere,  all  discarded.  In  mixing 
my  developer  I follow  no  particular  formula,  but  I generally 
start  with  about  half  the  full  dose  of  ammonia,  and  put  the  rest 
in  by  degrees  after  about  three  minutes,  the  whole  development 
taking  generally  six  or  seven  minutes.  The  plates  go  into  the 
alum  and  hypo  successively,  rinsing  them  slowly  with  about 
half-a-pint  of  water  before  each,  and  after  the  hypo  into  a zinc 
washing-box.  The  boxes  sold  for  this  purpose  are  bulky  and 
heavy,  so  I got  a plain,  zinc  box  made,  about  8 by  6 by  2 
inches,  and  stick  into  it  some  strips  of  wide  gutta-percha 
grooving.  It  will  thus  hold  sixteen  plates,  back  to  back,  in  this 
small  space,  and,  putting  the  box  under  a tap  or  in  a stream  for 
a few  hours,  the  plates  get  thoroughly  washed. 

Mishaps  will  happen  sometimes  in  all  the  stages  of  one’s 
work  ; but  the  penalty  one  pays  in  the  loss  of  a good  picture  is 
a great  safeguard  against  carelessness  of  the  same  kind 
happening  again.  This  year,  in  fact,  I have  no  follies  to 
record — such  as  exposing  a plate  twice  on  different  views,  as  I 
once  did  on  the  top  of  the  Schreckhorn,  or  leaving  the  cap  off 
the  lens  when  drawing  the  shutter.  As  regards  the  former 
mistake,  I have  adopted  the  simple  “ dodge  ’’  of  having  two 
buttons  to  each  shutter ; after  exposure  only  one  of  these  is 
turned,  and  one  sees  at  a glance  which  plate  has  been  exposed. 

Much  has  been  said  against  changing-boxes,  chiefly  on  the 
ground  of  their  delicate  construction  and  the  liability  of  the 
plates  to  stick  in  the  grooves.  Now,  I have  used  one  of  Hare’s 
changing-boxes  for  the  last  four  seasons,  and  I always  take  it 
in  preference  to  double  slides  when  out  on  a big  expedition.  It 
will  bear  more  knocking  about  and  is  lighter  in  proportion  to 
the  plates  carried.  It  is  true  the  plates  may  stick.  Once  on 
the  top  of  the  Dom  (the  highest  mountain  in  Switzerland), 
after  I had  exposed  two  plates,  the  third  stuck  halfway,  and  no 
amount  of  shaking  would  induce  it  to  go  into  the  slide.  The 
wind  was  bitterly  cold,  the  guides  were  in  a hurry  to  start  down 
again,  and  two  splendid  views  were  waiting  to  be  taken.  I 
hammered  the  bottom  of  the  box  with  my  ice-axe  till  I thought 
every  plate  would  be  smashed — and  the  dents  in  the  wood  are 
a witness  to  this  day  of  the  rough  treatment  it  got — and  at  length, 
to  my  great  relief,  the  too-corpulent  No.  3 fell  back  again  and  the 
slide  was  released.  That  was  three  years  ago,  and  since  then 
the  same  thing  has  never  happened,  except  once  or  twice  in  the 
dark  room  ; for  I now  invariably  fill  the  box  through  the  slide , 
and  am  always  certain,  therefore,  that  the  plates,  if  they  go  in 
at  all,  will  pass  readily.  The  other  end  of  the  box  has  not  been 
opened  for  months — in  fact,  I have  lost  the  key. 

After  a delightful  fortnight  spent  at  Montanvert,  during 
which  period  records  accumulated  in  my  note-book  of  four 
mountains  climbed  and  over  thirty  negatives  taken,  I went,  with 
my  brother  and  a friend  and  two  guides,  to  Saas-Fee,  going 
across  country  by  way  of  the  Col  de  Chardonnet  to  Martigny, 


710 


THE  PHOTOGRAPHIC  NEWS, 


(_1SToyembeb  9,  1883, 


and  thence  up  the  Rhone  valley  by  train.  We  sent  our  luggage, 
including  the  “ plate-basket,’’  round  by  Geneva,  which  took  just 
a week,  while  we  went  in  heavy  marching  order,  carrying  knap- 
sacks and  photographic  things,  including  about  thirty  plates. 
We  were  now  in  fine  training,  with  faces  like  mahogany  and 
muscles  like  iron,  and  we  arrived  at  the  hotel  at  Fee  late  at 
night  on  August  23rd,  fresh  and  eager  to  attack  a new  district 
with  ice-axe  and  camera. 

Fee  is  a most  picturesque  place,  and  artists  abound  there. 
As  a climbing  centre,  however,  it  is  by  no  means  so  good  as  the 
Montanvert,  and  the  only  mountain  views  I got  were  from  the 
top  of  the  Nadelhorn  on  a very  cloudy  day.  I tried  my  hand, 
however,  at  views  down  in  the  valley,  with  indifferent  success.  I 
find  them  far  more  difficult  than  the  more  equally-illuminated 
snow  and  rock  scenes.  In  Nos.  103  to  108  and  110  I en- 
deavoured to  give  a longer  exposure  to  the  foreground  by  using 
a flap  shutter  or  shading  the  lens  by  hand.  In  No.  110  this 
was  obviously  overdone,  the  foreground  being  too  light. 

On  the  other  side  of  the  great  range  of  the  Mischabelhorner 
(seen  in  several  of  the  photographs)  lies  the  valley  of  Zermatt 
. — Zermatt,  beloved  of  mountaineers,  and  the  capital  of  Switzer, 
land.  I could  not  go  home  without  spending'a  few  days  there, 
especially  as  there  were  certain  views  I was  very  anxious  to  se- 
cure ; so  on  September  4th  I crossed  the  Alphnbeljoch — this  time 
alone  with  my  two  guides — and  arrived  at  Mad.  Seiler’s  hos- 
pitable hotel  just  as  a heavy  downpour  of  rain  began.  This  was 
not  cheerful,  especially  as  it  turned  to  snow  at  night,  being  wet 
and  dismal  all  next  day.  On  the  6th,  however,  the  wind  went 
round  north,  and  next  morning  we  started  at  three  a.m.  for  the 
snow  aritc  of  the  Rothhorn — a magnificent  point  of  view.  We 
climbed  the  steep  slopes  behind  the  hotel  with  a lantern  in  thick 
fog  and  darkness,  and  could  not  tell  how  the  day  would  turn  out, 
until  about  5.30,  when  we  began  to  see  the  forms  of  snowy 
peaks  far  above  us  through  the  thinning  mist.  We  soon  emerged 
into  brilliant.,  clear  air,  the  blue  sky  above  us,  and  rolling  seas 
of  white  cloud  down  in  the  valley  below.  The  day  was  safe,  and 
the  results  of  the  expedition  are  seen  in  the  photographs  Nos. 
117  to  126. 

Next  day  we  went  up  the  Wellenkuppe,  and  secured  a few  more 
of  the  splendid  views  around,  among  which  No.  127  shows  no 
signs  of  the  icy  blast  which  met  us  as  we  over  topped  the  snow 
cap  of  the  mountain,  in  the  teeth  of  which  1 set  up  the  camera. 
We  could  only  stay  just  long  enough  to  take  the  view,  and  then 
hurried  back  again  under  shelter  on  the  south  side.  My  plates 
were  now  all  used  up,  and  I ought  to  have  come  straight  home  ; 
but  the  weather  was  set  fair,  and  for  mere  climbing’s  sake  I went 
up  two  more  mountains  on  successive  days  before  starting  home- 
wards down  the  valley. 

Mountaineering  by  itself  is  one  of  the  very  best  forms  of  exer- 
cise and  recreation,  and  one  brings  home  a stock  of  health  and 
energy  for  the  rest  of  the  year.  Combined  with  photography,  it 
becomes  a most  delightful  and  fascinating  pursuit. 


PARKER’S  SKY  SHADE. 

BY  NORMAN  MACBETH,  R.S.A.* 

The  importance  of  the  sky  in  its  varied  aspects,  its  bearing  and 
consistency  with  the  landscape,  need  hardly  be  pointed  out. 

There  is  nothing  so  apparent  in  photographs  of  one  exposure 
as  the  absence  of  this  element,  and  we  cannot  but  welcome  any 
appliance  which  enables  us  to  secure  the  effects  of  clouds  and 
landscape  with  one  exposure  on  the  same  plate. 

I am  aware  of  one  or  two  sky  shades  which  have  been  referred 
to  in  the  journals,  and  have  read  with  interest  of  their  purpose 
and  intention  ; but  not  having  seen  any  of  their  operations  and 
results,  I am  unable  to  speak  of  their  merits. 

Except  from  a few  medium  sensitive  plates  of  gelatine  make — 
such  as  Fry’s,  or  the  Britannia — we  seldom  see  clouds  produced 
but  by  double  printing,  and  certainly  those  that  Mr.  Valentine 
and  a few  others  have  combined  with  the  landscape  must  be 
acknowledged  to  be  truly  beautiful.  They  are  very  useful  in 
their  adaptation  to  composition  and  the  effects  of  light  and  shade 
on  land.  But  still,  as  they  are  liable  to  be  very  promiscuously 
and  inconsistently  treated,  it  would  be  a great  advantage  if  they 
were  true  to  the  landscape  effects  with  which  they  were  as- 
sociated, not  to  speak  of  the  labour  attending  double  printing. 

Knowing  that  Mr.  Parker,  ex-President  of  the  Glasgow  Photo- 
graphic Society,  made  some  years  ago  a very  decided  improve- 
ment on  one  of  the  sky  shades  which  he  saw  in  the  British 


Journal,  I regret  very  much  that  I never  had  my  attention 
particularly  called  to  his  device  till  lately,  when  he  and  I were 
on  a photographic  excursion.  I was  greatly  delighted  by  the 
ease  with  which  it  was  managed,  and  by  the  beautiful  sky 
effects  he  secured  by  it  on  that  occasion. 

Having  a strong  desire  to  possess  a sky  shade  such  as  his,  he 
very  kindly  offered  to  get  one  made  for  me.  And  here  permit 
me  to  state  that  I am  sure  that  nothing  but  his  extreme  modesty 
and  retiring  disposition  prevented  him  from  making  this  im- 
provement known  long  ere  this. 

Believing  that  it  would  interest  all  true  levers  of  landscape  and 
sky  effects,  and  be  helpful  in  advancing  the  interests  of  science 
and  art,  I induced  him  to  allow  me  to  bring  it  before  the  notice 
of  the  leading  societies. 

Writing  to  me  on  the  19th  of  July  last,  when  sending  the  sky 
shade,  which  he  got  made  for  me,  Mr.  Parker  described  at  full 
length  its  construction  and  operation. 

It  is  composed  of  three  separate  parts,  viz.,  first,  the  band  or 
collar,  which  is  screwed  to  the  body  of  the  lens  tube  ; second, 
the  lever  arm  ; and  third,  the  pendant. 

The  first,  the  band — A in  the  accompanying  diagram— has 


pinching  screws  E and  F at  the  top  and  bottom  for  fixing  the 
lever  arm  when  set. 

The  second,  the  lever  arm  B,  has  four  square  cuts  on  the 
top  edge.  The  two  outer  ones  are  those  on  which  the  pendant 
is  placed  when  the  sky  is  covered  by  the  card,  and  on  which  it 
revolves  when  pressed  back  to  expose  the  sky. 

The  two  inner  ones  are  those  into  which  the  top  of  the 
pendant  goes  when  pressed  its  full  length.  Unless  it  enters 
these,  the  sky  will  not  be  completely  exposed. 

In  making  the  paper  shade  (or  mask,  as  it  may  be  called)  for 
obscuration,  gum  together  the  white  sides  of  a piece  of  black 
paper.  Cut  a portion,  say  one  and  a half  inch  in  width,  and  in 
length  the  full  diameter  of  the  brass  of  the  front  of  lens.  It 
must  be  shaped  into  the  general  form  of  distance  as  seen  in  the 
focussing  glass.  When  shaped,  insert  it  into  the  pendant,  and 
fix  it  in  a temporary  way  by  the  screw  G.  Then  looking  on  the 
ground  glass,  and  carefully  focussing  the  subject,  raise  or  lower 
the  lever  arm  till  the  mask  covers  the  distant  hills  and  sky. 
Hills  on  which  one  cannot  see  detail,  intervening  water  and  trees 
relieved  against  the  sky,  may  also  be  covered  by  the  shade. 
When  the  plates  are  of  a medium  sensitiveness,  not  re- 
quiring long  exposure,  it  is  immaterial  to  have  the  outline  of 
distance  well  defined  ; in  fact,  if  the  paper  be  tom  somewhat 
into  form,  that  is  quite  sufficient  to  serve  the  pupose.  Of  course, 
in  the  case  of  a sea  view  where  the  horizon  is  a straight  line,  no 
special  form  is  required. 

Being  satisfied  with  the  extent  of  the  view  obscured,  fix 
tightly  the  lever  arm  by  the  screw  E,  and  still  further  pinch  the 
screw  H at  the  bottom  of  pendant.  When  all  this  has  been 
done,  lift  the  pendant  a little,  and  slip  on  the  cap  of  lens. 
Insert  the  slide  containing  the  plate,  and  open  it  up  for  exposure. 
On  withdrawing  the  cap,  the  pendant  falls  into  its  place,  and 
the  action  of  light  begins  on  the  landscape.  After  due  exposure 
has  been  given  (which  must  be  a little  longer  than  when  a shade 
is  not  used),  press  back  the  loop  of  pendant  at  the  top,  elevating 
the  black  card,  so  as  to  uncover  the  whole  sky.  Almost  at  the 
same  moment  put  on  the  cap  of  lens.  The  imperceptible 
interval  will  be  found  to  have  given  sufficient  exposure  for  the 
sky. 

The  principle  of  the  sky  shade  has  of  course  long  been 
j-ecognized  and  acted  on.  Ross  and  other  makers  have  for  many 
years  sent  out  lenses  fitted  with  shades,  such  as  the  simple  flap 


• A communication  to  th«  Edinburgh  Photographic  Society 


November  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


711 


shutter ; but,  so  far  as  I am  aware,  Canon  Beechy  wa3  the 
first  to  suggest  a plan  of  a properly  regulated  shade.  His 
object,  however,  was  not  so  much  to  obscure  clouds  as  to  cover 
a bright  object  like  a white  cottage  at  either  side  or  in  the  middle 
of  the  picture. 

This  led  to  the  suggestion  of  a very  elaborate  sky  shade,  by 
Mr.  Baynham  Jones.  It  seemed  to  be  much  too  elaborate, 
however,  for  practical  woik,  and  besides,  so  far  as  the  sky  was 
concerned,  it  had  no  ready  means  of  adjustment,  and  the  sockets 
round  the  edge,  which  were  intended  to  hold  the  shades, 
prevented  the  cap  of  lens  being  used  either  at  the  beginning  or 
end  of  exposure. 

Mr.  Jones’  contrivance,  although  useful  for  shading  certain 
parts  of  a scene,  yet  did  not  serve  the  purpose  which  Mr. 
Parker  was  aiming  at,  viz  , a development  of  clouds  and  land- 
scape in  full  keeping  with  each  other  on  the  some  plate.  How- 
ever, Mr.  Parker  acknowledges  that  Mr.  Jones’  efforts  suggested 
his  device,  and  all  that  he  claims  for  himself  is  the  invention  of 
the  lever  arm  and  pendant,  and  also  the  removal  of  hindrances 
to  the  use  of  the  cap  of  lens  in  the  operation. 

Mr.  Parker  has  now  used  his  shade  more  than  seven  years,  and 
for  simplicity  and  efficiency  I do  not  think  it  could  easily  be 
excelled. 

I do  not  feel  it  necessary  to  say  anything  at  present  as  to  its 
working.  Mr.  Parker  has  proved  its  value  by  many  beautiful 
specimens  of  cloud  and  landscape  scenery.  I strongly 
recommend  its  general  adoption.  In  closing,  I may  be  permitted 
to  remind  you  how  necessary  it  is  to  observe  and  study  sky 
effects.  No  landscape  is  complete  without  an  appropriate  sky. 
You  will  fully  realize  this  if  you  read  what  Buskin  says  in  his 
“ Modern  Painters,”  when  he  describes  so  eloquently,  in  a 
section  on  the  characteristics  of  Nature,  the  open  sky,  the  aspect 
of  the  clouds,  the  mysteries  of  the  clouds,  and  the  splendours 
of  sunset. 


ENLARGING  ON  ARGENTIC  PAPER  AND  OPALS. 

BY  A.  GOOD  ALL.* 

The  process  of  making  gelatino-bromide  of  silver  prints  or  en- 
largements on  paper  or  opal  has  been  before  the  public  for  two 
or  three  years  now,  and  cannot  be  called  new  ; but  still  the 
number  of  inquiries  that  we  receive  every  week  in  our  business 
on  argentic  paper  making  and  enlarging  makes  me  think  that  it 
is  neither  so  well  known  nor  understood  as  such  a facile  and  easy 
process  deserves  to  be,  and  I may  just  say  here  that  after  a pretty 
extensive  experience  in  the  working  of  it,  I believe  there  is  no 
other  enlarging  process  capable  of  giving  better  results  than  can 
be  got  by  this  process  when  properly  understood  and  wrought, 
as  the  results  that  can  be  got  by  it  are  certainly  equal  to  those 
obtainable  by  any  other  method,  while  the  ease  and  rapidity 
with  which  enlarged  pictures  can  be  made  by  it  place  it  decidedly 
ahead  of  any  other  method. 

It  is  now  some  seven  or  eight  years  since  I first  tried  to  make 
gelatino-bromide  enlargements  ; my  first  attempt  being  to  coat 
paper  with  the  pellicle  supplied  at  that  time  by  5Ir.  Kennett,  of 
London.  I did  not  succeed  well,  the  emulsion  not  being  adapted 
for  the  production  of  positives,  and  it  was  not  till  after  many 
trials  that  I succeeded  in  finding  out  the  most  suitable  kind  of 
emulsion,  and  the  best  method  of  applying  it  to  paper,  &c  , for 
the  production  of  positive  pictures. 

I propose  first  to  show  you  how  I make  a gelatino-bromide 
enlargement  on  opal. 

A gentleman  connected  with  one  of  the  oldest  and  most  suc- 
cessful photographic  businesses  in  Glasgow  gave  it  as  his 
opinion  that  this  was  the  picture  of  the  future,  and  likely 
to  supersede  all  the  collodion  transfers  and  coloured  daubs 
called  club  pictures,  so  plentiful  of  late  years,  and  I think  he 
was  right  from  the  standpoint  of  good  taste  at  least,  as  with 
the  chaste  tone  of  an  engraving  they  combine  the  truthfulnesss 
of  a photograph. 

[Mr.  Goodall  then  proceeded  to  make  an  enlargement  on  a 
12  by  10  opal,  using  a sciopticon  burning  paraffin  ; after  an  ex- 
posure of  two  and  a-half  minutes  the  developer  was  applied,  and 
a brilliant  opal  was  the  result.] 

We  now  come  to  the  paper  process,  and  most  effective  enlarge- 
ments can  be  made  by  it  also  ; indeed,  as  a basis  for  colouring, 
nothing  could  well  be  better.  Artists  all  over  the  country  have 
told  me  that  after  a few  trials  they  prefer  it  to  anything  else, 
while  excellent  and  effective  plain  enlargements  are  easily  made 

* Read  before  the  Dundee  and  East  of  Scotland  Photographic  Association. 


by  it  if  only  carefully  handled.  A very  good  enlargement,  and 
one  that  can  be  very  easily  disposed  of  to  a customer  at  a very 
moderate  price,  is  made  by  vignetting  the  picture,  as  I have  j ust 
done,  with  the  opal,  and  then  squeezing  it  down  on  a clean  glass, 
and  afterwards  framing  it  with  another  glass  in  front,  when  it 
will  have  the  appearance  almost  equal  to  an  opal.  To  make 
sure  of  the  picture  adhering  to  the  glass,  however,  and  at  the 
same  time  to  give  greater  brilliancy,  it  is  better  to  flow  the  glass 
with  a 10  or  15-grain  solution  of  clear  gelatine  before  squeezing 
it  down.  The  one  fault  or  shortcoming  of  the  plain  argentic 
paper  is  the  dullness  of  the  surface  when  dry,  and  this  certainly 
makes  it  unsuitable  for  small  work,  such  as  the  rapid  production 
of  cartes  or  proofs  from  negatives  wanted  in  a hurry  ; the  tone 
of  an  argentic  print  is  also  spoken  of  sometimes  as  being  ob- 
jectionable ; but  my  impression  is,  that  it  is  not  so  much  the  tone 
as  the  want  of  brilliancy  that  is  the  fault  here,  and  if  once  the 
public  were  accustomed  to  the  tones  of  argentic  paper,  they  might 
possibly  like  them  quite  as  well  as  the  purples  and  hrowns  with 
which  they  are  familiar,  provided  they  had  the  depth  and  gloss 
of  a silver  print ; and  some  time  ago,  acting  on  a suggestion  made 
by  the  Editor  of  the  Photographic  News,  I set  about  trying  to 
produce  this  result  by  enamelling  the  paper  with  a barium  emul- 
sion previous  to  coating  it  with  the  gelatinous  bromide  of  silver. 
My  experiments  were  successful,  and  we  now  prepare  an  enamel 
argentic  piper  on  which  the  prints  stand  out  with  a brilliancy 
equal  to  those  on  albumenized  paper.  I here  show  you  speci- 
mens of  boudoirs  and  panels — pictures  enlarged  from  C.  D.  V. 
— negatives  on  this  enamel  argentic. 

[Mr.  Goodall  then  passed  round  several  enlargements  from 
landscape  and  portrait  negatives,  which  it  would  have  been 
difficult  to  distinguish  from  prints  on  double  albumenized 
paper]. 

I have  already  spoken  of  the  great  ease  and  facility  with  which 
an  argentic  enlargement  may  be  made  as  compared  with  a collo- 
dion transfer,  for  instance  ; but  there  is  another  and  more  impor- 
tant point  to  be  considered  between  the  two,  and  that  is,  their 
durability  and  permanence.  Now  with  regard  to  a collodion 
transfer,  unless  most  particular  care  be  taken  in  the  washing  of 
it  (and  those  who  have  made  them  will  well  know  what  a deli- 
cate, not  to  say  difficult  job,  it  is  to  get  them  thoroughly  freed 
from  the  hypo,  and  at  the  same  time  preserve  the  film  intact), 
there  is  no  permanence  in  a collodion  transfer,  and  that  practi- 
cally in  nine  cases  out  of  ten  they  have  the  elements  of  decay  in 
them  from  the  first  day  of  their  existence.  I know,  at  least  in 
Glasgow,  where  an  enormous  business  has  been  done  within  the 
last  few  years  by  certain  firms  in  the  club  picture  trade  (the  club 
picture  being  a collodion  transfer  tinted  in  oil  or  varnish  colours) 
there  are  literally  thousands  of  pictures  for  which  thirty  shillings 
or  more  has  been  paid,  and  of  which  the  bare  frame  is  all  that  re- 
mains at  the  present  day  ; the  gilt  of  the  frames  has  vanished, 
and  the  picture,  in  disgust,  perhaps,  has  followed  it.  In  short,  I 
believe  a collodion  transfer  cannot  be  made  even  comparatively 
permanent,  unless  an  amount  of  care  be  taken  in  the  making  of 
it  which  is  neither  compatible  nor  consistent  with  a popular  price 
and  extensive  output.  How  now  stands  the  case  with  an  argentic 
enlargement  ? Of  course  it  may  be  said  that  there  is  scarcely  time 
yet  to  make  a fair  comparison — that  the  argentic  enlargements 
are  still  only  on  their  trial. 

I will  give  you  my  own  experience.  I mentioned  at  the  outset 
that  seven  or  eight  years  ago  I had  tried  Rennet’s  pellicle  and 
failed,  but  got  one  or  two  results  which  I retained  as  curiosities 
till  only  a month  or  two  ago  ; but  up  to  that  time  I cannot  say 
they  had  faded  in  the  least,  and  I have  here  a specimen  made 
three  years  ago,  which  I have  purposely  subjected  to  very  severe 
treatment.  It  has  been  exposed  without  any  protection  to  the 
light  and  damp  and  all  the  other  noxious  influences  of  a Glasgow 
atmosphere,  and  although  certainly  tarnished,  I think  you  will 
find  that  it  has  not  faded  ; the  whites  are  dirty,  but  the  blacks 
have  lost  nothing  of  their  original  strength.  I here  show  you  the 
picture  referred  to,  a 12  by  10  enlargement  on  artist’s  canvas,  and 
may  he  re.  state,  in  short,  that  my  whole  experience  of  argentic 
enlargements  leads  me  to  the  conclusion  that,  setting  aside  every 
other  quality,  they  are  the  most  permanent  pictures  that  have 
ever  been  produced.  Chromotypes  and  other  carbon  pictures 
have  been  called  permanent,  but  their  permanence  depends  upon 
the  nature  of  the  pigment  employed,  and  associated  with  the 
chromated  gelatine  in  which  they  are  produced,  most  of 
pigments  used,  and  all  of  the  prettiest  ones,  being  unable  to 
withstand  the  bleaching  action  of  the  light  for  more  than  a few 
weeks.  Carbon  pictures  are  therefore  only  permanent  according 
to  the  degree  in  which  the  colouring  matter  employed  is  capable 


712 


THE  PHOTOGRAPHIC  NEWS. 


[Novembeb  9,  1883. 


of  resisting  the  decolorising  action  of  light.  But  there  is  no 
pigment  in  an  argentic  print,  nothing  but  the  silver  reduced  by 
the  developer  after  the  action  of  light ; and  that  has  been  shown 
by,  I think,  Captain  Abney,  to  be  of  a very  stable  and  not  easily 
decomposed  nature  ; while  if  the  pictures  are  passed  through  a 
solution  of  alum  after  washing  and  fixing,  the  gelatine  also  is  so 
acted  upon  as  to  be  rendered  in  a great  degree  impervious  to  the 
action  of  damp,  and  the  pictures  are  then  somewhat  similar  to 
carbon  pictures  without  carbon. 

I may  now  say  a few  words  on  the  defects  and  failures  some- 
times met  with  in  working  this  process  ; and  first  in  regard  to  the 
yellowing  of  the  whites.  I hear  frequent  complaints  of  this  want 
of  purity  in  the  whites,  especially  in  vignetted  enlargements, 
and  1 believe  that  this  almost  always  arises  from  one  or  other 
of  the  two  following  causes. 

1st.  An  excess  of  the  ferrous  salt  in  the  ferrous  oxalate  deve- 
loper ; and  when  this  is  the  case,  the  yellow  compound  salt  is 
more  in  suspension  than  solution,  and  in  the  course  of  develop- 
ment it  is  deposited  upon,  and  at  the  same  time  formed  in,  the 
gelatinous  film. 

The  proportions  of  saturated  solution  of  oxalate  to  saturated 
solution  of  iron,  to  form  the  oxalate  of  iron  developer,  that  has 
been  recommended  by  the  highest  and  almost  only  scientific 
authority  on  the  subject — Dr.  Eder — are  from  4 to  6 parts  of 
potassic  oxalate  to  1 part  of  ferrous  sulphate. 

Now  while  these  proportions  may  be  the  best  for  the  deve- 
lopment of  a negative,  they  are  not,  according  to  my  experience, 
the  best  for  gelatine  bromide  positive  enlargements  ; I find, 
indeed,  that  potassic  oxalate  should  not  have  more  than  one-eighth 
of  the  ferrous  sulphate  solution  added  to  it,  otherwise  it  will  not 
hold  in  proper  solution  for  any  length  of  time  the  compound 
salt  formed  when  the  two  are  mixed. 

The  other  cause  is  the  fixing  bath.  This,  for  opals  and  vig- 
netted enlargements  especially,  should  always  be  fresh  and 
pretty  strong,  so  that  the  picture  will  clear  rapidly  before  any 
deposit  has  time  to  take  place,  as  it  will  be  observed  that  very 
shortly  after  even  one  iron  developed  print  has  been  fixed  in  it 
a deposit  of  some  kind  begins  to  take  place,  so  that  although  it 
may  be  used  a number  of  times  for  fixing  prints  that  are  meant 
to  be  coloured  afterwards,  it  is  best  to  take  a small  quantity  of 
fresh  hypo  for  every  enlargement  meant  to  be  finished  in  black 
and  white.  The  proportions  I use  are  8 ounces  to  the  pint  of 
water.  Almost  the  only  other  complaints  I now  hear  are  trace- 
able to  over-exposure,  or  lack  of  intelligent  cleanliness  iu  the 
handling  of  the  paper.  The  operator,  after  having  been  dabbling 
for  some  time  in  hypo,  or  pyro,  or  silver  solution,  gives  his 
hands  a wipe  on  the  focussing  cloth,  and  straightway  sets  about 
making  an  enlargement,  ending  up  by  blessing  the  manufacturer 
who  sent  him  paper  full  of  black  stains  and  smears.  Argentic 
paper  is  capable  of  yielding  excellent  enlargements,  but  it  must 
be  intelligently  exposed,  intelligently  developed,  and  cleanly  and 
carefully  handled. 


IWcjs. 

We  publish  to-day  our  final  notice  of  the  Exhibition  ; it 
closes  definitely  on  Thursday. 


Norway  has  a Photographic  Society  with  its  head-quarters 
in  Christiania. 


Dr.  Hermann  Vogel  arrived  back  in  Berlin  last  week  with 
his  American  honours  fresh  upon  him  ; Dr.  Vogel  promises 
us  some  notes  on  American  portraiture  for  the  coming 
Year-Book. 


We  beg  all  those  who  have  the  good  intention  of  sending 
us  a brief  article  for  our  annual,  to  forward  the  same  with- 
out delay. 

Captain  Abney,  R.E.,  F.R.S.,  is  nominated  on  the 
Council  of  the  Royal  Society  for  the  ensuing  year,  as  is  also 


Mr.  J.  W.  L.  Ulaisher,  the  son  of  the  president  of  the 
Photographic  Society. 

The  study  by  Mr.  J.  Bullock,  of  Leamington,  which 
forms  our  pictorial  supplement  this  week,  was  the  only 
portrait  that  secured  a medal  at  Pall  Mall. 

What  od  earth  has  happened  to  the  Times?  Our  lead- 
ing luminary  not  only  published  on  Saturday  a very 
sensible  article  on  “ Recent  Photographic  Apparatus,”  but 
gave  therein  the  best  summary  of  photographic  technics 
we  have  seen  for  many  a day. 


We  hear  that  the  Bristol  Exhibition  is  likely  to  contain 
a goodly  collection  of  foreign  pictures  this  year ; intending 
exhibitors  at  this  triennial  gathering  in  the  West  of 
England  should  note  that  the  time  for  sending  in  is  the 
1st  December;  but  that  they  must  make  application  for 
space  by  Thursday  next,  the  15th  inst. 

We  are  happy  to  say  that  Mr.  H.  P.  Robinson  will 
shortly  commence  in  our  columns  a series  of  articles 
touching  pictorial  photography. 

We  are  glad  to  welcome  the  veteran  Arctic  photo- 
grapher, Mr.  W.  J.  A.  Grant,  home  again.  He  has  been 
once  more  to  the  Polar  Seas  with  his  old  love  the  Willem 
Barents,  and  sends  us  a letter,  which  will  be  found  in 
another  column,  about  dry  plates  and  the  Custom  House. 


Photography  readily  combines  with  other  professions — 
a fact  on  which  we  commented  recently.  Here  is  a case 
in  point.  Mr.  Benedict  Zibach,  whose  premises  are  re- 
quired by  the  Metropolitan  Railway,  is,  besides  being  a 
photographer,  also  a barber,  a manufacturer  of  mineral 
waters,  and  an  “ exhibitor  of  living  curiosities  ; ” in  other 
words,  a showman.  As  Mr.  Zibach  wanted  more  for  his 
premises  than  the  Railway  Company  chose  to  give,  he  had 
to  produce  evidence  of  his  takings  before  a jury.  From 
this  it  appears  that  while  the  exhibition  of  fat  ladies, 
marionettes,  and  other  “ curiosities  ” brought  him  in  an 
income  of  £451,  photography  yielded  but  £167,  while  the 
mineral  water  manufactory  was  worth  £215  per  annum. 
It  is,  however,  a consolation  to  learn  that  photography 
occupied  a higher  position  than  hair-dressing,  which  was 
valued  at  £85  only.  It  may  be  of  interest  to  know  that 
the  estimated  profit  out  of  the  photographs  was  ninepencc 
in  the  shilling.  Seventy-five  per  cent,  profit  is  not  bad. 


“They  are  nearly  all  gone  already;  these  pictures 
always  make  them  sell.”  So  said  the  keeper  of  the  book- 
stall at  Waterloo,  as  he  handed  us  the  Pictorial  World  on 
Friday  last.  He  referred  to  Mr.  Dixon’s  zoological 
studies,  the  reprodnction  to  which  he  pointed  being  a 
Leopard  couchant,  a companion  picture  to  the  lion  which 
formed  our  supplement  on  the  27th  of  April  last. 

The  two  reproductions  differ,  however,  in  one  very  im- 
portant respect,  although  both  are  printed  from  litho- 


November  9,  1883.] 


THE  PHOTOGRAPHIC  NEWS' 


713 


graphic  stone.  In  the  case  of  the  ink-photo,  the  grain  or 
stipple  is  purely  automatic,  it  is  the  result  of  the  direct 
action  of  light ; while  the  photograph  of  the  leopard  was 
translated  into  dot,  line,  and  stipple  by  the  brain  and 
hand  of  an  artist. 

Mr.  Sprague’s  method  is  now  becoming  very  extensively 
used  for  the  purposes  of  book  illustration,  and  we  notice 
that  in  the  case  of  Mr.  Fay’s  new  book  on  the  South 
Western  Railway,  this  process  has  been  adopted. 

A propnx  of  the  carriage  of  negatives,  Mr.  A.  R.  Colqubon, 
whose  volume  “ Across  Chripe  ” is  the  book  of  travels  of 
the  year,  gives  many  instances  of  the  difficulties  he  had  to 
encounter,  not  only  in  the  conveyance  of  apparatus,  but  in 
securing  photographs  of  the  people.  The  Chinese  in  the 
country  districts  he  found  were  very  unwilling  to  be  photo- 
graphed, and  he  considered  it  was  a great  triumph  when 
the  Prefect  of  Pe-se  consented  to  sit,  it  being,  says  Mr 
Colqubon,  a unique  instance  of  a high  official  allowing  such 
a dangerous  innovation  to  be  brought  about  as  the  use  of 
that  alarming  apparatus,  a photographic  camera,  in  his 
yarnen  But  innovations  quickly  spread,  and  no  sooner 
had  the  Prefect  been  photographed  than  the  General  of  the 
district  desired  also  to  be  taken,  and  astonished  the  photo- 
grapher considerably  when  he  turned  round  and  said, 
“ Would  you  be  good  enough  to  take  my  humble  wife’s 
photograph?”  Mr.  Colquhon’s  negatives,  it  may  be 
mentioned,  were  developed  in  England  by  Messrs.  Murray 
and  Heath. 


Photographic  apparatus  was  the  subject  of  an  action  in 
the  Brighton  County  Court  last  week.  A firm  of  money- 
lenders had  entrusted  the  apparatus  to  a hair-dresser  to 
sell.  The  sale  was  effected ; but  instead  of  paying  the 
persons  from  whom  he  had  received  the  apparatus,  the 
hair-dresser  handed  the  money  to  somebody  else,  who, 
he  contended,  was  the  real  owner.  The  evidence,  how- 
ever, showed  that  the  money-lenders  were  the  owners,  they 
having  lent  money  upon  it,  and  the  hair-dresser  was,  in 
consequence,  non-suited. 

The  King  of  Denmark  has  conferred  the  cross  of  the 
Danebroge  upon  Major  O.  Yolkmer,  who  has  so  success- 
fully applied  photography  to  map-making  at  the 
Geographical  Institute  in  Vienna. 


The  Crystal  Palace  Company  have  issued  a circular 
anent  the  holding  of  an  international  exhibition  at  Syden- 
ham. Fine  arts  and  the  graphic  arts  are  to  be  included  ; 
but,  strange  to  say,  not  a word  appears  about  the  admis- 
sion of  photographic  work. 

The  tremendous  amount  of  “ inspection  ” to  which  the 
damaged  tunnel  on  the  Underground  Railway  is  being 
subjected  strikes  one  as  a little  ridiculous.  On  the  first  day 
we  were  told  that  Captain  Cundill,  a Government  officer, 
“ inspected  ” the  spot ; next  day  came  Colonel  Ford, 
another  official,  and  Dr.  Dupre,  the  Government  analyst, 
who  “ inspected  ; ” then  arrived  Colonel  Majendie,  ye 


another  Government  officer,  who  it  appears  is  bent  on 
analyiing  the  ballast  on  the  line — rather  a lengthy  operation, 
we  suspect — and  he  also  “ inspected  ; ” while  further 
“inspection”  is  promised  by  the  Engineer  officers  attached 
to  the  Board  of  Trade.  Yet,  strange  as  it  may  appear,  the 
vast  amount  of  “ inspecting  ” has  been  quite  a3  fruitless  as 
the  labours  of  “ all  the  King’s  horses  and  all  the  King’s 
men,”  who  failed  to  get  Umpty  Dumpty  together  again. 

Photographers  should  beware  how  they  employ  foreign 
assistants  who  are  not  familiar  with  the  English  language. 
Only  the  other  day  we  beard  of  a gentleman  who  felt  him- 
self insulted  in  a studio  because  the  assistant  took  a profile, 
naively  giving  as  a reason  to  the  customer  that  he  did  not 
like  his  “ fool  face.” 


Dr.  Vogel  says  that  in  his  recent  American  tour  he 
noticed  that  many  studios  made  use  of  a sort  of  spray- 
distributor  for  retouching  big  portraits,  not  eau  de  Cologne-, 
but  very  fine  pigment  powder  being  expelled  from  the 
apparatus.  The  instrument  is  held  in  the  hand  like  a style 
or  pencil,  and  is  connected  by  a rubber  tube  with  a bellows  ; 
then,  by  placing  your  foot  upon  the  bellows,  a stream  of 
dust  particles  is  made  to  issue  forth,  which  adhere  to  the 
paper  picture.  The  particles  attach  themselves  very 
readily  to  the  surface,  so  that  if  the  mouth  of  the  instru- 
ment is  close  to  the  picture  a dark  spot  ensues,  while  the 
farther  off  it  is  held  the  lighter  and  softer  is  the  shading 
produced. 


Dr.  Vogel  himself,  although,  as  he  says,  no  draughts- 
man or  retoucher,  took  the  little  instrument  in  hand,  and 
was  surprised  at  the  results  he  produced,  which  were  far 
more  delicate  than  could  have  been  obtained  with  crayons 
applied  by  hand.  Mr.  Zimmerman,  of  St.  Paul,  who  was 
one  of  the  first  to  introduce  this  system  of  retouching 
pictures  into  his  studio,  avows  that  a crayon  portrait 
can  now  be  finished  in  half  the  time  formerly  required. 

Mr.  Kurtz,  of  New  York,  it  appears,  also  U3es  a dust- 
process,  which  is  more  simple  still.  He  blows  finely- 
powdered  pigment  into  a close  box,  in  which  the  picture 
already  lies,  those  portions  of  the  photograph  which  are  to 
be  left  untouched  being  masked.  The  fine  dust  that  is 
deposited  attaches  itself  very  tenaciously.  A short  sojourn 
in  the  box  brings  about  very  fine  shading,  which  grows 
darker  with  the  duration  of  time.  We  presume  the  surface 
of  the  pictures  is  abraded  in  some  way — say  with  fine 
pumice,  for  instance,  as  in  the  Vander  Weyde  process — so 
as  to  permit  the  pigment  dust  to  attach  itself. 

Photographic  apparatus  is  now  sold  in  the  fancy 
shops.  In  the  first  place,  we  have  actually  a working 
outfit  for  five  shillings  : lens,  camera,  slide,  packet  of 
plates,  and  chemicals.  It  is  true  that  the  lens  is  of  the 
same  optical  excellence  as  a spectacle  glass,  and  the 
resulting  pictures  are  only  a little  larger  than  a postage 
stamp. 

One  can  even  commence  the  practice  of  photography 


714 


THE  PHOTOGRAPHIC  NEWS. 


[November  9,  1883. 


■with  a capital  of  one  penny;  the  set  of  apparatus  and 
materials  sold  for  the  sum  comprising  two  strips  of  glass, 
■with  a piece  of  string  for  binding  them  together,  a few 
scraps  of  paper,  and  a crystal  of  bichromate  of  potassium, 
the  whole  being  contained  in  a match-box.  It  is  explained 
by  the  instructions  that  a true  photograph,  let  us  suppose 
of  a leaf  or  other  opaque  object,  may  be  produced  with 
the  peony  set ; but  those  who  wish  to  do  true  camera 
work  must  obtain  the  more  expensive  outfit. 


All  that  is  necessary  for  making  “dusting-on  pictures  ” 
can  be  obtained  in  a polished  oak  cabinet  for  a guinea. 
Ordinary  pigments  and  enamel  colours  are  included. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.R.S. 

Lesson  VII. 

Chromatic  Aberration. — As  far  as  we  have  gone,  it  has 
been  assumed  that  we  have  been  dealing  with  light  of  one 
colour  (monochromatic  light),  and  all  our  conclusions  have 
been  based  on  this  assumption.  This  is  not  usually  the  case, 
and,  as  a consequence,  we  may  have  to  modify  to  some  degree 
our  deductions.  One  of  Newton’s  early  experiments  is 
very  well  worth  repeating  in  order  to  satisfy  ourselves  that  a 
ray  of  white  light  does  not  obey  the  laws  of  refraction  in 
such  a simple  manner  as  we  have  assumed.  The  description 
of  the  experiment  is  from  the  words  of  Airy,  “ Newton  took 
a black  oblong  stiff  paper  terminated  by  parallel  sides,  and 
painted  the  upper  half  red  and  the  lower  half  blue,  and 
viewed  it  through  a prism  of  a refracting  angle  of  60°  held 
parallel  to  the  sides  of  the  paper  and  the  cross  line.  He 
then  found  that  if  the  refracting  angle  of  the  prism  were 
turned  upwards,  so  that  the  paper  might  seem  to  be  lifted 
ud  bv  the  refraction,  the  blue  half  was  lighted  higher  than 


refraction  at  the  prism  than  that  from  the  red  half.'’ 


coloured  strip.  The  part  most  visibly  refracted  w 
seen  to  be  violet ; whilst  that  least  refracted  will  be  red 


in  the  order  of  greatest  refraction.  One  thing  must,  how 
ever,  be  steadily  borne  in  mind,  viz.,  that  these  colours  are 
arbitrarily  named,  and  that  there  is  no  exact  place  where 
each  of  these  terminate,  but  that  they  shade  one  into  the 
other.  If  the  chink  through  the  door  be  narrow,  and  if 
the  observer  stand  at  some  distance  from  it,  it  will  be 
found  that  the  coloured  strip  is  traversed  vertically  by  fine 
black  lines  ;*  and  that  the  narrower  the  chink,  the  greater 
the  number  of  black  lines  there  will  appear ; but  that  those 
first  visible  are  always  the  strongest. 


AtfSC  P E5 El 


JHL 


“ o S H 

§ 3 £ « 

O r*  w 


£ j? 

M O 


Fig.  40. 


The  lines  which  would  primarily  be  seen  are  a”  B C D E 
b F G H K,  and  their  position  in  the  coloured  strip,  or 

• Called  Fraunhofer  lines  from  their  discoverer. 


spectrum,"  as  we  shall  in  future  call  it,  is  fairly  indi- 
cated in  fig.  40.  If  a slice  of  sunlight  be  examined,  the 
line  A will  also  be  seen.  The  existence  of  rays  beyond 
H and  K can  also  be  demonstrated  by  their  chemical 
action,  and  also  can  be  seen  by  the  following  artifice.  On 
piece  of  very  thin  microscopic  glass,  drop  a solution  of 
quinine  sulphate  dissolved  in  water  to  which  a drop  of  sul- 
phuric acid  has  been  added,  and  press  another  piece  of 
similar  glass  on  to  it,  thus  forming  a thin  layer  of  quinine 
solution.  Hold  this  to  the  eye,  and  examine  the 
spectrum.  It  will  be  found  that  beyond  the  violet 
there  is  a lavender  colouration  crossed  by  lines  similar  to 
those  in  the  ordinarily  visible  spectrum,  the  principal  of 
which  are  lettered  L M N O.  Relow  A,  again,  the  heat- 
ing effect  of  the  spectrum  (when  it  is  formed  by  a strong 
light,  such  as  direct  sunlight,  or  the  electric  light),  a3 
shown  by  very  delicate  thermometers,  by  the  thermopile,  or 
by  Langley’s  new  instrument,  the  bolometer,  demonstrates 
the  existence  of  rays  below  A to  a distance  equal  to  A G. 
The  following  definitions  must  now  be  noted. 

“A  ray  of  white  light  being  decomposed  by  refrac- 
tion at  auy  surface  into  a beam  of  coloured  rays,  the 
angle  between  any  coloured  ray  and  the  direction  of  the 
original  white  ray  is  the  “ deviation"  of  that  colour.” 

The  difference  of  the  deviations  of  two  colours  is  the 
‘ disjiersion  ” of  those  colours. 

The  difference  between  the  deviations  of  the  extreme 
colours  is  called  “ the  dispersion  of  the  pencil." 

It  must  be  remembered  that  in  speaking  of  a colour,  we 
refer  to  one  of  the  fixed  lines  in  that  colour,  and  the 
index  of  refraction  for  that  colour  is  designated  by  placing 
the  letter  belonging  to  that  colour  below  m-  Thus  the 
index  of  refraction  of  the  indigo  ray,  G,  is  written  ms . 

[If  Mi  Mv  be  the  indices  of  refraction  for  the  extreme  red 
and  violet  rays,  aud  m for  rays  of  mean  refrangibility  out 
of  air  into  any  medium,  then 

ft  t — Mr 
ft— 1 

is  called  the  dispersive  power  of  the  medium,  and  is  fre- 
quently denoted  by  o>.] 


1 

Specific 

Gravity. 

so 

M 

Orange 

P) 

O /— v 

o 

® 

A w 

Indigo 

(O) 

Violet. 

(H) 

Water 

1000 

1-331 

1-332 

1-334 

1-336 

1-338 

1-341 

1-344 

1 

Crown  Glass  ... 

2 535 

1-526 

1-527 

1-529 

1-533 

1 536 

1-542 

1-547 

5 1 Flint  Glass  ... 

1 

3-723 

1"G28 

1-630 

1-635 

1-642 

1-648 

1-660 

1-671 

The  letters  below  the  colours  have  reference  to  the  fixed  Fraunhofer  lines 
of  the  solar  spectrum. 

Irrationality  of  dispersion. — Let  P and  P'  be  two  prisms 
of  different  material,  and  let  their  repeating  angles  be  so 
adjusted  that  rays  impinging  on  each  give  equal  disper- 
sion between  the  red  rays  (R)  and  the  violet  rays  (V),  it 


Fig.  41.  Fig.  42. 

will  be  found  that  the  angle  between  the  green  rays  (G) 
and  the  red  rays  are  not  equal,  nor  between  any  other 
pairs  of  intermediate  rays.  This  want  of  equality  is 
called  “ irrationality  of  dispersion,”  and  is  an  important 
factor  in  considering  achromatism.  The  above  table  gives 
examples  of  this  irrationality. 


THE  PHOTOGRAPHIC  NEWS. 


715 


November  9,  1883.) 


In  a previous  lesson,  it  has  beeu  shown  that  any  lens 
may  be  supposed  as  primarily  made  up  of  a series  of 
infinitely  small  pieces  of  prisms.  Now,  a3  a prism  refracts 
different  rays  differently,  it  is  manifest  that  what  would  be 
the  focus  for  one  colour  will  not  be  the  focus  for  other 
colo  irs.  The  violet  rays  bciug  most  refracted,  the  focus 
of  this  colour  with  a convex  lens  will  be  nearer  to  the  lens 
than  that  of  the  red,  and  between  these  two  points  will 
he  the  focus  for  intermediate  colours.  The  ultra-violet 
rays,  which  are  still  more  refracted  than  the  violet,  will 
have  a focus  still  nearer  to  the  lens  than  even  the  latter. 
[This  is  always  true,  except  in  a case  most  unlikely  to  be 
met  with  in  photography,  when  the  source  of  light  is 
between  the  centre  of  the  lens  and  the  principal  focus  of 
rays  iucideut  in  the  contrary  direction.]  With  a concave 
leDS  the  reverse  is  evidently  the  case. 


ing  a secondary  spectrum  by  the  overlap  of  the  two  spectra 
which  arise  from  the  two  prisms. 

[The  angle  may  be  found  thus  when  the  prisms  have  but 
small  refracting  angles.] 

Let  i and  0 be  the  refracting  angles  of  the  two  prisms, 
n and  Mi  the  indices  of  refraction  for  one  colour,  n+a  and 
Mi+5  the  indices  of  refraction  for  another  colour.  Of  these, 
i,  Hi  Mi-  a,  and  l*  are  known,  and  0 has  to  be  found. 

It  can  readily  be  shown  since  i and  8 are  small  by  hypo- 
thesis, that  the  deviations  for  the  first  colour  in  each 
prism  are — 

(m— l)t  and  (mi — 1)0 
and  for  the  other  colour — 

(/u-f-ai— l)i  and  (mi+^ — 1)0 

The  total  deviation  in  the  first  case  will  be — 

(M-l)i  + (mi — 1)0  (i) 

and  in  the  other — 

l)i  -f-  (#*!+* — 1)0  (ii) 

If,  then,  the  deviations  for  the  two  colours  are  to  be  the 
same  as  we  have  supposed,  i.e  , that  the  colours  are  united 
after  passing  through  the  two  prisms,  then  (i)  must  equal 
(ii),  and  we  have — 

0 — ui-tf-bd 


Suppose  the  lens  C to  be  free  from  spherical  aberra- 
tion, (fig.  43),  and  that  parallel  rays  of  light  pro- 
ceeding from  a distant  point,  made  up  of  violet  ami  red  rays 
travel  along  the  axis  of  the  lens,  the  focus  of  the  violet  rays 
will  be  at  v,  and  of  the  red  rays  at  r.  If  a screen  be  placed 
at  u,  the  image  of  a point  of  light  will  be  a point  in  which 
violet  predominates,  surrounded  by  a red  disc  of  diameter 
a b ; and  if  at  r,  the  image  will  be  a point  in  which  red 
predominates,  surrounded  by  a violet  disc  of  diameter  c d ; 
at  g f,  the  screen  would  show  approximately  the  original 
coloured  light ; but  the  image  of  the  point  of  light  would 
in  this  case  be  a disc  of  the  diameter  g f If  all  intermediate 
colours  between  red  and  violet  were  in  the  incident  beam  of 
light  as  is  the  case  in  white  light,  it  is  evident  that  in  every 
position  between  v and  i there  will  be  a point  in  which 
one  colour  predominates  surrounded  by  discs  made  of  all 
the  other  coloured  rays  in  varying  proportions. 

Can  this  chromatic  aberration  be  diminished  without 
out  making  a combination  of  lenses  ? If  Fig.  43  be  ex- 
amined, it  will  be  seen  that  as  the  aperture  of  B A the 
lens  is  diminished,  so  will  the  coloured  disc  be  diminished 
in  diameter,  till  by  sufficiently  reducing  it,  the  coloured 
disc  may  be  reduced  to  the  limits  of  the  disc  of  admissible 
confusion.*  For  some  purpose  in  photography  an  ordinary 
spectacle  lens  can  thus  be  used. 

Achromatic  Prisms. — If  we  construct  two  prisms  of  diffe- 
rent materials,  so  that  the  mean  deviations  are  the  same, 
and  if  we  place  the  base  of  one  prism  in  contact  with  the 
refracting  angle  of  the  other,  the  mean  ray  of  light  would 
emerge  from  the  two  prisms,  so  placed  without  suffering 


any  deviation  ; but  owing  to  the  “ irrationality  of  disper- 
sion,” if  received  on  a white  screen,  would  show  colours 
bounding  the  white  point  of  light  so  projected.  A little 
consideration  will  show  that  by  a judicious  selection  of 
the  angles  of  the  prisms,  any  two  colours  may  be  made  to 
unite,  and  at  the  same  time  to  have  a given  deviation  ; 
thus,  the  yellow  ray,  D,  and  the  indigo,  G,  may  be  made 
to  unite  to  form  the  refracted  image,  the  other  colours  form- 

» It  has,  however,  to  be  borne  in  mind  that  such  is  the  case  only  when  a 
lens  of  suitable  focal  length  is  chosen,  otherwise  detraction  phenomena 


The  minus  sign  shows  that  the  base  of  one  prism  has  to 
be  placed  against  the  poiut  of  the  other  as  in  figure. 

If  there  be  three  different  materials  of  which  the  prisms 
are  made,  three  different  colours  may  be  made  to  combine  ; 
if  4,  4,  and  so  on. 

Achromatism  of  lenses. — As  regards  a combination  of  lenses 
in  contact,  as  in  the  ordinary  photographic  use,  we  may 
briefly  state  the  rule  which  governs  the  combination.  In 
order  to  be  achromatic  for  two  colours,  take  the  difference 
of  refractve  index  for  the  two  colours  for  one  material,  and 
divide  by  the  index  of  refraction  less  unity  of  the  colonr 
most  refracted,  and  again  divide  by  the  focal  length  of  the 
lens  for  that  same  colour.  Do  the  same  for  the  other  lens, 
and  the  two  results  must  equal  one  another,  from  which 

[Mathematically  it  may  be  expressed  thus.  Let  g and  m 
be  the  refractive  radius  of  the  two  materials  for  the  colour 
of  greatest  refrangibility,/  and  /,  the  principal  focal  length 
of  the  two  lenses  for  that  colour,  a and  b the  dispersion  or 
difference  between  the  refractive  indices  of  the  two  colours 
for  each  lens  respectively. 

Then,  in  order  that  achromatism  for  the  two  colours  may 
ensue, 


a l b 

f 1^- 1 


JL=o 

Ji 


Evidently  one  must  have  a negative  focus,  and  the 
other  positive  ; hence  one  must  be  a concave  and  the  other 
a convex  lens. 

From  this  the  focal  length  of  an  achromatizing  lens  may 
be  calculated,  and  its  curvature  can  be  found  from  the 
formulae  given  in  Lesson  IV.,  it  being  presumed  that  the 
indices  of  refraction  for  the  colours  to  be  united  are  known 
in  both  cases.] 


Datntt  Jtttflligm*. 

Application  for  Letters  Patent. 

•5201.  Harrison  Garside,  of  the  city  of  Manchester,  in  the 
county  of  Lancaster,  photographer,  for  an  invention  of  “ An 
improved  method  of  producing  surfaces  for  methanical  or  ink- 
printing by  means  of  photography.” — Dated  2nd  November, 
1883. 

Notice  to  Proceed. 

4732.  John  Edwin  Atkinson,  of  Greenwich,  in  the  county  of 
Kent,  for  an  invention  of  “ Improvements  in  apparatus  for  use 
in  transporting  and  exposing  sensitized  photographic  plates  or 
films.” — Dated  4th  October,  1883. 


• a and  b are  very  small  compared  with  H and  Mn  see  table. 


716 


THE  PH0T0GKAPH1C  NEWS. 


Specification  Published  during  the  Week. 

1380.  It.  Brown,  B.  W.  Barnes,  and  J.  Bell,  “Preparation  of 
pictures  and  photographs  to  be  used  in  the  production  of  pic- 
tures by  photography  and  photo  engraving,  and  production  of 
gelatine  reliefs  and  printing  surfaces  therefrom. 

The  full  text  of  this  specification  appeared  in  the  Photo- 
graphic News  nearly  two  months  ago.  (See  page  602). 

Patents  Granted  in  Germany. 

24,772.  J.  D.  Holler  and  J.  S.  Holler,  of  Wedel,  Holstein, 
for  “A  photographic  collodion  process  for  obtaining  greater 
sensibility  and  durability  of  the  prepared  plates.” — Bated  3rd 
January,  1883. — Class  67. 


I10VV  TO  GLAZE  PHOTOGRAPHS. 

BY  E.  WIDEMAN.* 

Take  virgin  wax  8 grammes,  and  of  ordinary  ether 
100  grammes;  shake,  and  allow  them  to  dissolve.  Over 
each  plate  to  be  waxed  (take  care  they  are  perfectly  clean), 
pour  a little  of  this  liquid,  8 or  10  drops,  and  polish  with  a 
pad  of  linen  until  all  traces  of  the  wax  have  disappeared. 
Next  dissolve  about  40  grammes  of  white  gelatine  in  400  of 
ordinary  water  in  a hot  water  oven,  and  filter  through  a 
cloth  or  fine  sieve  into  a porcelain  dish.  Coat  the  waxed 
surface  of  the  plate  with  normal  collodion,  of  1 gramme 
guncotton  to  50  of  ether  and  50  of  alcohol.  When  just  set, 
immerse  in  the  warm  gelatine  bath,  while  the  mounted 
photograph  is  also  soaked  until  thoroughly  impregnated 
with  gelatine. 

Raise  the  plate  with  the  finger  to  let  it  drain,  and 
allow  the  gelatine  to  form  a solid  body  with  the  collo- 
dion, and  apply  the  picture  to  the  surface  without 
taking  out  of  the  bath.  Press  the  card  against  the  glass, 
beginning  at  the  top,  and  inclining  them  as  they  are  being 
taken  out ; with  the  other  hand  cause  the  rest  to  adhere  by 
lightly  rubbing  the  card  down  with  a fine  sponge. 

Afterwards,  wipe  off  the  excess  of  gelatine  from  the  back 
of  the  card  and  reverse  of  the  plate;  leave  it  to  dry  in  a 
warm  place,  and  in  about  eight  or  nine  hours  cut  round  the 
edges,  and  if  it  is  dry,  it  will  come  apart  directly. 

A little  experience  will  suffice  to  obtain  very  pretty 
results,  free  from  bubbles  ; the  gelatine  may  be  coloured  at 
will  with  aniline  dyes  soluble  in  water. 


terfSpOH&tttff. 

PHOTOGRAPHS  OF  CRIMINALS. 

Dear  Sir,— Seeing  in  the  Photographic  News  of 
October  12th  your  comment  on  a statement  in  the  Daily 
Telegraph  concerning  prisoners’  photographs,  I beg  to  sub- 
mit to  your  notice  a few  facts  regarding  prisoners  and  their 
portraits. 

In  the  first  place  I must  tell  you  that  I held  the  position 
of  “ photographer  ” at  Her  Majesty’s  Gaol  of  Newgate  for 
several  years,  and  am  therefore  able  to  state  what  I know 
to  be  true,  and  not  what  I imagine.  My  sole  duty  in  the 
office  I held  was  to  photograph  every  prisoner — with  a few 
exceptions  for  certain  offences — who  came  into  the  prison 
committed  for  trial  ; and  to  identify  every  prisoner,  male 
or  female,  whom  I had  photographed  previously,  and,  after 
having  been  acquitted  or  served  their  term  of  imprisonment, 
were  arrested  again  and  committed  for  trial  for  another 
offence  ; this  being  a frequent  occurrence,  and  days,  weeks, 
months,  or  even  years  elapsing  between  the  time  of  their 
being  photographed  and  their  re-arrest.  This  was  not  all ; 
my  duty  was  also  to  recognize  every  prisoner,  if  he  returned, 
who  had  been  photographed  at  Newgate  previous  to  my 
taking  office  there,  they  being  individuals!  had  never  seen, 
and  had  nothing  to  go  by  but  their  portrait.  I say  nothing 

* La  Nature. 


[November  9,  1883. 

but  their  portraits — their  portrait  was  everything,  as  I will 
presently  show,  and  perhaps  if  I give  some  of  the  details  I 
know  connected  with  criminal  photography,  it  will  not  only 
be  interesting,  but  go  so  far  to  prove  the  false  notions 
persons  have  regarding  the  same. 

On  commencing  my  day’s  duties  at  nine  a.m.  my  first 
step  was  to  enter  in  my  photographic  “ Day-Book  ” all  the 
names  of  the  prisoners — with  their  offences — received  into 
the  prison  the  previous  evening  committed  for  trial. 
Having  entered  all  the  names,  male  and  female,  I sub- 
mitted my  book  to  the  Governor,  who  crossed  out  such 
names  of  prisoners  whose  offences  held  them  exempt  from 
being  photographed  by  the  prison  regulations,  which  were 
only  a few  cases.  I then  spent  my  time  in  committing  to 
memory  as  many  as  possible  of  the  faces  of  prisoners  whose 
photographs  were  under  my  charge,  making  references 
where  there  were  several  portraits  of  one  individual — and 
anything  else  connected  with  photography  in  the  prison  I 
thought  fit  to  do,  until  I commenced  taking  negatives.  I 
then  wrote  a list  of  names  of  the  prisoners  I desired  to 
photograph,  and  took  it  into  the  prison,  that  is,  where  the 
cells  are,  and  a warder — not  necessarily  an  “ experienced  ” 
one,  as  you  state — w as  “ told-oft  ” to  bring  the  prisoners 
out  two  at  a time,  as  I took  two  on  a by  4J  plate.  Nowr, 
the  entire  management  of  the  prisoners  during  their  sitting 
was  in  my  hands,  and  not  the  warder's,  as  your  comment 
infers.*  It  is  the  photographer,  and  not  the  warder,  who 
is  acquainted  with  the  “tricks”  of  prisoners  during  their 
sitting  for  a photograph.  The  warder  may  be  up  to  their 
“dodges”  in  the  prison,  I admit,  but  while  being  photo- 
graphed the  prisoner  was  in  my  hands,  the  warder  acting 
under  my  direction.  Every  prisoner,  if  possible,  was 
photographed  before  his  trial,  if  he  or  she  did  not  object, 
which  they  could  do  if  they  liked,  there  being  no  compul- 
sion to  sit  until  they  were  convicted.  This  wras  done 
because  there  was  no  time,  or  very  little,  to  take  them  after 
their  trial,  they  being  sent  away  very  soon  after  their  con- 
viction, and  as  there  were  generally  sixty  or  seventy  every 
session,  there  was  no  time  to  be  lost,  and  those  acquitted 
of  course  would  not  sit  after  their  acquittal  if  I did  not  ob- 
tain their  photographs  before,  this  being  very  essential,  as 
many  acquitted  prisoners  “ turned  up  ” again  and  again. 
Having  got  their  portraits  I could  then  identify  them  and 
prove  their  previous  charge,  as  they  would  alter  their  names 
and  declare  that  they  had  never  been  charged  before.  If  a 
prisoner  refused  to  be  photographed  before  his  trial,  he 
was  conducted  back  to  his  cell  to  await  his  trial ; then  if  he 
was  convicted  he  was  brought  out  again  to  sit,  and  in  all 
probability  he  would  not  refuse  ; if  he  did,  the  Governor 
would  stop  him  being  visited  by  his  friends  before  he  went 
away,  and  he  would  then  not  be  allowed  another  visit  for 
three  or  six  months,  but  I never  had  such  a case  in  my  ex- 
perience ; many  would  refuse  to  sit  before  conviction,  but 
never  after  conviction.  When  they  refused  before  con- 
viction, it  always  gave  me  an  idea  that  they  knew  some- 
thing about  prison  rules,  and  upon  searching  my  “ albums  ” 
— if  I did  not  directly  recognize  them — would  often  find 
their  photographs,  and  perhaps  several  former  convictions 
also,  which  would  be  produced  against  them  at  their  trials, 
if  convicted  or  without.  Old  offenders  would  often  be  up 
to  this  idea,  and  would  not  refuse  to  sit  before  their  trial, 
for  fear  of  arousing  suspicions ; but  there  were  very  few 
who  would  escape  discovery  if  their  photograph  was  in  the 
prison  albums. 

I very  seldom  had  any  trouble  with  prisoners,  and  the 
most  violent  ones  invariably  gave  me  none  at  all.  Some- 
times the  crafty,  cunning  prisoner  attempted  to  distort 
his  features,  but  when  he  knew  that  I observed  him  (I 
never  took  my  eyes  off  him  during  exposure),  he  would 
not  attempt  it  again,  and  even  this  occurred  very  seldom. 
I did  not  have  to  take  a second  negative,  hrough  the 

• The  photographer  at  Millbank  happens  to  be  a most  experienced 
warder,  no  other  than  Corporal  Laffeaty,  R.E.,  who  haa  several  times  ex- 
hibited at  the  Fall  Mall  Exhibition.  The  rule  at  all  convict  prisons  is 
that  prisoners  are  never  out  of  the  charge  of  a warder.— En.  F.N, 


November  9,  1883.  ) 


THE  PHOTOGRAPHIC  NEWS. 


717 


prisoner’s  fault,  once  in  twenty  times,  and  I always  attri- 
buted my  success  to  kindness  towards  them— treating 
them  as  ordinary  studio  sitters,  and  with  courtesy  ; aud  I 
can  say,  positively,  that  during  my  office  not  one  was 
unished  for  refusing  to  be  photographed,  and  they  even 
eld  a slate  in  their  hands  with  their  name  and  offence 
chalked  on  it — so  great  was  the  power  of  kindness  with 
them.  I remember  one  prisoner,  a garotter,  who.  was 
sentenced  to  fifteen  years’  penal  servitude  (undergoing  it 
at  this  present  moment)  and  a flogging ; it  took  eight 
officers  to  bring  him  back  from  the  court  into  the  prison, 
so  great  was  his  violence,  and  for  several  days  he  broke 
and  smashed  everything  within  his  reach ; but  this  man  sat 
as  quiet  as  a lamb  to  be  photographed. 

Now  with  regard  to  the  negatives,  which  were  all  wet 
collodion.  I printed  ten  off  every  one,  seven  of  which 
were  sent,  unmounted,  to  the  police,  one  mounted  in  the 
prison  album,  and  two  kept  in  reserve.  The  negatives 
were  “ half-length  ” figures,  and  printed  without  auy  re- 
touching whatever ; the  prints  were  required  to  be  very 
good,  both  technically  and  as  liknesses,  and  they  were 
each  one  examined  by  the  governor  before  going  out.  The 
prison  albums  in  my  charge  contained  somewhere  about 
five  thousand  photographs  taken  at  Newgate.  In  addition 
to  these,  there  was  a photograph,  with  full  description,  of 
every  discharged  convict  throughout  England — since  the 
introduction  of  photography  in  prisons — sent  to  Newgate ; 
these  numbering  many  thousands,  were  also  under  my 
especial  charge,  bound  in  volumes.  Now  if  a prisoner 
came  into  the  prison  whose  photogrbph  was  among  any 
of  these  mentioned,  it  was  a part  of  my  duty  to  recognize 
them,  even  in  spite  of  his  altered  appearance,  for  they 
would  alter  themselves  greatly  by  shaving  clean,  letting 
their  beard  grow,  &c.,  &e.  This  was  sometimes  a difficult 
job  when  I had  never  seen  the  individual  before,  but  I 
generally  succeeded. 

How  about  the  truthfulness  of  prisoners’  photographs 
now  ? I remember  on  one  occasion  we  had  a prisoner  whom 
I strongly  suspected  of  having  been  previously  convicted  ; 
the  governor  was  also  of  the  same  opinion.  His  photo- 
graph was  “in  my  eye,”  as  it  were  ; I had  a vivid  recol- 
lection of  having  seen  his  portrait  among  my  collection, 
but  I could  not  find  it.  I had  never  photographed  him 
myself,  I was  sure.  There  were,  if  I remember  rightly, 
twenty-two  “ sessions  officers  ” — whose  duty  is  solely  to 
recognize  old  offenders— sent  for,  and  while  they  were  all 
taking  slock  of  the  prisoner,  I was  more  determined  they 
should  not  beat  me.  They  all  came  back  into  the  gover- 
nor’s office,  and  not  one  could  recognize  him,  but  I had  found 
his  portrait,  which  I handed  to  the  governor  triumphantly. 
This  photo  led  to  a number  of  former  convictions  against 
him.  Now,  sir,  I am  not  staling  this  in  praise  of  my  own 
powers  of  keen  perception  and  recollection,  but  1 am  only 
endeavouring  to  show  you  the  immense  value  that  photo- 
graphy is  in  the  hands  of  the  law,  and  that  prisoners’ 
photographs  are  not  the  valueless  things  that  many  per- 
sons suppose  them  to  be.  Apart  from  this,  I must  say 
that  my  powers  of  recollection  became  wonderfully  deve- 
loped by  the  duties  I had  to  perform.  Certainly  I was 
looking  at  some  of  them  every  day,  but  then  there  were 
many  thousands  to  recollect,  and,  wonderful  to  say,  I did 
remember  most  of  them,  and  have  met  many  in  the  street 
whose  photo  I could  go  and  find  among  the  vast  numbers 
contained  in  the  photographic  albums  of  Newgate ; aud 
their  portraits  must  have  been  good,  or  I should  probably 
not  have  recognized  them.  I have  written  this  chiefly  to 
point  out  the  errors  that  are  published  by  some  news- 
papers as  truths  concerning  prison  photography,  aud  if 
you  can  spare  room  for  this  in  your  valuable  journal,  I 
shall  feel  obliged,  as  many  false  notions  are  entertained 
concerning  the  photographing  of  criminals. — I am,  sir, 
yours  obediently,  R.  F.  Bertolle. 

[We  are  glad  to  publish  Mr.  Bertolle’s  letter,  which  con- 
tains much  that  is  interesting.  Most  photographs  of 


prisoners  are  now  taken  at  the  large  criminal  establishments 
at  Pentonville  and  Millbank,  and  with  the  photographic! 
arrangements  at  these  places  we  are  intimately  acquainted 
from  actual  examination  and  inspection.  We  also  speak, 
therefore,  with  some  authority. — Ed.  P.N.] 


THE  PHOTOGRAPHIC  EXHIBITION  AND 
LANTERN  DISPLAY. 

Dear  Sir, — It  would  be  a great  boon  to  many  members 
and  their  friends  if  the  Exhibition  could  be  kept  open  on 
Thurday  evening  next  for  a final  lantern  display.  These 
occasions  have  been  so  very  popular,  that  I think  the 
guiding  spirits  of  our  Society  would  be  acting  wisely  in 
doing  this. — Faithfully  yours,  A Member. 


CUSTOM  HOUSE  OFFICERS  AND  DRY  PLATES. 

Dear  Sir, — How  do  gentlemen  who  go  abroad,  and  bring 
back  to  England  undeveloped  dry  plates,  manage  with  the 
Customs?  I had  an  unpleasant  experience  the  other  day  at 
St.  Katherine’s  Wharf.  Having  been  with  the  Willem 
Barents  up  North,  I sent  all  my  apparatus  and  unused  dry 
plates  back  to  England  direct  from  Amsterdam  by  steamer 
to  St.  Katherine’s  Wharf,  aud  came  myself  via  Queen- 
boro'  and  Flushing.  To  avoid  difficulties,  1 went  with  my 
agent  to  clear  the  goods.  There  were  four  cases  and  a bag 
containing  only  boots.  Nearly  everything  had  been  taken 
out  from  England  in  the  spring,  and  my  effects  included 
cameras,  &c.,  &c.,  packed  in  a lot  of  Arctic  clothing,  and 
the  hundred  and  one  things  one  takes  on  a cruise  that  may 
last  eighteen  months.  There  were  books,  knives,  har- 
poons, a few  specimens  of  rocks,  dried  flowers,  one’s  bed- 
ding, and  goodness  know  what ; but  among  these  sundries 
which  were  marked  “personal  effects”  were  a few  dozen 
dry  plates  in  soldered  tin  cases.  I explained  to  the  gentle- 
men of  the  Customs  the  nature  of  the  expedition  on  which 
I had  been,  and  declared  on  my  honour  that  I had  nothing 
contraband  of  any  sort : I also  explained  about  the  dry 
plates.  They  decided  to  open  only  two  things,  the  boot 
bag  and  one  case,  and  this  case,  unfortunately,  happened 
to  be  the  one  which  contained  the  dry  plates,  packed 
among  clothes,  and  charts,  and  books.  The  tin  cases  each 
had  maker’s  name  and  address  on  them,  with  the  usual 
description  of  plates,  & c. ; but  though  I begged  that  they 
might  not  be  opened,  aud  thus  destroyed,  and  tried  to  ex- 
plain that  I was  honest,  yet  I had  to  open  them,  and  they 
made  me  show  them  the  very  plates  themselves,  and  were 
not  even  satisfied  by  feeling  that  they  were  glass  plates, 
after  I had  taken  off  all  but  the  last  of  the  paper  wrappers. 
It  was  most  annoying,  as  the  packet  chosen  for  examina- 
tion was  one  I particularly  wanted  ; it  contained  plates  of 
a certain  age,  and  I had  taken  them  out  before  on  a 
former  cruise,  being  anxious  to  test  them  for  keeping 
qualities. 

The  pecuniary  loss  was  trifling,  some  12s.  or  13s ; 
but  supposing  that  I had  brought  back  undeveloped 
negatives,  what  could  I have  done  ? Next  year  I hope  to 
go  on  a real  yachting  trip  North,  and  being  quite  one’s 
own  master,  should  have  more  time,  and  could  get  more 
interesting  things  than  one  does  when  one  photographs  for 
an  expedition ; and  I had  meant  to  develop  at  home,  at 
leisure ; but  now  this  seems  hopeless.  At  Archangel, 
where  we  were  this  year,  the  Custom  House  officers  were 
very  strict,  and  there  was  no  end  of  formalities,  seals,  and 
signatures;  but  the  Russians  believed  me  when  I told 
them  that  such  and  such  a box  contained  photographic  dry 
plates,  and  that  they  would  be  destroyed  if  brought  into 
light,  and  therefore  did  not  open  those  boxes.  But  my 
own  countrymen  would  not  believe  me,  but  made  me  open 
the  box.  Of  course  they  are  in  the  right  to  do  so,  but  do 
you  not  think  that  they  sometimes  push  that  right  a little 
too  fai  ? At  Queenboro’,  in  coming  from  abroad,  I have 
always  found  the  Custom  House  officers  most  civil,  and  as  I 
never  attempt  to  smuggle  in  anything,  I uever  have  any 


718 


THE  PHOTOGRAPHIC  tfEWS. 


[Novembfr  9,  1883. 


difficulty.  It  would  be  most  i nterestiug  to  know  if  any  of 
your  readers  have  at  any  time  had  difficulty  in  getting  un- 
developed plates  into  England,  and  how  they  manage. — I 
remain,  yours  faithfully,  W.  J.  A.  Grant. 


Drombinp  0f  Stomius. 

South  London  Photographic  Society. 

The  annual  technical  meeting  of  the  above  Society  was  held  in 
the  House  of  the  Society  of  Arts,  John  Street,  Adelphi,  W.C.,  on 
Thursday  evening,  the  1st  inst.,  the  Rev.  F.  F.  Statham,  M.A., 
President,  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed, 

A letter  was  read  from  the  Secretary  of  the  Photographic 
Benevolent  Society,  announcing  that  the  Photographic  Society  of 
Great  Britain  had  granted  the  use  of  their  exhibition  on  Friday 
evening,  2nd  inst.,  in  aid  of  the  Benevolent  Society’s  funds.  It 
was  announced  that  the  annual  dinner  of  the  Society  would  be 
held  on  Friday  evening,  7th  of  December.  Messrs.  T.  W. 
Wheeler,  W.  W.  Wheeler,  and  H.  E.  Price  were  elected  members 
of  the  Society. 

The  Chairman  called  attention  to  the  fact  that  it  was  neces- 
sary at  this  meeting  to  give  in  the  nominations  for  officers  to  be 
elected  at  the  annual  meeting  in  December,  to  serve  for  the 
coming  year  ; he  also  announced  that  one  of  the  members  had 
moved  the  following  resolutions  with  regard  to  the  coming  elec- 
tions:— (l).  That  the  President,  Treasurer,  and  Secretary  be 
elected  annually.  (2).  That  there  shall  be  six  Vice-Presidents, 
two  to  retire  annually,  and  not  to  be  eligible  for  re-election  for 
one  year.  (3).  That  the  Committee  shall  consist  of  twelve 
members,  four  to  retire  annually,  and  not  be  eligible  for  re- 
election  for  one  year.  The  list  of  the  existing  officers  of  the 
Society  having  been  read,  the  following  nominations  were  then 
made  : — 

Vice-Presidents — Messrs.  H.  Trueman  Wood  and  F.  York. 

Committee — Messrs.  Williams,  Briginshaw,  Ackland,  York, 
and  Warnerke. 

With  regard  to  the  artistic  competitions  for  the  past  month, 

Mr.  Bridge  said  that  for  the  figure  subject  “ Cat  and  Kittens,” 
Dot  a single  example  had  been  sent  in  ; and  for  the  landscape 
subject,  “ Gnarled  Oaks,”  only  one,  which,  on  examination  of  the 
accompanying  sealed  envelope,  was  found  to  belong  to  Mr. 
Frank  Howard.  In  handing  round  the  balloting  papers  for 
subjects  for  competition  during  November,  he  (Mr.  Bridge)  re- 
quested the  members  not  to  propose  such  subjects  as  “ Cats  and 
Kittens,”  remarking  that  perhaps  many  of  the  members  might 
not  be  fortunate  (?)  enough  to  possess  such  a stock  of  family  pets. 
The  subjects  were  then  balloted  for  in  the  usual  way,  with  the 
following  result — Landscape,  “ The  Village  Church,”  and  Figure, 
“ Out  in  the  Cold.” 

The  Society’s  diplomas  were  handed  to  Mr.  John  Nesbit  for 
his  picture  sent  in  for  the  June  competition,  “A  Country  Road 
with  a Finger-Post,”  also  for  his  picture  in  September,  “ The 
Milk-Maid  ; ” to  Mr.  E.  Dunmore,  August  competition,  “ A 
Good  Place  for  a Rest to  Mr.  Cobb,  August  competition,  “A 
Landscape  with  Moving  Figures  ; ” to  Mr.  Matthew  Whiting, 
July  competition,  “ Fisher- Folk,”  aDd  to  Mr.  F.  A.  Bridge, 
September  competition,  “ A River  View.” 

Mr.  Gotz  then  exhibited  a collection  of  aplanatic  lenses  by 
Messrs.  Suter,  of  Switzerland,  constructed  with  the  object  of 
obtaining  a perfectly  flat  field  and  good  definition  with  a full 
aperture,  and  chiefly  designed  for  portrait  groups,  copying,  and 
indoor  work  generally,  also  for  architecture,  &c.  Mr.  Gotz  said 
that  arrangements  had  been  made  for  adapting  the  diaphragms 
and  flanges  to  the  standards  of  the  Photographic  Society  of 
Great  Britain,  also  that  they  were  endeavouring  to  make  a wide- 
angle  lens,  which  would  be  about  equal  to  the  well-known 
symmetrical  lens  with  rotating  diaphragms  to  cover  an  angle  of 
from  80  to  90°,  and  which  would  cover  about  the  same  sized 
plate  as  the  aplanatic  lenses. 

Mr.  Watson  showed  a very  convenient  pattern  of  tourist 
tourist  camera,  having  a double  swing-back  with  hinges, 
to  do  away  with  the  necessity  for  turning  over  the  focussing 
glass,  and  giving  extreme  length  of  focus  possible  for  a camera 
shutting  up  into  so  small  a space  ; also  a tourist  dry-plate 
camera,  with  ten  and  a-half  inches  focus,  sufficient  for  any 
ordinary  half-plate  lens,  and  perfectly  rigid  in  any  position,  with 


three  double  slides,  the  whole  fitting  into  a very  small  and 
portable  case.  Mr.  Watson  also  Bhowed  a snap-shutter  of  his 
own  invention,  a light  pattern  drop-shutter  made  in  ebonite, 
a shutter  with  pneumatic  discharger  to  expose  without 
touching  the  apparatus,  some  box-wood  boxes  for  carrying 
bottles  of  chemicals  when  travelling,  and  two  of  Grubb’s  aplanatic 
lenses  in  a new  form  of  mount,  very  similar  to  Dallmeyer’s 
wide-angle  lens. 

Mr.  F.  York  objected,  with  regard  to  the  first  camera  shown 
by  Mr.  Watson,  that  with  the  portable  symmetrical  lenses  now 
in  use  a swing-back  was  quite  unnecessary ; he  never  used  a 
swing-back,  but  got  the  same  effect  by  means  of  a rising-front. 

Mr.  Watson  replied  that  if  everybody  used  only  portable 
symmetrical  lenses,  Mr.  York’s  objection  would  apply ; but  his 
camera  was  for  use  with  any  kind  of  lens. 

Mr.  H.  Trueman  Wood,  referring  to  a remark  of  Mr.  York’s, 
that  swing-backs  were  a source  of  weakness  in  a camera,  said 
that  he  did  not  think  this  was  the  case ; he  had  used  one 
of  Mr.  Hare’s  cameras  with  swing-back  for  a long  time,  and  it 
was  still  as  strong  as  ever. 

Mr.  W.  Brooks  then  showed  two  of  Lamb’s  Patent  Triumph 
Ventilators.  He  said  that  at  the  late  meeting  of  the  Royal 
Cornwall  Polytechnic  Society  he  had  been  much  interested  in 
examining  the  various  merits  of  some  ventilators  exhibited,  and 
those  he  now  showed  had  struck  him  as  being  very  suitable  for 
the  use  of  photographers  in  the  drying-room  when  making  gela- 
tine plates.  He  observed  that  they  all  knew  how  essential  it 
was,  with  a large  number  of  plates,  to  have  a free  current  of  air 
passing  over  the  surface  of  the  plates  to  dry  them,  and  his  ex- 
perience was  that  the  quicker  they  were  dried,  the  better.  The 
principal  advantage  of  this  ventilator  was  that  no  down  draught 
took  place  either  from  a sudden  blast  of  wind,  or  from  suction 
or  syphonic  action  within  the  building.  He  considered  it  the 
best  system  of  ventilation  for  photographic  purposes  he  had  ever 
seen,  and  he  said  that  a3  Mr.  B.  J.  Edwards,  who  was  present, 
had  had  one  of  them  in  use  for  some  time,  perhaps  that  gentle- 
man would  tell  them  something  about  it. 

Mr.  B.  J.  Edwards  said  he  had  had  one  in  use  for  about 
twelve  months,  aDd  it  answered  his  purpose  very  well  indeed  ; it 
prevented  down-draught  entirely,  though  it  did  not  create  up- 
draught. 

Mr.  F.  A.  Bridge  exhibited  a small  reading-lamp  for  lecturers, 
which  he  pronounced  to  be  the  most  perfect  tiling  oi  its  kind 
he  had  ever  seen,  and  answered  admirably  the  purpose  for  which 
it  was  designed.  It  had  a signal-bell  attached  to  it,  also  a 
match-box  and  an  extinguisher,  and  by  means  of  a sloped  shade 
at  the  back  the  light  was  thrown  only  up  in  the  book  or 
manuscript  of  the  reader.  Mr.  Bridge  also  showed  an  improved 
regulation  screw  stop-cock  for  the  oxy-hydrogen  burner,  and  a 
field  changing-tent  of  his  own  invention,  weighing  only  1}  lbs., 
consisting  of  the  usual  black  bag  with  sleeves,  which  could  be 
put  together  on  a light  framework  of  bamboo  in  a few  seconds, 
costing  something  under  five  shillings. 

Mr.  Frank  Howard  showed  some  envelopes  of  non-actinic 
paper,  which  he  used  for  carrying  sensitized  plate  for  out-door 
work. 

Mr.  Bridge  also  showed  a small  photographer’s  field  note-book 
published  by  Openshaw,  of  Manchester,  of  the  usual  form,  bu  ’ 
containing  in  addition,  at  the  end,  some  leaves  of  small  ticketst 
perforated  for  tearing  out,  and  numbered  from  1 to  250. 

Mr.  H.  J.  Dale  showed  the  Multiplex  Back,  combining  the 
back  and  changing-box  in  one,  the  arrangement  being  similar 
to  the  revolving  album. 

Mr.  Hare  exhibited  a stand  on  the  principle  of  the 
rule-joint,  with  the  advantage  of  a sliding  leg,  which  fixed  itself 
at  any  required  height  by  means  of  a spring ; it  had  also  a spring 
arrangement  at  the  top  to  prevent  collapsing. 

Mr.  Brooks  described  a dark  slide  with  bag,  shown  him  by 
a Mr.  Kershaw,  at  Bettws-y-Coed,  and  which  he  claimed  to  bo 
cheap  and  effective. 

Mr.  A.  Cowan  exhibited  a method  of  mounting  prints  which 
he  said  had  been  practised  twenty  years  ago,  and  which  appeared 
to  be  quick  and  effective. 

Mr.  G.  Smith  exliibited  a camera  which  he  said  was  an 
attempt  at  making  one  camera  do  all  kinds  of  work,  and  still  be 
portable  ; it  was  a 7i  inch,  and  weighed,  with  four  dark  slides, 
under  five  pounds ; also  a sky-shade  which  might  be  carried  on 
the  front  tail-board  of  same. 

Mr.  Bridge  showed  one  of  Mr.  Smith's  brattice  stands  with 
some  improvements. 

Mr.  W.  T.  Wilkinson  exliibited  a changing  bag. 


Novt.ji BEE  9,  1883.] 


TEE  PHOTOGRAPHIC  NEWS. 


719 


Mr.  B.  J.  Edwards  Bhowed  a pocket  telescopic  camera  stand, 
made  of  bamboo,  and  weighing  only  1 f pound,  4 feet  9 inches 
in  height,  and  sufficiently  rigid  to  hold  a weight  of  120  lbs. 

Mr.  II.  Trueman  Wood  showed  some  lantern  transparencies 
toned  with  nitrate  of  uranium,  and  an  adapter  for  fitting 
extra  dark  slides  to  the  camera. 

Messrs.  Shew  & Co.  exhibited  their  “Model”  camera,  the 
principal  features  of  which  were  some  improvements  in  the 
double  swing  ; also  a rigid  bellows  extendine-body  front  which 
could  be  fixed  to  any  camera,  a dark  slide,  and  a camera 
stand. 

After  votes  of  thanks  to  the  several  exhibitors,  the  meeting 
terminated. 


London  and  Provincial  Photographic  Association. 

At  a meeting  of  this  Society,  held  on  Thursday,  the  1st  inst.,  Mr. 
J.  J.  Smith  occupied  the  chair. 

Mr.  A.  J.  Brown,  referring  to  paper  dark  slides,  desired  to 
know  if  any  present  had  made  such  a slide  ; and,  if  so,  would 
they  relate  their  experience  as  to  its  durability. 

Mr.  E.  J.  Golding  made  a dozen  slides  about  a year  ago,  which 
had  been  in  constant  use  since  then,  and  were  perfect  in  every 
way. 

A discussion  arose  on  the  easiest  way  to  clean  off  old  gelatine 
negatives,  and  the  most  suitable  method  to  render  them  fit  for 
re-coating. 

For  the  removal  of  gelatine  films  Mr.  Haddon  gave  preference 
to  a bath  of  dilute  chromic  acid,  followed  by  copious  washing. 

Mr.  Ashman  agreed  that  either  gelatine  or  collodion  would 
yield  to  this  treatment.  Many  years  ago  it  was  a common  practice 
to  steep  plates  in  a mixture  of  bichromate  of  potash  and  dilute 
sulphuric  acid  before  polishing  for  the  wet  process.  Owing  to 
the  poisonous  nature  of  this  mixture  when  in  contact  with  cuts, 
its  use  was  discontinued ; persons  susceptable  to  its  influence 
having  any  abrasions  or  cuts  on  their  hands  would  get  them 
badly  ulcerated.  If  old  negatives  were  put  into  a hot  solution  of 
common  potash,  the  films  would  readily  leave  the  glass  plate  ; 
rinsing  the  plate  in  water,  passing  it  through  dilute  nitric  acid 
1 to  20,  and  again  rinsing,  would  leave  the  plate  in  excellent 
condition  for  polishing. 

Mr.  Brown  had  tried  using  a strong  alkali  followed  by  nitric 
acid  1 to  8 ; he  found  it  very  destructive  to  the  tissues  of  the 
hands. 

Mr.  W.  E.  Debenham  preferred  hydrochloric  acid  to  nitric 
acid  ; the  skin  would  not  be  affected  by  it. 

Mr.  Golding  used  sulphuric  acid  1 to  12,  and  found  it 
answered  admirably. 

Mr.  J.  J.  Adams  desired  to  know  which  form  of  instantaneous 
shutter  was  considered  the  best. 

Mr.  Debenham  : For  what  purpose — seascape  or  landscape 
work  ? A drop-shutter  accelerated  by  a spring  to  expose  in  T'0th 
of  a second  would  be  a useful  shutter. 

Mr.  Brown  : Shutters  fitted  with  an  adjustment  for  regulat- 
ing speed  were  seldom  reliable ; a shutter  of  French  origin, 
shown  at  the  exhibition  last  year,  was  found,  when  timed  against 
a watch,  not  to  differ,  whether  set  at  T*0th  or  53th  of  a second. 

Mr.  Golding  showed  an  example  of  reducing  by  perchloride 
of  iron  as  suggested  by  a member  a fortnight  previously. 
Gelatino- chloride  transparencies  of  red  colour  were  treated  ; 
after  four  minutes’  immersion  in  the  solution,  the  colour  changed 
from  red  to  a bluish-purple,  and  the  image  was  considerably  re- 
duced ; the  plate  had  not  been  fixed  afterwards. 

Mr.  Debenham  thought  if  perchloride  of  iron  dissolved  any  of 
the  silver  image,  the  blackening  action  upon  exposure  to  light 
could  be  accounted  for. 

Mr.  Golding  had  not  noticed  any  change  of  colour  since  the 
experiment  was  performed. 

Mr.  A.  L.  Henderson  brought  some  plates  coated  with  Mr. 
Haddon’s  green  fog  mixture,  to  clear  in  the  presence  of  the 
meeting,  by  means  of  cyanide  of  potassium.  A plate  moistened, 
and  placed,  film  downward,  over  the  cyanide  solution,  became 
clear  in  four  minutes. 

Mr.  Brown  considered  the  experiment  was  no  proof  of  re- 
ducing density  in  a negative  ; he  should  repeat  the  experiments 
on  a dense  negative. 

Mr.  Henderson,  referring  to  the  subject  of  pinholes  brought 
forward  on  the  ]8th  ultimo,  showed  a plate  of  the  same  emul- 
sion divided  into  two  parts  ; one  part  was  exposed  in  the  camera 
the  usual  time,  the  other  part  was  exposed  to  daylight.  The 
camera  plate  was  riddled  with  clear  spots,  and  the  other  with 


opaque  spots ; he  believed  the  addition  of  barium  nitrate  to  the 
emulsion  would  prevent  their  formation,  and  considered  sulphate 
of  silver  the  cause. 

Mr.  BROwn  thought  the  reason  why  the  spots  were  clear  in 
one  plate  and  opaque  in  the  other  might  be  due  to  a reversed 
action  of  ILht. 

Mr.  Henderson  denied  that  such  was  the  case  ; he  believed 
the  so-called  reversed  action  of  light  theory  to  be  a fallacy. 

Mr.  S.  Bapty  was  elected  a member  of  the  Association. 

Mr.  W.  E.  Debenham  was  announced  to  occupy  the  chair  on 
the  next  occasion. 


Dundee  and  East  of  Scotland  Photographic  Association. 
The  second  regular  meeting  for  the  winter  session  was  held  in 
Lamb’s  Hotel,  on  Thursday,  1st  November ; there  was  a very 
large  attendance.  The  revised  edition  of  the  rules  was  passed 
with  a few  slight  alterations. 

Mr.  D.  Ireland,  Jun.,  was  elected  Honorary  Secretary  in  place 
of  Mr.  Chas.  Johnson,  who  resigned  the  office  some  time  ago. 
There  were  several  prints  sent  in  for  the  competitition  on  “ Sky,” 
and  it  was  agreed  to  let  the  council  adjudicate  on  these. 

Six  new  members  were  proposed  for  admission. 

Mr.  Good  all  (of  Goodall  and  Steven,  Glasgow),  assisted  by 
Mr.  McGhie,  then  proceeded  to  give  a practical  demonstration  of 
his  method  of  enlarging  an  argentic  paper  and  opal  (see  page  711). 

Mr.  McGhie  showed  some  novelties  in  photographic  apparatus  ; 
amongst  others,  Cowan’s  box  for  packing  dry  plates,  Pumphrcy's 
tilmograph,  and  a novel  instantaneous  shutter.  He  also  handed 
round  some  specimens  of  a new  photo-engraving  process  by  Annan, 
of  Glasgow. 

A vote  of  thanks  to  Messrs.  Goodall  and  McGhie  brought  a very 
interesting  meeting  to  a close. 


3LaIk  in  tfrt  StuM0. 

Photographic  Society  of  Great  Britain.— The  first  ordinary 
meeting  of  this  Society  for  the  ensuing  session  will  take  place  on 
Tuesday  next,  November  13th,  at  eight  p.m.,  in  the  Exhibition 
Gallery,  5a,  Pall  Mall  East,  when  the  medals  awarded  will  be 
presented.  A paper  will  be  read  by  Mr.  Jabez  Hughes,  entitled, 
“ Thirty  Years  of  Photographic  Progress  ; how  it  has  been  Secured 
and  how  it  may  be  Maintained  ; ” and  other  business  transacted. 

Lantern  Evenings  at  the  Exhibition. — On  Monday  evening 
last  the  Gallery  was  again  crowded  to  witness  these  now  de- 
servedly popular  displays,  some  hundred  and  fifty  slides  being 
shown,  comprising  transparencies  by  Messrs.  J.  Dixon,  Arthur 
Hill,  W.  Cobb,  Acworth,  Pell,  Fincham,  and  W.  England. 

Gelatino-Buomide  Paper. — Messrs.  Goodall  and  Steven  wish 
us  to  correct  a statement  made  in  the  last  report  of  the  Liver- 
pool Society.  They  manufacture  gelatino-bromide  paper  only, 
and  not  collodio-bromide  paper. 

Society  of  Arts. — Arrangements  have  been  made  for  the 
following  papers  and  lectures  during  the  coming  session : — 
December  12th. — Thomas  Fletcher,  F.C.S.,  “ Coal  Gas  as  a 
Labour-saving  Agent  in  Mechanical  Trades.”  December  19tb. 
W.  H.  Preece,  F.R.S.,  “The  Progress  of  Electric  Lighting.” 
C.  R.  Alder  Wright,  F.R.S.,  D.Se.,  “ Cupro-Ammonium  Solution 
and  its  Use  in  Waterproofing  Paper  and  Vegetable  Tissues.” 
Dr.  Percy  F.  Frankland,  “The  Upper  Thames  as  a Source  of 
Water  Supply.”  A course  of  Cantor  Lectures  will  be  on  “ Recent 
Improvements  in  Photo- Mechanical  Printing  Methods,”  by 
Thomas  Bolas,  F.C.S.  Lecture  I. — New  Developments  of  the 
Woodburytype  Process  (Monday,  January  2Sth).  Lecture  II. — 
Type  Blocks  from  Line  Drawings  and  Half  Tone  Subjects  (Mon- 
day, February  4th.).  Lecture  III. — Intaglio  Plates.  Collotypes. 
Photo-Mechanical  Methods,  as  applied  to  the  Decoration  of 
Pottery.  Miscellaneous  Processes  (Monday,  February  11th). 
Another  course  will  be  on  “ The  Alloys  used  for  Coinage,”  by 
Professor  W.  Chandler  Roberts,  F.R.S.,  Chemist  of  the  Royal 
Mint.  Mr.  J.  Norman  Lockyer,  F.R.S.,  F.R.A.S.,  will  also 
deliver  Cantor  Lectures  on  “ Some  Ne  w Optical  Instruments  and 
Arrangements.” 

The  Times  on  Shutters  and  Finders. — We  extract  from  a 
comprehensive  article  on  photographic  apparatus  : — “ In  leaving 
the  subject  of  shutters,  it  may  be  remarked  that,  as  a skilful 
workman  will  produce  good  results  with  clumsy  and  inefficient 
tools,  so  a clever  manipulator  may,  by  a dexterous  use  of  the 
focussing  cloth,  almost  do  away  with  the  need  for  a shutter  at 


720 


THE  PHOTOGRAPHIC  NEWS 


[November  9,  1883. 


all.  Fairly  rapid  exposures  may  be  given  by  raising  and  drop- 
ping a fold  of  the  cloth  in  front  of  the  lens,  and  much  gi  eater 
speed  may  be  attained  by  the  plan  of  whipping  off  the  lens  cap 
with  one  hand,  while  the  other  hand  instantly  claps  the  comer 
of  the  cloth  against  the  lens.  Another  way  is  to  use  the  hand 
covered  with  a thick  glove  as  a shutter.  Simple  as  these  plans 
are,  it  is  a fact  that  some  of  the  best  photographs  exhibited  have 
been  produced  by  them.  In  taking  moving  objects  it  is  obvi- 
ously impossible  for  the  photographer  to  see  his  picture  in  the 
precise  condition  in  which  he  takes  it.  He  must,  therefore, 
guess,  as  best  he  may,  the  precise  moment  when  the  object 
occupies  the  desired  position  in  the  field  of  view.  This  is  some- 
times by  no  means  easy,  especially  in  the  case  of  photographiug, 
say,  one  yacht  from  another  when  the  camera  as  well  as  the 
object  is  moving.  To  get  over  this  difficulty  “finders”  or 
“ view  meters  ” have  been  attached  to  the  camera.  In  some 
cases  a second  lens  has  been  employed,  but  the  simplest  device 
is  a little  frame  which,  when  looked  through  from  a point  at  a 
certain  distance,  includes  the  same  view  as  the  lens.” 

Commandant  Noe’s  Topographic  Engraving  Process. — This 
method,  which  was  fully  described  in  the  Photographic  News 
more  than  two  years  ago  (1881,  page  237),  continues  in  use  at 
the  French  Office  of  Fortifications,  and  itis  found  to  be  convenient, 
economical,  and  expeditious.  The  especial  advantage  of  the 
method  of  reproduction  in  question  is  the  circumstance  that  the 
printing  surface  can  be  made  by  direct  contact  printing  from  an 
original  tracing. 

Pickwell’s  Photographic  Ship’s  Compass. — At  a meeting 
of  the  Shipmasters’  Society,  held  at  the  offices,  60,  Fenchurch 
Street,  under  the  presidency  of  Captain  H.  F.  Holt,  Mr.  Pickwell, 
of  Hull,  explained  the  working  of  his  self-registering  ship’s 
compass,  which  automatically  registers  a ship’s  course  all 
through  a voyage,  and  discloses  the  circumstances  under  which 
collisions  and  other  accidents  may  occur.  A ray  either  of  lamp 
light  or  sun  light  penetrating  through  a “slot”  in  the  compass 
card  acts  upon  sensitized  paper,  which  revolves  on  a cylinder 
situated  underneath  the  compass  card,  and  is  carried  round  by 
clockwork.  The  sensitized  paper  is  so  ruled  that  both  direction 
and  time  are  accurately  shown  by  the  lines  traced  upon  it.  A full 
description  of  the  apparatus,  together  with  a series  of  illustrations, 
will  be  found  on  page  33  of  our  present  volume. 

Photographic  Club. — The  annual  meeting  took  place  last 
Wednesday,  and  the  secretary’s  report  shows  that  the  average 
attendance  at  the  weekly  gatherings  has  considerably  improved  ; 
while  the  balance  of  cash  in  hand  is  much  in  excess  of  that  of 
the  previous  year.  At  the  next  meeting,  on  Wednesday, 
November  14,  the  subject  for  discussion  will  be  “On  Vignetting 
Negatives  and  Prints.” 


A.  Campbell  Swinton. — It  is  as,  you  suppose,  in  German,  and  we 
believe  the  price  is  between  two  and  three  shillings.  You  can 
either  write  direct  to  the  publisher  (Liesegang,  Diisseldorf),  or 
obtain  it  through  a foreign  bookseller. 

Mica. — 1.  Next  week.  2.  Yes  ; but  a carbon  transparency  is  to  be 
preferred.  3.  It  is  very  successful,  and  wo  hope  that  you  will 
rapidly  progress  with  the  work.  About  one  part  to  twelve  of 
water ; but  much  depends  on  the  quality  of  tbe  gelatine. 

Printer. — 1.  The  deposit  is  metallic  gold  in  an  extremely  fine 
state  of  division.  Allow  it  to  settle,  and  put  it  into  your  residues. 
2.  See  the  “ Dictionary  ” next  week.  3.  The  most  convenient 
way  is  to  hang  the  tissue  at  a sufficient  distance  from  an  ordinary 
fire,  back  towards  the  fire. 

M.  D. — 1.  There  can  be  no  doubt  that  you  have  been  supplied  with 
a very  bad  sample,  and  it  is  extremely  likely  that  blood  albumen 
has  been  used  as  you  suppose.  Why  not  send  it  back  ? 2.  We 

should  certainly  expect  them  to  fade  rapidly  under  the  circum- 
stances. 

Thos.  Hopkinson. — 1.  Your  suggestions  are  much  to  the  point, 
and  country  photographers  would  doubtless  appreciate  the  advan- 
tages of  such  an  arrangement.  2.  All  the  information  you  desire 
enn  be  gathered  from  the  official  catalogue.  The  pi  ice  is  6d.,  and 
you  should  write  to  the  Secretary  at  the  Gallery,  5a,  Tall  Mall 
East. 

S.  A.  G. — Nitrate  of  silver  can  be  fused  without  being  decomposed 
to  any  appreciable  extent ; but  the  operation  requires  care. 

L.  Bulley. — If  you  boil  the  water,  tbe  greater  part  of  the  lime 
will  be  deposited. 

Nitrate. — Not  unless  it  is  quite  free  from  moisture. 

***  Several  answers  must  stand  over  till  next  week. 


A QUARTER  OF  A CENTURY 

OF  PUBLICATION. 

The  simple  fact  that  the  Jlrar-gjOjoE  of  Jlfcolograp^g 
has  run  out  of  print  during  the  past  two  years  within 
six  months  of  its  publication,  is  proof  sufficient  of  its 
popularity  and  wide  circulation,  and  Messrs.  Pii>er  and 
Carter,  in  announcing  its  appearance  for  1884,  need 
put  forward  no  better  claim  as  to  its  value  as  an  adver- 
tising medium. 

Intending  Advertisers  in  the  KJrtrr-^coIi  of  ^oto- 
fjrap^jT  antr  ^[)otograp[)if  Uriws  ^Imanac  should  com- 
municate with  them  at  once  at  the  Office,  5,  Castle 
Street,  Holborn,  London,  E.C. 


$0  60msff0n2>tnt5. 


*»*  We  cannot  undertake  to  return  rejected  communications. 

Mr.  Chesterman. — Will  you  kindly  send  on  the  article  on 
“ Glazing”  as  soon  as  possible  ? 

Alfred  Twentyman  and  L.  L.— Yon  must  send  at  once,  or  it  will 
be  too  late. 

B.  Powls. — If  you  will  state  exactly  what  information  you  require, 
we  will  do  our  best  to  obtain  it  for  you ; or  to  ascertain  where  yeu 
may  find  a treatise  on  the  subject. 

J.  Berryman. — See  page  402  of  our  present  volume  ; and  should 
any  difficulty  occur  in  working  the  process,  do  not  fiiil  to  let  us 
know.  2.  Your  friend  might  have  a photograph  made,  and  he 
could  keep  this  for  reference  in  case  of  any  dispute  arising. 

G.  E.  Malbham. — There  was  a paragraph  on  this  subject  under 
the  heading  of  “ Talk  in  the  Studio”  in  our  issue  of  Septcmler 
28  last. 

Alfred  Elliott. — Youean  obtain  thin  sheets  of  ebonite  (vulcanite) 
from  the  India  Rubber  and  Telegraph  Works  Company,  100, 
Cannon  Street,  London,  E.C. 

J.  T.  Rorin  (Toronto). — The  prints  are  made  on  ordinary  albu- 
menized  paper,  and  are  fixed  in  the  usual  way,  but  are  not  toned. 
After  a thorough  washing,  they  are  soaked  in  a saturated  solution 
of  corrosive  sublimate  until  the  image  has  quite  disappeared ; they 
are  now  washed  and  dried.  The  re-developing  paper  is  made  by 
soaking  stout  blotting-paper  with  a saturated  solution  of  sodium 
hyposulphite,  and  drying.  To  revive  the  print,  a sheet  of 
the  prepared  blotting-paper  is  laid  upon  the  face  of  tbe  bleached 
print,  and  is  moistened  with  water.  The  print  should  be  washed. 

Learner. — You  should  obtain  the  “ A B C of  Photography,”  which 
is  published  at  our  Office,  price  Is. ; and  also  our  Year-Book. 
This  latter  will  be  published  on  the  20th  of  December  next. 


Stjif  pjotogrartif  ifcfos  ^gistrg. 

Employment  Wanted. 

Manager  & Operator. — T.  O.  Whaite,  West  Bank,  Scarboro’  (till  Nov.  1st). 
Operator. — Art,  Adeline  Cottage,  West  Barring,  Worthing. 

Retoucher  6c  Finisher. — Pencil,  17,  Cranbourne-st.,  Brighton. 

Retoucher  and  Colourist  — L.  T.,  28,  Sherlock -rd.,  Mansfield-rd.,  N.W. 
Reception  Room.  Spot,  &c. — E.  8.,  Cambridge  Ilouse,  Amhurst-park,  N. 
Operator  and  Retoucher. — G.,  6,  Ann-st.,  Tettenhall-rd.,  Wolverhampton. 
Printer  and  Toner,  or  Assist.  Operator.— A.  Z.,  151,  Sandringham-rd.,  N. 
Optical.— Manager  or  Principal  Assist.— Optic,  Photographic  News  Office 
Collotype,  Photo-litho,  &c  , Operator.— Photo-mechanical,  Photo.  News. 
Operator,  lighting  & posing. — F.  W.  C.,  8,  Bolton-rd..  lligh-rd.,  Chiswick 
Operator,  clever  with  children. — A.  P.,  Photographic  News  Office. 

Printer,  Toner,  Ac.,  first-class.— A.  Z.,  151,  San<lringham*rd.,  Dalston. 

Employment  Offered. 

Operator  (good)  for  Bombay.— Marion  & Co.,  Soho-sq. 

Silver  Printer. — F.  Treble  & Son,  371a,  Brixton-road,  S.W. 

Spotter  & Mounter  (Young  Lady). — Treble  & Son,  371a,  Brixtcn-rd.,S.W. 
Chromotype  Printer.— A.,  Photographic  News  Office. 

Reception  Room  (Lady). — F.  J.  Bright,  Arcade, Bournemouth. 

Operator,  all-round,  for  country.— T.  B.,  Photographic  News  Office. 

Youth,  lor  a few  weeks. — Webster  Bros  , 4,  Porchester-rd^,  Bayswater. 
Operator,  good  lighter  and  poser. — R.  K.,  Photogrgphic  News  Office. 
Retoncher,  efficient. — Br^wn,  Barnes,  A Bell,  31,  Bold-st.,  Liverpool. 

Artist  (first-class)  for  Calcutta.— T.  E.  A.,  19,  Wigmore-st.,  Cavendish-sq. 
Y'outh,  to  Sensitize  Paper.— T.  J.  Turner,  10,  Barnsbury,  N. 

Retoucher  (Lady)  for  permanency. — Turner  and  Killick,  17,  Upper-st.,  N. 
Photo-Lithographer,  used  to  Woodburytype. — Z V.,  150,  Queen  Vic. -st., E.C. 
Silver  Printer,  also  Assist.— Boning  and  Small,  22,  Bakcr-st.,  Portman-sq. 
Operator  and  Retoucher.— D.  and  G , 158,  Regent-st.,  W. 

Printer  & Toner,  good  Vignetter  (perm.).— Acetate,  Photo.  News  Office. 
Assistants,  A.  O.  B.  Enlarging  Department.— Morgan  & Kidd,  Richmond. 
R0*niicher,  also  Lady  to  Spot. — A.,  Photographic  News  Office. 
i ilye  Pi int«  r and  Vignetto  r.— Cox.  Tavistock  Chambers,  Nottingham. 
You.ig  Man,  generally'  useful. — A.  11.  0 , Mr.  Ric-borison,  High-rd.,  Lee. 
Gelatine  Plate  Coater.— X.  X.,  Rouch  and  Co.,  180,  Strand,  W.O. 

Operator,  first-class. — Debenham  and  Gabel),  158,  Regent-st.,  W. 

Young  Lady,  Reception  Room.— H,  R.,  Photographic  News  Office. 


Portrait  Study. 


h & 35  T%'^ 

|,-!  V'i 

\Y  c •fgjr 'V 

SUPPLEMENT  TO  THE  PHOTOGR APHIcVfWS  "9t"  NOVEMBER  1883. 


'Ink-photo';  Spracue  a c»,lOndon 


J BULLOCK,  LEAMINGTON,  COPYRIGHT 


THE  PHOTOGRAPHIC  HEWS 


VOL.  XXVII.  No.  1315.— November  16,  1883. 


CONTENTS. 


PAOF. 

Gclatino-Bromide  Paper  for  Positive  Pictures 721 

PAOC 

A Fen ous Oxalate  Developer.  By  Norman  Macbeth,  R.S.A....  727 
Note's 728 

Patent  Intelligence 730 

The  Woodburytype  Process  72.T 

Isochromatie  Plates.  By  Greenwood  Pim 730 

Correspondence  730 

rhoto-Lithographv  and  Photo-ZineogTaphy.  By  Major  J. 

Waterhouse,  lt.8.0 725 

French  Correspondence  72(1 

About  London  with  a Camera.  By  W.  Cobb 727 

Proceedings  of  Societies t 732 

Talk  in  the  Studio 735 

To  Correspondents 736 

The  Photographic  News  Registry 736 

GELATINO-BROM1DE  PAPER  FOR  POSITIVE 
PICTURES. 

First  Article. 

Scientific  pursuits  of  all  kinds  have  their  innings,  to  use  a 
common  phrase,  during  which  time  large  numbers  of  the 
scientifically  inclined  are  enlisted  ia  the  ranks  to  recruit 
and  augment  the  failing  forces  ; for  it  is  a pretty  generally 
admitted  fact,  even  in  science,  that  unless  there  is  con- 
tinually some  new  discovery  or  re-discovery — it  matters 
little  which — to  keep  up  the  high  temperature  of  popular 
excitment,  those  having  no  fixed  purpose  in  view,  to 
induce  them  to  study  any  particular  subject,  more  than 
superficially,  are  usually  attracted  to  the  latest  novelty, 
irrespective  of  the  branch  of  science  to  which  it  may  be- 
long. Electricians  have  had  their  innings,  and  a good  one, 
too  ; now  the  sister  science,  photography,  is  preparing  to 
take  the  front  rank.  Recent  discoveries  have  enabled  her 
devotees  to  secure  the  passing  realities  of  the  moment  in 
a manner  surprising  the  whole  scientific  world.  The 
attraction  photography  offers  to  the  man  of  even  limited 
scientific  attainments  is  very  great  indeed — he  obtains  a 
result,  something  more  than  problematical,  giving  him 
courage  to  labour  further  in  the  field  of  research.  Increas- 
ing her  ranks  rapidly,  and  as  rapidly  making  discoveries 
and  improvements,  one  need  not  be  surprised  if  some  of 
the  processes,  ancient  and  modern,  are  not  familiar  to 
everyone. 

In  a recent  leader  entitled  “ Printing  on  Gelatino- 
Bromide  Paper,”  it  was  observed  that  the  method  of 
preparing  and  working  such  papers  had  been  previously 
published,  and  was  no  doubt  familiar  to  the  reader.  This 
maybe  a correct  conclusion  to  arrive  at — no  doubt  it  is,  as 
far  as  old  hands  are  concerned — but  if  one  might  take  as  an 
example  a question  recently  brought  before  the  members 
of  one  of  our  most  advanced  photographic  societies — i.  e , 
how  to  obtain  a successful  coating  of  gelatino-bromide 
emulsion  on  paper — neither  the  replies  nor  the  discussion 
which  followed  would  make  it  seem  probable  that  a satis- 
factory method  of  working  is  generally  known  beyond  the 
environs  of  the  manufacturers’  premises. 

It  is  our  purpose  in  this  article  to  deal  with  the  amateur 
side  of  the  question  ; or,  in  other  words,  to  describe  the 
details  of  the  process  in  such  an  elementary  manner  as  to 
enable  those  with  time  at  their  disposal,  and  the  inclination, 
even  without  any  previous  knowledge  iu  this  branch,  to 
prepare  paper  for  their  own  use.  Many  amateurs  prefer 
making  the  plates  they  use  to  those  they  procure  from 
commercial  sources  : then  why  not  try  making  bromide 
papers?  Both  operations  can  be  performed  at  the  same 
time,  thus  the  inconvenience  of  getting  everything  ready 
for  the  one  operation  might  very  well  serve  for  performing 
both  ; we  say  inconvenience  advisedly,  because  the  number 


is  limited  of  those  who  have  so  far  completed  their  arrange- 
ments as  to  be  able  to  produce  plates  of  varying  sizes  and 
high  standard  quality,  in  quantities,  with  the  ease  and 
certainty  of  the  manufacturers.  Neither  is  the  professional 
photographer  an  exception  ; hence  it  is  more  profitable  for 
him  to  purchase  of  the  manufacturer  than  to  waste,  to 
him,  valuable  time  in  striving  to  obtain  a good  result. 
Amateurs  and  beginners  especially  will,  however,  prefer 
being  made  familiar  with  the  details. 

The  primary  consideration  is  to  obtain  a suitable  base 
upon  which  to  spread  the  sensitive  emulsion.  As  in 
albumenizing,  so  also  in  this  process,  a good  quality  of 
paper  is  indispensable,  or  objectionable  spots  and  other 
markings  make  their  appearance  on  developing.  Even 
when  Saxe  or  Rive  papers  have  been  employed,  black  spots 
and  stains  are  frequently  met  with.  For  this  reason  a 
preliminary  coating  or  substratum  becomes  a necessity, 
thus  forming  a covering  over  any  metallic  particles  or 
other  foreign  bodies  in  the  pulp.  There  is  also  another 
reason  equally  important  why  a substratum  should  be 
used,  and  that  is,  to  fill  up  the  pores  of  the  paper,  thus 
presenting  a smooth  surface  capable  of  easy  and  firm 
attachment  to  the  sensitive  compound,  and  thereby  keep- 
ing the  image  on  the  surface.  The  amount  of  sizing  in 
ordinary  photographic  papers  has  been  hitherto  regulated 
to  suit  the  requirements  of  albumenizers ; but  there  is  not 
the  least  doubt,  if  a sufficient  demand  be  created,  there 
would  be  no  difficulty  in  obtaining  a suitably-prepared 
paper,  available  alike  to  the  experimentalist  and  the  manu- 
facturer of  the  commercial  article. 

The  choice  of  substrata  cannot  be  said  to  be  limited  ; 
either  of  the  following  answering  the  purpose  : — 

Nelson’s  No.  1 gelatine  1 ounce 

Water  10  ounces 

Dissolve,  filter  through  swansdown,  and  add — 

30-grain  sol.  of  chrome  alum  ...  20  minims 
10-grain  alco.  sol.  of  salicylic  acid...  60  ,, 

Or  best  Bermuda  arrowroot  ...  1 ounce 

Albumen  1 ,, 

Water  24  ounces 

Mix  the  arrowroot  with  a small  quantity  of  cold  water, 
afterwards  stirring  in  the  remaining  quantity  of  water : 
boil,  stirring  well  until  transparent ; when  cool,  add  the 
albumen,  also  a similar  quantity  of  salicylic  acid,  as  in  the 
previous  mixture. 

Or, 

Good  starch  1 ounce 

Water  (boiling)  24  ounces 

Salicylic  acid,  same  as  above. 

Mix  starch  into  a fine  paste  with  a small  quantity  of  cold 
water ; add  boiling  water ; boil  for  a couple  of  minutes, 
and  add  the  antiseptic. 


722 


THE  PHOTOGRAPHIC  NEWS. 


[Novembeb  16,  1883. 


Coating  with  Substratum. — Having  selected  the  paper,  by 
preference  using  thin  Saxe  which  has  been  kept  flat  under 
pressure-boards  in  a moist  atmosphere  a short  time,  coat 
it  as  evenly  as  possible  with  one  of  the  foregoing  mixtures. 
An  easy  method  of  proceeding  is  to  lay  the  paper,  coarse- 
grained side  downwards,  on  a level  bench  or  glass  plate, 
brush  the  surface  to  remove  dust,  then  rub  one  of  the  sub- 
strata (excepting  the  first,  which  is  better  applied  by 
floating  at  a temperature  of  85°  F.)  evenly  all  over  the 
surface  by  means  of  a sponge  or  strong  paste-brush,  taking 
care  not  to  leave  any  of  the  substance  sticking  up  in  lumps. 
When  an  even  coating  has  been  obtained,  suspend  in  a 
current  of  air  to  dry.  If  this  operation  is  performed  in  the 
evening,  the  paper  will  be  dry  by  the  next  morning  if  hung 
up  in  a moderately  dry  room.  When  the  coating  of  starch 
or  other  substrata  has  become  dry,  it  is  ready  j for  the 
next  operation,  i.e.,  coating  with  the  sensitive  emulsion. 
There  are  several  ways  of  accomplishing  this.  Mr.  Whaite* 
prefers  working  the  cold  emulsion  over  the  paper,  in  the 
same  manner  a paper-hanger  would  his  paste,  afterwards 
drawing  the  sheet  or  length  slowly,  but  steadily,  over  an 
oven  containing  boiling  water.  For  papers  not  more  than 
twelve  inches  wide,  the  ordinary  cylindrical  hot  water 
foot-warmer  answers  very  well.  The  water  should  be  as 
near  boiling  as  possible,  and  the  paper  drawn  evenly  over 
it  (by  no  means  an  easy  operation  in  semi-darkness) , or 
wavy  lines,  streaks,  and  unevenness  are  very  likely  to 
ensue. 

Another  plan  is  one  that  has  been  suggested  for  making 
small  quantities  of  carbon  tissue— i.  e.,  to  roll  up  the  paper, 
and  gradually  unroll  it  over  a dish  containing  the  gela- 
tine mixture  with  one  band ; with  the  other,  raising  the 
coated  end  quickly,  in  the  form  of  a loop  ; great  care  is 
necessary  to  prevent  the  edges  becoming  immersed,  or  the 
surface  touching  the  dish  after  leaving  the  emulsion.  It 
is  also  necessary  to  keep  a steady  onward  movement,  the 
slightest  stoppage  producing  a thickening,  which  will  after- 
wards run  in  tear  drops.  By  a simple  mechanical  con- 
trivance of  passing  the  paper  over  a wooden  roller,  having 
an  oscillating  as  well  as  a rotating  movement,  this  defect 
could  be  easily  overcome,  the  plan  having-  much  to  recom- 
mend it  to  the  notice  of  amateurs  and  producers  on  a 
small  scale. 

In  our  next  we  shall  describe  coating  more  fully  by 
another  method. 


THE  NATURE  OF  GREEN  FOG. 

We  recently,  in  discussing  this  subject,  informed  our 
readers  what  we  believed  to  be  the  actual  nature  of  this 
bug-bear,  promising  to  give  further  particulars  in  con- 
firmation of  our  view.  The  rough  experiment  that  we 
recommended  to  be  performed  in  a test-tube  we  now 
extend  in  other  directions.  That  experiment,  as  will  be 
remembered,  was  to  add  pyro  to  a solution  of  chloride  or 
bromide  of  silver  in  ammonia. 

We  ask  those  interested  in  this  subject  to  prepare  a 
small  quantity  of  bromide  of  silver,  using  excess  of  bromide. 
Wash  the  precipitate  well,  and  add  ammonia  in  sufficent 
quantity  to  nearly,  but  not  quite,  dissolve  all  the  silver 
salt.  After  well  agitating  the  vessel,  allow  the  undissolved 
silver  bromide  to  settle  at  the  bottom,  and  pour  off  the 
clear  solution  into  a well-stoppered  bottle. 

Now  take  a clean  working  gelatino-bromide  plate,  and 
over  one  portion  of  it  pour  a small  quantity  of  this 
solution  diluted  with  five  or  six  times  its  volume  of 
water.  Stand  the  plate  up  to  drain,  allow  it  to  dry,  and 
then  develop  either  with  or  without  exposing  it  to  light. 
On  the  part  that  has  been  treated  with  the  solution,  green 
fog  will  appear,  being  most  noticeable,  we  need  scarcely 
say,  in  the  shadows,  the  part  least  acted  upon  by  light. 

Next,  dissolve  twenty  grains  of  gelatine  in  an  ounce  of 
water,  and  add  a drop  or  two  of  the  solution.  Coat  a 

* See  Year-Book  or  PnoTooRArnv,  1883. 


few  plates  and  allow  them  to  set.  Take  one  of  the  plates 
when  thoroughly  set,  and  apply  the  developer  for  a 
minute  or  so.  On  taking  the  plate  out  of  the  dish  and 
examining  it  iD  front  of  a white  light,  it  will  be  found  to 
be  green  by  reflected,  and  pink  by  transmitted  light, 
showing,  in  fact,  the  two  characteristic  features  of  green  fog. 
If  a larger  quantity  of  the  solution  be  added  to  the  dis- 
solved gelatine,  green  fog  may  be  proportionately  increased, 
until  at  last,  by  getting  a sufficient  amount  of  it  in  the  gela- 
tine, we  may  arrive  at  a stage  when  the  characteristic  colour 
of  the  fog  disappears,  and  we  get  an  ugly  brown  colour  by 
reflected,  and  purplish  colour  by  transmitted  light,  con- 
sequent on  the  greater  coarseness  of  the  particles  of  pre- 
cipitated silver. 

Our  most  successful  result  with  a plate  prepared  as  above 
was  obtained  by  applying  a weak  solution  of  pyro  in 
alcohol,  instead  of  the  ordinary  developer.  But  the 
prettiest  experiment  we  give  to  our  readers  is  the  follow- 
ing:—Take  twenty  grains  of  gelatine,  dissolve  it  in  two 
ounces  of  water,  and  pour  it  into  a four-ounce  bottle, 
adding  to  it  about  half  a drachm  of  the  solution  of  bro- 
mide of  silver  in  ammonia.  In  another  two  ounces  of 
water,  dissolve  half  a grain  of  pyro,  and  pour  it  slowly 
with  shaking  into  the  bottle  containing  the  gelatine  and 
green  fog  solution.  The  operation  requires  care  as  in 
emulsion  making,  but  if  carefully  carried  out,  an  emulsion 
of  veritable  green  fog  will  be  the  result.  This  may  be 
examined  at  leisure  in  any  light,  and  in  any  mauner 
that  the  reader  thinks  suitable  ; a very  good  way  is  to  pour 
some  of  it  out  upon  a glass  plate.  Of  course,  a stronger 
emulsion  than  this  may  be  made,  but  the  more  solution 
that  is  put  in,  the  more  care  is  required  to  keep  the 
precipitate  in  the  fine  state  of  division  without  which  we 
could  hardly  call  it  green  fog.  A yet  more  successful  re- 
sult may  be  obtained  by  using  a solution  of  chloride  of 
silver  in  ammonia,  baton  account  of  the  greater  solubility 
of  the  chloride  a much  smaller  quantity  must  be  used. 

In  these  experiments  we  have  succeeded  in  obtaining 
silver  iu  a fine  state  of  division,  in  which  state  it  resembles 
the  green  fog  produced  on  developing  certain  plates.  Our 
readers  well  know  that  the  longer  a plate  is  left  in  the 
developer,  and  the  larger  the  amount  of  ammonia  iu  that 
developer,  the  more  likelihood  is  there  of  green  fog  appear- 
ing. Are  we  assuming  too  much  in  believing  that  where 
green  fog  appears  on  prolonged  development  it  is  caused 
by  the  precipitation  of  silver  from  the  minute  quantity  of 
silver  bromide  which  the  ammonia  has  had  time  to  dissolve 
out  ef  the  film  ? 


SULPHUR  AND  SOME  OF  ITS  REACTIONS. 
The  general  view  which  regards  sulphur  as  being  a prime 
mover  in  the  fading  of  prints  on  albumenized  paper  is 
probably  a correct  one ; and  the  circumstance  that  pic- 
tures produced  in  an  albumen  film  are  especially  liable  to 
fade  is  confirmatory  of  the  usual  opinion.  Although  that 
sulphur  which  forms  an  integral  constituent  of  albumen 
is  held  in  combination  with  carbon,  hydrogen,  nitrogen, 
and  oxygen,  there  is  reason  to  believe  that  it  exists  in  a 
partially  unoxidised  state,  and  not  in  the  harmless  condi- 
tion of  a sulphate. 

The  observations  of  most  who  have  studied  the  condi- 
tions under  which  prints  made  upon  albumenized  paper 
fade,  teud  to  prove  that  as  long  as  the  prints  are  care- 
fully guarded  against  moisture,  there  is  but  little  risk  of 
rapid  deterioration. 

As  bearing  upon  this  subject,  some  recent  observations 
of  Cross  and  lliggin  possess  considerable  interest,  as 
these  investigators  have  proved  that  water  exercises  a 
notable  action  upon  sulphur.  It  must  be  understood 
that  the  action  of  water  upon  sulphur  existing  iu  combi- 
nation, as  in  albumen,  is  not  necessarily  identical  with  the 
action  of  water  upon  free  sulphur  ; but  there  is  likely  to  be 
a correspondence  up  to  a certain  point.  The  iuvestigators 


November  16,  1683.  J 


THE  PHOTOGRAPHIC  NEWS. 


723 


referred  to  find  that  when  water  containing  flowers  of 
sulphur  is  distilled,  sulphur,  insoluble  in  carbon  bisul- 
phide, is  found  in  the  distillate  ; but  if  air  is  excluded  from 
the  apparatus,  a clear  distillate  i3  obtained.  The  distillate 
becomes  turbid,  and  deposits  sulphur  on  exposure  to  the 
air.  It  gives  a white  precipitate  with  lead  acetate,  soluble 
in  acetic  acid,  and  with  mercurous  nitrate  a yellow  pre- 
cipitate, which  soon  blackens.  It  bleaches  potassium  per- 
manganate. Hence  it  appears  that  lower  sulphur-acids  are 
formed  hy  the  action  of  water  on  sulphur.  The  solubility 
of  arsmious  sulphide  in  boiling  water  is  probably  due  to 
the  formation  of  au  oxysulphide  of  arsenic,  as  such  a com- 
pound is  produced  by  boiling  ar3enious  oxide  and  sul- 
phide in  water. 


THE  WOODBURYTYPE  PROCESS. 

(Second  Article.) 

We  propose  to  treat  of  the  old  method  of  Woodburytype, 
in  which  the  lead  moulds  are  made  with  the  aid  of  the 
hydraulic  press,  before  considering  the  recent  develop- 
ments of  the  method. 

Let  us  suppose  that  we  are  going  to  prepare  four  sheets 
of  sensitive  tissue  of  whole-plate  size.  The  first  thing  is 
to  select  four  pieces  of  plate  or  patent  plate  glass  of  the 
requisite  size,  and  after  having  cleaned  them,  to  make  a 
diamond  scratch  upon  one  side  of  each,  so  that  the  reverse 
or  back  of  each  plate  may  be  recognized  at  a glance.  The 
face  of  each  plate  is  first  rubbed  over  with  a little 
powdered  French  chalk,  a piece  of  soft  rag  being  employed 
for  its  application  ; and  after  all  excess  of  the  powder  has 
been  dusted  off  by  means  of  a camel's-hair  brush,  all  is 
ready  for  the  collodioDizing  of  the  plates.  The  collodion 
should  be  made  by  dissolving  ten  grains  of  a tough 
pyroxyline  in  each  ounce  of  a mixture  of  equal  parts  of 
alcohol  and  ether,  and  after  the  unmarked  side  of  each 
plate  has  been  coated,  the  films  are  allowed  to  dry  per- 
fectly. 

In  order  to  make  a quantity  of  the  sensitive  gelatinous 
mixture  which  will  serve  for  coating  the  four  p'ates,  we 
take  ounces  of  Nelson’s  transparent  sheet  gelatine,  and 
soak  it  in  ounces  of  water,  after  which  sufficient  heat  is 
applied  to  melt  the  mixture.  Half-an-ounce  of  sugar, 
30  drops  of  ammonia  solution,  50  grains  of  glycerine,  and 
1 drop  of  phenol  are  added  ; after  which,  1 grain  of  Indian- 
ink  which  has  been  rubbed  up  with  1|  ounces  of  water  is 
stirred  in.  The  mixture  is  next  sensitized  by  the  addition 
of  150  grains  of  powdered  ammonium  bichromate,  and  as 
soon  as  this  is  dissolved,  the  mixture  is  strained  through 
muslin.  The  four  plates  are  now  very  slightly  warmed,  and 
levelled,  with  the  collodionized  face  upwards,  after  which 
ODe-fourth  of  the  total  quantity  of  sensitive  preparation  is 
poured  upon  each,  care  being  taken  to  spread  the  mixture 
over  the  entire  surface  of  the  plates  before  the  gelatine 
begins  to  set.  As  soon  as  the  coating  has  thoroughly  gela- 
tinized, the  plates  are  placed,  face  downwards,  over  the 
chloride  of  calcium,  in  the  apparatus  figured  on  page  582  of 
the  present  volume.  Chloride  of  calcium  can  be  easily  pur- 
chased in  small  quantities  from  dealers  in  chemicals;  but 
it  ordinarily  requires  to  be  dried  before  it  is  used  for  our 
purpose.  To  dry  it,  an  ordinary  cast  iron  saucepan  is 
about  half  filled  with  the  crude  article,  and  is  placed  over 
a clean  fire,  or  large  Fletcher’s  gas  stove,  until  aqueous 
vapours  are  no  longer  given  off.  The  chloride  is  now  cut 
or  broken  into  lumps  of  a suitable  size  by  means  of  a 
hammer  and  chisel,  when  the  lid  is  placed  upon  the  sauce- 
pan, and  the  whole  is  allowed  to  cool.  The  cold  chloride 
of  calcium  is  transferred  as  quickly  as  practicable  to  the 
trays,  and  the  drying-box  is  closed.  The  chloride  of  cal- 
cium which  has  served  in  the  drying-box  is  once  more  dried 
as  directed  above  ; and,  when  cold,  it  should  be  stored  in  a 
perfectly  closed  bottle. 

When  the  tissue  is  dry,  the  point  of  a penknife  is  run 
under  the  collodion  film  all  round  the  edge  of  the  sheet, 


after  which  the  whole  can  be  stripped  from  the  glass  with 
very  great  ease.  The  tissue  is  exposed  with  the  collo- 
dionized surface  next  to  the  film  of  the  negative,  and  it  is 
well  to  provide  the  negative  with  an  opaque  border,  so  as  to 
leave  tne  extreme  edges  of  the  sheet  of  tissue  unexposed, 
and  consequently  soluble.  It  is  also  advisable  to  dust  over 
the  surface  of  the  tissue  and  the  face  of  the  negative  with 
powdered  French  chalk,  all  excess  being  removed  by  a 
camel’s  hair  brush.  This  serves  to  diminish  the  chances  of 
adhesion  between  the  negative  and  the  tissue  during  a 
long  exposure,  and  it  is  also  necessary  to  guard  against  the 
possibility  of  any  damp  reaching  the  tissue  by  laying 
either  a sheet  of  tinfoil  or  other  waterproof  material 
over  the  tissue  when  iu  the  printing  frame.  The  time 
required  for  the  exposure  varies  from  about  twelve 
minutes  in  full  sunshine,  to  a day  or  more  in  dull  weather  ; 
aud  it  is  possible  to  judge  of  the  progress  of  the  exposure 
by  an  inspection  of  the  tissue,  as  when  the  lighter  shades 
of  half-tone  are  visible,  the  action  of  light  has  been  carried 
far  enough.  It  is,  however,  undesirable  to  open  the 
printing-frame  for  inspection,  as  damp  may  gain  access  to 
the  tissue ; and  for  this  reason,  most  practitioners  prefer 
to  use  some  form  of  actinometer.  The  actinometer  or 
photometer  of  Woodbury  is  a metal  box  containing  a band 
of  sensitive  silver  paper,  which  can  be  drawn  out  over  an 
opening.  It  is  exposed  by  the  side  of  the  printing-frame 
until  a standard  tint  is  registered.  Iu  order  to  adapt  the 
instrument  for  the  registration  of  long  exposure,  screens  of 
coloured  gelatine  are  provided,  which,  six-  eight-  or  ten- 
fold, the  exposure  required  for  the  registration  of  one  tint. 
Of  course,  practice  alone  can  enable  the  Woodburytypist 
to  judge  the  exposure  required  for  any  particular  nega- 
tive. The  amount  of  Indian  ink  used  in  making  the 
tissue  may  be  varied  according  to  the  degree  of  relief  re- 
quired, thicker  reliefs  being  obtained  as  the  proportion  of 
Indian  ink  is  reduced.  Rather  dense  negatives  should  be 
used  for  W’oodbury  type  where  practicable,  as  otherwise  it 
is  difficult  to  obtain  sufficient  relief,  even  when  the  pigment 
is  either  reduced  to  a minimum,  or  altogether  omitted. 

It  may  be  noted  that  quicklime  may  be  used  in  the  dry- 
ing box  in  the  place  of  chloride  of  calcium  ; for  this  pur- 
pose clods  of  freshly-burned  line  should  be  selected,  and 
after  having  been  broken  into  fragments  of  a convenient 
size,  the  material  should  be  preserved  in  carefully  closed 
bottles. 

Iu  our  next  article  we  shall  detail  the  manipulations 
incident  to  the  development  of  the  relief,  or  the  dissolving 
away  of  the  superfluous  gelatine  by  means  of  warm  water. 

Sensit  ve  Woodburytype  tissue  is  very  prone  to  become 
insoluble  by  the  action  of  other  agencies  than  light. 
When  sensitive  tissue  is  preserved  for  any  considerable 
length  of  time,  insolubility  slowly  sets  in,  especially  if 
traces  ofmoisture  are  present.  Any  substance  which  exercises 
a deoxidizing  or  reducing  action  upon  bichromates  tends  to 
cause  insolubility  ; hence,  tissue  which  has  been  exposed  to 
the  products  of  the  combustion  of  impure  coal  gas  is  fre- 
quently found  to  be  insoluble and  the  gases  or  vapours 
evolved  from  putrefying  bodies  also  tend  to  reduce  the 
chromium  compound,  and  cause  insolubility. 


• STUDIO  FURNITURE. 

Those  familiar  with  British  and  Continental  studios  can- 
not fail  to  remark  a decided  difference  that  exists  between 
the  two,  in  the  matter  of  furniture.  While  we  are  given 
to  crowding  the  studio  with  accessories,  our  neighbours 
across  the  silver  streak  rarely  do  anything  of  the  kind.  It 
is,  indeed,  passing  strange  to  enter  the  glass  room  of  a 
high  and  mighty  firm  like  that  of  YauEosch,  on  the  Paris 
Boulevards,  or  of  Benque,  iu  the  Boissy  d’Anglas,  and  find 
scarce  a stick  of  furniture  besides  the  posing  chair.  It  is 


724 


THE  PHOTOGRAPHIC  NEWS. 


[November  16,  1883. 


true  our  French  and  German  brethren  produce  more 
vignetted  portraits  than  are  taken  in  studios  in  this  country, 
and  that  is  one  reason,  no  doubt,  why  the  use  of  furniture 
is  more  rarely  called  for ; but  it  is  not  the  only  reason. 
Rather  the  circumstance  that  the  cabinet  portrait  took  its 
rise  in  this  country,  and  was  at  first,  at  any  rate,  only 
employed  for  standing  or  full-length  models,  is  the  why 
and  wherefore  of  our  plethora  of  accessories  ; for  it  will  be 
remembered  that  when  these  pictures  came  into  vogue,  it 
was  not  unusual  to  see  a whole  drawing-room  full  of  furni- 
ture supporting  the  sitter.  On  the  Continent,  on  the  other 
hand,  although  the  cabinet  portrait,  or  carte  album, 
rapidly  grew  in  favour,  there  was  never  that  tendency 
towards  drawing-room  portraits  ; but  the  larger  size  was 
used  to  give  effect  to  larger  busts  and  larger  heads,  for 
which,  it  will  be  remembered,  Fritz  Luckardt,  among  others, 
soon  became  famous. 

We  are  far  from  advocating  the  abolition  of  balconies 
and  balustrades,  pedestals  and  pillars,  in  portraiture  ; 
occasionally  these  add  much  to  a lady’s  portrait  in  walking 
dress,  or  to  a group  of  children  in  out-door  costume.  But 
to  be  unobjectionable,  such  accessories  must  be  used  very 
sparingly,  and,  when  used,  lighted  iu  subdued  fashion. 
The  fact  that  most  photographers  have  these  in  their 
studio,  and  yet  so  very  rarely  use  them,  is  a pretty  good 
proof  that  such  accessories  are  most  difficult  to  introduce 
to  be  unobtrusive.  They  are  apt  to  look  too  fine,  and 
thus  promote  ridicule  instead  of  admiration.  It  is  true,  a 
considerable  amount  of  ingenuity  has  of  late  been  expended 
in  the  design  and  production  of  these  structures,  care 
being  taken  to  impart  the  aspect  of  age  and  weather  to 
their  appearance  ; still,  it  is  nevertheless  a fact  that  few  of 
us  are  given  to  living  in  Haddon-Hall  like  edifices,  or  to 
sauntering  among  classic  ruins  in  which  some  marvellously 
preserved  Corinthian  column  is  the  most  striking  object. 

Almost  as  objectionable  in  its  way  as  a prominent  marble 
pillar  on  massive  stone  balcony,  is  the  “prie-dieu’’  chair 
that  forms  the  piece  de  resistance  in  many  studios.  In 
ordinary  life  one  never  see3  this  quaint  bit  of  furniture, 
except  in  oratory  or  chapel,  and  then  it  never  has  the  soft 
fur  rug  or  bit  of  Eastern  tapestry  half  covering  the  chair, 
as  many  photographs  show  it  to  us.  The  “ prie-dieu  ” 
may  be,  and  is,  indeed,  a most  elegant  piece  of  furniture, 
and  besides  being  bizarre  and  attractive,  lends  itself  admir- 
ably as  a posing-chair.  But  that  is  no  reason  for  its  uni- 
versal adoption.  Surely  there  are  chairs  to  be  had,  in  these 
days  of  luxury  and  convenience,  quite  as  suitable  for  the 
photographic  studio,  which  would  not  appear  so  “ im- 
possible” in  the  finished  picture.  When  a photographer 
has  made  up  his  mind  as  to  the  most  steady  and  applicable 
of  seats,  there  should  be  no  difficulty  about  getting  the 
same  made  by  an  upholsterer,  who  would  employ  fabric  of 
any  desired  tint  or  texture  in  its  construction.  Mouse- 
colour  was,  and  is,  considered  by  many,  the  only  tint  of 
velvet  or  cloth  suitable  for  photography  ; but  any  one  who 
has  seen,  as  we  have,  upholstery  of  almost  every  tint  and 
shade  in  use  in  the  studio,  would  not  be  tenacious  in  hold- 
ing to  this  colour,  well  adapted  as  it  doubtless  is  to  photo- 
graphy. Adam-Salomon  certainly  did  not  make  use  of 
velvet  or  silk  of  this  nature,  but  employed  fabric  giving  a 
much  darker  and  richer  tone,  while  we  remember,  also, 
seeing  in  his  studio  some  carved  cabinets,  almost  black, 
which  served  him  as  accessories  for  his  portrait.  The  dark 
rich  tones  with  which  he  surrounded  his  sitter  were  secured 
by  means  of  this  kind,  and  in  one  of  the  last  portraits  he 
attempted,  that  of  a gentleman  playing  a violincello,  the 
heavy  shadows  of  the  instrument  afforded  pleasing  contrast 
to  the  sitter’s  face  and  features. 

That  British  photographers  do  not  believe  so  much  as 
formerly  in  accessories,  is  evident  from  the  fact  that  while 
they  possess  such  things  in  goodly  number,  they  but  rarely 
make  use  of  them  now-a-days.  In  fact,  one  might  almost 
say  that  the  higher  the  status  of  the  photographer,  the  less 
recourse  he  has  to  these  aids.  The  maid-servant  is 
delighted,  no  doubt,  to  see  herself  in  an  elegant  arm-chair, 


with  twisted  arms  and  carved  legs,  finer  and  brighter  than 
any  in  the  drawing-room  at  home : and  ’Arry  is  not  less 
satisfied,  when  his  picture  is  sent  home  to  him,  to  find 
himself  sitting  on  a magnificent  stone  balcony,  and  dang- 
ling his  bluchers  against  marble  pillars.  Accessories,  in 
such  cases,  perform  their  part,  and  perform  it  well,  for 
they  satisfy  the  sitter,  and  very  possibly  bring  more  grist 
to  the  mill.  But  what  suits  one  set  of  clients  does  not 
suit  another,  and  so  we  say  that,  with  the  photographer 
who  wants  to  produce  something  more  than  pot-boilers, 
the  choice  of  furniture  is  a matter  of  grave  consideration. 
Where  furniture  is  required — and  it  is  necessary  in  almost 
every  in-door  portrait  not  a vignette — artistic  experience, 
no  less  than  taste  and  tact,  must  be  exercised. 

In  most  first-class  studios,  the  furniture  in  the  pictures 
appears  handsome  and  substantial,  because  it  is  handsome 
and  substantial  in  the  studio.  In  Mr.  Jabez  Hughes’ 
establishment,  for  instance,  at  Regina  House,  Ryde,  there 
is  nothing  but  real  and  substantial  furniture.  During  a 
visit  paid  to  the  studio,  we  saw,  indeed,  not  a siugle  instance 
of  the  sham  accessory.  Every  item  of  furniture  was  real ; 
tables  and  chairs  were  of  solid  oak,  and  so,  too,  were  couch 
and  settee,  the  latter,  moreover,  being  elaborately  carved. 
The  only  thing  about  them  that  struck  the  non-photo- 
grapher was  the  dusty  nature  of  the  covering,  which  was 
of  mouse-coloured  velvet.  The  same  thing  was  to  be  seen 
at  Mr.  Bassano’s  studio  in  Old  Bond  Street  ; everything 
here  of  the  nature  of  an  accessory  was  what  it  seemed  to 
be.  The  tables,  chairs,  bookcases— even  the  piano — were 
actual  pieces  of  furniture  that  would  have  suited  the 
drawing  room  just  as  well,  and  the  same  could  be  said  of 
the  carpet,  which  was  of  genuine  Persian.  In  other 
similar  establishments  in  Great  Britain  it  was  the  same  j 
and  in  such  studios  as  Benque  of  Paris,  Angerer  of 
Vienna,  Priimm  of  Berlin,  &c.,  &c.,  furniture  of  a like 
nature  was  to  be  met  with. 

And  what  holds  good  in  furniture  is  also  true  in  respect 
to  the  other  accessories  of  the  studio.  Real  plants  and 
grasses  are  almost  always  more  satisfactory  than  the  make- 
belief.  We  were  greatly  struck,  we  remember,  on  one 
occasion,  in  visiting  the  studio  of  Messrs.  Hills  and 
Saunders  at  Porcbester  Terrace,  by  the  manner  in  which 
the  rustic  backgrounds  at  that  establishment  were  managed. 
The  identification  of  a photographer  by  means  of  his 
background  is  very  often  made,  but  it  was  the  pride  of  the 
Forchester  Terrace  studio  that  no  two  portraits  were  ever 
taken  with  the  same  background.  By  the  simple  re- 
arrangement of  a few  ferns,  grasses,  and  rustic  frame-work, 
some  hay,  dead  palm-leaves,  and  a dozen  or  two  of  growing 
shrubs,  it  was  possible,  with  a little  taste  and  skill,  to  vary 
the  surroundings  of  sitters  most  completely.  Rocks  and 
rockwork  are  unfortunately  a little  too  unwieldy  to  be 
genuine,  and  therefore  in  this  case  the  sham  article  must 
necessarily  be  used  a great  deal.  But  here  conventionality 
may  be  avoided  by  having  rockwork  in  several  pieces  that 
may  be  built  up  differently.  In  Van  Bosch’s  Paris  studio 
we  noticed  a most  ingenious  structure  of  this  kind,  that 
consisted  of  but  two  portions  ; these  could  be  put  together 
in  various  ways,  and  care  was  exercised  to  allow  a cavity 
between  the  two,  out  of  which  growing  shrubs  could  be 
made  to  peep  forth,  the  garden  pots  of  the  latter  being 
deftly  concealed  by  the  rockwork.  It  was  these  living 
grasses  and  shrubs  that  gave  the  air  of  reality  to  the  rocks, 
and  made  the  illusion  complete. 

A real  boat — half  a one  will  do — with  a tangled  rope  or 
net,  always  makes  a far  better  picture  than  painted  canvas 
can  possibly  do.  In  the  first  place,  if  the  latter  is  not 
most  accurately  rendered,  the  perspective  is  wrong,  and  the 
result  is  that  in  the  photograph  it  looks  but  the  scenery  it 
is  ; in  the  next  place,  by  altering  the  angle  or  position  of 
the  boat,  it  is  possible  to  make  it  appear  in  a dozen  different 
ways,  all  of  them  unlike,  so  that  the  accessory  cannot  be 
readily  recognized.  In  a word,  the  conventional  is  avoided, 
and  to  do  this  is  to  go  a good  way  towards  success  in 
photographic  portraiture. 


November  16,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor -General  of  India. 

Ciiap.  XIII. — Asphalt  Processes— (continued). 

Dr.  Kayser  also  gives  the  results  of  spectroscopic  obser- 
vations of  solutions  of  different  asphalts,  and  their  com- 
ponents, the  solutions  being  made  in  chloroform,  and  of 
as  nearly  as  possible  the  same  intensity  of  colour.  These 
results  are  rather  interesting,  as  will  be  seen  from  the 
accompanying  diagrams,  copied  from  Dr.  Kayser. 

G F Ey/iaD  CB 


Syiian 

Asphaltum. 


1 

\ 

A, 

'Component 
of  Sj-rian 
Asphaltum 
soluble  in 
Alcohol. 


Component 
of  ditto, 
soluble  in 
Ether. 


Ditto  ditto 
insoluble  in 
Ether. 


Bechelbronn 

Asphaltum. 


G F E7J80D  CB 


Petrolene 

from 

Bechelbronn 

Asphaltum. 


Asphaltene 
from  ditto. 


Coal  Tar 
Asphalt. 


Specially  characteristic  of  the  Syrian  and  Trinidad 
asphaltums  are  the  three  absorption  bands  a 1 3 7,  between 
the  lines  D and  E,  which,  however,  are  entirely  due  to 
their  components  soluble  in  ether  and  alcohol,  because  a 
solution  of  the  portion  insoluble  in  those  solvents  does  not 
show  them. 

The  difference  between  the  components  soluble  in 
alcohol  and  ether  respectively  is,  that  the  first  shows  a very 
strong  band  at  7,  which  is  wanting  in  the  latter  ; while  in 
the  latter,  0 is  much  stronger.  Bechelbronn  and  coal-tar 
asphalts  do  not  show  these  bands. 

Dr.  Kayser  considers  these  spectroscopic  appearances  of 
practical  importance  as  affording  a means  of  distinguishing 


725 


natural  from  artificial  asphalts,  and  of  ascertaining  from 
the  entire  disappearance  of  the  bands  when  the  exhaustion 
with  ether  is  complete,  and  only  the  most  sensitive  body 
remains. 

The  writer  finds,  however,  that  though  the  bands  are 
much  stronger  in  some  specimens  than  in  others,  they  are 
not  very  easily  distinguishable ; and  the  method,  therefore, 
is  not  likely  to  be  of  much  practical  use. 

Dr.  Kayser  says  nothing  regarding  the  sensitiveness  of 
asphaltum  to  the  solar  spectrum  ; but  Dr.  J.  W.  Draper 
(Scientific  Memoirs,  p.  408)  found  that  it  is  sensitive  to  the 
whole  range  of  the  spectrum  from  below  A ; in  the  red  to 
below  II  ; in  the  violet,  every  ray  acting  and  giving  a con- 
tinuous proof,  except  where  the  Fraunhofer  lines  fall.  He 
used  solutions  of  West  India  bitumen  in  benzole,  so  thin 
as  to  leave  an  iridescent  coating  on  a glass  plate.  The 
exposure  given  was  about  five  minutes,  and  the  plate  was 
developed  with  a mixture  of  benzine  and  alcohol.  Dr. 
Draper  says  that  bitumen  is  more  sensitive  than  is 
generally  supposed,  and  properly  used  he  considers  it 
scarcely  inferior  to  chloride  of  silver. 

Apart,  however,  from  the  natural  sensitiveness  of  any 
particular  specimen  of  asphaltum,  its  sensitiveness  depends 
practically  upon  the  thickness  of  film  necessary  to  effect 
the  object  in  view.  An  exceedingly  thin  film  which  might 
answer  perfectly  for  scientific  observations  would  be  found 
much  more  sensitive  than  the  thicker  films  required  for 
resisting  acid  in  the  etching  processes. 

The  writer  has  found  that  chlorine  and  iodine  exert  a 
marked  influence  on  asphaltum,  rendering  it  insoluble  and 
more  sensitive  to  light.  By  coating  a silvered  copper  plate 
with  a solution  of  asphaltum  in  turpentine  to  which  a little 
iodine  has  been  added,  aud  exposing  it  to  light,  a visible 
image  is  obtained,  which  may  be  made  quite  permanent  by 
fixing  with  hyposulphite  of  soda  after  the  development 
with  turpentine.  It  is  possible  that  this  combination  of 
the  processes  of  Niepce  and  Daguerre  might  be  useful  for 
camera  pictures  to  be  afterwards  etched  or  engraved ; but 
the  writer  has  not  yet  tried  this. 

Capt.  Biny,  of  the  French  Engineers,  has  found  that 
coal-tar,  as  well  as  the  light  oil  and  solid  pitch  obtained 
from  it,  contains  a substance  which  is  very  sensitive  to 
light,  and  well  adapted  for  producing  pictures  in  half-tones 
on  paper  or  metal.  The  hard  pitch  contains  the  most  of 
this  substance,  and  a solution  of  it  in  benzole  forms  the 
sensitizing  solution,  which  will  keep  a long  time  in  good 
order,  though  before  use  it  should  be  filtered  in  order  to 
remove  the  clotty  particles  which  form  in  course  of  time 
in  the  fluid  and  on  the  sides  of  the  bottle.  Faper  coated 
with  this  solution  gives  a visible  image  on  exposure  to  light, 
and  after  development  with  benzine  gives  a much  finer  and 
less  granular  image  than  asphaltum.  Flates  or  paper 
coated  with  it  lose  their  sensitiveness  if  exposed  to  heat  in 
drying. 

The  above  is  a resume  of  the  latest  contributions  to  the 
chemistry  of  asphaltum  and  its  congeners,  as  far  as  they  are 
of  interest  to  photographers  ; but  there  are  still  many  points 
requiring  investigation.  As  will  be  seen,  the  results 
obtained  by  different  workers  and  observers  are  most  con- 
tradictory. It  is  to  be  hoped  that  the  renewed  attention 
now  being  given  to  these  asphaltum  processes  will  result 
in  a better  knowledge  of  this  very  variable  substance. 

In  our  next  we  shall  enter  upon  the  practical  details  of 
these  processes. 

Addendum  to  Chapter  XIII.  (Asphalt  Processes.  I.) 

Since  writing  the  above  chapter,  the  writer  has  met  with 
a curious  experience  which  seems  worthy  of  record  as 
coroboratiDg  Bayer's  observation  that  a thin  coating  of 
bitumen  is  not  affected  by  light  under  a collodion  film 
gummed  down  upon  it,  even  though  the  latter  be  perfectly 
transparent.  It  does  not,  however,  seem  to  support  the 
theory  which  Bayer  deduced  therefrom,  that  this  effect  was 
due  to  deprivation  of  oxygen. 

A copper  plate  coated  with  Husniks  solution  of 


726 


THE  PHOTOGHATHIC  NEWS 


[November.  16,  1883. 


asphaltum,  which  had  been  lying  by  for  a few  days,  was 
taken,  and  rather  less  than  half  of  it  was  brushed  over  with 
gum-water.  When  the  gum  was  dry,  some  plain  collodion 
was  poured  over,  so  that  the  plate  was  divided  into  three 
slips — 

a.  Coated  with  collodion  and  gum. 

b.  Collodion  alone. 

c.  Asphaltum  alone. 

There  was  also  a little  piece  where  there  was  only  gum, 
but  too  small  to  notice.  A piece  of  the  thick  reddish 
paper  used  for  rvrapping  dry  plates  was  now  gummed 
down  across  the  three  slips,  and  when  dry  the  plate  was 
exposed  to  diffused  light  for  about  an  hour,  when  a trial 
showed  that  the  uncoated  asphaltum  was  insoluble  in 
turpentine. 

The  gum  and  collodion  were  washed  off  with  water,  and 
the  plate  was  dried  and  developed  in  turpentine.  As  the 
development  proceeded,  the  asphaltum  on  the  part  a 
covered  by  the  gum  and  collodion  appeared  decidedly 
more  soluble  than  the  uncoated  asphaltum  c,  and,  had  time 
been  allowed,  would  have  developed  quite  clear.  The  un- 
coated part  (e)  was  just  slightly  soluble.  The  part  (5) 
coated  with  collodion  alone,  remained  the  darkest,  but  this 
seemed  to  be  due  to  the  fact  that  tbe  collodion  had  not 
been  washed  off,  and  had  protected  the  underlying 
asphaltum  against  the  solvent. 

In  the  part  covered  by  the  paper  a very  curious  effect 
was  noticed.  The  uncoated  asphaltum  dissolved  readily, 
having  been  apparently  protected  from  the  light  by  the 
paper ; but  the  asphaltum  coated  with  collodion  and  gum 
remained  almost  as  insoluble  as  the  uncoated  part  fully 
exposed  to  light. 

In  the  slip  (a),  therefore,  coated  with  gum  and  collodion, 
the  parts  exposed  to  light  remained  soluble,  while  that 
protected  from  it  became  insoluble,  just  the  converse  of 
the  usual  effect.  The  .general  effect  will  be  seen  and 
understood  from  the  diagram. 


A.  Collodion  and  gum. 

B.  Collodion  alone. 

C.  Asphaltum  alone. 

D.  Slip  of  red  paper. 


The  writer  has  not  had  time  to  further  investigate  and 
repeat  the  experiment,  and  therefore  cannot  offer  any 
opinion  as  to  the  cause  of  the  effect  observed,  but  he  hopes 
to  do  so  at  some  future  time. 


Brussels  seems  to  be  the  most  suitable  city  to  choose  for 
such  a reunion ; the  delegates  will  there  meet  with  the 
most  cordial  hospitality,  and  a number  of  eminent  men 
are  on  the  spot  to  organise  the  undertaking.  The  ques- 
tions to  be  solved  are  numerous,  and  it  is  difficult  to  find 
a practical  solution  of  many.  The  units  of  measures, 
weight,  light,  and  diaphragms,  the  question  of  legal  copy- 
right, dimensions  of  sensitive  plates,  &c. ; all  form 
a necessary  part  of  the  programme  of  subjects  to  be 
discussed. 

M.  Scola's  Monochromatic  Lamp. — M.  Scola,  with  the 
idea  of  furnishing  a monochromatic  lamp  for  laboratory 
use,  has  employed  perchlorate  of  strontium  dissolved  in 
methylic  alcohol  for  giving  a red  flame ; he  has  recently 
experimented  in  order  to  get  a yellow  flame  for  the  same 
purpose,  and  has  succeeded  in  so  doing  by  replacing  the 
above-mentioned  salt  by  perchlorate  of  soda  in  the  pro- 
portion of  li  per  cent,  of  metbylic  alcohol.  It  appears 
not  to  affect  sensitive  plates  as  long  as  they  are  not  placed 
quite  close  to  the  light,  and  a yellow  screen  will  effectually 
prevent  any  harm  resulting.  However,  with  the  most 
sensitive  plates,  and  the  isochromatic  plates,  it  is  desirable 
not  to  be  too  hasty  in  adopting  this  lamp. 

M.  Simonoff's  Photometer  and  Shadow-meter.— M.  Simo- 
noff  has  constructed  an  optical  photometer  based  on  a 
very  ingenious  idea.  Its  use  is  to  calculate  the  relation 
existing  between  different  degrees  of  light  proceeding  from 
the  same  source.  It  consists  of  a cylinder  having  at  one 
end  a translucid  screen  of  opal  glass,  on  which  are  traced 
several  numbers,  which  can  be  clearly  perceived  by  look- 
ing through  the  tube  like  a telescope.  It  is  directed 
towards  the  point  the  degree  of  light  of  which  is  to  be 
asceitained,  while  behind  the  opal  glass  is  made  to  pass  a 
series  of  diaphragms  of  graduated  sizes,  multiples  of  one 
another.  The  diaphragms  slide  over  uutil  the  figures  can 
no  longer  be  seen  ; at  the  precise  moment  of  this  ob- 
scurity the  number  of  the  diaphragm  is  noted.  It  is 
much  the  same  in  idea  as  Wainerke’s  phosphorescent 
photometer.  I have  used  it  with  success,  and  have  made 
one  more  simple  in  construction  than  M.  Simonoff’s.  Of 
course  it  is  liable  to  cause  errors  from  a photographic  point 
of  view,  as  optical  and  actinic  degrees  of  light  are  not  the 
same.  M.  Simonotf  has  also  constructed  a little  apparatus 
for  determining  the  density  of  shadows,  which  he  has 
called  an  ombrometer.  A disc  has  from  the  centre  to  its 
circumference  a series  of  gradated  bands  varying  from 
light  grey  to  almost  black,  each  tint  being  separated 
from  the  other  by  a ring  of  white.  In  use  it  is  placed 
horizontally,  and  in  the  centre  a vertical  rod  is  fixed, 
naturally  casting  a shadow  which,  on  comparing  its  depth 
of  tone  shown  on  the  white  portions,  will  be  found  to 
coiucide  with  one  of  the  grey  bands.  Of  course,  by  prac- 
tice, one  can  dispense  with  these  auxiliaries,  but  on  cer- 
tain occasions  they  are  very  useful. 


FRENCH  CORRESPONDENCE. 
Photographic  Society  of  France— Photographic  Con- 
gress at  Brussels— Scola’s  Monochromatic  Lamp— 
Simonoff’s  Optical  Photometer  and  Shadow  Meter— 
Tiiiebaut’s  Pf.llicle  Paper— Ciiapiro’s  Photographs 
— Manduit  and  David’s  Shutters. 

Opening  Meeting  of  the  Photographic  Societg  of  France. — 
This  meeting,  which  took  place  on  the  9th  inst.,  is  always 
hailed  with  joy  as  the  time  for  new,  improved,  or  perfected 
apparatus  to  be  brought  forward,  and  a lively  interest 
shown  in  all  applications  of  the  art.  The  President 
announced  the  receipt  of  a letter  from  our  friends  of  the 
Belgian  Photographic  Association  on  the  subject  of  the 
proposed  international  photographic  congress.  This  con- 
gress will  have  the  support  of  the  Belgian  Government, 
and  this  will  give  it  a standing  above  any  private  under- 
taking, and  all  other  Governments  are  requested  to  send 
a certain  number  of  delegates  nominated  by  them. 


Tliiebaut's  Pellicle  Paper. — This  was  tbe  great  attraction 
of  the  meeting.  It  is  produced  in  sheets  45  by  55  centi- 
meters. It  has  the  advantage  of  being  printable  on  either 
side,  and  to  the  touiist-photographer  is  invaluable. 

M.  C.  Chapiro's  Photographs. — M.  Chapiro,  of  St.  Peters- 
burg, has  reproduced  by  photography  compositions  taken  to 
illustrate  a novel.  The  book  is  read  to  an  actor,  who  puts 
himself  into  the  desired  attitude  and  expression,  of  which 
photographs  are  taken,  and  the  work  illustrated  by  the 
collaboration  of  writer,  actor,  and  photographer. 

Shutters  by  MM.  Manduit  and  David. — M.  Manduit  has 
made  an  improvement  in  the  drop-shutter  by  adapting  a 
little  piston  to  the  case  of  the  lens,  the  other  end  retaining 
the  slide.  M.  David  has  made  a shutter  giving  definite 
exposures  from  l to  of  a second.  It  is  a cylinder  rotat- 
ing on  its  axis,  so  arranged  that  each  revolution  is  com- 
pleted exactly  in  a second.  Stopping  points  are  marked 
on  the  cylinder  corresponding  to  various  durations,  £ 


November  16,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


727 


or  of  a second — i.e .,  of  a complete  revolution — and  these 

points,  acting  upon  two  pneumatic  bellows,  cause  the 
shutter  to  expose  for  any  desired  time.  The  apparatus  is 
ingenious,  but  necessitates  the  use  of  a double  shutter,  and 
is  not  fitted  for  extremely  rapid  exposures.  The  idea  of 
divisions  of  time  being  marked  on  a cylinder  is  very  good. 

Leon  Vidal. 


ABOUT  LONDON  WITH  A CAMERA. 

BY  \V.  COBB. 

A ten  by  eight  camera  with  lens  and  quick  shutter,  with 
its  sombre  covering  of  velvet,  made  me  a marked  man  as 
I moved  about  the  metropolis.  I often  suspected  that  my 
proceedings  were  watched,  and  I often  fancied  that  a plain 
clothes  detective  was  within  reach  of  me ; moreover,  as 
my  base  of  operations  was  transferred  from  omnibus  knife- 
board  to  a refuge  island  in  the  flood  of  London  street  life, 
I noticed  the  same  fashioDably-dressed  gentleman  with 
his  back  to  me.  After  1 had  secured  the  Royal  Exchange 
from  the  top  of  an  omnibus,  I alighted  and  proceeded  to 
attach  my  apparatus  to  the  Bank  railings,  in  order  to  se- 
cure a picture  from  auotlier  point  of  view  : but  ’ere  the 
preliminary  adjustments  had  beeu  made,  I found  my  right 
wrist  firmly  but  not  roughly  grasped,  while  another  hand 
rested  upon  my  camera,  which  at  this  time  was  fairly  en- 
veloped in  its  black  covering.  “ Excuse  me,’’  saida  polite 
gentlemanly  individual,  “ I am  a constable,  and  should 
like  just  to  see  what  you  have  here.  No,  don’t  remon- 
strate ; we  do  not  want  a crowd  to  gather.  Your  goods 
are  now  in  my  hands,  and  you  can  tell  me  all  about  it— 
indeed,  I think  we  had  better  go  over  yonder — Oh,  no  ; I 
would  rather  you  weDt  first ! ” We  crossed  over  to  the 
vacant  plot  behind  the  place  where  the  flower  girls  are 
located,  and  after  I had  banded  my  card  to  the  polite 
gentleman,  I showed  him  the  Bank,  roof  downwards,  on 
the  ground  glass,  and  he  was  satisfied.  He  remained  with 
me  for  some  time,  and  helped  me  materially  in  my  work. 
It  must  be  remembered  that  I take  no  tripod  for  my  City 
work,  but  trust  to  strapping  my  apparatus  to  some  conve- 
nient object ; hence  the  most  characteristically  distinguish- 
ing point  of  the  out-door  photographic  practitioner  is 
wanting.  “ Waterloo-pier  ” was  a comparatively  easy 
picture  to  take,  for  there  was  less  bustle  here  than  in  the 
city. 


A FERROUS  OXALATE  DEVELOPER. 

BY  NORMAN  MACBETH,  R.S.A.* 

For  the  successful  rendering  of  landscape  subjects  it  is  neces- 
sary to  have  a reliable  developer  and  a good  sky  shade.  In 
another  paper  I have  described  the  improved  shade  used  with  so 
much  success  by  my  friend  Mr.  John  Parker,  of  Glasgow.  At 
present  I wish  to  draw  the  attention  of  photographers,  and 
especially  of  amateurs,  to  the  properties  of  a developer  of  the 
ferrous  oxalate  kind. 

Mons.  E.  Audra,  of  Paris,  shows  that  a developer  of  ferrous 
oxalate,  in  combination  with  tartaric  acid,  after  being  used,  will 
recover  all  its  virtue  on  being  exposed  to  the  sunlight,  and  be 
usable  again  to  the  very  last  drop.  I have  made  use  of  this 
developer  occasionally  during  the  last  two  months,  and  in  pre- 
paring it  employed — 

Water  (distilled)  10  ounces 

Proto-sulphate  iron  3 ounces 

Tartaric  acid ...  48  grains 

These  are,  as  nearly  as  possible,  the  proportions  recommended  by 
M.  Audra.  I had  previously  made  up  20  ounces  of  a saturated 
solution  of  oxalate  of  potash.  Having  filtered  both  solutions 
through  blotting-paper,  I made  up  the  developer  of  the  usual 
proportions — three  of  oxalate  potash  to  one  of  the  proto-sulphate 
of  iron  and  tartaric  acid. 


' A communication  to  tte  Edinburgh  Photographic  Society, 


With  a view  to  test  its  action  on  a half-plate  which  had  been 
instantaneously  exposed  (but  with  full  aperture),  I immersed  the 
plate  in  a flat  tray  of  common  water  ; then  poured  off  the  water, 
and  laid  the  plate  in.  To  twelve  drams  of  the  oxalate  solution 
which  I placed  in  the  measure  I added  two  drams  of  the  iron,  and 
poured  it  rapidly  over  the  surface,  using  a flat  camel  hair  brush 
to  prevent  air-bells.  These,  however,  are  less  likely  to  occur  with 
ferrous  oxalate  than  with  pyro  and  ammonia.  At  no  time  have 
I used  bromide  to  restrain,  but  I always  took  the  precaution  of 
retaining  half  of  the  iron  solution,  i.e.,  two  drams  to  be  added  at 
the  close  of  development.  Two  ounces  of  the  combined  solution 
were  thus  employed  for  each  plate.  The  action  commenced  in 
about  fifteen  seconds,  and  gradually  increased  for  about  ten 
minutes,  when  it  was  apparent  that  the  plate  had  been  sufficiently 
exposed.  Of  course,  subjects  of  open  scenery,  such  as  sea  coast 
views,  ships  at  sea,  waves,  and  sky  effects,  require  much  less 
exposure  than  closed-in  subjects,  such  as  glens,  large  trees,  and 
places  where  foliage  predominates,  and  which  require  considerable 
exposure  even  to  very  sensitive  plates.  I know  of  no  developer 
which  more  beautifully  brings  out  cloud  effects  than  that  of  M. 
Audra’s. 

After  having  used  about  ten  ounces  of  the  combined  solutions, 

I poured  it  into  a large  bottle,  and  added  a few  grains  of  tartaric 
acid.  I then  exposed  it  to  the  light,  in  a position  that  insured 
the  sun’s  shining  upon  it  at  some  period  of  the  day.  This  is  of 
the  utmost  importance,  as  it  is  to  the  action  of  the  sun’s  rays  that 
the  vigour  which  it  regains  is  to  be  chiefly  attributed.  At  the 
end  of  the  two  months  during  which  I used  the  developer  it  was 
as  effective  as  at  the  beginning.  No  doubt  it  may  be  objected  to 
this  developer  that  its  action  is  very  slow.  This  is  quite  true, 
but  the  difficulty  may  be  overcome  by  using  several  baths,  and 
thus  developing  more  plates  than  one  at  the  same  time.  I would 
strongly  recommend  the  use  of  the  old  upright  bath,  especially 
those  made  of  glass.  It  is  not  necessary  to  wet  the  plates  iu 
the  first  instance  ; it  is  quite  sufficient  to  slide  them  into  the 
bath  with  the  dipper.  They  must  occasionally  be  drawn  up, 
that  one  may  watch  progress,  and  prevent  anything  settling  on 
their  surfaces.  This,  however,  is  not  so  likely  to  occur  as  when 
one  is  using  the  pyro  developer. 

Every  particle  of  light  in  shadows  is  taken  up  by  M.  Audra’s 
developer  in  a very  remarkable  manner,  if  there  has  been  full 
exposure,  and  the  shadows  are  exceedingly  soft,  especially  under 
full  aperture  of  a good  lens. 

I have  once  or  twice  been  obliged  to  leave  the  plate  in  the 
bath,  and  open  the  door  of  the  developing  room ; no  harm  was 
done  to  the  plate,  however,  although  clear  light  came  in  before 
I could  shut  the  door.  This,  I believe,  was  due  to  the  fact  that 
the  developing  solution  was  very  dark  and  dense.  At  the  same 
time,  it  would  be  prudent  to  slip  a thick  brown  paper  cover  over 
the  bath  in  similar  circumstances.  1 have  had  plates  which  were 
apparently  under-exposed  by  the  length  of  time  which  elapsed 
before  development  was  hopeful.  This,  however,  was  owing  to 
the  tedious  action  of  the  developer  when  the  subject  happened  to 
have  been  taken  in  a dark  glen,  or  the  interior  of  a dark  church. 
Retaining  such  plates  fully  half  an  hour  in  the  bath,  they  not 
unfrequently  come  out  good  negatives.  One  of  the  greatest 
difficulties,  as  we  all  know,  is  to  determine  the  amount  of  time 
required  for  such  subjects.  There  is  comparatively  no  un- 
certainty with  good  light,  for,  with  such,  any  make  of  gelatine 
plate  may  meet.  But  in  obscure  places  one  loses  calculation,  the 
degrees  vary  so  much.  While  we  endeavour  to  expose  the  plate 
to  its  full  requirement  of  time,  yet  we  must  guard  against  over- 
exposure as  well  as  under-exposure — the  negative,  when  com- 
pleted, is  not  robust  in  either  case.  Still  in  my  experience,  over- 
exposed plates  suffer  less  by  this  kind  of  ferrous  oxalate  developer 
than  what  they  do  when  developed  with  pyro  and  ammonia.  The 
great  superiority  of  this  developer  over  others  lies  in  its  compara- 
tive freedom  from  fogging,  giving  great  clearness  to  the  shadows, 
and  consequently  producing  a rapid  printing  negative.  The 
question  has  been  frequently  asked,  which  of  the  two  developers, 
the  pyro  or  the  ferrous  oxalate,  is  to  be  preferred  ? Well,  very 
much  depends  on  circumstances.  I do  not  think  it  suitable  for 
the  professional  photographer,  when  time  is  a consideration  to 
both  himself  and  the  party  waiting  ; but  to  the  amateur,  and 
especially  to  those  working  chiefly  in  landscape  subjects,  the 
ferrous  oxalate  unquestionably  is  to  be  preferred.  Having  two 
or  three  baths,  he  can  easily  get  through  half  a dozen  plates  in 
an  evening.  There  is  no  kind  of  developer  which  is  so  free  of 
dimness  in  the  shadows  ; hence,  if  the  plate  be  under-exposed, 
and  thin  in  development,  it  is  better  fitted  to  be  intensified  than 
what  such  a plate  would  be  when  developed  with  pyro.  This  is 


728 


THE  PHOTOGRAPHIC  NEWS. 


[November  16,  1883. 


one  of  the  ferrous  oxalate  recommendations,  not  to  speak  of  the 
immense  advantage  of  having  this  kind  of  it,  with  tartaric  in  it, 
saving  the  trouble  of  having  to  make  up  a fresh  preparation  at 
each  development. 

I have  noticed,  in  my  experience,  after  a time’s  cessation,  that 
a scum  is  apt  to  form  in  the  bottle  which  contains  M.  Audras’ 
solution  ; it  is  well  to  watch  this,  and  filter  always  on  putting  it 
into  the  dipping  baths. 


»0tM. 

On  Tuesday  evening,  the  President  of  the  Photographic 
Society,  Mr.  James  Glaisher,  F.R.S.,  presented  the  medals 
won  at  the  recent  Exhibition  at  Pall  Mall. 

We  regret  to  announce  the  death  of  Mr.  John  Lessels, 
who  has  for  some  years  past  occupied  the  presidential 
chair  of  the  Edinburgh  Photographic  Society.  Mr.  Lessels, 
who  was  born  in  1809,  held  a high  position  as  architect  in 
the  Scotch  capital,  and  wa3  one  of  its  most  widely-known 
and  respected  citizens.  No  little  of  the  success  that  has 
attended  the  popular  Edinburgh  Society  was  due  to  its  late 
president. 

Mr.  Peter  Mawdsley  ha3,  we  learn,  established  himself 
as  a dry-plate  manufacturer  in  Rochester,  New  York. 


Major  Waterhouse,  the  Deputy  Surveyor -General  of 
India,  will  write  in  the  Year-Book,  “ About  Bitumen,” 
that  mysterious  sensitive  body  that  has  puzzled  photo- 
graphers since  the  days  of  Nicephore  Niepce ; while  M. 
Chapiro,  of  St.  Petersburg!),  the  Court  photographer  to 
the  Emperor  of  Russia,  will  tell  British  photographers 
how  their  Russian  brethren  manage  to  apply  that  exqui- 
site glaze  to  albumenized  prints  which  has  long  formed  a 
feature  of  first-class  Moscovite  photography. 


Mr.  W.  J.  A.  Grant  told  us  last  week  something  about 
gelatine  plates  passing  the  English  Customs — or,  rather, 
not  passing  that  department.  Mr.  C.  Chesterman  tells  us 
now  that  the  Russian  Custom  Office  is  also  slow  to  under- 
stand the  nature  of  dry  plates.  Sometimes  these  are 
classed  with  one  kind  of  goods,  and  sometimes  made  to 
pay  duty  with  another.  The  last  idea,  however,  is  a 
singularly  happy  one ; seeing  that  photographic  plates 
represent  glass  with  a silvered  film,  the  Russian  Custom 
House  now  place  them  under  the  same  category  as  looking 
glasses. 

Dr.  Frdhlich  has  reported  to  the  Berlin  Physical  Society 
the  results  of  some  careful  experiments  he  has  made  in 
reference  to  the  radiation  of  the  sun.  Six  measurements 
taken  during  the  months  of  June,  July,  August,  Sep- 
tember, show  marked  variations  in  the  radiation  of  heat, 
and,  curiously  enough,  comparing  his  data  with  the  daily 
photographs  of  the  sun  taken  by  Dr.  Lohse,  of  the  Pots- 
dam Observatory,  he  finds  that  the  lower  degrees  of  solar 
heat  correspond  to  the  photographs  showing  most  sun- 
spots, while  the  greater  degree  of  heat  is  registered  when 
the  solar  photographs  show  few  sunspots.  This  is  a very 


important  fact  to  have  established,  if  it  is  a fact ; but  Dr. 
Frohlich,  although  he  has  little  doubt  upon  the  subject, 
will  institute  more  comprehensive  experiments  before 
finally  laying  down  this  law. 


Photography  seems  likely  to  put  an  end  to  the  “ Sleeping 
Beauty  that  is  to  say,  beauty  asleep  is  not  beautiful  in 
this  practical  world  of  ours,  whatever  it  may  be  in  the 
world  of  romance.  Some  pictures  we  have  lately  seen  of 
sleeping  men  and  women  are,  to  say  the  least,  exceedingly 
disagreeable  to  look  upon.  Sleeping  babes  and  chubby 
five-year-olds  arc  often  pleasing  enough,  but  the  little  lad 
of  twelve  already  has  a load  of  care  in  his  sad  face  as  you 
look  at  it  thrown  back  upon  the  pillow.  The  face  of  a 
sleeping  woman  is  full  of  remorse  —there  is  no  other  word 
for  it— while  the  countenance  of  a sleeping  man  has  usually 
the  impress  of  pain  and  long  suffering  very  distinctly.  Even 
the  casual  observer  may  see  this  if  he  takes  the  trouble  ; 
let  him  note  the  features  of  fellow-passengers  in  railway  or 
steamer  when  they  drop  off  to  sleep,  and  he  will  find  that 
the  most  beautiful  face  ceases  to  be  so  when  it  slumbers. 


According  to  The  Eye , the  prices  of  the  best  photo- 
graphic work  in  Chicago  is  ten  dollars  for  a dozen  cabinet 
portraits  (two  positions).  This  may  be  likened  to  two 
guineas  with  us,  which,  as  everybody  knows,  is  a goodly 
figure,  if  not  so  high  as  one  or  two  first-class  London 
houses  charge. 


“The  Photographic  Society  consists  mainly  of  pro- 
gressionists,” said  Mr.  Jabez  Hughes  on  Tuesday  ; and  he 
pointed  out  that  a large  proportion  of  our  professional 
photographers,  who  derive  large  profits  from  the  latest 
development  of  photography,  altogether  fail  to  support 
the  societies  and  other  agencies  which  have  contributed  so 
largely  to  the  advancement  of  photographic  art.  Perhaps 
they  will  take  the  hint. 

It  would  be  interesting  to  know  why  the  Town  Council  of 
Stratford-on-Avon  object  to  a private  photographer  having 
possession  of  the  negatives  of  certain  manuscripts  and 
documents  deposited  in  Shakspeare’s  house.  The  objection 
was  the  outcome  of  a discussion  on  a request  made  by  Dr. 
Ingleby,  one  of  the  life  trustees  of  the  house,  for  permission 
to  autotype  the  documents  in  question.  Subsequently  it 
was  decided  to  grant  the  request,  but  only  upon  the  express 
stipulation  that  the  manuscripts  should  not  be  taken  out  of 
the  house,  and  that  the  negatives  should  become  the  sole 
property  of  the  Corporation.  A condition  of  this  kind 
seems  likely  to  lead  to  complication.  How  much  better  it 
would  have  been  for  the  Corporation  to  have  taken  the 
matter  in  their  own  hands,  and  themselves  have  had  the 
document  photographed.  Considering  the  intense  interest 
which  Shakespearian  relics  possess  for  all  the  English- 
speaking  race,  it  is  a wonder  this  has  not  been  done  before. 


The  experience  of  an  editor  of  an  illustrated  paper  almost 
leads  one  to  think  that  there  must  be  something  amiss 


November  16,  1883.] 


THE  rHOTOGEAHHIC  NEWS. 


729 


■with  the  instruction  which  is  given  in  photography  at 
some  of  the  centres  in  connection  with  the  City  aud 
Guilds  of  London  Institute.  Some  drawings  were  sent  to 
the  paper  in  question  by  an  individual  living  in  one  of 
the  Midland  towns.  Accompanying  the  drawings  was  a 
card  setting  forth:  “ City  and  Guilds  of  London  Insti- 
tute (Gresham  College),  Examination  in  Photography. 
Bronze  medal  and  first-class  certificate,  1881.  Full  cer- 
tificate granted  March,  1881,  awarded  to  .”  The 

drawings  were  partly  in  pen-and-ink,  and  partly  in  Indian 
ink,  the  use  of  the  latter,  applied,  as  it  was,  with  a brush, 
rendering  them  totally  unfit  for  reproduction  in  photo- 
graphy, for  which  they  were  intended.  The  sender  could 
not  have  had  the'  least  notion  of  the  requirements  of 
photography  so  far  as  copying  was  concerned,  and  yet  he 
had  carried  off  a bronze  medal  and  two  certificates ! 


The  details  of  the  process  for  obtaining  bichromate  of 
soda,  for  which  Messrs.  Potter  and  Iliggin,  of  Bolton,  have 
obtained  a patent,  have  been  published.  Up  to  the  pre- 
sent bichromate  of  soda  has  been  uu  known  as  a commer- 
cial salt,  but  if  the  new  process  be  successful,  it  should  be 
in  great  demand,  as  it  is  a more  powerful  oxidizer  than 
bichromate  of  potash.  It  remains  to  be  seen  how  it  will 
act  in  combination  with  gelatine  for  photographic  pur- 
poses. The  patentees  claim  that  it  can  be  produced  at  a 
le3S  cost  than  bichromate  of  potash. 


M.  Leon  Vidal’s  electric  photometer,  in  which  the  con- 
ductivity of  selenium,  altered  by  light,  is  made  to  register 
changes  in  illumination,  is  already  well-kuown  to  our 
readers.  Another  electric  photometer,  brought  forward 
by  Ilerr  Sauer,  secures  the  same  end,  but  by  very  differ- 
ent means.  Herr  Sauer's  instrument  is,  in  fact,  a battery, 
that  acts  only  in  the  sunlight,  and  according  to  the 
J Electrotechnische  Zeitschrifl,  it  will  at  once  move  the  needle 
of  a galvanometer  if  a fleecy  cloud  obscures  the  sun  for  a 
few  moments.  The  action  of  the  battery  depends  on  the 
effect  of  chloride  of  copper  upon  mercury  ; subchloride  is 
formed,  and  reduces  the  chloride  of  silver  in  the  battery, 
such  change,  however,  only  taking  place  under  the  action 
of  sunlight. 


The  battery  is  easily  described.  It  consists  of  a glass 
vessel  containing  a solution  of  15  parts  of  common  salt, 
and  7 parts  of  sulphate  of  copper  in  106  parts  of  water ; 
in  the  glass  is  placed  a porous  cell  containing  mercury. 
One  pole  or  electrode  of  the  battery  is  of  platinum  wire, 
and  this  is  immersed  in  the  mercury  ; the  other  pole  is  of 
sulphide  of  silver,  and  is  placed  in  the  salt  solution.  When 
the  battery  is  placed  in  sunlight,  an  electric  current  is  set 
up,  which  will  at  once  move  a galvanometer  needle. 


“ Say  I am  a photographer  with  a new  process  so;  sensi- 
tive it  can  only  be  worked  at  midnight,”  is  the  excuse 
suggested  in  the  Silver  King  by  a chevalier  de  Vindustrie  who 
meditates  a quiet  burglary.  The  general  public  consider 
the  joke  a very  good  one,  for  they  have  heard  a good  deal 
about  new  sensitive  processes  lately. 


Medals,  disappointing  as  they  are  to  the  non-receivers, 
do  not  always  bring  satisfaction  to  the  recipients.  The 
case  of  Mr.  G.  F.  Williams,  who  won  the  gold  medal  at 
the  Alexandra  Palace  competition,  but  found  there  was  no 
medal  to  take  when  the  time  came  to  take  it,  the  honours 
attaching  thereto  having  in  like  manner  been  absorbed 
by  somebody  else,  whose  name  was  printed  in  lieu  of  that 
of  Mr.  Williams— such  a case,  we  say,  may  not  happen 
every  day  ; but  many  medallists  find  their  awards  con- 
siderably discounted  on  receipt.  Thus,  to  receive  a 
bronze  medal,  say  of  the  value  of  tenpence,  and  to  pay  a 
sum  of  thirty  shillings  or  two  pounds  for  expenses,  is  not 
an  unusual  experience  nowadays,  although  the  most 
striking  instance  of  the  kind  we  know  is  Mr.  Woodbury’s 
award  at  the  last  Moscow  Exhibition.  Here,  no  less  an 
honour  than  the  gold  medal  fell  to  his  lot ; and  this,  he  was 
informed,  would  be  at  once  forwarded  to  him  from  the 
ancient  capital  of  Russia  on  receipt  of  twenty-eight 
pounds ! 

A funny  story,  by-the-way,  is  told  of  the  recent 
Amsterdam  Exhibition.  A soap-maker,  who  makes  it  a 
custom  to  exhibit  at  these  international  gatherings,  was 
awarded  by  the  Dutch  authorities  nothing  more  than  an 
honourable  mention.  The  irate  manufacturer  of  saponified 
tallow  simply  wrote  back  that  he  wouldn't  take  it ; he  was 
used  to  getting  medals  at  these  exhibitions,  and  by 
St.  Christopher  ! — or,  whoever  the  god  of  soap  may  be— a 
medal  he  would  have  now.  The  Exhibition  authorities 
apologized,  acceded  to  his  request,  and  the  matter  ended. 


The  German  photographic  societies  have,  of  late,  made 
considerable  progress  in  the  enrolment  of  members,  the 
number  of  which  compare  favourably  with  those  in  Great 
Britain ; only,  in  quoting  figures,  it  must  be  remembered 
that  our  population  and  that  of  Germany  arc  widely  diffe- 
rent. The  most  popular  society  among  our  German- 
speaking  brethren  is  that  at  Vienna,  which  counts  376 
members.  In  the  Fatherland,  the  German  Photographic 
Society,  with  its  head-quarters  at  Weimar,  claims  333,  but 
then  Berlin  has  two  big  societies,  that  for  the  Advancement 
of  Photography  mustering  308,  and  the  Berlin  Photographic 
Society  with  179.  Then  there  is  an  “ International 
Victoria  ” Society,  holding  its  meetings  at  Guben,  with 
101  members,  the  Frankfort  Society  with  90,  the  Munich 
Society  with  50,  the  Rhinish- Westphalian  Society  with  43, 
the  Schleswig-Holstein  with  39,  the  Hamburg  Society  with 
29,  and  the  Nurnberg  Society  with  20  members. 


Our  readers  may  like  to  know  how  much  German  mem- 
bers pay  on  account  of  annual  subscription  to  their  societies. 
We  shall  be  happy  to  inform  them,  only  here,  again,  it  must 
be  remembered,  there  is  a difference  in  the  value  of  money 
between  us  and  our  German-speaking  cousins.  To  the 
Vienna  Society,  the  annual  subscription  is  eight  florins 
(say  13s  6d.) ; to  the  Society  for  the  Advancement  of 
Photography  in  Berlin,  it  is  sixteen  marks,  or  shillings; 
and  to  the  other  Berlin  Society,  twelve  marks.  In  the 
German  Society,  and  those  at  Munich,  Hamburg,  Frankfort, 
W estphalia,  the  subscription  is  ten  marks,  and  in  Nurnberg, 


fHE  PHOTOGRAPHIC  NEWS.  [November  16,  1883. 


730 

six  marks  ; while  the  “ International  Victoria  ” mulcts  its 
members  of  but  five  marks,  a fact  that  accounts,  perhaps, 
for  its  comparative  prosperity. 


fated  Intelligent. 

Application  for  Letters  Patent. 

5324.  Josei’H  Julius  Sachs,  of  Union  Court,  Old  Broad  Street, 
in  the  city  of  London,  for  an  invention  of  “ Improvements  in, 
or  connected  with,  the  production  of  surfaces  for  printing, 
embossing,  or  ornamental  puposes.” — Dated  10th  November, 
1883. 

Patent  Sealed. 

2677.  Alexander  Melville  Clark,  of  the  firm  of  A.  M.  and 
W.  Clark,  of  53,  Chancery  Lane,  in  the  county  of  Middlesex, 
Fellow  of  the  Institute  of  Patent  Agents,  for  an  invention  of 
“ Improvements  in,  and  in  apparatus  for,  changing  and  storing 
photographers’  backgrounds  and  other  movable  scenery.” — A 
communication  to  him  from  abroad  by  William  Evans  Lindop, 
of  St.  Thomas,  in  the  province  of  Ontario  and  dominion  of 
Canada. — Dated  30th  May,  1883. 

Grant  of  Provisional  Protection. 

4471.  Richard  Brown  and  Robert  William  Barnes  and 
Joseph  Bell,  all  of  Liverpool,  in  the  county  of  Lancaster, 
for  an  invention  of  “ Improvements  in  means  for  and  method 
of  producing  designs  upon  paper  or  other  fibrous  or  soft 
material.”— Dated  19th  September,  1883. 

Patent  Granted  in  Belgium. 

62,680.  R.  Brown,  R.  W.  Barnes,  and  J.  Bell,  Liverpool,  for 
“ Preparing  photographs  and  other  pictures  for  photographic 
reproduction.” — Dated  22nd  September,  1883. — English 
Patent,  15th  March,  1883. 


ISOCHROMATIC  PLATES. 

BY  GREENWOOD  TIM.* 

I PRESUME  we  are  all  aware  that  one  of  the  greatest  drawbacks  to 
photography  as  a means  of  producing  representations  of  objects 
in  nature  or  art  lies  in  the  fact  that,  so  far,  certain  colours  affect 
sensitive  plates  very  differently  from  our  optic  nerves  ; in  other 
words,  a colour  which  appears  light  to  the  eye,  such  as  yellow, 
comes  out  in  a photograph  darker  than  a (visual)  much  darker 
blue.  The  reason  is  equally  well  known — namely,  that  the  actinic 
power  of  yellow,  which  has  great  illuminating  effect,  is  but  feeble, 
while  blue,  which  is  weak  in  illumination,  is  strong  in  actinism. 
Indeed,  there  are  some  rays  of  the  spectrum  which  affect  sensi- 
tive surfaces  strongly,  while,  having  no  illuminating  power,  they 
are  quite  invisible  to  the  eye. 

In  the  month  of  June  last,  Mr.  J.  R.  Sawyer  read  an  elabo- 
rate paper  before  the  Photographic  Society  of  Great  Britain, 
detailing  a series  of  experiments  he  had  made  with  various  sensi- 
tive surfaces  to  reproduce  different  colours  according  to  their 
natural  values — in  fact,  to  convey  by  different  shades  of  a mono- 
chrome the  effect  of  a number  of  colours.  He  used  iodized  and 
bromized  collodions,  and  gelatine  plates,  both  plain  and  stained 
with  eosine.  Mr.  Sawyer  had  heard  about,  but  not  seen,  the 
plates  I am  about  to  bring  under  your  notice  this  evening,  and 
his  results  went  to  show  that  gelatine  plates  reproduced  the 
various  tints  much  better  than  collodion,  but  the  eosine  staining 
did  not  seem  to  have  had  much  effect. 

A few  weeks  ago  a lady — unknown  to  me — a sitter  of  Mr. 
John  Clayton,  the  patentee  inventor  and  Co.  with  M.  Attout- 
Tailfer,  of  Paris,  of  the  “ Isochromatic  ” plates,  very  kindly  sent 
me  two  prints  showing  the  effect  of  colours  photographed  on 
ordinary  and  on  the  new  patent  plates,  which  were  very  striking 
indeed.  A wood-cut  of  one  of  them  appeared  in  La  Nature  and 
in  the  Photographic  News  a few  months  ago.  In  the  other,  a 
band  of  yellow,  blue,  and  light  yellow  is  rendered  with  the  blue 
the  darkest,  orange  intermediate,  and  the  yellow  almost  white  ; 
while  on  the  ordinary  plate  they  are  just  the  reverse. 

At  this  lady’s  suggestion,  I wrote  to  her  brother,  who  was  good 
enough  to  send  me  a dozen  plates  to  experiment  upon.  So  far, 
I regret  to  say,  my  results  have  not  been  at  all  as  good  as  those 
sent  me,  but  it  is  quite  possible  that  by  more  care  in  adjusting 
the  exposure  I may  succeed  better. 

I pass  round  a few  rough  prints,  for  which  I must  apologise,  as 

* Read  before  tbe  Photographic  Society  of  Ireland. 


for  various  reasons,  especially  an  accident  to  the  toning  bath’ 
they  are  very  imperfect,  but  they  will  serve  for  illustration. 

Before  describing  my  experiments  in  detail,  I wish  to  state 
that  so  far  these  “ isochromatic  ” plates,  though  not  entirely,  or 
even  nearly,  isochromatic,  are,  nevertheless,  very  much  more 
so  than  ordinary  gelatino-bromide  plates,  and  I wish  at  present 
to  avoid  pronouncing  anything  like  a decisive  opinion  on  such 
very  insufficient  evidence. 

Experiment  1. — Two  skeins  of  wool;  one  shading  from  very 
dark  blue  to  white,  aud  the  other  from  very  dark  orange  through 
yellow  to  white.  As  the  French  plate  was  somewhat  slower  than 
the  ordinary  one  used  (YVunderschbnen)  I gave  it  a little  longer 
exposure  to  equalize  matters.  Result: — Relative  tints  much 
better  brought  out  by  “ iso  ” plate  than  ordinary,  but  blues  much 
lighter  than  yellows. 

Experiment  2. — A spray  of  canary  creeper  (bright  yellow)  and 
blue  lobelia  ; both  failled  through  under-exposure. 

Experiment  3. — Two  pale  yellow  single  dahlias  against  a bright 
blue-covered  book.  Also  under-exposed ; but  “iso ’’ plate  gave 
considerable  detail  in  flowers,  and  the  ground  somewhat  lighter  ; 
while  ordinary  plate  was  almost  destitute  of  detail,  giving  merely 
a black  patch  for  the  flower  on  a white  ground. 

Experiment  4. — A coloured  plate  of  pale  blue  and  pale  yellow 
water-lilies.  Result  : — Ordinary  plate,  blue  ; plate,  very  white  ; 
yellow,  very  dark.  “ Iso  ” plate  : blue  darker,  and  yellow 
lighter,  but  yet  not  like  originals,  as  the  yellow  was  much  the 
lighter  colour. 

Experiment  5. — A series  of  green,  light  yellow,  bright  blue, 
deep  red,  and  orange  ribbons  on  a cream  ground.  Result: — 
“ Iso  ” plate : Yellow,  a little  lighter  than  blue  ; green,  a little 
lighter  than  either  ; orange,  dark  ; and  red  quite  black.  Ordi- 
nary plate  : Yellow,  decidedly  darker  than  blue  or  green  ; orange 
and  red,  both  quite  black.  In  these  experiments  I photographed 
the  card  sent  me  with  orange,  blue,  and  yellow  alluded  to  above. 
My  result  approximated  to,  but  did  not  nearly  equal,  Mr.  Clay- 
ton’s. 

Experiment  6. — A coloured  plate  of  a flower  having  deep  blue 
petals  and  bright  yellow  stamens.  Result Iso ’’  plate: 
Flower,  light ; stamens,  plenty  of  detail,  slightly  darker.  Ordi- 
nary plate  : Flower  about  same  tint  as  the  other,  but  stamens 
quite  black  and  no  detail.  Exposure  to  “ iso  ” and  ordinary  were 
alike  in  these  two  experiments. 

Experiment  7. — Same  as  No.  5,  but  developed  with  ferrousoxa- 
late,  but  no  ordinary  plate  used  for  comparison.  Result : — Very 
much  the  same,  but  image  more  vigorous  than  in  No.  5,  in  which, 
as  in  all  the  others,  except  Nos.  7 and  8,  pyro  was  used  about 
four  grains  to  the  ounce. 

Experiment  8. — A light  purple  flower  with  yellow  stamens. 
No  ordinary  plate.  Result : - Purple  and  yellow  rendered  about 
the  same  tone  ; yellow  rather  darker. 

In  experiment  No.  3,  I had  also  a light  buff  flower,  which  on 
the  ordinary  plate  came  out  very  white,  and  much  less  so  on  the 
isochromatic  plate. 

Messrs.  Attout-Tailfer  and  John  Clayton,  18,  Rue  des  Cor- 
delieres,  Paris,  the  firm  who  are  making  these  plates,  sent  me  at 
my  request  their  prospectus  with  prices,  which  are  very 
much  the  average  of  ordinary  English  makers’  plates,  and 
they  seem  to  be  good,  clean,  well-coated  plates  (one  I tried 
failed  to  intensify  with  mercury ; I do  not  know  whether 
that  applies  to  all)  ; and  if,  in  addition,  a little  practice  will 
enable  us  to  reproduce  colours  more  in  accordance  with  nature, 
they  will  be  a very  decided  step  in  advance,  and  will,  no  doubt, 
soon  come  into  general  use.  However,  it  is  for  figures  and  for 
copying  paintings  rather  than  for  landscapes  that  I imagine  their 
chief  utility  will  consist.  How  they  differ  from  ordinary  plates 
I of  course  do  not  know  ; but  that  eosine  has  something  to  do 
with  it  is,  to  say  the  least,  highly  probable. 

I have  not  myself  as  yet  tried  the  effect  of  staining  an  ordinary 
plate  with  eosine,  but  as  others  have  failed  to  get  much  result  in 
this  way,  we  may  suppose  that  it  is  in  some  other  way — perhaps 
in  the  emulsion  that  it  is  applied. 


ferwjwn&ttta. 

CUSTOM  HOUSE  OFFICERS  AND  DRY  PLATES. 

Dear  Sir, — I have  just  read  the  letter  of  Mr.  W.  J.  A. 
Grant  in  your  impression  of  last  week,  wherein  he  relates 
his  uufortunate  experiences  in  getting  his  sensitive  plate.. 


NOVEMBER  16,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


7.31 


through  the  Custom?.  I have  been  frequently  surprised 
at  reading  from  time  to  time  of  gentlemen  having  to  relate 
similar  difficulties.  Mr.  Graut  asks:  “How  do  gentle- 
men who  go  abroad  manage  with  the  Customs?” 
Well,  I must  confess  I can  only  speak  for  myself,  and 
having  travelled  a little,  I think  I can  speak  with  some 
authority.  I have  travelled  twice  through  France,  and 
once  through  Switzerland,  also  to  the  United  States  aud 
Canada  ; and  during  the  whole  of  my  experience,  I never 
had  a single  thing  touched  or  meddled  with  in  any  way. 
When  I have  gone  before  the  Custom  officers,  I treat 
them  gentlemanly,  and  pleasantly  explain  to  them  my 
position  as  an  amateur,  aud  open  my  “kit,”  and  inform 
them  at  once  what  I have,  without  waiting  for  them  to 
ask  questions  ; and  on  no  single  occasion  have  I ever  had 
the  slightest  difficulty  in  passing.  Nowhere  are  courtesy 
and  good  humour  better  repaid  than  going  through  the 
Customs.  The  officers  are  only  doing  their  duty,  aud  they 
can  make  it  very  disagreeable  in  return  for  any  hauteur  or 
lack  of  courtesy.  Frankness  and  politeness  is  a sine-qua- 
non.—l  am,  faithfully  yours,  Joseph  R.  Greatouex. 


Sin, — It  seems  to  me  that  the  examination  of  passengers’ 
luggage  depends  very  much  upon  the  disposition  of  the 
officials  at  the  time  of  examining,  and  that  Mr.  Grant’s 
case  is  a mcst  unfortunate  one.  Last  June  I went  abroad 
accompanied  by  my  wife,  and  our  luggage  consisted  of  a 
trunk  for  personal  uses,  and  containing  the  bulk  of  my  dry 
plates,  packed  in  separate  dozens,  a small  hand-bag,  a 
satchel,  and  a changing-box  containing  my  apparatus  and 
a few  dozen  plates.  At  the  German  frontier  the  boxes 
were  simply  opened  aud  shut  again  ; at  Schaff  hausen  the 
officer  just  turned  the  larger  box  over  and  made  his  chalk 
mark,  without  noticing  the  smaller  parcels ; but  at 
Fontarlier,  on  our  return,  the  case  was  very  different ; there 
were  but  half  a dozen  passengers  who  had  luggage,  and  we 
had  two  hours  to  wait  ; boxes  were  all  opened,  and  the 
contents  thoroughly  looked  at,  my  packets  of  plates 
coming  in  for  a good  deal  of  attention.  The  official  was 
several  times  on  the  point  of  tearing  some  of  them  open, 
and  it  was  with  the  greatest  difficulty  that  1 could  prevail 
upon  him  not  to  do  so  ; and  after  a lot  of  hesitation  he  made 
his  chalk  marks  aud  left  me,  but  only  to  commence  on  four 
or  five  portmanteaus  all  belonging  to  one  gentleman,  which 
amused  him  for  about  an  hour ; he  turned  everything 
out,  and  intied  every  little  packet  he  had,  including  note- 
paper,  letters,  and  photographs,  and  was  quite  delighted 
at  finding  a small  packet  of  playing  cards,  which  he  took 
away  from  him. 

At  Paris  our  box  had  again  to  be  opened,  and  a partial 
examination  made,  and  on  landing  at  Newhaven  the  boxes 
were  passed  unopened,  and  1 brought  home  about  two 
hundred  exposed  plates  in  safety. — I am,  sir,  yours  truly, 

P.  H.  Fincuam. 


HOW  THE  CIIITTYWEE  WAS  TAKEN. 

Dear  Sir, — I read  Mr.  West’s  account  of  how  the 
ChiUjwee  wastaken,  and,  like  “ Amateur,”  was  much  inter- 
ested, not,  however,  in  thesamedirection.  I do  not  feelat 
all  anxious  to  know  if  the  camera  was  supported  by  boxes, 
or  casks,  &c.,  but  should  much  like  to  know  had  the  para- 
graph— “ I was  unable  to  say  positively  if  there  was  more 
water  than  sky,  or  more  sky  than  water,  or,  in  fact,  any- 
thing at  all  . . . however,  as  I say,  it  turned 

out  all  right" — been  appended  to  Mr.  West’s  exhibit, 
would  the  judges  have  looked  upon  it  as  a work  of  skill? 
— Faithfully  yours,  C.  R.  Y. 


PHOTOGRAPHIC  EXHIBITION. 

Dear  Sir,— In  reference  to  your  most  just  criticism  re 
“ Dress  of  Patience,”  may  I just  say  that  the  photograph 
was  not  specially  got  up  for  exhibition  or  to  present  any 
particular  character,  being  only  one  of  my  ordinary  sitters 


in  a rather  pretty  fancy  dress.  As  the  most  suitable  name 
I called  it  “ Patience,”  after,  of  course,  [the  heroine  of 
Gilbert  and  Sullivan’s  opera  ; but  it  must  not  be  taken  as 
representing  my  idea  of  what  a rustic  milkmaid  usually  is. 
A'l  the  photographs  I sent  were  of  my  ordinary  type  of 
sitters. 

Now  I am  writing,  I would  like  to  say  that  I entirely 
agree  with  Mr.  Vernon  Heath  and  others,  that  the  present 
time  of  holding  the  Exhibition  is  exceedingly  inconvenient 
to  the  professional  photographer,  who  should  have  no  time 
in  the  summer  to  devote  to  the  production  of  negatives  or 
prints  for  exhibition  purposes.  If  the  Exhibition  were  held 
(say)  in  March  or  April,  photographers  would  have  time  to 
get  up  a few  negatives.  Now  the  majority  are  quite 
debarred  from  exhibiting. — I am,  yours  faithfully, 

Norjian  May. 


Dear  Sir, — Your  critic,  iu  the  Exhibition  notices,  says 
of  the  picture  I sent,  that  he  does  not  “ quite  understand 
it,  and  that  it  is  somewhat  uncanny.”  It  is  a photographic 
rendering  of  the  well-known  picture  “ Tintoreto  and  his 
Daughter.”  It  is  stated  on  the  mount  after — perhaps  a 
long  way — “ Tintoreto’”  I don’t  know  that  there  is  any- 
thing in  it,  excepting  the  record  of  the  fact  that  Tintoreto 
did  paint  a picture  from  his  daughter  after  death. — Yours 
truly,  G.  E.  Alder, 

PHOTOGRAPHS  OF  CRIMINALS. 

Dear  Sir, — I beg  to  draw  your  attention  to  one  or  two 
things  regarding  my  letter  of  last  week. 

In  the  first  place,  there  is  an  error  in  one  word  on  page 
71G,  second  column,  line  60,  in  which  the  words  “if  con- 
victed or  without,”  should  read,  “if  convicted,  not  with- 
out.” No  photograph  or  former  conviction  is  ever  pro- 
duced against  a prisoner  at  his  tiial  until  he  be  found 
“ guilty  ” on  the  current  charge. 

In  another  part  of  my  letter,  I state  that  I printed  ten 
off  every  prisoner's  negative  ; I omitted  to  state  that  photo- 
graphs of  prisoners  who  were  acquitted  were  not  sent  to 
the  police,  but  only  placed  in  the  prison  albums,  and  never 
made  use  of,  except  a prisoner  returned  on  another  charge 
on  some  future  occasion. 

In  your  note,  appended  to  my  letter,  you  say,  “ The 
rule  at  all  convict  prisons  is,  that  prisoners  are  never  out 
of  the  charge  of  a warder ; ” but  I'oDly  wrnte  regarding 
“ Newgate,”  which  was  not  a convict  prison,  but  a house 
of  detention,  and  the  photographer  there,  although  an 
“ officer,”  was  not  a “ warder,”  and  yet  prisoners  were 
sometimes  in  my  charge  alone,  as  they  were  also  at  times 
iu  the  charge  of  the  cook,  engineer,  and  schoolmaster,  who 
w'ere  not  vrarders,  although  officers  ; but  of  the  regulations 
of  convict  prisons  I know  very  little. — I am,  sir,  yours 
obediently,  R.  F.  Bertolle. 


PATENT  PROCESSES. 

Sir,— My  attention  has  been  called  to  a letter  in  your 
issue  of  the  26th  ult.,  wherein  a Mr.  C.  Chesterman,  of 
St.  Petersburg,  makes  use  of  a certain  process,  devised 
and  patented  by  me,  as  the  text  for  a homily  against  the 
practice  of  our  Patent  Commissioners  and  patent 
authorities  generally. 

With  regard  to  this  I have  nothing  to  say  ; but  as  the 
description  your  correspondent  gives  of  the  claims  in  my 
patent  is  erroneous  and  misleading,  and  calculated  to 
injure  me,  I must  ask  your  permission  to  contradict  it. 
I have  no  desire  to  trespass  upon  valuable  space  by 
describing  my  process  in  detail — those  of  your  readers  to 
whom  the  matter  is  of  sufficient  interest  may  satisfy  them- 
selves by  consulting  my  specification  ; but  perhaps  you  will 
permit  me  to  say  that  the  process  was  only  devised  for  the 
purpose  to  which  it  is  especially  adapted,  after  trying  and 
rejecting  all  known  and  published  methods. 

Mr.  Chesterman  states  that  my  Germau  patent  was 


752 


THE  PHOTOGRAPHIC  HEWS. 


[November  16,  1883, 


granted  on  the  strength  of  the  English  one.  Another 
error  ! Mr.  Chesterman  ought  to  know  that  in  Germany 
patents  are  never  so  obtained.  In  my  own  case  the 
diploma  was  only  granted  after  a careful  investigation  into 
the  novelty  of  the  process.  That  these  are  opinions  of  my 
process  somewhat  divergent  from  that  of  your  corres- 
pondent his  own  letter  testifies  ; and  I fancy  few  people 
who  know  Berlin  and  St.  Petersburg  both  will  have  much 
difficulty  in  appraising  the  value  of  the  scientific  judgment 
of  the  two  capitals,  nor  in  accounting  for  the  reception  or 
rejection  of  any  application  to  Russian  officialism  on 
grounds  little  connected  with  its  merits. — I am,  sir,  yours 
obediently,  John  M.  Moss. 


DmM&ings  0*  Sociftus. 

Photographic  Society  of  Great  Britain. 

The  first  ordinary  monthly  meeting  of  the  above  Society  for  the 
present  session  was  held  at  5a,  Pall  Mall  East,  on  Tuesday  evening, 
the  13th  inst.,  Mr.  James  Glaisher,  F.R.S.,  President,  in  the 
chair. 

The  minutes  of  the  last  meeting  having  been  read  and  con- 
firmed, the  following  gentlemen  were  elected  members  of  the 
Society: — Messrs.  Thomas  Annan,  H.  R.  Banant,  Leonard  Norman 
Chadwick,  William  Cotesworth,  W.  Dawson,  Alfred  Ellis,  T. 
Fall,  James  Goulburn,  E.  H.  Griffiths,  M.A.,  Henry  Harben, 
Lieut.  E.  C.  Tyrell  Hawke,  R E.,  Messrs.  H.  Bedford  Leraare, 
W.  N.  Malby,  Harry  A.  Moncricff,  William  Newall,  Fox  Shaw, 
A.  Stewart,  Peter  Thellusson,  Clement  Tulloch,  W.  H.  Weldon, 
and  A.  J.  West. 

The  Chairman  then  presented  the  Exhibition  medals  to  the 
following  gentlemen  : — Messrs.  W.  Mayland,  H.  P.  Robinson, 
Seymour  Conway,  H.  B.  Berkeley,  Dr.  W.  F.  Donkin,  West  and 
Son,  the  Autotype  Company,  Messrs.  Adam  Diston,  J.  G.  Whaite, 
J.  Bullock,  W.  Cobb,  Dr.  Common,  A.  and  C.  Annan,  W.  B. 
Woodbury,  and  A.  Lugardon,  of  Geneva. 

The  Chairman  said  that,  having  thus  fulfilled  the  wishes  of  the 
jurors  of  the  Exhibition  in  announcing  the  awards,  he  felt  it 
incumbent  on  him  to  mention  the  names  of  Messrs.  Lyddell  Sawyer, 
G.  Sehvvn  Edwards,  Manfield,  Brightman,  Vanner,  Henry 
Dixon,  Henry  Stevens,  Beasley,  Junr.,  Bearne,  Faulkner,  Malby, 
Valentine  Blanchard,  W.  England,  W.  Ackland,  and  Sutcliffe, 
all  of  whom  had  exhibited  pictures  of  great  merit.  He  -would  now’ 
call  upon  the  members  for  a very  warm  vote  of  thanks  both  to  the 
hanging  committee  and  the  jurors,  and  in  doing  so,  would  ask 
them  to  try  and  imagine  the  great  labour  there  had  been  in  con- 
nection both  with  the  hanging  and  the  awards.  The  hanging 
committee  had  to  make  the  best  arrangement  they  could,  and  it 
seemed  at  first  almost  impossible  to  get  anything  like  order  out  of 
the  collection  of  pictures  ; day  by  day  the  pictures  were  put  up, 
while  the  judges  made  their  notes  independently  of  each  other,  and 
this  for  several  hours  each  day  during  several  days.  He  thought 
that  for  voluntarily  giving  up  their  time,  and  for  the  care  and 
consideration  they  had  displayed,  both  the  judges  and  the  hanging 
committee  were  entitled  to  the  best  thanks  of  all  concerned. 

The  votes  of  thanks  having  been  warmly  accorded, 

The  Chairman  said  that  up  to  and  including  Monday  evening, 
the  12th  inst.,  there  had  been  9,304  visitors  to  the  Exhibition,  and 
the  money  taken  amounting  to  ,£222  odd,  and  therefore  it  was 
the  best  Exhibition  they  had  had,  both  as  regarded  the  number  of 
visitors  and  the  receipts.  At  the  lantern  exhibitions  there  had 
usually  been  from  three  to  five  hundred  visitors  on  each  occasion, 
and  the  question  had  been  mooted  as  to  whether  next  year  they 
should  hold  them  more  frequently. 

Mr.  Jabez  Hughes  then  read  a paper  entitled,  “ Thirty  years 
of  Photographic  Progress  . How  it  has  been  secured,  and  how  it 
may  be  maintained,’'  in  which  he  commenced  by  expressing  a 
fear  that  his  paper  might  prove  somewhat  dry  and  uninteresting  ; 
but  he  would  ask  the  indulgence  of  his  audience  for  its  imperfec- 
tions. Of  one  thing  he  felt  quite  sure — viz.,  that  after  the  pro- 
ceedings they  had  witnessed  that  evening,  it  was  evident  that 
the  advancement  that  had  been  made  in  photography  was  chiefly 
due  to  their  own  Society.  He  thought  that  the  members  might 
well  afford  to  devote  one  evening  to  the  consideration  of  the  direct 
and  indirect  results  of  their  past  work.  It  was  scarcely  possible 
that  the  same  progress  would  be  made  in  another  thirty  years 
as  had  been  made  in  the  past  thirty,  and  some  explanation  might 
prove  interesting  as  to  how  this  advancement  had  been  brought 


about.  It  wras  the  object  of  his  paper  to  show  this,  and  also  that 
the  absolute  rise  and  progress  of  photography  was  connected  with 
and  through  their  Society.  Photography  da'ed  its  existence  for 
all  practical  purposes  from  Fox  Talbot  and  Daguerre,  and  it  was 
curious  to  compare  these  two  methods  with  the  experience  since 
acquired.  By  each  method  the  image  in  the  camera  was  for  the 
first  time  secured  ; each  was  worked  out  independently  of  the 
other.  Both  appeared  about  the  same  time ; each  used  the  same 
sensitive  salt  (iodide  of  silver)  to  produce  the  image  in  the 
camera,  and  each  used  a developer  to  bring  out  the  image.  But 
here  the  similarity  ceased.  Daguerre’s  was  a positive  photograph 
on  thick  glass  plates,  Talbot’s  a negative  one  on  thin  paper. 
Daguerre’s  process  had  a brilliant  existence  until  collodion  came 
into  use,  then  it  died  out.  It  was  not  a whole  or  complete  process, 
only  a positive  process  produced  by  negative  means;  its  advent 
was,  however,  a splendid  episode  in  photographic  history. 
Talbot’s  process,  on  the  contrary,  succeeded  on  account  of  a two- 
fold advantage  it  possessed — viz.,  that  it  was  both  a positive  and  a 
negative  process,  each  being  capable  of  independent  working,  all 
progress  since  made  in  paper  photography  only  consisting  of  altera- 
tions and  variations  of  this.  Glancing  fora  moment  at  the  many 
different  ways  by  which  negative  wet  and  dry  processes  had  been 
produced  since  Talbot’s  time,  Mr.  Hughes  remarked  that  the 
contrast  between  the  Calotype  process  of  1840,  and  the  gelatine 
process  of  1880,  was  almost  ludicrous.  In  Talbot’s  researches 
the  first  results  were  crude  and  uncertain,  and  it  was  be  borne  in 
mind  that  there  was  a total  absence  of  collateral  knowledge  to 
guide  the  student  into  new  fields.  Men  of  such  high  scientific 
culture  as  Sir  John  Herschel  and  Robert  Hunt  undertook  these 
researches,  and  by  such  labours  as  these  the  art  was  placed  on 
a firm  scientific  basis;  and  as  fresh  knowledge  was  gained,  the 
band  of  students  increased.  The  Exhibition  of  1851  gave  a 
special  impetus  to  the  work,  and  the  discovery,  about  the  same 
time,  of  the  collodion  process  contributed  very  greatly  to  the 
progress  of  the  art.  In  January,  1853,  the  first  meeting  of  the 
present  Society  was  held,  with  Sir  Charles  Eastlate  as  president, 
and  the  founding  of  this  Society  completed  the  chain  between  the 
very  commencement  of  photographic  research  until  the  present 
time.  New  enthusiasm  was  imparted  to  the  early  workers  by 
being  thus  associated  together,  and  an  impetus  in  the  art  arose 
which  has  never  since  subsided.  The  example  of  this  Society  was 
followed  by  the  establishment  of  others  at  Liverpool,  Edinburgh, 
Manchester,  Dublin,  Birmingham,  and  other  places,  and  about 
this  time  appeared  the  first  organ  of  the  photographic  press. 
The  establishment  of  photographic  exhibitions  by  this  Society 
also  contributed  much  to  the  advancement  of  the  art, 
especially  as  regards  technical  skill,  and  the  exhibitions  of  the 
Photographic  Society  of  Great  Britain  might  now  be  considered 
as  the  “ Royal  Academy  of  Photography.”  What  had  hitherto 
been  merely  a curiosity,  now  became  a household  necessity,  and 
the  interchange  of  portraits  became  general.  Mr.  Hughes  did  not 
propose  to  note  the  myriad  courses  into  which  photography  has 
now  prominently  woven  itself,  but  would  simply  draw  attention 
to  the  fact  that  photography,  which  was  practically  unknown 
thirty  years  ago,  had  now  taken  its  place  with  the  other  arts.  If 
industry  were  all  that  was  required,  the  progress  would  be  much 
greater  ; but  some  of  the  labour  had  been  ill-expended,  and  to  an 
outside  observer  there  might  seem  to  have  been  a waste  of  energy  in 
discovering  new  processess,  and  then  throwing  them  aside  for  others. 
Photography  had  already  passed  through  two  eras,  and  paper  and 
collodion  were  now  entering  upon  a third,  viz.,  gelatine,  and  Mr. 
Hughes  expressed  his  conviction  that  the  gelatine  period  would 
as  much  excel  collodion  as  the  latter  had  surpassed  paper  ; having 
seen  how  progress  had  been  secured  in  the  past,  it  would  not  be 
difficult  to  maintain  it  in  the  future,  by  going  on  doing  as  they 
had  done  before,  but  with  greater  zest.  In  concluding  his  paper, 
Mr.  Hughes  spoke  in  eulogistic  terms  of  the  very  important  aid 
rendered  to  the  Society  by  their  President,  Mr.  James  Glaisher, 
who,  he  said,  had  been  connected  with  photography  since  its 
earliest  days,  and  he  was  sure  that  they  had  never  had  a more 
useful  member. 

A vote  of  thanks  having  been  accorded  to  Mr.  Hughes  for  his 
paper, 

Colonel  Stuart  Wortley  objected  to  the  paper  being  con- 
sidered history  until  it  had  been  taken  into  discussion,  as  he  had 
noticed  that  while  some  sames  of  little  note  in  the  photographic 
world  had  been  brought  into  prominence,  other  names  of  dis- 
tinguished workers  had  been  entirely  omitted,  as  well  as  some  of 
the  leading  processes. 

Mr.  Hughes  explained  that  on  account  of  the  great  length  of 
his  paper  originally,  he  had  been  obliged  to  cut  it  down,  and  in 


November  16,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


733 


so  doing,  had  taken  out  some  of  the  names  which  Colonel  Wort  ley 
would  perhaps  have  liked  to  hear  mentioned  ; he  had  not  pre- 
tended to  give  more  than  a mere  outline  of  the  progress  of  the 
art,  but  nothing  would  give  him  more  pleasure  than  to  have  a 
discussion  on  the  paper. 

The  Chairman  said  that  as  it  was  usual  on  the  present  occasion 
to  close  the  meeting  earlier  than  usual,  to  enable  the  members  to 
walk  round  and  examine  the  pictures  before  the  Exhibition  closed, 
it  would  be  necessary  to  adjourn  the  discussion  of  the  paper  to  a 
future  occasion.  He  also  said  that  the  first  business  at  their  next 
ordinary  meeting  would  be  adjourned  discussion  of  Mr.  Spurge’s 
paper  read  at  their  meeting  in  June. 

The  meeting  was  then  adjourned  to  Tuesday,  11th  December. 


London  and  Provincial  Photographic  Association 
At  the  meeting  of  this  Society,  held  on  Thursday,  the  8th  inst , 
Mr.  W.  E.  Debenham  in  the  chair, 

Mr.  J.  Traill  Taylor  delivered  a lecturette  on  Photographic 
Lenses.  He  commenced  his  lecture  by  speaking  of  the  functions 
of  lenses,  and  then  proceeded  to  describe  the  method  and  rules 
by  which  the  curves  are  computed  in  order  to  give  a lens  of 
definite  focus  irrespective  of  its  form.  Optical  glass  and  its 
defects  were  spoken  of,  and  examples  of  defective  lenses  sub- 
mitted for  inspection.  Several  tools  for  grinding  lenses  of 
various  curvatures  were  exhibited,  together  with  a large 
collection  of  glass  discs  in  various  stages  of  progress,  from  the 
first  rough  grinding  to  the  highly  polished  surface  obtained  from 
the  factory  of  Messrs.  Ross  and  Co.  The  details  of  polishing 
and  edging  were  described,  and  a complete  series  of  the  various 
grades  of  emery  employed  in  the  several  stages  in  the  career  of  a 
lens  was  handed  round  for  examination.  By  diagrams  on  the 
black  board  the  lecturer  illustrated  the  forms  of  the  various  kinds 
of  lenses,  and  explained  their  special  influence  on  rays.  In  this 
way  were  shown  the  meaning  and  effect  of  positive  and  negative 
spherical  aberration.  Chromatic  aberration  was  explained  in  like 
manner,  and  a ray  was  projected  first  through  a single  lens,  and 
then  through  one  that  had  been  achromatized,  showing  in  what 
manner  the  latter  effected  the  recomposition  of  the  decomposed 
ray.  Speaking  of  the  optical  centre  of  a lens,  he  said  it  was  not 
from  that  centre,  as  hitherto  popularly  supposed,  that  the  focus 
of  a lens  or  a combination  of  lenses  had  to  be  measured,  but 
from  another  point,  near  to  it,  known  as  the  Gauss  point,  a know- 
ledge of  which  exercised  the  greatest  possible  influence  on  the 
construction  of  lenses.  Mr.  Taylor  then  drew  a diagram  showing 
in  what  manner  the  two  Gauss  points  of  a bi-convex  lens  were 
ascertained,  and  exhibited  a sheet  on  w’hich  was  drawn  every 
form  of  lens  with  their  optical  centres  and  Gauss  points  indicated. 
The  subject  of  distortion  was  then  treated  of,  and  its  nature, 
cause,  and  method  of  prevention  entered  into.  By  means  of  a 
diagram  he  showed  the  evolution  of  a perfect  non-distorting  lens 
of  the  “ rapid  ” class  from  a primitive  double  convex  crown 
glass  lens.  The  influence  of  density  of  glass,  together  with  that 
of  thickness,  was  explained  and  illustrated  by  diagrams.  The 
construction  and  peculiarities  of  a portrait  combination,  and  the 
influence  of  the  back  lens,  with  its  excess  of  negative  aberration, 
were  described.  He  showed  by  what  means  a very  rapid  por- 
trait lens  (a  No.  3 carte)  was  made  to  include  an  angle  of  130° 
by  means  of  pivots  at  the  optical  centre,  the  plates  being  shot 
across  its  axis  during  the  rotation  of  the  lens,  in  the  manner  of 
the  pantascopic  camera.  The  lecturer  concluded  by  requesting 
careful  examination  of  the  valuable  exhibits  on  the  table  kindly 
lent  by  Messrs.  Ross  and  Co.  for  the  occasion. 

In  reply  to  questions, 

Mr.  Taylor  said  that  experienced  workmen  could  detect  strise  ; 
that  the  time  occupied  in  vitrifying  a pot  of  optical  glass  would 
be  four  or  five  days  ; and  that  it  would  take  about  three  weeks 
to  make  a cabinet  lens  from  moulding  to  the  final  polishing.  In 
reply  to  Mr.  Henderson  he  6aid,  examining  one  of  the  pair  of 
lenses  some  time  ago,  he  found  it  very  yellow ; subsequently  it 
was  ascertained  that  this  particular  lens  had  been  employed  for 
some  time  in  a solar  camera.  Removing  discoloured  balsam  was 
an  easy  operation  if  conducted  with  care.  After  removing  the 
lens  from  its  cell,  it  should  be  lowered  into  a water  bath  just  hot 
enough  to  be  comfortably  borne  by  the  hands.  A few  minutes’ 
immersion  suffices,  when  the  lenses  may  be  separated  by  sliding 
the  upper  one  gently  off ; these  are  next  cleaned  either  with  old 
collodion,  ether,  or  beuz  ile,  using  papier  Joseph  as  a rubber  ; 
fresh  balsam  is  dropped  on  one  lens,  and  the  other  is  pressed  on 
it,  thu.s  repelling  the  excess  aud  air  as  well. 

Mr.  E.  Twiss  was  of  the  opinion  that  oils  and  varnishes  became 
bleached  in  sunlight,  not  darkened. 


Mr.  F.  York  said  Canada  balsam  possessed  the  property  of 
darkening  in  exposure  to  light,  not  bleaching  ; the  flint  in  opera 
glasses  soon  became  discoloured. 

In  reply  to  a member,  the  CnaiRMiN  pointed  out  that  dis- 
colouration was  of  two  kinds,  one  which  may  be  said  to  be  super- 
ficial, and  the  other  in  which  the  colour  goes  through.  The 
former  can  generally  be  removed  by  friction  with  putty  powder, 
the  latter  not  so. 

A hearty  vote  of  thanks  was  accorded  to  Mr.  Taylor  for  his 
interesting  lecture. 

The  next  lecture  will  be  delivered  by  Mr.  A.  L.  Henderson, 
on  “Ceramic  Enamels." 


Glasgow  Photographic  Association. 

The  third  general  meeting  of  this  Association  was  held  in  the 
Religious  Institution  Rooms  on  Thursday,  the  8th  inst., 
Councillor  Robertson  in  the  chair. 

'I  he  minutes  were  read  and  approved. 

Mr.  Parker  proposed  that  Mr.  Norman  Macbeth,  R.S.A.,  be 
elected  an  honorary  member  of  the  Association ; this  was 
seconded  by  Mr.  McLear,  and  unanimously  agreed  to. 

At  the  request  of  the  Chairman,  Mr.  Parker  described  the 
process  by  which  he  made  the  transparencies  which  gained  the 
prize  in  the  recent  competition.  He  said  : “ There  i3  really 
nothing  in  the  process  I used  that  is  not  familiar,  I should  think, 
to  every  member  of  the  Society.  • Such  as  it  is,  however,  is  as 
follows  : — 1st.  As  to  taking  the  impressions,  these  are  all  done 
in  the  camera,  as  my  negatives  are  all  large,  so  that  I cannot 
print  the  transparency  by  superposition.  I h .ve  to  reduce  in 
all  cases.  The  method  of  reduction  is  nothing  new,  and  has 
been  described  a thousand  and  one  times  in  the  photographic 
journals.  I use  daylight ; but  artificial  light  might,  of  course,  be 
used.  2nd.  I use  the  ordinary  wet  plate  and  silver  bath.  The 
bath  decidedly  acid,  thecollodion  old,  or  at  least  with  any 
iodine,  so  as  to  secure  clean,  clear  shadows  ; rapidity,  of  course, 
is  quite  a secondary  matter.  3rd.  I develop  with  the  ordinary 
iron  and  acetic  acid,  but  to  this  I add  two  or  three  drops  of 
Carey  Lea’s  collo-restrainer,  some  of  which  I made  eight  or  ten 
years  ago,  and  which  I have  still.  This  is  really  the  only  thing 
to  note  in  the  whole  process.  4th.  Fix  with  cyanide  of 
potassium.  5th.  Tone  in  the  ordinary  acetate  of  gold  bath  as 
used  for  paper  prints,  but  with  a little  addition  to  the  proportion 
of  gold.  Of  one  thing  I was  specially  careful,  to  use  no  negative 
with  dense  deposits  on  the  lights,  as  on  foliage,  &c.,  which  always 
produces  a snowy  effect,  which,  I think,  is  to  be  carefully  avoided, 
whether  in  transparencies  or  paper  prints.  ’’ 

A number  of  coloured  photographs  were  exhibited  by 
Mr.  Rowan,  as  agent  in  Glasgow  for  a French  firm  who  patented 
the  process  in  Britain  this  spring.  They  were  much  admired 
and  the  Chairman  thanked  Mr.  Rowan  for  his  kindness  in  show- 
ing them. 

A number  of  magic  lantern  slides,  lent  for  the  occasion  by 
Messrs.  York  and  Son,  illustrating  towns  and  places  of  interest 
on  the  Mediterranean,  were  then  shown  on  the  screen,  and  were 
explained  by  the  Secretary  reading  a descriptive  paper,  which 
accompanied  them.  A vote  of  thanks  was  heartily  accorded  to 
the  Messrs.  York  for  their  readiness  in  complying  with  the 
request  for  specimens  of  their  work,  and  also  to  Mr.  Swan,  who 
exhibited  the  slides,  and  to  the  Secretary. 

The  meeting,  which  was  composed  of  members  and  friends, 
was  very  large,  and  was  brought  to  a close  by  a vote  of  thanks 
to  the  Chairman. 


Edinburgh  Photographic  Society. 

The  twenty-fourth  annual  meeting  of  the  Society  wfas  held  in 
5,  St.  Andrew  Square,  on  Wednesday  evening,  7th  November, 
Mr.  William  Neilson  occupying  the  chair. 

The  Secretary  read  the  minutes  of  last  annual  and  ordinary 
meetings,  which  were  approved,  and  the  following  were  un- 
animously elected  ordinary  members  of  the  Society : —Messrs. 
Erskine  Steele,  W.  A.  Hyslop,  R.  A.  Proctor,  Alex.  Lawrie, 
Edmund  Jarman,  Wm.  J.  C.  Barry,  David  Harvie,  Andrew 
Hunter,  and  Miss  Ellen  Hennell. 

The  Secretary  submitted  the  following  report  for  the  year 
ending  October  1883. 

The  Council,  in  presenting  twenty-fourth  annual  report,  have 
pleasure  in  congratulating  the  members  on  the  continued 
prosperity  of  the  Society. 

It  is  with  much  regret  the  Council  have  received  intimation  that 
through  the  serious  indisposition  of  our  esteemed  President, 


734 


THE  PHOTOGRAPHIC  NEWS. 


[November  16,  1883. 


Mr.  John  Lessels,  he  has  been  compelled  to  resign.  It  will 
therefore  be  necessary  to  appoint  a successor  at  this  annual 
meeting.  There  are  also  five  new  members  of  Council  to  appoint. 

At  the  beginning  of  the  Session  the  Society  lost  by  death  the 
services  of  its  esteemed  Secretary,  Mr.  Malcolm  G.  Dobbie, 
and  Mr.  William  Dougall  undertoook  the  duties  of  interim 
Secretary  until  a successor  was  appointed.  At  the  second 
meeting  of  the  session  the  interim  Secretary  read  a minute  of 
Council,  recommending  that  the  dual-secretaryship  be  abolished, 
and  that  Mr.  William  T.  Bashford  be  appointed  to  do  the  whole 
secretarial  duties  for  the  current  year.  This  recommendation 
was  unanimously  adopted. 

During  the  past  session  the  Society  has  lost  eight  members 
by  death,  and  thirty-nine  by  removals  and  resignations— total 
forty-seven  ; whilst  fifty-two  new  members  have  been  admitted. 
The  total  number  on  the  roll  is  now  392. 

The  attendance  at  the  monthly  meetings  has  been  excep- 
tionally large.  The  matter  brought  before  the  Society  has  been 
interesting,  practical,  and  instructive,  and  it  has  boen  gratifying 
to  the  executive  to  find  that  some  of  the  communications  have 
been  reproduced  on  several  occasions  in  scientific  journals  other 
than  photographic. 

The  following  papers  have  been  read  : — “ An  Early  Taste  for 
Art,”  by  Mr.  Norman  Macbeth,  R.S. A. ; “A  Flexible  Window 
for  the  Dark-Room,”  by  Mr.  Andrew  B.  Stewart  ; “ A New 
Departure  in  Alkaline  Development,”  by  Mr.  J.  M'Kean; 

“ Canterbury,  its  Cathedrals  and  Antiquities,”  by  Dr.  Alexander 
Hunter,  F.R.C.S.E.  ; “ Dry  Plates  and  their  Development,”  by 
Mr.  Samuel  Tankin  ; “ Notes  on  Commercial  Photography  in 
the  United  States,”  by  Mr.  John  P.  Suverkrop ; ‘‘Gelatine 
Plates  for  Transparencies,”  by  Mr.  Andrew  B.  Stewart;  “Notes 
on  Green  Fog,”  by  Mr.  John  M.  Turnbull ; “ Dead-Black  Sur- 
faces for  Optical  Brass  Work,”  by  Mr.  William  Forgan  ; “ A 
View-Meter,”  by  Mr.  Thomas  H.  W.  Knolles ; “ A Camera- 
Director,”  by  Mr.  Thomas  H.  W.  Knolles  ; “ Micro-Photo- 
graphy,” by  Mr.  William  Forgan  ; “ Notes  on  a Trip  from  Maine 
to  California,”  by  Mr.  John  G.  Tunny;  “A  New  Sky-Shade,” 
by  Mr.  Norman  Macbeth,  R.S.A. 

The  following  items  were  also  exhibited  ; — Gas-Light  Photo- 
graphs, by  Mr.  S.  Tankin  ; Moon-Light  Photographs,  by  Mr.  F. 
Moffat ; Instantaneous  Views,  by  Mr.  Reid  ; Platinum  Prints, 
by  the  Hon.  A.  U.  Erskine  ; Photography  by  Artificial  Light 
(Magnesium  in  Oxygen),  by  James  Howie;  Snowscapes,  by 
Mr.  Robert  Murray,  C.E. ; Lantern  Transparencies,  by  Mr.  J. 
Macdonald  ; Apparatus  for  the  Production  of  Micro-photo- 
graphs, by  Messrs.  William  Forgan,  Dr.  Thomson,  and  Alexander 
Mathieson  ; Micro- photographs,  by  Mr.  Garner;  a large  series 
of  American  Views,  by  Mr.  J.  G.  Tunny. 

The  questiou-box  has  been  made  use  of  on  several  occasions, 
and  has  been  the  means  of  eliciting  useful  information. 

The  Popular  Meetings  still  continue  to  bean  attractive  feature 
of  the  Society’s  operations.  Two  largely  attended  meetings 
were  held  in  Queen  Street  Hall,  the  first  on  21th  January  being 
“ A miscellaneous  collection  of  Transparencies,  by  members  of 
the  Society,”  with  remarks  by  the  Secretary  ; and  the  second  on 
21st  March,  when  the  Rev.  John  A.  Ireland  delivered  a lecture, 
“Shetland  and  the  Shetlanders,”  illustrated  by  a series  of  trans- 
parencies. In  both  these  exhibitions,  the  Curator,  Mr.  J.  M. 
Turnbull,  conducted  the  lantern  manipulations  with  much 
acceptance. 

The  Annual  Trip  took  place  on  12th  July ; there  was  an 
attendance  of  109;  and  Mr.  Turnbull,  who  was  treasurer  of  this 
excursion,  reports  that,  from  a financial  point  of  view,  it  was 
the  most  successful  ever  held  under  the  auspices  of  the  Society, 
there  being  a surplus  of  £3  13s. 

The  presentation  print  for  the  last  year,  “ Will  they  never 
come  ? ” by  Mr.  H.  P.  Robinson,  and  for  which  he  was  awarded 
the  gold  medal  of  the  Society  at  the  International  Prize  Compe- 
tition, has  been  distributed,  and  the  presentation  print  for  the 
session  will  be  issued  shortly. 

The  thauks  of  the  Society  are  due  to  Mr.  Turnbull,  who 
kindly  allowed  the  use  of  a room  free  of  charge  for  several  com- 
mittee meetings,  also  to  the  dditor  of  the  Photographic  News 
for  the  loan  of  photo-type  blocks  to  illustrate  a paper. 

The  Society  has  also  received  the  following  presentations  : — 
Madeira  Spectroscopic,  by  Professor  Piazzi  Smyth  ; Year-Book 
of  Photography  and  Prittsh  Journal  Almanac , by  their  respec- 
tive editors ; an  enlarged  autotype  photograph  of  the  members 
attending  the  annual  trip  to  Dirlton,  by  Mr.  M’Ghie  ; two 
framed  pictures  by  Mr.  Pettit;  The  Journal  of  the  Photographic 
Society  of  Great  Britain. 


Mr.  H.  H.  Pillars  read  a report  of  his  intromissions  during 
the  past  year,  from  which  it  appeared  that  there  remained  a 
balance  at  the  bank  and  in  treasurer’s  hands  amounting  to 
£37  11s.  9d. 

The  election  of  office-bearers  was  then  proceeded  with. 

The  President  (Mr.  John  Lessels)  having  been  compelled  to 
resign  through  serious  illness,  the  Council  recommended  for  the 
office  Mr.  Norman  Macbeth,  R.S.A,  who,  however,  under  medical 
advice,  and  in  deference  to  the  wish  of  hi3  family,  while  respect- 
fully acknowledging  the  honour  offered,  was  constrained  to  de- 
cline. The  following  elections  then  took  place : — 

President — Mr.  William  Nielson. 

Vice-Presidents — Mr.  Craig- Christie  and  Mr.  J.  G.  Tunny. 

Council  (to  fill  vacancies) — Messrs.  A.  B.  Stewart,  A.  M.  Forbes, 
Thomas  Wardale,  Jun.,  Samuel  Tamkin,  and  J.  M.  McKean. 

The  Secretary  was  instructed  to  convey  the  thanks  of  the 
Society  to  Mr.  Lessels  for  the  many  services  it  had  received  at 
his  hands  during  the  time  he  has  so  efficiently  acted  as  its  presi- 
dent, to  inform  him  of  its  extreme  solicitude  on  his  behalf,  and 
express  the  hope  that  he  might  be  speedily  restored  to  health. 

A cordial  vote  of  thanks  was  awarded  to  Mr.  A.  T.  Niven,  C.A., 
who  still  continued  to  audit  the  accounts. 

The  thanks  of  the  Society  having  been  accorded  to  Mr.  James 
Henderson,  retiring  vice-president,  and  to  the  five  retiring 
members  of  council, 

Mr.  Norman  Macbeth,  R S.A.,  read  a paper  “A  Ferrous- 
Oxalate  Developer  ” (page  727),  after  which  the  meeting  ad- 
journed till  Wednesday,  oth  December. 


Photographic  Society  of  Ireland. 

The  annual  meeting  was  held  in  the  Royal  College  of  Science 
Professor  J.  Emerson  Reynolds  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and  con- 
firmed, Messrs.  W.  Hogg  and  J.  Roberts  were  elected  members  ; 
and  Messrs.  C.  J.  Smith,  John  Chancellor,  and  Dr.  Pearsall  were 
proposed  for  membership. 

The  following  report  and  statement  of  accounts  of  the  council 
were  presented  : — 

“ In  bringing  before  you  once  more  the  report  of  the  work  done 
during  the  past  year,  we  have  much  pleasure  in  announcing  the 
continued  increase  of  members,  17  having  been  elected  .luring  the 
year,  so  that  the  number  at  present  on  the  list  is  77.  The 
ordinary  monthly  meetings  have  been,  on  the  whole,  well 
attended,  when  the  following  communications  were  laid  before 
you;— “On  a Reliable  Method  of  Drying  Gelatine  Films,”  by 
J.  V.  Robinson  ; “With  the  Camera  in  North  Italy,”  by  Green- 
wood Pun  ; “A  Fortnight  in  the  West  of  Ireland,”  by  Chas.  W. 
Watson ; “ On  Halation,  or  Blurring,”  by  Alex.  Conan  ; “ On 
Crystoleum  Photography,”  by  J.  V.  Robinson  ; “ On  Micro- 
Photography,”  by  L’r.  Scott ; “ On  Electricity  for  Dark  Room 
Illumination,”  by  Chas.  W.  Watson  ; “ On  the  Present  State  of 
Amateur  Photography,  and  its  Probable  Future,”  by  J.  V. 
Robinson.  Besides  the  above  communications,  a number  of 
instructive  and  interesting  subjects  have  been  laid  before  you,  and 
various  novelties  in  apparatus  have  been  brought  under  your 
notice.  And  we  have  to  again  express  our  thanks  to  those  mem- 
bers who  have  contributed  to  the  general  information,  and  hope 
that  the  supply  of  papers  in  the  coming  session  may  be  fully  sus- 
tained. The  annual  out-door  excursion  and  lantern  exhibition 
were  held  as  usual.  We  have  also  to  express  our  thanks  to  the 
council  of  the  Royal  College  of  Science  for  the  use  of  their 
premises  during  the  year,  and  to  Professor  Barrett  for  the  use  of 
his  laboratory. 

The  statement  of  accounts  showed  a balance  in  hand  of 
£39  19s.  Id. 

It  was  agreed  that  the  report  of  council  and  statement  of 
accounts  be  adopted,  and  that  the  council  be  re-elected. 

Mr.  Greenwood  Pim  communicated  a paper  on  “ Isochromatic 
Plates  ” (see  page  730). 

Thero  was  a well-sustained  debate  on  this,  in  which  Messrs. 
Alex.  Conan,  J.  V.  RobinsoD,  J.  Woodworth,  T.  Mayne,  and 
others  took  part. 

Dr.  Scott  exhibited  a photograph  of  the  “Vocal  Organs 
while  Singing. 

At  the  close  of  the  meeting,  the  President  in  his  address  drew 
particular  attention  to  the  various  theories  and  expeiiments  which 
have  arisen  from  time  to  tune  on  the  action  of  light  on  the  sensi- 
tive film,  Captain  Abney's  recent  researches  in  this  direction 
claiming  a large  share  of  attention. 

The  albums  of  the  Society  were  also  placed  on  the  tables. 


THE  PHOTOGRAPHIC  NEWS. 


735 


November  16,  1883.] 


The  next  meeting  will  be  held  in  the  Royal  College  of  Science, 
on  Friday,  December  14th. 


North  Staffordshire  Photographic  Association. 

A meeting  was  held  on  Nov.  7th,  Mr  T5.  S.  Burgess  in  the  chair, 
when  theseason’s  report  was  presented,  and  officers  were  elected. 

It  was  decided  that  the  Association  should  provide  plates  for 
the  forthcoming  lantern  exhibition,  and  the  Secretary  was  in- 
structed to  procure  them  from  the  Derby  Dry  Plato  Company. 

The  following  report  was  read  ; — 

“As  it  is  barely  a year  since  this  Association  was  organized,  we 
can  scarcely  term  this  an  annual  meeting  ; still  it  must  pass  as 
such,  the  month  of  November  being  practically  the  end  of  the 
photographic  year,  and  also  by  one  of  our  rules  the  Society  are 
bound  to  hold  a meeting  at  Martinmas  in  each  year  for  the 
election  of  officers,  the  passing  of  accounts,  &c. 

“ An  opinion  having  been  expressed  by  many  of  the  leading 
photographers,  both  professional  and  amateur,  iu  the  district, 
that  an  association  might  advantageously  be  formed  here,  it  was 
determined  to  try  the  experiment ; a preliminary  meeting  was 
held  at  Stok-on-Trent,  and  rules  were  drawn  up.  Invitations  to 
all  the  known  persons  who,  either  as  amateurs  or  professionally, 
practise  photography  have  been  seat  to  join  the  Society,  and 
in  the  majority  of  cases  these  invitations  have  been  accepted  ; 
the  election  of  applicants  for  admission  as  members  being 
made  by  ballot. 

“ Eleven  meetings  have  been  held,  some  at  Burslem,  others  at 
Stoke-on-Trent  and  Hanley.  Two  out-door  excursions  have  been 
made,  one  to  Dovedale,  and  the  other,  by  kind  permission  of  His 
Grace  tbe  Duke  of  Sutherland,  to  Trentkatn  ; these  have  in  both 
case3  been  successful,  and  productive  of  much  enjoyment  and 
feeling  of  good  fellowship  among  the  members. 

“ The  first  president  of  the  Society,  Mr.  Sexton,  having 
obtained  an  appointment  elsewhere,  resigned  his  post  on 
July  19th,  and  one  of  our  worthy  vice-presidents,  Mr.  C.  Alfieri, 
has  well  and  ably  filled  the  temporary  vacancy. 

“ On  August  2nd,  the  very  day  of  our  excursion  to  Dovedale, 
we  lost  by  death  one  of  our  most  valued  members,  Mr. 
J.  Lockett,  whose  place  it  will  be  difficult  to  fill,  he  having  been 
one  of  the  oldest  amateur  photographers  in  the  district,  and  his 
only  fault  being  his  too  good  nature.  It  has  been  decided  by 
ballot  that  another  member  should  be  crossed  off  the  list,  making 
a total  loss  of  three  members  during  the  season. 

“ Five  papers  have  been  read  on  different  subjects,  and  the 
thanks  of  the  Society  are  due  to  those  gentlemen  who  have 
contributed  to  the  edification  and,  in  one  case,  great  amusement 
of  the  members. 

*•  The  committee  of  the  Wedgwood  Institute,  Burslem,  having 
overcharged  us  for  hire  of  a room,  it  has  been  resolved  to  hold 
no  more  meetings  there.  The  temporary  Committee,  appointed 
until  November,  now  resign,  another  Committee  to  be  elected 
to-night  in  their  place  ; you  will  also  be  asked  to  elect  a president 
and  two  vice-presidents. 

“ On  several  occasions  during  the  Society  meetings,  the 
question  of  collodion  versus  gelatine  has  formed  the  subject  of 
much  discussion  ; on  one  occasion  one  of  the  ardent  supporters  of 
collodion  even  gave  a challenge  to  any  gelatine  plate  worker  to 
try  his  photographic  strength  under  equal  conditions.  The 
challenger  not,  however,  turning  up  on  the  day  of  trial,  it  must 
perforce  be  considered  that  the  gelatine  process  here,  as  else- 
where, is  in  the  ascendant,  and  that  we  as  a society  are  in  no 
way  behind  the  times. 

“ Taking  into  consideration  the  fact  that  we  are  a young 
society,  or  rather  an  old  one  resuscitated,  which  is  much  the 
same,  we  have  passed  our  trial  stage  successfully,  and  now  being 
established  firmly  we  only  require  additions  to  our  numerical 
strength  to  enable  us  to  compare  favourably  with  older  societies. 
I may  add  that  our  numbers  increase  at  almost  every  meeting  ; 
and  several  gentlemen  of  standing  in  the  county  have  joined, 
lending  their  names  and  assistance  as  honorary  members.  And 
I venture  to  opine  that  should  we  progress  as  favourably  during 
the  coming  winter  and  wet  season,  and  in  the  same  ratio,  our 
county  of  Stafford  will  nowhere  be  photographically  behindhand.” 

The  election  of  officers  resulted  as  follows  : — 

President — Dr.  Craig. 

Vice-presidents — Messrs"  Chas.  Alfieri  and  F.  J.  Emery. 

Committee— Messrs.  Blackshaw,  Burgess,  Hal),  Henshall 
Potter,  and  Kirkby. 

Secretary  and  Treasurer—  W . B.  AHison,  32,  West  Street 
Stoke-on-Trent.  ’ 


Newcastle- on-Tyne  and  Northern  Counties’  Photographic 
Association. 

The  ordinary  monthly  meeting  was  held  on  Tuesday  evening,  the 
13tli  inst.,  Prof.  Bedson  in  the  chair. 

Mr.  Bulman  was  nominated  for  membership. 

The  Lion.  Secretary  read  a paper  on  the  “ Carbon  Process,” 
and  gave  a demonstration  which  was  highly  appreciated  by  those 
present.  Mr.  Pike  was  accorded  a hearty  vote  of  thanks. 

A large  number  of  pictures  are  promised  for  the  Exhibition  ; 
over  three  hundred  frames  will  be  on  view,  and  these  contributed 
by  many  of  the  most  eminent  photographic  artists  in  the  Kingdom. 
Owing  to  a slight  misunderstanding,  it  is  not  yet  too  late  to  con- 
tribute pictures  ; they  will  be  received  at  the  Central  Exchange 
Art  Gallery,  Newcastle-on-Tyne,  up  to  Tuesday  evening,  the 
20th  inst. ; they  should  be  carriage  paid,  and  addressed  to  Messrs. 
Barlcas  and  Tweedy,  and  a notice  should  be  posted  to  the  lion. 
Secretary  the  same  day  that  the  goods  are  despatched,  giving 
name  of  pictures  and  other  particulars  for  insertion  in  the 
catalogue. 


Mk  in  tbs  itubin. 

Mr.  Ruskin’s  Lectures  on  Art. — Mr.  Raskin  always  takes 
great  pains  with  the  illustrations  of  his  Oxford  lectures,  and  on 
this  occasion  he  exhibited  the  original  drawing  of  the  frontis- 
piece of  Punch,  besides  several  enlarged  reproductions  of  Mr. 
Du  Maurier's  drawings,  some  of  them  pbotog  -aphed  by  Miss 
Kate  Greenaway’s  brother,  and  others  done  “ more  faithfully 
than  any  photographer  could  ” by  Mr.  Macdonald,  the  Master  of 
tbe  Ruskin  Drawing  School.  These  copies,  as  well  as  a series  of 
servant  maids  and  flunkeys  from  some  of  the  earlier  numbers  of 
Punch,  are  to  be  added  to  the  collection  in  the  School  as  soon  as 
the  University  will  allow  its  Professor  any  room  for  them. — 
Truth. 

Photographic  Progress. — In  an  interesting  lecture  delivered 
in  the  Rochester  Workmen’s  Literary  Club,  on  Tuesday  evening, 
by  Sergt-Major  Doyle,  R.E.,  for  insertion  of  which  we  regret  we 
have  no  room  this  week,  the  lecturer  made  the  following  remarks 
on  the  Stannotype  printing  process : — “ I have  now  to  bring  to 
your  notice  a most  delicate  and  beiutiful  permanent  printing  pro- 
cess, the  ‘ Stannotype.’  It  is  the  invention  of  Mr.  W.  B.  Wood- 
bury, a gentleman  well  known  in  the  photographic  world  as 
possessing  an  ingenious  and  inventive  mind.  He  has,  in  the 
‘ Stannotype  ’ process,  given  to  photographers  a simple  but  effective 
method  of  producing  an  unlimited  number  of  permanent  prints 
quickly,  cheaply,  and  possessing  as  great  delicacy  and  beauty  as 
silver  prints.” 

Photo-Relief  Castings  in  Brass,  Gold,  and  Steel. — Mr. 
P.  Barry,  who  is  well  known  as  a practical  and  scientific  metal- 
lurgist, has  shown  us  some  examples  of  his  method  of  casting. 
His  photo-reliefs  for  ornamental  purposes  in  brass  and  other  hard 
metals  are  extrememly  fine  in  detail,  and  should  be  appreciated 
by  the  public.  The  most  surprising  feat  of  Mr.  Barry  is,  how- 
ever, the  re-duplication  of  some  of  Mr.  Dallas’  tint  blocks  in 
brass,  and  we  may  mention  that  among  bis  specimens  Mr. 
Barry  showed  us  a cast  from  a portrait  block  printed  on  page  598 
of  the  present  volume.  A cast  in  brass  or  steel  is  far  more 
durable  as  a printing  surface  than  type  metal  or  the  usual  elec- 
trotype, and  Mr.  Barry's  castings  are  likely  to  prove  of  much 
value  as  a means  of  applying  photography  to  the  production  of 
embossing  plates  for  use  by  the  book-binder.  Casts  of  portrait 
subjects  in  gold  or  silver  have  been  also  made  by  Mr.  Barry. 

Dr.  Koller,  in  Centralblatt  fur  Textil  Industrie,  draws 
attention  to  the  fact  that  if  silk  tissues  are  impregnated  with 
chromate  of  copper,  and  then  exposed  to  direct  sunshine,  various 
shades  of  brown  may  be  obtained,  and  the  silks  are  rendered 
waterproof.  This  peculiarity  of  the  chrome  salts,  especially  of 
the  chromates  of  copper  and  mercury,  was  published  in  the  Report 
of  the  Cork  meeting  of  the  British  Association  in  1843. 

Observation  on  Thermo-  and  Actino-Electricity  of 
Quartz,  by  W.  IIankel. — Friedel  and  Curie  do  not  consider 
actino-eb etneity  to  be  a particular  phenomenon,  but  merely  to 
be  caused  by  an  irregular  heating  of  the  crystal.  In  the  present 
paper  the  author  describes  various  forms  of  experiments  made 
both  to  confirm  his  previous  results,  and  to  prove  that  tbe 
position  of  the  poles  is  reversed  according  as  the  crystal  is  left  or 
right  bauded.  He  Las  also  extended  bis  experiments  on  aclino- 
electricity,  which  is  shown  to  differ  from  pyro-electricity  in  that, 
firstly,  the  former  causes  a polarity  of  crystallographic  axes 


736 


THE  PHOTOGRAPHIC  NEWS. 


precisely  the  reverse  of  that  which  would  be  produced  by  the 
latter,  were  the  ray  of  light  merely  a source  of  heat.  Secondly, 
actino-electricity  reaches  its  maximum  about  40"  after  the 
commencement  of  the  radiation,  and  disappears  at  about  the 
same  interval  of  time  after  the  withdrawal  of  the  radiating  body  ; 
whilst  the  pyro  electric  difference  of  potential  is  slowly  evolved 
by  heating  or  cooling  the  crystal.  Thirdly,  it  is  proved  that  the 
actino-electricity  is  not  produced  by  unequal  heating  of  the 
crystal.  But  if  the  radiation  be  long  continued,  then  from  the 
warming  of  the  mass  of  the  crystal,  pyro-electricity  is  produced, 
causing  ultimately  an  opposite  polarity  in  the  axes.  Experi- 
ments are  also  quoted  to  show  that  actino-electricity  is  a reversible 
phenomenon,  for  the  approach  of  a cold  body  near  a crystal 
causes  an  opposite  polarity  to  that  produced  by  a warm  body. 
— Journal  of  the  Chemical  Society. 

Bromine  in  the  United  States. — According  to  a paper  read 
before  the  American  Pharmaceutical  Association,  the  annual 
production  of  bromine  in  the  United  States  amounts  to  from 
460,000  to  500,000  lbs.  It  is  obtained  from  the  bittern  of  ealt- 
welis — i.e.,  the  residue  after  the  salt  has  been  removed  from  the 
brine — and  in  six  localities  named,  the  bittern  is  so  rich,  that, 
for  every  two  barrels  of  salt  it  yields  one  pound  of  bromine. 
The  separation  of  bromine  is  said  to  be  now  carried  on  at  all  the 
brine  works  where  it  can  be  conducted  profitably,  and  unless 
fresh  deposits  are  discovered,  the  production  is  more  likely  to 
decrease  than  increase. — Journal  of  the  Society  of  Arts. 

Photoqraphic  Club. — At  the  next  meeting  on  Wednesday, 
November  21st,  the  subject  for  discussion  will  be  “Alkaline 
Pyro.  Development,  relative  merits  of  different  formulae,  and 
methods  of  empioying  them,  especially  with  the  object  of 
developing  rapid  exposures.” 


Sffl  &amsp0G&fttts. 

%*  To  Hox.  Secretaries  op  Photographic  Societies. — 
Kindly  send  in  at  once  to  the  Editor  of  the  Year-Book  of 
Photography,  care  of  Messrs.  Piper  and  Carter,  5,  Castle 
Street,  Holborn,  a revised  list  of  president  and  officers,  together 
with  place  and  day  of  meeting. 

August. — You  will  find  the  Dallmeyer  lens  you  mention  will  do 
all  you  state. 

T.  S. — If  you  will  look  in  eur  advertising  columns,  you  will  see  that 
Mr.  Cowan’s  plates  are  in  the  market. 

Engraver. — 1.  It  is  certainly  better  to  useperchloride  of  iron  than 
ni*ric  acid,  under  such  circumstances  as  you  refer  to.  2.  The 
coating  of  nickel  is  so  thin  as  in  no  way  to  interfere  with  the 
clearness  and  definition  of  the  work,  but  it  forms  a very  effectual 
protection  against  wear. 

Calx. — Although  perfectly  pure,  sugar  contains  no  mineral  or  in- 
organic matter  ; you  are  likely  to  have  some  difficulty  in  obtain- 
ing a sample  which  will  leave  no  trace  of  ash  when  burned. 

Dry  Plate. — 1.  Place  the  beaker  which  contains  the  emulsion  in  a 
large  vessel  containing  warm  water,  and  add  a little  boiling  water 
from  time  to  time.  2.  They  are  generally  made  by  machinery, 
but  occasionally  by  hand. 

M.  E. — You  may  regard  ordinary  whiting  as  the  basis  of  the 
pigment,  and  the  required  modifications  in  tint  are  attained  by 
the  use  of  vegetable  black,  ochre,  or  umber ; these  colours 
should,  with  the  exception  of  the  whiting,  be  purchased  already 
ground  with  water ; and  for  use  they  are  mixed  with  a warm 
ten  per  cent,  solution  of  glue.  The  proportion  of  pigment  to  be 
added  must  be  determined  by  experiment — a friable  coating 
indicating  too  much  pigment,  whiles  semi-lustrous  appear- 
ance of  the  dry  distemper  shows  that  the  glue  is  in  excess. 

A.  H.  Short. — Perhaps  Messrs.  Marion  and  Co.,  of  Soho  Square, 
could  obtain  it  for  you. 

H.  S. — 1.  Either  a portable  symmetrical  lens  or  a wide  angle  rec- 
tilinear will  be  best  for  the  purpose,  and  your  camera  should  bo 
provided  with  a rising  front.  2.  We  do  not  know  where  you 
could  see  it  in  action,  as  naturally  thoso  who  uss  it  commercially 
would  scarcely  care  about  devoting  much  time  to  demonstrating  its 
action  to  those  who  might  perhnps  become  rivals  in  trade.  3.  The 
pictures  are  very  pleasing,  ana  we  congratulate  you  on  having 
secured  easy  and  natural  poses. 

Bristolian. — Do  not  blame  the  formula,  but  look  well  to  camera 
slides,  shutters,  and  dark  room  blind,  as  we  are  of  opinion  that 
you  will  find  that  the  mischief  arises  from  the  action  of  light  on 
the  plate. 

Little  Photographer. — The  difficulty  of  judging  as  to  the 
density  is  considerably  greater  than  in  the  case  of  a collodion  nega- 
tive, and  we  can  only  suggest  that  you  should  select  some  dozen 
characteristic  negatives,  attach  a print  to  each,  and  look  over  the 
aeries  occasionally. 


[November  16,  1883. 


An  Anxious  Enquirer. — You  can  obtain  it  from  the  Artists’ 
Colour  Manufacturing  Co.,  31,  Hatton  Wall,  E.C. 

Robert  B . — No  copyright  can  ever  exist  in  the  original  after 

its  publication  in  the  manner  you  describe;  but  you  can  establish 
some  kind  of  a “Bogus”  copyright  by  working  up  one  of  the 
original  copies,  r<  producing  it,  and  registering  as  a fresh 
picture. 

Glass  House. — We  would  strongly  advise  you  to  take  no  steps, 
or  you  may  find  that  your  own  position  will  be  altogether  under- 
mined. 

Copper. — It  is  due  to  the  formation  of  a thin  layer  of  subchloride ; 
lint  this  can  be  cleared  off  at  once  by  immersion  in  dilute  hydro- 
chloric acid. 

John  Handson.— 1.  It  is  a case  of  the  reversed  action  of  light. 

2.  A practical  article  on  tho  subject  will  be  found  in  the  forth- 
coming Year-Book,  which  appears  on  the  20th  of  next  month. 

3.  See  a paper  by  Mr.  C.  Cuttriss,  on  p.  321  of  our  volume  for 

1881.  4.  Plain  collodion  is  an  excellent  varnish  for  the 

purpose.  5.  We  are  not  surprised  at  it,  as  we  should  have 
acted  in  exactly  the  same  way.  6.  Mr.  Spiller’s  astringent 
solution  is  composed  of— 


Alum  

Citric  acid 

Strong  ammonia ... 
Water  


1 ounce 
l ounce 
| ounce 
16  ounces 


L.  B.  B. — Immediately  after  the  image  has  been  transferred  to 
stone,  and  all  trace  of  (he  paper  or  facing  have  been  removed,  the 
surface  is  brushed  over  with  mucilage  of  gum-arabic,  and  when 
this  is  dry  you  may  safely  transmit  the  stone  to  a lithographic 
printer.  2.  Full  inhumation  will  be  found  in  Richmond’s 
“Grammar  of  Lithography,  ” published  by  Wyman,  of  Great 
Queen  Street,  London. 


IJif  ijiotograplw  $tefos  ^fgistrg. 

Employment  Wanted. 

Retoucher  and  Colourist  — L.  T.,  28,  Sherlock-rd.,  Mansfield-rd.,  N.W. 
Reception  Room,  Spot,  &c. — E.  8.,  Cambridge  House,  Amhurst-park,  N. 
Operator  and  Retoucher.— G.,  C,  Ann-st.,  Tcttenhall-rd.,  Wolverhampton. 
Printer  and  Toner,  or  Assist.  Operator.— A.  Z.,  151,  Sandringham-rd.,  N. 
Optical. — Manager  or  Principal  Assist.— Optic,  Photographic  News  Office. 
Collotype,  Photo-litho,  &e  , Operator.— Photo-mechanical,  Photo.  News. 
Operator,  lighting  & posing. — F.  W.  C.,  8,  Bolton-rd.  liigh-rd.,  Chiswick 
Operator,  clever  with  children. — A.  P.,  Photographic  News  Office. 

Printer,  Toner,  Ac.,  first-class. — A.  Z..  15 1,  Sandringham-rd.,  Dalston. 
Operator  and  Retoucher. — H.  C S.,  4,  Beatrice-villas,  Ossory-rd.,  S E. 
Finishing  Enlargements  at  Home. — L.  K.,  Spring  House,  Merton,  Surrey. 
Recep.  Boom.— Colouring,  & Spotting  (Lady).— H.,  36,  Pulford-st.,  Pimlico. 
Assist.  Printer  and  Toner. — H.  Adams,  7,  Albert-ter.,  Sandown,  I.  of  W. 
Landscape  Photographer.-  Operator,  Aslett  House,  Sandown,  I.  of  W. 

Employment  Offered. 

Artist  (first-class)  for  Calcutta. — T.  E.  A.,  19,  Wigmore-st.,  Cavendish-sq. 
Youth,  to  Sensitize  Paper. — T.  3.  Turner,  10,  Barnsbury,  N. 

Retoucher  (Lady)  for  permanency.— Turner  and  Killick,  17,  Upper-st..  N. 
Photo-Lithograpber,  used  to  Woodbury  type. — Z.V.,  150,  Queen  Vic.-st.,  E.C. 
Silver  Printer,  also  Assist  — Boning  aDd  Small,  22,  Baker-st.,  Portman-sq. 
Operator  and  Retoucher. — D.  and  G.,  158,  Regent-st.,  W. 

Printer  & Toner,  good  Yignetter  (perm.).— Acetate,  Photo.  News  Office. 
Assistants,  A.  G.  B.  Enlarging  Department.— Morgan  & Kidd,  Richmond. 
Retoucher,  also  Lady  to  Spot. — A.,  Photcgraphic  News  Office. 

Silver  Printer  and  Vignetter.— Cox,  Tavistock  Chambers,  Nottingham. 
Young  Man,  generally  useful. — A.  B.  0 , Mr.  Richardson,  High-rd.,  Lee. 
Gelatine  Plate  Coater. — X.  X.,  Rouch  and  Co.,  180,  Strand,  W.O. 

Operator,  first-class. — Debenham  and  Gabell,  158,  Regent-st.,  W. 

Young  Lady,  Reception  Room. — H.  R.,  Photographic  News  Office. 

Silver  Printer  and  Toner. — R.  Steward, Elgin. 

Manager  of  Photo,  and  Optical  Business. — B.B.,  P.O.  Vigo-st.,  W. 

Artist,  Club  Work  in  Oil. — W.  H.  Ledgard,  11,  Lumb-lanc,  Bradford. 


A QUARTER  OF  A CENTURY 

OF  PUBLICATION. 


The  simple  fact  that  the  Hrar-^ooli  of 
has  run  out  of  print  during  the  past  two  years  within 
six  months  of  its  publication,  is  proof  sufficient  of  its 
popularity  and  wide  circulation,  and  Alessrs.  Piper  and 
Carter,  in  announcing  its  appearance  for  1884,  need 
put  forward  no  better  claim  as  to  its  value  as  an  adver- 
tising medium. 

Intending  Advertisers  in  the  Hfar-Hflok  of  ^plrotu- 
grap^ir  JllTotogrnjjIiic  gtffos  gJmnnar  should  com- 
municate with  them  at  once  at  the  Office,  5,  Castle 
Street,  Holborn,  London,  E.C. 


SUPPLEMENT  TO  'THE  PHOTOGRAPIHC  NEWS"  IS1"  NOVEMBER.  1883  . 


WATERLOO  PIER.  LONDON 


— 


* fe  *. 


PATE 


K >-T- 


LI3RARY 


THE  PHOTOGRAPHIC  HEWS, 


o j. 


Vol.  XXVII.  No.  1316. — November  23,  1883. 


CONTENTS. 


PAGE 

Use  of  the  Dynamo  Machine  in  the  Heliographic  Department 

of  the  Vienna  National  Bank  737 

The  Mounting  of  Prints 738 

Gelatino-Bromide  Paper  for  Positive  Pictures 738 

Photo-Block  Printing  from  Nature 739 

Coloured  Photographs  on  Glass 740 

“ By-the-Bye  How  to  Make  and  Use  a Velvet  Roller ' 1 1 

Review  742 

Photo-Lithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 742 

Notes 743 


page 

Patent  Intelligence 745 

A Cheap  and  Efficient  Exposer.  By  T.  G.  Whaite 747 

Eosine  and  other  Stained  Plates.  By  Fred  E.  Ives 747 

Glasgow  Exhibition  747 

Manchester  Photographic  Society  : Past,  Present,  and  Future  747 

The  Autotype  or  Carbon  Process.  By  J.  Pike 748 

Correspondence  749 

Proceedings  of  Societies 730 

Talk  in  the  Studio 751 

To  Correspondents 752 

The  Photographic  News  Registry  752 


USE  OF  TI1E  DYNAMO  MACHINE  IN  THE  11EI.IO- 
GRAPHIC  DEPARTMENT  OF  THE  VIENNA 
NATIONAL  BANK. 

We  recently  called  attention  to  the  way  in  which  the  gal- 
vanic battery  i3  employed  by  M.  Scamoni  to  produce 
relief  plates  for  photo-mechanical  printing,  and  detailed 
the  work  pursued  at  the  St.  Petersburgh  State  Paper  Office. 
We  now  take  the  opportunity  of  speaking  of  a similar 
application  of  electricity  to  the  production  of  heliographic 
printing  blocks  at  the  National  Bank  of  Vienna.  Here, 
not  a galvanic  battery,  but  the  well-known  dynamo- 


machine,  which,  as  our  readers  know,  is  universally  em- 
ployed for  the  grinding  out  of  electric  light,  is  made  use 
of. 

Many  large  establishments  are  now  in  possession  of  a 
dynamo-machine,  so  that  its  employment  is  adopted  for 
electrotyping  for  more  reasons  than  one.  At  the  National 
Bank  of  Vienna,  where,  as  in  our  Bank  of  England,  the 
paper  money  of  the  country  is  printed,  they  make  con- 
siderable use  of  photography,  especially  in  the  case  of  fine 
and  microscopical  work.  It  is  in  the  process  of  converting 
the  photographic  negative  into  a printing  block  that  an 
elect.-ic  current  is  desirable,  and  we  may  here  remark  that 


the  Pretsch  method  of  securing  a gelatine  relief,  which  we 
recently  described  in  these  columns,  is  the  processin  vogue 
at  the  Bank  of  Vienna.  To  secure  an  impression  of  the 
gelatine  relief  in  metal  by  electrotyping,  the  dynamo- 
machine  is  brought  into  play.  In  employing  the  machine, 
however,  it  does  not  do,  as  in  electric  lighting,  to  produce 
fm  alternating  current;  that  is  to  say,  it  does  not  answer 
to  produce  alternately,  in  rapid  succession,  currents  of 
positive  aud  negative  electricity.  If  this  were  done,  the 
fine  copper  particles  would  be  dissolved  as  soon  as  they 
were  deposited.  Again,  the  dynamo  machine  should  ha  of 
that  order  that  gives  quantity  rather  than  electricity  of 
high  tension,  and  for  this  reason  it  should  be  put  together 
in  such  a way  that  it  has  small  internal  resistance. 


Our  sketch  shows  a dynamo  of  the  nature  required,  which 
is  from  a factory  of  Messrs.  Siemens  and  Halske,  and 
which  has  a resistance  only  of  0007ohm. 

In  order  to  construct  a machine  with  this  minimum  of 
resistance,  the  magnets  are  not  surrounded  with  wires, 
but  with  thick  copper  bars,  as  shown  in  our  sketch.  The 
inductor- cylinder  is  in  similar  fashion  fitted  with  thick 
copper  rods.  All  copper  portions  of  the  machine,  we  may 
remark,  become  very  hot  from  the  powerful  current 
generated. 

la  the  Bank  of  Vienna,  this  dynamo  is  not  only  employe! 
for  producing  the  copper  electrotypes,  but  also  for  coating 
these  with  steel,  or  rather  iron.  This  steel-plating  is 
performed  in  a very  simple  fashion.  If  the  copper  surface 


738 


THE  PHOTOGRAPHIC  NEWS. 


[November  23,  1883. 


has  already  been  steeled,  it  is  cleaned  first  of  all  with 
hydrochloric  acid,  and  the  bare  copper  plate  is  then  put 
into  the  electrotyping  bath.  In  a few  minutes  the  plate 
is  coated. 

The  dynamo  machine  gives  a very  tough  and  solid 
copper  plate,  equal  to  the  best  that  is  furnished  with  a 
galvanic  battery  ; the  machine  at  the  Bank  of  Vienna  has 
now  been  in  action  for  some  time,  and  has  produced 
capital  work  without  in  any  way  getting  out  of  order.  Its 
electric  current  permits  of  the  work  of  electrotyping  beiDg 
carried  on  much  more  quiokly  and  uniformly  than  was 
previously  the  case. 

o 

THE  MOUNTING  OF  PRINTS. 

The  mounting  of  prints  by  those  amateurs  and  others  who 
work  on  a comparatively  small  scale  is  one  of  those 
apparently  unimportant  and  insignificant  operations  which 
are,  in  spite  of  their  nnimportauce,  liable  to  be  trouble- 
some and  annoying  in  a high  degree.  Difficulty  is  found  in 
getting  the  prints  adjusted  squarely  and  with  equal  margins 
on  the  mounts,  and  as  often  as  not  the  print,  instead  of 
lying  flat  on  the  mount,  is  wrinkled  or  cockled  up  in  places. 

We  will  describe  one  or  two  methods  by  which  prints  of 
any  size  may  be  mounted  without  trouble  or  much  practice, 
and  without  any  danger  of  wrinkling  the  thinnest  paper. 

For  the  first  method,  tbe  necessary  apparatus  is  a 
squeegee  some  inches  longer  than  the  breadth  of  the  prints 
to  be  mounted,  and  a flat  dish  of  porcelain  or  other  mate- 
rial large  enough  to  let  the  squeegee  lie  on  it. 

A solution  is  made  up  as  follows  : — 

A sixty-grain  to  the  ounce  solution  of  hard  gelatine,  such 
as  Coignet’s  gold  medal,  is  made  up,  and  there  is  added  to 
t an  amount  of  methylated  spirit  equal  to  one-half  the 
amount  of  the  solution  before  the  addition  ; that  is  to  say, 
the  methylated  spirit  is  to  form  one-third  of  the  finished 
mountant. 

It  is  true  that  refined  glue  will  do  almost  as  well  as  gela- 
tine so  far  as  mere  mounting  properties  are  concerned,  but  as 
the  quantity  used  by  an  amateur  is  at  the  most  but  trifling, 
we  recommend  the  more  expensive  substance,  which  is  not 
likely  to  contain  impurities  which  might  endanger  the 
permanency  of  the  print. 

The  flat  dish  is  filled  with  hot  water.  The  prints  are 
laid  in  this  face  upwards,  and  the  squeegee  is  placed  along 
one  edge  of  the  dish  in  the  water.  The  gelatine  solution  is 
placed  in  a bowl,  which  is  stood  in  a vessel  containing 
water  as  hot  as  possible.  A broad  soft  brush  is  used  with 
the  solution. 

There  are  two  variations  of  mounting  to  be  considered ; 
the  first  of  these  is  that  of  portraits  of  the  popular  sizes  for 
insertion  in  albums.  These  are  mounted  with  a very 
narrow  margin,  the  mounts  being  but  a fraction  of  an  inch 
larger  than  the  print  in  each  direction.  The  other  is  that 
cf  landscapes,  or  sometimes  large  portraits,  which  are 
mounted  on  boards  with  a wide  margin,  the  length  and 
breadth  of  the  mount  being  nearly  double  the  length  and 
breadth  of  the  print,  as  a rule. 

The  method  of  proceeding  in  the  first  case  is  as  follows. 
A mount  is  taken  from  the  pile  ; it  is  covered  on  the  face 
with  the  gelatine  solution,  no  care  being  taken  to  leave 
<b  y those  parts  which  will  form  the  margin.  A print  is 
lifted  from  the  warm  water,  is  allowed  to  drain  for  a second 
tr  two,  and  is  applied  to  the  mount.  The  two  may  easily 
be  adjusted  so  as  to  equalize  the  margin,  as  they  do  not 
adhere  to  each  other  for  some  seconds,  so  that  the  print 
will  slide  freely  in  any  direction. 

When  it  is  properly  adjusted,  the  squeegee  is  removed 
fiom  the  water.  It  is  applied  to  the  face  of  the  print,  being 
made  to  touch  it  first  in  a line  about  one-third  from  the 
top.  With  a rapid  and  steady  movement  it  is  brought 
across  the  face  of  the  prints  to  the  foot.  This  causes  com- 
plete contact  of  the  print  and  mount,  and,  moreover,  re- 
moves entirely,  from  that  portion  over  which  the  squeegee 


has  passed,  the  gelatine  from  the  margin  of  the  mount 
The  squeegee  is  now  placed  in  the  water  again  for  a second 
to  remove  all  adhering  gelatine,  and  is  then  once  more 
applied  to  the  print,  beginning  from  the  other  end  and 
working  in  the  opposite  direction.  All  this  may  be  per- 
formed in  a very  short  time,  and  a great  number  of  prints 
may  be  very  rapidly  mouuted,  especially  if  two  join  in  the 
operation,  one  applying  gelatine  to  the  mount,  whilst 
the  other  manipulates  the  piint  and  the  squeegee. 

When  the  prints  are  to  be  mounted  with  wide  margius 
the  process  is  not  quite  so  easy.  It  is  best  in  this  case  first 
of  all  to  mark  out  lightly  the  portion  of  the  corners  of  the 
prints  on  the  mounts,  so  that  the  former  may  readily  be 
adjusted.  This  is  best  done  by  drawing  with  a needle 
point  two  fine  scratches,  crossing  at  the  spot  where  each 
corner  is  to  fall. 

The  mounts  being  thus  marked,  the  prints  are  placed  in 
the  hot  water  as  before,  with  the  squeegee  beside  them. 
A print  is  now  taken  out  of  the  water,  and  is  laid  face 
downwards  on  a plate  of  glass  a little  larger  each  way 
than  the  paper.  The  gelatine  is  applied  to  the  back  of  the 
print,  which  is  now  taken  up  by  two  opposite  corners.  It 
is  quickly  turned  over  and  is  applied  to  the  mount,  the  two 
loose  corners  being  caused  to  drop  as  nearly  as  possible 
on  to  each  of  two  opposite  pairs  of  cross  lines  used  as 
marks.  The  two  corners,  held  in  the  hands,  are  now 
dropped,  and  for  a few  seconds  afterwards  the  prints  may 
be  adjusted  by  sliding  on  the  mouut.  When  the  correct 
position  is  got,  tbe  squeegee  is  rapidly  used  as  before, 
but  as  the  gelatine  which  is  carried  from  under  the  print 
cannot,  as  in  the  case  of  mounts  with  narrow  margin,  be 
swept  right  off  the  mount,  but  is  left  immediately  beyond 
the  edge  of  the  print,  a cloth  dipper  in  a bowl  of  hot 
water  has  to  be  handy  to  quickly  wipe  it  away.  The  glass 
plate  is  wiped  with  the  same  cloth  before  it  is  used  again, 
so  as  to  remove  any  gelatine  which  might  otherwise  get  on 
the  face  of  the  next  print. 

The  only  objection  to  the  mode  of  mounting  which  we 
have  described  is  that  the  mounts  are  by  its  meajs  cockled 
or  bent  inwards  towards  the  print.  It  is  true  that  this 
defect  may  be  remedied  in  burnishing  or  rolling  with  a hot 
roller  ; but  it  may  be  well  to  describe  a method  of  mount- 
ing which  does  not  involve  cockling  the  mounts  at  all.  It 
was  demonstrated  at  a photographic  meeting  some  time 
ago  by  Mr.  A.  Cowan,  and  struck  us  as  the  simplest  and 
most  perfect  method  of  mounting  we  had  ever  seen. 

The  only  piece  of  apparatus  which  is  required  is  a roll- 
ing press  wide  enough  to  admit  the  mounts.  The  prints, 
when  they  are  taken  from  the  washing  water  after  fixing, 
are  laid  in  a pile  face  downwards  on  a board  or  sheet  of 
glass.  An  ordinary  starch  solution  is  mixed.  With  a 
broad  brush  this  is  spread  over  the  back  of  the  top  print. 
It  will  be  observed  that  there  is  no  need  strictly  to  confine 
the  operations  of  the  brush  to  the  single  print  which  is 
on  the  top.  Any  starch  which  finds  its  way  out  the  backs 
of  other  prints  does  no  harm.  The  prints,  as  they  are 
starched,  are  placed  face  downwards  on  sheets  of  blotting- 
paper  to  dry.  They  will  dry  without  curling  up. 

At  any  time  after  the  prints  are  dry,  mounting  may  be 
performed.  A mount  is  taken,  and  is  wetted  with  clean 
cold  water  on  the  face.  A print  is  put  in  contact  with  it, 
and  the  two  are  run  quickly  through  the  rolling  press. 

Absolute  contact  without  any  cockling  at  once  results. 


GELATINO- BROMIDE  PAPER  FOR  POSITIVE 
PICTURES. 

Second  Article. 

To  successfully  coat  long  lengths  of  paper  with  emulsion 
would  require  a suitable  coating  machine — such,  for 
instance,  as  the  machine  employed  in  the  manufacture  of 
carbon  tissue  on  a large  scale,  or  a modification  of  the 
Eastman  dry-plate  coating  machine. 

It  is  not  Likely  our  amateur  friends  Will  deal  with  rolls  of 


November  23,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS. 


739 


paper  a hundred  yards  iu  length,  so  we  will  not  go  further 
into  the  matter  of  rollers  just  now,  but  rather  content  our- 
selves with  sizes  up  to  20  by  21.  For  this  purpose  a few 
wooden  frames  should  be  procured,  say  half-a-dozen  of 
each  size,  which  it  has  been  decided  upon  to  work ; let 
the  laths  forming  the  frame  be  planed  and  flat,  so  that  they 
shall  lie  fairly  level  when  placed  on  a large  sheet  of  glass 
or  marble.  The  dimensions  of  the  laths  may  be  an  inch 
wide,  of  the  same  thickness,  and  the  necessary  length. 
Join  up  and  cut  off  one  corner  of  each  frame,  thus  enabling 
the  paper  to  be  formed  into  a lip  for  pouring  off  the  excess. 

These  extemporized  dishes  should  be  conveniently 
arranged  on  a properly  levelled  bench,  and  are  then  ready 
for  the  operation  of  coating  paper  with  the  sensitive 
mixture.  Any  good  emulsion  will  answer,  provided  it  is 
fairly  rich  in  silver  bromide,  ami  it  matters  little  by  which 
formula  it  i3  made,  so  long  as  it  is  not  too  rapid.  Very 
rapid  emulsions  do  not  yield  such  good  results  on  paper  as 
those  made  to  work  slower,  and  it  is  as  well  to  remember  that 
drop-shutter  exposures  are  not  required  or  at  all  desirable 
for  the  purposes  of  positive  printing. 

Assuming  the  emulsion  to  be  suitable,  and  it  has  passed 
through  the  routine  of  washing  and  filtration  in  the  usual 
manner,  warm  up  to  the  same  temperature  as  for  plate 
coating  while  tho  emulsion  is  re-melting  ; place  as  many 
sheets  of  paper  (previously  covered  with  substratum,  as 
described  in  our  last  article)  as  there  are  frames  into  a 
dish  of  cold  water.  After  soaking  a few  minutes,  with- 
draw the  sheets,  drain  off  the  superfluous  water,  and  lay 
each  over  its  respective  frame  face  uppermost ; press  the 
paper  evenly  down  on  the  glass  plate,  turning  the  edges 
up  against  the  wooden  frame,  thus  obtaining  a paper  dish 
with  a fairly  flat  surface,  having  a lip  at  one  corner 
for  quickly  pouring  off  the  excess.  The  size  above 
mentioned,  20  by  24,  would  require  something  like  five 
ounces  of  emulsion — more  or  less — according  to  the  tem- 
perature at  which  it  is  applied  ; but  in  any  case,  an  ample 
quantity  should  be  employed.  Thus  it  would  be  found 
more  convenient  to  use  a vessel  containing  eight  or  even 
ten  ounces  for  the  size  in  question,  than  just  the  bare 
quantity.  Pour  the  emulsion  quickly  on  the  paper-dish, 
give  it  a slight  tilt  to  ensure  a perfect  covering,  then 
quickly  pour  off  the  surplus  into  a smaller  vessel,  leaving 
the  remainder  to  set  on  a level  bench ; proceed  with  the 
next  iu  like  manner  until  at  least  half  a dozen  sheets  have 
been  coated,  when  the  first  may  be  taken  off  its  support, 
and  suspended  by  American  clips,  or  on  laths,  as  in  the 
drying  of  albumenized  paper.  One  by  one  these  sheets 
may  be  removed  from  their  supports  to  the  drying-room  ; 
another  six  being  soaked,  pressed  down  on  the  frames, 
and  coated  in  like  manner,  and  the  operation  repeated  as 
often  as  needed,  or  so  long  as  there  is  any  more  paper  to 
coat. 

The  conditions  of  a drying-room  are  precisely  the  same 
as  for  plates ; a good  current  of  dry  air  should  circulate 
between  the  sheets,  and  if  artificial  means  be  resorted  to, 
the  paper  will  generally  dry  iu  eight  to  twelve  hours. 

The  time  occupied  in  drying  will  be  found  to  vary  very 
much  with  the  changes  in  the  atmosphere  ; sometimes 
paper  coated  in  the  evening  will  be  perfectly  dry  the  next 
morning  without  using  any  kiud  of  heating  arrangement. 

We  recommend  the  adoption  of  two  different  sized 
vessels  in  coating  any  particular  sized  sheet : thus,  if  a 
given  quantity  is  always  poured  on,  and  another  given 
quantity  always  removed  as  excess  in  every  case,  each  sheet 
would  be  uniformly  coated,  a matter  of  immense  importance 
if  the  final  results  are  to  be  equal. 

To  measure  such  a quantity  by  means  of  a graduate  is 
scarcely  practicable,  when  we  consider  the  dim  light  we 
are  necessarily  compelled  to  employ  ; for  this  reason  it  will 
be  found  much  handier  to  use  vessels  of  known  quantity, 
filling  them  iu  each  case.  When  the  paper  is  dry,  it  is 
ready  for  immediate  use,  or  may  be  stored  either  by  rolling 
or  packing  bet  ween  pressure-boards  in  a dry  place,  suit- 


ably protected  from  actinic  light.  Under  these  conditions 
the  paper  will  keep  well ; but  if  stored  in  a damp  place  very 
long,  insensitive  circular  spots  invariably  make  their  ap- 
pearance. 

In  our  next  we  shall  deal  with  enlarging  and  contact 
printing. 


PHOTO -BLOCK  PRINTING  FROM  NATURE. 

THE  RECENT  REVIVAL  OF  THOTOTYPIC  PROCESSES. 
Those  who  have  followed  the  progress  of  photography 
during  the  past  year  must  have  been  struck  with  the 
notable  advance  made  in  the  commercial  application  of 
photographic  block  printing  methods  during  the  past  year ; 
and  it  will  be  remembered  that  in  our  notice  of  the  Brussels 
Exhibition  (page  531),  we  referred  to  the  notable  advance 
in  block  work  (Meisenbach  and  ltousselon)  a3  being  one  of 
the  most  characteristic  features  nolicable  on  the  occasion. 

When  any  branch  of  industry  shows  signs  of  acquiring 
increased  commercial  importance,  it  may  generally  be 
seen  that  numerous  patents  bearing  upon  it  are  taken  out ; 
and  there  ha3  been  no  exception  to  this  rule  with  regard  to 
block  methods.  It  would  interest  our  readers  but  little 
if  we  were  to  laboriously  sift  the  modicum  of  wheat  from 
the  mass  of  chaff  contained  in  the  recent  series  of  patents  ; 
but  it  is  interesting  to  carefully  examine  that  patent  which 
may  be  regarded  as  the  “ Mother  Patent  ” of  the  present 
series  ; that  of  Meiseubach,  No.  2156,  1882,  and  we  printed 
the  specification  of  this  in  November  of  last  year  (p.  682). 
The  patentee  details  one  form  of  the  well-known  “ net- 
work method”  of  breaking  up  the  half-tone  of  a negative 
into  a grain  or  stipple,  and  merely  claims  the  shifting  of 
the  network  during  the  exposure  so  as  to  ensure  a more 
plastic  appearance  of  the  printing  block.  Herr  Meisen- 
bach does  not  make  the  common  mistake  of  concealing  his 
process  by  a mass  of  unmeaning  verbiage,  or  the  still  more 
ordinary  one  of  claiming  au  exclusive  right  to  methods 
quite  well  known  to  experts.  The  essential  part  of  the 
specification  is  worded  thus  : — 

In  order  to  produce  a typographic  block,  the  method  to  bo 
employed  is  as  follows : — A transparent  plate  is  hatched  or 
stippled  in  parallel  lines.  A transparent  positive  is  made  of  the 
object.  The  two  plates  are  joined,  preferably  face  to  face.  From 
the  combined  plates  a definite  negative  is  photographed  in  the 
ordinary  manner.  In  order  to  cross-hatch  and  break  the  lines  of 
the  shading  for  obtaining  a more  plastic  appearance  of  the  print- 
ings made  from  the  typographic  or  other  block,  the  hatched  or 
stippled  plate  is  shifted  or  moved  once  or  more  during  the  produc- 
tion of  the  said  definite  negative.  This  negative  is  transferred  in 
the  usual  manner  on  to  a plate  of  suitable  material,  which  is 
graved  or  e ched  in  the  usual  manner  to  form  a typographic 
block.  For  the  engraving  plates  the  negative  is  transformed 
into  a positive,  and  the  latter  is  transferred  on  to  the  etching 
plate  in  the  usnal  manner,  lhe  negative  produced  from  the 
combined  plate  may  also  be  used  for  the  production  of  photo- 
graphs and  photo-lithographic  plates.  Both  the  object  and  the 
hatching  or  stippling  may  be  produced  photographically  on  one 
and  the  same  plate,  in  place  of  using  two  separate  plates,  and 
this  plate  used  direct  for  the  production  of  an  engraved  plate. 
On  the  other  hand,  when  typographic  blocks,  |photographic  or 
photo -lithographic  plates,  and  the  like  are  required,  a negative 
must  be  made  for  transfer.  To  obtain  cross-hatched  or  broken 
shading,  its  original  is  moved  during  photography. 

Having  thus  described  the  nature  of  my  invention,  and  the 
manner  in  which  the  same  is  to  be  carried  out  in  practice,  I wish 
it  to  be  understood  that  I do  not  claim  broadly  the  manufacture 
of  typographic  or  other  blocks  by  means  of  photographic  plates, 
nor  do  1 claim  the  use  of  a transparent  plate  with  hatched  lines 
in  such  manufacture,  but  what  I claim  and  wish  to  secure  by 
letters  patent  is  : — 

The  one  or  more  times  exerted  moving  or  shifting  of  the 
hatched  plate  on  the  photographic  negative  or  positive  plate 
during  the  production  of  the  definite  negative  or  positive,  from 
which  afterwards  the  typographic  or  other  printing  block  is 
made,  as  and  for  the  purposes  set  forth. 

Not  only  is  the  patent  of  Meisenbach  the  first  of  the 
recent  senes,  but  we  believe  that  his  blocks  have  been  the 


THE  PHOTOGRAPHIC  NEWS. 


first  that  have  been  regularly  used  for  the  illustration  of  a 
series  of  articles  in  a general  newspaper.  We  allude  to 
the  series  of  “ St.  Stephen’s  Portraits,”  which  have  been 
running  tor  more  than  three  months  iu  the  St.  Stephen’s 
Review ° It  is  interesting,  then,  to  note  that  as  regards  the 
present  revival,  one  must  accord  both  priority  as  to  the 
patent,  and  the  first  commercial  success,  to  Herr  Meisen- 
bach. 

Our  readers  need  only  look  at  the  magnificent  portrait  of 
Sai ah  Bernhardt,  which  forms  our  supplement  this  week, 
in  order  to  be  thoroughly  convinced  that  Herr 
Meisenbach,  if  not  actually  first  as  regards  the  quality  of  his 
phototype  work,  has  at  any  rate  not  been  le*t  behind  by 
those  who  have  competed  with  him  since  the  date  of  his 
patent.  It  must  be  remembered  that  the  specimen  we 
present  to  our  readers  has  not  been  printed  at  the  hand- 
press,  but  on  a quick  machine. 

Various  modifications  of  the  “ network  ” method  of 
breaking  up  the  half-tone  have  been  carried  out,  and 
Mr.  Ives  sends  us  a small  but  admirable  phototype 
portrait  from  a block  obtained  by  this  much  patented 
method.  Mr.  Ives  places  a suitable  grating  between  the 
lens  and  the  sensitive  plate,  so  that  a grained  negative  is 
obtained.  From  this  negative  a Woodburytype  relief  is 
made  ; and  this  relief,  when  reproduced  by  the  electrotype 
process,  forms  the  printing  block. 

We  have  tried  this  form  of  the  grating  method,  and  find 
the  result  to  be  good.  The  grating  U3ed  was  a photo- 
graphic positive  of  a piece  of  network  ; this  being  im- 
mediately in  front  of  the  sensitive  plate.  Although  most 
possible  variations  of  the  grating  process  have  been  claimed 
over  and  over  again  by  patentees,  we  do  not  know  of  any 
patent  now  in  force  which  can  hinder  the  free  use  of  the 
grating  method  in  this  form. 

Our  readers  are  aware  that  Messrs.  Brown,  Barnes,  and 
Bell  have  recently  given  much  attention  to  the  production 
of  phototype  blocks  from  graduated  negatives,  and  a speci- 
men of  their  earlier  work  will  be  found  on  page  580  of  our 
present  volume.  We  are  pleased  to  be  able  to  state  that 
they  are  progressing  satisfactorily  in  their  experiments,  as 
the  subjoined  example  of  the  irrecent  work  will  show. 


\\  o understand  that  one  method  which  they  practise  at 
present  is  an  ingenious  application  of  oblique  lighting  on  a 


[November  23,  1883. 

roughened  or  indented  print.  They  indent  an  ordinary 
silver  print  by  passing  it  along  with  a sheet  of  wire  gauze 
through  a rolling  press,  and  the  indented  picture  is  now 
illuminated  by  oblique  rays,  so  as  to  throw  the  grain  into 
relief;  so  that  a negative  taken  in  the  ordinary  manner  is 
found  to  possess  that  grain,  or  stipple,  which  tits  it  for  use 
in  the  production  of  a type  block  by  the  usual  methods 
ordinarily  used  for  line  or  dot  subjects.  The  system  in 
question  appears  to  be  very  well  adapted  for  the  rapid  pio- 
duction  of  commercial  blocks  ; but  as  far  as  our  own  observa- 
tions go,  it  is  not  capable  of  yielding  those  solid  blacks 
which  form  an  integral,  although  small,  proportion  of  a 
perfect  reproduction  ; while  the  whites  become  somewhat 
extended.  In  other  words,  the  fainter  gradations  of  tone  are 
lost.  We  have  not  yet  made  a thorough  search  with  a view  of 
finding  how  far  this  principle  of  producing  a grained  negative 
by  the  oblique  lighting  of  a print  is  covered  by  previous  or 
existing  patents,  but  we  could  not  find  it  in  either  one  of  the 
published  patents  of  Messrs.  Brown,  Barnes,  and  Bell 
(present  vol.  pp.  265  and  602),  although  one  of  these 
contains,  among  a mass  of  other  matters,  a claim  as  to  the 
use  of  indented  prints  in  the  production  of  blocks ; but 
it  is  not  stated  how  they  are  to  be  used — not  a word  about 
the  feature  of  oblique  lighting,  or  even  the  making  of  a 
grained  negative  from  the  iudented  print.  Possibly  they 
may  assume  that  methods  of  making  a block  from  an  in- 
dented print  are  sufficiently  well  known  to  experts  ; but 
we  presume  that  they  have  covered  the  method  in  some 
way  by  their  new  patent  not  yet  published  (see  p.  641))' 
A very  simple  form  of  the  network  method,  and  one 
calculated  to  give  high  class  results  in  the  hands  of 
a careful  manipulator,  is  the  following.  An  ordinary  photo- 
lithographic transfer  is  made  from  a usual  negative, 
but  between  the  negative  and  the  sensitive  paper  there  is 
interposed  a film  photograph  of  the  required  stipple  or 
grain  surface.  The  negative  and  film  photograph  should 
not  be  too  dense,  and  the  transfer  should  be  developed 
somewhat  slowly,  so  as  to  allow  time  for  the  moisture  to 
disintegrate  the  granulations.  One  advantage  of  this 
method  is  the  ease  with  which  it  can  be  taken  advantage  of 
by  the  ordinary  photographer,  who  need  do  no  more  than 
send  a negative  and  the  stipple-film  to  a phototype  etcher, 
such  as  Swain,  in  FarriDgdou  Street.  The  stipple-film  may 
be  either  a negative  or  a positive,  according  to  circum- 
stances, and,  like  the  negative,  it  should  not  be  too  dense. 
We  are  not  prepared  to  offer  an  opinion  as  to  how  far  the 
photographer  who  merely  sends  his  negative  and  stipple- 
film  to  the  zinc  etcher  may  fairly  claim  to  be  the  producer 
of  the  block.  As  the  network  method  in  one  form  or 
another  appears  likely  to  acquire  increased  commercial 
importance,  we  intend  to  devote  a little  time  to  tracing  out 
its  gradual  development  from  the  time  when  Talbot  first 
patented  it  in  1852. 


COLOURED  PHOTOGRAPHS  ON  GLASS. 

In  the  Moniteur  de  la  Photographic , M.  E.  Perrot  thus 
describes,  in  brief,  the  method  he  has  found  most  successful 
for  producing  the  convex  coloured  portraits  now  so  popular. 
We  have  already  described  the  modus  operandi  at  length  in 
these  columns,  but  M.  Perrot  puts  it  so  tersely,  we  may 
well  give  his  words. 

Here  they  are  : Warm  gently  the  glass  to  which  the 
picture  is  to  be  transferred,  aud  coat  the  surface  with 
Venetian  turpentine. 

Use  a very  hard  brush  to  give  as  thin  a coating  as 
possible. 

Wet  the  print,  dry  between  blotting-paper,  and  apply  it 
to  the  glass. 

To  facilitate  the  drying,  the  glass  may  continue  to  be 
warmed. 

The  paper  is  next  wetted,  and  gently  removed  by 
scraping  with  the  fingers,  and  finally  with  pumice  stone. 
The  print  is  covered  with  spirits  of  turpentine  to  give  it  the 


November  23,  1883.J 


TEE  PHOTOGRAPHIC  NEWS. 


?41 


requisite  transparency.  It  is  then  ready  to  be  painted, 
which  operation  should  not  take  more  than  half-an-hour. 

Dr.  Liesegang  says  on  this  subject:  “Those  interested 
in  the  production  of  crystoleum  pictures  will  find  a mixture 
of  two  parts  of  castor  oil  and  one  part  of  spirits  of  turpen- 
tine very  useful  for  making  the  prints  transparent. 

If  an  albumen  priut  is  to  be  mounted  on  glass,  the  gela- 
tine or  tragacantb  solution  ought  to  have  some  drops  of 
liquid  ammonia  added,  a better  contact  with  glass  surface 
being  obtained.  Let  the  mounted  print  dry,  then  rub  the 
baek  of  it  with  emery-paper,  and  apply  the  above  mixture 
with  a cloth  ; after  an  hour,  rub  the  mixture  off  with  a 
clean  cloth,  and  coat  the  paper  with  thin  dammar-varnish. 
After  drying,  this  surface  will  take  oil-colours  easily.’’ 


1IOW  TO  MAKE  AND  USE  A VELVET  ROLLER 
Three  months  ago  a note  came  to  us  from  a gentleman, 
who  had  practised  photo-lithography  with  more  or  less 
success  for  some  time  past,  touching  “The  Photographic 
Studios  of  Europe.”  The  letter  contained  many  critical 
remarks,  and  one  sentence  we  may  here  quote:  “The 
best  thing  in  the  book  is  the  velvet  roller ; it  has  solved 
most  of  my  difficulties  for  me,  and  I am  now  a practical 
photo-lithographer,  instead  of  only  an  experimentalist.” 

We  take  no  credit  to  ourselves  in  this  matter,  for  the 
simple  reason  that  our  position  in  connection  with  the 
book  in  question  is  more  that  of  reporter  than  author; 
but  as  our  correspondent  is  one  only  of  many  who  have 
taken  an  interest  iu  the  velvet  roller,  we  here  revert  to 
the  subject  once  more,  giving  as  an  additional  reason  that 
the  employment  of  this  instrument  is  by  no  means  con- 
fined to  the  photo-lithographer.  It  may  be  used  with  ad- 
vantage in  the  application  of  photographic  images  to 
surfaces  of  wood  for  wood-engraving,  to  china  or 
porcelain  for  burning  in,  to  leather  and  fabrics  for 
ornamentation,  and  in  fact  wherever  it  is  desirable  to 
produce  a fatty  iuk  impression  in  the  simplest  manner, 
whether  this  is  for  transfer  or  not.  The  velvet  roller 
permits  of  the  inking  up,  with  fatty  iuk,  of  any  photo- 
graph without  the  aid  or  paraphernalia  of  the  litho- 
grapher, while  it  is  at  the  same  time  an  invaluable  aid  to 
the  latter  if  he  desires  to  practise  the  art  of  photo-litho- 
graphy. 

The  reason  why  the  velvet  roller  is  of  value  in  this 
connection  is  easily  explained.  It  is  the  only  roller  that 
may  be  passed  over  a print  upon  bichromated  paper  with 
impunity.  If  you  take  a sheet  of  stout  paper — bank  post 
is  the  best,  as  it  is  the  toughest — and  float  on  a solution 
of  bichromate  and  gelatine,  you  make  the  surface,  as  every 
photographer  knows,  sensitive  to  light.  This  sensitized 
paper  may  now  be  put  under  a negative  and  printed. 
Any  negative  will  yield  a print,  but  as  a matter  of  fact  it 
is  not  every  negative  that  gives  a successful  result. 
Photographs  in  black  and  white,  or  designs  sketched  in 
Indian  ink  lines,  or  reproductions  of  wood-cuts,  &c.,  are 
the  only  ones  that  are  likely  to  succeed  in  the  hands  of 
the  ordinary  photographer  or  photo-lithographer,  for  if  it  is 
a question  of  reproducing  half-tones,  only  those  familiar 
with  the  production  of  collotypes  will  make  a good  job  of 
it.  At  the  same  time,  if  it  is  but  a matter  of  getting  a 
mediocre  impression  from  a half-tone  negative,  sufficient 
for  the  wood-engraver  to  work  from,  then  anyone  ac- 
customed to  ordinary  photographic  manipulations,  if 
he  but  proceeds  with  care,  can  do  all  that  is  required 
with  the  velvet  roller. 

The  bichromated  print  is  immersed  in  cold  water  for 
three  or  four  minutes,  when  the  soluble  salt  i3  discharged, 
the  yellow  brown  image  stands  out  with  more  distinctness, 
and  the  gelatine  elsewhere  over  the  surface  becomes 
swollen  with  moisture.  Taken  from  the  water,  the  print 


is  now  laid  smoothly  upon  a sheet  of  patent  plate  glass, 
which  latter  shonld  be  a little  narrower  than  the  paper, 
so  that  the  latter  ean  be  folded  under  the  glass  and  kept 
firmly  in  its  place.  A sheet  of  blotting-paper  is  carefully 
pressed  over  the  surface  of  the  print  to  take  away  super- 
fluous moisture,  and  now  the  velvet  roller  may  be  passed 
over  the  impression  to  ink  it. 

Naturally,  the  treatment  of  a damp  paper  photograph  in 
this  way  is  a delicate  operation,  and  on  this  account  it  is 
that  the  best  and  toughest  paper  must  be  employed  for 
the  purpose.  Again,  the  velvet  roller  must  be  handled 
with  great  care.  After  being  charged  with  ink  in  the 
ordinary  manner  by  rolling  it  upon  an  inked  slab,*  the 
roller  is  placed  upon  that  part  of  the  print  nearest  to  you, 
and  then  rolled  from  you ; it  must  not  bo  rolled  back- 
wards, but  simply  iu  one  direction,  viz.,  from  the  worker. 
Care  also  must  be  taken  that  the  scam  of  the  roller  does 
not  touch  the  print,  and  as  a roller  four  inches  in  diameter 
will  ink  a twelve-inch  print  without  this  being  necessary, 
there  is  no  need  for  such  a thing  to  occur.  The  ink 
should  be  as  thin  as  paint,  and  should  be  applied  again  and 
again  until  sufficient  body  has  been  obtained.  Rut  too 
little  ink  is  better  than  too  much,  espccialiy  in  fine 
designs,  which  require  very  little.  The  rolling  is  done 
very  lightly — unlike  in  lithography,  where  considerable 
pressure  is  used— but  after  a little  practice  the  paper 
print  may  be  manipulated  as  deliberately  as  if  it  were  a 
slab  of  stone  or  sheet  of  zinc.  We  need  hardly  say,  on  the 
other  hand,  that  if  a leather  roller  were  employed,  this 
would  not  only  tear  off  the  delicate  photographic  im- 
pression from  the  surface,  but  would  also  ruck  the  paper. 
Velvet  has  no  grip,  and  leaves  the  paper  without  pulling. 

As  soon  as  the  impression  is  suitably  inked,  your  work 
is  done.  The  inked  photograph  may  either  be  pressed 
against  a wood  block  if  the  picture  is  to  serve  the 
purpose  of  the  wood-engraver,  or  it  may  be  transferred  to 
stone  or  set  off  against  canvas,  leather,  &c.  With  a little 
care,  and  re-dipping  the  paper  print  in  water,  several 
impressions  may  sometimes  be  taken  off  in  this  way.  But 
it  must  be  borne  in  mind  that  if  any  work  of  a lithographic 
nature  be  undertaken,  the  photographer  should  call  in  the 
aid  of  a skilled  lithographer  ; the  former  cannot  expect  in 
a few  experimental  trials  to  do  as  well  as  the  man  ac- 
customed to  the  work  all  his  life. 

And  now  as  to  the  construction  of  a velvet  roller. 
Here  is  a sketch  showing  it  complete  and  in  section.  The 


ft  rt 


measurements  specified  are  those  to  be  recommended,  and 
in  the  section  we  show  the  materials  of  which  the  roller 
is  made.  After  considerable  experience,  it  is  found  that 
the  best  silk  velvet  is  most  suitable  for  the  purpose.  The 
body  of  the  roller  is  of  pear  wood,  alight  material  most 
favourable  to  the  purpose,  while  the  handles  arc  of  box- 
wood. Over  the  pear  tree  block  are  sewn  two  layers  of 
thick  serge,  and  over  the  latter  one  thickness  of  velvet,  the 

* We  have  already  given  directions  in  these  columns  as  to  the  nature  of 
the  ink  to  be  used,  and  its  application  to  slab  and  to  roller.  Take  two 
ounces  of  transfer  ink  from  the  pot,  add  J ounce  of  olive  oil,  mix  well 
together  with  a muller  on  slab  ; this  you  will  find  gives  a paste  about  the 
consistency  of  butter.  Such  paste  makes  capital  stock.  When  the  printer 
is  ready  to  rollup  the  transfer,  reduce  the  above  with  turpentine  to  about 
the  thickness  of  cream  ; you  will  now  find  your  ink  is  ready  for  the  roller. 
Charge  the  roller  liberally,  and  roll  the  roller  well  up  on  the  slab.  In  so 
doing,  you  will  find  the  turpentine  evaporate,  leaving  the  ink  in  beautiful 
condition  for  a first-class  transfer.  Should  you  find  your  ink  get  too  stiff, 
reduce  it  with  turpentine  ; be  sure  you  roll  your  transfer  one  way  only— 
namely,  from  you, 


742 


THE  PHOTOGRAPHIC  NEWS. 


[November  23,  1883. 


price  of  which  is  about  twelve  shillings  a yard.  A nice 
brisk  nap  is  required  in  the  velvet,  and  this  cannot  be 
. obtained  unless  a good  price  is  given. 

The  serge,  before  it  is  sewn  on,  should  be  scalded  in  hot 
water,  so  that  it  wiil  not  ruck  afterwards,  and  the  velvet 
must  be  fitted  by  a skilled  seamstress.  The  so-cal'ed 
carpet  stitch  is  best  adapted  to  the  purpose,  the  ends  of 
the  velvet  not  over'appiug,  but  drawn  together  so  as  to 
meet.  In  this  way  the  seam  is  not  a ridge,  but  perfectly 
flat,  and  the  roller  does  not  set  off  at  this  spot.  It  need 
scarcely  be  said  that  this  can  only  be  attained  with  very 
fine  stitches.  The  velvet  is  cut  out  exactly  to  size,  and 
sewn  on  the  block. 

The  velvet  roller  i3  ready  for  use  as  soon  as  it  is  made. 
Unlike  the  leather  roller,  there  is  no  need  to  get  it  into 
condition.  In  the  same  way  it  may  be  put  away  in  its 
linen  bag  as  soon  as  done  with,  though  perhaps  it  is  best 
to  clean  first ; the  bag  keeps  away  dust,  and  the  grease  in 
the  ink  will  keep  the  velvet  from  becoming  hard.  Of  course 
you  can’t  scrape  a velvet  roller  to  get  the  ink  off,  as  you 
do  a leather  one  ; you  can  only  free  the  velvet  of  its  ink 
by  rolling.  The  roller  is  passed  over  a clean  slab,  and 
this  is  scraped  from  time  to  time.  The  slab  gradually  pulls 
the  ink  off,  and  this  is  then  removed  from  the  slab  by  scrap- 
ing. If  you  are  not  able  to  get  off  all  the  iok  in  this  way, 
pass  the  roller  over  a sheet  of  soft  paper  and  apply  a little 
turpentine.  After  a little  practice  you  will  soon  know 
when  the  roller  is  free  from  ink. 

The  ink  is  thinned  by  the  addition  of  turpentine,  so  that 
if  at  any  time  it  is  too  thin  on  slab  or  roller,  a little  delay 
will  at  once  mend  matters  to  allow  for  the  evaporation  of 
the  turpentine.  One  of  the  great  points,  we  repeat,  is  not 
to  apply  too  much  ink  to  the  print ; in  fact,  very  fine  lines 
should  remain  almost  bare,  for  then  there  is  no  disposition 
for  them  to  spread  or  “ smash  ” when  subjected  to  pressure 
on  transfer  to  stone,  wood,  fabric,  leather,  or  other  material 


gfrbiefo. 

Melissa’s  Victorv.  By  Ashton  Neill.  With  Illustrations 
by  W.  Gunston.  ( London : Methodist  Sunday  School 
Union). 

“ Melissa’s  Victory  ” is  illustrated  with  a dozen  inset  “ ink 
photos,”  reproduced  from  the  original  drawings  of  the 
artist  by  Messrs.  Sprague  and  Co.  We  must  confess  to 
being  more  interested  with  the  elegant  and  artistic  little 
sketches  than  with  the  text  of  the  book.  The  story  appears 
to  have  been  written  with  a view  to  instil  into  the  youthful 
mind  the  doctrine  that  to  go  to  a Methodist  Chapel  is 
regarded  by  the  majority  of  mankind  as  a grave  social 
offence;  but  the  public  are  in  error  in  taking  this  view,  as 
what  they  regard  as  a fault,  is,  in  reality,  a high  virtue, 
especially  when  the  deed  is  done  by  a young  giil  in  opposi- 
tion to  the  wishes  of  her  parents. 

Melissa  is  the  young  lady  who  neglected  the  Parish 
Church  for  a Methodist  Chapel,  and  we  find  her  represented 
in  the  frontispiece  with  two  girl-companions,  wandering 
down  a country  lane.  This  tasteful  little  picture  might 
well  be  an  instantaneous  photograph  from  nature,  so  well 
has  the  artist  caught  the  easy  and  graceful  attitudes  of  his 
models.  Farther  on  we  find  a striking  little  fire-light  scene 
— Melissa  breaking  tho  news  of  her  defection  to  her  mother 
and  sisterp.  In  looking  at  this  picture,  we  fancy  we  trace 
some  kind  of  resemblance  to  the  peculiar  lighting  of  the 
chamber  photographs  produced  by  Karelin,  of  Novgorod. 
We  think  a 6cene  of  this  kind  might  well  bo  represented 
photographically,  even  without  combination  printing,  as  the 
fire  itself  is  quite  covered  by  the  chair  of  Melissa’s  mother  ; 
but  any  model  capable  of  realising  the  meek  and  contrite 
aspect  of  Melissa  would  be  a treasure  indeed  to  the  art- 
photographer. 

I he  reproductions  of  Mr.  Gunston’s  pictures  are  rendered 


much  more  realistic  by  the  circumstance  that  the  titles 
have  been  written,  and  are  reproduced  along  with  the 
drawing.  “ And  as  she  sat  in  the  glow  of  the  setting  sun  ” 
has  meritr  ; but  the  figure-,  and  more  especially  the  head,  is 
far  too  brightly  illuminated  for  the  surrouuding8.  The 
artist  has  made  the  mistake  of  importing  into  his  work 
rather  too  much  of  that  local  lighting  which  characterizes 
stage  eff  cts  ; but  many  artists  of  the  highest  repute  fall  into 
the  same  error. 


PHOTOLITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor -General  of  India. 

Chapter  XIV. — Asphalt  Process.  Continued. 

We  nowcometothe  practical  details  of  the  asphalt  processes, 
and  shall  first  consider  them  in  a general  way,  giving  the 
description  of  a few  typical  processes  afterwards. 

Choice  of  asphaltum. — The  first  thing  to  be  done  is  to 
select  a good  specimen  of  asphaltum.  As  we  have  seen  in 
the  last  chapter,  the  Syrian  asphaltum  is  the  kind  to  be 
preferred,  it  obtainable.  It  is  darker,  harder,  is  more  sen- 
sitive to  light,  and  has  a higher  melting  point  than  tho 
other  kinds.  Solutions  of  it  show  three  very  weak  absorp- 
tion bands  in  the  spectroscope;  less  sensitive  kinds  show 
the  bands  more  strongly. 

Purification. — As  obtained  from  the  dealers,  asphaltum  is 
generally  tit  to  be  used  at  once  ; but  if  necessary,  it  may  bo 
purified  by  powdering  it,  and  digesting  it  with  dilute 
hydrochloric  acid,  which  dissolves  the  earthy  particles. 
Some  writers  recommend  a treatment  with  boiling  water,  by 
which  soluble  and  earthy  particles  may  be  separated  out. 

Extraction  i cilh  ether. — In  order  to  obtain  the  most  rapid 
results,  it  is,  as  shown  in  the  last  chapter,  desirable  to 
extract  the  most  sensitive  constituent  of  the  asphaltum 
with  ether,  and  to  use  it  alone  in  making  the  sensitive 
solution. 

Dr.  Kayser  indicates  the  following  way  of  doing  this : — 
Syrian  asphaltum  is  divided  into  pieces  about  the  size  of  a 
pea,  and  dried  in  the  dark  at  a temperature  of  409  or  509 
C (101°  to  122°  F.).  It  is  then  powdered  and  shaken  in  a 
bottle  with  three  times  its  weight  of  ether,  then  allowed  to 
settle,  and  the  ethereal  solutiou  decanted  off.  This  treat- 
ment is  repeated,  and  then  a quantity  of  chloroform,  about 
double  the  weight  of  the  asphalt  first  employed,  is  added 
to  the  residue.  The  mixture  is  well  shaken  till  the  bitumen 
is  dissolved,  and  left  to  settle.  The  clear  solution  is  de- 
canted off,  and  evaporatod  over  a water  bath.  The  residue 
is  the  true  photographic  asphaltum,  and  a solution  of  it  in 
turpentine  forms  the  sensitive  varnish. 

Morch  makes  a strong  solution  of  suitable  asphaltum  in 
chloroform,  and  adds  to  it  about  three  times  its  volume  of 
ether.  This  precipitates  the  insoluble  constituent,  which 
is  collected  on  a filter,  dried,  and  dissolved  in  benzole. 

The  writer  finds  it  sufficient  to  digest  the  powdered  as- 
phaltum in  a bottle  with  an  excess  of  ether,  shaking  it  up 
from  time  to  time,  and,  if  necessary,  stirring  it  with  a 
glass  or  wooden  rod.  The  ether  is  changed  at  intervals  of 
a few  hours,  till  all,  or  nearly  all,  the  soluble  constituents 
are  removed.  The  last  ether  is  then  poured  off,  and  the 
residue  thoroughly  dried.  Ilusnik  and  Toifel  recommend  a 
similar  procedure. 

A solution  of  sensitive  asphaltum,  ready  prepared  by 
Prof.  Ilusnik,  is  obtainable  in  B -rlin  and  Vienna.  The 
writer  has  found  it  answer  exceedingly  well,  being  much 
more  seusitivethan  the  ordinary  solutiou  of  asphalt.  Before 
long  it  will  no  doubt  be  easy  to  obtain  the  solid  extract 
ready  prepared,  and  this  would  be  a great  convenience, 
because  asphaltum  of  the  proper  quality,  containing  the 
largest  proportion  of  the  sensitive  constituent  insoluble  in 
eiher,  is  not  always  obtainable,  and  in  using  inferior  kinds 
there  is  a waste  of  ether. 

It  is  worthy  of  note  that  the  principle  of  increasing  tho 


November  23,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


743 


sensitiveness  of  asphaltum  by  preliminary  treatment  with 
ether  seems  to  have  been  kuown  and  acted  upon  long  before 
Dr.  Ivayser’s  investigations. 

In  one  of  his  papers  read  before  the  French  Academy  of 
Sciences  in  May,  1853,  Niepce  de  St.  Victor  mentions  a 
method  of  making  his  varnish  sufficiently  sensitive  to 
operate  in  the  camera  in  fifteen  minutes,  by  pouring  over 
the  plate  anhydrous  sulphuric  ether,  containing  a few 
dropsof  rectified  oil  of  lavender.  In  this  case,  no  doubt, 
the  ether  removed  the  more  insensitive  parts  of  the  as- 
phaltum. 

Scamoni,  in  his  “ Hand-buch  der  Heliographie,”  recom- 
mends the  asphaltum  to  be  broken  up  into  small  pieces,  and 
well  washed  with  ether  ; the  coloured  fluid  is  then  poured 
off,  and  the  residue  dissolved  in  turpentine  or  other  solvent. 

Choice  of  solvent. — As  regards  the  choice  of  the  solvent  to 
be  used  in  making  the  sensitive  solution,  there  seems  to  be 
a great  variety  of  procedure.  Benzole  is  generally  recom- 
mended, either  alone  or  with  the  addition  of  some  essential 
oil,  such  as  lavender  or  lemon,  which  prevents  the  too- 
rapid  drying  of  the  coating,  and  so  keeps  it  uniform  ; the 
addition  of  oil  is  also  said  to  increase  the  seusitiveness. 

The  benzole  must  be  pure  and  quite  free  from  water, 
otherwise  the  coating  will  be  uneven  and  streaky.  A few 
fragments  of  chloride  of  calcium,  placed  in  the  bottle  with 
the  benzole,  will  remove  water,  if  present.  Husnik  makes  a 
distinction  between  benzole  from  coal  tar,  and  benzoline 
from  petroleum,  saying  the  former  should  be  used  in  pre- 
ference to  the  latter. 

Working  in  India  at  high  temperatures,  I have  generally 

{(referred  turpentine,  with  the  addition  of  a little  oil  of 
emon  peel,  as  more  manageable  in  coating  than  benzole. 
A mixture  of  one  part  of  Husnik’s  solution  with  one  or  two 
parts  of  turpentine  has  given  me  good  results.  The  tur- 
pentine should  be  the  rectified  oil,  which  dries  quickly,  and 
not  ordinary  turpentine,  which  remains  tacky  for  some  time. 
Some  kinds  of  asphaltum,  and  according  to  Niepce  de  St. 
Victor  and  Herr  Morch,  some  of  those  most  suitable  for 
photographic  use,  are  insoluble  in  turpentine,  or  soluble 
with  difficulty,  in  which  case  some  other  solvent  must  be 
chosen.  The  addition  of  thymol  will,  in  some  cases, 
especially  with  the  sensitive  product  extracted  by  ether,  aid 
the  solution  in  turpentine. 

Ether  was  used  in  the  early  photo-lithographic  processes 
by  Barreswil  and  Macpherson ; but  it  is  unsuitable  because, 
as  shown  by  Dr.  Kayser,  it  does  not  dissolve  the  most 
sensitive  part  of  the  asphaltum.  It  is  also  unsuitable  from 
its  very  volatile  nature,  and  the  readiness  with  which  it 
attracts  moisture  from  the  atmosphere,  which  makes  it  very 
difficult  to  get  an  even  coating.  The  solution  in  ether  has 
the  peculiarity  of  giving  a “grain”  to  the  coating,  which 
may  be  useful  in  half-tone  work,  and  may  probably  have 
been  one  reason  of  its  selection  in  the  early  processes.  With 
some  specimens  of  asphaltum,  the  writer  finds  that  the  solu- 
tion in  ether  gives  exceedingly  tacky  films,  quite  unfit  for 
use.  In  any  case,  the  first  ether,  which  generally  contains 
the  oily,  insensitive,  constituent  soluble  in  alcohol,  should 
be  poured  off,  and  the  solution  in  the  second  ether  used. 

Chloroform  is  one  of  tho  best  solvents  of  asphaltum,  either 
in  its  original  state  or  after  extraction  with  ether  ; but  it  is 
expensive,  and  obviously  undesirable  to  use,  especially  for 
coating  large  plates. 

The  elder  Niepce  dissolved  his  asphaltum  in  oil  of  laven- 
der, and  it  has  always  been  usual  to  add  some  essential  oil 
to  the  sensitive  solution.  According  to  Niepce  de  St.  Victor, 
benzine  and  tho  essential  oils  acquire  sensitiveness  by  expo- 
sure to  light,  and  be  recommends  the  addition  of  about  10 
percent,  of  an  essential  oil  in  order  to  render  tho  varnish 
more  sensitive  to  light,  and  make  it  tougher  and  more 
viscous.  Many  essential  oils  will  do,  but  he  gives  the  pre- 
ference to  pure  oil  of  lemon  peel,  which  forms  a homo- 
geneous varnish,  drying  better,  and  more  sensitive  than 
that  prepared  with  oil  of  spike.  It  is  also  harder,  and  gives 
sharper  lines. 


With  very  volatile  solvents,  the  addition  of  an  essential 
oil  is  useful  in  retarding  the  evaporation  of  the  solvent  and 
enabling  an  even  coating  to  be  given. 

Preparation  of  the  sensitive  solution. — This  is  very  simple. 
The  selected  asphaltum,  or  the  residue  after  washing  with 
ether,  is  finely  powdered,  and  placed  in  a bottle  with  the 
solvent,  and  shaken  till  dissolved. 

The  proportion  of  asphalt  to  solvent  varies  according  to 
the  object  required.  Some  kinds  of  asphaltum  give  a thicker 
or  darker  solution  than  others,  though  used  in  the  same 
proportions.  According  to  Scamoni,  half-tone  work 
requires  a thinner  solution  than  line  work.  For  engraving, 
typographic  etching,  and  all  work  in  which  the  asphaltum 
coating  is  to  resist  the  action  of  strong  acids  or  etching 
fluids,  the  coating  must  be  thicker  than  is  necessary  for 
zintographic  or  lithographic  printing.  It  must  be  borne  in 
mind,  that  the  thicker  the  coating,  the  longer  will  be  the 
exposure  required  to  produce  complete  insolubility  when 
developed.  From  5 to  10  per  cent,  of  asphaltum  makes  a 
suitable  varnish  for  etching  purposes ; while  for  surface 
printing  on  stone  or  zinc,  solutions  containiag  from  2 to  5 
per  cent,  will  be  sufficiently  strong. 


The  following  formulae  given  by 

various  operators  will 

serve  for  guidance  : — 
Kruger , for  gillotype — 

Syrian  asphaltum  

. ...  1 part 

Rectified  turpentine... 

. ...  9 parts 

Pure  oil  of  lemons  ... 

. ...  4 parts 

Liehert , also  Fortier , for  photo-zin 
Syrian  asphalt  * 

cography — 

...  3 parts 

Anhydrous  benzine  ... 

, ...  100  „ 

Oil  of  lemons 

...  a few  drops 

Rodriguez , for  gillotype — 

Asphaltum 

. ...  8 parts 

Essence  of  lemon  ... 

...  3 „ 

Anhydrous  benzole  ... 

. ...  100  parts 

Fichtner — 

Asphalt  ...  

...  5 „ 

Benzine 

...  90  „ 

Oil  of  lavender  

...  10  „ 

Morch  — 

Sensitive  asphaltum  extract... 

...  10  „ 

Benzole  from  coal  tar 

...  150  „ 

Balsam  of  Peru  

...  5 „ 

The  object  of  the  balsam  of  Peru  is  to  enable  the  develop- 
ment to  be  controlled  ; otherwise  it  is  too  rapid.  . 

Despaquis  uses  as  a solvent  in  summer  one  part  of 
chloroform  to  three  parts  benzine,  and  in  winter  one  part  of 
chloroform  to  two  parts  benzine. 

According  to  Kruger,  asphalt  solutions  should  not  be 
used  too  old,  and  therefore  should  not  be  made  up  in  large 
quantities.  By  age  they  become  insensitive,  and  give  a 
powdery  coating  which  gives  ragged  lines  on  development. 

Solutions  of  asphalt  must  be  carefully  filtered  or  allowed 
to  settle  well  before  use,  so  as  to  give  a perfectly  even  coat- 
ing, free  from  specks  of  dust,  &c. 


IfatfJS. 

The  Manchester  Photographic  Seciety  will  hold  a soiree 
and  exhibition  on  Tuesday,  December  18th. 

The  German  Photographic  Society  have  decided  to  hold 
their  next  annual  meeting  in  Berlin. 

Our  photograph  of  Madame  Sarah  Bernhardt  this  week  is 
by  Nadar,  of  Paris,  and  it  is  probably  the  finest  specimen  of 
sun- painting  that  has  ever  issued  from  a type  press.  That 
the  long-looked-for  coming  of  pictorial  newspapers  illus- 


744 


THE  PHOTOGRAPHIC  NEWS 


[November  23,  1883. 


trated  by  pure  photcgrapby  is  close  at  hand,  none  can 
doubt  who  carefully  examine  our  supplement  of  to-day. 

Liko  Ives,  Meisenbacb  prints  his  photographs  in  an 
ordinary  printing  press  ; the  process  is  neither  allied,  there- 
fore, to  lithography  nor  engraving,  but  is  a typographical 
method.  Sceptics,  who  are  tempted  to  think  that  Meisen- 
bach  pictures  are  due  to  the  tool  of  the  graver  rather  than 
photography,  may  be  informed  that  the  Autotypie  Verlag 
at  Munich  produce  these  photo-printing  blocks  at  a third 
the  cost  of  engraving  them. 


We  have  already  described  the  electrotyping  arrange- 
ments at  the  Russian  State  Paper  Office,  for  producing 
photo-printing  blocks ; we  shall  now  describe  the  electrical 
methods  in  vogue  at  the  Bank  of  Vienna  and  lloyal 
Geographical  Institute  of  Austro-IIungary. 


M.  Charcot,  the  eminent  surgeon  of  the  Salpetricre 
Hospital,  in  Paris,  who  has  just  been  elected  to  the  Academy 
of  Sciences,  is  an  enthusiastic  photographer.  He  employs 
the  camera  systematically  to  register  the  progress  of 
disease,  and  more  especially  to  watch  the  paroxysms  or 
sudden  changes  in  a patient.  His  camera  for  registering 
stages  of  movement  is  provided  with  a number  of  small 
lenses  arranged  in  a circle,  all  having  the  same  focus,  and 
these  are  permitted  to  aet  one  after  another  upon  a sensi- 
tive plate  behind,  at  the  will  of  the  photographer.  Our 
readers  will  find  a sketch  of  M.  Charcot’s  camera  on 
page  562  of  the  present  volume. 


The  death  of  Sir  William  Siemens  removes  one  of  the 
most  marked  of  our  scientific  worthies.  Attached  more 
especially  to  electrical  and  applied  science,  he  won  for  him- 
self a high  reputation  for  research  in  the  realms  of  physics 
and  astronomy.  He  was  one  of  the  British  Commissioners 
to  the  Vienna  Electric  Exhibition,  and  received  the 
honour  of  knighthood  in  April  last. 

His  brother,  Dr.  Werner  Siemens,  recently  communi- 
cated to  the  Berlin  Academy  of  Sciences  a memoir  that 
has  some  bearing  on  photographic  science.  Gases,  heated 
to  a temperature  at  which  steel  melts,  Dr.  W.  Siemens 
tells  us,  do  not  emit  any  luminous  rays  if  they  are  subject 
to  heat  only,  and  not  to  chemical  action. 


A “ lesson  in  retouching.  A prosperous  Dutchman, 
settled  in  the  Transvaal,  sent  the  old  folks  at  home  a hand- 
some remittance,  and  begged  in  return  for  a photograph  of 
Dad,  taken  at  a tip-top  house,  and  no  expense  spared.  The 
pottrait,  ‘‘beautifully  retouched,  ’ was  accordingly  sent  out 
to  the  Cape,  and  arrived  in  due  time  up  country.  The  son 
was  in  transports  of  glee  over  the  picture.  “ Jhust  the  old 
man  s eyes,  jhust  his  hair  too,  and  just  his  dear  old  mouth, 
and  hi3  jolly  old  nose  ; but— but— mine  Gott,  how  he  has 
changed ! ” 


graphic  institution  to  assist  judge  and  jury  in  coming  to 
a conclusion.  It  was  a question  of  a forged  will,  and  the 
plaintiff’s  case  is  that  the  spurious  document  was  written 
on  a sheet  of  paper  that  previously  bore  a letter  in  pencil. 
The  testator  wanted  a note  written,  and  this  having  been 
doue  in  pencil,  he  subsequently  signed  the  epistle  in  ink. 
The  plaintiff  contended  that  the  pencil  writing  had  been 
erased,  and  above  the  signature  had  then  been  forged  the 
will.  Now,  although  there  is  no  trace  of  pencil  writing  to 
the  naked  eye,  Mr.  Russell,  Q.C.,  asserted  that  the  evidence 
of  photography,  which  was  indisputable,  would  con- 
clusively prove  that  words  had  previously  existed  upon  the 
paper,  and  that  some  of  them  were  still  legible  through 
the  medium  of  a photograph. 


As  our  readers  arc  aware,  the  mere  pressing  upon  paper 
with  a pencil,  or  style,  or  roughening  its  surface  with  an 
eraser,  at  once  alters  its  condition  under  the  camera,  and  a 
photographer  skdled  in  work  of  reproduction  would  have 
little  difficulty  in  adducing  evidence — by  varying  exposure 
and  development,  to  humour  the  particular  inequality  in 
the  lighting — to  satisfy  judge  and  jury.  At  the  same  time, 
there  must  be  no  doubt  as  to  the  bona  f ides  of  the  photo- 
grapher ; he  must  not  be  tmgaged  as  an  advocate  by  one 
side  or  the  other,  but  must  be  an  independent  assistant  of 
the  court;  otherwise,  of  course,  there  might  be  a tendency 
to  strain  the  photogniphic  testimony,  as  is  done  occasion- 
ally with  medical,  chemical,  and  other  scientific  evidence, 
when  profession'll  men  are  called  not  as  assessors,  but  as 
prejudiced  witnesses. 

The  observers  on  Ben  Nevis— there  are  three  of  them — 
are  already  snugly  snowed  up  for  the  winter.  Fortunately, 
they  have  telegraphic  communications  with  Fort  William, 
so  that,  at  a sore  strait,  aid  could  be  sent  them.  The  ob- 
servers are,  strange  to  say,  not  provided  with  a camera,  or 
it  would  have  been  most  interesting  to  record  the  snow- 
line on  our  British  Mont  Blanc  during  the  various  seasons. 
Quite  as  valuable  as  some  of  the  meteorological  records 
would  be  such  a series  of  photographs  indicating  the  fall 
of  snow  and  severity  of  the  weather  in  succeeding  years. 


A German  mechanic,  according  to  the  Revue  Chrono- 
m'etrique , has  just  iuvented  a strong  box,  or  safe,  which  not 
only  rings  au  alarm  when  you  touch  it,  but  takes  your 
portrait  for  after-identification.  The  safe  must  be  of  a 
rather  complicated  nature,  for  we  are  told  that,  on  a 
stranger  touching  it,  a ray  of  electric  light  illumines  his 
countenance,  while  a small  camera  takes  his  portrait  at 
the  same  moment.  This  “ photographic  tell-tale  ” inven- 
tion will,  we  suspect,  grow  so  common  that  we  shall  soon 
hear  of  patent  ale  taps  capable  of  taking  the  portrait  of 
everyone  who  comes  to  draw  the  beer. 


The  Astronomer-Royal  for  Scotland  contiibutes  to  the 
Year-Book  of  Photography  an  interesting  article  on 
“ More  Worlds  to  Conquer  in  Photography.” 


Another  proof  has  just  been  afforded  in  our  law  courts 
of  the  importance  of  establishing  a Government  photo- 


It cannot  be  denied  that  photography  has  been  of  great 
assistance  to  artists  when  the  sum  of  £30,000  is  stated  to 


November  23,  1883.] 


THE  PHOTOGRAPHIC  NE^V'S 


745 


be  the  value  of  a painting  cont  aining  a number  of  portraits 
of  the  Royal  Family,  nearly  all  of  which  were  executed 
from  photographs,  lu  an  act'on  brought  by  Mr.  M’Lach- 
lan,  an  artist,  against  Messrs.  Agnew,  the  well-known 
picture  dealers  of  Manchester,  tbc  plaintiff  stated  that  the 
painting  referred  to,  took  him  nine  years,  and  that  he  had 
travelled  about  to  various  foreign  courts  to  obtain  the 
photographs.  The  point  in  dispute  was  the  right  to  repro- 
duce the  work  by  photography,  the  plaintiff  claiming  the 
sole  right,  and  contending  that  this  right  had  been  infringed 
by  the  defendants.  As  there  was  a dispute  also  as  to  the 
custody  of  the  picture,  the  plaintiff  was  ordered  to  deposit 
the  picture  in  court,  and  then  make  such  application  as  he 
should  think  fit.  All  this  litigation  will  of  course  add  to 
the  value  of  the  picture,  which  by  the  time  the  dispute  is 
settled  will  become  almost  priceless. 

The  brilliant  author  of  “Autourde  Vie,”  the  dramatic 
version  of  which,  though  a failure,  has  for  the  moment  been 
the  talk  of  Paris,  has  shown  a modesty  in  regard  to  her 
photographs  which  is  not  to  be  discovered  in  tier  writings. 
“ Gyp  ” will  not  allow  her  photographs  to  appear  in  the 
shop  windows,  and  she  is  no  doubt  right.  It  cannot  be 
agreeable  to  be  identified  by  the  gaping  crowd  as  the  author 
of  sketches  which,  however  witty  and  lively,  sin  against 
morality. 

A correspondent  about  to  purchase  a photographic 
business  is  desirous  of  knowing  whether  there  is  any  fixed 
principle  by  which  the  value  of  a goodwill  can  be  determined. 
He  points  out  that  at  one  time  a stock  of  negatives  was 
worth  some  consideration,  as  in  ther  age  for  cartes-de-visite, 
people  frequently  ordered  “repeats,”  but  that  now  repeats 
are  the  exception,  and  not  the  rule.  The  value  of  a well- 
established  business  is  generally  considered  equal  to  the 
nett  profits  for  a year  and  a-half  or  two  years. 

According  to  Ur.  Vogel,  life-size  portraits  are  not  so 
popular  in  London  as  in  other  capitals  of  Europe.  In 
Vienna  they  are  most  seen,  next  comes  Paris,  then  London, 
and  lastly,  Berlin.  But  in  America,  says  our  esteemed 
colleague,  big  portraits  are  to  be  found  everywhere.  Even 
in  small  towns,  studios  are  provided  with  enlarging  appa- 
ratus for  the  production  of  life-size  pictures.  Fifteen 
minutes,  Dr.  Vogel  tells  us,  is  usually  the  exposure  given 
to  secure  such  enlargements  on  paper. 

Friutiug  on  fabric  by  the  Platinotype  process  is  going  on 
apace.  The  other  day  we  mentioned  the  fact  of  an  order 
to  the  extent  of  sixteen  hundred  pounds  having  been  given 
for  doyleys  to  be  impressed  with  a photograph  of  Mr. 
Irving,  which  were  required  for  the  American  market;  and 
now  portraits  of  other  celebrities,  printed  also  on  linen  by 
Platinotype,  are  to  be  produced  in  hundreds  for  table- 
cloths, napkins,  maps,  &c.  It  is  a fast  way  of  marking 
one’s  linen,  for  the  more  a photograph  is  washed,  the  more 
permanent  is  it  likely  to  be. 

Is  amateur  photography  more  practised  in  America  than 
in  England?  One  would  think  so  from  the  frequent  refer- 


ences to  photography  in  American  newspapers  and 
periodicals.  Would,  for  iustance,  the  fun  in  the  following 
paragraph  which  appears  iu  Puck,  the  leading  comic 
journal  in  New  York,  be  appreciated  by  English  readers: 
“The  amateur  photographer  now  comes  home  from  the 
country  and  finds  that  the  negatives  that  he  sent  back  to 
town  to  develop  at  his  leisure  have  been  so  thoroughly 
smashed  by  the  express  company  that  they  cau  be  utilised 
only  on  the  back  fence  as  an  aballis  to  discourage  cats.” 


The  Russian  illustrated  journals  are  more  fortunate  than 
the  English  ones.  A collection  of  eighty-eight  drawings  by 
Grenzs  has  been  discovered  in  the  library  of  the  Academy 
at  St.  Petersburg,  and  the  Grand  Duke  Vladimir  Alexandro- 
vitch,  who  occupies  the  post  of  president  of  the  Academy, 
has  given  from  his  private  purse  a sufficient  sum  to  permit 
the  illustrated  journals  to  reproduce  them  by  photography. 
It  will  be  long  before  this  example  is  imitated  by  the 
wealthy  possessors  of  art-treasurers  iu  England. 

Here  is  a problem  for  photo-cricketers  to  solve.  A 
great  cry  has  gone  up  during  the  past  summer  about  unfair 
bowling,  and  in  the  case  at  least  of  one  very  deadly  bowler, 
the  complaint  is  made  that  he  throws  the  ball  instead  of 
delivering  it  in  the  orthodox  fashion.  Now,  although  it  is 
perfectly  plain  for  everybody  to  see  how  a man  delivers 
his  ball,  the  action  is  so  swift  that  it  is  impossible  for  any- 
one to  demonstrate  and  prove  afterwards  in  what  particular 
the  bowling  is  wrong.  On  the  other  hand,  a rapid  photo- 
graph taken  at  the  moment  of  delivering  the  ball  would 
show  very  clearly  how  high  the  bowler’s  arm  is  raised, 
and  the  kind  of  muscular  action  he  exerts. 


With  an  electric  shutter,  the  exposure  might  be  made  by 
hand.  The  photographer  simply  waits  till  he  himself 
sees  the  ball  in  the  act  of  delivery,  and  then  exposes. 
Quick  as  the  bowler  moves,  he  does  not  act  with  the 
celerity  of  the  photographer’s  sight  and  nerve ; for  M. 
Charpentier  has  recently  proved  “that  the  time  elapsing 
between  a person  seeing  a signal  and  being  able  to  repeat 
it  with  his  forefinger  (say,  to  press  an  electric  key)  is 
about  y’oo  of  a second.”  The  bowler  could  not  assume  his 
position  of  delivery,  and  recover  from  it  as  well,  in  the 
time,  and  hence  his  action — whether  legitmate  or  illegiti- 
mate— could  well  be  recorded  by  photography. 


1 atfiit  JutfUigma. 

Notice  to  Proceed. 

3470.  Richard  Brown,  Robert  William  Barnes,  and 
Joseph  Bell,  all  of  Liverpool,  in  the  county  of  Lancaster,  for 
an  invention  of  “Improvements  in  means  for  and  methods  of 
producing  designs  upon  paper  or  other  fibrous  or  soft  material, 
or  upon  metallic  surfaces.” — Dated  14th  July,  1883. 

Specification  Published  during  the  Week. 

1650.  R.  Reynolds  and  F.  W.  Branson. — Photographic 
“ shutters  ” for  instantaneous  photography. 

Our  improvements  have  reference  to  an  arrangement  of  shutter 
whereby  the  rapidity  in  the  movement  of  the  flap  and  drop 
portions  may  be  adjusted  or  timed  independently  of  each  other. 
The  flap  is  raised  from  the  aperture  in  the  shutter  by  means  of  a 
coiled  spring  provided  within  a suitable  adjustable  box  on  the 


746 


THE  PHOTOGRAPHIC  NEWS. 


[November  23,  1883, 


shutter.  The  drop  portion  of  the  shutter  is  caused  to  fall  over  the 
aperture  by  means  of  an  india-rubber  band  or  its  equivalent,  so 
that  the  aperture  is  closed  by  such  time  as  the  flap  has  moved 
through  about  five-sixths  of  its  distance,  thus  all  shaking  of  the 
lens  is  obviated  during  the  time  of  exposure  of  the  plate.  The 
flap  is  retained  closed  over  the  aperture  by  means  of  a suitable 
catch  ; on  this  being  released,  the  flap  instantaneously  rises  in 
the  manner  hereinbefore  desciibed,  followed  immediately  by  the 
falling  of  the  drop.  And  in  order  that  our  invention  may  be  the 
more  completely  understood,  reference  is  given  to  the  accompany- 
ing drawings  and  to  the  letters  and  marks  thereon. 

Description  of  Drawing. — The  figure  is  a vertical  section 
showing  the  ‘ flap  ’ raised  and  the  ‘ drop  ’ lowered  covering  the 
aperture,  a is  the  frame  or  body  of  the  shutter,  b is  the  drop  fitted 
so  as  to  slide  freely  in  the  frame,  c is 
the  flap  carried  on  the  spindle  mounted 
in  bearings  attached  to  the  frame.  On 
one  end  of  the  spindle  is  provided  an 
adjustable  box  containing  a coiled  spring, 
such  spring  having  one  end  attached  to 
the  box,  and  the  other  to  the  spindle. 
The  object  of  this  arrangement  is  for 
the  purpose  of  raising  the  flap  c when 
required,  and  the  rapidity  of  such  move- 
ment may  be  increased  or  reduced  at 
pleasure  by  turning  the  box  containing 
the  spring  round,  and  thereby  tighten- 
ing or  slackening  the  spring.  The  spring 
box  is  held  in  any  required  position  by 
a pin  ; the  pin,  when  in  this  position, 
projects  through  the  flange  of  the  spring 
box,  and  rests  against  the  front  part  of 
the  flame  a.  The  flap  c is  retained  over 
the  circular  apeiture  l by  means  of  a 
suitable  catch  m,  or  its  equivalent ; on 
this  being  released,  the  flap  instantane- 
ously rises  into  the  position  shown  in 
the  figure.  The  drop  b is  caused  to  fall 
over  the  aperture  l by  means  of  the 
india-rubber  band  n or  its  equivalent, 
such  band  n being  arranged  and  applied 
in  the  manner  shown  in  the  drawings, 
and  its  strength  is  varied  to  suit  the 
rapidity  of  the  motion  required.  The 
stop  r,  which  may  be  covered  with  an 
clastic  ring,  serves  to  arrest  and 
cushion  the  fall  of  the  drop  b against  the  boss  of  the  flap  e. 
We  find  in  practice  that  the  aperture  l should  be  covered 
by  the  drop  b,  by  such  time  as  the  flap  e has  moved  through 
five-sixths  of  its  distance,  all  shaking  of  the  lens  being  thereby 
obviated  during  the  time  of  exposure  of  the  plate.  In  order 
to  prevent  the  drop  rebounding  after  it  has  descended  into 
the  position  shown  in  the  figure,  we  secure  a light  spring  to 
the  side  of  the  frame,  and  to  the  lower  end  of  which  is  attached 
a pin,  which  passes  through  the  side  of  the  frame,  and  pro- 
jects slightly  as  shown  beyond  the  slide.  After  the  drop  has 
closed  over  the  aperture  l,  the  pin  passes  into  a recess  provided 
for  it  in  the  drop  b,  and  retains  the  latter  in  position. 

Having  now  described  the  nature  of  our  said  invention,  what  we 
claim  is— The  general  arrangement  and  combination  of  the 
various  parts  forming  the  shutter  for  instantaneous  photography, 
and  mere  modifications  of  the  same,  substantially  as  and  for  pur- 
poses herein  set  forth. 

Patents  Granted  in  America. 

287,867.  G.  Frank  E.  Pearsall,  Brooklyn,  N.  Y.,  “ Photo- 
graphic dry-plate  holder.”— Filed  May  24th,  18S3.  No  model. 


with  a slide,  G,  and  a cover,  h,  so  that  the  sensitive  plate  can  be 
introduced  and  secured  at  one  end  and  the  slide  G at  the  other  end, 
substantially  as  and  for  the  purposes  described.  2.  In  combina- 
tion with  an  envelope  for  a sensitive  plate  provided  with  a slide  G, 
substantially  as  described,  the  combination  of  a rubber  strip,  d, 
arranged,  substantially  as  described,  to  form  a close  contact  with 
the  slide  G while  being  inserted  or  removed,  and  with  the  inside 
of  cover  h when  the  slide  is  out.  3.  In  an  envelope  or  holder  for 
sensitive  dry  plates,  the  construction  aDd  combination  of  the  side 
strips,  ee,  provided  with  the  recessess  or  notches  / /,  acting  in 
conjunction  with  the  elastic  rubber  strip  d and  slide  G,  substanti- 
ally as  and  for  the  purposes  described. 

287,858.  Henry  B.  Perry,  Chicago,  111.  "Pneumatic  shutter 
for  photographic  cameras.”  Filed  Feb.  17,  1883.  No  model. 


Claim—  The  combination  of  the  frame  A,  slides  B3,  having 
stud  b‘,  links  B',  and  lever  C,  with  the  cylinder  D,  having  piston 
d connected  to  the  lever,  and  the  air-bulb  E and  its  tube  e,  all 
constructed  and  arranged  to  operate  substantially  as  and  for  the 
purpose  set  forth. 

288,025.  James  B.  Colt,  New  York,  N.Y.,  assignor  of  one-half 
to  Sidney  C.  Thompson,  same  place.  “Device  for  focussing 
lenses.”  Filed  September  17,  1883.  No  model. 


Claim. — 1.  Lens-tubes  A and  A',  corrugated  with  screw-threads 
a spun  thereon,  in  combination  with  lenses  fixed  into  said  tubes, 
as  and  for  the  purpose  described.  2.  Lens-tubes  with  spun  cor- 
rugated screw-threads,  a,  and  recesses,  d,  in  combination  with 
lenses  fitted  in  said  recesses,  as  and  for  the  purpose  described. 
287,938.  Friedrich  Carl  Hosch,  Nuremberg,  Bavaria, 
Germany.  “ Process  of  photo-mechanical  printing  in  colours.” 


November  23,  1883.  J 


TEE  PHOTOGRAPHIC  NEWS. 


747 


Filed  Oct.  20,  1881.  Specimens.  Patented  in  Germany 
June  5,  1881,  No.  17,410;  in  England,  Aug.  12,  1881, 
No.  3,504  ; in  Austria-Hungary,  Oct  6,  18S1,  No.  33,363  ; in 
Fiance,  Oct.  22,  1881,  No.  145,472;  and  in  Belgium,  Oct.  29, 
1881,  No.  56,100. 

Claim.  — 1.  The  process  of  producing  colour-printing  plates  by 
the  aid  of  a colour-scale,  consisting  in  first  producing  a number 
of  neutral  prints  from  a given  photo-negative,  next  marking  upon 
one  of  the  neutral  prints,  on  all  necessary  places,  the  number  or 
symbol  of  the  colour  or  combinations  of  colour  on  the  scale  corre- 
sponding with  the  original  colour,  next  representing  upon  the 
remaining  neutral  prints  the  desired  per  centage  of  colour  in  its 
equivalent  shade  in  grey  or  black,  and  finally  using  said  prints 
to  produce  relief  printing  plates,  substantially  as  specified.  2.  As 
a new  article  of  manufacture,  the  colour-scale  herein  described, 
provided  on  its  surface  with  separate  series  of  a number  of  colours 
in  different  tints,  and  a separate  series  of  different  shades  of  a 
neutral  tint,  to  correspond  with  tho  tints  of  the  colours,  the  depth 
of  the  shade  and  tint  being  designated  by  figures  or  other  symbols, 
and  the  whole  adapted  to  be  used  to  indicate  the  shade  of  neutral 
tint  corresponding  with  the  desired  tint  of  colour  upon  the  print 
or  object  desired,  substantially  as  specified. 


A CHEAP  AND  EFFICIENT  EXPOSER. 

BY  T.  G.  WHAITE. 

I think  the  accompanying  sketch  will  almost  explain 
itself.  A is  a thin  india-rubber  bag  similar  to  the  toy 
balloons,  moistened  inside  with  a drop  or  two  of  glycerine, 
and  a little  Indian  red  powder  (oxide  of  iron)  put  iu  ; this 
makes  it  perfectly  opaque.  A small  hole  is  drilled  in  lens 
mount  at  B,  and  a brass  tube  inserted,  to  which  is  secured 
at  one  end  the  opaque  bag,  and  at  the  other  an  india- 
rubber  tube  with  pear-shaped  ball,  C and  D.  The  ball 


D is  then  clipped  with  an  American  clip,  to  which  is  glued 
a couple  of  pieces  of  wood  to  press  out  air  from  ball.  This 
closing  lens,  upon  pressing  the  clip  and  releasing  ball,  D, 
the  bag,  A,  is  contracted,  and  the  exposure  made.  There 
is  no  possibility  of  concussion  as  in  many  shutters,  and  the 
whole  affair  can  be  made  for  two  shillings.  After  a little 
practice,  exposures  may  be  made  as  rapidly  as  with  most 
so-called  instantaneous  shutters. 


EOSINE  AND  OTHER  STAINED  PLATES. 

BY  FRED  E.  IVES. 

It  may  interest  you  to  to  know  of  my  experience  with 
eosine  as  a sensitizer  of  silver  bromide  for  yellow  light.  I 
have  used  it  only  with  collodio-bromide  plates,  but  with 
great  success.  1 believe  that  the  action  of  the  eosine  is 
purely  chemical,  and  that  nothing  depends  upon  the 
colouration  of  the  film.  I found  that  the  application  of  a 
very  dilute  solution  was  best,  but  that  even  then,  the 
sensitiveness  (to  yellow  light)  was  enormously  increased 
by  carefully  washing  out  as  much  as  possible  after  it  had 
had  time  to  act  on  the  silver  bromide.  I applied  the 
eosine  solution  (simple  solution  in  water)  after  the  plate 
was  coated  and  washed,  then  washed  again  to  get  rid  of 
colour.  A curious  fact  is  that  these  plates  showed  no 
sensitiveness  to  yellow  light  when  developed  with  the 


alkaline  pyro.  developer,  unless  there  was  present  a little 
free  silver  nitrate.  \V  ith  oxalate  development  the  presence 
of  silver  nitrate  was  unnecessary  and  undesirable.  I used 
the  plates  immediately  after  their  preparation,  without 
drying. 

A much  better  colour  sensit’zer  (when  it  can  be  obtained) 
is  a fresh  alcoholic  solution  of  chlorophyll  from  fresh  blue 
myrtle  leaves.  It  should  be  applied  as  soon  as  the  emulsion 
(collodion)  is  set,  flowed  backward  and  forward  for 
thirty  seconds,  then  the  plate  is  washed  in  water  until 
smooth,  when  it  is  ready  for  exposure. 

'I  hese  plates  are  quite  sensitive  to  every  colour  which 
can  be  distinguished  by  the  eyes,  including  the  deepest 
ruby  red.  By  means  of  these  plates  and  coloured  screens 
I have  secured  results  which  you  would  probably  have 
thought  it  impossible  to  secure  by  any  photographic  pro- 
cess. I have  not  been  able  to  secure  a chlorophyll  solution 
which  would  give  the  same  results  from  any  other  leaves 
than  those  mentioned — “blue  myrtle  aDd  both  leaves 

and  solution  must  be  fresh  to  secure  the  greatest  degree  of 
sensitiveness.  I do  not  see  how  it  will  be  possible  to 
employ  the  chlorophyll  successfully  with  gelatine  plates, 

©— 

GLASGOW  EXHIBITION. 

The  Glasgow  and  West  of  Scotland  Amateur  Photo- 
graphic Association’s  first  Exhibition  was  opened  on  Friday 
last,  for  two  days.  The  Association  has  only  been  in 
existence  about  nine  months,  and  the  vigorous  life  it  has 
developed  is  shown  in  a highly  creditable  exhibition. 
Too  much  praise  indeed  can  scarcely  be  given  to  the  pluck 
and  enthusiasm  which  have  made  it  possible  to  bring 
together  in  so  short  a space  of  time  a collection  of  gems 
and  pretty  bits  of  scenery  rarely  seen  and  more  rarely 
photographed  by  the  professional  photographer.  The 
number  of  picturesque  glades  and  glens,  of  waterfalls  and 
bubbling  streams,  might  well  tempt  one  to  babble  a page 
about  them,  but  want  of  space  forbids  us  to  insert  more 
than  a list  of  the  awards  made,  which  were  as  follows  : — 

Section  A. — Class  1. — 1st  prize,  “Chestnut  Grove,” 
A.  J.  W.  Reid;  2nd  prize,  “Brig  o’  Turk,”  Robert 
Cutting.  Class  3.  — 1st  prize,  “ A Bit  on  Loch  Katrine,” 
Edwin  Smithells  ; 2nd  prize,  “The  Smiddy,”  T.  N.  Arm* 
strong.  Class  5. — 1st  prize,  “Baiting  the  Long  Line,” 
R.  Cutting  ; 2nd  prize,  “ Hard  Times,”  A.  J.  W.  Reid. 
Class  7. — 1st  prize,  “ A Serious  Chapter,”  Edwin  Smithells; 
2nd  prize,  “ In  the  Conservatory,”  A.  J.  W.  Reid ; 
“ Gipsies,’’  J.  M.  Skinner.  Class  9. — 1st  prize,  “A  Breezy 
Day,”  T.  N.  Armstrong,  class  10. — 1st  prize,  “Steamer 
Gareloch,”  Wilfrid  Smith. 

Section  B. — Class  2. — 1st  prize,  “ Ben  Venue,”  Edwin 
Smithells ; 2nd,  “ Scarborough,”  W.  Snell  Anderson. 

Transparency. — 1st  prize,  W.  Snell  Anderson ; 2nd  prize, 
T.  N.  Armstrong. 

Best  Portrait  taken  in  Open  Air. — 1st  prize,  “ In  the  Corn- 
field,”  A.  J.  W.  Reid  ; 2nd  prize,  “No.  12,”  F.  W.  Verel. 

Enlargement. — W.  Snell  Anderson. 


THE  MANCHESTER  PHOTOGRAPHIC  SOCIETY-PAST, 
PRESENT,  AND  FUTURE. 

BY  J.  FOLLITT.* 

The  newly-appointed  Couneil  of  this  Society,  having  seen  fit  to 
place  me  in  the  position  of  President  for  the  session  on  which  we 
have  just  now  entered,  I think  I ought  not  to  allow  the  occasion 
to  pass  by  without  some  introductory  remarks  bearing  on  what  I 
conceive  to  be  the  part  which  a well-regulated  society  such  as  this 
may  perform  in  the  history  of  the  art-science  of  photography. 

From  1839,  when  the  processes  of  Daguerre  and  Talbot  were 
first  made  known,  down  to  1851,  when  Archer  perfected  and 
published  his  collodion  process,  photography  was  in  the  hands  of 
a very  limited  number ; but  with  the  advent  of  the  latter  pro- 

• Condensed  from  a paper  communicated  to  the  Manchester  Photographic 
Society. 


748 


THE  PHOTOGRAPHIC  KEWS. 


[November  23,  1883. 


cess,  the  real  activity  of  photographic  work  may  be  said  to  have 
commenced  in  earnest,  and  the  advisability  of  originating  a photo- 
graphic society  began  to  be  discussed.  Many  able  men  in  various 
parts  of  the  country  and  abroad  were  taking  up  the  subject,  and 
in  prosecuting  their  researches,  the  desirability  of  means  for 
intercommunication  soon  became  apparent.  A society  was 
consequently  formed  in  London  by  the  then  leading  experimenta- 
lists, and  it  has  steadily  grown  from  a small  nucleus  to  its  present 
magnitude  under  its  original  and  still  adopted  title,  “The 
Photographic  Society  of  Great  Britain.”  Shortly  afterwards  the 
Manchester  Photographic  Society  was  established. 

The  Rev.  Mr.  Reade  and  Mr.  Arthur  Nield  were  prominent 
members  at  that  early  period.  If  I remember  rightly,  it  was  the 
latter  gentleman  who,  in  order  to  show  how  easily  photography 
might  in  bad  hands  be  made  instrumental  in  perpetrating  fraud, 
undertook,  with  the  collusion  of  a local  bank  manager,  a very 
curious  and  successful  experiment.  At  the  bank  in  question  the 
cheques  issued  to  customers  were  simply  printed  in  black  on  a 
white  ground.  There  was  no  coloured  band  nor  red  numbers,  and 
the  paper  contained  no  watermark.  Mr.  Nield  engaged  to 
photograph  one,  that  should  be  filled  and  signed  by  a customer 
who  had  an  account  at  the  bank,  so  successfully  thft  when 
presented  the  cheque  would  be  duly  honoured,  without  the  [east 
suspicion  being  excited  as  to  the  nature  of  the  deception.  The 
spurious  cheque  was  to  be  sent  to  the  bank  any  time  on  a certain 
day  fixed  by  the  manager  and  Mr.  Nield  himself,  the  tellers,  of 
course,  not  being  taken  into  confidence.  The  time  arrived,  and 
when  the  business  of  the  day  was  over,  the  cheque,  which  had 
been  presented  and  honoured,  could  only  be  selected  from  the 
legitimate  ones  by  the  assistance  of  Mr.  Nield  himself. 

The  wet  collodion  procoss,  though  daily  becoming  better  under- 
stood, and  more  successfully  practised,  had  serious  drawbacks 
when  out-door  photography  was  sought  to  he  united  with 
pleasure.  For  professional  work,  where  a successful  result  was 
demanded,  and  substantial  remuneration  in  prospect,  the  impedi- 
menta of  bath,  chemical  bottles,  &c.,  &c.,  was  not  to  be  taken 
into  account ; but,  to  the  gentleman  amateur,  it  required  an 
enthusiasm  bordering  on  desperation  to  carry  about  with  him  half 
the  chemical  laboratory,  to  say  nothing  of  the  risks  he  might 
incur  in  spotted  clothes  and  soiled  linen,  or  a smeared  face.  Hence 
a successful  method  of  preparing  the  plates  beforehand,  to  be  kept 
stored  up  in  a sensitive  condition  for  future  use,  became  a general 
desideratum. 

About  1857,  a process  of  French  origin  formulated  by  M.  Tau- 
penot,  and  since  known  by  the  name  of  “ collodio-albumen,” 
began  to  be  recognized  in  Manchester  as  the  most  reliable  pro- 
cess hitherto  made  known.  It  was  taken  up  with  great  spirit  by 
Mr.  Sidebotham,  Mr.  Parry,  and  other  able  pioneers  of  that  time, 
and  for  twenty  years  subsequently  the  annals  of  the  Manchester 
Photographic  Society  abounded  with  references  to  the  admirable 
work  done  by  the  various  modifications  of  that  process.  Man- 
chester became  the  home  of  the  collodio-albumen  process,  and 
the  success  which  attended  its  practice  stamps  the  past  history  of 
the  Society  with  a position  and  a character  ever  to  be  perpetuated 
in  the  history  of  dry-plate  work. 

The  gelatine  process  has  now  practically  superseded  collodio- 
albumen.  Its  general  adoption  has  brought  about  a large  acces- 
sion of  strength  to  the  Society  in  its  increased  roll  of  members, 
and  the  work  of  the  present  day  is  perhaps  more  uniformly  good 
than  it  was  in  the  past. 

My  own  connection  with  this  Society — extending  now  over  a 
period  of  sixteen  years — has  been  accompanied  with  very  many 
pleasant  associations. 


THE  AUTOTYPE  OR  CARBON  PROCESS. 

BY  J.  PIKE.* 

1 will  briefly  run  over  the  derivation  and  principles  of  the 
process.  The  term  “autotype”  has  been  and  is  understood  to 
mean  generally  the  reproduction  of  a photographic  picture  in  a 
permanent  pigment,  such  as  those  used  by  artists  m water- 
colour, crayon,  or  pencil. 

Mungo  Ponton  first  observed  the  peculiar  action  which  light 
has  upon  the  bichromates,  especially  those  of  potash  and 
ammonia,  when  exposed  to  the  actinic  rays  of  light  in  contact 
with  organic  matter. 

Becqueral  showed  that  sized  paper  acted  much  more  readily 

A eunmiu'cation  to  the  Newcastle- in-Tvn?  and  Northern  GnintUs 
Photographic  Association. 


than  unsized  under  such  action ; hence  the  association  of 
gelatine  or  gum  with  the  bichromates. 

Poiteven  found  that  if  a pigment  w’ere  mixed  with  the  com- 
pound of  gelatine  and  bichromate,  and  then  exposed,  the 
pigment  became  enveloped  in  that  portion  of  the  gelatine  there- 
by rendered  insoluble,  and  that  it  could  not  be  removed  by 
washing  in  water.  By  availing  himself  of  this  property  he 
succeeded  in  obtaining  the  first  photograph  in  pigment, 

From  these  experiments,  improved  upon  in  detail  and 
subsequent  working  by  numerous  eminent  photographers — 
amongst  whom  should  be  mentioned  the  names  of  Swan, 
Johnson,  and  Sawyer — the  autotype  process  has  been  derived 
and  perfected. 

Carbon  tissue  (so-called  from  the  fact  that  Indian  ink,  a pure 
carbon,  enters  into  the  composition  of  most  of  the  tissues  made) 
consists,  then,  of  a paper  coated  with  a composition  of  gelatine, 
pigment,  sugar,  glycerine,  and  water.  Full  directions  for  making 
the  various  tissues  may  be  found  in  Captain  Abney’s  work, 

“ Instruction  in  Photography,  ”*  also  in  an  excellent  paper  by 
Mr.  Annan,  published  in  the  photographic  journals  of  January 
19  th  of  this  year. 

Tissue  is  sensitized  by  immersion  in  a bath  of  bichromate  of 
potash  one  part,  and  water  twenty  parts.  It  should  remain 
three  minutes,  be  then  removed,  and  laid,  face  downwards,  on  a 
piece  of  plate  glass.  A squeegee  must  be  passed  over  the  back 
to  remove  excess  of  moisture,  and  then  the  tissue  be  suspended 
to  dry  in  a pure  atmosphere  and  in  perfect  darkness.  A 
temperature  of  about  70°  is  required. 

Tissue  sensitized  at  night  should  be  dry  by  the  morning.  My 
own  plan  s to  sensitize  the  last  thing  at  night,  after  the  gas 
has  been  turned  off ; and  the  room — preferably  the  kitchen — 
allowed  to  purify  somewhat  by  letting  a free  current  of  air  pass 
through  for  a short  while.  After  the  tissue  has  been  squeegeed, 

I lay  it,  face  upwards,  on  a sheet  of  white  blotting-paper,  and 
place  it  on  a cupboard  shelf  to  dry.  I have  no  arrangement  for 
suspending  the  tissue.  In  the  morning,  before  anyone  else  is  up 
and  while  still  dark,  I go  into  the  room,  collect  the  tissue,  now 
dry,  and  place  it  away  in  a safe  place  free  from  damp,  light,  and 
as  far  as  possible  free  from  air. 

Bcfere  exposing,  the  negatives  are  prepared.  A narrow  strip 
of  paper  is  gummed  round  the  edge  of  the  negative  to  the  extent 
of  an  eighth  or  quarter  of  an  inch.  This  forms  what  is  called 
the  “safe  edge.’’  It  is  this  which  prevents  the  picture  being 
washed  oft'  the  plate  duriug  development.  I do  not  myself  find 
it  necessary  to  put  any  paper  on  my  negatives,  they  not  being 
of  large  size.  I cut  the  tissue  as  nearly  as  possible  the  full  size 
of  the  frames,  and  the  width  of  the  rabbet  forms  quite  a 
sufficient  safe  edge. 

The  tissue,  already  cut  to  size,  is  placed  in  the  printing-frame 
in  the  usual  way,  and  exposed  to  light.  As,  however,  the 
progress  of  the  printing  cannot  be  watched,  as  is  the  case  with 
silver  prints,  an  actinometer  must  be  used.  This  is  an  arrange- 
ment which  allows  a very  small  piece  at  a time  of  silver  paper  to 
be  exposed  to  the  action  of  light.  This  actinometer,  being  exposed 
to  the  light  at  the  same  moment  as  the  tissue,  is  watched,  and 
when  the  piece  of  silver  paper  has  arrived  at  the  colour  of  the 
surrounding  disc,  this  signifies  what  is  called  a “ tint.”  Some 
negatives  require  six  or  seven  tints,  though  I must  say  I have 
never  met  with  such.  Of  course,  in  practice,  a standard 
negative  is  chosen  and  tested.  When  the  correct  exposure  by 
means  of  tints  is  acquired  the  negative  is  marked,  and  other 
negatives  being  compared  with  it  for  density,  it  is,  comparatively 
speaking,  easy  to  calculate  the  amount  for  exposure  necessary. 

As  will  be  seen  further  on,  under  and  over  printed  prints  may 
be  so  developed  as  both  to  produce  passable  pictures,  although 
in  carbon,  as  well  as  in  other  methods  of  printing,  correct  ex- 
posure is  necessary  for  the  production  of  perfect  pictures. 

It  is  as  well  to  remark  here  that  bichromatized  tissue  is  much 
more  sensitive  to  light  than  silver  paper.  A negative  requiring 
twenty  minutes  to  produce  a good  print  in  a fair,  diffused  light, 
will  give  as  good  a print  in  from  ten  to  twelve  minutes  in  carbon. 
It  must  not  be  forgotten,  also,  that  the  action  set  up  by  light 
continues  after  the  tissue  has  been  removed  from  the  frame. 
A picture  under-exposed  to-day  will  be  found  fully  exposed  to- 
morrow, and  over-exposed  the  day  after.  Advantage  is,  of 
course,  sometimes  taken  of  this.  1 have  a picture  here  which 
was  exposed  a very  short  time — three  minutes  only  ; the  same 
time  with  silver  paper  would  have  hardly  made  an  impression. 
It  was  developed  four  days  after  exposure,  and  was  by  that  time 
fully  exposed,  yielding  a passable  print. 

■ • riper  and  Carter,  Castle  Street,  llolbom,  E.C. 


November  23,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


719 


Development. — If  single  transfers  are  desired,  single  transfe' 
paper  must  be  used.  This  is  paper  coated  with  a compound  o* 
gelatine  and  chrome  alum.  A piece  of  this  paper  cut  a size 
larger  than  the  exposed  tissue  is,  together  with  the  tissue,  im- 
mersed in  cold  water,  the  two  surfaces  brought  into  contact  in 
such  manner  as  to  prevent  air-bubbles,  the  two  removed  as  soon 
as  the  tissue  loses  its  rigidity,  laid  upon  a glass  plate,  and  a 
squeegee  passed  over  them — gently  at  first,  then  more  strongly — 
in  order  to  bring  the  two  surfaces  into  intimate  contact.  After  an 
interval  of  a few  minutes  they  are  placed  in  a bath  of  warm  water 
— say  of  a temperature  of  90°  to  100°  Fahr.  In  a minute  or  two 
the  coloured  gelatine  will  be  seen  oozing  out  from  under  the  edges 
of  the  tissue ; the  paper  must  then  be  taken  hold  of  by  one  corner 
and  drawn  off  under  water,  leaving  on  the  transfer  paper  a dark, 
soluble,  and  slimy  mass,  under  which  lies  the  insoluble  picture. 
The  soluble  matter  must  be  washed  away,  using  water  more  or 
less  warm,  as  occasion  requires. 

If  the  picture  appears  under-exposed,  tepid  water  will  be 
sufficient  to  finish  the  development ; if  over-exposed,  hot  water  will 
be  required,  and  the  development  may  take  longer  time  for  com- 
pletion. The  picture  is  removed  to  a bath  of  alum  one  part,  water 
thirty  parts,  and  allowed  to  remain  fifteen  minutes.  It  is  then 
washed  in  clean  cold  water,  and  suspended  to  dry.  Photographs 
intended  for  book  illustration  may  be  developed  on  the  paper 
direct,  thus  avoiding  the  inevitable  cockling.  The  great  objection 
to  single  transfer  pictures  is  that  reversed  negatives  are  required. 
By  the  use,  however,  of  the  reversing  mirror  devised  by  the 
Autotype  Company  this  objection  is  to  a great  extent  removed. 

In  the  double  transfer  process  the  tissue  is  squeegeed  on  to  a 
piece  of  opal  glass,  or  a piece  of  Sawyer’s  flexible  support.  In 
the  former  case  a piece  of  opal  glass  is  cleaned,  and  then  rubbed 
over  with  a little  French  chalk,  or  a waxing  compound  may  be 
used,  which  answers  for  glass  as  well  as  flexible  support ; or  the 
plate,  already  waxed,  may  be  coated  with  thin  collodion.  In  any 
case,  however,  the  support,  rigid  or  flexible,  must  be  immersed  in 
water  before  affixing  the  tissue.  Development  is  conducted  in  the 
same  way  as  before  described. 

The  picture,  washed  and  dried,  is  sported  or  touched  up  if 
necessary,  and  is  then  ready  for  removal  to  its  final  resting  place. 
Double  transfer  paper — prepared  in  the  same  way  as  single,  but 
with  less  chrome  alum  in  its  composition — is  used,  and  a piece  cut 
a size  larger  than  the  picture,  and  placed  in  hot  water  until  the 
surface  has  a soft  and  slimy  feel.  It  is  then  removed  to  a bath  of 
cold  water,  where  it  may  remain  until  required. 

The  plate  bearing  the  picture  is  immersed  for  a second  in  cold 
water,  removed,  and  the  transfer  paper  laid  gently,  face  down- 
wards, over  the  print.  A piece  of  J.  R.  cloth  is  laid  over  the 
transfer  paper,  and  the  surface  of  the  latter  brought  into  close 
contact  by  means  of  the  squeegee.  When  this  is  done  the  plate  is 
reared  up  on  end  to  dry  thoroughly.  When  properly  dry  the 
print  may  be  peeled  off  without  difficulty. 

It  follows,  of  course,  that  if  bare  glass  be  used  to  develop  upon, 
a transparency  is  the  result.  In  this  case  the  tissue  should  be  a 
specially-prepared  one,  and  the  exposure  should  be  nearly  double 
that  required  for  a print.  Tissue  may  be  developed  upon  a variety 
of  surfaces,  such  as  opal  and  ivory,  as  a basis  for  miniature  paint- 
ing; drawing-paper,  as  a basis  for  work  in  crayon  and  water- 
colour ; canvas  and  panel,  as  a basis  for  oil  painting ; and  on 
wood-blocks  for  engraving.  It  is  thus,  as  will  be  seen,  adapted  to 
a variety  of  uses. 


®0msg0Rtat. 

HOW  THE  CIUTTYWEE  WAS  TAKEN. 

My  very  l)EaR  Sir, — Will  you  permit  the  infusion  into 
your  paper  of  a few  remarks  on  a subject  which  “ C.  R.  Y.” 
commented  upon  last  week.  I wa8  very  glad  to  see  his 
letter,  for  it  seems  to  me  that  Mr.  West  has  really  no 
excuse  for  receiving  a medal.  Of  course,  everybody  will 
say  that  I myself  am  a disappointed  medallist;  but  be 
this  as  it  may,  I am  quite  sure  that  had  I received  such  a 
mark  of  distinction,  I should  not  have  acted  as  Mr.  West 
has  done  over  his  Chittywee  picture. 

What  on  earth  posessed  him  to  tell  us  “How  the 
Chittywee  was  taken  ” ? If  he  has  done  anything,  he  has 
made  clear  his  arrangement  and  mode  of  working,  which 
at  best  was  a most  stupid  thing  for  him  to  do.  Could  he 


not  just  as  well  have  told  us  that  since  a boy  he  had  done 
nothing  but  read  Ruskin  and  study  Turner’s  Liber  Stuili- 
orum , that  his  art  training  had  undermined  his  health,  and 
that  he  had  now  scarce  strength  to  hold  upright,  let  alone 
cut  his  hair  or  keep  himself  from  “flopping”?  Yret  he 
must  needs  blab  out  the  plain  truth — he  admits  even  that 
he  had  only  one  man  in  the  boat — and  that  all  he  did,  any- 
body else  may  do.  It  was  a mere  fluke  that  he  got  the 
Chittywee , after  all  (though  he  had  been  trying  all  day)  ; 
and  it  was  just  as  much  a fluke  that  the  lighting  up  of  the 
sails  was  from  the  most  favourable  stand-point,  that  the 
sea  happened  to  be  crisp  and  curling,  that  none  of  the 
vigour  of  the  waves  nor  delicate  detail  of  the  craft  were 
lost,  but  the  whole  most  harmoniously  blended — in  a word, 
that  the  development  was  just  perfect  (!).  He  himself 
was  unable  to  say  whether  there  was  more  water  than 
sky,  or  in  fact  anything  at  all ; then  what  can  you  call  the 
result  but  a fluke?  Why,  in  the  name  of  photography, 
did  he  not  tell  us  how  he  had  been  studying  art  canons, 
pyramidical  formation,  and  effects  of  light  and  shade  for 
years  and  years  previously,  and  that  the  Chittywee  was  the 
outcome  of  all  this?  Nobody  could  have  said  the  contrary. 

People  of  course  will  argue  that  the  Chittywee  was  not  the 
only  picture  of  the  sort  Mr.  West  has  secured,  that  his 
frame  at  the  exhibition  included  half-a-dozen  other  almost 
equally  good  pictures.  But  this  proves  nothing  against 
the  fluke  theory.  I have  known  marksmen  at  Wimbledon 
make  half-a-dozen  bulls’  eyes  in  succession,  and  get  up 
from  the  last  with  swimming  eyes  and  doubting  words  as 
to  the  success  of  the  last  shot,  “ whether  there  was  more 
water  than  sky,  or  iu  fact  anything  at  all  ” in  it.  I re- 
peat, I don’t  think  such  people  deserve  the  reward  that 
falls  to  them.  Why  can’t  they  keep  their  peace,  and  be  as 
bold  as  brass  over  their  success,  assuming  a virtue,  if  they 
have  it  not?  Yet,  strange  to  say,  in  history,  we  have 
lamentable  examples  enough  of  this  kind.  Gustav  Dore, 
when  he  first  made  public  his  weird  and  characteristic 
work,  feebly  admitted,  in  so  many  words,  that  before  his 
patrons  took  him  up  he  did  not  know  whether  there  was 
more  water  than  sky,  or  in  fact  anything  at  all  in  the  re- 
sults of  his  labour.  Goethe  scribbled  his  famous  “ Nacht- 
lied”  in  pencil  upon  the  door  of  a summer-house  during  an 
idle  ten  minutes  one  evening,  and  was  then  fool  enough 
to  admit  the  composition  had  cost  him  no  pains ; he 
did’ut  know,  really,  whether  there  was  more  water  than 
sky,  or  in  fact  anything  at  all  in  his  lines.  One  of 
our  most  artistic  of  novelists,  Charles  Dickens,  was 
just  as  foolish  ; he  went  out  of  his  way  to  admit  that 
the  first  of  his  “ Sketches  by  Boz  ” he  “ dropped  stealthily 
one  evening  at  twilight,  with  fear  and  trembling,  into  a 
dark  letter-box,  in  a dark  office,  up  a dark  court  in  Fleet 
Street.”  Oliver  Goldsmith  was  even  worse,  to  take  the  case 
of  art  in  connection  with  the  drama ; when  “ She  Stoops 
to  Conquer  ” was  produced,  instead  of  sitting  in  a side 
box  opposite  pit  and  gallery  with  a sunflower  in  his  button 
hole,  he  sneaked  about  London  biting  his  nails  ; he  didn’t 
know  whether  there  was  more  water  than  sky,  or  in  fact 
anything  at  all  iu  that  drama,  which  the  vulgar  public  to 
this  day  will  have  repeated  again  and  again,  and  to  which 
London  managers  turn  perennially  to  retrieve  their 
fortunes. 

With  these  examples  before  him,  it  certainly  was  very 
silly  for  Mr.  West  to  admit  the  truth.  It  proves  nothing 
that  people  may  say  “ the  Chittywee  is  the  best  supplement 
that  has  yet  appeared  in  the  News,”  if  Mr.  West  himself 
will  not  dwell  enough  on  the  labour  it  cost  him.  I quite 
agree  with  “ C.  It.  Y.,”  that  Mr.  West  has  made  a great  mis- 
take ; he  ought  to  have  been  a hypocrite — there  are  many 
of  them  about. 

Believe  me, 

My  very  dear  sir, 

Yours  mo3t  exquisitely, 

Humbug. 

P.S. — Please  to  print  my  name  big. 


750 


IHE  PHOTOGRAPHIC  NEWS. 


[November  23,  1883. 


CUSTOM  HOUSE  OFFICERS  AND  DRY  PLATES. 

Sir, — I have  been  not  a little  interested  by  the  relation 
of  the  experiences  of  your  various  correspondents  in  the 
matter  of  Custom  House  inspections.  When  I read  Mr. 
Grant’s  first  letter  on  the  subject  I felt  a keen  personal 
interest  in  the  matter,  and  strong  sympathy  with  him  ; 
and  I think  that  the  case  of  travelling  photographers, 
amateur  and  professional,  ought  to  be  treated  inter- 
nationally on  some  definite  and  intelligent  basis.  Photo- 
graphic plates,  from  their  weight  in  proportion  to  their 
bulk,  cannot  be  easily  taken  for  tobacco  ; from  their  shape, 
they  cannot  be  taken  for  bottles ; and  these,  I guess,  are 
the  things  Custom  House  officers  are  most  on  the  alert  to 
pounce  upon. 

For  my  own  part  I have  passed  the  Customs  under 
almost  all  circumstances,  at  stations,  in  docks,  by  the  road- 
side, and  at  the  gates  of  many  Italian  cities ; in  many 
countries,  France,  Holland,  Belguim.  Germany,  Austria, 
Switzerland,  Italy,  Australia,  New  Z aland,  and  America; 
and  I never  had  a single  box  of  plates  opened,  or  indeed 
trouble  of  any  kind.  In  Switzerland  I think  I had  once 
to  leave  a deposit,  for  which  a receipt  was  given,  and  on 
presentation  of  that  receipt  my  deposit  was  refunded  on 
my  leaving  the  country.  Nor  on  any  occasion  except  one, 
and  then  I was  not  a photographer,  were  the  contents  of 
any  box  deranged  in  the  very  least.  A hand  might  be 
thrust  in  for  form’s  sake,  but  voila  tout.  In  many  cases, 
most  cases  I may  say,  my  word  has  sufficed  to  prevent  even 
my  boxes  being  opened.  “ The  reason  why  I caucot  tell.” 
I cultivate  an  open  countenance,  and  a frank,  polite,  but 
not  cringing  manner.  I speak  all  the  languages  (more  or 
less)  experience  has  taught  me,  or  I have  acquired  infor- 
mation where  and  where  not  the  iusidious  coin  is  useful 
and  practicable.  In  some  places  an  attempt  at  bribery  is 
sure  desstruction,  in  others  a necessary  evil.  In  France, 
Switzerland,  Germany,  and  parts  of  Austria  and  Italy,  a 
bribe  is  dangerous,  unless  very  deftly  administered.  In 
America  (East)  bribery  is  wholesale,  but  requires  tact.  In 
North  Italy  I fancy  a biibe  is  better  avoided,  but  about 
Naples  I know  it  to  be  necessary  for  peace,  and  may  be 
given  quite  openly.  All  boxes  containing  sensitive 
materials  should  have  their  qualities  printed  in  the 
language  of  each  country  to  be  visited.  The  camera  should 
be  shown  first  to  the  officer  to  prepare  his  mind  for  the 
awful  disclosures  to  follow. 

Persistence  on  the  part  of  an  officer  to  open  any  box 
never  occurred  to  me;  but  if  it  did  occur,  I should  then 
leave  the  box  in  bond,  offer  to  open  it  in  a suitable  light, 
and  appeal  to  an  officer  of  a higher  grade. 

Once  in  England  years  ago,  when  I knew  nothing  of  our 
delightful  art,  a Custom  officer  turned  out  on  a pier  the 
whole  of  the  contents  of  my  baggage  truuks.  This  was  at 
4 a.m.,  and  I was  too  much  overcome  to  insist  on  his 
returning  my  clothes  to  my  trunk.  I met  a “ boss  ” 
Custom  officer  about  10  a.m.,  and  reported  the  affair,  and 
the  officious  customer  got  a severe  “ wigging,”  and 
narrowly  escaped  material  puuishment.  But  my  advice  is, 
be  frank,  polite,  and  ready  to  “ tip  ” when  necessary  ; 
but,  above  all,  learn  languages.  Andrew  Pringle. 


et  ter,  work  has  but  little  chance.  If  any  of  your  numerous 
readers  could  givo  me  this  information  they  would  oblige 
One  Interested  in  Enlargement. 


robbings  si  Satieties. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  of  this  Society,  held  on  Thursday,  the  loth  inst., 
Mr.  E.  Twiss  occupied  the  chair. 

Messrs.  J.  Frankland,  A.  Sacks,  F.  York,  and  J.  Stuart,  were 
elected  members  of  the  Association. 

Mr.  A.  L.  Henderson  passed  round  an  enamel  plate,  from 
which  several  small  tablets  had  been  cut  by  means  of  emery,  and 
a copper  cylinder  rotating  perpendicularly  in  a lathe — on  a 
similar  principle  to  that  employed  for  cutting  watch-dials,  lie 
(Mr.  Henderson)  had  cut  small  plate3  in  this  way  for  a good 
many  years,  and  thought  the  suggestion  of  Mr.  J.  Traill  Taylor, 
to  apply  it  to  the  cutting  of  photographic  lenses,  a very  good  one. 
He  also  exhibited  an  old  dry-plate  camera,  kindly  lent  for  the 
occasion,  and  known  as  “ Cooke’s  patent  camera.”  The 
principal  features  are  as  follow.  A mahogany  box  in  two  leaves, 
forming  four  divisions  ; one  of  the  upper  divisions  comprising  the 
camera  proper,  the  hinged  front  forming  a base  with  rack  for 
extending  the  body.  Focussing  is  done  by  opening  the  leaves, 
and  bringing  up  the  focussing  screen  from  the  lower  front 
chamber.  To  expose,  the  leaves  are  again  closed,  and  a frame 
passing  through  each  of  the  interior  compartments,  drawn 
upwards ; by  this  means  the  plate  lodged  on  the  frame  in  the 
lower  compartment  is  carried  to  the  upper  chamber ; here  a 
spring  forces  the  plate  forward  into  the  position  previously 
occupied  by  the  focussing  frame ; after  exposure,  the  plate  is 
passed  into  the  lower  compartment  by  means  of  the  shutter,  and 
replaced  by  others. 

Mr.  A.  Cowan  remarked  that  a camera  of  this  description 
would  be  very  solid  on  a tripod. 

Mr.  VV.  E.  Debenham  said  the  feeding  would  be  more  rapid 
than  by  a camera,  which  required  turning  over  every  time.  The 
general  opinion  was  that  in  its  present  state  there  was  danger  to 
be  apprehended  from  one  plate  scratching  the  surface  of  the 
next. 

In  reply  to  questions,  Mr.  Henderson  said  the  camera  had 
been  out  of  use  for  a dozen  years.  In  its  present  form  it  would 
not  hold  more  than  eight  half-plates.  By  a little  alteration 
fifteen  or  eighteen  plates  in  frames  could  be  carried  with  ease. 

Mr.  VV.  T.  Wilkinson,  referring  to  a Pumphrey  safety  gas 
jet,  wished  to  know  what  advantages,  if  any,  are  derived  from 
the  use  of  four  openings  instead  of  two  in  the  burner. 

A Member  said  it  was  only  intended  a3  a greater  security 
against  exp'.osi  >n. 

Mr.  Henderson,  referring  to  the  spots  in  a batch  of  emulsion, 
described  at  a recent  meeting,  said  he  went  to  Hastings,  where 
this  trouble  arose.  lie  made  a small  batch  of  plates  there,  and 
obtained  a plentiful  crop  of  spots  on  developing.  Believing 
sulphates  to  be  the  cause,  he  added  a few  drops  of  a saturated 
solution  of  barium  nitrate  to  each  of  the  following  salts,  dissolved 
in  distilled  water — silver  nitrate,  potassium  bromide,  and 
potassium  iodide.  Upon  the  addition,  the  silver  and  bromide 
remained  clear,  the  iodide  became  slightly  turbid.  The  cause  of 
failure  was  undoubtedly  due  to  the  ordinary  water  employed, 
which,  upon  the  addition  of  barium,  became  opalescent. 


Bolton  Photographic  Society. 


HOW  ARE  ENLARGEMENTS  JUDGED? 

Sir, — At  the  Exhibition,  the  question  occured  to  my 
mind:  How  are  enlargements  judged?  When  a picture 

is  sent,  is  the  subject  taken  into  consideration,  or  is  it 
simply  judged  as  an  enlargement? 

11  this  be  the  case,  is  size  the  chief  recommendation, 
irrespective  of  the  proportionate  enlargement  from  the 
original  negative  ? For  example,  an  enlargement  48  inches 
long  from  a negative  12  by  10,  and  another  36  inches  long 
from  a carte  negative;  both  results  being  equally  good,  does 
^“e  larger  photograph  bear  off  the  palm?  Very  large  sized 
work  is  only  possible  in  very  large  business  premises,  and 
a great  amount  of  big  work  to  support  them  ; and  if  size  be 
the  chief  consideration,  evidently  smaller,  but  perchance 


The  fourth  annual  meeting  of  this  Society  was  held  on  Thursday, 
the  8th  inst.,  at  the  Baths,  Bolton,  Mr.  Robert  Harwood  in  the 
chair. 

The  Treasurer  reported  that  after  paying  all  the  expenses 
to  date,  there  was  for  the  first  time  a balance  remaining  to  the 
credit  of  the  Society. 

The  Council,  having  in  their  report  remarked  on  the  poor  attend- 
ance at  some  of  their  meeting*,  a conversation  ensued  as  to  the 
probable  cause.  Every  care  was  taken  to  provide  an  interesting 
programme,  and  the  papers  and  demonstrations  which  had  been 
reaitandgiven  during  the  year,  and  particularly  those  read  by  Mr. 
U.  Harwood,  Mr.  T.  Rarkinsou,  and  Mr.  John  Taylor,  were  inte- 
resting and  instructive.  The  poor  atttndaoce,  it  was  considered, 
was  not  attributable  to  the  meetings  being  in  themselves  un- 
attractive, but  rather  to  the  place  of  meeting  being  very  iucoa- 
venieut.  With  the  object  of  testing  the  correctness  of  this  view, 


Novembeb  23,  1883.] 


THE  PHOTOGRAPHIC  NEW9 


751 


the  Secretary  was  requested  to  take  some  more  central  room  for 
the  next  two  meetings.  The  officers  were  then  elected  as 

follows : — 

President — John  Hick. 

Vice-Presidents — Robert  Harwood,  Thomas  Parkinson,  J.  K. 
Bridson,  and  E.  N.  Ashworth. 

Treasurer— J.  C.  Sewell. 

Hon.  Secretary — Jno.  W.  Hawkswortb,  41,  Mawdsley  Street, 
Bolton. 

Council — The  above  gentlemen  and  Messrs.  Haslan,  Taylor, 
Banks,  Knowles,  and  Dalton. 

The  Secretary  was  requested  to  revise  the  rules  of  the 
Society,  and  submit  to  the  next  meeting  for  approval. 

The  meeting  was  well  attended,  and  a general  determination 
to  make  the  Society  a more  decided  success  was  evinced. 
Notices  were  given  that  a ballot  would  be  taken  at  the  next 
meeting  for  admission  of  ten  new  members. 

Mr.  C.  K.  Dali  on  exhibited  a number  of  silver  and  platinotype 
prints,  which  were  much  admired. 

A very  enjoyable  evening  was  brought  to  a close  by  a cordial 
vote  of  thanks  to  the  Chairman. 


Glasgow  and  West  of  Scotland  Amateur  Photographic 
Association. 

A MEETING  of  this  Association  was  held  in  the  Religious 
Institution  Rooms,  Glasgow,  on  Tuesday,  the  13th  November,  the 
President,  Mr.  Hugh  Reid,  occupying  the  chair. 

After  the  usual  preliminary  business, 

Mr.  Andrew  Lithgow  wa3  admitted  as  an  ordinary  member. 

Several  questions  relative  to  the  Exhibition  were  discussed,  and 
the  nomination  of  office-bearers  for  the  ensuing  session  proceeded 

with. 

Mr.  J.  N.  McLellan  then  read  a paper  on  “ The  Lens  and 
Diaphragms,”  which  was  illustrated  by  diagrams  and  sketches 
on  the  black  board,  and  listened  to  with  interest  by  the  members. 

Mr.  T.  N.  Armstrong,  while  appreciating  the  importance  of  a 
thorough  understanding  of  the  diaphragm  and  its  uses,  con- 
sidered the  question  of  judging  the  intensity  of  light  of  primary 
importance,  and  enquired  if  Mr.  McLellan  could  give  any  infor- 
mation on  the  subject. 

Mr.  McLellan  said  he  had  made  no  special  investigation  into 
the  subject. 

The  President  remarked  that  he  had  used  a Woodbury 
photometer  for  this  purpose,  but  had  difficulty  in  getting  a 
sensitive  paper  to  assume  a similar  tint  to  that  painted  on  the 
photometer. 

The  Secp.aTary,  in  proposing  a vote  of  thanks  to  Mr.  McLellan 
for  his  interesting  paper,  said  he  considered  the  subject  dealt 
with  a most  important  one,  and  asked  the  members  to  give  it 
their  attention  with  a view  to  the  Society,  as  a body,  adopting 
the  definite  standards  of  the  Photographic  Society  of  Great 
Britain,  and  proposed  that  they  be  adopted  by  the  members. 

A fine  print  of  Mayland’s  picture — 11  There  is  Sorrow  on  the 
Sea ’’—was  exhibited  by  Mr.  G.  G.  Napier,  and  much  admired 
by  the  members. 

After  the  usual  votes  of  thanks  the  meeting  adjourned. 


Sheffield  Photographic  Society. 

The  usual  monthly  meeting  was  held  on  Tuesday,  the  6th  of 
November,  under  the  presidency  of  Mr.  Councillor  Firth. 

After  tea  the  business  of  the  evening  was  proceeded  with.  The 
minutes  of  the  last  meeting,  and  also  of  the  Exhibition  Committee, 
were  read  and  confirmed,  and  Messrs.  W.  II.  Bacon  and  E.  L. 
Pearce  were  elected  members  of  the  Society. 

Various  details  relating  to  the  proposed  exhibition  were  con- 
sidered and  adopted,  and  it  was  decided  to  hold  a lantern  exhibi- 
tion each  night,  to  which  the  various  photographic  societies 
throughout  the  Kingdom  should  be  invited  to  contribute.  The 
exhibition  is  fixed  to  be  held  the  first  full  week  in  January,  1884. 
Great  enthusiasm  appeared  to  pervade  the  meeting,  and  a deter- 
mination was  expressed  to  make  the  exhibition  a success. 

Mr.  Hatfield  brought  a large  portfolio  of  views  in  California 
and  the  Yosemite  Valley,  from  negatives  on  22  by  1G  plates, 
which  were  extremely  interesting,  and  almost  technically  perfect. 

Mr.  Davey  passed  round  a large  number  of  prints  representing 
part  of  his  summer’s  work. 

Mr.  Dakin  brought  a 10  by  8 camera  which  bad  been  made 
for  him  by  Mr.  G.  Hare  on  his  new  principle.  The  various 
ingenious  features  in  the  construction  and  mode  of  working  the 
camera  were  fully  explained  by  Mr.  Dakin,  who  was  complimented 


on  the  compact  arrangement  of  his  case,  containing  camera,  thr  o 
double  slides,  three  lenses,  stand  top,  focussing  cloth,  shutter, 
&c.,  and  which  only  measured  15  by  14  by  9 inches  outside. 

Votes  of  thanks  to  the  above  gentlemen  closed  the  business  of 
the  meeting. 

Manchester  Photographic  Society. 

The  usual  monthly  meeting  of  this  Society  was  held  at  the  Man- 
chester Technical  School,  on  Thursday,  the  8th  inst.,  Mr.  John 
Poi.litt,  President,  in  the  chair. 

The  minutes  of  the  previous  meeting  were  read  and  confirmed. 

The  Chairman  said  the  Council  had  met  with  the  view  of  con- 
sidering the  practicability  of  holding  another  general  exhibition 
of  photographs,  as  suggested  to  the  Council  at  the  last  meeting, 
and  the  result  of  their  discussion  was  to  abandon  all  idea  of  another 
general  exhibition  for  a lengthened  period  during  the  present 
session ; but  he  was  happy  to  say  that  arrangements  had  been  made 
for  a soiree  and  exhibition  of  photographs,  to  be  held  on  the  18th 
December,  at  the  Memorial  Hall,  for  one  night  only,  and  it  was 
very  desirous  to  have  a good  show  of  members’  work.  In  reply  to 
a question,  ho  (the  Chairman)  said  that  members  need  not  confine 
their  exhibits  to  this  year’s  work,  and,  in  all  probability,  an 
exhibition  of  lantern  slides  would  take  its  usual  place.  Members 
were  requested  to  send  in  their  lantern  slides  intended  for  exhibi- 
tion to  the  Hon.  Secretary,  on  or  before  Tuesday,  December  11th. 

The  following  gentlemen  were  elected  members  of  the 
Society  : — Mr.  Frederick  William  Burt  and  Mr.  James  Davenport 

The  Chairman  then  read  a communication  “ On  the  Attitude 
of  our  Society— Past,  Present,  and  Future”  (see  page  747). 

Mr.  S.  D.  McKellen,  in  introducing  to  the  members  a 
tourist’s  portable  camera,  said  he  had  often  thought  that  the 
camera  taken  out  by  the  members  of  the  Society  on  some  of  the 
summer  excursions  were  much  too  heavy  and  cumbersome,  and 
had  noticed  how  much  diminished  was  the  pleasure  when  working 
the  larger  size,  by  reason  ot  great  weight,  say  whole  plates  and 
above.  lie  had,  therefore,  set  his  mind  to  think  out  a camera 
which  should  combine  all  good  qualities,  including  lightness, 
efficiency,  strength,  and,  at  the  same  time,  no  loose  pieces,  and 
he  thought  he  had  succeeded  in  producing  such  a camera. 
Although  many  experiments  were  tried,  incurring  considerable 
expense,  before  real  success  was  obtained,  he  assured  the  members 
that  if  there  were  any  ideas  in  his  camera  which  they  considered  of 
value,  they  were  heartily  welcome  to  make  use  of  them. 

The  camera  was  then  handed  round  the  room,  and  very  much 
admired.  Mr.  McKellen  explained  the  various  motions,  extra- 
long  focussings,  &c.  ; and  in  showing  how  two  half-plate  pictures 
could  be  put  on  a whole  plate  by  the  well-considered  motion  of 
the  back  and  front,  an  argument  ensued  between  Messrs.  Rashton 
and  McKellen  on  the  merits  of  swing-backs  and  swing-fronts. 

In  reply  to  an  inquiry  from  the  question-box, 

The  Hon.  Secretary  said  he  thought  there  were  very  few  of 
the  members  who  worked  the  collodio-chloride  process,  but  that 
he  believed  Mr.  Payne,  of  the  firm  of  Mawson  aud  Swan,  had 
been  very  successful  in  that  process,  and  the  firm  were  in  a posi- 
tion to  supply  the  emulsion. 

The  usual  vote  of  thanks  was  passed,  and  the  meeting  was 
adjourned  uetil  December  13. 


in  \\t  Stnbin. 

Photographic  Society  of  Great  Britain. — The  next 
meeting  of  this  Society  will  take  place  on  Tuesday,  November 
27th,  at  8 p.m.,  at  the  "Gallery,  5a,  Pall  Mall  East. 

Death  of  Mr.  Hugh  Powell.— We  regret  to  announce  the 
death,  at  the  patriarchal  age  of  85,  of  Mr.  Hugh  Powell,  of  the 
firm  of  Messrs.  Powell  and  Zealand,  opticians,  Euston  Road. 
Mr.  Powell  was  well  known  in  connection  with  many  improve- 
ments of  the  microscope,  and  especially  for  the  successful  con- 
struction of  objectives  possessing  extremely  high  magnifying 
power. 

A Convenient  Retouching  Medium. — Mr.  W.  B.  Massey, 
of  Cork,  informs  us  that  the  ashes  of  tobacco  form  a convenient 
retouching  medium  for  abrading  the  varnished  film.  The  ash  is 
applied  by  the  tip  of  the  finger,  with  a very  gentle  circular 
motion.  The  ash  of  a high  class  cigar  is  to  be  preferred,  as  it  is 
entirely  free  from  grit. 


7.32 


THE  PHOTOGRAPHIC  NEWS. 


American  Notes  by  an  American  Photographer.— The 
St.  Louis  Photographer,  which,  by  the  way,  is  exceedingly  well- 
conducted,  tells  the  following  experiences  of  Mr.  E.  H.  Maxon  : 
“ My  business  is  making  negatives  out-doors.  I travel  with  horse 
and  waggon,  with  an  assistant,  using  the  bath  generally,  but 
Cramer’s  dry  plates  for  animals,  children,  and  large  groups.  I 
want  to  tell  you  of  a few  curious  people  I meet.  One  day,  while 
in  Ballstou,  N.Y.,  I met  a gentleman  with  his  family  in  their 
carriage.  Said  he  : “ Have  you  an  instrument  strong  enough  to 
take  this  party?” — “Yes  sir.”  “Well,  I wish  you  would  take 
them  over  to  the  lake,”  about  four  miles  distant.  I stayed  one 
night  with  a farmer  near  Durkeetown,  N.Y.  We  agreed  to  give 
him  a view  of  his  toise  for  his  accommodation.  As  we  were 
leaving  in  the  morning  he  said  : “ If  that  view  isn’t  first-rate, 
and  I don’t  like  it,  I suppose  I’ll  have  to  take  it,  because  you’ll 
say  ‘it’s  as  good  as  the  board.’”  The  board,  by  the  way,  was 
good.  I one  day  made  a view  of  a nice  little  place  owned  by  a 
very  peculiar  Irishman,  who  wished  to  be  “ taken  ” in  the  view, 
and  who  could  hardly  keep  still,  continually  ejaculating,  “ Oh, 
oh,  oh — oh,  my  gosh ! ” “ Now,  Mister,  we  are  all  ready  ; 
standstill.” — “All  right,  I’m  ready.”  “Now  stand  still.” — 
“I  will.”  “ You  mustn’t  talk.” — “No,  I won’t.”  We  “ took  ” 
him.  “ That’s  all,  sir.” — “ Is  it  took  ? ” Yes,  sir.” — “ Oh,  oh, 
oh — oh  my  gosh ! ” “ Now,  Mister,  you  may  see  this  negative, 

if  you  like,  as  soon  as  it  is  fixed.” — “Can  I see  it.”  “Yes, 
sir.” — “Oh,  oh,  oh— oh  my  gosh!  ” As  soon  as  it  was  finished 
it  was  shown  him.  “ Is  that  me  ? ” “ Yes,  sir.” — “ Oh,  oh,  oh 

— oh  my  gosh  ! ” One  day  I wished  to  make  a view  of  a house 
belonging  to  an  elderly  lady,  who  had  to  go  and  consult  her 
lawyer  before  giving  her  consent,  fearing,  probably,  some 
lightning-rod  game.  A gentleman  once  said  to  us  : “ Have 
you  taken  that  house  over  there?” — “Yes,  sir.”  “Well,  I 
want  you  to  bring  it  back.” 

Photographic  Club. — At  the  meeting  on  Wednesday, 
November  28th,  the  subject  for  discussion  will  be  “ The  Prepara- 
tion of  Lantern  Slides.”  The  lantern  evenings  will  be  resumed  on 
this  night  for  the  winter  season.  Visitors  are  invited. 


$0  ®0m5g0n&£tttg. 

*»*  We  cannot  undertake  to  return  rejected  communications. 

%*  To  Hon.  Secretaries  of  Photographic  Societies. — 
Kindly  send  in  at  once  to  the  Editor  of  the  Year-Book  of 
Photography,  care  of  Messrs.  Piper  and  Cartir,  5,  Castle 
Street,  Ilolborn,  a revised  list  of  president  and  officers,  together 
with  place  and  day  of  meeting. 

***  Erratum. — Last  week  the  name  of  Mr.'  A.  H.  Dyke  Acland 
was  spelt  erroneously  in  our  report  of  the  London  Photographic 
Society. 

L.  M.  II  (Liverpool). — L’nless  the  snecification  clearly  describes 
the  method  adopted,  it  is  invalid.  Many  persons  attempt  to  se- 
cure one  essential  feature  of  a process  by  burying  it  among  a 
number  of  trivial  or  irrelevant  claims,  while  another  essential 
feature  of  the  process  is  intentionally  left  out  altogether.  2.  We 
quite  agree  with  you  that  the  most  characteristic  feature  of  the 
process  to  which  you  refer  is  the  use  of  oblique  lighting,  and  we 
find  no  mention  whatever  of  this  in  the  specification  which  you 
enclose.  3.  We  cannot  give  any  opinion  as  to  the  novelty  of  the 
method  just  now,  but  we  shall  shortly  publish  a series  of  articles 
in  which  the  whole  subject  will  be  brought  under  review.  4.  All 
the  methods  to  which  you  refer  are  open  to  the  public,  as  far  as 
we  know. 

R.  Huck. — Thanks.  We  do  not  doubt  that  such  particulars  as  you 
refer  to  will  be  interesting  to  our  readers. 

Economy. — Soak  them  in  a solution  prepared  by  dissolving  2 ounces 
of  bichromate  of  potassium  in  a quart  of  water,  and  adding  2 
ounces  of  sulphuric  acid. 

A.  G.  Hopkins. — 1.  Itis  duo  to  reflection  of  light  from  the  back  of 
the  plate,  and  the  best  method  is  to  paint  the  reverse  side  of  the 
glass  with  a quick-drying  black  varnish.  The  “Liquid  Jet” 
sold  by  Hopkin  and  Williams,  or  “ Bates’  Black,”  answers  very 
well.  It  is  easjT  te  clean  the  varnish  off  from  the  finished  negative. 
2.  A leader  on  the  subject  next  week. 

One  in  the  West. — 1.  The  glasses  and  rims  can  be  bought  already 
fitted  from  the  stock  houses.  2.  The  glass  and  print  are  immersed 
in  a warm  solution  of  gelatine  (one  part  of  gelatine  in  twenty  of 
water),  and  after  the  print  has  been  placed  in  position  the  back 
is  rubbed  over  with  a squeegee  in  order  to  establish  perfect  con- 
tact. 

Thos.  IIorKiNSON. — Wo  have  posted  you  our  own  copy,  but  we 
must  ask  you  to  return  it.  2.  Your  letter  has  been  sent  on  to  the 
Secretary. 


[November  23,  1883. 


A.  O.  A.— 1.  We  shall  give  full  particulars  in  our  articles  on  the 
Woodburytype  methods,  but  in  the  meantime  write  to  Mr.  Wood- 
bury, at  Java  House,  Manor  Road,  South  Norwood.  2.  A 
special  press  is  made  ; it  somewhat  resembles  a small  typographic 
press.  You  can,  however,  bring  an  ordinary  copying  press  into 
service  if  you  cement  a piece  of  plate  glass  to' the  platen.  3.  No. 

4.  The  process  you  refer  to  is  an  excellent  one ; indeed,  we  know 
of  no  better.  If  you  experience  any  difficulty,  let  us  know. 

5.  Yes,  that  figured  on  page  582  of  our  present  volume.  Freshly 
burned  lime  may  be  used  instead  of  chloride  of  calcium. 
G.  Nothing  is  so  cheap  for  the  purpose  as  coal  or  coke,  and  if  you 
have  no  convenience,  it  would  probably  pay  you  to  make  it. 
Gas  is  extremely  expensive  as  a means  of  heating  an  apartment. 

Tyro. — 1.  It  is  difficult  to  give  you  aDy  useful  instructions  in  this 
column,  as  you  rather  want  general  directions  than  specific  infor- 
mation. Should  not  the  information  in  the  “ Dictionary”  be 
sufficient,  let  us  know  exactly  on  which  prints  you  require 
further  information.  You  will  find  much  which  is  useful  in  the 
forth-coming  Year-Book.  2.  It  will  be  re-published  in  a sepa- 
rate form,  but  we  cannet  tell  you  the  price.  3.  A common  cause 
of  failure  to  tone  is  the  circumstsnce  of  some  of  the  fixing  solution 
being  transferred  to  the  toning  bath  by  unrinsed  fingers. 

McLeod. — We  have  forwarded  your  letter. 

P.  W.  Smith. — The  titleof  thebookis  “ Photographische  Schmelz- 
farbcnbilder,”  and  it  is  published  by  Dr.  E.  Liesegang,  of 
Diisseldorf,  Rhine.  It  costs  2h  marks,  and  if  you  send  a P.  O.  O. 
for  3s.,  we  have  no  doubt  you  will  receive  it  by  return  of  post. 

Chas.  W.  Bentley. — We  will  endeavour  to  place  you  in  com- 
munication with  persons  interested  in  the  matter. 

E.  Edwardson. — Thank  you  very  much;  but  we  are  afraid  we 
must  abstract  them  a trifle  before  making  use  of  them. 

II.  B.  Brain. — We  will  make  a note  of  it  next  week.  Thanks. 

Oxon. — 1.  The  use  of  a very  highly  alb  unionized  paper.  2.  The 
toning  bath  too  alkaline. 

O.  Henbury. — Between  eight  and  ten  ounces  may  ho  taken  as 
a rough  average,  but  the  limits  of  variation  arc  considerable. 


t-jj*  iplmtogntpfnc  ^jgistrjr. 

Employment  Wanted. 

Optical. — Manager  or  Principal  Assist. — Optic,  Photographic  News  Office. 
Collotype,  Photo-litho.  &c  , Operator.— Photo-mechanical,  Photo.  Ants. 
Operator,  lighting  & posing.— 1’.  YV.  C.,  8,  Bolton-rd.  High-rd.,  Chiswick 
Operator,  clever  with  children. — A.  P.,  Photographic  News  Office. 

Printer,  Toner,  4c.,  first-class.— A.  '/...  151,  Sanar.ngham-rd.,  Dalston. 
Operator  and  Retoucher. — II . C S. , 4,  Bcatrice-vill  is,  Ossory-rd  ..BE. 
Finishing  Enlargements  at  Home.— L.  K.,  Spring  House,  Merton,  Surrey. 
Itecep.  Room. — Colourin',  k Spotting  (Lady).— If.,  88,  Pulford  st..  Pimlico. 
Assist.  Printer  and  Toner.— II.  Adams,  7,  Albert-tor  , Sandown,  1.  of  \V. 
Landscape  Photographer.-  Operator,  Aslett  House,  Sandown,  1.  of  YV. 
Assistant  Operator  and  Retoucher. — YYr.  If.,  5,  Port  Hill,  Margate. 

Print  Enlargements  (Lady).— A.,  55,  (Trovcdalc-rd..  Upper  Holloway. 
Operator,  Sr.-t-dass,  good  piser.  — Z.  A Pho‘o.  A’cics  Office. 

General  Assistant. — M.  R.  C.,  39,  North-end,  Croydon. 

Firs’.-class  Retou  her  (Lady). — II.  R,,  22,  Ulynton>st.,  Fitcioy-sq. 

Employment  Offered. 

Retoucher,  also  Lady  to  Spot. — A.,  Photcgraghic  Xcici  Office. 

Silver  Print  rand  Vignetter.— Cox,  Tavistock  Chambers,  Nottingham. 
Young  Man,  generally  useful. — A.  ii.  U , Mr.  Richarlson,  Iligh-rd.,  Lee. 
Gelatine  Plate  Coatcr.  X.  X.,  Roueh  and  Co  , ISO,  Strand,  YV.O. 

Operator,  first-class — Dobcnham  and  Gabel!,  158,  Regent-st.,  YV. 

Young  Lady,  Reception  R om. — n.  R.,  Photographic  .Ydcj  Office. 

Silver  Printer  and  Tut  or. — Jt  Steward,  Elgin. 

Manager  of  Photo,  and  Optical  Business. — B.B.,  P.O.  Y'igo-st.,  YV. 

Artist,  Club  YVork  in  Oil.— W.  II.  Ledgard,  II,  Lumb-lanc,  Bradford. 
Operator  (dry-plate). — YYr.  n.  Midwinter, 49,  1 ark-.t.,  Bristol. 

Retouchers  (two)  immediately  —J.  Edwards,  1,  Park  Side,  Hyde-pk.  Corner. 
Gelat.-Brom.  Enlargers  (2). — Ooodhall  & Steven,  49,  Jamaica-st  .Glasgow. 
Artist  (first-class)  for  Calcutta. — T.  E.  A.,  19,  YVigmore-st.,  Cavendish-sq. 


A QUARTER  OF  A CENTURY 

OF  PUBLICATION. 

The  simple  fact  that  the  Dm-^ooli  of  photography 
has  run  out  of  print  during  the  past  two  gears  Yvithin 
six  months  of  its  publication,  is  proof  sufficient  of  its 
popularity  and  Yvide  circulation,  and  Messrs.  1‘iper  and 
Carter,  in  announcing  its  appearance  for  1884,  need 
put  forward  no  better  claim  as  to  its  value  as  an  adver- 
tising medium. 

Intending  Advertisers  in  the  i]f2r-A>ooI;  of  photo- 
graphy anh  Photographic  $tffos  gJmanaf  should  com- 
municate with  them  at  once  at  the  Office,  o,  Castle 
Street,  IIulborn,  Lonbon,  E.C. 


THE  PHOTOGRAPHIC  HEWS. 


The  Production  of  lleliographic  Blocks  by  Electrotyping  in 

the  Geographical  Institute  of  Vienna 7. 

Photographic  Chemicals 753 

Photographic  Patents  754 

The  Newcastle  Exhibition  755 

“ By-tbe-Bye  ’’—Greedy  of  Fame 75G 

Glass 757 

Simple  and  Effective  Washing  Arrangement.  By  Major  A. 

Senior,  B.S.O 758 

French  Correspondence.  By  Leon  Vidal 75!) 

Notes 759 


Vol.  XXVII.  No.  1317. — November  30,  1883. 

, ' ' 

CONTENTS 


PAGR 

Patent  Intelligence 761 

Slow  Development.  By  Pierre  Kcvon  762 

Photographic  Profits,  and  How  to  Increase  them.  By  C. 

Brangwyn  Barnes 762 

Review  76S 

A Dictionary  of  Photography 764 

Correspondence  7G4 

Proceedings  of  Societies 706 

Talk  in  the  Studio "67 

To  Correspondents 768 

The  Photographic  News  Registry "68 


THE  PRODUCTION  OF  HELIOGRAPHIC  BLOCKS 
BY  ELECTROTYPING  IN  TIIE  GEOGRAPHICAL 
INSTITUTE  OF  VIENNA. 

In  the  map  department  of  the  Ordnance  Survey  of  Austro- 
Hungary,  at  Vienna,  the  lieliograpbic  printing  blocks  are 
produced  by  a modification  of  the  carbon  process.  A print 
upon  seusitized  tissue  is  obtained  and  transferred  to  a 
silvered  copper  plate,  the  necessary  grain  being  obt lined 
by  quickly  drying  the  bichromated  film  in  a powerful  a:r- 
current  of  ordinary  temperature.  From  the  pigment 
image  in  relief,  with  a grain  thus  imparted,  and  while  it 
still  adheres  to  its  metal  surface,  another  relief  is  made  in 
the  electrotyping  bath. 

Here  is  a sketch  of  the  electrotype  apparatus  in  use  at 


(see  fig.),  of  copper  sheet,  this  being  fastened  by  the  clamp 
E.  At  the  narrow  end  of  the  trough,  at /,  is  a receptacle 
containing  sulphate  of  copper. 

In  commencing  work,  a zinc  plate  is  inserted  in  the 
trough  as  positive  electrode,  in  order  to  precipitate  as 
quickly  as  possible  a fine  and  compact  deposit  of  copper, 
so  that  the  gelatine  relief  in  the  bath  may  not  suffer  from 
the  free  acid  of  the  copper  solution.  The  sulphuric  acid 
used  for  the  zinc  is  diluted  with  water  in  the  proportion  of 
1 to  GO. 

After  the  lapse  of  an  hour,  the  zinc  plate  is  removed,  and 
an  iron  plate  substituted  for  it,  the  latter  being  immersed 
iu  sulphuric  acid  diluted  to  the  extent  of  1 to  27  of  water. 

The  heliographic  plates  acquire  their  proper  thickness 
after  a period  of  from  twenty  to  twenty-four  days,  when 
they  may  be  taken  out  of  the  apparatus. 

For  coating  plates  with  iron,  three  carbon-zin' 
elements  are  employed.  It  is  best  to  employ,  fo 
depositing  iron,  a sal-ammonic  solution,  in  which 
iron  plates  are  laid  as  electrodes.  The  electric 
current  is  permitted  to  act  until  a sufficiency  of  sub- 
chloride of  iron  has  been  formed,  and  a mirrored 
suiface  of  iron  has  been  deposited. 

Examples  of  heliographic  plates  produced  in  this 
way,  as  also  some  very  fine  impressions  from  them, 
were  shown  at  the  recent  Brussels  Exhibition,  and 
also  at  the  International  Electric  Exhibition  at 
Vienna  which  has  just  closed. 


the  Ordnance  Survey  Office  at  Vienna.  The  trough,  T 
(see  fig.),  is  a wooden  box,  lined  inside  with  sheet-lead 
two  millimetres  thick,  and  coated  with  a suitable  non- 
conducting compound.  One  very  good  mixture  is  the 
following  : — 


Stearine  ... 
Black  pitch 
Linseed  oil 
Gutta-purcha 


...  3 
...  6 
...  3 
...  20 


parls  by  weight 
»> 

u »» 

i>  » 


In  the  trough  is  suspended  the  diaphragm  D,  a wooden 
frame,  which  on  both  its  narrow  sides  is  fitted  with 
handles,  h h,  for  lifting  the  diaphragm  in  and  out,  but  on  its 
broader  sides  (lengthways)  is  furnished  with  projections 
or  feet  upon  which  it  stands.  The  bottom  of  the  diaphragm 
is  of  parchment,  which  is  fastened  on  all  four  sides  with 
wooden  pegs  and  screws.  Above  the  parchment  is  laid  a 
piece  of  linen  to  prevent  the  impurities  of  the  zinc  or  iron 
from  falling  upon  the  parchment. 

The  zinc  or  iron  plate  (positive  electrode)  is  connected 
with  the  negative  electrode  by  means  of  a strip  or  arch,  K 


PHOTOGRAPHIC  CHEMICALS. 

WHILST  commercial  plate  makers  are  approaching  nearer 
and  nearer  to  uniformity  in  the  rapidity  and  quality  of 
their  plates,  amateurs  are  still  complaining  that  they  can 
seldom  prepare  two  batches  of  emulsion  alike.  The  small 
quantities  which  they  prepare  at  a time  has  no  doubt  a 
great  deal  to  do  with  this;  but  one  of  the  chief  impedi- 
ments to  their  success  may  be  found  in  the  varying  quali- 
ties of  the  chemicals  to  be  obtained  in  the  market,  and  the 
fact  that  the  amateur  buys  them  in  small  quantities  at  a 
time.  What  he  very  seldom  does,  too,  is  to  test  his 
chemicals  before  using  them,  and  compare  one  sample  with 
another.  Though  he  may  not  be  able  to  anive  at  absolute 
certainty  in  the  uniformity  of  his  conditions  of  working, 
he  may  nevertheless  more  nearly  approach  to  this  even  by 
comparatively  rough  tests.  Apart  from  the  vexed  question 
of  gelatine,  which  is  always  ciopfing  up  in  one  form  or 
another,  the  variations  in  commercial  ai  tieles  are  sufficient 
to  p ocluce  important  alterations  in  results 
The  most  important  substance  used,  perhaps,  is  the 
i bromide,  and  slight  deviations  from  the  purity  of  this  salt 


754 


THE  PHOTOGRAPHIC  NEWS. 


[November  30,  1883. 


make  a marked  difference  in  the  emulsion.  If  it  is  at  all 
alkaline,  as  it  frequently  is,  its  solution  should  be  rendered 
at  least  neutral  before  mixing  with  the  silver  and  gelatine, 
and  most  workers  even  prefer  to  make  the  solution  dis- 
tinctly acid.  Litmus  papers  are  cheap,  and  may  always  be 
handy ; the  extra  trouble  is  insignificant.  Less  frequently, 
potassic  bromide  may  contain  a trace  of  bromate,  but  this 
is  hardly  likely  to  work  mischief.  Bromide  of  ammonium 
is  more  variable  than  the  potassium  salt,  as  it  is  apt  to 
become  acid  on  keeping.  With  both  salts  a little  acidity 
more  or  less  in  the  emulsion  alters  the  time  required  for 
boiling  considerably,  and  the  worker  should  depend  upon 
the  colour  of  the  emulsion,  rather  than  the  time  of  boiling. 
Iodide  of  potash,  though  even  more  subject  to  variation 
in  quality  as  bromide,  is  used  in  such  small  quantities  that 
the  only  point  that  requires  attending  to  is  its  colour, 
denoting  the  presence  or  absence  of  free  iodine.  The 
presence  of  free  iodine  is  not  a disadvantage,  but  it  is 
an  item  which  must  be  taken  into  account. 

The  British  Pharmacopeia  allows  a small  per-centage 
of  carbonate  of  potassium  to  be  present  to  prevent  change 
of  colour,  and  a Small  quantity  of  acid  is  necessary  to 
neutralize  this,  or  it  may  have  a deleterious  effect  on  the 
emulsion.  Bromides  and  iodides  may  also  contain  traces 
of  chlorides  and  sulphates.  The  first  of  these  is  seldom 
present  in  sufficient  quantity  to  seriously  affect  the  emul- 
sion, and  the  latter  may  be  ignored. 

It  is  important,  again,  to  see  that  all  the  chemicals  one 
uses  for  making  emulsions  are  kept  in  well-stoppered 
bottles,  for  the  presence  of  a small  amouut  of  moisture 
diminishes  the  excess  of  soluble  bromide  that  the  worker 
is  supposed  to  be  using. 

The  developer,  again,  demands  some  amount  of  careful 
attention.  If  we  compare  the  components  of  the  alkaline 
with  that  of  the  iron  developer  on  the  score  of  uniformity, 
the  first-named  will  probably  have  the  best  of  it.  Happily, 
it  is  rare  now-a-days  to  hear  complaints  of  the  quality  of 
pyro,  though  the  time  was  when  such  complaints  were  long 
and  loud.  The  ammonia  solution,  however,  is  apt  to  vary 
considerably  in  strength  if  its  bottle  is  not  kept  well 
stoppered,  but  troubles  on  this  score  are  generally  the  fault 
of  the  worker,  unless  he  is  so  situated  that  he  has  to  depend 
on  the  local  chemist  for  his  supplies,  and  then  indeed  this 
“ avim.fort.  -880  ” may  not  be  all  that  the  label  sets  forth. 

The  iron  developer  is  subjeet  to  many  variations,  but 
they  are  not  very  difficult  to  avoid.  The  potash  oxalate 
should  be  rendered  slightly  acid  to  litmus  paper  if  it  is  not 
so  already,  and  its  freedom  from  chloride  should  be  ascer- 
tained. This  is  readily  done  by  dissolving  a crystal  in  a 
little  water  in  a test-tube,  adding  a few  drops  of  nitric 
acid  and  a drop  of  nitrate  of  silver  solution.  If  free  from 
chloride,  no  permanent  precipitate  should  be  produced. 
Ferrous  oxalate  is  met  with  in  the  market  in  two  very  dis- 
tinct forms.  In  one  form  it  is  a bright  yellow  powder,  apt 
to  cling  together  and  form  lumps,  soft  to  the  touch,  and 
readily  soluble.  The  other  form  is  duller  in  colour,  lias  a 
sandy  sort  of  appearance,  and  seems  more  difficult  to  dis- 
solve. Both  forms  make  up  a good  developer,  but  we 
prefer  to  use  the  former  of  them.  When  the  readier  and 
more  popular  form  of  the  iron  developer  is  used,  the  satu- 
rated solutions  of  oxalate  of  potash  and  sulphate  of  iron,  a 
frequent  source  of  variability  in  the  strength  of  the  deve- 
loper is  to  be  found  in  the  differences  in  solubility  of  the 
articles  at  varying  temperatures.  This  has  but  little  effect 
on  the  final  result  so  far  as  rapidity  and  quality  of  the  plate 
are  concerned ; it  is  when,  as  in  warm  weather,  there  is 
danger  ot  a precipitation  of  ferrous  oxalate,  that  trouble 
is  caused. 

This  subject  is,  we  need  scarcely  say,  no  new  one,  aud 
in  some  form  or  another  has  been  treated  of  before  in  these 
columns.  It  is  one  of  those  points  that  the  worker  should 
keep  continually  before  him  if  he  would  attain  successful 
results.  The  prices  charged  for  photographic  chemicals 
are  so  low  that  absolute  purity  can  scarcely  be  expected, 


and  yet  the  slight  variations  in  purity  have  an  important 
effect  on  photographic  work.  With  the  exercise  of  in- 
telligence and  care,  however,  the  effect  of  slight  variations 
may  be  minimized. 


PHOTOGRAPHIC  PATENTS. 

Expiration  of  Edwards’s  “ Heliotype"  Patent. 

A MOST  notable  point  in  connection  with  photographic 
patents  is  the  circumstance  that  only  a very  small  propor- 
tion are  considered  sufficiently  valuable  to  be  kept  in  force 
for  the  full  term  of  fourteen  years,  and  of  those  taken  out 
in  18G9  we  find  that  all  but  two  became  void  before  the 
commencement  of  the  present  year.  Of  these,  one  is  a 
“ Carbon  ” patent  of  Johnson,  which  expired  on  the  third 
of  February  last  (see  page  74),  and  the  second  is  the 
“Heliotype”  patent  of  Edwards.  This  latter  becomes 
public  property  on  the  eighth  of  the  present  month. 

The  following  extracts  from  the  specification  embody  all 
the  important  points  of  Edwards’  patent : — 

In  carrying  these  my  improvements  into  effect,  I proceed  as 
follows: — Upon  a surface  of  metal,  wood,  stone,  glass,  porcelain, 
slate,  or  enamel,  clean  and  free  from  grease,  I place  a layer  of 
gelatine,  gum,  albumen,  fibrine,  or  compounds  of  these  substances, 
one  or  more  of  them,  hardened  and  rendered  insoluble  in  water 
by  means  of  ammonia,  alum,  and  other  varieties  of  alum,  chrome 
alum,  tannin,  chlorine,  or  any  of  the  other  substances  that  are 
known  to  have  the  property  of  tending  to  produce  insolubility  of 
gelatine,  gum,  albumen,  fibrine.  This  layer  is  rendered  sensitive 
to  light  either  during  its  preparation,  or  subsequently  by  treating 
with  a printing  from  a film  of  bichromated  gelatine  which  has 
been  acted  on  by  light  and  subsequently  moistened,  has  not  been 
found,  on  account  of  the  nature  of  such  a film,  to  give  satisfactory 
results,  either  as  regards  numbers,  or  vigour,  or  firmness  of  line, 
besides  showing  a certain  grain  ; but  gelatine  may  be  rendered 
hard  and  insoluble,  and  converted  into  a very  tough  and  durable 
substance  by  treatment  with  alum,  and  by  other  means;  and  I 
have  discovered  that  after  such  treatment  it  still  retains  its  pro- 
perty by  being  acted  on  by  light,  &c.,  and  has,  moreover,  been 
converted  into  a substance  which  has  all  the  qualities  of  stability, 
depth,  and  firmness  necessary  for  a good  printing  plate,  while  the 
surface  has  been  rendered  completely  free  from  grain,  chromate, 
or  bichromate.  The  sensitive  layer  thus  obtained  is  to  be  sub- 
mitted to  the  action  of  light  and  washed  in  water ; a second  layer 
of  the  insoluble  gelatine  is  applied,  and  the  operation  repeated  till 
the  plate  is  again  sensitive  to  light,  after  exposure,  under  a nega- 
tive, till  all  the  details  appear.  The  plate  is  freed  from  bichro- 
mate by  washing  in  water,  and  is  ready  for  printing,  or  it  may 
be  dried  and  placed  on  one  side  for  future  use.  Where  the  plate 
is  of  glass,  light  may  be  allowed  to  act  on  the  reverse  side  of  it  till 
the  image  has  almost  disappeared.  Where  a few  copies  only 
are  required  to  be  printed,  the  first  coating  may  be  omitted,  or 
the  sensitizing  and  exposure  to  light  of  the  first  coating  may  be 
omitted.  It  is  not  possible  to  fix  the  quantity  of  alum  or  other  sub- 
stance to  be  added  to  the  gelatine,  as  this  varies  with  the  sample 
and  description'of  gelatine  used  ; but  it  is  to  be  understood  that  it 
is  to  be  such  a quantity  as  will  render  the  gelatine  film,  after 
being  dried,  insoluble  in  boiling  water.  When  it  is  desired  to  print 
from  the  plate,  it  is  thoroughly  wetted  and  placed  in  a press  in 
which  the  pressure  is  vertical.  I prefer  to  use  an  ordinary  print- 
ing press  ; the  plate  having  been  freed  from  superfluous  moisture, 
the  image  appears  on  the  surface  of  the  gelatine  in  relief  and  de- 
pression, the  depressed  parts  being  the  shadows,  and  the  raised 
parts  the  lights.  It  is  necessary  to  obtain  a sufficient  amount  of 
pressure  in  the  shadows  without  much  more  pressure  on  the 
lights,  or  without  so  much  as  to  risk  the  breaking  of  the  plates  ; 
to  effect  this  a mould  is  made  by  warming  a sheet  of  gutta-percha, 
placing  it  on  the  plate,  and  pulling  the  press,  the  mould  being 
arranged  that  it  falls  each  time  exactly  in  its  place.  The  plate 
may,  as  an  additional  precaution  against  breakage,  be  bedded  in 
gutta-pereba ; other  materials  besides  gutta-percha  may  be  used, 
such  as  leather,  india-rubber,  paper,  paper  pulp.  The  mould 
having  been  obtained  and  the  pressure  adjusted,  the  plate  has  to 
be  inked.  In  ordinary  lithography  there  is  a great  adhesion  to 
the  plate,  both  from  the  ink  and  the  roller,  which,  applied  to  this 
process,  results  in  the  tearing  up  of  the  gelatine  film  ; to  obviate 
this,  and  also  to  obtain  a finer  surface,  I use  rollers  or  dabbers 
made  of  india-rubber,  and  I use  lithographic  ink  thinned  down 
with  tallow  and  olive  or  other  oil,  avoiding  as  far  as  possible  the 


THE  PHOTOGRAPHIC  NEWS 


755 


November  30,  1883.] 


use  of  lithographic  varnish  or  boiled  oil.  The  plate  having  been 
properly  inked,  a piece  of  paper  is  placed  on  it,  the  mould  or 
matrix  laid  on  the  top,  and  the  whole  submitted  to  pressure  for  a 
sufficient  time  to  allow  the  paper,  which  is  there  peeled  off,  to  re- 
ceive the  impression.  Puper,  either  plain,  enamelled,  or  albumen- 
ized,  may  be  used,  and  the  prints  after  printing  may  be  albumen- 
ized,  varnished,  or  otherwise  enamelled.  When  a plate  is  inked 
up,  if  the  ink  has  been  mixed  too  stiff,  it  will  only  adhere  to  the 
deepest  shadows,  and  requires  the  addition  of  a thinning  agent 
before  it  will  adhere  to  the  half-tones.  I take  advantage  of  this 
fact  to  procure  prints  of  one  or  more  tints  from  one  plate,  and  to 
obtain  greater  depth  and  injoin  in  the  shadows  as  follows : — Two 
or  more  inks  are  prepared  of  different  degrees  of  stiffness,  and  of 
the  same  or  different  colours  ; the  stiffest  is  first  applied,  which 
adheres  only  to  the  deepest  shadows  ; the  next  stiffest  is  then 
rolled  in,  which  does  not  affect  the  ink  already  on  the  p’ate,  but 
which  also  adheres  to  the  half-tones,  and  so  on.  In  like  manner  a 
ground  may  be  prepared  in  colours  by  chromo-lithography,  and 
an  impression  placed  on  this,  or  the  reverse,  or  several  plates  may 
be  used  for  printing  from,  as  in  lithography.  Where  it  is  desired 
to  obtain  prints  with  margins  which  shall  not  require  subsequent 
mounting,  a mask,  preferably  of  thin  paper,  is  cut,  having  an 
opening  the  size  of  the  finished  prints  ; after  inking,  this  mask  is 
laid  on  the  plate,  and  the  paper  or  mount  on  which  the  impression 
is  to  be  made,  over  it.  The  press  is  pulled,  and  the  print  has  the 
required  margin,  the  mask  is  then  removed,  and  the  plate  is  again 
ready  for  inking.  Prints  on  paper  in  suitable  pigments  may  also 
be  used  for  enamelling  and  burning  in  the  ordinary  way,  in  which 
prints  on  paper  are  used  for  these  purposes. 

The  validity  of  the  several  c’aims  made  by  Edwards 
was  pretty  freely  discussed  in  the  Photographic  News, 
when  the  specification  was  published,  and  several  of  the 
li  infringers”  openly  challenged  the  patentee  to  take  pro- 
ceedngs  against  them. 

Patents  connected  with  photography  rest  ordinarily  on 
a very  unstable  basis,  as  our  readers  may  satisfy  them- 
selves by  studying  our  weekly  patent  record  ; indeed,  one 
may  fairly  say  that  the  patent  record  is  often  the  least 
original  department  of  the  Photographic  News.  Our 
readers  may  ask  why  we  do  not,  in  the  ordinary  course, 
give  details  as  to  the  previous  publication  of  patented 
methods  side  by  side  with  the  claims,  but  this  would  be 
impracticable,  as  very  careful  stu  ly  and  research  is  often 
required  in  order  to  tram  out  those  minor  features  of 
originality  which  occasionally  are  to  be  found  in  some 
specifications;  while  in  many  cases  no  satisfactory  con- 
clusion can  be  ariived  a*.  It  is,  the-efore,  better  in  repro- 
ducing the  text  of  a specification  to  make  no  comment 
upon  the  originality  or  otherwise  of  the  method  claimed 

The  new  patent  law,  which  comes  into  operation  next 
year,  will  doubtless  considerably  increase  the  number  of 
applications  for  letters  patent,  and  the  following  are  the 
principal  modifications  of  the  regulations  now  in  force. 

The  fees  payable  under  the  new  Act  are  £1  on  applica- 
tion for  provisional  protection,  and  ,£3  on  filing  the  complete 
specification,  or  a single  fee  of  £4  if  a complete  specifica- 
tion is  filed  at  the  time  of  the  application.  This  sum  of 
,£4  affords  protection  for  the  term  of  four  years  ; but  pro- 
tection may  be  extended  to  seven  years  by  paying  an 
additional  fee  of  £50,  while  a payment  of  £100  before  the 
end  of  the  first  seven  years,  serves  to  keep  the  patent 
in  force  for  the  full  term  of  fourteen  years.  There  is  an 
arrangement  by  which,  in  place  of  paying  the  £50  and  £100 
as  lump  sums,  they  may  be  paid  by  instalments  of  £10,  £15, 
or  £20. 

Experience  alone  can  prove  whether  the  procedure  under 
the  new  Act  will  be  easier  or  more  difficult  thau  under  the 
old,  as  almost  everything  will  depend  upon  the  arrange- 
ments which  the  Hoard  of  Trade  makes  for  the  convenience 
of  the  public. 


T11E  NEWCASTLE  EXHIBITION. 

On  Friday  last  the  second  Exhibition  of  the  Newcrs'le 
on-Tyne  and  Northern  Counties  Photographic  Associa- 
tion was  formally  opened  by  the  Mayor  and  Sheriff  of 


that  city.  The  collection,  which  numbers  over  three 
hundred  frames,  is  hung  in  a part  of  the  Art  Gallery 
which  had  been  partitioned  off  for  the  purpose.  Besides 
large  contributions  from  most  of  the  local  professional 
photographers  and  from  some  of  the  amateur  members  of 
the  Association,  pictures  have  been  received  from  several 
of  the  London  and  South  of  England  photographic  artists  ; 
notably  from  Messrs.  Robert  Faulkner,  H.  P.  Robinson, 
Chaffin,  England,  and  West.  The  difficult  and  so  often 
thankless  task  of  judging  was  undertaken  by  Colonel 
Sheppee  (the  President  of  the  Association),  Mr.  Eramer- 
sou  the  painter,  and  Mr.  George  Bruce,  of  Duns;  but 
indisposition  preventing  Mr.  Emmerson’s  attendance,  Mr. 
Jobling,  of  Whitley,  a painter  with  more  than  a local 
reputation,  was  kind  euough  to  take  the  duty  literally  at 
a moment’s  notice. 

The  chief  prize  was  a gold  medal,  offered  by  the  As- 
sociation for  the  best  picture  exhibited.  This  was  carried 
off  by  Mr.  II.  P.  Robinson  with  his  well-known  compo- 
sition, “ When  the  day’s  work  is  done  ” ; the  silver  medal 
in  the  same  class  being  awarded  to  Messrs.  G.  West  and 
Sons,  for  the  frame  of  yacht  studies  which  gained  a medal 
and  attracted  so  much  attention  in  the  London  Exhibi- 
tion. 

In  the  class  for  figure  studies,  two  silver  medals  were 
offered  for  opeu  competition  ; the  first  of  these  has  been 
very  properly  awarded  to  Mr.  H.  S.  Mendelssohn,  for  a 
most  beautiful  “ Group  of  children,”  a large  study  of  three 
girls,  printed  in  red  carbon,  which  seemed  to  us  to  be 
the  feature  of  the  collection,  so  admirable  is  it  in  pose  ex- 
pression, composition,  and  pictorial  effect.  Mr.  Robert 
Faulkner's  world-famed  “Studies  of  Expression”  secured 
the  second  medal  in  this  department;  and  Mr.  Bruce  ex- 
hibited a very  clever  print,  entitled  “ The  Farrier’s 
Sheep,”  but  as  the  artist  was  one  of  the  judges,  it  was 
out  of  the  competition,  and  could  only  be  “ commended.” 

The  foregoing  were  the  classes  open  to  general  compe- 
tition, but  the  prizes  which  excited  most  local  interest  were 
naturally  those  for  which  only  members  of  the  Association 
could  compete.  In  addition  to  the  fine  medals  offered, 
diplomas  were  placed  at  the  disposal  of  the  judges  to  be 
awarded  to  such  pictures  a3  they  might  think  worthy  of 
recognition,  and  of  tlnse  eight  were  bestowed,  so  that  out 
of  the  number  of  members  competing,  one  in  three  has  re- 
ceived some  memento  of  the  Exhibition.  Mr.  J.  Gibson,  of 
Hexham,  ba3  gained  the  most  important  medal,  the  one 
offered  for  the  best  set  of  three  landscapes  ; his  pictures 
sustain  fully  the  high  reputation  he  has  already  gained  as 
a delineator  of  the  beauties  of  Northumbrian  scenery,  and 
though  some  surprise  was  expressed  at  the  particular 
prints  to  which  the  medal  labels  were  affixed,  the  justness 
of  awarding  him  a medal,  and  the  general  excellence  of 
his  large  contribution  (some  thirty  frames),  is  fully  ad- 
mitted. A Newcastle  amateur,  Mr.  Galloway,  takes  the 
second  prize  with  some  pretty  views  on  the  River  Wans- 
beck  ; and  diplomas  are  given  to  Mr.  Auty,  of  Tynemouth  ; 
to  Mr.  Campbell  Swinton,  not  for  his  wonderful  “Scotch 
Express,”  but  for  some  two  dozen  cabinet  pi iuts  takenin 
Scotland,  and  remarkable  for  their  even  technical  excel- 
lence, each  print  being  worked  perfectly  ; and  to  Messrs. 
Dodds  and  Robinson,  two  amateurs,  who  seem  to  have 
gone  into  temporary  partnership,  and  who  show  some  very 
interesting  architectural  studies  of  bits  of  Old  Newcastle, 
appropriately  printed  in  p'atinotype.  The  one  medal 
offered  for  the  best  single  landscape  taken  by  a member  of 
the  Association  is  awarded  to  Mr.  J.  B.  Bayne,  for  a large 
carbon  print  of  “ Tabley  Chapel,  Cheshire,”  one  of  the 
finest  enlargements  we  have  seen  ; Mr.  Bike,  the  Secre- 
tary of  the  Association,  receives  a diploma  in  this  class  for 
his  very  interesting  picture  of  an  Old  House  at  Culler- 
coats ; .Mr.  McLusb,  of  Dailir-gt  >n,  one  for  “Nature’s 
Mirror,”  which  was  hung  in  the  London  Exhibition  this 
year  ; and  Mr.  J.  W.  Robinson,  one  for  a very  fine  platino- 
type  print  from  a 20  by  1G  negative  of  the  “ Castle 


756 


THE  PHOTOGRAPHIC  NEWS. 


[November  30,  1883. 


Garth”— we  remember  admiring  a silver  print  of  this  sub- 
ject which  was  exhibited  by  Mr.  Robinson  in  Pall  Mall  in 
1882. 

Mr.  Mendelssohn  has  secured  another  addition  to  his 
large  collection  of  medals  by  taking  the  prize  for  the  best 
“figure  study  or  portrait  by  a member.”  The  judges  had 
probably  some  difficulty  in  deciding  on  which  of  his  two 
frames  the  medal  label  was  to  be  affixed,  and  had  it  been 
attached  to  his  remarkably  powerful  head  of  W.  B.  Scott, 
instead  of  to  the  graceful  female  figure  reclining  in  a low 
chair,  painters  would  probably  have  been  better  satisfied, 
for  beautiful  as  the  posing  of  the  girl  is,  the  picture  lacks 
the  force  and  originality  of  the  larger  study.  Mr.  Lyddell 
Sawyer  gains  a diploma  in  this  class  for  his  large  half 
length  picture  entitled  “ Cornin’  thro’  the  Rye.” 

The  prize  given  by  Mr.  Mating  “ for  the  best  photo- 
graph taken  by  a member  at  one  of  the  Association’s  out- 
door meetings  in  1883,”  has  been  awarded  to  Mr.  George 
Borrows,  of  South  Shields,  for  a very  fine  15  by  12  study 
of  an  Old  Tree  on  the  North  Tyne,  the  foreground  of  which 
is  especially  good.  Mr.  J.  W.  Robinson  obtains  another 
diploma  for  a frame  of  four  whole-plate  platinotype  prints 
of  Bywell  Castle  in  the  class. 

Want  of  space  obliges  us  to  especially  refer  to  the 
pictures  to  which  the  judges  have  called  special  attention 
by  their  decisions,  but  there  are  many  others  to  which  we 
should  like  to  have  devoted  a few  words,  notably  Mr.  T. 
G.  Whaite’s  frame  of  Breton  Studies,  awarded  a medal  in 
London,  but  here  left  without  special  recognition  ; to  Br. 
Berwick’s  scientific  photographs  of  the  development  of  the 
embryo  of  a chick  ; to  a frame  of  portraits  by  Mr.  Abel 
Lewis,  to  some  portrait  studies  by  Mr.  Rae,  especially  one 
of  Ford  Madox  Browne,  the  painter;  and  to  some  photo- 
ceramics, by  Mr.  P.  M.  Laws,  which  show  that  good  work 
in  this  beautiful  and  difficult  branch  of  photography  is 
certainly  not  confined  to  the  metropolis. 

The  Association,  and  especially  the  Honorary  Secretary, 
is  to  be  congratulated  on  the  general  excellence  of  the 
Exhibition,  and  on  the  completeness  of  the  arrangements. 
Attention  might  with  advantage  be  called  to  the  fact  that 
the  tendency  to  advertise,  noticeable  on  some  of  the 
frames,  is  harmful,  and  should  be  sternly  checked  by  the 
hanging  committee.  At  the  time  of  our  visit,  though 
each  frame  was  furnished  with  an  amazingly  obvious 
number-label,  no  catalogue  was  procurable ; as  a bewil- 
dered visitor  remarked,  “ A little  less  label  and  a little 
more  catalogue  would  be  an  improvement.”  Little  things 
of  this  sort,  however,  seem  almost  unavoidable  on  the 
opening  days  of  an  exhibition  of  photographs,  and  when 
it  is  remembered  that  this  is  only  the  second  year  of  the 
Exhibition’s  existence,  and  that  none  of  the  officers  can 
have  had  much  experience  in  the  details  of  exhibition 
management,  the  general  result  must  be  pronounced  highly 
satisfactory. 

The  following  is  a list  of  the  exhibitors  at  Newcastle  in 
alphabetical  order : — 

Messrs.  A.  Anson,  M.  Auty  (Tynemouth),  James  Bacon  (New- 
castle), T.  Balsdon  (South  Shields),  W.  Bernstein  (London), 
Dr.  George  Borrows  (South  Shields),  Messrs.  R.  & J.  W.  Brun- 
skill  (Windermere),  C.  T.  Bulinan  (Gateshead),  P.  Buhner, 
G.  Bruce  (Duns,  Berwick),  Chaffin  & Sons  (Taunton),  J.  Davidson 
(Newcastle),  E.  Debenham  (Edinboro’),  E.  Dodds  (Low  Fell), 
Downey  and  Carver  (Newcastle),  W.  and  D.  Downey  (Newcastle 
and  London),  Dodds  and  Robinson  (Gateshead),  A.  Donald,  W. 
England  (London),  E.  Faulkner  (London),  A.  Fenton  (Chester- 
le-Street),  T.  F.  Forster  (Low  Fell),  T.  Galloway  (Newcastle), 
Galloway  and  Pae  (Newcastle),  J.  P.  Gibson  (Hexham),  W.  P. 
Glaisby  (York),  E.  Goold  (Newcastle),  Gray,  Bros.  (Gateshead), 
J-  S.  Green  (Gateshead),  G.  Hedley  (Lincoln),  W.  B.  Hatfield 
(Sheffield),  H.  Herbert  (Durham),  J.  E.  Iloggard,  J.  P Anson 
(Darlington),  R.  Keene  (Derby),  P.  M.  Laws  (Newcastle),  A. 
Lewis  (Isle  of  Man),  L.  Levison  (Newcastle),  W.  McLiesh 
(Darlington),  H.  S.  Mendelssohn  (Newcastle  and  London),  E.  B. 
Mounsey  (Darlington),  W.  N.  Mallby  (Chichester),  W.  Pae  (New- 
castle),  G.  Patterson  (Isle  of  Man),  J.  B.  Payne  (Newcastle), 
A,  Pearson,  A,  Pettitt  (Keswick),  J.  Pike  (Newcastle),  W.  Pinkney 


(Sunderland),  H.  Piper  (Gateshead),  A.  Pringle,  A.  G.  Reynolds 
(Scarboro’),  \V.  Ridley  (Newcastle),  J.  Robson  (Newcastle),  J.  T. 
Robinson  (Sunderland),  J.  F.  Robinson,  H.  P.  Robinson  (Tun- 
bridge Wells),  J.  W.  Robinson  (Gateshead),  L.  Sawyer  (New- 
castle), A.  L.  Steavenson  (Bishop  Auckland),  J.  R.  Stringer 
(Sunderland),  A.  C.  Swinton  (Newcastle),  II.  G.  Templeton 
(Gateshead),  G.  West  and  Sons  (Gosport),  W.  W.  Winter  (Derby), 
T.  G.  Whaite  (Southport),  D.  Whyte  (Inverness),  E.  Yeoman 
(Barnard  Castle). 


GREEDY  OF  FAME. 

Of  all  artists,  the  actor,  they  say,  is  most  greedy  of  praise. 
And  this  is  very  natural,  for  actors,  more  than  any  other 
class,  are  treated  to  large  and  frequent  doses  of  adulation  ; 
it  is  scarcely  a wonder,  then,  that  they  get  callous  about 
the  quality  of  the  praise  bestowed,  so  long  as  it  comes  in 
quantity.  When  that  famous  little  Club,  to  which  Gold- 
smith, Garrick,  Johnson,  and  Sir  Joshua  Reynolds 
belonged,  set  about  making  one  another’s  epitaphs,  Gold- 
smith seized  the  opportunity  of  turning  to  account  David 
Garrick’s  weakness  in  this  respect.  The  actor,  it  may  be 
remembered,  began  this  epitaph-making  by  speaking  of 
the  gentle  author  of  “ She  Stoop3  to  Conquer,”  as  follows  ; 
“ Here  lies  Nolly  Goldsmith,  for  shortness  called  Noll, 

Who  wrote  like  an  angel,  and  spoke  like  Poor  Poll.” 
Goldsmith’s  rejoinder,  in  the  form  of  an  epitaph  on  Gar- 
rick, was  a very  telling  one,  and  the  words  may  well  be 
applied  to  many  a living  actor— eh  ! and  other  professional 
men,  whose  works  come  before  the  public:  — 

“ Of  praise  a mere  glutton,  he  swallowed  what  came ; 

And  tho  puff  of  a dunce,  he  mistook  it  for  fame  ; 

Till  his  relish  grown  callous,  almost  to  disease, 

Who  peppered  the  highest  was  surest  to  please.” 

We  doubt,  however,  whether  actors  are  so  very  much  worse 
than  others  in  their  greed  for  praise.  When  we  come  to 
the  consideration  of  men  who  produce  works  of  art — to 
wit,  paiuters,  sculptors,  photographers,  &c.,  to  men  of 
science,  and  to  authors — all  these,  doubtl(83,  would  dis- 
play the  same  greed  for  praise  and  fame,  did  they  but 
enjoy  the  same  opportunity  as  the  actor  for  secuiiog adula- 
tion ; only  it  falls  to  their  lot  less  frequently.  L'appetit 
vieuten  mangeant,  says  the  French  proverb,  and  in  nine  cases 
out  of  ten  where  a man  is  greedy,  it  is  because  he  has  the 
wherewithal  to  satisfy  his  greed.  The  author,  being  of  the 
same  calling  as  his  critic,  rarely  gets  the  chance  of  being  a 
glutton  ; the  scanty  praise  he  receives  from  his  brethren  is 
not  enough  to  cultivate  an  appetite  upon  ; otherwise,  he 
would  be  as  bad  as  the  rest.  In  the  case  of  the  artist, 
however — to  use  this  term  for  the  moment  in  connection 
with  painters,  sculptors,  and  photographers— he  is  not  so 
widely  removed  from  the  actor  in  his  wholesale  desire  for 
praise,  and  weakness  to  bear  blame.  Indeed,  an  artist  who 
has  shown  talent  as  a youth,  and  has  received  tributes  to 
his  genius  in  the  public  press,  is  one  of  the  most  insatiable 
of  mortals  in  respect  to  praise. 

The  author  of  “ Looking  Back  ” tells  a good  story  of  a 
lady--a  bride,  if  we  recollect  aright — who,  havingTeached 
a certain,  or  rather  uncertain,  age,  was  unable  to  impress 
the  photographic  plate  with  that  representation  of  youth 
and  beauty  that  brides  are  wont  to  possess.  Knowing 
the  negative  was  scarcely  likely  to  please  as  it  was,  an 
assistant  was  engaged  into  the  small  hours  of  the  morning 
retouching  and  pencilling  every  corner  of  the  image,  and 
having  exhausted  himself  over  the  job,  a proof  was  printed 
and  submitted.  On  the  whole,  the  damsel  was  not  dis- 
pleased with  the  result.  Sho  liked  it  tolerably  well,  she 
said,  but  there  was  one  little  omission  : she  would  like  it 
retouched  ! The  story  may  seem  an  exaggeration,  but  the 
same  thing  happens  every  day  with  the  artist.  When  you 
have  expended  every  superlative  adjective  you  can  think  of 
in  laudation  of  his  work,  he  is  but  barely  pleased,  and 


November  30,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


757 


thinks  if  you  had  retouched  a little,  and  covered  every  in- 
significant blemish  as  well,  it  would  be  only  fair.  You 
cannot  praise  too  highly,  and  only  on  one  condition  is  that 
praise  satisfactory — viz , when  not  a trace  of  anything  else 
is  visible. 

The  photographer — whether  he  is  a professional  man  or 
an  amateur,  it  matters  not — is  very  prone  to  become  greedy 
of  praise.  Let  him  secure  a medal  once  at  an  exhibition — 
which  is  tantamount  to  high  praise  given  by  a jury — and 
henceforth  he  is  a malcontent  unless  at  every  succeeding 
show  he  has  one  or  more  of  these  tokens  bestowed  upon 
him.  lie  is  a medallist,  and  medals  are  henceforth  his 
right.  Last  year  he  received  a medal  for  pictures  ad- 
mittedly inferior;  this  year,  although  everybody  has  com- 
plimented him  u,pon  a distinct  advance — he  wishes  to  say 
nothing  himself  on  his  own  behalf — there  is  no  award  made 
to  him,  but  it  i3  given  instead  to  Tomkins,  whose  pictures 
every  individual  visitor  to  the  exhibition  has  fallen  foul  of. 
Then,  again,  he  objects  to  the  unqualified  praise  that  is 
bestowed  on  every  one  alike  ; there  is  a disposition  abroad, 
he  says,  to  scatter  praise  right  and  left  without  discretion, 
and  this  he  holds  to  be  detrimental  to  the  progress  of  art 
among  photographers.  If  there  was  not  this  general  admi- 
ration shown  all  round,  photographers  would  strive  to  do 
better.  Not  that  what  has  been  said  commendable  about 
his  own  work  is  uncalled  for ; that  is  all  very  well,  but 
he  means  the  praise  given  to  the  general  mass  of  exhibi- 
tors— the  vulgar  herd,  and  not  himself.  He  overlooks  the 
fact  that  the  only  way  of  giviug  weight  to  the  argument  he 
is  using,  is  to  instance  himself  as  an  example  of  receiving 
unmerited  praise,  when  he  would  find  his  brethren  agree 
with  him  at  once  and  distinctly. 

It  is  a sound  axiom  that  if  one  has  not  a good  opinion 
of  one’s  own  work,  nobody  else  is  likely  to  have  it  either. 
At  the  same  time,  it  is  well  to  bear  in  mind  that  there  are 
others  in  this  world  equally  skilled  and  talented  as  your- 
self, and  that  they  are  quite  as  anxious  for  their  share  of 
fame.  It  may  be  a strange  thing  to  say ; but  in  respect  to 
exhibitions  of  photographs,  we  believe  those  photographers 
are  most  content  who  have  never  received  a medal. 
Decidedly,  it  is  a mistake  to  suppose  that  a man  will  become 
a satisfied  mortal  by  having  a medal  awarded  to  him.  lie 
may,  possibly,  be  less  discontented  for  the  moment,  but 
ever  after,  if  the  boon  is  not  repeated,  he  is  an  aggrieved 
individual.  The  man  who  has  never  had  a medal  grins 
and  bears  his  hardship  ; but  a medallist  who  is  not  so 
fortunate  a second  time,  is  loud  in  the  complaint  of  his 
wrongs.  Nothiug  satisfies  him  but  an  increased  dose  of 
adulation  every  year,  until  at  last,  like  the  popular  actor, 
he  comes  to  love  praise  from  whatever  quarter  it  comes, 
so  long  as  it  is  highly  “ peppered.” 

We  have  spoken  of  the  man  of  science.  Miss  Martineau 
tells  us  in  some  autobiographical  notes,  that  if  you  want  a 
perfect  man,  a being  devoid  of  guile,  you  must  not  seek 
him  among  commercial  men  or  literary  men,  nor  among 
artists  and  actors.  Among  scientific  men,  however,  you 
will  have  better  fortune.  We  can  only  suppose  that  Miss 
Martineau  believed  scientific  men  to  be  better  than  their 
fellows  because  she  knew  least  about  them.  Ilad  she  been 
intimate  with  any,  she  would  have  found  them  quite  as 
greedy  of  praise,  quite  as  keen  and  pushing  in  their  own 
interests,  as  any  other  class.  A good  example  of  this  was 
afforded  a little  while  ago  on  the  occasion  of  the  dis- 
covery of  a little  fresh-water  jelly-fish  in  one  of  the  pond8 
of  the  Botanical  Gardens.  The  little  animal  was  a novelty, 
and  the  secretary  of  the  gardens,  to  whom  the  first  speci- 
mens were  brought,  distributed  them  to  a few  scientific 
friends.  At  once,  investigations  were  carried  on,  hot  and 
fast ; one  gentleman,  by  working  day  and  night,  completed 
his  examination  and  classification  of  the  tiny  medusa 
in  time  for  publication  in  a journal  the  same  week.  He 
was  congratulated  by  the  editor,  and  his  original  research 
duly  chronicled  ; but  next  week  came  sad  complaints  from 
the  other  investigators.  The  first  publisher  was  aware, 


they  said,  that  they  were  engaged  on  a similar  investiga- 
tion, and  therefore  they  had  reason  to  complain  of  the 
sharp  practice  resorted  to.  Again,  in  the  papers  published 
by  scientific  men — which,  in  many  cases,  are  as  much  adver- 
tisements as  any  covered  hoarding  in  London — we  have 
instances  without  number  of  the  absorption  of  praise  due 
to  others,  while  dignities  and  “ letters  ” are  sought  after 
and  obtained  for  purposes  of  aggrandisement,  and  nothing 
else.  In  fact,  the  man  of  science,  unlike  other  people, 
has  the  praising  pretty  well  in  his  own  hands,  and  by 
pushing  himself  forward,  secures  fame  from  the  outside 
world  in  a manner  not  very  unlike  that  of  the  makers  of 
Pears’  soap  and  Dr.  de  Jongh’s  cod-liver  oil.  We  do  not 
say  there  is  much  harm  in  all  this,  or  that  men  of  science 
are  to  be  blamed  for  it.  We  only  point  out  that  it  exists, 
in  order  to  show  that,  as  a class,  men  of  science  are  neither 
better  nor  worse  than  those  around  them.  Like  other 
men  whose  works  come  before  the  public,  they  are  as 
greedy  of  fame  for  themselves,  and  as  jealous  of  its 
bestowal  on  others. 


GLASS. 

Seventh  Article. 

Having  treated  of  pots,  furnaces,  and  tanks,  we  shall  now 
proceed  to  show  how  these  are  employed  in  the  production 
of  the  article.  At  page  420,  we  alluded  to  the  methods  of 
melting  and  blowiug  glass  from  different  furnaces ; we  are 
obliged  to  digress  somewhat,  in  order  to  convey  all  the 
more  clearly  to  the  mind  of  the  reader  the  different  me- 
thods and  appliances,  which  are  not  quite  so  easy  of  eluci- 
dation in  writing  as  would  be  the  case  if  we  took  our 
readers  the  tour  of  a first-rate  glass  works  in  full  opera- 
tion. 

When  a furnace  is  put  into  operation,  the  heat  raised 
gradually,  and  the  pots  “ set  ” into  the  heated  furnace, 
everything  being  of  about  an  equal  temperature,  bright 
red,  the  openings  through  which  the  pots  are  introduced 
are  built  up,  the  bars  of  the  grate  are  cleared,  and  the  fire 
urged  to  bring  up  the  heat  which  has  been  lost  by  the  fur- 
nace being  open  so  long.  Whilst  these  operations  are  going 
on  the  “founders”  are  wheeling  from  the  mixing-room 
great  barrow-loads  of  materials  for  melting.  In  most  glass 
works  the  mixing-room  is  a long  building  like  a large  stable, 
the  stalls  of  which  would  correspond  with  the  bins  down 
each  side,  in  which  are  the  various  materials,  and  there  is  a 
barrow-track  down  the  centre  ; the  rest  of  the  furniture 
being  weighing  machines  and  shovels.  The  rarer  chemi- 
cals are  kept  in  casks  or  boxes,  the  sand,  limestone,  alkalis 
and  broken  glass  being  heaped  up  in  various  stalls  or  bins. 
The  mixer  at  a large  glass-works  is  a person  of  some  im- 
portance, generally  speaking,  and  is  supposed  to  be  a good 
chemist,  and  to  thoroughly  understand  the  whole  business. 
It  is  his  duty  to  see  that  the  stock  of  dried  sand  and  every 
other  ingredient  is  kept  up,  and  when  founding  is  about  to 
commence  he  must  personally  superintend  the  weighing 
out  of  the  various  substances,  which  are  then  wheeled  away 
to  the  furnace.  In  some  glass-works  the  mixtures  are 
shovelled  into  iron  boxes,  and  from  them  transferred  to 
pots  ; in  other  works  the  materials  are  taken  direct  from 
the  barrows  and  thrown  into  the  pots.  Supposing  the  fur- 
nace to  be  designated  to  make  a “found”  of  ordinary 
window  glass,  called  sheet  glass,  the  mixer,  knowing  the 
total  capacity  of  the  number  of  pots  in  the  furnace,  would 
weigh  out  the  components  of  the  batch  something  like 
this  : — 

Dried  sand...  100  parts 

Limestone 36  „ 

Salt  cake 37  „ 

Broken  glass  (cullet)  ...  ...  100  „ 

Probably  no  two  works  would  employ  the  same  mixture ; 
much  would  depend  upoa  the  sand  and  alkali  employed, 
as  also  upon  the  degree  of  purity  required  ; and,  perhaps 
not  a little  conceit  plays  a part  in  the  formula  of  the  glass 


■ 


758 


THE  PHOTOGHATHIC  NEWS.  [November  80,  1883. 


mixer,  who  not  unfrequently  affects  an  air  of  overwhelming 
cleverness  quite  amusing.  It  is  not  very  likely  that  any 
professional  mixer  will  part  with  his  secrets  ; they  have 
been  known  to  weigh  up  their  ingredients  for  a “ found  ” 
with  the  doors  of  the  mixing-room  locked ; but  enlight- 
ened men  who  know  that  there  are  others  quite  as  skilled 
in  their  profession  will  not  hesitate  to  give  a formula. 
Here  is  another : — 


Dried  sand... 
Carbonate  of  soda 
Slacked  lime 
Broken  glass  (cullet) 

Arsenic  

Manganese 


...  100  parts 
...  35  „ 

...  20  ,, 

...  100  „ 
about  £ part 


If  these  parts  be  taken  as  cwts.,  a pretty  good  idea  will  be 
formed  of  the  quantities  for  a large  batch. 

When  the  furnace  is  up,  white  hot,  the  first  operation  is 
to  melt  a little  broken  glass  iu  the  pots ; this  puts  a skin  on 
the  inside  of  the  pots,  and  prevents  their  sides  being 
attacked  by  the  alkali  of  the  batch.  Then  the  mixture  is 
shovelled  in,  and  the  fire  urged  still  more.  The  contents 
of  the  pots  commence  to  melt  very  slowly  because  of  the 
absorption  of  heat  and  the  cooling  of  the  furnace  ; water 
or  moisture  has  to  be  driven  off,  and  the  heat  has  to  pene- 
trate the  whole  mass  of  material  (frequently  several 
cwts.)  before  melting  can  commence.  The  proper  melting 
of  the  first  charge  put  into  the  pots  requires  some  care, 
because,  if  this  be  not  correctly  performed,  the  subsequent 
additions  of  raw  material  to  the  pots  will  lead  to  all  sorts 
of  troubles  as  well  as  great  waste  of  fuel  before  the  full 
pots  of  metal  can  be  got  properly  fluxed,  freed  from 
specks  and  air  bubbles,  and  fined  so  a3  to  enable  the 
blowers  to  blow  good  glass  therefrom.  Too  much  heat, 
or  too  little,  may  alike  produce  difficulties  and  delays  of  a 
most  costly  nature  ; but  if  all  proceeds  well,  the  first 
charge  will  be  thoroughly  liquefied  in  from  ten  to  twelve 
hours.  It  is  necessary  that  the  first  charge  should  be 
most  completely  melted  ; the  molten  glass  should  boil  so 
as  to  drive  off  all  organic  matter  as  well  as  excess  of 
alkali,  otherwise  a soft  “ sweaty  ” glass  will  result.  An- 
other object  of  a high  temperature  is  to  carry  the  scum, 
called  “ glass-gall,”  to  the  top  of  the  pots,  whence  it  can 
be  skimmed  off. 

By  dipping  an  iron  rod  into  the  molten  glass,  a sample 
can  be  obtained  of  the  material,  and  when  this  is  con- 
sidered satisfactory,  the  pots  (which  are  now  only  about 
half  full  of  molten  glass,  which  takes  up  much  less  space 
than  the  raw  material)  are  refilled  with  the  crude  materials, 
and  this  is  now  called  the  “second  found;”  the  fire  is 
urged,  and  fusion  of  this  addition  occupies  only  from  three 
to  five  hours,  as  the  operation  is  much  accelerated  by  the 
molten  glass  already  in  the  pots.  After  the  second  found, 
a third  and  sometimes  a fourth  addition  becomes  necessary 
before  the  pots  can  be  got  to  be  filled  to  within  three  or 
four  inches  of  their  brims.  When  this  stage  is  reached,  the 
heat  is  allowed  to  decline,  ebullition  ceases,  and  the  metal 
commences  to  fine,  which  is  a process  occupying  some  time, 
but  is  generally  preceded  by  the  operation  of  plunging  a 
raw  potato  stuck  on  the  point  of  an  iron  rod  down  to  the 
very  bottom  of  the  pot.  The  effect  produced  is  to  cause 
a violent  ebullition  of  the  whole  contents  of  the  pot,  and 
at  the  same  time  an  entire  movement  of  all  the  various 
strata,  so  that  the  bottom  layers  come  to  the  top  and  so 
on,  a thorough  mixture,  therefore,  taking  place,  which  is 
necessary  in  order  to  obtain  homogeneity  of  the  mass,  the 
heat  being  most  intense  during  this  operation,  so  that  the 
glass  may  be  very  liquid,  and  thereby  enable  the  air  to 
become  dispelled  in  bubbles,  which  rise  to  the  surface.  And 
so  the  operation  of  fining  goes  on,  the  ebullition  becoming 
less  and  less  until  the  surface  of  the  pots  is  quite  tranquil, 
■when  samples  are  taken  to  judge  ot  the  condition  of  the 
metal,  and  at  this  point  the  clean  breakage  left  from  the 
previous  ‘ ‘ journey  ” is  shovelled  into  pots,  soon  melts, 
and  brings  up  the  level  of  the  liquid  to  within  a few  inches 


of  the  brim.  Fining  takes  five  to  six  hours,  according  to 
the  capacity  of  the  pots,  the  nature  of  the  mixture  fluxed, 
and  the  power  of  the  furnace. 

Whilst  fining  has  been  in  progress,  the  contents  of  the 
pots  must  of  necessity  have  been  kept  very  liquid,  other- 
wise the  air-bubbles  could  not  escape,  so  that  when  fining 
is  complete  the  heat  is  let  down  gradually,  which  has  the 
effect  of  making  the  liquid  metal  more  stiff,  more 
tenacious,  and  more  dense,  and  this  causes  the  last  bubbles 
to  be  expelled  or  become  invisible  by  compression  or  con- 
traction of  the  molten  glass  surrounding  them.  This 
operation  of  letting  back  the  heat  of  the  furnace  is  termed 
“ cold-firing,”  rather  a contradiction  of  terms,  one.  would 
think,  but  many  of  the  glass  makers’  nomenclatures  are 
quite  as  far  fetched.  The  utmost  care  is  necessary 
during  cold  firing  to  guard  against  fracture  of  the  pots, 
which  ofeen  happens  by  injudicious  haste  on  the  part  of  the 
blowers,  who  are  perhaps  waiting  to  commence  their 
“journey.”  The  operation  of  cold  firing  occupies  two  to 
three  hours.  It  mu3t  be  understood  that  whilst  the  glass 
is  in  the  very  thin  liquid  state,  it  would  be  quite  unwork- 
able by  the  blowers;  it  could  not  be  gathered  on  the  ends 
of  their  blowing  pipes,  it  would  be  as  thin  as  treacle  ; 
whereas  it  should  be  somewhat  stiff  or  doughy  to  be  fit  to 
work.  Hence  the  letting  back  of  the  heat  fines  the  metal, 
and  brings  it  into  a workable  condition  by  the  proper  time 
that  the  blowers  are  assembled  to  start  the  “ journey." 

In  a former  article  we  mentioned  that  no  finer  sight  is 
to  be  seen  than  a glass  furnace  in  the  condition  we  have 
just  described  it — no  words  can  depict  the  scene;  the 
spectator  cannot  fail  to  be  impressed  with  the  eight;  if  he 
can  stand  heat  and  approach  near  enough  to  see 
the  placid  surface  of  the  m etal  in  the  pots,  everything 
white  hot,  but  all  roar  and  smoke  at  an  end,  and  the 
interior  of  the  furnace  filled  with  the  indescribable  glow- 
ing whiteness — a piece  of  blue  glass  being  heldtos  hield  the 
eyes  when  looking  at  all  this  dazzling  brilliancy — if  he  fails 
to  be  impressed  with  the  realisation  of  the  victory  of  mind 
over  matter,  he  will  only  rival  that  stolid  Japanese  or 
Siamese  ambassador,  whom  nothing  that  he  saw  in  this 
country  surprised. 

It  is  not  necessary  here  to  describe  all  the  preparations 
required  before  blowing  commences  ; suffice  it  to  say  that 
the  furnace  and  its  contents  are  now  handed  over  to  the 
gatherers  and  blowers,  who  proceed  to  perform  the  opera- 
tions suggested  by  their  appellations.  The  “ founders  *’ 
and  “teazers”  go  off  duty  when  blowing  commences, 
leaving  one  of  their  gang  to  see  to  the  furnace  during 
blowing. 

The  gatherers  are  those  whose  duty  it  is  to  gather  the 
glass  on  the  ends  of  the  pipes.  A glass  blower’s  “ pipe  ” is 
an  iron  tube  of  from  five  to  six  feet  in  length,  and  about 
three-quarters  of  an  inch  in  bore.  At  the  mouth  end  it 
is  smoothed  and  generally  fitted  with  a wooden  sheath  ; at 
the  other  end  it  generally  expands  somewhat,  and  is  heavier 
than  at  the  blowing  end.  The  pipes  resemble  nothing  more 
than  a piece  of  iron  gas  barrelling,  such  as  connects  the 
meter  with  the  main  under  the  foot  pavement,  and  only 
vary  in  size  and  weight  according  to  the  use  for  which 
they  are  required  ; for  whilst  a sheet  glass  works  employ 
pipes  six  feet  long  and  heavy  withal,  we  should  see  very 
slight  light  pipes  less  than  a billiard  cue  in  use  in  a flint 
bouse  or  in  those  little  glass  works  where  they  make  small 
articles  such  as  gum  bottles,  ink  stands,  paraffin  chimneys, 
and  the  like. 


SIMPLE  AND  EFFECTIVE  WASHING  ARRANGE- 
MENT. 

BY  MAJOR  A.  SENIOR,  B.S.C. 

The  following  method  I have  successfully  used  for  more  than 
eighteen  years,  aud  it  is,  I think,  unequalled  for  simplicity 
and  effectiveness.  The  prints  are  kept  apart  from  each 
other  as  long  as  they  are  in  the  water,  hung  up  in  a per- 


November  30,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


759 


pendicular  position  above  the  bottom  of  the  vessel,  when 
the  water  impregnated  with  the  salts  naturally  siuks,  and 
is  then  drawn  off. 

Arrange  a cask,  A,  and  a tub,  B,  as  in  drawing,  regu- 
lating the  run  of  the  water  from  the  two  taps,  C and  D, 


so  that  as  much  water  will  run  off  at  D as  enters  the  tub 
B at  C.  The  tub,  B,  must  be  full  of  water,  and  the  prints, 
having  been  toned,  fixed,  and  washed  in  one  or  two 
changes  of  water  so  as  to  get  rid  of  the  superfluous  traces 
of  the  soda,  they  are  suspended  by  one  corner  to  clean 
corks  by  means  of  pins ; two  pictures  to  one  cork,  as  a 
rule,  will  be  best — viz.,  one  on  either  side  of  the  flat  ends. 
Common  sense  will  suggest  to  the  operator  to  attach  the 
pictures  so  that  the  surplus  portion  of  the  paper  of  the 
print  will  be  near  the  cork,  and  to  do  the  trimming  after 
the  washing  and  drying. 

No  more  care  is  necessary  but  an  occasional  look  to  see 
that  the  water  in  C has  not  all  run  out.  Prints  treated  in 
this  way  will  be  found  to  be  washed  perfectly.  Having 
plenty  of  water  at  command,  I allow  the  stream  to  run 
from  the  afternoon  of  the  day  1 tone,  till  about  ten  or 
twelve  o’clock  the  following  day  ; but  if  a great  quantity  of 
water  is  not  at  command,  let  the  taps  C and  D run  slowly, 
and  do  not  disturb  the  water  iu  B when  taking  the  pic- 
tures out. 


FRENCH  CORRESPONDENCE. 

The  Blind  for  Gelatine  Plate  Work— Poiteyin’s  Monu- 
ment Committee — M.  Scola’.s  Lamp  Flame  and  Eosine 
Plates  — Possession  of  Negative  — Photographic 
Reproduction  at  the  Musee  des  Arts  Decoratifs — 
Tiiiebaut’s  Pellicle  Paper. 

Employment  of  the  Blind  for  Gelatine  Plate  Work. — M. 
Maret  has  proposed  the  idea  of  employing  blind  workmen 
in  most  of  the  operations  relating  to  gelatine  plates.  It  is 
found  that  the  eyesight  of  those  working  in  dark-rooms, 
or  only  lighted  with  a red  lamp,  suffers  greatly,  and  there- 
fore blind  people  might  be  able  to  do  the  work  without 
discomfort,  with  the  exception  of  coating  the  plates  with 
the  sensitive  film.  With  this  idea  in  view,  M.  Davanne 
has  communicated  with  the  director  of  the  institution  for 
the  blind,  M.  Martin,  and  we  have  every  reason  to  believe 
that  this  arrangement  will  meet  with  good  results. 

Poilevin  Committee. — The  Poitevin  subscription  committee 
has  begun  work.  The  plan  submitted  by  the  architect 
appointed  has  been  approved  of,  and  the  date  of  inaugura- 
tion of  the  monument  is  already  fixed  for  the  first  Sunday 
in  September  next,  at  the  town  of  St.  Calais. 

Experiment  with  M.  Scold's  Lamp  Flame  and  Eosine  Plates. 
— I have  verified  the  fact  suggested  before  of  the  decided 
action  taking  place  on  eosine  plates  by  the  perchlorate  of 
sodium  and  spirit  lamp  flame.  Two  plates  being  simul- 
taneously exposed  in  the  same  dark  slide,  one  eosine  and 
the  other  one  Monckhoven’s,  each  bearing  Warnerke’s 
photometric  scale.  The  exposure  was  two  minutes  at  the 
distance  of  40  centimetres  from  the  flame,  having  a yellow 


glass  before  it,  therefore  emitting  only  yellow  light. 
After  immediate  and  simultaneous  development,  the 
Monckhoven  plate  showed  scarcely  any  result,  only  the 
slightest  tint  on  the  outer  circumference  of  the  photometer. 
The  eosine  plate,  on  the  other  hand,  gave  signs  of  direct 
action  ; the  outer  edge  of  the  photometer  was  black,  while 
the  rays  had  even  penetrated  to  the  most  opaque  portion. 
This  fact  is,  therefore,  manifest : ordinary  emulsions  are 
not  acted  upon  by  a monochromatic  yellow  light,  while 
eosine  plates  are  greatly  influenced  by  it.  A similar  ex- 
periment was  carried  on  by  a perchlorate  of  strontium 
aud  alcohol  flame  with  a ruby  glass  interposed,  and  the 
results  were  almost  exactly  the  same,  except  that  the 
eosine  plate  was  acted  upon  more  slightly. 

Case  of  Possession  of  Negatives. — The  Chambre  Syndicale 
has  just  passed  sentence  in  a case  showing  that  photo- 
graphers must  be  careful,  in  the  wording  of  their  invoice#, 
not  to  confuse  the  actual  negative  with  the  first  copy  de- 
livered to  their  clients.  The  photographer  in  question 
sent  the  following  invoice  : — 

One  negative  (cliche  negatif)  ...  60  francs 

Six  copies 30  „ 

The  Chambre  Syndicale  decided  that  the  negative  was  due 
to  the  client.  It  must  therefore  be  remembered  that  the 
price  of  the  first  copy  must  be  demauded  when  the  photo- 
grapher wishes  to  keep  the  negative. 

Photographic  Department  of  the  Musee  des  Arts  Decoratifs. — 
The  administration  of  this  museum  is  studying  the  desira- 
bility of  establishing  a studio  for  photographic  reproduc- 
tion, to  be  situated  close  to  it.  It  will  be  used  lor  photo- 
graphing not  only  the  objects  in  the  museum  itself,  but 
also  those  works  exhibited  at  the  Union  Cenlrale  des  Arts 
Decoratifs  and  from  private  collections,  where  permission 
can  be  obtained  for  copying  and  publishing.  As  soon  as 
this  is  carried  into  effect,  copies  of  most  of  our  works  of 
art  will  be  made  popular  by  selling  at  a low  price. 

Thiehaut's  Pellicle  Paper. — The  reversible  pellicle  is  ad- 
mirably adapted  for  use  with  automatic  cameras  in  endless 
bands.  I have  used  it  successfully  iu  Stebbing’s  camera. 
In  developing,  the  bands  are  cut  in  pieces,  comprising  two 
or  three  pictures,  and  are  put  to  soak  in  cold  water  in  the 
dark-room.  They  are  next  immersed  in  a ferrous  oxalate 
bath  in  the  bottom  of  which  is  a glass  plate  rather  larger 
than  the  dimensions  of  the  three  negatives.  As  soon  as 
the  development  is  finished,  take  the  strip  out,  still  keep- 
ing on  the  plate,  and  wash  ; take  it  up  by  one  corner,  and  it 
can  be  easily  detached  from  the  paper.  Float  ic  again  on 
to  the  glass,  and  submit  it  to  the  hypo-bath  ; afterwards 
wash  well,  and  finish  by  dipping  in  a five  per  cent,  chrome 
alum  solution;  rinse  again,  dry  between  blotting-paper,  and 
fix  on  a clean  glass  by  gumming  strips  of  paper  round  the 
edges.  By  this  method,  negatives  of  6 by  6 centimetres 
reach  the  dimensions  of  7 by  7 after  these  operations,  and 
no  difficulty  presents  itself.  If  it  be  found  difficult  to 
manipulate  with  the  tiny  floating  pellicles,  do  not  take 
more  than  two  at  a time.  I cannot  speak  too  highly  of 
the  value  of  this  paper  for  small  picture,  its  lightness  con- 
tributing greatly  to  its  portability.  Leon  V idal. 


Boils. 

An  artists’  photo-club  is  spoken  of,  to  be  composed  of 
painters,  sculptors,  and  draughtsmen,  who  practise  photo- 
graphy. 

Dr.  J.  M.  Eder  has  published  the  sixth  part  of  his  great 
work  on  photography;  the  volume  treats  especially  of 
Daguerreotype,  Talbotype,  Nicpijotype,  and  the  introduc- 
tion of  negative  processes. 


760 


THE  PHOTOGRAPHIC  NEWS. 


[November  30,  1883. 


Mr.  Herbert  B.  Berkeley  and  Mr.  Horace  Wilmer  have 
been  elected  members  of  the  Solar  Club. 


On  another  column  will  be  found  a notice  of  the  New- 
castle Exhibition ; next  week  we  hope  to  present  our 
readers  with  one  of  the  principal  pictures  in  the  form  of  a 
supplement. 

A happy  idea  has  struck  our  French  friends  to  employ 
the  blind  in  the  injurious  red  light  of  emulsion-making 
factories  ; M.  Davanne  has,  with  this  object,  placed  him- 
self in  communication  with  the  Paris  Institution  of  the 
Blind. 


Next  year  is  to  see  the  birth  of  a new  monthly  magazine 
in  America  devoted  to  photography  ; it  will  be  published 
in  Baltimore. 


Major  A.  Senior,  B.S.C.,  writes  us  from  llawal  Pindi  on 
the  subject  of  dry  plate  work  in  the  tropics.  He  says:  — 
“ Last  year  I made  a successful  trip  into  Cashmere,  over 
difficult  and  dangerous  country,  travelling  for  thirty  miles 
on  snow.  Returning  on  the  15th  July,  after  the  monsoons 
set  in,  I very  foolishly  tried  to  develop  with  the  aid  of  ice. 
In  my  first  attempt  the  pictures  were  satisfactory,  but  the 
developer  speedily  got  warm  and  softened  and  dissolved 
the  films.  So  I stopped  work,  and  waited  nearly  two 
months,  when,  in  a cooler  temperature,  I developed  the 
remainder  of  the  plates  without  a failure.” 


Major  Senior,  whose  name  is  familiar  as  the  recipient  of 
a gold  medal  from  the  Bengal  Photographic  Society, 
sends  us  “ a simple  and  efficient  arrangement  for  washing 
prints,”  which  we  shall  gladly  place  at  the  service  of  our 
readers. 


Speaking  of  gold  medals,  by  the  way,  wo  hear  that  Mr 
H.  P.  Robinson,  of  Tunbridge  Wells,  has  been  fortunate 
enough  to  secure  the  gold  award  at  the  Newcastle  Exhibi- 
tion. This  makes  the  second  “ gold  ” that  has  fallen 
to  Mr.  Robinson  ibis  year. 


Mr.  Gibson,  of  Hexham,  who  gained  the  silver  medal  at 
the  Newcastle  Exhibition,  sends  to  us  the  two  dc'ightful 
prints  which  secured  him  that  honour,  “ An  Autumn 
Evening  on  the  Tyne,”  and  “ The  Sand  Cart.”  The 
former  shows  a bend  in  the  broad  limpid  stream  embowered 
in  soft  foliage ; some  overspreading  branches  cast  a deep 
shadow  on  the  waters  of  the  foreground,  but  in  the  distance 
the  stream  is  rippled  with  silver.  Over  all,  there  is  a 
delicate  haze  of  sundown,  veiling  a sylvan  landscape  which 
for  natural  beauty  is  not  to  be  excelled  in  this  land  of  wood- 
land vales  and  leafy  dells. 

On  Thursday,  December  13th,  Captain  Abney  delivers 
a lecture  on  “ Solar  Radiation,”  at  the  Town  Hall, 
Glasgow,  in  connection  with  the  Glasgow  Science  Lectures 
Association.  Captain  Abney  will  also  deliver  a series  of 
lectures  at  the  Royal  Institution  before  Easter. 


Writes  Mr.  H.  Brain  : “ AVhy  should  not  makers  of  dry 
plates  cut  off  the  top  right-hand  corner  — the  coated  side 
being  towards  the  operator?  It  would  then  be  peifectly 
easy  to  fill  the  dark  slides  without  aoy  light  at  all,  aud  a 
mistake  would  be  impossible.”  We  may  add  that  a flat- 
nose  pliers  will  crush  the  corner  of  the  plate  very  easily 
and  effectively,  and  as  dry  plate  dark-slides  are  made  with 
a rabbett,  and  not  with  wires,  to  support  the  corners  of  the 
plate,  Mr.  Brain’s  suggestion  to  remove  an  angle  would  not 
jeopardize  the  steadiness  of  the  glass  in  the  frame. 


At  the  last  meeting  of  the  Liverpool  Astronomical 
Society,  the  Rev.  S.  E.  Espin  read  a paper  on  “ Further 
attempts  at  obtaining  the  actinic  light  of  the  stars  by 
means  of  photography  at  the  Society’s  observatory.”  Mr. 
Espin  has  succeeded  in  obtaining  two  plates,  one  of  Cas- 
siopeia, and  one  of  Taurus,  showing  the  fleiadesand  Saturn ; 
aud  the  results  went  to  indicate  that  the  stars  might  be 
divided  into  three  classes — stars  whose  chemical  light  was 
in  excess  of  the  light  so  apparent  to  the  naked  eye  ; stars 
where  it  was  equal ; and  stars  where  it  was  inferior.  As 
a rule,  the  photographic  images  corresponded  to  the  mag- 
nitudes, but  there  were  some  notable  exceptions.  In  the 
Taurus  plate,  for  instance,  out  of  forty-one  stars  compared, 
there  were  fifteen  stars  whose  actinic  magnitudes  could  not 
be  made  to  correspond  with  the  eye-maguitudes,  and  the 
difference  in  some  cases  was  very  considerable. 


Astral  photography,  by  the  way,  demands  exceptional 
patience  and  endurance  on  the  part  of  the  operator.  Thus 
it  was  mentioned  in  the  discussion  which  followed,  that 
each  of  the  plates  had  an  exposure  of  an  hour  and  a-half, 
and  during  the  whole  of  this  time  Mr.  Espin  was  lying  on 
the  ground  following  a star  with  the  “ finder.”  The 
result,  however,  was  worth  the  trouble,  since  it  was  stated 
that  on  examining  the  Cassiopeia  phte  with  a magnifier, 
the  stars  appeared  perfectly  round,  a gratifying  testimony 
to  the  skill  with  which  the  work  had  been  performed. 


The  Pall  Mall  Gazette  has  published  an  account  of  the 
visit  of  a correspondent  to  the  atelier  of  Mous.  Goupil. 
The  establishment  is  at  Asnieres,  and  consists  of  two  villas 
thrown  together  and  shut  off  from  the  street  by  a high 
wall.  The  method  of  working  is  kept  a profound  secret, 
and  all  that  the  correspondent  saw  will  be  found  detailed 
in  another  column. 


A novelty  in  the  Year-Book  for  1881  will  be  “The 
Chemical  Corner.”  Within  the  space  of  a few  pages,  we 
shall  not  only  give  practical  instructions  in  elementary 
analysis,  but  shall  tersely  specify  the  reactions  observed 
with  all  substances  the  photographer  is  likely  to  make  the 
acquaintance  of.  Thus,  he  will  be  able,  at  very  little  pains, 
to  learn  something  of  the  chemistry  of  his  art  and  of  the 
bodies  with  which  he  has  to  deal. 


It  may  be  of  interest  to  photographers  who,  without  the 
6un,  would  he  nowhere,  to  know  that  tho  maximum  of  tho 
uuspots  occurred  last  year.  They  have,  it  seems,  boen  de- 


November  30,  1883.  ] 


THE  PHOTOGRAPHIC  NEWS. 


761 


creasing  at  a rate  much  slower  than  that  of  the  previous 
increase.  Some  very  large  spots  have  been  visible  lately. 

In  commencing  his  usual  winter  course  of  lectures  on 
photographic  chemistry  at  the  Vienna  High  School,  Ur. 
Eder  announces  that  they  are  free  to  all  members  of  the 
Local  Photographic  Society.  How  long  will  members  of 
the  London  Society  have  to  wait  before  they  enjoy  such 
privileges  ? 

Instantaneous  photography  in  America  appears  to  be 
somewhat  of  a novelty.  The  Illustrated  World , of  New  York, 
thinks  it  worthy  of  remark  that  a photographer  should  be 
successful  in  obtaining  photographs  of  views  of  objects  of 
interest  in  and  about  that  city.  It  observes  that  “one 
series  illustrates  some  of  the  principal  features  of  the 
ceremonial  at  the  opening  of  the  Brooklyn  Bridgo,  repro- 
duced, of  course,  with  absolute  fidelity,  the  exposure  of  the 
plates  being  so  exceedingly  brief  that  the  vibration  caused 
by  the  machinery  of  the  steam  tug  on  which  the  camera 
stood  had  no  perceptible  effect  upou  the  pictures.”  Such 
photographs  in  the  supposed  smoky  atmosphere  of  England 
are  of  everyday  occurrence. 

There  can  be  little  doubt  that  gelatiuo-bromide  paper 
will  be  used  largely  for  the  direct  printing  of  negatives  in 
the  pressure  frame.  When  sunshine  is  rare  and  a whole 
morning  fails  to  give  a single  print  upon  albumenized 
paper,  it  is  something  to  know  that  you  can,  if  need  be, 
print  hundreds  of  impressions  by  the  light  of  a candle  upon 
gelatino-bromide  paper — impressions,  too,  that  are  likely  to 
prove  more  permanent  than  albumen.  Care,  no  doubt,  is 
required  in  exposing  and  developing,  but  so  it  is  in  the 
other  process.  As  regards  the  distance  of  the  printing- 
frame  from  the  gas  jet  or  candle,  a correspondent  says, 
“The  harder  and  denser  a negative  is — that  is  to  say  the 
more  contrast  it  has  — the  greater  the  distance  it  must  be 
from  the  light ; only  very  soft  and  very  harmonious  nega- 
tives can  be  printed  quickly  near  the  light.” 

Very  little  interest  H taken  in  this  country  about 
bisecting  the  Isthmus  of  Panama  by  M.  Lesseps  and  his 
company ; but  the  work  is  daily  pursued  by  many 
thousand  labourers,  who  have  been  engaged  for  the  under- 
taking. Mr.  Wood3,  who  visited  the  spot  this  summer, 
tells  us  that  the  engineering  staff  i3  well  organized,  and 
that  photography  is  actively  employed,  not  only  in 
recording  work  done,  but  in  printing  by  the  Pellet  process 
such  copies  of  plans  and  projects  as  arc  required. 

Until  we  can  get  a cheap  way  of  making  electricity,  electric 
lighting  is  not  likely  to  come  into  general  household  use. 
The  simplest  solution  of  the  problem  would  be  to  find  two 
inexpensive  elements  to  form  a primary  battery  ; if  two 
bodies  of  this  character  could  be  discovered,  of  which 
inexhaustible  supplies  exist  on  earth,  then  the  greater  part 
of  our  troubles  would  disappear.  According  to  the  Paris 
Figaro,  this  discovery  seems  to  have  been  made  by  M.  Basset 
au  eminent  French  chemist,  who  claims  to  produce  electric 
currents  at  a marvellously  cheap  rate. 


Meanwhile  the  lighting  of  Swan  and  other  incandescent 
lamps  by  primary  batteries,  if  rather  expensive,  is  at  any 
rate  quite  practical,  as  we  pointed  out  some  time  ago.  The 
Pullman  car  attached  to  the  afternoon  express  to  Leeds  is 
now  lighted  by  six  Swan  lamp3,  we  hear,  rendered  incan- 
descent by  a primary  battery  measuring  but  four  feet  long 
and  eight  inches  broad  and  deep,  zinc  and  carbon  being  the 
elements  employed.  So  successful  has  been  this  experiment, 
indeed,  that  Messrs.  Holmes  and  Burke  are  to  light  carriages 
on  other  lines,  and  are  making  arrangements  to  supply 
such  batteries  to  private  houses.  If  not  very  expensive  to 
buy  or  keep  in  order,  photographers  would  be  ready 
customers  enough  for  these  batteries. 


Speaking  of  albumen,  La  Nature  enumerates  three 
efficient  ways  of  preserving  eggs  1.  In  a lime  mixture, 
made  up  of  100  grammes  of  slaked  lime  aud  10  grammes 
of  sugar,  diluted  sufficiently  with  water  to  cover  250  egg3, 
which  should  remain  immersed  for  a fortnight.  2.  By 
covering  the  eggs  with  a film  of  wax  or  grease,  gum-arabic, 
plaster,  &c.,  and  then  rubbing  them  over  with  pulverized 
charcoal,  care  being  taken  to  let  the  eggs  rest  points 
downwards.  3.  By  laying  the  eggs  in  a mixture  of  salt 
and  bran,  or  sand  and  charcoal,  in  layers  upon  straw. 


The  same  authority  also  tells  U3  that  bad  eggs  may  be 
“ restored  ” by  making  use  of  sub-nitrate  of  bismuth,  or 
hydrated  peroxide  of  iron,  to  absorb  the  sulphur  that  exists 
in  the  sulphuretted  hydrogen  of  decomposed  eggs. 


The  other  day  we  saw  a photograph  of  “ London  and 
four  miles  round  ” in  the  form  of  a transparency,  small 
enough  to  go  into  one’s  waistcoat  pocket.  Furnished  with 
this,  and  a pocket-magnifier,  the  stranger  has  the  whole  of 
the  metropolis  literally  at  his  fingers’  ends. 


fatntt  Jntclligntri. 

Application  for  Provisional  Protection. 

54G4.  Albert  Kepler,  of  Peckhain,  in  the  county  of  Surrey, 
Achille  Morin  de  Premion,  and  Alfred  Pigeau,  of 
Lombard  Street,  in  the  city  of  London,  for  an  invention  of 
“ Improvements  in  the  manner,  method,  or  mode  of  preparing 
and  producing  coloured  photographs,  and  in  the  arrangements 
and  apparatus  employed  therefor.” — Dated  20th  November, 
1883. 

Patents  Granted  in  Germany. 

25,168.  A.  C.  Moiins,  of  Wittenberg,  for  “A  developing  frame 
for  photographic  drying-plates.” — Dated  17th  April,  1883. — 
Class  57. 

25,171.  Fickeiessen  and  Becker,  of  Villingen,  for  “Obtaining 
flexible  plates  for  superseding  glass  in  photography.’’ — Dated 
27th  April,  1883.— Class  57. 

26,278.  It.  Klein,  Zurich,  for  “An  instantaneous  screen  for 
photographic  lenses.” — Dated  21st  March,  1883. — Class  57. 
25,292.  M.  Marco,  of  Trieste,  for  “A  photographic  camera- 
obscura  with  a cross-focus.” — Dated  2 1st  June,  1883. — Class67. 

Specification  Published  during  the  Week. 

W.  R.  Lake,  “Adjustable  chairs,  chiefly  designed  for  photo- 
graphic purposes.” — A communication  from  W.  S.  Liscombe. 
The  Patentee  claims  the  combination  of  a chair-seat,  a pivotal 
base-block  rigidly  secured  at  the  rear  edge  of  the  said  seat,  a 
rigid  back-supporting  standard,  pivotted  at  the  said  base-block, 
and  united  and  combined  therewith  and  with  the  chair  sub- 


762 


THE  PHOTOGRAPHIC  NEWS. 


[November  30,  1883. 


stantially  as  described,  to  permit  it  to  be  vertically  adjustable, 
and  also  angularly  adjustable  forward  of  the  said  base-block  and 
over  the  chair  seat,  a back-pad  pivotted  to  the  said  standard,  and 


a locking  device  for  rigidly  connecting  the  standard  to  the  base- 
block,  whereby  the  back-pad  can  be  located  and  rigidly  held  in 
varied  vertical  planes  between  the  front  and  rear  edges  of  the  seat, 
and  correspondingly  depressed  or  elevated,  as  set  forth. 


SLOW  DEVELOPMENT. 


BY  PIERRE  REVON.* 

I MAKE  up  the  following  solutions  : — 

No.  1. 

Distilled  water  

••  1 ounce 

Ryrogallie  acid  

..  48  grains 

Alcoholic  solution  of  citric  acid 

..  90  minims 

Never  forget  to  add  the  citric  acid 

solution  prepared 

according  to  formula  No.  4 to  the  distilled  water  first,  as 

otherwise  the  pyrogallic  acid  would  turn  black. 

No.  2. 

Distilled  water  

..  10  ounces 

Bromide  of  ammonium  ... 

...  1 ounce 

Alcohol  

...  $ „ 

No.  3. 

Ammonia  ‘880  

...  i ounce 

Distilled  water  

...  4£  ounces 

No.  4. 

Alcohol  at  40°  

...  1 ounce 

Pure  citric  acid  

...  45  grains 

The  following  solutions  put  in  dropping  bottles  : 

No.  5. 

Alcohol  

...  £ ounce 

Citric  acid  16  per  cent,  solution 

...  10  minims 

Pyrogallic  acid  

...  24  grains 

No.  6. 

Ammonia  880  

...  4 ounce 

For  developing  a 5 by  4 plate,  mix 

in  a precipitating 

Solution  No.  1 ...  ..  30  to  60  minims 

Solution  No.  2 45  ,, 

Distilled  water  4 ounces 

Pour  this  solution  into  au  ebonite  dish,  and  immerse  the 
gelatino-bromide  plate,  the  sensitive  side  upwards,  plac- 
ing in  the  bath  with  a support  or  hook  (never  use  the 
fingers),  so  that  the  liquid  covers  the  plate  very  slowly 
and  gently,  and  air-bubbles  will  be  entirely  avoided. 
Leave  it  to  soak  for  about  a minute.  Meanwhile,  pour 
into  the  measure  glass  60  minims  of  solution  No.  3.  Re- 
move the  plate,  and  pour  back  the  liquid  into  the  glass, 
and  when  mixed,  pour  it  again  into  the  dish,  and  replace 
the  plate  as  before.  After  from  thirty  to  sixty  seconds,  if 
the  exposure  has  been  right,  the  image  will  come,  and 
according  to  its  appearance,  you  drop  alternately  into  the 

• Moniteur  4e  la  Photograph ie. 


dish  a drop  of  ammonia  from  bottle  No.  6,  and  one  or 
two  drops  of  pyrogallic  acid  from  No.  5 bottle,  and,  by 
continuing  this,  as  brilliant  an  image  will  be  brought  out 
as  if  it  were  a wet  collodion  plate. 

Be  patient  and  wait  for  the  image  to  appear  under  the 
influence  of  the  first  developer,  even  when  the  exposure 
has  been  too  short,  for  as  soon  as  even  a very  feeble  action 
is  apparent,  it  is  a guide  for  the  subsequent  treatment 
with  the  contents  of  the  dropping  bottles.  Concerning 
the  ammonia,  be  careful  in  using  it,  and  add  only  a drop 
at  a time.  Ammonia  acts  in  rendering  alkaline  the  pyro- 
gallic acid,  as  only  in  that  condition  does  it  possess  the 
property  of  developing  the  gelatino-bromide  film ; and  if 
both  are  exhausted  without  the  desired  image  appearing, 
the  exposure  has  been  too  short,  and  it  is  absolutely  use- 
less to  add  one  without  the  other. 

Occasionally,  in  landscapes,  the  addition  of  pyrogallic 
acid  by  itself  is  useful  to  bring  out  details  of  foliage  in  the 
shadows.  Fix  and  wash  in  the  usual  way.  The  iron  deve- 
loper, I find,  gives  inferior  results,  while  the  pyro  has  the 
great  advantage  of  enabling  one,  after  a little  practice,  to 
modify  the  negative  just  according  to  will. 

♦ 

FilOTCGRAFllIC  PROFITS,  AND  IIOW  TO 
INCREASE  THEM. 

BY  C . B E A N G W Y N BARNES. 
Photography  as  a money  making — or,  more  properly  speak- 
ing, as  a money  amassing — profession  is  not,  amongst  tho 
professional  circle  itself,  considered  to  hold  at  all  a fore- 
most position  as  compared  with  the  numerous  other  pro- 
fessions, and  even  trades.  Very  few  photographers  have 
retired  from  business  and  settled  down  to  live  a quiet  life 
on  the  fortune  they  have  amassed  in  the  profession.  This 
fact  is  generally  acknowledged  and  held  as  a firm  belief  by 
what  the  newspapers  and  electioneering  candidates,  on  tbeir 
canvass,  are  pleased  to  term  the  “ enlightened  British 
public  and  yet  this  same  “ E.  B.  P.  ” is  fond  of  eternally 
dinning  into  the  cars  of  the  brethren  of  the  camera  and 
lens,  with  a warmth  and  ardour  worthy  of  a better  cause, 
the  information  that  “ photography  is  all  profit.”  The 
two  assertions  do  not  agree,  and  as  no  amount  of  specious 
reasoning  or  voluble  argument  can  make  them  so  to  do,  ask 
the  “ E.  B.  P.  ” for  the  cause,  or  causes,  of  this  disagree- 
ment between  its  two  pet  theories,  and  you  will  be  told  that 
photographers  are  an  improvident  set ; that  they  make 
money  readily  and  with  but  little  trouble  ; and,  in  fact,  that 
the  old  proverb  of  “Easy  come,  easy  go,”  finds  in  the 
members  of  the  photographic  profession  a body  of  men 
brought  into  existence  apparently  for  the  sole  purpose  of 
proving  its  truth.  They  tell  you  that  photographers  eat, 
drink,  and  make  merry  while  the  money  lasts,  taking  no 
care  of  the  morrow,  and  rarely,  if  ever,  putting  by  anything 
for  a rainy  day. 

That  this  is  a gross  libel  on  the  profession,  all  the 
members  of  it  are  aware  ; but  simple  denial  of  the  statement 
is  not  necessarily  a confutation,  and  cannot  be  expected 
to  carry  conviction  to  the  breasts  either  of  the  detractors 
themselves,  or  of  those  who  have  listened  to  their  detractions 
and  believed  them.  Something  more  than  a mere  denial  is 
necessary  : what  is  really  wanted  seems  to  be  either  an  ex- 
planation of  the  discrepancy  between  statement  number  one 
and  statement  number  two,  or  else  the  confutation  of  either 
the  one  or  the  other  of  these  statements. 

The  first  assertion  with  which  we  have  to  deal  is  that 
which  states  that  photographers  rarely,  if  ever,  accumulate 
to  themselves  wealth  ; and  this  is,  unfortunately,  a fact  that 
has  to  be  admitted  on  all  hands.  True,  weeau  instance  and 
poiut  out  some  members  of  the  profession  who  have  amassed 
a competency  ; but  if  we  reckoned  them  up,  L am  afraid  the 
muster  would,  after  all,  be  but  a very  meagre  show  of  some 
score  or  so. 

Assertion  the  second,  that  “photography  is  all  profit,” 


HoVEMBEB  30,  1883.] 


'The  photographic  hews 


763 


I of  course  deny  vehemently.  That  photography  is  a fairly 
profitable  business  I am  quite  ready  to  admit ; but  look  at 
it  from  the  standpoint  of  ait,  profession,  or  even  trade,  and 
in  either  of  these  grades,  so  far  as  largeness  of  profit  is  con- 
cerned, photography  takes  a back  seat.  Looking  upon  it 
as  an  art — and  while  upon  the  subject,  I may  as  well  admit 
that  it  is  in  this  light  that  I personally  regard  it — and  where 
are  the  profits  of  the  artist  of  the  camera  as  compared  with 
these  of  the  aitist  of  the  palette  and  brush?  The  one  may 
obtain  fifteen  shillings  or  a guinea  for  a dozen  carte  por- 
traits, the  production  of  which  alone  cost  him,  perhaps,  half 
the  amount,  for  in  studios  where  high  prices  are  charged, 
it  must  be  remembered  that  the  expenses  of  working  the 
business  are  high  in  proportion  ; whilst  the  other  wil  1 obtain 
fifty  or  sixty  guineas  for  a single  picture,  the  materials  used 
in  the  manufacture  of  which  do  not  cost  him  one-twentieth. 
In  each  case  I have  omitted  all  mention  of  remuneration  for 
art  knowledge  and  skill,  as  that  has  to  be  brought  into  play 
by  both  the  photographer  and  the  paiuter. 

Looking  upon  it  as  a profession,  I would  ask,  who  netts 
the  greater  profits — the  photographer,  the  doctor,  or  the 
lawyer  ? Take  it  again  in  the  lowly  guise  of  a trade,  and  we 
shall  find  that  the  chemist,  the  stationer,  the  publican,  and 
even  the  butcher  and  the  baker,  make  a considerably  larger 
amount  of  profit  out  of  their  calling  than  doe3  the  photo- 
grapher. So  much  for  the  enlightened  British  public  and 
their  views  on  the  question  of  photographic  profits;  for, 
after  all,  besides  occasionally  raising  our  ire  aud  loweiing 
our  social  status,  they  do  us  very  little  real  harm.  And  now 
1 will  endeavour,  in  as  few  words  as  possible,  to  give  you  the 
views  of  a member  of  the  profession  on  the  same  subject.  I 
am  of  opiuion  that  with  more  care  than  is  usually  taken  in 
management  of  businesses,  the  standard  of  profits  can  be 
considerably  increased,  and  would  instance  one  or  two 
matters  which,  if  taken  into  consideration,  might  tend  to 
that  desiiable  consummation. 

Some  enterprising  member  of  the  profession,  or  more  often 
a dealer  in  apparatus  and  materials,  ever  and  anon  introduces 
some  novelty,  which  he  advertises  will  take  with  the  public, 
and  bring  in  a large  increase  of  business.  Either  we  make  a 
rush  for  “that  notion,”  and  spend  a considerable  amount 
of  cash  in  the  necessary  apparatus  and  materials  for  the  pro- 
duction of  the  same,  or  we  tako  no  notice  of  the  advertise- 
ment until  someone  else  in  our  immediate  vicinity  has,  by 
the  judicious  introduction  of  the  novelty,  increased  his 
business  at  the  expense  of  ours.  We  want  to  pay  more 
attention  to  the  old  saw  which  recommends  moderation  in 
all  things,  and  to  go  quietly  and  carefully  to  work,  testing 
the  market  and  the  public  taste  for  the  innovation  before 
we  launch  out  into  expenses  for  which  wo  may  in  the  end 
get  no  return.  To  show  the  necessity  of  this  note  of 
warning,  I would  draw  attention  to  the  amount  of  carbon 
tissue  transfer  paper,  printing  frames,  developing  troughs, 
&c.,  &c.,  bought  during  the  temporary  craze  amougst 
photographers  for  chromotype  work,  and  which  are,  in  nine- 
teen cases  out  of  every  twenty,  now  lying  idle  and  useless  in 
a lumber  room,  or  else  making  a lumber  room  of  the  printing 
department ; also  to  the  numberless  mounts  of  extraordinary 
sizes  and  shapes  expected  at  one  time,  to  be  speedily  used  in 
the  production  of  pictures  known  as  malverns,  bijous,  &c., 
&c.,but  which  sizes  and  shapes  have  never  been  liked  by  the 
public,  and  inconsequence  of  their  disapprobation  and  our 
own  hot-headed  haste  in  expending  our  capital,  arc  now  so 
much  waste  card  used  only  for  mounting  locket  pictures,  &c. 

I need  hardly  instance  the  numerous  accessories  bought 
on  the  impulse  of  a moment,  thanks  to  the  blandness  and 
skill  of  some  “ knight  of  the  road,”  and  which  are  used 
about  once  in  twelve  months,  or  the  extra  apparatus  bought 
of  an  amateur  or  at  a sale,  simply  because  they  were  cheap, 
and  not  because  we  had  any  conceivable  use  for  them. 

Care  in  the  storage  of  negatives  gives  additional  profits  to 
those  who  exercise  it,  and  a little  more  of  that  same  scarce 
commodity  in  the  use  of  materials  would  have  the  same 
effect.  Why  use  ten  or  twelve  grains  of  pyro.  to  develop  a 


negative,  when  two  would  do  it  equally  as  well  ? One 
special  item  of  extravagance  in  most  studios  is  to  be  found 
in  the  mode  of  cutting  sensitized  albumen  paper.  In  at 
least  ninety  studios  out  of  every  hundred,  only  thirty-two 
cartes  are  cut  from  a sheet,  which  leaves  a very  great  per- 
centage of  waste.  I cannot  imagine  the  reason  that  this  is 
done,  for  it  is  quite  as  easy — or,  in  point  of  fact,  much  more 
easy — to  cut  forty-two  or  even  fifty  cartes  from  it.  I 
personally  cut  forty-two.  as  I use  a large  sized  cutting  glass. 
The  method  of  folding  the  sheet  is  as  follows: — 

First  cut  off  a narrow  strip  lengthways,  which  will  cut  six 
cartes  also  lengthways  ; then  fold  the  remainder  of  the  sheet 
into  four  strips,  from  each  of  which  nine  cartes  can  be  cut, 
making  a total  of  forty-two,  which  is  a material  saving  as 
compared  with  usual  mode.  I use  the  cutting  glass,  and  so 
do  away  with  the  necessity  for  cutting  the  pictures  after 
printing  ; but  it  need  not  be  used  by  those  who  prefer 
cutting  the  prints  after,  and  a fair  margin  is  still  left  for 
trimming.  By  using  the  glass  in  the  same  manner  (before 
printing)  I have  no  difficulty  in  cutting  sixteen  cabinets 
from  a sheet,  as  against  the  twolve  by  the  usual  mode. 

Most  printers  use  a great  deal  too  much  gold  in  their 
toning  bath,  but  they  are  rapidly  improving  in  this  matter. 

There  is  plenty  of  room  for  retrenchment  in  the  matter 
of  waste  prints.  I do  not  by  this  refer  to  those  spoilt  in 
the  printing,  and  thrown  into  the  waste  at  once,  but  to  the 
extra  number  printed,  and  the  bad  and  defective  ones 
allowed  to  passthrough  toning,  fixing,  and,  in  some  cases, 
even  mounting.  Thirteen  should  be  the  largest  number 
printed  for  an  order  of  a dozen,  and  these  should  be  examined 
carefully  for  defects  prior  to  mounting,  and  only  the  dozen 
finished.  I could  instance  one  studio  in  which  two  large 
trunks  of  waste  mounted  prints  were  allowed  to  accumulate  in 
a space  of  three  months.  Surely,  in  most  studios,  the  pro- 
prietor might  find  time  to  look  through  the  batch  of  prints 
before  they  are  mounted,  and  destroy  all  defective  ones,  as 
by  that  means  he  would  considerably  reduce  the  number 
of  cards  used.  If  a defective  print  does  get  mounted,  it  is 
false  economy  to  send  it  out,  as  one  bad  print  in  a dozen 
may  do  more  harm  to  the  business  than  the  other  eleven 
do  good. 

Another  good  thing  is  to  obtain  cash  at  the  time  of  sit- 
ting, and  thus  do  away  with  all  chance  of  bad  debts.  A 
photographer  is  not  likely  to  increase  his  profits  by  mount- 
ing copies  on  his  ordinary  cards.  A copy  is  not  recognised 
as  such  by  the  already  much-mentioned  “enlightened  Brit- 
ish public,”  but  is  simply  looked  upon  as  a bad  photograph, 
and  a mental  note  made  not  to  patronise  the  man  whose 
name  is  affixed  thereto.  In  conclusion,  the  main  requisite 
to  increase  our  profits  is  to  increase  our  care,  and  the  other 
will  of  necessity  follow. 


gibiefo. 

Thermography. — By  J.  F.  Campbell.  Price  7s. 

( Wakeham,  Kensington.) 

The  author’s  labours  as  an  investigator  are  not  altogether 
unknown  to  our  readers,  as  a drawing  and  description  of  his 
simple  and  efficient  sunshine  recorder  have  already  appeared 
in  the  Photographic  Nsws  (1882,  p.  209),  and  in  the  present 
volume  one  finds,  among  a considerable  mass  of  somewhat 
discursive  matter,  much  interesting  detail  regarding  means 
of  registering  radiant  heat.  The  author’s  thermographic 
work  is  founded  upon  the  circumstance  that  the  widest 
variation  exists  as  regards  the  sensitiveness  of  solid  bodies 
to  radiated  heat,  and  although  we  do  not  find  any  rigid 
determinations  of  the  diathemancy  of  the  substances  experi- 
mented upon,  there  are  numerous  observations  and  experi- 
ments calculated  to  lead  one  to  regard  thermography  as 
strictly  analogous  to  photography. 

Wo  find  details  illustrative  of  the  thermographic  behaviour 


764 


THE  PHOTOGRAPHIC  NEWS 


[November  30,  1883. 


of  more  than  fifty  well-known  substances,  of  which  we  wil1 
give  a few  examples. 

“ The  whitest  woods  are  least  sensitive  to  solar  heat,  the 
darkest  most.  A surface  blackened  with  shoe  blacking 
was  instantly  engraved.  The  surface  washed,  is  coloured 
and  engraved  like  branded  wood,  and  prints  with  type.” 

“Very  fine  thermogiaphic  traces  are  made  on  court 
plaster,  which  has  a surface  of  gum  spread  upon  silk.  Th  e 
black  material  is  very  sensitive,  and  marks  made  on  it  are 
sharp  and  clear.  This  material  was  used  to  find  focal  dis- 
tances, and  the  consequent  dimensions  of  the  registering 
sun-dial,  which  was  afterwards  giv.n  to  Greenwich  Observa- 
tory, and  has  been  used  there  since  May,  1876,  when  the 
registration  of  1 bright  sunshine’  began.” 

“ Iceland  spar  transmits  solar  heat  without  being  decom- 
posed. The  optical  properties  of  the  mineral  serve  in  polar- 
ising light  and  heat.” 

“ Avery  hot  locus  passes  through  crystalline  mica  without 
leaving  a trace,  the  same  focus  instantly  engraves  meer- 
schaum. It  chars  wax  in  which  pipes  are  soaked,  and  de- 
stroys the  structure  of  the  stone.  The  result  is  an  intaglio 
coloured  black  and  brown,  and  a thermograph.” 

Pictorial  thermography  is  evidently  in  a very  rudimen- 
tary state,  even  in  the  hands  of  the  author,  as  one  may 
gather  from  the  description  of  the  process  of  taking  a thermo- 
graph of  the  sun’s  disc,  the  late  Mr.  Lassel’s  telescope  being 
used,  while  the  sensitive  surface  was  a disc  of  plaster  of  Paris 
coloured  blue.  As  a rough  measure  of  radiant  energy  at  a 
focus,  the  author  suggests  using  an  old  book,  and  noting  how 
many  leaves  become  charred  with  a given  exposure.  vV  hen 
this  principle  is  applied  to  the  sunshine  recorder,  it 
becomes  a very  accurate  measure  of  the  intensity  of  the 
thermal  radiations. 


& DictimwjJ  of  gjurtffflrafitg. 

ALBUMENIZED  PAPER  (Printing  on).  — Continued. 

Washing  away  the  Free  Silver. — Place  the  cut  prints,  face 
downwards,  in  a vessel  of  water,  putting  each  in  separately  to 
avoid  their  sticking  together ; keep  them  moving  by  gently 
pressing  them  downwards  for  the  space  of  three  or  four  minutes  ; 
the  water,  previously  clear,  will  now  be  opalescent ; pour  away 
the  water  into  a large  jar,  to  be  afterwards  treated  for  residues ; 
more  water  must  now  be  added,  the  prints  separated,  and  the  water 
again  poured  off  into  the  jar.  After  three  waters  have  been 
poured  off,  the  prints  will  be  ready  for  the  toning  bath.  It  is 
the  custom  of  some  American  printers  to  add  one  ounce  of  glacial 
acetic  acid  to  each  gallon  of  the  fourth  or  last  washing  water ; 
when  the  acetate  toning  bath  is  used,  the  plan  is  commendable, 
especially  when  fuming  is  adopted.  The  prints  should  remain  at 
least  five  minutes  in  the  acidulated  water,  and  must  be  well  moved 
about  to  prevent  unequal  action.  The  colour  of  the  print  will 
assume  a brick-red.  Some  English  printers  obtain  a similar 
result  by  adding  one  ounce  of  common  salt  to  each  gallon  of  the 
last  washing  water.  The  numerous  formulae  for  toning  baths 
which  have  been  published,  all  of  which  contain  some  merit, 
render  it  difficult  to  particularize  ; we  can  only  content  ourselves 
by  giving  one  good  workable  formula,  and  refer  to  past 
issues  of  the  Photographic  News,  and  the  Standard  Formulae 
to  be  found  in  the  Year-Books  of  Photography.  The  bath 
known  as  the  acetate  seems  to  be  more  generally  used  than  any 
other,  and  with  care  can  be  used  every  day  for  a long  period,  by 
the  simple  addition  of  a little  stock  solution  when  it  shows  signs 
of  exhaustion.  Moreover,  almost  any  tone  may  be  procured  by 
means  of  it. 

Acetate  Bath. — Make  up  the  following  stock  solution  : — 

Terchloridc  of  gold  GO  grains 

Prepared  chalk 240  „ 

Water  10  ounces 

Shake  up,  and  leave  to  neutralize  in  the  case  of  traces  of  acid. 

Place  in  a jug — 

Acetate  of  soda  ...  ...  ...  ...  1 ounce 

Clean  common  salt  £ ,, 

Boiling  water  ...  ...  ...  ...  50  ounces 

When  dissolved  and  cool  enough,  pour  on  to  the  gold  and  chalk. 
After  a vigorous  shaking,  put  aside  in  a dark  place  for  twenty- 


four  hours  to  settle.  To  make  up  the  toning  bath,  pour  off  six 
ounces  (let  it  be  clear)  from  the  stock  bottle,  and  dilute  it  with 
one  gallon  of  water,  which  will  be  sufficient  to  tone  eight  or  ten 
sheets  of  fumed  paper. 

Toning. — Pour  the  toning  solution  out  into  a clean  shallow 
dish,  the  larger  the  better.  Porcelain  dishes  of  various  sizes  are 
sold  for  the  purpose,  and  should  not  be  used  for  any  other.  Place 
about  twenty  or  thirty  prints  in  the  liquid,  one  by  one,  face 
downwards,  agitating  the  while  by  rocking  the  dish,  which  must 
be  so  placed  that  very  subdued  white  light  may  fall  on  it  when 
required,  so  that  the  colours  may  be  properly  judged.  After  the 
space  of  five  minutes,  the  prints  should  be  turned  face  upwards 
one  by  one,  when  it  will  be  seen  that  they  are  still  red.  If  the 
dish  is  large  enough  to  allow  of  it,  another  twenty  prints  may  be 
put  in  as  before,  face  downwards;  a little  white  light  is  now 
allowed  to  reach  the  prints.  Commence  by  turning  over  half-a- 
dozen  of  the  prints  last  added,  laying  them,  face  upwards,  in  one 
corner  of  the  dish,  against  the  source  of  light,  but  in  the  solution  ; 
next  pass  each  print  of  the  first  twenty  or  so  towards  the  half- 
dozen  red  ones.  A slight  difference  in  colour  will  be  noticed,  but 
not  sufficient  to  warrant  the  removal  of  any  one  print ; draw  them 
back  again  carefully  through  the  solution,  and  pass  them  again, 
one  by  one,  to  the  same  corner  of  the  dish,  this  time  turning  up 
the  remainder  of  second  addition.  Some  of  the  prints  first  added, 
when  compared  with  those  freshly  turned  up,  will  be  found  to  be 
verging  in  colour  to  a warm  violet.  If  warm  tones  are  desired, 
the  prints  of  that  shade  should  be  removed  frem  the  bath,  and 
placed  in  a vessel  of  water  containing  one  ounce  per  gallon  of 
common  salt,  which  arrests  further  action  of  the  toning  ; ordinary 
water  does  not  do  so  perfectly. 

After  a few  prints  have  been  removed  from  the  toning  solution, 
more  may  be  added  from  the  washing  water,  face  downwards, 
and  treated  precisely  as  the  others  have  been,  until  the  whole 
batch  are  toned.  If  cold  tones  are  required,  the  prints  should 
remain  for  a longer  period  in  the  toning  bath.  When  they  arrive 
at  the  blue  stage,  they  may  be  removed.  If  any  doubt  exist  in 
the  student’s  mind  as  to  whether  the  piint  be  sufficiently  toned  or 
not,  he  will  find  it  a good  plan  to  hold  it  up  against  the  source  of 
light ; the  colour,  as  seen  by  transmitted  light,  will  be  pretty 
nearly  the  colour  of  the  print  when  finished  ; but  notwithstanding 
all  that  has  been  said,  practice  is  the  best  guide  for  indicating  the 
exact  time  to  remove  the  prints,  some  papers  becoming  much 
warmer  than  others  during  the  after  process  of  fixation.  A few 
points  essential  to  good  work  in  ordinary  practice  should  be  im- 
pressed on  the  stnaent  as  follows  : — Always  cleanse  your  hands 
and  the  vessels  to  be  used  previous  to  soaking  the  prints  in  water. 
When  the  toning  is  finished,  pour  the  solution  back  into  a clean 
jar,  to  be  kept  only  for  the  purpose,  and  place  it  on  the  shelf 
protected  from  dust  and  light.  When  again  required,  pour  off 
the  clear  solution,  and  throw  the  sediment  found  at  the  bottom 
into  the  residues  ; add  a measured  quantity  of  stock  solution,  and 
stir  it  up  well  before  the  prints  are  added— i.e.,  one  ounce  or  less 
per  sheet.  Avoid  placing  too  many  prints  in  the  bath  at  one 
time,  and  keep  them  constantly  agitated.  The  number  of  prints 
above  recommended  applies  only  to  small  sizes.  When  toning 
10  by  8 or  12  by  10  prints,  not  more  than  two  or  three  should  be 
in  the  bath  at  one  time,  unless  a larger  quantity  of  solution  is 
employed  than  we  have  mentioned.  Do  not  use  the  solution 
stronger  than  indicated  in  the  formulae.  Twenty  to  thirty 
minutes  will  be  about  the  average  time  required  when  a good 
sample  of  terchloride  of  gold  is  used. 

After  tho  first  washing  and  tening  vessels  have  been  washed 
and  put  in  their  places,  give  the  prints  two  changes  of  water  to 
free  them  from  traces  of  the  toning  solution.  They  are  now 
ready  for  the  next  operation,  “ fixing.” 

Subdued  white  light  admitted  in  the  printing  room  during 
toning  must  be  used  with  extreme  caution,  as  tho  prints  are  not 
safe  until  after  fixation. 


CUSTOM  HOUSE  OFFICERS  AND  DRV  PLATES. 

Sir,— May  I offer  two  more  suggestions  upon  this 
subject?  I have  constantly  to  pass  through  various  Cus- 
tom Houses  with  boxes  of  dry  plates.  The  precautions 
which  I take  to  avoid  damage  to  them,  resulting  from  the 
curiousity  of  the  officials,  are  as  follows; — On  the  deal 
cover  of  my  plate  box  I write  iu  three  languages  “ Photo- 
graphic plates— must  be  examined  only  in  a red  light,” 


November  30,  1883.J 


TBE  PHOTOGRAPHIC  NEWS. 


76.3 


Secondly,  as  a final  safeguard,  to  be  used  only  in  extreme 
cases,  I carry  with  me  a business-like  document,  also 
drawn  up  in  three  languages,  which  certifies  that  the  box 
contains  photographic  glasses  only,  and  that  if  the  officials 
insist  upon  openiug  them  iu  an  ordinary  light,  they  must 
do  so  at  their  own  risk,  and  take  upon  themselves  the  re 
sponsibility  of  any  damage  which  may  ensue.  In  large 
towns  my  box  has  always  passed  without  difficulty ; but 
in  small  and  out-of-the-way  places  the  officials  sometimes 
insist  upon  seeing  the  contents.  My  weapon  in  reserve, 
however,  always  has  a wonderful  effect,  and  never  fails  to 
bring  about  the  desired  result.  St.  Remy  (between  the 
Great  St.  Bernard  and  Aosta)  may  be  mentioned  as  an  ex- 
ample of  a small  village  where,  though  most  courteously 
spoken  to  in  their  own  language,  the  Custom  House 
officers  peremptorily  commanded  the  instant  opening  of  the 
plate-box,  and  only  refrained  when  asked  to  sign  the  for- 
midable looking  document  by  way  of  a preliminary 
measure. — Truly  yours,  E.  Burnaby. 

St.  Moritz,  Engadine , November  20tli. 


BRISTOL  INTERNATIONAL  EXHIBITION  — THE 
JURY. 

Dear  Sin, — I hasten  to  give  your  readers  the  earliest  in- 
timation of  the  names  of  the  jurors  at  the  forthcoming  ex- 
hibition. They  areas  follow  : — Mr.  W.  II.  Barton,  photo- 
grapher ; Mr.  William  Bedford,  photographer;  Mr. 
Valentine  Blanchard,  photographer;  Mr.  J.  Jackson 
Curnock,  painter;  Mr.  William  Badcliffe,  photographer, 
and  member  of  the  Association. — I am,  dear  sir,  yours 
faithfully,  H.  A.  Hood  Daniel,  Hon.  Sec. 

PAPERS  AT  FORTHCOMING  MEETINGS  OF  THE 
PHOTOGRAPHIC  SOCIETY  OF  GREAT  BRITAIN. 

Sir, — I am  a member  of  the  above  Society,  and  usually 
attend  its  meetings.  I often  come  at  a considerable  sacri- 
fice of  time  and  convenience,  and  I feel  aggrieved  if  I 
do  not  spend  a profitable  evening.  As  there  must  be  many 
more  like  me,  I take  the  liberty  of  offering  a suggestion  or 
two  on  their  behalf,  as  well  as  my  own.  Just  now  is  a period 
of  unusual  photographic  activity,  and  I look  forward  to  an 
interesting  series  of  papers  and  discussions.  1 do  not  know 
who  is  responsible  for  securing  the  papers,  but  I trust  they 
are  not  left  to  chance.  Many  of  the  meetings  of  last  session 
were  very  interesting,  others  were  not  so.  The  use  of  the 
lantern  is  a valuable  innovation  for  illustrating  lectures, 
but  unless  well  done,  had  better  be  omitted.  The  effects 
intended  ought  to  be  privately  rehearsed  by  heturer  and 
illustrator.  Some  sad  fiascos  have  taken  place  for  want  of 
this  common-sense  provision.  Above  all  things,  the  lantern 
should  not  be  abused  by  making  it  a “ peep-show.” 
“Lantern  nights”  are  good  ; the  readings  of  papeis  and 
discussions  are  good  also  ; but,  as  a rule,  they  should  be 
kept  apart,  and  the  lantern  used  only  to  illustrate  special 
subjects — and  then  they  should  be  well  done. 

The  present  sessiou  has  commenced  well.  The  last 
meeting  was  a great  success  ; the  walls  hung  round  by  the 
Exhibition  pictures  and  the  distribution  of  the  well-earned 
medals,  looked  like  the  beginning  of  good  business.  The 
paper  read  was  interesting,  and  appropriate  for  the  occa- 
sion. But  Colonel  Wortley  notwithstanding,  it  was  too 
discursive  to  fouud  a profitable  discussion  upon  ; it  served 
its  purpose,  and  there  it  should  end.  Would  it  not  be 
better  to  more  orten  observe  this  rule?  Postponed  discus- 
sions are  usually  failures.  I mention  this  because  I see  that 
we  are  threatened  with  a discussion  on  Mr.  Spurge’s  “ New 
Unit  of  Light,”  &c.  I was  present  when  his  paper  was  read, 
and  without  wishing  to  appear  disrespectful,  I thiuk  it  was 
distinctly  one  of  those  papers  to  be  “ taken  as  read.” 
On  principle,  I think,  it  is  based  on  a wrong  idea — a 
standard  jet  of  gas.  Until  we  illumine  all  our  landscapes, 
and  take  our  portraits  by  gaslight,  how  can  any  gas  jet, 
however  ingeniously  adjusted,  be  a standard  unit  light  for 
photography? 


Considering  the  abundance  of  skilful  experimenters, 
and  the  wealth  of  subjects  arising  out  of  the  Exhi- 
bition, there  ought  to  be  a plethora  of  profitable  subjects 
for  treatment.  I hope  now  that  there  is  plenty  of  time,  the 
council  will  look  well  ahead,  and  not  have  to  rely,  from 
meeting  to  meeting,  as  in  old  times,  for  any  scratch  topic 
that  may  happen  to  turn  up. 

I strongly  recommend  those  of  the  members  who  have 
not  yet  attended  to  visit  the  “technological  ” meetings  of 
the  alternate  Tuesday  evenings.  I wish  they  were  called, 
what  they  really  are,  social  evenings,  as  the  name  would  be 
more  inviting.  They  are  delightful  meetings.  Pnos. 

LESSONS  ON  OPTICS. 

Dear  Sir, —I  avail  myself  of  your  courtesy  to  intimate 
that  my  remarks  on  Captain  Abney’s  second  lesson  on  dis- 
tortion were  ptomptly  sent,  and  only  want  the  space  you 
kindly  offer  to  this  discussion  when  the  “Lessons”  aie 
finished,  and  space  available. — I am,  dear  sir,  yours  truly, 

W.  H.  Wheeler. 


HOW  THE  CHITTYWEE  WAS  TAKEN. 

Dear  Sir,— I am  extremely  sorry  my  simple  enquiry 
should  bring  forth  a letter  occupying  a column  of  your 
valuable  paper,  without  in  any  way  touching  the  point  at 
issue. 

“ Humbug  ” says  he  quite  agrees  with  me  that  Mr.  West 
has  made  a great  mistake.  Now  this  is  humbug  ; 1 never 
made  such  an  assertion,  but  asked  the  opinion  of  others 
better  able  to  judge  than  myself. 

I don’t  agree  with  “ Humbug,”  so  will  not  venture  an 
opinion  whether  Mr.  West  ought  to  receive  a medal  or  not, 
but  will  frankly  admit,  had  I sent  to  the  Exhibition  a pic- 
ture obtained  in  the  manner  described  by  Mr.  West,  anti 
for  this  exhibit  received  a medal  bearing  the  impress  of  a 
horse  shoe  (as  the  emblem  of  good  luck)  and  the  inscrip- 
tion; “ The  picture  for  which  this  medal  is  awarded  is  the 

work  of , who  at  the  time  he  made  it  was  unable  to 

say  whether  there  was  more  water  than  sky,  or,  in  fact, 
anything  at  all  in  it.”  I should  attach  much  value  to  the 
medal.  “Humbug”  might,  perhaps,  had  you  made  him 

Big  Humbug,”  as  requested. 

It  appears  to  me  “Humbug”  first  sets  up  the  fluke 
theory,  and  then  tries  to  knock  it  dewn.  I think  there  is 
a good  deal  of  truth  in  his  remarks,  and,  as  he  says,  “ if  it 
is  a fluke,”  it  proves  nothing  if  people  say  it  is  the  best 
fluke  that  has  appeared  as  supplement  to  the  News.  In 
fact,  he  puts  his  case  so  cleaily  in  favour  of  the  fluke 
theory,  that  it  is  very  difficult  to  rid  one’s  mind  of  the  im- 
pression made  when  he  starts  to  disprove  it,  anti  it  is,  I 
think,  rendered  more  difficult  when  we  consider  the  historic 
cases  cited  are  not  analogous.  These  literary  characters 
had  so  made  their  emulsion , exposed,  and  developed  their 
plates,  knowing  they  had  the  proportion  of  sky  and  water 
they  intended  to  have,  their  diffidence  arising  when 
about  to  submit  their  work  to  public  criticism.  Unlike 
“Sketches  by  Box,”  the  Chittywee  was  not  dropped  stealthily 
with  fear  and  trembling  into  a dark  box,  in  a dark  office, 
up  a dark  court,  in  a dark  street,  but  was  sent  to  Pall  Mall 
in  competition  with  other  pictures,  that  I venture  to  say 
their  authors  knew  when  the  exposure  or  exposures  were 
made,  they  had  the  proportion  of  sky  and  water  to  convey 
the  impression  intended. 

Will  you  allow  me  to  say,  iu  conclusion,  that  I saw  and 
admired  Mr.  West’s  picture  at  Pall  Mall,  told  my  friends 
here  about  it,  and  it  was  only  when  Mr.  West  said  he  did 
not  know  anything  about  it,  but  it  turned  out  all  right,  a 
controversy  arose  among  us  as  to  its  merits.  We  could  not 
settle  it.  'To  whom  should  we  appeal  but  the  readers  of  the 
News? — Faithfully  yours,  C.  R.  T. 

P.S. — Y ou  made  me  out  “ C.  R.  Y.”  last  week,  probably  in 
anticipation  of  having  to  wade  through  more  than  a column 
of  News  without  finding  an  answer  to  my  question,  or  any 
attempt  at  one. 


THE  PHOTOGRAPHIC  NEWS.  [November  30,  1883. 


Drotteinags  o! 

The  Photographic  Society  of  Great  Britain. 

A meeting  of  this  Society  was  held  on  Tuesday  evening, 
Mr.  Baden  Pritchard,  F.C.S.,  Vice-president,  in  the  chair. 

M W E.  Debenilam,  after  alluding  to  the  injury  to  health 
likely  .v  arise  from  working  in  ruby  light,  a subject  to  which 
Dr.  Herschel  had  recently  paid  attention,  exhibited  a lantern 
fitted  on  its  four  sides  with  four  different  mediums,  all  of  which 
possessed  certain  non-actinic  qualities.  No.  1 side  was  fitted  with 
green  cathedral  glass  and  two  thicknesses  of  yellow  or  light 
orange  paper  ; No.  2 side  was  glazed  with  red  glass  ; No.  3 was 
fitted  with  ruby  flashed  on  orange  glass  ; and  No.  4 side  of  the 
lantern  had  red  glass  and  orange  paper.  The  wick  of  the  lamp 
was  tolerably  large,  and  fed  with  paraffin  oil.  A series  of  experi- 
ments were  made  by  exposing  bromide  plates  behind  a negative 
at  eight  inches  from  the  different  sides  of  the  lantern  for  a period 
of  twelve  minutes.  In  all  cases  a distinct  image  was  produced, 
but  the  image  opposite  No.  1 side  was  the  faintest.  Hence 
Mr.  Debenham  argued  that  red  or  ruby  light — which  was  so 
prejudicial  to  health — was  unnecessary  for  dark-room  work,  for 
the  greenish  yellow  proved  to  be  most  advantageous  to  the 
photographer. 

The  Chairman,  without  questioning  the  results  of  Mr.  Deben- 
ham, said  that  these  woull  have  been  more  complete  if  the  visual 
light  had  also  been  tested,  say  by  means  of  the  ordinary  photo- 
metric screen,  which  consists  of  a disc  of  opaque  paper  with  a 
transparent  spot  (produced  with  oil  or  paraffin)  in  the  centre.  If 
this  paper  screen  with  its  transparent  centre  is  put  between  lights 
of  equal  intensity,  the  transparency  in  the  middle  is  not  seen,  but 
only  when  they  are  equal ; thus  the  visual  intensity  of  a light 
can  easily  be  ascertained.  If  the  visual  and  photographic  results 
■were  both  in  favour  of  the  green  glass  and  yellow  papers,  then 
there  could  be  no  doubt  as  to  the  efficacy  of  this  screen. 

Mr.  Blanchard  asked  Mr.  Debenham  if  he  had  tried  silver 
flashed  glass  in  his  experiments  ; but  the  latter  had  not  done  so 

Mr.  Bedford  called  attention  to  the  fact  that  paper  itself 
stopped  a good  deal  of  light,  and  therefore  was  of  opinion  that 
instead  of  using  two  thicknesses  of  yellow  paper,  if  one,  with  more 
stain,  so  to  speak,  could  be  employed,  the  result  would  be  more 
advantageous. 

Mr.  Spurge  wished  to  know  if  the  experiments  had  been  con- 
ducted indifferently  towards  the  side  or  end  of  the  wick  ; the 
former,  he  thought  would  be  a greater  source  of  light  than  the 
latter. 

Mr.  Debenham  held  that  the  d fference  was  so  slight,  if  any,  as 
to  be  of  no  moment. 

Mr.  Cowan  was  of  opinion  that  the  inside  surfaces  of  the 
mediums  (those  next  the  light)  might  act  unequally  as  reflecting 
surfaces,  and  thus  influence  ihe  results. 

Mr.  C.  Bay  Woods  pointed  out  that  the  yellow  paper  exercised 
the  more  important  function  as  a non-actinic  screen,  as  green  glass 
permitted  much  of  the  blue  rays  to  pass.  lie  also  questioned 
whether  one  medium  could  be  used  for  bromide  plates  of  different 
manufacture ; he  had  himself  recently  been  engaged  in  the  pre- 
paration of  plates  sensitive  to  different  regions  of  the  spectrum. 

Mr.  Ashman  also  maintained  that  the  principal  point  was  the 
yellow  light ; he  had  that  day  developed  a large  batch  of  plates, 
without  fogging,  by  having  recourse  simply  to  an  ordinary  spirit 
lamp,  in  the  bowl  of  which  common  salt  was  dissolved  to  give  a 
yellow  flame. 

Mr.  Ackland  said  that  the  sooner  they  could  geb  rid  of  red  or 
ruby  light  the  better  ; it  was  certainly  injurious  to  eyesight. 

Mr.  Valentine  Blanchard  instanced  his  own  eyesight,  as 
having  suffered  from  red  light. 

Mr.  Cowan  produced  a series  of  negatives  in  proof  that  green 
fog  was  the  result  simply  of  unwise  development,  and  was  not 
inherent  to  the  emulsion.  By  developing  the  first  of  a series  of 
plates  with  an  ordinary  pyro  developer,  he  obtained  green  fog; 
when,  however,  he  used  ferrous  oxalate,  or  when  he  employed  but 
half  as  much  ammonia  as  pyro,  and  no  bromide  at  all,  there  was 
no  trace  of  green  fog. 

Mr.  Cocking  exhibited,  on  behalf  of  Mr.  H.  J.  Burton,  a 
double,  dark  slide,  especially  light,  made  of  one  piece  of  wood, 
and  having  thin  metal  slides ; also  a triangle  made  up  of  thin 
bands  of  iron  rivetted,  which,  while  as  strong  as  one  of  brass, 
weighed  one-third  less. 

MgUwan  made  known  a suggestion  of  Mr.  Crup  to  employ 
as  ‘ finder  upon  the  camera,  a rough  unfinished  spectacle  or 
eye-glass.  This  could  be  obtained  for  a few  pence,  and  gave 


the  photographer  a capital  idea  of  what  a view  was  likely  to  be 
before  photographing. 

Mr.  Debenham  gave  notice  that  he  would,  at  the  next  meet- 
ing, call  attention  to  the  manner  of  publishing  papers  in  the 
Society’s  Journal. 

The  Chairman  stated  that  as  the  fortnightly  gatherings  could 
not  be  considered  in  the  light  of  the  ordinary  monthly  meetings 
of  the  Society,  it  would  be  the  best  plan  for  Mr.  Debenham  to 
address  the  Council  on  the  subject. 

The  meeting  then  adjourned. 


Glasgow  Photographic  Association. 

The  fourth  general  meeting  was  held  in  the  Religious  Institution 
Rooms  on  Thursday,  the  22ud November,  Councillor  Robertson 
in  the  chair. 

The  minutes  of  the  last  meeting  were  read  and  approved  of. 

Mr.  W.  Chambers  was  elected  as  a member. 

The  Chairman  then  called  up  in  Mr.  J.  G.  Tunny,  Edinburgh, 
to  read  a paper  entitled,  “A  Few  Notes  from  Maine  to 
California.” 

Mr.  Tunny  gave  a very  interesting  account  of  his  eleven  months’ 
tour  on  the  other  side  of  the  Atlantic,  and  described  a number  of 
the  studios  he  had  visited.  He  said  nearly  all  the  American 
portraits  were  printed  vignettes,  and  were  remarkably  soft, 
although  printed  in  sunlight ; the  vignetting  mask  was  covered 
with  tissue  paper,  and  was  fully  an  inch  from  the  printing  frame. 
He  also  said  there  were  no  blinds  used  in  the  American  studios, 
small  haud-screens  and  reflectors  being  used  instead  ; by  this 
means,  parts  of  the  body  were  either  lightened  or  darkened  as 
occasion  required.  For  instance,  when  the  shadows  in  the  face 
were  too  strong,  a small  reflector  about  eighteen  inches  square 
was  used,  therefore  lightening  up  the  face,  and  at  the  same 
time  leaving  the  ahadows  in  the  dress  dark  and  brilliant.  The 
lecture  was  illustrated  by  a large  series  of  views  of  the  Yosemite 
Valley,  taken  direct  on  24 -inch  plates  ; they  were  remarkably 
fine  and  clear,  and  very  much  admired. 

The  Chairman  and  others  made  remarks. 

Mr.  Sloan  asked  what  length  of  exposure  was  required  in 
America  as  compared  with  this  country. 

Mr.  Tunny  said  it  was  a strange  fact  that  although  the  air 
was  very  much  clearer  and  the  light  brighter,  the  exposures  were 
very  much  the  same  as  iu  this  country  ; he  could  give  no  explana- 
tion of  the  fact. 

Mr.  Urik  then  proposed  a vote  of  thanks,  which  was  heartily 
accorded. 

A camera  by  Mr.  George  Smith,  of  the  Scioptiean  Company, 
was  exhibited  and  explained  by  the  Secretary. 

Mr.  Parker  spoke  very  highly  of  the  camera,  and  proposed  a 
vote  of  thanks  to  Mr.  Smith  for  sending  it. 

The  proceedings  terminated  by  a vote  of  thanks  to  the  Chair- 
man. 


London  and  Provincial  Photographic  Association. 

At  a meeting  of  this  Society,  held  on  Thursday,  the  22nd  inst., 
the  chair  was  occupied  by  Mr.  Pollard  Graham. 

Mr.  A Cowan,  since  the  last  meeting,  had  tested  the  “ Cooke 
camera,”  and  found  it  would  hold  fifteen  plates  easily — eight  in 
the  lower  compartment,  and  seven  iu  the  upper.  He  exposed 
two  plates  iu  the  studio  with  a strong  flood  of  light,  but  not  the 
slightest  trace  of  fog  was  present,  proving  the  fittings  to  be 
pretty  safe.  If  metal  sheets  or  carriers  were  fitted,  similar  to 
those  employed  in  the  “ Samuel’s  Camera,”  or  a double  carrier 
capable  of  holding  two  plates  back  to  back,  the  camera  would 
be  more  useful.  In  the  latter  case,  the  whole  fifteen  plates 
might  be  exposed  rapidly,  one  after  the  other,  turned  round  and 
the  other  fifteen  exposed.  The  present  focus  was  7 inches,  but 
there  was  not  the  least  difficulty  in  makiug  it  12  inches. 

Mr.  F.  \V.  Hart  remarked,  that  when  this  form  of  camera 
was  sold,  it  was  supplied  with  tapes  for  passing  round  the  plates 
to  prevent  friction  ; if  carriers  were  employed,  the  camera  would 
De  found  inconveniently  heavy. 

Mr.  J.  J.  Briginshaw  passed  round  some  very  fine  trans- 
parencies made  on  Mr.  Cawan’s  gelatiuo-chloride  plates,  being 
his  first  attempts  at  photo-micrography.  The  subject  was  the 
ventricle  of  a fly,  taken  with  a 1-inch  power  objective  without 
diaphragm  : the  focus  was  25  inches,  and  the  exposure  of  negative 
on  a bromide  plate,  using  a paraffin  oil  lamp  and  condenser, 
was  85  seconds. 

Mr.  C.  Darker  showed  some  very  fine  lantern  slides  of  micro- 
scopic objects  produced  by  collodion.  In  response  to  the  Chairman 
for  details,  he  stated  that  the  photographed  object  is  enlarged  on 


November  30,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


767 


a screen,  and  a drawing  made,  this  being  photographed  to  the 
reduced  size  required  ; no  trouble  is  spared  in  correcting  the 
drawing,  so  as  to  arrive  at  the  desired  result.  As  an  instance, 
portions  of  animal  remains  no  longer  than  the  diameter  of  a pin 
would  be  difficult  to  throw  on  a screen  with  ordinary  magnifying 
power,  but  having  obtained  a correct  drawing,  no  difficulty  would 
be  experienced  in  reproducing  truthfully  on  a screen  ten  feet 
in  diameter. 

Mr.  H.  E.  Moule  showed  a vitrified  picture  on  porcelain  by 
Mr.  R.  T.  Wall’s  process  (described  at  page  585  in  the 
volume  for  1882).  The  sensitive  varnish  was  poured  over  the 
porcelain,  and,  when  dry,  exposed  five  hours  in  daylight  under  a 
weak  transparency  ; it  was  then  dusted  with  enamel  powder,  and 
heated  in  a Fletcher  gas  oven,  when  the  shadows  gradually 
darkened,  and  a good  result  was  obtained. 

Mr.  A.  L.  HendERson  thought  the  process  likely  to  be  of 
great  value,  and  if  capable  of  doing  all  the  inventor  claimed  for 
it,  was  worth  the  price  asked.  A propos  of  the  commercial  side 
of  enamelling,  a pupil  of  his,  connected  with  a large  firm  of 
enamelled  iron  plate  manufacturers,  stated  that  his  firm  had  just 
taken  an  order  from  Messrs.  Coleman,  for  30,000  plates  at  24 
shillings  a piece.  Speakiug  of  canary  medium,  he  showed  a 
sample  which  he  considered  safe.  A portion  placed  as  a screen 
seven  inches  in  front  of  a candle,  and  a rapid  plate,  exposed  two 
minutes  at  a distance  of  two  feet,  was  unaffected  ; whereas  the 
ordinary  ruby  lamp,  under  similar  conditions,  marked  the  plate 
strongly. 

The  Chairman  had  seen  one  thickness  of  this  material  used 
against  strong  sunlight  without  the  least  ill  effect. 

Mr.  Bridge,  of  Bradford,  the  introducer,  lighted  his  coating 
and  packing  rooms  through  this  medium  without  using  any  ruby 

glass. 

Mr.  W.  E.  Debenham  said  the  facts  stated  by  the  Chairman 
and  Mr.  Henderson  were  very  like  his  own  experience  ; he  fouud 
orange  paper  and  cathedral  green  glass  gave  a pleasant  and  safe 
light.  He  had  advocated  its  use,  and  he  knew  of  seven  dark- 
rooms so  illuminated.  The  paper  should  be  a yellow  orange 
rather  than  red. 

Mr.  C.  W.  Lee  wa.s  elected  a member  of  the  Association. 


The  Postal  Photographic  Societv. 

A committee  meeting  was  held  on  the  28th  of  November,  and 
after  the  minutes  of  the  previous  meeting  had  been  read  and  con- 
firmed, the  following  gentlemen,  provisionally  admitted  since  the 
last  meeting,  were  duly  elected,  each  having  declared  himself  a 
bond  fide  amateur,  and  having  sent  a specimen  of  his  work  accord- 
ing to  the  resolution  passed  at  the  last  meeting : — A.  Farnsworth 
(omitted  from  last  list  of  new  members),  Chas.  Aldridge,  M.D., 
G.  Burn  Murdock,  M.D.,  Commander  Swinton  C.  Holland,  R.N., 
Andrew  Pringle,  John  M.  C.  Grove,  W.  Wallis,  and  W.  H. 
Collins. 

Competition  No.  2 having  completed  its  first  round,  the  voting- 
book  was  examined,  and  the  prizes  were  declared  as  follows  : — 
Class  1. — “ Landscape  or  View  ” (1st),  G.  Bankart,  with  80  votes  ; 
(2nd),  Dr.  Horace  Day,  13  votes.  Class  2. — “Portrait  or 
Group  ” (1st),  W.  Adcock,  with  72  votes  ; (2nd),  G.  Bankart, 
22  votes.  Class  3. — “Winter  Subject,  View  or  Figure”  (prize), 
W.  M.  Martin,  53  votes. 

The  Hon.  Treasurer  then  presented  his  accounts,  audited  by 
Walter  Withall,  showing  subscriptions  received  from  70  mem- 
bers, and  an  available  balance  of  £24  14s.  6d.  in  hand,  aud  said 
that  24  new  members  had  joined  up  to  the  present  since  the  com- 
mencement of  the  financial  year  in  July. 

Competition  No.  6. — The  pictures  sent  to  compete  in  this  for 
prizes  given  by  private  members  in  four  set  subjects,  were  then 
examined,  and  the  prizes  apportioned  in  value  as  follows  : — 
Class  1. — “Interior”  (1st),  Entrance  fees  and  donations  making 
£1  ds.  ; (2nd),  The  Society  gives  12s.  Class  2. — “ Interior  ” (1st), 
Entrances  and  donation,  19s.  (id.  ; the  Society  makes  the  prize  £1 ; 
(2nd),  The  Society  gives  10s.  Class  3. — “foreign  View  ” (1st), 
Entrances  and  donation,  £1  Is. ; (2nd),  Society  gives  10s.  6d. 
Class  4. — “ Lautern  Slide,”  any  process  (1st),  Entrances  and 
donation,  18s.  ; (2nd),  Society  gives  9s.  The  donors  of  the  prizes 
having  provided  £2  2s.,  the  Society  supplements  their  efforts  by 
providing  a similar  sum  divided  as  above.  The  members  were 
congratulated  that  this  collection  showed  a marked  advance  on 
any  previous  collection.  A simplified  form  of  voting,  it  was 
agreed,  should  be  tried  for  this  competition,  giving,  in  each  of  the 
first  three  classes,  one  vote  for  technical  merit  and  one  for  pictorial ; 
and  in  the  4th  class  one  vote  only  for  the  best  slide. 

The  advisability  of  limiting  the  Lumber  cf  n.cmleis  s then 


discussed,  and  it  was  decided  that  the  Society  be  limited  to  one 
hundred  members,  in  deference  to  the  generally  expressed  wish 
of  the  members. 

Aberdeen. 

Practical  Illustration  of  an  Enlarging  Process. — Formation  of  a 
Photographic  Society  for  the  North  of  Scotland. 

At  the  invitation  of  Mr.  J.  McGkie  (McGhie  and  Bolton,  Glasgow) 
one  of  the  largest  gatherings  of  professional  photographers  ever 
held  in  Aberdeen,  met  him  in  Forsyth’s  Hotel,  Union  Street, .on 
the  evening  of  Friday,  23rd  November,  to  see  a practical  demon- 
stration of  printing  and  enlarging  on  argentic  paper  aud  opal  by 
Mr.  A.  Goodall  (Goodalland  Steven,  Glasgow). 

Mr.  McGhie,  in  introducing  Mr.  Goodall  to  the  company,  said 
that  although  great  advances  had  been  made  in  the  last  thirty 
years,  and  more  especially  during  the  last  decade  in  processes  for 
the  production  of  negatives  in  the  camera,  it  was  a strange  fact 
that,  until  recently,  comparatively  little  progress  had  been  made 
in  the  equally-important  department  of  rapid  priating.  Mr. 
Goodall  was  there  before  them  that  evening  to  show  what  argentic 
paper  and  opals  were  capable  of  producing. 

Mr.  Goodall  then  first  showed  how  to  make  an  enlargement 
on  opal  by  means  of  artificial  light,  using  the  excelsior  lantern 
with  triple  wicks.  A quarter-plate  negative  was  placed  in  the 
lantern,  and  after  three-quarters  of  a minute’s  exposure  on  the 
argentic  matt-surface  opal,  the  plate  was  taken  down  and  deve- 
loped (in  front  of  one  of  Carbutt’s  dark-room  reflecting  lanterns) 
with  ferric  oxalate,  to  which  a small  proportion  of  citric  acid  was 
added.  After  fixation  in  soda  hypo  solution,  a clear  and  brilliant 
picture  was  the  result,  eliciting  the  commendation  of  all  present, 
the  whole  operation  occupying  about  five  minutes.  The  successful 
result  of  the  first  experiment  was  followed  by  the  taking  of  a 
print  direct  from  a 10  by  8 negative  in  a printing-frame  with  one 
second  exposure,  two  feet  from  an  ordinary  gas  flame,  the  paper 
used  being  the  enamel  argentic.  This  experiment  was  also  highly 
successful,  all  present  seeming  well  pleased  with  the  pure  whites 
and  warm  blacks  ; the  appearance  of  the  print,  when  dry,  with 
its  high  glaze,  being  analogous  to  double  albumen  paper. 

At  the  close  of  the  demonstration,  a vote  of  thanks  was  ac- 
corded to  Mr.  Goodall  and  Mr.  McGhie  for  the  manner  in  which 
they  had  conducted  the  manipulations  of  the  various  processes. 

The  Chairman  subsequently  said  he  believed  this  was  the 
largest  meeting  of  photographers  ever  held  in  Aberdeen,  and  he 
would  take  this  opportunity  of  making  a suggestion  which  he  was 
sure  would  be  warmly  received  by  all  present  for  the  formation 
of  a photographic  association  for  Aberdeen  or  the  North  of  Scot- 
land on  similar  lines  to  those  in  existence  in  other  large  towns. 
The  proposal  was  unanimously  agreed  to  ; all  those  present  gave 
their  names  as  members  of  the  newly-formed  Association,  and  an 
interim  committee  was  appointed  for  the  purpose  of  making 
initial  arrangements.  Mr.  Dennie  kindly  consented  to  give  the 
use  of  one  of  his  rooms  for  their  first  meetings. 

A vote  of  thanks  to  the  Chairman  met  with  a hearty  response, 
and  brought  a very  interesting  meeting  to  a close. 


&alk  in  tfri  Stubi0. 

South  London  Photographic  Society. — The  Annual  Meet- 
ing of  the  above  Society  will  be  held  at  the  House  of  the  Society 
of  Arts,  Adelphi,  on  Thursday,  December  6th,  1883,  at  eight 
o’clock  p.m.,  when  the  election  of  officers  for  the  ensuing  year 
will  take  place,  and  the  Annual  Report  and  Balance  Sheet  will  be 
submitted.  Mr.  C.  Ray  Woods  will  give  a short  lecture,  entitled 
“ Photography  and  Solar  Eclipses  ; ” Mr.  W.  Brooks  will  demon- 
strate his  neiv  method  of  intensifying  gelatine  plates  ; and  the 
following  (from  the  question-box)  will  be  discussed  : “Is  a Swing- 
Back  to  a Camera  Desirable  or  Necessary  ? ” The  Annual 
Dinner  will  take  place  at  the  Holboin  Restaurant  on  Friday 
evening,  December  7th,  at  half-past  six,  when  it  is  hoped  that  as 
many  as  possible  of  the  members  and  friends  of  the  Society  will 
be  present.  Tickets  os.  each,  application  for  which  should  be 
made  not  later  than  December  3rd,  to  F.  A.  Bridge,  Hon.  Sec. 
and  Treasurer,  9,  Norfolk  Road,  Dalston  Lane,  London. 

Woodburytype  or  Photoglyptie.— Messrs.  Goupil’s  estab- 
lishment at  Asnieres  is  close  to  the  station,  and  con- 
sists of  two  villas  thrown  together  shat  off  from  the 
street  by  a high  white  wall  and  with  gardens,  for- 
merly no  doubt  tidy  and  productive,  but  now  given  over 
to  chemistry,  which  intervene  between  the  houses  and  the  river 
Seine.  Many  processes  are  here  carried  od,  some  of  them  in  the 


768 


THE  PHOTOGRAPHIC  NEWS. 


[November  30,  1883, 


profoundest  secrecy.  Of  what  I saw,  as  a very  unskilled  obser- 
ver that  which  most  appeals  to  my  imagination  was  the  process 
of  ‘‘  photoglyptie,”  the  object  of  which  is  to  multiply  photographs 
with  cheapness  and  rapidity,  and  to  render  the  impressions  not 
only  true  and  delicate,  but  also  permanent.  The  subject  that 
was  being  treated  at  the  time  of  my  visit  was  one  of  those  sub- 
stantial ladies  whose  smiling  faces  and  decolletd  costume  adorn 
the  windows  of  the  Rue  de  Rivoli,  probably  a singer  or  an  actress. 
Her  portrait,  which  was  of  the  usual  cabinet  size,  had  been  pre- 
viously treated  by  some  photographic  method,  which  had 
resulted  in  the  formation  of  a thin  “ pellicule,”  as  it  is  technically 
called,  of  pure  and  transparent  gelatine,  not  much  thicker  than 
a piece  of  note-paper,  and  of  the  exact  size  of  the  original  photo- 
graph. Figured  upon  this  delicate  transparency  (when  held  to 
the  light  it  reminded  me  of  the  pictures  which  are  sometimes  seen 
in  glass  lamp-shades)  was  the  exact  image  of  the  original  picture. 
This  “ pellicule  ” w'as  next  laid  upon  a slab  of  lead  about  half-an- 
inch  thick,  and  subjected  to  heavy  pressure  in  a hydraulic  press. 
When  one  looked  at  the  leaden  slab  and  considered  the  enormous 
pressure,  amounting  to  1,000  lb.  on  a quarter  of  an  inch,  to 
which  it  was  subjected,  it  might  have  been  reasonably  imagined 
that  the  frail  “pellicule”  of  transparent  gelatine  would  have 
been  crushed  out  of  existence.  But  no ; it  is,  on  the  contrary, 
the  lead  which  gives  way,  and  the  result  is  that,  on  the  pressure 
being  removed,  it  is  found  that  the  plate  of  lead  has  received  on 
its  compieised  and  hardened  surface  an  image  of  the  decollete 
lady  precisely  similar  to  that  which  had  been  originally  trans- 
ferred from  the  photograph  to  the  “pellicule.”  The  rest  of  the 
process  is  in  appearance  simple  enough.  The  leaden  plates  (it 
is  possible  to  obtain  several  from  one  “ pellicule  ” ) are  smeared 
with  a thick  ink,  and  copies  are  printed  off  half-a-dozen  at  a 
time,  which  are  subsequently  mounted,  and  sold  at  prices  far 
more  moderate  than  could  be  allowed  by  any  process  of  ordinary 
photography.’ 1 — Pall-Mall  Gazette. 

Photographic  Club. — At  the  next  meeting  on  Wednesday, 
December  5th,  the  adjourned  discussion  on  “ The  Alkaline  Deve- 
lopment of  Gelatine  Plates  ” will  take  place. 


$0  &0msgon?uut9. 


We  cannot  undertake  to  return  rejected  communications. 

W.  S.  Donald. — 1.  You  appear  to  have  used  the  ordinary  canvas 
which  has  been  primed  or  painted,  and  it  is  not  to  be  wondered 
at  that  you  obtain  a thin  and  weak  image.  A medium  between 
the  bare  canvas  and  the  painted  material  answers  very  well. 
You  should  proceed  as  follows  : — Lay  the  canvas,  painted  side 
upwards,  on  a flat  board,  and  scrub  the  material  with  a 5 per 
cent,  solution  of  caustic  soda  until  the  greater  part  of  the  paint 
is  removed,  and  the  texture  of  the  canvas  becomes  distinctly 
visible.  Now  wash  very  thoroughly,  and  proceed  according  to 
the  directions,  only  you  will  require  a somewhat  stronger  bath 
than  that  recommended.  2.  We  have  not  yet  been  able  to  find 
a sample,  but  will  make  another  search. 

H.  SpxNK. — We  believe  that  they  are  due  to  the  presence  of 
minute  traces  of  greasy  matter,  and  that  this  exercises  a 
repellent  action  on  the  film,  making  it  thinner;  most — perhaps 
all — commercial  samples  of  gelatine  contain  traces  of  fatty 
rnatter.  When  it  is  upon  the  surface  of  the  sheets  of  gelatine, 
it  can  be  removed  by  washing  in  ether,  but  the  process  is 
expensive. 

H.  G. — You  should  use  a vessel  with  a spout  coming  from  the 
lower  part— a toy  tea-pot,  in  fact — and  keep  it  tolerably  full. 
Under  these  circumstances  the  air-bubbles  will  settle  to  the  top, 
and  be  altogether  clear  of  the  spout.  A more  effective,  but 
somewhat  complex  arrangement  is  figured  on  page  592  of  our 
volume  for  1879.  Write  again  if  you  continue  to  meet  with 
any  difficulty. 

A.  P.  S. — The  spots  arise  from  the  use  of  an  unsuitable  gelatine. 
Try  Nelson’s  “ Amber.” 

G.  R.  H. — You  cannot  do  better  than  to  adopt  the  Siemen’s  machine, 
as  we  know  of  several  instances  in  which  it  is  used  for  a similar 
purpose,  and  gives  satisfaction.  The  machine  required  is  analo- 
gous to  that  figured  on  page  "37  of  the  present  volume,  but  instead 
of  being  clothed  with  thick  copper  bars  as  conduct  • rs,  an  ordinary 
covered  wire  is  used,  the  thickness  being  so  adjusted  as  to  make 
the  total  internal  resistance  of  the  machine  about  one  ohm.  If 
you  require  the  machine  for  constant  and  steady  work,  no  motor 
is  so  suitable  as  a good  steam  engine  ; but  if,  on  the  other  hand, 
you  are  likely  to  only  require  it  for  occasional  or  intermittent 
forvico,  a gas  engine  will  prove  more  convenient  and  economical. 
I he  Otto  gas  engine  is  one  of  the  best  engines  made  at  the  present 
time. 


G.  Chandler.— It  is  difficult  to  give  you  a complete  list,  and, 
moreover,  many  of  them  aro  out  of  print.  We  will,  however,  do 
our  best  to  make  a list  of  such  as  are  in  print. 

Ad.  E. — 1.  It  would,  in  all  probability,  not  have  answered  your 
purpose  unless  you  had  possessed  facilities  for  pushing  it  forward 
commercially.  The  real  merit  of  a process  is  not  by  any  means 
the  sole  factor  which  determines  its  success  or  failure.  2.  It  will 
probably  appear  in  a week  or  two. 

Bumble. — 1.  It  has  never  been  published  in  English.  2.  Photo- 
graphic au  Charbon,  par  Leon  Vidal.  Paris : Gautier-Villars, 
55,  Quai  des  Augustines.  Price,  4 francs  50  cents. 

Fhoto. — You  are  wrong  in  assuming  that  the  definition  will  bo  less 
perfect  when  the  Rectilinear  lens  is  employed,  and  you  cannot  do 
better  than  to  make  use  of  it.  Still,  if  you  use  an  ordinary 
quarter-plate  portrait  lens,  you  will  find  that  a camera  between 
three  or  four  feet  long  will  serve  your  purpose.  The  degree  of 
enlargement  to  which  you  refer  is  a trifle  over  four  diameters  ; 
but  if  it  were  exactly  four  diameters,  the  distance  between  the 
original  and  the  sensitive  plate  should  be  six  and  a-quarter  times 
the  equivalent  focus  of  the  lens.  The  aperture  of  the  lens  has  no 
bearing  on  the  question,  excepting  so  fur  as  it  determines  the 
rapidity  of  the  exposure,  and  the  definition. 

W.  Sterling. — We  have  never  found  a satisfactory  remedy  ; but 
thorough  washing  after  treatment  with  the  bichloride  is  a 
certain  preventive. 

Talc. — Not  very  satisfactorily,  but  the  best  results  are  obtained 
when  the  sulphate  of  copper  bath  13  saturated  with  sulphate  of 
zinc. 

William  Pickering. — We  have  no  doubt  as  to  the  origin  of  the 
markings,  as  they  are  evidently  due  to  the  use  of  imperfectly 
cleaned  plates  ; and  those  you  refer  to  as  Nos.  3,  4,  7,  are  good 
instances  ofan  old  image  becoming  visiblo  on  a fresh  film.  It 
scarcely  pays  to  use  old  plates  now-a-days,  as  new  glass  is 
so  cheap. 

William  Binns. — Your  collodion  is  over-iodized;  add  a little 
more  plain  collodion,  or  strengthen  your  silver  bath. 


gjrotograjjjjic  ^gistnr. 

Employment  Wanted. 

Operator  and  Retoucher. — II.  C S.,  4,  Beatrice- villas,  Ossory-rd.,  S.E. 
Finishing  Enlargements  at  Home. — L.  K.,  Spring  House,  Merton,  Surrey, 
lteccp.  ltoom.— Colouring,  & Spotting  (Lady).— II.,  36,  Pulford-st., Pimlico. 
Assist.  Printer  and  Toner. — H.  Adams,  7,  Albert-tor.,  Sandown,  I.  of  W. 
Landscape  Photographer.—  Operator,  Aslett  House,  Sandown,  I.  of  W. 
Assistant  Operator  and  Retoucher. — W.  H.,  a,  Fort  Hill,  Margate. 

Paint  Enlargements  (Lady). — A.,  55,  Grovedale-rd.,  Upper  Holloway. 
Operator,  .‘ir.-t-class,  good  poser.— Z.  A .,  Vhoto.  Neva  Office. 

General  Assistant. — M . K.  C.,  39,  North-end,  Croydon. 

First-class  ltetou. her  (Lady).— H.  K,,  22,  Clyntone-st.,  Fitzrov-sq. 
Retoucher,  all  branches. — Retoucher,  44,  I'ark-st.,  Plymouth." 

Reception  Room,  Spotting,  &c.  (Lady).— F.  W.,  Chrysscll-rd.,  Brixton. 
Spotting,  Mounting,  Reap.  Room. — L.,  1,  Woodside-ter.,Uipsty-hill,  S.E. 
Operator  or  Manager. — H.  11.,  2,  Had  ion-villas,  Lordship-la.,  E.  Dulwich. 
General  Assistant  in  Wales.— Pyro.,  Mitchell’s,  Forest-hill,  S.E. 

Operator  and  Retoucher. — H.  0.  S.,  4,  Beati ice-villas,  Ossory-rd.,  S.E. 
Reception  Room  (Lady). — J.  R.  Sawyer,  Autotype  Works,  Ealing  Dene,  W 

Employment  Offered. 

Silver  Piinter  and  Toner. — R.  Steward,  Elgin. 

Manager  of  Photo,  and  Optical  Business. — B.B.,  P.O.  Yigo-st.,  W. 

Artist,  Club  Work  in  Oil.— W.  II.  LeJgard,  11,  Lumb-lane,  Bradford. 
Operator  (dry-plate). — W.  II.  Midwinter, 49,  Patk-st.,  Bristol. 

Retouchers  (two)  immediately  — J.  Edwards,  1,  Park  Side,  Ilyde-pk.  Comer. 
Gelat.-Brom.  Enlargers  (2). — Goodball  & Steven,  49,  Jamaica-st  .Glasgow. 
Artist  (first-class)  for  Calcutta.— T.  E.  A.,  19,  Wigmorc-st.,  Cavendish-sq. 
Traveller,  experienced. — F.  B , Marion  and  Co  , Soho-square,  W. 
Retoucher,  first-class.— Manager,  Mayall’s,  15,  Grafton-st.,  W. 

General  Assistant  & Retoucher.— Berlin  A Collier,  83,  King’s-rd.,  Brighton. 
Lady  to  Spot  and  Assist. — Webster  Bros.,  4,  Porchester-rd.,  Bayswater. 


A QUARTER  OF  A CENTURY 

OF  PUBLICATION. 

The  simple  fact  that  the  tlcar-gooli  xif  pfyxrtoflrapbjr 
has  run  out  of  print  during  the  pant  two  gears  within 
six  months  of  its  publication,  is  proof  sufficient  of  its 
popularity  and  wide  circulation,  and  Messrs.  Piper  and 
Carter,  in  announcing  its  appearance  for  18  54,  need 
put  forward  no  better  claim  as  to  its  value  as  an  adver- 
tising medium. 

Intending  Advertisers  in  the  Dcar-^ojoli  nf  ^.Ibflta- 
grapbn  anb  |.)Iiotof|rapbif  Uftos  gtlmanar  should  com- 
municate with  them  at  once  at  the  Office,  5,  Castle 
Street,  Holboex,  London,  E.C. 


THE 


CONTENTS. 


rA«  K 

Photograph: : Engravings  760 

The  Cyanotype  or  “ Blue”  Printing  Process  in  Practice 770 

An  Automatic  Printing  Apparatus 771 

Review  772 

Collodio • Chloride  Printing.  By  Ur.  K.  Liescgang 772 

Frame  for  Printing.Lantern  Slides.  By  Alexander  Cowan  77:1 

Photo-Lithography  and  Photo-Xincographv.  By  Maior  J 

Waterhouse,  B.8.C .... 773 

On  Print  Waahing — A 1 1 in*,  for  Beginners.  By  C.  W. 

Bentley 775 

Notes 776 

y.ji& 


PACK 

Patent  Intelligence 777 

Cutting  up  the  Albumenized  Paper.  By  W.  Coles  778 

Typographic  Printing  Blocks  from  Half-Tone  Negatives.  By  C. 

T.  Chestcrman 778 

Thirty  Years  of  Photographic  Progress.  By  Jabcz  Hughes  ...  779 

Stereoscopic  Portraits  by  a Single  Camera  780 

Correspondence  781 

Proceedings  of  Societies 781 

Talk  in  the  Studio 783 

To  Correspondents 784 

The  Photographic  News  Registry 784 


PHOTOGRAPHIC  ENGRAVING. 

In  fulfilment  of  our  promise  we  will  now  proceed  to  pass 
in  review  some  important  steps  in  the  progress  of  photo- 
graphic engraving  that  have  been  made  since  the  time  when 
Niepce  pursued  his  rudimentary  experiments  with  bitu- 
men and  metal  plates. 

In  1813,  writes  Isidore  Niepce,  “ My  father  made  some 
attempts  at  engraving  and  reproducing  drawings  by  litho- 
graphy,” which  had  then  only  been  introduced  into  France. 
The  grain  of  stone  was  considered  to  be  too  coarse,  and 
polished  metal  plates  were  tried  coated  with  different  sorts 
of  varnish.  Upon  these  varnished- coated  plates,  Niepce 
placed  drawings  and  printed  them  by  the  action  of  light. 
At  last,  in  182G,  he  obtained  imprints  in  bitumen,  on  metal 
plates,  and  attempted  to  etch  the  image  so  obtained,  but 
his  experiments  came  to  no  practical  issue. 

Subsequently  experiments  were  instituted  by  W.  R. 
Grove,  Donne,  Fizeau,  and  other  experimenters,  with  a view 
of  transforming  the  Daguerreotype  plate  into  an  engraving 
fitted  for  the  printing  press.  To  Fox  Talbot,  however, 
we  must  accord  the  credit  of  discovering  the  first  practi- 
cal engraving  process.  Two  patents  were  obtained  by  this 
inventor,  one  in  1852,  the  other  in  1858.  By  Talbot’s  pro- 
cess photographs  from  natural  objects  were  transferred  to 
copper  or  steel  plates,  and  etched  so  as  to  render  them 
available  for  printing  in  a copper-plate  press.  The  second 
patent  was  a process  by  which  the  photograph  was  first 
etched  on  copper,  and  afterwards  faced  with  steel. 

The  ingenuity  of  this  discovery  is  only  surpassed  by  its 
extreme  simplicity.  Before  the  process  could  be  adapted 
to  the  reproduction  of  photographs  from  nature,  many 
methods  were  tried  for  breaking  up  the  shadows  and  half- 
tones into  stipple  or  line,  or  aquatint  ground.  The  plan 
described  in  the  patent  of  1858  was  the  following  : — 

After  removing  the  metal  plate  from  the  printing-frame, 
a very  finely-powdered  gum,  copal,  or  common  resin  was 
dusted  over  its  surface.  It  was  then  heated  so  as  to 
secure  the  adhesion  of  the  grains  of  gum.  After  the 
plate  was  cool,  the  etching  fluid  was  applied,  consisting 
of  hydrochloric  acid,  saturated  by  the  aid  of  heat  with  per- 
oxide of  iron.  This  solution  was  filtered  and  dilulcd 
with  water  iu  proportions  to  suit  the  print  to  be  engraved. 
By  this  method  the  process  of  etching  was  so  successful  in 
Talbot's  hands  as  to  enab'e  him  to  supply  engraved  plates 
of  remarkable  excellence,  some  of  which  were  published 
in  the  I’hotographic  News,  notibly  a view  of  the  Tuiler- 
ies,  which  appeared  with  the  issue  of  30th  September,  1859. 

Although  it  is  unnecessary  to  set  down  the  whole  woik- 
ing  detiils  of  tins  fascinating  process,  it  accords  with  our 
plan  to  give  a*:  leaBt  a suggestive  outline  cf  its  preliminary 
stages,  as  it  embraces  discoveries  which  are  the  parents  of 
many  modern  photographic  processes. 


The  copper  plate  had  first  to  be  thoroughly  cleansed. 
It  was  then  coated  with  a mixture  of  gelatine  and  bichro- 
mate of  potash.  It  must  be  noted  that  this  mixture  was 
the  fiist  of  its  kind  employed  in  photography.  The  plate 
was  dried,  and  an  impression  printed  upon  it  from  a posi- 
tive transparency.  The  result  was  an  image  having  the 
parts  affected  by  light  fitted  to  resist  the  action  of  the 
ferric  chloride  etching  solution,  while  the  parts  unaffected 
by  light  were  readily  penetrated,  allowing  the  fluid  to  act 
upon  the  metal  plate. 

The  etching  process  was  carried  on  in  a partially- 
darkened  room,  skill  being  required  to  determine  the 
strength  of  the  etching  solution  suited  to  obtain  the  de- 
sired result.  Talbot  appears  to  have  originated  the  idea  of 
using  a network  or  gauze  as  an  alternative  for  the  aquatint 
ground  produced  by  powdered  gum  or  resin,  and  he  clearly 
describes  the  method  of  using  the  network  in  his  patent  of 
1852  (No.  5C5).  He  speaks  of  the  grain  or  stipple  pro- 
duced by  the  network  as  photographic  veils,  and  bays  that 
the  image  of  the  gauze  should  be  impressed  upon  the  gela- 
tine prior  to  the  exposure  under  the  positive. 

M.  Buchtold  made  an  analogous  claim  in  1859.  He 
forms  or  impresses  the  photographic  image  on  a plate 
coated  by  Niepce’s  method,  and  before  it  is  etched,  he 
exposes  it  under  a glass  coated  with  black  varnish,  and 
covered  by  a mu’titude  of  closely-drawn  parallel  lines 
traced  by  a sharp  point.  This  glass  so  prepared  was  then 
used  as  a negative,  by  which  the  lines  were  printed  over 
the  image  on  the  metal  plate.  In  his  own  words,  “ When 
the  metal  plate  coated  with  its  bitumen  varnish  has  been 
exposed  to  light  under  the  negative,  before  it  is  washed, 
the  ruled  glass  plate  is  substituted  for  the  negative,  and 
the  light  allowed  to  act.” 

“ Wherever  the  bitumen  has  been  acted  upon  while  it  wa3 
under  the  negative,  no  new  action  is  effected  by  the  light 
passing  through  the  ruled  plate,  because  the  bitumen  has 
become  insoluble,  but  only  on  ihose  parts  which  have 
been  partially  or  not  at  all  influenced  by  light.  After 
sufficient  exposure,  the  ruled  glass  is  lifted  and  turned  in 
an  opposite  direction — that  is,  placed  at  right  angles  to  the 
first  lines — and  again  exposed  to  light,  but  for  a shorter 
time  than  before.  The  ruled  glass  is  next  placed  diagon- 
ally to  the  squares  obtained,  and  re-exposed  in  the  opposite 
direction,  the  time  of  exposure  decreasing  with  each 
change  of  position.  In  this  manner  a multitude  of  fine 
points  are  obtainel  over  the  plate,  but  only  in  those  parts 
where  they  are  required.  '1  his  description  appeared  in 
June,  1859.  In  January  of  the  same  year  Mr.  C.  J.  Burnett 
describes  a similar  mode  of  obtaining  lines  or  dots.  He 
advises  the  operator  “ to  follow  out  a plan  or  plans  sug- 
gested to  me  by  the  shade  of  fine  lines  mentioned  by  Mr. 
Fox  Talbot,  as  adopted  by  him  in  one  of  his  old  pro- 
cesses. “ I (he  con'inues)  would  recommend  a set  of  tine 


770 


THE  PHOTOGRAPHIC  NEWS.  [Decembeb  7,  1883. 


crossed  or  uncrossed  lines  or  dots,  photographically  or 
otherwise  produced  (we  may  get  very  fine  lines  or  dots  by 
photographing  on  a small  plate  from  those  drawn  on  a 
larger  scale)  ; they  may  be  either  on  a separate  glass,  or  on 
the  print  itself  from  which  we  arc  printing  on  the  metal. 
The  same  set  of  lines,  if  on  a separate  glass,  may  answer 
for  printing  from  any  number  of  different  negatives,  and 
we  may  make  glasses  or  paper  for  the  same  purpose  by 
photographing  from  a charcoal  or  other  powder-sprinkled 
surface.  It  will  be  seen  from  the  foregoing  description 
that  the  two  methods  of  obtaining  lines  on  a separate  glass 
are  akin  to  each  other,  and  bear  a strong  family  likeness  to 
several  processes  recently  published.  This  plan  of  the 
question  will  unfold  itself  later  on,  as  we  make  our  way 
through  the  history  of  photo-engraving. 

By  exposing  a metal  plate,  coated  with  sensitive  gela- 
tine as  recommended  by  Talbot,  under  a negative  instead 
of  a positive,  and  using  the  network  or  the  lined  plate  as 
described  above,  and  subsequently  etching  with  the  per- 
chloride  of  iron  solution,  it  is  easy  to  obtain  typographic 
blocks  from  ordinary  gradated  negatives. 

o 

THE  CYANOTYPE  OR  “BLUE”  PRINTING 
PROCESS  IN  PRACTICE. 

We  believe  a description  of  the  blue  process  of  copying 
drawings  as  it  is  actually  practised  in  engineering  works 
may  be  of  interest  to  our  readers. 

The  works  where  we  recently  had  the  pleasure  of  seeing 
the  working  of  the  process  are  of  moderately  large  size, 
about  two  hundred  men  being  employed.  As,  however, 
the  work  done  is  exclusively  the  manufacture  of  patent 
machinery,  and  as  novelties  are  continually  being  intro- 
duced, it  is  probable  that  the  drawing  bears  a larger  pro- 
portion to  the  working  department  than  is  usual. 

A few  words  must  first  be  said  as  to  the  ordinary  method 
employed  to  enable  the  designs  of  a machine  to  be 
accessible  to  the  workmen  who  are  actually  to  manufacture 
it. 

As  a rnle,  the  first  thing  done  is  to  make  a general 
design,  which  shows  the  machine  or  engine  as  a whole,  but 
does  not  give  minute  details.  This  is  generally  used  for  the 
specification  or  tender  only,  and  is  not  intended  to  go  to 
the  shops.  A paper  tracing  is  taken  from  it  to  be  sent  to 
the  purchaser  for  approval.  After  approval  the  details  are 
gone  into.  First,  the  principal  parts,  such,  for  example, 
as  the  cylinders  and  lead  plate  of  a steam  engine,  are  care- 
fully drawn  out  to  a larger  scale  than  the  design.  Then, 
all  the  further  details,  such  as  condensers,  air-pumps,  feed 
pump,  circulating  pump,  &c.,  are  represented  in  separate 
drawings,  on  one  or  more  the  wrought  iron-work  being 
usually  shown. 

In  the  ordinary  course  of  affairs,  these  drawings  are  made 
on  stout  paper,  being  first  pencilled,  then  inked  in,  and 
coloured.  The  drawings  are  kept  as  a record  only.  In  no 
well-conducted  engineering  works  are  they  ever  allowed  to 
leave  the  drawing  office.  When  it  is  wanted  to  send  out 
a copy  of  one  of  them,  an  exact  tracing  is  made.  This  is 
usually  done  on  tracing  paper  if  it  be  required  by  the  pur- 
chaser ; on  fracing  cloth  if  it  be  for  use  in  the  shops,  and 
takes  up  the  time  of  a draughtsman  for  several  hours, 
days,  or  even  weeks. 

When  the  blueprocers  is  to  be  used,  the  manner  of  pro- 
cedure is  different.  The  drawing  is  pencilled  on  to  the 
drawing-paper  as  before,  but  is  not  inked  in.  Instead,  a 
tracing  made  on  cloth  is  used,  the  operation  precisely 
corresponding  to  the  inking -in  of  the  drawing  ; the  pencil 
drawing  is  now  of  no  further  use,  but  the  cloth  tracing  is 
kept  in  the  office  as  a finished  drawing. 

I or  the  benefit  of  those  not  acquainted  with  draughts- 
manship, we  should  explain  that  tracing  cloth  is  a very 
tough,  transparent  fabric  with  a high  glaze  on  one  side, 
which  makes  it  possible  to  draw  and  colour  on  it. 


From  the  cloth  tracing,  kept  in  the  office,  blue  copies  can 
be  made  in  any  number. 

The  arrangements  which  we  saw  for  making  them  are  as 
follows. 

A small  portion  of  the  drawing  office  had  been  partitioned 
off,  forming  an  operating  room  measuring,  perhaps,  ten 
feet  by  five  feet.  This  room  is  brilliantly  lighted  by  a 
large  window  covered  with  a single  thickness  of  yellow 
calico.  There  is  a large  shallow  lead  sick  occupying  one 
corner  of  it.  The  paper  to  be  worked  measures  about 
forty  feet  by  twenty-eight  inches,  and  the  sink  measures  a 
few  inches  larger  in  each  direction.  A board  is  so  hiDged 
to  one  end  of  the  sink  that,  on  letting  it  down,  it  covers  the 
latter  entirely,  forming  an  operating  table.  There  is  a 
water  tap  over  the  sink,  and  on  the  discharge  pipe  there  is 
a tap  which  may  be  closed  or  opened  as  required. 

There  is  a large  printing  frame  with  plate  glass  half  an 
inch  thick,  to  hold  the  paper  and  tracing.  A great  pressure 
is  required,  as  there  is  a tendency  to  cockling.  There  are 
six  or  eight  spring  bars  bearing  on  the  back  of  the  frame, 
and  as  the  total  force  applied  by  the  springs  h over  a ton, 
we  are  not  surprised  to  hear  that  the  plate  glass  has  been 
fractured  several  times. 

It  requires  two  men  to  carry  the  frame,  which  can  be 
put  on  to  a bracket  outside  a window,  on  either  side  of  the 
drawing  office,  according  to  the  position  of  the  sun. 

The  following  solution  is  prepared  to  sensitize  the 
paper : — 

Red  prussiate  of  potash 2§  ounces 

Water  ..  10  „ 


Ammonia  citrate  of  iron  ...  2$  ounces 

Water  10  „ 


The  two  solutions  are  made  separately,  and  are  then 
mixed.  The  sensitizing  solution  must  be  preserved  in  the 
dark. 

When  a sheet  is  to  be  prepared,  the  hinged  board  is 
lowered,  and  a sheet  of  ordinary  drawing  paper  with  a 
smooth  surface  is  laid  on  it.  A certain  amount  of  the 
sensitizing  solution  is  poured  into  a small  basin.  Into  this 
a clean  sponge  is  dipped,  and  the  solution  is  thereby  spread 
on  the  paper.  The  sponge  is  passed  along  the  paper, 
first  in  strokes  parallel  with  its  length,  afterwards 
in  a direction  at  right  angles  to  this.  The  coating 
thereby  given  is  by  no  means  even,  but,  on  the  contrary, 
is  exceedingly  streaky.  On  our  expressing  surprise  at  this, 
and  asking  if  it  would  not  affect  the  result,  we  were  told 
that  it  would  not. 

The  sheets  as  they  are  prepared  are  hung  on  the  walls 
of  the  operating  room  to  dry.  It  is  considered  best  to  use 
them  within  a few  days  of  their  preparation.  The  colour 
of  the  paper  is  a yellow  slightly  inclining  to  green. 

When  a copy  is  requiied,  the  tracing  is  put  in  the  frame 
with  ihe  front  side  against  the  plate  glass,  and  the  sensitized 
paper  is  placed  against  the  back  of  it.  Printing  is  per- 
formed as  usual.  The  time  taken  is  considerably  longer 
than  for  oi dinary  albumeuized  paper — probably  four  or 
five  times  as  long.  With  one  frame  five  or  six  prints  can 
be  got  on  a bright  day  in  summer.  As  more  than  one  or 
two  prints  are  seldom  required  from  the  same  drawing,  it 
is  merely  a case  of  more  frames  if  a larger  number  be  re- 
quired. The  back  of  the  frame  may  be  opened  to  examine 
the  progress  of  the  process,  but  as  the  frame  is  cumber- 
some to  turn  over,  it  is  usual  to  allow  a portion  of  the 
sensitized  paper  to  lap  beyond  the  tracing  cloth,  and  to 
judge  from  the  change  which  takes  place  in  this.  It  must 
be  allowed  to  assume  the  darkest  colour  which  it  will  take 
— that  is,  a peculiar  bronzed  brown. 

When  the  printing  is  over,  fixing  may  be  performed  at 
once,  or  may  be  delayed  till  a more  convenient  time. 

The  print  is  placed  on  the  bottom  of  the  sink,  and  water 
is  allowed  to  run  in.  The  sponge  is  used  to  spread  this 
over  the  surface.  The  change  which  takes  place  is  very 
rapid.  The  brown  colour  of  the  background  changes  to  a 
brilliant  blue,  and  the  lines,  which  were  somewhat  obscured 


December  7,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


771 


before,  come  out  white.  The  process  might  almost  be  called 
development.  It  is  something  more  than  mere  fixing  by 
washing  away  of  the  mixed  salts.  If  a drop  of  water  be 
gently  placed  on  the  surface  of  the  dry  unwashed  piiut, 
the  change  will  take  place  at  once  where  it  has  fallen, 
although  no  salt  is  removed. 

Washing  takes  only  a few  minutes.  It  has  to  be  con- 
tinued only  till  the  water  ceases  to  come  off  of  a yellow 
colour.  The  print  is  then  hung  up  to  dry. 

It  will  be  seen  that  the  process  secures  an  immense 
saving  of  time  and  labour,  but  there  is  another  advantage 
which  i3  perhaps  even  greater  than  this.  There  is  no 
possibility  of  mistakes  being  made.  In  mechanical  draw- 
ings it  is  usual  to  mark  every  dimension  in  figures,  mere 
scaling  of  a drawing  not  being  exact  enough.  As  there 
are  often  many  hundred  such  dimension  figures  on  a draw- 
ing, it  is  of  course  more  than  possible  that  an  error  may 
be  made  in  copying  them  by  hand  on  to  a tracing. 

A matter  which  requires  great  attention  is  the  ink  used 
in  preparing  the  tracings  to  be  printed  from.  It  must  be 
very  opaque.  Indian  or  Chinese  ink  is  always  used  for 
mechanical  drawings  or  tracings,  and  when  the  latter  are 
required  to  be  printed  from,  it  is  well  to  mix  a little 
orauge  or  yellow  colour  with  this.  No  change  is  made  in 
the  appearance  of  the  drawing,  but  much  better  prints 
result. 

A slight  drawback  iu  the  process  is  to  be  found  in  the 
fact  that  there  is  so  much  shrinkage  in  paper  after  it  has 
been  washed,  that  prints  will  not  scale  accurately.  When 
drawings  of  details  are  made  full  size,  as  is  common,  it  is 
usual  to  omit  the  dimension  figures ; but  if  great  exactness 
be  required,  this  must  not  be  done  when  the  blue  process 
is  to  be  used. 

It  is  sometimes  desirable  to  add  a figure  to  a finished 


print.  This  may  be  done  by  using  a solution  of  caustic 
potash,  which  bleaches  the  surface.  We  do  not  know  the 
precise  strength  of  solution  required. 

The  method  here  treated  of  gives  white  lines  on  a blue 
ground,  while  the  more  complex  process  described  in  our 
leader  of  a few  weeks  ago  (p.  G89)  gives  blue  lines  on  a 
white  ground.  The  disadvantage  of  the  “blue  ground” 
1 method  is  the  circumstance  that  it  is  impossible  to  colour 
the  [reproductions  so  as  to  indicate  the  nature  of  the 
material  used,  this  being,  however,  a matter  of  more  im- 
portance to  the  civil  engineer  than  to  the  machinist. 


AN  AUTOMATIC  PRINTING  APPARATUS. 
Herr  Schlotteriioss,  of  Vienua,  has  recently  obtained  a 
patent  for  an  improved  automatic  printing  frame  by  which 
numerous  exposures  can  be  made  in  rapid  succession  upon 
a roll  or  band  of  sensitive  material.  Our  readers  will 
remember  that  in  our  notice  of  the  International  Photo- 
graphic Exhibition  at  Brussels  we  alluded  to  machine- 
printed  photographs  exhibited  by  Dr.  Just  (page  531),  and 
we  now  propose  to  say  a few  wrords  about  such  repeating- 
frames  as  may  serve  for  printing  from  bands  of  sensitive 
paper. 

Automatic  exposing  frames  appear  never  to  have  come 
into  very  general  use,  although  as  early  as  1860  we  find 
that  Foutayne,  of  Cincinati,  had  perfected  a very  elaborate 
and  efficient  arrangement  which  was  capable  of  producing 
prints  at  the  surprising  rate  of  twelve  thousand  an  hour 
(Photographic  News  I860,  page  270).  The  somewhat 
simpler  repeating-frame  of  Tromel  (Photographic  News 
1882,  page  290)  may  be  taken  a?  an  example  of  the  more 
recent  and  arrangements. 


tuomel’s  repeating  frames. 


The  apparatus  of  Herr  Schlotterhoss  is  represented  in 
section  by  the  subjoined  cut,  and  the  patentee  describes 
it  very  clearly  in  his  specification. 


What  one  may  call  the  platen  of  the  press,  or  the  padding 
of  the  frame,  is  central  in  the  drawing,  and  when  this 
platen  is  brought  into  action,  it  is  forced  up  towards  the 


negative  by  a spring  b,  the  negative  beiDg  held  by  rebated 
and  adjustable  strips  e e ; and,  at  other  times,  the  sensi- 
tive material  can  pass  freely  between  the  plates  and  the 
negative,  as  it  is  drawn  oft  the  stock  roller  j on  the 
left-hand  side  of  the  platen,  towards  the  receiving  roller 
(or  cross)  a.  A slide,  s,  serves  to  cover  the  sensitive 
paper  when  it  is  necessary  to  change  the  negative.  A 
cover  or  exposiog  shutter,  2,  turns  on  a spindle,  h,  and 
this  shutter  is  opened  by  a cam  at  the  moment  when  the 
platen  presses  the  tissue  against  the  negative.  The  general 
action  of  the  apparatus,  and  the  functions  of  the  various 
mechanical  organs,  are  sufficiently  elucidated  by  the 
drawings. 


Herr  Schlotterhoss  appears  to  have  very  carefully  elabo- 
rated a number  of  ingenious  contrivances  with  the  view  of 
making  the  machine  as  completely  automatic  as  possible, 
and  the  “claims”  iu  his  patent  refer  almost  entirely  to 
these  ; the  broad  feature  of  an  automatic  printing  frame 
haviDgbcen  public  property  long  since. 

It  may  be  interesting  to  note  that  in  the  first  number 
of  the  News  issued  during  the  present  year  (page  2),  and 
more  than  three  months  before  the  date  of  Schlotterhoss’s 
patent,  we  wrote  as  follows  with  respect  to  automatic  ex- 
posing apparatus: — 

“ We  have  frequently  referred  to  the  circumstance  that 
gelatino-bromide  or  gelatino-chloride  paper  is  likely  to 


772 


THE  PHOTOGRAPHIC  NEWS. 


[Decembeb  7,  1883. 


attain  a position  of  some  commercial  importance,  more 
especially  when  it  may  be  necessary  to  produce  a consider- 
able number  of  prints  in  a short  time  ; but  very  few  photo- 
graphers have  yet  learned  to  appreciate  the  power  p'aced 
in  their  bauds  by  the  introduction  of  paper  coated  with 
gelatine  emulsion. 

“ Some  of  our  readers  will  remember  that  in  1860  (vol.  iv., 
p.  270)  we  described  a rapid  photographic  printing  machine 
which  was  invented  by  Mr.  Chas.  Fontayne,  of  Cincinnati. 
A strip  of  paper  is  drawn  under  the  negative,  pressed  into 
close  contact  with  it,  and  a measured  exposure  is  given; 
solar  light  concentrated  by  a condenser  being  used.  The 
series  of  operations  is  repeated,  so  that  a number  of  im- 
pressions may  be  taken  on  the  same  strip  of  paper,  it  being 
merely  necessary  to  turn  a handle  until  the  stiip  or  roll 
of  paper  is  exhausted.  Although  Fontayne  used  the  most 
sensitive  calotype  paper  obtainable  when  his  machine  was 
constructed,  he  did  not  find  it  possible  to  obtain  more  than 
200  impressions  per  minute  from  one  negative.  This 
corresponds  with  a rate  of  12,000  per  hour,  and  by  passing 
the  exposed  band  directly  into  the  developing,  fixing,  and 
washing  troughs,  the,  subsequent  operations  might  be  made 
to  keep  pace  with  the  exposures. 

“By  reproducing  the  negative  a sufficient  number  of 
times,  the  turn-out  of  a machine  constructed  on  the  lines 
laid  down  by  Fontayne  might  be  increased  indefinitely ; 
and  as  a simple  gas  flame  would  serve  in  the  case  of 
bromide  paper,  we  may  before  long  hear  of  the  steam 
photographic  machines  working  all  night,  side  by  side  with 
the  steam  typographic  machines,  for  newspaper  work. 

“ Fontayne  proposed  to  work  his  machine  by  steam,  and 
the  description  given  in  the  News  twenty-three  years  ago 
is  so  detailed  and  circumstant'al,  that  there  seem  to  be 
very  few  novel  points  which  the  modern  patent-hunter 
can  add  and  lay  claim  to.  We  hope  to  hear  of  the  actual 
use  of  Fontayne’s  machine  during  the  present  year. 

“ Ordinary  photographic  papers — such  as  Saxe  or  Rives 
— are,  we  believe,  manufactured  in  widths  of  fifty-four 
inches,  so  that  many  negatives  of  ordinary  dimensions 
might  be  printed  from  simultaneously.” 

Whether  Fontayne’s  machine — for  we  must  in  justice 
attribute  the  main  features  of  the  machine  now  patented 
to  Fontayne — will  come  into  general  use  cr  not  as  a means 
of  producing  photographs  for  book  illustration,  now  that 
phototypic  block  methods  for  the  rendering  of  half-tone 
have  arrived  at  so  considerable  state  of  perfection,  is  a 
question  which  time  alone  can  answer. 


Ausfuehrliches  Handbuch  der  PiiOTOGP.ArniE.  Sixth  Part. 
Introduction  to  Negative  Processes  and  Daguerreotype, 
Talbotype,  and  Niepcotype.  By  Dr.  Josef  Maria  Eder. 
With  73  wood-cuts  (William  Knapp,  Halle,  a/s  Ger- 
many). 


The  sixth  part  of  Dr.  Eder’s  magnificent  woik  fully  sus- 
tains the  reputation  of  previous  issues.  In  fact,  in  mauy 
respects  the  present  part — which  forms,  by  the  way,  the 
commencement  of  the  second  volume — is  more  attractive, 
and  will  have  more  fascination  for  the  photographic 
student  than  any  previous  one.  The  beautiful  Daguerreo- 
type process  is  described  and  illustrated  in  the  most  com- 
plete manner ; the  same  may  be  said  of  the  Talbotype 
method,  both  of  which  must  still  be  included  in  every 
practical  treatise  on  photography. 

I he  present  part  is  most  profusely  illustrated,  so  that 
even  to  the  photographer  who  is  not  very  conversant  with 
lie  German  language,  the  book  forms  au  intelligible  aud 
la?,7 . book  of  reference.  Still,  we  are  surprised  that  no 
publishing  firm  in  this  country  has  been  found  sufficiently 
enterpnsing  to  make  an  English  translation  of  the  work, 
which,  when  complete,  must  perforce  be  the  standard  book 


of  authority.  At  the  foot  of  every  page  is  a closely-printed 
list  of  references,  which  not  only  stamps  Dr.  Eder  as  one 
of  the  most  painstaking  and  indefatigable  of  authors,  but 
at  once  infuses  into  the  reader  a degree  of  confidence 
which  is  certainly  secured  by  the  most  legitimate  of  means. 


COLLODIO-CHLORIDE  PRINTING. 

BY  DU.  E.  LIESEGANG. 

It  is  not  a new  process  I wish  to  speak  on  ; it  has  been 
described  very  often  in  the  journals  of  all  countries  where 
photographic  periodicals  appear,  and  yet  it  is  what  the 
title  says:  The  modern  printing  process,  most  successfully 
used  in  a good  many  establishments — at  least,  in  Germany 
— and  giving  results  superior  to  anything  that  can  be  done 
on  albumenized  paper. 

How  is  it  that  such  a nice  process,  about  which  no 
secrets  exist,  has  not  made  the  journey  around  the  world 
like  carbon  printing  and  gelatino-bromide  ? I think  this 
is  explained  by  the  fact  that  the  results  mentioned  are 
only  obtained  by  the  use  of  a suitable  coated  paper.  Now 
it  happens  that  the  paper  used  in  Lichtdruck  for  the  finest 
class  of  printing  is  just  the  thing  we  want,  and  since  this 
has  been  recognized,  and  such  paper  can  be  bought  at  a 
price  not  exceeding  that  of  plain  Rives  or  Saxe,  the  print- 
ing with  collodio-chloride  at  once  became  popular. 

The  principal  arguments  that  speak  for  this  process  may 
be  laid  down  in  the  following  : — The  paper  prints  much 
quicker  than  albumenized  paper;  all  the  finest  tints  in 
the  high  lights  of  the  negative  are  strictly  preserved 
during  the  toning  and  fixing  process  ; the  washing  of  the 
prints  is  finished  in  one  hour  ; the  prints  do  not  fade — at 
least,  those  made  in  I860  are  quite  unchanged,  as  no  case 
of  fading  has  ever  come  to  my  knowledge  : a glossy  sur- 
face like  that  obtained  by  enamelling  can  be  given  to  the 
prints  in  a very  simple,  quick,  and  costless  way,  without 
using  a rolling  machine.  I may  add,  that  where  the  pro- 
cess has  been  introduced,  the  public  likes  the  results,  and 
prefers  them  to  those  obtainable  on  albumen  paper. 

Good  formula;  for  preparing  collodio-chloride  have  been 
published  many  a time.  The  one  I use  runs  thus  : — In  a 
glass  beaker  dissolve  8 grms.  of  nitrate  of  silver  in  G grms. 
of  distilled  water,  by  heat.  Drop  this  solution  in  a bottle 
containing  135  cub.  cent,  of  alcohol ; in  cold  weather  it  is 
better  to  put  the  bottle  in  a vessel  with  vvarin  water.  Then 
add  8 grms.  of  soluble  cotton,  and  after  thorough  shaking, 
160  cub.  cent,  of  ether;  on  further  shaking,  a greyish- 
white  collodion  will  form  itself.  In  another  bottle  dissolve 
one  grm.  of  chloride  of  lithium  in  35  cub.  cent,  of  alcohol, 
together  with  1 grm.  of  tartaric  acid.  This  solution  is  to 
be  dropped  into  the  argentiferous  collodion,  which  must  be 
shaken  all  the  time.  This  collodion  will  keep  for  any 
time  if  preserved  in  a well -corked  black  bottle,  or  in  a 
fitting  dark  cover. 

Have  a thin  piece  of  wood,  same  size  as  the  paper  that  is 
to  be  coated,  with  a knob  fastened  at 
the  under  side.  Fin  the  Lichtdruck- 
paper  on  it  at  three  of  the  corners,  so 
that  the  right  and  below  edge  look  a 
little  over  the  wood  (this  will  cause 
the  collodion  not  to  run  under  the 
paper),  and  the  left  edge  of  the  paper 
may  be  turned  up  a little,  but  this 
will  not  be  found  necessary  after  a 
little  practice. 

Now  keep  the  wood  with  the  left  hand  at  the  handle,  as 
you  would  take  a glass  plate  fixed  to  a pneumatic  plate- 
holder,  aud  pour  the  collodio-chloride  upon  the  paper  just 
as  you  would  coat  a glass  plate  with  collodion.  Having 
returned  the  surplus  of  the  collodion  to  the  bottle,  take 
the  pins  away  and  hang  the  paper  to  dry.  The  paper  will 
keep  for  some  weeks.  Some  prefer  to  use  a pink  coloured 
Lichtdruck  paper,  whose  colour  will  obliterate  any  trace  of 
yellow  that  might  form  by  keeping  it  for  a longer  time. 


W OOD 

PAFER. 

r 

December  7,  188S.J 


TEE  PHOTOGRAPHIC  NEWS. 


773 


As  to  the  printing,  it  must  be  done  in  the  shade,  and 
weak  negatives  are  better  covered  by  thin  white  paper 
during  printing.  Toning  may  be  done  in  an  old  gold  bath 
that  is  not  too  strong.  German  photographers  prefer  to  it 
the  following : — 

Make  two  stock-solutions,  one  of  1 grm.  of  chloride  of 
gold,  1,500  cub.  cent,  of  water,  and  one  of  20  gims.  of 
sulpho-cyanide  of  potash,  3 grms.  of  hyposulphite  of  soda, 
and  1 grm.  of  carbonate  of  soda  ia  1,500  cub.  cent,  of 
water.  Before  going  to  work,  mix  equal  parts  of  both 
solutions,  but  be  sure  to  pour  the  gold  into  the  sulpho- 
cyanide  solution,  not  vice  vena. 

After  having  washed  the  print  in  water  three  times 
changed,  put  them  in  the  gold  bath.  If  if  works  too 
quickly,  it  will  give  grey  tones.  I usually  dilute  it  with 
water,  that  it  may  act  slower  : and  for  weak  negatives,  I 
pass  the  prints  before  toniDg  through  a two-per  cent,  solu- 
tion of  sulpho-cyanide  of  potassium ; the  prints  become 
of  a much  richer  tone  by  this. 

Fix  in  a five-per  cent,  solution  of  hyposulphite  of  soda 
— five  minutes  will  be  sufiicieut — and  wash  for  one  hour 
in  often-changed  water. 

Now  to  make  the  prints  look  like  enamelled  silver  prints. 
Clean  a sheet  of  glass,  a little  larger  than  the  print,  and 
rub  it  with  French  chalk.  After  dustiDg  it  off  with  a 
brush,  lay  the  print,  film  side  downwards,  on  the  glasses, 
put  some  filtering  paper  over  it,  and  go  with  the  hand 
over  it,  to  make  the  print  adhere,  aud  to  remove  air- 
bubbles  ; let  dry.  and  the  print  will  come  away  with  a 
very  high  gloss.  A part  of  this  it  will  loosen  on  mount- 
ing ; but  if  you  mount  it  at  the  corners  only,  as  is  some- 
times done  with  enamelled  prints,  it  will  keep  it  all. 

I am  afraid  there  is  not  much  new  in  what  I have 
written;  but  judging  from  enquiries  that,  from  time  to 
time,  are  made  about  the  collodio-chloride  printing,  I hope 
it  may  serve  the  interest  of  some  photographer. 


FRAME  FOR  PRINTING  LANTERN  SLIDES. 

BY  ALEXANDER  COWAN. 

To  print  transparencies  for  the  lantern  by  contact  when 
the  negative  is  of  a larger  size  than  the  picture  required, 
necessitates  some  special  kind  of  printing  frame,  if  the 
negative  is  to  be  kept  free  from  scratches. 

The  following  may  be  simply  made,  and  will  be  found  a 
great  convenience  where  a number  of  pictures  are  required 
alike : — 

Take  an  ordinary  printing  frame,  S3y  a 12  by  10,  of  the 
kind  made  to  use  without  a plate-glass  in  front,  and  in  the 
rebate  where  the  hegative  is  usually  placed,  fasten,  with 
strips  of  paper  all  round  the  edges,  a piece  of  very  flat 
glass;  turn  the  frame  over,  and  on  the  other  side  of  the 
glass  fasten  a mask  of  paper  or  cardboard  having  an  open- 
ing o\  by  3|  inches  exactly  in  the  centre. 

Now,  in  place  of  the  ordinary  hinged  back,  make  a frame 
of  the  same  size  and  thickness,  with  an  opening  in  the 
centre  about  6 by  4 inches,  and  cover  all  over  one  side,  with 
the  exception  of  the  opening,  with  a piece  of  velvet.  This 
frame,  wheD  placed  in  position,  will  be  held  by  the  springs 
that  originally  held  the  hinged  back.  To  complete  the 
arrangement,  cut  out  a piece  of  dry  mahogany  an  inch 
thick,  and  exactly  6 by  4 inches,  to  accurately  fit  the 
opening,  in  velvet-covered  board,  and  on  this  block  draw  a 
square  3 j by  3^  inches  exactly  central.  At  one  end  of  this 
square  glue  down  a very  thin  slip  of  hard  wood — that  is, 
rather  thinner  than  the  glass  plates  to  be  used — and  at  the 
other  end  cut  a mortice  3j  inches  long,  and  about  an  inch 
wide,  right  through  the  block,  beginning  just  within  the 
the  3^  line,  say  a sixteenth  of  an  inch  less.  Into  this  mor- 
tice till  a piece  of  wood  3|  by  1 by  4 inch.  On  to  one  side 
of  this  piece  glue  a similar  strip  of  hard  wood  to  that 
placed  on  the  end  of  the  block  only,  projecting  £ of  an 
inch  each  end,  and  on  the  other  side  screw  a similar  piece 


so  that  it  can  be  removed.  Place  the  piece  in  the  mortice 
and  screw  on  the  back  slip  of  wood  ; there  will  then  be 
left  a space  of  half-an-inch  at  the  end,  just  room  to  put  a 
piece  of  bent  steel  clock  spiiog,  sutticiently  strong  to  clip 
the  3£  plate  in  position.  The  sides  of  the  block  may  be 
rebated  down  half-an-inch  at  the  3£  line  to  allow  the 
thumb  and  finger  to  adjust  the  plate  in  exact  position.  To 
complete  the  frame,  place  the  block  in  the  opening  of 
velvet  board,  and  arrange  an  ordinary  brass  pressure  frame 
spring  to  keep  it  in  position.  For  use,  take  the  frame, 
remove  the  board,  and  adjust  the  part  of  negative  required 
over  the  3J  opening,  then  place  over  the  velvet  covered 
board,  and  fasten  down  the  springs.  The  3£  plate  is  now 
clipped  in  the  block,  and  dropped  carefully  into  the  open- 
ing over  the  negative,  and  after  exposure  is  lifted  out  in 
the  same  way,  so  that  any  number  of  exposures  may  be 
made  exactly  registered  in  the  same  position,  without  the 
chances  of  injury  to  the  negative  which  often  occurs  unless 
some  such  arrangement  is  adopted. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  XIV. — Asphalt  Process.  Continued. 

Coaling  the  plates.— In  coating  metal  plates,  the  varnish 
is  applied  exactly  in  the  same  way  as  collodion  ; but  it  will 
be  difficult  to  get  a coating  of  uniform  thickness  unless  some 
arrangement  is  used  for  giving  the  plate  a spinning  motion 
after  coating  it. 

8mall  plates  may  conveniently  be  held  by  a pneumatic 
holder,  to  which  strings  are  attached,  so  that  after  the 
plate  is  coated,  it  can  be  turned  face  downwards,  and  spun 
round  till  dry.  M.  Fisch  attaches  a pneumatic  holder  to  a 
rod,  which  can  be  turned  with  a bow  and  string  like  a bow- 
drill.  The  writer  uses  a circular  wooden  block  or  disc  with 
strings  attached  to  the  upper  side,  and  tied  together  at  eight 
or  ten  inches  from  the  disc.  The  plate  is  fastened  to  the 
lower  side  of  thedisc  with  p diets  of  engraver’s  bordering  wax. 
While  the  plate  is  being  coated,  it  is  held  by  the  disc  face 
upwards.  After  the  varnish  has  gone  all  over  the  plate,  and 
the  excess  poured  ofl,  the  plate  is  turned  downwards,  and 
spun  by  twisting  the  strings  tiil  the  coating  is  even  and 
dry,  or  almost  so.  Some  operators  prefer  to  attach  their 
plates  to  the  end  of  a stick,  and  twirl  them  like  a mop. 

For  large  heavy  plates  or  stones  it  will  be  desirable  to 
have  something  more  substantial,  and  Senhor  Rodriguez, 
late  Director  of  the  Photographic  Section  of  the  Geographi- 
cal Department  at  Lisbon,  has  designed  an  excellent  appa- 
ratus of  the  kind  for  that  office. 

It  consists  of  a plain  circular  iron  disc,  about  29  inches 
in  diameter,  and  half  an  inch  thick,  suitably  supported  on 
a central  axis,  and  enclosed  within  a sort  of  wooden  box 
about  3jj  feet  square,  and  standing  about  34  feet  high.  The 
top  of  this  box  forms  a lifting  lid,  and  has  a square  of  glass 
let  into  it,  by  which  the  condition  ol  the  plates  within  may 
be  seen.  This  lid  serves  to  protect  the  plates  from  dust. 
Motion  is  given  to  the  disc  by  a handle  placed  outside  the 
box,  and  attached  to  a rod,  at  the  end  of  which  is  a bevelled 
toothed  wheel,  working  into  another  on  the  lower  part  of 
the  central  axis.  Underneath  tne  disc  are  gas  jets  by  which 
it  may  be  heated,  if  required. 

Before  coating,  the  plates  must  be  dusted  with  a brush  ; 
the  asphaltum  solution,  previcusly  filtered  and  free  from  in- 
soluble particles,  & c.,  is  poured  on  and  run  over  the  plate 
just  like  collodion  ; the  excess  is  poured  off  at  one  corner; 
the  plate  is  then  inclined  to  allow  the  solution  to  flow  back 
towards  the  opposite  corner  from  which  it  was  poured  off, 
and  the  coating  being  thus,  to  some  extent,  equalised,  it  is 
made  perfectly  even  by  spinning,  as  described. 

The  thickness  of  the  sensitive  solution,  and  the  speed  of 
spinning,  must  be  mutually  regulated  so  that  the  coating 


774 


THE  PHOTOGRAPHIC  NEWS 


[December  7,  1883. 


may  be  of  the  proper  thickness.  Quick  spinning  has  a 
tendency  to  thin  the  film. 

Care  must  be  taken  to  avoid  dust  settling  on  the  plates 
while  being  coated  and  dried. 

When  the  sensitive  solution  is  made  with  benzole,  the 
coating  dries  at  once,  and  some  skill  and  address  is  required 
in  obtaining  even  coatings.  With  turpentine,  the  coating 
may  be  done  more  leisurely,  and  though  the  plates  will 
dry  in  a few  minutes,  it  may  take  an  hour  or  so  before  the 
coating  is  quite  hard  and  free  from  tackiness. 

It  is  well  to  allow  coated  plates  to  remain  a little  while 
to  become  thoroughly  dry  and  hard.  In  the  writer’s  ex- 
perience the  plates  are  rather  better  for  keeping,  though 
others  have  found  the  contrary.  Coated  plates  should  be 
kept  in  perfect  darkness,  otherwise  a continuating  action  of 
light  may  be  set  up. 

Exposure  to  light. — When  using  ordinary  glass  negatives 
or  transparent  positives  with  either  metal  plates  or  stones, 
thero  is  some  difficulty  in  obtaining  perfect  contact  between 
them.  It  is  desirable,  therefore,  to  woik  with  stripped  films, 
either  gelatine  or  collodion,  and  to  secure  absolute  contact 
by  moistening  them  with  some  suitable  fluid,  and  squeegee- 
ing them  down  on  to  the  asphaltum  surface. 

Stripped  collodion  films  may  be  treated  with  a bath  of 
glycerine  and  water,  one  to  ten,  or  stronger,  if  necessary. 

Husnik  recommends  that  films  stripped  with  gelatine 
should  be  very  slightly  moistened  with  a sponge  on  the 
gelatine  side,  and  then  applied  evenly  to  the  coated  plate. 
Should  air-bubbles  form,  they  may  be  removed  by  pricking 
with  a needle.  Gelatine  films  could  probably  be  secured  in 
the  same  way. 

It  is  well  to  fasten  down  the  edges  of  the  collodion  or 
gelatine  films  with  slips  of  gummed  paper.  The  under 
side  of  these  films,  and  also  the  asphalt  coating  of  the  plate, 
should  be  rubbed  with  French  chalk  to  prevent  sticking. 

When  films  have  been  well  attached  in  this  manner,  there 
is  no  necessity  for  using  a printing  frame,  and  this  has  the 
further  advantage,  when  working  with  thin  zinc  plates,  that 
the  latter  are  not  liable  to  be  dented  by  the  glass  under 
heavy  pressure,  as  they  are  when  placed  in  a printing  frame 
with  a glass  negative  of  smaller  size.  It  also  enables  tests 
for  exposure  to  be  tried  on  the  film  itself. 

When  it  is  inconvenient  to  strip  the  films,  an  ordinary 
pressure  frame  may  be  used  with  good  results  if  the  plates 
are  fairly  flat,  and  good  pressure  put  on.  The  negative  and 
coated  plate  should  be  lightly  rubbed  with  French  chalk. 

In  cases  where  a positive  image  is  to  be  used,  it  may 
sometimes  be  found  convenient  to  develop  a pigment  print 
on  the  asphaltum  surface.  The  Autotype  Company’s 
special  transparency  tissue  is  most  suitable  for  the  pur- 
pose; in  default  of  it,  engraving  black  or  other  suitable 
tissue  may  be  used,  the  image  being  intensified,  if  necessary, 
with  permanganate  of  potash.  This  method  has  the  advan- 
tages that  the  image  is  obtained  from  an  ordinary  unreversed 
negative  : it  is  in  absolute  contact  with  the  asphaltum  surface, 
and  can  easily  be  removed  from  it  without  damage  by  rubbing 
with  a wet  cloth.  Positive  images  may  also  be  obtained  on  the 
asphaltum  surface  by  transfer  from  engraved  copper  plates, 
lithographic  transfers,  or  from  photo-transfer  prints  prepared 
as  for  photo-lithography.  Mr.  Emery  has  recently  patented 
a method  of  this  kind  in  which  the  image  is  obtained  from 
a transfer  print  in  greasy  ink  as  used  in  ornamenting 
pottery.  He  finds  that  this  not  only  acts  as  a photographic 
positive,  but  the  softening  action  of  the  greasy  ink  upon  the 
asphaltum  surface  facilitates  the  development  of  the  image. 

For  some  purposes  the  image  may  conveniently  be 
obtained  from  drawings  or  prints  on  thin  paper.  These  may 
be  moistened  with  glycerine  and  water,  and  squeegeed  down 
in  the  same  way  as  stripped  collodion  films,  the  edges  being 
secured  with  slips  of  gummed  paper. 

1’or  the  length  of  exposure,  no  rule  whatever  can  be  given. 

It  depends  on  tho  sensitiveness  of  the  asphaltum,  the  state 
of  the  light,  tho  thickness  of  tho  film,  the  quality  of  tho 


photographic  cliche,  and  on  the  dissolving  power  of  the 
solvent  used  for  developing  the  image. 

With  thin  golden  or  light  brownish  yellow  coating  of  the 
sensitive  extract  of  asphaltum,  from  twenty  minutes  tohalf- 
an-hour  in  the  sun,  or  two  to  three  hours  in  the  shade,  should 
be  sufficient  with  a clear  line  negative.  Less  sensitive  films 
may  require  three  or  four  hours  in  the  sun,  and  twelve  to 
twenty-four  hours  in  the  shade.  In  bad  weather  the  ex- 
posure may  extend  to  days.  The  only  way  of  testing  is  by 
actual  trial.  It  is  better  to  over-expose  than  to  under- 
expose, because  over-exposure  can  be  remedied  by  prolonged 
development  or  by  the  use  of  a stronger  solvent. 

The  exposure  can  easily  be  tested  from  time  to  time  by 
uncovering  and  developing  test  slips  applied  to  the  blank 
parts  of  the  margin  of  the  plate  itself,  or  by  using  a special 
actinometer  constructed  to  contain  a number  of  slips  of  thin 
metal  which  can  be  coated  with  the  solution  of  asphaltum 
in  use,  and  exposed  to  light  under  a similar  cliche. 

Kruger  gives  a ready  means  of  ascertaining  if  sufficient 
exposure  has  been  given,  by  rubbing  an  exposed  corner  of 
the  plate  with  cotton  wool  dipped  in  turpentine.  If  it 
becomes  coloured,  the  exposure  is  insufficient  ; but  this  is 
only  applicable  in  cases  where  the  use  of  a printing  frame  is 
dispensed  with.  In  this,  as  in  other  processes,  experience 
will  generally  prove  a sufficiently  good  guide,  so  long  as  the 
working  conditions  are  fairly  uniform. 

If  a plate  has  been  exposed  to  the  sun,  it  is  advisable  to 
allow  it  to  become  quite  cool  before  attempting  to  remove 
the  negative,  whether  glass  or  film,  otherwise  the  asphaltum 
coating  is  liable  to  be  damaged. 

As  a rule,  the  image  is  invisible  after  exposure,  but  some- 
times it  may  be  distinguished  slightly  lighter  or  darker 
than  the  ground,  according  as  a positive  or  a negative  has 
been  used. 

Development. — In  order  to  develop  the  image  after  exposure, 
various  solvents  have  been  recommended,  such  as  ether, 
chloroform,  naphtha,  refined  oil  of  petroleum,  benzole, 
turpentine,  oil  of  lavender,  and  other  essentials  oils  ; but 
practically  turpentine,  either  alone  or  with  olive  oil,  is  the 
most  useful  and  convenient.  Benzole  alone  is  generally  too 
powerful,  but  a little  of  it  added  to  turpentine  quickens  and 
intensifies  the  action  of  the  latter  in  cases  of  over-exposure. 

For  the  thin  asphaltum  films  used  in  photo-zincography 
or  gillotype,  the  most  usual  way  of  using  the  turpentine  is 
in  a zinc  tray,  large  enough  to  hold  the  plates  comfortably, 
and  about  three  inches  deep,  with  rods  across  the  bottom  on 
which  the  plate  is  laid  face  upwards. 

A quantity  of  turpentine  sufficient  to  well  cover  the  plate 
is  poured  into  the  tray  ; the  exposed  plate  is  immersed  in  it, 
and  the  image  soon  begins  to  appear  as  the  unexposed  parts 
gradually  dissolve  and  become  lighter  in  colour.  The  tray 
is  gently  rocked  so  that  the  soluble  parts  may  be  removed  as 
dissolved.  As  soon  as  the  image  appears  fairly  clear,  a final 
rinse  may  be  given  with  fresh  turpentine,  but  at  this  point 
the  greatest  care  and  some  experience  are  necessary  not  to 
let  the  action  of  the  tarpentine  go  too  far : otherwise,  if  a 
very  full  exposure  has  not  been  given,  the  finer  parts  may  go, 
and  the  plate  be  ruined.  Some  operators  plunge  the  plate 
for  a moment  into  a bath  of  spirit  of  wine  as  soon  as  the 
image  appears  clear  in  the  turpentine.  The  turpentine  or 
spirit  must  now  be  immediately  and  completely  washed  off 
under  a strong  jet  of  water  from  a rose,  leaving  the  image 
clear,  with  bare  metal  in  the  lines.  The  plate  may  then  be 
washed  with  soap  and  water  or  a weak  solution  of  soda  ; the 
moisture  is  blotted  off  with  blotting-paper  or  a soft  cloth, 
and  the  plate  is  ready  for  any  further  use. 

There  is  another  way  of  developing  with  turpentine, 
which  the  writer  first  saw  in  use  at  the  State  Printing  Office 
in  Berlin,  and  has  found  very  efficient ; but  it  is,  perhaps, 
better  adapted  for  the  thicker  films  used  in  photo-engrav- 
ing, which  will  stand  a certain  amount  of  rubbing,  than  for 
the  thin  films  used  for  the  processes  under  notice.  In 
either  case  the  plates  must  be  fully  exposed. 

The  exposod  plato  is  first  rubbed  over  very  gently  with  a 


THE  PHOTOGRAPHIC  NEWS. 


7?  5 


December  7,  1883.  | 


tuft  of  cotton  dipped  in  olive  oil,  and  after  a few  minutes  is 
rubbed  over  in  the  same  way  with  a tuft  of  cotton  dipped 
in  turpentine.  The  image  now  begins  gradually  to  appear, 
and  by  gentle  dabbing  with  the  turpentine  and  oil,  accord- 
ing as  parts  require  cleaning  or  not,  the  unaltered  bitumen 
is  removed  by  degrees,  leaving  a brown  image  on  a clear 
metal  ground.  The  plate  is  then  washed  with  soap  and 
water,  and  finally  rinsed  under  a rose  jet,  as  before. 

Toifel,  who  has  more  fully  described  the  practical  work- 
ing of  the  asphalt  processes  than  most  authors,  in  his 
“ Handbuch  der  Cbemigraphie  ” stroDgly  recommends  the 
above  method  of  development ; but  his  way  of  working  is  a 
little  different,  in  that  he  first  rubs  the  plate  over  with 
turpentine,  and  theu,  when  the  image  is  fairly  clear,  with 
olive  oil,  which  moderates  the  action  of  the  turpentine,  and 
removes  all  soluble  asphaltum.  The  plate  is  then  washed 
with  soap  and  water  as  before. 

The  object  of  washing  with  the  soap  and  water  is  to 
remove  the  greasiness  caused  by  the  oil ; and  Kruger,  who 
works  in  the  same  way  as  Toifel,  recommends  that  the  last 
traces  of  oil  should  be  removed  by  a further  washing  of  the 
plate  with  a weak  solution  of  soda. 

This  method  of  developing  by  hand  has  the  advantage 
that  the  development  is  much  more  under  control ; but  unless 
the  plate  has  been  well  exposed,  and  the  image  is  very 
firm,  it  is  more  liable  to  be  damaged  by  the  rubbing  than  it 
would  be  if  developed  in  a bath  of  turpentine,  anil  allowed 
to  clear  itself.  On  the  other  hand,  in  the  latter  method  it 
is  easy  to  overpass  the  moment  when  the  turpentine  has 
acted  sufficiently,  especially  if  the  plate  has  not  been  fully 
exposed,  and  fine  lines  may  be  carried  away.  If,  however, 
the  development  be  not  carried  far  enough,  traces  of  bitumen 
will  remain  in  parts  which  should  be  free  from  it,  and  may 
interfere  with  the  after-working  of  the  plate.  In  this  case 
the  plate  may  be  treated  again  with  turpentine,  either 
entirely  or  in  part,  until  the  image  is  clear  all  over  ; but  the 
operation  requires  great  care. 

With  certain  kinds  of  asphaltum,  and  of  the  extract  in- 
soluble in  ether,  which  are  not  soluble  in  turpentine,  it  may 
be  difficult  to  develop  the  image  with  this  solvent,  in 
which  case  benzole  may  be  used  either  alone  or  diluted  with 
oil  of  petroleum  or  turpentine. 

Morch  uses  the  following  developer  with  the  sensitive 
asphaltum  extract: — 

Coal  tar  benzole  ...  20  parts 

Turpentine 50  ,, 

Alcohol  100  ,, 

The  following  are  various  formula  given  for  develop- 
ment, which  may  be  useful,  but  the  writer  has  no  practical 
experience  of  their  working,  generally  using  turpentine. 

Niepce  de  St.  Victor — 

Rectified  oil  of  naphtha  4 parts 

Ordinary  benzine  ...  ...  ...  2 ,, 

Fichlner — 

Rectified  oil  of  petroleum  ...  5 or  6 parts 

Benzole  1 part 

Kayscr — 

Turpentine 2 parts 

Olive  oil  1 part 

Mr.  Bolas  recommends  a mixture  of  turpentine  and  ben- 
zole in  cases  where  turpentiue  is  not  strong  enough  by 
itself. 

Preparation  Jor  printing. — If  any  retouching  is  required 
after  development,  details  may  be  put  in  with  a 6trong 
asphaltum  solution,  applied  with  a very  fine-pointed  brush, 
and  covered  parts  may  be  cleared  with  a sharp  needle  or 
etching  point. 

It  is  generally  recommended  to  expose  the  asphaltum 
image  to  the  sun  for  half  an  hour  to  one  hour  after  develop- 
ment, in  order  to  thoroughly  harden  it.  For  ordinary 
printing  from  stone  or  zinc,  this  does  not  seem  necessary. 

Before  preparing  zinc  plates  with  gum  and  decoction  of 


outgalls,  previous  to  rolling  in  with  printing  ink,  they 
should  be  etched  with  dilute  Litric  acid,  about  two  or 
three  per  cent.  Liebert  recommends  first  a bath  at  one  per 
cent.,  followed  by  a stronger  one  at  five  per  cent. 

Accordiug  to  Fourtier,  it  is  a good  thing  to  heat  the  zinc 
plate  slightly,  so  as  to  cause  the  bitumen  to  become  more 
adherent  to  the  metal.  He  also  recommends  the  use  of  a 
decoction  of  nutgalls  without  phosphoric  acid,  as  giving 
zinc  the  property  of  refusing  greasy  ink. 

The  operations  connected  with  the  etching  and  proving 
of  asphaltum  pictures  on  stone  or  zinc  are  exactly  the  same 
as  already  described ; but  a few  further  details  will  be  given 
in  the  next  chapter,  in  which  we  shall  describe  some  of  the 
published  processes  of  this  kind. 


ON  PRINT  WASHING.— A HINT  FOR 
BEGINNERS, 

BY  C.  \V.  BENTLEY. 

That  there  are  amateurs  at  all  times  commencing  the  in- 
teresting study  of  photography  is  a positive  fact,  it  not 
being  a strange  occurrence  to  see  some  impatient  amateur 
commencing  in  the  middle  of  winter.  Those  who  think 
that  photography  will  be  an  easy  method  of  achieving 
great  results,  and  astonishing  half  the  neighbourhood  with 
the  excellency  of  their  work,  and  which  they  will  be  able 
to  accomplish  without  any  trouble,  were  never  more  mis- 
taken in  their  lives. 

However,  rather  than  discourage  the  young  beginner, 
it  is  my  special  object  to  make  a few  remarks  regarding 
one  of  the  little  difficulties  that  are  sure  to  crop  up  in  the 
hands  of  those  attempting  the  pursuit  for  the  first  time. 
As  my  title  shows,  I confine  my  observations  to  one  special 
subject,  and  wish,  for  the  benefit  of  those  in  trouble,  to 
give  my  experience  on  this  particular  point. 

Years  ago,  when  I commenced  this  interesting  pursuit, 

I used  to  find  difficulties  cropping  up  at  every  point  of  the 
compass.  My  chief  cause  for  complaint  was  in  washing 
my  prints,  and  those  who  have  gone  through  the  mill  will 
not  be  surprised  at  my  stating  that  this  was  one  of  my 
principal  troubles. 

It  cannot  for  one  moment  be  supposed  that  all  will  be 
able  to  purchase  the  expensive  apparatus  one  sees  in  the 
shops;  on  the  contrary,  there  will  be  several  who,  either 
from  choice  or  necessity,  conduct  their  operations  with 
materials  of  the  most  simple  and  inexpensive  description. 
It  was  so  with  me  ; I could  not  afford  to  purchase  elabo- 
rate apparatus  for  washing  prints  and  plates,  so  I from 
necessity  made  use  of  a large  stoneware  basin  which  I used 
in  my  dark  room  for  washing  purposes.  This  basin  also 
did  duty  as  a print  washer,  after  being  (as  I thought) 
thoroughly  washed  from  all  traces  of  the  developing  che- 
micals. 

However,  to  be  brief,  I must  state  that  after  giving  my 
prints  a good  soaking,  I used  to  find  each  time,  on  looking 
at  them,  that  they  were  gradually  assuming  a light  brown 
tint,  and  on  further  immersion  getting  darker  and  darker. 
After  repeated  trials  of  this  description,  I came  to  the 
conclusion  that  there  must  really  be  some  trace  of  the  de- 
veloping chemicals  left  in  the  basin,  after  all  my  careful 
washing.  This  brown  colour  on  the  print  was  very  vexing, 
especially  with  vignettes,  so  I thought  the  best  thing  to  do 
would  be  to  find  out  the  cause.  To  do  this  I made  dilute 
solutions  of  the  developing  chemicals,  and  poured  each  on 
a separate  piece  of  sensitized  paper,  and  discovered  that 
the  principal  offender  was  the  pyro,  which  turned  the  paper 
a dark  brown  colour. 

After  this,  of  course  1 was  very  careful  to  keep  a sepa- 
rate basin  for  prints  alone,  and  since  that  I have  never  had 
any  cause  to  complain  of  the  discoloration  of  my  prints. 

Therefore,  what  I wish  to  convey  to  the  minds  of  begin- 
ners is,  to  always  use  a separate  utensil  for  washing  your 
prints  in,  and  to  keep  it  exclusively  for  that  purpose. 


776 


THE  PHOTOGRAPHIC  NEWS. 


[December  7,  1883. 


Ifatts. 

Our  pictorial  supplement  to-day  is  a picture  from  the 
Newcastle  Exhibition,  “ An  autumn  evening  on  the  South 
Tyne,’’  by  Mr.  Gibson,  to  which  we  referred  last  week. 

Professor  Huxley’s  first  address  as  President  of  the 
.Royal  Society  is  a little  disappointing.  He  alludes  to  the 
late  Mr.  Cromwell  Varley,  F.R.S.,  one  of  the  inventors  of 
the  dynamo-machine  and  the  father  of  ocean  telegraphy,  a3 
“ an  ingenious  inventor,’’  and  nothing  more.  Again,  we 
are  told  that  “ two  observers  ” were  sent  out  to  Caroline 
Island  to  secure  photo-spectroscopic  records  of  the  eclipse, 
and  further,  says  the  president,  “1  am  indebted  to  Mr. 
Lockyer’’  for  a list  of  the  photographs  successfully  taken 
by  “ the  observers.”  Professor  Huxley  was  evidently  not 
indebted  to  Mr.  Lockyer  for  the  observers’  names,  albeit 
these  executed  work  quite  as  accurate  and  quite  as  scien- 
tific as  that  performed  by  former  observers ; only  Messrs. 
Woods  and  Lawrence  went  further  and,  as  usual,  fare 
worse. 

Professor  Huxley  has  gained  the  character  of  a true 
citizen  of  the  republic  of  science.  We  feel  sure  that  in  the 
heavy  task  of  preparing  his  presidential  address,  he  un- 
wittingly omitted  to  enquire  “ the  observers’  ” names.  Is 
it  so  very  hard  to  those  in  power  to  yield  one  little  bit  of 
recognition  to  young  students,  who  pluckily  volunteer  for  a 
six  months’  ocean  voyage,  and  do  what  is  required  of  them 
both  wiselyand  well  ? It  seems  so,  indeed.  Messrs.  Woods 
and  Lawrence  were  “observers”  when  spoken  of  at  the 
British  Association  last  September,  and  they  are  “ obser- 
vers” again  at  the  anniversary  meeting  of  the  Royal 
Society.  We  are  plainly  told,  too,  they  were  “ sent  out,’ 
when  none  of  the  great  men  of  science  “ for  one  reason  or 
another  were  able  to  go.”  Yet  the  cheerful  discharge  of 
their  responsible  and  arduous  duty  has  not  even  earned  for 
them  that  their  names  should  be  mentioned  before  the 
elect  of  science.  We  appeal  to  Professor  Huxley  in  the 
matter,  and  we  are  quite  sure  we  shall  not  appeal  in 
vain. 


So  we  are  to  have  a Health  Exhibition  at  South 
Kensington  to  follow  “The  Fisheries.”  We  dare  swear 
the  same  officials  who  had  comfortable  and  lucrative  posts 
at  the  last  show  will  “accept”  similar  positions  at  this 
one,  and  will  next  year  again  be  just  as  ready  to  do  so, 
whatever  the  title  given  to  the  Exhibition.  No  doubt  we 
shall  find,  too,  the  same  collections  of  fireworks,  opera-> 
glasses,  sweetmeats,  indestructible  paint,  organs,  umbrellas 
artificial  guano,  jewellery,  &c.,  &c.,  all  of  which  are,  of 
course,  as  applicable  to  “ health”  as  they  are  to  “ fisher- 
ies,” or  any  other  subject.  By  the  way,  the  Americans 
took  a gold  medal  at  “The  Fisheries”  for  photography; 
if  a similar  award  is  to  be  made  in  connection  with 
“ Health,”  British  photographers  should  be  informed  of 
the  fact. 


Statistics  are  generally  interesting,  but  they  may  be 
pushed  too  far.  One  statistician,  finding  time  heavy  on 


his  hands,  has  taken  the  trouble  to  prove  that  if  the  lake  of 
Constance  were  frozen  over  and  the  whole  world — some 
1,430  million  humau  beings — stood  upon  the  ice,  and  the 
ice  was  too  thin  and  they  were  all  drowned,  the  water  of 
the  lake  would  only  rise  six  inches.  “ This  seems  incre- 
dible, but  figures  prove  it,”  is  the  final  sentence.  Not  more 
incredible,  however,  is  the  result,  than  that  any  one  could 
have  been  found  so  inane  as  to  propound  it.  It  reminds 
one,  for  its  usefulness,  of  the  calculation  of  the  New  York 
philosopher,  who  maintained  that  if  all  the  young  men  of 
the  city  gave  up  smoking  for  an  afternoon,  there  would  be 
money  enough  to  supply  the  children  with  as  much  fruit 
as  they  could  eat  all  day,  together  with  a choice  of  three 
medicines  next  morning  in  case  they  got  ill. 


Mr.  Abel  Lewis  writes  to  us  on  the  subject  of  disturbing 
lights  in  a portrait.  Naturally,  the  face  should  be  the 
centre  of  attraction,  and  if  other  high-lights  are  visible, 
these  detract  from  that  centre.  Glaring  objects  in  the 
studio  may  often  be  dealt  with,  as  he  shows  in  the  Year- 
Book,  bv  toning  down  with  tinted  varnish  ; but,  unfortu- 
nately, broad  shirt-fronts  aud  masher-collars  cannot  be  so 
treated.  Certainly,  fashion  has  recently  brought  some 
tough  problems  to  the  photographer,  especially  as  the 
custom  is  growing  for  young  men  to  be  taken  in  evening 
dress. 


Still,  “evening  dress”  portraits  for  gentlemen — and 
we  have  seen  many  of  late— are  not  displeasing  as  a change. 
The  style  takes  well  with  the  public,  if  we  may  trust  seve- 
ral of  our  correspondents,  and  although  the  breadth  of 
white  linen  displayed  is  a source  of  some  difficulty  at  first, 
a skilful  photographer  is  not  long  in  surmounting  it. 
The  “evening  dress”  portrait  reminds  one  forcibly  of  the 
days  of  the  Beaux  and  of  “ Dirty-Shirt  Davies,”  a gentle- 
man, it  may  be  remembered,  who  wa3  most  unjustly  so- 
called  to  distinguish  him  from  another  of  the  same  name, 
who  svorc  four  shirts  a day,  while  “ Dirty-Shirt  Davies  ” 
only  changed  his  linen  three  times. 


An  optical  photometer  which  ha3  been  successfully  used, 
it  is  said,  for  determining  the  exposure  of  dry  plates,  has 
been  submitted  to  the  French  Academy  of  Sciences  by  M. 
Edmund  Becquerel.  The  photometer  is  the  invention  of 
M.  L.  Simonoff,  and  in  principle  it  is  very  simple.  It  con- 
sists in  narrowing  an  aperture  through  which  the  light  falls 
upon  a transparent  screen.  This  screen  has  figures  printed 
upon  it,  and  smaller  and  smaller  diaphragms  are  used  until 
these  figures  are  just  barely  readable.  The  aperture 
through  which  the  light  is  permitted  to  fall  is  circular,  and 
of  course  the  smaller  the  aperture  employed — necessary  to 
read  the  figures — the  more  intense,  obviously,  is  the  light  at 
hand ; in  fact,  the  luminous  intensities  are  inversely  propor- 
tional to  the  squares  of  the  diameters  of  the  apertures. 


The  Simonoff  photometer  is  constructed  in  the  form  of 
a telescope.  At  one  end  are  a series  of  movable  dia- 
phragms of  different  diameters,  just  like  many  of  our 
lenses  have  ; the  other  end  of  the  “ telescope  ” the  ob- 
server looks  through.  If  he  wishes  to  test  the  intensity 


December  7,  1883.] 


THE  THOTOGHAPHIC  NEWS. 


777 


of  daylight,  for  instance,  he  simp’y  holds  the  instrument 
to  his  eye,  aDd  looks  up  at  the  light.  The  transparent 
screen  is  fixed  in  the  middle  of  the  “ telescope,”  and  the 
light  coming  through  from  the  other  end  allows  him  to 
read  the  figures  or  letters  printed  on  this  transparent 
screen.  Keeping  the  instrument  to  his  eye,  he  revolves 
the  diaphragms  until  he  finds  he  can  scarcely  read  the 
characters  upon  the  screen  ; the  smallest  aperture  he  has 
used  is  then  noted,  and  this  tells  him  the  intensity  of  the 
light.  A sheet  of  opal  glass  between  the  aperture  and  the 
screen  diffuses  the  light  uniformly.  Altogether,  it  is  a 
most  simple  and  ingenious  instrument,  and  if  practically 
useful,  will  be  of  the  greatest  benefit  to  photographers. 

Anything  from  Mr.  Ackland  as  regards  the  influence  of 
dark-room  work  upon  the  eyesight  is  of  especial  value,  lie 
says: — “The  healthy  eye  can  focus  itself  to  objects  as 
near  as  eight  inches,  and  from  this  to  an  infinite  distance  ; 
but  the  eyes  of  one  who  works  much  in  the  modern  dark- 
room gradually  lose  the  power  of  adjusting  themselves  to 
circumstances.”  Let  us  hope  that  the  system  of  using 
greenish -yellow  light,  as  recently  advocated  by  Mr. 
Debenhsm,  will  lessen  the  evil.  The  shock  to  the  eyes  on 
entering  and  leaving  the  developing  room  is  far  less  severe 
when  the  greenish-yellow  light  is  used,  than  when  ruby 
light  is  employed. 

It  may  interest  Mr.  Debenham,  who,  at  the  last  social 
meeting  of  the  Photographic  Society,  so  strongly  advocated 
the  use  of  green  glass  for  the  dark  room,  to  learn  this 
scrap  of  experience  from  a photographer  who  is  a better 
man  of  business  than  of  science.  Said  he,  in  discussing 
this  subject  with  a friend,  “ Green  glass,  I tell  you,  is  no 
good  at  all.  I tried  it  for  a couple  of  days,  and  got 
nothing  but  greeu  fog.”  lie  quite  failed  to  see  that  had 
such  been  the  case,  he  would  have  made  one  step  towards 
photography  in  natural  colours. 

At  Paris,  M.  Auguste  Petit  was  attacked  by  a tigress 
which  he  was  photographing,  and  severely  wounded;  still 
he  persevered  in  his  work,  and  not  only  secured  a picture 
of  the  enraged  beast,  but  also  photographs  of  several  lions 
and  leopards — M.  Petit  and  his  camera  being  inside  the  den 
in  every  case ! 

A tax  of  twopence-halfpenny  on  a cabinet  portrait,  and 
of  a penny  on  a carte,  is,  perhaps,  not  very  much  ; but  it 
is  more  than  Hungarian  photographers  will  like  to  pay. 
Still,  we  hope  there  is  no  probability  of  the  English 
Government  following  the  example  of  the  Hungarian 
authorities  in  imposing  such  a tax.  The  new  law  comes 
into  force  on  the  first  of  January,  and  an  annual  revenue  of 
more  than  ba’f  a million  sterling  is  expected  to  result. 


At  the  last  meeting  of  the  Academy  of  Medicine,  in 
Ireland,  Dr.  Dickenson,  in  a note  on  the  “ Art  of  photo- 
graphing microscopic  objects,”  gave  a description  of  his 
apparatus,  which  seems  to  be  both  simple  and  effective. 
There  are  three  parts,  the  first  cousisting  of  an  ordinary 
magic-lantern  illuminated  by  a triplex  parafiiu  lamp  and 


with  the  usual  combination  of  lenses,  and  an  extra  tube 
with  a small  bull’s-eye  condenser;  the  second  partis  a 
microscopo  placed  horizontally  without  the  eye-piece  ; 
and  the  third  is  a frame  to  hold  the  focussing  screen  and 
carrier.  The  period  of  exposure  was  from  eighteen 
seconds  to  two  hours.  It  was  stated  during  the  discussion 
that  if  the  electric  light  could  be  applied  to  the  arrange- 
ment, results  would  be  obtained  far  surpassing  in  sharp- 
ness and  brilliancy  anything  which  had  yet  been  done  in 
microscopic  photography. 


Mr.  Pickwell,  whose  compass  arrangement  for  registering 
a ship’s  course  by  photography  we  publishod  in  these 
columns  some  time  since,  has  submitted  his  invention  to 
the  Admiralty.  To  constitute  it  a serviceable  instrument, 
it  should  be  very  simply  arranged,  for  naval  men,  even 
wind  and  weather  permitting,  cannot  always  be  gentle  with 
delicate  and  elaborate  apparatus.  We  should  think  the 
best  plan  would  be  not  to  use  too  sensitive  a film,  but  so 
arrange  the  instrument  that  it  need  not  be  meddled  with 
during  the  voyage;  at  its  termination,  the  sensitized  chart 
would  be  taken  from  its  dark  recepatcle  below  the  compass, 
put  into  a developing  solution,  and  the  black  line  that  then 
appeared  would  tell  the  owners  of  the  ship  whether  a 
straight  course  had  been  steered. 


In  some  of  our  big  dry  plate  establishments,  the  per- 
sonnel never  quit  the  yellow-ruby  light  from  eight  a.m.  to 
eight  p.m.,  working  and  taking  their  meals  in  the  dim 
illumination.  This,  it  is  alleged,  is  far  less  trying  to  eye- 
sight, and  more  conducive  to  health,  than  going  into  white 
light  periodically  during  the  day. 


The  photographs  of  the  vocal  organs.  Mr.  Lennox 
Browne  and  Herr  Behnke  have  just  published  their  joint 
work  ou  “Voice,  Song,  and  Speech;”  and  we  not  only 
find  a carefully  compiled  digest  of  the  labours  of  pre- 
vious investigators,  but  much  original  matter.  The  re- 
searches of  Messrs.  Browne  and  Behnke  have  been 
materially  aided  by  photography.  The  photograph  of  the 
larynx  which  forms  the  frontispiece  of  the  book  is  very 
much  superior  to  anything  of  the  kind  previously  pro- 
duced, and  the  authors  took  the  superintendence  as  far  as 
the  posing  and  arrangement  were  concerned ; while  the 
very  considerable  technical  difficulties  were  overcome  by 
the  skill  and  patience  of  Messrs.  II.  T.  Wood,  W.  Cadett, 
and  W.  Ackworth.  The  electric  light  was  thrown  on  the 
larynx  by  the  same  mirror  which  served  to  reflect  the 
returning  rays  towards  the  objective. 


latent  Intelligent. 

Grant  of  Provisional  Protection. 

5204.  Harrison  Garside,  of  the  city  of  Manchester,  in  the 
county  of  Lancaster,  photographer,  for  an  invention  of  “ An 
improved  method  of  producing  surfaces  for  mechanical  or  ink 
printing  by  means  of  photography.” — Dated  2nd  November, 
1883. 

Patents  Sealed. 

2799.  Joseph  Julius  Sachs,  of  Gray’s  Inn  Road,  in  the  county 
of  Middlesex,  for  an  invention  of  “ Improvements  in  apparatus 


778 


THE  PHOTOGRAPHIC  NEWS. 


[December  7,  1883. 


to  be  used  in  the  preparation  of  metal  surfaces  for  etching, 
engraving,  and  similar  purposes.” — Dated  5th  June,  1883. 

3258.  Joseph  Julius  Sachs,  of  Union  Court,  Old  Broad  Street, 
in  the  city  of  London,  for  an  invention  of  “ Improvements  in 
the  production  of  designs  upon  rollers  or  surfaces  for  printing, 
stamping,  or  embossing.” — Dated  30th  June,  1883. 

4152.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  in  the  city 
of  London,  for  an  invention  of  “ An  improved  method  or  pro- 
cess of  producing  prints  or  transfers  of  photographic  pictures.” 
— Dated  28th  August,  1883. 

4153.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  iu  the  city 
of  London,  for  an  invention  of  “ An  improved  method  or  pro- 
cess of  producing  prints  or  transfers  of  photographic  pictures.” 
— Dated  28th  of  August,  1883. 

4154.  Eugenio  de  Zuccato,  of  Charterhouse  Street,  in  the  city 
of  London,  for  an  invention  of  “ An  improved  method  or  pro- 
cess of  producing  prints  or  transfers  of  photographic  pictures.” 
— Dated  28th  August,  1883. 

Specification  Published  during  the  Week. 

1971.  W.  Cooke. — “Apparatus  for  automatically  exposing 
bodies  or  articles  to  the  action  of  the  sun’s  rays,  Ac. — A com- 
munication from  R.  Schlotterhoss. 

Patent  Granted  in  France. 

154,065.  Allgeyer  & Bolhoevener,  of  Paris,  for  a “ Photo- 
typographic  process.”- -Dated  3rd  March,  1883. — Class  17. 

Patent  Void  by  Lapse  of  Time. 

Ernest  Edwards,  a.d.  1869,  Dec.  8,  No.  3543,  “ Improvements 
in  photo-mechanical  printing  and  the  reproduction  of  designs.” 
(For  text,  see  our  issue  for  last  week,  p.  754.) 


CUTTING  UP  THE  ALBUMENIZED  PAPER. 

BY  W.  COLES. 

A SHEET  of  albuinenized  paper,  as  is  well  known,  expands, 
when  wetted,  more  in  the  direction  of  its  width  than  of  its 
length,  and  according  to  the  way  the  paper  is  cut,  the 
photograph,  when  mounted,  will  make  the  face  appear  a 
little  longer,  or  a little  wider,  than  before  it  was  wetted. 

Where  the  expansion  tends  to  lengthen  the  features,  the 
distorting  is  less  noticeable,  and  has  a less  unpleasant  effect 
than  where  it  tends  to  widen  the  face. 

If  two  prints  are  taken  from  a bust  negative  on  paper, 
one  each  way,  and  the  two  compared,  a very  perceptible 
difference  between  them  will  be  observed,  more  markedly, 
of  course,  in  the  case  of  larger  heads. 

I have  known  cases  where  a proof  has  been  supplied, 
with  the  distortion  existing  in  one  direction,  and  the  order 
executed  with  it  showing  in  a reverse  manner,  the  result 
being  that  while  the  proofs  gave  satisfaction,  the  order 
copies  were  returned  as  being  “different  iu  some  way 
from  the  first.” 

The  paper  should  always  be  cut  so  that  the  length  of 
the  print  is  in  the  direction  of  the  width  of  the  sheet  of 
albumenized  paper  from  which  it  is  taken.  I have  also 
known  printers  to  cut  the  C.D.V.  size  as  I suggest,  and 
the  cabinets  differently,  so  that  sitters  ordering  both  sizes 
would  in  one  case  see  themselves  a little  too  thin,  and  in 
the  other  case  a little  too  fat. 

By  folding  the  sheet  down  the  middle  lengthways,  and 
again  folding  it  in  the  same  manner,  from  thirty-two  to 
thirty-six  C.  D.\  ,’s  (according  to  the  size  of  shape)  can  be 
obtained.  For  cabinets  I take  off  a strip  at  the  end  of 
the  sheet  the  width  of  two  C.D.V.’s,  which  cuts  into 
eight  cartes,  and  the  rest  will  give  twelve  cabinets. 


TYBOGRU’HIC  PRINTING  BLOCKS  FROM 
HALF-TONE  NEGATIVES. 

BY  C.  T.  CHESTERMAN. 

A great  deal  has  been  written  on  the  above  subject  of 
late,  and  some  fine  specimens  have  appeared  iu  several 
trade  journals ; the  Geivcrbehalle,  and  Die  Blatter  den  Miin- 
cnener  Gewerbe  Vcreius,  containing  many  illustrations  by 


*t.  This,  however,  is  not  of  so  much  importance  to  the 
photographer  (on  account  of  the  modus  operandi  being  pro- 
tected by  patents)  as  to  publishers.  Take,  for  instance, 
the  Miinchener  Kunst  Verlag,  which  is  doing  a very  remune- 
rative business  with  the  process  of  Herr  Meisenbach,  and 
the  Heliotype  Company  in  America,  who  own  the  rights 
covered  by  Ives’  patent. 

Although  the  processes  totally  differ  from  each  other, 
according  to  the  specifications,  yet  the  results  are  identi- 
cal, with  the  exception  of  some  of  the  earlier  specimens  by 
the  Ives’  process,  which  are  cross-hatched,  like  the  sirnili- 
gravure  blocks  of  M.  Petit ; but  they  are  all  equally  good, 
only  very  difficult  to  imitate,  however  carefully  oue  may 
study  the  somewhat  complicated  specifications.  This  pre- 
sumption on  my  part  caused  me  to  publish  the  following 
details  for  attaining  the  same  ends.  It  may  be  well,  how- 
ever, to  recapitulate  the  facts  which  led  to  this  particular 
mode  of  operating. 

Between  the  year  1868  and  1872,  Mr.  ScaraoDi  experi- 
mented extensively  to  obtain  means  for  rendering  his  Helio- 
engraving process  suitable  for  half-tone  work,  and  it  was 
upon  some  “ cross-hatched  ” transfer  paper  prepared  during 
that  period,  and  which  had  been  stowed  away  entirely  for- 
gotten, that  our  first  successful  attempts  were  made. 

Being  thorough  masters  of  gelatine  relief-making,  we  did 
not  put  much  faith  in  the  use  of  a V-shaped  instrument  for 
planing  or  scooping  out  lines  with,  but  started  at  once 
with  the  means  we  had  previously  tried  for  giving  a stippled 
effect  to  negatives  intended  for  half-tone — helio-gravings. 
At  first  we  tried  the  interposition  between  the  negative  and 
sensitive  photo-litho  paper  of  a collodion  film  impressed 
with  suitable  lines  ; this,  however,  did  not  lay  very  flat 
unless  it  was  caught  under  water  upon  the  negative  itself, 
and  then,  nine  times  out  of  ten,  it  would  split  up  from  the 
glass,  bringing  the  negative  with  it.  This  mode  we  therefore 
abandoned  for  the  following.  Between  the  subject  to  be 
photographed  and  the  camera,  a copying  board  is  placed, 
made  especially  for  the  purpose,  so  that  the  part  carrying 
the  board  cau  be  raised  or  lowered  (similar  to  a steam- boat 
chimney),  whereas  the  feet  remain  stationary  after  the 
focussing  is  completed.  To  this  board  we  affix  paper 
covered  with  a grain  or  stipple  ; this  time  machine-ruled 
diagonal  Hues  replaced  the  stipple.  After  this  is  brought 
into  focus,  we  note  the  exact  position  of  the  ground  glass, 
lowerjthe  board  or  screen,  and  proceed  to  focus  the  subject ; 
after  this  is  exposed,  the  lens  is  capped,  the  ground  glass 
drawn  along  to  its  former  position,  the  screen  raised,  and  the 
lines  or  stipple  exposed  for  a certain  length  of  time  accord- 
ing to  the  subject  and  strength  of  lines  required.  The  lines 
cau  also  be  printed  in  different  colours  to  suit  the  subject, 
(such  as  sepia,  carmine,  or  blue).  The  negative  is  now  deve- 
loped, and  we  have  a picture  cut  up,  as  it  wore,  into  strips 
in  the  shadows,  but  free  from  anything  of  the  kind  in  the 
high  lights.  Now  this  would  seem  to  be  just  the  thing  that 
was  wanted,  but  the  resulting  relief  blocks  did  not  fulfil  our 
anticipations,  so  we  had  recourse  to  another  method  as 
follows.  A matrix  is  taken  in  plaster  of  a metallic  plate  or 
litho  stone  which  has  raised  or  indented  lines  engraved  or 
etched  thereon ; from  this  plaster  matrix,  after  perfect 
desiccation,  a mould  is  taken  in  printers’  roller-composition — 
i.e.,  glue  and  glycerine;  tt is,  when  set,  takes  colour  very 
well,  and  after  being  rolled  up  with  printing  ink  can  be  im- 
pressed just  the  same  as  an  elastic  stamp  on  to  any  exist- 
ing negative,  to  which  it  imparts  either  black  lines  or 
diamoud-shaped  dots  according  to  the  kind  of  plate  used, 
raised  or  indented  ; afterwards  a transfer  is  made  to  zinc  in 
the  usual  way,  and  etched.  This  method  does  for  coarse 
work,  and  is  very  inexpensive,  as  the  elastic  moulds  last  for 
a considerable  time. 

As  this  did  not  give  results  suitable  for  fine  work,  such 
as  wo  had  seen  in  the  Photographic  News  about  two  years 
back,  wo  tried  several  other  ways  which  we  had  previously 
used,  which  brought  us  to  our  long-forgotton  paper  previ- 
ously mentioned.  This  paper  was  prepared  by  giving  a 


December  7,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


779 


well-sized  paper  of  even  texture  five  or  six  coats  of  a mixture 
of  size  and  white  lead,  allowing  each  coating  to  dry  before 
the  successive  one  was  applied  ; then  it  was  glazed  by  pulling 
through  the  litho  press  upon  a smooth  stone  ; afterwards  it 
was  slightly  damped  and  pressed  in  contact  with  a plate 
which  had  been  used  for  impressing  a border,  and  fine 
hatchings  for  book-covers.  Of  course,  we  could  only  use  the 
centre  of  this,  containing  about  six  square  inches  of  cross- 
hatched  lines  inside  the  border.  Formerly,  this  was  worked 
upon  with  a lithographic  crayon,  and  portions  cut  off  and 
used  where  required  by  transferring  them  to  stone  or  glass. 
Now  it  occurred  to  us  that  a design  in  fatty  ink  could  be 
printed,  instead  of  drawn  thereon  with  a lithographic  crayon, 
and  as  wo  required  a picture  in  half-tone  suitable  for  trans- 
ferring to  zinc,  what  could  give  us  belter  impressions  than 
a collotype  plate  ? So  we  tried  it,  and  found  it  perfect ; and 
anyone  who  can  make  a collotype  plate,  and  knows  how  to 
do  zinc  etching,  can  reproduce  type-high  blocks  with  half 
tints,  equal  to  any  done  by  the  existing  methods,  and  with- 
out fear  of  infringing  patent  rights. 

Eventually,  such  ribbed  surface  paper  would  become  an 
article  of  commerce  if  there  was  a demand  for  it,  and  trans- 
fers made  thereon  could  be  given  out  to  experienced  zinc 
etchers,  so  that  collotypists  could  easily  undertake  such 
work,  as  there  is  no  more  difficulty  in  making  an  impres- 
sion upon  such  paper  than  upon  fine  chalk-surfaced  paper  ; 
it  must,  however,  be  borne.in  mind  that  a good  stone-to- 
stone  re-transfer  ink*  must  be  employed  instead  of  the 
ordinary  printing  ink. 


THIRTY  YEARS  OF  PHOTOGRAPHIC  PROGRESS. 

BY  JABEZ  HUGHES. t 

When  we  remember  how  little  known  photographs  on  paper  were 
some  thirty  years  since,  as  compared  with  their  present  abun- 
dance and  popularity,  some  explanation  is  required  as  to  how  all 
this  has  come  about.  My  paper  proposes  in  some  degree  to 
to  account  for  this  ; it  also  proposes  to  step  back  even  further, 
and  to  show  that  the  absolute  rise  and  progress  of  photography 
is  connected  in  one  direct  line  with  and  through  this  Society. 

We  may  take  it  for  granted  that,  for  all  practical  purposes, 
photography  dates  its  existence  from  the  announcement  of  the 
rival  systems  of  Talbot  and  Daguerre.  It  is  curious,  with  the 
experience  since  acquired,  to  compare  these  two  methods,  they 
having  so  many  points  in  common,  and  yet  being  in  principle 
so  dissimilar.  By  each  plan  the  images  in  the  camera  were  fixed  ; 
each  was  worked  out  independently  of  the  other  ; both  were 
announced  about  the  same  time,  though  each  was  the  result 
of  years  of  prior  labour  ; each  used  the  same  sensitive  salt — 
iodide  of  silver — to  produce  a latent  image  in  the  camera,  and 
each  used  a developer  to  bring  out  the  latent  image.  But  here 
similarity  ceases.  Daguerre’s  images  were  made  on  thick  me- 
tallic plates ; they  were  developed  dry  by  the  vapour  of  mer- 
cury, and  the  final  result  was  a “ positive  ” photograph,  the 
lights  and  shades  as  in  nature.  Talbot’s  images,  however, 
were  on  thin  sheets  of  paper,  were  developed  wet  by  gallic  acid, 
and  were  “negatives,”  the  lights  and  shades  exactly  the  reverse 
of  nature.  The  camera-pictures  of  Daguerre,  being  positives, 
were  complete  at  once,  but  Talbot’s  required  another  process 
before  they  became  useful.  What  at  first  seemed  a great  ad- 
vantage in  the  French  process  was  ultimately  found  to  be  its 
chief  disadvantage ; for  while,  by  the  English  plan,  with  only 
one  action  of  the  camera  an  endless  number  of  prints  might  be 
produced,  by  the  French  method  every  individual  print  re- 
quired a special  camera -action.  At  the  time,  however,  this  dis- 
advantage was  not  apparent,  and  the  process  had  for  many  years 
a brilliant  existence.  But  when  collodion  came  into  general  use 
its  days  were  numbered,  and  it  speedily  died  out.  It  was  a 
process  that  began  and  ended  with  itself  ; it  has  no  historic  con- 
tinuity. There  were  many  reasons  why,  despite  its  excellences, 
it  could  not  survive  in  the  struggle  for  existence.  Essentially  it 
was  imperfect ; it  was  not  a whole  or  complete  system.  It  was 
only  a positive  process  produced  by  negative  means. 

* This  can  be  obtained  of  a superior  quality  of  Mr.  Cornelisscn,  Great 
Queen  Street,  London. 

t Condensed  from  a paper  communicated  lo  the  Photographic  Society 
of  Great  Britain. 


In  the  industrial  arts,  where  several  copies  are  required  from 
one  original,  the  process  of  production  consists  of  two  parts  : 
the  one  supplies,  often  at  great  cost  and  labour,  the  mould, 
type,  clichd,  matrix,  plate,  or  whatever  it  may  be  called ; the 
other  works  off,  inexpensively  and  rapidly,  the  copies  required. 
As  we  now  know  exactly  the  place  that  photography  occupies 
usefully  in  society,  we  can  see  why  Daguerreotype  failed  radically 
in  principle,  apart  from  any  other  cause,  and  why  Talbot’s  sys- 
tem contained  the  elements  of  progressive  development  and 
adaptability ; it  contained  the  two-fold  division  of  positive  and 
negative,  each  capable  of  being  treated  individually. 

In  Talbot’s  system,  it  was  his  “photogenic  drawing”  process 
that  formed  the  positive,  and  the  “ calotype”  the  negative.  On 
these  sound  lines  paper  photography  started,  and  all  the  progress 
that  has  since  been  made  has  only  consisted  in  alterations,  addi- 
tions, or  variations  to  one  or  the  other  of  these  broad  divisions. 
Talbot  also  supplied  detailed  methods  of  carrying  out  this  com- 
plete scheme.  For  convenience,  I will  call  each  of  these  “ types.” 
The  formula  for  the  negative  type,  reduced  to  its  essentials,  was, 
preparing  a film  containing  a sensitive  haloid  salt  of  silver  ; ex- 
posing in  the  camera  to  form  a latent  image ; and  developing. 
Excepting  the  gold  toning,  where  is  the  difference  between  the 
positive  of  to-day  and  forty  years  ago  ? True,  Talbot’s  prints 
faded,  but  how  about  yours?  Are  you  forty  years  in  advance? 
— are  you  any  ? 

But  even  in  the  avowedly  permanent  prints,  the  carbon  and  the 
platinotype,  though  the  sensitive  materials  differ,  the  “ type  ” 
remains  the  same.  There  is  still  the  sensitive  film  exposed 
under  a negative,  till  light  effects  the  desired  change  ; then  the 
removal  of  the  undecomposed  material.  There  is  no  developing 
a “ latent  image  ” ia  either  process. 

Having  now  obtained  a clue  to  what  was  really  involved  in 
Fox  Talbot’s  invention,  we  can  look  with  calmer  interest  at  the 
results  that  have  ensued.  Although  his  processes  permitted 
everything  to  be  developed  out  of  them  that  has  since  arisen, 
yet  in  the  first  instance  the  results  were  crude  and  uncertain. 
There  was  also  at  that  time  an  utter  absence  of  collateral  know- 
ledge to  guide  the  student  in  this  new  field.  While  one  set  of 
followers  laid  themselves  out  for  practising  and  improving 
Talbot’s  process,  another  set  undertook  to  explore  the  regions  of 
the  unknown.  These  latter  reasoned, — if  one  salt  of  silver  is  so 
sensitive  to  light,  may  not  another  be  more  so  ? And  who  can 
tell  but  that  the  salts  of  other  metals  and  other  compounds  may 
not  be  more  sensitive  still  ? Besides,  until  something  more  be 
known  about  the  chief  agent  itself — that  indefinite  something 
called  light — all  is  little  else  than  groping  in  the  dark.  There- 
fore it  was  that  many  men  of  the  highest  scientific  culture  under- 
took this  recondite  study.  Among  these  stands  pre-eminently 
Sir  John  Ilerschel,  whose  researahes  are  models  of  philosophic  as 
well  as  practical  inquiry.  In  the  same  breath  must  also  be 
named,  with  highest  honour,  Robert  Hunt,  whose  labour  in  this 
vast  field  began  almost  as  early  as  Talbot  and  Herschel,  and 
was  continued  to  quite  recently,  even  if  it  be  now  ceased — for 
happily  he  is  still  spared  to  us.  By  these  and  similar  labours  our 
art  was  placed  on  a firm  scientific  basis. 

The  event  that  was  to  give  a new  start  to  the  art,  as  it  gave  to 
so  much  else,  was  the  1851  Exhibition.  The  numerous  photo- 
graphs shown  from  all  parts,  at  home  and  abroad,  indicated  that 
the  time  had  arrived  to  work  unitedly  instead  of  separately. 

From  this  period  we  turn  over  a fresh  page  in  photographic 
history.  A new  propaganda  was  then  started,  to  expound,  teach, 
develop,  and  extend  the  good  tidings  of  photography.  When 
these  early  workers  found  themselves  thus  happily  associated,  a 
new  enthusiasm  seized  them  ; the  infection  was  contagious,  and 
thus  the  fresh  impetus  arose  that  has  never  since  subsided. 

The  machinery  proposed  for  the  collective  working  was  three- 
fold : — firstly,  monthly  meetings  to  read  and  discuss  papers, 
exhibit  apparatus,  and  generally  to  promote  social  union ; 
secondly,  the  establishment  of  a journal  to  report  these  proceed- 
ings ; and,  thirdly,  the  holding  an  annual  exhibition  exclusively 
of  photographs.  That  this  machinery  was  well  devised  is  proved 
by  its  continued  use  to  the  present  time.  The  formation  of  our 
Society  soon  led  to  similar  ones  at  Liverpool,  Manchester,  Edin- 
burgh, Dublin,  and  other  large  towns,  which  in  all  instances  was 
followed  by  a rapid  increase  in  the  number  of  practical  photo- 
graphers. The  establishment  of  the  Journal  was  practically  the 
commencement  of  that  photographic  press  and  literature  which 
has  since  been  of  such  aid  to  progress  by  diffusing  and  multi- 
plying information  which  otherwise  would  have  been  confined  to 
small  areas.  Our  monthly  Journal  soon  became  a fortnightly 
one,  and  presently,  as  an  off-shoot,  the  startling  innovation  arose 


780 


THE  PHOTOGRAPHIC  NEWS. 


of  a veritable  photographic  weekly  newspaper— the  Photoubaphic 
News.  Before  the  existence  of  these  organs  of  our  craft,  the 
information  was  published  in  the  most  miscellaneous  manner. 
Those  who  desire  photographic  news  prior  to  the  establishment 
of  these  special  papers  must  look  for  it  through  the  files  of  the 
Times,  Athenaeum,  Art  Journal , Illustrated  London  News,  Notes 
and  Queries,  Philosophical  Magazine,  and  many  other  less  likely 
sources.  By  means  of  the  press  the  usefulness  of  the  photo- 
graphic societies  has  been  increased  tenfold. 

Important,  however,  as  these  two  factors  are — meetings  of  the 
Society  and  the  photographic  press — in  promoting  progress,  we 
must  never  underrate  the  value  of  photographic  exhibitions  both 
;is  sources  of  enjoyment  and  means  of  popularising  our  Art. 
They  also  serve  as  constant  records  of  the  value  of  the  various 
processes  as  they  arise.  In  this  sense  it  is  difficult  to  adequately 
estimate  its  usefulness  as  an  educator,  especially  in  reference  to 
technical  skill  and  manipulation.  It  is  the  proud  distinction  of 
this  Society  that  it  saw  from  the  earliest  the  value  of  annual  ex- 
hibitions. and  that  it  has  persisted  in  maintaining  them,  though 
often  grievously  to  the  loss  of  its  funds  when  it  could  ill  spare 
them. 

The  progress  of  the  Art  for  the  thirty  years,  so  far  as  it  may 
be  legitimately  traced  to  this  Society,  may  perhaps  be  found 
more  in  its  indirect  influence  then  its  direct.  Thus  it  has  been 
seen  that  when  the  photographers  of  London  formed  a society, 
those  of  Liverpool  and  other  towns  followed  in  their  steps.  If 
this  be  true  as  to  societies,  it  is  also  as  true  in  reference  to  the 
press  ; but  it  is  especially  so  in  reference  to  exhibitions.  Other 
Photographic  Societies  have  exhibitions  occasionally ; we  have 
them  annually.  In  that  sense  our  exhibition  is  the  only 
“ Royal  Academy  ” of  photography  ; and  the  influence  does  not 
cease  when  its  doors  are  closed,  for  it  is  now  notorious  that 
many  of  the  same  pictures,  especially  the  best  and  the  medalled 
ones,  do  good  service  again  and  again  by  being  re-exhibited  in 
the  provinces. 

So  much,  then,  for  the  agencies  proposed  thirty  years  since  for 
the  development  of  an  art  which,  except  as  Daguerreotype  por- 
traits, was,  for  all  practical  purposes,  unknown  to  the  bulk  of  the 
world. 

Of  one  thing  we  arc  certain — that  we  have  passed  through  two 
photographic  epochs,  and  have  entered  on  the  third.  They  may 
he  described  as  the  Paper,  Collodion,  and  the  Gelatine  periods. 
The  “paper  ” period  ruled  supreme  ten  years,  from  Talbot’s calo- 
type  to  Archer’s  collodion,  that  is  to  say,  from  the  beginning  of 
modern  practical  photography  to  the  time  when  our  Society  began. 
This  was  a preliminary  aud  a preparatory  period.  The  next  is 
the  collodion  era,  and  it  has  run  the  thirty  years  of  our  Society’s 
present  life.  This  has  been  a propagandist  and  expanding  period. 
We  are  now  entering  on  the  gelatine  epoch.  How  long  it  will 
last,  and  how  to  generalize  its  character,  I,  not  being  gifted  with 
prophecy,  decline  to  hazard.  But  that  its  period  will  as  much 
excel  collodion  as  collodion  has  surpassed  paper,  we  are  morally 
certain.  So  far  from  photography  or  its  applications  being  ex- 
hausted, we  are  only  but  dimly  getting  a glimpse  of  the  great 
powers  of  nature  that  lie  awaitmg  our  disposal  when  we  under- 
stand how  to  use  them. 

Having  seen  how  the  progress  of  the  past  has  been  secured,  it 
is  not  difficult  to  suggest  how  the  future  is  to  be  maintained.  We 
have  only’  to  go  on  doing  what  we  have  done  before — “only  more 
so.  ’ It  is  said  that  Bishop  Wilberforce,  when  asked  which  was 
th  e direct  road  to  heaven,  replied,  “Take  the  first  turning  to  the 
right,  and  keep  straight  on.”  Our  road  to  future  progress  is 
even  easier  than  the  Bishop’s  to  heaven  ; we  have  no  turning  to 
take— we  have  only  to  keep  straight  on. 

But  there  is  one  other  class  to  whom  I have  not  yet  alluded, 
who  also  can,  and  who  ought,  to  do  their  share  in  the  general 
advancement ; I mean  the  commercial  section.  These  are  the 
people  who  can  neither  originate  new  methods  nor  improve  old 
ones,  but  by’  the  exercise  of  their  business  abilities  can  utilise  to 
a profitable  end  the  work  of  others.  Hitherto  we  have  had  but 
little  aid  from  them.  For  the  advancement  of  the  art  they  toil 
not,  neither  do  they  spin,  yet  they  manage  to  obtain  a large 
share  of  the  loaves  and  the  fishes.  They  neither  take  part  in  our 
pioceedings,  purchase  our  journals,  nor  visit  our  exhibitions. 
I hey  may  say  that  their  tulents  do  not  lie  in  these  directions  ; and 
perhaps  they  are  right.  But  1 wish  to  show  them  that,  if  they 
wish,  they  can  help,  both  morally  and  substantially.  They  can 
help  us  morally  by  ceasing  their  habit  of  standing  aloof,  and  by 
coaling  among  us — weshall  bo  pleased  to  know  that  we  have  their 
sympathy  in  the  good  work;  but  they  can  sustain  us  in 
a more  maiked  manner  than  they  have  yet  done.  They 


[December  7,  1883. 

must  know,  or  jf  they  do  not  we  will  acquaint  them,  that  al^ 
this  collective  work  bv  which  art  is  advanced,  and  by  which 
they  profit,  is  not  obtained  without  some  cost.  Neither  this 
Society  nor  any  other  are  State-aided  institutions ; they  are 
carried  on  only  by  the  expenditure  which  they  can  divide  with 
us.  SpeakiDg  of  this  Society,  for  example,  its  beneficial  influence 
bas  always  been  seriously  crippled  for  the  want  of  adequate 
funds.  Whatever  good  it  has  done  could  have  been  enormously 
increased  but  for  this  drag-chain.  Why  have  we  not  got  a hall 
of  our  own,  like  this  Water-Colour  Society  has,  in  which  we  could 
hold  not  only  our  monthly  meetings,  but  all  other  ones?  Why 
are  not  our  exhibitions  held  in  the  spring,  when  all  the  world  is 
in  London,  instead  of  the  autumn,  when  it  is  deserted  by  wealth 
and  fashion  ? I could  go  on  repeating  my  inquiries  as  to  why 
many  useful  and  laudable  efforts  are  not  effected.  Our  worthy 
President  and  members  of  Council  can  instantly  supply  the 
answer — because  we  have  not  the  funds,  because  we  have  not  a 
sufficient  number  of  subscribing  members.  I appeal,  there- 
fore, to  this  large  and  influential  class  who  are  deriving  the  most 
substantial  benefits  from  continued  improvements  which,  con- 
fessedly, they  are  unable  to  originate,  to  help  and  support  those 
agencies  by  the  aid  of  which  they  thrive.  The  refusal  cannot  be 
because  of  the  small  annual  charge.  I can  only  suppose  it 
arises  from  their  attention  never  having  been  called  to  the 
matter. 


STEREOSCOPIC  PORTRAITS  BY  A SINGLE  CAMERA.* 

We  have  just  taken  by  means  of  a single  4 by  5 camera,  some 
stereoscopic  portraits  of  so  excellent  a quality  and  by  means  so 
simple  as  cannot  fail  to  interest  our  readers,  and  cause  many  of 
them  to  do  likewise  after  they  read  our  description. 

Every  one  is,  of  course,  aware  of  the  existence  and  nature  of 
an  office  chair,  the  seat  of  which  rotates  upon  a central  axis — 
usually  a screw— of  the  same  nature  as  that  of  a piano  stool. 
Now,  if  a sitter  be  posed  in  a chair  of  this  nature,  it  stands  to 
reason  that  when  a camera  is  placed  at  a distance  of  a few  feet 
away,  the  mere  act  of  rotating  the  chair  upon  its  pivot,  and  with 
it  the  sitter,  will  cause  the  latter  to  be  presented  to  the  lens 
under  circumstances  of  horizontal  displacement  extending  to 
3G0  degrees,  or  equal  to  the  entire  circle. 

Having  posed  the  sitter  according  to  taste,  and  being  provided 
with  a double  dark  slide  containing  two  plates,  the  first  ex- 
posure is  made,  and  the  sitter  enjoined  to  remain  perfectly  still 
while  the  chair  is  rotated  to  an  exceedingly  slight  extent — an 
extent,  indeed,  that  shall  not  be  more  than  is  barely  ap- 
preciable— and  another  exposure  made  on  the  second  plate. 
When  developed  and  printed  from,  these  negatives  will  yield 
proofs  which  shall  be  truly  stereoscopic. 

Care  must  be  taken  that  the  rotation  of  the  sitter  be  not 
carried  too  far,  else  will  the  effects  obtained  be  vulgarized  by  the 
exaggeration  of  the  relief.  It  is  so  very  easy  to  produce  this 
artificial  relief,  and  the  temptation  to  do  so  is  so  great,  that  the 
photographer  must  be  on  his  guard  against  indulging  in  this 
trick,  which,  while  calculated  to  startle  the  spectator,  is  as 
“ untrue  in  nature  as  in  art.” 

It  cannot,  however,  be  denied  that  some  exceedingly  funny 
and  grotesque  effects  can  be  obtained  by  indulging  in  an  excess 
of  this  movement  of  the  sitter  in  azimuth.  We  have  witnessed 
immoderate  laughter  being  elicited  when  the  portrait  of  a person 
whose  nose  was  naturally  rather  large  was  presented  for 
examination  in  the  stereoscope,  which  showed  it  to  project  at 
least  three  or  four  inches  in  advance  of  his  face.  This  effect 
was  produced  by  bringing  the  camera  within  five  feet  of  the 
sitter,  and  causing  the  chair  to  be  rotate  I two  or  three  degrees 
more  than  it  ought  to  have  been.  In  like  manner  may  an 
individual  whose  face  is  rather  thin  be  presented  as  decidedly 
hatchet-faced,  while  the  likeness  otherwise  remains  so  good  as 
to  cause  ready  recognition. 

While  experimenting  in  this  direction,  the  photographer 
will  not  fail  to  notice  what  striking  and  novel  effects  can  be 
obtained  when  a back  view,  either  wholly  or  partially,  of  the 
sitter  is  focussed  upon  the  ground  glass.  If  any  readers  who 
adopt  the  practice  of  photographic  portraiture  as  dilettanti 
rather  than  as  professionals,  will  occasionally  deviate  a little 
from  the  regular  habit  of  photographing  their  friends  full  or 
three-quarter  face,  and  try  instead,  say,  a full  or  three-quarter 
back  view,  it  will  form  aH  agreeable  modification  in  the  routine 
of  their  practice. 

• Photographic  Times, 


December  7,  1883.] 


THE  PHOTOGRAPHIC  I7EW8 


781 


The  method  which  we  have  just  described  of  rotating  the 
sitter  in  relation  to  a single  lens  camera  is  one  equally  sound  in 
principle  as  easy  in  practice  for  producing  true  stereoscopic 
effect  in  portraiture.  But  it  must  be  noted  that  the  stereo- 
scopic effect  is  confined  to  the  sitter  only,  and  has  no  relation 
to  him  (or  her)  and  the  background.  For  this  reason,  the 
practice  of  stereoscopic  portraiture  by  the  means  described 
should  be  confined  to  busts,  and  the  backgrounds  should  be 
quite  plain. 


&0msg0n&mE. 

IIOW  TO  INCREASE  THE  PROFITS  OF  THE 
PHOTOGRAPHER. 

Sir, — In  common,  probably,  with  many  others  of  your 
subscribers,  I hailed  with  delight  the  appearance  of  Mr. 
Barnes'  article  in  your  last  issue  on  “ Photographic  Profits, 
and  How  to  Increase  Them.”  Though  I have  had  nothing 
much  to  complain  of  this  autumn  in  the  way  of  business, 
I naturally  look  forward  to  a diminution  of  receipts 
during  the  next  few  months,  and  any  method  of  increasing 
one’s  returns  should  be  acceptable  to  the  photographic 
fraternity.  All  should  uaite  in  devising  means  by  which 
the  business  aspect  of  photography  may  be  improved. 

A Gratified  Reader. 

HOW  THE  “ CHITTYWEE ” WAS  TAKEN. 

Dear  Sir,  — l do  not  know  why  “ C.  R.  T.’’  sends  you 
another  letter  after  the  decision  of  the  Newcastle  on-Tyne 
jury.  His  question,  as  it  appears  in  your  columns  of  the 
16th  ult..  was  that  he  “ should  much  like  to  know  had  the 
paragraph  1 1 was  unable  to  say  positively  if  there  was  more 
water  than  sky,  or  more  sky  than  water,  or,  in  fact,  any- 
thing at  all  . . . however,  as  I say,  it  turned  out  all 

right,’  been  appended  to  Mr.  West’s  exhibit,  would  the 
judges  have  looked  upon  it  as  a work  of  skill?  ” 

'ITie  account  “ How  the  Chittyuree  was  taken  ” appeared 
in  a still  earlier  number  of  the  Photographic  News.  1 
have  not  a file  by  me,  so  I cannot  give  the  exact  da'e  : the 
jory  at  Newcastle  did  not  make  their  award  till  the  23rd 
ult.,  and  with  the  facts  before  them,  they  voted  Mr.  West 
a silver  medal.  So  that  “ C.  R.  T.”  is  informed  on  the 
point  he  told  us  “he  should  much  like  to  know.” — Yours 
truly,  “ Pauiam  qci  meruit  ferat.” 


Dear  Sir, — Your  correspondent  “ C.  R.  Y.”  formerly, 
but  now  “U.  R.  T.”  evidently  wants  the  opinion  of  your 
readers  as  to  what  the  judges  at  the  late  Exhibition  would 
have  done  if  Mr.  West  had  appended  to  his  picture  in 
question  certain  words  which  he  states.  I suppose  the 
point  really  is,  “ Does  not  Mr.  West’s  admission  make  his 
work  a mere  bit  of  chance,  devoid  of  skill  ? ” For  my  part 
I regret  that  your  correspondent  picked  out  a few  lines  in 
the- very  interesting  account  Mr.  West  favoured  your 
readers  with  of  his  adventure  on  August  11th.  I look 
upon  that  account  as  a veiy  modest  statement  by  a clever, 
practical  man,  and,  taken  as  a whole,  as  it  should  be,  it 
contains  nothing  whatever  derogatory  to  the  result  which 
1 judge  is  the  product  of  a skilful  hand.  The  confession, 
“ I was  unable  to  say  positively  if  there  was  more  water 
than  sky,  &c.”  U,  appears  to  me,  perfectly  natural,  and 
fully  justified  by  what  follows  : inleed,  the  marvel  is  how, 
under  these  circumstances,  he  could  have  expressed  himself 
otherwise. — Faithfully  yours,  J.  Kay. 


Dear  Sir, — The  fluke  theory  sta-ted  by  “ C.  K.  T.” 
appears  so  much  like  carping,  that  1 do  not  think  it  is’ 
necessary  to  enter  iuto  it  further  than  by  saying  the  Chitty- 
uree  is  only  one  out  of  about  200  yachts  taken  by  me 
successfully  this  season,  the  majority  of  which  were  in 
rough  water,  and  all  from  the  boat. — Yours  truly, 

A.  J.  West. 


froffi&tngs  ot  gocietiet. 

Los dos  ax'd  Provincial  Photographic  Association. 

A meeting  was  held  on  the  29th  ult.,  when  the  chair  was 
occupied  by  Mr.  W.  M.  Ashman,  who  read  a letter  from  Mr. 
A.  L.  Henderson  stating  that  having  made  some  important 
experiments  within  the  last  few  days,  he  had  decided  to  with- 
draw the  prize  he  offered  some  time  ago  for  the  discovery 
of  a safe  and  suitable  light  for  the  dark-room. 

Mr.  W.  E.  Debenham  exhibited  a paraffine  lamp,  having  four 
sides,  glazed  with  different  media,  for  filtering  the  rays  of  light 
used  in  the  dark-room.  No.  1 consisted  of  two  thicknesses  of 
orange  paper  over  one  thickness  of  cathedral  green  glass  ; No.  2 
was  glazed  with  two  ruby  or  red  glasses ; No.  3 with  ruby 
flashed  on  orange  pot  metal  ; No.  4 with  red  glass  and  oraDge 
paper,  the  two  latter  being  considered  by  many  to  be  a safe 
media.  Plates  were  shown  which  had  been  exposed  simul- 
taneously behind  similar  negatives,  at  a distance  of  eight 
inches  for  twelve  minutes,  an  image  being  formed  in  each  case  ; 
No.  1 being  scarcely  discernible,  No.  2 well  developed,  No.  3 
and  4 intermediary.  He  found  no  difference  in  these  results, 
whether  the  emulsion  contained  an  iodide  or  not,  and  from  his 
experiments  it  would  be  seen  that  ruby  glass  as  a filtering 
media  was  not  only  the  most  prejudicial  to  health,  but  most 
unsafe  to  sensitive  films,  and  unpleasant  to  the  sight. 

Mr.  F.  York  asked  Mr.  Debenham  if  his  No.  1 would  be  safe 
' in  daylight,  or  would  it  be  necessary  to  add  more  paper. 

Mr.  Debenham  replied  that  very  much  depended  on  the 
| source  and  power  of  the  daylight ; in  a strong  light  more  would 
j be  required  ; but  a relative  proportion  of  the  two  mediums 
| would  be  better. 

Mr.  W.  H.  Press  wich  preferred  using  a small  light,  thus  re- 
quiring less  obstruction  than  a larger  one. 

Mr.  W.  Coles  wished  to  know  if  yellow  glass  would  'answer 
as  well  as  the  opaque  paper. 

Mr.  Debenham  replied  that  the  object  of  using  paper  wa3  to 
obtain  a better  light  by  diffusion,  an  opinion  supported  by  the 
chairman  and  other  members. 

Mr.  Cowan  exhibited  a camera  lent  by  Mr.  Shuter.  It  was 
an  ordinary  Meagher  altered  some  six  years  ago  to  avoid  the  in- 
convenience of  loose  screws,  Ac.  Firstly,  the  slotted  bars  were 
much  longer  for  rapid  adjustment  and  rigidity,  capable  of  falling 
down  at  the  sides  when  the  instrument  is  closed ; secondly, 
adjustment  of  the  swing  movement  sideways  governed  by  a 
pinion  ; thirdly,  the  sliding  fronts  were  fitted  with  racks,  firmly 
fixed  in  position  by  means  of  a stud.  For  greater  compactness 
and  to  avoid  injury  to  other  apparatus,  the  flanges  were  sunk 
level  with  the  surface  of  each  front. 

Mr.  W.  T.  Wilkinson  passed  round  a print  to  illustrate 
mounting  without  cockling,  the  mountant  used  being  composed 
of  best  glue  one  pound,  soaked  in  a small  quantity  of  water  until 
soft,  then  well  churned,  and  mixed  with  one  pint  of  methylated 
alcohol.  He  (Mr.  Wilkinson)  laid  great  stress  on  churning  the 
glue,  after  which  the  mixture  was  said  to  keep  for  months. 

Mr.  Cole  showed  a negative  which  had  been  intensified  by 
means  of  citric  acid,  pyrogallol,  and  silver  ; the  portion  which 
had  been  exposed  to  light  had  turned  brown. 

Mr.  Debenham  thought  that  pointed  to  the  necessity  of  again 
putting  such  plates  into  the  hyposulphite  bath  after  intensifica- 
tion. 

Mr.  A.  Mackie  said  that  ammonia  sulphate  of  iron,  eithfr 
with  or  without  alum  or  acid,  would  be  found  useful  in  givirg 
strength  to  gelatine  negatives,  especially  if  followed  by  a flow  of 
mercuric  chloride  solution,  no  blackening  with  ammonia  being 
necessary  unless  much  density  be  requisite. 

Mr.  E.  J.  Golding  banded  round  two  8 by  6 transparencies  of 
an  intensely  rich  ruby  colour.  They  were  produced  by  contact 
on  gelatino-chloride,  emulsified  cold.  The  exposure  was  twelve 
minutes,  and  the  developer  ferro-citro-oxalate. 

The  Chairman  considered  that  richness  of  tone  could  only  be 
obtained  by  resorting  to  a slow  emulsion.  Two  very  beautiful 
gelatino-chloride  pictures  on  opal  had  been  sent  to  the  meeting 
by  Mr.  R.  Offord  ; but,  unfortunately,  the  details  cf  production 
had  been  omitted. 

Mr.  York  mentioned  tiiat  to  obtain  a nice  smooth  surface  on 
opal  with  the  gelatino-chloride  process,  it  was  important  to  wq  e 
off  the  superfluous  water  by  means  of  a wet  chamois  leather. 

Messrs.  C.  Darker  and  F.  Leunig  were  elected  members. 

1 The  Chairman  announced  that  on  Thursday,  December  13th, 


782  THE  PHOTOGRAPHIC  HEWS.  [Decembeh  7,  1883. 


Mr.  A.  L.  Henderson  will  demonstrate,  as  far  as  circumstances 
will  permit,  his  method  of  producing  “ Ceramic  Enamels.” 


Liverpool  Amateur  Photographic  Association. 

The  annual  meeting  was  held  on  the  29th  ult.,  Mr.  B 
Boothrovd,  President,  in  the  chair. 

The  minutes  of  the  October  meeting  having  been  read  and 
confirmed,  Messrs.  F.  Evans,  R.  R.  Gibbs,  and  J.  Toby,  were 
elected  members  of  the  Society. 

The  Hon.  Secretary  read  the  annual  report  as  follows  : — 

In  presenting  their  report  of  the  Liverpool  Amateur  Photo- 
tographic  Association  for  the  year  1883,  the  President  and 
Council  are  glad  once  again  to  be  in  a position  to  congratulate 
the  members  on  the  success  which  has  crowned  their  efforts 
to  promote  the  usefulness  aad  welfare  of  the  Society. 

Since  the  annual  meeting  of  last  year  thirty-two  new  members 
have  joined  the  Association.  There  have  been  eight 
resignations  ; and  death  has  deprived  us  of  two  ordinary  and 
one  honorary  member.  In  Mr.  W.  H.  Wilson  the  Society  has 
lost  one  of  its  oldest  members  and  warmest  friends  ; and  al- 
though Mr.  G.  F.  Chantril  had  but  recently  joined  our  ranks 
when  his  death  took  place,  his  face  was  familiar  to  most  of  us, 
and  his  long  and  earnest  devotion  to  other  departments  of 
scientific  work  gave  good  promise  of  a useful  membership  of  our 
Association.  Mr.  Keith,  in  days  gone  by,  manifested  a warm 
interest  in  our  work,  and  was  ever  ready  to  give  his  advice  and 
co-operation  to  the  fullest  extent. 

The  numbers  of  members  on  the  books  at  the  close  of  each  of 
the  last  five  years  are  as  follows  1879,  67  ; 1880,  71  ; 1881, 
78;  1882,  93  ; 1883,  115. 

The  meetings  of  the  past  year  have  been  very  well  attended, 
and  the  following  is  a list  of  papers  and  their  readers  : — “ From 
Treves  to  Hanover,”  by  J.  H.  T.  Ellerbeck  ; “ Celestial  Photo- 
graphy,” by  R.  C.  Johnson,  F.R.A.S. ; “ Hydrokinone  as  a 
Developer,”  by  E.  Banks;  “Practical  Aids  to  Instantaneous 
Photography,  by  R.  Crowe  ; “ Notes  by  a Peripatetic  Photo- 
grapher,” “ An  Autumn  Ramble  in  Shropshire,”  by  Rev.  H.  J 
Palmer,  M.A  ; “Photography  in  the  High  Alps,”  by  W.  F. 
Donkin,  M.  A.;  “Conway,”  by  J.  A.  Forrest ; “Knutsford,”  by 
A.  W.  Beer. 

Demonstrations  have  been  given  by  Mr.  Adams  of  a process 
for  reducing  the  density  and  increasing  the  brilliancy  of 
negatives,  and  by  the  Rev.  H.  J.  Palmer  on  enlarging  with  the 
new  enamelled  gelatino-bromide  paper.  Exhibits  of  objects  of 
photographic  interest  have  been  produced  at  the  meetings  by 
Messrs.  Atkins,  Banner,  Banks,  Beer,  Boothroyd,  Crowe,  Donkin, 
Ellerbeck,  Forrest,  Haworth,  Kenyon,  Kirkby,  Maycock, 
Phillips,  Rutter,  Rogers,  Twigge,  Tyrer,  Wood,  and  Wynne. 
Donations  to  the  library  have  been  made  by  the  Revs.  G.  J. 
Banner  and  Palmer,  and  by  Messrs.  Wharmby  and  Ellerbeck. 
The  Hon  Secretary  has  received  contributions  of  prints  for  the 
Society’s  exhibitions  from  Messrs.  Crowe,  Craddock,  Ellerbeck, 
Forrest,  Kirkby,  Palmer,  Pierce,  and  Tyrer. 

A most  successful  excursion  was  made  to  Conway,  and  the 
members  mustered  in  large  numbers  on  this  occasion  to  enjoy 
the  splendid  hospitality  of  Mr.  L.  Hughes.  Later  on  in  the 
year  another  social  meeting  was  held  at  the  house  of  Mr. 
Boothroyd,  at  Southport,  and  that  gentleman’s  hospitable 
welcome  made  ample  amends  for  the  unpropitious  state  of  the 
weather.  Mr.  Beer  conducted  a party  of  members  on  a pleasant 
ramble  to  Knutsford  and  neighbourhood,  in  the  month  of  April. 

The  Association  took  its  usual  prominent  part  in  providing  an 
exhibition  of  pictures  and  a lecture  on  a popular  subject  for  the 
delectation  of  the  visitors  to  the  Soiree  of  the  Associated 
Scientific  Societies  of  Liverpool ; and  at  Southport,  during  the 
visit  of  the  British  Association,  a very  fine  display  of  works  by 
members  of  our  body  was  made  in  the  great  hall. 

Th  Council  have  decided  upon  presenting  to  each  of  the 
members  entitled  to  it,  an  enlargement  of  a negative  of  “ The 
Gorge  of  La  Baie  Montreux,  Switzerland,”  by  the  Rev.  H.  J. 
Palmer.  Should  it  be  possible  to  execute  the  presentation  print 
for  this  year  upon  enamelled  gelatino-bromide  paper,  the 
Council  intend  to  offer  members  the  choice  of  an  enlargement  of 
the  four  negatives  by  Messrs.  Beer,  Kirkby,  and  Palmer,  which 
were  selected  by  the  Council  as  suitable  for  enlargement  for  the 
presentation  print.  These  were  “ La  Baie,  and  the  Portal  of 
Chartres,”  by  the  Rev.  H.  J.  Palmer  ; “ York  Minister,’’  by  Mr. 
Beer  ; and  “Tired,”  by  Mr  Kirkby. 

The  annual  competitions  have  been  productive  of  much  useful 
emulation  among  the  members,  and  have  tended  greatly  to  raise 


the  standard  of  excellence  of  the  photographic  work  of  the 
Society. 

The  Library,  which  has  now  been  at  the  disposal  of  the 
members  for  a year,  has  proved  of  valuable  service  to  many, 
thanks  in  a great  measure  to  the  labours  and  kindness  of  the 
librarian,  Mr.  J.  H.  Day. 

The  thanks  of  this  Association  are  due  to  the  Library, 
Museum,  and  Arts  Committee  of  the  Corporation  of  .Liverpool, 
for  the  use  of  the  room  in  the  Free  Library;  to  the  Photo- 
graphic Society  of  Great  Britain  for  copies  of  the  Journal ; and 
to  the  Liverpool  Engineering,  Microscopical,  Field  Naturalists’, 
Philosophical,  Philomathic,  and  Geological  Societies,  for  copies 
of  the  annual  report  of  their  proceedings  and  transactions. 

The  Hon  Treasurer,  Mr.  E.  Twigge,  read  his  report,  showing 
a balance  on  the  right  side  of  £23,  and  on  the  motion  of  the 
Chairman  both  reports  were  adoped. 

The  und< rmentioned  gentlemen  were  elected  as  officers  for 

1884  : — 

President : G.  A.  Kenyon,  M.  D. 

Vice-Presidents  : J.  H.  Day  and  A.  W.  Beer. 

Council:  H.  N.  Atkins,  W.  Atkins,  Rev.  G.  J.  Banner,  Rev. 
T.  B.  Banner,  Iv.  Bean,  B.  Boothroyd,  R.  Crowe,  W.  H.  Kirkby, 
P.  H.  Phillips,  B.  J.  Sayce,  E.  Twigge,  A.  Tyrer. 

Treasurer  : J.  II.  T.  Ellerbeck. 

Secretary : Rev.  H.  J.  Palmer. 

Rule  V.  was  altered  to  read  as  follows  : — “ Hon.  members  to 
be  annually  nominated  by  the  Council,  but  their  election  must 
be  confirmed  by  the  members  present  at  the  annual  meeting  in 
November.  Honorary  members  may  attend  the  meetings,  but 
cannot  serve  on  the  Council  or  vote  on  any  question  whatever.” 

The  following  gentlemen  were  then  elected  honorary 
members: — Messrs.  Banks,  Mawdsley,  Thompson,  and  the  Rev. 
J.  D.  Riley. 

The  Chairman  stated,  in  answer  to  a question  on  the  subject, 
that  two  gentlemen  already  on  the  Society’s  list  as  hon.  members, 
Messrs.  Guyton  and  Knott,  would  not  be  affected  by  the  change 
in  the  rule  involving  an  annual  election,  but  would  remain 
permanently  on  the  Society’s  list. 

A proposal  that  an  annual  dinner  of  members  and  honorary 
members  of  the  Society  should  be  held  in  lieu  of  the  ordinary 
meeting,  in  the  month  of  December,  was  carried,  and  the  20th 
of  December  was  the  day  appointed  for  the  festivity. 

Mr.  W.  H.  Kirkby  gave  notice  of  his  intention  to  propose  the 
following  alterations  of  the  rules  : — To  add  to  rule  2 the  words — 
“ to  he  elected  by  ballot,  one  black  ball  in  five  to  exclude  ; ” and 
to  alter  rule  5 to— “Honorary  members  shall  be  nominated  by 
the  Council ; but  their  election  must  be  confirmed  by  the 
members  of  the  Association  present  at  one  of  the  ordinary 
meetings.  The  election  both  by  the  Council  and  at  the  meeting 
to  be  by  ballot,  and  to  be  carried  by  the  majority  of  votes. 
Honorary  members  shall  retire  at  the  next  and  every  annual 
meeting,  but  are  eligible  for  re -election  on  the  recommendation 
of  the  Council.  Honorary  members  shall  be  entitled  to  attend 
the  meetings,  but  are  not  to  receive  the  presentation  print,  and 
shall  not  serve  on  the  Council  or  vote  on  any  question 
whatever.” 

The  Rev.  T.  B.  Banner,  and  Messrs  Pelham  and  Wharmby, 
the  judges  of  this  year's  competition,  announced  their  awards 
as  follows : — 

Subject.  Prize.  Honorable  Mention. 

Solitude P.  G.  Hall K.  Bean. 

Street  View A.  W.  Beer  R.  Crowe. 

Cottage J.  H.  T.  Ellerbeck  ...Rev.  H.  J.  Palmer. 

Labour  of  Love Rev.  H.  J.  Palmer...  J.  H.  T.  Ellerbeck. 

Marine  W.  II.  Kirkby A.  W.  Beer. 

Country  Life A.  W.  Beer  K.  Bean. 

Wild  Flowers Rev.  H.  J.  Palmer. ..J.  H.  T.  Ellerbeck. 

Reflections J.  H.  T.  Ellerbeck ...  P.  G.  Hall. 

Best  Series  of  Pictures... A.  W.  Beer  | } equal. 

Own  Plate Rev.  II.  J.  Palmer... W.  H.  Kirkby. 

Best  Picture  of  the  Year...P.  G.  Hall W.  II.  Kirkby. 

Mr.  Banner  added  that  the  judges  were  unaninous  in  con- 
sidering this  year’s  competition  pictures  above  the  average  in 
excellence.  , 

The  Rev.  H.  J.  Palmer  announced  that  the  Associated  Soiree 
would  take  place  on  the  19th  of  December,  and  hoped  that  the 
Society  would  have  a splendid  exhibition  this  year. 

Messrs.  J.  A.  Forrest,  Crowe,  Beer,  Guyton,  Paris,  and  White- 
man,  were  appointed,  with  the  Hon.  Secretary,  as  a hanging 
committee. 


Decembeb  7,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


783 


It  was  decided  that  the  February  meeting  should  be  a 
“popular  one,”  to  which  ladies  and  non-members  should  be 
invited,  and  that  there  be  a lantern  exhibition. 

Mr.  Kikkbt  exhibited  two  photographs  sent  by  Mr.  Westrup, 
taken  in  Fiji.  One  of  Levuka,  the  chief  town,  and  the  other  of 
a native  village,  with  tropical  foliage,  were  much  admired. 

The  Rev.  H.  P.  Palmer  brought  an  album  of  prints  of  his 
work  this  year  in  France,  Italy,  and  Switzerland. 

Mr.  Kirkis?  sLowed  a solution  of  green  fog — that  is,  an 
emulsion  which  had  given  plates  with  green  fog  to  a high  degree. 
It  had  been  allowed  to  decompose  and  deposit  the  silver  bro- 
mide. The  supernatant  liquid  exhibited  the  characteristics  of 
this  evil,  being  dichroic,  green  by  reflected  light,  and  pink  by 
transmitted  light.  Its  dichroic  character  was  destroyed  by  the 
addition  of  potassium  bichromate. 

The  meeting  resolved  itself  into  a conversazione , and  the 
remainder  of  the  evening  w.as  devoted  to  the  examination  of  the 
exhibition  of  the  competition  prints. 


Mk  in  tfre  jStubia. 

“About  Photography  and  Photographers,”  says  Nature, 
“is  the  title  of  an  interesting  gossiping  little  volume  by  Mr.  H. 
Baden  Pritchard,  published  by  Messrs.  Piper  and  Carter.” 

The  City  and  Guilds  Institute. — The  distribution  of  prizes, 
of  which  several  were  awarded  for  photography,  will  take  place 
at  the  Clothworkers’  Hall,  Mincing  Lane,  on  Monday  next.  The 
Lord  Mayor  will  take  the  chair  at  7.30. 

Two  Views  of  the  Same  Thing.— An  article  which  recently 
appeared  in  the  News  having  failed  to  give  satisfaction  to  one  of 
our  readers,  he  favours  us  with  the  following  interesting  calcula- 
tion. “ Supposing  1,000  of  your  subscribers  to  spend  ten  minutes 
each  in  perusing  the  article  in  question,  this  would  be  equal  to 
about  three  weeks  of  ono  person’s  working  time  spent  in  learning 
an  erroneous  mode  of  working.”  Curiously  enough,  several  sub- 
scribers have  communicated  with  us  as  to  the  considerable  value 
of  the  information  given  in  the  article  referred  to  by  our  discon- 
tented reader. 

The  Newcastle  Awards. — The  Hon.  Secretary  requests  us 
to  publish  the  following  amended  list  of  awards  : — Gold  medal 
(open) — H.  P.  Robinson,  Tunbridge  Wells,  for  No.  217.  Silver 
medal  (open)— West  and  Sons,  Gosport,  for  No.  216.  Figure 
Study  (open).  Silver  medals — 1st,  II.  S.  Mendelsshon,  London  and 
Newcastle,  No.  46 ; 2nd,  R.  Faulkner,  London,  for  No.  209. 
Members'  medals  (best  set  of  three) — 1st,  J.  P.  Gibson,  Hexham, 
for  Nos,  71,  75,  and  76;  2nd,  Mr.  Galloway,  Newcastle,  for 
Nos.  26  and  145 ; Certificate,  Mr.  Auty,  Nos.  7 and  59 ; A.  C. 
Swinton,  Nos.  214  and  219  ; Dodds  and  Robinson,  Nos.  15G  and 
170.  Best  Single  Landscape — 1st  ( Silver  medal),  J.  B.  Payne, 
No.  129;  Certificate,  J . Pike,  No.  207  ; Dodds  and  Robinson, 
No.  18;  Wm.  McLeish,  No.  282.  Best  Figure  Study — 1st 
(Medal),  II.  S.  Mendelssohn,  No.  11  ; Certificate,  L.  Sawyer, 
No.  256.  Mr.  Mating' s Medal — George  Borrows,  South  Shields, 
No.  36;  Certificate,  J.  W.  Robinson,  No.  151.  Special  medal — 
P.  M.  Laws,  for  photo-ceramics,  No.  201.  Special  Diploma  for 
Transparencies — England  Bros  , London. 

Collotype  Printing. — Mr.  James  Bradford,  writing  in  the 
English  Mechanic,  says  : — “ I experienced  some  ditticulty  in  my 
earlier  experiments  in  collotypic  printing,  as  the  film  would  not 
adhere  to  the  glass  ; but  directions  as  to  the  method  adopted  by 
Herr  Albert,  of  Munich,  which  I found  in  Pritchard’s  “ Studios 
of  Europe,”  enabled  me  to  work  the  method  with  success.’’ 

Address  to  the  Royal  Society. — Professor  Huxley,  in  his 
presidential  address  on  St.  Andrew’s  day,  referring  to  Hoggin’s 
photograph  of  the  corona,  said  “Last  December  Dr.  Huggins 
presented  a note  on  ‘ A method  of  photographing  the  solar 
corona  without  an  eclipse,’  which  had  so  far  proved  successful, 
under  the  favourable  circumstances  in  which  he  had  put  it  in 
practice,  as  to  lead  to  the  hope  that,  under  better  conditions  of  at- 
mosphere and  elevation,  the  corona  might  be  photographed,  from 
day  to  day,  with  so  much  accuracy  as  to  preserve  a clear  record 
of  the  changes  which  it  undergoes.  And  as  the  photographs 
taken  during  the  eclipse  at  Caroline  Island  show  a condition  of 
the  corona  intermediate  between  those  exhibited  by  Dr. 
Huggin's  photographs  at  periods  antecedent  and  subsequent  to 
the  Caroline  Island  observations,  there  is  reason  to  believe  that 
this  hope  is  well  based,  and  that  a new  and  powerful  method  of 


investigation  had  been  placed  in  the  hands  of  students  of  solar 
physics.”  Passing  to  the  Eclipse  expedition  to  Caroline  Island, 
he  said  : Iu  December  last  year  the  president  received  from  the 
Lords  of  the  Treasury  a letter,  addressed  to  their  lordships  by 
the  Lords  of  the  Committee  of  the  Privy  Council  on  Education, 
recommending  to  the  favourable  consideration  of  the  Treasury  a 
memorial  from  the  Solar  Physics  Committee,  suggesting  the  or- 
ganization of  an  expedition  for  the  purpose  of  making  observa- 
tions during  the  solar  eclipse  of  the  5th  of  May,  1883,  and  the 
president  was  requested  to  communicate  his  views  upon  the 
subject  to  the  Ireasury.  After  careful  consideration  the  presi- 
dent and  council  reported  in  favour  of  the  projected  expedition  ; 
but  they  added  that  they  did  so  on  condition  of  its  being  possi- 
ble to  find  some  one,  whose  position  in  the  scientific  world  would 
command  the  confidence  of  the  public,  to  take  charge  of  the  ex- 
pedition. Unfortunately,  for  one  reason  or  another,  none  of  the 
men  of  science  who  fulfilled  this  condition  were  able  to  go,  and 
at  the  meeting  of  council  of  the  18th  of  January  the  projected 
expedition  was  abandoned.  The  president  was,  however,  re- 
quested to  place  himself  in  communication  with  the  American 
authorities,  and  to  ascertain  from  them  whether  a photographer 
and  assistant  could  be  allowed  to  accompany  their  expedition  to 
Caroline  Island.  Qn  doing  so  he  at  once  received  an  invitation 
for  two  observers,  who  were  accordingly  sent  out,  their  expenses 
being  defrayed,  partly  by  a contribution  from  the  Government 
grant,  and  partly  by  a special  sum  of  £500  provided  by  the 
Treasury.  I am  indebted  to  Mr.  Lockyer  for  the  following  list 
of  photograph  taken  by  the  observers: — 1.  Six  good  photo- 
graphs of  the  corona,  exposures  varying  from  two  to  sixty 
seconds,  giving  coronal  detail  from  near  the  limb  to  end  of 
streamers.  That  the  limit  of  the  corona  has  been  photographed 
is  sho  ivn  by  the  manner  in  which  the  ltght  of  the  sky  has  im- 
pressed itself  on  the  plate.  2.  Three  large  photographs  showing 
the  details  of  the  corona  close  to  the  limb.  3.  Good  photo- 
graphs of  the  spectrum  of  the  corona,  showing  a great  number  of 
coronal  lines  and  very  faint  Fraunhoferic  lines.  4.  Photographs 
taken  on  a moving  plate  in  integrating  spectroscope  from  one 
minute  before  to  one  and  a half  minute  after  totality,  showing 
the  most  prominent  lines  of  the  reversion  spectrum.  These 
lines  belong  mainly  to  hydrogen.  5.  Photographs  taken  with 
first  order  granting  before,  during,  and  after  totality.  These 
show  H and  K,  near  the  limb,  throughout  the  whole  of  totality. 
6.  Photographs  taken  with  a dense  prism  spectroscope  before, 
during,  and  after  totality.  These  photographs  also  give  some  of 
the  prominent  lines  of  the  reversion  spectrum.  7.  Two  photo- 
graphs taken  in  the  prismatic  camera  on  plates  sensitive  to  ultra- 
red  rays.  Results  comparatively  indifferent  on  account  of  the 
absence  of  prominences.” 

Illuminating  Power  of  Ethylene. — At  the  last  meeting  of 
the  Chemical  Society  Dr.  Percy  Frankland  read  a paper  on  the 
above  subject.  He  finds  the  illuminating  power  of  the  gas  in 
question,  supposing  5 cubic  feet  per  hour  could  be  burned, 
to  be  63'5  candles.  The  illuminating  power  of  ethylene  when 
mixed  with  hydrogen  shows  an  almost  uniform  diminution  from 
08 '5  to  zero  when  90  per  cent.  II  is  used.  A mixture  containing 
25  per  cent,  of  ethylene  had  an  i.  p.  20  candles.  In  every  case 
the  i.  p.  of  mixture  of  ethylene  and  carbonic  oxide  wa3  found  to 
be  less  than  that  of  the  corresponding  mixtures  of  ethylene  and 
hydrogen.  With  marsh-gas  it  was  found  that  mixtures  rich  in 
ethylene  had  about  the  same  luminosity  as  those  containing 
hydrogen  and  carbonic  oxide,  but  that  the  i.  p.  of  mixtures  rich 
in  marsh-gas  greatly  exceeded  that  of  the  corresponding  mix- 
tures ivith  the  two  other  gases.  The  intrinsic  luminosity  of 
the  ethylene,  calculated  for  a uniform  consumption  of  5 cubic 
feet  per  hour,  continually  increases  as  the  percentage  of  marsh- 
gas  rises.  Thus  the  ethylene  in  a mixture  containing  92  per 
cent,  of  marsh-gas  gives  a light  of  175  candles  calculated  for  5 
cubic  feet  consumed  per  hour.  The  high  illuminating  power  of 
coal-gas,  considering  the  small  quantity  (4.51  per  cent.)  of  illu- 
minating hydrocarbons  that  it  contains,  is  probably  explained  by 
this  great  value  of  marsh-gas  as  a diluent.  The  explanation  of 
this  behaviour  of  marsh-gas  is  to  be  looked  for  iu  the  quantity 
of  heat  4develped  in  its  combustion. 

Fluid  of  High  Refractive  and  Dispersive  Power. — Herr 
C.  Rohrbach,  of  Leipsic,  has  lately  described  a method  of  pro- 
curing a fluid  having  extraordinarily  high  refractive  and  disper- 
sive powers.  100  parts  of  iodide  of  barium  are  mixed  with  130 
parts  of  scarlet  biniodide  of  mercury.  About  20cc.  of  distilled 
water  are  added  to  the  powders,  and  they  are  then  stirred  up 
with  a glass  rod  while  heated  in  a test  tube  plunged  into  an  oil 
bath  previously  warmed  to  150°  or  200o  C.  A fluid  double 


THE  PHOTOGRAPHIC  NEWS.  [December  7,  1883. 


784 


iodide  of  mercury  and  barium  is  formed,  which  is  then  poured 
into  a shallow  porcelain  dish  and  evaporated  down  until  it  ac- 
quires a density  so  great  that  a crystal  of  epidote  no  longer  sinks 
in  it.  When  cold,  even  topaz  will  float  in  it.  It  is  then  filtered 
through  glass-wool.  The  fluid  so  prepared  has  a density  of 
3'575_3'5S8,  boils  at  about  145°,  and  is  of  a yellow  colour.  Its 
refractive  index  is  1-7755  for  the  C line,  and  1-8265  for  the  E 
line  of  the  spectrum.  For  the  two  D lines  of  sodium  the  refrac- 
tive indices  are  1-7931  and  F7933  respectively.  So  great  is  the 
dispersion  that,  using  a single  hollow  prism  with  a refracting 
power  of  60°,  the  dispersion  between  the  two  D lines  is  almost 
exactly  2'  of  angle. 

Photographic  Club. — At  the  meeting  on  Wednesday,  Dec.  12, 
the  subject  for  discussion  will  be  “ On  Double  Printing  and 
Masking.”  On  Wednesday,  Dec.  19,  the  Annual  Dinner  will 
take  place  at  Anderton’s  Hotel,  Fleet  Street,  E.C.  Tickets  may 
be  obtained  of  the  Hon.  Secretary.  Early  application  should  be 
made. 


$0  Gomapon&mtJ. 

***  We  cannot  undertake  to  return  rejected  communications. 

F.  W.  B. — We  are  at  a loss  to  suggest  a reason  for  your  failur?, 
as  we  have  obtained  excellent  results  with  the  same  formula.  It 
is,  however,  possible  that  you  may  have  been  supplied  with 
“methylated  finish”  instead  of  “methylated  spirit.”  The 
former  is  a solution  of  a resinous  gum  (generally  sandarac)  in  the 
latter.  The  “finish”  may  be  sold  without  a licence,  and  may 
be  obtained  at  any  oil-shop,  while  the  spirit  can  only  be  obtained 
from  those  who  have  an  authority  from  the  Excise,  and  no  larger 
quantity  than  a gallon  can  be  purchased  without  a special  permit. 
When  the  “finish”  is  diluted  with  water,  the  resin  is  precipi 
fated. 

L.  Chadwick. — You  will  doubtless  be  able  to  obtain  both  articles 
from  Messrs.  Woodbury  and  Co.,  Java  House,  Manor  Road,  South 
Norwood.  2.  It  is  Rives  paper,  but  waterproofed  with  lac  and 
other  material. 

IIf.nky  Spink. — 1.  The  cheapest  arrangement  calculated  to  yield  a 
satisfactory  light  is  that  described  by  Mr.  Jarman  on  page  509  of 
our  volume  for  1881.  2.  Registration  is  not  satisfactory  in  such 

acase.  Why  not  wait  until  the  first  of  January,  and  take  out  a 
patent?  Provisional  protection  will  only  cost  £1,  while  for  £5 
you  will  secure  a patent  for  four  years.  3.  You  can  obtain  such 
troughs  made  of  zinc  at  Marion’s,  but  we  have  not  seen  any  made 
of  earthenware.  The  Silvertown  Company,  of  100,  Cannon 
Street,  would  make  them  of  ebonite,  but  we  fear  they  would  bo 
costly. 

W.  B.  G. — We  have  none. 

J.  T.  Smith. — Try  Barnard,  Artist’s  Colourman,  OxfordJStreet.  It 
is  nearly  opposite  to  Great  Portland  Street. 

G.  T.  C. — You  must  either  use  a smaller  stop,  o>-  employ  a lens  of 
the  rapid  rectilinear  or  symmetrical  type.  A lens  having  an 
equivalent  focus  of  about  44  inches  would  be  suitable. 

T.  Brown. — As  far  as  wo  can  form  an  opinion  from  the  somowhat 
scant  information  you  furnish,  we  should  suggest  that  the  skirting 
board  be  about  four  feet  high,  and  that  from  eight  to  ten  feet  of 
the  roof  be  glazed. 

Dagueruotype. — Immeise  the  plate  in  a ten-grain  solution  of 
potassium  cyanide,  and  allow  it  to  remain  until  the  stain 
disappears,  after  which  wash  well. 

James  Mackinnon. — 1.  We  have  heard  of  the  machine,  but  have 
never  seen  it.  You  will  find  a description  in  Ure’s  Dictionary  of 
Arts  and  Manufactures.  2.  A fine  paper  is  best ; we  have  used 
“Rives,”  and  found  it  to  be  satisfactory. 

Doubt. — The  neutral  salt  is  the  one  required  ; it  contains  two  equiva- 
lents of  potassium,  while  the  acid  oxalate  or  salt  of  sorrel  contains 
but  one  equivalent  of  this  metal.  There  is  another,  and  still  acid 
salt,  termed  the  quadroxalate.  Ths  most  convenient  method  of 
preparing  the  neutral  oxalate  is  as  follows.  A convenient 
quantity — say  two  pounds — of  commercial  carbonate  of  potassium 
(pcarlash)  is  dissolved  in  one  and  a halftimes  its  weight  of  water, 
and  the  solution  is  allowed  to  settle,  after  which  it  is  poured  off 
from  the  sediment  of  silicates  and  other  impurities.  The  clear 
solution  is  now  transferred  to  an  enamelled  iron  pan,  half  its  bulk 
of  water  is  added,  and  it  is  heated  to  the  boiling  point.  Crystals 
of  oxalic  acid  arc  now  gradually  added,  the  solution  being  well 
stirred  after  each  addition,  until  the  solution  just  reddens  blue 
litmus  piper.  The  liquor  is  now  strained  or  filtered  wh  le  hot, 
and  on  cooling  it  will  deposit  an  abundant  crop  of  crystals. 

Midoet. — Chrome  yellow  is  a chromate  of  Fad,  and  we  have  never 
heard  of  its  being  used  as  you  suggest.  Try  the  experiment,  and 
let  us  know  the  result. 

E.  Taverner. — We  should  recommend  you  to  have  it  thickly 
electro-plated  with  silver. 


Photo. — Write  to  Mr  George  Smith,  Sciopticon  Co.,  26,  Colbrooke 
Row,  Islington,  N. 

A.  P. — You  cannot  do  better  than  to  print  upon  Mr.  Cowan’s 
gelatino-chloride  plates ,'  you  can  obtain  them  from  Mr.  Werge, 
11a,  Berners  Street. 

Coli.odionist. — 1.  Infuse  it  for  some  hours  in  water  at  a temper- 
ature of  160°  to  170Q  F.,  and  drain  off  the  liquor  without  passing 
the  residue;  after  which  it  is  evaporated  to  the  consistence  of 
honey.  2.  As  far  as  we  know,  there  is  no  special  advantage  in 
so  doing,  but  many  persons  have  supposed  that  it  tends  to  give 
more  vigorous  pictures.  3.  About  one  ounce  to  eight  ounces  of 
water.  4.  It  has  probably  been  prepared  from  bones,  and  if  this 
is  the  case  one  may  expect  to  find  that  it  contains  notable  traces 
of  phosphate  of  lime.  This  compound  will  remain  as  ash  if  the 
gelatine  is  burned. 

Enquirer.— Epsom  salts  (sulphate  of  magnesia)  tends  to  harden 
the  gelatine  (or  rather  prevent  its  becoming  softened),  but  the 
effect  is  not  permanent,  as  when  the  magnesium  salt  is  washed 
away  by  a little  water,  the  gelatine  softens  just  as  rapidly  as  if 
no  Epsom  salts  had  been  used. 

Alfred  E.  Bragg. — No. 

Stationer. — 1.  It  is  by  no  means  a safe  plan  to  unmount  old 
prints  by  soaking  in  water,  with  a view  to  re-mounting,  as 
they  frequently  fade  rapidly  after  such  a proceeding.  It  would 
be  better  to  place  them  behind  cut-out  mounts.  2.  Why  not 
consult  a local  photographer,  as  it  is  quite  impossible  for  us  to 
form  an  opinion?  3.  Not  unless  you  are  exceptionally  careful, 
or  have  been  accustomed  to  work  of  this  character.  4.  Certainly 
it  would ; but  it  might  act  far  more  energetically  than  you 
suppose.  5.  Eight  has  no  action  upon  it  as  far  as  is  known  at 
present.  6-  It  fades  very  rapidly  under  the  circumstances 
7.  No.  8.  For  information  as  to  Stannotype,  write  to  Messrs. 
Woodbury,  Treadway,  and  Co.,  Manor  Road,  South  Norwood. 


t-Iit  piiotogntpliit  gfgistrrr. 

Employment  Wanted. 

Assistant  Operator  and  Retoucher. — W.  II.,  5,  Fort  Hill,  Margate. 

Paint  Enlargements  (Lady). — A.,  55,  Grovcdale-rd.,  Upper  Holloway. 
Operator,  first-class,  good  poser. — Z.  A .,  Photo.  News  Office. 

General  Assistant. — M.  R.  C.,  39,  North-end,  Croydon. 

First-class  lietouihor  (Lady). — H.  R,,  22,  Clyntone-st.,  Fitzroy-sq. 
Retoucher,  all  branches.— Retoucher,  44,  Park -St.,  Plymouth.’ 

Reception  Room,  Spotting,  See.  (Lady). — F.  W. , 1(5,  Ohryssell-rd.,  Brixton. 
Spotting,  Mounting,  Recep.  Room — L.,  1,  Woodside-ter.  .Gipsey-hill,  S.E. 
Operator  or  Manager. — H.  11.,  2,  Had  ion-villas,  Lordship-la.,  E.  Dulwich. 
General  Assistant  in  Wales. — Pyro.,  Mitchell’s, Forest -hill,  S E. 

Operator  and  Retoucher. — H.  O.  8.,  4,  Beatiice-villas,  Ossory-rd.,  S.E. 
Reception  Room  (Lady). — J.  R.  Sawyer,  Autotype  Works,  Ealing  Dene,  W. 
Ncg.  Retoucher  & Recep.  Room  (Lady).  — J.  Y.,  Photographic  News  Office. 
Assist.  Operator,  generally  useful. — U.  W.  P.,  138,  Union-rd.,  Boro’,  S.E. 
Retoucher  and  Operator,  first-class,  wet  or  dry. — S.  G.,  Photo.  Newt  Office. 

Employment  Offered. 

Operator  (dry-plate). — W.  H.  Midwinter,  49,  Park-st.,  Bristol. 

Retouchers  (two)  immediately  —J.  Edwards,  1,  Park  Side,  Hyde-pk.  Corner. 
Gelat.-Brom.  Enlargers  (2). — Goodhall  & Steven,  49,  Jamaica-st  .Glasgow. 
Artist  { drst-class)  for  Calcutta. — T.  E.  A.,  19,  Wigmorc-st , Cavendish-sq. 
Traveller,  experienced. — F.  B.,  Marion  and  Co.,  Soho-squore,  W. 
Retoucher,  first-class.— Manager,  Mavall’s,  15,  Grafton-st.,  W. 

General  Assistant  & Retoucher. — Berlin  & Collier,  83,  King’s-rd.,  Brighton. 
Lady  to  Spot  and  Assist. — Webster  Bros  , 4,  Porchester-rd.,  Bayswater. 
Quick  & careful  person  for  few  weeks — Turner  & Killick,  17,  Upper-st.,  N. 
Retoucher,  can  operate. — Brown,  Barnes,  & Bell,  31,  Bold-st.,  L’pool. 
Operator,  also  Assistant. — Gillman  and  Co.,  107,  St.  Aldate’s,  Oxford. 
Retouchers,  home  or  on  premises. — Gillman  & Co.,  107,  St.  Aldate’s,  Oxford 


A QUARTER  OF  A CENTURY 

OF  PUBLICATION. 


The  simple  fact  that  the  }Ifar-£5ooIi  of  ll^otofjraplijj; 
has  run  out  of  print  during  the  pant  two  years  within 
six  months  of  its  publication,  is  proof  sufficient  of  its 
popularity  and  wide  circulation,  and  Messrs.  Piper  and 
Carter,  in  announcing  its  appearance  for  1884,  need 
put  forward  no  better  claim  as  to  its  value  as  an  adver- 
tising medium. 

Intending  Advertisers  in  the  Hm-giooli  of  ^Ihofo- 
gvapby  aufr  Ubotograpbir  Uffos  gdntanac  should  com- 
municate with  them  at  once,  at  the  Office,  5,  Castle 
Street,  Holbokn,  London,  E.C.,  us  no  Advertisements 
can  be  taken  after  Vie  10  th  inst. 


SUPPLEMENT  TO  "THE  PHOTOGRAPHIC  NEWS"  7™  DECEMBER.  1803. 


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THE  PHOTOGRAPHIC  HEWS 


v-  ,«»•' 

\t\apj- 

A Modification  of  the  Alkaline  Developer  .\78jk 

Fire-Proof  Photographs  t\' 

Oelatino-Bromide  Paper  for  Positive  Pictures  7 S ft  " 

“ By-the-Bye ’’—flow  to  Copy  a Faded  Photograph  787 

The  Crayontype:  A New  Photo-Grain  Process,  By  Ad.  T. 

Eggis 789 

Abstract  of  Mr.  C.  Kay  Woods’  Lecture 789 

A Few  Remarks  on  the  Platinotvpe  Process.  By  \V . B.  Allison  791 
Notes 791 


Vot.  XXVII.  No.  1319. — December  14,  1883. 

CONTENTS. 


ntelligence 793 

'ping  Gelatine  Pe  ats.  By  E.  Brightman  794 

'o'to-I.ithography  and  Photo-Zincography.  By  Major  J. 

Waterhouse,  B.S.C 795 

Correspondence  796 

Proceedings  of  Societies  796 

Talk  in  the  Studio 799 

To  Correspondents 800 

The  Photographic  News  Registry 800 


A MODIFICATION  OF  THE  ALKALINE 
DEVELOPER. 

Our  readers  know  that  the  ordinary  developer  containing 
ammonia,  bromide,  and  pyro,  does  not  possess  permanent 
alkalinity,  for  its  strength  is  liable  to  vacations  on  keep- 
ing, on  account  of  the  first-named  constituent,  ammonia. 
Some  of  the  ammonia  gas  is  sure  to  find  its  way 
out,  and  the  solution  deteriorates  in  strength.  The 
necessity  for  the  presence  of  some  alkali  is,  we  need  scarcely 
tell  our  readers,  to  increase  and  to  hasten  the  reducing 
power  of  the  pyro.  The  re-agent  used  to  accomplish  this 
end  when  pyro  is  used  in  the  laboratory  for  determining  the 
quantity  of  oxygen  in  a gas  analysis  is  caustic  potash. 
As  long  ago  as  seven  years,  the  use  of  caustic  potash  in 
alkaline  development  was  discussed  by  Captain  Abney,  and 
we  have  been  able  to  successfully  develop  many  plates 
by  means  of  the  alkaline  hydrates,  but  we  wish  first 
to  point  out  what  may  be  important  applications  of  them. 
We  wish  to  show  how  these  hydrates  of  potash  and  soda 
may  be  turned  to  account,  while  those  who  prefer  the  use 
of  ammonia  may  still  have  the  pleasure  of  using  it. 

Caustic  potash  and  caustic  soda  are  more  powerful 
alkalis  than  ammonia,  aud  are  capable  of  turning  ammonia 
out  of  a combination.  If  caustic  potash  be  added  to  a 
solution  of  a salt  of  ammonium,  ammonia  is  set  free,  and 
may  be  recognized  by  its  smell. 

To  apply  this  to  purposes  of  development,  we  made  up 
the  following  solutions  : — 

Pyro  Solution. 

1£  grains  of  pyro  to  each  ounce  of  water. 

Bromide  Solution. 

Bromide  of  ammonium 35  grains 

Water  1 ounce 

Alkaline  Solution. 

Caustic  potash 20  ounces 

Water  ...  ...  ...  1 ounce 

The  last  two  solutions  are  calculated  to  be  of  the  relative 
strengths  necessary  to  form,  by  adding  them  in  equal 
proportions,  potassium  bromide  and  ammonia  by  double 
decomposition.  In  fact,  providing  the  chemicals  are 
pure,  if  the  relative  quantities  by  weight  of  the  two  com- 
pounds are  as  7 to  4,  there  should  be  neither  bromide  of 
ammonium  nor  caustic  potash  in  a mixed  solution  ; but  a 
s'ight  variation  in  the  chemical  purity  will  not  affect  the 
practical  result. 

Trying  this  first  on  a quarter-plate  that  had  received  the 
usual  exposure,  we  took  one  ounce  of  the  pyro  solution,  and 
ten  to  fifteen  drops  each  of  the  bromide  and  alkaline  solu- 
tions. The  image  came  up  quickly,  and  reached  good 
density.  By  varying  the  exposure,  and  with  it  the  propor- 


tions of  bromide  and  alkali,  we  were  also  able  to  get 
successful  results.  The  plates  we  used  registered  24  on 
Mr.  Warnerke’s  sensitometer,  and  gave  good  images.  It 
is  not  easy  to  give  a formula  which  will  suit  every  class  of 
plates,  and  each  manipulator,  of  course,  prefers  to  suit  his 
own  taste  in  this  respect ; but,  with  ordinary  exposures, 
good  results  may  be  obtained  without  using  the  alkaline 
solution  in  a larger  proportion  to  the  bromide  than  is 
necessary  to  produce  complete  double  decomposition.  A 
larger  proportion  of  the  caustic  potash  may  be  used  if 
required!  but,  in  that  case,  we  are  no  longer  using  the 
ordinary  developer. 

It  is  a question  mooted  now  and  again,  whether  we 
cannot  get  rid  of  the  use  of  ammonia  altogether,  aud  re- 
lieve photographers  of  the  inconvenience  arising  from  its 
fumes  during  development ; and  here  we  come  back  to  a 
matter  already  touched  upon,  the  use  of  caustic  potash  in 
place  of  ammonia,  no  ammonium  salt  being  used.  It  was 
in  this  direction  that  we  first  experimented,  and  with 
success.  The  following  was  the  formula  we  used : — 

Pyro  Solution. 

1 j grains  of  pyro  to  each  ounce  of  water. 

Bromide  Solution. 

Potassium  bromide  ...  ...  20  grains 

Water  1 ounce 

Alkaline  Solution. 

Caustic  potash  20  grains 

Water  ...  1 ounce 

To  one  ounce  of  pyro  we  take  fifteen  drops  of  potassium 
bromide,  and  commence  development  with  five  drops  only 
of  the  alkaline  solution,  adding  more  if  required.  This 
developer,  with  two  kinds  of  plates  on  which  we  have  used 
it,  gives  good  results,  but  more  pyro  stain  was  observed  than 
with  the  other  formula  given.  This  increase  of  stain  is 
also  a defect  of  the  potash  carbonate  developer,  but  it  may 
be  removed  by  an  application  of  the  clearing  solution  of 
alum  and  citric  acid.  We  have  not  yet  succeeded  in  get- 
ting green  fog  with  this  developer,  even  on  forcing  the 
development  of  an  under-exposed  plate ; a large  excess  of 
caustic  potash  only  brought  about  increased  pyro  stain. 
We  have  not  yet  tried  sulphite  of  soda  with  either  of  these 
developers. 


FIRE-PROOF  PHOTOGRAPHS. 

An  ordinary  carbon  print  is  permanent  in  the  sense  that 
the  pigment  of  which  the  image  is  composed  will  not  be- 
come changed  or  destroyed  by  many  of  these  agencies 
which  gradually  obliterate  a silver  print,  but  a photograph 
which  will  not  only  withstand  time,  light,  aud  moisture, 
but  also  fire,  is  permanent  in  a much  more  extended  degree. 


786 


THE  PHOTOGRAPHIC  NEWS. 


[December  14,  1883. 


Although  vitrified  as  enamel  photographs  on  porcelain  are 
permanent  in  the  extended  sense  referred  to  above,  they 
are  subject  to  the  very  considerable  disadvantage  of  being 
extremely  brittle,  and  consequently  very  liable  to  destruc- 
tion from  careless  handling. 

The  comparatively  recent  introduction  of  a fire-proof 
paper  made  of  asbestos  fibre  has  rendered  it  possible  to 
produce  photographic  pictures'which  unite  the  indestructi- 
bility of  ordinary  enamel  pictures,  together  with  nearly  as 
much  flexibility  as  belongs  to  an  ordinary  photograph  on 
paper. 

We  have  already  given  a detailed  description  of  the 
manipulations  incident  to  the  production  of  enamel  pictures 
by  the  dusting-on  method  (1882,  page  241),  and  more 
recently  we  presented  our  readers  with  a full  account  of  the 
substitution  method  as  now  practised  by  Mr.  Henderson  in 
the  production  of  his  admirable  photographs  on  enamel 
plates  (present  volume,  page  103),  and  it  is  therefore  not 
essential  for  us  to  now  enter  into  particulars  as  to  both  of 
these  methods ; but  we  may  mention  that  when  asbestos 
paper  is  adopted  as  a support  for  the  picture,  it  is  better 
to  adopt  the  substitution  method  than  the  dusting  process. 

The  paper  which  we  used  was  obtained  at  an  asbestos 
warehouse  in  Queen  Victoria  Street,  and  we  understand 
that  it  is  compounded  of 


Cotton  fibre  ... 
Asbestos 

Borax 

Alum 

Water 


1 part 

...  2 parts 

y Pai-t 

sufficient  to  form  a pulp. 


The  material  is  not  quite  white,  but  has  a faint  brown- 
ish tint,  nearly  corresponding  to  that  of  the  India  paper 
upon  which  proofs  of  engravings  are  ordinarily  printed. 
When  the  paper  is  heated  to  redness,  the  vegetable  matter 
burns,  aud  leaves  the  asbestos  fibres  only,  the  paper  losing 
a little  of  its  flexibility  at  the  same  time. 

The  method  of  making  fireproof  photographs  upon  the 
asbestos  paper,  which  appears  to  us  to  be  the  most  con- 
venient, is  the  substitution  method,  and  after  a suitable 
collodion  transparency  has  been  obtained,  and  the  film 
has  been  loosened  by  immersion  in  a mixture  of  1 part  of 
sulphuric  acid  and  10  parts  of  water,  it  takes  a few 
minutes  to  convert  the  image  into  silver  iodide  by  soaking 
in  a solution  made  by  dissolving  iodine  to  saturation  in  a 
20-grain  solution  of  iodide  of  potassium.  The  film,  by 
this  time  probably  separated  from  the  glass,  is  now  trans- 
ferred into  the  substitution  bath,  in  order  that  platinum 
may  take  the  place  of  silver  in  the  film  (see  p.  163). 


- Substitution  Bath. 


Platinum  tetrachloride... 

Tin  perchloride 

Hydrochloric  acid 
Silicate  of  potash... 
Acetate  of  lead 

Water  

Iodine  to  saturation 


..  5 parts 

..  30  „ 

..  960  „ 

..  20  „ 

..  40  „ 

..  8000  „ 


Less  than  ten  minutes  is  ordinarily  sufficient  time  for 
this  solution  to  do  its  work,  and  after  the  substituted  film 
has  been  placed  in  a vessel  of  clean  water,  it  is  necessary 
to  bring  the  sheet  of  asbestos  paper  carefully  underneath 
it,  and  withdraw  both  together.  All  that  now  remains  to 
be  done  is  to  dry  the  sheet,  and  to  fire  carefully  over  the 
flame  of  a spirit  lamp  or  a Bunsen  burner. 

The  following  fire-proof  ink  will  be  found  to  be  well 
adapted  either  for  retouching  or  for  writing  titles  to  the 
photographs  . — 


Platinum  tetrachloride 
Water 

Indian  ink  ... 
Gum-arabic  ... 

Oil  of  lavender 


...  5 parts 

...  64  „ 

...  15  „ 

...  1 part 

...  15  parts 


GELATINO-BROMIDE  PAPER  FOR  POSITIVE 
PICTURES. 

Third  Article. 

Paper  prepared  as  we  have  indicated  in  the  previous  arti- 
cles will  be  found  eminently  suited  for  the  production  of 
enlargements  up  to  or  within  any  reasonable  limits,  and 
it  is  questionable  if  any  other  process  is  capable  of  yield- 
ing such  good  results  with  so  little  labour  in  the  after 
process  of  touching  up  ; indeed,  so  perfect  arc  the  results 
obtained  from  suitable  negatives,  that  in  many  instances 
absolutely  no  woiking  up  is  at  all  needed.  Platinotype 
and  collodion  positives  produced  by  skilled  hands  are  pro- 
bably a near  approach  iu  fulfilling  this  condition  ; but 
allowing  the  same  degree  of  certainty  in  the  matter  of 
colour  and  cleanliness  of  working  to  be  an  established  fact, 
the  cost  of  production  would  necessarily  be  greater,  less 
work  can  be  done  in  a given  time,  and  the  s'zes  are  some- 
what limited  ; important  factors  to  be  considered  in  the 
determination  of  a practical  method  of  producing  en- 
largements either  by  development  or  direct  printing  from 
the  negative.  We  assume  the  ordinary  methods  of  en- 
larging are  familiar  to  most  of  us;  therefore,  to  recapitu- 
late all  the  details  would  be  considered  tedious  and  out 
of  place  here  ; still,  siilficient  may  be  said  to  interest 
those  who  are  conversant,  and  instructive  to  those  who  are 
not.  There  appears  to  be  very  little  doubt  existing  among 
practical  enlargers  that  a suitably  diffused  daylight  is 
preferable  to  artificial  light  in  any  form  for  the  purpose 
under  consideration.  Reflectors  made  of  cardboard  or 
white  paper  are  employed  by  some,  without  an  intermediary 
screen  ; but  there  is  less  light,  and  they  are  not  so  suit- 
able for  placing  in  the  open  air  as  the  silvered  mirrors. 

The  ordinary  dark-room  can  in  many  instances  he 
utilized  as  an  enlarging  camera,  provided  a sufficient 
quantity  of  daylight  can  be  admitted  through  an  aper- 
ture, either  iu  the  window  or  other  convenient  part  of  the 
room.  It  is  desirable  to  make  use  of  a northern  aspect 
when  practicable,  thus  obtaining  a more  even  and  constant 
illumination.  We  saw  a very  neat  way  of  carrying  out 
this  idea  recently.  One  of  the  coloured  panes  had  been 
removed  from  the  window  and  fitted  into  a frame  capable 
of  being  slid  in  or  out  at  will.  When  an  enlargement  is 
required,  the  carrier  containing  the  coloured  medium  is 
raised,  and  the  tail  end  of  a camera  attached  to  that  part 
of  the  sash  previously  occupied  by  the  pane  of  coloured 
glass,  a reflector  being  arranged  outside  the  darkroom 
window.  The  simple  contrivance  of  fixing  the  negative 
in  the  groove  reserved  for  the  dark  slide,  using  the  focus- 
sing arrangements  of  the  camera  to  regulate  the  size  of  the 
image  (for  the  nearer  the  negative  is  placed  to  the  lens  the 
more  magnified  will  be  the  enlargement,  as  everybody 
knows),  aud  erecting  a light  wooden  screen  square  with  the 
negative,  and  capable  of  travelling  on  rods  to  or  from  the 
camera,  for  the  purpose  of  focussing,  enabled  many 
dozens  of  enlargements  to  be  made  with  no  further  trouble 
than  we  have  detailed. 

Let  us  suppose  that  aa  arrangement  such  as  we  have 
described  has  been  already  constructed,  audit  is  not  quite 
clear  how  to  proceed  with  the  enlargement;  in  which  case 
we  ask  our  readers’  forbearance  while  a few  details  are 
enumerated.  Sensitive  paper  or  opal  plates  may  only  be 
exposed  with  the  utmost  care,  even  in  the  non-actinic  aud 
subdued  light  of  the  dark  room  ; hence  unpacking  should 
not  be  done  until  everything  else  is  ready.  We  have 
mentioned  that  the  cliche  should  be  arrange  I at  the  back 
of  the  camera,  and  between  the  objective  and  the  re- 
flector or  source  of  light,  and  as  the  distance  existing  be- 
tween the  objective  and  the  cliche  determines  the  size  of 
the  resulting  image,  it  only  remains  for  us  to  give  an  ex- 
ample. A quarter-plate  negative  is  placed  for  convenience 
upside  down  iuthe  carrier  previously  mentioned,  the  film 
side  being  placed  nearest  to  the  objective.  Let  us  sup- 
pose the  lens  to  be  one  of  four  inches  equivalent  focus, 


THE  PHOTOGRAPHIC  NEWS. 


787 


December  14,  1883.  | 


and  it  is  desired  to  enlarge  the  figure  four  times  ; then  the 
distance  existing  between  the  negative  and  the  lens  centre 
should  measure  five  inches,  and  the  distance  from  the  lens 
to  the  screen  for  supporting  the  sensitive  paper  should 
measure  twenty  inches.  In  general  practice,  however, 
lenses  of  greater  focal  length  are  employed,  which  often 
give  much  finer  results.  Probably  it  may  be  a matter 
of  opinion,  like  many  other  things,  or  even  a matter  of 
convenience,  which  particular  kind  of  lens  be  adopted  ; only 
when  using  lenses  of  longer  .focus,  this  important  fact  must 
not  be  overlooked — i.e.,  that  greater  distances  must  exist 
between  negative,  lens,  and  screen,  in  each  case  to  obtain 
the  same  sized  result.  Thus  : using  a lens  of  six-inch 
focus  (equivalent)  the  distances  in  each  case  would  be 
fifty  per  cent,  more  than  those  above  alluded  to,  and  in 
the  case  of  a lens  having  an  equivalent  focus  of  eight 
inches  the  distances  would  be  doubled — that  is  to  say,  ten 
inches  between  the  lens  centre  aud  negative,  and  forty 
inches  from  the  lens  to  the  point  of  focus  or  position  to 
be  occupied  by  the  sensitive  paper.  Arranging  the  dis- 
tances by  rough  measurement  approximately  as  above,  a 
sharp  image  can  be  quickly  focussed  on  a sheet  of  white 
paper,  to  be  afterwards  replaced  in  exactly  the  same  plane 
by  the  sensitive  gelatine-bromide  surface,  if  a cap  made 
of  two  thicknesses  of  yellow  orange  glass  be  placed  on 
the  lens,  the  image  may  be  focussed  directly  on  the  sensi- 
tive surface;  the  illumination  is,  however,  inferior  to 
actinic  light,  which  makes  it  a'l  the  more  difficult  to  as- 
certain when  an  image  is  really  sharp  ; as  a means  of  ex- 
amining, and  if  need  be  correcting,  the  position  occupied 
by  an  image  on  the  sensitive  material,  the  coloured  glass 
mediums  are  invaluable. 

Paper  enlargements  up  to  12  by  15  inches  may  be  con- 
veniently exposed  in  an  ordinary  glazed  printing-frame 
fixed  perpendicularly  at  a suitable  distance  against  a 
screen  or  other  support,  care  being  taken  to  select  a thin 
piece  of  glass,  free  from  scratches  and  imperfections,  so 
that  rays  of  light  passing  through  it  may  not  be  inter- 
cepted. It  is  also  a matter  of  importance  that  the  position 
of  the  frame  while  focussing  as  well  as  exposing  should 
be  parallel  to  the  negative,  or  the  pictures  would  not  be 
sharp.  A ready  means  of  ascertaining  whether  any  pic- 
ture is  “square”  with  the  original  is  the  old  plan  of 
measuring  the  four  corners  from  the  lens ; when  these 
distances  agree,  ceteris  paribus , satisfactory  results  may  be 
anticipated.  En  passant,  it  should  be  remarked,  that 
making  use  of  guides  or  travelling  rods  as  suggested  in 
an  earlier  portion  of  this  article  renders  measuring  un- 
necessary. 

Another  plan  which  will  commend  itself  to  many,  is  that 
of  exposing  wet.  This  is  done  by  soaking  the  sensitive 
paper  in  cold  water  the  shortest  possible  time  necessary 
to  render  it  pliable,  lowering  it  on  a glass  plate  of  larger 
dimensions,  gelatine  side  uppermost,  in  such  a manner  as 
not  to  produce  air-bells  or  other  inequalities,  all  other 
conditions  remaining  the  same,  except  developing,  which 
in  the  latter  instance  must  be  proceeded  with  at  once. 

Vignetting  is  a most  important  subject  to  mention,  for 
by  its  means  indifferent  negatives  may  yield  the  most 
charming  results;  moreover,  the  greatly  enhanced  effects 
obtained  are  in  no  way  proportionate  to  the  small  amount 
of  trouble  required  to  produce  them.  It  is  imagined  by 
some  of  those  photographers  who  have  never  tried  vignet- 
ting an  enlargement,  that  it  is  a difficult  matter  to  ob- 
tain a nice  gradation.  Such  is  not  a fact,  for  nothing  in 
photography  is  more  simple  ; all  the  apparatus  needed  to 
produce  the  finest  vignettes  being  a few  large  sheets  of 
cardboard  having  various  oval  and  other  shaped  openings. 
In  choosing  one  to  suit  any  particular  picture,  suspend  it 
from  two  parallel  wires  stretched  between  the  camera  and 
screen,  which  will  give  an  idea  of  the  size,  minus  blending ; 
attach  a lath  to  the  bottom  by  means  of  American  clips  ; 
let  two  knotted  cords  pass  through  the  centre  of  the  lath 
to  small  pulleys  equi-distant  traversing  in  opposite  direc- 


tions, and  terminating  in  a convenient  place  for  the  oper- 
ator. During  exposure  keep  the  mask  constantly  swinging 
to  and  fro  between  the  image  and  the  lens.  Some  oper- 
tors  recommend  the  interior  edge  of  the  mask  to  be  cut 
like  saw  teeth,  others  cover  the  hole  with  oiled  tissue 
paper,  and  prolong  the  exposure  ; but  we  never  found  any 
difficulty  in  working  with  a plain  opening.  The  margin 
must  be  sufficiently  large  to  protect  those  parts  desired 
white  from  any  stray  light,  even  of  a subdued  character. 
Before  quitting  the  subject  of  vignetting,  it  should  be 
mentioned  that  negatives  presenting  shadows  considered 
too  intense  for  enlarging  can  be  modified  to  any  exteut, 
either  by  shading  the  parts  during  exposure,  or  attaching 
a semi -transparent  medium  to  the  back  of  the  negative, 
such  as  papier-mineral,  likewise  over-exposed  negatives, 
wauting  in  force  in  the  lights,  will  give  vigorous  enlarge- 
ments by  resorting  to  the  expedient  of  covering  the  weak 
parts  with  semi-transparent  pigment  stippled  on  the  back 
of  the  negative. 

Hitherto  our  remarks  have  applied  to  daylight  for 
the  purpose  of  enlarging ; but  it  does  not  follow 
that  good  results  cannot  be  obtained  by  artificial 
light.  During  the  winter  months,  the  scarcity  of  good 
light  during  the  day  will  influence  many  in  favour  of  the 
latter  ; and  in  choosing  such  it  is  desirable  to  select  that 
which  emits  the  largest  quantity  of  actinic  light  with  its 
due  share  of  economy.  The  low  price  of  petroleum,  com- 
bined with  its  high  scale  of  actinic  rays  as  compared  with 
other  cheap  means  of  illumination,  renders  the  paraffine 
lamps  of  great  utility.  Duplex  or  triple-wick  burners 
answer  well,  and  may  be  used  with  or  without  a con- 
densing lens.  If  a condenser  be  employed,  it  should  in- 
terpose the  direct  reflected  rays  at  a point  about  one  iuch 
distant  from  the  negative,  its  province  being  to  collect 
all  the  rays  from  whatever  source  they  may  come  ; these 
upon  emergence  travel  in  straight  lines  through  the  ne- 
gative to  the  lens.  Those  who  do  not  care  to  be  at  the 
expense  of  a condenser  will  find  a substitute  in  ground 
glass  or  some  diffusing  medium  analogous  to  it.  Finely- 
ground  glass  placed  at  a safe  distance  from  the  frame  will 
give  a fairly  even  illumination  ; too  great  a distance 
should  not  be  attempted,  or  exceedingly  long  exposures 
will  be  the  result,  as  instanced  by  the  following  rule : 
the  power  or  intensity  of  light  decreases  in  the  same 
ratio  as  the  squares  of  distance  are  from  its  source. 

Contact  printing  means  backing  a negative  with  sen- 
sitive paper  similar  to  printing  with  albumenized  and 
silvered  paper,  as  in  the  ordinary  silver  printing  process, 
and  exposing  the  printing  frames  so  charged  to  light. 
The  short  exposure  necessary  renders  it  a matter  of  ex- 
treme difficulty  to  use  daylight  unless  it  be  very  much 
subdued  ; for  this  reason,  gas  or  a lamp  is  much  to  be 
preferred.  The  exposure  varies  considerably,  being  in- 
fluenced by  opacity  of  negative,  distance  from  source  of 
light,  and  rapidity  of  paper.  It  is  impossible  to  give  an 
adequate  idea  of  the  necessary  exposure,  on  account  of 
the  variability  of  the  conditions;  but  in  making  a trial 
print,  an  exposure  of  two  seconds,  one  foot  distant  from  a 
batswing  gas-burner,  may  be  considered  a fair  estimate. 

The  further  treatment  of  contact  prints,  as  well  as  en- 
largements, will  be  considered  in  the  next  article. 


Is-tMa:*. 

IIOW  TO  COPY  A FADED  PHOTOGRAPH. 
Certainly  one  of  the  most  unsatisfactory  tasks  a photo- 
grapher is  called  upon  to  perform  is  that  of  reproducing  a 
faded  photographic  portrait.  And  the  unsatisfactory 
nature  of  the  business  is  by  no  means  lessened  by  the  cir- 
cumstance that  he  is  sailed  upon  to  do  it  pretty  often, 
with  the  knowledge  , too,  that  in  years  to  come  the  calls 
will  be  still  more  frequent.  The  public  is  beginning  to  put 


788 


THE  PHOTOGRAPHIC  NEWS. 


[December  14,  1883. 


a great  deal  of  confidence  in  the  photographer.  A faded 
yellowish- brown  vignette  is  brought  into  the  studio  by  a 
sanguine  customer,  who  has  unlimited  faith  in  your  ability 
to  convert  it  into  a vigorous  portrait  of  deep  purple  tone 
with  shining  black  shadows,  and  soft,  milk-white  high 
lights.  “ I will  leave  it  all  to  you,”  says  the  smiling  caller, 
putting  the  shabby  little  carte  into  the  hauds  of  the 
hesitating  photographer  ; “ I know  your  work  very  well, 
and  am  always  satisfied  with  it.  Good  moroing.” 

The  photographer  looks  at  the  picture  that  has  been  so 
deftly  palmed  off  on  him ; he  examines  a few  dark  touches 
of  indian  ink — originally  the  colour  of  the  print — that 
appear  on  the  yellow  hair,  and  make  the  defect  it  was  in- 
tended to  cover  the  most  glaring  part  of  the  picture  ; he 
turns  the  portrait  over,  and  reads  on  the  mount  the  name 
of  a firm  that  has  been  dead  and  gone  these  twenty  years. 
It  is  evidently  no  use  trying  to  find  out  who  has  the  ori- 
ginal negative,  and  obtain  further  copies  of  the  portrait  in 
that  way.  There  is  no  help  for  it  but  to  undertake  a trying 
bit  of  work  in  the  full  knowledge  that  the  result  will  be 
unsatisfactory. 

And  now  as  to  setting  to  work.  Many  believe  that,  what- 
ever the  character  of  the  photograph  to  be  copied,  the  plan 
of  copying  need  never  be  varied.  The  picture  is  always 
pinned  up  precisely  in  the  same  spot,  and  no  matter  how 
the  lighting  is,  a plate  is  exposed,  developed,  and  intensi- 
fied always  in  like  manner.  The  wet  process  is  still 
generally  employed  for  copying,  and  it  cannot  be  denied 
that  it  presents  advantages  to  the  photographer  conversant 
with  the  process.  But  it  is  not  of  the  process  employed 
that  we  desire  to  speak  just  now — for  gelatine  and  collo- 
dion, as  our  readers  kuow,  have  qualities  that,  used  in  dis- 
cretion, aid  much  in  one  way  and  another — but  of  the  means 
to  be  taken  to  place  a picture  before  the  camera  in  the 
most  advantageous  manner. 

The  yellowish-brown  picture,  fortunately  for  the  photo- 
grapher, is  not  so  bad  as  it  seems.  Not  only  does  it  show 
all  the  markings  on  the  original  picture,  but  other  marks 
besides.  On  one  occasion,  we  remember,  we  succeeded  in 
producing,  besides  the  portrait,  the  written  lines  of  a letter 
in  which  the  portrait  had  once  lain ; the  merest  trace  of 
these  lines  could  be  seen  on  the  original,  but  in  the  copy 
the  written  words  were  as  well  defined  as  the  line3  in  the 
letter  could  well  be,  from  which  they  had  been  set  off. 

The  best  thing  to  do,  first  of  all,  is  to  examine  the  pic- 
ture with  a magnifier.  This  shows  defects  which  will  be- 
come very  apparent  in  the  case  of  an  enlargement  being 
desired,  and  unfortunately  it  generally  is  an  enlargement 
that  our  polite  caller  asks  for.  A glance  with  a magnifier 
shows  the  photographer  at  once  why  it  is  a copy  frequently 
comes  out  patchy,  uneven,  and  covered  with  a coarse  grain. 
In  some  parts  upright  paper  fibres  stand  forth  like  so  many 
bristles,  in  others  there  is  an  uncompromising  roughness  of 
the  surface  where  it  has  been  abraded  to  prepare  the  way 
for  the  retoucher.  If  the  light  strikes  the  picture  from 
one  side  during  copyiug,  the  shadows  of  the  fibres  must 
naturally  produce  an  effect,  and  it  is  this,  as  also  the  un- 
even reflecting  surface  of  the  print  (by  abrasion  of  the 
surface,  &c.)  that  gives  rise  to  grain  aud  mealiness. 

The  photographer,  having  recognized  the  shortcomings 
of  his  print  by  his  magnifier,  next  considers  how  he  can 
best  avoid  them.  He  wants  to  improve  the  surface  of  the 
print  to  the  utmost,  and  to  take  care  that  not  only  shall 
there  be  plenty  of  light,  but  that  it  is  thoroughly  broken 
up  during  exposure.  A German  photographer  some  years 
ago  suggested  a plan  for  doing  this,  which  we  used  re- 
peatedly, and  with  effect.  It  consisted  of  a tray-like  ap- 
paratus with  deep  shelving  sides.  These  shelving  sides 
were  of  bright  tin  or  tin-foil,  and  the  print,  being  placed 
at  the  bottom  of  the  tray,  and  then  set  up  for  copying, 
had  light  reflected  upon  it  from  all  sides.  With  a large 
p.cture  it  is  advantageous  sometimes  to  employ  a mirror  or 
pair  of  mirrors.  These  are  so  held,  during  the  exposure, 
that  a bright  light  is  thrown  over  all  aud  every  portion  of 


the  print  to  be  copied,  and  thus  causes  the  picture  to  be 
most  evenly  illuminated.  Obviously,  the  mirror  or  mirrors 
must  not  be  set  on  the  ground,  or  fixed  in  any  way,  else 
their  reflections  will  be  defined. 

But  it  is  the  difficulty  of  mending  the  reflecting  surface 
of  a retouched  and  much  worn  print,  wherein  the  stumbling 
block  is  mostly  to  be  found.  A sheet  of  patent  plate,  or 
even  thick  plate  glass,  may  frequently  be  employed  to  good 
advantage,  to  cover  the  picture ; only  in  this  case  care 
must  be  taken  to  avoid  false  reflections,  fo-  these  are 
sometimes  to  be  observed  if  glass  is  iu  front  of  the  picture. 
Let  the  plate  be  ever  so  well  polished,  and  ever  so  cleverly 
placed  in  regard  to  the  angle  of  reflection,  it  is  sometimes 
difficult  to  avoid  ghostly  images,  especially  if  the  glass  is 
new.  For  this  reason  we  advocate  old  glass,  for  tie  latter 
does  not  give  such  a marked  reflection.  Mr.  Francis  Gal- 
ton,  F.R.S.,  it  may  bo  remembered,  was  the  first  to  point 
out  this  ; he  did  not  know  why,  he  said,  but  he  had  ob- 
served repeatedly  that  double  reflections  were  always  more 
apparent  on  a new  mirror  than  an  old  one.  Therefore,  we 
say,  employ  old  glass,  but  see  that  it  is  free  from  scratches. 

You  must  get  your  print  close  against  the  glass,  in  opti- 
cal contact  if  possible.  Some  photographers  moisten  the 
print  to  be  copied,  and  secure  adhesion  with  a squeegee,  a 
very  good  plan  if  it  can  be  managed,  for  the  print  acquires 
a little  transparency  which  favours  the  copying.  Another 
way  is  to  proceed  as  you  do  when  you  mount  a print 
against  glass:  in  this  way  also  the  photograph  obtains  a 
certaindegreeof  transparency,  the  whites  becoming  opaline, 
and  the  Hacks  more  vigorous.  To  copy  in  these  circum- 
stances is  usually  more  advantageous  than  when  the  plain 
paper  print  is  set  up  without  any  previous  preparation 
than  that  afforded  by  a good  burnisher. 

Yet  another  plan  of  preparing  the  print  for  copying  has 
succeeded  in  our  hands,  which  we  may  here  mention.  It 
consists  in  covering  the  picture  with  a film  of  collodion. 
The  surface  of  the  print  is  first  rubbed  with  a tuft  of 
cottonwool  or  camel’s  hair  brush  to  remove  all  dust,  then 
any  mending  or  touching  that  has  to  be  done  is  effected, 
and  finally  the  collodion  is  poured  over.  A thin  normal 
collodion  is  best,  and  the  mounted  picture  is  taken  in  the 
fingers  and  coated  precisely  as  if  it  was  a glass  plate.  Cer- 
tain inequalities  all  over  thesutface  will  appear  during  the 
application  of  the  collodion  and  drying,  but  these  mottled 
markings  subsequently  disappear  again.  The  card  is  soon 
dry,  but  during  the  process  it  should  be  put  in  a safe 
place,  away  from  dust  and  dirt. 

As  the  picture  is  yellow,  and  the  collodion  film  some- 
times appears  yellow  too,  we  have  used  collodion  slightly 
tinted  with  blue — one  drop  of  pale  aniline  blue  will  suffice 
for  several  ounces — but  though  our  copies  were  satisfactory 
enough,  we  cannot  positively  asset  t that  any  good  accrued 
from  the  change  of  tint.  The  collodion  film  answers  the 
purpose  admirably  of  glazing  the  whole  surface  of  the 
picture,  and  thus  making  rough  and  smooth  places  alike 
before  the  camera.  Mealiness  disappears  almost  entirely 
upon  the  reproduced  negative,  and  the  retouched  portions 
of  the  picture  are  blended  in  a great  measure  into  the  rest 
of  the  print.  Naturally,  any  coarse  markings  upon  the 
print  still  show  up  prominently  through  the  transparent 
film  of  collodion,  but  these  are  covered  with  the  same 
glaze  that  is  over  the  rest  of  the  print.  In  this  case, 
obviously,  there  is  no  chance  of  false  reflections. 

If  the  faded  print  can  be  unmounted  and  waxed,  good 
copies  may  be  obtained  by  contact  printing  with  collodio- 
cldoride  plates,  the  films  being  well  fumed  -with  ammonia 
prior  to  exposure,  the  ammonia  impaiting  vigour,  which  is 
otherwise  lacking.  This  plan  has  the  advantage  that  every 
trait  in  the  original  print  leaves  its  mark,  and  when  it  is  a 
question  of  reproducing  impresdous  on  salted  paper,  where 
the  image  is  sunk  into  the  paper,  this  is  a point  of  some 
importance ; we  adopted  the  plan  successfully  not  long 
since  in  reproducing  some  old  pictures  of  the  Crimea.  No 
doubt  the  gelatiuo-chloride  process  would  answer  the 


December  14,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


789 


purpose  equally  well  in  securing  all  the  detail  of  the 
original,  while  its  rapidity  would  be  an  extra  advantage. 
Unfortunately,  the  original  picture  is  ruined  as  a print  by 
the  waxing  process,  and  hence  the  plan  cannot  be  generally 
adopted  by  the  every-day  photographer,  whose  customers 
usually  set  a high  value  on  the  faded  photograph  they 
bring  him. 


THE  CRAYONTYPE ; A NEW  PllOTO-GRAIN 
PROCESS. 

BY  AD.  T.  EGGIS. 

The  question  of  the  production  of  photo-mechanical  blocks 
for  typographic  uses  has  been  much  discussed  in  the  last 
volume  of  the  Photographic  News,  and  many  inventors  are 
still  occupying  themselves  in  researches  on  this  subject. 
This  is  a proof  that  though  fair  results  have  already  been 
obtained,  a thoroughly  practical  method  has  not  yet  been 
discovered  of  obtaining  a suitable  mechanical  grain. 
Many  of  the  specimens  which  have  appeard  in  the  Photo- 
graphic News  are  remarkably  good,  but  if  I except 
Sprague’s  ink-photo  process,  all  have  a rather  unpleasant 
aspect,  due  to  their  too  regular  grain.  Ives’  method  stands 
close  to  the  others,  but  the  regular  grain  it  produces  is 
rather  unpleasant  to  the  eye. 

My  intention  is  not  to  discuss  here  the  more  or  less 
merit  of  the  existing  processes;  I want  only  to  desciibe 
a few  experiments  which  the  little  time  I could  spare  as 
amateur  photographer  has  allowed  me  to  perform.  These 
will  perhaps  give  sufficient  hints  to  fellow-amateurs  or 
to  professionals,  to  lead  them  to  happy  and  complete  re- 
sults. 

This  process  gives  results  good  enough  to  have  allowed 
the  taking  of  a patent,  but  lfind  it  preferable  to  describe 
it  for  the  public  benefit.  I call  it  crayontype,  for  the 
images  it  produces  are  much  like  those  obtained  by  the 
artist  with  a lead  pencil  (crayon  in  French).  This  is  how 
I proceed.  I procure  or  produce,  to  begin  with,  a gelatine 
positive  on  best  plate  glass  (glace)  obtained  by  the  known 
ways,  in  reliefs.  The  highest  point,  when  dry,  should  not 
have  more  than  one  millimetre.  The  other  necessary  im- 
plements are  : 1st,  grained  (or  lined)  paper,  of  same  kind 
a3  is  used  by  the  artists  for  their  drawings  destined  to  be 
etched  ; 2nd,  a few  sheets  of  blue  or  black  transferring 
paper  (papier  h calquer — thin  paper  coated  with  a greasy 
substance  and  coloured)  ; 3rd,  a small  press.  Having 
these  at  hand,  I take  the  gelatine  positive,  lay  it  on  the 
stone  or  metal  table  of  the  press  : on  the  relievo  I place 
a sheet  of  transferring  paper,  the  prepared  face  turned 
upwards.  On  this  I lay  the  stippled  or  grained  autographic 
paper,  face  downwards,  touching  the  greased  sheet.  Over 
all  this  I place  a fine  polished  steel  sheet,  well  plaDed.  I 
put  the  whole  under  the  press,  and  slowly  pull  down  the 
lever  in  such  a manner  as  to  give  a smooth  and  graduated 
impression.  Afterwards  separating  the  whole,  I find  on 
the  grained  paper  a good  and  often  a perfect  stippled 
reproduction  of  the  gelatine  relief.  This  reproduction 
being  formed  by  a greasy  substance,  I am  able  to  transfer 
it  at  once,  directly,  on  stone,  for  lithographic  purposes, 
or  on  metal,  to  be  etched  in  the  usual  manner. 

The  production  of  such  an  image  will  be  easily  under- 
stood ; it  is  much  the  same  as  the  d-rect  drawing  with  a 
pencil  on  the  paper.  Instead  of  the  artist  pressing  more 
or  les3  bis  graphite  on  the  paper,  the  gelatine  relief  (which 
corresponds  to  the  lights  or  shadows  of  the  photo.)  p -esses 
more  or  less  on  the  paper,  and  gives  the  true  gradation 
of  the  original.  The  work  of  the  hand  is  mechanically 
imitated  very  closely  indeed.  The  crayontypes  present  a 
different  graua,  which  may  be  chosen  according  to  the  work 
to  be  done.  It  is  at  least  more  artistic  thau  the  usual 
regular  stippliug. 

As  far  as  I know,  this  process  is  new,  and  I imagine  that 
if  it  were  worked  with  care,  it  woul  1 yield  after  little 
practice,  very  satHactory  results. 


P.S. — Since  these  lines  have  been  written  I have  had 
opportunity  of  seeing  a few  specimens  of  Meisenbach’s 
blocks.  As  the  readers  of  the  Photographic  News  have 
been  able  to  ascertain  themselves  (by  fine  proof  issued 
with  recent  No.),  this  process  merits  none  of  my  critiques 
upon  the  unpleasant  aspect  of  mechanical  lining. 


ABSTRACT  OF  MR.  C.  RAY  WOODS’  LECTURE.* 
The  subject  of  the  remarks  I have  to  make  is  “ Photography  and 
Solar  Eclipses.”  What  I wish  to  do  is  to  explain  briefly  some  of 
the  most  important  problems  which  photography  is  looked  to  to 
solve,  and  by  what  means  this  is  being  done,  as  well  as  to  point 
out  some  of  the  principal  discoveries  which  have  been  already 
made  by  its  means. 

Without  going  into  all  the  astronomical  relations  affecting  the 
eclipse  of  the  sun  by  the  moon,  I will  just  note  one  or  two 
points.  Drawing  your  attention  to  this  diagram,  I first  ask  you 
to  note  that  we  have  here  three  bodies  varying  in  size.  The 
largest,  the  sun,  is  giving  out  light  from  every  part  of  his  sur- 
face ; part  of  this  light  is  being  intercepted  on  the  moon.  Now 
if  the  sun  could  be  regarded  as  a point,  we  should  have  a sharp 
shadow  a a'  cast  on  the  earth,  such  as  is  thrown  by  rays  coming 
from  the  point  A.  Taking  a point  15  on  the  opposite  edge  of  the 
sun’s  disc  we  shall  have  another  shodow  b b1,  but  some  part  of 
both  shadows  will  receive  light  coming  from  other  points  of  the 
sun.  We  have,  therefore,  a black  shadow  or  umbra  in  the 
centre,  and  a fainter  shadow  called  the  penumbra  surrounding 
it.  Now  an  individual  standing  on  a part  of  the  earth  in  the 
fainter  shadow,  as  he  receives  light  from  one  part  of  the  sun, 
and  no  light  from  the  other  part,  sees  the  sun  partially  eclipsed ; 
whilst  an  observer  in  the  dark  central  shadow,  receiving  no  light 
from  the  sun  at  all,  sees  that  body  totally  eclipsed  by  the  moon. 
A good  illustration  may  be  got  by  standing  in  a line  with  two  other 
individuals : the  person  farthest  from  you  is  eclipsed  by  the  one 
nearest  you,  unless  the  latter  individual  is  made  of  glass.  Now 
by  stepping  a little  to  one  side  the  central  person  will  only  par- 
tially eclipse  the  one  farthest  from  you.  To  return  to  the  case 
of  the  moon,  we  have  also  to  remember  that  that  body  is  moving, 
and  its  shadow,  therefore,  also  moves.  The  path  along  which 
the  dark  shadow  (the  umbra)  moves  is  called  the  line  of  totality, 
and  of  course  it  is  along  the  centre  of  that  (the  central  line,  as 
it  is  termed)  that  totality  lasts  longest.  This  will  explain  to  you 
why  a total  eclipse  i3  visible  from  some  parts  of  the  earth  only. 
The  angle  which  the  moon’s  disc  makes  with  the  eye  (I  need  not 
explain  that  term  to  photographers)  is  sometimes  a little  larger 
than  the  angle  formed  by  the  sun’s  disc,  and  sometimes  a little 
smaller.  In  the  latter  case  the  sun  is  not  completely  covered 
up,  but  a portion  of  it  is  visible  as  a ring,  forming  what  is  called 
an  “ annular  eclipse.”  It  is  only  when  the  sun’s  disc  is  com- 
pletely covered  by  the  moon  that  an  eclipse  is  of  any  particular 
value  to  astronomers. 

On  such  occasions,  structures  which  are  not  ordinarily  visible 
to  the  eye,  on  account  of  the  glare  of  the  atmosphere  due  to  the 
sun,  are  revealed  to  us,  and  we  are  able  for  a short  time  to 
study  them.  It  has  only  been  my  fortune  to  be  present  at  two 
such  phenomena,  but  as  you  would  rather  I should  tell  you  of 
what  I have  seen,  than  what  I have  heard  of,  I will  read 
to  you  a brief  description  of  each  phenomena. 

“ Our  encampment  was  a little  to  the  north  of  the  village  by 
the  side  of  the  river.  Our  instruments  were  erected  in  the  open 
air,  for  w-e  had  no  fear  of  rain,  and  our  chief  enemy,  “dust,” 
found  its  way  through  every  crevice,  and  the  open  roof  of  an 
ordinary  observatory  would  have  been  no  protection  against  it, 
and  only  the  sides  of  it  would  have  availed  us.  Our  Egyptian 
friends  had  imitated  this,  however,  by  surrounding  the  instru- 
ments with  a tall  hedge  of  rushes  placed  thickly  together.  Near 
this  little  enclosure  was  the  steamboat  on  which  we  took  our 
meals,  and  one  of  the  cabins  of  which  had  been  converted  into  a 
dark-room.  Near  this  again  w-as  the  dahabeah  placed  at  our  dis- 
posal by  the  governor  of  Souhag.  The  instruments  of  the  French 
observers  were  erected  a little  to  the  north  of  our  own,  and  the 
encampment  of  the  guard  of  soldiers  a little  to  the  south  of  us. 
Up  to  the  morning  of  the  eclipse  a line  of  tents,  a Nile  boat,  and 
a steamer  were  the  only  objects  to  denote  that  anything  unusual 
was  to  take  place.  But  on  the  famous  morning  the  place  as- 
sumed a livelier  aspect.  Many  dahabeahs  of  the  neighbouring 
gentry  came  and  anchored  by  the  shore;  the  villagers  of  Sohag, 

* Delivered  before  the  South  London  Photographic  Society. 


790 


THE  rHOTOGRArHIC  NEWS. 


[Decembih  14,  1883. 


who  had  been  told  what  was  to  take  place,  came  down  towards 
the  encampment.  Our  guard  kept  them  at  a respectful  distance 
from  ourselves,  and  they  grouped  themselves  on  the  sloping  bank 
in  the  face  of  the  sun,  looking  towards  the  eastern  side  of  the 
Kile,  their  bright  garments  forming  a pleasant  contrast  with  the 
glaring  yellow  sand.  At  last  the  moment  of  first  contact  ap- 
proached, and  we  had  already  begun  serious  work.  Even  at 
that  moment  we  were  not  able  to  suppress  a sense  of  the  ludi- 
crous brought  before  us  in  the  person  of  a certain  member  of 
the  party,  who,  not  having  gone  out  to  make  astronomical  ob- 
servations, volunteered  to  keep  guard  at  the  entrance  of  the  en- 
closure, for  we  knew  from  experience  that  the  Egyptian  soldiery 
were  not  to  be  trusted  in  such  a moment.  This  gentleman  was 
seated  on  one  of  the  cases,  a large  revolver  of  45  calibre  at  his 
side,  and  on  his  face,  which  was  usually  so  mild  and  pleasantly 
humourous,  the  most  grim,  bloodthirsty  smile  that  anyone 
could  call  up.  He  wanted  to  kill  a man,  I believe,  and  he  very 
nearly  had  a chance.  As  darkness  approached,  and  the  fright- 
ened poultry  rushed  into  the  enclosure  as  if  seeking  shelter  an  d 
sympathy,  a native  attendant  followed  them  to  drive  them  out. 
He  was  instantly  covered  by  the  revolver,  and  would  certainly 
have  suffered  but  for  the  timely  “Its  all  right!  ” of  one  of  the 
observers,  upon  hearing  which  our  vigilant  friend  dropped  his 
weapon.” 

“ The  encroachment  of  the  moon’s  disc  across  the  sun  was 
productive  of  the  utmost  alarm  amongst  the  crowd  of  Arabs  and 
Felaheen,  and  many  were  the  invocations  to  Allah  that  reached 
our  ears  in  the  shape  of  a monotonous  hum.  Smaller  and 
smaller  became  the  sun,  and  darker  and  darker  became 
the  atmosphere,  till  suddenly  the  moon’s  shadow  swept  over 
us,  and  coincident  with  the  commencement  of  totality  a cry 
went  up  from  the  crowd  of  spectators  at  seeing  the  sun's  light 
thus  suddenly  extinguished.  Considering  the  effect  of  the 
phenomena  on  those  hardened  by  science  and  the  knowledge  of 
its  meaning,  it  was  little  to  be  wondered  at  that  the  ignorant 
Egpytian,  prone  to  supersition,  showed  signs  of  fright  and  alarm. 
Hound  the  black  disc  of  the  moon  was  a fringe  of  blood  red 
dots,  and  extending  some  distance  were  brilliant  rays  of  light 
crossing  each  other  in  all  directions,  and  forming  the  most 
brilliant  crown  of  glory  that  can  be  conceived.  To  further  en- 
hance the  effect,  a scimitar-shaped  comet  was  seen  near  the  sun. 
The  atmosphere  seemed  suddenly  cooled,  and  the  objects  sur- 
rounding us  were  robbed  of  their  natural  hues,  and  bathed  in  a 
weired  glow  of  violet  light.  As  suddenly  as  the  rays  of  the  sun 
disappeared,  so  suddenly  did  they  reappear,  and  the  lifting  of  the 
moon’s  shadow  lifted  with  it  the  anxious  thoughts  that  from 
very  different  causes  had  hitherto  held  sway  over  observer 
and  spectator  alike.” 

The  eclipse  of  1883  was  also  a very  beautiful  one,  but,  seen 
with  such  verj  different  surroundings,  it  carried  with  it  a very 
different  effect.  The  features  of  a coral  island  seem  to  carry 
with  them  beauty  and  repose,  and  these  were  communicated,  as 
it  were,  to  the  corona  itself.  There  was  no  weird  colouring 
around  us,  few  prominences  on  the  sun  itself,  no  comet  to  add 
to  the  effect,  only  the  silvery  glory  of  the  corona  itself. 

I need  not  give  you  any  further  details  of  its  appearance  and 
effect,  having  brought  it  so  recently  before  photographers  in  the 
PnoTOGRAPHic  News.  There  were  only  a few  natives  on 
Caroline  Island  to  witness  the  eclipse,  and  the  only  opinion  we 
could  get  from  them  on  the  subject  was  that  it  was  “ no  good.” 

I may  mention  that  we  told  these  natives  to  keep  away  from 
the  encampment  during  the  momentous  event,  and,  to  ensure 
their  doing  so,  we  placed  sentries  to  keep  them  from  going  many 
yards  away  from  their  huts.  It  was  rough  on  the  natives,  maybe, 
and  looking  back  to  that  time,  there  is  rather  a touch  of  the 
ludicrous  in  the  stationing  of  several  men  armed  with  repeating 
rifles  to  keep  guard  over  four  men,  one  woman,  and  two  children 
with  no  warlike  implements  at  all.  And  yet,  after  all,  some  such 
precautions  are  always  necessary,  and  it  is  better  to  overdo  it 
than  not  do  it  at  all. 

One  of  the  earliest  attempts  at  photographing  the  corona  waa 
made  in  1851,  when  Dr.  Busch  obtained  on  a Daguerreotype 
plate  the  prominences  and  a small  portion  of  the  corona. 
Mr.  Kainyard,  in  his  elaborate  work  on  eclipses,  says 
of  this  photograph: — “It  is  by  far  the  most  valuable  record 
we  have  of  the  eclipse  of  1851.”  An  important  piece  of 
work  was  done  in  1860  by  Mr.  Warren  de  la  Rue  with  a photo- 
heliograph.  He  was  able  to  prove  that  the  prominences  were 
truly  solar,  as  portions  of  them  were  cut  off  as  the  moon  passed 
over  them.  In  1870,  Mr.  Brothers  obtained  at  Syracuse  the 
finest  photograph  of  the  corona  that  had  till  then  been  obtaiued. 


During  the  Indian  eclipse  of  1871,  some  exceedingly  beautiful 
photographs  were  taken  at  Baikul  and  Dodabetta,  by  Mr.  Davis, 
Mr.  Heunesy,  and  Captain  Waterhouse,  and  though  taken  at 
different  phases  at  totality,  and  in  different  places,  their  details 
were  identical,  tending  to  show  that  the  corona  is  not  a purely 
optical  phenomena. 

In  the  Egyptian  eclipse  of  1882,  the  photographic  work  of 
which  was  arranged  by  Captain  Abney,  only  three  instruments 
were  used,  these  three  being  mounted  on  a telescope  stand,  and 
driven  by  clockwork.  There  were  a long  camera  and  lens  of  five 
feet  focus,  which  would  give  us  an  image  of  the  sun  about  five- 
eighths  of  an  inch  in  diameter,  the  lens  used  being  the  front 
combination  of  a Dallmeyer’s  rapid  rectilinear  of  four  inches 
diameter  ; a camera  of  shorter  focus  mounted  with  a prism  in 
front  of  it ; and  a small  spectroscope  of  the  usual  form  used  for 
photographic  work.  I have  here  a photograph  of  these  instru- 
ments on  the  stand,  and  this  brings  to  my  mind  a little  anec- 
dote concerning  it.  One  member  of  the  party  invented  rather  a 
long  name  for  this  set  of  instruments.  Shortly  after  my  return 
home,  I had  to  send  away  a telegram  concerning  them,  and,  by 
way  of  economy,  I used  this  very  long  word.  The  young  lady 
who  took  this  telegram  over  the  counter  scanned  it  over,  but 
when  she  came  to  the  word  “ Tele-spectro-photo-heliograph,” 
lifted  up  her  head  and  her  voice,  recommending  me  to  take  my 
custom  somewhere  else  in  future,  and  I was  only  able  to  appease 
her  wrath  by  telling  her  that  it  should  not  occur  again. 

We  were  able  to  gel  some  very  pretty  and  very  useful  photo- 
graphs of  the  corona,  photographing  it  to  its  extreme  limits,  as 
was  shown  by  the  way  the  sky  was  impressed  on  the  plates. 
On  all  three  photographs  we  found  an  image  of  the  comet,  and 
were  thus  able  to  get  at  its  position.  What  is  more,  careful  ex- 
amination showed  that  the  comet  had  moved  an  appreciable 
distance  during  the  time  of  totality,  which  was  only  seventy 
seconds.  This  was  really  an  important  feat  for  photography  to 
accomplish. 

The  work  of  the  prismatic  camera  I must  go  into  at  a little 
greater  length.  You  know  the  principle  of  an  ordinary  spectro- 
scope. If  we  allow  ordinary  sunlight  to  fall  on  a prism,  we 
have  it  spread  out  into  a band  of  colours,  crossed  by  fine  dark 
lines.  If,  instead  of  ordinary  sunlight,  we  use  the  light  from  a 
spirit  lamp  moistened  with  common  salt,  instead  of  getting  a 
continuous  spectrum,  we  get  a bright  yellow  line.  If  wo  allow'  a 
beam  of  white  light  to  pass  through  sodium  vapour,  we  find  the 
sodium  vapour  will  absorb  the  very  kind  of  light  which  it  can 
itself  give  out.  We  can  extend  this  to  other  substances  ; in  fact, 
it  is  by  comparing  the  fiuc  black  lines  crossing  the  solar  spec- 
trum with  the  bright  lines  given  out  by  various  metals  that  we 
are  able  to  get  at  the  constituents  of  the  sun.  Turning  to  the 
diagrams  I have  here,  the  top  part  represents  a bright  line  spec- 
trum as  obtained  when  a slit  is  used.  If  a ring  instead  of  a slit 
is  used,  we  get  a series  of  rings ; but  with  a total  eclipse,  we 
have  the  ring  already  formed,  as  I can  show  you  here  by  placing 
this  disk  of  black  card- board  over  this  representation  of  the  sun 
and  its  surroundings.  The  sort  of  spectrum  we  get,  therefore, 
with  the  prismatic  camera  is  a series  of  rings  due  to  some  of  the 
substances  in  the  chromosphere,  and  a series  of  dots  due  to  the 
prominences. 

This  method  of  observation  had  been  pursued  in  several 
eclipses  previous  to  that  of  1882  ; but  it  was  during  the  eclipse 
in  the  latter  year  that  the  phenomena  thus  seen  was  photo- 
graphed amongst  some  of  the  results  ef  the  photos  taken  in  the 
prismatic  camera.  It  may  be  mentioned  that  many  of  the  promi- 
nences were  of  different  temperatures,  shown  by  the  different 
lines  they  gave  out.  The  prominences  were  also  photographed 
in  the  infra-red  and  ultra-violet  regions,  so  that  we  obtained  a 
permanent  record  of  more  than  could  be  seen  with  the  naked 
eye.  The  ordinary  spectroscopic  camera  with  the  usual  slit  was 
reserved  for  analyzing  the  corona,  and  some  very  interesting  re- 
sults were  obtained.  A number  of  lines  were  obtained  which  show 
that  in  addition  to  a small  amount  of  reflected  light,  the  corona 
has  very  distinct  lines  of  its  own.  Another  photograph  was  taken 
this  year  with  two  prisms  instead  of  one,  and  we  have  two  re- 
cords, therefore,  which  will  have  a good  deal  to  say  on  the  ques- 
tion resuscitated  by  Dr.  Hastings,  as  to  whether 'the  corona  is 
genuine,  or  whether  it  is  mainly  an  optical  phenomena. 

To  come  to  the  work  accomplished  this  year,  and  about  which 
you  have  perhaps  read  a good  deal  in  the  photographic  papers,  it 
was,  I may  say,  mainly  based  on  the  work  of  May,  1882. 
The  point  to  which  I shall  chiefly  draw  your  attention  is  that 
convoyed  in  the  telegram  home  that  we  had  succeeded  in  photo- 
graphing the  flash.  I will  once  more  make  use  of  this  disc  of 


December  14,  1883.) 


THE  PHOTOGRAPHIC  NEWS. 


791 


cardboard  to  show  you  what  I mean.  I nearly  covers  up  the 
sun,  leaving  a thin  edge  of  the  sun’s  disc,  which  we  will  still  sup- 
pose to  be  sending  out  ordinary  sunlight.  I keep  on  moving  the 
cardboard  till,  just  as  we  are  on  the  very  verge  of  totality,  we 
get,  instead  of  a spectrum  crossed  by  dark  lines,  a series  of  bright 
lines.  This  is  called  the  “ reversion  spectrum  ” or  flash,  because 
it  flashes  out  suddenly,  then  disappears  as  the  moon’s  disc  covers 
up  that  part  of  the  sun  which  gives  out  the  lines. 

To  turn  your  attention  to  another  diagram,  I have  here  marked 
the  boundary  of  the  light-giving  portion  or  photosphere  of  the 
sun  by  this  line.  An  outer  line  marks  the  boundary  of  the  chromo- 
sphere, which  is  composed  of  gases  which  cut  off  portions  of  the 
sun’s  light,  and  give  rise  to  the  Fraunhoferic  or  dark  lines.  The 
light  given  out  by  the  atmosphere  itself  is  feeble,  but  is  readily 
visible  when  the  rest  of  the  sun  is  eclipsed,  its  light  consisting 
of  bright  lines  such  as  I have  represented  in  the  coloured  dia- 
gram. To  photograph  this  phenomenon  we  used  a plate  that  was 
being  slowly  moved  along  by  clockwork,  and  though  we  have 
not  yet  got  all  the  bright  lines  of  the  flash,  we  succeeded  in 
getting  the  most  important  of  them.  The  rest  we  hope  to  get  on 
another  occasion,  as  well  as  the  order  in  which  they  appear. 

I should  like,  in  conclusion,  to  say  a word  or  two  in  relation 
to  the  theory  put  forward  by  Dr.  Hastings.  Leaving  out  the 
evidence  afforded  by  the  photos  of  the  spectrum,  let  us  take  Dr. 
Hastings’  theory  on  his  own  ground.  It  is  based  on  a variation 
iu  the  length  of  a particular  line  during  totality.  This  variation, 
says  Dr.  Hastings,  must  be  due  to  diffraction.  But  if  one  line 
varied  by  diffraction,  so  did  all  the  lines  of  the  coronal  spectrum  ; 
or,  in  other  words,  the  visual  corona  itself  must  have  undergone 
remarkable  changes  during  totality.  We  have  no  evidence  that 
any  such  changes  occurred.  It  may  also  be  said  that  Dr. 
Hastings’  observation  also  contradicts  similar  observations  in  the 
particular  line  (1474)  made  in  1878  by  his  own  countrymen. 

The  photographs  taken  during  the  recent  eclipse  have  not  yet 
been  critically  examined,  but  they  bid  fair  to  give  us  some  very 
important  data.  I may  fairly  conclude,  then,  by  saying  that  in 
the  application  of  photography  to  this  branch  of  study,  distinct 
advances  are  being  made,  and  we  look  to  the  black  art  to  fur- 
nish us  with  still  more  important  evidences  of  its  usefulness. 


A FEW  REMARKS  UPON  THE  PLATINOTITE 
PROCES. 

BY  W.  B.  ALLISON.* 

As  the  beautiful  platinotype  process  does  not  appear  to  have 
gained  much  favour  amongst  the  gentlemen  who  practise  photo- 
graphy in  this  district,  perhaps  a few  remarks  upon  a method 
of  printing  whieh  is  capable  of  such  a number  of  useful  and  varied 
applications  may  prove  interesting  to  those  present.  As  I intend 
presently  to  give  you  a practical  demonstration  of  the  method  of 
developing  a variety  of  platinotype  prints,  I hope  some  of  you 
will  take  up  the  practice  of  this  facile  and  much  admired 
process. 

Most  of  you  well  know  that  salts  of  iron  in  the  ferric  state  are 
by  the  action  of  light  reduced  to  the  ferrous  state.  This  fact  has 
been  taken  advantage  of  by  the  clever  inventor  of  the  platino- 
type process.  The  sensitized  paper,  containing  only  salts  of  iron 
and  platinum,  is  exposed  under  a negative,  as  usual  in  silver 
printing.  It  is  then  floated  on  a hot  solution  of  potassic  oxalate, 
whereby  the  salt  of  platinum  is  reduced  by  the  ferrous  oxalate  so 
formed  into  the  floe  state  of  subdivision  known  as  “ platinum 
black,”  thus  forming  an  imperishable  picture.  I say  “imperish- 
able,” because  the  resulting  pictures  can  only  be  destroyed  by 
fire,  or  by  treating  them  with  nitro  hydrochloric  acid  ; so  I think 
you  will  all  acknowledge  'their  permanence  as  pictures.  After 
development  the  print  is  immersed  in  a weak  bath  of  hydro- 
chloric acid  and  water  until  all  yellowness  has  disappeared,  and 
afterwards  it  is  washed  in  water  alone  for  half-an-hour  or  so, 
when  it  is  ready  for  drying  and  mounting.  In  the  process  of 
mounting  there  is  no  fear  of  any  “ cockling  ” of  the  print. 

Contrast  the  above  simple  process  with  the  elaborate  treatment 
required  in  the  case  of  a silver  print.  It  may,  perhaps,  bo  said 
by  some  that  the  colour  of  platinotype  is  not  to  their  taste. 
Well,  there  is  no  accounting  for  the  taste  of  some  people,  or  the 
country  would  not  be  iuundated  with  such  a number  of 
coloured  daubs ; but  a photographic  revolution  may,  perhaps, 
reach  even  to  the  Potteries.  Iu  the  meantime,  it  is  to  be  hoped 

* A communication  to  the  North  Staffordshire  Photographic  Association. 


that  many  of  our  members,  fortunately  for  posterity,  may 
possess  some  idea  of  pictorial  effect  in  a photograph  ; and  such 
I am  sure  will  not  suffer  the  platinotype  process  to  pass  by  un- 
noticed. With  improvements  recently  made  in  this  process,  the 
paper  prepared  by  the  Platinotype  Company  gives  extremely 
brilliant  prints  with  pure  whites.  These  pictures,  as  I have  al- 
ready said,  being  absolutely  permanent,  the  platinum  image  is 
especially  suitable  as  a basis  for  artistic  handwork  of  all  kinds — 
metallic  platinum  neither  being  affected  by,  nor  affecting,  any 
pigment  employed. 

Besides  being  applicable  to  paper,  the  platinotype  process  can 
be  successfully  applied  to  linen  and  other  fabrics.  The  image  on 
these  substances  is  capable  of  enduring  any  amount  of  rough 
treatment,  including  scrubbing  in  soap  and  water. 

When  I tell  my  amateur  friends  that  a print  in  platinum  can 
be  taken  from  a negative  in  one-third  the  time  of  a silver  print, 
and  that  the  subsequent  operations  are  done  in  “ no  time  ; ’ 
that  an  engraving  black,  as  well  as  a sepia  tone,  may  be  obtained  ; 
and  that  if  they  wish  a gloss  on  the  print  they  can  procure  it 
by  enamelling,  it  will  be  their  own  fault  if  they  produce  any 
more  evanescent  silver  prints.  I would  also  advise  those  gentle- 
men who  print  in  carbon,  for  the  sake  of  permanence  only,  to 
discard  it  in  favour  of  platinum. 

Having  now  said  as  much  as  necessary  on  behalf  of  a process 
which  I personally  much  admire,  I will  try  my  best  to  demon- 
strate the  developement  of  a few  pictures. 

In  the  first  place,  it  must  be  remembered  that,  to  ensure  suc- 
cess, it  is  absolutely  necessary  that  the  prepared  paper  be  kept 
perfectly  dry.  Here  is  a tube  with  a kind  of  box  at  the  end  con- 
taining calcium  chloride.  The  substance  must  be  occasionally 
dried  on  a hot  shovel  to  free  it  from  the  moisture  it  absorbs. 
Its  purpose  is  to  keep  the  paper  dry  by  taking  up  the  moisture 
from  the  air  inside  the  tube.  You  will  see  that  this  prepared 
paper  is  of  a yellow  colour ; you  will  also  notice  that  in  this  print, 
which  is  ready  for  development,  almost  all  the  detail  is  visible, 
and  the  picture  presents  a dingy-red  appearance  in  the  deep 
shadows.  This  denotes  that  the  paper  has  been  about  long 
enough  exposed  ; but  of  course  a little  experience  is  necessary 
to  judge  the  proper  depth  requisite  from  different  negatives. 

A f/ood  negative  is  the  first  desideratum.  A negative,  be  it 
collodion  or  gelatine,  which  will  yield  a rich  silver  print,  will  do 
credit  to  platinotype.  Of  gelatine  negatives  preference  must  be 
given  to  one  developed  with  ferrous  oxalate  or  sulphate-pyrogallol ; 
ordinary  alkaline  pyro  will  do,  provided  the  film  be  not  stained 
or  fogged.  It  is  useless  to  employ  a yellow,  foggy  thing,  such 
as  some  workers  yet  turn  out  as  specimens  of  dry  plate  work, 
and,  using  them  to  produce  platinotype  prints,  blame  the  process 
and  not  the  negative,  because  of  their  resulting  “ mud  washes.” 
Use  a flood  negative,  and  you  will  get  good  results  in  platinum. 
Some  of  you  have  a number  of  wet  plate  negatives : select  a good 
one,  and  a print  from  it  by  this  process  will  please  you.  The 
discoloured,  weak,  and  miserably  thin  negatives  produced  by  some 
persons  have  done  harm  to  this  process  ; because,  although  giving 
almost  passable  prints,  they  are  useless  for  anything  else,  unless 
it  be  a dose  of  hot  solution  of  caustic  potash,  so  that  the  glass 
may  be  used  again. 

I have  here  an  enamelled  iron  dish  coutaining  a solution  of 
potassic  oxalate,  130  grains  to  the  ounce.  I heat  this  until  the 
thermometer  denotes  170°  Falir.  See  that  no  particles  or  crystals 
arc  floating  on  the  bath  ; theu  draw  over  the  hot  solution  the 
undeveloped  print.  You  see  it  comes  out  instantly.  By'  varying 
the  temperature  of  the  bath,  any  corrections  in  over-  or  under- 
exposure may  be  made.  Here  is  a print  obviously  over-exposed. 
Allow  the  temperature  to  drop  a few  degrees,  and  here  we  have 
a successful  picture.  I now  add  a portion  of  this  solution  to  the 
bath.  Here  is  a differently  prepared  paper,  and  hence — a sepia- 
tinted  picture. 

I will  now  conclude  by  submitting  to  you  a few  examples  of 
the  process,  hoping  that  I myself,  and  my  friend  Mr.  Burgess, 
may  not  be  long  alone  among  you  as  platinotypists. 


IJoifs. 

The  Year-Book  of  Photography  and  Photographic 
News  Almanac  for  1884  will  be  published  on  Monday. 


We  regret  sincerely  that  Mr.  Maxwell  Lyte’s  health  has 


792 


THE  PHOTOGRAPHIC  NEWS 


[December  14,  1883. 


compelled  him  to  tender  his  resignation  as  honorary  secre- 
tary to  the  Photographic  Society. 


We  regret  to  hear  that  the  West  Riding  of  Yorkshire 
Photographic  Society,  which  held  its  meetings  at  Bradford, 
is  defunct. 


Another  photographic  journal  is  announced  in  America, 
under  the  title  of  Walzl's  Monthly.  It  describes  itself  as 
the  “cheapest,  most  wideawake,  best.”  Surely  nothing 
further  is  wanted. 

Yet,  not  only  in  respect  to  frankness,  but  in  the  matter 
of  self-denial  also,  do  our  American  cousins  shine  in  the 
domain  of  literature.  Here  is  an  instance ; an  advertise- 
ment tells  us  that  two  particular  journals  will  be  sent  to 
one  address  for  five  and  a half  dollars,  and  the  anounce- 
ment  further  adds,  “ this  is  a splendid  opportunity,  as  it 
costs  seven  dollars  to  take  them  separately.”  “ Splendid 
opportunity  ” may  do  to  describe  such  generosity  in  New 
York  city;  but  in  this  country  we  call  it  pure  philant- 
throphy. 


A few  words  respecting  Mr.  A.  Common's  fine  photo- 
graph of  the  nebula  of  Orion,  which  forms  our  supplement. 
To  the  astronomer  its  value  is  obvious ; to  our  other 
readers  we  may  simply  say  it  is  unlike,  in  many  respects, 
all  descriptions  and  drawings  of  the  wonderful  phenomenon 
that  have  yet  appeared,  and  it  is  therefore  the  only  true 
representation  ever  transferred  to  paper.  When,  a hundred 
or  a thousand  years  hence,  students  of  the  skies  scan  the 
heavens,  they  will  have  in  this  photograph  a trustworthy 
record  of  the  neighbourhood  of  Orion,  and  thus  be  able  to 
say  with  certainty  how  much  or  how  little  this  portion  of 
the  universe  is  subject  to  change. 


Mr.  Common  says : — “ The  photograph  was  taken  in  the 
principal  focus  of  my  three-foot  reflector,  with  an  exposure 
of  thirty-seven  minutes.  It  is  the  first  application  of 
photography  to  the  nebula  that  is  at  all  comparable  with 
the  last  drawings.” 


On  Tuesday  evening  Mr.  Jabez  Hughes  spoke  with 
earnest  appreciation  of  the  photographic  labours  of  Major 
Russell,  and  referred  to  the  alkaline  development  of  a 
collodio-bromide  film  as  the  touching  point  between  the 
old  photography  and  the  new. 


“ Why  should  not  the  professional  photographer,  whose 
mainspring  of  action  is  a true  love  of  his  work,  be  called 
an  amateur  ? ” asked  Mr.  Jabez  Hughes  on  Tuesday  even- 
ing. “ The  term  amateur,”  continued  Mr.  Hughes, 
“ should  not  be  used  as  if  it  were  necessarily  opposed  to  ‘ pro- 
fessional,’ but  should  be  considered  as  equally  applicable 
to  professional  photographers  and  to  non-professionals.” 


I he  Lugardou  shutter  consists,  like  that  of  Noton,  of 
two  perforated  strips  woviug  in  opposite  directions  ; but 


in  the  former  apparatus  the  strips  are  actuated  by  a pinion 
placed  between  them  and  gearing  into  two  racks,  one  rack 
on  each  perforated  strip.  When  the  pinion  is  set  in  motion 
by  a powerful  coiled  spring,  an  exposure  of  a two  hundred 
and  fiftieth  of  a second  can  be  attained. 


Masher:  I know  all  about  photography,  don’t  you  know, 
so  just  take  me  as  I stand.  Now  can  you  see  my  elbow 
where  you  are?  Photographer : Yes,  sir,  perfectly. 
Masher  : And  look  here,  don’t  you  know,  I want  the  collar 
and  eye-glass  to  show  all  right.  Photographer : I under- 
stand. Steady— done,  sir.  Masher:  Done,  is  it?  Ah! 
but  look  here,  you  know,  are  you  sure  you  have  taken  the 
best  side  of  my  head  ? Photographer : Quite  sure,  sir ; the 
outside. 


M.  Sterk  recently  brought  before  the  Nantes  Society  a 
little  apparatus  he  employs  for  preserving  his  iron  solu- 
tion for  development ; although  no  novelty — for  Mr. 
Warnerke  has  devised  a similar  thing— it  is  worth  a 
few  lines,  since,  at  any  rate  in  amateur  studios,  an  ar- 
rangement of  the  kind  is  sometimes  useful.  It  is  in  prin- 
ciple like  the  chemist’s  wash-bottle.  The  iron  developer  is 
put  into  the  bottle  together  with  a little  oil;  the  latter 
floats  upon  the  iron  solution,  and  preserves  it  from  the 
oxidizing  action  of  the  air.  If  you  blow  into  the  rubber 
tube  B (fig.)  the  iron  solution  rises  in  the  bent  glass  tube 


A,  and  finds  an  exit  at  C.  A slight  inspiration  at  B at 
once  stops  the  flow  of  the  solution  when  enough  has  been 
withdrawn.  A solution  of  iron  will  keep  good  for  months 
in  this  way. 


Miss  Anderson  now  occupies  the  proud  position  of  being 
first  in  demand— so  far  as  her  portraits  are  concerned — at 
the  photographic  dealers.  The  correspondent  of  an  even- 
ing paper  waited  on  her  the  other  day  to  know  how  she 
managed  to  find  time  for  sitting.  “ Well,”  she  said 
laughingly,  “ it  is  a very  simple  matter  when  you  know 
how  it  is  managed.  Partly,  I am  afraid,  1 am  too  good- 
natured  ; but  what  am  I to  do?  I come  down  to  break- 
fast, and  find  a beautiful  bouquet  waiting  for  me.  By  its 
side  lies  a dainty  little  note.  I open  it,  and  find  a request 
from  an  enterprising  photographer,  which  runs  something 
like  this  : — ’Madam, — Every  day  we  have  endless  enquiries 
for  your  photograph.  We  have  of  course  to  send  our  cus- 
tomers away  without  being  able  to  satisfy  your  demand*. 


December  14,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


733 


Could  you  sit  to  our  artist  ? We  should  be  very  grateful 
to  you,’  &c. ; and  it  generally  ends  in  my  compliance.” 

But,  according  to  the  correspondent,  the  ordeal  must  be 
something  frightful,  lie  states  that  when  Miss  Anderson 
goes  down  to  the  studio  of  a photographer,  she  finds  her- 
self the  centre  of  a group  of  operators.  Each  has  his 
camera  ready,  the  subject  poses  herself,  and  simultaneously 
a dozen  caps  are  taken  off  a dozen  lenses,  and  Miss  Ander- 
son’s face  and  figure  will  appear  in  twelve  different  posi- 
tions.” How  Miss  Anderson  cau  continue  to  get  her  face 
and  figure  into  twelve  different  positions  simultaneously  is  an 
awful  mystery.  Let  us  hope  the  writer  meant  that  the 
lady’s  face  and  figure  would  appear  from  twelve  different 
points  of  view. 

A somewhat  curious  action  was  brought  last  week  into 
the  Brighton  County  Court  by  a young  lady  who  sued  a 
firm  of  photographers  to  recover  £39  18s.  for  wages  due 
and  for  a week’s  wages  in  lieu  of  notice,  one  of  the  defend- 
ants being  plaintiff's  father.  It  appeared  that  the  plaintiff 
worked  with  her  father,  and  in  June,  when  he  took  a 
partner,  she  still  continued  to  assist  in  colouring  portraits 
and  in  the  general  management  of  the  business.  No  salary 
being  paid  her,  she  spoke  to  the  partner,  who  not  only 
refused  to  name  any  salary,  but  said  he  did  not  require  her 
services,  and  refused  to  give  her  a week’s  notice.  In  the 
defence  it  was  contended  by  the  partner  that  the  plaintiff 
had  never  been  engaged  by  him,  and  that  she  had  kept 
back  accounts  in  the  interest  of  her  father,  but  this  latter 
charge  was  denied.  In  the  end,  the  judge  considered  the 
plaintiff  had  established  her  claim,  and  gave  a verdict 
accordingly. 


A photographic  dealer  advertises  “sacred  or  secular 
photographs.”  What  is  a sacred  photograph?  Is  it  in- 
tended, like  some  books,  for  Sunday  use  only  ? 


La  Xature  gives  a chart  of  the  highest  mountains  in  the 
world,  and  of  the  highest  balloon  ascents  made  by  man. 
The  loftiest  peak  marked  in  this  plan  is  Gaurisankar,  iu 
Asia,  measuring  8,840  metres,  while  the  highest  rorial 
voyage  ever  made,  comes,  curiously  enough,  within  six  feet 
of  this,  namely,  8,838  metres.  The  voyage  iu  question 
was  made  on  September  5th,  1862,  by  an  Englishman,  no 
other  than  Mr.  Glaisher,  the  veteran  president  of  the 
Photographic  Society. 


“ Bulletin  officiel  de  la  societe  des  employes  en  photo- 
graphic” is  the  title  of  a new  Paris  paper,  which  not 
only  is  to  be  the  organ  of  “assistants’’  in  France,  but  is 
also  to  do  what  the  Photographers’  Benevolent  Associa- 
tion is  striving  to  do  in  this  countiy.  New  York,  Paris, 
Vienna,  Berlin,  and  Zurich,  have  all  societies  of  employes 
but  in  London  there  is  no  such  body. 


The  photographic  tourist  will  thoroughly  appreciate 
any  simple  means  calculated  to  warn  him  of  auy  dark 
slide  or  other  plate  receptacle  having  been  opened  ; aud  a 


long  narrow  strip  of  gummed  paper  with  the  owner’s  name 
written  upon  it  has  been  proposed  as  a convenient  and 
satisfactory  seal ; but  when  ordinary  ink  or  a lead  pencil 
is  used,  such  a strip  can  be  easily  removed,  and  replaced, 
if  carefully  damped,  without  telling  the  tale.  The  remedy 
is  to  employ  copying  ink,  or  one  of  the  new  copying  pencils 
(made  up  with  aniline  colour),  as  the  blurring  of  the 
lines  will  then  be  a certain  consequence  of  moistening  the 
label. 


An  inspection  of  a large  number  of  this  seasou’s  Christ- 
mas cards  does  not  give  us  a very  favourable  impression 
so  far  as  photography  is  concerned.  The  majority  of  the 
photographic  Christmas  cards  are  either  poor  in  concep- 
tion or  are  in  bad  taste,  while  some  are  downright  absurd. 
Gaudy  colouring  and  exaggerated  contrast  disfigure  many, 
the  effect  of  which  would  otherwise  be  excellent. 


The  scientific  information  of  the  daily  newspapers  is 
nearly  always  either  antiquated  or  incorrect.  The  Standard 
the  other  day  announced  as  a piece  of  news  that  Dr 
Daniel  Draper,  the  director  of  the  New  York  Mcterologi- 
cal  Observatory,  had  issued  his  report  of  1882,  in  which  it 
was  shown  that  the  usual  hours  of  sunshine  at  Greenwich 
Observatory  were  1,245  in  1878  and  977  in  1879,  when 
the  possible  hours  were  4,447  ; whereas  at  New  York  in 
the  former  year  the  actual  hours  were  2,936,  and  in  the 
latter  3,101,  when  the  possible  hours  were  4,419.  These 
figures  taken  from  Dr.  Draper’s  report  appeared  iu  the 
Photographic  News  for  May  18. 


fatcut  Jutellignut. 

Application  for  Letters  Patent. 

5681.  William  Robert  Lake,  of  the  firm  of  Haseltine,  Lake, 
and  Co.,  Patent  Agents.  Southampton  Buildings,  London,  for 
an  invention  of  “ Improvements  in  aud  relating  to  colour- 
printing,  also  partly  applicable  for  producing  coloured  photo- 
graphs, and  for  similar  purposes.”— A communication  to  him 
from  abroad  by  Auguste  Bisson,  of  Paris,  France,  Helio- 
graphic  Engraver.— Dated  8th  December,  1883. 

Grant  of  Provisional  Protection. 

5324.  Joseph  Julius  Sachs,  of  Union  Court,  Old  Broad  Street, 
in  the  city  London,  for  an  invention  of  “ Improvements  in  or 
connected  with  the  production  of  surfaces  for  printing,  em- 
bossing, or  ornamental  purposes.”— Dated  10th  November 
1883.  * 

Patent  Void  through  Non-payment  of  Duty. 
4919.  James  Dredge,  of  Clapham  Common,  in  the  county  of 
Surrey,  for  an  invention  of  “ Improvements  in  producing 
printed  representations  of  photographs,  and  means  there- 
for.”— Dated  27th  November,  1880. 

My  invention  has  for  its  object,  improvements  in  producing 
printed  representations  of  photographs  and  means  therefor.  In 
order  to  produce  such  printed  representations,  I employ  relief 
plates,  or  counterparts  of  the  original  photographs  formed  in 
some  suitable  material  in  relief  or  in  intaglio,  as  well  understood. 
And  my  invention  relates  to  methods  and  means  of  producing 
from  such  relief  plates  or  counterparts,  printed  representations 
of  photographs  by  surface  printing,  as,  for  instance,  in  a litho- 
graphic press ; also  by  the  use  of  metallic  blocks,  etched  out  by  any 
suitable  process,  also  by  printing  direct  from  the  relief  plate  or 
counterpart  itself.  1 effect  the  transfer  to  a plane  surface  of  any 
design  or  picture  produced  in  relief,  or  in  intaglio  as  aforesaid, 
by  means  of  lines,  dots,  or  granulations  ; the  lights,  shades,  and 


794  THE 


outlines  of  such  design  or  picture  being  reproduced  by  the 
deposition  of  the  said  lines,  dots,  or  granulations  upon  the 
surface  in  relief  or  intaglio  in  such  a manner  that  their  width 
varies  with  the  variations  of  the  undulated  surface,  or  by 
the  superposition  of  a series  of  lines,  dots,  or  granulations  on 
different  parts  of  the  surfaces  in  relief,  or  in  intaglio,  such  lines, 
dots,  or  granulations,  or  series  of  lines,  dots,  or  granulations  being 
transferred  afterwards  to  paper,  thus  producing  a print  direct,  or 
a proof  on  transfer  paper  for  transference  to  a lithographic  stone 
or  its  equivalent,  or  to  a metal  plate  to  be  etched,  thus  pro- 
ducing an  engraving  suitable  for  surface  printing.  According 
to  one  mode  of  carrying  out  my  invention,  a relief  plate,  such  as 
above  referred  to,  is  coated  with  paraffine,  the  surface  of  which 
is  made  truly  flat,  and  the  depth  such  that  the  highest  parts  of 
the  relief  plate  corresponding  to  the  darkest  shades  are  level  with 
the  top  of  the  paraffine  film.  I then  operate  upon  the  paraffine 
by  a cutting  tool,  able  to  follow  exactly  the  contour  of  the  un- 
dulated plate,  and  of  such  form  as  to  produce  in  the  paraffine 
a V groove,  the  maximum  depth  of  which  occurs  where  the 
paraffine  is  thickest  (corresponding  to  the  high  light),  the  depth 
receding  to  nothing  at  the  darkest  parts  where  the  gradually 
reduced  layer  of  paraffine  ceases.  Thus  I obtain  a flat  surface 
covered  with  lines  parallel  at  their  bases  and  varying  in  width 
according  to  the  form  of  the  relief  plate.  Such  a surface  re- 
produced by  galvano-plastic  or  otherwise  will  render  the  picture, 
and  enable  copies  to  be  printed  in  an  ordinary  press.  According 
to  one  method,  the  desired  result  may  be  obtained  by  using 
in  conjunction  with  relief  plates  or  counterparts,  such  as 
described  (of  metal  or  other  rigid  material)  inked  elastic  pads, 
rollers,  plates,  or  devices  for  imparting  ink  or  pigment,  having 
their  surfaces  provided  with  raised  or  embossed  lines,  curves, 
granulations,  or  dots,  whereby  I cover  the  surface  of  the  relief 
plate  with  lines,  dots,  or  marks,  the  thickness,  size,  and 
intensity  of  which  are  regulated  by  the  variations  in  the  un- 
dulated surface  of  the  relief  plate.  Pictures  from  a relief  plate 
thus  inked  may  be  taken  in  a press,  or  transfer  copies  may  be 
taken  for  transfer  to  a lithographic  press  or  its  equivalent,  or 
to  a zinc  or  other  metal  plate,  to  be  treated  by  the  process 
kuowu  as  the  Gillotype  process  for  the  production  of  a block 
suitable  for  surface  printing.  In  lieu  of  making  the  relief  plate 
or  counterpart  rigid,  it  may  be  of  elastic  substance,  the  pad, 
roller,  plate,  or  other  device  for  imparting  ink  or  pigment  being 
in  this  case  elastic,  and  having  its  surface  covered  with  raised 
or  embossed  lines,  curves,  granulations,  or  the  like,  so  that  ink 
or  pigment  from  the  elastic  pad,  roller,  plate,  or  equivalent 
device  will  be  left  upon  the  undulated  surface  of  the  relief  plate 
or  counterpart  cast  of  the  picture  in  proportion  to  the  variations 
of  its  undulated  surface.  From  a relief  plate  or  counterpart  so 
inked  copies  may  be  taken,  as,  and  for  the  purposes  already 
explained  ; or  between  the  relief,  mould,  or  matrix  of  the  picture, 
and  the  piece  of  elastic  or  other  suitable  material,  upon  which 
the  picture  may  be  transferred  by  pouring  the  elastic  material 
when  melted  ; or  by  subjecting  it  to  pressure  in  contact  with 
the  mould  or  matrix,  I interpose  a thickness  of  a lined,  ribbed,  or 
granulated  material — silk,  for  example — and  reproduce  on  the 
surface  of  the  elastic  or  other  suitable  material,  the  picture  con- 
tained in  the  matrix,  which  picture  will  thus  be  reproduced  on 
the  surface  of  the  elastic  or  other  material,  in  lines  of  varying 
thickness.  Or  I may  make  a relief  plate  with  a film  of  paraffine 
or  equivalent  material,  that  may  with  advantage  be  provided 
with  a strengthening  back  of  paper,  linen,  or  the  like,  and  from 
such  relief  surface  I may  obtain  pictures  by  inking  the  relief 
surface  with  clastic  pads,  rollers,  plates,  or  devices,  such  as 
hereinabove  referred  to,  the  pictures  being  either  prints  or 
transfers,  that  may  be  used  for  marking  zinc  or  other  plates.  Or 
the  relief  surface,  prepared  as  last  referred  to,  may  have  im- 
pressed in  it  by  a grooved,  embossed,  or  granulated  roller  or 
plate,  or  equivalent  device,  a series  of  lines  or  markings,  the 
strength  of  which  varies  with  the  varying  thickness  of  the  film, 
and  from  the  surface  so  prepared  an  electrotype,  or  other 
metallic  reproduction  may  be  taken  suitable  for  surface  or  other 
printing.  In  lieu  of  lines,  dots,  or  granulations,  I in  some  cases 
use  for  each  picture  a series  of  relief  plates  as  follows  : — I reduce 
the  surface  of  each  relief  plate  successively  (except  one  plate 
which  is  left  untouched  for  the  production  of  the  darkest  lines 
in  the  pictures,  by  removing  horizontally  films  from  the  surface, 
each  successive  plate  having  a thicker  film  removed  than  is 
taken  from  its  predecessor,  and  so  on  until  I get  as  a last  plate 
one  that  is  absolutely  flat  save  where  the  high  lights  occur.  In 
printing  from  such  a series  of  plates,  they  are  inked,  and  the 
inaterial  to  be  printed  upon  is  passed  over  them  precisely  to 


APHIC  NEWS.  [December  14,  1833. 


register,  so  as  to  produce  a picture  the  shades  of  which  are,  as  it 
were,  blotted  in  by  the  series  of  superposed  flat  lines.  I would 
have  it  understood  that,  although  I have  indicated  by  way  of 
example  various  modifications  of  my  invention  for  producing 
printed  representations  of  photographs,  the  same  are  susceptible 
of  more  or  less  variation  to  suit  circumstauces  without  departure 
from  the  essential  characteristics  of  my  invention. 

Specification  Published  during  the  Week. 

19(50.  G.  Robkv,  “ Enamelling  Water  Colour  or  Oil  Photographs.” 

— Provisional  Protection  only. 

My  invention  has  for  its  object  a new  or  improved  process  of 
enamelling  water  colour  or  oil  photographs.  The  process  is  as 
follows  : — A polished  glass  plate  is  first  prepared  with  powdered 
talc,  and  then  coated  with  collodion  aDd  allowed  to  dry  ; this 
being  effected,  the  plate  is  then  immersed  in  cold  water. 
The  print  is  saturated  in  a solution  of  gelatine  and  chrome  alum, 
and  brought  into  connection  with  the  collodion  on  the  glass 
plate,  and  then  allowed  to  dry,  after  which  the  paper  on  the  back 
of  the  photograph  is  removed  by  means  of  powdered  pumice. 
The  whole  is  then  coated  with  castor  oil,  which  has  the  eflect  of 
making  it  perfectly  transparent ; and  finally  the  whole  is  coated 
with  benzole  in  order  to  remove  the  grease  and  colour  applied  to 
it.  The  photograph  is  then  stripped  from  the  glass  and  mounted 
in  the  usual  way,  the  result  being  a beautifully  enamelled  surface. 
This  improved  mode  of  enamelling  has  a great  advantage  over  the 
present  method  of  cristoleum,  in  as  much  as  it  entirely  does 
away  with  the  glass  front. 

Patent  Granted  in  Belgium. 

03,138.  E.  dk  Zuccato,  of  London,  for  “ Printing  photographs.” 
— Dated  7th  November,  1883. — French  Patent,  10th  October, 
1883. 

Patents  Granted  in  America. 

289,029.  Fred.  G.  Sargent  and  Allen  C.  Sargent,  of  Granite- 
ville,  Mass.,  “A  plate-holder  for  photographic  camera.” — 
Filed  October  12,  1882  (no  model). 

A slide  arrangement  of  the  inner  frame,  for  producing  several 
pictures  on  the  same  plate. 


DEVELOPING  GELATINE  PLATES. 

BY  E BR1  GUTMAN. 

The  development  of  gelatine  plates  is  a matter  requiring 
the  utmost  care  and  judgment  on  the  part  of  the  operator  ; 
in  no  branch  of  our  beautiful  art  is  there  greater  scope  for 
brains  and  the  intelligent  use  of  the  materials  at  our  com- 
mand. 

I fear  that  with  many  photographers,  both  amateur 
and  professional,  there  is  too  great  a tendency  to  consider 
development  a mere  mechanical  operation,  and  as  long  as 
this  idea  is  retained,  so  long  will  photographs  be  mere 
mechanical  representations  of  the  subject  before  the 
camera. 

Truly,  development  is  to  a certain  extent  a mechanical 
operation  ; so  is  the  application  of  colour  to  the  canvas 
by  the  brush  of  the  artist ; but  as  the  brush  is  made  to 
bend  to  the  will  of  the  artist,  to  put  on  a delicate  half- 
tone here,  or  a brilliant  touch  of  high  light  there,  so  must 
we  learn  to  use  our  developer  and  make  it  obedient  to 
our  will. 

A short  time  since  I had  an  introduction  to  an  artist  (i.e., 
a disciple  of  brush  and  canvas)  who  also  dabbled  in  pho- 
tography. The  conversation  naturally  turned  to  matters 
photographic  and  gelatine  plates  ; our  artist  friend  re- 
marking, “ It's  so  easy,  you  know,  only  just  to  expose 
your  plates  and  put  them  in  a dish  of  developer  for  a 
minute  or  two,  and  your  picture  done : I never  get  a 
failure,  and  only  began  a few  weeks  since.”  I remarked 
that  he  must  have  been  wonderfully  fortunate  to  meet  with 
such  success  at  the  outset,  having  commenced  photo- 
graphy myself  nearly  twenty  years  since,  and  worked  with 
gelatine  plates  from  the  time  of  their  introduction,  and 
yet  frequently  had  a failure,  and,  in  fact,  was  only  just 
beginning  to  master  the  development. 

“ But  it’s  so  easy,  you  know  ; you  have  only  to  buy  good 
plates,  have  a good  lens  and  developer,  and  it’s  as  easy 
as  possible.” 


December  14,  1883.]  THE  PHOTOGRAPHIC  NEWS. 


795 


“ Yes,  I replied,”  “in  that  respect  it  is  very  much  like 
painting,  you  have  only  to  buy  good  cauvas,  good  brushes, 
and  good  colours,  and  then  1 it’s  so  easy  you,  know.'  ” 

Our  friend  pulled  out  his  watch,  suddenly  remembered 
a special  appointment,  shook  hands,  aud  vanished.  I have 
not  seen  him  since,  but  have  had  the  fortune,  or  rather 
misfortune,  to  see  some  painted  canvas  which  convinced 
me  that  it  is  “ so  easy,  you  know,  ” to  spoil  gool  canvas, 
aud  also  gelatine  plates. 

This  is  but  one  instance  out  of  many  of  the  widespread 
idea  that  the  development  of  dry  plates  is  an  easy  matter, 
requiring  neither  skill  nor  care;  and,  a3  a consequence,  how 
often  is  development  done  in  a hasty  slipshod  manner, 
reliance  being  placed  on  some  pet  formula,  aud  the  same 
invariably  used  for  all  classes  of  subjects. 

It  is  impossible  to  lay  down  hard-and-fast  rules  for 
development,  for  a formula  which  gives  admirable  results 
with  oue  subject  may  be  totally  unsuited  to  another,  and 
it  is  only  by  a careful  adaptation  of  the  developer  to  the 
subject  that  the  best  results  are  to  be  obtained. 

In  order  to  adapt  the  developer  to  the  subject  in  baud, 
it  is  necessary  that  we  should  understand  the  results  ob- 
tainable by  varying  the  proportions  of  the  constituents  of 
our  developer.  We  may  roughly  formulate  the  action  of  the 
developer  thus : — Pyro  gives  density,  ammonia  detail, 
while  the  restrainers,  both  bromide  and  citric  acid,  keep 
the  shadows  clear,  and  check  the  speed  of  development ; 
and  the  slower  the  development,  the  greater  the  number  of 
gradations  between  the  highest  lights  and  the  deepest 
shadows. 

Now,  as  in  nature  we  have  an  infinite  number  of  grada- 
tions, it  follows  that  a slow  development  will  give  us  a 
better  and  more  truthful  rendering  of  the  subject  than  a 
rapid  one.  In  order  to  develop  slowly,  four  courses  are 
open  to  us:  first,  we  may  use  a large  proportion  of  bro- 
mide ; secondly,  we  may  use  a small  proportion  of 
ammonia ; thirdly,  we  may  add  our  ammonia  gradually  by 
successive  small  doses  until  the  required  density  and  detail 
are  obtained  ; or  fourthly,  we  may  allow  our  plate  to  soak 
in  the  restrainer  till  it  has  penetrated  the  film,  before 
applying  the  ammonia. 

In  practice,  I find  a combination  of  the  two  latter 
methods  to  give  the  most  satisfactory  results,  and,  more- 
over, enables  us  to  have  entire  control  over  the  develop- 
ment, correct  errors  in  exposure,  entirely  avoid  fog,  and 
obtain  brilliancy  combined  with  delicacy  and  softness. 

I usually  keep  two  stock  solutions  of  pyro,  and  one  of 
ammonia. 


No.  1. 

Pyrogallic  acid  

Bromide  of  ammonium  ... 

Citric  acid  ..  

Water  


...  1 ounce 

...  J ,, 

...  90  grains 
...  8 ounces 


No.  2. 

Pyrogallic  acid 
Bromide  of  ammonia 

Citric  acid 

Water  


...  320  grains 
...  3 drachms 

...  90  grains 

...  8 ounces 


No.  3. 

Liquid  ammonia  -880  ‘ 1 ounce 

Water  ...  ...  ...  ...  7 ounces 

The  No.  1 solution  being  used  for  subjects  wanting  in 
contrast,  or  where  it  is  desirable  to  obtain  great  brilliancy. 
No.  2 solution  is  used  for  subjects  having  brilliant  high 
lights  aud  deep  shadows,  and  when  it  becomes  necessary 
to  lessen  the  existing  contrast ; quarter  of  a drachm  of 
pyro  solution  and  quarter  of  a drachm  of  ammonia  being 
used  to  each  ounce  of  water  for  as  many  ounces  of  de- 
veloper as  may  be  required. 

But  instead  of  mixing  in  the  usual  manner,  take  (say) 
for  a half  plate,  4 ounces  of  water  to  which  is  added  1 
drachm  of  the  pyro  solution  either  No.  1 or  No.  2 ; in  this 
the  plate  is  allowed  to  soak  for  two  minutes  ; next  measure 


out  1 drachm  of  the  ammonia  solution,  one  fourth  or 
quarter  drachm  of  which  is  poured  into  a glass  measure, 
to  which  is  then  added  the  dilute  pyro  solution  in  which 
the  plate  has  been  soaking ; after  intimately  mixing,  this 
is  again  poured  over  the  plate ; if  properly  exposed,  the 
highest  lights  will  slowly  appear,  but  thin  and  without 
density ; a second  quarter  drachm  of  ammonia  is  then 
added  as  before : under  this  addition  some  of  the  more 
brilliant  half-tones  will  appear  and  the  high-lights  gain  a 
little  additional  intensity  ; the  third  quarter  drachm  of 
ammonia  is  then  added,  the  details  and  faint  half-tones 
gradually  gaining  force  and  vigour  ; the  remaining  portion 
of  ammonia  being  added,  the  requisite  density  and  detail 
will  probably  be  obtained  ; but  should  more  density  be 
required,  a minute  or  two  longer  in  the  solution  will  give 
the  necessary  force 

1 fancy,  Mr.  Editor,  I can  hear  some  of  your  readers 
exclahn,  “What  bo3h ! why  not  add  all  the  ammonia  at 
once  and  have  done  with  it  ? ” To  such  I would  say,  cut  a 
plate  iu  halves,  and  develop  one  with  a full  amount  of 
ammonia  at  once,  aud  the  other  with  the  ammonia  added 
cautiously  in  successive  small  doses,  then  “ Look  on  this 
picture  and  on  that,”  and  be  convinced. 


PHOTO-LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  XV. — Asphalt  Process.— (concluded). 

We  now  proceed  to  give  brief  descriptions  of  some  of  the 
most  important  published  asphaltum  processes.  Though 
many  of  them  are  out  of  date,  they  have  points  of  interest, 
and  may  give  useful  hints  on  ways  of  working. 

The  earliest  practical  processes  of  photo-lithography  of 
which  we  have  record  were  based  on  the  use  of  asphaltum. 
They  were  introduced  almost  contemporaneously  in 
1852  or  1853  by  M.  Barreswil  in  co-operation  with  MM. 
Davanne,  Lemercier,  and  Lerebours  in  Paris,  and  by  Mr. 
Macphcrson  of  Rome. 

From  the  account  given  of  the  process  in  MM.  Barres- 
wil and  Davanoe’s  Chimie  Pkolographique , their  way  of 
working  was  as  follows  : — 

A certain  quantity  of  finely-powdered  asphaltum  is 
dissolved  in  ether,  the  relative  proportions  being  ascer- 
tained by  experience,  according  to  the  solubility  of  the 
asphaltum.  The  solution  should  leave  a very  thin,  even 
coating  on  the  stone,  forming  not  a varnish,  but  what  en- 
gravers term  a “ grain  ; ” i e.,  the  coating  when  examined 
with  an  engraver’s  glass,  should  appear  evenly  broken  up 
all  over  with  markings  showing  the  bare  stone  between 
them.  The  fineness  of  this  grain  depends  very  much  on 
the  dryness  of  the  stone,  on  the  temperature  (which 
should  be  sufficiently  high  to  promote  rapid  evaporation), 
and  on  the  strength  of  the  varnish. 

The  formation  of  the  grain  may  be  facilitated  by  adding 
to  the  ether  a small  quantity  of  some  less  volatile 
solvent. 

The  asphaltum  solution  being  prepared,  a quantity  of  it, 
previously  filtered,  is  poured  on  the  face  of  a carefully- 
levelled  clean  lithographic  stone,  the  excess  being  allowed 
to  overflow  and  fall  over  the  sides,  so  that  the  liquid  may 
not  flow  back  again  and  cause  unevenness  in  the  coating. 
Great  care  must  be  taken  that  the  air  is  not  agitated  in 
any  w-ay  by  the  breath  or  by  movement,  otherwise  the 
coating  will  be  uneven  and  wavy. 

When  the  coating  is  quite  dry,  a suitable  negative  is  laid 
in  close  contact  with  it  and  exposed  to  a bright  light  as 
long  as  experience  shows  to  be  necessary ; the  negative, 
being  then  removed,  the  stone  is  washed  with  ether,  which 
dissolves  the  parts  that  have  been  more  or  les3  protected 
from  light,  leaving  on  the  stone  the  parts  that  have  been 
rendered  insoluble  by  the  action  of  light.  If  the  expo- 


796 


IHE  THOTOGEArHlC  NEWS. 


[December  14,  1883. 


sure  has  been  too  short,  the  ima?e  on  the  stone  is  too 
light  ami  shows  no  half-tones ; if  it  has  been  too  pro- 
longed, the  image  is  heavy  and  wanting  in  delicacy. 

The  washing  with  ether  must  be  done  liberally,  other- 
wise stains  will  be  formed  which  cannot  be  removed. 

When  thoroughly  developed  and  dry,  the  image  re- 
ceives the  same  treatment  as  a lithographic  chalk  drawing ; 
it  is  first  etched  with  weak  acid  and  gum,  then  well  washed 
with  water  and  with  turpentine,  if  necessary;  and  finally 
rolled  in  with  ordinary  lithographic  printing  ink. 

Messrs.  Barrc3wil  and  Davanne  remark  that  a stone 
properly  prepared  and  etched,  with  the  bitumeu  not  burnt 
by  over-exposure,  should  take  the  ink  as  soon  as  the  roller 
is  passed  over  it,  and  give  an  image  with  a close  regular 
grain,  without  any  necessity  for  retouching.  Impressions 
are  pulled  just  as  in  ordinary  lithography.  As  the  print- 
ing goes  on  the  image  improves,  becoming  more  trans- 
parent and  brilliant.  The  stones  stand  just  as  long  an 
impression  as  ordinary  lithographic  drawings.  Pictures 
obtained  by  this  process  are  said  to  have  shown  great 
delicacy  aud  remarkable  vigour. 

Macpherson’s  process  is  very  similar  to  the  last,  but 
there  are  a few  points  of  difference  which  may  be  worth 
noting.  The  process  was  patented  in  October,  1852,  and 
seeni3  to  have  been  worked  with  considerable  success. 
Alacpherson  prepared  his  sensitive  solution  by  taking  a 
piece  of  bitumen  about  the  size  of  a walnut,  powdering  it, 
and  putting  it  in  a bottle  with  six  ounces  of  sulphuric 
ether.  The  bottle  wa3  well  shake o for  ten  minutes,  and 
allowed  to  settle.  As  soon  as  the  sediment  had  subsided, 
the  coloured  fluid  wa3  poured  off,  and  its  place  supplied  by 
fresh  ether,  which  was  allowed  to  remain  in  contact  with 
the  bitumen  for  several  hours,  being  shaken  up  from  time 
to  time  ; the  liquid  was  then  filtered  off  for  use. 

The  writer  has  not  the  opportunity  of  referring  to  a 
paper  read  before  the  Photographic  Society  of  Scotland  in 
1856,  in  which  Mr.  Alacpherson  described  his  process,  but, 
according  to  Air.  J.  T.  Taylor,  the  object  of  the  double 
washing  with  ether  was  to  remove  an  insensitive  compo- 
nent of  the  bitumen.  As  we  saw  in  a previous  chapter, 
Dr.  Kayser  found  this  insensitive  component  to  be  an  oily 
fluid  soluble  in  alcohol  and  ether,  and  in  some  specimens 
of  asphaltum  it  renders  the  coating  given  by  the  first 
ethereal  solution  unmanageably  soft  and  tacky. 

Alacpherson  used  a grained  stone,  and  the  mode  of 
coating  it  and  the  precautions  taken  were  much  the  same 
as  in  Barreswil’s  process.  The  exposure  is  stated  to  have 
varied  from  half-an-hour  to  three  days,  but  appears  to 
have  usually  been  about  an  hour  more  or  less. 

When  properly  exposed  the  image  was  developed  by 
placing  the  stone  face  downwards  in  aflat  bath  containing 
ether  to  the  depth  of  a quarter  of  an  inch,  being  pre- 
vented from  touching  the  bottom  of  the  dish  by  strings 
tied  round  both  ends  with  another  string  joining  them,  by 
which  the  stone  could  be  lifted  up  from  time  to  time  to 
facilitate  the  removal  of  the  soluble  bitumen.  Finally,  the 
stone  was  turned  face  upwards,  and  was  washed  with  a 
little  fresh  ether.  The  etching  and  printing  were  con- 
ducted in  the  usual  way,  as  in  the  last  process.  The 
process  is  said  to  have  given  very  good  half-tones,  and  a 
stone  would  yield  500  good  impressions. 

A process  of  this  kind  is  described  in  Yol.  IV.,  p. 
262.  of  the  News,  as  in  use  at  the  Staatsdruckerei  at  Vienna 
for  line  work.  The  stone  was  coated  with  a filtered  solu- 
tion of  one  part  asphaltum  in  twenty  of  chloroform. 
Stress  is  laid  upon  the  use  of  chloroform  as  giving 
greater  sensitiveness,  and  rendering  the  lines  clear  and 
sharp.  The  exposure  to  light  required  was  from  one  to 
three  hours.  The  stone  being  cooled,  if  necessary,  after  ex- 
posure, the  image  was  developed  with  turpentine  diluted 
with  a little  alcohol  or  benzole.  After  development  the 
solvent  was  removed  by  plentiful  washing  with  water. 

In  Vol.  VII.  of  the  News  Air.  Joseph  Lewis,  of  Dublin  — 
who,  it  may  be  mentioned,  claims  to  have  produced  photo- 


lithographs  with  gum  and  bichromate  as  well  as  with 
bitumen  so  early  as  1842 — describes  some  asphaltum  pro- 
cesses which  present  some  novel  features,  though  the 
writer  is  unaware  of  their  ever  having  come  into  practical 
use. 

In  the  first  place,  Air.  Lewis  state3  that  bitumen  under 
the  influence  of  light  loses  its  power  of  repelling  water 
applied  to  its  surface,  or  exactly  the  converse  of  the  effect 
produced  by  the  action  of  light  upon  a collochromate 
film.  Thus,  if  a stone  coated  with  a solution  of  asphaltum 
in  oil  of  lavender  or  turpentine  be  exposed  to  light  under 
a transparent  positive,  anl,  aft.-r  being  wetted  with  a littlo 
gum  water,  be  inked  up  with  a roller  charged  with  print- 
ing ink,  the  portions  unaltered  by  the  light  will  take  the 
ink,  while  the  altered  bitumen,  remaining  wet,  will  repel  it. 

A second  process  mentioned  by  Mr.  Lewis  is  a transfer 
method  iu  which  asphaltum  and  bichromate  of  potash  are 
used  together  to  form  the  sensitive  surface.  The  mixture 
is  prepared  by  taking  one  ounce  of  black  asphaltum,  a 
quarter  of  an  ounce  of  suet,  as  much  bicarbonate  of  soda 
as  will  lie  on  a shilling,  and  meltiug  them  together  in  a 
pot,  then  adding  as  much  of  finely-powdered  bichromate 
as  of  soda,  and  a little  fine  black  to  colour.  The  mixture 
readily  dissolves  in  turpentine,  and  in  that  state  is  brushed 
over  a smooth  card  or  paper  surface  ; and  this,  when  dry,  is 
glazed  to  get  a perfectly  smooth  surface.  It  is  exposed  to 
light  for  some  hours  under  a transparent  positive  or  print. 
It  is  then  exposed  to  the  vapour  of  turpentine  for  a few 
seconds,  or  the  clean  stone  may  be  coated  with  a film  of 
turpentine.  The  exposed  surface  is  then  laid  rapidly  down 
on  the  stone  and  passed  through  the  press,  as  in  ordinary 
transferring;  when,  if  the  exposure  has  been  properly 
timed,  a perfect'y  sharp  transfer  will  be  found  on  the  stone 
in  transfer  ink. 

( To  be  continued.) 


DARK-ROOM  ILLUMINATION. 

Dear  Sir, — Having  seen  in  the  report  of  a meeting  of 
the  London  and  Provincial  Photographic  Association  in 
last  week’s  News,  the  statement  by  the  chairman  that  Mr. 
A.  L.  Henderson  has  “ made  some  important  experiments 
within  the  last  few  days  ” (I  conclude  in  the  matter  of 
dark-room  illumination),  may  I be  permitted  through  the 
medium  of  the  News  to  ask  Air.  Henderson  whether  he 
intends  to  make  public  his  experiments  or  the  result  of 
them  ? Aly  reason  is,  that  in  common  with  others,  I have 
been  much  interested  in  the  subject  (thanks  to  Air.  W.  E. 
Debenliam  and  others),  and  intend  to  displace  the  present 
system,  but  before  doing  so  would  like  to  have  as  a sub- 
stitute the  very  best  thing  possible.  Air.  Henderson’s 
opinion  on  the  subject  I am  sure  would  be  highly  es- 
teemed by  many  ; at  any  rate,  it  would  be  by  your  humble 
correspondent,  Ruby  and  Orange. 

o 

af  Sacietus. 

Photographic  Society  of  Great  Britain. 

The  ordinary  monthly  meeting  was  held  on  Tuesday  evening, 
the  11th  inst.,  in  the  Gallery  of  the  Royal  Society  of  Painters  in 
Water  Colours,  James  Gla’Shkb  Esq.,  F.R.S.,  F.R.A.S.,  Presi- 
dent, in  the  chair. 

The  minutes  of  last  meeting  being  read  and  confirmed,  the 
follow  ing  gentlemen  were  duly  elected  members  of  the  Society  : — 
Messrs.  W.  Atkins,  W.  M.  Bywater,  11.  H.  Cunningham, 
F.  Green,  H.  F.  Godbold,  J.  B.  Scott,  J.  J.  Varley,  T.  G.  Whaite, 

exander  Wilkinson,  J.  Winstanley. 

The  President  said  he  had  gre.  t pleasure  in  announcing  that 
a distinguished  visitor  was  amoDg  them  this  evening,  Mr.  Chas. 


December  14,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


797 


R.  Pancoast,  secretary  of  the  Photographic  Society  of  Philadel- 
phia ; he  was  sure  the  members  would  be  glad  to  welcome  any 
remarks  that  Mr.  Pancoast  might  feel  disposed  to  make,  lie 
should  ask  one  of  the  members  to  open  a discussion  on  Mr. 
Jabez  Hughes’  paper,  read  at  their  last  ordinary  meeting. 

Col.  Stuart  Wortley  said  Mr.  Hughes  did  not  state  how  he 
had  worked  out  the  conclusions  he  arrived  at,  or  the  title  of  his 
paper  ; he  thought  it  a very  serious  title  to  give  a paper  when 
the  work  of  Woodbury  and  many  other  important  investigators 
had  been  omitted.  It  would  have  been  reasonable  to  have  left 
out  the  names  of  artists,  and  it  would  have  presented  a little 
difficulty  in  mentioning  the  names  of  any  present ; but  in  leav- 
ing out  the  name  of  a man  like  Manners  Gordon,  he  (Colonel 
Wortley)  did  think  Mr.  Hughes  went  a little  beyond  the  mark. 

Mr.  W.  E.  Debenham  said  one  part  of  Mr.  Hughes’  paper 
struck  him,  namely,  mentioning  the  Society’s  Journal  as  the  only 
non-commercial  journal  connected  with  photography.  He  de- 
sired to  know  in  what  sense  it  was  not  commercial  ; there  was 
a juice  on  it,  advertisements  are  charged  for,  constituting  it  a 
commercial  jiaper.  There  was  a time  when  commercially  it  paid, 
now  there  were  not  sufficient  copies  sold  to  make  it  j>ay  ; the 
latter  fact  was  no  reason  for  calling  it  non-commercial. 

Mr.  Sebastian  Davis,  sj>eaking  in  reference  to  the  discovery 
of  sulphate  of  iron  as  a developing  agent  by  Robert  Hunt, 
pointed  out  that  the  gallic  acid,  pyrogallicacid,  or  pyrogallo],  as 
well  as  the  ferrous  sulphate,  all  acted  on  the  same  principle,  each 
having  the  power  of  reducing  the  higher  oxides  to  the  lower  con- 
dition : and  for  years  it  was  essential  to  development  of  the  latent 
image  that  there  should  be  j>resent  free  silver  nitrate,  and  an  acid 
reducing  agent.  Major  Russell  suggested  using  a more  powerful 
developer  and  addition  of  an  alkali.  This  not  only  affected 
the  reduction  of  silver,  but  iodide  and  bromide  also.  Fe  looked 
upon  the  discovery  of  a developer  to  be  quite  as  useful  as  a new 
plate.  He  considered  it  courageous  of  Mr.  Hughes  to  say  collo- 
dion was  threatened.  In  his  opinion  the  best  transparencies 
passed  through  the  Society’s  lantern  on  a recent  occasion  were 
those  made  by  the  collodion  j>rocess  ; the.e  was  greater  clearness 
than  in  those  made  with  gelatine. 

Mr.  John  Spillkr  thought  the  Society’s  best  thanks  were  due 
to  Mr.  Hughes  for  making  the  bold  attempt  at  thirty  years’ 
history  in  seveu  small  pagrs,  a subject  „hat,  to  do  full  justice 
to,  would  require  a good  sized  volume.  The  only  excep- 
tion he  took  referred  to  the  paragraph  on  carbon  and  platinotype. 
In  the  case  of  a platinum  p.int,  there  is  a lateut  image  composed 
of  ferric  oxalate,  and  this  is  developed  in  a hot  solution  of  pla- 
tinum. There  is  no  other  way  to  account  for  its  production. 
In  1852  the  Society  of  Arts  held  an  exhibition  of  photographs, 
and  it  was  interesting  to  note  the  catalogue  of  the  exhibits, 
780  in  number,  showing  the  history  of  photography  at  that  time. 
Out  of  this  exhibition  grew  the  Photographic  Society.  Another 
old  document  he  possessed  was  the  first  catalogue  the  Society 
issued  at  their  exhibition  in  the  Suffolk  Street  Gallery,  1851. 
With  regard  to  the  Journal  not  paying,  he  felt  that  it  was 
all  the  more  glory  to  the  Society  to  be  able  to  carry  it  on  without 
its  being  a commercial  success. 

Mr.  W.  England,  referring  to  the  remarks  made  by  Mr. 
Davis  on  the  subject  of  slides  shown  on  the  last  lantern  night 
being  mostly  by  the  wet  collodion  process,  and  being  clearer  than 
those  on  gelatine,  said  it  only  applied  to  a bromide  film,  cer- 
tainly not  to  gelatino-chloride  films.  Transparencies  on  gelatino- 
chloride  plates  shown  by  Mr.  Cowan,  also  Mr.  Bedford,  were 
equal  to  anything  ever  done  with  collodion. 

Colonel  Stuart  Wortley  wished  to  be  allowed  to  mention 
the  name  of  the  late  Mr.  Sutton  as  having  contributed  his  share 
in  the  general  advancement. 

Mr.  Hughes  said  that  Colonel  Wortley  hit  on  the  weak  point 
of  the  paper,  but  he  did  not  grasp  what  he  (Mr.  Hughes)  omitted. 
He  suppressed  a good  deal  of  his  jiaper  ; instead  of  one  hour  and 
a half,  he  cut  it  off  at  forty  minutes,  intending  to  take  it  up  at 
some  future  time.  It  looks  simple  enough  now  to  add  Agllr  to 
gelatine,  but  it  took  years  to  comjdete  the  result.  Sir  J . Herschel 
read  one  of  the  earliest  papers  before  the  Society,  in  which  he 
> prophesied  the  abandonment  of  iodide  of  silver,  and  the  use  of 
bromide  of  silver,  not  saying  how  it  was  to  be  accomplished  ; but 
it  has  taken  thirty  years  to  work  it  out.  It  was  not  with  a view 
of  casting  any  slur  on  his  esteemed  friend  Manners  Gordon,  that 
he  did  not  include  his  name  with  the  gum-gallic  jirocess.  lie  fully 
acknowledged  the  names  mentioned  by  Colonel  Wortley,  and  in 
time  would  make  the  necessary  recognition.  Major  Russell’s 
discoveries  were  quite  as  important  as  those  mentioned  by  the 


Colonel ; for  by  the  Major  working  out  the  reduction  of  bromide 
of  silver  by  alkaline  development,  there  was  formed  the  connect- 
ing link  between  the  acid  developing  with  free  silver  nitrate,  and 
the  mode  exercised  at  the  present  day.  In  reply  to  Mr, 
Debenham  a3  to  the  non-commercial  character  of  the 
Journal,  he  intended  it  in  the  sense  that  we  have  had 
many  journals  started  commercially,  wb’ch  have  fallen  through. 
Replying  to  Mr.  Davis's  remarks,  he  said  Robert  Hunt  used 
the  ferrous  salt  as  a superior  de-oxidizer  to  gallic  acid. 
After  pointing  out  the  overwhelming  advantages  of  gela- 
tine in  many  ways  over  the  processes  of  the  past,  Mr.  Hughes 
took  exception  to  the  term  amateur,  preferring  to  unite  all 
students  of  the  art  under  the  designation  of  professional  and 
non-professional  photographers.  It  was  interesting  to  read  the 
reports  of  the  various  society  meetings  in  all  j arts  of  the  king- 
dom, and  this  information  disseminated  to  all  parts  of  the 
world,  by  aid  of  the  journals,  created  one  lmgo  jdrotographic 
society,  in  which  all  the  readers  were  the  members. 

The  President  announced  that  the  nomination  of  officers  for 
the  ensuing  year  must  be  sent  in  next  month,  notice  of  which 
would  be  sent  to  the  members,  the  retiring  members  being  : — 

President — J.  Glaisher,  Esq.,  F.R.S. 

Vice-president — Capt.  Abney,  R.E.,  F.R.S. 

Members  of  Council — Messrs.  F.  Bedford,  W.  B.  Bolton, 
J.  H.  Dallmeyer,  S.  Darwin,  W.  England,  and  P.  Mawdsley. 

Treasurer — W.  S.  Bird. 

[Owing  to  indisposition,  the  President  vacated  the  chair,  and 
Mr.  Spiller  assumed  the  duties  for  the  remainder  of  the  evening.] 
He  (Mr.  Spiller)  considered  the  best  thanks  of  the  members 
were  due  to  Mr.  Hughes  for  coming  up  from  the  Isle  of  Wight 
on  two  occasions : firstly,  to  read  his  paper ; and  secondly,  to 
attend  the  discussion.  He  proposed  a vote  of  thanks,  which 
was  seconded  by  Mr.  W.  England,  and  carried  unanimously. 

Mr.  Addenbrook  explained  the  action  of  a rapid  shutter  sent 
by  Messrs.  Thury  and  Amey,  the  speed  being  5^  of  a second. 
It  is  arranged  to  go  between  the  lenses.  Two  strips  of  metal  aie 
made  to  pass  each  other,  released  by  a pneumatic  arrangement. 
They  are  set  by  winding  uj>  a sjrring,  this  actuating  a double 
rack-work,  the  strips  then  travelling  in  contrary  directions. 

The  Chairman  announced  that  the  Society  were  in  possession 
of  an  extremely  accurate  set  of  screws  ; in  case  there  should  be 
any  (Joints  in  dispute,  reference  could  be  made  to  the  Society. 
He  should  like  to  hear  any  remarks  from  Mr.  Charles  R.  Pan- 
coast as  to  American  photograjjlric  societies. 

Mr.  Charles  R.  Pancoast,  in  response,  said  he  had  but  few 
remarks  to  make.  The  society  to  which  he  belonged  (the 
Philadelphia  Photographic  Society)  he  considered  pretty  old — 
that  is,  twenty-one  years  ; but  he  had  just  heard  this  Society  was 
thirty  years  old.  Since  the  introduction  of  gelatine,  tilings  had 
changed.  Men  came  into  their  Society  now  who  buy  their 
(dates,  take  them  to  a photographer  to  be  developed,  and  once  in 
a while  get  a good  result.  Washed  collodion  emulsion  was  very 
popular  amoDg  them,  and  excellent  work  was  done  by  its  means. 
True,  it  was  slow,  but  he  had  reason  to  think  it  could  be  made 
very  rapid  ; he  had  succeeded  in  making  it  very  rapid.  Rarely 
any  maker  in  America  can  make  two  batches  of  gelatine  plates 
alike,  and  it  frequently  happens  for  tl  e makers  to  call  in  a batch. 
Professional  jihotographers  are  mostly  using  gelatine,  and  there 
was  no  apparent  falling  off  in  the  work. 

The  next  iuformal  meeting  will  take  place  on  Tuesday, 
the  1 8th  inst.,  and  the  next  Ordinary  meeting  on  Tuesday, 
January  8th,  1884. 


South  London  Photographic  Society. 

The  annual  meeting  of  this  Society  was  held  in  the  house  of  the 
Society  of  Arts,  John  Street,  Adelphi,  W.C..  on  Thursday  even- 
ing, the  Gth  inst.,  the  Rev.  F.  F.  Statham,  M.A.,  President,  oc- 
cupying the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  Messrs.  \V.  M.  Ashman,  II.  H.  Bashaw,  T.  J.  Collings, 
and  W.  Noble  were  elected  members  of  the  Society. 

The  Chairman  said  that  this  being  the  Society’s  annual  meet- 
ing to  enquire  into  the  state  of  their  finances,  and  as  there  was  a 
good  deal  of  work  before  them  this  evening,  he  should  ask  them 
to  get  to  business  at  once.  There  was  a proposal  from  Mr. 
Ayres,  seconded  by  Mr.  Harrison,  to  make  a change  in  their 
governing  body,  that  in  future  there  should  be  six  vice-presidents 
and  twelve  committee-men,  some  of  which  should  not  be  eligible 
for  re-election ; thiis  matter  would  be  discussed  later  on,  when 
they  came  to  the  election  of  officers  for  the  ensuing  year.  Be- 


798 


THE  PHOTOGRAPHIC  NEWS. 


LHr.CF.MBER  14,  1883, 


sides  the  ordinary  routine  business,  Mr.  C.  Ray  Woods  was  an- 
nounced to  deliver  a lecture,  entitled  “ Photography  and  Solar 
Eclipses;”  Mr.  W.  Brooks,  to  demonstrate  his  method  of  inten- 
sifying gelatine  plate?  ; aud,  if  there  was  time,  the  question-box 
had  furnished  the  following — “ Is  a swing-back  to  a camera  de- 
sirable or  necessary  ? ” In  presenting  the  annual  report,  he  could 
not  refrain  from  commenting  upon  the  continued  prosperity  of  the 
Society,  as  instanced  by  the  g '.thering  at  the  lantern  and  te  ch- 
nical  meetings. 

Mr.  Jabez  Hughes  proposed,  and  Mr.  W.  Brooks  seconded, 
that  the  report  be  adopted.  Carried  unanimously. 

The  Treasurer,  after  reading  his  report,  explained  that  this 
was  the  first  year  in  which  the  expenses  incurred  for  presentation 
prints  were  included  in  the  oharges  that  year,  a plan  lie  con- 
sidered very  desirable. 

The  Chairman  said  the  best  thanks  of  the  members  were  dne 
to  Mr.  Bridge  (their  Hon.  Secretary  and  Treasurer)  for  his  efforts  ; 
the  extra  work  put  upon  his  shoulders,  on  the  abdication  of  their 
late  Secretary,  was  considerable.  They  should  thank  him  for  keep- 
ing their  accounts  in  such  a favourable  condition,  and  especially 
for  keeping  the  charge  for  presentation  prints  within  the  accounts 
of  the  year. 

Mr.  W.  Ackland  and  Mr.  A.  L.  Henderson  were  appointed 
to  act  as  auditors. 

The  Treasurer,  in  thanking  the  Chairman  and  members  for 
their  recognition  of  his  services,  said  as  long  as  they  entrusted 
him  with  the  duties,  he  would  endeavour  to  keep  the  accounts  on 
the  right  side.  He  might  mention  that  the  matter  rested  very 
much  with  the  members  themselves.  Out  of  somp  seventy-eight 
members  during  the  past  year,  less  than  half-a-dozen  had  omitted 
to  forward  their  subscriptions. 

The  Chairman  called  upon  Mr.  Ayres  to  bring  forward  the 
motion  of  which  he  had  given  previous  notice. 

Mr.  W.  M.  Ayres  thereupon  moved  the  following  resolution : 
— 1.  “ That  there  shall  be  six  vice-presidents,  two  to  retire  an- 
nually, and  not  to  be  eligible  for  re-election  for  one  year.  2. 
That  the  committee  shall  consist  of  twelve  members,  four  to  retire 
annually,  an  i not  to  be  eligible  for  re-election  for  one  year.”  He 
(Mr.  Ayres)  thought  a change  advantageous. 

Mr.  IlARRrsoN  was  of  Mr.  Ayres’  opinion  ; some  change  was 
necessary  in  order  to  sustain  the  vitality  of  the  Society;  he  believed 
new  ideas  were  produced  by  the  infusion  of  fresh  blood  in  the 
council. 

Mr.  Jabez  Hughes  enquired  ot  the  Chairman  in  what  respect 
the  motion  differed  from  the  rules  relating  to  this  matter. 

The  Chairman,  referring  to  the  rules,  replied  that  in  relation 
to  vice-presidents,  the  rule  specified  two  vice-presidents,  and  not 
more  than  six,  the  same  to  be  eligible  for  re-election. 

Mr.  Hughes  said,  as  a matter  of  fact,  they  would  all  be  out  of 
office  that  night,  unless  re-elected. 

The  Chairman  then  took  the  opinion  of  the  meeting  whether 
it  was  desirable  to  make  any  change  in  the  rule  as  embodied  in 
Mr.  Ayres’  motion  with  regard  to  vice-president.  The  motion 
was  lost. 

The  Chairman  then  put  the  second  part  of  the  motion  with  a 
similar  result. 

The  election  of  officers  for  the  ensuing  year  then  took  place. 

The  Chairman  said  if  the  members  were  willing  to  elect  him, 
he  was  willing  to  serve.  The  voting  papers  having  been  passed 
round,  the  scrutineers,  Messrs.  King  and  Mackie,  subsequently 
announced  the  following  results: — President : Rev.  F.  F.  Statham, 
M.A.;  Vice-presidents:  Messrs.  W.  Brooks,  E.  Cocking,  F. 
Howard,  Jabez  Hughes,  H.  Trueman  Wood,  and  F.  York.  Com- 
mittee : Messrs.  W.  Ackland,  T.  Bolas,  W.  Cobb,  A.  Cowan,  E. 
Dunmore,  E.  W.  Foxlee,  J.  Nesbit,  and  H.  Wilmer  ; Hon.  Sec- 
retary and  Treasurer : Mr.  F.  A.  Bridge. 

On  the  motion  of  Mr.  Harrison,  seconded  by  Mr.  Poisson,  a 
hearty  vote  of  thanks  was  accorded  to  the  offieers  for  their  past 
services  during  the  year. 

Mr.  T.  Bolas  said  the  vote  would  be  incomplete  unless  supple- 
mented with  another  to  the  Society  of  Arts  for  their  kindness  in 
allowing  the  use  of  their  Rooms  for  the  purposes  of  the  Society’s 
gatherings  ; in  proposing  this  resolution  he  coupled  with  it  the 
name  of  Mr.  II.  Trueman  Wood. 

Mr.  Jabez  Hughes,  in  seconding  Mr.  Bolas’s  motion,  said  the 
Society  of  Great  Britain’s  earliest  meetings  were  held  under  the 
wings  of  the  Society  of  Arts.  He  was  extremely  delighted  to  know 
that  photographers  have  always  had  their  best  interests  favoured 
by  the  Society  of  Arts,  and  this  Society  in  particular. 

The  Chairman  said  every  facility  had  been  placed  at  their 
disposal  to  enable  them  to  carry  on  their  proceedings  in  an 


ffi  cient  manner.  He  felt  it  his  duty  to  supplement,  the  previous 
speakers’  remarks  by  thanking  Mr.  Wood  individually,  from 
whose  hands  they  had  received  the  same  kindness  shown  by  the 
late  Secretary,  Mr.  P.  Lc  Neve  Foster. 

Mr.  II.  Trueman  Wood,  in  reply,  said  it  was  a source  of  grati- 
fication to  his  Council  to  assist  the  South  London  Photographic 
Society  as  much  as  possible,  and  he  felt  deeply  the  kindly  remarks 
in  reference  to  his  honoured  predecessor  ; personally,  he  was  very 
glad  to  drop  in  at  their  meetings  and  learn  what  was  going  on  in 
the  profession  his  predecessor  was  such  a master  of. 

The  competition  subjects  having  been  chosen  for  January  and 
February,  Hndscapes  and  figures,  the  Chairman  called  upon 
Mr.  C.  Ray  Woods  to  deliver  his  lecture  entitled  “ Photography 
and  Solar  Eclipses  (see  page  789). 

The  Chairman  said  watching  the  countenances  of  the  members 
during  the  delivery  of  Mr.  Woods’  lecture  showed  that  the  great- 
est praise  they  could  give  had  been  done  by  the  strict  attention 
of  every  one  present.  Ours  is  not  an  astronomical  society,  but 
it  can  show  its  appreciative  attention  to  an  able  lecture.  He 
thought  all  must  feel  proud  to  hear  that  by  means  of  photo- 
graphy the  observers  have  been  enabled  to  surpass  all  that  has 
ever  been  done  before  in  this  wonderful  field  of  research.  The 
importance  of  permanent  photographic  records  was  beyond  ques- 
tion. An  experienced  observer  looking  through  a telescope  was 
liable  to  optical  illusions  on  account  of  the  faultiness  of  human 
eyes  ; therefore,  three  or  four  astronomers,  observing  the  same 
object,  may  give  very  divergent  opinions.  In  spite  of  all  obser- 
vations taken  in  1871,  the  photograph  was  considered  the  best. 
He  should  like  to  know  from  Mr.  Woods  whether  he  could  solve 
the  problem  known  as  Bailey’s  beads,  or  was  it  an  optical  illusion. 
The  green  light  spoken  of  opens  up  a vast  field  for  spectroscop- 
ists.  Vast  jets  of  incandescence,  computed  at  100,000  miles  in 
length,  open  up  wonderful  fields  of  research  in  the  future  for 
photographers.  He  should  like  to  hear  from  any  of  the  members, 
and  would  ask  for  a short  reply  from  Mr.  Woods. 

Mr.  W.  Brooks  mentioned  that  some  eighteen  years  ago  he 
was  engaged  photographing  some  Druidical  subjects  in  Cornwall, 
when  the  light  suddenly  failed,  the  landscape  being  bathed  in  a 
neutral  tint,  deepening  into  violet,  as  described  by  the  lecturer  ; 
during  exposure  the  cloud  lifted,  and  the  sun  shone  in  the  lens. 
The  plate,  upon  examining  the  back  after  fixing,  showed  unmis- 
takable colour ; the  portion  corresponding  to  the  grass  was 
green.  This  negative  was  exhibited  about  1866. 

The  Lecturer  could  not  account  for  the  colour  in  the  nega- 
tive described  by  Mr.  Brooks.  With  regard  to  Bailey’s  beads, 
they  were  caused  by  the  inequalities  in  the  moou’s  surface. 

The  Chairman  then  announced  that  Mr.  E.  Dunmore  was 
again  the  successful  competitor. 

It  was  decided,  as  a matter  of  convenience  to  Mr.  Brooks, 
to  defer  his  demonstration  until  the  meeting  in  February,  and 
proceed  with  the  question  from  the  question-box. 

Mr.  F.  York  said  it  would  be  remembered  by  those  present  at 
the  Technical  Meeting  that  he  took  exception  to  the  swing- 
back  shown  by  Mr.  Watson,  and  he  was  surprised  at  his  remarks 
being  pooh-poohed.  To  substantiate  what  he  said,  he  now 
brought  a few  examples  of  difficult  subjects,  taken  with  a square 
camera  without  a swing-back.  It  would  be  noticed  that  the 
flange  was  not  secured  permanently  in  the  centre  of  the  camera- 
front,  but  could  be  slid  up  or  down  with  greater  latitude  than 
usual  with  sliding  fronts,  allowing  considerable  range  for  the 
foreground  when  taken  from  an  elevated  position.  The  advan- 
tage of  this  arrangement  was  shown  in  samples  handed  round, 
one  being  a house  forty  feet  high,  taken  at  a distance  of  forty 
feet.  This  he  thought  would  be  a difficult  subject  to  obtain 
with  a swing-back.  It  would  be  seen  in  the  examples  of  the 
Custom  House,  Cannon  Street  Hotel,  St.  James’  Palace,  Lincoln 
Tower,  &c.,  that  there  was  no  falling  off  in  the  definition. 

Mr.  F.  W.  Hart  could  fully  corroborate  the  opinion  expressed 
by  Mr.  York,  that  it  is  not  necessary  to  have  a swing  back,  the 
main  thing  being  to  have  the  power  in  the  selection  of  suitable 
lenses  for  special  subjects.  Those  who  were  limited  in  their 
stock  of  lenses  (which  Mr.  York  was  not)  would  find  the  swing- 
back  a necessity  ; for  the  last  twenty-five  years  he  (Mr.  Hart) 
had  accomplished  his  work  without  a swing-back. 

Mr.  II.  Trueman  Wood  remarked  that  the  matter  seemed  to 
lie  in  a very  small  compass  ; using  a lens  with  great  covering 
power  with  a square  camera,  or  using  the  swing  back  to  enable 
other  types  of  lenses  to  be  employed  for  the  same  subject.  Mr. 
York’s  photographs  were  very  admirable,  but  they  were  taken 
with  a lens  larger  than  was  absolutely  necessary. 

After  some  further  discussion,  in  which  Messrs.  York,  Hart, 


Decfmbkr  14,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


799 


Bridge,  Ayrei,aud  tlie  Chairman  took  part,  the  Chairman  said  it 
appeared  to  be  still  an  open  question. 

The  Annual  Lantern  Meeting  was  announced  to  take  place 
on  the  3rd  of  January  next.  Tickets  of  admittance  to 
members’  friends  will  be  forwarded  in  due  course. 

Mr.  Bkooks  mentioned  that  last  year  some  of  the  slides  sent 
were  not  suitable  for  the  lantern.  If  any  intending  exhibitor 
had  any  doubt  about  the  suitability  of  his  slides,  he  should  be 
happy  to  test  them,  and  would  attend  for  the  purpose  an  hour 
before  the  co  mmencement  of  the  proceedings. 


London  and  Provincial  Photographic  Association. 

At  the  meeting  of  this  Society,  held  at  the  Mason’s  Hall  Tavern. 
Coleman  Street,  E.C.,  on  Thursday,  the  6th  inst.,Mr.  J.  J.  Brig- 
inshaw  occupied  the  chair. 

Referring  to  the  discussion  on  the  matter  brought  forward  by 
Mr.  W.  E.  Debenham  at  the  previous  meeting  on  dark-room  light- 
ing, Mr.  J.  B.  B.  Wellington  said  he  had  mado  an  experiment ; 
he  developed  a plate  close  to  the  lamp-light,  filtered  through  one 
sheet  of  cathedral  green  glass  and  one  sheet  of  orange  demy,  as 
recommended  by  Mr.  Debenham  ; there  was  no  trace  of  fogging. 

Mr.  A.  IIaddon,  instancing  (he  sensitiveness  of  a gelatine 
plate  to  green  leaves,  asked  Mr.  Debenham  how  he  accounted  for 
his  obtaining  such  a safe  light  through  this  media  when  so  much 
of  the  green  rays  were  allowed  to  pass. 

Mr.  Debenham  replied  that  there  was  always  a certain 
amount  of  reflected  light  from  leaves,  and  it  was  notorious  that 
they  were  about  the  most  difficult  things  to  photograph. 

Mr.  A.  L.  Henderson  had  exposed  a plate  to  a sheet  of  the 
canary  medium  exhibited  by  him  at  a former  meeting,  but  the 
paper  had  been  in  this  case  oiled,  and  was  placed  over  a window 
illuminated  by  subdued  daylight.  The  result  of  an  exposure  of 
fifteen  seconds  was  a strong  image.  He  had  also  exposed  plates 
for  thirty,  sixty,  and  ninety  seconds  to  the  lamp  light  through 
the  same  piece  of  paper,  placed  over  orange  glass,  and  in  each 
case  an  image  was  obtained.  He  further  stated  that  this  paper 
and  that  recommended  by  Mr.  Debenham  seemed  by  reflected 
light  to  be  of  the  same  tint. 

Mr.  Haddon  exposed  a plate  to  lamp-light  filtered  through  the 
paper  shown  by  Mr.  Henderson  for  the  space  of  eight  minutes  at 
a distance  of  eight  inches,  and  a perfect  positive  was  the  result. 

Mr.  C.  H.  Cooke  showed  a print  from  a negative  of  a Spanish 
bank-note,  in  which  markings  were  visible  which  by  the  gas-light 
could  not  be  seen  in  the  original ; the  note  was  printed  from  an 
electrotype  block,  printed  by  the  anti-photographic  bank  printing, 
and  was  a blue  image  over  one  in  yellow. 

A question  from  the  box  was  read,  viz. : “ How  is  it  that  paper, 
sensitized  in  the  ordinary  way,  i.e.,  on  a neutral  bath,  refuses  to 
tone  when  kept  a week  or  more?  ” and  a discussion  ensued. 

The  following  gentlemen  were  elected  members  of  the  Asso- 
ciation Messrs.  F.  Cowderey,  F.  Darker,  and  II.  Frances. 


Bolton  Photographic  Society. 

A meeting  of  this  Society  was  held  on  Thursday  evening,  the  6th 
inst.,  Mr.  E.  N.  Ashworth  in  the  chair. 

The  Rev.  J.  W.  Cundv  and  Messrs.  S.  U.  Thwaitcs,  B.  Abbatt, 
S.  Abbatt,  K.  Mercer,  J.  Jackson,  VV.  H.  Collins,  Laithwaitc, 
and  G.  Paton  were  elected  members  of  the  Society. 

In  order  to  make  the  Society  as  useful  to  the  younger  members 
as  possible,  it  has  been  decided  to  give  practical  demonstrations 
of  the  processes  of  photography.  Mr.  T.  Parkinson  gave  the 
first  of  these  at  this  meeting,  selecting  for  his  subject  “ Toning 
Silver  Prints.” 

Mr.  W.  Banks  then  gave  a short  lantern  exhibition  of 
transparencies  by  Mr.  Cundy,  Mr.  Dalton,  and  others.  The 
same  gentleman  also  exhibited  and  explained  a new  five-wick 
lantern,  which  may  be  employed  ei  I Her  for  opaque  objects 
or  for  transparencies  in  the  usual  way ; but  owing  to  the  late- 
ness of  the  evening  it  was  not  used. 

The  meeting  was  held  in  one  of  the  class  rooms  of  the  Mawdsley 
Street  Board  School,  which,  although  more  convenient  of  acce.-s, 
was  not  considered  so  suitable  as  the  Society’s  former  room  at  the 
“Baths.”  A cordial  vote  of  thanks  to  the  Chairman,  Mr. 
Thomas  Parkinson,  and  Mr.  W.  Banks  brought  the  meeting  to  a 
close.  ° 


North  Staffordshire  Photographic  Association. 

A meeting  of  this  Society  was  held  on  Thursday,  the  Cth.  inst., 
in  the  Town  Hall,  Hanley,  Mr.  K.  E.  Burgess  in  the  chair. 


The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  Mr.  Haigli  was  elected  a member  of  the  Association. 

On  the  proposition  of  Mr.  Hampton,  Mr.  Alfieriwas  requested 
to  kindly  contribute  some  lantern  slides  from  his  stereoscopic 
collodion  negatives  illustrative  of  “The  Potter's  Art.” 

Mr.  Cotter  exhibited  some  nice  transparencies,  made  by 
contact,  upon  the  Derby  Company’s  lantern  plates. 

The  Chairman  then  called  upon  Mr.  W.  B.  Allison  (Hon. 
Secretary)  to  read  a paper,  entitled  “ A few  Remarks  upon  the 
Platinotype Process ’’  (seepage  791). 

The  paper  was  listened  to  attentively,  and  the  prints  exhibited 
were  much  admired.  The  simplicity  of  the  process  was  re- 
marked upon,  and  several  members  stated  their  determination 
to  give  the  process  a trial,  and  procure  licences  from  the 
company. 

A vote  of  thanks  was  passed  to  Mr.  Allison.  After  some 
interesting  discussion  upon  the  process,  the  meeting  was  ad- 
journed. 

It  was  agreed  to  have  at  the  next  meeting  a demonstration  of 
the  method  of  enlarging  upon  argentic  paper  and  opal,  the  lion. 
Secretary  undertaking  the  arrangements  for  the  same. 


Dundee  and  East  of  Scotland  Photographic  Association 
The  third  regular  meeting,  session  1883-4,  was  held  in  Lamb’s 
Hotel,  Dundee  on  Thursday,  the  6th  Dec.  There  were  over, 
sixty  members  present.  It  was  agreed  to  rent  a room  in  Reform 
Street,  to  be  used  as  a dark-room  for  the  convenience  of 
members  who  might  not  have  sufficient  accommodation  at  home, 
Mr.  J.  C.  Cox,  the  President,  having  undertaken  to  get  all  the 
necessary  sinks,  water,  and  gas  communications  put  up  at  his  own 
expense.  It  was  decided  to  make  a small  charge  for  each  member 
using  the  room. 

Mr.  D.  Ireland  jun.,  the  Secretary,  then  read  a paper  “ On 
the  Production  of  Lantern  Transparencies”  [in  our  next], 
which  lie  illustrated  by  means  of  a number  of  slides  prepared 
by  the  different  processes. 

The  members  having  been  invited  to  bring  slides  for  ex- 
hibition and  discussion,  several  gentlemen  complied  with  the 
request,  and  a large  number  of  pictures  were  shown  by  the  aid 
of  the  Society’s  new  lime-light  lanterns. 

It  was  intimated  that  Mr.  Alex.  Simpson,  Newport,  had  been 
the  successful  competitor  in  the  competition  for  “ Sky,”  and 
Mr.  D.  Ireland,  jun.,  for  the  November  one  “Reflections.’’  The 
subject  for  December  and  January  is  “ Snow-scene.” 


3Lalk  in  t\}t  StuMfl. 

The  South  London  Photographic  Society.— On  Friday  last 
the  annual  dinner  of  this  Association  took  place  at  the  Holboru 
Restaurant,  the  Rev.  F.  F.  Statham  occupying  the  chair,  while 
Mr.  Jabez  Hughes  officiated  as  vice-chairman,  and  about  thirty 
members  were  present.  The  Chairman  said  that  he  felt  proud 
of  presiding  over  such  a Society  as  the  South  London,  it  being 
essentially  characterised  as  a pioneer  society.  It  originated 
technical  and  lantern  meetings,  as  a part  of  the  work  of  a photo- 
graphic association,  and  it  was  very  gratifying  to  him  to  find 
that  the  Photographic  Society  of  Great  Britain  was  not  above 
following  in  the  steps  of  the  junior  society.  The  Photographic 
Club  must  also  be  regarded  as  an  off-shoot  of  the  South  London 
Society,  and  the  London  and  Provincial  Society  is  an  off-shoot 
of  the  Photographic  Club.  Concerning  the  usefulneas  of  photo- 
graphy but  little  need  be  said,  its  applications  to  physiology, 
the  practice  of  medicine,  and  solar  physics  being  well-known  to 
all  present.  Photography  will  often  bring  to  light  that  which 
is  invisible  to  the  ordinary  eye,  as  is  well-known  in  the  case  of 
forgeries  and  erasures.  In  referring  to  the  difficulties  of  photo- 
graphy, the  chairman  alluded  to  the  frequency  with  which  pro- 
fessional photographers  have  been  compelled  to  change  their 
mode  of  working,  the  change  being  often  so  great  that  it  almost 
amounts  to  learning  a new  profession.  The  usual  toasts  were 
duly  honoured,  and  several  of  those  present  favoured  the  com- 
pany with  recitations  and  songs.  Among  these  latter  may  be 
mentioned  a new  topical  version  of  the  “ Spider  and  the  Fly,” 
by  Mr.  Jabez  Hughes. 

“ Will  you  walk  up  to  the  studio?  ” said  Tout  to  Passer-by  ; 

“ It  is  the  prettiest  studio  that  you  did  ever  spy. 

We’ve  Dallmeyer  lens  and  cam’ra,  we’ve  aecess’ries  all  around, 

Oar  plale3  are  quick  as  ligntning,  we’ve  a handsome  new  background. 

Will  you,  will  you,  will  you,  will  you,  walk  up,  Passer-by  r 

Will  you  walk  up  to  the  studio,  altho’  it’s  ratffir  high  ?” 


800 


THE  PHOTOGRAPHIC  NEWS, 


[December  14,  1883. 


“ But  what’s  the  price  for  one  like  this  ? ” said  doubtful  Passer-by  ; 
“ I’d  like  to  give  to  my  dear  Ciss,  my  photo  on  the  sly.” 

“ Complete  like  this,  in  pass  partoo,  we’ll  charge  you  but  a bob  ; 
Walk  up  quick  and  get  it  through,  we’ll  soon  knock  off  the  job.” 

“ Shall  we,  shall  we,  take  your  portrait,  Mister  Passer- by  ? 

It's  but  a bob  to  do  the  job,  in  the  studio  near  the  sky.” 

Then  up  the  crooked  stairs  he  climbed,  past  landings  three  or  four, 
And  up  he  went,  on  portrait  bent,  past  quite  as  many  more. 

At  last  he  stopped  to  take  his  breath,  quite  beaten  out  of  puff. 

He  heard  a voice  inviting  cry — he  thought  the  voice  was  gruff- — 

“ Come  up,  come  up,  one  more  stair  up,  Mister  Passer-by; 

I’ll  take  your  portrait  in  atwink,  in  the  studio  near  the  sky. 

“ Your  money  first,”  the  gruff  man  cried,  ‘‘it’s  the  way  we  do  it  here 
It’s  but  a crown,  so  dubb  it  down,  I’m  sure  that  that’s  not  dear.”  ; 
“ But  for  a shilling  I agreed,  with  the  man  down  at  the  door.” 

The  gruff  man  frowned:  “ The  roan  be  drowned,  I’ll  have  five  bob  or 
more. 

Won’t  you,  won’t  you,  pay  your  money,  pay  your  sh  llings  five  ? 
For  if  you  don’t,  1 swear  you  won’t  go  from  here  alive.” 

The  gruff  man  he  was  big  and  strong,  the  Passer-by  was  not  ; 

So  he  paid  the  crown,  and  sat  him  down,  and  soon  the  portrait  got. 
But,  while  in  dark-room  Gruff'  was  gone,  the  Other  did  the  trick  — 
He  unscrewed  the  lens  from  under  cloth,  in  pocket  slipped  it  quick. 
Gruff  bowed  him  out,  and  down  he  went,  downy  Passer-by, 

For  lens  and  portrait  both  he’d  got,  from  studio  near  the  sky. 

He  quickly  found,  when  he  got  out,  an  uncle  that  he  knew  : 

‘‘How  much?”  “ Five  bob.”  Then  up  the  spout,  Dallmeyer’s 
lens  it  flew. 

He  wrote  a letter,  with  these  words,  pawn-ticket  put  inside, 
Besides  a sketch  of  thumb  to  nose,  the  fingers  opened  wide  : 

“ Open  wider  jour  eyes,  Spider,  in  your  web  so  high, 

Or  you’ll  some  day  catch  a Tartar,  when  you  think  you’ve  caught 
a Fly.” 

Photgraphic  Society  for  Burton. — An  amateur  photo- 
graphic society  for  Burton  and  district  was  lormed  last  Thursday 
evening,  with  the  Rev.  J.  Bramell  as  president,  Mr.  A.  Siddals 
as  treasurer,  Mr.  H.  E.  Hunt  as  hon.  secretary,  and  a commitee 
composed  of  the  following  g.  ntlemen : — Messrs.  W.  Sims,  A.  Jones, 
and  W.  Jones.  It  is  intended  to  hold  monthly  meetings  in  the 
winter,  and  excursions  with  the  camera  during  the  summer 
months,  and  to  forward  as  much  as  possible  the  art  and  practice 
of  photography  among  amateurs. 

Measuring  the  Curvature  of  Lenses.  — At  a recent  meeting 
of  the  Physical  Society,  Professor  R.  B.  Clifton  (President)  read  a 
paper  on  this  subject.  With  very  small  lenses  the  spherometer 
cannot  be  used,  and  the  author’s  method  is  based  on  the  Newton’s 
rings  formed  between  the  lens  and  a plane  surface  or  a eurved 
surface  of  known  radius.  From  the  wave-length  of  the  light 
employed  in  observing,  and  the  diameter  of  a ring,  the  radius 
of  curvature  can  be  determined.  He  places  the  lens  on  a plane 
or  curved  surface  under  a microscope,  and  lights  it  by  the  sodium 
flame  (wave-length  5892  X10"7).  He  measures  the  approximate 
diameters  of  two  rings  a distance  apart  (in  practice  the  tenth  and 
twentieth  rings  are  found  convenient),  takes  the  difference  of  their 
squares,  and  divides  by  the  wave-length  and  the  number  of  riugs 
in  the  gap  between  to  find  the  radius  of  the  lens. 

It  Depends.— Mr.  A. ; “ What  a charming  genre  picture  that 
is.”  Mrs.  A.:  “Yes;  I love  those  domestic  scenes,  and  what  I 
particularly  admire  in  this  one  is  the  artist’s  management  of  the 
light  and  shade.”  Mr.  A. : “ That  struck  me,  too,  and  I could 
not  help  thinking  what  a beautiful  lesson  the  picture  teaches 
young  married  couples.”  Mrs.  A.:  “Indeed!  In  what  way?” 
Mr.  A. : “ Well,  you  see,  everything  depends  on  the  manage- 
ment of  light  and  shade.  The  full  rays  may  be  let  >u  on  the 
present,  but  it  is  often  just  as  well  to  keep  the  past  a little 
shady.” — Detroit  Free  Press. 

Photographic  Club.— At  the  next  meeting,  on  Dec.  19,  the 
subject  for  discussion  will  be  “The  Annual  Dinner”  at 
Anderton’s  Hotel,  Fleet  Street  E.C.,”  at  which  address  the 
meetings  of  the  Club  will  in  future  be  held.  As  the  number  of 
tickets  are  limited,  an  early  application  should  be  made  to  the 
Hon.  Secretary  by  those  desirous  of  attending.  No  meeting 
will  be  held  on  Dec.  2G. 


***  We  cannot  undertake  to  return  rejected  communications. 

1’.  Sei.lick. — Our  private  note  to  you  conveys  most  of  the  infor- 
mation you  require,  but  we  may  add  that  it  is  important  to  remove 
all  traces  of  t lie  white  deposit  from  the  globe  after  using  the  appa- 
ratus. A mixture  of  one  part  of  hydrochloric  acid  and  six  parts 
of  water  may  be  employed  for  this  purpose,  and  the  acid  can  be 
used  over  and  over  again  until  exhausted. 


Geo.  Henry. — 1.  You  cannot  have  better  or  fuller  directions  than 
are  contained  in  the  articles  of  Captain  Waterhouse,  now  appear- 
ing in  the  Photographic  News.  2.  One  ounce  of  gelatine,  a 
quarter  of  an  ounce  of  potassium  bichromate,  and  twelve  ounces 
of  water. 

James  Henderson. — We  should  recommend  an  objective  of  the 
rectilinear  or  rapid  symmetrical  type  for  such  work  as  you  refer  to. 

J.  Berryman. — 1.  We  do  not  quite  understand  where  you  failed, 
and  should  like  to  have  particulars.  2.  The  gentleman  to  whom 
you  refer  informed  us  that  he  experienced  no  difficult)'. 

F.  W.  Parry. — The  process  is  a very  easy  one,  and  it  is  carried 
out  as  follows  : — A glass  plate  is  warmed  and  rubbed  over  with  a 
cake  of  wax,  all  excess  being  polished  off  with  a flannel  rubber. 
Still,  a film  of  extreme  tenuity  should  remain  upon  the  glass. 
The  waxed  plate  is  now  coated  with  collodion — either  plain  or 
iodized— and  as  soon  as  the  film  has  set,  the  glass  is  placed  in 
water,  where  it  is  allowed  to  remain  until  all  aspect  of 
greasiness  disappears.  Coated  plate  and  print  arc  now  placed  in 
a dish  containing  a warm  solution  of  gelatine,  and  while  under 
the  solution,  the  print  is  placed  face  downwards  on  the  collodion 
film,  after  which  both  are  drawn  out  of  the  bath  together.  Per- 
fect contact  is  now  established,  and  the  excess  of  the  gelatine 
solution  is  expelled  by  stroking  the  back  of  the  print  with  a 
squeegee,  and  when  dry,  the  picture  can  be  stripped  from  the 
plate,  carrying  with  it  the  collodion  film. 

J.  T.  Hackett. — The  cathedral  green  glass  can  be  obtained  from 
any  large  glass  dealer  in  London.  Try  Houghton,  89,  Ilolborn  ; 
or  Williams,  36,  St.  Martin’s  Lane. 

T.  R.  Young. — 1.  Some  general  directions  appeared  in  the  Photo- 
graphic News  a few  weeks  ago,  and  you  rnnst  see  that  it  is 
impossible  to  give  full  working  directions  in  this  column.  2.  The 
best  way  of  preventing  the  adhesion  of  the  electrotype  deposit,  is  to 
coat  the  copper  with  a very  thin  film  of  silver,  and  this  is  easily 
effected  by  rubbing  it  over  with  the  following : — 

Nitrate  of  silver  ...  ...  ...  ...  10  grains 

Cyanide  of  potassium  CO  ,, 

Water  1 ounce 

Whiting,  enough  to  form  a soft  paste. 

3.  The  battery  you  mention  will  answer  very  well  indeed.  4. 
Until  you  hive  had  some  experience,  we  should  reeo.mmend  you 
not  to  attempt  to  deposit  direct  upon  the  steel  plate,  but  to  make 
a countermould  in  lead,  upon  which  you  can  electrotype.  It  is 
easy  to  make  the  leaden  reverse  by  laying  a sheet  of  lead  on  tho 
plate,  and  pas- sing  through  the  rolling  press. 

J.  White. — Probably  your  glass  was  not  free  from  all  traces  of 
greasy  matter.  Clean  with  caustic  potash. 

Isochuomatic  Plates.— Mr.  Greenwood  Pim  writes  : — “ Refer- 
ing  to  a short  paper  read  by  me  before  tho  Photographic  Society 
of  Ireland  on  ‘ Isochromatic  Plates,’  and  which  appeared  in  the 
Photographic  News,  p.  730,  I think  it  is  only  fair  to  Messrs. 
Attout-Tailfer  and  Clayton  to  state  that  a further  sample  of  plates 
which  they  kindly  sent  me,  have  proved  much  more  successful 
than  the  first.  With  these,  in  bright  sunshine,  and  with  a short 
exposure,  I obtained  a picture  of  coloured  ribbons,  in  which  the 
blue — a fairly  bright  one — is  distinctly  darker  than  the  yellow  ; 
while  with  three  pieces  of  calico  sent  by  the  patentees — orange, 
light  yellow,  and  dark  blue — the  blue  appears  darker  than  the 
orange,  exactly  tho  correct  value  of  each  colour,  proving  that 
their  statements  are  by  no  means  exaggerated.  With  coloured 
plates  of  yellow  and  blue  flower  I have  not  done  q^to  so  well, 
probably  through  not  having  hit  off  the  exposure  correctly. 

*0*  Press  of  matter  compels  us  to  allow  several  answers  to  stand 
over  till  next  week. 


t<hf  photographic  $tefou  gtcgisfnr. 

Employment  Wanted. 

Retoucher,  all  branches. — Retoucher,  44,  Park-st.,  Plymouth. 

Reception  Room,  Spotting,  Ac.  (Lady). — P.  W.,  1G,  Ohryssell-rd.,  Brixton. 
Spotting,  Mounting,  Recop.  Room.— L.,  1,  Woodside-tcr.  ,Gipsty-hill,  8.E. 
Operator  or  Manager.— 11.  II.,  2,  lladion-villas,  Lordship-la.,  E.  Dulwich. 
General  Assistant  in  Wales.— Fyro.,  Mitchell's,  Forest-hill,  S.E. 

Operator  and  Retoucher. — H.  C.  8.,  4,  Beatrice-villas,  Ossory-rd.,  S.E. 
Reception  Room  (Lady).— J.  R. Sawyer,  Autotype  Works, Ealing  Dene,  W. 
Nog.  Retoucher  A Reoep.  Room  (Lady).— J.  Y.,  Photographic  AetojOfllei . 
Assist.  Operator,  generally  useful. — II.  W.  P.,  138,  Union-rd.,  Boro’,  S.E. 
Retoucher  and  Operator,  first-class,  wet  or  dry.— S G.,  Photo.  News  Office. 
Enlarger  or  Dry-plate  Maker. — B.,  7,  Northumberland-ter.,  Regent’s-pk. 
Young  Lady  for  Reception  Room.— S.  F.,  69,  Giosvenor-rd.,  S.W. 

Employment  Offered. 

Traveller,  experienced.— F.  B , Marion  and  Co.,  Soho-square,  W. 
Retoucher,  first-class. — Manager,  Mayall’s,  15,  Grafton-st.,  W. 

General  Assistar.  A Retoucher. — Berlin  A Collier,  83,  King’s-rd.,  Brighton. 
Lady  to  Spot  and  Assist. — Webster  Bros  , 4,  Porchcster-rd.,  Bayswater. 
Quick  & careful  person  for  few  weeks  —Turner  A Killick,  17,  Upper-st , N. 
Retoucher,  can  operate. — Brown,  Barnes,  A Bell,  31,  Bold-st.,  L’pool. 
Operator,  also  Assistant  —Gillman  and  Co.,  1117,  St.  Aldate’s,  Oxford. 
Retouchers,  home  or  on  premises — Gillman  A Co.,  107,  St.  Aldate's,  Oxford. 
Spotter,  good. — W.  and  A.  If.  Fry,  68,  East-st.,  Brighton. 

Portrait  Painter,  experienced. — W.  11.  Ledgard,  Lumb-la.,  Bradford. 
Young  Man  (wet-plate)  for  Copying.— Hill  A Co.,  45,  Essex-st  , Strand. 
Port.  Painter  (lady  or  gent.)— J.  M.  D.  Worsnop,  154,  Lecds-rd., Bradford 


SUPPLEMENT  TO  "THE  PHOTOGRAPHIC  NEWS  ” DECEMBER,  1803. 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVII.  Xo.  1320. — December  21,  4883. 

£Ll±£L 


CONTENTS. 


PACK 

The  Exhil.it \n  cf  the  Bristol  and  West  of  England  Photo- 
graphic Association  801 

Improvements  in  Photo-Block  Printing 802 

Iodide  or  Bromide  ! 803 

Manchester  Photographic  Society  Sni^re  and  Exhibition  ...  804 

The  Past,  Present,  and  Future  of  Photography  til  Natural 

Colours.  By  A.  A.  Campbell  Swinton v,. 805 

Easy  Method  of  Producing  Xegitivesfrom  Prints.  ByC.  Abney  So6 

Lantern  Transparencies.  By  I).  Ireland,  Junr '..-5*^806 

Enlargements  on  Opal  and  Paper.  By  W.  McGhie 807 


Notes 807 

Patent  Intelligence 800 

A Few  Photographic  Conveniences.  By  W.  Crooke 800 

An  Improved  Carrier  for  Lantern  Slides.  By  J.  M’Kean  810 

Ceramic  Photography.  By  A.  L.  Henderson 811 

Correspondence  811 

Proceedings  of  Societies  813 

Talk  in  the  Studio 81G 

To  Correspondents 81G 

The  Photographic  News  Registry 81G 


THE  EXHIBITION  OF  THE  BRISTOL  AND  WEST 
OF  ENGLAND  PHOTOGRAPHIC  ASSOCIATION. 
Thf.  council  and  members  have  good  reason  to  congratu- 
late themselves  on  the  maguificent  collection  of  pictures 
brought  together  in  the  fine  galleries  of  the  Academy  of 
Arts.  The  executive  of  this  very  enterprising  Society 
must  have  had  no  easy  time  of  it  during  many  days  past, 
but  they  are  fully  repaid  for  their  labours  by  the  result, 
which  is  most  successful.  Of  course,  as  may  be  expected, 
a large  number  of  the  pictures  have  already  appeared  on 
the  walls  of  the  exhibition  in  Pall  Mall;  but  in  addition 
to  these,  there  is  a very  large  collection  of  important  works 
which  would  have  done  honour  to  the  London  exhibition. 
The  number  of  instantaneous  pictures  is  very  large— so 
large,  indeed,  that  the  judges  were  compelled  to  create  a 
new  class,  viz.,  sea-scape,  which  enabled  them  to  do 
reater  justice  to  the  marine  exhibits,  for  as  will  be  seen 
y the  awards,  two  medals  were  taken  for  instantaneous 
street  scenes.  The  quantity  of  pictures  sent  by  foreign 
exhibitors  is  unusually  large,  and  very  important  in  size 
as  well  as  quality,  notably  the  extensive  Russian  series,  by 

D.  A.  Ermakoff,  and  the  magnificent  interiors  of  Herman 
Ruckwardt,  as  well  as  some  fine  instantaneous  works  of 
large  size  from  Holland. 

The  Exhibition  was  opened  by  the  Mayor,  who  made  an 
able  speech,  showing  that  he  had  carefully  gone  over  the 
pictures  before-hand,  and  noted  their  various  merits,  and 
the  High  Sheriff  followed  with  some  appropriate  comments. 
Mr.  T.  Davey,  the  president,  in  introducing  the  Mayor  to 
the  assembly,  was  most  felicitous  in  his  remarks.  After 
a vote  of  thanks  to  the  Mayor,  proposed  by  the  president, 
and  to  the  judges  by  the  secretary,  the  Exhibition  was 
declared  open,  and  the  well-dressed  assembly  dispersed 
into  the  various  rooms  to  inspect  the  pictures.  There  are 
four  rooms  occupied  by  the  Photographic  Exhibition. 
The  principal  gallery  is  devoted  to  landscapes,  and  the  next 
in  importance  is  occupied  by  figure  subjects  and  portraits ; 
one  room  is  given  up  to  foreign  exhibitors,  and  one  to 
apparatus  and  transparencies. 

In  the  landscape  gallery  we  find  a great  many  old  friends 
from  the  exhibition  in  Pall  Mall,  and  shall  have  occasion, 
therefore,  to  only  briefly  mention  them.  Nos.  1 and  2 are 
part  of  the  large  seriee  of  flower  studies  by  Henry  Stevens, 
so  much  admired  at  the  photographic  exhibition  in  London. 
No.  4,  a frame  of  interiors  by  Bedford,  Lemere,  and  Co.,  is 
too  strong  in  contrast : the  LoDg  Gallery,  CharltoD,  is,  how- 
ever, an  exception,  and  is  very  harmonious.  Nos.  7,  8,  9, 
10,  by  W.  F.  Donkin,  are  part  of  the  series  of  Alpine  pic- 
tures exhibited  at  the  London  Exhibition,  and  now  so  well 
known.  Nos.  11,  12,  are  lake  scenes  in  Kew  Gardens,  by 

E.  Dunmore,  and  for  which  he  has  been  awarded  a bronze 
medal.  They  are  distinctive  for  the  fine  atmospheric 


beauty  of  the  middle  distance,  which  is  greatly  enhanced 
by  the  hold  broken  foreground  of  rushep.  The  decorative 
anels  of  F.  Hollyer  (Nos.  13,  15,  99,  100,  102,  103), 
ave  been  honoured  by  a broDze  medal.  A carbon  copy 
of  Turner’s  Liber  Studiorum,  by  the  Autotype  Company, 
very  peifectly  reproduces  the  fine  sepia  colour  of  the  origi- 
nal. The  deservedly  famous  yacht  pictures  of  West  and 
Son  (No.  20)  have  carried  off  a silver  medal,  and  are  so 
well  known  that  they  need  not  befuither  described  here. 
“ Holy  Trinity  Church,  Coventry,”  by  F.  Dew,  is  quite 
spoiled  by  the  heavy  clouds,  which  are  out  of  harmony. 
“ At  Home  and  Abroad,”  a seiies  of  views  by  A.  Pringle, 
has  taken  a bronze  medal.  Nos.  24,  25,  are  of  a very  high 
order  of  merit,  but  the  Forum  Romauum  would  have  been 
much  finer  had  the  clouds  beeu  less  heavily  printed  : it 
scarcely  suggests  the  intense  light  of  Italy.  Two  fine  en- 
largements of  the  Roman  Bath  at  Bath  are  exhibited  by 
W.  G.  Lewis. 

A very  fine  series  of  pictures  are  sent  by  Mr.  E. 
Brightman,  and  amongst  them  some  magnificent  cloud 
studies.  Some  very  beautiful  river  hits  on  the  Froom 
have  received  a bronze  medal,  but  to  our  mind  the 
centre  picture  in  frame  44  (“Evening”)  is  the  best  of  this 
series.  The  instantaneous  sea  studies  of  Mr.  P.  H.  Hender- 
son are  good,  the  beat  being  a pier  head  with  tumbling 
sea.  “ Yorkshire  AVaterfalls,”  a series  by  W.  C.  Bris- 
towe,  are  also  very  meritorious.  “The  Kingfisher’s 
Home,”  by  Payne  Jennings,  is  one  of  the  finest  platino- 
type  prints  we  have  yet  seen.  The  sea  studies  of  William 
Mayland  have  taken  a bronze  medal,  which  is  no  more 
than  those  who  know  their  exquisite  beauty  would  ex- 
pect. “The  Haunt  of  the  Moor,”  by  G.  F.  Dew,  is  full 
of  high  pictorial  quality.  The  series  of  little  gems  by 
H.  B.  Berkeley  are  here,  and  (67)  “ Noontide”  has  taken 
the  silver  medal.  “On  the  Lyn,  Devon,”  by  H.  Brorn- 
head,  is  a very  good  picture,  full  of  vigour,  and  yet  deli- 
cate. Six  views  in  Kent  and  Dorset,  by  J.  G.  Horsey  (86), 
have  merits,  but  are  a little  unequal  in  tone.  An  ambiti- 
ous frame  labelled  English  lake  scenery  contains  some 
very  good  pictures;  they  are  by  A.  G.  Pettitt.  “ Fishing 
Boats,”  by  W.  M.  Harrison,  are  by  no  means  bad.  The 
exhibit  of  J.  A.  Green  is  very  good,  “Birches”  (No.  90) 
being  an  exquisite  study ; 91  is  also  very  perfect.  No.  95 
is  a panoramic  view  of  Grassmere,  and  has  been  very  skil- 
fully joined  in  the  centre ; this  has  been  done  in  the  print- 
ing- 

The  magnificent  interiors  of  Herman  Ruckwardt  have 
taken  the  silver  medal.  These  were  exhibited  in  Pall 
Mall  a year  or  two  ago,  and  the  perfection  of  the  work 
on  such  large  plates  was  then  fully  recognized.  Mr. 
Harvey  Barton  has  sent  a frame  of  magnificent  pictures, 
fully  sustaining  his  well-known  reputation.  As,  however, 
1 he  is  one  of  the  judges,  his  pictures  are  not  for  competi- 


802 


THE  PHOTOGRAPHIC  NEWS. 


tioD.  They  all  have  the  quality  of  paintings,  and  where 
all  are  so  good,  it  is  difficult  to  pick  ; but  “ Tiutern 
from  the  Ferry  ” is  very  fine ; as  also  “ Chepstow 
Castle,”  which  is  our  illustration  for  this  week. 
Some  interiors  of  a mansion,  by  J.  S.  Catford, 
are  luminous,  but  are  spoiled  ’ by  halation.  This 
defect  is  quite  absent  from  the  interiors  of  H.  Man- 
field,  and  they  have  taken  a bronze  medal ; they  are  plati- 
num prints,  and  very  good.  He  sends  also  some  Swiss 
views,  which  are  very  effective.  The  seaside  studies  by 
15.  J.  Edwards  are  very  fine  indeed,  being  full  of  detail,  and 
yet  very  vigorous.  The  interiors  of  Malta  Cathedral,  by 
A.  G.  Tagliaferro,  would  have  been  perfect  but  for  the 
halation  at  the  windows.  The  series  of  landscapes  by 
H.  A.  Hood  Daniel  are  capital,  and  show  fine  taste  in 
selection.  They  are  very  bold,  full  of  contrast,  but  with 
no  lack  of  delicacy;  indeed,  the)'  are  technically  perfect, 
and  have  worthily  taken  a medal.  Iustantaneous  shipping 
by  J.  Harrison  are  described  as  carbon  prints,  and  are 
very  good.  Of  the  pictures  by  W.  Medford  it  is  impossi- 
ble to  speak  too  highly.  They  are  simply  perfect ; but  as 
he  is  one  of  the  judges,  they  are  not  for  competition. 

The  pictures  by  the  president,  Mr.  T.  Davey,  are  well 
selected.  “On  the  Wye”  is  very  tender  and  dreamy — 
quite  a little  gem.  “ Castle  Combe,”  a village  scene,  with 
a bubbling  stream  racing  through  a three-arehed  bridge 
in  the  foreground,  is  also  very  good.  It  is,  unfortunately, 
placed  too  high  to  be  well  seen.  The  remarkable  wave 
ictures  by  11.  J.  Godbould  are  here  from  Pall  Mall,  but 
ave  been  already  described  in  these  pages.  “ Contem- 
plation ” (167)  is  a very  droll  little  picture.  A hungry 
dog  is  patiently  watching  some  rabbits,  who,  secure  in  their 
hutch,  are  looking  down  in  indignant  astonishment  at 
the  intruder.  Some  Tenby  views,  by  C.  Smith  Allen,  are 
extremely  good.  I he  church  (214)  is  very  cleverly 
treated,  and  the  regatta  scenes  are  also  good. 

‘•Ely  Cathedral”  (228),  by  W.  Wainwright,  Junr., 
is  simply  perfect,  and  is,  to  our  mind,  the  fiuest  interior 
in  the  room,  but  is  hung  too  low  to  be  properly  seen. 
T.  M.  Brownrigg  sends  some  fine  pictures;  277,  278, 
are  perhaps  the  best.  These  were  at  Pall  Mall, 

and  need  not  be  described  here.  The  Rev.  11.  B.  Hare 
sends  a large  number  of  very  fine  works ; (282) 
“ The  Ford,  ’ and  (283)  “ Please,  Sir,  we  are  going  to 
School,”  are  among  the  best  of  them.  “ To  the  Dent-du- 
Geant,  ’ an  enlargement  by  W.  F.  Donkin,  a bronze  medal 
has  been  awarded ; it  is'  very  fine  indeed.  Matthew 
Whiting’s  pictures  are  well  known,  and  need  no  comment : 
(306)  “ Along  the  Ridge  ” is  very  perfect ; it  (as  well  as 
some  effective  cloud  pictures)  is  by  W.  Clement  Williams. 
The  sea-scapes  of  Mr.  Frank  Sutcliffe  are  well  known,  and 
need  no  comment ; they  have  taken  a silver  medal. 
Mc’Leish’s  *•  Misty  Morning”  has  also  received  the  same 
honour.  A.  Johnston’s  fishing  boats  are  very  good.  A 
study  of  cattle  by  S.  G.  B.  Wollaston  is  a great  success. 
'*  Evening,’  a picture  by  G.  IV.  Gwyer,  is  very  effective, 
the  lights  and  shadows  being  well  distributed.  Mr.  W. 
Cobb  has  taken  a medal  for  his  London  street-scenes,  but 
they  are  well  known,  and  need  no  description  here.  “ Get- 
ting under  Weigh,  ’ by  W.  Slingsby,  is  a very  fine  sea 
study.  ‘"  A tjuietSpot'  (384),  by  T.  Whaley,  is  quite  a 
picture  The  instantaneous  pictures  of  foreign  street  life, 
by  1.  G.  VVhaite,  have  obtained  a bronze  medal  ; these 
also  are  well-known,  and  need  no  description. 

We  subjoin  the  judges’  report  and  list  of  awards,  post- 
poning our  further  remarks  on  the  exhibits  till  next  week. 

Report  of  the  Judges. 

We,  the  undersigned  judges  appointed  by  the  Bristol  and 
Vest  of  England  Amateur  Photographic  Association,  in  an- 
nouncing our  award  of  medals,  desire  to  congratulate  the  Associ- 
ation on  the  extensive  and  thoroughly  representative  display  of 
photographic  art  productions  and  appliances  which  have  been 
brought  together. 

icT*leiu-i.^re  between  800  and  900  exhibits,  contributed  by 
IbO  exhibitors.  This  number  is  largely  in  excess  of  that  of 


[Df.cembek  21,  1883. 


the  last  exhibition  held  by  the  Association,  and  we  think  that  the 
council  is  especially  fortunate  in  having  secured  such  an  extensive 
display  of  foreign  contributions. 

In  view  of  the  large  number  of  works  sent  for  competition,  we 
have  adopted  the  proposal  of  the  council  to  increase  the  number 
of  awards,  and  have  added  five  extra  medals,  in  addition  to  one 
which  was  not  competed  for  in  Class  1 2,  and  in  consequence  of 
the  varied  and  extensive  collection  of  marine  subjects,  we  have 
created  an  additional  class,  viz.,  seascapes. 

List  ok  Awards. 

Class  1. — Gold  medal,  Adam  Diston. 

Class  2.  Small  landscapes. — Silver  medal,  H.  B.  Berkeley  ; 
bronze,  A.  Pringle  and  E.  Brigbtman. 

Class  3.  Large  landscapes. — Silver  medal,  W.  McLeish ; bronze, 
E.  Dunmore  and  H.  A.  H.  Daniell. 

Class  4.  Instantaneous. — Silver  medal,  G.  West  and  Son; 
bronze,  W.  Cobb  and  Son  and  T.  G.  Whaite. 

Extra  Class.  Seascapes.  -Silver  medal,  Frank  If.  Sutcliffe; 
bronze,  W.  Maj  land. 

Class  5.  Interiors. — Silver  medal,  Herman  Riickwardt ; bronze, 
II.  Manfield. 

Class  6.  Small  portraits , 8$XG.y  and  under. — Silver  medal, 
Gebr.  Taeschler;  bronze,  Day  and  Son. 

Class  7.  Large  portraits  above  84x6j. — Silver  medal,  Robert 
Faulkner  ; bronze,  II.  S.  Mendelssohn. 

Class  S.  Genre. — Silver  medal,  J.  Hubbard  ; bronze,  II.  P. 
Robinson. 

Class  9.  Enlargements  made  by  Exhibitor. — Silver  medal,  W.  F. 
Donkin. 

Class  10.  Enlargement  and  original  negative  by  Exhibitor. — 
Silver  medal,  Thomas  J.  Dixon. 

Class  11.  Transparencies. — Bronze  medal,  George  Smith, 
Sciopticon  Co. 

Class  12.  Ceramics. — No  exhibit. 

Class  13.  Meritorious  productions. — Bronze  medals,  T.  Hollyer 
II.  Graf,  and  Alex.  Cowan. 

Apparatus. — Bronze  medal,  George  Hare. 

f J.  Jacksox  C'urnock. 

W.  Harvey  Barton. 

Signed  -j  Valentine  Blanchard. 

William  Radci.iffe. 

L William  Bedford. 


IMPROVEMENTS  IX  PHOTO-BLOCK  PRINTING" 
We  have  recently  described  some  improvements  in  elec- 
trotypiug  in  connection  witli  photo-printing  blocks,  and 
have  given  an  accouut  of  the  methods  iinployed  in  the 
chief  establishments  of  St.  Petersburg  and  Vienna  for 
obtaining  these  printing  blocks  from  the  gelatine  relief. 
We  now  propose  to  say  a few  words  on  improvements 
made  in  another  direction  ; viz,  on  the  subject  of  pro- 
ducing photo-printing  blocks  by  the  etching  process. 
For  it  must  be  borne  in  mind  that  in  most  of  the  so- 
called  photo- gravure  processes  the  neci  s ary  high  relief  is 
obtained  either  by  etching  or  by  electrotyping,  although 
it  is  true  in  the  Woodbury  and  Waterhouse  methods  this 
is  not  the  case. 

The  etching  method  yields  photo-piiutmg  blocks  in  a 
much  shorter  time  than  does  the  electrotyping  plan,  and 
of  late  it  has  become  possible  to  produce  very  good  por- 
trait blocks  by  etching,  as  witness  the  methods  of  Klic  ami 
others.  Not  very  much,  however,  has  been  published  on 
photo-etching  methods,  and  therefore  it  is  matter  for  con- 
gratulation that  the  chief  of  the  Vienna  Ordnance  Survey 
Office,  Major  Volkmer,  has  recently  made  known  the  results 
of  some  successful  work  which  has  been  undertaken  in  that 
establishment  under  the  auspices  of  llerrn  Marriot  and 
Sommer. 

The  great  difficulty  in  half-tone  photo-block  printing  is, 
obviously  enough,  to  secuie  a line  grain.  All  kinds  of 
experiments  have  been  undertaken,  such  as  the  crystalliza- 
tion of  salts  upon  aglass  plate,  &c.  ; but  it  has  been  found 
in  the  end  that  the  best  grain  of  all  is  that  obtained 
naturally,  in  a collotype  plate — that  is  to  say,  by  the 
“ wrinkling  ” of  the  gelatine  film.  An  ordiuary  collotype 
plate  is  exposed  to  diffused  daylight,  and  is  thus  uniformly 


December  21,  1883.J 


TJIE  rnOTOGUAPHIC  NEWS. 


803 


acted  upon  by  light ; the  washing  to  which  it  is  subse- 
quently submitted  brings  about  the  “ grain-wi  inkling  ” 
without  further  ado.  If,  now,  a fatty  ink  is  applied,  a 
uniformly  grey  surface  is  produced,  which,  if  carefully 
scanned,  will  show  a very  fine  grain,  as  do  all  collotypic 
or  Lichtdiuck  plates.  A practised  collotypist  has  little 
difficulty,  indeed,  in  obtaining  a coarse  or  flue  grain  as  he 
may  desire. 

A reproduction  of  the  collotypic  graiu  is  now  made  in 
the  camera  upon  plass  in  the  ordinary  way.  If  enlarged 
to  four  diame  ecs,  the  grain  is  shown  to  be  in  the  shape 
of  vermicular  markings  (sec  fig.).  lu  this  coarser  con- 
dition the  “ grain  ” is  transferred  by  the  photo-lithographic 
process  to  stone,  from  which  ptints  upon  paper  can  be 
pulled.  These  prints  exhibit  a coarse  vermicular  grain  ; 
and  then  the  intervals  between  the  little  serpentine  lines 
are  filled  up  by  hand  with  fine  black  dots,  a3  shown  in 
oue-half  of  our  sketch. 


The  grain,  thu3 perfected,  maybe  considered  a “ pattern 
grain,”  and  serves  for  all  sorts  of  photo-block  printing. 
By  means  of  the  camera,  a series  of  reproductions  of  the 
“ pattern  grain  ” are  taken,  some  on  a large  scale,  and  some 
on  a small  scale,  and  these  negatives  serve  for  general 
work.  According  as  it  is  a large  or  small  printing-block 
to  be  produced,  so  a fine  or  coarse  “ pattern  grain  ” nega- 
tive is  used,  the  grain  negatives  being  stripped  from  the 
glass  and  preserved  in  the  form  of  films.  The  stripping 
is  done  as  usual  either  by  employing  castor  oil  collodion, 
or  gelatine  to  which  a little  glycerine  has  been  added. 
Once  in  possession  of  a series  of  “pattern-grain”  films, 
the  preliminary  difficulty  is  overcome. 

To  produce  a grained  photo-lithograph  or  photo  z'meo- 
graph,  the  grain-film  is  put  between  the  negative  and  the 
prepared  sensitive  paper,  and  the  latter  is  then  piinted  and 
treated  in  the  ordinary  way.  But  in  fine  photo-printing 
blocks  this  plan  will  not  answer  by  reason  of  the  un- 
sharpness that  results  from  the  negative  not  being  in  ab- 
solute contact  with  the  prepared  paper  ; Herrn  Marriot 
and  Sommer,  therefore,  in  this  case,  place  the  grain-film 
(a  dispositive)  in  the  camera  upon  the  plate,  and  thus 
produce  a single  cliche  with  image  and  grain  combined, 
which  prints  quite  sharp. 

A process,  which  Ilerrn  Mario t and  Sommer  term  od 
“ Universal  Printing  Method,”  has  also  been  elaborated  by 
these  gentlemen,  by  which  photo-printing  blocks  are  pro- 
duced by  etching  upon  copper  or  zinc  from  positive  cliches , 
whether  these  are  of  half-tone  or  black  and  white  subjects. 
A dispositive  “pattern  grain”  is  printed  upon  ordinary 
photo-lithographic  transfer  paper,  and  inked  up  with  the 
velvet  roller,  transfer  ink  or  etching  preservative  being* 
employed.  The  impression  is  then  transferred  to  zinc. 
This,  when  etched  for  a typographical  printing  block, 
would  give  a negative  impression.  By  adopting  the  follow- 
ing process,  however,  a positive  print  can  be  secured.  The 
zinc,  protected  with  etching  preservative,  is  covered  with  a 
solution  of  shellac,  viz. : — 


Brown  shellac  7 parts 

Alcohol  ...  ...  ICO  ,, 

Ether  (coloured  with  a few  drops 

fuchsine)  40  ,, 


The  shellac  solution,  when  applied,  attaches  itself  only  to 
the  bare  metal.  Where  the  asphalte  and  turpentine 
mixture  is,  the  alcoholic  solution  of  shellac  is  repelled,  and 
forms  itself  in  tiny  drops.  'I  he  zinc  plate  is  dried,  and  then 
treated  with  spirits  of  turpentine  or  rectified  oil  of  tur- 
pentine. This  dissolves  the  asphalte  (penetrating  the 


• The  etching  preservative  consists  of  asphalte,  turpentine,  Ac, 


shellac  film)  and  only  leaves  a shellac  film  where  the 
shellac  is  close  against  the  zinc.  In  this  way  the  picture  on 
the  zinc  is  reversed.  The  plate  may  now  be  etched  with 
dilute  nitric  acid  as  usual,  and  wc  may  add  that  the  method 
is  one  that  is  applicable  to  zinc,  copper,  orstone. 

A modification  of  the  “ Universal  Printing  Method  ” for 
zinc  typographical  blocks  consists  in  placing,  as  above,  a 
transfer  upon  zinc,  produced  a?  we  have  shown  from  a 
“pattern  graiu  ” dispositive,  and  then  reversing  the  im- 
pression upon  the  zinc  plate,  so  that  it  furnishes  positive 
prints.  In  this  case,  the  following  method  may  be  sub- 
stituted for  the  one  we  have  just  mentioned. 

The  zinc  plate,  with  its  impression,  is  faced  with  copper 
in  a cyano-copper  bath,  having  recourse  to  a weak  galvanic 
current.*  Afterwards,  the  fatty  transfer  image  is  re- 
moved with  spirits  of  turpentine,  when  only  the  copper 
image  remains  upon  the  plate.  Treated  with  dilute 
sulphuric  acid,  the  plate  is  etched  where  bare  zinc  is  visible, 
but  remains  sound  where  faced  with  copper  ; still,  the 
process  is  rather  more  complicated  than  that  in  which  the 
shellac  solution  is  employed. 

As  to  the  practicability  of  the  processes  of  Ilerrn  Mariot 
and  Sommer,  it  may  be  mentioned  that  at  the  last  meeting 
of  the  Vienna  Photographic  Society  some  excellent  prints 
were  exhibited  by  those  gentlemen  which  attracted  con- 
siderable attention. 


IODIDE  OR  BROMIDE? 

Sir.  ,1.  F.  \V.  Hekschel  read  a paper  before  the  Photo- 
graphic Society  in  June,  1853,  on  the  substitution  of  bro- 
mine for  iodine  in  photographic  processes ; and  in  the 
communication  in  question  he  very  strongly  insisted  on 
the  need  of  replacing  the  silver  iodide — so  generally  used 
at  that  period— by  the  silver  bromide,  llerschel,  at  this 
time,  believed  that  a true  colour-scale  could  only  be  per- 
fectly rendered  by  a bromide  film.  He  says : — 

“ I have  shown  that  iodized  silver  is  insensible,  or  nearly  so,  to 
the  red  and  orange  rays ; that  its  range  of  sensibility  begins 
beyond  the  medium  yellow  and  within  the  blue  region,  is  powerful 
at  the  indigo,  and  extends  far  on  to  those  rays  which  have  abso- 
lutely no  effect  in  producing  vision.  No  wonder,  then,  that 
iodine  produces  pictures  unsatisfactory  to  the  artistic  eye. 
Iodine,  then,  must  be  thrown  overboard,  or  limited  in  its  use, 
coute  qui  conte  (and  the  sacrifice  is  a formidable  one),  if  photo- 
graphy shall  ever  satisfy  the  desires  of  the  artists.  What,  then, 
are  we  to  have  recourse  to?  Bromine.  A new  photography 
has  to  be  created,  of  which  bromine  is  the  basis.” 

The  above  words  of  llerschel  have  been  quoted  and  re- 
quoted, and  at  the  present  time  photographers  look  on  the 
above  prophecy  as  an  evidence  of  the  far-seeing  sagacity 
of  the  distinguished  philosopher.  Mr.  Jabez  HugheB 
quoted  the  words  of  llerschel  at  the  last  general  meeting 
of  the  Photographic  Society,  and  emphasized  the  circum- 
stance that  we  have  now  arrived  at  the  predicted  “new 
photography.”  It  is,  however,  not  very  generally  known 
that  some  few  years  sfter  the  reading  of  the  paper  referred 
to,  Sir  J.  F.  W.  Herschel  found  reason  not  only  to  con- 
siderably alter  his  views,  but  even  to  arrive  at  conclusions 
diametrically  opposite  to  the  deductions  from  his  earlier 
experiments  ; snd  a detailed  account  of  these  latter  results 
was  published  in  the  Photographic  News  in  1859  (vol.  ii., 
p.  229). 

Professor  llerschel  says  : — 

I was  led  to  propose  the  abandonment,  or  at  all  events,  re- 
stricted use  of  iodine  in  photography,  and  the  substitution  of 
bromine,  “ conte  qui  conte.”  Of  late  I have  seen  reason  to  alter 
my  opinion  on  this  point.  Void  pourqitoi. 

The  experiments  on  which  that  opinion  was  grounded,  are 
described  in  my  paper  in  Phil.  Trans.,  1840,  Art.  79,  129  ; and 
1842,  Art.  214,  215.  In  the  first  of  these,  the  iodized  paper 
was  exposed  dry  to  the  action  of  the  spectrum.  In  the  others, 

+ The  cyano-copper  bath  should  have  very  little  or  no  excess  of  cyanide 
of  potassium,  or  the  zinc  will  be  eaten  away.  The  galvanic  battery  should 
consist  of  four  zinc-iron  clemwits,  standing  in  dilute  sulphuric  acid. 
Smee*s  battery  is  too  strong. 


804 


THE  PHOTOGRAPHIC  NEWS 


[December  21,  1883. 


the  reversal  of  the  action  from  the  indigo  upwards  by  excess  of 
iodine  was  the  subject  under  consideration,  where  the  peculiar 
positive  action  comes  on  at  that  point  with  a suddenness  and 
energy  naturally  leading  to  a persuasion  that  the  less  refrangible 
rays  have,  generally,  a far  inferior  action  on  the  iodic  compounds 
to  those  of  the  more  refrangible. 

In  studying  the  habits  of  the  arseniates  and  arsenites  of 
silver  under  the  action  of  the  spectrum,  and  of  mixed  light,  with 
a view  to  satisfy  myself  as  to  the  reality  of  the  presence  in  cer- 
tain arsenical  solutions  of  a highly  photographic  metal,  to  which 
I had  applied  the  provisional  name  of  junonium,  I was  led  to 
remark  that  (operating  by  washes  of  these  salts,  and  of  nitrate 
of  silver  on  paper,  letting  one  dry  before  applying  the  other)  it 
made  all  the  difference  in  the  world  which  solution  was  laid  on 
ovei  the  other.  The  nitrate  being  laid  on  first,  then  dried,  and 
the  arsenical  solutions  afterwards  washed  over  it,  the  action  was 
extremely  feeble  and  slow  ; quite  otherwise  when  the  order  was 
reversed,  and  especially  when  the  nitrate  was  applied  to  the 
paper  actually  under  exposure  to  the  light.  In  that  case  it  was 
rapid  and  energetic  (though  very  far  inferior  ia  both  respects  to 
the  junoniferous  solutions).  This  led  me  to  a repetition  of  my 
former  experiments  with  iodine  and  bromine,  attending  to  the 
order  of  the  washes,  and  observing  always  to  apply  the  nitrate 
while  under  exposure.  To  my  very  great  surprise,  1 found  that 
under  these  circumstances,  so  far  from  the  action  of  the  spec- 
trum on  the  iodine  being  either  limited  to  the  more  refrangible 
rays,  or  very  feeble  in  the  yellow,  orange,  and  red,  it  was  carried 
down  with  nearly  full  intensity,  not  only  to  the  very  farthest 
extremity  of  the  red  (where  the  negative  action  on  the  bromine 
ceases),  but  very  considerably  beyond  it.  The  following  are  the 
readings  off  of  measures  of  the  extent  of  the  spectra  impressed  on 
the  paper  (after  fixing  and  drying),  on  three  several  occasions 
(April  1,  April  6,  May  9,  1859),  as  read  off  on  a scale  of  equal 
parts,  the  zero  corresponding  to  the  centre  of  the  sun’s  image  in 
the  extreme  fiducial  red  of  a cobalt  glass; — 10'05  to  the  same 
centre  in  the  fiducial  yellow’ ; 15'0  to  the  brightest  green  ; 25-0 
to  the  best  blue  ; and  38'0  to  the  place  of  the  second  set  of  dark 
lines  marked  H in  Fraunhofer’s  spectrum  : — 

Ioduretted  Paper.  Iiromurcttcd  Paper, 


Least  refracted  extreme.  .. 

-3-7 

0-  0 

2nd  experiment 

...  — 4-  0 

-0-  5 

3rd  experiment 

...  — 3-5 

O’  0 

Mean 

...  — 3-73 

— 0T7 

Most  refracted  extreme ... 

..  +59-  0 

+ 645 

+ 58-  5 

+ 65-0 

+ 58-  0 

+65-0 

+58-50 

+6+80 

In  all  these  readings  due  allowance  is  made  for  the  sun’s  semi- 
diameter, so  as  to  make  them  central.  Thus  we  see  that  the 
action  on  the  bromuretted  paper  is  almost  rigorously  limited  to 
the  extreme  visible  red  (where  it  is  strong,  and  terminates  very 
abruptly),  while  that  on  the  iodized  papar  extends  3’73  parts  of 
the  scale,  or  about  one-seventeenth  of  the  whole  length  of  the 
photographic  spectrum,  below  it,  or  into  the  invisible  heat  rays. 
Its  termination  is  less  abrupt  than  in  the  other  case,  but  the 
action  is  stroDg  and  decided  to  within  a very  few  tenths  of  a 
part  of  the  extremity.  There  is  an  evident  though  not  a very 
Btrongly  marked  maximum  of  darkening  at  34  '5,  or  somewhat 
short  of  the  best  indigo.  The  bromurretted  spectrum  offers  no 
such  maximum,  but  is  continued  6-3  parts  beyond  the  cessation 
of  the  ioduretted  into  the  invisible  actinic  rays.  The  action  on 
nitrate  of  silver,  per  se,  terminates  at  -(-1T0. 

These  facts,  I think,  will  rescue  the  iodide  of  silver,  when 
properly  used,  from  the  imputation  of  insensibility  to  the  more 
luminous  rays.  It  is  for  photographists  to  make  the  application 
in  the  manipulations  of  their  art.  In  point  of  rapidity  of  action, 
there  is  no  comparison  between  the  dry  and  w’et  material. 

In  a subsequent  communication  to  the  PHOTOGRAPHIC 
News  (vol.  iii.,  page  2),  Professor  Herschel  gives  further 
particulars  as  to  bis  experiments,  and  also  diagrams  of  the 
spectra  obtained.  He  moreover  found  that  iodized  paper 
was  sensitive  to  the  ultra-red  or  heat  rays  of  the  solar 
spectrum,  to  an  extent  corresponding  with  no  less  than 
one-tenth  of  the  total  length  of  the  visible  spectrum. 

I hese  results  should  cause  photographers  to  pause  before 
finally  concluding  that  bromide  alone  is  the  ultimatum  of 
photographic  perfection,  and  they  should  endeavour  to 


determine  finally  whether  better  resultscannot  be  obtained 
upon  a film  containing  both  iodide  and  bromide.  It  is  a 
fact  that  a large  proportion  of  the  commercial  dry  plates 
contain  iodide,  and  several  makers  also  use  a small  propor- 
tion of  chloride.  In  connection  with  the  subject  treated 
of  in  the  present  article,  Mr.  Debenham’s  letter,  which 
appears  in  another  column,  will  be  read  with  interest. 


MANCHESTER  PHOTOGRAPHIC  SOCIETY 
SOIREE  AND  EXHIBITION. 

In  place  of  the  general  exhibition  which  we  announced  to 
be  held  by  the  Manchester  Photographic  Society,  we  have 
to  record  one  of  a more  limited  character.  The  council 
concluded  that  it  was  too  late  in  the  season  when  the 
matter  was  first  proposed,  and  that  in  consequence  of  the 
exhibitions  at  Bristol  and  Newcastle  following  so  closely 
on  the  exhibition  of  the  London  Society,  it  was  better  to 
defer  the  larger  project  till  next  year. 

On  'Tuesday  evening  last  the  membets  of  the  Society 
held  a soiree  at  the  Memorial  Hall,  and  combined  with  it 
an  exhibition  of  some  of  the  best  work  from  the  London 
Exhibition,  and  also  a large  collection  of  prints  by  members 
of  the  Society.  The  exhibits  from  outside  sources  are 
chiefly  those  pictures  which  were  awarded  medals  by  the 
Parent  Society.  One  of  the  mest  attractive  of  this  series 
is  the  photograph  of  the  Chittywee.  When  we  remember 
the  difficulties  always  attending  the  delineation  of  objects 
in  motion,  and  particularly  when  the  object  to  bo  depicted 
is  a vessel  in  motioD,  and  the  boat  from  which  the  pic- 
ture is  to  be  taken  is  also  moving,  we  consider  that  this 
picture  deserved  a medal.  Asa  composition  for  the  effect 
of  light  and  shade  and  motion,  we  doubt  whether  the  most 
skilful  artist  of  the  brush  could  have  done  better. 

With  the  exception  of  a large  collection  of  foreign  work, 
to  be  referred  to  presently,  it  may  be  said  that  all  the 
photographs  in  the  present  exhibition  are  from  gelatine 
plates.  There  can  be  no  doubt  that  the  introduction  of 
these  plates  as  a commercial  article  has  been  the  cause  to  a 
great  extent  of  the  increased  number  of  amateur  photo- 
graphers. It  would  be  interesting  to  know  to  what  extent 
the  exhibitors  may  claim  the  work  as  their  own  ( not  in  this 
Society  alone,  but  generally).  To  the  usual  question, 
“ Whose  lens  did  you  use?”  and  “ Whose  plates  do  you 
prefer?”  maybe  added,  “ Who  developed  the  plates  for 
you?”  aud  uuless  the  question  can  be  answered  with 
•‘That  I did  myself,”  the  resulting  pictures  must  owe  their 
excellence,  or  the  reverse,  to  the  artistic  taste  of  the  ama- 
teur. W’e  do  not  wish  it  to  be  understood  that  we  object 
to  (lie  amateur  getting  his  woik  done  by  others— it  is  some- 
thing to  be  able  to  select  an  artistic  point  of  view  ; and  if 
they  desire  only  to  gratify  their  taste  in  securing  bits  of 
natural  scenery,  they  are  welcome  to  practise  our  art  in 
their  own  way.  Probably  the  desire  to  at  least  develop 
the  plates  may  follow,  aud  naturally  a deeper  interest  in 
the  art  must  result.  How  different  the  present  system 
when  compared  with  wet  collodion  ! What  we  have  said 
here  applies  to  a very  limited  extent  to  the  work  of  the 
members  of  the  Manchester  Society.  Some  of  the  mem- 
bers long  held  the  first  place  with  another  dry  plate  pro- 
cess, and  we  believe  we  are  correct  iu  saying  that  many  of 
the  pictures  here  exhibited  are  on  plates  of  the  members' 
own  making. 

Landscape  work  forms  the  bulk  of  the  exhibition,  aud, 
as  on  former  occasions,  Mr.  Cook  takes  the  leading  place. 
We  have  also  a uumerous  collection  of  small  pictures  by 
Mr.  Blakely,  illustrating  chiefly  a trip  to  Belgium  and 
Holland  during  the  last  summer.  Many  of  the  pictures 
are  iustautaueous,  and  are  very  perfect  iu  manipulation, 
and  good  from  an  artistic  point  of  view. 

Mr.  Chilton  also  shows  a few  good  pictures  from  plates 
of  his  own  manufacture. 

Mr.  J.  Leigh  exhibits  a number  of  very  choice  pictures, 


Decembeb  21,  1883.] 


THE  PHOTOGRAPHIC  NEWS 


805 


and  perhaps  we  are  wrong  in  saving  that  Mr.  Cooke  takes 
the  leading  place,  as  it  is  not  easy  to  say  to  which  of  these  1 
gentlemen's  work  the  preference  should  be  given. 

Mr.  Pollitt,  the  president  of  the  Society',  sends  two  or 
three  frames,  chiefly  interiors,  and  it  is  almost  needless  to  I 
say  that  they  are  excellent. 

Mr.  Opeushaw  shows  chiefly  prints  in  platinotype, 
which  in  his  hands  gives  good  results. 

Amongst  the  smaller  work,  Mr.  Wade  has  some  retnaik- 
ably  beautiful  prints.  In  this  case,  as  in  others,  space 
prevents  more  detailed  reference  to  particular  objects, 
and  we  are  compelled  to  bring  this  part  of  our  notice  to  a 
close  by  saying  that  amongst  the  other  members  are 
noticed  the  names  of  Messrs.  Schofield,  Greatorex,  Wilson, 
Lees,  Chestbam,  Livseyr,  and  Kenworthy. 

We  must  not  omit  to  notice  some  excellent  enlargements 
by  Mr.  Chadwick,  the  hon.  sec.  They  are  from  quarter- 
plate  negatives  eularged  to  11  by  9,  and  show  that  good 
pictures  may  be  obtained  in  this  way.  Although  not  equal 
to  those  taken  direct,  they  are  good,  and  in  the  differ- 
ence between  the  labour  of  carrying  the  smaller  camera  and 
plates,  as  compared  with  ll  by  9,  the  advantages  of  the 
smaller  size  will  be  seen ; and  there  is  another  advantage, 
too,  in  the  fact  that  lantern  slides  can  be  more  readily 
made  from  the  small  negatives. 

The  absence  of  local  portraiture  is  remaikable,  as,  with 
the  exception  of  a portrait  of  the  mayor  of  Manchester, 
and  a specimen  of  a lady’s  portrait  on  canvas,  both  by  Mr. 
Brothers,  and  a small  portrait  group,  excellent  in  every 
way,  by  Mr.  Emmett,  portraiture  is  “ nowhere.” 

Detailed  modes  of  work  from  contributors,  not  mem- 
bers of  the  Society,  we  may  omit,  as  all  were  on  the  walls 
of  the  Exhibition  lately  closed  in  London,  and  we  must 
say  only  that  work  by  the  following  contributors  will  be 
found  here  : Messrs.  England,  Bullock,  London  Stereo 
Company,  Distin,  School  of  Military  Engineering,  Chaffin, 
Annan,  Robinson,  Marsh  Brothers,  to  most  of  whom  medals 
were  awarded  by  the  London  Society. 

We  must  not  conclude  this  part  of  our  notice  without 
reference  to  the  remarkable  picture  of  the  Nebula  in 
OrioD,  by  Mr.  Common  ; surrounded  as  it  is  by  so  many 
other  and  more  showy  pictures,  this  one  may  almost  pass 
unnoticed,  but  in  our  estimation  it  is  one  of  the  most 
valuable  photographs  ever  taken. 

Avery  large  and  attractive  picture  of  the  Exhibition  is  a 
collection  of  photograph.-,  made  by  one  of  the  members  of 
the  Society,  Mr.  Charles  Harris,  who  had  lately  returned 
from  a two  years'  tour  round  the  world,  and  who,  during 
his  travels  in  America,  Canada.  Japau,  China,  Ceylon,  and 
India,  made  the  acquaintance  of  mauy  of  the  best  known 
photographers,  and  from  them  he  has  obtaineil  a most 
valuable  collection  of  their  works,  both  in  landscape  and 
portraiture.  The  collection  of  portraits  is  both  valuable 
aud  instructive,  and  particularly  those  done  in  America. 
All  are  good,  and  practically  there  is  no  difference  be- 
tween those  done  in  New  York,  San  Francisco,  or  any 
of  the  cities  between  those  distant  places.  Some  of  the 
work  done  by  native  artists  in  Japan  are  also  good.  It  is 
impossible  here  to  give  any  kind  of  description  of  the  large 
number  of  prints  of  temples  and  landscapes  in  various 
countries  visited  by  Mr.  Harris  : when  we  say  that  the 
Council  bad  thousands  of  prints  to  choose  from,  the  diffi- 
culty of  selection  may  be  imagined. 

During  the  evening  Mr.  Woodbury  gave  a practical  de- 
monstration of  the  Stamiotype  process. 

One  of  the  most  interesting  features  of  the  soiree  was  the 
presentation  to  Mr.  W.  J.  Chadwick,  who  has  for  several 
years  done  excellent  service  for  the  Society  as  Hon. 
Secretary.  In  recognition  of  this,  a valuable  gold  watch 
and  chain  was  presented  to  Mr.  Chadwick  by  the  Presi- 
dent in  the  names  of  those  of  the  members  who  sub- 
scribed. 

Several  songs  by  ladies,  aud  an  attractive  programme  of 
music  was  given  by  Miss  Gertrude  Holms  during  the 
evening. 


A soiree  of  this  kind  would  not  be  complete  without  a 
I lantern  exhibition,  and  we  need  scarcely  say  that  some 
! very  beautiful  pictures,  chiefly  by  members  of  the  Society, 

I were  shown  on  the  screen,  and,  as  usual,  the  Society  was  in- 
debted to  Mr.  Chadwick  for  the  use  and  manipulation  of 
the  lanterns.  Just  previous  to  the  gas  being  turned  down, 
Mr.  Harris  gave  a short  address  referring  to  the  photo- 
graphs collected  and  exhibited  by  him. 

The  entire  company  of  many  hundreds  appeared  to  have 
enjoyed  a mo3t  agreeable  evening,  and  it  was  a subject  of 
regret  to  all  that  the  Exhibiticn  could  not  be  continued 
longer  than  for  one  more  day. 


THE  PAST,  PRESENT,  AND  FUTURE  OF  PHOTO- 
GRAPHY IN  NATURAL  COLOURS. 

HT  A.  A.  CAMPBELL  SWINTON.* 

J The  subject  that  I have  chosen  for  this  paper  is  undoubtedly 
one  of  general  interest.  The  solution  of  the  great  problem  of 
photography  iu  natural  colours  will,  when  it  comes,  affect  not 
only  the  members  of  the  photographic  profession  and  their 
amateur  brethren,  but  also  the  public  at  large. 

When  in  the  year  1839  Fox  Talbot  and  Daguerre  simultane- 
ously succeeded  in  fixing — the  one  on  prepared  paper,  the  other 
on  a silver  plate — the  image  of  the  camera-obscura,  they  rendered 
photography  a fact,  aud  their  discoveries  gave  rise  to  great  ex- 
pectations. By  far  the  greater  number  of  these  expectations 
have  now  been  realised,  even  beyond  the  hopes  of  the  inven- 
tors who  fulfilled  them  ; but  some  few  have  not,  and  among  the 
latter  stands  pre  eminently  foremost  the  possibility  of  obtaining 
photographs  in  natural  colours. 

Who  is  there  who  has  viewed  the  gorgeous  tints  with  which 
nature  paints  the  world,  reflected  in  all  their  pristine  glory  on  the 
screen  of  a camera-obscura,  aud  has  not  longed  for  the  means  to  fix 
them  as  they-  are  ? Many,  no  doubt,  have  wished  for  such  a possi- 
bility ; some  few  have  attacked  the  problem,  but  no  one  as  yet 
has  completely  solved  it.  The  ordinary  photographic  plate  is 
not  sensitive  to  colour— that  is  to  say,  on  its  colour  simply,  as 
with  more  or  less  intensity  according  to  its  actinic  value  ; and 
thus,  as  yet,  photography  can  only  paint  nature  iu  monochrome. 

In  order  rightly  to  understand  the  difficulties  of  the  problem, 
or  in  order  to  properly  estimate  the  value  of  what  has  so  far 
been  discovered,  it  is  extremely  necessary  to  have  a clear  con- 
ception of  the  physical  nature  of  light  and  colour. 

According  to  the  now  universally  accepted  undulatory  theory, 
the  sensation  that  we  call  light  is  merely  a form  of  vibration,  as 
is  sound.  All  space  is  believed  by  scientists  to  be  pervaded  by 
exceedingly  attenuated  and  elastic  matter,  to  which  the  distinc- 
| tive  name  of  ether  has  been  given.  Now  light  is  understood  to 
i be  a form  of  vibration  or  wave-motion  of  this  ether,  in  exactly 
I the  same  manner  as  sound  is  known  to  be  due  to  the  vibration  of 
the  atmospheric  air. 

Again,  difference  of  colour  is  due  to  what  is  called  difference  of 
wave-length,  or  difference  in  the  rapidity  of  the  ether  vibrations. 
This,  when  we  follow  the  analogy  of  sound,  corresponds  with 
difference  of  tone  or  pitch,  exactly  as  a high  note  in  music  is 
due  to  extreme  rapidity  in  the  atmospheric  vibrations,  and -a 
low  note  to  less  rapid  vibration.  So  with  light ; a violet  colour 
is  the  result  of  extremely  rapid  ether  vibrations,  and  a red 
colour  the  result  of  less. 

Iu  violet-coloured  light  there  are  no  less  than  59,750  ether 
vibrations  per  second,  in  comparison  with  37,640  for  red-coloured 
light.  These  are  the  extreme  cases,  and  between  them  come  in 
order  after  violet,  indigo,  blue,  green,  yellow,  orange,  until  the 
red  is  reached.  There  are  thus  seven  primary  colours,  and  from 
combinations  of  these  all  other  tints  can  be  obtained. 

Next  let  us  consider  why  objects  appear  to  the  eye  to  be  of 
different  colours.  The  explanation  of  this  is  very  simple.  White 
light  is  not  really  homogeneous,  as  it  seems,  but  is  composed  of 
seven  different  coloured  lights,  and  a piece  of  white  paper  appears 
white  simply  because  it  reflects  all  these  colours  in  equal  propor- 
tion. Coloured  objects,  on  the  other  hand,  are  only  capable  of 
reflecting  certain  colours,  while  they  absorb  the  others.  Thus  a 
red  surface  absorbs  lights  of  all  colours  except  red,  which  it  re- 
flects ; a blue  object  absorbs  all  but  the  blue,  and  so  on.  A 
perfectly  black  surface,  if  such  were  obtainable,  would  absorb 
all  the  rays,  and  reflect  absolutely  nothing  at  all. 

• Bead  before  the  Ncwcasllc-on-Tyne  and  Northern  Counties  Photograph!, 
• Association. 


866 


THE  PHOTOGRAPHIC  HEWS. 


[Decembeb  2 1,  1883. 


Now  wliat  is  wanted  for  the  solution  of  the  problem  of  photo- 
graphy in  natural  colours  is  clearly  some  substance  which,  when 
submitted  to  the  action  of  light  of  any  definite  colour  for  a cer- 
tain length  of  time,  will  acquire  the  property  of  thereafter 
absorbing  from  white  light  all  other  colours,  and  reflecting  only 
that  one  colour  to  which  it  was  exposed  in  the  first  instance.  In 
other  words,  the  substance,  after  having  been  exposed  to  light  of 
a certain  definite  wave-length,  must  afterwards  be  capable  of 
reflecting  light  of  that  same  wave-length  only.  Looked  at  from 
this  point  of  view,  the  problem  does  not  seem  to  offer  insuperable 
difficulties,  and,  as  we  shall  see  later  on,  it  is  of  comparatively 
easy  attainment.  There  is,  however,  another  and  equally  im- 
portant point  to  be  examined.  If  a plate  of  such  a substance  as 
has  been  above  described  be  exposed  to  a variety  of  coloured 
lights — as,  for  instance,  to  the  image  of  a landscape  thrown  upon 
it  by  a photographic  lens — the  image  will  become  impressed  upon 
the  surface  of  the  plate,  and  a photograph  in  colours  will  be  ob- 
tained. To  some,  perhaps,  the  problem  will  appear  solved  ; but 
this  is  not  the  case,  for,  to  use  a technical  expression,  the  image 
is  not  yet  fixed,  and  it  is  this  question  of  fixing  the  colours  after 
having  obtained  them  that  presents  by  far  the  greatest  obstacle 
to  the  attainment  of  coloured  photography. 

As  long  as  the  coloured  plate  be  preserved  in  absolute  dark- 
ness, the  image  will  remain  intact,  but  the  substance  of  which  it 
is  composed  is  still  sensitive,  and  if  exposed  to  light  of  any 
colour  it  will  soon  become  of  that  colour  itself,  while  if  exposed 
to  white  light  it  will  turn  white. 

To  secure  permanency  of  the  coloured  image,  this  further 
action  of  light  must  evidently  be  prevented  ; but  how  to  do  this 
without  destroying  the  image  is  a problem  as  yet  unsolved. 

From  the  above  it  may  be  gathered  that  what  is  required  for 
the  solution  of  the  problem  of  coloured  photography  may  be 
divided  under  two  heads. 

Firstly.  We  require  a plate  so  sensitive  to  colour  that,  after  it 
has  been  exposed  for  a few  seconds  in  a camera,  it  shall  show  a 
coloured  facsimile  of  the  image  that  was  thrown  upon  it  by  the 
lens. 

Secondly.  A means  of  fixing  the  colours  so  that  after  the  plate 
has  been  once  impressed,  it  shall  no  longer  be  sensitive  to  light 
of  any  description. 

Let  us  see  what  has  been  done  towards  the  fulfilment  of  these 
necessary  conditions,  and  what  yet  remains  to  be  accomplished. 

The  first  discovery  of  a substance  sensitive  to  colour  dates  a 
long  way  back.  As  early  as  1810,  Professor  Seebeck,  of  Jena, 
discovered  that  chloride  of  silver,  when  exposed  to  the  coloured 
spectrum  produced  by  passing  the  sun’s  rays  through  a glass 
prism,  became  coloured  in  a corresponding  manner,  the  red  and 
blue  being  especially  distinct. 

In  1839  Sir  John  Herschel  exposed  to  the  solar  spectrum  paper 
covered  with  violet  sub-chloride  of  silver  obtained  by  floating 
the  paper  on  solution  of  sodium  chloride  and  silver  nitrate,  and 
subsequent  exposure  to  light,  and  obtained  a coloured  spectral 
photograph. 

In  “ Hunt’s  Researches  on  Light  ’’  we  read  that  iodized  paper 
brushed  over  with  solutions  of  potassium  ferro-cyanide  and 
nitrate  of  silver  will  reproduce  the  colours  of  the  speetrum  with 
a certain  amount  of  truth. 

For  the  first  substantial  advance  on  the  discovery  of  Professor 
Seebeck  we  must  turn  to  the  protracted  and  arduous  investiga- 
tions of  M.  Edmond  Becquerel,  the  whole  of  whose  remarkable 
discoveries  are  detailed  in  their  author’s  great  work  on  light. 

Becquerel  worked  with  pure  silver  plates,  which  he  chlorinated 
by  immersion  in  various  liquids.  His  first  experiments  were  with 
chlorine  water,  in  which  he  dipped  his  silver  plate  until  its  surface 
became  covered  with  a grey  film  of  silver  chloride.  On  exposing 
the  plate  so  prepared  to  the  solar  spectrum,  he  obtained  an  image 
of  the  latter  which,  for  brilliancy  of  colour  and  fidelity  to  the 
original,  far  surpassed  the  results  obtained  by  any  previous 
investigator.  Pursuing  his  experiments,  he  discovered  that  the 
thickness  of  the  layer  of  silver  chloride  had  a very  considerable 
influence  on  the  rapidity  and  vigour  with  which  the  colours  came 
out,  and  he  consequently  gave  up  the  method  of  chlorinating  with 
chlorine  water,  and  substituted  the  following  electrolytic  plan. 

A plate  of  pure  silver  carefully  polished  with  rouge  and 
alcohol  was  attached  to  the  positive  electrode  of  a galvanic  battery, 
and  suspended  in  a solution  composed  of  one  volume  of  pure 
hydrochloric  acid  to  eight  volumes  of  water.  On  plunging  into 
the  liquid  a rod  of  platinum  or  copper  connected  with  the  nega- 
tive electrode  of  the  battery,  the  electric  current  decomposed  the 
acidulated  water,  and  minute  bubbles  of  chlorine  detached  them- 
selves from  the  rod,  and,  passing  to  the  silver  plate,  attacked  its 


polished  surface,  producing  a layer  of  silver  subchloride.  As  the 
action  continued,  and  this  layer  increas3d  in  thickness,  the  plate 
showed  in  succession  the  series  of  colours  due  to  the  action  of 
light  on  thin  transparent  plates.  After  the  surface  had  become 
grey,  yellow,  violet,  and  green  in  succession,  the  plate  was 
removed  from  the  solution,  washed  with  distilled  water,  dried  over 
a spirit  lamp,  and  carefully  polished  with  a velvet  pad,  after 
which  process  it  was  ready  for  exposure. 

Although  a plate  treated  as  above  reproduced  the  colours  in 
their  true  tints,  and  with  very  considerable  brilliancy,  its  sensi- 
tiveness was  but  small.  When  submitted  to  a powerful  solar 
spectrum,  an  exposure  of  nearly  an  hour  was  required  to  reproduce 
the  colours  ; and  to  get  a picture  in  a camera  an  exposure  of  many 
hours  was  requisite.  When  exposed  to  the  light  under  pieces  of 
coloured  glass,  the  colours  of  the  latter  were  rapidly  reproduced. 

( To  be  continued.) 


AN  EASY  METHOD  OF  PRODUCING  NEGATIVES 
FROM  PRINTS. 

BY  C.  E.  ABNEY.* 

Having  had  a little  leisure  time  on  my  hands  during  the  last 
few  days,  I thought  that  I could  amuse  myself  by  making  some 
enlargements  from  very  small  negatives. 

The  first  method  tried  was  that  of  magnifying  an  enlarged 
transparency  from  the  small  negative,  and  then  making  from 
the  transparency  a paper  negative,  which  was  waxed.  This 
method,  I believe,  was  introduced  by  Mr.  Valentine  Blanchard. 

However,  I was  not  satisfied  with  the  result  obtained,  as  I 
could  not  entirely  prevent  the  grain  of  the  paper  showing  in  the 
finished  proof.  I next  tried  the  ordinary  method  of  making  a 
small  transparency  and  enlarging  from  that ; but  the  result  did 
net  satisfy  me.  Finally  I hit  on  an  idea  which  I believe  to  be 
novel,  and  which  is  the  object  of  this  communication. 

I first  of  all  take  a print  from  the  small  negative  on 
albumenized  paper,  in  the  ordinary  way,  which  is  toned  and  fixed 
as  usual.  I then  mount  this  print  on  glass,  face  downwards, 
with  gelatine.  This  mounted  print  is  then  placed  in  front  of 
the  copying  or  enlarging  camera,  and  an  enlarged  negative  is 
taken  from  it.  Owing  to  the  print  being  in  such  close  contact 
with  the  glass,  the  enlarged  negative  does  not  show  the  grain  of 
the  paper,  and  I find  this  way  of  enlarging  to  be  by  far  the  most 
satisfactory  of  any  I have  tried. 

At  present,  1 have  only  made  a few  enlargements  in  this 
manner,  and  1 have  sent  two  negatives,  ako  the  prints  from 
which  they  were  made,  for  your  inspection,  as  from  this  ex- 
periment I think  it  a very  satisfactory  way  of  enlarging. 

One  thing  I have  already  discovered,  and  that  is,  that  it  is 
necessary  to  avoid,  as  far  as  possible,  having  air-bells  intervening 
between  the  print  and  glass  ; for  if  they  come  on  the  sky  of  the 
mounted  print,  they  will  show  on  the  enlarged  negative. 


LANTERN  TRANSPARENCIES. 

BY  D.  IRELAND,  JUN.f 
You  are  aware  that  there  are  two  methods  of  producing  slides  : 
(1),  by  superposition  or  printing  ; and  (2)  by  reduction.  If  the 
negatives  be  quarter-plate  or  even  b by  ! , they  will  most  easily  be 
done  by  the  first  method,  but  all  sizes  above  these  will  have  to 
be  reduced.  Of  course  it  is  possible  to  take  a little  bit  out  of  a 
large  negative,  but  slides  produced  in  this  are  seldom  in  good 
perspective,  as  there  is  no  foreground.  To  make  slides  by  print- 
ing, therefore,  the  negative  is  put  into  a printing  frame,  the  sensi- 
tive plate  placed  face  downwards  on  it,  the  frame  closed,  and  the 
exposure  made.  For  development  the  usual  pyrogallic  acid  de- 
veloper with  sodic  sulphite  may  be  used,  but  as  there  is  always 
a difficulty  in  getting  the  high  lights  pure,  it  is  better  to  employ 
ferrous  oxalate  developer.  I find  that  the  following  proportions 
answer  exceedingly  well  for  transparencies  : — 

Protosulphate  iron  ...  ...  ...  1 ounce 

Water  ...  ...  5 ounces 

Oxalate  of  potassium 4 „ 

Bromide  ...  20  grs. 

Water  20  ounces 


One  part  to  4 parts. 

After  development  the  plate  should  be  very  thoroughly  washed, 
and  fixed  in  a fresh  solution  of  hypo.  After  again  washing,  a 

• Head  before  the  London  and  Provincial  Photographic  Association, 
t Conden  -ed  from  a paper  read  before  the  Dundee  and  East  of  Seotlaud 
Photographic  Association. 


THE  PHOTOGRAPHIC  NEWS 


807 


December  21,  1883.] 


five  minutes’  immersion  in  the  following  solution  has  a great  in- 
fluence in  rendering  the  film  clear  and  brilliant : — 

Alum  ...  ...  ...  ...  ...  1 ounce 

Citric  acid  £ ,, 

Water  ...  ...  ...  ...  ...  8 ounces 

The  plate  is  then  washed  in  running  water  for  five  or  six  hours. 
If  one  of  the  usual  makes  of  gelatine  plates  have  been  employed, 
the  transparency  will  generally  be  found  to  be  of  a cold  blue 
tone.  The  gold  solution  used  for  toning  prints  has  not  the 
slightest  effect  on  gelatine  plates,  and  I have  found  that  treat- 
ment with  mercury  is  the  most  suitable  method  of  giving  them 


an  agreeable  warm  colour, 
solution : — 

An  immersion  iu  the  following 

Mercury  bichloride 

20  grains 

Ammonia  chloride 

‘'0 

...  • . ...  -V  „ 

Water  ... 

8 ounces 

followed  by  thorough  washing,  and  then  treating  with  dilute 
ammonia,  will  improve  the  tone  very  considerably. 

We  shall  now  pass  to  the  other  method  of  producing  slides, 
viz.,  by  reduction.  For  this  purpose  a box  is  made,  having  one 
end  open  ; in  the  other,  a hole  is  cut  to  carry  the  negative  ; this 
having  been  inserted,  the  box  is  directed  against  the  sky.  It  is 
very  important  that  there  be  no  object  in  the  way,  such  as  tre  es 
or  houses,  as  they  would  show  in  the  transparency.  The  camera 
having  been  adjusted  to  the  proper  distance  so  as  to  get  the  image 
the  right  size,  a small  stop  is  inserted,  and  the  exposure  given  ; 
the  development  being  effected  in  the  same  manner  as  for  print- 
ing. 

I may  mention  one  {mint  of  the  utmost  importance,  and 
that  is,  how  to  get  the  sky  clear.  If  there  is  the  slightest  deposit 
on  the  sky  the  effect  is  marred,  except  of  course  in  the  case  of 
there  being  suitable  clouds  in  the  negative  ; but  I prefer  to  do 
without  clouds  in  most  cases,  as  the  illumination  of  the  picture  on 
the  screen  is  greatly'  enhanced  by  a clear  sky.  For  the  purpose 
of  blocking  out  skies  I employ  a mixture  of  burnt  sienna,  glyce- 
rine, and  water,  applied  with  a emill  brush  to  the  back  of  the 
negative.  Black  varnish  may  also  be  used,  but  it  is  very  difficult 
to  remove,  while  the  other  mixture  is  easily  taken  off  with  water. 
A coating  of  varnish  greatly  helps  to  clear  the  picture,  which 
should  then  be  mounted  with  another  thiu  piece  of  glass,  and 
edged  with  black  paper. 


ENLARGEMENTS  ON  OPAL  AND  PAPER. 

BY  W.  MCGHIE.* 

The  subject  of  enlarging,  on  which  we  are  about  to  enter  this 
evening,  is  one  of  ever-increasing  interest.  There  are,  we  know, 
many  processes  of  enlarging,  each  having  in  its  turn  its  admirer, 
enthusiast,  and  advocate,  that  known  as  the  Autotype  having 
probably  received  the  largest  share  of  attention  ; but  now  another 
agent  has  stepped  to  the  front— a sturdy  competitor,  which 
bids  fair  to  outstrip  all  its  rivals  ; I refer  to  the  preparation 
known  as  gelatino- bromide,  the  merits  of  which  we  are  shortly 
about  to  investigate,  and  which,  for  convenience,  economy,  and 
permanence,  will  hold  its  own  with  any  in  the  world. 

Mr.  J.  Traill  Taylor,  before  the  Photographic  Society'  of 
Great  Britain,  speaks  of  the  large  sizes  taken  direct  in  the 
American  studios,  24  by  20  being  a common  occurrence. 
Probably  now  that  gelatine  has  been  so  generally  adopted,  larger 
sizes  will  gradually  creep  into  our  own  studios,  a circumstance 
which  I think  is  very  desirable  ; but  it  is  for  field  work  that 
gelatino-bromide  will  be  found  specially  adapted  as  regards 
enlarging,  where  it  would  be  impossible  to  drag  cameras  of  the 
size  1 have  mentioned  into  the  field.  But  I venture  to  think  that 
gelatino-bromide  paper  is  destined  to  play  a more  important 
part  still  in  the  history  of  our  photographic  future  : I refer  to 
direct  printing.  And  to  show  how  favourably  this  opinion  is 
held  by  tl  ose  whose  knowledge  is  extensive  in  matters  photo- 
graphic, I cannot  perhaps  do  better  than  quote  from  the  Notes 
of  the  Photographic  News  of  Nov.  30  (see  page  7G1  > ; and 
again  from  the  News  of  Dec.  7th  (see  page  771).  Now  the 
ordinary  gelatine  paper  was  not  found  suitable  for  this  direct 
printing  ; there  was  one  fault,  lack  of  brilliancy  in  the  developed 
prints. 

Mr.  Goodall  some  time  ago  commenced  a series  of  experiments 
with  the  view  of  producing  a paper  with  a high  gloss,  and  after 
many  attempts  and  many  failures,  was  at  last  successful  iu 

* Read  before  the  Photographic  Society  of  Ireland. 


producing  an  enamelled  argentic  paper,  adapted  either  for 
enlarging  or  direct  { rinting.  I now  submit  to  your  inspection 
some  direct  contact  prints  on  this  paper,  the  exposure  of  these 
pictures  to  a naked  gas  jet  varying  from  five,  to  nine  seconds  ; 
and  while  they  are  not,  perhaps,  the  very  best  that  might  have 
been  obtained,  I exhibit  them  to  show  what  has  already  been 
done  in  this  direction.  We  must  all  remember  that  direct 
printing  upon  gelatino-bromide  paper  is  now  iu  its  infancy—  it  is, 
in  fact,  our  youngest  child.  Let  us  bear  with  its  little  weaknesses, 
and  in  a short  time  it  will  arrive  at  manhood,  and  repay  us  a 
hundredfold  for  our  patience.  The  key  to  success  lies  iu 
that  one  sentence  of  the  News  stating  that  “ care,  no  doubt,  is 
required  in  exposing  and  development.”  It  requires  extreme 
care  in  the  handliug,  particularly  avoiding  all  possible  trace  of 
hypo,  till  it  arrives  at  the  last  operation,  namely,  fixing.  A 
little  error  in  exposing  is  sufficient  to  spoil  the  resulting  picture. 
Over-development  will  do  the  same,  but,  carefully  and  in- 
telligently handled,  the  paper  is  capable  of  giving  splendid 
results.  And  I might  here  remark,  as  a guide  to  the  successful 
using  of  this  paper,  that  the  developing  solutions — that  is,  oxalate 
of  potash  and  protosulphate — should  be  thoroughly  saturated, 
that  the  paper  should  be  well  washed  after  development,  placed 
in  the  alum  bath  and  allowed  to  remain  five  minutes,  taken  out 
and  slightly  rinsed,  fixed  iu  one  ounce  of  hypo,  to  six  ounces  of 
water;  after  fixation,  washed  in  running  water  for  three  hours, 
immersed  again  in  a fresh  alum  bath  for  a few  seconds,  slightly 
rinsed  with  clean  water,  and  placed  to  dry.  With  these  pre- 
cautions you  need  have  little  fear  of  the  permanence  of  your 
print. 

The  beautiful  opal  next  claims  our  attention,  and  to  those 
whose  taste  is  refined,  tho3e  to  whom  the  hidden  beauty  of 
a club  picture  has  never  been  reveded,  those  who  view  with 
pain  the  attempts  at  colouring  by  those  whose  ideas  of 
art  are  certainly  not  on  the  highest  footing  ; to  such,  I say,  the  eye 
will  turn  with  satisfied  relief  to  the  chaste,  pure,  and  simple  opal. 

I believe  Mr.  Goodall  was  the  first  to  introduce  matt  surface 
opals  as  an  article  of  commerce  to  the  photographers  of  Great 
Britain  about  three  years  ago,  and  ever  since  that  time  there 
seems  to  have  been  an  increasing  demand  for  this  class  of  picture. 

I have  not  time  to  dwell  longer  on  the  subject  this  evening.  I 
hope  to  make  an  opal  enlargement  in  your  presence,  when  those 
who  have  not  seen  the  operation  will,  I think,  be  surprised  at  the 
result  to  be  obtained  for  such  a slight  expenditure  of  trouble. 

We  have  now  arrived  at  the  concluding  part  of  my  paper, 
which  refers  to  artist’s  canvas.  Owing  to  the  greasy  nature  of 
their  surface  acting  as  a repellent,  it  was  at  first  found  difficult 
to  give  them  that  equal  coating  so  desirable  ; but  after  a series 
of  experiments,  this  has  been  at  last  surmounted,  and  without  in 
any  way  injuring  what  is  known  as  the  prepared  surface. 
Gelatino-bromide  canvases,  capable  of  giving  equally  as  fine 
results  as  other  mediums,  are  to  be  had. 

I cannot  close  this  paper  without  referring  to  what  is  deemed  by 
some  a drawback  to  portraits  on  this  paper,  namely,  the  tone. 
We  have  heard  of  experiments  constantly  going  on  in  laboratories 
and  elsewhere  with  a view  to  the  production  of  warmer  tones. 
Professor  Towler  remarks,  iu  the  “ Silver  Sunbeam,”  speaking  of 
processes,  that  collodion  will  always  remain  the  predominant 
mode  of  working  in  the  studi<  > that  it  was  twenty  years  ago.  We 
all  know  how  thoroughly  he  was  mistaken.  And  I think  we 
shall  advance  more  rapidly  with  our  toning  experiments  than 
many  think,  and  that  before  half  that  time  gelatino-bromide 
pictures  will  be  produced  having  those  delicate  tints  and  fleshy 
effects  we  arc  so  accustomed  to  see  iu  the  best  silver  prints. 


Bohs. 

Mr.  H.  1\  Robiuson's  articles  on  Art- Photography  will  be 
illustrated,  and  commenced  with  the  New  Year. 

13y  the  way,  a very  serious  charge  is  implied,  if  not 
actually  made,  against  Mr.  Robinson  in  the  Ztilung , in 
reference  to  the  Brussels  gold  medal  decreed  him.  It 
would  almost  seem  as  if  Mr.  Robinson  regularly  employs 
his  well-known  influence  with  the  crowned  heads  of  Europe 
i to  get  awards,  if  what  is  whispered  by  our  German  con- 


808 


THE  PHOTOGRAPHIC  NEWS. 


[December  21,  1883. 


temporary  is  a fact.  The  Zeitumj  has  been  told  “ der 
Koenig  der  Belgier  babe  die  ihn  dutch  die  Ausstellung 
bcgleitende  Jury  beauftragt,  Hcrrn  Robinson  des  Koenigs 
ausdruekliche  Ancrkennung  darzubriogen  uml  dadurch  sei 
der  Jury  sozusagen  bcreits  eine  Directive  yeycben."  The  italics 
are  not  our  owd,  and  if  they  mean  anything,  it  is  that  the 
jury  were  supplied  by  the  King  of  the  Belgians  with  an 
indication  how  to  vote. 


AVith  this  fact  before  us,  it  is  easy  to  guess  how  the 
gold  medal  of  the  last  Paris  International  Exhibition  came 
to  Mr.  Robinson,  for  although  at  the  time  France  was  a 
Republic,  everybody  knows  that  the  late  Emperor’s  family 
still  has  influence.  Again,  there  is  no  need  for  wonder 
why  Mr.  Robinson  has  secured  medals  year  after  year  at 
Pall  Mall,  since  it  is  a fact  patent  to  all  that  Her  Majesty 
the  Queen  and  the  Prince  of  Wales  are  the  patrons  to  the 
Photographic  Society.  We  should  not  be  surprised,  after 
this,  if  the  gold  medal  Mr.  Robinson  took  at  the  Tyne 
Exhibition  last  month  was  obtained  through  influence  with 
the  Duke  of  Newcastle.  Certainly  it  is  high  time  this 
wholesale  subornation  of  Royalty  was  put  a stop  to. 

Thirty  thousand  pounds,  half  in  money  and  half  in  shares, 
is  what  Mr.  Pickwell  is  to  sell  his  photographic 
steering  recorder  for  to  the  “ Self-registering  Ship’s  Com- 
pany.” Our  readers  will  remember  that  we  gave  an  illus- 
trated description  of  this  ingenious  invention  in  the  News 
some  months  ago.  The  principle  of  it  is  to  have  a moving 
sheet  of  sensitized  paper  underneath  the  ship's  compase ; 
this  latter  is  perforated,  and  through  the  perforation  comes 
a ray  of  light  from  a lamp  above,  the  ray  impressing,  of 
course,  the  moving  sensitive  film.  The  photographic 
record  thus  secured  tells  the  captain  whether  the  steers- 
mau  has  done  his  duty,  while  the  owner  at  home,  at  the  end 
of  the  voyage,  has  trustworthy  evidence  whether  a straight 
course  has  been  taken  or  no. 


We  should  think  there  was  plenty  of  room  in  the 
mercantile  marine  for  an  invention  such  as  Mr.  Pickwell’s, 
but  we  are  not  sufficiently  versed  in  the  sale  of  patents  or 
in  seamanship  to  estimate  its  practical  value.  Nor  is  Mr. 
Fickwell’s  invention,  so  far  as  its  principle  is  concerned, 
original,  for  as  “ the  constant  reader”  knows  very  well,  at 
least  one  similar  proposal  has  been  discussed  in  these 
columns  within  the  past  ten  years. 

The  Archiv  tells  us  that  on  the  Boulevard  St.  Michel  in 
Paris,  a photographer  does  a thriving  business  in  printing 
photographs  upon  the  skin  of  his  customers.  Young 
women  who  wish  never  to  be  separated  from  the  portraits 
of  their  lords  are  said  to  come  frequently  to  the  studio  to 
be  impressed  by  the  loved  one's  features.  The  impressions, 
we  arc  told,  are  produced  with  printer’s  ink  upon  the  skin, 
but  unless  some  mode  of  fixing  were  resorted  to,  they 
would  not  last  very  long.  Surely  it  would  be  more 
romantic  to  produce  ordinary  silver  prints,  which  would 
stand  washing,  and  last  twice  as  long  ; no  love-sick  maiden 
would  nuud  the  time  aud  trouble  involved  in  the  process. 


Itis  a capital  theory,  no  doubt,  that  the  abnormal  sunset 
effects  we  have  seen  lately  in  the  shape  of  green  moons  and 
ruddy  skies  are  due  to  the  volcanic  outbursts  of  last 
August  in  the  Sunda  Straits.  This  theory — namely,  that 
there  is  a cloud  of  exquisitely  fine  volcanic  dust  hanging 
over  the  earth  which  refracts  our  sunlight  unduly — seems 
to  have  met  with  almost  unanimous  support : indeed,  so 
far,  there  has  been  only  one  feeble  argument  against  it, 
which  is,  that  in  Trinidad  and  in  the  opposite  hemisphere 
the  same  phenomena  were  visible  prior  to  the  volcanic 
eruption  in  question. 

The  statuette  portrait — or,  in  other  words,  the  white  bust 
portrait  on  a pedestal— seem3  to  be  popular  at  Brighton, 
for  we  saw  some  excellent  examples  the  other  day  at  the 
studio  of  Messrs.  W.  and  A.  H.  Fry.  At  first  sight  the 
pictures  appear  a little  decolletes,  but  this  is  simply  because 
only  white  drapery  is  around  the  bust.  The  hair  must  of 
course  be  powdered,  and  doubtless  a powder  puff  applied 
to  the  face  is  advantageous  to  give  the  portrait  its  alabaster 
appearance.  A very  dark  or  black  background  is  em- 
ployed. 

By  the  way,  we  were  glad  to  see  that  the  high-class 
studios  of  Brighton  maintain  their  prices  in  face  of  the 
cheap  and  comparatively  good  work  that  is  produced  in  the 
town.  When  a carte  portrait  is  advertised  to  be  taken 
for  a shilling,  it  needs  some  courage  to  maintain  a mini- 
mum fee  of  one  guinea.  Yet  the  latter,  we  rejoice  to  say, 
is  still  the  usual  fee  at  half-a-dozen  of  the  leading  studios 
of  Brighton. 


To  the  American  newspaper  “ interiorism  ” nothing,  in 
either  public  or  private  life,  is  sacred  ; it  is,  therefore,  re- 
freshing to  find  a New  York  paper  posing  as  the 
champion  of  propriety.  One  of  the  best  known  photo- 
graphic establishments  in  the  city  having  announced  that 
one  of  the  attractions  of  its  wiuter  exhibitions  would  be 
the  production  and  sale  of  the  likenesses  of  ladies  celebrated 
for  their  beauty  and  prominence  in  New  York  society, 
beginning  with  Lady  Mandeville,  the  organ  in  question 
exclaims  : “ Whatever  may  be  the  custom  among  the 
English  nobility,  who  in  these  days  are  a class  seemingly 
privileged  to  outrage  propriety,  and  set  modesty  and  de- 
corum at  defiance,  the  daughters  of  America  would  hardly 
care  to  advertise  their  charms,  and  parade  their  likenesses 
in  shop  windows  side  by  side  with  actresses,  criminals,  and 
notoriously  objectionable  characters!” 

The  New  York  paper  surely  protests  too  much.  There 
is  nothing  improper  in  the  exhibition  of  one’s  photograph, 
provided  always  that  the  photograph  is  worth  looking  at. 
As  for  your  next  door  neighbour  being  a criminal  or  an 
objectionable  character  in  some  way,  this  juxtaposition 
happens  constantly  in  our  illustrated  papers,  where  on  the 
same  page  you  may  get  the  portraits  of  a philanthropist  and 
a murderer.  As  for  the  sale  of  photographs  of  beautiful 
women,  is  there  much  difference  between  the  modern 
practice  aud  the  “annuals,'  the  “keepsakes,”  and  the 
books  of  “beauty"  of  our  grandmothers?  Yet  no  one 


December  21,  1883.  j 


THE  PHOTOGRAPHIC  NEWS 


809 


ever  saw  anything  wrong  in  the  steel  plate  engravings  of 
the  “ professional  beauties  ” of  forty  years  ago. 

If  it  is  worth  while  recovering  the  silver  from  hypo- 
sulphite solution  employed  to  fix  wet  collodion  plates — and 
several  firms  make  it  a practice  to  do  so — the  saving  of  the 
fixing  solutions  in  gelatine  work  is  certainly  to  be  recom- 
mended. There  is  very  little  doubt  that  the  gelatine  plate 
holds  more  silver  than  a film  of  collodion,  and  since,  with 
the  exception  of  about  o per  cent.,  this  is  all  dissolved  out 
by  the  hyposulphite  solution,  it  stands  to  reason  that  a 
much-used  fixing  bath  must  coutain  an  appreciable  quantity 
of  the  precious  metal. 

One  drawback  to  the  vocation  of  a photographer  is,  that 
he  is  apt  to  grow  phologi’aphic.  After  a time  he  finds 
himself  questioning  things  that  are  not  facts,  and  other- 
wise not  giving  fair  play  to  fancy.  A thing  to  be  natural 
must  reflect  only  what  is  to  be  found  strictly  in  nature  ; 
-lUorwise  it  is  rejected  altogether.  “That  is  evidently  a 
sketch  of  Clovelly  in  Smith's  new  novel,  aud  a very  good 
sketch  too,  only  he  ought  not  to  have  put  his  hero  in 
prison,  for  there  is  no  gaol  at  Clovelly,  at  any  rate,  at  the 
present  day."  This  is  the  kind  of  criticism  the  photo- 
grapher gets  betrayed  into,  if  he  reads  a novel : and  when 
he  speaks  of  a painting,  he  is  apt  to  say:  “Ah,  yes,  a 
capital  bit  of  coast  scenery,  evidently  in  the  neighbour- 
hood of  the  Lizard  ; but  where  are  the  twiu  light-houses  '■  ” 


In  a word,  the  photographer  is  apt  to  put  truth  above 
beauty  in  a picture,  instead  of  beauty  above  truth.  If  he 
is  not  on  his  guard,  he  will  one  day  find  himself  quarrel- 
ling with  a picture  of  lake  and  woodland,  because  the 
chimney  pots  of  the  owner's  residence  are  not  seen  above 
the  trees  ; or  will  object  to  a view  of  the  ivy-grown  village 
church,  because  the  new  railings  put  round  it  are  not 
shown.  The  same  drawback  is  observed  in  the  painter, 
who  sometimes  sacrifices  every  bit  of  truth  to  his  sense  of 
romance. 

Wc  have  already  described  a means  of  ventilating  rooms 
by  means  of  sunlight.  In  the  account  given  in  the 
Sanitary  Engineer  of  Professor  Morse’s  system  of  using  the 
sun’s  rays  to  warm  a room,  we  are  told  that  he  employs  a 
structure  of  slate  some  eight  feet  long  by  three  feet  wide, 
painted  black,  and  placed  vertically  on  the  outside  wall  of 
the  building,  with  flues  to  conduct  the  warm  air  to  the 
inside.  The  slates  are  inserted  in  a groove  like  glass  in  a 
frame.  When  the  sun’s  rays  were  direct  upon  this  frame, 
the  air  passing  through  was  raised  30 1 F.,  aud  this  warm 
air  was  sent  into  the  room  at  a rate  of  some  3,206  cubic 
feet  per  hour  ; for  a period  of  from  four  to  five  hours  in 
the  day  this  stream  of  warm  air  was  continued,  so  that  in 
effect  a large  library  was  kept  comfortable  throughout  the 
winter,  except  on  a few  of  the  very  coldest  days. 

A good  etching  liquid  for  steel  will  be  very  useful  when 
we  come  to  make  photo-etchings  upon  a steel  plate.  At 
present,  type  metal  is  usually  employed,  but  this  does  not 
always  give  lines  as  fine  as  they  should  be.  The  following 


etching  liquid  is  recommended  in  the  Engineer  to  be  used 
when  the  preserved  portions  of  the  plate  have  been 
properly  covered  with  the  fatty  photographic  image. 
Mix  one  ounce  of  sulphate  of  copper,  half  an  ounce  of  alum, 
and  half  a teaspoonful  of  common  salt  powdered,  with  a 
gill  of  vinegar  and  twenty  drops  of  nitric  acid.  Steel 
immersed  for  a brief  period  only,  becomes  frosted,  but  will 
be  deeply  etched  if  permitted  to  remain  in  the  liquid  for 
some  time. 


patent  Jtttflligfiuf. 

Notice  to  Proceed. 

39 18.  Joseph  Julius  Sachs,  of  8,  Union  Court,  Old  Broad 
Street,  iu  the  city  of  London,  for  an  invention  of  “ Improve- 
ments in  the  manufacture  of  pliable  plates  and  surfaces  as  a 
substitute  for  glass  for  photographic  and  other  purposes.” — A 
communication  to  him  from  Messieurs  Fickeissen  and  Becker, 
resident  at  Yillingen,  Baden.  Germany. — Dated  14th  August, 
1883. 

Patent  Void  through  Non-payment  of  Duty. 
5013.  Albert  Jules  Theodore  M ild,  of  Nunhead,  in  the 
county  of  Surrey,  for  an  invention  of  “ Improvements  iu 
printing  or  producing  copies  from  tracings  or  drawings.” — 
Dated  2nd  December,  1880. 

I take  of  water  one  hundred  ounces,  of  chromate  of  potassa 
ten  ounces,  aud  when  the  chromate  of  potassa  is  thoroughly  dis- 
solved, I add  thereto  sulphuric  acid  twenty  ounces.  I sponge 
over  or  otherwise  apply  this  solution  to  the  paper  or  other  mate- 
rial or  surface  upon  which  the  copy  or  reproduction  is  to  be 
made.  When  dry  I place  the  paper  or  surface  upon  which  the 
copy  is  to  be  produced  within  a suitably  constructed  frame. 
The  original  is  then  superimposed  thereon,  or  in  face  of  the  said 
frame,  and  exposed  to  the  action  of  light,  either  natural  or  any 
capable  of  acting  upon  the  sensitive  surface  produced  by  the 
chemicals  hereinbefore  mentioned.  The  time  of  the  exposure 
to  the  light  is  determined  partly  by  the  strength  of  the  light,  and 
partly  by  the  depth  or  colour  of  the  subject  to  be  reproduced. 
When  it  is  found  that  the  exposure  has  resulted  in  reproducing 
the  subject,  the  paper  or  other  surface  is  placed  within  a vapour- 
izing box  or  chamber  containing  aniline  oil,  either  pure  or  with 
a certain  quantity  of  ammonia,  and  when  it  is  removed  therefrom 
it  is  passed  through  a bath  of  pure  water,  then  dried.  I then 
take  the  reproduction  and  sponge  it  with  natron  or  unslacked 
lime,  or  other  alkaline  solution,  for  the  purpose  of  fixing  the 
copy  produced.  It  is  then  finally  dried,  and  pressed  by  any 
suitable  means. 


A FEW  PHOTOG11A.PH1C  CONVENIENCES. 

BY  W.  CROOK):. 

I trust  that  the  title  of  my  short  paper  has  not  led  you  to  expect 
anything  \ cry  original,  but  the  little  conveniences  I shall  have  the 
pleasure  of  describing  to  you  this  evening  1 have  found  to  work 
well,  and  with  the  aid  of  the  black-board  I shall  endeavour  to 
make  myself  as  clear  as  possible.  You  may  have  noticed,  occa- 
sionally, startled  expressions  in  portraits,  more  especially  in  those 
of  children.  I would  feel  inclined  to  attribute  this  to  the  fact  of 
their  having  seen  something  alarming.  Now,  to  get  a pleasing 
expression,  the  eyes  must  rest  on  something  homely  and  agree- 
able, and  this  is  certainly  not  to  be  found  in  a photographic 
operator  who  has  just  had  his  head  wrapped  up  in  a black  cloth, 
and  comes  out  of  it  in  a hurry.  No  doubt  an  animated  object  is 
the  best  means  of  attracting  the  sitter’s  attention  (for  instance,  a 
friend  might  accompany  them  to  the  studio),  but  nothing  so 
animated  as  our  friend  from  under  the  cloth,  whose  toilet  has  be- 
come disarranged  to  a considerable  extent,  and  makes  one  think 
of  a skye-terrier  peering  through  his  locks.  However,  this  little 
grievance  can  easily  be  overcome  by  the  following  piece  of  me- 
chanism : — ABC,  frame  of  wire,  supported  on  two  tubes,  one  of 
which  is  shown  at  D,  sliding  on  rods  E.  The  dark  cloth  is  thrown 
over  all.  It  answers  a twofold  purpose,  forming  a shade  for  the 
head  while  focussing,  and,  drawrn  forward,  shades  the  lens  from 
a flood  of  light  during  exposure. 

A communication  to  th*  Edinburgh  Photographic  Society, 


810  THE  PHOTOGRAPHIC  NEWS.  [December  21,  1883. 


The  next  contrivance  is  also  intended  to  battle  with  a flood  of 
light,  but  this  time  it  is  in  the  dark  room,  and  shades  the  eyes 
when  developing.  What  I use  is  in  connection  with  the  window, 


Before  leaving  the  dark  room  1 might  describe  a little  inven- 
tion which  partakes  more  of  the  character  of  a luxury  than  a 
convenience,  viz.,  a seat  of  the  following  construction  to  rest 
one’s  weary  limbs  during  development.  A,  section  of  sink  , B, 


piece  of  wood  about  12  inches  long  and  11  inch  thick,  hinged  to 
sink  at  C,  and  to  leg  or  support  at  D.  E is  a bicycle  saddle 
fastened  on  B in  the  usual  way. 

Those  who  use  a stand  and  pole  for  adjusting  a point  of  sight 
for  the  sitter,  will  find  two  American  clips,  fastened  at  right 
angles  with  each  other,  answer  the  purpose  admirably  ; one  can 
be  moved  up  or  down  the  pole  at  will,  and  the  other  holds  any 
attraction  you  may  consider  suitable. 

1 he  following  convenience  occurred  to  me  one  hot  summer's 
day  while  varnishing  negatives  at  the  fire,  and  will  be  found  to 
possess  the  double  qualification  of  coolness  and  cleanliness.  A 
tin  vessel  shaped  as  illustration  ; a very  small  quantity  of  hot 


water  heats  this  vessel  at  once.  It  possesses  many  advantages 
over  an  open  fire. 


I might  here  give  a hint  with  regard  to  showing  negatives  at 
the  request  of  the  sitter.  Place  the  negative,  film  side  down- 
wards, in  a black  developing  tray  containing  a little  water.  If 
the  image  is  visible  at  all,  it  will  be  seen  to  best  advantage  by 
this  means. 


AX  IMPROVED  CARRIER  FOR  LANTERN  SLIDES. 

BY  J.  m’kE.YN. 

The  lantern  slide  carrier  may  sound  to  some  of  your  ears  as  a 
very  unimportant  part  of  the  lantern  outfit,  yet  to  my  mind  it  is 
the  very  back-bone  of  a successful  entertainment.  Mr.  Chad- 
wick, who  has  done  so  much  to  simplify  lantern  manipulations, 
has  overcome,  to  a certain  extent,  the  difliculty  of  exhibiting 
slides  of  various  sizes,  and  we  all  joiu  with  him  in  the  lament 
that  slide-makers  cannot  agree  as  to  the  size  most  convenient  for 
this  purpose.  Here  is  a matter  to  decide  at  the  proposed  Inter- 
national Photographic  CoDgress  at  Brussels.  A universal  size  of 
slide  would  do  much  to  advance  the  interests  of  photography, 
and  remove  a load  of  anxiety  from  the  mind  of  the  lantern  con- 
ductor. We  would  then  be  in  a better  position  to  exchauge  slides 
with  other  nations,  and  be  sure  of  exhibiting  them  without  any 
special  arrangement  in  the  form  of  our  carriers. 

Mr.  Chadwick’s  improved  carrier,  as  you  are  aware,  is  simple 
and  eil'ective  enough  when  two  lanterns  are  used,  hut  for  the 
mere  purposes  of  exhibiting  a series  of  photographic  views  there 
is  no  need  of  two  lanterns,  unless  it  be  for  the  purpose  of  effect, 
and  that  is  no  small  matter  in  a lantern  entertainment.  To  see 
a picture  eome  on  the  screen  in  its  proper  place  and  remain  there 
quietly  till  the  lecturer  has  passed  his  remarks  upon  it,  and  to 
pass  as  quietly  away,  is  a pleasure  we  seldom  enjoy  under  present 
circumstances.  When  a single  lantern  is  used  we  are  accustomed 
to  see  the  pictures  pass  along  the  screen  in  regular,  and  sometimes 
irregular,  succession,  with  an  ugly  streak  of  black  between  each, 
caused,  you  are  aware,  by  the  biuding  of  the  two  glasses  and  the 
round  or  cushion-shaped  mask  between  them.  Why  this  has 
been  so  long  the  form  of  mounting  slides  is  difficult  to  under- 
stand: it  is  much  better  to  leave  out  the  mask,  and,  with  the 
picture  close  up  to  the  edge,  bind  only  the  top  and  bottom  of  the 
slide ; and  if  the  push-along  process  of  exhibiting  them  be 
adopted,  we  have  something  more  approaching  a panoramic  effect, 
and  the  eye  will  not  be  so  painfully  impressed  with  what  in  reality 
appears  more  prominent  than  the  picture  itself,  namely,  its  mass 
and  binding.  This,  with  the  single  lantern,  will  be  foun  I a prac- 
tical way  of  getting  over  the  difficulty  when  slides  of  various 
sizes  are  to  be  exhibited  ; indeed,  there  need  be  no  limit  to  the 
length  of  the  landscape  slide,  though  for  portraits  the  mask  is 
indispensable.  A universal  size  of  slide,  afte\'  all,  would  be  the 
most  acceptable. 

I shall  now  describe  my  carrier  and  the  mode  of  using  it.  The 
only  difficulty  in  the  way  of  its  being  immediately  adopted  is  that 
a special  arrangement  is  necessary  to  be  made  with  that  part  of 
the  lantern  which  bears  the  lens.  The  improved  Sciopticon  re- 
quires no  alteration  except  in  the  hood  which  shades  the  light 
between  the  condensor  and  the  objective.  After  seeing  the  carrier 
at  work,  you  will  find  it  requires  no  great  amount  of  mechanical 
skill  to  effect  the  desired  alteration,  and  to  introduce  what  I ven- 
ture to  hope  you  will  consider  an  important  improvement  in 
lantern  slide  carriers.  The  following  sketch  will  give  some  idea 


Read  before  the  Edinburgh  Photographic  Society, 


-December  21,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


811 


of  the  shape  and  mechanical  arrangement  of  the  carrier  in  its 
improved  form. 

A A and  B B,  fig.  1,  is  the  frame,  which  may  be  made  of  either 
w oi>d  or  metal.  C C is  a spindle  which  passes  from  side  to  side 
of  the  frame,  terminating  at  each  end  with  a suitable  thumb- 
screw, by  which  it  is  turned  in  the  act  of  changing  the  slide. 
D D are  two  metal  plates  passed  through  the  above  spindle, 
which  act  as  levers  in  pushing  away  the  slide.  E may  be  called 
a self-acting  balance  lever,  the  form  and  action  of  which  will  be 
better  seen  in  fig.  2.  F is  a spring  to  counteract  the  force  of 
the  falling  slide,  upon  which  the  successful  working  of  the 
carrier  much  depends,  in  adjusting  which  be  careful  to  give  it  a 
slight  turn  inwards, so  that  the  slide  <m  falling  may  not  be  forced 
outwards.  Fig.  2 is  a full  size  section  of  the  principal  part  of 
the  carrier  as  seen  from  the  side.  A is  the  spindle  ; B the  self- 
acting balance  lever,  which  is  simply  a plate  of  metal  bent  round 
the  spindle  in  the  form  represented,  the  round  black  part  o 


which  is  filled  with  lead,  thus  causing  the  lever  to  press  against 
the  slide  C,  and  hold  it  in  position  till  forced  away  by  the  spindle 
levers  in  the  act  of  changing  the  slide. 

In  using  the  carrier  drop  a slide  in  the  top  of  the  frame  at  A 
and  B,  fig.  1 r till  it  rests  on  the  spring  F.  That  being  exhibited 
on  the  screen,  drop  another  slide  in  at  the  top  as  before,  while 
the  spindle  levers  are  lying  in  a horizontal  position,  thus  pre- 
venting the  top  slide  from  coming  in  contact  with  the  bottom  one. 


Fig.  2. 

The  lecturer  having  finished  his  description  of  the  view  on  the 
screen,  gives  the  signal,  while  you  give  the  thumb -screw  C a 
slight  turn,  and,  in  a flash,  the  scene  is  changed. 

If  I have  made  the  description  plain  enough,  you  will  perceive 
the  slide  on  being  expelled  from  the  carrier  fahs  forward  upon  a 
cushion  or  pad,  from  which  it  is  removed  during  the  description 
of  the  succeeding  slide,  and  so  on  till  the  close  of  the  lecture. 


CERAMIC  PHOTOGRAPHY. 

BV  A.  L.  HENDERSON.* 

To  no  single  individual  or  country  can  the  credit  be  given  for 
the  discovery  of  pottery,  porcelain,  or  ceramics.  The  term  “ hard  ” 
or  “ soft  ” porcelain  is  twofold.  The  “ hard  ” is  a substance  that 
is  brittle  or  difficult  to  fuse  ; the  “ soft  ” is  quite  the  reverse,  differ- 
ing only  by  the  amount  of  solid  body  or  infusible  material  con- 


tained in  the  flux  or  glaze.  All  vitreous  substances  laid  on  or 
supported  by  metal  are  usually  called  “ enamel.”  It  is  the  soft 
porcelain  or  enamel  that  I will  have  specially  to  deal  with  to  night. 
It  is  to  Mr.  Lafon  de  Camarsac  we  are  indebted  for  ceramic 
photography,  he  being  the  first  to  produce  the  photographs  fixed 
by  fire  (about  1856). 

His  method,  so  far  as  I can  learn,  has  never  been  published, 
and  is  still  considered  a secret  process.  Many  operators  have 
called  upon  me  offering  their  services,  and  who  professed  to  have 
been  working  on  enamel  in  M.  Camarsac’s  employ,  but  in  no  case 
have  they  produced  presentable  results.  His  (Camarsac’s)  method, 
I have  little  doubt,  is  what  is  usually  called  the  “ dustiug-on 
process  ; ’’  that  is,  a glass  plate  is  first  coated  with  collodion,  and 
then  with  a mixture  of  sugar,  honey,  and  bichromate  of  ammo- 
nium. The  plate  is  exposed  under  a transparency,  the  affected 
parts  becoming  somewhat  hardened  or  less  tacky  or  hygroscopic 
by  the  action  of  the  light.  The  plate  is  then  dusted  over  with  an 
enamel  colour  finely  ground,  when  the  image  will  appear,  the 
colour  adhering  to  the  moist  portions.  It  is  then  placed  in  acid 
and  water  to  remove  all  soluble  matter,  transferred  to  the  per- 
manent support,  and  placed  in  the  kiln. 

When  the  carbon  process  was  introduced,  at  the  first  glance 
it  seemed  as  if  enamel  or  porcelain  photography  would  receive  a 
great  impetus  ; but  the  difficulty  in  burning  off'  the  gelatine  was 
almost  insurmountable.  Mr.  Firling,  of  Dorchester,  about  six- 
teen years  ago,  showed  me  some  promising  results  by  the  carbon 
process.  Some  later  advances,  however,  have  been  made  in  this 
direction  by  using  saponaceous  substances  to  pirevent  the  crack- 
ing and  blistering  of  the  gelatine. 

The  second  method  of  producing  vitrifiable  photographs  is 
known  as  the  “ substitution  process  ; ” that  is,  a transparency  is 
taken  on  wet  collodion,  and  various  chemicals  are  allowed  to  re- 
act on  the  silver,  thereby  depositing  and  substituting  medals  in 
lieu  of  the  silver,  which,  if  left  in  the  picture,  would  give  a dis- 
agreeable tone.  (Silver  gives  a bright  yellow  colour.)  Of  the 
two  processes  named  I would  give  preference  to  the  “ dusting- 
on,”  as  a greater  range  of  colour  can  be  obtained. 

The  third  and  last  method  is  that  devised  by  the  author  of 
this  communication.  It  is  with  some  difficulty  I can  find  a name 
for  the  method.  I might  call  it  a “ mongrel  process,’’  as  it  comes 
between  the  first  two. 

Here  I have  a collodion  transparency  very  thin,  as  you  will 
see ; the  high-lights  are  perfectly  clear  glass,  and  the  shadows 
not  heavy — such  a transparency  as  would  look  best  as  a lantern 
picture.  It  was  developed  with — 


Sulphate  of  iron  

5 

grain3 

Acetic  acid  (Beaufoy’s)  

15 

minims 

Water 

1 

ounce 

Saturated  with  common  alum. 

will  place  it  in  a solution  of  a platinic  salt,  prepared  as 

"S  I — - 

Bichloride  of  platinum,  or  its  com- 

pound  

5 

parts 

Bichloride  of  tin,  or  its  compound  ... 

30 

ft 

Iodine  of  potash 

30 

ft 

Iodine,  to  saturation. 

Acid  (such  as  hydrocloric)  ... 

960 

ft 

Silicate  of  potash 

20 

ft 

Acetate  of  lead  

40 

ft 

Water  ... 

8000 

ft 

Saturate  the  whole  with  boracic  acid. 


The  platinum  and  tin  will,  to  a certain  extent,  take  the  place 
of  the  silver,  as  well  as  depositing  on  what  is  already  there.  I 
can  at  any  moment  apply  solvents— say  nitric  acid — that  will  not 
act  on  the  platinum  and  remove  the  silver  ; and  even  after  its 
removal  the  depositing  action  will  still  proceed.  Should  the 
silver  be  in  a form  (say  chloride  or  iodide)  that  will  not  dissolve 
in  nitric  acid,  I can  oxidise  or  reduce  them  to  the  metallic  state 
by  heat,  so  that  they  will  be  amenable  to  treatment.  It  is  sel- 
dom 1 have  to  resort  to  the  removal  of  the  silver,  as  there  is 
such  a small  amount  present,  and  it  improves  the  tone  rather 
than  otherwise. 

As  soon  as  there  is  sufficient  density  I remove  the  picture  from 
the  solution,  immerse  it  in  a five  per  cent,  solution  of  sulphuric 
acid  and  water,  saturated  with  boracic  acid,  and  transfer  it  to  the 
enamel  tablet,  dry  it,  and  it  is  then  ready  for  the  fire.  If  one  of 
the  films  be  left  in  wrater  for  some  days  a peculiar  action  takes 
place  ; that  is,  the  image  will  entirely  disappear,  leaving  no  trace  of 
its  colour  in  the  water;  and  if  the  enamel,  when  placed  on  its  per- 
manent support,  be  left  exposed,  unfited,  to  the  air  for  some  time 


* Read  before  the  Loudon  aud  1' rovinci.it  Photographic  Association. 


812 


THE  PHOTOGRAPHIC  NEWS. 


[DECEMBER  21,  1883. 


the  colouring  matter  will  become  soluble  in  water.  As  a rule,  it  is 
better  not  to  add  any  flux  or  glaze  over  the  picture.  Great  danger 
is  likely  to  arise,  as  the  flux  or  glaze  being  so  much  easier  fused, 
blisters  might  occur ; and,  although  it  gives  a little  greater  depth  to 
the  shadows,  a much  deeper  print  is  necessary.  One  of  the  secrets 
of  photo-enamelling  is,  to  put  the  glaze  on  the  plate  first. 

Many  here  believe  that  the  whole  secret  lies  in  the  firing.  I will 
fire  one  so  that  it  is  melting.  I will  no>vpressa  knife  into  it,  while 
in  the  fire,  to  show  what  state  of  fusion  it  is  in,  at  the  same  time 
showing  that  there  is  no  loss  of  colour.  I can  place  a photograph 
on  (say)  a Minton’s  tile  and  allow  the  image  to  sink  into  the  glaze. 
1 remove  the  image,  leaving  an  impression  on  the  porcelain,  which 
might  be  inked  and  printed  like  a copper-plate.  These  enamels 
may  be  coloured  by  any  artist  with  very  little  practice.  Here  is 
one— the  first  attempt.  1 think  you  will  say  it  is  fairly  good.  Of 
course  a little  knowledge  is  required  as  to  which  colours  are  to  be 
applied  first.  To  touch  up  an  enamel,  or  remove  spots  in  the  fired 
picture,  I use  a brown  enamel  color  mixed  with  a small  quantity 
of  scsquioxide  of  indium,  rubbed  up  with  spike  oil  of  lavender, 
refiring  to  fix  the  touching. 

I may  as  well  mention  a few  of  the  colours  produced  by  some  of 
the  oxides  : — Tin  and  arsenic  give  a white  ; gold,  red  or  purple  ; 
copper,  green  or  red  ; silver  and  titanium,  yellow  ; cobalt,  blue  ; 
iron,  reddish  yellow  ; platinum  and  tin,  varius  tints  of  brown  ; 
iridium,  black.  The  mention  of  iridium  recals  an  amusing  circum- 
stance. 1 had  occasion  to  send  to  a large  London  dealer  for  a few 
grains  of  an  iridium  salt  for  experimental  purposes.  My  messenger 
brought  back  an  entirely  different  compound,  and  on  ray  calling 
personally  for  an  explanation,  1 was  informed  that  they  sent  me 
that  which  was  usually  sold  for  photographic  enamelling  purposes 
as  “Henderson’s  chloride  of  iridium.”  “ Well,’’  I said,  “my  name  is 
Henderson,  and  I am  a photo-enameller,  but  I have  not  been  using 
iridium.”  The  reply  was  that  many  persons  called  asking  for  the 
iridium  similar  to  that  used  by  Henderson.  The  moral  is  : If  you 
wish  to  make  dynamite,  be  careful  where  you  buy  your  chemicals. 

I am  afraid  time  will  not  permit  me  to  say  auythiug  more.  1 
trust  that  I have  made  the  matter  clear  ; if  not,  it  will  afford  me 
pleasure  to  reply  to  any  queftions. 


HOW  TO  INCREASE  THE  PROFITS  OF  THE 
PHOTOGRAPHER. 

Sir., — “ Any  method  of  increasing  one’s  returns,”  quoting 
he  words  of  your  cot  respondent,  “ A Gratified  Reader.” 
should  be  acceptable  to  the  photographic  fraternity.” 
Allow  me  to  suggest  that  an  agent  be  appointed  in  some 
central  part  of  London,  who  should  be  entrusted  with 
“specimen  copies”  of  all  the  photographs  that  were  ex- 
hibited at  the  late  Exhibition  in  Pall  Mall.  Professional 
photographers  should  hold  a private  meeting,  to  decide 
amongst  themselves  the  size  and  price  of  their  exhibits. 

I would  further  suggest  that  specimeu  copies  of  each 
picture  be  printed  on  a uniform  reduced  scale,  and  bound 
iu  one  volume  ; for  reference  copies  of  this  volume  might 
be  sent  out  into  the  provinces  for  inspection  to  intending 
purchasers,  who  should  in  all  cases  supply  the  London 
publisher  with  a satisfactory  reference. 

I have  been  induced  to  make  these  remarks  from  what 
I have  heard  from  an  intimate  friend  of  mine,  who  has 
recently  been  much  disappointed  and  amazed  by  photo- 
graphers refusing  to  allow  their  works  to  be  sent  on  sale 
or  return. 

1 can  in  some  measure  sympathise  with  photographers, 
and  understand  their  objection  to  forwarding  copies  of 
their  works  to  unknown  correspondents.  My  suggestion 
of  having  bound  volumes  of  reduced  prints  would  re- 
move the  objection  entirely,  and  might  eventually  lead  to 
an  extensive  sale.  In  the  absence  of  this  publicity,  many 
an  attractive  picture  is  doomed  to  remain  comparatively  un- 
known beyond  the  circumscribed  limits  of  the  artists’  friends 
and  the  locality  in  which  the  artist  resides. 

'ihe  music  publishers  all  employ  travellers  who  are  also 
in  the  habit  of  sending  out  parcels  on  sale  or  return. 
A catalogue  fails  utterly  in  describing  the  character  either 
of  a piece  of  music  or  a photograph.  Should  specimen 


volumes  of  photographs  be  printed  as  suggested,  they 
would  be  sure  to  find  a ready  sale  amongst  art  students, 
who  would  iu  many  cases  be  induced  to  purchase  large 
sized  cop’es  of  favourite  subjects.  Pho’ography  has  a 
glorious  future  before  it ; its  influence  upon  art  and  artists 
will  ultimately  be  enormous. — I am,  yours  truly, 

Ax  Akt  Student. 


LANTERN  MEETING  OF  THE  SOUTH  LONDON 
SOCIETY. 

Sin, — Will  you  .kindly  correct  au  error  which  appeared 
iu  your  last  issue,  iu  the  report  of  the  South  London 
Society,  where  1 am  made  to  say  that  “ I will  attend  an 
hour  before  the  commencement  of  the  next  monthly  meet- 
ing (the  Lantern  Meeting  of  the  Society)  to  test  members' 
slides.”  What  1 said  was  this:  that  as  many  amateurs 
contribute  to  our  meeting,  and  are  uncertain  as  to  how 
their  slides  would  look  on  the  screen,  as  I shall  be  at  the 
Hall  during  the  afternoon,  if  auy  member  would  like  to 
submit  slides  to  me,  I would  give  them  my  advice  as  to 
how  they  would  show.  If  the  report  was  allowed  to 
stand,  it  might  cause  a little  confusion  on  the  evening. — 
Yours  very  truly,  Wm.  Bp.ooks. 


CARBON  PRINTING. 

Sin, — I read  in  your  esteemed  journal  of  November 
30th,  page  763,  a very  well  written  article  by  Mr.  C. 
B.  Barnes.  What  astonishes  me  most  is  what  this 
gentlemau  says  relative  to  chromotype  works.  He 
suggests  that  nineteen  photographers  out  of  twenty, 
who  did  chromotype,  have  given  up  this  process.  This 
gentleman  seems  to  me  to  be  in  a very  great  error,  and  1 
cannot  admit  that  such  a great  number  of  photographers, 
having  tried  the  chromotype,  could  have  been  discouraged 
from  their  first  attempts.  For  every  mau  accustomed  to 
cleanliness  and  care  in  his  work,  this  process  is  very 
simple,  very  easy,  and  only  requires  attention  to  what 
one  is  about.  The  chromotype  suits  to  perfection  all  sizes 
of  portraits,  from  C.D.V.  to  life-size. 

The  colour  of  the  tissue  is  very  beautiful,  and  the  por- 
traits are  very  delicate,  with  great  relief. 

I bought  the  patents  of  the  chromotype  nine  years  ago, 
and  one  day  of  practical  work  with  Mr.  Lambert  enabled 
me  to  learu  all  the  necessary  acquirements  of  the  Lambert- 
type  and  chromotype  workings.  Since  that  period — nine 
years— my  printers  have  printed  250  to  300  photographs 
daily  of  all  sizes,  and  without  any  difficulty,  and  with  a 
complete  success.  How  is  it  that  other  photographers 
cannot  do  likewise  V 

To  all  those  who  doubt  of  success,  and  who  have  not 
succeeded,  I should  say,  exercise  care  and  cleanliness,  and 
you  will  succeed. 

Come  to  Jersey,  and  you  will  see  at  my  establishment 
how  simple  and  easy  the  thing  is.  If  the  voyage  is  too  long, 
apply  to  the  Autotype  Company,  of  Ealiug  Dene,  where  in 
one  single  lesson  you  will  be  shown  yet  better  than  by  me, 
the  process  in  all  its  workings. 

For  myself  and  my  customers  the  chromotyj>e  has  killed 
silver  printing,  and  1 cannot  understand  how  a photo- 
grapher can  own  that  he  has  not  succeeded  iu  chromotype. 
Incomparable  work  is  done  with  it,  and  its  working 
requires  but  the  least  intelligence.  Failures  proceed 
but  from  negligence.  — Yours  truly,  E.  BACDOUX. 


ANOTHER  CAUSE  OF  RED  FOG. 

Sin, — This  week  I tried  the  effect  of  decomposed  (ten  per 
cent.)  soft  gelatine,  which  was  quite  liquid  after  three  weeks, 
in  gelatine  emulsion.  I put  fifty  drops  to  one  hundred 
grammes  of  liquid  emulsion  ready  for  coating.  I arrived  at 
this  idea  by  thinking  that  through  a loDg  digestion  of  gela- 
tine emulsion  the  gelatine  will  also  partly  decomjiose,  and 
so  I tried  if  a plate  would  be  quicker  by  adding  the  above. 
Alas ! the  result  was  that  I found  my  plates  not  only  a 


December  21,  1 8 8 3 . J 


THE  PHOTOGRAPHIC  NEWS. 


813 


little  slower,  bat  also  decorated  with  a nice  pink-red  fog 
by  transparency,  and  a green  one  by  opaque  light.  I 
think  it  well  to  communicate  to  you  this  cause  of  red  fog, 
as  to  get  rid  of  troubles  you  should  first  know  all  the  little 
causes  from  which  they  arrive. — Yours  truty, 

Otto  Pfenninger. 


IODIDE  OR  BROMIDE. 

Sib, — At  the  meeting  of  the  Photographic  Society  of 
Great  Biitain  last  Tuesday,  Mr.  Jabez  Hughes  6tated 
that  Sir  John  Herschel  had  many  years  before  said  that 
iodide  of  silver  must  give  way  to  bromide  on  account  of  the 
different  range  of  sensibility  of  the  latter  compound  to  the 
rays  of  the  spectrum.  This  claim  of  great  difference  of 
relative  susceptibility  between  the  two  salts  and  the  pro- 
cesses of  collodion  and  gelatine,  which  depend  respectively 
mainly  upon  the  one  or  the  other,  has  been  continually 
repeated,  and  it  is  this  repetition  which  has  induced  photo- 
graphers to  believe  that  a red  light  is  necessary  when  woik- 
ing  bromide  plates.  I believe  the  claim  to  be  unfounded, 
and  that  its  maintenance  has  had  much  to  answer  for  in 
the  matter  of  iujury  to  the  eyesight  of  very  many. 

I have  a very  great  respect  for  the  scientific  acquirements 
of  the  late  Sir  John  Ilerschel  ; but  still  greater  respect  for 
what  I believe  to  be  the  truth  induces  me  to  state  my  belief 
that  he  may  have  been  mistaken  in  estimating  the  pro- 
portionate difference  of  the  sensitiveness  of  the  two  salts  to 
rays  of  different  colours,  and  to  challenge  the  statement 
that  has  been  so  persistently  made  for  so  many  years,  that 
bromide  and  iodide  of  silver  differ  greatly  in  their  relative 
susceptibility  to  various  colours  as  they  exist  in  natural 
objects. 

ITnless  it  can  be  shown  that  the  light  coming  through 
red  media  has  less  effect  upon  the  sensitive  compound  in 
proportion  to  the  luminosity  which  it  possesses  to  the  eye, 
than  that  of  another  colour,  the  reason  for  its  use  ceases  tc 
exist.  That  it  has  not  less  < fleet  1 believe  1 have  satisfac- 
torily proved,  and  the  experiment  is  open  to  any  one  to 
verify.  I am  happy  to  know  that  in  many  cases  the  ex- 
periment has  been  practically  made  by  the  substitution  in 
the  dark-room  window  of  green  and  yellow  media  for  ruby 
and  orange,  and,  in  every  case  that  1 have  yet  heard  of, 
with  tuccess,  and  great  satisfaction  at  being  relieved  of  the 
supposed  necessity  for  working  in  a light  of  a colour  so  try- 
ing as  ruby.  In  one  case  a friend  tells  me,  “After  woik 
for  an  hour  or  two  in  the  light  I formerly  used,  I could  not 
see  to  read  ; now  1 can  go  to  my  books  from  my  dark-room 
as  though  1 had  not  been  there.'' — l am,  yours  obediently, 

\V.  E.  Debeniiam. 

[Mr.  Debenham  is  quite  right  in  supposing  that  the  dis- 
tinguished philosopher  to  whom  he  refers  made  a mistake, 
but  Sir  J.  F.  W.  Ilerschel  himself  wrote  an  article  ir.  the 
Photographic  News  (July  22,  1850)  in  which  he  recog- 
nized his  mistake,  and  found  that  while  iodide  would  receive 
an  impression  of  the  spectrum  extending  into  the  heat  rays 
far  beyond  the  red,  do  such  result  could  be  obtained  on 
pure  bromide.  It  is  curious  to  note  that  under  some  con- 
ditions of  light  he  did  not  succeed  in  obtaining  so  extt  nded 
a spectrum  upon  iodide  as  at  the  other  times.  See  our 
leader  on  Iodide  or  Bromide." — £d.  P.  N.] 


Drotttbinga  ot  3ocutics. 

I’noToaRAPntc  Society  of  Great  Britain. 

A meeting  was  held  on  Tuesday,  the  18th  inst.,  the  chair  being 
occupied  by  Mr.  T.  Sebastian  Davis,  F.C.S. 

Mr.  W.  E.  Debenham  some  time  ago  made  a batch  of  citro- 
chloride  emulsion,  which  gave  an  image  in  colour  somewhat  re- 
sembling burnt  sienna,  or  rather  more  yellow.  The  specimen 
transparency  shown  after  keeping  the  emulsion  appeared  like  a 
plate  toned  with  gold.  What  he  wished  to  call  attention  to  most 
particularly  was,  after  keeping  a month,  the  emulsion  is  capable 


of  giving  finer  results.  The  time  occupied  in  printing  was  about 
half  a day  in  dull  light. 

Mr.  Cowan  never  experienced  any  yellowness  ; possibly  it  was 
due  to  a difference  in  the  balance  of  citrate  of  chloride  employed  ; 
he  used  half  of  each. 

It  was  asked  if  Mr.  DebeDham  had  tested  his  emulsion  for 
acidity  ; it  would  be  interesting  if  the  experiment  were  repeated 
with  the  emulsion  slightly  alkaline. 

The  Chairman  said,  in  reference  to  colour,  that  he  should 
like  it  decided  which  was  most  suited  to  the  optical  lantern, 
between  the  range  of  warm  brown  and  the  blue  black  ; he 
attributed  greater  clearness  to  wet  collodion  than  to  gelatino- 
bromide  for  lantern  work. 

Mr.  T.  Fall  considered  the  wet  collodion  transparencies 
shown  towards  the  close  of  the  exhibition  the  most  artistic  work 
of  this  description  he  had  seen. 

A discussion  then  arose  on  the  advantages  gained  by  contact 
printing  over  camera  prepared  slides,  also  the  advisability  of 
making  them  one  uniform  size,  3j  by  4 j,  the  opinion  being 
favourable  to  the  latter,  thus  enabling  name  of  subject  to  be 
attached,  without  affecting  the  composition  of  picture.  Contact 
printing  was  advocated  where  possible. 

The  following  were  read  from  the  question  box  : — 

What  is  the  cause  of  gelatine  plates  becoming  insensitive  to 
light  in  those  parts  which  have  had  slips  of  paper  placed  at  the 
edges  (in  packing),  and  which  in  consequence  remain  semi- 
transparent after  development  ? 

Mr.  H.  J.  Newton,  of  New  York,  suggested  the  following  as  an 
accelerator,  with  his  carbonate  of  soda  and  pyro  developer,  viz., 
2 or  3 minims  of  a mixed  solution  of  GO  grains  of  bichloride  of 
mercury  in  4 ounces  of  water,  and  90  grains  of  iodide  of  potas- 
sium in  I ounce  of  water.  He  stated  that  the  developer  shortens 
the  exposure  in  the  proportion  of  25  to  5.  Had  any  experiments 
been  made  in  this  direction  ? 

Mr.  A.  Mackie,  speaking  on  the  first  question,  noticed  a 
peculiar  speckled  marking  over  some  plates  recently,  caused  by 
the  tissue  paper  used  in  packing,  there  being  in  some  cases  a 
perfect  impression.  Packing  plates  before  dry  would  produce 
this  defect. 

Mr.  W.  M.  Ashman  had  frequently  met  with  opaque  markings 
when  strips  of  cardboard  were  used  to  separate  the  plates  ; he 
attributed  the  cause  to  dampness  primarily,  either  of  the  films, 
or  the  cardboard  used. 

The  Chairman,  before  dealing  with  the  scientific  aspect  of 
these  marks,  said  it  must  be  ascertained  that  the  cardboard  be 
quite  free  from  fixing  or  bleaching  salts  ; this  could  easily  be 
done  by  soaking  a portion  in  water,  and  adding  silver  nitrate. 

It  was  pointed  out  that  opaque  marks  would  possibly  be 
due  to  the  phosphorescent  state  of  the  paper  employed. 

There  being  no  extract  quoted  in  the  second  question,  it  wa  s 
decided  to  defer  any  discussion  thereon  until  the  next  meeting. 

At  the  February  meeting  there  will  be  an  exhibition  of  trans- 
parencies in  the  lantern,  for  the  purpose  of  ascertaining  which 
colours  are  most  suited  to  the  purpose. 


London  and  Provincial  Photocraphic  Association. 

The  ordinary  weekly  meeting  of  this  Society  was  held  on  Thurs- 
day, the  13th  inst.,  Mr.  A.  H addon  in  the  chair. 

The  minutes  of  the  previous  meeting  having  been  read  and 
confirmed,  the  Chairman  called  upon  the  Secretary  to  read  a 
communication  from  Mr.  C.  E.  Abney,  entitled  “ An  Easy 
Method  for  Producing  Negatives  ” (see  page  806). 

In  the  discussion  which  followed,  the  Chairman  said  he  had 
often  seen  prints  detached  from  the  mounts,  placed  wet  in  contact 
with  a glass  plate,  and  copied  through  the  glass. 

Mr.  W.  Cobb  said  there  was  nothing  at  all  new  in  this 
method.  Even  that  day  he  copied  three  pictures  in  the  manner 
described,  and  had  practised  it  for  ten  years  at  least. 

Several  members  having  expressed  their  views  on  the  value  of 
gelantine,  glycerine,  alcohol,  water,  &c.,  as  a means  of  obtaining 
optical  contact  and  less  grain,  the  Chairman  announced  that 
Mr.  A.  L.  Henderson  would  give  bis  promised  lectnrette  on 
ceramic  enamels,  accompanied  by  a practical  demonstration  of 
the  process  (see  page  811). 

Mr.  Henderson  then  stated  that  he  had  come  prepared  to  do 
everything  except  make  the  wet  plate  transparencies,  which  it 
was  not  possible  to  do  there.  He  therefore  came  provided  with 
some  collodion  films  transparencies),  the  films  being  still  wet. 
He  commenced  by  pouring  over  them  a solution  of  iodine  in 
iodide  of  potassium,  acidified  with  hydrochloric  acid  for  the 


814 


THE  PHOTOGRAPHIC  NEWS. 


[December  21,  1883, 


purpose  of  converting  all  the  silver  into  iodide,  followed  by 
placing  them  in  the  depositing  bath,  the  composition  of  which 
he  would  speak  of  later  on.  It  was  necessary  to  explain  that 
the  solution  now  used  was  very  much  stronger  (four  times)  than 
he  usually  employed  in  his  everyday  practice : but  he  did  not 
recommend  such  concentrated  solutions  for  ordinary  use.  He 
wished  to  take  exception  to  the  term  substitution  suggested  by 
Bunsen  and  Finch  as  applied  to  toning  prints  by  this  depositing 
bath,  it  being  in  reality  somewhat  analogous  to  an  electrotyping 
bath.  An  enamel  which  had  been  previously  fired  was  placed  in 
the  muffle  aud  left  au  hour,  so  that  the  meeting  could  judge  by 
examination  before  and  afterwards  whether  the  firing  altered  the 
colour.  A curious  thing  here  noticed  was  that  it  appeared,  when 
withdrawn  from  the  furnace,  as  a negative  instead  of  a positive. 
Sesqui-oxide  of  iridium  with  brown  enamel  colour  was  said  to  be 
useful  for  the  purposes  of  retouching.  With  a proper  proportion 
of  tin  and  platinum,  it  is  easy  to  get  any  ordinary  photographic 
colours  that  may  be  desired,  tin  playing  an  important  part,  and 
not  going  up  the  chimney  as  might  be  supposed  (an  enamcller’s 
expression).  The  plates  were  then  removed  from  the  depositing 
bath  and  well  washed,  the  Lecturer  taking  occasion  to  mention 
that  the  more  perfect  the  deposition,  the  more  perfect  would  the 
result  be.  A superficial  deposit  could  be  obtained  in  two  minutes: 
but  that  would  be  insufficient. 

Mr.  Cobb  asked  what  would  be  the  result  of  insufficient  wash- 
ing after  treatment  in  the  depositing  bath. 

The  Lecturer  replied  there  would  he  liability  of  the  films 
cracking  in  firing,  owing  to  the  crystallization  of  the  salts. 

Mr.  A.  Cowen:  IIow  long  can  depositing  be  continued  with- 
out being  overdone  ? 

The  Lecturer  judged  by  experience : he  generally  continued 
the  action  until  the  deepest  shadows  were  sufficiently  intense. 

The  films,  being  well  washed,  were  placed  in  dilute  sul- 
phuric acid  (five  per  cent,  solution)  saturated  with  boracic  acid, 
for  the  double  purpose  of  loosening  the  films,  and  then  floated  on 
the  plaques,  deposit  side  uppermost,  and  dried  on  blotting-paper 
over  a gas  jet,  the  Lecturer  remarking  that  any  stoppage  in  dry- 
ing would  be  seen  in  the  finished  result.  The  plaques  were 
next  immersed  in  paraffin  oil,  the  Lecturer  considering  by  this 
latter  coating  there  was  less  liability  of  the  films  cracking  up 
during  firing.  The  plaques  were  placed  on  a hot  planchette,  and 
then  in  the  furnace.  In  less  than  two  minutes  the  intense  black 
commenced  lightening  at  the  margins,  and  continued  over  the 
whole  picture,  resulting  in  a fine  specimen  of  ceramic  photo- 
graphy. 

Mr.  J.  Barker  wished  to  know  if  the  degree  of  heat  em- 
ployed was  necessary  to  melt  the  flux,  or  to  volatilize  the  tin 
and  other  oxides  ? Would  not  a flux  melting  at  a lower  tempera- 
ture do  just  as  well? 

Mr.  Henderson  did  not  thiuk  a softer  flux  would  make  any 
difference  to  the  picture ; but  it  would  most  likely  be  acted  on  by 
the  atmosphere. 

Mr.  W.  E.  Debenham  desired  to  know  the  order  of  mixing  the 
chemicals  employed  by  Mr.  Henderson  in  compounding  his  de- 
positing bath. 

Mr.  Henderson  replied  that  the  tin  salt  was  first  dissolved  in 
a small  quantity  of  acid  and  water.  Platinum  and  potassium- 
iodide  added  together,  the  whole  mixed,  iodine  added  to  excess, 
and  the  whole  saturated  with  boracic  acid.  He  said,  speaking  of 
tin,  its  properties  are  peculiar.  Chloride  of  tin,  if  exposed  to 
light,  is  resolved  into  a bi-chloride,  acting  as  an  intensifier  in  the 
presence  of  platinum  and  iodine,  and  as  a mordant  in 
fixing  other  colours.  With  gold  it  forms  the  beautiful  colour 
Known  as  purple  of  Cassius,  often  used  as  a test  for  a good  enamel. 

Mr.  J.  Trail  Taylor  said  a convenient  method  of  adjusting 
films  on  plaques  was  published  years  ago  by  Mr.  Tunny,  of 
Edinburgh.  The  plaque  being  placed  in  a vessel  of  water,  the 
film  was  floated  off  and  allowed  to  settle  in  its  position  on  the 
plaque.  He  was  glad  to  see  Mr.  Tunny  among  them. 

Mr.  J.  G.  Tunny  expressed  his  gratification  at  being  present  to 
see  Mr.  Henderson’s  demonstration  He  was  older  at  photo- 
enamelling  than  Mr.  Henderson,  but  it  required  the  latter  gen- 
tleman’s genius  to  bring  it  to  the  high  state  of  perfection  which 
had  been  attained.  He  (Mr.  Tunny)  had  practised  ceramic  work 
since  1650.  Examining  some  of  Lafon  do  Camarsac’s  enamels 
before  leaving  home  gave  him  the  impression  that  there  was  a 
peculiar  quality  in  them  ho  had  never  been  sure  of  producing. 
I he  demonstration  of  enamelling  which  had  been  so  successfully 
carried  through  this  evening  would  set  them  all  thinking,  and  if 
t hey  pass  id  as  many  sleeepless  nights  as  he  had  done,  thev  would 
have  something  in  store. 


Mr.  Lawk  questioned  whether  it  made  any  difference  whether 
the  deposited  side  or  that  next  the  glass  was  attached  to  the 
enam-1  tablet.  In  his  practice  he  altiched  the  deposit 
to  the  plaque,  just  one  of  those  things  where  one  operator 
differs  from  another.  He  commenced  ten  years  ago,  but  left  it 
aside  until  a few  months  since.  He  prepared  some  specimens  for 
the  exhibition,  but  was  too  late  ; some  of  these  he  now  handed 
round,  the  others  were  packed  for  the  Newcastle  Exhibition. 

Mr.  Debeniiam  : Does  Mr.  Laws  produce  enamels  by  sub- 
stantially the  same  process  as  the  one  described  this  evening  ? 

Mr.  Laws  : No  ; one  very  important  difference  occurred  in 
the  fluxing  ; he  ha  1 no  experience  in  putting  the  flux  on  as  de- 
scribed. He  used  both  platinum  and  iridium  salts.  He  found 
no  difficulty  in  attaching  the  film  to  the  plaque  (deposit  Bide) 
without  sugar  or  similar  substances. 

The  Lecturer,  before  closing  desired  to  show  by  experiment  a 
ready  means  of  getting  rid  of  too  much  silver  deposit  ; he 
poured  hydrochloric  acid  over  a transparency  to  convert  part 
of  it  into  chloride ; the  plate  was  then  washed,  aud  flowed  with 
strong  nitric  acid  ; after  acting  a few  seconds  the  metallic  silver 
was  dissolved,  leaving  a pale  image  in  chloride  of  silver. 

The  Chairman  said  Mr.  Henderson’s  results  were  most  excel- 
lent, although  he  had  produced  them  under  difficulties.  If  he 
could  get  such  results  after  devoting  his  whole  energies  to  the 
work  for  a month,  he  should  consider  he  had  been  very  success- 
ful. Unfortunately,  wet  collodion  was  not  practised  by  amateurs 
now.  lie  hoped  at  a future  date  Mr.  Cowan  would  show  how 
to  make  enamels  by  the  dusting  on  process. 

A vote  of  thanks  having  been  passed  to  Mr.  Henderson  for 
his  lecture,  and,  upon  Mr.  Henderson’s  suggestion,  another  vote 
of  thanks  to  Mr.  T.  Bolas  for  the  use  of  the  furnace  employed,  the 
proceedings  terminated. 

The  next  lecturette  will  be  given  on  Jnnuary  10  by  Mr.  \V. 
M . Ashman,  “ On  Printing." 


Newcastle-on-Ty.ne  and  Northern  Counties’  Photographic 
Association. 

The  ordinary  meeting  of  the  above  Association  was  held  in  the 
College  of  Physical  Science,  Newcastle,  on  Tuesday,  the  11th 
instant,  Mr.  Galloway  in  the  chair. 

The  minutes  having  been  read  and  confirmed,  Mr.  C.  T.  Bul- 
man  was  elected  by  ballot.  Mr.  Joseph  Cowen,  M.P.,  Mr. 
Thomas  Nelson,  J.P.,  Mr.  B.  S.  Proctor,  Mr.  Joseph  Gray,  and 
Mr.  Dean  were  nominated  for  membership. 

The  nominations  for  the  President,  Vice-Presidents,  Council, 
and  Officers  for  1881  were  then  proceeded  with,  and  this  business 
being  terminated, 

Mr.  A.  A.  Campbell  Swinton  read  a paper  on  the  “ Past, 
Present,  and  Future  of  Photography  in  Natural  Colours’’  (see 
page  805). 

One  of  Harvey  and  Reynolds’  shutters,  showing  latest  improve- 
ments, was  exhibited  to  the  members,  and  much  admired. 

The  Secretary  stated  that  Mr.  Barrows,  one  of  the  members, 
and  winner  of  Mr.  Maling’s  medal,  had  offered  a medal  for  com- 
petition at  the  Society's  out-door  meetings  next  year,  if  decided 
to  hold  such,  the  same  to  be  for  the  best  set  of  three  pictures. 

The  medals  aud  certificates  were  then  presented  to  the  suc- 
cessful competitors  in  the  recent  exhibition,  and  votes  of  thanks 
having  been  passed  to  Mr.  Swinton  and  the  Chairman,  the  meet- 
ing terminated. 


Halifax  Photographic  Society. 

The  monthly  meeting  of  this  Society  was  held  on  Monday  even- 
ing, the  16th  inst.,  Mr.  Caw  in  the  chair. 

After  the  usual  formal  business  was  transacted,  Mr.  J.  E. 
Jones  was  called  upon  to  give  his  paper,  entitled  A Four 
Days’  Photographic  Trip  iu  Wensleydale  and  Swalesdale  ” 
The  lecture  proved  to  be  of  great  interest,  being  rendered  all 
the  more  attractive  by  the  large  number  of  photographs 
exhibited,  the  same  having  been  taken  on  the  spot  by  the 
lecturer  and  the  companion  of  his  journeyings,  Mr.  Fred.  Smith  ; 
the  route  followed,  and  places  visited,  being  Knaresboro’,  Harrow- 
gate,  and  Leyburn,  its  Shawl  walk,  and  limestone  cliffs.  After 
inspecting  the  Queen’s  Gap,  the  spot  where  Mary  Queen  of  Scots 
was  retaken  after  escaping  from  Middleham  Castle,  they  proceeded 
to  pay  this  fine  old  fortress  a visit  ; after  which  on  to  Redrnire, 
Wensley,  and  Bolton,  again  pausing  to  visit  the  extensive  ruins 
of  the  Castle  ; then  wending  their  course  towards  I?a/  Garth 
Force,  where  they  ere  long  arrived.  A heavy  flood  being  on,  the 
Force  presented  a magnificent  spectacle  of  a boiling  and  seething 


December  21,  1883.  | 


THE  PHOTOGRAPHIC  NEWS. 


815 


torrent,  the  terraced  cascades  stretching  completely  across  the 
river,  which  is  of  no  mean  breadth  at  the  falls.  They  then 
journeyed  to  Buxton,  visiting  the  falls,  a spot  of  great  romautic 
beauty,  and  after  securing  a good  picture,  on  to  Askrigg,  by 
trap,  where  they  had  a shot  at  the  “ Almshouses,”  the  game 
being  a grand  specimen  of  old  Yorkshire  domestic  architecture  in 
the  shape  of  a four-storied,  gabled,  and  mullioued  and  transomed 
building,  and  of  quite  an  unique  character.  As  waterfalls 
seemed  to  be  the  •*  lions  ” of  the  district,  they  steered  for  Mill 
Gill  Foss,  a sparkling  cascade  embosomed  in  a setting  of  feathery 
foliage,  and  sixty-nine  feet  high.  Here  there  seemed  to  be  many 
attractions  for  “just  another  plate,”  and  through  each  following 
his  own  bent,  our  friends  soon  became  separated  and  lost  to  one 
another.  Mr.  Smith,  finding  his  way  to  the  waterfall  of  Whit- 
field Foss,  secured  a magnificent  picture  of  a magnificent  subject, 
of  which  ho  is  justly  proud.  After  making  the  woods  ring  again 
with  the  lusty  use  of  their  vocal  organs,  the  wanderers  were  once 
more  united,  and  proceeding  to  Hawes,  visited  Ilighdraw  Scar  and 
waterfall,  a grand  silvery  streak,  one  hundred  feet  of  a perpendicu- 
lar drop,  and  after  securing  a picture,  once  more  turned  their  faces 
towards  Leyburn,  and  then  on  to  Richmond,  visiting  the  Castle 
of  historic  note.  There  they  secured  many  a “ fine  bit  ” of  wood- 
land, river,  Norman  tower,  and  picturesque  gable,  the  only 
drawback  being  the  brevity  of  their  visit ; and  as  they  could  not. 
hope  to  take  “ all  ” away  with  them,  rambled  on  their  way  up  the 
winding  river  to  Basby,  having  their  “ last  ” shot  at  the  Abbey 
of  St.  Agatha.  And  so  ended  a very  pleasant  and  profitable  trip 
with  camera  and  Alpenstock,  and  at  the  economical  outlay  of 
about  6-5s.  each. 

In  seconding  the  vote  of  thanks  to  the  lecturer,  proposed  by 
Mr.  Caw,  Mr.  Gledhill  remarked  that,  although  a native  of 
Yorkshire,  the  district  referred  to  in  the  lecture  was  new  ground 
to  him,  and  the  views  exhibited  had,  by  their  g eat  beauty,  caused 
him  no  little  astonishment. 

Mr.  Caw  had  gone  through  the  district,  though  not  with  the 
camera,  and  was  confident  no  words  could  too  highly  sing  its 
praises. 

Mr.  Williams,  when  examining  the  photos,  for  the  first  time, 
and  not  knowing  the  district  represented,  was,  by  their  character, 
led  to  fancy  he  was  looking  over  pictures  of  some  of  the  water- 
falls and  rapids  of  note  of  the  Highlands,  and  was  once  more 
forcibly  reminded  of  the  possibility  of  “ the  country  having  no 
honour  in  the  eyes  of  the  prophet,”  and  so  reversing  the  old  adage, 
and  of  the  folly  of  Yorkshiremen  looking  so  far  afield  for  the 
artistic  and  lovely  in  nature,  when  a very  mine  of  both  combined 
lay  at  their  very  doors. 

Mr.  Whitf.lf.v  presented  the  Society  with  a very  handsomely- 
finished  “ question-box  and  afti  r the  usual  vote  of  thanks,  a 
very  pleasant  and  instructive  evening  was  brought  to  a close. 


Glasgow  Photographic  Association. 

The  fifth  general  meeting  of  the  session  was  held  in  the 
Religious  Institution  Rooms,  on  Thursday,  the  Oth  inst., 
Councillor  Robertson  in  the  chair. 

The  minutes  of  last  meeting  having  been  read  and  approved 
of,  and  the  question-box  disposed  of,  the  Chairman  introduced 
Mr.  McCall,  who  exhibited  a magnificent  series  of  magic- 
lantern  slides,  and  described  them  in  a very  interesting  lecture, 
which  was  received  with  great  enthusiasm. 

The  meeting  terminated  with  votes  of  thanks  to  Mr.  McCall 
and  the  Chairman. 

Glasgow  and  West  of  Scotland  Amateur  Photographic 
Association. 

The  first  annual  meeting  of  this  Association  was  held  in  the 
Religious  Institutim  Rooms  on  the  11th  December,  Mr.  Hugh 

Reid  in  the  chair. 

The  minutes  of  last  meeting  having  been  read  and  confirmed, 
Messrs.  R.  ltae,  W.  A.  Coulson,  D.  Blaikley,  C.  C.  Coulson, 
and  J.  Mitchell,  were  admitted  as  ordinary  members. 

The  following  report,  which  had  been  printed  and  circulated 
amongst  the  members,  was  taken  as  read,  and  on  the  motion  of 
the  Chairman  was  adopted. 

The  Council,  in  presenting  their  fi  st  annual  report,  have 
reason  to  congratulate  the  members  upon  the  success  that  has 
attended  the  first  year’s  existence  of  their  Association.  The 
Association  was  instituted  on  the  24th  January,  1883,  and  since 
that  date  the  applications  for  membership  have  been  numerous 
— the  roll  of  members  now  extending  to  57.  There  are 
only  3 resignations  to  reoord.  Eighteen  meetings  have  been 


held  during  the  Session  now  closing— 0 Ordinary,  4 Outdoor, 
6 Council,  aud  2 Special.  The  outdoor  meetings  were  held  at 
Aberfoyle,  Callandar,  Mount-Stuart,  and  Loch  Lomond.  The 
attendance  at  the  ordiuary  meetings  has  been  satisfactory,  but 
the  outdoor  meetings  have  not  received  the  share  of  attention 
that  was  anticipated  ; and  the  Council  would  invite  suggestions 
from  members  as  to  the  best  method  of  making  these  meetings 
more  attractive.  The  following  subjects  were  brought  before 
the  Association  at  the  ordinary  meetings  : — “ A Demonstration 
of  Platinotype  Printing,"  by  the  President,  Mr.  Reid  ; “Remarks 
on  Pyro  and  Sulphurous  Acid,”  by  Mr.  J.  Y.  M'Lellan  ; “An 
Exhibition  of  Dry-pdate  Cameras  of  Novel  Construction,”  by 
the  Members  ; “ A Paper  on  the  Lens  and  Diaphragms,”  by  Mr. 
J.  Y.  M'Lellau.  The  question-box  has  provided  a large  amount 
of  matter  for  discussion.  The  first  annual  exhibition  of 
members’  work  was  held  in  the  Fine  Art  Institute  Galleries,  on 
the  16th  and  17th  November,  and  the  Association  may  be 
congratulated  on  its  success.  There  were  about  250  pictures 
exhibited  by  26  members,  and  the  exhibition  was  visited  by 
about  800  people.  The  prizes  were  decided  by  vote  of  members 
— a system  which  the  Council  consider  very  satisfactory.  As 
will  be  seen  from  the  Treasurer’s  report,  the  financial  position 
of  the  Association  is  satisfactory.  In  conclusion,  the  Coun- 
cil would  call  upon  individual  members  to  do  their  best  to 
increase  the  number  of  members. 

The  election  of  office-bearers  for  session  1883-84  was  then 
proceeded  with,  the  result  being  as  follows  : — 

Preside  it  < — Hugh  Reid. 

Vice-r>  esida)t — W.  Lang,  jun. 

Auditor  j — W.  C.  Hume  and  J.  Parker. 

Council— John  Parker,  W.  Snell  Anderson,  J.  Y.  M'Lellan, 
A.  B.  Overstone,  George  Murray,  and  A.  J.  W.  Reid. 

Several  alterations  of  rules  were  proposed  by  members  and 
considered  by  the  meeting. 

A discussion  followed  on  the  subject  of  the  regulations  for 
next  Annual  Exhibition,  and  it  was  resolved  to  leave  the 
matter  in  the  hands  of  the  Council  to  frame  new  rules  for  the 
guidance  of  exhibitors. 

The  meeting  then  adjourned  till  the  second  Tuesday  in 
January. 


Photographic  Society  of  Ireland. 

The  usual  monthly  meeting  of  this  Society  was  held  in 
the  Royal  College  of  Science,  Stephen’s  Green,  Mr.  E.  P. 
Johnson  in  the  chair.  The  minutes  of  the  previous  meeting 
having  been  read  and  confirmed,  Messrs.  John  Chancellor,  Dr. 
Pearsall,  and  C.  J.  Smith,  were  elected  members,  and  Messrs. 
J.  Dollard,  jun.,  W.  Rigby,  J.  C.  King,  and  P.  Crosthwaite 
were  nominated,  and  will  be  balloted  for  at  next  meeting. 

Mr.  McGhie  read  a communication,  and,  with  the  assistance 
of  Mr.  J.  H.  Ha'.vey,  gave  a most  interesting  demonstration  on 
“ Enlargements  both  on  Opal  and  Paper,”  the  former  proving 
a most  successful  experiment,  and  was  greatly  admired 
(see  page  807). 

Dr.  Scott  exhibited  a most  efficient  apparatus  for  micro- 
photography. His  arrangement  consisted  of  a small  camera 
which  was  attachable  to  any  microscope,  and  which  enabled  the 
operator  to  take  the  photographs  the  same  size  as  they  appeared 
in  the  microscope.  They  could  then  be  enlarged  to  any  size 
desirable. 

Mr  M ayxe  exhibited  Messrs.  Hare  and  Dale’s  new  Multiplex 
changing  camera,  as  also  a new  tripod  stand. 

Mr.  J.  V.  Robinson  exhibited  Messrs.  S.  D.  51‘Kellen’s  new 
camera. 

Mr.  M’Ghie  also  exhibited  two  new  tripod  stands,  two  new 
negative  washing  apparatus,  and  a new  drying-box,  all  of  which 
were  much  admired. 

The  thanks  of  the  Society  were  given  to  Mr.  M'Ghie  and  Mr. 
Halvey  for  their  interesting  communication  aud  demonstrations. 

The  next  meeting  will  beheld  on  January  11th,  1884. 

Edinburgh  Photographic  Society. 

The  second  meeting  of  the  current  session  was  held  in  5,  St. 
Andrew  Square,  on  the  evening  of  Wednesday,  5th  December, 
Mr.  W.M.  Neilson,  President,  in  the  chair. 

On  rising  to  open  the  meeting,  the  President,  in  a very  appre- 
ciative address,  proposed  that  a record  of  the  deep  sense  of  the 
loss  the  Society  had  sustained  in  the  death  of  Mr.  Lessels  be  en- 
tered in  the  minutes,  which,  after  some  appropriate  remarks  by 
Messrs.  A.  C.  Christie  and  J.  G,  Tunny,  was  carried. 


816 


THE  PHOTOGRAPHIC!  NEWS. 


[December  21,  1883. 


The  President  then  feelingly  alluded  to  the  death  of  Mr. 
Colin  Sinclair. 

The  minutes  of  the  previous  meeting  having  been  read  a nd 
passed,  Messrs.  John  Smart,  R S.A.,  Edwin  Pottage,  John  C. 
White,  and  Emeritus  Professor  Swan,  LL.D.,  were  unanimously 
elected  ordinary  members. 

Mr.  W.  Crooke  read  a paper  entitled  “ A Few  Photographic 
Conveniences  ” (see  p.  809),  which  he  illustrated  by  diagrams  on 
the  black-board. 

Mr.  .1.  M’Kean  next  read  a paper  describing  a new  lantern 
carrier  (see  p.  S10),  illustrating  its  action  by  means  of  a lantern 
and  a number  of  slides.  The  effect  of  this  invention  is  most 
startling,  as  the  transparencies  exhibited  in  a single  lantern  are 
instantaneously  exchanged  without  the  slightest  hitch,  resembling 
a rapid  acting  dissolver  with  a double  lantern. 

Mr.  J.  M.  Turnbull  said  he  thought  very  highly  of  the  in- 
vention. He  considered  it  one  of  those  useful  pieces  of 
apparatus  in  connection  with  the  lantern  that  only  required  to 
be  known  to  be  widely  adopted.  It  did  for  the  lantern  what 
the  drop  shutter  did  for  the  camera,  though  in  a different  way. 
It  was  palpably  a great  improvement  on  the  usual  method  of  slip- 
ping the  slides  through  the  carrier.  The  ease  and  certainty  with 
which  the  slides  succeeded  each  other — and  with  a rapidity  so 
great  that  the  eye  could  hardly  detect  it — was  something 
wonderful.  He  was  aware  that  for  the  last  five  years  Mr. 
M'Kean  had  used  this  apparatus,  and  he  considered  that  all 
lantern  manipulators  would  feel  a debt  of  gratitude  to 
Mr  M'Kean  for  having  made  the  apparatus  public  property. 

The  President  presented  the  thanks  of  the  Society  to  Mr. 
Crooke  and  Mr.  M'Kean  for  their  useful  communications. 

The  walls  of  the  room  were  huug  with  a Urge  collection  of 
pictures  taken  by  members  during  the  past  year.  They  were 
examiued  with  much  interest,  and  there  was  a general  expression 
of  opinion  that  there  should  be  an  effort  made  to  secure  a regular 
annual  display  at  this  season  of  the  year. 

Some  photographs  by  and  a portrait  of  the  late  President  were 
presented  to  the  Society. 

The  following  question  was  next  discussed: — "What  is  the 
best  way  to  copy  a photographic  print  ? ” 

Mr.  Crooke  said  he  found  that  prints  of  brown  tone  were 
very  difficult  to  copy  satisfactorily,  it  not  being  an  easy  matter 
to  secure  the  detail  in  deep  shadows.  He  preferred  a good  flood 
of  light  coming  over  head  from  behind  the  camera,  and  no  re- 
flector. He  had  also  followed  the  advice  of  one  who  advocated 
a strong  side  light,  and  fancied  if  there  was  any  difference,  the 
result  was  more  brilliant. 

Mr.  Mitchell  had  also  used  the  strong  side  light,  and  pre- 
ferred to  use  with  it  a plain  mirror  opposite  the  light. 

Mr.  Norman  Macbeth,  R.S.A.,  recommended  that  the  print 
be  affixed  to  glass  by  means  of  glycerine,  the  glass  to  be  inclined 
at  a suitable  angle  to  avoid  reflected  light  from  its  surface. 

“ What  is  the  best  way  to  treat  an  over-oxposed  negative?" 
was  another  question.  The  replies  were  not  very  satisfactory, 
and  tended  very  little  toward  a solution  of  the  difficulty. 

Mr.  Tamkin  directed  attention  to  the  necessity  that  the  hypo 
solution  be  quite  fresh  if  it  were  employed  to  reduce  a negative 
that  had  been  intensified  with  mercury  followed  by  ammonia, 
otherwise  fhe  exactly  opposite  result  might  be  obtained.  In  this 
view  he  was  supported  by  Mr.  Crooke  and  others. 

Mr.  J.  G.  Tunny  exhibited  some  prints  from  wax  paper  nega- 
tives taken  thirty-five  years  ago.  These  and  the  negatives  were 
very  beautiful,  and  were  examined  with  much  interest. 

A number  of  transparencies  exhibiting  cloud  effects  were  shown 
by  Mr.  Crooke,  also  a large  collection  of  landscapes  taken  this 
year  on  coffee  plates  by  Mr.  Robert  Murray,  C.E. 

Votes  of  thanks  to  the  exhibitors  and  the  chair  terminated  the 
proceedings. 


?balk  in  tfcr  Stubio. 

Christmas  Cards. — Mr.  J.  Duncan,  of  York,  sends  us  a pair 
(deflective  cards,  one  bearing  a view  of  the  old  Gateway,  and 
the  other  a photograph  of  York  Minster. 

Photocrauhic  Club. — The  annual  dinner,  on  Wednesday 
night,  under  the  presidency  of  Mr.  Statham,  was  very  successful. 
The  gratifying  statement  was  made  by  Mr.  Dunmore,  the 
treasurer,  that  the  club  numbered  no  less  than  eighty  members, 
aud,  what  was  more  gratifying  still,  that  the  regular  attendance 
on  Wednesday  evenings  was  maintained  all  the  year  round. 


The  Club  goes  into  new  premises  with  the  new  year,  at 
" Auderton’s  Hotel,"  Fleet  Street,  where  the  members  will  make 
welcome  any  of  their  country  brethren  on  a visit  to  the 
metropolis. 


$0  Comjiconbfais. 


***  We  cannot  undertake  to  return  rejected  communications. 

P.  G.  J. — If  your  negatives  are  on  collodion,  you  will  find  that  your 
purpose  will  be  attained  by  gumming  the  films.  Flood  with  a 
•iO-grain  solution  of  gum-arabic  in  water,  then  let  them  drain  and 
dry  spontaneously.  2.  Pumice-stone  powder  sifted  through  the 
finest  lawn,  and  applied  with  the  tip  of  the  finger,  will  servo 
admirably  in  the  case  of  gelatino-bromide  plates. 

Photo. — 1.  With  tbe  lens  you  mention,  and  the  camera  you  propose 
to  construct,  you  should  be  in  a position  to  do  the  highest  class 
of  work.  2.  For  work  on  gelatino-bromide  paper,  we  should 
recommend  you  to  make  use  of  a paraffine  lamp. 

P.  II.  Emerson. — 1.  Either  of  the  two  which  you  mention;  they 
are  so  similar,  that  it  is  impossible  to  recommend  one  as  superior 
to  the  other.  2 (a).  Probably  not  less  than  a quarter  of  an  hour, 
and  of  course  some  kind  of  heliostat  would  be  required.  (4) 
Perhaps  about  tifteenor  twenty  hours.  At  any  rate,  you  could 
not  reckon  on  giving  a sufficient  exposure  during  one  night. 

J.  T.  Hackett. — Apply  to  Messrs.  Marion  and  Co.,  of  Soho 
Square. 

G.  P.  W. — 1.  The  difficulty  will  not  occur  if  you  use  ordinary  ink, 
applied  with  the  tip  of  a fine  steel  pen.  2.  In  the  Year-Book, 
Mr.  Ashman  suggests  tho  use  of  ozokerite  dissolved  in  benzoline. 
It  answers  admirably.  3.  By  carefully  working  over  the  surface 
with  a lump  of  ordinary  glazier’s  putty,  you  will  be  enabled  to 
frost  or  tarnish  the  surface  sufficiently. 

J.  Northam. — The  lens  you  refer  to  is  doubtless  an  excellent 
instrument,  and  of  especial  value  for  out-door  work.  We  doubt, 
however,  whether  it  has  very  much  selling  value.  If  we  pur- 
chased such  an  instrument  from  a second-hand  dealer,  we  should 
expect  to  pay  between  one  and  two  pounds. 

II.  G.  (Somerset  Street) — Two  thicknesses  should  about  correspond 
in  depth  of  shade  to  one  thickness  of  the  “ signal  green  ” used  on 
railways ; signal  green  is,  however,  another  tint,  and  will  not 
answer  the  same  purpose. 

W.  A.  C. — Ordinary  corks  ars  used,  and  small  ones  answer  the 
purpose  very  well. 

Beginner. — From  the  drawing  which  you  enclose  we  imagine  that 
the  prism  is  an  equilateral  one,  such  as  is  ordinarily  employed  in 
a spectroscope,  and  in  such  a case  it  will  be  of  no  use  for  the 
purpose. 

Lex. — If  a manufacturer  sells  goods  for  a definite  purpose — as,  for 
example,  cards  for  mounting  photographs — and  they  turn  out  un- 
fit for  the  purpose,  Causing  the  destruction  of  the  pictures,  he 
is  responsible  for  whatever  loss  may  result,  provided,  of 
course,  that  the  agency  causing  the  mischief  is  one  which  is  well 
known  to  in  jure  photographs. 

Charles. — 1.  We  think  you  arc  mistaken,  as  we  have  looked 
through  the  index,  and  find  no  mention  of  the  matter.  2.  It  will 
dissolve  readily  in  nitric  acid,  hut  we  should  advise  you  not  to 
undertake  what  you  propose. 

Young  Photo. — It  will  answer  the  purpose  fairly  well ; hut  if  you 
will  send  us  your  address,  we  will  send  you  one  which  w ill 
doubtless  prove  better. 

Nitrate. — 1.  Probably  due  to  the  presence  of  a trace  of  chloride. 

2.  Soak  it  in  water  made  slightly  alkaline  with  caustic  potash. 

3.  An  old  name  for  proto-sulphate  of  iron.  4.  It  will  dissolve  if 
you  drive  ott  the  alcohol  by  the  application  of  heat.  5.  No. 

V-  n n 

&Iif  |)I)otogr;tg!)h:  He&ra  Jfrgistnr. 

Employment  Wanted. 

Nog.  Retoucher  & Recep.  Room  (Lady).— J.  Y.,  Photographic  JWtoi  Office. 
Assist.  Operator,  generally  useful. — U.  W.  P.,  138,  Union-rd.,  Boro’,  S.E. 
Retoucher  and  Operator,  nrst-class,  wet  or  dry. — S.  G.,  Photo.  News  Office. 
Young  Lady  for  Reception  Room. — S.  F.,  60,  Giosvenor-rd.,  S.W. 
Enlarger  or  Dry-plate  Maker. — B.,  7,  Northumberland-ter.,  Regont’s-pk. 
Manager  of  Marion’s  Works. — 0.  Francis,  Marion's  Works,  Southgate.  N. 
Retoucher  & Assist.  Operator.— A.  B.,  6,  Oswald-rd.,  Milverton,  Leamington 
Printer  & Toner,  Berlin  Medals.  G.  Dendlc,  27,  Fortland-st.,  Ilfracoombe. 

Employment  Offered. 

Quick  & careful  person  for  few  weeks  —Turner  & Killick,  17,  Uppcr-st.,  N. 
Retoucher,  can  operate. — Brown,  Barnes,  & Boll,  31,  Bold-st..  L’pool. 
Operator,  also  Assistant. — Gillman  anti  Co.,  107,  St.  Aldate’s,  Oxford. 
Retouchers,  home  or  on  premises. — Gillman  & Co.,  107,  St.  Aldatc’s,  Oxford. 
Spotter,  good.— W.  and  A.  H.  Fry,  Oh,  East-st.,  Brighton. 

Portrait  Painter,  experienced. — W.  II.  Ledgard,  Luinb-la.,  Biadford. 
Young  Man  (wct-pl&te)  for  Copying. — Hill  & Co.,  45,  Essex-st  , Strand. 
Port.  Painter  (lady  or  gent.) — J.  M.  I).  Worsnop,  154,  Leeds-rd.,  Bradford 
Printer,  Toner,  & yig.  (first-class).— J.  H.  Goldie,  7,  Temple-st.,  Swansea. 


Chepstcv  Ca 

[ From  the  Efcio 


SUPPLEMENT  TO  "THE  PHOTOGRAJIC 


' 

■ 


W HARVEY  BARTON,  BRISTOL,  COPYRIGHT 

Castle . 


IC  NEWS"  2ISTDECEMBER.  1883. 


ol  Exhibition  ] 


THE  PHOTOGRAPHIC  HEWS 


Vol.  XXVII.  No.  1321. — December  28,  1883. 

/A>:  H 


A 

CONTENTS. 


Testing  Photo?ra’,lUo  Lenses 817 

Some  Suggest  jus  as  to  the  Future  of  Photo-Mechanical 

Printing  Methods 818 

Lantern  Slides  818 

The  International  Exhibition  of  the  Bristol  and  West  of  Eugland 

Photographic  Association  820 

“ By-tbe-Bye  ” —Too  Scientific 821 

French  Correspondence.  By  Leon  Vidal 822 

The  Past,  Present,  and  Future  of  Photography  in  Natural 

Colours.  By  A.  A.  Campbell  S win  ton.. 823 

Notes 824 

Patent  Intelligence 820 


Lessons  in  Optics  for  Photographers.  By  Capt.  W.  do  W 

Abney,  R.E.,  F.ll.S | gjG 

Review  827 

On  Rational  Development : Notes  for  the  Guidance  of  Photo- 
graphers. By  Herbert  B.  Berkeley  827 

Photo-Lithography  and  Photo-Zincography.  By  Major  J 

Waterhouse,  B.S.C 830 

Correspondence  831 

Proceedings  of  Societies  831 

Talk  in  the  Studio 832 

To  Correspondents 832 

The  Photographic  News  Registry 832 


TESTING  PHOTOGRAPHIC  LENSES. 

The  names  of  certain  opticians,  when  affixed  to  photo- 
graphic lenses,  form  a guarantee  that  the  instruments  are 
up  to  a certain  very  high  standard  of  excellence  ; and  the 
photographer  who  can  afford  and  is  willing  to  purchase 
his  lenses  direct  from  one  of  these  opticians  need  not 
trouble  himself  about  testing  them,  but  may  take  it  for 
granted  that  they  are  all  that  could  ba  desired. 

There  are  often,  however,  times  when,  could  the  photo- 
grapher but  discover  that  a lens  offered  for  sale  is  a good 
one,  he  might  get  it  very  much  cheaper  than  by  purchasing 
it  direct  from  the  maker.  Perhaps  it  is  an  instrument 
offered  second-hand.  It  has  a good  name  on  it,  but  the 
would-be  purchaser  is  afraid  that  possibly  the  name 
may  be  a forgery,  or  that,  although  the  name  was  truly 
engraved  on  the  brass-work  by  the  optician  bearing  it,  the 
original  lenses  have  been  removed,  and  inferior  onc3  have 
been  substituted  for  them. 

Again,  it  is  well  known  that  a certain  percentage  of  the 
very  cheapest  lenses  made  come  up  in  quality  to  the 
most  expensive.  The  photographer  who  could  test  these 
lenses  might  get  an  excellent  instrument  for  half  the  price 
he  would  otherwise  have  to  pay  for  it. 

Altogether,  it  is  most  advisable  that  every  photographer 
should  have  the  means  of  telling  whether  any  lens  which 
he  may  think  of  purchasing  is  a good  one  or  not. 

The  method  used  by  opticians  for  testing  the  lenses 
which  they  make  is  generally  somewhat  complicated  ; but 
it  must  be  remembered  that  the  optician  wishes  to  dis- 
cover something  more  than  the  photographer  does.  The 
optician  wishes  to  know  exactly  what  is  wrong  with  a lens, 
so  that,  if  possible,  a remedy  may  be  applied.  The  photo- 
grapher merely  wishes  to  know  whether  a lens  is  or  is  not 
efficient  as  a photographic  tool,  so  that  he  may  make  up 
his  mind  whether  to  purchase  it  or  not.  He  may  therefore 
use  the  simplest  of  appliances. 

The  first  thing  to  be  discovered  is  of  what  quality  the 
definition  given  is.  To  discover  this  it  is  always  necessary 
to  use  an  eye-piece.  The  only  question  is  whether  the 
eye-piece  should  be  used  to  examine  directly  the  image 
as  formed  in  the  air,  or  whether  it  should  be  used  to  exa- 
mine that  thrown  on  a piece  of  ground-glass. 

At  first  it  would  appear  that  the  former  method  would 
be  the  best,  and  certainly  it  is  if  we  have  the  proper 
appliances  for  adjusting  the  eye-piece ; but  we  think  we 
can  show  that  for  ordinary  purposes  of  judgment,  and 
where  no  special  apparatus  is  at  hand,  the  use  of  the 
ground-glass  is  advisable. 

If  we  use  au  ordinary  eye-piece  of  inch  and  a half  or 
two-inch  focus,  such  as  is  commonly  used  when  examin- 
ing an  image  on  the  ground-glass,  it  is  in  most  cases  quite 
useless  when  applied  to  the  aerial  image.  This  is  a matter 


somewhat  difficult  to  explain  fully  without  a diagram,  but 
we  may  state  that  with  such  an  eye-piece  and  with  a leus 
of  considerable  angular  aperture,  we  cannot  examine  the 
image  as  formed  by  the  whole  of  the  lens,  but  only  that 
formed  by  a portion  of  it.  To  take  a definite  example.  If 
we  are  examining  a portrait  lens  of  three  inches  diameter, 
and  about  twelve  inches  focus,  no  ground-glass  being 
used,  but  an  examination  being  made  of  the  image  by  the 
eye-piece  direct,  we  can  only  examine  that  portion  of  the 
image  which  is  formed  by  a part  of  the  lens  of  perhaps  one 
inch  diameter — this  part  being  at  the  centre  or  at  one  side 
of  the  lens,  according  to  the  position  in  which  the  eye- 
piece is  held.  In  other  words,  we  are  examining  the 
image  which  would  be  given  were  a stop  of  one  inch  dia- 
meter used.  Evidently  we  have  no  criterion  of  how  the 
lens  would  work  full  aperture.  With  an  eye-piece  of  two 
inches  focus,  the  image  formed  in  the  air  by  an  ordinary 
meniscus  lens  without  any  stop  will  appear  quite  sharp, 
whilst  we  know  that  no  image  of  any  degree  of  sharpness 
would  be  formed  by  such  a lens  on  a piece  of  ground 
glass. 

As  we  reduce  the  focal  length  of  our  eye-piece,  we  take 
in  an  image  formed  by  a larger  and  larger  part  of  the 
photographic  lens;  and  when  we  come  to  an  eye-piece  of 
half-an-inch  focus,  or,  perhaps,  a little  less,  we  take  in  an 
image  formed  by  the  whole  of  any  ordinary  photographic 
lens.  The  test  with  such  an  eye-piece  is  t herefore  per- 
fectly efficient;  but  to  use  so  powerful  a magnifier  without 
any  apparatus  to  hold  and  adjust  it,  is  very  difficult. 

With  an  ordinary  good  focussing  magnifier,  and  a piece 
of  smooth  ground  glass,  a very  fair  examination  may  be 
made,  whilst,  on  account  of  the  fact  that  the  ground  glass 
diffuses  the  light  falling  on  it,  the  image  examined  will 
always  be  one  formed  by  the  whole  of  the  lens. 

Of  course,  the  easiest  way  to  examine  an  image  on 
ground  glass  is,  to  fix  the  lens  to  a camera,  and  to  place 
the  whole  opposite  some  object  with  a bold  outline. 

The  first  thing  which  we  require  to  do  is  to  discover 
whether  the  rays  parallel  to  the  axis  focus  nearly  at  a 
point ; that  is  to  say,  whether  the  definition  of  the  image 
immediately  behind  the  lens  is  good.  If  it  be  not,  then 
there  is  no  use  of  going  farther  with  our  test.  The  very 
best  object  to  focus  upon  for  this  test  is  a sign-board,  with 
sharply-painted  white  letters  on  a black  ground,  or  black 
letters  on  a white  ground.  The  lens  is  used  full  aperture  ; 
that  is  to  say,  the  largest  aperture  with  which  it  is 
intended  that  it  should  ever  be  worked  in  practice.  When 
focussing  is  performed,  the  image  should  appear  absolutely 
clean  cut  under  the  ordinary  focussing  magnifier.  If  it 
does  not,  the  lens  is  worth  nothing ; if  it  does,  we  may 
proceed  to  test  for  flatness  of  field. 

If  the  sign-board  be  of  sufficient  magnitude  to  subtend 
a considerable  angle  to  the  lens,  we  may  use  it  in  testing 


818 


THE  PHOTOGRAPHIC  NEWS. 


[Hecembir  28,  1883. 


for  flatness  of  field  as  well  as  for  absolute  definition.  If 
not,  we  may  fix  up  opposite  the  camera  a newspaper — pre- 
ferably the  advertising  sheet — or  may  place  the  camera 
opposite  to  an  old-fashioned  window  with  small  panes.  We 
must  be  careful  to  avoid  using  an  object  which  shows  only 
a set  of  parallel  lines,  such,  for  example,  as  a railing  with 
vertical  bars,  as  with  such,  a certaiu  defect  common  in 
lenses,  which,  although  not  strictly  speaking  roundness 
of  field,  produces  nearly  the  same  effect,  namely,  want  of 
marginal  definition,  might  not  be  discovered. 

Whatever  the  object  be,  it  should  be  in  one  plane,  and 
that  plane  should  be  perpendicular  to  the  axis  of  the  lens. 
We  may  use  a small  object,  and  may  focus  it  on  the  central 
part  of  the  ground  glass,  then  swing  the  camera  on  its 
screw  till  it  (the  object)  occupies  the  margin.  In  any  case, 
the  object  is  the  same,  namely,  it  determines  at  what  dis- 
tance from  the  centre  of  the  ground  glass  the  definition 
has  fallen  off  to  a certain  extent.  It  must  be  borne  in 
mind,  in  connection  with  this,  that  under  the  somewhat 
severe  test  described,  even  the  very  best  lenses  show  perfect 
definition  only  through  a very  limited  angle,  and  especially 
if  they  be  of  long  focus.  Thus  a poitrait  lens  will  generally 
show  a falling  off  at  6 or  8 degrees  from  the  axis ; a 
“rapid  ” landscape  lens  at  12  or  14  degrees  from  the  axis, 
full  aperture  being  used  in  each  case. 

When  the  two  points  which  we  have  mentioned  are 
determined,  there  remains  nothing  but  to  discover  whether 
the  chemical  and  visual  foci  of  the  lens  correspond — in 
other  words,  whether  or  not  it  is  properly  achromatized. 

The  method  of  determining  whether  or  not  a lens 
is  properly  corrected,  has  so  often  been  described  in  our 
columns,  that  we  merely  indicate  it  here. 

A set  of  white  cards,  with  figures  in  black  marked  on 
each,  are  fixed  in  a row,  the  central  one,  say,  ten  feet  from 
the  camera,  each  of  the  others  each  six  inches  nearer  or 
farther  away  than  the  one  next  it,  there  being,  possibly, 
eight  or  ten  cards  in  all.  The  line  of  the  cards  is  made 
slightly  oblique  to  the  line  joining  the  central  card  and  the 
lens,  so  that  one  card  does  not  hide  that  behind  it.  The 
central  card  is  focussed  quite  sharp  on  the  centre  of  the 
ground  glass ; a plate  is  exposed  and  developed.  If  the 
central  card  appear  the  sharpest  in  the  negative,  the  lens 
is  properly  corrected  ; if  a card  either  before  or  behind  it 
appear  the  sharpest,  the  lens  is  not  properly  corrected, 
the  assumption  being  made  that  the  ground  glass  and 
dark  slide  are  in  register.  If  it  is  merely  wished  to  make 
an  adjustment  which  will  enable  us  to  use  the  lens  with 
the  camera  upon  which  the  trial  has  been  made,  all  that 
is  necessary  is  to  so  shift  the  ground  glass  in  its  frame  as 
to  bring  that  figure  which  was  sharpest  in  the  picture  into 
accurate  focus  on  the  glass. 

o 

SOME  SUGGESTIONS  AS  TO  THE  FUTURE  OF 
PHOTO-MECHANICAL  PRINTING  METHODS. 
The  two  most  important  processes  for  printing  in  fatty  inks 
are  the  lithographic  and  typographic  methods,  and,  where 
numerous  copies  are  required  in  a short  space  of  time,  one 
of  these  is  almost  invariably  adopted.  The  iutaglio-plate 
process,  or  even  collotype,  may  possess  special  advantages 
for  certain  classes  of  work  ; but  neither  of  them  can  com- 
pete with  typography  or  lithography  for  ordinary  commer- 
cial productions. 

The  fiist  step  in  the  application  of  photography  to  litho- 
graphic or  typographic  printing  is  generally  the  production 
of  a single  original  print  in  fatty  ink  ; this  original  being 
ordinarily  upon  paper  or  some  other  similar  flexible  mate- 
rial. With  the  details  of  the  various  methods  of  making 
suitable  original  piints  (technically  called  “transfers”) 
we  have  nothing  to  say  at  present,  as  the  subject  has  beeu 
very  fully  treated  of  of  late  in  the  PHOTOGRAPHIC  News; 
but  we  may  premise  that  the  exposure  of  a sensitized  sur- 
face behiud  a negative  or  positive  cliche  forms  an  essential 
feature  in  the  various  processes.  It  very  frequently  happens 


that  the  negative  available  is  not  of  the  same  size  as  the 
required  reproduction,  and  in  such  a case  it  has  often  been 
the  custom  to  make  a reproduced  negative  of  the  required 
dimensions,  a proceeding  which  frequently  occasions  a 
considerable  delay.  Now  that  the  time  for  the  extensive 
commercial  application  of  typography  and  lithography  to 
the  production  of  prints  from  half-tone  negatives  appears 
to  be  at  hand,  it  becomes  of  considerable  importance  to 
consider  every  means  by  which  the  production  of  printing 
surfaces  can  be  expedited  ; and  the  special  importance  of 
speedy  production  will  be  understood  when  it  is  pointed 
out  that  rapidity  will  generally  be  a principal  factor  in  de- 
termining whether  a photographic  process  is  to  be  employed 
or  not. 

We  believe  that  in  almost  every  case  where  a printing  sur- 
face  is  to  be  produced  by  photography,  and  the  reproduction 
is  not  to  be  of  the  same  size  as  the  original,  a projection 
method  may  be  advantageously  adopted  for  imprinting  the 
photographic  image  on  the  sensitive  surface  used.  No  very 
wide  departure  from  the  usual  form  of  the  optical  lantern 
will  be  required  unless  in  special  cases  ; but  the  nature  of 
the  light  used  must  depend  upon  the  sensitiveness  of  the 
material  employed.  If,  for  example,  it  is  desired  to  make 
a transfer  by  the  inking-upof  an  exposed  gelatino-bromide 
surface,  an  ordinary  paraffin  lamp  will  serve ; while  in  other 
cases  it  will  be  necessary  to  adopt  a much  more  actinic 
light,  such  as  the  limelight,  the  flame  of  burning  magne- 
sium, or  the  electric  arc. 

In  every  case  the  main  point  to  be  attended  to  is  to  so 
dispose  the  light  and  the  condenser,  that  the  image  of  the 
former,  formed  by  the  latter,  comes  sharply  to  a focus  in 
the  place  where  the  diaphragm  of  the  objective  is  ordi- 
narily placed.  As,  then,  the  relative  positions  of  light, 
condenser,  and  objective  in  relation  to  each  other  must  be 
fixed  and  determi'>ate,  the  operation  of  focusing  must  be 
performed  by  moving  the  carrier  which  contains  the  ne- 
gative or  positive  original  which  is  to  be  reproduced. 

The  old  method  of  breaking  up  the  half-tone  of  a pho- 
tograph into  a stipple  by  means  of  a network  or  a stipple 
transparency,  may  well  be  carried  out  in  connection  with 
the  projection  method  of  enlarging  or  reducing ; and  we 
may  note  that  when  speed  of  working  is  a primary  con- 
sideration, the  network  or  stipple  image  may  be  projected 
upon  the  sensitive  surface  from  a second  lantern, 
simultaneously  with  the  photographic  picture  ; this  pho- 
tographic picture  being  a positive  or  a negative  according 
to  the  method  adopted.  In  other  cases  it  will  suffice  to 
use  a single  lantern,  and  either  to  project  the  stipple  upon 
the  sensitive  surface  by  a separate  exposure,  or  to  place 
the  stipple  plate  and  original  together  in  the  carrier  of  the 
lantern,  and  secure  a combination  image  at  once.  We  may 
mention  that  in  any  studio  where  the  electric  light  is 
available,  should  a few  prints  of  any  kind  be  required 
of  a size  not  corresponding  with  the  original  negative,  it 
is  far  more  convenient  to  produce  them  by  the  projection 
method  than  to  make  a fresh  negative  ; while  more  con- 
siderable advantages  are  realised  by  adopting  the  projec- 
tion method  when  a Woodbury  relief,  collotype  plate, 
phototypic  or  photo-lithographic  surface  is  required  in 
enlarged  or  reduced  dimensions. 


LANTERN  SLIDES. 

FOURTH  ARTICLE. 

If  the  reader  has  followed  the  instructions  given  on  page 
482  for  the  production  of  slides  by  the  ordinary  wet  collo- 
dion process,  and  has  familiarized  himself  with  the  method 
of  development  needful  in  collodion  p*actice,  which  is  so 
very  different  from  g*  l itine  plate  development,  lie  will  ex- 
perience very  little  difficulty  in  taking  up  the  next  branch 
of  our  subject,  viz.:  — 

Collodion  Emulsion.— We  have  puiporely  alluded  t > the 
operation  of  wet  plate  development,  aud  we  preferred  to 
deal  with  wet  collodion  before  taking  up  collodion  emul- 


December  28,  1883.] 


THE  PHOTOGRAPHIC  NEWS. 


819 


sions,  because  probably  half  our  readers  are  those  who 
have  never  before  practised  collodion  processes,  either 
wet,  dry,  or  emulsion.  The  photographer  who  may  have 
sprung  into  existence  since  the  introduction  of  the  work- 
able gelatine  plate3  has  learned  the  methods  of  develop- 
ment which  have  been  perfected  and  which  are  applicable 
to  rapid  gelatine  plates,  and  to  them  only — a condition  of 
things  entirely  different  from  wet  collodion  or  collodion 
emulsion  development.  Such  an  individual  has  to  learn 
backwards,  clroj<  logically  speaking.  Alkaline  develop- 
ment is  practised  in  collodion  emulsion  work,  but  not  to 
its  fullest  capabilities,  such  as  we  employ  every  day  in 
gelatine  work. 

The  grand  difference  between  collodion  and  gelatine  as 
regards  development  is  comprised  in  the  fact  that  when 
collodion  plates  are  under  treatment,  the  image  by  re- 
flected light  is  never  lost  sight  of  (we  are  now  speaking 
particularly  of  lantern  slide  work)  ; the  unchanged  p.rts 
of  the  film  must  retain  their  purity,  and  great  contrast  on 
the  surface  be  maintained  throughout;  this  is  absolutely 
essential,  in  order  to  secure  vigorous  results,  clean  and 
clear  high  lights,  and  freedom  from  dinginess,  a quality 
fatal  to  a lantern  slide.  In  developing  collodion  or 
emulsion  lantern  slides,  the  operator  is  guided  much  more 
by  the  surface  appearance  than  by  the  condition  when 
looked  through,  although  both  these  circumstances  have  to 
betaken  into  consideration  in  seeking  the  final  result. 
There  must  be  density  of  image  without  opacity,  and  there 
must  be  clean  glass  in  the  highest  light  without  any  evi- 
dences of  under-exposure  and  corresponding  hardness  and 
lack  of  half-tone.  Nothing  but  experience  can  lead  the 
operator  to  success,  and  until  complete  mastery  is  obtained 
over  the  process  of  development,  perfect  results  cannot  be 
expected.  We  speak  feelingly  on  this  subject,  for  we 
have  washed  off  dozens  of  plates  when  learning  to  develop 
to  obtain  a certain  quality  of  image.  Therefore,  we  urge 
our  readers  to  practise  and  learn  the  development,  so  that 
the  greatest  control  can  be  held  over  this  important  stage 
of  the  process. 

There  are  at  least  three  ways  of  employing  collodion 
emulsious  for  the  production  of  lantern  slides.  We  will 
signalise  them  thus  : — 

A— Collodion  emulsion  used  “ unwashed,”  thej  plates  ex- 
posed and  developed  wet. 

B—  ditto  “washed”  ditto 

C — ditto  ditto  used  dry. 

There  are  variations  hereon  which  we  will  not  stop  to 
discuss.  It  will  be  impracticable  here  to  re-write  the  his- 
tory of  collodion-emulsion ; we  must  confine  oufselves  to 
our  subject,  and  refer  the  reader  to  separate  works  on 
emulsion  photography,  and  to  the  back  numbers  of  the 
News,  and  rather  expatiate  upon  definite  formulce,  in  their 
adaptability  to  our  particular  aim  and  end,  backiug  up 
our  remarks  with  a little  personal  opinion  to  guide  the 
reader. 

Let  us  now  consider  the  preparation  of  an  emulsion  of 
collodion  whose  properties  are  essentially  applicable  to 
lantern  slides.  We  shall  give  several  formulae,  beginning 
with  the  simplest,  and  in  each  case  the  quantities  given 
will  be  to  produce  eight  ounces  of  emulsion. 

Formula  fur  an  Unwashed  Collodio- Bromide  Emulsion  with 
free  Bromide. 

Quantities. 

Pyroxyline  40  grains 

Absolute  alcohol  ...  ...  4 ounces 

Methylated  ether  (725)  ...  4 ,, 

Double  bromide  of  cadmium  and 

ammonium  ...  90  grains 

Nitrate  of  silver  125  „ 

Employment. 

We  have  obtained  very  excellent  pyroxyline  from 
Messrs.  Hopkin  and  Williams,  Cross  Street,  Hatton 
Garden,  at  one  shilling  per  ounce.  Dissolve  the  forty 
grains  in  a wide-mouthed  clean  bottle  fitted  with  a nice 


soft  cork,  and  pour  in  the  whole  four  ounces  of  ether  and 
three  ouuces  of  alcohol.  The  cotton  will  dissolve  directly, 
and  no  filtering  need  take  place,  but  at  once  weigh  out 
the  ninety  grains  of  double  bromide,  and  add  to  the  plain 
collodion. 

Put  the  125  grains  of  nitrate  of  silver  into  a small 
boiling- flask,  add  a few  drops  of  distilled  water,  heat  over 
a spirit  lamp  until  dissolved,  and  then  add  carefully  oue 
ounce  alcohol ; this  requires  a little  skill  to  obtain  an  alcho- 
lic  solution  of  the  silver  nitrate,  for  if  the  alcohol  be  very 
pure,  and  very  little  water  is  used,  the  silver  will  be  thrown 
out  of  solution,  and  wi  11  require  some  trouble  to  get  it 
again  into  solution.  The  alcoholic  solution  of  silver  must 
be  made  pretty  hot,  say  120°  Fahr.,  and  then,  in  the 
dark  room,  it  must  be  poured  into  the  bromized  collodion 
in  quantities  of  about  a drachm  at  a time,  instantly  cork- 
ing the  bottle  and  shaking  vigorously  between  each  addi- 
tion of  silver  until  the  whole  is  got  in,  when  the  resulting 
emulsion  should  show  quite  smooth  and  of  a reddish  yellow 
colour  when  shaken  against  the  sides  of  the  bottle.  Great 
care  should  be  taken  to  prevent  los3  of  ether  by  evapora- 
tion due  to  the  rise  in  the  temperature  brought  about  by 
additions  of  hot  alchohlic  solution  of  silver,  or  precipita- 
tion of  the  cotton  and  bromide  of  silver  will  ensue,  and 
when  this  happens  it  is  extremely  difficult  and  sometimes 
impossible  to  get  them  into  solution  or  suspension  again. 

Frequent  shaking  of  the  bottle  so  as  to  prevent  the  silver 
bromide  from  setting  as  a hard  cake  at  the  bottom  will 
conduce  to  the  production  of  a rich  and  creamy  emulsion 
of  fine  texture,  and  a warm  temperature  will  favour  this 
end.  Collodion  emulsions  may  be  said  to  emulsify  or  be- 
come sensitive  just  as  gelatine  emulsions  do,  but  in  the 
former  case  it  takes  as  many  days  to  produce  the  result 
which  can  be  arrive!  at  in  minutes  by  boiling  a gelatine 
emulsion.  We  cannot  boil  a collodion  emulsion,  for  even 
at  ordinary  temperatures  the  ether  and  alcohol  evaporate 
rapidly  enough,  and  no  satisfactory  method  of  emulsifying 
bromide  of  silver  in  collodion  appears  yet  to  have  been 
brought  into  a workable  condition,  which  will  give  any 
better  results  than  the  mere  effect  of  the  change  which 
goes  on  at  ordinary  temperatures,  which,  as  before  hinted 
at,  occupies  several  days. 

If  the  emulsion  we  have  just  described  be  tried  the  day 
after  mixing  it  will  be  found  very  insensitive,  giving  hard 
pictures  and  no  half-tone.  It  is  very  interesting  to  coat  a 
plate  every  day  and  notice  the  gradual  increment  of  rapi- 
dity, and  with  the  rapidity  come  also  robustness  of  image, 
warmth  of  tone,  facility  of  development,  seusitiveness  to 
half-tone,  and  all  the  other  concomitants  of  a wet  collo- 
dion plate  made  by  the  bath  process  when  everything  is 
in  first-rate  working  order.  Yea,  more,  for  a well-made 
carefully  balanced  emulsion  at  its  best  will  be  more  rapid, 
and  certainly  more  vigorous  in  quality  of  image,  than  a 
bath  plate. 

Rapidity  in  a collodio-bromide  emulsion  for  lantern 
slides  is  not  a quality  that  need  be  eagerly  sought  after  ; 
we  would  at  any  time  sacrifice  speed  in  order  to  obtain 
density,  vigour,  brightness,  entire  freedom  from  fog,  and 
withal  the  right  degree  of  transparency  even  in  the  deep- 
est shadows  or  blacks.  All  these  qualities  can  be  got  in 
a collodion  emulsion,  not  at  once,  but  by  maturing  or 
ripening,  and  then  using  up  the  emulsion  without  much 
delay,  or  by  then  pouring  it  out  to  set  and  “ wash  ; ” of 
which  more  anon. 

We  have  had  emulsions  which  have  ripened  into 
splendid  order  in  three  days  in  summer,  but  the  average 
period  is  about  ten  days,  the  usual  minimum  being  seven 
days,  and  the  maximum  twelve  days.  Much,  of  course, 
depends  upon  the  relation  of  free  bromide  to  the  silver, 
the  qualities  of  the  cotton  used,  the  bromide  salt  em- 
ployed, the  temperature,  and  other  causes.  We  strongly 
advise  the  reader  to  make  up  an  emulsion  according  to  the 
foregoing  formula ; it  is  excellent  practice,  and  will  afford 
a good  insight  into  future  formulae  and  their  workings, 
upon  which  we  shall  treat  in  our  next  articles. 


820  THE  PHOTOGRAPHIC  NEWS.  [December  28,  1883. 


THE  INTERNATIONAL  EXHIBITION  OF  TIIE 

BRISTOL  AND  WEST  OF  ENGLAND  PHOTO- 
GRAPHIC ASSOCIATION. 

There  was  not  space  for  all  the  landscapes  in  the  princi- 
pal gallery,  and  the  remainder  were  huug  in  the  room  de- 
voted to  apparatus  and  transparencies.  In  this  room  are 
to  be  found  the  beautiful  instantaneous  studies  of  foreign 
life  by  T.  G.  Whaite  which  were  so  much  admired  at  the 
exhibition  in  Pall  Mall,  and  they  have  taken  a medal. 
Sydney  Smyth  has  sent  some  very  pretty  wood  scenes  from 
the  neighbourhood  of  Weston-super-Mare.  These  are 
characterised  by  great  delicacy,  aud  are  chosen  with  the 
eye  of  an  artist.  Six  interiors  (737)  by  James  Brookes 
are  very  full  of  detail.  The  views  in  the  grounds  of  the 
Alexandra  Palace  on  Whit  Monday,  1882,  are  very  good. 
They  are  instantaneous,  and  give  a capital  idea  of  the 
immense  crowd  assembled  on  that  occasion.  Mr.  II. 
Stevens  exhibits  some  beautiful  transparencies  of  his  flower 
studies.  Mr.  Cowau’s  slides,  showing  his  power  of  vary- 
ing the  tone  at  will,  are  very  interesting,  and  have  taken 
a medal,  as  also  have  the  transparencies  produced  by  the 
Woodbury  Process.  In  this  room  is  Mr.  Hare’s  ingenious 
camera,  which  has  several  novel  points,  and  has  worthily 
earned  a medal.  A very  large  show  of  apparatus  is  in  this 
room,  but  most  of  it  was  exhibited  in  Pall  Mall,  and  has 
been  already  described. 

Over  the  door  iu  the  room  devoted  to  portraits  and 
figure  studies  is  the  large  tiger’s  head  by  Mr.  T.  J.  Dixon, 
which  has  taken  a silver  medal.  His  exhibit  of  cats  and 
dogs,  as  well  as  the  more  ferocious  of  the  same  family,  is 
very  large  and  interesting.  Messrs.  Chaffin  and  Sons 
send  a goodly  number  of  work?- ; most,  if  not  all,  however, 
have  been  seen  in  London,  and  have  been  described  here. 
“ Too  Late  ” (520)  is,  to  our  mind,  a very  beautiful  pic- 
ture, and  is  the  best  of  the  series.  Mr.  Lyddell  Sawyer’s 
pictures,  “ The  Rivals,”  “ Pay  Toll,”  “ Homeward  Bound,” 
and  many  others,  are  here  from  Pall  Mall,  and  therefore 
need  no  comment.  Mr.  Slingsby’s  well-known  works  are 
also  here,  and  amongst  them  is  the  composition  picture 
“ Alone  ” ; but  these  are  all  old  friends,  aud  need  no 
further  description.  “A  Letter  from  Joe”  (504)  is  a 
story  well  told.  The  studies  of  children  by  Day  and  Son 
(505,  506)  are  very  beautiful,  and  have  taken  a medal. 
Two  heads  by  M.  H.  Chubb  are  very  striking  ; the  one  of 
the  lady  is  very  beautiful,  but  that  of  the  man  is  quite 
spoiled  by  over-touching ; it  would  have  been  perfect 
but  for  this  fault.  The  portraits  of  Adams  and  Scanlan 
are  very  delicate,  but  their  more  ambitious  efforts, 
“ Waiting  for  the  Boats,”  and  “ Reaping  Time,”  are  too 
smooth  and  pretty,  and  are  tame  in  consequence. 

The  well-known  pictures  of  H.  P.  Robinson  make  a 
great  show  on  these  walls  ; they  are  old  favorites,  and  have 
been  described  here.  The  medal  has  been  given  to 
“ Wayside  Gossip,”  but  the  “Nor’-Wester,”  which  took 
the  medal  in  Pall  Mall  this  year,  and  the  “ Launch 
of  a Deal  Galley,”  which  was  even  more  admired  in  the 
London  exhibition,  as  well  as  “Pamela,”  exhibited  two 
years  ago,  are  all  here,  and  form  an  important  feature  in 
this  room.  Mendelssohn’s  two  large  frames  of  portraits 
are  most  effective,  and  have  taken  a medal.  J.  Hubbard 
sends  a pathetic  little  home  study  entitled,  “ Mother’s 
Love  ; ” a rustic  interior  well  carried  out  (with  no  objects 
introduced  that  do  not  help  in  giving  reality  to  the  scene) 
forms  the  background,  and  the  incident  of  the  picture  is 
an  anxious  mother  watching  the  slumbers  of  her  infant  in 
the  cradle.  The  story  is  well  told,  and  the  picture 
thoroughly  earned  the  silver  medal  given  to  it.  W.  E. 
Debenham  sends  a frame  of  three  portraits  that  are  very 
good.  Norman  May’s  pictures  are  effective,  the  one  called 
“ Patience”  (GIG)  being,  in  our  estimation,  the  best.  The 
Woodburytype  Company  sends  a hue  picture  of  Maud 
Branscombe,  printed  on  opal.  The  enlargements  by 
Morgan  aud  Kidd  on  their  paper  are  the  most  effective 
we  have  yet  seen.  The  examples  of  the  various  stages  of 


the  Stannotype  process  are  here,  and  will  be  certain  to 
attract  considerable  attention. 

R.  Faulkner’s  portrait  of  Phyllis  Frere  is,  in  our  estima- 
tion, the  tiuest  iu  the  room— a charming  litle  girl  with  open- 
air  surroundings  and  most  natural  in  pose.  The  picture  is 
perfectly  carried  out  in  every  part,  and  we  cannot  help  say- 
ing that  we  think  it  would  hold  its  own  against  the  finest 
mezzotint  of  any  of  Sir  Joshua’s  similar  productions. 
This  picture  has  been  honoured  by  the  highest  award  for 
portraiture.  A group  of  three  ladies  by  J.  Russell  and 
Sons  (134)  is  perfect  in  pose,  and  effective  as  a picture. 
J.  Bullock  sends  some  very  good  portraits,  but  most  of 
them  were  shown  iu  London.  “ Gloamin’,”  and  “ Indus- 
try,” by  Adam  Diston,  have  taken  the  gold  medal 
of  the  Society.  They  have  both  been  honoured  by 
medals  at  the  London  exhibition,  and  are  so  well  known 
that  we  need  not  further  describe  them  here.  “ The 
Little  Pig  that  went  to  Market”  is  a picture  well  carried 
out,  and  of  course  tells  its  own  story  ; it  is  by  T.  Whaley. 
W.  Gillard  sends  a very  ambitious  picture  called  “ The 
Miser.”  It  is  of  large  size,  and  is  taken  direct.  The  pose 
and  expression  are  perfect,  but  the  background  is  monoto- 
nously heavy  and  black,  and  not  in  harmony  with  the 
subject.  This  is  to  be  regretted,  for  it  would  otherwise 
have  been  a very  fine  picture.  As  it  is,  it  is  very  effective. 
A.  Debenham  sends  some  very  good  portrait  studies  (404, 
405). 

Iu  the  room  devoted  to  foreign  exhibitors  are  a fine  series 
of  portraits  by  Gebr.  Taescbler ; many  of  them  have  elabo- 
rate backgrounds,  but  perfectly  in  harmony  with  tbe  sub- 
ject, and  most  of  them  are  full  length  ; they  have  worthily 
taken  tbe  silver  medal  for  tbe  best  small  portraits.  D.  A. 
Ermakoff  sends  a large  series  of  Russian  scenes,  and  in  these 
days  of  small  pictures,  the  imposing  proportions  of  such 
views  are  at  once  felt ; they  are  all  very  bold  in  treatment, 
and  nearly  fill  one  side  of  the  room.  llud.  Schuster  sends 
a large  number  of  effective  prints.  No  announcement  is 
madeas  to  method  of  production,  and  at  first  glance  *hey  look 
like  photc-gravures,  but  on  closer  examination  they  ap- 
pear to  be  by  one  of  the  many  collotype  processes,  which 
have  sprung  from  the  iuvention  of  Albert  of  Munich.  The 
large  series  of  character  portraits  by  H.  Graf  are  here,  but, 
unlike  their  treatment  in  London,  they  have  been  properly 
displayed  upon  tbe  wall,  and  have  taken  a medal.  Some 
instantaneous  views  in  Amsterdam,  by  A.  Greiner,  are  of 
large  size,  and  are  very  fine  ; one  of  them — a street  scene — 
is  one  of  the  finest  instantaneous  pictures  in  the  exhibition. 
R.  Storms  sends  some  rustic  studies  (707)  that  are  simply 
perfect  ; they  aie,  unfortunately,  badly  hung,  but  we  hope 
their  beauties  will  not  be  overlooked. 

The  space  at  our  command  will  not  permit  us  to  go 
further  into  detail,  but  in  conclusion  we  cannot  help 
saying  it  is  one  of  the  best  exhibitions  devoted  to 
photography  we  have  yet  seen,  and  that  on  the  whole  the 
pictures  are  extremely  well  hung,  and  where  justice  has  not 
been  done  it  has  been  due  to  the  late  arrival  of  the  works. 
There  area  much  smaller  number  of  bad  pictures  here  than 
at  the  London  exhibitions,  but  doubtless  this  is  mainly  due 
to  the  faetthat  tbe  Bristol  Exhibition  is  triennial,  and  that  in 
consequence  the  pick  of  the  boat  work  during  three  years  is 
sent  for  competition.  This  most  enterprising  Society  is  to  be 
congratulated  on  the  great  success  it  has  won  this  year,  a 
success  fairly  and  honestly  won  by  the  zeal  of  its  committee, 
spurred  on  by  the  untiring  mergy  of  its  secretary,  Mr.  H. 
A.  Hood  Daniel. 

Wo  add  a complete  list  of  the  exhibitors  : — 

Messrs.  Adams  and  Scanlan,  John  K.  Alderslade,  C.  S.  Allen, 
\V.  J.  Allen,  W.  J.  Anckorn,  Jas.  Andrews,  Autotype  Co., 
A.  If.  S.  Bailey,  W.  Harvey  Barton,  W.  II.  Batten,  \V.  Bedford, 
Bedford,  Lernere,  and  Co.,  H.  B.  Berkeley,  L.  Berry,  E.  Bright- 
man,  W.  C.  Bristcw,  F.  Bromhead,  Jas.  Brooks,  J.  Millman 
Br  wn.  T.  M.  Brownrigg,  Jas  Bullock,  P.  Burges,  W.  J.  Byrne, 
J.  S.  Catford,  J.  Chaffin  and  Sons,  II.  A.  Chapman,  M.  H.  Chubb, 
W.  Cobb  and  Son,  A.  A.  Common,  J.  Coupd,  Alex.  Cowan, 
II.  A.  Hood  Daniel,  T.  Davey,  Win.  Davies,  Day  aud  Son,  John 


December  28,  1883.J 


THE  PHOTOGRAPHIC  NEWS. 


821 


H.  Dawson,  A.  G.  Dean,  A.  Debenhaui,  E.  Debenham  and  Co., 

G.  F.  Dew,  Alfred  Dismorr,  Adam  Diston,  Henry  Dixon,  T.  J. 
Dixon,  A.  Donald,  W.  F.  Donkin,  J.  R.  Dunlop,  E.  Dunmore, 
W.  Ellis,  P.  H.  Emerson,  D.  Ermakoff,  Robert  Faulkner,  P.  H. 
Fincham,  Edwd.  Fox,  S.  Fry,  G.  A.  Garrett,  Wm.  Gillard, 
II.  J.  Godbould,  Allen  Godfrey,  H.  Graf,  W.  J.  A.  Grant,  Friese 
Greene,  T.  A.  Green,  A.  Groger,  G.  W.  Gwyer,  Geo.  Hadley, 
Rev.  H.  B.  Hare,  John  Harrison,  W.  M.  Harrison,  A.  Hendry, 
J.  H.  Hogg,  Arthur  Holoorn,  1'.  Hollyer,  J.  G.  Horsey,  Geo. 
Houghton  and  Son,  J.  Hubbard,  Walter  E.  Hughes,  Henry 
Husbands,  H.  O.  Isaac,  John  Jackson,  Johnson  Bros,,  A. 
Johnston,  Baynham  Jones,  H.  N.  King,  Messrs.  11.  Ivrafft, 

E.  D.  Lavender,  Abel  Lewis,  W.  G.  Lewis,  Albert  Lugardon, 
W.  M.  Malby,  H.  Manfield,  W.  P.  Marsh,  E.  A.  Maxwell, 
Norman  May,  Wm.  Mayland,  W.  McLeish,  fl.  S.  Mendelssohn, 
Carl  Metzner,  Morgan  and  Kidd,  H.  Mountford,  W.  C.  Murphy, 
A.  Naumman  and  Schroeder,  W.  Newall,  G.  Patterson,  G.  S. 
Penny,  Alfred  G.  Pettitt,  Platinotype  Co.,  A.  Pringle,  G.  lten- 
wick,  A G.  Reynolds,  H.  P.  Robinson,  Herman  Riickwardt, 

H.  R.  Rump,  Jas.  Russell  and  Sons,  C.  F.  W.  Sage,  I’ rank 
Salter,  Thomas  Samuels,  Sands  and  Hunter,  W.  D.  Sanderson. 
Rud.  Schuster,  Sciopticon  Co.,  C.  V.  Shadbolt,  J.  F.  Shew  and 
Co.,  R.  Slingsby,  Sydney  Smyth,  H.  Stevens,  R.  Storms,  Frank 
M.  Sutcliffe,  Gebr.  Taeschler,  A.  G.  Tagliaferrro,  Jno.  Taylor, 

A.  C.  Thompson,  F.  Thurston,  W.Trenemen,  W.  N.  Tribe,  Capt. 

F.  Turton,  R.  N.,  W.  Wainwright,  junr.,  John  Ward,  W. 
Harding  Warner,  W.  Watson  and  Sous,  Weidinger  and  Blasel, 

G.  West  and  Son,  T.  G.  Whaite,  F.  Whaley,  Harry  Wheeler, 
Matthew  Whiting,  W.  Clement  Williams,  W.  W.  Winter,  S.  G. 

B.  Wollaston,  Woodbury,  Treadaway,  and  Co.,  Ralph  U. 
Years’ey,  E.  Yeoman. 

The  loan  collection  was  furnished  by  the  Hon.  Secretary, 
Messrs.  T.  Schenkenhofer,  H.  N.  King.  W.  Treneman,  S.  Fry, 
W.  N.  Reid,  Sands  and  Hunter,  and  W.  Mathews. 

[In  favourably  noticing  Mr.  P II.  Emerson's  pictures 
last  week,  we  misprinted  the  name  Henderson. — Ed.  P.  N.] 


TOO  SCIENTIFIC. 

The  young  and  ardent  photographer  has  usually  one  fault : 
he  is  too  scientific ; like  Solomon  Gills,  Captain  Cuttle’s 
old  friend,  who  owned  the  little  midshipman,  he  is  gene- 
rally “ chockfull  of  science.”  A simple  devoloper  has  no 
charms  for  burniug  youth,  nor  does  the  ordinary  drop- 
shutter  reach  his  exalted  level.  Complicated  tables  as  to 
the  period  of  exposure,  the  state  of  the  atmosphere,  the 
size  of  the  aperture,  the  direction  of  the  light,  the  con- 
dition of  the  wind,  the  actinic  force  of  the  rays,  &c.,  &e  , 
are  carefully  filled  in  with  every  plate  he  puts  into  the 
camera  ; and  though,  may  be,  it  comes  to  the  same  thing 
in  the  end — he  locks  himself  up  in  a little  dark-room  in 
which  he  can  neither  see  nor  breathe,  and  immerses  the 
films,  one  and  all,  in  the  same  developer,  opening  the  door 
at  the  lapse  of  exactly  ten  minutes  to  see  wbat  has  happened 
— the  fact  that  he  has  been  very  scientific  at  odc  period  of 
the  performance  at  any  rate  compensates  amply  for  the 
absence  of  good  negatives. 

The  fact  is,  our  beginner  ba3  usually  a surplus  of  time 
and  energy  at  his  disposal,  and  these  he  is  anxious  to  em- 
ploy. The  steady-going  professional  is  only  too  content 
if  he  gets  a succession  of  good  negatives,  and  is  quite 
willing  to  rest  and  be  thankful.  If  the  batches  of  plates 
he  receives  are  tolerably  uniform,  and  turn  out  successfully 
under  the  influence  of  plain  straightforward  development, 
he  asks  for  nothing  more,  and  he  looks  upou  experiment  as 
the  commencement  of  trouble.  The  hot-headed  youngster 
— youngster,  we  rncaD,  in  photography,  not  necessarily  in 
years— is  the  very  reverse.  Let  him  get  an  excellent  nega- 
tive as  the  result  of  a happy  fluke,  he  is  not  content.  He 
must  needs  tamper  with  his  developer  and  try  the  effect  of 
a small  addition  of  this,  or  a few  grains  of  that,  recognis- 
ing at  once  fresh  qualities  in  his  negative  that  these 
nostrums  have  called  forth.  A complicated  formula  in 


grammes  and  cubic  centimetres  does  not  frighten  him,  but, 
on  the  contrary,  presents  the  greatest  attraction. 

“ What  developer  do  you  use?”  is  the  first  confidential 
enquiry  of  the  ardent  enthusiast.  “ Have  you  tried  nitro- 
glycerine aud  cayenne  pepper  yet  ? ” 

“ No,  but  I have  . . . .” 

“Ah ! but  you  should.  It  is  magnificent ; I'll  send  you 
the  formula,  the  very  one  I use,  and  you  will  be  delighted 
with  it.  Just  two  cubic  centimetres  of  the  nitro-glycerine 
and  decimal  point  one  of  a gramme  of  pepper  ; you  add  this 
to  four  drams  of  distilled  water,  aud  filter.  Then  you  take 
your  pyro  and  ammonia — but  I’ll  copy  out  my  formula 
and  send  it.” 

In  exposing  his  plates,  as  we  have  said,  he  is  just  as 
scientific.  He  carries  a photometer,  and  by  that  means 
can  time  his  plates  with  the  greatest  accuracy.  The  ordi- 
nary silver  paper  photometer,  such  as  is  usually  employed 
for  carbon  printing,  is  a favorits  one,  for  it  looks  com- 
plicated, and  is  not.  This  is  exposed  to  light  for  a few 
minutes  until  a certain  tint  is  obtained,  and  from  this  tint, 
many  will  pretend  to  be  able  to  calculateAhe  right  time  of 
exposure  to  a tenth  of  a second.  The/clo  not  take  into 
account  that  a passing  veil  of  cloud  may,  half  a minute 
afterwards,  upset  the  calculation — even  if  it  were  actually 
trustworthy  — or  that  the  film  they  expose  to-day  may  not 
have  precisely  the  same  sensitiveness  as  that  exposed  yester- 
day. Ten  o’clock  a.m.,  and  eleven  o’clock  are  to  them  alike, 
and  fresh  or  stained  sensitized  paper  is  equally  good  in 
their  eyes  for  delicate  photometrical  tests. 

Now  the  steady  and  experienced  worker  relies  upon  his 
plates  possessing  a certain  amount  of  “ latitude  ” in  ex- 
posure, and  he  always  inclines  to  those  with  most 
“latitude;”  but  for  the  red-hot  young  photographer  to 
recognise  anything  of  this  kind  would  turn  against  his 
scientific  mind.  Nothing  so  loose  as  this  can  be  permitted, 
and  he  goes  about  making  his  exposures  on  an  absolute 
system  that  knows  no  alteration. 

In  the  choice  of  apparatus  our  young  friend  also  shines 
in  his  particular  way.  The  ordinary  photographer  may  be 
able  to  rub  along  with  a bellows  camera  of  simple  construc- 
tion, but  not  so  the  enthusiest.  His  instrument  is  a marvel 
of  ingenuity  ; that  it  can  be  used  upside  down  or  pointing 
at  the  stars,  that  it  has  an  up-and-down  and  side-to-side 
swing  arrangement,  and  is  equally  suitable  for  taking 
pictures  up  in  a balloon  or  down  a well,  is  but  faintly  to 
describe  its  capacity.  The  screws,  aud  nuts,  and  bolts,  and 
the  brass  bands  and  grooves  on  the  apparatus  are  only  to 
be  understood  by  one  willing  to  give  up  time  to  patient 
study,  and  that  “ it  is  the  only  one  of  the  sort  the  maker 
ever  cunstructed,”  is  a dictum  that  you  readily  believe. 
An  intricate  changing-box  behind,  and  an  elaborate  shutter 
in  front,  completes  an  outfit  that  is  quite  enough  to  engross 
the  attention  of  any  energetic  young  man,  without  per- 
mitting him  to  give  a moment  to  the  consideration  of  the 
picture  he  is  intent  on  taking. 

And  here  we  may  say  a word  of  warning  on  the  sub- 
ject of  changing-boxes.  There  are  several  simple  and 
practical  forms  before  the  public,  to  the  efficiency  of  which 
many  have  borne  testimony  in  these  pages.  Some  of  them 
are  light,  convenient,  and  not  likely  to  get  out  of  order. 
Some,  on  the  other  hand,  are  quite  the  reverse.  To  the 
beginner,  therefore,  we  would  say  : Do  not  purchase  any- 
thing of  the  kind  unless  a friend  of  experience  has  given 
a favourable  opinion  on  the  subject.  If  you  can  get  such 
favourable  opinion  you  run  little  risk,  aud  we  repeat,  of 
several  forms,  some  very  flattering  things  have  been  said 
by  practical  men  ; but  in  the  absence  of  any  trustworthy 
recommendation,  we  strongly  advise  the  use  of  the  double 
dark-slide.  This  is  simplicity  itself,  and  in  its  recent  form 
has  much  to  recommend  it.  Busy  photographers  are  given 
to  using  nothing  else,  and  the  general  apparatus  maker 
will  tell  you  that  the  sum  of  advantages  is  on  its  side. 
One  eminent  photographer — no  other  than  Mr.  G.  W. 
Wilson,  of  Aberdeen— recently  gave  an  order  to  a London 


822 


THE  PHOTOGRAPHIC  NEWS. 


firm  for  not  less  than  sixty  double  slides  for  dry  plate  work, 
and  in  other  large  firms  and  establishments  where  much 
work  is  done,  each  camera  is  fitted  with  from  three  to  six 
double  slides.  Each  slide,  or  rather  plate-holder,  is  num- 
bered consecutively;  the  photographer,  if  he  will  only 
stick  to  the  rule  of  exposing  in  numerical  order,  can 
scarcely  make  a mistake. 

The  same  advice  holds  good  in  the  matter  of  shutters. 
If  the  young  photographer  has  among  his  friends  a pro- 
fessional acquaintance,  he  cannot  do  better  than  follow  the 
latter's  example.  In  nine  casts  out  of  ten,  the  experienced 
man  employs  but  the  simplest  form  of  shutter.  Not  un- 
frequcntly  l.e  purchases  this  new  invention  and  that,  but 
only  to  put  them  on  the  shelf  and  regard  them  as  curi- 
osities ; he  has  generally  a very  simple  arrangement  which 
serves  him  for  everyday  work.  The  fact  is,  he  cannot 
afford  to  experiment  in  his  daily  labours.  He  may  have  to 
photograph  an  event  or  record  a passing  matter,  where 
failure  is  not  permissible.  To  depict  a group  of  people 
brought  together  once  in  a way,  to  attend  at  the  inaugu- 
ration of  a statue,  or  of  a passing  procession,  are  duties 
that  the  photographer  must  discharge  with  certainty  and 
success,  otherwise  he  loses  both  reputation  and  money; 
and  as  a consequence  his  mode  of  working  must  be  trust- 
worthy, and  free  from  the  element  of  chance.  In  these 
circumstances  he  cannot  use  anything  but  what  he  is  per- 
fectly familiar  with,  and  he  foregoes  delicate  distinctions 
rather  than  trust  to  complications  which  may  fail  him  at 
the  decisive  moment. 

In  a word,  young  photographers  have  usually  the  fault 
of  aiming  too  high,  and  thus  missing  the  mark.  They  are 
not  contented  with  the  ordinary  apparatus  of  the  ordi- 
nary photographer,  but  must  needs  take  account  of  very 
minute  points,  while  due  consideration  is  not  given  to  the 
essentials.  When  they  have  secured  tolerable  negatives 
by  a certain  mode  of  working  a certain  formula,  they 
should  stick  to  these,  and  try  to  improve  their  work,  rather 
than  regard  themselves  as  perfect,  and  the  modus  operandi 
as  imperfect.  We  should  be  the  last  to  say  a word  in 
- depreciation  of  bond  fide  research  or  honest  experiment; 
but  before  these  can  be  undertaken  with  benefit,  it  is  neces- 
sary that  the  student  should  become  familiar  with  his  start- 
ing point.  To  stoop  to  conquer  may  be  deemed  undigni- 
fied, but  it  is  frequently  the  best  means  of  attaining  success. 


FRENCH  CORRESPONDENCE. 

Celluloid  in  the  Manufacture  of  Apparatus — Linen 
Dishes  Coated  with  Celluloid — Shutters  by  MM. 
Francais  and  Guerp.y — Wide  Range  of  Exposure  of 
Gelatine  Plates— Pellicles  and  Pellicle  Papers — 
Transformation  of  Collotypes  into  Typographical 
Images. 

Application  of  Celluloid. — M.  David  has  made  a speciality 
of  the  application  of  celluloid  to  photography.  At  the  last 
meeting  of  the  Photographic  Society  of  France  he  showed 
how  convenient  it  was  to  use  plates  of  celluloid  in  the  con- 
struction of  photographic  apparatus.  He  remarked  that  it 
was  easy  to  manipulate,  may  be  cut  or  pierced  without  any 
difficulty,  and  is  not  brittle.  With  grooves  and  slides  of 
this  material,  portable  dark-slides  suitable  for  pellicles 
may  be  made ; discs  of  shutters,  and  for  numbers  of  other 
things  it  can  be  used.  Ebonite  is  easily  broken,  but  cellu- 
loid offers  great  resistance,  and  for  dark-slides  is  better 
than  Bristol  board,  zinc,  or  talc.  Of  course  the  substance 
chosen  is  absolutely  opaque.  While  on  this  subject,  the 
idea  occurs  to  me  of  making  portable  photographic  dishes 
of  linen,  coated  with  a varnish  of  celluloid  with  a brush. 
The  cloth  would  be  rendered  waterproof  as  long  as  it  was 
not  touched  by  acetic  acid  or  alcohol,  both  of  which  attack 
the  celluloid.  A rectangular  piece  of  stuff  thus  varnished 
on  both  sides  may  be  turned  up  along  the  four  edges,  and 
the  corners  folded  over  and  held  fast  by  small  clips.  The 
varnish  will  be  found  sufficiently  supple  as  long  as  the  cloth 


[December  28,  1883. 


is  not  too  much  pressed  in  folding.  After  use,  the  liquid 
contained  in  the  dish  may  be  poured  back  into  a bottle,  the 
dish  washed,  the  clips  removed,  and  the  cloth  folded  up  or 
put  away  flat.  An  excellent  cloth  for  this  purpose  is  sup- 
plied by  Schleicher  and  Scbii'l,  and  special  colours  maybe 
reserved  for  various  operations — yellow  dishes  for  the 
ferrous  oxalate,  green  for  hypo,  pink  for  alum,  and  white 
for  washing.  It  is  very  strong  and  close  in  make ; the  price 
in  Paris  is  two  francs  seventy  centimes.  In  making  funnels, 
cut  the  cloth  so  as  to  have  but  one  seam,  as  shown  in  the 
diagram,  the  portions  A B and  F I folding  over  D E.  It 


C 


Fig.  1. 

must  next  be  well  coated  with  the  celluloid  varnish.  The 
funnel  closed  is  triangular,  the  shape  of  C I E D. 

Shutters  by  MM.  Guerry  and  Francais. — M.  Guerry  has 
produced  a beautiful  shutter  composed  of  two  slides  ar- 
ranged so  that  each  may  act  independently  behind  the 
lens.  One  is  a simple  shutter  acting  pneumatically  within 
the  camera.  In  front  of  this  is  the  instantaneous  portion, 
composed  of  two  slides  having  a central  opening  moving 
horizontally  more  or  less  rapidly  according  to  the  tension 
of  an  elastic  spring.  The  great  advantage  consists  in  the 
opening  taking  place  from  the  centre  to  the  circumference, 
and  shutting  from  the  circum- 
ference to  the  centre  indicated 
by  the  diagram.  M.  Francais, 
a distinguished  optician,  has 
also  exhibited  a shutter  adap- 
ted to  his  rectilinear  lens  with  multiple  focal  lengths.  It 
is  circular,  and  is  placed  where  the  diaphragms  are  in- 
serted. The  exposure  may  be  varied  at  pleasure  by  a 
steel  spring  giving  exposures  from  of  a second  to  one 
second.  It  is  very  simple  and  light  in  construction.  It 
is  a happy  thought  in  this  case,  for  the  lens  completes  the 
action  of  the  shutter,  and  in  most  cases  one  has  to  con- 
trive to  adapt  a shutter  to  one’s  lens. 

M.  Luyar don's  Experience  in  Exposures. — M.  Lugardon, 
of  Geneva,  has  exposed  eight  plates  of  the  same  kind  and 
development  on  the  same  subject,  but  giving  exposures 
varying  from  one  to  forty  seconds;  he  succeeded  in  obtain- 
ing eight  good  results,  although  that  exposed  the  longest  is 
the  hardest.  This  proves  the  wide  range  of  exposures  ad- 
mitted of  when  a good  developer  is  used. 

Notes  on  Pellicles. — Sensitive  pellicles  occupy  photo- 
graphers’ attention  so  much  now,  that  a few  of  their  de- 
fects must  be  pointed  out  as  well  a3  their  advantages. 
With  pellicle  paper  the  image  is  not  always  sharply  de- 
fined, owing  to  the  reflection  from  the  white  paper  behind. 
Dark  slides  are  always  blackened  to  prevent  all  reflection, 
and  the  same  should  be  done  to  the  pellicle  paper.  By 
exposing  pieces  of  pellicle  paper  and  pellicle  side  by  side, 
the  latter  will  be  found  to  give  the  sharper  image.  Next 
comes  the  difficulty— not  a small  one— of  the  unequal 
distension  of  the  paper  and  pellicle.  The  pellicle  cannot 
be  made  in  long  enough  strips  to  wind  round  the  reels 
such  as  those  described  in  the  News  (page  771).  In  de- 
veloping, one  may  proceed  in  two  ways,  according  to 
whether  it  is  desired  to  preserve  the  original  dimensions, 
or  enlarge  them.  In  the  first  case,  soak  the  pellicle  in  a 
five  per  cent,  alum  bath  for  two  minutes,  wash,  and  then 


December  28,  1883. J 


THE  PHOTOGRAPHIC  NEWS. 


823 


develop.  If  advantage  is  to  be  taken  of  the  distension  of 
the  gelatine,  immerse  it  first  in  water,  and  when  it  is 
thoroughly  soaked,  remove  to  the  ferrous  oxalate  bath. 
Fixing  and  washing  operations  are  much  simplified,  as 
there  is  no  paper  as  support,  and  no  danger  to  be  feared 
from  frilling  ; the  pellicle  can  be  easily  transferred  to  a 
glass  attached  by  strips  of  gummed  paper,  and  varnished 
with  normal  collodim. 

Transformation  of  Collotype  into  a Direct  Typographic 
Image. — A phototype  is  traced  on  white  quadrille  paper 
( fine  lines  impressed  on  the  paper  crossing  each  other, 
forming  tiny  squares)  by  transferring  an  image  fixed  on 
autographic  paper.  It  must  not  be  pressed  too  hard  to 
fill  up  all  the  little  furrows.  It  immediately  furnishes  a 
typographic  image  with  a little  retouching  with  iuk  and 
pencil.  Mr.  Chesterman  (page  778  of  the  News)  speaks 
of  a similar  process,  which  I was  greatly  interested  in 
reading.  1 have  undertaken  the  reproduction  of  a subject 
by  this  interesting  method,  a doorway  at  Blois,  of  which  1 
will  send  a print  to  the  Editor  of  the  News. 

Leon  Vidal. 


T1IE  PAST,  PRESENT,  AND  FUTURE  OF  PHOTO- 
GRAPHY IN  NATURAL  COLOURS. 

BY  A.  A.  CAMPBELL  SWINTON.* 

Becquerel  also  discovered  that  heating  the  plates  after  chlori- 
nating greatly  increased  their  sensitiveness  A strong  heat  for  a 
short  time  had,  however,  the  objectionable  effect  of  considerably 
•altering  the  tint  of  green  and  yellow  colours  ; but  with  prolonged 
heating  at  a moderate  temperature,  sensitiveness  could  be  increased 
without  any  bad  inllucnce  on  the  results.  With  these  baked  plates 
a very  curious  phenomenon  was  witnessed,  for  white  light  was 
found  to  have  a bleaching  effect  on  the  silver  subchlorido,  pro- 
ducing  white,  and  not  black,  as  is  usually  the  case.  Prolonged 
exposure  to  the  light  under  ruby  glass,  or  under  ruby  and  cobalt 
glasses,  was  found  to  have  very  much  the  same  effect  as  the 
baking  process. 

Although  Becquercl  made  many  attempts  to  fix  the  coloured 
photographs  that  he  obtained,  he  never  succeeded.  Hypo- 
sulphite of  soda,  ammonia,  and  other  substances  capable  of 
dissolving  silver  chloride,  were  of  no  use,  as  they  were  found  to 
destroy  immediately  all  traces  of  the  image,  leaving,  however,  in 
some  cases,  an  extremely  faint  picture  in  colours  complementary 
to  those  which  had  previovsly  existed.  This,  however,  also 
vanished  as  soon  as  the  plate  was  dry. 

After  Becquerel,  the  next  observer  of  note  who  attacked  the 
problem  was  Niepce  de  St.  Victor.  He  employed  silver  plates 
which  he  chlorinated  by  immersion  in  a solution  of  iron  and 
copper  chloride,  and  then  heated  them  strongly.  By  this  means 
ho  obtained  plates  of  great  sensitiveness,  with  which  he 
succeeded  in  taking  camera  pictures  in  sunlight  with  an 
exposure  of  only  fifteen  seconds.  He  took  successful  coloured 
photographs  of  flowers,  painted  windows,  dolls  dressed  in 
coloured  clothes,  and  peacocks’  feathers,  in  which,  not  only  did 
the  colours  appear  correctly,  but  the  gold  and  silver  also  retained 
their  metallic  lustre.  Examples  of  his  work  were  exhibited  in 
a subdued  light  at  the  Paris  International  Exhibition  of  1867, 
and  in  London  at  the  Loan  Exhibition  of  Scientific  Apparatus. 
He  contributed  full  accounts  of  his  discoveries  to  the  Paris 
Academy  between  the  years  1857  and  1867. 

Other  workers  have  been  Poitevin,  Wharton  Simpson,  and 
St.  FloreDt.  Poiteven  employed  violet  silver  subchloride  on 
paper  ; Simpson,  silver  chloride  suspended  in  a film  of  collodion 
or  gelatine ; and  St.  Florent  succeeded  in  partially  fixing  the 
colours  produced  on  silver  sub-chloride  by  a bath  of  ammonia 
and  alcohol.  The  details  of  the  investigations  of  these  ex- 
perimentalists are  too  lengthy  to  describe  on  the  present 
occasion,  but  may  be  found  in  full  in  a book  entitled  “Die 
Heliochromie  ” recently  published  in  German  by  Dr.  Liesegang  of 
Diisseldorf,  in  which  book  are  also  accounts  of  the  experiments 
of  Becquerel  and  Niepce.  This  book  is,  1 believe,  the  only  one 
that  exists  upon  the  subject,  and  the  fact  of  its  teing  written  in 
German  prevents  it  being  of  much  use  to  those  who  are  not 
conversant  with  the  language. 

The  visible  colouration  produced  in  the  manner  above 
described  has  been  generally  attributed  to  the  same  cause  as  in 
the  case  of  thin  plates  ; but,  according  to  Captain  Abney  and 

• Continued  from  page  806. 


other  authorities,  this  is  not  the  case,  and  the  colours  are 
probably  due  to  different  stages  of  oxidation  of  the  silver  salt. 
When  this  is  taken  into  consideration,  the  difficulty  of  fixing 
the  colours  and  preventing  the  further  action  of  light  on  the 
silver  becomes  more  apparent. 

In  an  ordinary  photograph  the  silver  salt  is  reduced  by  light 
to  the  metallic  state  ; fixation  is  accomplished  by  immersion  in 
solutions  of  sodium  hyposulphite  or  potassium  cyanide,  which 
dissolve  away  the  unaltered  part  of  the  silver  without  affecting 
the  image.  With  coloured  photographs,  on  the  other  hand,  the 
case  is  entirely  different.  The  whole  of  the  silver  salt  appears 
to  be  acted  upon  more  or  less,  and  upon  the  extent  of  the  action 
depends  the  colour  produced.  The  silver  is  in  no  case  reduced 
to  a metallic  state,  and  any  chemical  capable  of  dissolving  the 
salt  is  consequently  found  to  remove  all  traces  of  colour. 

It  is  thus  clear  that  fixing  in  the  sense  of  dissolving  out  all  the 
unaltered  silver  cannot  be  accomplished,  for  though  all  the  salt 
is  more  or  less  acted  upon,  none  is  metallic,  and  all  is  soluble. 

If,  however,  the  theory  be  true  that  the  colours  are  due  sim- 
ply to  different  degrees  of  oxidation,  it  may,  perhaps,  be  found 
possible  to  fix  the  image  by  protecting  the  surface  of  the  plate 
from  the  access  of  oxygen,  which  would  render  further  oxidation 
impossible.  At  the  same  time,  however,  it  will  be  necessary  to 
guard  sgainst  the  evolution  of  chlorine,  which  would  reduce  the 
silver  subchloride  to  a metallic  state. 

Although  this  may  sound  easy  in  theory,  in  practice  it  is 
a difficult  problem,  and,  moreover,  the  results  are  not  what  we 
would  expect.  A layer  of  paraffine  is  believed  to  be  quite  im- 
permeable to  both  oxygen  and  chlorine  ; but  a layer  of  paraffine 
on  the  surface  of  a chlorinated  plate  does  not  appear  to  have  the 
slightest  effect  in  arresting  or  modifying  the  formation  of  colours, 
or  in  procuring  their  subsequent  permanency.  With  a silver 
plate  prepared  according  to  Becquerel’s  electrolytic  method,  the 
presence  or  absence  of  a layer  of  paraffine  produces  very  little 
appreciable  difference,  and  hence  the  conclusion  is  forced  upon 
us  that  either  the  colours  are  not  due  to  oxidation,  or  that  there 
is  sufficient  oxygen  present  in  the  film  without  any  recourse  to 
the  outer  air.  The  latter  is  very  probably  the  correct  explana- 
tion,  for  without  doubt  the  electric  current,  acting  upon  the 
acidulated  water,  liberates  oxygen  as  well  as  chlorine,  and  con- 
sequently the  film  does  not  consist  exclusively  of  silver  and 
chlorine  ; but  there  is  also  probably  oxygen  present  as  well. 
Moreover,  though  paraffine  may  be  practically  impermeable  to 
oxygen,  still  it  may  actually  be  slightly  permeable,  and  so  very 
delicate  a substance  as  silver  sub-chloride,  a very  minute  amount 
of  oxygen  may  be  able  to  have  great  effect. 

It  is  greatly  to  be  hoped  that  some  process  by  which  the 
beautiful  colours  produced  on  silver  sub-chloride  may  be  rendered 
permanent  will  be  discovered,  but  it  cannot  be  denied  that  the 
problem  is  of  considerably  greater  difficulty  than  was  the  case  in 
the  instance  of  ordinary  monochrome  photographs.  While  in 
the  latter  the  unaltered  silver  has  only  to  be  dissolved  away,  in 
the  former  the  image  consists  of  silver  in  a very  unstable. state  of 
transition  from  one  form  to  another,  and  a means  of  causing  it 
to  remain  permanently  in  this  transitional  state  is  consequently 
very  difficult  to  discover. 

However,  who  can  doubt  that  a fixing  medium  will  some  day 
be  discovered,  when  it  is  remembered  that  in  the  case  of  un- 
coloured photography,  no  less  than  seventeen  years  elapsed  before 
permanency  was  obtained  by  the  discovery  of  the  properties  of 
hyposulphite  of  soda  ? 

It  must  not,  however,  be  imagined  that  a fixing  medium  is 
the  only  thing  that  is  required  to  render  coloured  photography 
feasible,  although  when  the  one  is  found,  the  rest  will  be  sure 
soon  to  follow. 

Great  as  has  been  the  progress  made,  much  yet  is  left  to  be 
accomplished  before  practical  success  can  be  assured.  Even  in 
bright  sunshine,  and  the  most  sensitive  plates  at  his  command, 
Niepce  found  fifteen  seconds’  exposure  necessary,  while  with  a 
diffused  light  the  exposure  was  measured  by  minutes.  1 his, 
in  our  modern  days  of  instantaneous  photography,  would 
never  do,  and  before  photography  iu  colours  can  become  of  any 
practical  use,  plates  of  much  greater  sensitiveness  than  those  em- 
ployed by  Niepce  must  undoubtedly  be  produced.  To  those, 
however,  who  have  watched  the  progress  of  photography  from 
the  days  of  the  Talbottype  and  the  Daguerreotype  until  now, 
this  will  nowise  appear  an  insuperable  obstacle,  for  in  those  early 
days  exposures  of  one  to  two  hours  were  not  uncommon. 

At  all  events,  photographs  iu  natural  colours  have  been  pro- 
duced, and  partial  tixation.has  also  been  attained.  The  rest  is 
sure  to  follow  ; it  can  only  be  a question  of  time. 


624 


THE  PHOTOGllAPHIC  NEWS. 


[Hecembeh  28,  1883. 


1 fear  that  this  paper  is  by  no  means  worthy  of  its  theme,  but 
it  is  not  possible  to  fully  treat  of  so  extensive  a subject  as  that  of 
coloured  photography  in  a short  space  of  time.  Information  as 
to  what  has  been  discovered  is,  moreover,  in  this  country 
extremely  scant,  and  nearly  all  the  literature  pertaining  to  the 
subject  that  can  be  obtained  is  of  foreign  origin. 

If  I have  been  successful  in  arousing  only  a little  interest  in 
the  great  problem,  I am  fully  satisfied  ; for  interest  will  perhaps 
lead  to  investigation,  and  the  latter  to  fresh  discoveries. 

The  progress  towards  the  attainment  of  photography  in 
natural  colours  has  been  undoubtedly  slow,  it  has  been  none 
the  less  sure  ; and  though  much  still  remains  to  be  worked  out, 
a basis  on  which  to  work  has,  at  all  events,  been  discovered. 

Seebeck,  Herschel,  Hunt,  Becquerel,  Niepce,  Poitevin, 
Simpson,  St.  Florent,  have  done  their  share  towards  the  solution 
of  the  problem,  and  the  names  of  those  whp  succeed  in 
supplementing  their  labours  will  go  down  to  posterity  with  like 
glorious  associations. 


Ud£js. 

A “ Photographic  Union”  has  been  started  in  Turin,  to 
study  the  mutual  advantages  of  photographers  in  general, 
and,  we  presume,  Italian  photographers  in  particular. 
Italy,  so  far,  has  not  been  blessed  with  a photographic 
society,  and  this  international  body,  ■which  is  to  include  the 
whole  body  corporate  of  photographers,  is  no  doubt  to 
make  up  for  lost  time. 


We  sincerely  regret  to  hear  of  the  death  of  Mr.  A.  G. 
Pettitt,  of  Keswick.  It  seems  that  the  very  beautiful 
pictures  he  made  of  the  English  lakes  two  years  ago,  and 
which  brought  him  several  medals,  were  secured  at  the 
expense  of  considerable  ill-health,  from  which  he  never 
thoroughly  recovered.  Mr.  Pettitt’s  last  work  wras  under- 
taken for  Mr.  liuskin,  at  Collision,  in  October  last. 


Photo-lithography  has  a great  future  before  it.  Day  by 
day  a fresh  use  for  a process  of  reproduction  where  abso- 
lute accuracy  is  essential,  is  discovered.  The  latest  instance 
is  a publication  of  a folio  volume  of  facsimiles  of  old  parish 
and  town  maps  of  Birmingham  and  its  vicinity.  Many  of 
these  maps  have  previously  been  seen  only  by  the  lords  of 
the  manor  and  the  great  landowners,  but  now  all  who  run, 
and  read,  and  possess  the  necessary  pecuniary  where- 
withal, can  inspect  them.  The  demand  has  been  so  great 
that  a further  issue  is  being  prepared,  and  another  volume 
of  facsimiles  of  rare  plans  of  the  town  during  the  last  cen- 
tury is  nearly  ready. 


M.  Mendoza  has  brought  before  the  French  Academy 
a method  of  transforming  ordinary  shaded  map3  into  plans 
in  relief.  He  calls  his  method  a physico-chemical  one,  but 
gives  no  details.  It  is  very  possible  he  produces  his  relief 
by  means  of  photography,  making  a print  on  bichromated 
gelatine,  which  is  then  developed  in  warm  w ater  after  the 
fashion  of  Woodbury  and  carbon  printing,  &c. 

The  author  of  “John  Bull  et  son  He,”  which  has  just 
made  its  appearance  in  an  English  dress,  is  hard  upon  the 
London  sun.  He  is  kind  enough  to  say  that  dense  fogs 
“ scarcely  appear  more  than  fifteen  days  out  of  the  three 
hundred  and  sixty-five.  During  the  rest  of  the  year,  you 


have  always  much  about  the  same  greyness.  When  the 
sky  is  clear,  it  is  lovely  ; but  it  is  rarely  clear.  When  the 
sun  makes  his  appearance,  he  is  photographed,  that  folks 
may  not  forget  what  he  is  like.”  Humorous,  but,  fortu- 
nately, untrue. 

One  of  the  most  inteiesting  of  our  historic  relics,  Battle 
Abbey,  must  not,  it  appears,  be  sketched.  The  Duke  of 
Cleveland  does  not  like  his  property  made  the  subject  of 
pictures,  and  very  recently  a lady  who  had  paid  a shilling 
to  be  admitted  into  the  grounds  was  compelled  to  desist  from 
making  sketches.  It  is  to  be  hoped,  for  the  sake  of  amateur 
photographers,  that  the  owners  of  picturesque  and  ancient 
show-places  who  share  his  Grace’s  opinion  are  not  numerous. 
It  is  most  annoying  to  be  told — as,  for  instance,  in  connection 
with  that  most  romantic  spot,  the  Silent  Pool  near  Guildford 
— that  his  Grace  the  Duke  of  Northumberland  will  not  allow 
photographs  to  be  taken.  In  this  case,  the  motive  prompt- 
ing the  refusal  is  not  a particularly  dignified  one,  since  it  is 
simply  to  prevent  the  sale  of  photographs  by  one  authorised 
person  being  injured. 

What  an  outcry  there  would  be  if  the  Corporation  of 
London,  following  his  Grace's  example,  placed  the  right  of 
photographing  Burnham  Beeches  or  Wanstead  Park  in 
the  hands  of  one  man  ? Apropos  of  Wanstead  Park,  it  may 
be  said  to  be  well  worthy  a visit.  There  are  some  delightful 
bits  of  lake  scenery  to  be  secured,  the  charm  of  the  Park 
being  the  many  picturesque  pieces  of  water  which  it  con- 
tains. The  Park  is  scarcely  outside  the  suburbs  of  London, 
but  entails  a walk  of  a couple  of  miles  or  so  from  the 
nearest  railway  stations,  Forest  Gate  and  Snaresbrook. 


A correspondent  writes : — “ Of  all  the  mass  of  Christmas 
cards  that  have  been  delivered  at  my  door  during  the  past 
few  days— and  the  total  is  well  on  into  the  second  hundred 
— distinctly  the  most  artistic  and  elegant  are  two  photo- 
graphic cards,  one  a view  by  Payne  Jennings,  the  other  a 
sprig  of  bramble.  Both  are  mounted  on  dark  green  mounts. 


Our  correspondents  are  sometimes  given  to  sending  us 
negatives  through  the  po3t,  aud  only  last  week  the  liight 
Hon.  II.  Fawcett,  M.P.,  intimated  that  if  we  did  not  send 
to  his  official  residence  in  St.  Martin’s-le-Grand  for  a 
packet  of  broken  glass,  bearing  our  address,  it  would  be 
forfeited.  The  despatch  of  glass  through  the  post  is  at  all 
times  to  be  deprecated,  but  when  a package  is  liable  to 
damage  from  stamping,  the  sender  would  do  well  to  wrap 
it  in  black  paper  and  attach  thereto  a label  with  address. 
This  plan,  no  doubt  already  known  to  many  of  our  readers, 
secures  the  package  immunity  from  rough  usage,  for  black 
paper  offers  no  inducement  to  the  energetic  stamper. 


Is  it  worth  while  to  retain  the  word  “ instantaneous,”  in 
classifying  photographs  for  exhibitions  or  awards  V Apart 
from  the  meaninglessness  of  the  word — for  any  exposure 
from  one  second  to  the  thousandth  part  and  less  passes  for 
instantaneous  ” — there  are  other  good  reasons  for  abolish- 
ing the  term.  Half  the  medals  given  fall  to  pictures  rapidly 


December  28,  1883.1 


THE  PHOTOGRAPHIC  NEWS. 


825 


taken,  but  it  is  not  the  rapidity  so  much  as  the  result  that 
is  praiseworthy.  But  if  there  are  “ instantaneous  ” medals 
allowed,  we  shall  have  hangers  or  jurors  one  of  these  days 
disqualifying  pictures  taken  with  a rapid  shutter  for  other 
classes,  let  the  photographs  be  views,  studies,  genre,  or 
what  not.  The  photographer  makes  his  picture  in  the  best 
way  he  can,  and  if  a rapid  exposure  is  necessary  to  his 
purpose,  he  must  perforce  tike  this  factor  into  considera- 
tion. 


But  as  we  have  pointed  out  before,  the  best  plan  of  all 
is  to  subdivide  awards  as  little  as  possible.  We  are  glad  to 
see  that  at  Brussels,  Newcastle,  and  Bristol  the  gold  medals 
have  all  been  given  this  year  for  genre  pictures,  or,  in  other 
words,  for  pictorial  photographs.  If  we  are  to  elevate  our 
art,  it  is  in  this  direction  it  must  be  done,  and,  therefore, 
every  encouragement  should  be  given  for  picture-making 
by  photography.  A few  years  ago  the  geure  picture  com- 
manded but  a second  class  award,  but  this  state  of  things 
has  altered  for  the  better. 


Criminals  compelled  to  have  their  portraits  taken  are 
often  alive  to  the  disadvantage  of  such  a course,  and  at 
times,  we  hear  of  the  shifts  they  make  to  avoid  the  un- 
pleasant ordeal.  With  our  prisoners,  however,  the  ob- 
struction is  usually  confined  to  grimaces,  contortions,  and 
unsteadiness  on  the  part  of  the  sitter,  and  these,  moreover, 
are  very  seldom  indulged  in.  In  America,  they  do  not 
proceed  in  this  half-hearted  way,  for  recently  we  are  told, 
on  the  occasion  of  a habitual  law  breaker,  named  Uavis, 
being  posed  for  his  picture,  he  simply  seized  the  chair  and 
“ irretrievably  smashed  the  camera.”  Now,  the  question 
naturally  is,  who  is  going  to  pay  for  it? 


There  is  a grand  opportunity  just  now  for  some  photo- 
grapher of  originality  to  invent  a new  pose.  Mrs.  Langtry 
gave  quite  an  impetus  to  trade  when  she  consented  to  be 
taken  warming  her  nose  with  her  muff,  and  forthwith 
ladies  rushed  to  see  themselves  in  this  novel  if  not  roman- 
tic attitude.  The  holding  of  a palm  or  a lily  in  one  hand, 
a pose  much  favoured  by  professional  beauty,  also  had  a 
fair  innings,  and  so  did  the  Japanese  parasol  and  the 
swing.  J ust  now  there  is  a total  dearth  of  what  may  be 
called  a fashionable  pose.  Is  it  because  there  are  no 
longer  any  professional  beauties  ? 


Although  photographers  are  accustomed  to  look  upon 
cyanide  of  potassium  and  bichloride  of  mercury  as  most 
deadly  poisons,  they  rarely  give  another  substance  a 
tho”ght,  which  ia  just  as  common  among  their  photo- 
graphic chemicals,  and  is  just  as  dangerous  taken 
internally ; we  mean  iodine.  The  effects  of  swallowing  this 
element  is  not,  it  is  true,  the  same  upon  all  patients ; but, 
at  any  rate,  three  grains  have  been  known  to  cause  death, 
the  same  as  with  potassium  cyanide  and  mercuric  chloride. 
The  antidote  for  iodine,  we  are  told,  is  gruel  or  starch  or 
arrowroot  taken  freely,  while  every  effort  should  be  made 
to  induce  vomiting. 


A dark-tent  for  changing  plates  does  not  seem  to  be  the 
indispensable  apparatus  to  the  travelling  photographer 
some  people  imagine.  With  a thick  travelling  shawl  or 
rug,  it  is  not  difficult  to  improvise  a safe  changing  shelter 
either  in  an  outhouse  or  in  one  of  those  gloomy  recesses  in 
which  ruins  and  other  romautic spots  abound.  Mr.  J.  Grove, 
of  Castle  Grove,  Letterkenney,  who  writes  on  this  subject, 
assures  us  that  so  effective  has  he  found  the  simple  arrange- 
ment, that  he  recently  took  a series  c f views  of  Conway 
Castle  with  but  a simple  wet  plate  slide  in  his  possession, 
which  naturally  compelled  him  to  change  his  plates  with 
every  exposure. 


A novel  in  three  “ Notes.”  It  happened  in  this  wise.  Mr. 
Alderman  Conger  mentioned  the  name  of  Lord  Bareacres 
at  table  d’hote  at  the  Wiesbaden  Kurs&al,  and  after  dinner 
this  Captain  Carp,  a pleasant,  good-humoured  young  fel- 
low, put  a small  photograph  in  the  alderman’s  hands.  As 
the  latter  looked  at  it,  the  new  comer  said  : “ Heard  you 
mention  his  lordship’s  name,  and  so  introduce  myself  as  a 
mutual  friend  ” — for  the  picture  included  two  smiling  por- 
traits of  Lord  Bareacres  and  Captain  Carp  side  by  side. 
The  alderman  was  enchanted  : “ Have  a cigar  sir  : glad  to 
see  you,  sir  ; one  of  my  girls,  sir.  Belinda,  my  dear,  a 
friend  of  Earl  Bareacres,  whom  we  met  once  at  Guildhall, 
you  remember.”  Miss  Conger  recognized'  the  portrait, 
and  remarked  how  good  it  was.  “ Do  you  think  so  ? Bray 
keep  it,”  said  the  Captain. 

Captain  Carp  travelled  with  the  Congers  for  some  weeks ; 
he  wanted  change  of  scene  after  bis  father’s  death.  The 
shock  had  been  so  great,  he  had  not  looked  into  his  affairs 
yet,  or  troubled  to  invest  the  money.  “ Do  so,  at  once,” 
urged  the  alderman.  “ Yes,  do,”  sighed  Belinda.  Captain 
Carp  hesitated:  “Well,  Bareacres  writes  me  two  days 
will  do  it,  so  I suppose  I must ; but  he  is  such  a bad  man 
of  business,  and  so  am  I.”  Replied  the  alderman  : “ Non- 
sense, my  boy  ; I'll  give  a note  to  Conger,  Eels,  and  Tur- 
tle, the  best  stock  brokers  on  change,  and  they  shall  do  all 
you  want.”  Alas!  deceiving  Belinda  had  betrayed  Cap- 
tain Carp’s  affairs  to  her  parent.  But  what  did  it  matter  ; 
they  were  engaged,  and  her  father  must  learn  all  soon. 


Two  days  later  came  a telegram  from  Lord  Bareacres, 
thanking  the  alderman  for  his  attention,  and  intimating 
that  he  and  his  young  friend  Carp  had  gone  in  for  fifty 
thousand  Buffalo  bonds  ; this,  soon  after,  was  followed  by 
another  message,  telling  how  Buffaloes  had  gone  up  five, 
and  how  the  result  of  Conger’s  advice  was  a gain  of  two 
thousand  five  hundred  pounds.  “ For  all  that,  I don’t  like 
Buffaloes,  Belinda,”  said  the  alderman,  and  next  morning 
his  worst  suspicious  were  confirmed  ; there  was  a drop  in 
the  bonds  from  45  to  17.  “Hope  you  have  the  money  from 
the  Captain,”  wired  the  alderman.  “ No,  but  we  have 
your  letter  of  indemnification,”  replied  the  firm.  The  Earl 
was  very  indignant  when  asked  about  the  photograph ; lie 
supposed  it  was  taken  last  summer  when  he  had  attended 
a public  launch,  and  that  the  man  had  cut  off  all  the 
crowd,  leaving  only  himself  and  the  earl  side  by  side. 


826 


THE  PHOTOGRAPHIC  NEWS. 


[December  28,  1883. 


patent  Jiitclljgmci. 

Grant  of  Provisional  Protection. 

5464.  Albert  Kepler,  of  Beckham,  in  the  county  of  Surrey, 
Achille  Morin  df.  Premion,  and  Alfred  Pigeau,  of  Lombard 
Street,  in  the  city  of  London,  for  an  invention  of  “ Improve- 
ments in  the  manner,  method,  or  mode  of  preparing  and  pro- 
ducing coloured  photographs,  and  in  the  arrangements  and 
apparatus  employed  therefor.” — Dated  20th  November,  1883. 

Patents  Sealed. 

3164.  Alfred  Onksime  Amedee  Feret,  Charles  Louis  Victor 
Ladime,  and  Alfred  Hifpolyte  Feret,  all  of  the  city  of 
Paris,  in  the  republic  of  France,  for  an  invention  of  “ Improve- 
ments in  the  manufacture  of  paper  with  relief  designs  on  the 
surface.” — Dated  26th  June,  1883. 

Patent  Void  through  Non-payment  of  Duty. 
5176.  John  Palmer  Clarke,  of  7 Abbey  Hill,  Bury  St. 
Edmunds,  in  the  county  of  Suffolk,  photographer,-  for  “ An 
improved  turn-table  for  posing  of  sitters  or  models  for  artists’ 
and  photographers’  use.” 

This  invention  is  carried  into  practice  by  simply  placing  the 
sitter  or  model  on  the  turn-table,  capable  of  being  caused  to 
revolve  readily  on  its  centre,  so  as  to  bring  the  object  into  the 
most  desirable  position.  The  table  is  turned  by  means  of  a long 
stick  or  rod,  which  is  hooked  or  otherwise  formed  at  its  end,  so 
as  to  engage  with  holes  or  staples,  projections,  or  indentations 
provided  on  the  turn-table  for  that  purpose.  The  table  may  be 
turned  by  any  other  suitable  connections  between  the  operator 
and  the  table,  to  avoid  the  necessity  of  the  operator  leaving  the 
camera  when  the  turn-table  is  used  for  photographic  purposes. 
The  outer  circumference  of  the  turn-table  is  supported  on  friction 
rollers,  which  may  be  covered  with  india-rubber  or  other 
suitable  material. 


LESSONS  IN  OPTICS  FOR  PHOTOGRAPHERS. 

BY  CAPTAIN  W.  DE  W.  ABNEY,  R.E.,  F.R.S. 

Lesson  VIII. 

We  must  now  fulfil  the  promise  we  made  iu  the  Fiist 
Lesson  regarding  diffraction  phenomena.  When  travelling 
in  a cab  at  night,  with  the  windows  up,  and  the  moisture 
from  the  breath  condensed  upon  the  glass,  if  the  reader 
looks  at  a gaslight  in  the  distance,  he  will  observe  the  image 
of  the  flame  sui rounded  by  a varigated  halo.  Agaio,  if  a 
candle  flame  be  looked  at  through  a silk  umbrella,  it  will 
present  a similar  appearance  as  the  above,  oniy  the  halo 
will  be  more  brilliant.  Another  experiment  is  to  look  at 
one  pair  of  slightly  opened  scissors  through  the  opening 
of  another  slightly  opened  pair,  near  their  junctioD,  when 
coloured  hands  will  be  seen  near  the  junction  of  distant 
scissors.  These  phenomena  are  due  to  the  diffraction  of 
light,  or  the  bending  of  the  rays  when  passing  a sharp 
edge  or  edges.  There  is  so  much  circumstantial  evidence 
regarding  radiation  that  we  are  bound  to  accept  the  idea 
that  light,  as  caused  by  a monochromatic  ray,  is  due  to  the 
impacts  of  a succession  of  undulations  or  waves  in  a 
medium  which. pervades  all  space  and  transparent  bodies 
upon  certain  parts  of  our  eyes.  White  light,  we  have  also 
sufficient  evidence  to  show,  is  made  up  cf  an  infinite 
number  of  different  coloured  rays,  each  being  due  to  a dis- 
tinct series  of  undulations  which  travel  with  the  same 
velocity,  but  yet  are  of  different  wave  lengths.  These 
waves  may  be  conceived  for  our  purpose  to  travel  in 
somewhat  the  same  way  as  waves  in  the  sea,  and  not 
as  sound  waves,  which  are  alternate  condensations  and 
rarifactious  in  the  line  joining  the  ear  and  the  source 
of  sound.  The  waves  of  light  which  can  affect  the 
eyes  are  also  excessively  small ; the  extreme  red  rays  are 
not  more  than  tuusWu  of  an  inch  in  length,  whilst  the 
violet  rays  have  a wave  length  of  about  tuoVW  of  an  inch. 
Beyond  these  extremes  of  visible  rays,  there  are  others 
longer  or  shorter.  With  the  former  photography  has  but 
little  to  do,  except  for  scientific  work ; whilst  with  the  latter, 
which  are  as  short  even  as  icbVWj  of  an  iucb,  photo- 
graphers have  to  reckon. 


The  “ intensity  of  light  ” is  proportional  to  the  square  of 
the  “ amplitude  ” of  the  wave.  If  A B C D is  the  section  of 
a wave,  then  A a added  to  B b is  the  amplitude.  Points  in 
waves  are  said  to  be  iu  the  same  “ phase  ” wheD  tbeir  posi- 
tions are  identical  as  to  position  and  motion.  Thus  B and 
D — also  A and  C — are  in  the  same  phase,  whilst  C and  B 
are  in  opposite  phases.  The  “ length  of  a u-ave"  is  the  dis- 
tance between  two  points  in  the  same  phase  in  succeed- 
ing waves.  Thus  the  length  ol  the  wave  in  fig.  45  is  the 


Fig.  45. 


distance  A C or  e d.  The  “ front  of  a reave  ” is  a continuous 
line  joining  till  points  in  the  same  phase  in  that  wave.  Thus, 
the  length  of  the  crest  of  a wave  is  a front  of  a wave. 

Suppose  we  have  another  wave  A'  B'  C'  D'  traversing 
tbe  same  medium  as  A B C D,  if  it  happens  that  the  crest 
of  one  wave  is  exactly  superposed  over  the  trough  of  the 
other  as  B is  to  B'  (that  is,  exactly  half  a wave  length 
behind  it),  then  the  matter  which  would  be  required  to 
make  up  the  crest  of  one  would  also  be  required  to  fill  up 
the  trough  of  the  other,  and  consequently,  instead  of  there 
being  any  wave  motion,  there  would  be  a state  of  rest,  and 
as  there  would,  in  such  a case,  be  no  amplitude,  there  would 
bo  no  intensity  of  light,  and  therefore  there  would  he  dark- 
ness when  such  a coincidence  takes  place. 

Let  A B (fig.  4G)  be  a screen  with  a minute  hole  cut  in 


Fig.  46. 


it  of  diameter,  KH,  and  let  0 be  the  centre  of  the  hole. 
Suppose  we  have  a succession  of  light  waves  striking  the 
screen  iu  the  direction  of  the  arrows,  what  would  happen 
on  the  other  side  of  the  hole  ? Would  the  light  opposite  K H 
pass  straight  through  the  hole,  or  would  it  spread  out  ? 
Now  let  G H represent  the  front  of  a wave — that  is,  the  line 
aloug  the  crest  of  a wave,  or  parallel  to  it — when  G H 
arrives  at  C D,  we  may  break  up  the  length  K II  of  it  into 
small  parts,  and  each  small  part  may  be  considered  as  the 
starting-point  of  new  waves  propagated  on  the  side  of  A B, 
opposite  to  the  incident  wave.  What  would  be  the  in- 
tensity, if  any,  of  the  light,  at  a point  situated  at  (say)  E ? 
Common  experience  tells  us  that  every  source  of  light  radi- 
ates all  around  ; the  front  of  each  small  wave  will  therefore 
be  semicircular,  and  it  is  evident  that  each  small  wave  will 
produce  the  same  intensity  in  the  direction  O E. 

Let  E be  so  situated  that  the  length  of  H E is  just  one 
wave  length  more  than  K E;  make  E d equal  E K,  then 
d 11  is  the  wave  length.  Then  II  E is  just  half  a wave 
length  longer  than  E O,  and  this  is  half  a wave  length 
longer  than  II  E.  In  other  words,  the  trough  of  the 
wave  starting  from  O will  arrive  at  E at  the  same  time 
that  the  crest  of  the  wave  H does;  therefore,  these  small 
waves  will  be  annihilated,  and  there  will  be  darkness  as 
far  as  they  are  concerned.  Another  wave  starting  between 
II  and  O will  find  another  wave  between  0 K,  also  half  a 


THE  PHOTOGRAPHIC  NEWS. 


827 


December  28,  1883.  | 


length  shorter,  and  so  on.  Therefore  at  E there  will  be 
darkness  If  the  lengths  hi  E and  Iv  E differed  by  2,  3,  &c., 
wave  lengths,  the  same  dark  poiuts  would  be  obtained, 
and  intermediate  between  these  would  be  regious  of  more 
or  less  intensity. 

These  dark  rings  would  occur  at  points  round  the  semi- 
circle, when — 


cos  g or 


MO 

OE 


3A 

2b 


where  \ is  the  wave  length,  aud  b the  radius  Oil  of  the  hole, 
0 being  the  angle  A O E. 

Between  these  dark  rings  would  be  spaces  of  light,  the 
first  having  less  than  *5  of  the  intensity  of  the  central 
spot,  and  the  next  much  less  still.  For  ordinary  purposes, 
this  first  bright  ring  need  only  be  taken  into  account. 
Supposing  we  have  an  orange  ray  which  has  a wave-length 
(\)  of  about  inch,  and  a hole  100  of  an  inch,  and 
suppose  the  source  to  be  ten  inches  away,  the  first  dark 
ring  will  have  a radius  of — 

— XlO  = A>  >uch. 

T5o 

that  is,  a point  of  light  would  be  represented  by  a disc 
brightest  in  the  centre,  fading  off  at  the  edge,  and  having 
a diameter  of  A;  of  an  inch,  and  outside  that  would  be  a 
brightish  ring  increasing  the  disc  still  more. 

Thus,  monochromatic  light  passing  through  a hole  on  to  a 
a screen  would  be  represented  by  a central  spot  surrounded 
by  narrow  concentric  rings  of  light,  i.  e.,  diminishing 
rapidly  in  brightness  the  further  off  they  were  from  the 
central  point,  and  the  smaller  the  hole , the  further  apart  the 
rings  would  be. 

Now,  we  have  only  treated  of  monochromatic  light,  and 
the  method  of  finding  the  diameters  of  the  dark  rings  for 
any  one  colour  has  been  given.  The  greater  the  length  of 
the  light-wave,  the  further  they  are  from  the  central  spot. 
Thus,  the  dark  rings  caused  by  red  and  blue  rays  would  be 
at  different  distances  from  the  central  spot,  and  in  a mix- 
ture of  the  two  the  first  dark  ring  due  to  the  red  rays 
would  be  illuminated  by  a light  ring  due  to  the  blue,  so 
that  we  should  have  alternate  blue  and  red  rings,  and 
subsequently  an  over-lapping  of  the  two. 

Now  take  white  light,  which  is  composed  of  all  colours, 
and  it  will  be  evident  that  the  image  of  the  small  round 
hole  on  the  screen  will  be.  represented  by  a fringe  of 
variegated  colour,  the  violet  encircling  it,  and  then  blue 
and  yellow,  then  red ; a little  further  the  colours  will 
overlap,  and  then  the  pure  colours  will  vanish,  and  we 
shall  have  mixed  colours. 

Thus  if  \ and  and  be  three  wave  lengths,  such  that 
2a  = 3a'=4a",  the  second  circle  of  the  first  will  over-lap  the 
third  circle  of  the  second,  and  the  fourth  circle  of  the  t Bird. 

This,  then,  is  a diffraction  phenomenon,  and  we  can  now 
see  why  in  addition  to  the  indistinctness  of  an  image  as 
formed  by  a pinhole  which  is  caused  by  its  diameter,  there 
is  increased  indistinctness  caused  by  diffraction,  aud  that 
the  more  you  destroy  the  indistinctness  due  to  the  one 
by  diminishing  the  aperture,  the  more  you  increase  that 
due  to  the  other. 

The  same  remark  also  applies  to  the  aperture  in  a 
diaphragm  to  a lens.  If  it  be  very  small,  we  get  diffraction 
phenomena,  and  the  smaller  it  is  the  worse  the  diffraction. 

An  excellent  experiment  is  to  place  a spectacle  or  other 
lens  of  short  focus  in  a camera,  and  reflect  sunlight  directly 
through  it  on  a white  screen.  Now  place  a sharp  edged 
plane,  such  as  a razor,  in  the  path  of  the  beam.  It  will 
be  found  that  where  the  shadow  ought  to  commence,  a faint 
light  is  seen  gradually  fading  off.  Above  the  shadow, 
instead  of  the  screen  being  uniformly  illuminated,  a series 
of  alternate  light  and  dark  bands  are  seen  parallel  to  the 
line  of  shadow.  These  gradually  fade  away,  becoming 
indistinct.  Instead  of  the  sharp  edged  plane,  place  a hair, 
and  a series  of  bands  will  be  seen.  The  photographer  will 
not  have  much  difficulty  in  seeing  the  bearing  of  this  ex- 
periment on  his  practical  work. 


Ufbicfo. 

The  Chemical  Effect  of  the  Spectrum.  By  Dr.  J.  M 
Eder.  Translated  and  Edited  by  Captain  W.  de  W • 
Abney,  R.E.,  F.ll.S.  ( Harrison , Pall  Mall.) 

W e have  here  a careful  digest  of  some  of  the  mest  important 
of  the  original  investigations,  observations,  and  compila- 
tions of  Dr.  Eder ; but  as  the  substance  of  the 
book  has  already  appeared  in  the  Photographic  News, 
it  is  needless  for  us  to  either  quote,  or  to  enter  into 
detail  regarding  contents.  It  is  impossible  to  read  the  book 
without  being  impressed  by  the  universality  of  the  photo- 
graphic action,  so  extensive  is  the  list  of  bodies  which 
undergo  chemical  or  physical  change  when  exposed  to  the 
action  of  light.  The  index  is  somewhat  incomplete — so 
much  so  as  to  be  practically  valueless  to  the  student — two 
items  only  standing  under  the  letter  E,  and  three  under  B. 


ON  RATIONAL  DEVELOPMENT:  NOTES  FOR 
THE  GUIDANCE  OF  BEGINNERS. 

BY  HERBERT  B.  BERKELEY. 

A SOMEWHAT  extended  experience  of  the  early  productions 
of  beginners  in  photography  induces  me  to  believe  that 
rule-of-thumb  and  hard-and-fast-rule  between  them  share 
a sovereignty  far  more  wide-spread  than  their  intrinsic 
virtues  entitle  them  to,  for  rule-of-thumb  is  simply  the 
couitesy-title  of  chaotic  confusiou,  and  hard-and-fast  rulo 
is  a non  sequitur  (seeing  that  the  preliminary  conditions 
may  be  so  variable)  worthy  only  of  the  man  with  but  one 
fixed  idea  in  his  bead,  and  that,  that  the  world  and  all 
that  is  in  it  should  be  governed  on  the  “ uniform  system.” 
Now,  the  “ uniform  system  ” is  all  very  well  when  applied 
to  i:  flanges,  diaphragms,  and  camera-screws”  ; but  beyond 
these  and  some  other  matters  momentous  to  photographers, 
it  is  limited  in  application. 

To  approach  my  subject  more  closely,  we  have  the  rule- 
of-thumb  man,  who  pops  in  a spoonful  of  this,  and  dashes 
in  a few  drops  or  dribbles  of  the  other,  applies  the  mixture 
to  his  plate,  and  awaits  what  the  gods  may  send  him.  He 
has  the  profoundest  contempt  for  the  “formula”  of  the 
man  of  hard-and-fast-rule,  and  flatters  himself  that  his 
“method”  is  the  outcome  of  an  innate  genius,  capable, 
whenever  called  upon,  to  produce  for  him  the  best  of  nega- 
tives ; and  regretting  that  he  cannot  communicate  the  secret 
of  his  success  to  others — and  howr  can  genius  be  communi- 
cated?— be  goes  on  his  way  rejoicing  in  his  strength.  “ Ob, 
wad  the  gods,  &c.  ” ; for  though  the  “ gods  ” may  send  him 
few  absolute  failures,  what  right  has  he  to  presume  that  the 
best  results  possible  under  the  circumstances  have  been 
obtained  by  following  the  dictates  of  his  inspiration?  Let 
him  try  to  produce  two  results  exactly  alike,  and  then  let 
him  see  where  his  genius  will  land  him  ! 

Then  there  is  the  man  of  hard-and-fast  rule.  When 
his  faith  is  a little  shaken  in  the  efficacy  of  his  rule,  he 
will  ask  you,  in  terms  of  entreaty,  for  your  “formula,’ evi- 
dently believing  that  you  are  possessed  of  a valuable  secret 
regarding  development,  and  that  nothing  short  of  using  — 
grains  of  pyro  — grains  of  bromide  and  — minims  of  ammo- 
nia, with  implicit  faith  in  the  virtues  of  the  mixture,  will 
enable  him  to  produce  such  pictures  as  those  he  may  have 
been  adtniting.  If  he  believe  in  you,  most  happy  will  he  be 
when  he  has  extracted  from  you  your  talisman  (some 
representative  formula  you  have  concocted  for  the  occa- 
sion!); exultingly  will  he  make  use  of  it;  dejectedly  will 
he  impart  to  the  first  photographic  friend  he  meets  his  firm 
conviction  that  “the  man  who  suggested  the  use  of  that 
formula  knows  no  more  about  development  than  the 
man  in  the  moon  ! ” 

Now,  I have  written  enough  to  show  that  I neither  advo- 
cate rule-of-thumb  nor  hard-and-fast-rule.  What,  then, 

I do  I advocate  ? I advocate — and  here  let  me  disclaim  all 


828 


THE  rHOTOGlUrHIC  NEWS. 


[December  28,  1883. 


intention  of  dogmatising,  or  of  setting  up  the  methods  I 
shall  indicate  as  perfect — the  intelligent  use  of  each  of  the 
constituents  of  the  alkaline  developer,  varying  the  quanti- 
ties as  circumstances  may  dictate. 

I shall  now  proceed  to  present,  as  far  as  1 am  able,  wlnt 
several  of  my  friends  and  photographic  acquaintances 
have  assured  me  is  much  wanted  by  themselves  as  well  as 
by  beginners  generally— namely,  as  clear  and  full  a state- 
ment as  possible  of  the  rationale  of  development,  of  the 
uses  and  modes  of  action  of  the  constituents  of  the  deve- 
loper, enabling  them  to  make  more  intelligent  use  of  the 
latter  than  they  find  they  are  now  able  to  do. 

To  begin  with,  every  dry-plate  worker  in  the  field  should 
keep  a note-book  (books  of  this  kind  are  to  be  bought 
printed  for  this  express  purpose),  which  may  be  ruled 
out  into  spaces  where  date,  time  of  day,  aspect,  name 
of  subject,  remarks  on  lighting,  intensity  of  light,  and  sug- 
gestions for  development  may"  be  noted  ; then  may  follow 
number  of  dark-slide,  lens,  stops  (preferably  also  in  terms 
of  proportion  of  working-aperture  to  equivalent  focus  of 
lens;  or,  better,  the  relation  in  simple  figures  the  stops 
bear  to  each  other  or  to  some  given  standard,  as  that  of 
the  Photographic  Society  of  Great  Rritain)  ; then  the  length 
of  exposure,  or,  in  case  of  very  short  exposures,  the  means 
of  giving  the  exposure  ; next  the  “ make  ” of  plates  ; and, 
finally,  a space  left  for  making  note  of  the  mode  of  de- 
velopment ultimately  adopted.  All  this  to  the  “ rule- 
of-thumb-man  ” may  appear  “faddy”  in  the- extreme, 
“ pen-and-ink  photography ; ” but  let  such  remember  that 
though  photography  may  attain  to  art,  yet  its  means  are 
purely  chemical  and  scientific,  and  that  the  photographer 
is  somewhat  in  the  position  of  a painter  who  has  to  make 
hi3  colours  before  applying  them  to  his  surface. 

A formula  under  certain  fixed  conditions  of  subject  and 
lighting  should  give  uniformly  good  results  : but  we  have, 
in  fact,  different  conditions  of  subject  and  different  quali- 
ties and  manners  of  lighting.  Moreover,  we  are  forced 
sometimes — too  often,  I must  allow — to  wish  to  produce  an 
effect  not  quite  the  counterpart  as  regards  light  and  shade 
of  the  one  before  which  we  have  placed  our  camera  ; the 
lighting,  or  rather  the  intensity  of  light  (for  we  cannot 
modify  “ lighting  ’• ),  is  not  calculated  to  give,  were  the 
fixed  formula  used,  an  approach  to  the  ideal  result  we  hope 
for.  The  consequence  of  all  this  is  that  just  as  our  ability 
to  temper  or  to  direct  the  action  of  light  proves  invalid, 
so  does  our  command  of  certain  other  forces  step  in.  I 
allude  to  the  control  we  can  exercise  over  the  precise  effect 
given  by  the  developer  by  placing  one  or  other  of  the  con- 
stituents of  it  at  greater  or  less  advantage. 

It  is  commonly  said  that  the  functions  of  the  constitu- 
ents of  the  developer  are  these  : “ the  pyro  gives  density  ; 
the  ammonia  develops;  and  the  bromide  restrains  chemical 
action.”  Or,  again  : “ the  pyro  develops  ; the  ammonia 
gives  density,  while  the  bromide  restrains.”  The  truth  is 
that  under  certain  conditions  pyro,  in  quantity,  will  give 
neither  density  nor  detail  over  and  above  that  which  would 
have  been  given  by  a less  quantity.  The  same  is  true,  in 
a minor  degree,  perhaps,  as  regards  ammonia  ; for  though 
increasing  it  in  the  developer  tends  up  to  a certain  point 
(always  supposing  that  “fog”  does  not  supervene)  to  the 
production  of  detail,  yet  it  is  quite  possible  that  less  of 
it,  with  less  also  of  the  other  constituents,  would  have  pro- 
duced an  equal  amount  of  detail  with  more  harmonious 
effect  and  printing-value.  So  with  regard  to  its  density- 
giving property ; whilst  up  to  a certain  point  increasing 
the  quantity  may  add  to  the  density  of  the  image,  the 
lavish  use  of  it  may  produce  a thin  result  of  the  opposite 
kind. 

The  cause  of  all  this  is  found  in  the  fact  that  the  ease  of 
reduction  of  the  silver,  combined  with  the  production 
of  a deusity-giving  organic  substance,  depends  upon  the 
strength  of  the  alkaline  pyrogallol , and  upon  neither  of  the 
constituents  per  sc  ; though,  of  course,  we  may  easily  have 
fhe  solution  too  strong  in  this  body,  and  so  produce  uni- 


versal reduction,  or  what  we  term  “ fog.”  Moreover, 
there  is  a tendency  with  strong  reducers  to  produce  harsh 
contrasts,  such  contrasts,  too,  as  are  beyond  the  power  of 
the  printer  to  reproduce  ; hence  in  practice  a weaker  deve- 
loper is  preferable. 

When  harmony  is  desired — the  lighting  or  Datuie  of 
subject  producing  harsh  contrasts,  wlide  blocking  of  the 
high-lights  may  be  feared  (for  our  plates  have  a failing 
especially  in  the  rendering  of  the  higher  grades  of  light, 
and  the  defect  is  easily  aggravated  by  faulty  development), 
and  under-exposure,  braved,  perhaps,  to  avoid  other  evils, 
may  demand  an  antidote,  the  strength  of  the  alkaline- 
pyrogallol  should  be  below  the  normal  poiut.  It  will  be 
understood  that  when  the  lighting  of  the  subject  is  as 
harmouious  as  desired  to  be  repiesented  in  the  negative, 
then  a developer  weaker  than  the  noimal  one  may  not  be 
desirable.  Moreover,  under  the  latter  conditions,  even 
evident  under-exposure  may  not  much  affect  the  general 
view  of  the  case,  as  the  light  will  have  exercised  but  fsfint 
action  generally  over  the  whole  surface.  On  the  contrary, 
it  may  be  well  to  take  means  to  promote  a tendency  to 
vigour.  This  may  be  done  either  by  increasing  slightly 
the  quantity  of  pyro,  and  then  giving  longer  time  for 
development,  or  by  increasing  quautity  of  both  constitu- 
ents, perhaps  also  adding  to  the  quantity  of  bromide  pre- 
sent ; the  former  plan  particularly  affecting  the  density  of 
the  high-lights  ; the  latter  method  bringing  up  the  whole 
of  the  detail  in  a more  pronounced  or  accentuated  manner. 

The  novice  will  hardly  have  failed  to  deduce  from  the 
gist  of  the  foregoing  remarks  the  necessity  for  close  study 
and  attention  to  the  peculiarities  of  subject  and  light- 
ing in  each  particular  case.  It  is,  of  course,  the  actinic 
value  of  the  rays  of  light  forming  the  picture  (and,  indeed, 
some  invisible  rays  also)  which  we  have  to  take  into  ac- 
count— a fact  which  embodies  at  once  the  bane  and  the 
source  of  being  of  photography  ; hence  we  must  not  be 
misled  by  visual  brightness  ; the  effect  of  certain  colours 
upon  our  retina  is  not  the  counterpart  of  their  action  upon 
the  sensitive  plale.  Perhaps  the  great  discrepancy  in  this 
respect  is  best  illustrated  by  a scene  in  autumn,  the  leaves 
in  their  splendour  of  colour  glowing  in  the  rays  of  the 
evening  sun.  What  a disappointing  subject  to  the  pho- 
tographer, and  doubly  so  if  he  be  deceived  as  to  the  true 
photographic  value  of  the  rays  with  which  he  has  to  deal ! 

Alkaliuity  has  a tendency  to  promote  the  appearance  of 
detail  in  a plate  to  which  it  has  been  applied,  so  that  on 
addition  of  the  pyro,  the  silver,  in  parts  but  feebly  acted 
upon  by  light,  are  more  readily  reduced  than  they  other- 
wise would  be.  Probably,  as  regards  the  production  of  de- 
tail in  the  shadows,  there  is  but  little  to  be  gained  by 
following  this  method,  and  continued  action  of  a developer 
applied  as  ordinarily  will  in  time  bring  out  an  equal  amount 
of  detail ; but  with  this  difference,  that  in  the  latter  case 
the  detail  in  the  shadows,  on  printing,  will  be  buried  before 
the  details  in  the  high-lights  are  sufficiently  brought  out. 
Hence  the  value  of  the  above  method.  Naturally,  a some- 
what similar  condition  to  the  former  one  obtains  when  the 
quantity  of  ammonia  is  increased  in  the  mixed  developer  ; 
and  as  the  quantity  added  reaches,  or  perhaps  slightly 
exceeds,  the  chemical  equivalent  of  the  pyro  present,  so 
does  the  energy  of  the  developer  increase. 

Pyrogallol  has  considerable  restraining  and  density- 
giving powers,  but  in  order  that  the  latter  shall  be  exhi- 
bited, it  is  necessary  that  the  development  be  prolonged, 
doubling  the  quantity  of  pyro,  perhaps  demanding  a deve- 
lopment for  a time  half  as  long  again.  An  equal  amount 
of  detail  will  then  be  visible  in  the  negative  so  treated  and 
in  one  normally  developed  ; but  the  detail  in  the  shadows 
of  the  plate  developed  with  the  larger  quantity  of  pyro  will 
be  thinuer,  while  the  high-lights  will  be  denser  than  those 
in  the  other  negative.  There  will  be  brilliancy  and 
sparkle,  perhaps  amounting  to  hardness.  The  other  plate 
will  present  a more  harmonious  aspect,  perhaps  amount- 
ing to  tlatness. 


December  28,  1883.  J 


THE  PHOTOGRAPHIC  NEWS. 


829 


With  regard  to  the  use  of  the  soluble  bromide,  I shall 
not  say  much,  except  that  when  much  ammonia  is  used, 
and  particularly  when  the  quantity  of  pyro  is  decreased, 
it  is  desirable  to  use  more  than  the  normal  quantity  of  this 
to  prevent  what  is  known  as  “ abnormal  reduction  ” or 
“ fogging.”  So  also  when  the  development  is  commenced 
by  soaking  the  plate  in  water  made  alkaline  by  the  am- 
monia before  the  addition  of  the  pyro. 

There  are  two  classes  of  subject  intimately  connected 
in  their  nature,  in  which  amateurs  of  little  experience 
(whom  1 particularly  address)  would  do  well  to  interest 
themselves.  I allude  to  clouds  aud  water.  There  can  be 
no  doubt  that  no  landscape-photographer  can  excel  with- 
out paying  great  attention  to  these  when  they  occur  in  his 
pictures — and  how  often  do  they  occur  ! I am  sometimes 
asked;  “How  do  yon  develop  cloud  negatives  on  rapid 
plates?”  Now,  nothing  is  simpler  than  the  production 
of  cloud-negatives,  especially  upon  slow  plates,  though 
the  selection  of  the  subject  is  not  quite  so  easy  as  the 
development  of  the  plate.  I will  give  a typical  instance 
of  my  treatment  of  rapid  plates,  i commence  by  soaking 
the  plate  in  water  for  about  three  minutes  ; it  is  then 
placed  in  a developer  composed  of  pyro  three  grains 
(thirty  minims  of  sulpho-pyrogallol  being  used),  one  minim 
of  ammonia,  and  a quarter  of  a grain  of  ammo  nium-bro- 
mide.  The  amountof  free  ammonia  present  is  really  about 
a quarter  of  a minim,  because  three-quarters  of  a minim 
are  neutralised  by  the  acid  in  the  sulpho-pyrogallol.  In 
this  developer  the  plate  may  remain  live  minutes  ; and 
tinless  the  exposure  have  been  too  long,  the  image  does 
not  show  in  the  slightest  degree.  A further  addition  of 
half  a minim  of  ammonia  is  then  made,  and  though  the 
sky  may  not  appear  for  five  minutes  longer,  a good  nega- 
tive will  be  secured  in  fifteen  or  twenty  minutes. 

No  doubt  by  taking  slightly  different  means  a negative 
may  be  obtained  much  more  quickly ; but  what  I have 
written  serves  to  show  the  principles  on  which  to  proceed. 
The  object  is  to  preserve  the  gradation  and  to  secure  the 
density  of  the  higher-lights,  without  destroying  the  slight 
effect  of  light  in  the  darker  portions. 

In  the  case  of  a water-negative  the  conditions  are  gene- 
rally rather  different.  The  exposure  must  often  be  of  the 
briefest ; the  comparative  contrasts,  therefore,  presented 
by  the  subject  tend  to  be  intensified  by  the  brevity  of  the 
exposure  ; while,  no  part  being  over-exposed,  there  is  but 
little  tendency  to  flatness  of  the  high  digit ts,  which  was  to 
be  feared  in  the  case  of  the  clouds.  In  such  circumstances 
I would  commence  by  soaking  the  plate  in  alkaline  water 
with  bromide  added,  using,  perhaps,  three  times  as  much 
ammonia  as  was  first  added  in  the  case  of  the  clouds — in 
fact,  three  minims — and  four  timesthe  quantity  of  bromide. 
After  soaking  for  three  or  four  minutes,  a normal  amount 
of  pyro  (say  twenty  minims  of  sulpho-pyrogallol)  might  be 
added,  and  the  developer  might  be  kept  oa  the  plate  per- 
haps fifteen  minutes. 

In  both  the  foregoing  instances  the  quantities,  which  are 
intended  to  be  indicative  only,  are  for  each  ounce.  The 
proportion  of  active  ammonia  in  each  of  the  developers 
is  as  2 minims:  21  minims. 

I have  omitted  to  explain  wbat  I mean  by  “ water-nega- 
tive,” and  the  use  to  which  it  is  to  be  applied.  I refer  to 
negatives  of  running  and  ruffled  water,  which  may  be 
“printed-in”  as  cloud-negatives  are.  They  must,  of 
course,  be  secured  on  the  same  occasion  as  the  landscape, 
without  movement  of  the  camera. 

I cannot  conclude  this,  I am  afraid,  too  lengthy  article, 
which  may  be  disappointing,  and  certainly  is  tar  from  ex- 
haustive, without  toii'diiog  upon  the  valuable  properties  of 
sulpho-pyrogallol  generally,  and  of  sodic  citrate  in  certain 
cases.  I he  latter  salt  should  be  especially  useful  to  the 
beginner,  whose  ideas  of  the  correct  exposure  are  of  the 
most  hazy  kind  : for.  should  the  image  have  appeared  with 
almost  full  detail  before  density  can  possibly  have  been 
attaiued,  the  addition  of  a small  quantity  of  this  salt  iu 


solution  will  arrest  the  appearance  of  further  detail ; while 
by  continuing  the  action  of  the  developer  the  image  will 
continue  to  grow  in  intensity. 

Mr.  Cr.  W.  Webster,  who  first  pointed  out  this  property, 
recommends  a solution  of  ten  per  cent,  strength.  To 
arrest  development,  perhaps  one  dram  of  this  will  be  re- 
quired for  each  ounce  of  developer  upon  the  plate.  The 
developer,  after  this  addition,  should  be  well  rocked,  in 
order  to  cause  the  citrate  to  enter  the  plate  as  speedily  and 
evenly  as  possible.  This  suggests  the  remark  that  it  is  ad- 
visable always  to  agitate  the  developer  occasionally,  not 
with  any  degree  of  violence,  but  sufficiently  to  set  up  a 
gentle  wave  across  the  surface.  It  is  especially  necessary 
to  keep  the  developer  in  motion  when  “forcing”  is  re- 
sorted to  with  an  under-exposed  plate ; for  this  reason, 
that,  as  will  be  represented  in  the  equations  below,  the 
parts  which  are  easily  reduced — say,  those  parts  of  the  sky 
bordering  on  dark  parts  of  the  landscape — give  off  nascent 
bromine,  which,  by  a chemical  reaction  with  the  ammonia 
forms  bromide  of  ammonium,  which,  as  everybody  knows, 
is  a strong  restrainer  of  the  reducing  action  of  the  deve- 
loper. It  follows  that  (especially  if  there  be  a tendency 
to  fog,  as  there  frequently  is  in  such  cases)  the  part3  ad- 
jacent to  these  portions  whence  ths  soluble  bromide  is 
derived  are  prevented  from  fogging  or  producing  detail, 
and  so  show  when  the  plate  is  fixed,  as  a clear  line  lying 
between  the  fully-exposed  and  under-exposed  portions. 

The  virtues  of  sulpho-pyrogallol,  1 believe,  are  now 
generally  known,  and  it  will  not  be  necessary  for  me  to 
dilate  upon  them  here.  It  has  probably  largely  aided  in 
giving  to  gelatine  negatives  of  the  present  day  the  “ wet 
plate  quality  ” so  much  desired  in  the  productions  of  earlier 
years. 

I will  now  conclude  by  putting  before  my  readers  some 
simple  equations,  which,  though  not  chemical  equations 
in  the  strict  sense  of  the  term,  are  nevertheless  calculated 
to  give  some  general  idet  of  the  probable  mode  of  action 
of  the  principal  substances  considered. 

The  following  equation  represents  the  reactions  of  the 
ordinary  alkaline  developer : 

Ammonia.  Silver  Bromide.  Pyro.  Am.  Bromide.  8ilvtr.  Water. 

2NH4HO  + Ag,Br,  + ?y  = 2NH4Br  + Ag„  + OIL,  + 
Oxidized  Pyro. 

PyO. 

The  next  equation  represents  the  possible  mode  of  action 
of  the  sulphite  contained  in  the  sulpho-pyrogallol:  — 

Sod.  Sulphite.  Oxidised  Pyro.  Sodic  Sulphate.  Pyro. 

S03Nas  + PyO  = S04Na2  + py 

The  pyro  acting  as  a carrier  of  the  oxygen,  necessarily 
produced,  to  the  sulphite,  converting  it  into  sulphate.  I 
am  more  especially  induced  to  take  this  view  because  of  an 
observation  of  mine,  that  oa  addition  of  a moderate  quantity 
of  ammonia  a pinkish  colour  is  produced  which  is  very 
quickly  bleached.  That  sodic-sulphite  has  a greater  affinity 
for  oxygen  than  has  alkaline- pyro  (though  I think  chemists 
generally  would  refute  this)  seems  to  be  shown  by  the 
fact  that  the  former  retards  the  oxidation  of  the  latter  by 
the  oxygen  of  the  air.  I am  presuming  that  this  action  is 
a chemical  and  not  a mechanical  one.  But,  after  all,  this 
mode  of  action  is  purely  a surmise  on  my  part  ; suffice  it 
for  our  purposes  that  this  inevitable  and  useless  (for  de- 
veloping purposes)  oxygen  of  the  air  is  prevented  from 
combining  with  the  alkaline  pyrogallol,  and  so  staining  of 
the  film  is  prevented. 

I have  omitted  to  say  that  ten  per  cent,  solutions  of  the 
chemicals  are  to  be  recommended,  each  kept  in  a separate 
bottle.  When  the  ammonia  purchased  is  of  full  strength — 
as  generally  is,  or  is  suppose!  to  be,  the  case — it  should 
at  once  have  added  to  it  at  least  an  equal  bulk  of  water  ; or, 
better  still,  a quanti  y of  ten  per  cent,  solution  tnay  be 
made  by  adding  one  fluid  part  to  nine  pirts  of  water. 
1’his  will  be  accurate  enough  ; and  so  for  soli  Is  will  forty- 
eight  grains  made  up  to  a fluid  on  ice  with  water.  Every 
teu  minims  will  then  contain  one  minim  or  one  grain  as  the 
case  may  be. 


830 


THE  PHOTOGRAPHIC  NEWS. 


[December  28,  1883. 


I 


PHOTO  LITHOGRAPHY  AND  PHOTO- 
ZINCOGRAPHY. 

BY  MAJOR  J.  WATERHOUSE,  B.S.C., 

Assistant  Surveyor- General  of  India. 

Chapter  XV. — Asphalt  Process. — (concluded). 

In  a third  process  a clean  stone  is  taken  and  a thin  film 
of  saliva,  on  a very  dilute  solution  of  isinglass,  is  spread 
over  it.  It  is  then  coated  with  the  sensitive  mixture  above 
described,  and  when  the  film  is  hard  it  is  exposed  under  a 
negative.  The  development  is  effected  by  gently  rubbing 
over  the  stone  with  a mixture  of  turpentine  four  ounces, 
a few  drops  of  nut  oil  and  of  bisulphide  of  carbon,  well 
shaken  up  with  an  equal  volume  of  thin  gum-water.  The 
mixture  is  applied  with  a sponge,  and  printing  ink  is 
added  from  time  to  time  to  charge  up  the  work.  The 
features  of  novelty  claimed  for  this  process  are  (1),  the 
preliminary  coating  of  the  stone  with  a neutral  substance 
which  prevents  the  sensitive  and  fatty  ingredients  from 
penetrating  the  stone  until  they  are  changed  by  light; 
(2),  the  action  of  the  alkaline  bichromate  under  the  in- 
fluence of  air  and  light  in  oxidizing  the  resin  and  fat, 
thereby  saponifyiug  them  and  enabling  them  to  penetrate 
the  neutral  coating  of  the  stone.  Ordinary  printing  ink 
cannot  penetrate  a film  of  gum  or  isinglass,  but  if  soap  or 
an  alkali  be  present,  it  does  so  readily  ; (3),  the  charging 
up  the  image  with  a mixture  of  gum,  oil,  and  turpentine, 
by  which  a film  of  grease.  is  deposited  on  the  image. 

In  a fourth  process  the  stone  receives  a preliminary 
coating  of  gum  and  acid,  or,  better,  of  an  alkaline  solution 
of  silica.  It  is  then  coated  with  a solution  of  asphaltum 
in  bisulphide  of  carbon  to  which  a very  small  quantity  of 
Canada  balsam  is  added.  It  is  exposed  under  a reversed 
positive,  and  developed  with  a mixture  of  equal  quantities 
of  bisulphide  of  carbon  and  turpentine.  After  develop- 
ment the  stone  is  washed  over  with  a solutiou  of  alum  or 
acetic  acid,  which  removes  the  gum  from  the  unprotected 
parts  of  the  stone,  and  renders  them  capable  of  receiving 
printer’s  ink.  As  we  shall  see  further  on,  a similar  pro- 
cess has  lately  come  into  use  in  Paris. 

In  connection  with  the  above,  it  may  be  worth  noting 
that  Mr.  Filling,  of  Dorchester,  found  that  the  addition  of 
a saponaceous  body  to  asphaltum  increased  its  sensitiveness 
more  than  the  addition  of  a fatty  body.  He  used  a mix- 
ture of  soft  soap  and  Brunswick  black,  and  obtained  half- 
tone carbon  prints  with  very  short  exposures  of  about  three 
minutes.  Such  prints  could  be  used  as  transfers  to  stone 
or  zinc. 

In  Vol.  VII.  of  the  News,  p.  41,  there  is  a description 
by  Mr.  Mactear  of  a process  invented  by  Mr.  Gibbous  of 
Glasgow,  in  which  the  principal  sensitive  agent  was  Bruns- 
wick black,  but  he  increased  the  sensitiveness  by  the 
addition  of  bichromate  of  potash.  His  method  was  as 
follows : — 

A grained  stone  is  coated  by  means  of  a roller  with  a 
sensitive  solution  composed  of 

Copal  varnish  3 parts 

Raw  linseed  oil  .*  ...  1 part 

Bichromate  of  potash  5 part3 

ground  together  very  finely  and  put  in  a bottle. 

Brunswick  black 2 parts 

Mastic  varnish  1 part 

Turpentine  2 parts 

are  then  added,  and  the  whole  mixed  well  together. 

When  the  coating  is  dry,  the  stone  is  exposed  under  a 
negative  for  one  to  five  hours  according  to  the  strength  of 
light. 

After  exposure  the  coated  surface  is  gently  rubbed  with 
a tuft  of  cotton-wool  soaked  in  linseed  oii,  which  removes 
the  parts  unalterd  by  light,  leaving  the  graduated  tiuts 
quite  firm.  The  oil  is  cleaned  off  the  stone,  and  the 
image  etched  with  gum  and  nitric  acid. 

Naphtha  or  turpentine  may  also  be  used  for  developing. 


Another  formula,  which  is  said  to  have  given  very  good 
pictures,  is— 

Brunswick  black  ...  2 parts 

Copal  varnish  3 ,, 

Mastic  do.  ...  ...  ...  1 part 

Turpentine  1 ., 

but  this  was  much  slower,  owing  to  ths  want  of  bichro- 
mate. 

Mr.  J.  T.  Taylor  mentions  an  early  process  of  Halleur’s 
in  which  a grained  stone  is  coated  with  an  ethereal  solu- 
tion of  asphaltum,  gum,  guaicum,  or  other  resin,  and,  after 
being  exposed  to  light  under  a negative,  it  is  blackened 
all  over  with  lithographic  ink.  1 he  action  of  the  light 
having  decomposed  the  varnish  unequally,  the  ink  ad- 
heres to  the  stone  in  a corresponding  degree.  The 
surface  of  the  stone  is  next  treated  with  an  acid,  which,  by 
decomposing  the  soap  of  the  ink,  leaves  a fatty  layer  on 
the  denuded  parts  and  on  the  resinous  varnish.  If  the 
surface  be  now  washed  with  ether  or  alcohol,  or  any  other 
liquid  which  will  answer  as  a solvent,  the  whole  coating 
is  removed,  leaving  the  picture  in  grease  upon  the  stone. 
It  is  now  ready  for  etching,  and  may  be  printed  from  in 
the  usual  way.  Mr.  Taylor  seemed  to  think  this  might  be 
made  a very  valuable  process  in  skilful  hands,  as  it  wa3 
capable  of  giving  all  gradations  of  tint. 

Some  very  admirable  photo-lithographs  in  half  tones 
were  exhibited  at  the  Paris  Exhibition  of  1808  by  M. 
Marie  of  Paris.  They  were  produced  by  a bitumen  pro- 
cess, but  the  gradation  of  tint  was  obtained  by  printing 
from  three  or  four  stones;  thus  one  stone  would  carry  the 
deepest  tints,  another  the  half  tints,  and  a third  the 
lightest.  The  several  images  were  carefully  registered,  as 
in  colour  printing. 

Messrs.  Reiffenstein  aud  Roesch  of  Vienna  have  also 
produced  exceedingly  good  half-tone  photo-lithographs 
with  asphaltum,  but  they  are  said  to  have  obtaiped  the 
proper  gradation  of  tint  by  graining  the  asphaltum 
image  with  powdered  pumice  stone  or  some  similar  mate- 
rial before  printing. 

The  working  of  the  asphaltum  processes  on  stone  in 
England  seems  to  have  been  hampered  by  patents,  and 
this,  with  the  superior  advantages  of  collochromate  pro- 
cesses, especially  in  dull  weather,  has  stopped  their  de- 
velopment. It  is  uulikely  now  that  their  use  will  becomo 
more  extended  than  hiiherto,  and  there  is,  therefore,  no 
necessity  to  consider  the  question  more  fully. 

With  zinc,  however,  the  case  is  different ; and  though 
the  principal  application  of  the  process  on  zinc  is  to  pho- 
totypographic  etching  by  the  Gillotype  and  other  similar 
processes,  they  can  also  be  used  with  the  greatest  advan- 
tage in  obtaining  images  to  be  printed  by  the  methods  of 
ordinary  zincography,  especially  for  subjects  that  are  too 
fine  to  be  reproduced  successfully  by  the  transfer 
methods. 

The  preparation  of  the  zinc  plates  has  already  been  de- 
scribed in  Chapter  IX.  The  thickness  of  the  plate  to  be 
used  depends  upon  the  work  to  be  done.  Working  with 
glass  negatives  it  will  be  better  to  use  thin  zinc  plates, 
which  can  be  pressed  into  close  contact  with  the  nega- 
tive. With  stripped  films  thicker  plates  may  be  used. 
As  a rule,  the  zinc  plates  for  asphaltum  work  are  finely 
polished.  In  all  cases  the  surface  should  be  perfectly  flat 
and  free  from  dents  or  holes. 

A process  of  photozincography  of  this  kind  is  in  use  at 
the  Photographic  Ateliers  of  the  Topographical  Brigade 
at  the  Hotel des  Invalides,  Paris,  under  the  superintendence 
of  the  Commandant  de  la  Noe,  of  the  French  Engineers, 
and  has  been  fully  described  with  other  processes  in  the 
“ Bulletin  do  la  Societe  Francaise  de  Photographic  ” for 
1881. 

The  zinc  plates  used  are  the  thin  highly  polished  sheets 
used  for  glazing  known  as  zinc  ii  satiner,  guage  No  5. 
Th  y are  smoothed  with  charcoal  and  p liskel  with  flour 
emery. 


THE  PHOTOGRAPHIC  NEWS. 


831 


December  28,  1883.] 


The  sensitive  solution  is  prepared  by  dissolving  four 
parts  of  asphaltum  in  100  parts  of  the  finest  rectified 

benzole. 

The  plate  is  coated  eveuly  with  this,  and  exposed  to 
light  under  a reversed  negative,  the  length  of  exposure 
being  judged  with  the  help  of  an  actinometer  containing 
a series  of  slips  of  zinc  coated  with  the  sensitive  aspbal- 
tum  solution,  a slip  being  developed  from  time  to  time. 
The  exposure  is  usually  three-quarters  of  an  hour  to  an 
hour  in  summer,  and  may  be  a day  or  longer  in  dull 
weather. 

The  plate  is  developed  in  a bath  of  turpentine,  which 
can  be  used  indefinitely.  After  development  the  plate  is 
washed  with  a watering-pot,  and  then  etched  with  very 
dilute  acid  made  by  adding  about  a drachm  of  dilute 
nitric  acid  (1  to  3)  to  a quart  of  water.  This  is  flowed 
over  the  plate,  and  then  washed  off  again  with  the 
water-pot.  Water,  which  before  was  repelled  by  the 
ssmi-greasy  suiface  of  the  plate,  will  now  cling  evenly 
to  it. 

rIhe  plate  is  exposed  to  the  sun  for  a time  to  harden  the 
bitumen,  and  is  then  gummed  and  rolled  up  with  printing 
ink  in  the  usual  way. 

The  writer  has  succeeded  with  this  process,  using  dilute 
nitric  acid  at  one  per  cent,  to  clear  the  plate  after  develop- 
ment, then  etching  with  the  usual  etching  solution  of 
decoction  of  nutgalls,  phosphoric  acid,  and  gum,  and 
rolling  in  without  washing  out  with  turpentine. 

In  order  to  obtain  images  direct  on  the  zinc  plates 
without  the  intervention  of  a negative,  and  the  conse- 
quent expensive  installation  of  cameras,  &c.,  as  well  as 
to  obtain  also  finer  results  than  can  usually  be  obtained 
by  the  former  process,  M.  de  la  Noe  has  worked  out 
a very  ingenious  method  of  engraving  which  he  calls 
Sopogravure,  as  being  specially  suitable  for  the  repro- 
duction of  map3  and  other  open  line  subjects. 

In  this  case  the  preparation  and  development  of  the 
zinc  plates  is  exactly  the  same  as  in  the  last  process, 
but,  instead  of  being  exposed  under  a negative,  they  are 
exposed  under  drawings  very  carefully  executed  on 
fine  tracing  paper,  so  that  the  lines  may  be  thoroughly 
opaque  (see  Chapter  I.,  News,  1882,  p.  483).  The  ac- 
tinometer is  furnished  with  a similar  traeiug. 

After  development  the  plates  are  etched  for  about 
half  or  three-quarters  of  a minute  with  dilute  nitric 
acid  at  three  per  cent.,  which  bites  in  the  lines  to  a 
certain  slight  depth. 

The  insoluble  asphaltum  is  then  cleaued  off  with 
benzine,  and  the  plate  is  covered  again  with  a fresh 
coating  of  asphaltum.  When  this  is  dry,  the  plate  is 
rolled  in  with  a hard  lithographic  roller  charged  with 
printing  ink,  so  as  to  cover  the  whole  surface  with  the 
exception  of  the  etched  lines,  leaving  the  latter  covered 
only  with  asphaltum.  The  plate  is  now  exposed  to  the 
light  again,  so  that  the  asphaltum  on  the  lines  may  be- 
come insolubl:,  while  that  on  the  grduud,  being  protected 
by  the  printing  ink,  remaius  soluble.  It  is  well  to  give 
ample  exposure  at  this  stage. 

The  plate  is  then  placed  in  the  turpentine  bath  again 
to  remove  the  soluble  asphaltum  from  the  ground,  leaving 
the  lines  covered.  It  is  then  washed  with  dilute  acid  as 
before  described,  gummed,  and  rolled  in.  If  the  ground 
should  be  dirty  in  parts,  it  may  be  cleaned  by  rubbing 
with  charcoal  moistened  with  a little  turpentine,  taking 
care  to  work  the  charcoal  flatwise,  so  as  not  to  touch  the 
lines. 

( To  be  continued.) 


dDormjion&fnr*. 

DEVELOPMENT. 

Dear  Sir,  — Tn  my  contribution  to  the  Year-Book  (page 
85)  I notice  a clerical  error.  It  occurs  in  the  formula  given 


for  the  pyro  solution,  which  should  road  “ Pyrogallic  acid 
72  grains,”  and  not  32  grains,  as  stated. — I am,  yours,  &c., 

H.  Manfield. 


AN  ACTINOMETER  FOR  FIELD  WORK. 

Dear  Sir, — I enclose  for  public  ition  in  your  esteemed 
paper  (if  yon  think  it  i3  worth  inserting)  a full  size  sketch 
and  also  description  of  actinometer,  which  I believe  to  be 
new  in  design,  and  of  real  and 
practical  use  to  beginners  in 
photography.  After  a constant 
use  I feel  justified  in  drawing 
the  attention  of  your  readers  to 
ils  extreme  simplicity  (it  can  be 
made  by  anyone  having  a clear 
piece  of  glass  and  a strip  of  sen- 
sitised paper  in  his  possession, 
for  practically  no  cost  at  all). 
My  own  experience  as  a young 
amateur  ha3  taught  me  how 
difficult  it  is  to  expose  rightly 
under  varying  conditions  of  the 
atmosphere,  and  after  spoiling 
dozens  of  quarter-plates,  I re- 
sorted to  the  use  of  an  actinc- 
meter  for  all  outdoor  exposures. 
I have  used  this  form  of  it  for 
nearly  three  years,  and  can  only 
say  I am  thoroughly  satisfied 
that  it  is  a most  useful,  though 
unpretentious  little  instrument, 
and  has  saved  my  pocket  and 
temper  from  much  trouble.  I 
am  aware  that  Mr.  Woodbury 
has  invented  an  instrument  f 
a somewhat  similar  kind.  I have 
not  seen  one,  and  therefore  am 
not  able  to  judge  for  myself ; but 
reading  your  paper  from  time  to 
time,  I notice  there  is  evidently 
some  difficulty  in  judging  the 
shade.  This,  it  would  appear  to 
me,  is  due  to  its  circular  form. 
My  instrument  has  a long  and 
narrow  strip  of  fixed  sensitized 
paper  (made  by  exposing  each 
division  for  a uniform  length  of 
time  to  a steady  light)  pasted 
to  the  wooden  frame  ; by  the  side  of  this  you  slide  in  a clean 
piece  of  sensitized  paper,  expose  to  the  sky,  note  the 
number  of  seconds  or  minutes  for  it  to  reach  the  bottom 
shade,  No.  8 if  the  light  is  very  strong,  or  any  one  of  the 
shades  you  may  think  sufficient.  Suppose  No.  5.  Now,  if 
you  examine  the  shades  in  a most  cursory  manner,  the  eye 
will  at  once  form  a balance  between  the  shades,  and  quickly 
dttects  that  place  where  the  shades  are  about  the  same. — 
I am,  sir,  yours  faithfully, 

A.  M.  MACGREGOR,  A.M.C.E. 


London  and  Provincial  Photographic  Association. 

TnE  ordinary  weekly  meeting  was  held  on  the  20th  inst.,  Mr.  W. 
Coles  in  the  chair. 

Messrs.  Leo  Atkinson,  H.  C.  Greene,  and  fl.  R.  Milner  were 
elected  members  of  the  Association. 

Mr.  II.  S.  Starnes  having  tried  several  combinations  of 
colours  to  improve  dark-room  lighting,  found,  to  obtain  a safe 
light,  and  of  a colour  not  painful  to  the  eyes,  there  would  be  very 
little  light  at  all.  Ilis  experiments  led  him  to  discard  trinsinitted 
light,  and  adopt  reflected  rays  only.  For  this  purpose  he  con- 
structed an  oblong  box  some  fifteen  inches  high,  hv  live  inches  in 
width  and  depth,  several  inches  being  left  open  in  the  upper  por- 


SECTION 


832 


IHE  PHOTOGRAPHIC  NEWS. 


[Df.cembes  28,  1823. 


tion  on  one  side  for  the  emergence  of  reflected  rays  into  the  room. 
His  source  of  light  wasasmall  colzaoil  lamp,  burning  in  the  bottom 
of  the  box,  a metallic  reflector  being  arranged  to  throw  the  rays 
upwards  on  the  back  of  the  box.  The  interior  had  received  one 
coat  of  white  paint,  and  two  of  burnt  sienna,  a liberal  quantity  of 
gold  size  being  used  with  the  latter  pigment.  A plate  left 
exposed  on  the  table  five,  ten,  and  twenty  minutes  respectively, 
developed  with  a correspondingly  large  increase  of  ammonia 
( i.e .,  three  times— the  normal  quantity),  failed  to  give  more  than 
the  slightest  deposit  in  the  longest  exposure.  Another  plate 
exposed  under  a negative  for  an  hour  and  a-half  was  not  fogged, 
there  being  sufficient  light  to  read  small  print.  He  advised  using 
a series  of  lamps  in  a larger  box  to  obtain  a better  diffusion. 

The  Chairman  was  of  opinion  that  the  light  was  only  being 
reduced  in  quantity  ; plates  might  be  developed  in  daylight  if  little 
enough  were  used. 

Mr.  Starnes  thought  the  colours  employed  were  in  favour  of 
his  plan.  If  he  were  to  use  blue  or  pink,  and  try  a similar  experi- 
ment, he  would  obtain  an  effect.  After  speaking  of  the  absorbent 
nature  of  some  substances  for  light,  he  mentioned  that  light  was 
of  an  expansive  and  contractile  nature,  which  bore  out  his  theory 
of  the  cracking  of  the  particles  of  silver  bromide.  Quite  recently 
he  coated  a plate  with  emulsion,  and  exposed  it  for  two  minutes  to 
gaslight ; it  was  then  scraped  off,  re-melted  to  crack  up  the 
particles,  re-coated,  and  a perfect  transparency  obtained. 

Mr.  W.  E.  Debenham  said  there  was  a good  light  for  seeing 
objects  down  on  the  table,  yet  there  was  no  convenience  for  look- 
ing through  negatives.  He  suggested  colouring  the  interior 
yellow,  and  glazing  the  front  with  green  glass. 

Mr.  A.  L.  Henderson  said  glazing  the  sides  with  yellow  and 
green  glass  would  be  an  improvement. 

Mr.  F.  W.  Hart  suggested  using  a parabolic  reflector  made  of 
sand-paper  glued  to  cardboard,  coating  this  with  the  mixture  Mr. 
Starnes  had  suggested.  The  sand  particles  would  break  up  and 
diffuse  the  light  much  better. 

Mr.  Haddon  pointed  out  that  a dull  surface  could  be  obtained 
if  the  pigment  was  mixed  with  starch  instead  of  gold  size. 

The  further  discussion  of  this  subject  was  adjourned  for  a month, 
to  allow  of  further  experiments. 

Mr.  J.  G.  Tunny  remarked  that  he  had  seen  a plate  manu- 
facturer use  as  much  as  twenty  to  thirty  times  the  usual  amount 
of  ammonia  to  develop  a plate ; instead  of  dropping  it  in 
gradually,  he  poured  it  into  the  dish  from  a beaker. 

Mr.  Haddon  showed  a negative  of  sparks  from  a Holtz 
electric  machine,  the  duration  of  the  spark  being  between 
TtrooT)  antl  tssoo  of  a second.  Most  curious  waves  of  great 
intensity  were  obtained. 

Mr.  \V.  B.  Wellington  passed  round  two  negatives  taken 
at  Windsor  on  Sunday  last  after  4 p.m. 

Mr.  Henderson,  referring  to  the  rapidity  of  wet  plates  as  com- 
pared with  dry,  showed  two  plates  taken  that  day.  The  dry 
plate  had  an  exposure  of  two  seeonds,  and  was  fully  done  ; 
the  wet  plate  received  seventy-five  seconds,  and  was  not  half 
exposed,  lens  and  stop  being  the  same  in  each  case. 

Mr.  C.  Darker  said  if  there  was  no  other  business  before 
the  meeting,  he  should  be  happy  to  entertain  the  members  by 
showing  them  a few  objects  in  the  polariscope.  After  explaining 
the  difference  between  polarized  and  ordinary  light,  some  very 
beautiful  examples  of  selenium,  quartz,  and  crystals  were  shown 
on  the  screen,  also  the  crystals  prepared  and  in  process  of  forma- 
tion from  a hot  solution  of  benzoic  acid.  Very  pretty  effects  of 
colour  in  selenite  were  shown,  quickly  changed  to  the  comple- 
mentary colours,  and  then  decolourized  ; also  the  effect  of  pres- 
sure on  lenses.  Mr.  Darker  volunteered  to  go  further  into  the 
subject  on  another  occasion. 

Mr.  Hart  proposed  a vote  of  thanks  to  Mr.  Darker  for  his  in- 
structive entertainment,  which  was  particularly  useful  to  photo- 
graphers. 

The  Chairman,  in  putting  the  vote,  said  it  was  all  the  more 
gratifying,  because  many  members  absented  themselves  on  even- 
ings for  which  no  special  announcement  is  made. 


3Lalk  in  t&c  Stubic. 

Sourn  London  Photographic  Society.— The  Annual  Lantern 
Meeting  will  be  held  next  Thursday,  January  3rd,  1884,  at  seven 
o clock.  In  order  to  avoid  the  inconvenience  that  has  arisen  on 
previous  occasions  from  the  late  delivery  of  slides,  and  also  to 
allow  time  for  the  satisfactory  arrangement  of  exhibits,  all  pictures 


intended  for  exhibition  must  be  delivered  at  the  House  of  the 
Society  of  Arts,  John  Street,  Adelphi,  not  later  than  four  o’clock 
on  the  day  of  the  meeting,  after  which  hour  they  cannot  be 
received. 

Photographic  Club. — At  the  next  meeting,  to  be  held  at 
“ Anderton’s  Hotel,”  Jan.  2nd,  1884,  the  adjourned  discussion 
on  “Double  Printing  and  Masking”  will  take  place.  The 
address  of  the  Hon.  Secretary  and  Treasurer  is  now — Sunnycote, 
South  Hill  Park,  Hampstead,  N.W. 


&0ms]?0tt&*ttt*. 

***  The  Photographic  Society  op  Ireland. — Mr.  T.  H. 
Ilalvey  writes  to  inform  us  that  ho  was  the  writer  of  the  paper 
on  “ Enlarging,”  read  before  this  Society  at  the  last  meeting. 

G.  W.  P. — As  a matter  of  practice,  you  had  better  reject  the  plates 
unless  you  have  spare  time  on  your  hands ; but  the  light  fog  may 
be  counteracted  by  treatment  with  potassium  bichromate.  Im- 
merse a plate  in  a five  per  cent,  solution  of  the  salt;  allow  it  to 
remain  tor  ten  minutes,  and  wash  very  thoroughly. 

D.  Rivers. — Your  suggestion  as  to  the  need  of  caution  in  receiving 
such  statements  is  not  needed  ; still,  we  thank  you  for  reminding 
us. 

Pyro. — The  address  is  Curson  Street,  Derby. 

It.  Morton  Day. — Ordinary  commercial  sheet  lead,  about  half  an- 
inch  thick. 

A.  E.  D. — A sheet  of  Rives  paper  is  laid  on  a board,  and  one  side  is 
well  sponged  over  with  moderately  stiff  arrowroot  paste  ; and 
when  the  paper  is  dry,  it  is  carefully  rolled  and  coated  with  a 
sensitive  collodion,  made  by  dissolving  50  grains  of  nitrate  of 
uranium  and  5 grains  of  nitrate  of  silver  in  each  ounce  of  plain 
collodion.  After  exposure,  the  pictures  are  soaked  in  dilute 
acetic  acid — one  part  to  thirty — for  fifteen  minutes.  A rinse  in 
water  is  required  beforo  fixation  in  the  following : — Ammonium 
sulphocyanate,  1 ounce ; water,  6 ounces ; chloride  of  gold, 

1 grain.  A final  washing  completes  the  process. 

Wm.  G.  H. — 1.  It  certainly  ooks  as  if  the  mounts  contained  some 
substance  whch  causes  the  picture  to  fade.  2.  If  the  damage  is 
due  to  the  mounts,  you  not  only  cannot  bo  forced  to  pay  for  them, 
but  you  will  have  good  grounds  for  making  a claim  against  the 
manufacturers.  You  will  find  directions  for  applying  the  iodide 
of  starch  test  for  hypo  on  page  114  of  the  present  volume,  but  we 
think  that  an  experiment  of  the  following  nature  woald  afford 
more  satisfactory  evidence  for  submitting  to  a jury.  Cut  a print 
in  two  portions,  and  mount  one  on  a kind  of  cardboard  which  you 
have  found  satisfactory,  and  the  other  upon  one  of  the  question- 
able cards.  Keep  both  so  that  they  shall  be  subjected  to  the  same 
conditions  of  light,  heat,  and  moisture. 

E.  Williams. — Thank  you  for  the  sample  of  sulphite  develo;»er, 
which  we  will  try. 

Medium. — 1.  Nelson’s  No.  2 gelatine,  15  grains  ; water,  1 ounce. 
2.  Canada  balsam,  5 ounces  ; paraffine  wax,  2 ounces  : white  wax, 

2 ounces;  melt  all  together,  and  dip  the  picture  in.  3.  Boil 
together  1 ounce  of  borax,  1 ounce  of  wliite  shellac,  and  10  ounces 
of  water.  Full  directions  will  be  found  in  the  Year-Book. 

E.  S.  II. — You  can  transfer  them  to  glass  by  the  method  described 
on  page  167  of  the  Y’ear-Book  or  Photography,  but  we  do 
not  know  of  any  method  by  which  they  can  be  directly  transferred 
to  wood. 

Andrew  Cannon. — If  you  will  send  us  a sample,  we  will  endeavour 
to  form  an  opinion. 

X.  O. — Wo  do  not  know  whether  any  dealer  keeps  them  in  stock, 
but  the  making  of  the  contrivance  would  certaiuly  not  be  beyond 
the  capabilities  of  an  ordinarily  intelligent  workman.  2.  An  article 
on  the  subject  will  appear  next  week. 

A.  R.  D. — Thanks ; next  week. 

*,*  The  Title  and  Index  will  bo  presented  to  our  readers  next 
week. 


|)[i0t00ni|i{)ic  Ifrfoa  lUgistrg. 

Employment.  Wanted. 

Young  Lady  for  Reception  Koorn.— S.  F.,  69,  Giosvenor-rd.,  S.W. 

Enlarger  or  Dry-plate  Maker. — B.,  7,  Northumberland-ter.,  ltegent’s-pk. 
Manager  of  Marion’s  Works. — C.  Francis,  Marion’s  Works,  Southgate,  N. 
Retoucher  & At-sist.  Operator. — A.  B.,  6,  Oswald-rd.,  Milverton,  Leamington 
Printer  & Toner,  Berlin  Medals. — G.  Dendle.  27,  Portland-st.,  Ilfracoombe. 
Operator,  dry  plate  manufacturer. — J.  R.  IT..  11,  Lewisham  lligh-rd.,  8.E. 
Operator,  retoucher,  all  round  —Mr.  Em 8,  12,  Bartholomew-ter.,  Exeter. 
Reception  Room,  book-keeper,  &c. — M.  R.,  31,  High-st.,  Sittingbourne. 

Employment  Offered. 

Spotter,  good. — W.  and  A.  11.  Fry,  68,  East-st.,  Brighton. 

Portiait  Painter,  experienced. — W.  II.  Lcdgard,  Luinb-la.,  Bradford. 
Young  Man  (wet-plate)  for  Copying.  -Hill  ft  Oo.,  15,  I md. 

Port.  Painter  (lady  or  gent.) — J.  M I).  Worsnop,  151,  Lceds-rd.,  Bradford 
Printer,  Toner,  A vig.  (first-clas*).—  J.  If.  Goldie,  7,  I'emple-st,  Swansea. 
Artist  for  carbon  enlargements,  A'c. — C.  F.  Treble  & Co.,  371a,  Brizton-rd. 
Silver  Printer,  quick  & experienced.— C.  F.  Treble  & Co..  371a,  Brixton-rd .